art of the shadow

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.

TRADE RESEARCH AND DEVELOPMENT AGENCY

MINISTRY OF TRADE REPUBLIC OF INDONESIA animation

art of the shadow

animasi rev 24 To wisnu.indd 1 4/7/2009 5:50:17 PM

FOREWORD Head of TREDAThe 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

PublisherTrade Research & Development AgencyMinistry of Trade Republic of Indonesia

art of the shadow

content


art of the shadow


art of the shadow 4

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

DEPARTEMEN PERDAGANGANREPUBLIK INDONESIA


art of the shadow5

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

MINISTER OF TRADEREPUBLIC OF INDONESIA


art of the shadow 6

“once upon a time ...”

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.

DEVELOPMENT OF ANIMATION TECHNOLOGY


art of the shadow7

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.


art of the shadow 8

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 AnimationClay (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 AnimationModel 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.


art of the shadow9

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 AnimationLike 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: • Analogcomputeranimation• Flashanimation• PowerPointanimation

3D AnimationThree 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.


art of the shadow 10

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

• Drawnonfilmanimation:atechniquewherefootage isproducedbycreatingtheimages directly on film stock.

• Paint-on-glassanimation:atechniqueformakinganimatedfilmsbymanipulatingslow drying oil paints on sheets of glass.

• Pinscreenanimation:makesuseofascreenfilledwithmovablepins,whichcanbemoved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows.

• Sandanimation: sand ismovedaroundonabacklightedor frontlightedpieceofglass to create each frame for an animated film. This creates an interesting effect when animated because of the light contrast.

• Flipbook:Aflipbook(alsoknownasflickbook)isabookwithaseriesofpicturesthatvary 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.


art of the shadow11

The Creative Media CycleToday’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.



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).

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.

”in a kingdomfar ... far away”

WAYANG: THE SHADOW PUPPET


art of the shadow13

“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.



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.

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.

“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.

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.


art of the shadow15

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.

Most of the works were developed for TV commercials and TV bumpers, especially for music programs from MTV.

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.



“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”.


art of the shadow17

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.

“WARP Speed ...”Silicon Valley of Animation



“through endeavors

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.

to the star”


art of the shadow19

Industrial EngagementsThere 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

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.



Achievements in Indonesia’s Animation Industry1. Red Rocket Animation Studio

• AnimatedTV Commercial series of Cheetos. Cheetos, a children’s snack foodproduced by Indofood used animation in their promotion campaign and gained wide acknowledgment from it’s icon, an animated character named Chester Cheetah.

• TheAkudan Kau animatedTV series broadcas in early 2000 on Indosiar.Theanimation series was based on a folklore picture book series distributed by Nestle’s dairy product, Dancow as its purchasing bonus.

• TheKampungBoyanimatedmovie(2002)wasbasedononeofMalaysia’sfamousLat 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)wastheirfirstshortanimation.Itwasnominatedasbest

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.

• LoudMe Loud (August, 2002)was a 28minute animation and the sequel toKelolodhen. It gained several awards.

• Bodol Botol Bobol (October 2004)was a 6minutesDangdutmusic video forPurdi E. Chandra and gained the Hello motion award in Hellofest 2004.

• The feature length animation movie, Homeland (Mei 2004) was the first fulllength 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 Indonesia1. 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


art of the shadow21

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 Institutions1. 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



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 YOGYAKARTAPoliteknik 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) YOGYAKARTAMMTC 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 non-regular 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


art of the shadow23

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 SCHOOLFounded 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 COLLEGEFounded 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.


Ministry of Trade Republic of IndonesiaJl. M.I. Ridwan Rais No. 5 Main Building - 4th FloorJakarta 10110 INDONESIA

Telp. : [62-21] 2352 8691Fax. : [62-21] 2352 8691

www.depdag.go.idemail: [email protected] [email protected]


Documents

art of the shadow