art of the shadow - Kementerian Perdagangan Republik Indonesia

Indonesia’s animation industry possesses
portfolios that have been acknowledged by
international animation industries. Today, in
Indonesia, animations are successfully being
created by Indonesian animators.
art of the shadow
TRADE RESEARCH AND DEVELOPMENT AGENCY
MINISTRY OF TRADE REPUBLIC OF INDONESIA
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content
FOREWORD
Head of TREDA
The Minister of Trade Republic of Indonesia
SECTION 1
“ONCE UPON A TIME ...”
Development of Animation Technology
SECTION 2
”IN A KINGDOM FAR ... FAR AWAY”
Wayang, The Shadow Puppet
SECTION 3
“THROUGH ENDEAVORS TO THE STAR”
“art of the shadpw”
This booklet aims to present the potentialities of industrial design and profession in Indonesia and to confirm
that those fields provide broad opportunities for the world market. Readers can gain an insight into the
animation industry of Indonesia and how Indonesian animators, animation studios and companies can
produce animations of the highest international standard and with high competitiveness.
Published In Jakarta, INDONESIA, 2009
Publisher
Trade Research & Development Agency
Ministry of Trade Republic of Indonesia
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DEPARTEMEN PERDAGANGAN
REPUBLIK INDONESIA
Indonesia’s rich and varied cultural heritage can be a first class source of inspiration for the the nation’s
growing number of professional animators. Throughout the Indonesian archipelago there has been
centuries of history in the creating of folk tales and in drawing or painting the heroic, wise or infamous
characters featured in such tales.
In recent decades Indonesian animators have shown their capabilities to provide high quality services to
a growing international market. Through outsourcing and sub-contract work, valuable experience has
been gained in both the creative and technical aspects of the animation industry, and also in management
of the industry. Add to this the increasing growth in the number of educational institutions offering
professional animation courses and modern business management training programs, and Indonesia is
on the right track to develop an animation industry equal to that of any other country in the world.
The animation industry is not a self-contained industry, rather it is supported by and also supports
other sectors of the economy. This includes providing important services for television programming and
broadcasting and the film-making industry, and even the computer hardware and software industries.
At individual level, the animation industry is capable of absorbing a very large number of artists in the
creation and drawing of new characters and backgrounds, technicians with cinematic and computer
skills, marketing and business professionals, among many others. Thus, it can be seen that development
of the animation industry in Indonesia provides a range of opportunities directly and indirectly related to
the industry, thereby providing employment in a number of economic sectors and, in so doing, supports
national development as a whole.
The government of Indonesia recognizes the importance of the animation industry as a contributor to
cultural development and national economic development, and is committed to supporting the growth
and increasing professionalism and capability of the industry. Therefore, I hope that this small book
may be a source of inspiration to talented, forward-thinking people to take up a career in animation, be
it in the creative, technical or management side, and look forward to seeing the animation industry of
Indonesia become a source of national pride.
HEAD OF TRADE RESEARCH AND DEVELOPMENT AGENCY (TREDA)
MUCHTAR
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MINISTER OF TRADE
REPUBLIC OF INDONESIA
Today, in Indonesia, animations are not only the products of animation studios and companies of other
countries, but are successfully being created by Indonesian animators. Animations can also play a
valuable role in training and education films, where the use of live actors isn’t an option. Animators are
only bound by the limits of their imagination.
Throughout the history of Indonesia, there has existed a strong desire to be creative. The growth and
development of the animation industry in this country provides the creative community with a modern
and globally desired medium to exploit their talents without abandoning the rich cultural heritage with
which Indonesia has been endowed.
In a purely economic sense, due to its labor intensive nature, the animation industry can generate
employment opportunities and provide high income for people in the industry. The increasing numbers
of university students enrolling in animation programs is testimony to the growing interest in taking
up a career in animation, as much for its economic benefits as for its ability to allow members of the
creative community to explore and develop new ideas in a field that has few creative boundaries.
Successful animation businesses have a global market to tap and a worldwide audience to reach out to.
Animators need not only creative talent, but also a high level of comprehension of animation technologies
and skills. For this reason, it is essential that we have dedicated and knowledgeable educators to provide
would-be animators with the knowledge and skills they need to become professional animators.
I hope that through this small booklet, readers can gain an insight into the animation industry of
Indonesia and how Indonesian animators, animation studios and companies can produce animations of
the highest international standard and at globally competitive prices.
MARI ELKA PANGESTU
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“once upon a time ...”
DEVELOPMENT OF ANIMATION TECHNOLOGY
Dictionaries define animation as a series of drawings that are
drawn and displayed in sequence to create the illusion of motion.
This remains the basic understanding of animation even as
animation concepts grew rapidly over the years. Even though the
current generation of 3D modeling and 3D graphic animation has
shifted the paradigm of animation, it is still a media which has
time constraints in sending information through series of visual
sequence.
The growth and development of the animation industry in America
and Europe went hand in hand with successive inventions of new
technologies and novelties. As the medium developed, it ventured
into new grounds, creating a constant flow of challenges and
opportunities for the people involved in the industry. Animation
has the inherent ability of being able to infuse life into inanimate
objects through visual manipulation, and through this ability
to create movement merely from sequences of static images,
anything is possible.
New techniques that were invented and innovated along the
way to fulfilling the desire of artists and animators to master the
(then) new medium, enabled the medium to cover wider grounds.
The history of animation was filled with experimentations, where
techniques were created and refined. Various developments from
different parts of the world helped to shape the medium as we
know today.
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During the early days of animation, newspaper
cartoonists tried to adapt their drawings to the moving
art that led to the standardization of production
methods. Storytellers, artists and film-makers then
took over, using the medium first to tell jokes, before
venturing into new areas: telling stories with original
characters, classic fables and comic-strip adaptations,
combining animation with live action, making stop
motion, pixilation and silhouette animation, and
ultimately adding sound and color.
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Traditional Animation
Traditional animation (also called cel animation) was the process used for most
animated films of the 20th century. The individual frames of a traditionally animated film
are photographs of drawings, which are first drawn on paper. To create the illusion of
movement, each drawing differs slightly from the one before it.
The traditional cel animation process became obsolete by the beginning of the 21st
century. Today, animators’ drawings and the backgrounds are either scanned into or
drawn directly into a computer system. Various software programs are used to color
the drawings and simulate camera movement and effects. The final animated piece is
output to one of several delivery mediums, including traditional 35 mm film and newer
media such as digital video.
Stop-motion Animation
Stop-motion animation is used to describe animation created by physically manipulating
real-world objects and photographing them one frame of film at a time to create the
illusion of movement. There are many different types of stop-motion animation, usually
named after the type of media used to create the animation.
Clay Animation
Clay (or plasticine) animation, often abbreviated as claymation, uses figures made of clay
or a similar malleable material to create stop-motion animation. The figures may have
an armature or wire frame inside of them similar to the related puppet animation that
can be manipulated in order to pose the figures. Alternatively, the figures may be made
entirely of clay, such as in the films of Bruce Bickford, where clay creatures morph into a
variety of different shapes.
Cutout Animation
Cutout animation is a type of stop-motion animation produced by moving 2-dimensional
pieces of material such as paper or cloth. Silhouette animation is a variant of cutout
animation in which the characters are backlit and only visible as silhouettes.
Graphic Animation
Graphic animation uses non-drawn flat visual graphic material (photographs, newspaper
clippings, magazines, etc.) which are sometimes manipulated frame-by-frame to create
movement. At other times, the graphics remain stationary, while the stop-motion camera
is moved to create on-screen action.
Model Animation
Model animation refers to stop-motion animation created to interact with and exist
as a part of a live-action world. Intercutting, matte effects and split screens are often
employed to blend stop-motion characters or objects with live actors and settings. Go
motion is a variant of model animation that uses various techniques to create motion
blur between frames of film, which is not present in traditional stop-motion.
Object Animation
Object animation refers to the use of regular inanimate objects in stop-motion animation,
as opposed to specially created items. One example of object animation is the brickfilm,
which incorporates the use of plastic toy construction blocks such as LEGO.
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Pixilation
Pixilation involves the use of live humans as stop motion characters. This allows for a
number of surreal effects, including disappearances and reappearances, allowing people
to appear to slide across the ground, and other such effects. Examples of pixilation
include Norman McLaren’s Neighbours (Canada, 1952).
Puppet Animation
Puppet Animation typically involves stop-motion puppet figures interacting with each
other in a constructed environment, in contrast to the real-world interaction in model
animation. The puppets generally have an armature inside of them to keep them still
and steady as well as constraining them to move at particular joints.
2D Animation
Like stop motion, computer animation encompasses a variety of techniques, the unifying
idea being that the animation is created digitally on a computer. In two-dimensional
figures are created and / or edited on a computer using two-dimensional bitmap graphics
or created and edited using 2D vector graphics. This includes automated computerized
versions of traditional animation techniques such as those of tweening, morphing, onion
skinning and interpolated rotoscoping. Examples of simple 2D animation, are:
• Analog computer animation
• Flash animation
• PowerPoint animation
3D Animation
Three dimensional animations are digital models manipulated by an animator. In order
to manipulate a mesh, it is given a digital armature (sculpture). This process is called
rigging. Various other techniques can be applied, such as mathematical functions (such
as gravity or particle simulations), simulated fur or hair, effects such as fire and water, and
the use of motion capture. Many 3D animations are very believable and are commonly
used as special effects for recent movies. 3D animation terms are Cel-shaded animation,
Morph target animation, Non-photorealistic rendering, Skeletal animation, Motion
capture, and Crowd simulation.
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Computer Animation
Since the beginning of the invention, animation has been strongly related with
technology and vice versa. The advancement of technology itself also triggered
animation to go far beyond its previous limitations. What started as a simple idea to
inject life by creating movement from inanimate objects led animation through various
stages of development, showing its potential as a medium that tended to pass any
technical limitation.
The imagination of animators to pursue new grounds in this seemingly unlimited
medium gave birth to various inventions in animation techniques and equipment. For
example, the need to capture real-life like movements led to the invention of rotoscope
technique. Various other animation techniques, even those requiring special skills were
born one after another. As the technology developed around it, animation itself also
developed its maturity, using the technology to reach a higher level.
Other Animation Techniques
•
•
•
•
•
Drawn on film animation: a technique where footage is produced by creating the
images directly on film stock.
Paint-on-glass animation: a technique for making animated films by manipulating
slow drying oil paints on sheets of glass.
Pinscreen animation: makes use of a screen filled with movable pins, which can be
moved in or out by pressing an object onto the screen. The screen is lit from the side
so that the pins cast shadows.
Sand animation: sand is moved around on a backlighted or frontlighted piece of
glass to create each frame for an animated film. This creates an interesting effect
when animated because of the light contrast.
Flip book: A flip book (also known as flick book) is a book with a series of pictures that
vary gradually from one page to the next, so that when the pages are turned rapidly,
the pictures appear to animate by simulating motion or some other change. Flip
books are often illustrated books for children, but may also be geared towards adults
and employ a series of photographs rather than drawings. Flip books are not always
separate books, but may appear as an added feature in ordinary books or magazines,
often in the page corners.
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The Creative Media Cycle
Today’s animation industry is closely
related with other media and visual
products that simultaneously
support each other. As one of
visual entertainment industries, the
animation industry can be further
developed and expanded through
the creation of an endless product
life cycle known as the Creative
Media Cycle (CMC).
The CMC requires simultaneous
media shifting that consists of
animation (audio-video media),
comics and illustrations (print media),
and games (interactive media). All
these media are interconnected via
the merchandising of animation
characters.
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”in a kingdom
far ... far away”
WAYANG: THE SHADOW PUPPET
Wayang is an Indonesian word for theatre. When
the term is used to refer to kinds of puppet theater,
sometimes the puppet itself is referred to as
wayang. “Bayang”, the Javanese word for shadow
or imagination, also connotes “spirit.” Performances
of shadow puppet theater are accompanied by
gamelan in Java, and by “gender wayang” in Bali.
UNESCO designated Wayang Kulit, a shadow puppet
theater and the best known of the Indonesian
wayang, as a Masterpiece of Oral and Intangible
Heritage of Humanity on 7 November 2003.
The Rise of the Shadow
The production of Petulangan si Huma (The Adventure of Huma) in the 1980s, a traditional
cel animation produced by Pusat Produksi Film Negara (PPFN), marked the beginning of
modern animation development in Indonesia. In the mid 1970s several animators from
Jakarta had begun experimenting to create short animations using 8mm and 16 mm
celluloid film. The Adventure of Huma is a short animation for TV and tells a story about
Huma’s experience when he is kidnapped by an alien and taken to animation land.
In 1974, Dwi Koendoro along with I Santosa and cartoonist Pramono created Batu
Setahun (One Year Rock), followed by Trondolo (16 mm) another animation also by
Dwi Koendoro in collaboration with Jun Saptohadi. After a short break, Gotot Prakoso
produced Impulse (1977) and then Meta-meta and Jalur (1978).
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“Golden Cucumber”
The 1990s did mark the beginning of the development of
animation studios with a 3D animation approach and many
of animation studios began mainly to create short animations
for television commercials. a fifteen minute cut out animation
based on a famous Indonesian folktale and was integrated into
one episode of the Si Unyil puppet show.
The next production was Timun Mas (The Golden Cucumber), an animated feature
directed by Drs. Suyadi. A skillful illustrator, Suyadi is one of Indonesia’s first animators
and started work as a full time animator in 1974. He is also one of the key members in the
production of the Si Unyil puppet show, a TV series in which the The Golden Cucumber
animation appeared. Produced by PPFN, The Golden Cucumber was a fifteen minute
cut out animation based on a famous Indonesian folktale and was integrated into one
episode of the Si Unyil puppet show.
The 1980s also marks several attempts to create Indonesian animation. Rimba Si Anak
Angkasa (Rimba, Son of the Sky) was produced in that era, in a collaborative effort between
several Indonesian animation industries. Directed by Wagiono Sunarto, Rimba was an
attempt to invent more efficient way to produce animation. Between the end of 1980s
and the beginning of 1990s several animation studios were founded and subcontracted
to do animation works from abroad. Asiana Wang Animation (in cooperation with Wang
Film Animation, Taiwan) created Disney-like animation, while others such as Evergreen
or Marsa Juwita Indah produced works with an anime-like style. These studios were
followed by Red Rocket Animation Studio in Bandung, Bening Studio in Yogyakarta and
Tegal Kartun in Tegal, which mostly created full animation productions.
In the 1990s, several animations were produced, including The Legend of Burisrawa
(1995) – a one shot animation based on an episode from the Mahabharata Epic. The
approach ass quite unique, because while the story was adapted from an the episode
of the Mahabharata, the animation managed to combine various ethnics groups of
Indonesia as the basis of the main characters. In this case, the character of Burisrawa
is visualized as Medanese, an ethnic group of Sumatera, while the Goddess Supraba is
visualized as Javanese.
The increasing number of TV stations that began broadcasting at the beginning
of 1990 did little toward increasing Indonesian animation productions and only a
few were produced during this time. However, the 1990s did mark the beginning of
the development of animation studios with a 3D animation approach and many of
animation studios began mainly to create short animations for television commercials.
In 1998, several animation titles based on famous Indonesian folk tales, such as Bawang
Merah dan Bawang Putih (The Red Onion and White Onion), Timun Mas (The Golden
Cucumber) and Petualangan Si Kancil (The Adventure of Kancil) began to appear in the
form of video CDs (VCD) sold directly to consumers.
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One of the most prominent animation studios in the Indonesian animation industry
during the 1990s was the Red Rocket Animation Studio. Founded on July 26th, 1993,
by Mrs. Poppy Palele with Canadian-type animation production, Red Rocket Animation
successfully and constantly produced many animation works. Most of the works were
developed for TV commercials and TV bumpers, especially for music programs from MTV.
In 2000, with support from Indosiar – a private Indonesian TV Station - and the Nestle
Company, Red Rocket produced eight episodes of an animation series for television
entitled Dongeng Aku dan Kau (The Tales of You and Me). The series featured adaptations
from lesser known Indonesian folk tales, such as Kilip dan Putri Rembulan (Kilip and The
Moon Princess), Mengapa Domba Bertandung dan Berbuntut Pendek (Why the Lamb
has Horns and a Short Tail) and Si Kurus dan Si Macan (The Skinny and The Tiger). Using
lavish 2D animation with partial 3D backgrounds, combined with a good and interesting
storyline, this animation series was popular during its broadcast time.
After the production of the You and Me animated series in 2000 by Red Rocket
Animation, Bening Animation Studio started its production for television in 2001 with
sixteen episodes of animations. Bening Animation also produced animations based on
Indonesian folk tales and legends such as Si Kancil, Pangeran Katak (Prince Toad), Hang
Tuah, an Indonesian national hero, Cindelaras and Lutung Kasarung, the latter two being
Indonesian folk tale characters.
Mahabharata Epic. The Legend of Burisrawa
(1995) – a one shot animation based on an
episode from the Mahabharata Epic. Directed
by Nariswandi Piliang, The Legend of Burisrawa
tells the story of a giant named Burisrawa
who pursues a goddess named Dewi Supraba
to make her his wife and was created using
traditional cel animation.
Animations produced for direct sales in the form of video CDs continued throughout
the new millennium. Suma-Han: Pendekar Maha Sakti (Suma-Han: the Invincible Hero),
based on the martial art story by Asmaraman S. Kho Ping Hoo, debuted on August 2003.
Kho Ping Hoo martial arts stories were famous in Indonesia during the 1970s and 1980s
in novel format.
The year 2003 was marked by the premiere of an animation, Janus Prajurit Terakhir
(Janus the Last Warrior), created specifically for cinema in June, 2003 and an animation
series for television entitled Petualangan Carlos (The Adventure of Carlos). Janus the Last
Warrior combined 3D characters with live action footage, just like Who Framed Roger
Rabbit. The animation for big screen production was soon followed by Homeland, a full
feature 3D animation in May 2004, produced by Studio Kasat Mata.
When the Time Has Come
Based on data from the Animation Industry and Indonesia Content Association (AINAKI),
Indonesia’s animation products aired on national TV are less than ten titles and all of
them are aired for no more than a year (approximately 40 episodes per year). Although
in recent years, one TV station, the children’s education-oriented station Spacetoon,
started to collaborate with education institutions in producing animated bumpers as
their starting project.
The creative industry contribution to Gross National Production (GNP) is remain 4.75
percent, while the animation industry together with other audio-visual contributions
accounts for just 30 percent, or USD 6 billion of the total creative industry contribution.
This means that the animation industry is still under-developed but possesses a high
potential to contribute more to Indonesia’s GNP.
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“Skinny and a Tiger”
Using lavish 2D animation with partial 3D
backgrounds, combined with a good and
interesting storyline, this animation series was
popular during its broadcast time.
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On the positive side, the number of events such as competitions and exhibitions of
animations and related products and media in Indonesia are on the increase. The efforts
of the Ministry of Education in 2008 to generate animation and games roadshows in
several cities in Indonesia, and the Hellofest that was held by Hellomotion schools are
highly appreciated and would benefit immensely from strong government support.
There are also events held in certain universities that open animation or game creation
courses. Such events that generate participation and support from the private sector,
education institutions and the community, are needed to construct creative communities
that in the end will generate a creative economy in the animation and games industry.
The concentration of animation companies and animation studios is high in Java, but
low outside of Java. This condition is in line with the pattern of distribution of education
institutions that open animation course or studies that all reside in Java, especially in
Jakarta, Bandung, Yogyakarta and Surabaya.
Credible Presences
Indonesia’s animation industry possesses portfolios that have been acknowledged from
national animation observers in the form of evidence in appreciations and achievements.
The portfolio is important as the brief of performance and capability description of an
animation studio. The technology acquirement and production consistency of a studio
is also easily identified from its portfolios. Therefore, the existence of a studio’s animation
portfolio is crucial and able to produce serial advertisements and television series.
The industry is proceeding in developing good managerial system, especially human
resources and production management, will support better performance and product
delivery. They have vision to centralize animation production activities. and mentally
ready to coordinate and to produce mass products as computer laboratotes are
spreading in the country. Today, animation studios must have a computer lab with
adequate facilities in order to accelerate and support the animation production work
flow.
Directed by Chandra S. Endroputro, Janus the Last Warrior
was a notable achievement since it combined 3D characters
with live action footage, just like Who Framed Roger Rabbit.
The animation for big screen production was soon followed
by Homeland, a full feature 3D animation in May 2004,
produced by Studio Kasat Mata.
Most of the works were developed for TV
commercials and TV bumpers, especially for
music programs from MTV.
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“Animation Industry in Indonesia is the work of a team. Is continuously improving
and exploring related skill and knowledge. The portfolio will show whether of not
the skills and knowledge of a studio’s animator are improving. Possesses valid
corporate identity / company image”.
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“WARP Speed ...”
Silicon Valley of Animation
The growing of numerous TV stations and TV cable broadcast represent potential buyers
in the local market for the animation industry, while the high number of national and
local television stations and cable TV providers in Indonesia has created potential for
the national animation market.
The development has opening the window for the industry to gain experienced in
working with international clients. Experience is one of strongest value in animation
studio’s portfolio They becoming part of the global animation network as subcontractors.
Several studios have experience in working as subcontractors for foreign animation
industries, such as from Japan and Korea.
The advance of digital animation production followed by the introduction of much
simpler animation and editing software, such as Macromedia Flash, enabled people
to make animation using an ordinary PC. This situation led to a wake up call for
Indonesia’s animation industry with many independent and home-based small studios
producing numerous indie animations, both for the Internet and television. Several
festivals also started to get attention from animation film makers, such as the annual
Hello-fest Animation Festival and the biannual Festival Film Animasi Indonesia (FFAI
or The Indonesian Animation Film Festival). Another positive development was the
establishment of several one year course programs in 3D, such as Hellomotion and
Digital Studio, although most universities with a Graphic Design major had opened one
or two courses in animation since the 1980s.
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“through endeavors
to the star”
The Homeland. The year 2004 was also marked by the premiere of an animation masterpiece
that created specifically for cinema with a combined 3D characters and live action footage, The
Homeland a big screen production animation with full feature 3D animation, produced by
Studio Kasat Mata.
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The advance of digital animation production followed
by the introduction of much simpler animation and
editing software, s, enabled people to make animation
using an ordinary PC. This situation led to a wake up
call for Indonesia’s animation industry with many
independent and home-based small studios producing
numerous indie animations, both for the Internet and
television.
Sillicon Valley of Animation Services
Some cities in Indonesia, especially in Java, have blueprints in creating
animation ‘silicon valleys’, such as Bandung, and the satellite cities of
Jakarta, Yogyakarta, and Surabaya.The growning number of education
institutions open animation courses from high school to undergraduate
level is high as student interest in working in the animation industry
is increasing every year. Thses supported by the facts that the country
experiencing wide spectrum development in publication channel and
media for animation works from do-it-yourself media to above the line.
This also lead to more events of animation awards, workshops, and
exhibition.
Industrial Engagements
There are some agreements and joint collaborations on developing the animation
industry in Indonesia with local and foreign institutions. Two agreements were made in
2008 for the development of a ‘silicon valley’ of animation in Indonesia. The projected
areas are Cimahi and Jababeka. Both are autonomously administrated cities in West
Java that became pilot projects for initiating developing Indonesia’s animation industry
toward global creative economy.
Local agreements in developing a ‘silicon valley’ in Indonesia were also developed in
early 2000. These are ‘Kampung Animasi’ in Malang, Yogyakarta, and Bandung, both
agreements being established in order to capture opportunities in the global animation
industry.
Government support in such agreements is provided by the Ministry of Tourism and
Culture, the Ministry of Communication and Information, and the Ministry of Education,
particularly the Direktorat Pendidikan Tinggi (DIKTI). Recently, the ministry of Education
has emphasized development of Sekolah-sekolah Menengah Kejuruan (Vocational
High School) that concentrate on animation and graphic design skills in anticipation of
opportunities in the creative economy
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Achievements in Indonesia’s Animation Industry
1. Red Rocket Animation Studio
•
Animated TV Commercial series of Cheetos. Cheetos, a children’s snack food
produced by Indofood used animation in their promotion campaign and gained
wide acknowledgment from it’s icon, an animated character named Chester
Cheetah.
•
The Aku dan Kau animated TV series broadcas in early 2000 on Indosiar. The
animation series was based on a folklore picture book series distributed by
Nestle’s dairy product, Dancow as its purchasing bonus.
•
The Kampung Boy animated movie (2002) was based on one of Malaysia’s famous
Lat autobiography cartoon strips, the story is the childhood of the cartoonist in
an ordinary village in Malaysia.
2. Partial animation productions linked with several Japanese animated
TV series
Several animation studios claimed that they were part of animation production of
the Japanese animation, Doraemon TV series in background animation production.
Unfortunately, bound to the contract with the Japanese animation studio as
animation director (outsourced animation services), they could neither publish nor
show the artworks to the public.
3. Studio Kasatmata
•
Kelolodhen (April, 2002) was their first short animation. It was nominated as best
10 in Indonesia’s Independent Film Festival 2002, orgaized by Surya Citra Televisi,
one of Indonesia’s national TV broadcasters. This 7 minute animation was based
on their animator’s short comic, Bayu.
•
Loud Me Loud (August, 2002) was a 28 minute animation and the sequel to
Kelolodhen. It gained several awards.
•
Bodol Botol Bobol (October 2004) was a 6 minutes Dangdut music video for
Purdi E. Chandra and gained the Hello motion award in Hellofest 2004.
•
The feature length animation movie, Homeland (Mei 2004) was the first full
length animation movie in Indonesia. With the production costs subsidized by
Visi Anak Bangsa, this 90 minute duration feature was completed in 14 months.
4. Animation for Home Video consumption
Started in early 2000, there have been several animation products in the form of Home
Video format. These animations were usually distributed through local bookstores
around mosques and Islamic centers. These animations produced were by Islamic
publishers as one of their subsidiary divisions. Although this type of animation is rarely
broadcast by national TV stations, some of them were broadcast by local TV stations.
These products also appeared in book exhibitions such as the annual national and
local book exhibitions organized by the National Publisher Association (IKAPI).
Animation Events and Awards in Indonesia
1. Hello Fest Animation Festival
Hello;Fest could be described as one of the pioneers of Indonesia’s animation events
and awards. Supported and organized by the Hello Motion School of Animation,
Hello Fest is an annual event that give award for animation made by Indonesian
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animators. Until 2008, Hello Fest has been held five times in a row and has become one
of the indicators of current development in contemporary Indonesian animation.
2. Pekan Komik dan Animasi Nasional (PKAN)
PKAN was a national event on Indonesian comics and animation which was planned
to be held every two years starting from 1997, and officially supported by the
Indonesian government through the Ministry of Culture and Tourism. The event
mostly consisted of exhibitions from local comics and animation studios, workshops,
talk shows and seminars, with several awards given to the best comics and cartoon
publications.
3. Festival Film Animasi Indonesia (FFAI)
FFAI is a biennial event for Indonesian animation which first started in 2001 and
had been held four times until 2007. FFAI is one of the programs supported by
Komite Film Dewan Kesenian Jakarta (a committee on films by the Jakarta Arts
Council) to appreciate and develop Indonesian animation in which all Indonesian
animators could contribute and show their works. FFAI also has been listed on the
ASIFA (Association International du Film d’Animation/ International Animated Film
Association) agenda.
4. Festival Game Edukasi dan Animasi Indonesia (FGEAI)
FGEAI is a series of events on games and animations planned to be held every year starting around March and ending in November each year, with five cities acting
as the hosts. FGEAI was first held in Malang in 2007. The event continued in 2008
and was held in Yogyakarta and Semarang, but due to unforeseen circumstances
had to be ended prematurely in Surabaya. FGEAI is supported by six government
ministries: the Ministry of National Education, the Ministry of Culture and Tourism,
the Ministry of Information and Communication, the Ministry of Industry, the Ministry
of Religious Affairs and the Ministry of Research and Technology. FGEAI is also
supported by several universities and schools: ITB, ITS, Poliseni Yogyakarta, Udinus
Semarang, ICT Denpasar and AINAKI.
5. ITB Digital Media Festival (ITB DMF)
ITB DMF is an event held and supported by Faculty of Art and Design and School of
Electro and Informatics, ITB and is held for the first time in December 2008. ITB DMF is
planned to be held annually, started in 2008, and showcases the latest development
in various digital media, especially in game and animation.
Leadership Platform: Education Institutions
1. INSTITUT SENI INDONESIA (ISI) YOGYAKARTA
ISI Yogyakarta is an art education institution inaugurated by the Minister of Education,
Prof. Dr. Nugroho Notosusanto on 23 July 1984, based on President Decree no. 39/1984
on 30th May 1984. ISI Yogyakarta opened undergraduate programs in 11 departments
and 12 study programs grouped into the Faculty of Art, Faculty of Art Performance,
Faculty of Media Art, and Post graduate programs (Master and Doctoral degree) in Art
Studies.
Animation study is part of the Visual Communication Design Study program courses in
the Faculty of Media Art. The faculty received more than 100 undergraduate applicants
in 2008, twice as many as in the previous year. The studio visioning to become the
center of excellence in art education and equipted by eighteen faculty members in the
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Visual Communication Design Program and two members among them are specialized
in animation course. ISI Yogyakarta graduates are working in animation studios and
national and local TV broadcasting stations throughout Indonesia.
2. POLISENI YOGYAKARTA
Politeknik Seni Yogyakarta was established under an agreement between Pusat
Pengembangan dan Pemberdayaan Pendidik dan Tenaga Kependidikan (P4TK) and
the Faculty of Art & Design of ITB by Indonesia Ministry of Education decree no. 142/
D/2001. Politeknik Seni Yogyakarta opened diploma programs (D3) in Art, Craft and
Design studies. Animation is one of concentration programs in Visual Communication
Design Study. The faculty accepts more than 40 applicants yearly. The school visioning to
become the leading art, craft and design professional education institute in Indonesia.
The school performing education programs that support science and technology
development based on the concept of community demand orientation. It delivers
qualified and professional graduates that match with industrial demand and perform
research as a source of designing art education programs.
There are 9 Animation lecturers from animation studios and industry, art education,
and media backgrounds.The faculty provides computer labs with Internet connection,
photography studio, printing, exhibition gallery and an auditorium for 500 people.
Politeknik Seni Yogyakarta graduated their initial students in November 2008. The
graduates work in local TV broadcasting stations and production houses.
3. MULTIMEDIA TRAINING CENTER (MMTC) YOGYAKARTA
MMTC was inaugurated by President of Indonesia, HM. Soeharto on 31 July 1985, as a
government education institute under the Ministry of Communication and Information.
MMTC’s priority was to deliver broadcasting skills to government officials, but now
MMTC is open for public applicants.
MMTC opened broadcasting production management, news production program,
technical production management program, broadcast program, and broadcast
transmission management program, all being regular diploma programs. There are nonregular programs delivered as workshops for public or government institution students,
such as editing, web design, scriptwriting etc. The faculty also opened workshops in
collaboration with foreign organizations such as CFI (Canal France International), JICA
(Japan International Cooperation Agency), Deutsche Welle, and AIBD (the Asia-Pacific
Institute for Broadcasting Development).
The Center visioning to become the finest center of multimedia in Indonesia. It actively
contributes as motivator, communicator, facilitator and catalyst in multimedia content
development for the government, private sector and society of Indonesia.
MMTC provides a library, computer lab, electronic lab, language lab studio, joint lecture
room, TV and radio broadcast studios, auditorium and dormitory. Graduates of MMTC
usually work in local or national broadcast stations in Indonesia.
4. BINA NUSANTARA UNIVERSITY (ANIMATION STUDY PROGRAM)
Binus Nusantara University was originally founded as a short-term computer training
institute, Modern Computer Course, on 21 October 1974. As the next step for Bina
Nusantara, Binus University was established on 8 August 1996. STMIK Bina Nusantara was
then merged into Binus University on 20 December 1998. Binus Nusantara University has
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five faculties: Computer Sciences, Economics, Engineering, Literature, and Mathematics
& Statistics, with one Master’s Program. Bina Nusantara University opened an animation
study program in 2006. The university has five campus centers around Jakarta. An
animation study program is open in Syahdan campus.
The University educates quality professionals in the animation industry by visioning
to become the finest animation education center, as well as in-house animation
production.
There are ten faculty members for the animation study program with specific animation
skills or related from academic and professional backgrounds. The animation study
program provides optimum requirement for study and animation computer labs for
sixty people, an animation studio, and a photography studio.
5. HELLO MOTION SCHOOL
Founded on 8 April 2004 by Wahyu Aditya, Hello Motion aims at encouraging animation
development in Indonesia. This aim is accommodated by the Yayasan Animasi & Sinema
Muda Indonesia. The school visioning to entertain society through animation, by
becoming animation center in Indonesia and southeast Asia.
There are twenty-eight faculty members in Hello Motion School and two classrooms
with computer stations to animation industry standards for ten people. Hello Motion
School consists of 3 divisions with specific job descriptions, they are Hello Motion School
(delivering animation skills), Hello Fest (organizing an animation festival annually), and
Dapopo Studio (an in-house animation studio). Graduates of Hello Motion School work
in audio-visual production houses and national and local TV stations.
6. DIGITAL STUDIO COLLEGE
Founded in 2000, Digital Studio is an education institution in visual communication
design that provides courses for people who want to gain competency in advertising,
graphic design or the audio-visual industry. the institution visioning to provide a
place for society to learn animation and digital technology through delivering visual
communication design competency to professionals and entrepreneurs.
There are six faculty members from professional backgrounds which has facilities such
as Digital Studio provides computer labs, audio-visual labs and a library.
Graduates of Digital Studio work as entrepreneurs, creative members in TV broadcasting
stations and production houses.
Animation Organization
ASOSIASI INDUSTRI ANIMASI DAN KONTEN INDONESIA (AINAKI)
Founded in early 2004 Association of Indonesia Animation and Content Industries
(AINAKI) is a gathering place for animation studios, animation entrepreneurs, and
animation professionals. AINAKI as one of representative organization of animation
industry in Indonesia, consists of 18 members around Indonesia, especially in Java
Island. The membership system is egalitarian with no obligation for other animation
studios and production houses to apply.
AINAKI envisioning to become a bridge to creative industry, by developing creative
economy through local content utilization & animator community participation.
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www.depdag.go.id
email: [email protected]
[email protected]
Ministry of Trade Republic of Indonesia
Jl. M.I. Ridwan Rais No. 5 Main Building - 4th Floor
Jakarta 10110 INDONESIA
Telp. : [62-21] 2352 8691
Fax. : [62-21] 2352 8691
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