Academic literature on the topic 'Indonesian art history'
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Journal articles on the topic "Indonesian art history"
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Lee, Doreen. "A Troubled Vernacular: Legibility and Presence in Indonesian Activist Art." Journal of Asian Studies 74, no. 2 (March 23, 2015): 303–22. http://dx.doi.org/10.1017/s002191181400223x.
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Activist art and political resistance became popular aesthetics in the work of Indonesian artists after the fall of the New Order in 1998. In subsequent years, more art alternatives have emerged in cities and small towns across Indonesia, including diverse and vernacular modes of artistry such as street art and community-based international festivals. Where artists formerly focused their energies on critiquing the state, present art initiatives have become far more diffuse, counter-establishment, and localized in their approach. Local artists started the Jogja mural movement to rebrand Yogyakarta as a city of murals, while Jatiwangi Art Factory, an arts collective founded in a semi-industrialized village in West Java, has become a haven for performance arts and community-based projects for Indonesians and foreign artists in residence. This article looks at such experiments of legibility and presence as a new means of redefining publics and broadening the domain of political participation in Indonesia.
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.
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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Kurniawan, Michael Nathaniel. "Rethinking Art, Design, and Cultural History for the Indonesian Design Education and Creative Economy." Humaniora 10, no. 2 (August 5, 2019): 135. http://dx.doi.org/10.21512/humaniora.v10i2.5465.
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This research used extensive literature reviews of the history of Design HE, Art and Design History, Creative and Cultural Industries, Cultural Heritage Studies, and Design Studies to rethink the history, concepts, and common teaching practices of Art, Design, and Cultural History within the Design HE curriculum, especially for the Visual Communication Design Undergraduate program as it contributed to almost all of the creative industries’ sub-sectors. It is discovered that since the Industrial Revolution, the Design HE, the art and cultural museum, and the economy actually shares a strong correlation that has long been rejected and mostly forgotten. Exploring this correlation helps to determine the role of cultural heritage in the creative economy and to position Indonesian cultural heritage as central in the design curriculum. On this account, Art, Design, and Cultural History subject(s) should encourage designers to create new designs as active efforts to preserve past cultural values that also function as creative and critical interventions towards the global creative economy phenomenon.
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Wicaksono, Satrio Hari. "Eksotika Lee Man Fong : Sebuah Kolaborasi Apik Seni Rupa Modern dan Seni Lukis Tradisi China." Journal of Urban Society's Arts 4, no. 2 (December 26, 2018): 123–31. http://dx.doi.org/10.24821/jousa.v4i2.2163.
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In the development of Indonesian art, many artists who then fill out the history of the art of this country with a wide range of distinctive characteristics as a statement of the identity of the artist in his work, not to mention Lee Man Fong. Characteristics that are present in his work is a new breakthrough that combines the character of modern Western art with Eastern art, particularly China. A different viewpoints but can be combined and harmonized beautifully by the artist. With the approach does, Lee Man Fong able to get admission in the middle of rampant identity themes that are starting to be an important theme in the struggle of Indonesia. While many doubted the sense of nationalism, because the themes present in his work is more about the daily life and explores the theme instead filled with the spirit of struggle, but the emotional intimacy that is present in his work is able to capture the reality of the life of the Indonesian people that might escape from the views of many. A manifestation of the artist's love of the little things around it. Didn’t many artists are able to portray himself as a strong identity in his work, but Lee Man Fong's capacity and unique views will present a new visual way to penetrate the sustainability of Indonesian art that has evolved during that time. The use of methods, techniques, perspectives, and understanding which is a collaboration between the schools of modern and classic is the force that makes Lee Man Fong became one of the distinguishing elements. An approach that provides a fresh new look and adds such a richness of Indonesian art.
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Hidayatullah, Panakajaya. "Islam, National, and Local History in Tabbhuwan Walisanga Performance Art." Journal of Urban Society's Arts 7, no. 2 (December 13, 2020): 94–108. http://dx.doi.org/10.24821/jousa.v7i2.3827.
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Tabbhuwân is a Madurese tradition of performing arts. In the present context, modern culture influences many young people. It has become a restlessness for the clerics who then think of strategies on how to incorporate Islamic values in the younger generation today. In 2015 in Situbondo, Wali Sanga boarding school established a tabbhuwân wali sanga art group. Tabbhuwân is considered a way of preaching according to the conditions and culture of the community of Madura Situbondo. The players consist of the santri of the younger generation of Islamic boarding schools. Tabbhuwân wali sanga features Islamic drama performances that elevate the play of Islamic history and Indonesia. The play included Islamic history (stories of the companions of the Prophet Muhammad), local history, the history of the entry of Islam on Java (walisanga), and the history of Indonesian independence, one of which was titled ‘Jihad Resolution.’ Besides, tabbhuwân also includes elements of Madurese culture, including language, traditional music, expression, decoration, and discourse. Tabbhuwân plays a role in the spread of Islam, preserving Madurese culture and instilling nationalism in society through historical themes. The lower-middle-class community assumes that tabbhuwân is a means to understand the historical, social, and cultural realities occurring today. Tabbhuwân also influences fostering a sense of nationalism through heroic historical values, especially to the younger generation. In this case, tabhuwân imagines Indonesia in the discourse of religious nationalism. Islam, Nasional, dan Sejarah Lokal dalam Seni Pertunjukan Tabbhuwan Walisanga. TabbhuwânadalahsenipertunjukantradisimasyarakatMadura.Dalamkontekskekinian, budaya modern banyak mempengaruhi kaum muda. Hal ini menjadi keresahan para ulama yang kemudian memikirkan strategi bagaimana memasukkan nilai-nilai Islam pada generasi muda saat ini. Pada tahun 2015 di Situbondo, Pondok Pesantren Wali Sanga mendirikan kelompok seni tabbhuwân wali sanga. Tabbhuwân dianggap sebagai cara dakwah yang sesuai dengan kondisi dan budaya masyarakat Madura Situbondo. Para pemainnya terdiri dari para santri generasi muda pondok pesantren. Tabbhuwân wali sanga menampilkan pertunjukan drama Islam yang mengangkat lakon sejarah Islam dan Indonesia. Lakon tersebut meliputi sejarah Islam (cerita para sahabat Nabi Muhammad), sejarah lokal, sejarah masuknya Islam di Jawa (walisanga), dan sejarah kemerdekaan Indonesia, salah satunya bertajuk ‘Resolusi Jihad’. Selain itu, tabbhuwân juga memasukkan unsur budaya Madura yang meliputi bahasa, musik tradisional, ekspresi, ragam hias dan wacana. Tabbhuwân berperan dalam penyebaran agama Islam, pelestarian budaya Madura dan menanamkan nasionalisme dalam masyarakat melalui tema sejarah. Masyarakat kelas menengah ke bawah menganggap tabbhuwân sebagai cara memahami realitas sejarah, sosial dan budaya yang terjadi saat ini. Tabbhuwân juga memiliki pengaruh dalam menumbuhkan rasa nasionalisme melalui nilai-nilai sejarah yang heroik, khususnya kepada generasi muda. Dalam hal ini, tabhuwân membayangkan Indonesia dalam wacana nasionalisme agama.
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Aragon, Lorraine V. "Copyrighting Culture for the Nation? Intangible Property Nationalism and the Regional Arts of Indonesia." International Journal of Cultural Property 19, no. 3 (August 2012): 269–312. http://dx.doi.org/10.1017/s0940739112000203.
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AbstractThis article analyzes how intangible cultural expressions are re-scripted as national intellectual and cultural property in postcolonial nations such as Indonesia. The mixing of intellectual and cultural property paradigms to frame folkloric art practices as national possessions, termed “intangible property nationalism,” is assessed through consideration of Indonesia's 2002 copyright law, UNESCO heritage discourse, and the tutoring of ASEAN officials to use intellectual and cultural property rhetoric to defend national cultural resources. The article considers how legal assumptions are rebuffed by Indonesian regional artists and artisans who do not view their local knowledge and practices as property subject to exclusive claims by individuals or corporate groups, including the state. Producers' limited claims on authority over cultural expressions such as music, drama, puppetry, mythology, dance, and textiles contrast with Indonesian officials' anxieties over cultural theft by foreigners, especially in Malaysia. The case suggests new nationalist uses for heritage claims in postcolonial states.
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Effendi, Tonny Dian. "Topics on Chinese Indonesian Issues in Book Publication in the Post-Reform Indonesia." Journal of Asian Research 2, no. 1 (January 22, 2018): 1. http://dx.doi.org/10.22158/jar.v2n1p1.
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<span lang="IN"><em><em>Chinese Indonesian still becomes an issue in the Indonesian democracy and there are many publication in books about Chinese Indonesian issues. They are not only just share information but also indicate as respons to political change. This article discusses about the development book publication or literature on the issue of the Chinese Indonesian community in the post-reform Indonesia. It focuses to the topic of the content of the books. This research was qualitative research with the library research method. Data obtained from observation to books about Chinese Indonesian and analysed by the content analysis method. The results of this study indicate that there is development of topics about the Chinese Indonesian issues. At the beginning of the reform in 2000 until 2005, they much-discussed about discrimination, conflict and anti-Chinese sentiment, identity and culture. While the post 2005, the topics become more diverse, covers culture (art, food, tradition, literature, religion, architecture, etc.), identity, biography, history, role in Indonesian society and new issue such as women’s issues. It at least shows two important points. First, it shows the self confidency from Chinese Indonesian community to show themselves as part of Indonesian nation. Second, it shows some identity expression like political, cultural, Chinese diaspora, local Indonesia and religion identity.</em></em></span>
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Domos, Erma. "MOTIVASI SISWA SMA TERHADAP PELAJARAN BAHASA MANDARIN." Inovbiz: Jurnal Inovasi Bisnis 6, no. 2 (January 25, 2019): 195. http://dx.doi.org/10.35314/inovbiz.v6i2.876.
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In the opinion of Indonesian schools, Chinese study has one short coming. This continued for 30 years making many young Indonesians cannot speak Chinese language (Mandarin) and unable to speak dialect too. As society progresses, Chinese once again became Indonesians second language without the auxiliary aid of parents, the teaching of Indonesian literature and language rested on the teacher. Under this special conditions, no one has researched into the Indonesian students method of studying Chinese Language. The author admits personality affect and so does family background, race hence educational level of the language teacher will deeply influence the Indonesian students study of Chinese language. A research of Bandung students in Indonesia shows, diligent study of Chinese language has many reasons. Some students feel that studying Chinese is a kind of challenge, some study because of the encouragement of their parents, while others study out of admiration for China and Chinese culture. Through the study of Chinese language can appreciate Chinese art, culture, history and morality. In addiction, it can help in securing employment. In this research, which is based on a related international study, it referenced previous studies on studying Chinese language as a foreign language through a questionnaire. Survey focusing on the motivation and analysis factors of Bandung Indonesian student. This research focused on 5 high schools and a total of 534 students and drew some interesting conclusions. As students study Chinese language, gender, age, grade, origin, length of study, level of parents and teachers have great relevance.
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Priagana, Mochammad Rashad Putra, Elizabeth Susanti, and Miki Tjandra. "PROMOTION DESIGN OF INDONESIAN BATIK MUSEUM FOR YOUNG GENERATIONS THROUGH INSTAGRAM." Serat Rupa Journal of Design 6, no. 2 (July 29, 2022): 204–19. http://dx.doi.org/10.28932/srjd.v6i2.4619.
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Batik is a traditional Indonesian fabric with a blend of art and technology that has been recorded by UNESCO as one of the intangible world heritages. The Indonesian Batik Museum was established by the government to preserve, provide insight, and understanding of Nusantara batik to the public. To keep up with the times, museums are currently more focused on the visitor experience and not just as a repository of collections. However, at this time, there is still a lack of public interest in visiting and a lack of promotion on Museum Batik Indonesia’s social media. Hopefully, after visiting Museum Batik Indonesia, the mindset of visitors about Indonesian batik will change. The purpose of this promotional design is to increase the interest of the younger generation in visiting the Museum Batik Indonesia. Batik is Indonesia’s proud asset and deserves to be preserved, so it is necessary to introduce the history, meaning and various types of batik to the younger generation. Museum Batik Indonesia is a facility that can include education about Indonesian batik. The promotion design of Museum Batik Indonesia is using the AIDA (Awareness, Interest, Desire, Action) marketing strategy on Instagram. The design of this promotion includes various information about Museum Batik Indonesia and knowledge about batik in general, which is expected to increase the interest of the younger generation to wear, understand and love Indonesian batik.
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Zaelani, Mohamad. "INDONESIAN THEATER 1985-1995: A PERSPECTIVE OF DESCRIPTION PROCESSES SOCIAL CHANGE AND VALUE." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (January 31, 2018): 123–36. http://dx.doi.org/10.21009/bahtera.171.10.
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AbstractThis research seeks to depict the history of Indonesian theater development from 1985 to 1995. This period is deliberately chosen because at that time it is seen that New Order power reached the top of its consolidation. Is there correlation between theater as a part of the reflection of society's expression and the repressive-authoritarian situation of the New Order government? With the approach of sociology of art, during that period, theater in Indonesia reflectedthe changes in society socially and in terms of values. One of these changes was the collapse of the conception of human wholeness (in terms of flesh and blood) in theater in Indonesia, because humans weremerely the object of the state power that tended to be authoritarian.Keywords: Indonesian theater 1985-1995, social changes and values, silent theater, theater ideas.
Dissertations / Theses on the topic "Indonesian art history"
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Gooszen, Abrahamine Johanna. "A demographic history of the Indonesian archipelago, 1880-1942 /." Leiden : KITLV Press, 1999. http://catalogue.bnf.fr/ark:/12148/cb410637146.
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Bruhn, Katherine L. "Art and Youth Culture of the Post-Reformasi Era: Social Engagement, Alternative Expression, and the Public Sphere in Yogyakarta." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1364899327.
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Adeney-Risakotta, Farsijana. "Politics, ritual and identity in Indonesia : a Moluccan history of religion and social conflict /." Yogyakarta : Farsijana Adeney-Risakotta, 2005. http://catalogue.bnf.fr/ark:/12148/cb40121498z.
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Westaway, Kira E. "Reconstructing the Quaternary landscape evolution and climate history of western Flores an environmental and chronological context for an archaeological site /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070117.170105/index.html.
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Roosmawati, Nova. "Long-Term Surface Uplift History of the Active Banda Arc-Continent Collision: Depth and Age Analysis of Foraminifera from Rote and Savu Islands, Indonesia." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd887.pdf.
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Harple, Todd S., and tharple@hotmail com. "Controlling the Dragon: An ethno-historical analysis of social engagement among the Kamoro of South-West New Guinea (Indonesian Papua/Irian Jaya)." The Australian National University. Research School of Pacific and Asian Studies, 2002. http://thesis.anu.edu.au./public/adt-ANU20030401.173221.
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This thesis examines how the Kamoro (also known as the Mimika) people of the south-west coast of Papua (former Irian Jaya), Indonesia have adapted to major political and economic changes over a long history of interactions with outsiders. More specifically, it is an ethnohistorical analysis of Kamoro strategies of engagement dating back to the seventeenth century, but focusing on the twentieth century. Taking ethnohistory to most generally refer to the investigation of the social and cultural distinctiveness of historical consciousness, this thesis examines how perceptions and activities of the past shape interpretations of the present. Though this thesis privileges Kamoro perspectives, it juxtaposes them against broader ethnohistorical analyses of the outsiders with whom they have interacted. For the Kamoro, amoko-kwere, narratives about the ancestral (and eternal) cultural heroes, underlie indigenous modes of historical consciousness which are ultimately grounded in forms of social reciprocity. One key characteristic of the amoko-kwere is the incorporation of foreign elements and their reformulation as products of indigenous agency. As a result of this reinterpretation expectations are raised concerning the exchange of foreign material wealth and abilities, both classified in the Kamoro language as kata. Foreign withholding of kata emerges as a dominant theme in amoko-kwere and is interpreted as theft, ultimately establishing relationships of negative reciprocity between the Kamoro and the powerful outsiders. These feelings are mirrored in contemporary Kamoro conceptions of their relationships with the Indonesian State and the massive PT Freeport Indonesia Mining Company who use a significant amount of Kamoro land for deposition of mining waste (tailings) and for the development of State and company infrastructure.
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Hughes, Caitlin. "Dismantling the Map: Narrative, intervention and the play-response in the art of Tintin Wulia, Tita Salina and Irwan Ahmett." Thesis, 2020. http://hdl.handle.net/1885/250773.
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Play is often thought of as a light-hearted, jovial, leisurely
activity we do ‘for fun’. But what happens when artists
hijack these associations, and reframe the aesthetics of play?
How can play (in all its various manifestations) be used in art
to spotlight injustice, tell stories, and imagine a better world?
Examining the practices of three contemporary artists from
Indonesia – Tintin Wulia, and the artist duo of Tita Salina and
Irwan Ahmett – this thesis examines how and why the artists use
ideas of play for activist, interventionist and storytelling
exercises.
To understand the implications of using play in art, I propose an
interpretive paradigm of the ‘play-response’: that is, the
artists’ uses of play and performance-themed interventions as a
response, dare and/or challenge to the issues confronting the
world around them; using the actions of play to ‘talk back’
to authority, intervene in the status quo, and find new ways of
seeing society.
Works by the three artists are considered in three chapters, each
dedicated to examining how activities of play are used to
confront problems of the world. I analyse how the artists
construct new ways of seeing issues that dominate their
environment, deconstruct opaque stories by ‘playing with’
processes of reframing them, and reconstruct the possibilities of
society by imagining the world as it could be.
Through these acts of construction, deconstruction and
reconstruction, play in art takes a variety of forms; some of
which do not immediately appear to be ‘playful’, but are
instead very serious modes of expression. Understanding the
play-response as a distinct aesthetic ‘attitude’ and
assertiveness made visible through art allows us to see how the
artists have weaponised play to confront issues in the world.
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Protschky, Susanne School of History UNSW. "Cultivated tastes colonial art, nature and landscape in the Netherlands Indies." 2007. http://handle.unsw.edu.au/1959.4/40554.
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Culitivated Tastes argues for a new evaluation of colonial landscape art and representations of nature from the Netherlands Indies (colonial Indonesia). The thesis focuses on examples from Java, Sumatra, Ambon and Bali during the nineteenth and early twentieth centuries, but also discusses early post-colonial literature. It uses paintings and photography, with supporting references to Dutch colonial novels, to argue that images of landscape and nature were linked to the formation of Dutch colonial identities and, more generally, to the politics of colonial expansion. Paintings were not simply colonial kitsch (mooi Indi??, or 'beautiful Indies', images): they were the purest expression of Dutch ideals about the peaceful, prosperous landscapes that were crucial to uncontested colonial rule. Often these ideals were contradicted by historical reality. Indeed, paintings rarely showed Dutch interventions in Indies landscapes, particularly those that were met with resistance and rebellion. Colonial photographs often supported the painterly ideals of peace and prosperity, but in different ways: photographs celebrated European intrusions upon and restructuring of Indonesian landscapes, communicating the notions of progress and rational, benevolent rule. It is in literature that we find broader discussions of nature, which includes climate as well as topography. Here representations of landscape and nature are explicitly linked to the formation of colonial identities. Dutch anxieties about the boundaries of racial and gender identities were embedded within references to Indies landscape and nature. Inner colonial worlds intersected with perceptions of the larger environment in literature: here the ideals and triumphs associated with Dutch colonial expansion were juxtaposed against fears related to remaining European in a tropical Asian landscape.
Books on the topic "Indonesian art history"
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(Indonesia), Museum Nasional. Icons of art. [Menteng, Jakarta]: BAB Pub. Indonesia, 2006.
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(Indonesia), Museum Nasional. Icons of art. Edited by Miksic John N. [Menteng, Jakarta]: BAB Pub. Indonesia, 2006.
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Coomaraswamy, Ananda Kentish. History of Indian and Indonesian art. New York: Dover Publications, 1985.
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Siregar, Aminudin T. H. Sudjana Kerton in Indonesian modern art: Separate history. Bandung: Sanggar Luhur, 2003.
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Hazra, Kanai Lal. Indonesia: Political history and Hindu, and Buddhist cultural influences. New Delhi: Decent Books, 2007.
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Indonesia, Galeri Nasional. 15 years of the National Gallery of Indonesia: Process & progress. Jakarta, Indonesia: Galeri Nasional Indonesia, Kementerian Pendidikan dan Kebudayaan, Republik Indonesia, 2013.
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Darto, Harnoko, and Suratmin, eds. Partisipasi seniman dalam perjuangan kemerdekaan di Propinsi Jawa Timur: Studi kasus kota Surabaya tahun 1945-1949. Jakarta: Departemen Pendidikan dan Kebudayaan RI, 1999.
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University of California, Los Angeles. Fowler Museum of Cultural History. Arc of the ancestors: Indonesian art from the Jerome L. Joss collection at UCLA. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1994.
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Wulandari, A. A. Ayu. Seabad S. Sudjojono, 1913-2013. Jakarta]: S. Sudjojono Center, 2013.
Find full textBook chapters on the topic "Indonesian art history"
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Reichle, Natasha. "Continuities and Change: Shifting Boundaries in Indonesian Art History." In Producing Indonesia, edited by Eric Tagliacozzo, 69–80. Ithaca, NY: Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501718977-008.
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Wright, Astri. "The Arc of My Field is a Rainbow with an Expanding Twist and All 105 Kinds of Creatures Dancing: The Growing Inclusivity of Indonesian Art History." In Producing Indonesia, edited by Eric Tagliacozzo, 105–32. Ithaca, NY: Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501718977-010.
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Kroeze, Ronald. "Colonial Normativity? Corruption in the Dutch–Indonesian Relationship in the Nineteenth and Early Twentieth Centuries." In Palgrave Studies in Comparative Global History, 173–208. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0255-9_7.
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AbstractKroeze takes the Dutch–Indonesian histories of colonial state formation as a common base to test several hypotheses that are informed by debates in the historiography of corruption and (post-)colonialism. One is that corruption is never a neutral objective term, and that when it is used in a colonial context it serves to set or challenge norms that underly colonial power structures. By invoking scandals and asking for reform, elites challenged existing norms in order to maintain exclusive power structures of (late) colonial state formation and economic exploitation. Kroeze also argues that cases of colonial corruption show how the metropole and colony were interlinked and influenced each other. Political changes in the metropole, such as the growing influence of more morally outspoken Protestant and Liberal politicians, as well as experiences of misuse in the colony, together caused the emergence of the Dutch equivalent of the civilising mission: the so-called “Ethical Policy”.
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Kreike, Emmanuel. "A Perfect Tsunami? El Nino, War and Resilience on Aceh, Sumatra." In Perspectives on Public Policy in Societal-Environmental Crises, 123–44. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94137-6_9.
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AbstractThe history of Aceh, Indonesia highlights societies’ resilience and vulnerability in the face of natural and human-made disasters. A multi-scalar, qualitative and quantitative analysis of land use changes in nineteenth century Greater Aceh by using GIS analysis, highlights that processes may play out differently at the system and subsystem levels. At the system’s meso and micro levels, the episodic and the structural violence of war, climate anomalies, and tsunamis wiped out entire communities and families of people, animals, and plants while at the macro scale Aceh society showed remarkable resilience. Greater Aceh’s case also suggests that the impact of war through population displacement and the destruction of such environmental infrastructure as homes, villages, orchards, and irrigated fields while less immediately and directly destructive than such episodic events as the devastating 2004 tsunami, nevertheless may have a comparable impact because the events are more sustained and cumulative over a timeframe of years and decades.
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Sato, Tatsuro, and Jun’ichiro Ide. "Sustainability of Micro Hydropower Generation in a Traditional Community of Indonesia." In Decision Science for Future Earth, 105–17. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-8632-3_4.
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AbstractOver 3 years, we undertook a micro hydropower (MHP) project in the Ciptagelar village, West Java, to improve the understanding and implementation of sustainable operations and management of MHP generation in remote rural areas, where the primary industry is farming and thus monetary incomes are low. First, we describe in this paper the history of setting up the research agenda to be tackled with the cooperation of governmental and nongovernmental stakeholders. Second, we report the current status of MHP plants and the related issues obtained through fieldwork and model simulations, in the context of culture, traditions, and society in the village. Finally, we propose guidelines to solve the issues and present the lessons learned and things scientists should pay attention to when proceeding with transdisciplinary research projects in remote rural areas. Through fieldwork and model simulations, we revealed issues related to budgeting and techniques for maintaining and operating MHP plants. We found that the village had difficulty in securing funds for repairing broken intake weirs, though it had funds to cover the general maintenance of the MHP plants. We also found that the intake weirs were vulnerable to large floods and that no accomplished technicians were available to operate MHP plants in the village properly. To solve these issues, we need to find ways to reinforce the intake weirs using local materials and increase monetary incomes by creating new industries based on the MHP generation while considering the cultural and traditional backgrounds of the remote rural areas.
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Fujiwara, Takahiro, and Nariaki Onda. "Conflict of Legitimacy Over Tropical Forest Lands: Lessons for Collaboration from the Case of Industrial Tree Plantation in Indonesia." In Decision Science for Future Earth, 119–31. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-8632-3_5.
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AbstractIndustrial Tree Plantation (ITP) in Indonesia has been controversial due to its significant environmental, economic, and social impacts and the severe conflicts among stakeholders. Therefore, it is crucially important to discuss the fundamental structure of the conflicts to promote going forward. We introduce the concept of “legitimacy” and discuss the (1) inequality of the landholding structure and (2) legal pluralism established by historical circumstances as the fundamental structure of the conflicts. Our discussions present some key lessons in promoting collaboration among stakeholders. The first lesson is that the degree of interest and priority for problems differs among stakeholders. Therefore, an understanding of these differences is the first step toward collaboration. The second lesson is about the importance of considering history. Awareness of the problem, interpretation of the historical facts, and evaluation of other stakeholders by a certain stakeholder change over time. Therefore, to start a collaboration, it is necessary to build a consensus among stakeholders as a time point to go back to in order to discuss the problem. The third lesson is that a procedure for data presentation agreeable among stakeholders as independent, neutral, and fair is essential for their collaborations. Especially in cases where conflicts among stakeholders are intensive, it appears that confidence in and interpretation of presented data are different for each stakeholder. Therefore, data presentation agreeable to all stakeholders is essential to promote their collaborations. Unlike conventional scientific research, scientists are required to uphold various values existing in society to collaborate with stakeholders in transdisciplinary research of Future Earth.
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Yuliman, Sanento. "New Indonesian Painting." In Living Art: Indonesian Artists Engage Politics, Society and History, translated by Elly Kent, 109–44. ANU Press, 2022. http://dx.doi.org/10.22459/la.2022.03.
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Supangkat, Jim. "A Brief History of Indonesian Modern Art." In Living Art: Indonesian Artists Engage Politics, Society and History, 199–215. ANU Press, 2022. http://dx.doi.org/10.22459/la.2022.06.
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Kent, Elly, Virginia Hooker, and Caroline Turner. "Contextualising Art in Indonesia’s History, Society and Politics." In Living Art: Indonesian Artists Engage Politics, Society and History, 31–81. ANU Press, 2022. http://dx.doi.org/10.22459/la.2022.01.
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Kent, Elly. "Artistic Ideologies: Individual and Society in Indonesian Art." In Living Art: Indonesian Artists Engage Politics, Society and History, 83–108. ANU Press, 2022. http://dx.doi.org/10.22459/la.2022.02.
Full textConference papers on the topic "Indonesian art history"
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Vickers, Adrian. "The Impossibility of Art History in Indonesia." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338679.
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Kirana, Ayu Dipta, and Fajar Aji Jiwandono. "Indonesian Museum after New Order Regime: The Representation that Never Disappears | Museum Indonesia Selepas Orde Baru: Representasi Rezim yang Tak Pernah Hilang." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-33.
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Indonesia marked a new era, known as the Reformation Era, in 1998 after the downfall of Suharto, the main face of the regime called the New Order (Orde Baru) and ran the government from 1966 to 1998. This long-run government creates certain structures in many sectors, including the museum sector in Indonesia. Suharto leads the government in a totalitarian manner, his power control over many layers, including the use of museums as regime propaganda tools. The propaganda in the museums such as a standardized storyline, the use of historical versions that are approved by the government, and the representation of violence through the military tale with the nation’s great enemy is made for the majority of museums from the west to east Indonesia at that time. Thus, after almost two-decade after the downfall of the New Order regime how Indonesian museum transform into this new era? In the new democratic era, museum management is brought back to the regional government. The museums are encouraged to writing the local history and deconstruct the storyline from the previous regime. Not only just stop there, but there are alsomany new museums open to the public with new concepts or storylines to revive the audience. Even, the new museum was also erected by the late president’s family to rewrite the narration of the hero story of Suharto in Yogyakarta. This article aims to look up the change in the Indonesian museum post-New Order regime. How they adjust curatorial narration to present the storyline, is there any change to re-write the new narrative, or they actually still represent the New-Order idea along with the violence symbolic that never will deconstruct. Indonesia menandai masa baru yang dikenal sebagai masa reformasi pada tahun 1998 dengan tumbangnya Soeharto yang menjadi wajah utama rezim yang dikenal dengan sebutan Orde Baru ini. Pemerintahan Orde Baru telah berlangsung sejak tahun 1966 hingga 1998 yang mengubah banyak tatanan kehidupan, termasuk sektor permuseum di Indonesia. Corak pemerintahan Orde Baru yang condong pada kontrol dan totalitarian mengantarkan museum sebagai kendaraan propaganda rezim Soeharto. Dimulai dari narasi storyline yang seragam di seluruh museum negeri di Indonesia hingga kekerasan simbolik lewat narasi militer dan musuh besar bangsa. Lalu setelah hampir dua dekade era reformasi di Indonesia bagaimana perubahan museum di Indonesia? Pada era demokrasi yang lebih terbuka, pengelolaan museum dikembalikan kepada pemerintah daerah dan diharapkan untuk dapat menulis kembali sejarah lokal yang baru. Tak berhenti disitu, banyak museum-museum baru yang tumbuh berdiri memberikan kesegaran baru namun juga muncul museum yang berbau rezim Orde Baru turut didirikan sebagai upaya menuliskan narasi.
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Alimin, Nurhayatu, Mulyadi Mulyadi, and Iik Endang Ningsih. "History and Transformation of Interior Design in Indonesia." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294881.
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Wattimena, Lucas, Marlyn Salhuteru, Godlief A. Peseletehaha, Makmur Makmur, and Hermien L. Soselisa. "Women And Boat Rock Art: Maritime Route in the Southeast Maluku Islands, Indonesia." In 9th Asbam International Conference (Archeology, History, & Culture In The Nature of Malay) (ASBAM 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220408.104.
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Widyoko, Bhayu, Patria Indrayana, Toto Hutabarat, Andriadi Budiarko, Mitterank Siboro, and Henricus Herwin. "Enhancing Economics of Resources Development of Mature Mahakam Fields Through Innovation, Design Optimization, and Value Engineering." In SPE/IATMI Asia Pacific Oil & Gas Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205713-ms.
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Mahakam Contract Area is located in East Kalimantan Province, Indonesia. It covers an operating area of 3,266 km2, and consists of 7 producing fields. Most of Mahakam hydrocarbon accumulations are located below body of water, with wellhead production facilities installed in the estuary of Mahakam river (referred as swamp area, 0 to 5m water depth) and the western part of Makassar Strait (referred as offshore area, 30 to 70 m water depth). Mahakam production history goes as far back as mid 1970s with production of Handil and Bekapai oil fields. Gas production started by the decade of 1990s along with emergence of LNG trading, supplying Bontang LNG plant, through production of 2 giant gas fields: Tunu and Peciko, and smaller Tambora field. In the mid 2000s, Mahakam attained its peak gas production in the level of 2,600 MMscfd and was Indonesia's biggest gas producer. Two remaining gas discoveries, Sisi Nubi and South Mahakam, were put in production respectively in 2007 and 2012. Due to absence of new discoveries and new fields brought into production, Mahakam production has entered decline phase since 2010, and by end of 2020, after 46 years of production, the production is in the level of 600 MMscfd. In 2018, along with the expiration of Mahakam production sharing contract, Pertamina Hulu Mahakam (PHM), a subsidiary of Indonesian national energy company, Pertamina, was awarded operatorship of Mahakam Block. This paper describes the efforts undertaken by PHM to fight production decline and rejuvenate development portfolio, with focus on expanding subsurface development portfolio and reserves renewal by optimizing development concept and cost through fit-for-purpose design, innovation, and full cycle value engineering.
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Siregar, Y. R. C. "A History of 50 years Deepwater Drilling Activities in Indonesia (1968 - 2020)." In Indonesian Petroleum Association 44th Annual Convention and Exhibition. Indonesian Petroleum Association, 2021. http://dx.doi.org/10.29118/ipa21-e-94.
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Effort for overviewing deepwater drilling activities in Indonesia was done in 1992, which covered first activities back in 1968. However, no update since then and not many oil and gas practitioners are familiar with the history of deepwater drilling in Indonesia so far. Perhaps, this is due to less information and publications. Literature review and interview practitioners were performed to gather every information related to deepwater drilling activities in Indonesia particularly. In detail, the quantitative data which consist of 40 basins with deepwater environment and 276 drilled wells are presented in this paper. Overview of deepwater drilling activities both exploration and development projects on every basin with certain time periods are described. Moreover, the data is interpreted statistically to give a better understanding and enrich the historical overview. Finally, this research is providing comprehensive historical of deepwater drilling activities both exploration and development project in Indonesia for 50 years since 1968 to 2020. Nevertheless, the accuracy and completeness of the data can be improved for future study.
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Suswandari, Ms, and Laely Armiyati. "Cultural Properties as a Source for Learning History: A Case Study in Cilacap Regency, Indonesia." In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/amca-18.2018.27.
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Deng, Xiaoxiao, Dihao Zhang, and Shuang Yang. "Revitalizing historic urban quarters by Cityscape-control plan The case of Xi’an, China." In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/dnrt1591.
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In globalization ear, a large number of cities around the world are losing their features with the impact of powerful alien culture. Furthermore, China has been experiencing rapid urbanization. Full speed construction calls for the standardization instead of the uniqueness, which have brought threat to characteristics of cities. Homogeneous images of cities can be seen everywhere. Local cityscape, as the identity of the indigenous culture, is becoming increasingly scarce resource and competitive power for city in the field of global competition. Cities in China, who have realized the importance of history and culture in recent years, started to preserve and improve local cityscape by the tools of urban planning and design. Taking the historic urban quarters around the Daming Palace National Heritage Park as an example, the Cityscape Control Plan is researched as a method to preserve and optimize the cityscape in the historic area during the process of urban regeneration. The project is located in Xi’an, a megacity with more than 9.6 million population. Daming Palace used to be the imperial palace of the country in Tang Dynasty (AD634-896). Quarters around it has become a decayed area with squatter settlements nowadays. The municipality tries to bring in new opportunities for the area with a Cityscape Control Plan, which offers a possible solution to combine global and modern function with local and historic cityscape. Learning from the theories of city image, urban morphology and typology, the concept of cityscape and Cityscape Control Plan are defined theoretically. Secondly, an integral cityscape structure for the area is constructed and several spatial guidelines are created in terms of morphology，street interfaces, building heights, architectural styles, architectural colours, etc. All the guidelines are integrated and detailed to specific form codes for each blocks, which can be used as an administrative tool to restrict all the related construction activities. With these efforts, the historic features and innovative features are combined to identify a unique cityscape in this area, bring in a “glocal” (global-local) solution for the revitalizing of the historic mega city as Xi’an
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Noviyanto, E. "Capturing the Reservoir Uncertainty through Probabilistic Dynamic Modelling and Prediction: A Case Study of Multi-Layered Waterflood Reservoir with 90 Years Production History and 293 Wells." In Indonesian Petroleum Association 44th Annual Convention and Exhibition. Indonesian Petroleum Association, 2021. http://dx.doi.org/10.29118/ipa21-e-229.
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This paper presents a probabilistic modeling and prediction workflow to capture the range of uncertainties and its application in a field with many wells and long history. A static model consisting of 19 layers and 293 wells was imported as the base model. Several reservoir properties such as relative permeability, PVT, aquifer, and initial condition were analyzed to obtain the range of uncertainties. The probabilistic history matching was done using Assisted History Matching (AHM) tools and divided into experimental design and optimization phases. The inputted parameters and their range sensitive to objective functions, e.g., oil rate/total difference, could be determined using a Pareto chart based on Pearson Correlation during experimental design. The optimization phase carried over the most sensitive parameters. It utilized Particle Swarm Optimization (PSO) algorithm to iterate the process and find the equiprobable models with minimum objective functions. After filtering a set of models created by AHM tools by the total oil production, field/well oil objective functions, the last three years' performance, and clustering using the k-means algorithm, there are 11 models left. These models were then analyzed to understand the final risk and parameter uncertainties, e.g., mobile oil or sweep efficiency. Three models representing P10, P50, and P90 were picked and used as the base models for developing waterflood scenario designs. Several scenarios were done, such as base case, perfect pattern case, and existing well case. The oil incremental is in the range of 1.60 – 2.01 MMSTB for the Base Case, 7.57 – 9.14 MMSTB for the Perfect Pattern Case, and 6.01 – 7.75 MMSTB for the Existing Well Case. This paper introduces the application of the probabilistic method for history matching and prediction. This method can engage the uncertainty of the dynamic model on the forecasted production profiles. In the end, this information could improve the quality of management decision-making in field development planning.
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Noviyanto, E. "Probabilistic History Matching and Prediction of Production Performance by Waterflood: A Case Study of 70 Years Old Oil Field." In Indonesian Petroleum Association 44th Annual Convention and Exhibition. Indonesian Petroleum Association, 2021. http://dx.doi.org/10.29118/ipa21-e-68.
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This paper presents the application of probabilistic history matching and prediction workflow in a real field case in Indonesia. The main objective of this novel approach is to capture the subsurface uncertainty for better reservoir understanding to be able to manage its risk and make a better decision for further field development. The field is very complex, with updated geological concept of multi-level reservoirs that has more than a hundred of wells and has been producing for 70 years. Existing multi-realization of static reservoir model was built to determine range of probabilistic cases of In-Place calculation as output. Variation of fluid contacts, lithology/facies distribution, porosity distribution and Net to Gross map are the main differences among these cases. Structural model and reservoir properties from three pre-defined cases were imported to the integrated software modelling tool, excluding water saturation model. The static-dynamic model building process were then recorded under common workflow for integration and automation of rebuilding variation model. For effective probabilistic model initialization,an automatic capillary pressure adjustment was chosen. Subsequently, experimental design and optimization were run to manage probabilistic history matching effectively. Parameter screening and ranking tool were also used to update uncertainty design for the next iteration. The number of history match variants were managed by applying acceptable match criteria and clusterization. Twenty equiprobable history matching variants were selected to be carried over to prediction phase and the three selected remaining oil saturation distribution maps were assessed for waterflood pattern design. Having reduced the uncertainty of parameters by history matching process, the prediction of base case and waterflood scenario were run for twenty unique variants. Incremental cumulative oil is in the range of 14.81 MMSTB to 16.96 MMSTB, equivalent to incremental recovery factor 5% to 5.4%. This range represents static and dynamic input parameter uncertainty that examined in this study. High side of recovery factor from waterflood scenario is 21.6% which indicates many remaining unswept oils. These results were used for work activity recommendation in the future to recover more hydrocarbon from the 70 years old oil field. This paper demonstrates the first application of probabilistic dynamic modelling in the company including a first-step endeavour to integrate static and dynamic variable uncertainty for this field. The workflow will be used as a guideline process for other field applications in the future.
Reports on the topic "Indonesian art history"
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Sett, Dominic, Christina Widjaja, Patrick Sanady, Angelica Greco, Neysa Setiadi, Saut Sagala, Cut Sri Rozanna, and Simone Sandholz. Hazards, Exposure and Vulnerability in Indonesia: A risk assessment across regions and provinces to inform the development of an Adaptive Social Protection Road Map. United Nations University - Institute for Environment and Human Security, March 2022. http://dx.doi.org/10.53324/uvrd1447.
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Risk induced by natural hazards and climate change has been accelerating worldwide, leading to adverse impacts on communities' well-being. Dealing with this risk is increasingly complex and requires cross-sectoral action. Adaptive Social Protection (ASP) has emerged as a promising approach to strengthen the resilience of communities by integrating Social Protection (SP), Disaster Risk Management (DRM) and Climate Change Adaptation (CCA) efforts. To inform this integration and thereby support the development of a functional ASP approach, the identification and provision of relevant data and information are vital. In this context, risk assessments are crucial as they establish the groundwork for the design of effective ASP interventions. However, despite the importance of risk information for ASP and the abundance of sectoral assessments, there is not yet a comprehensive risk assessment approach, a reality that also applies to Indonesia. Although the country is one of the international pioneers of the concept and has enshrined ASP at the highest national level in its development plans, this emphasis in policy and practice has been hampered by the absence of more unified assessment methods. The Hazard, Exposure and Vulnerability Assessment (HEVA) presented here takes a unique approach to develop such a cross-sectoral risk assessment and apply it throughout Indonesia. The HEVA brings together different risk understandings of key actors both internationally and domestically within SP, DRM and CCA, as well as identifying commonalities across sectors to establish a joint understanding. The HEVA not only considers risk as an overarching outcome but also focuses on its drivers, i.e. hazards, exposure and vulnerability, to identify why specific communities are at risk and thus customize ASP interventions. Subsequently, risks are assessed for Indonesia’s regions and provinces based on this cross-sectoral risk understanding. Secondary data has been acquired from various existing sectoral assessments conducted in Indonesia, and in total, data for 44 indicators has been compiled to calculate hazard, exposure and vulnerability levels for all 34 Indonesian provinces. Findings of the HEVA suggest that overall risk is high in Indonesia and no single province can be characterized as a low-risk area, demonstrating a strong relevance for ASP throughout the whole of the country. Papua, Maluku, and Central Sulawesi were identified as provinces with the highest overall risk in Indonesia. However, even Yogyakarta, which was identified as a comparatively low-risk province, still ranks among the ten most hazard-prone provinces in the country and has a demonstrated history of severe impact events. This also underlines that the composition of risk based on the interplay of hazard, exposure and vulnerability differs significantly among provinces. For example, in Papua and West Papua, vulnerability ranks as the highest in Indonesia, while hazard and exposure levels are comparatively low. In contrast, East Java and Central Java are among the highest hazard-prone provinces, while exposure and vulnerability are comparatively low. The results provide much more comprehensive insight than individual sectoral analyses can offer, facilitating the strategic development and implementation of targeted ASP interventions that address the respective key risk components. Based on lessons learned from the development and application of the HEVA approach, as well as from the retrieved results, the report provides recommendations relevant for policymakers, practitioners and researchers. First, recommendations regarding risk assessments for ASP are given, emphasizing the need to bring together sectoral understandings and to consider the interconnection of hazards, exposure and vulnerability, including their drivers and root causes, to assess current and future risk. It is also recommended to complement national level assessments with more specific local assessments. Secondly, recommendations regarding ASP option development in general are provided, including the importance of considering side effects of interventions, root causes of risks, the potential of nature-based solutions and barriers to implementation due to local capacities when designing ASP interventions. Third, recommendations regarding focal areas for ASP programmes are outlined for the case of Indonesia, such as prioritizing interventions in risk hotspots and areas characterized by high readiness for ASP solutions. At the same time, it is vital to leave no region behind as all provinces face risks that potentially jeopardize communities’ well-being.
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Yilmaz, Ihsan, Raja M. Ali Saleem, Mahmoud Pargoo, Syaza Shukri, Idznursham Ismail, and Kainat Shakil. Religious Populism, Cyberspace and Digital Authoritarianism in Asia: India, Indonesia, Malaysia, Pakistan, and Turkey. European Center for Populism Studies, January 2022. http://dx.doi.org/10.55271/5jchdy.
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Turkey, Pakistan, India, Malaysia, and Indonesia span one of the longest continuously inhabited regions of the world. Centuries of cultural infusion have ensured these societies are highly heterogeneous. As plural polities, they are ripe for the kind of freedoms that liberal democracy can guarantee. However, despite having multi-party electoral systems, these countries have recently moved toward populist authoritarianism. Populism —once considered a distinctively Latin American problem that only seldom reared its head in other parts of the world— has now found a home in almost every corner of the planet. Moreover, it has latched on to religion, which, as history reminds us, has an unparalleled power to mobilize crowds. This report explores the unique nexus between faith and populism in our era and offers an insight into how cyberspace and offline politics have become highly intertwined to create a hyper-reality in which socio-political events are taking place. The report focuses, in particular, on the role of religious populism in digital space as a catalyst for undemocratic politics in the five Asian countries we have selected as our case studies. The focus on the West Asian and South Asian cases is an opportunity to examine authoritarian religious populists in power, whereas the East Asian countries showcase powerful authoritarian religious populist forces outside parliament. This report compares internet governance in each of these countries under three categories: obstacles to access, limits on content, and violations of user rights. These are the digital toolkits that authorities use to govern digital space. Our case selection and research focus have allowed us to undertake a comparative analysis of different types of online restrictions in these countries that constrain space foropposition and democratic voices while simultaneously making room for authoritarian religious populist narratives to arise and flourish. The report finds that surveillance, censorship, disinformation campaigns, internet shutdowns, and cyber-attacks—along with targeted arrests and violence spreading from digital space—are common features of digital authoritarianism. In each case, it is also found that religious populist forces co-opt political actors in their control of cyberspace. The situational analysis from five countries indicates that religion’s role in digital authoritarianism is quite evident, adding to the layer of nationalism. Most of the leaders in power use religious justifications for curbs on the internet. Religious leaders support these laws as a means to restrict “moral ills” such as blasphemy, pornography, and the like. This evident “religious populism” seems to be a major driver of policy changes that are limiting civil liberties in the name of “the people.” In the end, the reasons for restricting digital space are not purely religious but draw on religious themes with populist language in a mixed and hybrid fashion. Some common themes found in all the case studies shed light on the role of digital space in shaping politics and society offline and vice versa. The key findings of our survey are as follows: The future of (especially) fragile democracies is highly intertwined with digital space. There is an undeniable nexus between faith and populism which offers an insight into how cyberspace and politics offline have become highly intertwined. Religion and politics have merged in these five countries to shape cyber governance. The cyber governance policies of populist rulers mirror their undemocratic, repressive, populist, and authoritarian policies offline. As a result, populist authoritarianism in the non-digital world has increasingly come to colonize cyberspace, and events online are more and more playing a role in shaping politics offline. “Morality” is a common theme used to justify the need for increasingly draconian digital laws and the active monopolization of cyberspace by government actors. Islamist and Hindutva trolls feel an unprecedented sense of cyber empowerment, hurling abuse without physically seeing the consequences or experiencing the emotional and psychological damage inflicted on their victims.
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Yilmaz, Ihsan, Raja M. Ali Saleem, Mahmoud Pargoo, Syaza Shukri, Idznursham Ismail, and Kainat Shakil. Religious Populism, Cyberspace and Digital Authoritarianism in Asia: India, Indonesia, Malaysia, Pakistan, and Turkey. European Center for Populism Studies (ECPS), January 2022. http://dx.doi.org/10.55271/rp0001.
Full textAbstract:
Turkey, Pakistan, India, Malaysia, and Indonesia span one of the longest continuously inhabited regions of the world. Centuries of cultural infusion have ensured these societies are highly heterogeneous. As plural polities, they are ripe for the kind of freedoms that liberal democracy can guarantee. However, despite having multi-party electoral systems, these countries have recently moved toward populist authoritarianism. Populism —once considered a distinctively Latin American problem that only seldom reared its head in other parts of the world— has now found a home in almost every corner of the planet. Moreover, it has latched on to religion, which, as history reminds us, has an unparalleled power to mobilize crowds. This report explores the unique nexus between faith and populism in our era and offers an insight into how cyberspace and offline politics have become highly intertwined to create a hyper-reality in which socio-political events are taking place. The report focuses, in particular, on the role of religious populism in digital space as a catalyst for undemocratic politics in the five Asian countries we have selected as our case studies. The focus on the West Asian and South Asian cases is an opportunity to examine authoritarian religious populists in power, whereas the East Asian countries showcase powerful authoritarian religious populist forces outside parliament. This report compares internet governance in each of these countries under three categories: obstacles to access, limits on content, and violations of user rights. These are the digital toolkits that authorities use to govern digital space. Our case selection and research focus have allowed us to undertake a comparative analysis of different types of online restrictions in these countries that constrain space foropposition and democratic voices while simultaneously making room for authoritarian religious populist narratives to arise and flourish. The report finds that surveillance, censorship, disinformation campaigns, internet shutdowns, and cyber-attacks—along with targeted arrests and violence spreading from digital space—are common features of digital authoritarianism. In each case, it is also found that religious populist forces co-opt political actors in their control of cyberspace. The situational analysis from five countries indicates that religion’s role in digital authoritarianism is quite evident, adding to the layer of nationalism. Most of the leaders in power use religious justifications for curbs on the internet. Religious leaders support these laws as a means to restrict “moral ills” such as blasphemy, pornography, and the like. This evident “religious populism” seems to be a major driver of policy changes that are limiting civil liberties in the name of “the people.” In the end, the reasons for restricting digital space are not purely religious but draw on religious themes with populist language in a mixed and hybrid fashion. Some common themes found in all the case studies shed light on the role of digital space in shaping politics and society offline and vice versa. The key findings of our survey are as follows: The future of (especially) fragile democracies is highly intertwined with digital space. There is an undeniable nexus between faith and populism which offers an insight into how cyberspace and politics offline have become highly intertwined. Religion and politics have merged in these five countries to shape cyber governance. The cyber governance policies of populist rulers mirror their undemocratic, repressive, populist, and authoritarian policies offline. As a result, populist authoritarianism in the non-digital world has increasingly come to colonize cyberspace, and events online are more and more playing a role in shaping politics offline. “Morality” is a common theme used to justify the need for increasingly draconian digital laws and the active monopolization of cyberspace by government actors. Islamist and Hindutva trolls feel an unprecedented sense of cyber empowerment, hurling abuse without physically seeing the consequences or experiencing the emotional and psychological damage inflicted on their victims.