Email:
kotakpos@yahoo.com
 

Project Background
This is the era of mass communication and with the explosion of new mediums such as cable TV and the Internet, there are now more forms of mass media than ever before.  The forums they provide may be used for a variety of purposes, from basic communication to complex storytelling: to inform, entertain, influence or even threaten their audience.  As diverse as the methods of communication are, so are the motives for employing them.

Of all the means of communication, the audiovisual medium is the most complete … perhaps ideal.  Here we find the elaborate intertwining of visual elements with speech, music and sound effects. This medium appeals to two of the five senses, and in an incomparably complex way.

The audiovisual medium, largely through television, also has the power to reach an enormous audience.  This brings into play certain moral considerations.  Of course television is in itself only a tool; what must be assessed is the content of what it presents.  Where in television can we find the truth?  And how do we tell the difference between truth and manipulation? 

In recent decades the television industry in Indonesia has experienced rapid development and growth; rising numbers of private television stations have exerted strong influence on Indonesian culture.  Some of these effects have been positive … but the negative effects are not insubstantial.

The rise of these privately owned stations has triggered high market demand. This creates an imperative … to create a professional product suitable for a television audience. This ultimate goal must be reached and expectations become rigid: the manufacture of professional television programs that adhere to widely recognized standards and are completed quickly and within budget.

In such an environment there are a multitude of excuses for the compromise of creativity.  Sponsors must be kept happy, products must be shown to their best advantage, budget must be observed and there are always other significant parties to consider.  With pressure exerted from so many quarters it is hardly surprising if the message becomes distorted… or mislaid altogether.  It must be said that the television industry in this country is still in its infancy. It will only progress with guidance, a willingness to grow and the incorporation of a creative spirit.  The problems of this industry are certainly complex.

And this is just the television industry… what about our film industry?  This is an industry often said to be in a ‘dormant state’, largely as a result of the advancement of video technology and the growth of television.  The audiovisual problem in Indonesia is indeed COMPLEX!

Independent
Despite the current conditions (and partly because of them) there are many enthusiastic individuals intent on innovation in the audiovisual field.  These are people with highly heterogeneous interests and styles but common to all is their opinion of the current climate: that there is too much bureaucracy, too many limitations and standards, too many things to be avoided… and just not enough freedom to create! 

The creative process itself has been eliminated from the sphere of relevance… it is neither valued nor discussed.  Everything must be “professional”, the product is all.   And sadly, the work becomes monotonous.  Some of those discontent with the status quo feel the need to rebel.  But ill equiped and without support what hope do they have?  They become disillusioned and feel paralyzed to act; they expect only disappointment.   Others make a greater effort, refusing to be suppressed, but they are constantly torn between idealism and reality. Perhaps this is the fate of any artist but when this struggle is extreme and constant discouragement is inevitable.  How can our industry advance if any attempt to deviate is met with intimidation: labelled ‘weird’, sub-standard, too intellectual, too ‘arty’?

Indonesia does have various festivals (such as the Indonesian Film Festival and Indonesian Sinetron Festival), providing forums for display of our films and videos and acting as a gauge of the state of the industry.  But no festival has been particularly concerned with encouraging innovation;  there has been no gauge of enthusiasm, experimentation and diversity…  So now there is Festival Film-Video Independen Indonesia ’99.

Indonesians have a strong historical tradition of struggle in adversity and this festival should be seen as a continuation of that spirit. We seek to rejuvenate passion and innovation, believing that independent film and video should be accessible to all. The economic crisis that has swept Indonesia has increased our concern for the survival of audiovisual art, as we watch our film industry slowly die and observe the bland uniformity of the Sinetron products that dominate our TV screens.

If we re-examine the basic principle of creativity we will be ashamed of ourselves!  Creativity knows no boundaries; it defies obstacles and serves only the abstract or concrete values of art, such as aesthetics or communication.  Creativity should shape an age, not be blindly obedient or conquered by it.   The term ‘independent’ is not about individual status or the arrogance of the artist.  Rather, it expresses the freedom an individual demands in realizing their creation.

And so we put out a challenge to film/video makers!  We want to reveal the hidden creative colors of Indonesia, and give recognition to work that truly deserves an audience …  And we do so through a non-profit festival as testament to our idealism.

Objectives
We will achieve our objectives without exploiting creativity (being aware of creativity as our greatest motivation) and consciously rejecting elitist and commercial values.

We will achieve these objectives through the work to be screened in the INDONESIAN INDEPENDENT FILM-VIDEO FESTIVAL ’99 (FFVII’99).

Short term objectives
1. Pluralism and diversification of language
The principle of freedom of creativity is key to this festival.  As such, we will reject any limiting criteria (be it of form or content) that might narrow the range of submissions we receive or the selection of work to be screened.  The clear goal is to expose the diversity and richness of the films and videos being produced (but we will not select work that we feel to be overtly political, which could cause or inflame conflict among groups within our heterogeneous society).  Pluralism of language will reflect the pluralism of our society.

2. Demolishing Exclusivity
The gap between established professionals and struggling ‘junior’ film/video makers has evoked a gap in the creative process and a decline in quality.  ‘Junior’ is a label that is thrust upon those who are young and less experienced and it holds them back, undermining the value of their work and limiting their potential.

But these young artists have great reserves of ability and enthusiasm, and greater determination to survive hard times than those who are complacent in their positions.  We expect FFVII’99 to prove this assertion.  Not in an environment of competition but by exhibiting the work of these unrecognized artists and, in doing so, influencing and encouraging others.  We wish to create a forum for the expression of true creativity.

3.  An environment conducive to Unity
One of our greatest hopes is to strengthen the ability of audiovisual artists to survive in these difficult times (particularly in light of recent economic conditions) and strengthen their determination to be true to their artistic ideals.  A crucial part of this goal is fostering a sense of unity.  It is important that we communally acknowledge the difficulties we all face, finding strength in shared experience.

Of equal importance is the forming of ties between established audiovisual professionals and their younger colleagues.  Young film/video makers will benefit from guidance and mentorship and, conversely, the younger generation may influence their elders with fresh ideas and enthusiasm. 

This is a unique time… and it is just possible that the crisis sweeping Indonesia will give insight and opportunity for learning that could not have been gained any other way.

Long term Objectives
1. Building relationships
The festival will provide the means of initial contact between participants and will enable them to build upon contacts and relationships formed.  And, as well as the opportunity for Indonesian audiovisual artists to interact, we hope to warmly encourage the building of relationships with artists of other countries.   We will endeavor to showcase the work of young directors from other nations and so present different outlooks and different approaches to film making, and points of reference for our own work.  We want to encourage fellow feeling between young film and video makers from around the world.

2. A forum for Appreciation 
Above all, this festival is about nurturing appreciation of audiovisual creations in this country, particularly those that can find no place in the mainstream arena.  We wish to increase awareness of this work, both among fellow practitioners and audiences, thereby generating community enthusiasm for our local industry.

3. Establishing an Indonesian Independent Film and Video Society
The festival will be an annual event.  It will also be a non-profit enterprise and any surplus funds after the festival will be used for the establishment of a subsidizing society for the development of independent film and video in Indonesia.  This institute will have specific criteria for selection of projects and will play a role in unifying the Indonesian independent film and video community.

Name and Form of Event
The official name of the event is :
FESTIVAL FILM-VIDEO INDEPENDEN INDONESIA ’99 and the program is as follows:
a. Pre-conditioning:  Screenings of films and videos and discussion forums will be held at universities and cultural centers in Jakarta and Bandung. Also, the event will feature in talk show discussions on several private radio stations.
b. Main event: The core events of the festival will be the screening of selected films and videos, discussion forums with the participants and exhibits of related materials, along with a film and video market.

Festival Format
1. Non-compeititve 
This event has no aim to single out any specific films or videos on the basis of any arbitrary criteria.  There will be no “winning” projects, rather the primary concern is to exhibit and recognize the value of every work that is shown.

2. Non-profit 
This is a non-profit festival and will be held purely in the interests of gathering and exhibiting audiovisual creativity in this country.  It will promote appreciation of these artists, giving them a supportive forum for their work and opportunity for stimulating interaction.  As such, there will be no registration fee for participants.

Preparation
The preparation period needed for this festival is about seven months. Preparation includes:
a. Coordination between the Jakarta committee and the Bandung committee.
b. Talking with young people in universities and cultural centers, fostering the spirit of FFVII’99 at grassroot level.
c. Registering the participants of FFVII ’99
d. Selecting the participants films and videos
e. Fund-raising and sponsorship 

Promotion
Promotion will begin along with registration, using print and electronic mass media and all universities in Indonesia. Promotion on campuses will involve film screenings and discussion. Other promotional events include displaying of posters, banners (in strategic positions in Jakarta and Bandung) and handing out leaflets.

Operational
a. Coordination of all action will be by committee: the Jakarta and Bandung committees.
b. Coordination with universities and cultural centers will be by the pre-conditioning committee, “KELILING”.
c. Coordination of the selection process will be by the selection team.

1. PREPARATION
Registration and selection: 
June 1st  – September 6th 1999

Press Conference: 
Third week of October 1999

“KELILING” Discussion: 
May, August, and September 1999

Talk-show on radio: 
Fourth week of May, Fourth week of August, Fourth week of September, and second week of October

2. FESTIVAL EVENT:
Location and Date 
October 28th-31st, 1999
Duration 3-4 days,
12 hour/ day (10.00 – 22.00 WIB)
Located in Bandung

Opening:
- Festival opened by an Indonesian filmmaker, followed a presentation of “Happening Art”.
- Foreword by film critics and a member of the Selection Team
- Foreword by an Indonesian artist
- A premiere screening of an honored film

Program for the Festival:
Film/Video Screening
- indoor : selected productions, chosen by the Selection Team
- outdoor : TV display of registered films & videos

Discussion
- Creators of the selected films & videos
- Guest speaker
- Forum discussions, on topics relating to independent film:
- History
- Audiovisual for all
- “Making a film is easy”

Exhibition
- Stills photographs, behind the scenes of the productions.
- Market : Second hand videos and other related items.

Poll
- Audience will complete a survey to select their favorite production.
- To assess the demand for independent films & videos on television
- To gather information regarding the possibility of screening the products of festival participants on television.

Closing
- Forming a database of Indonesian film / video making groups.
- Re-screening favorite productions based upon the audience’s choices.

3. POST FESTIVAL
Completion of database and documentation.

The committee for FESTIVAL FILM-VIDEO INDEPENDEN INDONESIA ’99 (FFVII‘99) is comprised of individuals involved in independent film-video making, or those who aspire to work in this field.  Through this event they come together to increase awareness and appreciation, and to create opportunity for audio-visual artists across Indonesia.

This concludes our written proposal… we are confident that FESTIVAL FILM-VIDEO INDEPENDEN INDONESIA ’99 will proceed in accordance with the ideals and plans outlined. Each and every donation of support, be it financial or material, will be essential to achieve these goals. For any attention or support that you are able to offer we would like to express our gratitude.  The assistance and collaboration of the community will be vital to the success of this endeavor.

The Committee
Committee coordinator