DIPLOMACY THROUGH THE JAPAN FOUNDATION IN …

THE PRACTICES OF JAPAN’S CULTURAL

DIPLOMACY THROUGH THE JAPAN FOUNDATION

IN PROMOTING JAPANESE MOVIES IN INDONESIA

(2013-2016)

By

ANDINI YULINDASARI

016201300011

A thesis presented to the

Faculty of Humanities, International Relations Study Program

President University

In partial fulfilment of the requirements for

Bachelor Degree in International Relations

Major in Diplomacy Studies

January 2019

i

THESIS ADVISER RECOMMENDATION LETTER

ii

DECLARATION OF ORIGINALITY

iii

PANEL OF EXAMINER APPROVAL SHEET

iv

ABSTRACT

Andini Yulindasari, (016201300011), The Practices of Japan’s Cultural

Diplomacy through The Japan Foundation in Promoting Japanese Movies in

Indonesia (2013-2016)

Advisors: Drs. Teuku Rezasyah, M.A., Ph.D.

Practices in diplomacy has been shifting as globalization pushes further the

importance of establishing relations between states and its people. This also

influence the methods and approaches that are being used by state actors in planning

its foreign policy. Most state actors nowadays, if not all, have been actively

pursuing its national interest with any means necessary. For Japan, correcting its

image it gained from the World War II one of the most important national interests

for them as stated in Article 9 of the Constitution of Japan paragraph 1 and 2. One

of its ways in order to restore its image into a peace-loving democratic state is to

design and plan its public and cultural diplomacy as Japan is rich with cultures both

traditional and modern. One of Japan’s institutions that plays an active part in

cultural diplomacy is the Japan Foundation. There has been many activities,

projects, and programs that the institution has done over the years. It has established

many of its overseas offices to help govern the cultural exchange activities and its

other programs, including in Republic of Indonesia. The Japan Foundation, Jakarta

plays an important role to project and present Japan in presence of the Indonesian

people as many still have sentiment towards their pre-war image and war trauma.

One of its activities include the promoting of Japanese films. This research uses the

qualitative method by gathering and examining the subject from publications,

speeches, statements, and official reports from Japan government as primary

sources. This research provides detailed programs and activities done by the

Foundation in promoting Japanese movies in Indonesia during 2013 until 2016.

This research thus describes of how the Foundation promote Japan’s cultural

diplomacy with films as its media through its programs and activities, such as

Cinema Caravan, movie screenings, and Japanese film festivals.

Keywords: Public Diplomacy, Cultural Diplomacy, Government Institution, the

Japan Foundation (JF), Japanese Film Promotion

v

ABSTRAK

Andini Yulindasari, (016201300011), The Practices of Japan’s Cultural

Diplomacy through The Japan Foundation in Promoting Japanese Movies in

Indonesia (2013-2016)

Pembimbing: Drs. Teuku Rezasyah, M.A., Ph.D.

Praktik dalam diplomasi telah mengalami perubahan karena fenomena globalisasi

semakin mendorong pentingnya membangun hubungan antara negara dan

rakyatnya. Ini juga mempengaruhi metode dan pendekatan yang digunakan oleh

aktor negara dalam merencanakan kebijakan luar negerinya. Sebagian besar aktor

negara saat ini, jika tidak semua, telah aktif mengejar kepentingan nasionalnya

dengan segala cara yang diperlukan. Bagi Jepang, mengoreksi citranya yang

diperoleh dari Perang Dunia II salah satu kepentingan nasional yang paling penting

bagi mereka sebagaimana tercantum dalam Konstitusi Pasal 9 ayat 1 dan 2. Salah

satu caranya untuk mengembalikan citranya menjadi negara demokrasi yang cinta

damai adalah dengan merancang dan merencanakan diplomasi publik dan

diplomasi budaya karena Jepang kaya dengan budaya tradisional dan modern. Salah

satu lembaga Jepang yang memainkan peran aktif dalam diplomasi budaya adalah

the Japan Foundation. Ada banyak kegiatan, proyek, dan program yang telah

dilakukan oleh institusi ini selama bertahun-tahun. Institusi ini telah mendirikan

banyak kantor cabang di luar negeri untuk membantu mengatur kegiatan pertukaran

budaya dan program lainnya, termasuk di Republik Indonesia. The Japan

Foundation, Jakarta memainkan peran penting untuk memproyeksikan dan

memperkenalkan Jepang kepada masyarakat Indonesia karena banyak yang masih

memiliki sentimen terhadap citra pra-perang dan trauma perang terhadap Jepang.

Salah satu kegiatannya termasuk mempromosikan film Jepang. Penelitian ini

menggunakan metode kualitatif dengan mengumpulkan dan menganalisa publikasi,

pidato, pernyataan, dan laporan resmi dari pemerintah Jepang sebagai sumber

utama. Penelitian ini akan memberikan rincian program-program dan kegiatan-

kegiatan yang telah dilakukan oleh institusi ini dalam mempromosikan film Jepang

di Indonesia selama tahun 2013 hingga 2016. Penelitian ini menjelaskan bagaimana

the Japan Foundation mempromosikan diplomasi budaya Jepang dengan film

sebagai media melalui program-program yang telah dirancang, seperti, Cinema

Caravan, pemutaran film, dan festival film Jepang.

Kata Kunci: Diplomasi Publik, Diplomasi Budaya, Institusi Pemerintah, the

Japan Foundation (JF), Promosi Film Jepang

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ACKNOWLEDGEMENT

Bismillahirrahmannirrahiim

I am relieved and thrilled that I finally able to finish this thesis after many

struggles as well as ups and downs that happened during the process. To finally

being able to complete this important phase in my life, I, of course, cannot do it

without help, motivation, prayers, suggestions, and critics from the people around

me. Hereby, allow me to express my thanks and gratitude to them.

I would like to thank Allah SWT the Almighty God for allowing me to reach

this point in life and His blessings and guidance. To Prophet Muhammad SAW,

may peace be upon him. I would like to thank my family, my mother and my sisters,

for their supports in the process of this academic journey emotionally and

physically. For my mother, Sri Rahmawati, thank you for being such a great mom

and for always working hard to support and look out us. For my older sister, Dessy

Widiastuti, and younger sister, Naily Inayah Safitri, for supporting me and

forbearing with me up until now. And also for my late father, Alm. Akhmad

Qomari, even though you are no longer here with us, you will always be with us in

our hearts.

I would like to express my greatest gratitude to Mr. Teuku Rezasyah for

sharing his knowledge and guide me by giving advice, suggestions, and spend some

of your precious time for consultations in between your busy schedules. Your

feedbacks and inputs have helped a lot for me to be able to finish this thesis. I also

would like to express my gratitude to Mr. Rizki M. Baskoro for his help, support,

advice, and suggestions in the making of this thesis. I am very grateful to have you

assigned as my second supervisor and make the time to guide me during thesis

consultations and being very patient with me throughout the process. I thank you

both for all your help and guidance for making this thesis finally be able to finish.

I would like to thank the Head of the Study Program, Mr. Hendra Manurung,

the entire staff and lecturers of the School of International Relations faculty who

vii

have shared the knowledge and many lessons that I learned during the time spent

while I study here throughout the years. Without you I would never to learn and

sharpen my skills and knowledge.

I would like to give my sincere thanks to my friends that I have made

throughout this journey. For my Perpisangan friends; Aniestri Allisya, Nimas

Larasati, Deny Christi Riptiana, Farah Fadira, Riestu Febrina Ramadhani, Kak

Lupita Citra, and Nurfitriana. Thank you for putting up with me with all my nagging

and other stuffs that I do, and for not hesitating to scold me right back. Thank you

for your support and the random stories and inappropriate jokes, which sometimes

we get too excited to when it is not really that exciting. I hope we can be friends for

as long as we possibly can even when we are busy with our own lives. To my

PUNICO 2013 friends, thank you for all your help and patience. You guys bring

colours to my life here as a university student. To my International Relations 2013

friends, PresUniv Magazine family, and my beloved Zero Win Female Futsal Team

thank you for making my life as a student here in President University very exciting.

Lastly, thank you for all of you who I cannot mention one by one for your

support directly or indirectly. Hopefully this research will be useful for others in

the future.

Jakarta, 2019

Andini Yulindasari

viii

TABLE OF CONTENTS

THESIS ADVISER RECOMMENDATION LETTER .....................................................i

DECLARATION OF ORIGINALITY ............................................................................ ii

PANEL OF EXAMINER APPROVAL SHEET ............................................................. iii

ABSTRACT .................................................................................................................. iv

ABSTRAK ..................................................................................................................... v

ACKNOWLEDGEMENT .............................................................................................. vi

TABLE OF CONTENTS ............................................................................................. viii

LIST OF FIGURES ....................................................................................................... xi

LIST OF ABBREVIATIONS ....................................................................................... xiii

CHAPTER I....................................................................................................................1

INTRODUCTION ..........................................................................................................1

1.1. Background of the Study ..................................................................................1

1.2. Problem Identification ......................................................................................6

1.3. Statement of the Problem .................................................................................9

1.4. Research Objectives..........................................................................................9

1.5. Significance of the Study ..................................................................................9

1.6. Conceptual Framework ....................................................................................9

1.6.1. Public Diplomacy .........................................................................................9

1.6.2. Cultural Diplomacy .................................................................................... 12

1.7. Scope and Limitations of the Study................................................................ 14

1.8. Definition of Terms ......................................................................................... 14

CHAPTER II ................................................................................................................ 16

LITERATURE REVIEW .............................................................................................. 16

2.1. Background..................................................................................................... 16

2.2. Books Review .................................................................................................. 18

2.2.1. The New Public Diplomacy: Soft Power in International Relations. ...... 18

2.2.2. Film as Propaganda Media on Java under the Japanese, 1942-45. ........ 19

2.2.3. Diplomasi Publik Jepang: perkembangan dan tantangan. ..................... 21

2.2.4. Japan’s Cultural Diplomacy, Past and Present. ...................................... 22

ix

2.3. Journals Review .............................................................................................. 23

2.3.1. Promoting Culture Abroad: the Experience of Germany and Japan in

the Field of Cultural Diplomacy............................................................... 23

2.3.2. Japan’s International Cultural Relations: Learn from the West. .......... 24

2.3.3. Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level

Approach to Japan’s Soft Power. ............................................................ 26

2.4. Chapter Conclusion ........................................................................................ 27

CHAPTER III ............................................................................................................... 29

RESEARCH METHODOLOGY ................................................................................... 29

3.1. Background..................................................................................................... 29

3.2. Research Framework ..................................................................................... 30

3.3. Research Time and Place ............................................................................... 33

3.4. Research Instrument ...................................................................................... 34

3.5. Research Structure ......................................................................................... 35

CHAPTER IV ............................................................................................................... 38

JAPAN-INDONESIA BILATERAL RELATIONS ....................................................... 38

4.1. Background..................................................................................................... 38

4.2. Japan-Indonesia Bilateral Relations .............................................................. 38

4.2.1. Political ..................................................................................................... 39

4.2.2. Economic .................................................................................................. 40

4.2.3. Socio Cultural ........................................................................................... 42

4.3. Overview of the Japan Foundation ................................................................ 43

4.3.1. Background of the Japan Foundation ..................................................... 43

4.3.2. Objectives and Organizational Structure ................................................ 46

4.3.3. Programs of the Japan Foundation ......................................................... 49

4.3.3.1. Arts and Cultural Exchange Field..................................................... 50

4.3.3.2. Japanese-Language Education Overseas .......................................... 51

4.3.3.3. Japanese Studies and Intellectual Exchange ..................................... 52

4.4. Chapter Conclusion ........................................................................................ 53

CHAPTER V ................................................................................................................ 55

THE JAPAN FOUNDATION’S ROLES IN PROMOTING JAPANESE MOVIES IN

INDONESIA DURING 2013-2016 ............................................................................... 55

5.1. Overview of Japan’s Cultural Diplomacy ...................................................... 55

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5.2. “WA Project – Toward Interactive Asia” and the Japan Foundation Asia

Center ...................................................................................................................... 63

5.3. The Japan Foundation in Indonesia............................................................... 65

5.4. The Japan Foundation on the Promotion of Japanese Films in Indonesia ... 66

5.5.1. JF, Jakarta Film Promotion Activities in 2013 ........................................ 68

5.5.1.1. Cinema Caravan ................................................................................ 68

5.5.1.2. Movie Screenings .............................................................................. 70


5.5.2.1. Cinema Caravan ................................................................................ 72



5.5.3.1. Cinema Caravan ................................................................................ 75


5.3.3.2. Japanese Film Festival 2015 ............................................................. 78



5.5.4.2. Japanese Film Festival 2016 ............................................................. 85

5.6. Critical Analysis of Japan’s Success in Promoting Its Cultural Diplomacy in

Indonesia ................................................................................................................. 92

CHAPTER VI ............................................................................................................... 99

CONCLUSION ............................................................................................................. 99

BIBLIOGRAPHY ....................................................................................................... 103

APPENDIX ................................................................................................................ 112

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LIST OF FIGURES

Figures

Figure 3.1. Research Framework

Figure 3.2. Theoretical Framework

Figure 4.1. Organizational Structure of Japan Foundation (JF)

Figure 4.2. Departments under JF Headquarters

Figure 5.1. Cinema Caravan Brochure

Figure 5.2. The Japan Foundation “Cinema Caravan” in Workshop Pelatihan

Journalistik Pelajar III

Figure 5.3. The Japan Foundation “Cinema Caravan” in Pesantren Darunnajah,

Jakarta

Figure 5.4. Movie Screenings at the Japan Foundation, Jakarta Lobby Hall

Figure 5.5. The Japan Foundation “Cinema Caravan” in Pesantren Daarut Tauhid,

Bandung

Figure 5.6. Animation Film Screening by Makoto Shinkai Poster

Figure 5.7. Invitation of “Penandatanganan MoU IKJ-JIMI, Lektur Tadao Sato &

Pemutaran Film ‘Ken Takakura’”

Figure 5.8. Japanese Film Festival 2015 Brochure

Figure 5.9. Press Conference JFF 2015 at CGV Blitz Grand Indonesia

Figure 5.10. Poster of Metamorphosis of Japan after the War 1945-1964

Figure 5.11. Japan Food Festival Poster

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Figure 5.13. Wisata Balaikota bersama the Japan Foundation Poster

Figure 5.14. Japanese Film Festival 2016 Poster

Figure 5.15. PR Event of Japanese Film Festival 2016

Figure 5.16. Shuhei Nomura (left), Chelsea Islan (middle), and Norihiro Koizumi

(right) in Japanese Film Festival 2016

Figure 5.17. Press Conference JFF 2016 at Cinemaxx fX Sudirman

Figure 5.18. Screening Schedule of Japanese Film Festival 2016

Figure 5.19. 11th Jogja-NETPAC Asian Film Festival Poster

Tables

Table 5.1. Table of movie screenings held by the Japan Foundation, Jakarta in

2013


2014


2015

Table 5.4. List of Movies by category that are shown in JFF 2015


2016

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LIST OF ABBREVIATIONS

APEC : Asia-Pacific Economic Cooperation

ASEAN : Association of Southeast Asian Nations

CGP : Center for Global Partnership

J-LEAP : Japanese Language Education Assistant Program

JETRO : Japan External Trade Organization

JF : Japan Foundation

JFF : Japanese Film Festival

JFF APAC : Japanese Film Festival ASIA-PACIFIC

JICA : Japan Indonesia Cooperation Agency

JIEPA : Japan-Indonesia Economic Partnership Agreement

JLPT : Japanese Language Proficiency Test

MOFA : Ministry of Foreign Affairs

ODA : Official Development Assistance

TIFF : Tokyo International Film Festival

UN : United Nations

UNESCO : United Nations Educational, Scientific and Cultural Organization

USA : United States of America

USSR : Union of Soviet Socialist Republics

WTO : World Trade Organization

1

CHAPTER I

INTRODUCTION

1.1. Background of the Study

Relationship between nation states has been even more complex and

varies as globalization is making the world becoming more borderless than

ever. Bilateral relationship between nation states is now not only

emphasizing on high politics (e.g. security, military, alliance, conflict, arm

race, and warfare) aspects but also on the low politics (e.g. human rights,

environmental, social affairs, trade competition, embargo, and economic

sanction).1 After the Cold War ended, states are no longer focusing on the

high politics and started to take low politic as one of its national interests.2

During the Cold War, soft power had been put aside since the war

demand tremendous budget and hard power has become the main focus of

national interest for the superpowers.3 After the demise of Cold War, it

gained strength. There are many State actors that already put soft power as

one of their national interests for decades now as a way for them to gain

understanding and establish a friendly relationship with other State and non-

state actors.4 Soft power is known as:

“The ability to ‘affect others to obtain the outcomes you

want’ without coercion or economic inducement. Thus, in

which, encompasses three broad categories: (a) influence,

(b) the force of an actor’s argument, and, perhaps most

1 Schmidt, B. C. (2013). On the History and Historiography of International Relations. In W. Carlsnaes, T. Risse, & B. A. Simmons, Handbook of International Relations (p. 15). SAGE Publications Ltd. 2 Nye, J. S. (2008). Public diplomacy and soft power. The annals of the American academy of political and social science 616 , 94-109. 3 Nye, J. S. (2004). Soft Power: The Means to Success in World Politics. New York: PublicAffairs. 4 Szondi, G. (2008). Public Diplomacy and Nation Branding: Conceptual Similiarities and Differences. Discussion Papers in Diplomacy . Netherlands Institute of International Relations 'Clingendael'.

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important, (c) the ‘attractiveness’ of an actor’s culture and

institutions – the supposed ‘intangible assets’ that draw

other actors toward wanting the same objectives and

viewing the scene of international politics in roughly the

same normative frame.”5

Decades ago during wars, international actors were focused more on

hard power–focused on military and economic gain. However, ever since it

ended, it is not enough to just rely merely on hard power. Joseph S. Nye

argues that, in the world politics, it is important to set the agenda and attract

others and not merely force them to change by threat through military power

or economic sanctions.6 The use of attraction which can make others want

what one wants is also important in the world politics since it is not coerces

people but rather co-opt them.7 For this reason, soft power is becoming more

popular in decision making process since it rests on the ability in shaping

the others’ preferences. It provides new conceptual terrain from which to

imagine, compose and implementing policies that are designated in

engaging foreign publics and to achieve political goals.8

The practice of diplomacy is now playing a very important role in

establishing, maintaining, and improving relationship between international

actors.9 Many state actors use diplomacy as its tools to achieve national

interests.10 Diplomacy is used by actors to gain trust and to create good

impressions in order to have good foreign relations with other actors

especially with other state actors.11

5 Hayden, C. (2012). The Rhetoric of Soft Power: Public Diplomacy in Global Contexts. Lexington Books. 6 Nye, J. S. (2004). Soft Power: The Means to Success in World Politics. New York: PublicAffairs. 7 Nye, J. S. (2008). Public diplomacy and soft power. The annals of the American academy of political and social science 616 , 94-95. 8 Hayden, C. (2012). The Rhetoric of Soft Power: Public Diplomacy in Global Contexts. Lexington Books. 9 Hayden, C. (2012). The Rhetoric of Soft Power: Public Diplomacy in Global Contexts. Lexington Books. 10 Szondi, G. (2008). Public Diplomacy and Nation Branding: Conceptual Similiarities and Differences. Discussion Papers in Diplomacy . Netherlands Institute of International Relations 'Clingendael'. 11 Kim, H. (2011, December). Cultural Diplomacy as the Means of Soft Power in an Information Age.

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In this information era where information can be easily obtained by

almost everyone, if not all, the utilization of every aspect that can be use to

enhance the practice of diplomacy by a nation state is critical for them to be

recognized and acknowledged by the international and global community.12

The practices of diplomacy by state actors are now also shifting and

constantly changing throughout decades. In establishing relationships,

traditional diplomacy practices done by merely established between state

representatives and international actors.13 As globalization has becoming

more and more mainstream and general public and private actors now can

also access almost everything through every media and platform, there have

been some improvements in diplomacy practices as well. 14 One of the

practices of public diplomacy is cultural diplomacy.

Diplomacy, especially public diplomacy, is now not only targeting

state representatives. It is now also approaching general public and more

specific individuals, organizations, and non-official groups.15 By doing this,

there are high chances of diplomacy practices of a state becoming more

successful and effective. This opportunity has been seized and used by state

actors including Japan.16

After Japan’s utter defeat in World War II, Japan was preoccupied

by the Allied forces.17 This brought about radical changes in Japan since the

Allied forces brought forth democratic reforms which then led to the end of

the Emperor of the country as a living god and transform them into a

democratic with a constitutional monarch. Japan then, pledged itself to

renounce war completely and preventing it into waging any more war as a

12 Kim, H. (2011, December). Cultural Diplomacy as the Means of Soft Power in an Information Age. 13 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen, The New Public Diplomacy: Soft Power in International Relations (p. 5). Palgrave Macmillan. 14 Kim, H. (2011, December). Cultural Diplomacy as the Means of Soft Power in an Information Age. 15 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen, The New Public Diplomacy: Soft Power in International Relations (p. 5). Palgrave Macmillan. 16 Hayden, C. (2012). The Rhetoric of Soft Power: Public Diplomacy in Global Contexts. Lexington Books. 17 Scalapino, R. A. (1977). The Foreign Policy of Modern Japan. University of California Press.

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means in resolving international issues in its Post-war Constitution which

come into effect in 1947 until now. 18 In Article 9 of the Constitution

paragraph 1 and 2, it is stated that:

1) Aspiring sincerely to an international peace based on

justice and order, the Japanese people forever renounce war

as a sovereign right of the nation and the threat or use of

force as means of settling international disputes. 2) In order

to accomplish the aim of the preceding paragraph, land, sea,

and air forces, as well as other war potential, will never be

maintained. The right of belligerency of the state will not be

recognized.19

Japan then became sovereign state once again in 1952 with the

Treaty of San Francisco. 20 In 1989, Japan’s then reigning Emperor,

Hirohito, passed away and constantly replaced by his son, Akihito, as his

successor entitled the 125th Emperor of Japan.21 The regime under Emperor

Akihito named “Heisei” which is intended to mean as “peace everywhere”.22

Japan then continues to promote peace and understanding in establishing

relations with other nation states. There have been many attempts of the

Government of Japan through diplomacy practices in order to do it. They

have been utilizing every aspect that they can use to gain trust and good

relationship including in the social affairs especially in cultural aspect.23

In social cultural aspect, Japan has been cooperating with the United

Nations (UN) as Japan is consistently and positively supporting the United

Nations’ aims and activities which include the maintaining international

peace and security. 24 The Government of Japan believes that cultural

18 Ogoura, K. (2009). Japan's Cultural Diplomacy, Past and Present. In K. Ogoura, Japan's Cultural Diplomacy (pp. 44-54). The Japan Foundation. 19 The Constitution of Japan. (1947, May 3). Retrieved January 15, 2017, from Prime Minister of Japan and His Cabinet Official Website: http://japan.kantei.go.jp/constitution_and_government_of_japan/constitution_e.html. 20 Murakami, H. (1983). Japan: The Years of Trial 1919-52. Kodansha International Ltd. (pp. 231-233) 21 Scalapino, R. A. (1977). The Foreign Policy of Modern Japan. University of California Press. 22 Beasley, W. (1995). The Rise of Modern Japan (2nd ed.). New York: St. Martin's Press. 23 Agency for Cultural Affairs. (2016). Policy of Cultural Affairs in Japan. Agency for Cultural Affairs: http://www.bunka.go.jp/english/about_us/policy_of_cultural_affairs/pdf/2016_policy.pdf. 24 Ogoura, K. (2008). Japan's Postwar Cultural Diplomacy. Center for Area Studies Working Paper No. 1.

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exchange with other countries plays an important role in to further

deepening the understanding of Japan and promoting international

friendship and goodwill.25 As its major part of its diplomatic efforts, the

Government of Japan intend to expand and strengthen various cultural

exchange activities and govern it mainly through the Japan Foundation (JF)

as it special public institution in this specific area of expertise under the

Ministry of Foreign Affairs (MOFA).26 Through JF, the government has

extended its cooperation with other international organizations, such as the

Southeast Asian Education Ministers Organization.27

In Indonesia, particularly, Japan has been conducting bilateral

relationship in many aspects including cultural exchange. In 1979, JF

opened its branch for Indonesia in Jakarta.28 Ever since the establishment of

its branch in Jakarta, there have been many activities which help Japan to

promote its culture in Indonesia through student exchange programs,

lectures, workshop, seminars, sports, symposium, and film screening.29 In

2003, JF is renewed and no longer entitled as a special public institution and

becoming self-governing as an independent administrative institution. 30

From then onwards, The Japan Foundation is aiming to be more effective

and efficient in conducting their projects and becoming more familiar and

accessible institutions to wider range of people.

25 Ministry of Foreign Affairs of Japan. (1973, December). Diplomatic Bluebook for 1972. Retrieved January 2, 2017, from Ministry of Foreign Affairs of Japan: http://www.mofa.go.jp/policy/other/bluebook/1972/1972-contents.htm. 26 The Japan Foundation. (n.d.). About Us. Retrieved December 26, 2016, from The Japan Foundation Official Website: http://www.jpf.go.jp/e/about/index.html. 27 Ministry of Foreign Affairs of Japan. (1978, December). Diplomatic Bluebook for 1978. Retrieved December 28, 2016, from Japan Ministry of Foreign Affairs: http://www.mofa.go.jp/policy/other/bluebook/1978/1978-contents.htm#CONTENTS. 28 The Japan Foundation was previously known as Japan Cultural Centre Jakarta (The Japan Foundation). In 1979, The Japan Foundation opened its foreign base in Jakarta. The Japan

Foundation. (n.d.). Introduction of the Japan Foundation (国際交流基金の紹介). Retrieved

February 26, 2017, from The Japan Foundation Official Website (国際交流基金): http://www.jpf.go.jp/j/about/outline/index.html. 29 The Japan Foundation. (1979). Laporan Kegiatan The Japan Foundation di Indonesia (1972-1978). Japan Cultural Centre (The Japan Foundation). 30 National Diet of Japan. (2002, December 6). Act No. 137 of Independent Administrative

Institution Japan Foundation Law (独立行政法人国際交流基金法). Retrieved February 28, 2017, from The Japan Foundation Official Website: http://law.e-gov.go.jp/htmldata/H14/H14HO137.html.

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As Japan needs to present itself as a postmodern culture pioneer, all

of its traditional and pop culture aspects play an important role in Japan’s

international cultural activities.31 On Japan-ASEAN 40th Anniversary of

Dialogue relations in 2013, it is decided that there will be commemorative

activities throughout the year.32 Those activities include expert dispatching

activities, exhibition, student exchange, seminars, lectures, workshops,

meetings, festivals and concerts, and movie screenings. 33 In December

2013, Prime Minister Shinzo Abe initiated “WA Project – Toward

Interactive Asia” which then implemented in April 2014.34 It is then the Asia

Center was established within Japan Foundation to engage a deeper

understanding and expand interaction cultural exchange and form strong

networks of experts from a diverse range of cultural fields. One of the

activities of the Asia Centre is to promote Japan’s cultures and introduce

other ASEAN movies, Indonesia included, through movie festivals which

also cooperate with Tokyo International Film Festival.35

1.2. Problem Identification

In the era of globalization, nation states in the world are racing to

promote their culture to other countries.36 This needs to be done to create a

good impression to other state and non-state actors. Japan is one of the many

countries that practice this. It is known that in Indonesia, Japan has a rather

31 Ogoura, K. (2009). Japan's Cultural Diplomacy, Past and Present. In K. Ogoura, Japan's Cultural Diplomacy (pp. 44-54). The Japan Foundation. 32 Ministry of Foreign Affairs of Japan. (2014, May 7). 40th Year of ASEAN-Japan Friendship and Cooperation. Retrieved March 14, 2017, from Ministry of Foreign Affairs of Japan Official Website: http://www.mofa.go.jp/region/asia-paci/asean/relation/ja40/index.html. 33 Ministry of Foreign Affairs of Japan. (2014, May 7). 40th Year of ASEAN-Japan Friendship and Cooperation. Retrieved March 14, 2017, from Ministry of Foreign Affairs of Japan Official Website: http://www.mofa.go.jp/region/asia-paci/asean/relation/ja40/index.html. 34 Ministry of Foreign Affairs of Japan. (2016). Joint Statement by the ASEAN Advisory Committee Members of the Japan Foundation Asia Center. Retrieved March 19, 2017, from Ministry of Foreign Affairs of Japan Official Website: www.mofa.go.jp/files/000212879.pdf. 35 Japan Foundation Asia Center. (n.d.). Retrieved March 2, 2017, from Japan Foundation Asia Center: http://jfac.jp/en/. 36 Kim, H. (2011, December). Cultural Diplomacy as the Means of Soft Power in an Information Age.

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bad impression since, during the World War II, Japan colonized Indonesia.37

During that time, there were many Indonesian people that are being abused

and die because of physical torture and romusha (forced labor) done by the

Japanese government and military.38 However, as the Second World War

ended, the Japanese colonisation in Indonesia also comes to an end. Japan

then was preoccupied by the Allied forces until it become a sovereign state

once again in 1952 through the Treaty of San Francisco.39

Ever since its new Constitution has been taking effect in 1947, Japan

has renounce war completely and making the nation’s main and important

policy to play a more positive role as a peace-loving and cultural State in

international society.40 The Government of Japan believes that to achieve it,

the promotion of cultural exchange between various countries is importance

so that it will correct prejudice and misunderstanding in which very likely

tend to arise especially in international relations, and also plays as an

important and pivotal role in eliminating distrust and suspicions towards

them.41 As the current regime era is named after “peace everywhere”, Japan

has been actively promoting peace, friendship, and mutual understanding

with other foreign states including Indonesia in every aspects ranging from

economic, social and cultural affairs, technology development, exchange

and also defence and security.42 It is expected that Japan will restore its

image in the international stage especially in the former countries which

were previously colonized by Japan since they may still have the sentiment

from the horrible past events during World War II including Indonesia.

37Ma'ruf, A. (1975). Profile of Japan. Cultural Exchange between Indonesia and Japan . Jakarta: Japan Foundation. 38 Khairiah, J. (2015). Peran Japan Foundation dalam Penyebaran Bahasa Jepang di Indonesia. eJournal Ilmu Hubungan Internasional, 426. 39 Scalapino, R. A. (1977). The Foreign Policy of Modern Japan. University of California Press. 40 Ministry of Foreign Affairs of Japan. (1973, December). Diplomatic Bluebook for 1972. Retrieved January 2, 2017, from Ministry of Foreign Affairs of Japan: http://www.mofa.go.jp/policy/other/bluebook/1972/1972-contents.htm. 41 Scalapino, R. A. (1977). The Foreign Policy of Modern Japan. University of California Press. 42 Agency for Cultural Affairs. (2016). Policy of Cultural Affairs in Japan. Agency for Cultural Affairs: http://www.bunka.go.jp/english/about_us/policy_of_cultural_affairs/pdf/2016_policy.pdf.

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In the recent years, Japanese culture has becoming more and more

accepted by Indonesian people.43 This can be seen with the growing of

Japanese themed business in Indonesia such as restaurants, accessory

products, fashion brands, and also the increasing number of Japanese

movies in theatres. The rising interest of Japanese culture, traditional and

pop cultures, in Indonesia is also undeniable especially for young people.

With this growing interest in Japanese cultures, Japan has been very

enthusiast to promote and acquaint their very diverse culture. There has been

many workshop, seminars, and festivals organized in order to further

promote Japan and its cultures to the people in Indonesia.44

In further enhancing cultural exchange between Japan and

Indonesia, in 1979, Japan Foundation, the only Japan institution dedicated

in comprehensive international culture exchange programs,45 opened one of

its foreign base in Jakarta.46 There have been many programs that they

organized and support in Indonesia in to encourage expatriates and locals in

contributing and participating to promote and introduce Japanese culture to

wider audience, such as Japanese film screenings and festivals, Japanese

themed festivals (matsuri), sports, workshops, seminars, and lectures and

symposium. 47 In this thesis, the author would like to analyse how the

Japanese government promote Japan cultures in Indonesia through Japan

Foundation especially in the promotion of Japanese movies.

43 This can be concluded since the growing interests of Japanese study program and the rising number of Japanese brands, products, movies and events in Indonesia. Khairiah, J. (2015). Peran Japan Foundation dalam Penyebaran Bahasa Jepang di Indonesia. eJournal Ilmu Hubungan Internasional, 426. 44 The Japan Foundation. (1979). Laporan Kegiatan The Japan Foundation di Indonesia (1972-1978). Japan Cultural Centre (The Japan Foundation). 45 The Japan Foundation. (n.d.). Introduction of the Japan Foundation (国際交流基金の紹介).

Retrieved February 26, 2017, from The Japan Foundation Official Website (国際交流基金): http://www.jpf.go.jp/j/about/outline/index.html. 46 Khairiah, J. (2015). Peran Japan Foundation dalam Penyebaran Bahasa Jepang di Indonesia. eJournal Ilmu Hubungan Internasional, 426. 47 The Japan Foundation. (1979). Laporan Kegiatan The Japan Foundation di Indonesia (1972-1978). Japan Cultural Centre (The Japan Foundation).

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1.3. Statement of the Problem

- How did Japan Foundation play its role in promoting Japanese cultures

in Indonesia using Japanese movies as its tool during 2013-2016?

1.4. Research Objectives

- To describe how Japan Foundation is promoting Japanese cultures in

Indonesia through Japanese movies.

- To analyze the works of Japan Foundation in cultural exchange

programs with Indonesia through Japanese movies.

- To understand the utilization of cultural diplomacy in scheme of

international relations through the case study of Japan Foundation in

Indonesia.

1.5. Significance of the Study

- To explain how Japanese culture is becoming popular in Indonesia

nowadays, especially towards young people, through the programs of

Japan Foundation.

- To provide detailed information regarding the efforts made by Japan

Foundation in promoting its culture to a broader scale of people in

Indonesia by using Japanese movies as its tool in 2013 to 2016.

1.6. Conceptual Framework

To further understand about Japan’s public diplomacy and explain

the role of Japan Foundation in promoting Japan culture in Indonesia, there

is a few theories that are suitable for this research, those theories are: Public

Diplomacy, and Cultural Diplomacy.

1.6.1. Public Diplomacy

Ever since the end of Cold War, international politics has been

changing and becoming more dynamic than before. Soft power has the

capability to shape others preferences.48 Its ability includes the ability to

establish and shape preference in which tends to be associated with

48 Nye, J. S. (2004). Soft Power: The Means to Success in World Politics. New York: PublicAffairs.

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intangible assets such as an culture, political values and institution,

attractive personality, and policies that are seen as legitimate or have moral

authority. 49 The recognition of soft power as a part of the essential

components of foreign policy decision making process has been spreading

even more since the 9/11 incident by which forced a renewed focus on

identity, culture, and communication.50

Public diplomacy has becoming one of soft power key instruments

for nation state. Ever since the 9/11 accident occurred, public diplomacy is

often discussed in the United States of America as battle of ‘ideas’. Thus,

this incident forced them to establish renewal of a more focused on identity,

culture, and communication by which resulting the wide spreading

recognition in global scale. It means that there are changes in the role of

information, culture, and communication in the practice of international

politics.51 Sharp stated that:

“Public diplomacy is described as the process, by which,

direct relations are pursued with a country’s people to

advance the interests and extend the values of those being

represented.”52

The term “public diplomacy” was first coined by Edmund Gullion

in 1965 at Fletcher School of Law and Diplomacy, Tuffs University. 53

Gullion’s concept of public diplomacy is described as “the influence of

49 Nye, J. S. (2008). Public diplomacy and soft power. The annals of the American academy of political and social science 616 , 94-109. 50 Hayden, C. (2012). The Rhetoric of Soft Power: Public Diplomacy in Global Contexts. Lexington Books. 51 Hayden, C. (2012). The Rhetoric of Soft Power: Public Diplomacy in Global Contexts. Lexington Books. 52 Sharp, P. (2005). Revolutionary States, Outlaw Regimes and the Techniques of Public Diplomacy. In J. Melissen, The New Public Diplomacy: Soft Power in International Relations (p. 106). Palgrave Macmillan. 53 Edmund Gullion is a former American diplomat and Dean of the Fletcher School of Law and Diplomacy. Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen, The New Public Diplomacy: Soft Power in International Relations (p. 6). Palgrave Macmillan.

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public attitudes on the formation and execution of foreign policies”. The

concept then later, by a Murrow Center, being summarized that:

“encompasses dimensions of international relations

beyond traditional diplomacy; the cultivation by

governments of public opinion in other countries; the

interaction of private groups and interests in one country

with another; the reporting of foreign affairs and its

impact on policy; communication between those whose

job is communication, as diplomats and foreign

correspondents; and the process of intercultural

communications.”54

The basic distinction between traditional diplomacy and public

diplomacy lies on the targets in establishing relationships. In traditional

diplomacy, relationships are merely established between representatives of

states or other international actor, while public diplomacy is generally

approaching general public in foreign societies and more specific

individuals, organizations, and non-official groups.55 Public diplomacy is

broader in the approach since it also includes individuals in the societies to

participate unlike traditional diplomacy.

According to Mark Leonard, there are three dimensions in public

diplomacy which are reactive (within hours and days duration), proactive

(within weeks and months duration), and relationship building (years in

duration). Each one of these dimensions is operating based on different time

scale. Leonard argues that reactive news can take place within hours and/or

days. While proactive communications and perception changing may take

place within weeks and/or months. And last, but not least, building

relationships may take years before it shows the desired results.56

54 Cull, N. J. (2006, April 18). "Public Diplomacy" Before Gullion: The Evolution of a Phrase. Retrieved February 4, 2017, from USC Center on Public Diplomacy: https://uscpublicdiplomacy.org/blog/public-diplomacy-gullion-evolution-phrase. 55 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen, The New Public Diplomacy: Soft Power in International Relations (p. 5). Palgrave Macmillan. 56 Leonard, M. (2002). Public Diplomacy. London: The Foreign Policy Centre. (pp. 10-11)

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1.6.2. Cultural Diplomacy

Cultural diplomacy is becoming the linchpin of public diplomacy

which has significant role in reaching out foreign public’s positive

perception in international environment and plays as an effective tool on the

international ties between countries. Mette Lending argues the new

emphasis of public diplomacy showing the fact that the familiar

differentiation between cultural and information activities is being

eradicated. He argues that:

“cultural exchange is not only ‘art’ and ‘culture’ but also

communicating a country’s thinking, research,

journalism, and national debate. In this perspective, the

traditional areas of cultural exchange become part of a

new type of international communication and the growth

of ‘public diplomacy’ becomes a reaction to the close

connection between cultural, press and information

activities, as a result of new social, economic and political

realities.”57

The objective of cultural diplomacy is to influence public opinion,

domestically and internationally to support particular foreign policy.

According to Milton C. Cummings:

“cultural diplomacy can be defined as the exchange of

ideas, information, art and other aspects of culture among

nations and their peoples in order to foster mutual

understandings.”58

Cultural diplomacy is utilized and practiced by nation states to

represent and promote to inspire people more about them despite their

differences in political views and cross border. According to Shizuru Saeki,

cultural diplomacy can be defined as a way to exchange information, ideas,

arts and culture to promote mutual understandings amongst citizens or

57 Lending, M. (2000). Change and Renewal: Norwegian foreign cultural policy 2001-2005. Oslo: Royal Norwegian Ministry of Foreign Affairs. 58 Cummings, M. C. (2003). Cultural Diplomacy and the United States Government: A Survey. Washington DC: Center for Arts and Culture.

13

different countries.59 It should be considered as multilateral perspectives to

avoid a one-sided cultural policy such as the coercion of implementing

ideology and policy to the world as a whole or public relation only to

promote its languages course.

In the past time, cultural diplomacy has focusing on the protection

and propaganda of their national culture in the process of international

exchange. In a way, propaganda and cultural diplomacy may be similar

depends on which definition of propaganda is used. Even though that they

might be quite similar, there is a basic distinction of cultural diplomacy and

propaganda. Melissen argues that cultural diplomacy and propaganda has

different pattern of communication since propaganda is a rather one-way

communication to narrow other people’s mind and views while modern

public diplomacy, including cultural diplomacy, is a two-way

communication involving engagement, mutuality, and dialogue.60

As globalization has been spreading across the globe and

influences international actors, the focus of cultural diplomacy must not

solely on the interest of nation states anymore. The rising influence of non-

state actors, such as general public individuals, private organizations, and

also regional actors marked the realization of concrete and firm cultural

exchange programs in global scale. Cultural diplomacy is a long-term

process of strategy which also includes the involvement of a range of

policies, initiatives, and activities in achieving its national interests through

culture.61 One of cultural diplomacy practices include the utilization of

movies as its tool in cultural exchange. Through movies, practitioners of

59 Kim, H. (2011, December). Cultural Diplomacy as the Means of Soft Power in an Information Age. 60 Mark, S. (2009). A Greater Role for Cultural Diplomacy. Discussion Papers in Diplomacy , (pp. 20-21). 61 Kang, H. (2013). Reframing Cultural Diplomacy: International Cultural Politics of Soft Power and the Creative Economy. Retrieved February 4, 2017, from Culturaldiplomacy.org: http://www.culturaldiplomacy.org/academy/content/pdf/participant-papers/2011-08-loam/Reframing-Cultural-Diplomacy-International-Cultural-Politics-of-Soft-Power-and-the-Creative-Economy-Hyungseok-Kang.pdf.

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cultural diplomacy may reach wider audience. It is because movies are

easier to access by people. Movies can create the illusion of reality which

open up new perspectives from those of different cultures and places.62 By

using movies in cultural diplomacy, it can further maximize the effects of

culture in the conduct of achieving mutual understanding.

1.7. Scope and Limitations of the Study

In this thesis, the research is aimed in examining the works the

Japan Foundation in Indonesia particularly in cultural exchange by using

film in channelling the culture of Japan to Indonesian people. The institution

itself has been playing an active role in introducing and enhancing the

acknowledgement of Indonesian people towards Japanese cultures in

various fields. The highlight of this research will be focused on how Japan

Foundation governs and execute its programs in promoting Japanese

cultures, specifically in movies, in the years of 2013 until 2016.

Acknowledging the growing interest and demand of Japanese movies in

Indonesia, this research will focused on the promotion of Japanese movies

activities and programs that are done by Japan Foundation Asia Center and

Japan Foundation Jakarta particularly in Jakarta.

1.8. Definition of Terms

Public diplomacy

Public diplomacy is one of the key instruments of soft power which is used

to engage a more active diplomatic practice that, unlike traditional

diplomacy, its approach is not only state representatives but also public

general in foreign states, private sectors, more specific individuals,

organizations, and non-official groups.63

62 Academy for Cultural Diplomacy. (n.d.). Successful Examples of the use of Film as a Tool of Cultural Diplomacy. Retrieved from Academy for Cultural Diplomacy: http://www.culturaldiplomacy.org/academy/index.php?en_loam-2014_successful-examples-of-the-use-of-film-as-a-tool-of-cultural-diplomacy 63 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen, The New Public Diplomacy: Soft Power in International Relations (p. 5). Palgrave Macmillan.

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Public diplomacy has been identified as “battle of ideas” after the 9/11

incident in the United States by which is the notion of struggle between

ideologies competing in broadly framed international relations throughout

the twentieth century. As people can access information more freely now in

this information age, it gives international actors new challenges in the

global stage in the practice of international politics. A renewed focus on

culture, identity, and communication for diplomatic strategy is a result of

the recognition of soft power as an essential factor in foreign policy decision

making.64

Cultural diplomacy

Cultural diplomacy is the linchpin of public diplomacy that has significant

role in achieving foreign public’s positive perception of the state in

international environment.65 Cultural diplomacy plays as an effective tool

by state actors on the international ties between nation states. Cultural

diplomacy is used by nation states to exchange information, culture, arts,

and idea with the aim to promote mutual understanding between people or

different countries.66

Cultural exchange

Cultural exchange is a program which allows its participants to live and

work or learn in another country for a period of time. Cultural exchange

program is made by a country to promote their cultures to the foreign

participants. In this activity, the participants and the individuals in host

countries promote diversity by learning each other’s cultures.67

64 Hayden, C. (2012). The Rhetoric of Soft Power: Public Diplomacy in Global Contexts. Lexington Books. 65 Kim, H. (2011, December). Cultural Diplomacy as the Means of Soft Power in an Information Age. 66 Cummings, M. C. (2003). Cultural Diplomacy and the United States Government: A Survey. Washington DC: Center for Arts and Culture. 67 What is the definition of the word "cultural exchange"? (n.d.). Retrieved February 5, 2017, from Reference.com: https://www.reference.com/world-view/definition-word-cultural-exchange-3d8f92fe72f98af6#.

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CHAPTER II

LITERATURE REVIEW

2.1. Background

In this information age, it is important for state actors to utilize every

aspect to achieve its national interests. Ever since the demise of Cold War,

the diplomacy practices as a soft power instrument have been used by

countries in the world to foster good images to other foreign nations.68 Many

nation states have been using diplomacy as a way to achieve its national

interests. In this globalization era, state actors also need to engage with the

people of foreign societies rather than just officials and representatives of

the countries. The shifting in the practice of diplomacy in targeting its

receivers, from state-to-state representatives to private sectors and

individuals in foreign societies, is due to this matter.69 Public diplomacy is

necessary in order to reach out to the people and establish deeper

relationship and mutual understanding.

As a linchpin of public diplomacy, cultural diplomacy plays an

important role in promoting and enhancing of the exchange of ideas,

information, art and other cultural aspects as suggested by Cummings.70

Cultural diplomacy of a country is being governed to foster trust and left

good image to people in foreign countries. There are many aspects can be

used to expand the scoop of cultural diplomacy including movies, traditional

68 Nye, J. S. (2008). Public diplomacy and soft power. The annals of the American academy of political and social science 616 , 94-109. 69 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen (Ed.), The New Public Diplomacy: Soft Power in International Relations (p. 5). Palgrave Macmillan. 70 Cummings, M. C. (2003). Cultural Diplomacy and the United States Government: A Survey. Washington DC: Center for Arts and Culture.

17

and pop cultures, culinary, events (seminars, exhibitions, and festivals), and

fashion.71

In this thesis, the author would like to describe and analyze Japan’s

cultural diplomacy through one of its institutions named Japan Foundation

which specialize on cultural exchange program. The author would like to

focus on the movie promotion done by Japan Foundation as a part of its

cultural exchange program in Indonesia. In this chapter, there are some

literatures that are going to be reviewed and further used to help the author

to understand more about the topic for this research. There are some books

and journals that are going to be reviewed, those are:

Books:

- The New Public Diplomacy: Soft Power in International Relations,

2005. Edited by Jan Melissen.

- Film as Propaganda Media on Java under the Japanese, 1942-45 by

Aiko Kurasawa, 1991. Edited by Grant K. Goodman in Japanese

Cultural Policies in Southeast Asia during World War 2 (pp. 36-92).

- Diplomasi Publik Jepang: perkembangan dan tantangan, 2011. By

Tonny Dian Effendi.

- Japan’s Cultural Diplomacy, Past and Present, 2009. By Kazuo

Ogoura in Japan’s Cultural Diplomacy (pp. 44-54).

Journals:

- Promoting culture abroad: the experience of Germany and Japan in

the field of cultural diplomacy, 2016. By Alexander Marchukov in

Practices and Interpretations: Journal of Philological, Educational and

Cultural Studies (Практики и интерпретации: журнал

филологических, образовательных и культурных исследований)

(pp. 41-54).

71 Szondi, G. (2008). Public Diplomacy and Nation Branding: Conceptual Similiarities and Differences. Discussion Papers in Diplomacy . Netherlands Institute of International Relations 'Clingendael'.

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- Japan’s international cultural relations: learn from the west, 2005. By

M. Mossadeq Bahri in MANABU: Journal of Japanese Studies (pp. 1-

14).

- Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level

Approach to Japan’s Soft Power, 2014. By Alexander Bukh in Asian]

Perspective 38 (pp. 461-485).

2.2. Books Review

2.2.1. The New Public Diplomacy: Soft Power in International

Relations.72

The editor of this book, Jan Melissen, is one of the essay contributors

in this book. He reminds us that ‘power over opinion’ was ‘not less essential

for political purposes than military or economic power and has always been

closely associated with them’ in his introductory chapter. Jan Melissen is

the Director of the Clingendael Diplomatic Studies Programme at the

Netherlands Institure of International Relations. He is also a part-time

Professor in the Department of Politics, Antwerp University.

This book provides topical collection of essays on the topic of soft

power reflecting on how it changes in policies and practices in international

relations. The integral discourse of public diplomacy is the concept of

Joseph Nye’s ‘soft power’. ‘Soft power’ conception used here is the power

of attraction associated with ideas, cultures, and policies. It also emphasizes

on the public diplomacy that has been practiced by the United States.

This book is divided into three parts. The first part is explaining of the

definition and contextualization of the conceptual notion of a new public

diplomacy. The second part is consisted of essays which the contributors

encompasses variety of approaches in the practice of public diplomacy

across the world. Last but not least, the third part is explaining mainly on

72 Melissen, J. (Ed.). (2005). The New Public Diplomacy: Soft Power in International Relations. Palgrave Macmillan.

19

the practices of diplomacy with contributions on topics such as national

branding.

This book gives comprehensive explanation on public diplomacy in

21st century. It gives details how some nation states in the world govern its

public diplomacy. Some of the contributors are analyzing on the United

States’ public diplomacy practices especially after the 9/11 incidents. They

described how the United States has been using its public diplomacy and

what kind of public diplomacy that they utilized works and have the best

results.

2.2.2. Film as Propaganda Media on Java under the Japanese, 1942-

45.73

In this book chapter, Aiko Kurasawa describes the use of media by

Japanese military government during the Second World War to propagate

the civilians of Java Island particularly through films. During the War,

Japanese military government realized that the new introduction and

development of new media is necessary to propagate the people of Indonesia

especially in Java. This was done to execute its policies smoothly in Java

during the War. They paid a great deal of attention to “grasp people’s

minds” and to “propagandize and tame them” which then eventually

resulted in mobilizing the whole society and change the mentality of the

people completely. In order to do that, the Japanese military government

utilized various media including books, newspapers, posters, pamphlets,

radio broadcasting, exhibitions, photography, traditional arts performances,

drama, speech-making, music, paper picture shows (or known as

kamishibai), and movies.

In this book chapter, the writer explains that, during the World War

II, the Japanese military government established an independent department

73 Kurasawa, A. (1991). Film as Propaganda Media on Java under the Japanese, 1942-45. In G. K. Goodman (Ed.), Japanese Cultural Policies in Southeast Asia during World War 2 (pp. pp. 36-92). Macmillan Academic and Professional Ltd.

20

to manage its propaganda affairs named Sendenbu in August 1942. This

department was in charge of propaganda and information that concerned to

the civil administration. Its activities were targeting the civilians of Java

including Indonesians, Eurasians, Asian minorities, and Japanese. This

chapter also explains about the basic framework of Japanese propaganda

policy. It gives explanation on the local propaganda organizations, profile

of the propagandist, and the scheme and media of propaganda.

The writer then proceeds to explain on the movie propaganda,

particularly, as it had the biggest impact on rural society. The writer first

laid out the movie policy in Japan with its Motion Picture Law of 1939.

Then, the chapter informs the movie policy in Java which basically had the

same policy. It also talks about the Japanese movies that are shown in Java

which were carefully chosen beforehand and the movies produced in Java

during the time. The author also explains about movie distribution in

Javanese society and the travelling theatres which allowed them to spread

the propaganda scheme to the civilians. The chapter then closed by the

writer informing the readers on the perception of Japanese on the

propaganda and the effect of Japanese propaganda to the people in Java

which was significant and effective among the uneducated mass but also at

the same time, less effective in shaping and directing them in the way that

the military authorities originally wanted them to.

This book chapter may give some insights on the film distribution and

utilization by the Japanese government during the War. This chapter may

help the author to see the development of Japanese movies promotion and

compare them with the present day movie promotions done by the Japanese

government through its cultural agents. This literature will be discussed and

applied later in proceeding chapters.

21

2.2.3. Diplomasi Publik Jepang: perkembangan dan tantangan.74

In this book, the author, Tonny Dian Effendi, explains Japan’s public

diplomacy. The book starts with some explanations on public diplomacy as

a conceptual framework according to the conceptions argued by several

public diplomacy scholars. Then, the book explains in detail on the

importance of public diplomacy for Japan in restoring and mending its

national image post war era. The book then describes some institutions that

are actively conducting Japan’s public diplomacy including its roles and its

duties to achieve the goals of Japan’s public diplomacy.

The book then also emphasis the importance of cultural diplomacy to

strengthen mutual understanding between Japan and other nation states. It

gives some explanations about the establishment of some Japanese

institutions, including JF, JETRO, JICA, and others, and also describes their

duties and responsibilities. The book the also discusses the challenges that

faced by the Japanese government in conducting its public and cultural

diplomacy to foreign nation states.

The author of this book uses the public diplomacy conception

pioneered by some major public diplomacy scholars such as Gyorgy Scondi,

and Mark Leonard. They are known for their thorough research in the fields

of public diplomacy. These conceptions will be discussed later in the

following chapter by the author of this thesis.

This book gives good explanation on Japan’s public diplomacy and,

also, cultural diplomacy. The author of this book explains the topic really

well and is easy to understand. This literature may give further insight on

how the government of Japan govern its public diplomacy and will be

further analyzed in the following chapters.

74 Effendi, T. D. (2011). Diplomasi Publik Jepang: perkembangan dan tantangan. Ghalia Indonesia.

22

2.2.4. Japan’s Cultural Diplomacy, Past and Present.75

The author of this book, Kazuo Ogoura, was a former president of JF

and an invited Professor of Aoyama Gakuin University. In this book,

particularly in this book section, the author describes the development of

Japan’s cultural diplomacy throughout decades. From this book section, it

can be seen that there has been significant development and improvement

in the practice of cultural diplomacy. This chapter consists of four sub

chapters.

The chapter is first introduced by some explaining on the meanings of

cultural diplomacy, cultural exchange, and public diplomacy. It also

discusses the distinctions of the former two and how in many countries,

including Japan, it is often confused since it may overlap to one another.

The author also argues that public diplomacy and cultural diplomacy are not

the same even though they may also sometimes overlap. It also explains how

Japan’s cultural policies are created. In this sub chapter the author

emphasize that Japan is focusing on cultural diplomacy instead of cultural

exchange.

In the next sub chapter, the author describes historical explanation on

how the Japan’s government managed its cultural diplomacy especially after

World War II. It also informs the readers on what the Japan cultural

diplomacy is aimed for and to what kind of extend and scoop of their culture

that they are going use to represent itself accordingly that fits the national

image they are going to project to the world. It describes how eager the

government to establish a peace-loving democracy image to the world

particularly during the 1950s and early 1960s. The author in this sub chapter

also emphasize that Japan’s cultural diplomacy has undergone several

stages of evolutions.

75 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 44-54). The Japan Foundation.

23

In the third sub chapter, the author is focused more on the current

phase of Japan’s cultural diplomacy. It explains the challenges that Japan

face as there are difficulties on the financial resources for overseas activities.

The last sub chapter concludes the whole chapter. It emphasizes that

Japanese cultural diplomacy has always aimed to dispel negative images of

Japan. It has always attempted to correct misconceptions of Japan in foreign

countries to show that Japan has changed from its imperial image during the

War. The author suggests that Japan must think beyond traditional patterns

of cultural diplomacy and have more confidence in its time-honoured

cultural traditions and also to share them widely and deeply with people in

other countries for the purpose to contribute to the human society

enrichment and maintenance of global peace and cultural diversity.

This literature gives the researcher a better insight on Japan’s cultural

diplomacy and its development. This chapter will be applied in Chapter V

which provides the explanations of Japan’s cultural diplomacy. The

development of Japan’s cultural diplomacy will be further described and

analyzed with additional explanations from other reliable sources.

2.3. Journals Review

2.3.1. Promoting Culture Abroad: the Experience of Germany and

Japan in the Field of Cultural Diplomacy.76

This journal article focuses on German and Japanese efforts to form a

positive national image abroad in the field of cultural diplomacy. Cultural

diplomacy of both countries is characterized by: the use of social media for

cultural promotion; the active role of international broadcasters; the lack of

a centralized organizational structure; and the emphasis on intercultural

dialogue encouragement and deepening of mutual understanding between

nations. The author concludes that one of the main differences between the

76 Marchukov, A. (2016). Promoting culture abroad: the experience of Germany and Japan in the field of cultural diplomacy. Практики и интерпретации: журнал филологических, образовательных и культурных исследований (Practices and Interpretations: Journal of Philological, Educational and Cultural Studies) , 1 (2), 41-54.

24

foreign policy cultural strategies of these countries is the Japanese is putting

more emphasis and focus on pop culture as a tool for its public diplomacy.

From this point of view, Japanese modern media culture is demonstrating

the potential for rapid development in the future.

This journal compares the style of cultural diplomacy that done by

Germany and Japan. It gives explanation on how each of the respective

countries’ attempt in conducting its cultural diplomacy. It provides detailed

examples on the activities that both institutions, Goethe Institute and JF, has

done and how they govern the programs and projects.

2.3.2. Japan’s International Cultural Relations: Learn from the

West.77

In this journal article, the author, M. Mossadeq Bahri, discusses about

Japan’s international cultural relations, its development especially after the

World War 2. The article describes how the Japanese government also fully

utilized cultural diplomacy during 1950s onward. The Japanese, as one of

its attempts of redemption after the War, tries to be more actively involved

in the world and also to dismiss bad images labelled towards them. In this

article, the author uses imperialism theory to explain the understand the

international relations by analyzing the way advanced industrialized

countries carrying out their cultural relations policies towards developing

countries through the model of imperialistic relations with an imperialistic

theory of development.

This article starts by explaining the international cultures that are

being used by the Western states stretches back from the last few centuries.

It describes, briefly, the development of cultural dimension as a part of

foreign policy in France, Great Britain, Federal Republic of Germany, the

United States of America, and other modern nation states. It also discusses

how the United States and the USSR deployed the notion of “national

77 Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies , 1-14.

25

culture” during the Cold War. The author emphasizes on how it was used as

a diplomatic tool in creating favourable images abroad, asserting their own

superiority, and using it as diplomatic barometers to signal strategic

intentions.

As Japan in its contemporary history has been admitted and accepted

as a member of one of the powerful and advanced industrialized countries.

Japan needs to learn the way of conducting cultural relations and gradually

develop its own approach. International exchange activities in Japan were

stretched way back from the early seventh century marked by the

dispatching of Japanese whose envoys to China during Tang Dynasty. There

was a sudden rising in education exchange, science, and culture in the early

Meiji era. After World War 2, it began to recognize the benefits of extensive

cultural diplomacy which has been pursued by the Western countries for

decades. Japan needs to learn and understand since it has limited experience

and disposition to share its cultural heritage to foreign countries and also

since the philosophical and spiritual aptitude in reaching out to other foreign

societies has not yet being a part of Japan’s foreign policy. Japan’s strategy

of its cultural relations, the author noted, was its wide-ranging geographical

coverage.

As they have to accommodate its cultural relations with other

countries, adequate facilities are needed which then the government of Japan

established the Japan Foundation in 1972. On the next part of the article, the

author criticized on the one-sidedness of Japan’s cultural relations. Shimizu

Hayao (1989) also argues that Japan tends to be very selfish in carrying out

its cultural relations with other countries in Asia. He argues that in terms of

the process of economic and technological exchange between Japan and

other Asian nations are only one direction from Japan to Asian nations.

There are also some others that criticize Japan’s one-sidedness in Southeast

Asia and also its lack of interest in ASEAN cultures since it has superiority

complex towards them. They also argue that Japan has been using its

sponsored activities in promoting knowledge of Japan in Southeast Asian

26

countries as its propaganda which has ultimately has little effect in the

development of Japan’s cultural relations.

It is known that, during some few years right after World War 2, Japan

is relatively new as a member of developed countries. It is important for

Japan to maintain a strong image but also a benevolent nation. Japan has

been following the Western industrialized countries of their way in

successfully promoting their economic and political interests through

conducting and the maintenance of international cultural relations. The

author argues that the principles of cultural relations has not yet being fully

observed by Japan and that aid as part of the whole package of its cultural

diplomacy is just merely a disguise for Japan’s economic self-interest.

2.3.3. Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-

Level Approach to Japan’s Soft Power.78

In this journal article, the author, Alexander Bukh, questions the utility

of Japan’s agent-based approach for its cultural soft power. He suggests that

cultural diplomacy is not simply only a matter of diplomatic craftsmanship.

This article starts on the discussion of cultural diplomacy in recent years and

how it has been rising in its importance which attracts interest from

international relations scholars and policymakers. This article also discusses

about the concept of soft power and the scholars that popularize the concept,

mainly Joseph Nye, and also other scholars. It gives explanation on soft

power based on the soft power conception according to Nye’s perspective.

The writer also points out on how soft power differs a little from the concept

of propaganda.

In this article, the writer informs that this literature will be using an

analytical framework that is build on one of the most persuasive agency-

oriented attempts in theorizing soft power and also outlines the relations

78 Bukh, A. (2014). Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level Approach to Japan’s Soft Power. Asian Perspective , 38, 461-485.

27

between soft, power, national identity, and international structure. Soft

power that is construed in this article is become the intention of an agent in

manipulating a certain group of people by communicating a particular view

of reality which is favourable to the wielder of soft power. The writer also

argues that Japan’s cultural diplomacy has always been reflecting to the

dominant discourses of its own national identity. He also argues that

international structures allow but, then, also limit the emergence on some of

the cultural strategies that are designed by the Japanese policymakers

through its effect on its national identity.

The analysis started by providing the explanation on Japan’s cultural

diplomacy history. It started on the explanation on Japan’s cultural

strategies during the imperial era. Then it continues to Japan’s cultural

diplomacy in post-war era which includes the debates on the policy and

efforts to construct a cultural strategy. After that, the article also explains

post-war Japan’s cultural identity and international ideational structures.

International ideational structures, as argued by the writer, have exercised a

profound effect in shaping Japan’s national identity on Japan’s cultural

diplomacy.

This literature gives arguments and detailed explanations on how the

government of Japan constructs and deploy its cultural policy throughout

the years. It also compares the development of Japan’s cultural diplomacy

throughout the era in detail. The author of this literature also gives some

critique on the nature of Japan’s cultural diplomacy and the policy making

regarding to cultural diplomacy constructed by the Japanese government.

This literature will be used to further examine the practices of Japan’s

cultural diplomacy in the following section.

2.4. Chapter Conclusion

To further analyze and explain on the topic for this research, some

literatures are needed. It is since literatures may gives explanations on

theories and the topic in other perspective in accordance to the writer of the

28

literatures’ point of view and arguments. The seven literatures, books and

journals, are the sources which the author of this thesis uses in order to have

a better understanding on the topic and are correlated and relevant to the

research. However, those are not the only sources that the author will be use.

There will be other sources that can be found on the references of this thesis

in later chapter.

29

CHAPTER III

RESEARCH METHODOLOGY

3.1. Background

In any academic writing, research methodology is important for the

researcher(s) to analyze the data that are necessary for the topic discussed

in the writing. It helps the writer to focus on what kind of approaches and

methods which are useful to explain and support the writer’s arguments.

Research can be defined as an effort to gain new knowledge

systematically. 79 Research is done by researchers to find and discover

answers from questions through scientific application which consists of

formulating hypothesis, collecting facts and/or data, analyzing facts and/or

data, and gain certain conclusions in form of solution(s) or in certain

generalization for some theoretical formulations.80 Methodology refers to

the strategy, the plan and action, and the process or design that are lying

behind the choice and uses particular method.81

Research methodology is a systematic way to solve research

problem. 82 The researcher must also know how to distinguish which

methods and techniques that are suitable and relevant for the topic discussed

and eventually support the argument and hypothesis that the researcher tries

to indicate. This research is going to use qualitative approach in processing

analyzing the data and information relevant to the topic discussed.

Qualitative research approach is designed to assess subjective attitudes,

79Redman, L., & Mory, A. (1923). The Romance of Research. 80 Kothari, C. (2004). Research Methodology: Methods & Techniques. New Delhi: New Age International (P) Ltd., Publishers. 81 Marelli, F. B. (n.d.). Qualitative Research Methods & Methodology. Retrieved March 27, 2017, from ATLAS.ti: http://atlasti.com/qualitative-research-methods/. 82 Kothari, C. (2004). Research Methodology: Methods & Techniques. New Delhi: New Age International (P) Ltd., Publishers.

30

opinions, and behaviour.83 Since this thesis will discuss about the cultural

diplomacy of Japan in Indonesia through JF particularly in promoting films,

the writer will analyze and identify the process and the development of

Japan’s cultural diplomacy and the policies on the topic discussed.

By using qualitative method, the writer shall generate data from

primary and secondary sources. Primary resources may be in the form of

official government documents and official statements that can be gathered

through official websites of the related government. Meanwhile, secondary

sources can be in form of journals, books, articles, and news which are

relevant to the topic.

3.2. Research Framework

Figure 3.1. Research Framework

83 Kothari, C. (2004). Research Methodology: Methods & Techniques. New Delhi: New Age International (P) Ltd., Publishers.

31

The popularity of a nation state’s culture in another country rests on

the efforts its government design and execute outside of the country. This

also includes Japan since, through its cultural diplomacy, many people in

Indonesia, particularly, have taken interests in the culture of Japan either for

its traditional or modern/pop cultures. In this thesis, the research will be

focusing on the role of Japan Foundation in Indonesia in promoting Japanese

movies as one of Japan’s cultural diplomacy. As shown in the figure above,

this research will be focusing on film as one of the mediums used in cultural

diplomacy.

Nation states plan and implement its own scheme to practice cultural

diplomacy and use it to reach maximum results as possible. The Japanese

government has been very committed in the succession of its cultural

diplomacy. It can be seen since the first few years since the end of WWII,

even after they were criticized by many international actors where they

thought that Japanese government is orienting its diplomatic overseas

activities in the pursuit of economic agenda and, also even, suspected to

revive its military.84 To correct these accusations, the Japanese government

established a new institution which called JF where they can focus in

establishing cultural engagement with other nation states.

The conception of public diplomacy, as coined by Gullion, can be

describes as public attitudes’ influence on foreign policies’ formation and

execution. 85 Leonard argues that public diplomacy is about building

relationships which include the understanding of the need of other countries,

cultures, and people; correcting misperceptions; communicating one’s

perspective; and find areas that can be common causes.86 The content of

public diplomacy, according to Szondi, describes activities which are

targeting abroad audiences in the fields of education, information, and

84 Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies , pp. 7. 85 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen (Ed.), The New Public Diplomacy: Soft Power in International Relations (p. 6). Palgrave Macmillan. 86 Leonard, M. (2002). Public Diplomacy. London: The Foreign Policy Centre.

32

culture with the objective to influence foreign government through its

citizens. 87 The activities, as described by Szondi, needs to be planned

carefully by the government to successfully implement its public diplomacy.

Since culture is one of the contents of public diplomacy, many scholars

argue that cultural diplomacy is a part of public diplomacy.88

As a linchpin of public diplomacy, cultural diplomacy, according to

Cummings, can be defined as the exchange activities of art, ideas,

information, and other cultural aspects between nations and its citizens to

establish mutual understandings.89 It is important to note that, according to

Melissen and Mark, both public diplomacy and cultural diplomacy have a

broader target audience than traditional diplomacy since both public

diplomacy and cultural diplomacy are targeting people of foreign nations

including individuals, private actors, non-official groups, and

organizations.9091

87 Szondi, G. (2008). Public Diplomacy and Nation Branding: Conceptual Similiarities and Differences. Discussion Papers in Diplomacy . Netherlands Institute of International Relations 'Clingendael'. 88 Mark, S. (2009). 89 Cummings, M. C. (2003). Cultural Diplomacy and the United States Government: A Survey. Washington DC: Center for Arts and Culture. 90 Leonard, M. (2002). Public Diplomacy. London: The Foreign Policy Centre. 91 Melissen, J. (2005). The New Public Diplomacy: Between Theory and Practice. In J. Melissen (Ed.), The New Public Diplomacy: Soft Power in International Relations (p. 5). Palgrave Macmillan.

33

Figure 3.2. Conceptual Framework

Simon Mark argues that cultural diplomacy is a subset of public

diplomacy. Using Leonard’s conceptualization of public diplomacy, Mark92

argues that cultural diplomacy is about the long-term relationships

development that may take years in process to achieve its foreign policy

goals. Mark also argues that cultural diplomacy is about combatting

ethnocentrism, stereotyping, and conflicts, and developing mutual

understanding.93 There are many aspects of cultures that can be used by a

nation to further enhance its cultural diplomacy and engage to foreign

societies ranging from traditional to pop culture.

As argued by Bukh, cultural diplomacy refers to the utilizing of

cultural symbols of a nation state as a way to communicate a particular view

of reality.94 Which means the State utilizes cultures to establish desired

reality, by which in this case the image of the State itself. This also applies

to Japan as it practices in cultural diplomacy to present and project that

Japan is not as it used to before the War. As a Japan’s institution that

engaged in the field of cultural exchange and cultural diplomacy, JF plays

an important role in the promotion of Japanese cultures in Indonesia,

especially films. JF is playing a part as a government agent which carries

the responsibilities to promote Japanese culture to other countries including

Indonesia to foster mutual understanding and seek to dismiss

misperceptions toward Japan.

3.3. Research Time and Place

Place of Research:

- Adam Kurniawan Library, President University

92 Mark, S (2009). 93 Mark, S. (2009, April). A Greater Role for Cultural Diplomacy. Discussion Papers in Diplomacy , pp. 9. Netherlands Institute of International Relations ‘Clingendael’. 94 Bukh, A. (2014). Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level Approach to Japan’s Soft Power. Asian Perspective , 38, pp. 466.

34

- The Japan Foundation Library, Summitmas I Building 2nd Floor,

Jakarta

- University of Indonesia Library, Depok, West Java

Time of Research

- September 2016 – December 2018

3.4. Research Instrument

Internet

As technology nowadays has becoming more advanced and people can

access almost, if not all, information easily, internet has becoming our

daily usage. In this research, internet plays an important part for the

researcher for this thesis writing. Internet is important for the researcher

to gather data and information related to the topic that is being discussed

and further broadening the views and perspective. Some examples of

some reliable sources that can be obtained through internet that relevant

to the research are http://www.kantei.go.jp/, http://www.jf.go.jp/,

http://www.jpf.or.id/, http://www.jfac.jp/, and http://www.mofa.go.jp/.

Books

One of the most reliable sources that can be obtained by any researchers

in academic writing is books. Books may give good explanations on

one or more topics which may be not available online. It is especially if

the books are published for printed purpose only and/or being published

for quite a while. However, there were also some books that can be

found on the internet known as e-books but is very limited. Some

examples of books are Japan’s Cultural Diplomacy by Kazuo Ogoura,

The Foreign Policy of Modern Japan edited by Robert A. Scalapino,

Japan: The Years of Trial 1919-52 by Hyoue Murakami, and The Rise

of Modern Japan 2nd Edition by W.G. Beasley.

Journals and Reports

35

Journals and reports are one of the most important sources for academic

writing including this thesis. Journals provide arguments and

hypothesis by previous researches which help the author of this thesis

to understand and have better views and give other perspective on the

topic discussed in the academic writing, for example Asian Perspective

Vol. 38, MANABU: Journal of Japanese Studies Vol. 1, and Media

Transformations. Meanwhile, reports give important information for

the writer which usually being published by a body or an institution or

a government body, such as the Annual Report of the Japan Foundation,

Diplomatic Bluebook, and Laporan Kegiatan The Japan Foundation di

Indonesia.

Official Documents and Statements

Official documents and statements are very important and very critical

for academic writings in especially in this research. It is since this

research will be discussing about the cultural diplomacy of a nation

state, explaining about the foreign policy specifically related to the

subject matter is very crucial as one of its primary sources. Some

examples of official documents and statements include government’s

letters, Constitution of Japan, the Independent Administrative

Institution Japan Foundation Law, and official statements and speeches

by Prime Minister and Foreign Minister of Japan.

3.5. Research Structure

Chapter 1: Introduction

In this chapter, it contains the introductory of the study for this thesis.

This chapter talks about the background of the study, problem identification,

statement of the problem, research objectives, the significance of the study,

the conceptual framework, scope and limitations of the study, and definition

of terms that are being used in this research. This chapter provides a general

preview on the topic discussed in this thesis and inform the readers the

reason and significance of this research.

36

Chapter 2: Literature Review

The contents for this chapter are literature reviews of books and

journals. The books and journals that are being reviewed in this chapter are

those that are relevant to the topic discussed in this research. As the topic of

this research will discuss about Japan’s cultural diplomacy through the

Japan Foundation, the reviews are come from reliable sources to help further

understanding on cultural diplomacy of Japan, the foreign policy of Japan,

the opportunities and challenges that Japan face and also the role of one of

Japan’s institutions that taking an active part in the development of its

cultural diplomacy especially in Indonesia.

Chapter 3: Research Methodology

The third chapter of this thesis consists of research methodology that

is used by the author to explain which method(s) that being used to collect

and analyze data. The author uses qualitative method in collecting data. In

this chapter, it also contains the background of the chapter, research

framework, research time and place, research instrument, and research

structure.

Chapter 4: Data Analysis and Interpretation

The next chapter contains the data and information regarding to the

overview of Japan-Indonesia bilateral relationships. It contains the

partnership and cooperation that Japan and Indonesia have in political,

economic, strategical, and also socio cultural aspects. It will also provides

explanation on the Japan Foundation.

Chapter 5: Data Analysis and Interpretation

This chapter consists of the analysis of the overview of Japan’s

cultural diplomacy, the “WA Project – Toward Interactive Asia”, and the

roles of the Japan Foundation in Indonesia in promoting Japanese films in

37

2013 until 2016. The chapter will identify and analyze JF activities and

programs in promoting Japanese films in Indonesia.

Chapter 6: Conclusion

In this closing chapter, it contains conclusion and recommendations

of the topic discussed in the previous chapters. This chapter will provide

some additional information on the topic for future research. This thesis is

expected to be useful to the readers for academic and non-academic

purposes. It is hoped that this thesis can also be helpful for future researchers

who would like to discuss the same topic.

38

CHAPTER IV

JAPAN-INDONESIA BILATERAL RELATIONS

4.1. Background

Bilateral relations between nations are important as globalization makes

the world is becoming more borderless in terms of the change of information,

trades, investments and so on. Relations between nations have always been

done by a state nation to pursue its national interest which it may get from

establishing such relationship. Mostly, bilateral relations between nations are

beneficial to both sides in some certain degree. In this chapter, the researcher

would like to talk about bilateral relations between Japan and Indonesia. Japan

and Indonesia may have a rough past especially during World War II. However,

now that the War is over, Japan and Indonesia are trying to bury the hatchet and

establishing good relations. After the overview of Japan-Indonesia bilateral

relations, the author of this research will continue to explain about the overview

of the Japan Foundation. This chapter will discuss the historical relations

between the two countries consisting of the political, economic, and socio-

cultural aspects.

4.2. Japan-Indonesia Bilateral Relations

Relations between Japan and Indonesia have a very complicated

history ever since before Indonesia’s independence. History that they had

together during the Second World War has scarred Indonesian people even

until now. During 1942 until 1945, Japanese Army occupied the then Dutch

East Indies.95 This caused Indonesian people to have a negative impression

95 Kurasawa, A. (1991). Film as Propaganda Media on Java under the Japanese, 1942-45. In G. K. Goodman (Ed.), Japanese Cultural Policies in Southeast Asia during World War 2 (pp. pp. 36-92). Macmillan Academic and Professional Ltd.

39

on Japan even after the end of the War and Japan was defeated by the Allied

forces.96

Japan gained back it independence in 1952 marked by the signed of

Peace Treaty in San Francisco.97 The Treaty was signed by 52 UN state

members including those that were colonized by Japan during the War in

1951 and implemented in 1952.98 Diplomatic relationship between Japan

and Indonesia has been established ever since the signed of Peace Treaty

between Republic of Indonesia and Japan in 1958.99 Since then, bilateral

relationships between the two nations are going good and keep being

developed until recent days.

4.2.1. Political

On the political aspect, bilateral relationship that Japan and

Indonesia have has been very strategic. Diplomatic relationship

between Republic of Indonesia and Japan established in April 1958

with the signing of Peace Agreement between the two nations

states.100 Since then Republic of Indonesia and Japan have been

strategic partners in many aspects. In Indonesia, Japan has several

consular offices: Japan Consular Office in Makassar (Kantor

Konsular Jepang di Makassar), Japan Consulate General Office in

Surabaya (Konsulat Jenderal Jepang di Surabaya), Japan Consulate

General Office in Denpasar (Konsulat Jenderal Jepang di Denpasar),

and Japan Consulate General in Medan (Konsulat Jenderal Jepang

96 Ma'ruf, A. (1975). Profile of Japan. Cultural Exchange between Indonesia and Japan , 5. Jakarta: Japan Foundation. 97 Scalapino, R. A. (1977). The Foreign Policy of Modern Japan. University of California Press. 98 Murakami, H. (1983). Japan: The Years of Trial 1919-52. Kodansha International Ltd. (pp. 231-233). 99 Kedutaan Besar Republik Indonesia di Jepang. (n.d.). Hubungan Bilateral Indonesia-Jepang. Retrieved April 23, 2017, from Kedutaan Besar Republik Indonesia di Jepang Official Website: http://www.kemlu.go.id/tokyo/id/Pages/Jepang.aspx. 100 Kedutaan Besar Jepang di Indonesia. (n.d.). Hubungan Bilateral Indonesia-Jepang. Retrieved April 23, 2017, from Kedutaan Besar Jepang di Indonesia Official Website: http://www.id.emb-japan.go.jp/birel_id.html.

40

di Medan) with its Embassy of Japan office located in Jakarta.101

Meanwhile in Japan, Indonesia established its Embassy of Republic

Indonesia in Tokyo.102

There have been many official visits that have been done by

the President of Indonesia to Japan and by the Prime Minister of

Japan to Indonesia. It is recorded that there have been several visits

by the President of Indonesia to Japan and vice versa throughout the

years, including Presidential visit to Japan in June 2005 and

November 2006, visit on attending the G8 meeting in Hokkaido, and

many others. Prime Minister of Japan also has been visiting

Indonesia occasionally, including: the Prime Minister visit to

Indonesia in 2005 (Junichiro Koizumi), 2007 (Shinzo Abe), 2009

(Yukio Hatoyama), and 2011 (Yoshihiko Noda).103

4.2.2. Economic

In the economic aspect, Japan and Indonesia has several

economic agreements and partnerships. Japan and Indonesia has

been partnering in trades of goods and becoming one of the major

export and import activities.104 There are some agencies of Japan

that carry out Japan’s economic activities in Indonesia, such as Japan

External Trade Organization (JETRO), and. Japan International

Cooperation Agency (JICA). There are also economic agreement

and partnership that has been established between Japan and

Indonesia, those are including: Official Development Assistance

101 Kedutaan Besar Jepang di Indonesia. (n.d.). About Us. Retrieved April 23, 2017, from Kedutaan Besar Jepang di Indonesia Official Website: http://www.id.emb-japan.go.jp/conind.html. 102 Kedutaan Besar Republik Indonesia di Jepang. (n.d.). Kontak Kami. Retrieved April 23, 2017, from Kedutaan Besar Republik Indonesia di Jepang Official Website: http://www.kemlu.go.id/tokyo/id/kontak-kami.aspx 103 Kedutaan Besar Republik Indonesia di Jepang. (n.d.). Hubungan Bilateral Indonesia-Jepang. Retrieved April 23, 2017, from Kedutaan Besar Republik Indonesia di Jepang Official Website: http://www.kemlu.go.id/tokyo/id/Pages/Jepang.aspx. 104 Kedutaan Besar Republik Indonesia di Jepang. (n.d.). Hubungan Bilateral Indonesia-Jepang. Retrieved April 23, 2017, from Kedutaan Besar Republik Indonesia di Jepang Official Website: http://www.kemlu.go.id/tokyo/id/Pages/Jepang.aspx.

41

(ODA), and Japan-Indonesia Economic Partnership Agreement

(JIEPA).105

Japan ODA to Indonesia includes Grant, Yen Loan, and

Technical Assistance. Grant is financial assistance which the

recipient is not obligated to repay. Yen Loan is soft loan in yen with

easy conditions and also with a long term and low interest to

construct its social economic foundation. Technical Assistance is for

human resources training. Japan ODA in Indonesia has been utilized

in providing infrastructures and disaster reliefs. Infrastructures that

are the result of the Japan ODA in Indonesia are including electrical

power capacities, road constructions, communication network

constructions, railways restoration, water resources infrastructures,

fishing port (in Jakarta), hospitals, schools, and provide vocational

training centers and instructors.106

JIEPA or IJEPA is a bilateral economic agreement between

Japan and Indonesia signed by then President Susilo Bambang

Yudhoyono and Prime Minister Shinzo Abe in August 2007. 107

Japan and Indonesia have a wide range of areas in terms of economic

relationship since both states have mutual commercial interest. This

agreement will strengthen and promote beneficial economic ties

between them and contributing on the realization of multi-layered

cooperation for capacity building in many different ways. For

Indonesia, this agreement will be benefitting for them since Japan is

Indonesia’s largest trading partner, export destinations and also

import sources. Not to mention that Japan is also has been providing

105 Kedutaan Besar Jepang di Indonesia. (n.d.). Hubungan Bilateral Indonesia-Jepang. Retrieved April 23, 2017, from Kedutaan Besar Jepang di Indonesia Official Website: http://www.id.emb-japan.go.jp/birel_id.html. 106 Ministry of Foreign Affairs of Japan. (2004). Japan's Official Development Assistance White Paper 2004. Retrieved May 18, 2017, from http://www.id.emb-japan.go.jp/oda/en/topics_ginanjar.htm 107 日本とインドネシアとインドネシアとの関係 (Japan - Indonesia Relationship). (n.d.). 15. Retrieved May 17, 2017, from http://energy-indonesia.com/datapdf/nihon-indo-relation.pdf

42

a major source of development loans and assistance, and investment

for Indonesia.

For Japan, Indonesia is one of its largest import sources and

also a significant export destination for its goods. There are three

pillars of JIEPA those are liberalization, facilitation, and

cooperation. This agreement is hoped to liberalize market access in

goods and bring immediate benefits to most of Japan and Indonesia

exports, a freer market access in services that will provide benefits

to Japan in importing and investing, improving transparency and

cooperation in various fields between the two, the commitment of

Japan on labor service may benefit Indonesian service providers,

Technical Support and Capacity Building will provide concrete

assistance to improve the quality of Indonesia’s products, and it will

be a stepping stone to a broader regional cooperation with ASEAN

plus agreement, APEC and the WTO Doha Agenda.108

4.2.3. Socio Cultural

On the socio-cultural aspect, Japan and Indonesia has been

enhancing its relations in international cultural exchange programs,

and tourism. There have been some Sister City arrangements

between Indonesia and Japan, those are Papua and Yamagata

Prefecture, Jakarta and Tokyo, Yogyakarta and Kyoto, Surabaya and

Kohchi city, Medan and Ichikawa city, Karawang, West Java and

Shiga town, Ishikawa-ken, and Desa Mas, Bali and Misato town,

Shimane-ken.109

108 Ministry of Trade Republic of Indonesia. (2007, November 30). Indonesia-Japan Economic Partnership Agreement (IJEPA) and Its Effects on Indonesian and Japanese Economy. Tokyo. Retrieved May 17, 2017, from https://www.indonesia-investments.com/upload/documents/Indonesia-Japan-Economic-Partnership-Agreement-IJEPA-Indonesia-Investments.pdf 109 Kedutaan Besar Republik Indonesia di Jepang. (n.d.). Hubungan Bilateral Indonesia-Jepang. Retrieved April 23, 2017, from Kedutaan Besar Republik Indonesia di Jepang Official Website: http://www.kemlu.go.id/tokyo/id/Pages/Jepang.aspx.

43

There are some Japan’s government institutions that are

actively conducting its cultural policies in Indonesia. Some of those

institutions including: Japan’s MOFA, Agency for Cultural Affairs,

and the Japan Foundation (JF). Often times, these institutions ought

to cooperate with each other and/or other governmental and private

institutions and communities to conduct some of its activities and

programs in regards of promoting Japanese culture.

The establishment of one of JF overseas branches in Jakarta

is because it is the central institution of Japan’s cultural exchange

activities and is Japan independent institution that carries the cultural

diplomacy mission alongside with other bodies. This institution

governs any cultural exchange initiatives by the government of

Japan in Indonesia to foster mutual understanding and good ties with

the people in Indonesia. Many of its programs directed to build

relationship between Japan and Indonesia, such as the HANDs

Project for disaster relief and the education on the disaster relief,

supporting local communities in conducting cultural events such as

cultural festivals (matsuri), film screenings and discussions, grass-

roots grant assistance for art projects, and held Japanese classes for

those interested.110 In tourism sector, Japan and Indonesia has been

collaborating in gradually eliminates visa requirements to visit and

also promote tourism destinations of both countries.111

4.3. Overview of the Japan Foundation

4.3.1. Background of the Japan Foundation

In the early years of Japan’s attempt in fostering mutual

understanding and to eliminate bad impressions, Japan got a rather negative

110 The Japan Foundation. (2015). The Japan Foundation Annual Report 2014/2015. Tokyo: The Japan Foundation Communication Center. 111 Kedutaan Besar Jepang di Indonesia. (n.d.). Hubungan Bilateral Indonesia-Jepang. Retrieved April 23, 2017, from Kedutaan Besar Jepang di Indonesia Official Website: http://www.id.emb-japan.go.jp/birel_id.html.

44

feedback rather than its initial purposes especially from countries that were

colonized by Japan in the World War II. Japanese were criticized for using

its international cultural relations with other countries as a veil to hide its

economic purposes.112 This sentiment can be understood since, during the

time, Japan was leading in terms of technology and economic aspects. As

addressed by the then Foreign Minister Takeo Fukuda, they were accused

for orienting their overseas activities for economic pursuit and, even, for

reviving its military power. The Foreign Minister also addresses this as an

urgent matter to correct the misconception and sentiment toward Japan’s

initiatives.113

As pointed by Ogoura, JF is an agent of cultural diplomacy. It is

since its purpose is partially pushed by the desire to change Japan’s own

perception of itself and it is proved by some of the statements that were

made by members of the House of Representatives Foreign Affairs

Committee on the debate in establishing JF.114 The establishment of JF was

addressed on the statement of foreign policy by the then Foreign Minister

Takeo Fukuda at the 68th Session of the National Diet on 29 January 1972.

The Foreign Minister stated:

“...Today when the Japanese are active participants in

various phases of the international society, they must deepen

their understanding of the realities of the world. Recognizing

these urgent needs, the government, intend to establish a

new fund, the Japan Foundation, to work toward that end,

and requests allocation of necessary fund in next year’s

budget... I believe the promotion of broad mutual

understanding among peoples to be one of the most

important tasks facing the diplomacy of our nation.”115

112 Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies , pp. 13. 113 Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies, pp. 13. 114 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 48). The Japan Foundation. 115 Cited in: Okatsu, (1977):101-102. Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies, pp. 7.

45

The Foreign Minister stated that JF shall play out important tasks in

promoting cultural exchange and correcting misconceptions toward Japan.

JF is the only Japanese institution that is dedicated in carrying out

comprehensive international cultural exchange programs throughout the

world. JF was established in 1972 after months of debates in the Japanese

Diet. In October 1972, JF was finally established with its Headquarters in

Tokyo and has done many projects and programs on cultural exchange with

its 20-billion-yen endowment.116

In 2003, JF transforms into an independent administrative institution

under the jurisdiction of MOFA.117 It is as the fulfilment of the legislation

that was set in 2002 which then became the Foundation’s basic policies

called the Independent Administrative Institution Japan Foundation Law

Article 3,118 as stated:

“The purposes of the Japan Foundation Independent

Administrative Institution are to contribute to the

improvement of a good international environment, and to the

maintenance and development of the harmonious foreign

relationships with Japan, by the efficient and comprehensive

implementation of activities for international cultural

exchange, which will deepen other nations’ understanding

of Japan, promote better mutual understanding among

nations, and contribute to the culture and other fields in the

world.”119

JF has becoming one of Japan’s important agencies that promote

comprehensively the culture of Japan in form of its cultural exchange

programs and projects.120 By 2014, JF is largely financed of 77.8 billion yen

116 The Japan Foundation. (1979). Laporan Kegiatan The Japan Foundation di Indonesia (1972-1978). Japan Cultural Centre (The Japan Foundation). 117 The Japan Foundation. (n.d.). About Us. Retrieved December 26, 2016, from The Japan Foundation Official Website: http://www.jpf.go.jp/e/about/index.html. 118 National Diet of Japan. (2002, December 6). Act No. 137 of Independent Administrative

Institution Japan Foundation Law (独立行政法人国際交流基金法). Retrieved February 28, 2017, from The Japan Foundation Official Website: http://law.e-gov.go.jp/htmldata/H14/H14HO137.html. 119 The Japan Foundation. (2015). The Japan Foundation Annual Report 2014/2015. Tokyo: The Japan Foundation Communication Center. 120 The Japan Foundation. (n.d.). About Us. Retrieved December 26, 2016, from The Japan

46

from a government endowment. 121 There have been many projects and

programs that JF has done. In the next section, there will be further

explanation on the objectives, organizational structure, and programs of JF.

4.3.2. Objectives and Organizational Structure

The main objective that JF pursues is the deepening of mutual

understanding between the people of Japan and other states/regions. This

objective is in accordance to the Article 9 Constitution of Japan. 122 To

achieve this objective, like any other organizations, JF has its own bodies

within the institution.

Figure 4.1. Organizational Structure of Japan Foundation (JF)

Source: https://www.jpf.go.jp/e/about/admin/org.html

As seen on Figure 4.1., JF is headed by a President and assisted by

an Executive Vice President and Administrative Vice President/Councillor

to the President. The current President of JF is Hiroyasu Ando.123 JF has

four global networks which are the Tokyo Headquarters, two Affiliated

Foundation Official Website: http://www.jpf.go.jp/e/about/index.html. 121 The Japan Foundation. (2015). The Japan Foundation Annual Report 2014/2015. Tokyo: The Japan Foundation Communication Center. 122 Ministry of Foreign Affairs of Japan. (1973, December). Diplomatic Bluebook for 1972. Retrieved January 2, 2017, from Ministry of Foreign Affairs of Japan: http://www.mofa.go.jp/policy/other/bluebook/1972/1972-contents.htm. 123 The Japan Foundation. (n.d.). Message from President. Retrieved April 23, 2017, from The Japan Foundation Official Website: http://www.jpf.go.jp/e/about/president/index.html

47

Organizations, a Branch Office in Kyoto, and 24 Overseas Offices 23

countries, including two Asia Center liaison offices.124

The Tokyo Headquarters of JF has several departments, those are:

General Affairs Division, Financial Affairs Department, Planning

Department, Arts and Culture Group of Department, Japanese-Language

Group of Department, Japanese Studies and Intellectual Exchange Group of

Department, Communication Center, and Audit Bureau.

124 The Japan Foundation. (n.d.). About Us. Retrieved April 21, 2017, from The Japan Foundation Official Website: http://www.jpf.go.jp/e/about/index.html

48

Figure 4.2. Departments under JF Headquarters

Source: https://www.jpf.go.jp/e/about/admin/org.html

In Arts and Culture Group, there are several divisions, those are: the

Arts and Cultural Department, Film and Broadcast Media Department, and

China Center. In Japanese-Language Group, there are two departments,

those are: Japanese-Language Department, and Center for Japanese-

Language Testing. Meanwhile, in Japanese Studies and Intellectual

49

Exchange Group there are three departments, those are: Japanese Studies

and Intellectual Exchange Department, Center for Global Partnership and

Youth Exchange Bureau.125

4.3.3. Programs of the Japan Foundation

In accordance to the Act No. 137 Independent Administrative

Institution Japan Foundation Law, there are some activities to achieve the

purposes of JF. Those activities are to: 1) create understanding between

Japan and other countries through culture through cultural exchange

activities; 2) introduce Japanese language to the world through Japanese-

language studies activities abroad; 3) introduce Japanese culture through

various educational programs, such as student exchange program; 4)

creating, collecting and providing information and materials that are

necessary to introduce Japanese culture for exchange programs.126

JF develops its programs in three main fields; those are Japanese

Studies and Intellectual Exchange, Japanese-Language Education Overseas,

and also Arts and Cultural Exchange.127 These three fields are hoped to

foster good relations and mutual understanding between people. There are

programs that can be applied in each of these fields, and support is provided

for activities that are conducted by organizations and individuals which

involved in international exchange.128 In each and every field, there are

some applicable programs and JF provides support activities that are

conducted by organizations and individuals which are also involved in

international exchange. To apply to these programs, the applicants must

125 The Japan Foundation. (2017, April 1). Organizational Chart and Addresses. Retrieved April 22, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/about/admin/org.html. 126 Kholisuddin. (2014, August 26). Peran Japan Foundation dalam Diplomasi Kebudayaan Jepang di Indonesia Tahun 2011-2013. pp. 54-55. Retrieved from UMY Repository - Universitas Muhammadiyah Yogyakarta Official Website: http://repository.umy.ac.id/handle/123456789/9624 127 The Japan Foundation. (2016). The Japan Foundation Annual Report 2015/2016. Tokyo: The Japan Foundation Communication Center. 128 The Japan Foundation. (n.d.). General Instructions. Retrieved April 24, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/program/instruction.html.

50

follow the instructions for the program that they want, fill the application

forms, and submit it to the specified office which then later JF will provides

support to successful applicants that passed the applications selection.129

4.3.3.1.Arts and Cultural Exchange Field

On the Arts and Cultural Exchange field, JF has been

working to introduce diverse variety of facets of Japanese culture to

the world which are including from art, music, drama, and film to

fashion and design.130 The contributions to the international society

through arts and culture are done by interactive collaboration/co-

production, cooperation, and efforts on the global common issues.

This creates opportunities for people to share the joy and experience

of co-creation and better understanding transcending language

barrier which eventually facilitates people-to-people exchange.

There are some categories under the field of Arts and

Cultural Exchange, those are: performing arts, visual arts,

publication, film and broadcast, and human exchange and cultural

cooperation.131 There are some applicable programs for in this field

including: Performing Arts Japan for North America, Grant Program

for Dispatching Artists and Cultural Specialists, Performing Arts

Japan for Europe, Exhibitions Abroad Support Program, Support

Program for Translation and Publication on Japan, and U.S. and

European Museum Infrastructure Support Program.132 Some of the

past projects of the Arts and Cultural Exchange field are including

Overcoming the Disaster – Gratitude from Japan to the World –,

LIGHT UP NIPPON, Japan-Russia Cultural Exchange Project 2012,

129 https://www.jpf.go.jp/e/program/dl/guidelines_e_2017.pdf 130 The Japan Foundation. (2016). The Japan Foundation Annual Report 2015/2016. Tokyo: The Japan Foundation Communication Center. 131 The Japan Foundation. (n.d.). Arts and Cultural Exchange. Retrieved April 24, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/project/culture/index.html. 132 The Japan Foundation. (2017). Program Guidelines. Retrieved April 22, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/program/dl/guidelines_e_2017.pdf

51

India-Japan: Passage to the Next Generation, and JENESYS

Programme. 133 There have been 346 projects and 31 television

program broadcasts and 150 people dispatched/invited in the Japan

Foundation China Center Projects that are done and executed by JF

in this field by the end of 2015 Fiscal Year.134

4.3.3.2.Japanese-Language Education Overseas

On the Japanese-Language Education Overseas field or the

Language field is more focused on the Japanese language education

and teaching. This field is aimed to make it easier to learn and teach

Japanese language by people from other countries. JF develops and

establishes infrastructures and environment in order to provide for

the Japanese language overseas. 135 JF also coordinates with

educational institutions and governments in other countries and

regions in providing effective support aiming the local needs.136

In this field, there are several programs, such as: the Japanese

Language Proficiency Tests (JLPT), the JF Nihongo Network,

Japanese Language Educational Projects by Japan Centers and JF

overseas offices, JF Language Courses/Cultural Japanese Courses,

Japanese Language Specialists overseas, and Japanese Language

training Projects for Overseas Learners. 137 The institution has

readjusted its grant programs for Japanese language education

abroad. This leads to the termination of some grant programs, such

as: the “Grant Program for Developing Networks of Japanese-

133 The Japan Foundation. (n.d.). Archives of Arts and Cultural Exchange. Retrieved April 24, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/project/culture/archive/index.html. 134 The Japan Foundation. (2016). The Japan Foundation Annual Report 2015/2016. Tokyo: The Japan Foundation Communication Center. 135 The Japan Foundation. (n.d.). General Instructions. Retrieved April 24, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/program/instruction.html. 136 The Japan Foundation. (n.d.). Projects. Retrieved April 22, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/project/japanese/index.html. 137 The Japan Foundation. (2016). The Japan Foundation Annual Report 2015/2016. Tokyo: The Japan Foundation Communication Center.

52

Language Teachers and Institutions”, “Grant Program for Japanese-

Language Courses Abroad”, “Grant Program for Japanese-

Language Teaching Materials”, and “Japanese Speech Contest

Support Program”.138

Activities that the JF does through this field are including on

providing trainings to Japanese language teachers, developing

materials for teaching, holding Japanese language proficiency test,

and so on.139 There are also some applicable programs in this field,

those are: Overseas Internship Program of Japanese-Language

Education (“NIHONGO Partners in collaboration with Japanese

Universities), Support Program for Organizations in Japanese-

Language Education (Grants), Overseas Internship Program of

Japanese-Language Education, Graduate Program in Japanese

Language and Cultural (Master’s Course), Training Program for

Teachers of the Japanese-Language (Long-Term/Short-Term

[special quota for Japanese Descendants]/Specific Theme/Project-

Based), Japanese Language Education Assistant Program (J-LEAP),

and Program for Specialists in Cultural and Academic Fields.140

4.3.3.3.Japanese Studies and Intellectual Exchange

The programs in this field are hoped to encourage greater

understanding of Japan by supporting and promoting Japanese

studies overseas. To support scholars in Japanese Studies, JF

organizes collaborative projects and symposiums to deepen dialogue

among experts in various countries. It promotes dialogue on the

international common issues and develops human resources by

138 The Japan Foundation. (n.d.). Grant Programs in the Past. Retrieved April 24, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/project/japanese/archive/end_support/index.html. 139 The Japan Foundation. (2016). The Japan Foundation Annual Report 2015/2016. Tokyo: The Japan Foundation Communication Center. 140 The Japan Foundation. (2017). Program Guidelines. Retrieved April 22, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/program/dl/guidelines_e_2017.pdf

53

which may play as a key role in future dialogues and exchange

initiatives. This field has several activity categories, those are:

Japanese Studies Fellowships, Intellectual Exchange programs,

Support for Japanese Studies, and Center for Global Partnership

Programs (CGP).141

There are some applicable programs in this field, such as

Grant Program for Intellectual Exchange Conferences, Grant

Program for Japanese Studies Projects, Grant Program for

International Exchange by Youth and Community Leaders, and

Japan Foundation Japanese Studies Fellowship Program.142 Some of

the past programs and projects of Japanese Studies and Intellectual

Exchange field are include The Japan Foundation 40th Anniversary

Symposium Transcending Borders: New Trends in International

Cultural Exchange, JENESYS East Asia Future Leaders

Programme, Youth Exchange, and Library Support Program.143

4.4. Chapter Conclusion

Relations between Japan and Indonesia may have a very rough

history. After the Treaty of Peace between Indonesia Japan has been signed

in 1958, Japan and Indonesia trying to rebuild its bilateral relationship.

Japan-Indonesia relations have becoming important to both sides especially

in the term of political, economic, security and strategic, and also social

cultural aspects. The establishment of the Japan Foundation is one of

Japan’s proves that Japan has been actively play a role in the international

community and its commitment in portraying its image as peace-loving

democratic nation. Through this institution, Japan may carry out its cultural

141 The Japan Foundation. (2016). The Japan Foundation Annual Report 2015/2016. Tokyo: The Japan Foundation Communication Center. 142 The Japan Foundation. (2017). Program Guidelines. Retrieved April 22, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/program/dl/guidelines_e_2017.pdf 143 The Japan Foundation. (n.d.). Archives. Retrieved April 23, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/project/intel/archive/index.html.

54

diplomacy agenda throughout the world as Japanese culture is also a

heritage not only to the Japanese people, but also to all the people in the

world.

55

CHAPTER V

THE JAPAN FOUNDATION’S ROLES IN

PROMOTING JAPANESE MOVIES IN INDONESIA

DURING 2013-2016

5.1. Overview of Japan’s Cultural Diplomacy

The history of Japan’s international exchange can be traced back to

the early 7th century. Back then, there were Japanese that envoy to China

during the Tang Dynasty.144 It continued with the sudden burst of cultural

exchange on education, science, and culture in early Meiji era. Fast forward

to the time period of the Second World War, cultural policies were used by

the Japanese military for propaganda purposes in occupied areas. The

Japanese military government used variety of media such as books,

newspapers, posters, pamphlets, radio broadcasting, exhibitions,

photography, traditional arts performances, drama, speech-making, music,

paper picture shows (or known as kamishibai), and movies.145

Among the countries that were occupied by Japan, Indonesian and

other Southeast Asian countries were included. In Indonesia, particularly in

Java Island, they believed that in order to carry out their policies smoothly

in the Island, they had to influence the people in the occupied area through

variety of media to shape and direct their minds and propagandize them.

They were focused more on the visual and auditory media, such as

performing arts, movies, music, and kamishibai since, during the time, the

people in rural areas were uneducated and illiterate. Movie distributions to

144 Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies , pp. 5. 145 Kurasawa, A. (1991). Film as Propaganda Media on Java under the Japanese, 1942-45. In G. K. Goodman (Ed.), Japanese Cultural Policies in Southeast Asia during World War 2 (pp. 36-92). Macmillan Academic and Professional Ltd.

56

rural areas, then, were done through “travelling theatre” or “mobile cinema”

which was one of Japan’s propaganda policies. However, the people in Java

were also often distrusted the Japanese authority and eventually the

propaganda policies were less effective in directing the people as they

wanted them to. 146 It might also since during the War, Javanese were

tortured and being treated unfairly, they already had the sentiments toward

the Japanese.

After Japan’s utter defeat in the Second World War and the

occupation of the Allied forces, Japan was influenced by the United States

and its democracy and made changes in its Constitution and policies. Its

commitment in Article 9 of the Constitution of Japan has led them to no

longer utilize any of its military power.147 Japanese also traumatized by the

defeat and the negative images that were implied on them because of the

War. The urges to remove bad impressions and correct misperceptions

toward Japan have made the government in striving to improve and play an

active role in international stage. The image that Japan wants to project to

the world is that they want to change and transform the militaristic image

they had during the pre-war into a peace-loving democracy country.148 This

image that they wanted to seek is how Japan proves its dedication and

initiative of their commitment to obey Article 9 of the Constitution of Japan

paragraph 1 and 2.

As Japan is somewhat “crippled” by the Treaty, Japan must think of

other ways to be able to gain the international society’s trust. Many

intellectuals and government officials come forward and stating the

importance of Japan’s soft power more than ever, one of which is through

146 Kurasawa, A. (1991). Film as Propaganda Media on Java under the Japanese, 1942-45. In G. K. Goodman (Ed.), Japanese Cultural Policies in Southeast Asia during World War 2 (pp. 36, 57-58, 64-65). Macmillan Academic and Professional Ltd. 147 The Constitution of Japan. (1947, May 3). Retrieved January 15, 2017, from Prime Minister of Japan and His Cabinet Official Website: http://japan.kantei.go.jp/constitution_and_government_of_japan/constitution_e.html. 148 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 45-46). The Japan Foundation.

57

its culture.149 The government of Japan starts to put forward the importance

and benefits of international cultural relations after the World War II. Japan

began to realize the importance of public diplomacy and cultural diplomacy

as many Western countries such as the Great Britain, United States,

Germany, and France has been pursuing for decades.150 Cultural policy is

not only used as to correct Japan’s image in to the international society but

also to ensure its geopolitical position especially in the Asian region.151

Public diplomacy in Japan is conducted by several government and

administrative independent institutions. The first body that conducting

Japan’s public diplomacy is the Ministry of Foreign Affairs (MOFA). This

institution holds important roles in bridging relations between Japan and

other state actors. Activities in MOFA on public diplomacy includes cultural

exchange program, public relations abroad, people-to-people exchange,

culture grant assistance, and cooperation with international organization.

The second institution is the Japan Foundation which is more focusing on

comprehensive international cultural exchange programs. This institution

was formerly administered under MOFA. However, in 2003, the institution

was transformed into an independent administration but still under the

jurisdiction of MOFA. This means that JF can manage and administer its

projects and programs independently whilst annually report to the MOFA

on the progress of its projects and programs. The next actor that also plays

a part on Japan’s public diplomacy is Japan International Cooperation

Agency (JICA). JICA regulates and manages many projects throughout the

world involving volunteers. JICA’s activities include giving assistance in

preventing armed conflict, natural disaster prevention, and relief assistance

149 Cited in: Sugiura, et al. (2004:30). Otmagzin, N. K. (2012). Geopolitics and Soft Power: Japan's Cultural Policy and Cultural Diplomacy. Asia-Pacific Review, 52. 150 Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies, pp. 6. 151 Otmagzin, N. K. (2012). Geopolitics and Soft Power: Japan's Cultural Policy and Cultural Diplomacy. Asia-Pacific Review, 48.

58

for the long term in infrastructure.152

Meanwhile, the evolution of Japan’s cultural diplomacy has

undergone several stages. In 1950s and early 1960s, Japan’s cultural

diplomacy has the goal to change the pre-war image of Japan as an imperial

military country into a new image as a peace-loving democracy country.

This was symbolized by the restoration of its status in international

organizations by joining UNESCO in 1951 and engaging cultural activities

overseas emphasizing Japan’s traditions such as ikebana (flower

arrangement), and tea ceremony. During this period, Japan was very careful

in selecting its culture and traditions that they are going to present to the

international society. During this period of Japan’s cultural diplomacy,

some certain traditional culture and values, such as the samurai spirit in

particular or its other feudal tradition, were excluded.153

In late 1960s until early 1970s, Japan’s cultural diplomacy entered

its second stage. Due to the response of the Western community’s (United

States and European countries) reactions to its economic development,

Japanese government done some shifting in projecting itself as “peaceful

Japan” image into economically advanced Japan. Cultural diplomacy of

Japan during this stage was to emphasize that Japan’s economy is going to

enter new stage and also to portrays that Japan has been advancing in

economy and technology as well. The Japanese government maximizing its

cultural diplomacy in this period to established a more positive approach in

diplomacy to replace its “reactive” diplomacy which was aimed to

dismissed its militaristic façade. Japan was also strengthening its cultural

activities such as establishing overseas cultural and information centres that

are attached to the embassies. This period the government also begin to

enthusiastically introduce Kabuki and Noh theatre to international

152 Effendi, T. D. (2011). Diplomasi Publik Jepang: perkembangan dan tantangan. Ghalia Indonesia. 153 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 46). The Japan Foundation.

59

society.154

However, due to the shift of means in the practices of cultural

diplomacy conducted by the Japanese, the Asian countries, particularly the

Southeast Asian countries, give negative responses. This anti-Japanese

sentiment is due to the increasing dependence of economy in terms of

investment, development assistance, and trade is claimed as economic

incursion by the Japanese. In 1972, the then Foreign Minister of Japan,

Takeo Fukuda, brought this problem into the debate during the 68th Session

of the National Diet in 29 January 1972.155 The Foreign Minister argues that

Japan must change its way in seeking its own prosperity in the world and

that the whole nation must also be conscious and aware of Japan’s

involvement in the international community. In this debate, the Foreign

Minister and some members of the House of Representatives Foreign

Affairs Committee proposed the establishment of the Japan Foundation.156

In October 1972, the Japan Foundation was established under the

jurisdiction of Japan’s MOFA.157

As stated in the Ministry of Foreign Affairs (MOFA) of Japan’s

Diplomatic Bluebook of 1972, the government believes that cultural

exchange is very important to deepen understanding of Japan and promote

international friendship and goodwill.158 One of its attempts in doing so is

the establishment of a cultural agency which specialized on the international

cultural exchange named the Japan Foundation (JF).

154 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 47). The Japan Foundation. 155 Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies. 156 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 48). The Japan Foundation. 157 The Japan Foundation. (1979). Laporan Kegiatan The Japan Foundation di Indonesia (1972-1978). Japan Cultural Centre (The Japan Foundation). 158Ministry of Foreign Affairs of Japan. (1973, December). Diplomatic Bluebook for 1972. Retrieved January 2, 2017, from Ministry of Foreign Affairs of Japan: http://www.mofa.go.jp/policy/other/bluebook/1972/1972-contents.htm.

60

As argued by Simon Mark, 159 cultural diplomacy is a subset of

public diplomacy.160 It is also stated by Ogoura161 that the practice of public

diplomacy and cultural diplomacy may overlap one another. By using

Leonard’s conceptualization of public diplomacy, he argues that cultural

diplomacy is about the long-term relationships development that may take

years in process to achieve its foreign policy goals. This is acknowledged

by the Japanese government as argued by Ogoura that the practice which

the government of Japan is used until now is cultural diplomacy instead of

cultural exchange.162 This means that cultural diplomacy conducted by the

Japanese government is also part of its long term public diplomacy.

Mark also argues that cultural diplomacy is about combatting

ethnocentrism, stereotyping, and conflicts, and developing mutual

understanding.163 As Japan has been eager to correct misperceptions and

misunderstandings regarding its past during the War164, it can be seen that

Japan is actively maximizing its culture and use it to achieve its foreign

policy.165 As argued by Bukh, cultural diplomacy refers to the utilization of

cultural symbols by states with the goal to communicate a particular view

of reality.166 He implies that Japan’s cultural diplomacy has been using this

framework in order to achieve its national interest to gain reputable image

as peace-loving states. He also argues that Japan’s cultural diplomacy has

always been reflected to the dominant discourses of its national identity and

159 Mark S., (2009). 160 Mark, S. (2009, April). A Greater Role for Cultural Diplomacy. Discussion Papers in Diplomacy , pp. 1. Netherlands Institute of International Relations ‘Clingendael’. 161 Ogoura, K., (2009). 162 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 45-46). The Japan Foundation. 163 Mark, S. (2009, April). A Greater Role for Cultural Diplomacy. Discussion Papers in Diplomacy , pp. 9. Netherlands Institute of International Relations ‘Clingendael’. 164 Bahri, M. M. (2005). Japan’s International Cultural Relations: Learn from the West. MANABU: Journal of Japanese Studies, pp. 13 165 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 45). The Japan Foundation. 166 Bukh, A. (2014). Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level Approach to Japan’s Soft Power. Asian Perspective , 38, pp. 466.

61

that there are traces of international structures in shaping these discourses.167

In the late 1980s until 1990s Japan’s cultural diplomacy practices has

becoming more of a two-way interaction rather than one-way interaction as

before. However, Japan’s cultural policy since the 1990s, Japanese culture

promotion is not started with the government’s initiatives and vision, but rather

was a reaction to an already acknowledged and popularize of the Japanese

culture abroad by the private sectors. Though, they have become more aware

of the promotion of culture and start to consider what culture may play in the

future. There are several numbers of opinions by the intellectuals and

politicians that supports the idea of exporting culture in which it may play a

diplomatic role in presenting a friendlier image of Japan abroad.168

In the current phase of Japan’s cultural diplomacy, Japan yet again

confronted with new challenges. The difficulty in the mobilization of

financial resources to finance overseas cultural activities can be count as one

its challenges. It is because there is a growing doubt and sentiment on the

immediate benefits demonstrated by the cultural exchange programs. 169

Another challenge raise as the globalization phenomenon allows other states

to gain more access to deploy its own cultural diplomacy hence the practice

of cultural diplomacy has blurred since it becoming hard to distinguish

Japan and other Asian states such as People’s Republic of China, Republic

of Korea, and other Asian nations.170

Efforts in designing cultural strategy for Japan’s diplomacy at the

policy level increased in 2004 as a part of the then Prime Minister Koizumi

167 Bukh, A. (2014). Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level Approach to Japan’s Soft Power. Asian Perspective , 38, pp. 467. 168 Otmagzin, N. K. (2012). Geopolitics and Soft Power: Japan's Cultural Policy and Cultural Diplomacy. Asia-Pacific Review, 51. 169 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 51). The Japan Foundation. 170 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 50). The Japan Foundation.

62

Junichiro’s attempt to elevate Japan’s role in international affairs.171 The

Japanese government embraced the notion of cultural soft power

wholeheartedly and create think tanks to explore possible ways to further

utilize the cultural resources of Japan. One of which was named A

Discussion Group on the Promotion of Cultural Diplomacy. This group is

aims to bring “depths into Japan’s diplomacy by providing it with a firm

cultural basis”.172 Japan may hold a role as the bridge of various culture

since it manage to protect its identity which means it has the ability to

understand problems that are faced by other non-Western states.173

Many aspects of cultures that can be used by a nation to further

enhance its cultural diplomacy and engage to foreign societies, including

fine and performing arts, film, academics, language educations, traditional

and pop culture, traditions and etiquettes, culinary, fashion, and other

aspects of culture. Japan also utilizes its cultural diplomacy by combining

its traditional and modern cultures.174 Although, it is criticized and pointed

out that Japan has been leaning toward using more modern culture rather

than traditional cultures in its recent practices.175 Through JF, Japan plays

an active role in international cultural exchanges which include people-to-

people exchange, intellectual exchange, and providing language education

in other countries.176

171 Bukh, A. (2014). Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level Approach to Japan’s Soft Power. Asian Perspective , 38, pp. 472. 172 Cabinet Office. (2004). Cited in: Bukh, A. (2014). Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level Approach to Japan’s Soft Power. Asian Perspective , 38, pp. 473. 173 Bukh, A. (2014). Revisiting Japan’s Cultural Diplomacy: A Critique of the Agent-Level Approach to Japan’s Soft Power. Asian Perspective , 38, pp. 473. 174 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 50-51). The Japan Foundation. 175 Marchukov, A. (2016). Promoting culture abroad: the experience of Germany and Japan in the field of cultural diplomacy. Практики и интерпретации: журнал филологических, образовательных и культурных исследований (Practices and Interpretations: Journal of Philological, Educational and Cultural Studies) , 1 (2), pp. 50. 176 The Japan Foundation. (2015). The Japan Foundation Annual Report 2014/2015. Tokyo: The Japan Foundation Communication Center.

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5.2. “WA Project – Toward Interactive Asia” and the Japan Foundation Asia

Center

During Japan-ASEAN 40th Anniversary of Dialogue relations in 2013,

there were held commemorative activities throughout the year. The

commemorative activities were done in Japan and Association of Southeast

Asian Nations (ASEAN) countries. It has so many activities in many aspects.

Activities that held during the commemorative program are including expert

dispatching activities, symposiums, exhibitions, student exchanges, seminars,

lectures, workshops, meetings, festivals and concerts, and movie screenings.177

By the end of this chain of activity programs, in December, during the

ASEAN-Japan Commemorative Summit Meeting held in Tokyo, the Prime

Minister Shinzo Abe announced Japan’s new Asian cultural policy to

strengthen cultural exchange relations between Japan and ASEAN countries

name the “‘WA Project – Toward Interactive Asia’ through ‘Fusion and

Harmony’”178 Prime Minister Shinzo Abe stated in his remark:

“From Japan to ASEAN; from ASEAN to Japan. Exchanging

cultures; exchanging people. The government of Japan will

forge a new cultural exchange policy for the next seven years

in order to bring to life our ‘heart to heart’ connections on

both sides. This will build up and strengthen the ‘wa’--W-A-

-that exists between us. In Japanese, ‘wa’ means ‘links’, and

‘wa’ also means ‘peace’. It means linking together with each

other, our sights set on stability and peace and greater

prosperity. That is ‘wa’. Our gala tonight celebrates our

‘wa’.”179

177 Ministry of Foreign Affairs of Japan. (2014, May 7). 40th Year of ASEAN-Japan Friendship and Cooperation. Retrieved March 14, 2017, from Ministry of Foreign Affairs of Japan Official Website: http://www.mofa.go.jp/region/asia-paci/asean/relation/ja40/index.html. 178 Inauguration Ceremony for "WA Project": Toward Interactive Asia through "Fusion and Harmony". (2014, April 15). Retrieved April 24, 2017, from Prime Minister of Japan and His Cabinet Official Website: http://japan.kantei.go.jp/96_abe/actions/201404/15ajia.html. 179 Prime Minister of Japan and His Cabinet. (2013, December 14). The ASEAN-Japan Commemorative Summit, Gala Dinner, Prime Minister’s Remarks. Retrieved from Prime Minister of Japan and His Cabinet Official Website: http://japan.kantei.go.jp/96_abe/statement/201312/1202816_7801.html

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The Japan Foundation Asia Center was established in 2014 as the body

that has the responsibilities for this new Japan policy on Asian cultural

exchange.180 The Asia Center then officially starts operating on April 2014.181

The Asia Center is aimed to nurture common awareness for mutual coexistence

and understanding as neighbours through activities which embrace the 4Cs:

Collaborate, Communicate, Create, and Connect and Share.182

The JF Asia Center is based within the Tokyo Headquarters. The

activities of Asia Center are centered on two main initiatives, those are:

Support for Japanese-language Learning, and Arts and Cultural Exchange. In

its two years since the establishment, the Asia Center has been doing so many

activities. In its 2015 fiscal year, the JF Asia Center has carried out 379

projects. This has doubled from the previous fiscal year. Programs that they

have been doing are including: NIHONGO Partners, Grassroots Exchange

Programs, Network-building Programs, and Cultural Collaboration

Programs.183 The Asia Center also conducts many projects throughout ASEAN

and Japan by collaborating and cooperating with JF Overseas Offices in the

respective country.184 There are some applicable programs that can be applied

by both individuals and organizations through the Asia Center including Grant

Program for Enhancing People-to-People Exchanges, “NIHONGO Partners”

Program, The Asia Center Fellowship Program, and Grant Program for

Promotion of Cultural Collaboration.185

180 Inauguration Ceremony for "WA Project": Toward Interactive Asia through "Fusion and Harmony". (2014, April 15). Retrieved April 24, 2017, from Prime Minister of Japan and His Cabinet Official Website: http://japan.kantei.go.jp/96_abe/actions/201404/15ajia.html. 181 The Japan Foundation. (2015). The Japan Foundation Annual Report 2014/2015. Tokyo: The Japan Foundation Communication Center. 182 The Japan Foundation. (n.d.). Japan Foundation Asia Center. Retrieved March 25, 2017, from Japan Foundation Asia Center Official Website: http://jfac.jp/en/. 183 The Japan Foundation. (2016). The Japan Foundation Annual Report 2015/2016. Tokyo: The Japan Foundation Communication Center. (pp. 6, 7, 8). 184 The Japan Foundation. (n.d.). Japan Foundation Asia Center. Retrieved March 25, 2017, from Japan Foundation Asia Center Official Website: http://jfac.jp/en/. 185 The Japan Foundation. (2017). Program Guidelines. Retrieved April 22, 2017, from The Japan Foundation Official Website: https://www.jpf.go.jp/e/program/dl/guidelines_e_2017.pdf

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5.3. The Japan Foundation in Indonesia

The establishment of JF in Indonesia began in 1972 with the name of

Japan Cultural Centre Jakarta.186 It was then in 1979 the Japan Cultural Centre

Jakarta was expanded and became the Japan Foundation, Jakarta (JF, Jakarta

hereafter). JF, Jakarta has four major activities, those are: the execution of JF,

Jakarta programs in contributing on the introduction of Japanese culture or

exchange activities; research and collecting information and provision of those

results; and the execution of programs oriented by the headquarters of JF,

supporting and establish cooperation to external organizations.187

The current (per 2016) Director General for JF, Jakarta is Tsukamoto

Norihisa. JF, Jakarta executes programs that are implemented by JF

Headquarters of its main three fields in cultural and art exchanges, Japanese-

language education, and Japanese studies and intellectual exchange, and also

the Asia Center’s programs. They coordinate those programs locally and

handles administration which concerning on invitation for Indonesian scholars,

intellectuals, public figures, and so on to Japan while also conducting programs

of their own to promote and introduce Japanese cultures.188

JF in Indonesia has been very supportive in the initiatives that are done

by individuals and communities. This can be seen as JF has been giving

supports in sponsorships in events such as cultural festivals, concerts,

competitions, and so on.189 JF, Jakarta also cooperates with the Embassy of

Japan, Consulate General of Japan, Ministry of Foreign Affairs, Agency of

186 The Japan Foundation. (1979). Laporan Kegiatan The Japan Foundation di Indonesia (1972-1978). Japan Cultural Centre (The Japan Foundation). 187 The Japan Foundation, Jakarta. (n.d.). Tentang Kami. Retrieved April 22, 2017, from The Japan Foundation, Jakarta Official Website: http://www.jpf.or.id/en/office/. 188 The Japan Foundation, Jakarta. (n.d.). Tentang Kami. Retrieved April 22, 2017, from The Japan Foundation, Jakarta Official Website: http://www.jpf.or.id/en/office/. 189 The Japan Foundation. (2015). The Japan Foundation Annual Report 2014/2015. Tokyo: The Japan Foundation Communication Center.

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Cultural Affairs and the Japan Foundation Asia Center in conducting cultural

exchange activities in Indonesia.190

5.4. The Japan Foundation on the Promotion of Japanese Films in

Indonesia

One of the aspects of culture that is used by JF in Indonesia is film. As

globalization is shifting the world becoming more modern than ever because

of the development of technology, Japan realizes in order to present itself as a

pioneer of postmodern culture, they have to also utilize every means of culture

that they have to maximize its cultural diplomacy including films.191 It can be

seen on its participation in international film festivals such as the Tokyo

International Film Festival. The Japan Foundation, Jakarta (JF, Jakarta) is one

of the JF Overseas Offices that is based in Indonesia and conducted activities

that are oriented by the Tokyo Headquarters and its own programs which aimed

in introducing Japanese culture or exchange activities.192

There have been some activities that are conducted by the Culture

Division of JF, Jakarta to introduce and promote Japanese films to the people

in Indonesia. They have been conducting various movie screenings in many

places in Indonesia. Most of these activities are centered in Java Island,

particularly in Jakarta and its surrounding areas, though occasionally, if

requested, may be also conducted in other provinces and islands.

190 The Japan Foundation, Jakarta. (n.d.). Tentang Kami. Retrieved April 22, 2017, from The Japan Foundation, Jakarta Official Website: http://www.jpf.or.id/en/office/. 191 Ogoura, K. (2009). Japan’s Cultural Diplomacy, Past and Present. In K. Ogoura, Japan’s Cultural Diplomacy (pp. 50). The Japan Foundation. 192 The Japan Foundation, Jakarta. (n.d.). Our Office. Retrieved April 22, 2017, from The Japan Foundation, Jakarta Official Website: http://www.jpf.or.id/en/office/

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Figure 5.1. Cinema Caravan Brochure

Source: https://web.facebook.com/JFJakarta/posts

Many of its movie screenings are conducted in its office in Jakarta as

monthly activities. JF, Jakarta also has a program named Cinema Caravan by

which to encourage communities, organizations, or schools to know Japan

more through film screenings and discussion. 193 This program is only

conducted if there is application by community or group that are interested in

193 The Japan Foundation, Jakarta. (n.d.). The Japan Foundation, Jakarta Facebook Fanpage. Retrieved April 23, 2017, from Facebook: https://web.facebook.com/JFJakarta/posts

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the screening of Japanese films. Therefore, this program does not have certain

schedule as to when and where it will be held.

Japan notices their weakness in distributing and exporting films to

ASEAN countries. There are two major reasons for this, 1) first is the

availability of strategic infrastructure by public and private sectors, and 2) lack

of interest in Japanese movies in the area. 194 Even though that Japan has

conducted film festivals in ASEAN for years, apparently it still has not reach

the comprehensive brand building which is interlocked between countries. For

this situation, the Asia Center launched the Japanese Film Festival: Asia-

Pacific Gateway Initiative collaborating with the Tokyo International Festival

(TIFF) in 2016. It is hoped that this Initiative will increase the interest of

Japanese films and also resulting in a larger and wider audience in ASEAN

countries.195

5.5.1. JF, Jakarta Film Promotion Activities in 2013

In 2013, JF, Jakarta has done some activities on the promotion of

Japanese movies. Moreover, JF has also do some collaborative projects with

other communities and organizations such as the Freedom Institute and

SOKOLA. JF, Jakarta in 2013 has conducted movie screenings in its office

in Jakarta monthly from January to November 2013. Not only that, they also

conducted Cinema Caravan in collaboration with Pondok Pesantren

Darunnajah, Jakarta in 20 September 2013 and some film screenings that

are included on the Japan-ASEAN 40th Anniversary Commemorative

activities.

5.5.1.1. Cinema Caravan

In 2013, there has been held two Cinema Caravan that were held by

JF, Jakarta. In October 2013, JF, Jakarta held Cinema Caravan in Garut as

one of its events in Workshop Pelatihan Journalistik Pelajar III in

194 The Japan Foundation Asia Center. (n.d.). The Japanese Film Festival: Asia-Pacific Gateway Initiative. Retrieved May 3, 2017, from The Japan Foundation Asia Center Official Website: http://jfac.jp/en/culture/dictionary/japanese-film-festival/ 195 The Japan Foundation Asia Center. (n.d.). The Japanese Film Festival: Asia-Pacific Gateway Initiative. Retrieved May 3, 2017, from The Japan Foundation Asia Center Official Website: http://jfac.jp/en/culture/dictionary/japanese-film-festival/

69

collaboration with Komunitas Ngejah, Garut (Ngejah, Garut Community).

The event was attended by students age ranging from primary school to

senior high schools.196

Figure 5.2. The Japan Foundation “Cinema Caravan” in Workshop

Pelatihan Journalistik Pelajar III


Cinema Caravan was held in Pesantren Darunnajah, Jakarta on 20

September 2013. This event is held in collaboration with JF, Jakarta and

Pesantren Darunnajah, Jakarta. The movie shown in this event is titled

“Shodo Girls”. This event has the most participants for this particular

program as it is participated by roughly 1500 santri (students). The event

consists of movie screening and open discussion of the movie.197

Figure 5.3. The Japan Foundation “Cinema Caravan” in Pesantren

Darunnajah, Jakarta


196 The Japan Foundation, Jakarta. (n.d.). The Japan Foundation, Jakarta Facebook Fanpage. Retrieved May 24, 2018, from Facebook: https://web.facebook.com/JFJakarta/posts 197 The Japan Foundation, Jakarta. (n.d.). The Japan Foundation, Jakarta Facebook Fanpage. Retrieved May 24, 2018, from Facebook: https://web.facebook.com/JFJakarta/posts

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5.5.1.2.Movie Screenings

In 22 January 2013, there are two movies that were showed at The

Japan Foundation, Jakarta Lobby Hall in Summitmas 1 in Jakarta, those are

“Torokko” and “Hana no Ato”. In 2 February 2013, in its event called

“Ramah Tamah & Nonton Film Bersama”, a movie titled “5 Centimetre

per-Second” was screened after some chain of activities during the event. In

13 and 14 March 2013, there are three movies that were shown in its event

named “Pemutaran Film Animasi Karya Makoto Shinkai” (Animation Film

Screening by Makoto Shinkai) those are The Place Promised in Our Early

Days (Kumo no Mukou Yakushoku no Basho), Children Who Chase Lost

Voices (Hoshi o Ou Kodomo), and 5 Centimetre per-Second (Kyoshoku 5

Senchimeetoru). On 18 and 19 April 2013, there was movie screening of

two movies about culinary, those are Noriben and Nankyoku Ryori Nin. On

10 and 14 May 2013, International Film Festival for Environment, Health

and Culture collaborated with JF, Jakarta held a Special Film Screening that

shown five movies, those are Inori: Conversation with Something Great,

Kizuna: Taste of Aji Stone, 10,000 – Winning a War on Suicide in Japan,

Cans of Hope, and Gareki. On 20 May 2013, JF, Jakarta collaborated with

SOKOLA held movie screening and discussion. The name of the event is

“From Kamaishi to Bukit Duabelas Rainforest – How can Education Meet

the Needs of the People?” that shown two movies titled “Japan After 3.11-

Disaster Prevention Education”, and “Guru Rimba, Dimanapun Jadi

Sekolah”.

Figure 5.4. Movie Screenings at the Japan Foundation, Jakarta Lobby

Hall


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From 23 to 24 May 2013, JF, Jakarta held Animation Film Screening

that shown two movies, those are Uchuu Kyodai (also known as Space

Brothers), and Hoshi o Ou Kodomo. In June 2013, for its film screening

program, JF, Jakarta shows four movies, those are Shodo Girls, Hankyu

Railways, Torokko, and The Wife of Gegege on 13, 14, 27, and 28 June

2013. On July 2013, with the theme of horror comedy, they held movies

screenings showing three movies, those are: Izakaya Yurei, KAIRO, and

Gakkou no Kaidan IV in 11, 12, 18, 19, 25, and 26 July 2013. In 23 August,

the Foundation held a movie screening about sumo titled Semangat Sumo

(Shiko Funjatta). This movie screening was also as a part of sumo

tournament event that was held in 24 to 25 August 2013 at Istora Senayan.

This sumo tournament itself is also a one of the events that was held in the

“40th Year of ASEAN-Japan Friendship Cooperation Commemorative

Event”. In 17 September, there was held a film screening about Japanese

Traditional Tea Ceremony (Cha no Yu).

Month Movie Title

January Torokko

Hana no Ato

February 5 Centimeter per-Second

March The Place Promised in Our Early Days (Kumo no

Mukou Yakushoku no Basho)

Children Who Chase Lost Voices (Hoshi o Ou Kodomo)

5 Centimeter per-Second (Kyoshoku 5 Senchimeetoru)

April Noriben

Nankyoku Ryori Nin

May INORI: Conversation with Something Great

KIZUNA Taste of Aji Stone

10,000 – WINNING A WAR ON SUICIDE IN JAPAN

CANS OF HOPE

GAREKI ; Bangkit dari reruntuhan

Japan After 3.11-Disaster Prevention Education

“Guru Rimba, Dimanapun Jadi Sekolah”

Uchuu Kyodai

Hoshi o Ou Kodomo

June Shodo Girls

Hankyu Railway

Torokko

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The Wife of Gegege

July Izakaya Yurei

KAIRO

Gakkou no Kaidan IV

Augustus Semangat Sumo (Shiko Funjatta)

September Film Screening about Tea Ceremony (Cha no Yu)

Pacchigi 1 / Kelak Kita Mengalahkannya

Pacchigi 2 / Love and Peace

Himitsu no Hanazono

Kamikaze Taxi

Shodo Girls

October-

November Murasaki

Komaneko – The Curious Cat

Komaneko’s Christmas – A Lost Present

Table 5.1. Table of movie screenings held by the Japan Foundation,

Jakarta in 2013


For its usual film screening program for September 2013, JF,

Jakarta, with the theme of action movies and youth power, showed four

movies, those are: Pacchigi 1, Pacchigi 2, Himitsu no Hanazono, and

Kamikaze Taxi. On 1 October 2013, there was held a talk-show and film

screening event as a part of “Memorial Event for 55th Anniversary of

Indonesia-Japan Diplomatic Relationship” named “Talkshow dan

Pemutaran Film by Sachio Yoshioka”. The title of the movie shown in this

event is titled Murasaki. On 31 October and 1 November 2013, the

Foundation plays two stop motion movies in its movie screening event,

those are Kumaneko – The Curious Cat, and Kumaneko’s Christmas – A

Lost Present.


5.5.2.1. Cinema Caravan

In 2014, JF, Jakarta conducted Cinema Caravan in Bandung. The

event was held in Pesantren Daarut Tauhid on 1 May 2014. The Movie that

is shown in this event is titled “Shodo Girls”. In this event, JF, Jakarta

collaborating with Pesantren Daarut Tauhid, founded by KH. Abdullah

Gymnastiar on also publicly known as AA Gym, held not only movie

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screening and discussion. In this event, JF, Jakarta also held origami

workshop and introduce yukata and kimono to the participants. This event

is participated by 600 of Pesantren Daarut Tauhid’s santri (students).198

Figure 5.5. The Japan Foundation “Cinema Caravan” in Pesantren Daarut

Tauhid, Bandung Source: https://web.facebook.com/JFJakarta/posts

5.5.2.2. Movie Screenings

Unlike 2013, in 2014 JF, Jakarta conducted movie screenings started

from March until November 2014. From 19 to 21 March 2014, JF, Jakarta

played three movies in its event named “Film Screening Movies by Yaguchi

Shinobu”, those movies are: Happy Flight, Swing Girls, and ROBO-G. On

6 and 8 May 2014, it was held “Pemutaran Film Animasi Karya Makoto

Shinkai” (Animation Film Screening by Makoto Shinkai). In this event,

there are Hoshi no Koe, 5 Centimeters per second, and Children who Chase

Lost Voices. On its usual film screening program, JF, Jakarta held film

screening in 23 and 24 May 2014. There are two movies that were screened,

those are Uchuu Kyodai, and Hoshi o Ou Kodomo.

198 The Japan Foundation, Jakarta. (n.d.). The Japan Foundation, Jakarta Facebook Fanpage. Retrieved May 24, 2018, from Facebook: https://web.facebook.com/JFJakarta/posts

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Figure 5.6. Animation Film Screening by Makoto Shinkai Poster

Source: https://www.kaorinusantara.or.id/newsline/10701/japan-

foundation-jakarta-kembali-mengadakan-pemutaran-anime

In 26 and 27 June 2014, there are four movies that were shown in its

June movie screening, those are: Mimpi Malam Musim Panas, Chikara: The

Sumo Wrestler Son, Kontak Mata (Eye Contact), and Quartet. From 1 to 3

July 2014, there are three movies that were shown, those are: Pinguin Langit

(Penguins in The Sky), Nankyoku Ryorinin (The Chef of South Polar), and

Negeri Salju (Yukiguni).

Month Movie Title

March Happy Flight

Swing Girls

ROBO-G

May Hoshi no Koe

5 Centimeters per second

Children who Chase Lost Voices

Uchuu Kyodai

Hoshi o Ou Kodomo

June Mimpi Malam Musim Panas

Chikara: The Sumo Wrestler Son

Kontak Mata

Quartet

July Pinguin Langit (Penguins in The Sky)

Nankyoku Ryorinin (The Chef of South Polar)

Negeri Salju (Yukiguni)

August The Place Promised in Our Early Days

The Garden of Words

Voices of a Distant Star

5 Centimeters per Second

Uchuu Kyodai

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October Gonta Beruang Malang

Kisah Hachiko

Wanko

November The Place Promised in Our Early Days

5 Centimeters Per Second

Garden of Words


Jakarta in 2014 Source: https://web.facebook.com/JFJakarta/posts

On its event in 13 to 15 August 2014, JF, Jakarta once again held an

event that showcases animation movies. The name of the event is

“Animation Fiesta”. This event plays four movies, those are: The Place

Promised in Our Early Days, The Garden of Words, Voices of a Distant

Star, 5 Centimeters per Second, and Uchuu Kyodai. On 8 to 10 October

2014, the movies that were shown have the theme of the heart-warming

story between human and animal, such as Gonta Beruang Malang, Kisah

Hachiko, and Wanko. And finally, on 21 and 28 November 2014, JF, Jakarta

held another special film screening that shown The Place Promised in Our

Early Days, 5 Centimeters Per Second, and Garden of Words. However, it

took place in Kineforum Taman Ismail Marzuki, Jakarta unlike the other

movie screening which took place in The Japan Foundation, Jakarta Lobby

Hall, Summitmas 1 2nd Floor, Jakarta.


5.5.3.1.Cinema Caravan

In 2015, JF, Jakarta held Cinema Caravan at the “Nihon Bungaku

Days” Japanese cultural festival. This event was held in Pakuan University

by Himpunan Mahasiswa Sastra Jepang Universitas Pakuan Bogor

(Japanese Student Association of Universitas Pakuan) on 18 to 19

December 2015 in Bogor. The event was held with the theme of “Education

and Culture”. Cinema Caravan by JF, Jakarta is one of the programs that are

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being held on this cultural event along with competitions, performances,

workshop, and bazaar.199

Figure 5.7. Nihon Bungaku Days Event Poster by Himpunan Mahasiswa

Sastra Jepang Universitas Pakuan Bogor

Source: https://www.instagram.com/p/_CI90vD1zV/

5.5.3.2.Movie Screenings

In 2015, movie screenings that were conducted by JF, Jakarta started

from March to July 2015. In 5 and 19 March 2015, the Foundation held a

movie screening which shown two movies, those are: Wanko, and Éclair.

On 9 to 10 April 2015, the movie screening played two movies, those are:

Hana no Ato, and Oh.. Musim Semi. In 20 to 26 April 2015, at the signing

of the Memorandum of Understanding of Film Student Exchange Indonesia

Program with the cooperation of JF Asia Center, Japan Institute of the

Moving Image and Institut Kesenian Jakarta (IKJ), the event also includes

movie screening of movies directed by Ken Takakura, those are: The Red

Peony Gambler: Flower Cards March, Hot Pursuit, Saputangan Kuning,

Panggilan Musim Semi, Stasiun, and Yasha.

199 HIMJA Universitas Pakuan Bogor. (2015, December 8). HIMJA Universitas Pakuan Bogor. Retrieved October 10, 2018, from Instagram: https://www.instagram.com/p/_CI90vD1zV/

77

Figure 5.8. Invitation of “Penandatanganan MoU IKJ-JIMI, Lektur

Tadao Sato & Pemutaran Film ‘Ken Takakura’”

Source:

https://web.facebook.com/JFJakarta/photos/a.198931390179179.49239.15

0311718374480/819661028106209/

On 21 and 26 May 2015, JF, Jakarta held movie screening that

shown two movies, those are: Rail Truck, and Hankyu Railways. On 10 and

25 June 2015, there were movie screenings with the theme of heart-warming

story of teacher and student. There are two movies that were shown, those

are: Sekolah II (Gakkou II), and Dua Belas Pasang Bola Mata (Tokubetsu

24 no Hitomi). Finally, on 7 and 9 July 2015, JF, Jakarta held its movie

screening which shown classic movies. There are two movies that were

played in this time, those are: Saputangan Kuning, and Panggilan Musim

Semi.

Month Movie Title

March Wanko

Éclair

April Hana no Ato

Oh.. Musim Semi

“The Red Peony Gambler: Frower Cards March”

“Hot Persuit”

Saputangan Kuning

Panggilan Musim Semi

Stasiun

Yasha

May Rail Truck

Hankyu Railways

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June Sekolah II (Gakkou II)

Dua Belas Pasang Bola Mata (Tokubetsu 24 no Hitomi)

July Saputangan Kuning

Panggilan Musim Semi


Jakarta in 2015


5.3.3.2.Japanese Film Festival 2015

Figure 5.9. Japanese Film Festival 2015 Brochure

Source: https://www.kaorinusantara.or.id/newsline/39056/cgv-blitz-the-japan-

foundation-persembahkan-japanese-film-festival-2015

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Japanese Film Festival 2015 (JFF 2015) was held by the Embassy of

Japan with the Agency of Cultural Affairs of Japan, JF, and Japan Image

Council from 26 November until 1 December 2015 at CGV Blitz Grand

Indonesia, Jakarta (now known as CGV.ID). This event is an annual event

of the Agency of Cultural Affairs of Japan ever since 2004. This event was

established to deepen understanding and knowledge on Japanese culture to

encourage exchange and development for young creators in film and

animation industry.200

According to Kozo Hensei, the Deputy Ambassador of Japan to

Indonesia, JFF 2015 is held in Jakarta since Indonesia is one of the countries

that have great interest and enthusiasm for Japanese culture. Movies that are

shown are ranging from various genres, such as colossal drama, school life,

action, horror, and also robot (mecha).201

Figure 5.10. Press Conference JFF 2015 at CGV Blitz Grand Indonesia

Source: https://japanesestation.com/ayo-siapkan-diri-kalian-puluhan-film-terbaik-

negeri-sakura-siap-meramaikan-festival-film-jepang-2015/

There are thirty movies that were shown in JFF 2015. Those movies

are categorized into Live Action Movies, and Animation Movies. These

thirty movies are also divided into 11 long movies and 19 short movies. JFF

2015 has various movies which are popular, unique, and recent which were

200 Embassy of Japan in Indonesia. (2015, November 19). Japanese Film Festival “Nikmati Film Jepang Terkini! Pekan Film dan Animasi Jepang Terbesar di Indonesia 2015”. Retrieved April 29, 2017, from Embassy of Japan in Indonesia Official Website: http://www.id.emb-japan.go.jp/news15_47.html 201 Joy, M. (2015, November 21). Ayo Siapkan Diri Kalian!! Puluhan Film Terbaik Negeri Sakura Siap Meramaikan Festival Film Jepang 2015!! Retrieved May 11, 2017, from Japanese Station Official Website: https://japanesestation.com/ayo-siapkan-diri-kalian-puluhan-film-terbaik-negeri-sakura-siap-meramaikan-festival-film-jepang-2015/

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not shown in Jakarta before and also movies that receive high appreciation

in some movie festivals inside and outside Japan. The event was formally

opened by the screening of “A Samurai Chronicle” movie which is a popular

movie in 2014 that got so many awards one of which is the Japan Academy

Prize.202

Live Action Movies

1 Film Pembuka :A Samurai Chronicle

2 The Kirishima Thing

3 The Great Passage

4 The Complex

5 The Little House

6 The Pearls of the Stone Man

7 Being Good

Animation Movies

1 The Tale of The Princess Kaguya

2 Giovanni's Island

3 Tamako Love Story

4 Evangelion : 3.33 You Can (not) Redo.

5 Short Animation Selection 1 〜Avantgarde〜 (12 film)

Fully Cooked for You

Pamon

A Place to Name

Waiter

Boundery Line

Poker

Recruit Rhapsody

It's Time for Supper

Sato no Chihiro

I Can't Breath

Heart

Yokosobokudesu Selection

6 Short Animation Selection 2 〜Drama〜 (7 film)

Decorations

Scutes on My Mind

Fox Fears

Sunset Flower Blooming

Way Back to the Sea

My Milk Cup Cow

202 Embassy of Japan in Indonesia. (2015, November 19). Japanese Film Festival “Nikmati Film Jepang Terkini! Pekan Film dan Animasi Jepang Terbesar di Indonesia 2015”. Retrieved April 29, 2017, from Embassy of Japan in Indonesia Official Website: http://www.id.emb-japan.go.jp/news15_47.html

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Golden Time

Table 5.4. List of Movies by category that are shown in JFF 2015

Source: http://www.id.emb-japan.go.jp/news15_47.html


5.5.4.1. Movie Screenings

In 2016, movie screenings that are held by JF, Jakarta were held from

January to December 2016. On 21 January 2016, the Foundation held a

movie screening of Semangat Sumo (Shiko Funjatta). On 11 February 2016,

it held ROBO-G movie screening. On 5 and 12 April 2016, JF, Jakarta

shown two movies, those are: Happy Flight and Ayo Berjuang/Give It All (

がんばっていきまっしょい).

On its photography exhibition in May 2016 named “Metamorphosis

of Japan after the War 1945-1964”, JF, Jakarta also conducted movie

screening as part of the programs on the event. The movies that were shown

during this event are Higanbana, Ugetsu Monogatari, Tokyo Monogatari,

and Izu no Odoriko. This event tells us the story of the Japanese people after

the war from their perspective about how the Japanese people used to and

how they change their way of life after the War and poverty spreading

throughout the country from the aftermath.203

203 Mas Joy - Japan On You. (2016). Metamorfosis Jepang: Revolusi Mental, Revolusi Gaya Hidup. Retrieved from Japanese Station Offcial Website: https://japanesestation.com/metamorfosis-jepang-revolusi-mental-revolusi-gaya-hidup/

82

Figure 5.11. Poster of Metamorphosis of Japan after the War 1945-

1964

Source:

https://www.facebook.com/JFJakarta/photos/a.198931390179179.49239.1

50311718374480/1043153842423592/

June 2016 was the month of Ramadhan. With this, JF, Jakarta

conducted its movie screening events that named “Ngabuburit Nonton

Bareng di Japan Foundation” on 16, 21, 23, and 28 June 2018. There are

four movies with the theme of music that were shown this time, those are:

Swing Girls, Rock Berkabung, Éclair, and Quartet. On 16, 18, 23, and 25

August 2016, there are four “Tora Jiro” film series that were shown, those

are Tora Jiro dan Kembang Sepatu, Tora Jiro Menjadi Alim, Tora Jiro

Pamanku, and Tora Jiro Kisah Cinta dari Shibamata. In 15 and 20

September 2016, there are two movies that were shown, those are: Hotaru

no Haka (Grave of Fireflies), and 5 Centimeters per Second. On 20 October

2016, Kappa no Kampei movie was screened by JF, Jakarta.

Date Schedule

January Semangat Sumo (Shiko Funjatta)

February ROBO-G

April Happy Flight

AYO BERJUANG/ がんばっていきまっしょい/GIVE IT ALL

May Higanbana (1958)

Ugetsu Monogatari (1953)

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Tokyo Monogatari (1953)

Izu no Odoriko (1963)

June Swing Girls

Rock Berkabung

Eclair

Quartet

August Tora Jiro dan Kembang Sepatu (1981)

Tora Jiro Menjadi Alim (1983)

Tora Jiro Pamanku (1990)

Tora Jiro Kisah Cinta dari Shibamata (1986)

September Hotaru no Haka (Grave of Fireflies)

5 Centimeters per Second

October Kappa no Sampei

The Chef of South Polar

Akanezora Beyond the Crimson Sky

Karaage USA

A Drop of the Grapevine

Noriben

Ramen Samurai

November Karaage USA

The Place Promised in Our Early Day

December A Class to Remember IV: Fifteen (2001)


Jakarta in 2016


On 31 October to 13 November 2016, JETRO held an event named

“Japan Food Festival” in Mall Kota Kasablanka, Jakarta. This event is also

supported by JF. In this event, JF also conducted film screening with

culinary theme to suit the event. There are six movies that were shown

during the event on 3 to 4, and 10 to 11 November 2016, those are: The Chef

of South Polar, Akanezora beyond the Crimson Sky, Karaage USA, A Drop

of the Grapevine, Ramen Samurai, and Noriben.

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Figure 5.12. Japan Food Festival Poster

Source:


50311718374480/1200752543330387/

On 13 November 2016, on the event of “Wisata Balaikota bersama

The Japan Foundation”, JF, Jakarta includes movie screening as one of its

programs. The event consists of performances, movie screening, Japanese

culinary introduction, and other activities. The movie that was shown in this

event titled Karaage USA. In 17 November 2016, JF, Jakarta participated

in an event named Baros International Film Festival and screened a movie

titled The Place Promised in Our Early Day. Finally, on 15 to 17, in an event

named “Somewhere New (Someone New)”, held by Kineforum partnering

with Goethe Institute, JF, and LifeLike Pictures there was a Japanese movie

that included on the movie screening program, that movie is A Class to

Remember IV: Fifteen by Yoji Yamada on 16 December 2016.

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Figure 5.13. Wisata Balaikota bersama the Japan Foundation Poster

Source:


18374480/1206223652783276/

5.5.4.2. Japanese Film Festival 2016

In 2016, Japanese Film Festival 2016 (JFF 2016) initiated by JF,

Jakarta from 24-27 November 2016. JFF 2016 takes place in Cinemaxx

Theatre, fX Sudirman in Jakarta. In its second instalment in Indonesia, JFF

2016 conducted by JF, Jakarta in Indonesia as a part of Japanese Film

Festival ASIA-PACIFIC (JFF APAC). JFF APAC itself is a Japanese film

platform which has the aim to raise the interest of audience in ASEAN

countries in Japanese movies. It is hoped to create new opportunities and

market for Japanese movies. JFF APAC created to provide opportunities for

to gather online and offline to build extensive bridge among the film market

of Asia Pacific and Japanese film industry. It has three schemes; 1) organize

PR events which the fans can join and participate, 2) strengthen network by

carry out Japanese film festivals in ASEAN countries and Australia, and 3)

construct online platform.204

204 The Japan Foundation. (2016). Japanese Film Festival 2016 Booklet. 8. The Japan Foundation.

86

Figure 5.14. Japanese Film Festival 2016 Poster

Source:

https://web.facebook.com/JFFJakarta/photos/a.832299860246238.1073741828.82

6917270784497/859913687484855/

Prior to the event, JF, Jakarta conducted PR event in one of Jakarta’s

biggest Japanese cultural festival, HelloFest 2016, in 24 September 2016.

The PR event for JFF took place on the Island Stage HelloFest 2016. The

Director General, Norihisa Tsukamoto, and Assistant Director, Daisuke

Kato, attended the event as the speaker for it. In this event, they introduce

Japanese Film Festival 2016 to the participants of the event and give some

information regarding to the event. In this event, the teaser for JFF 2016 was

first being played to the public. In this event, there was also quizzes in which

the participants can get JFF merchandise if they can give the correct answer

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to the questions.205

Figure 5.15. PR Event of Japanese Film Festival 2016


On his remark contained in the booklet of JFF 2016, H.E. Yasuaki

Tanizaki, Ambassador of Japan to Indonesia, stated that:

“the opportunities for Japanese movies in Jakarta has

becoming more and more common, however, there has been

not so many chances to view movies with the lineup that JFF

2016 offers since its ranging in genres from animation to

historical drama movies.”206

The director of JFF 2016 also stated that currently build up the “JFF

Asia-Pacific Gateway” which has the purposes of giving Indonesian people

more opportuunities and chances to watch Japanese movies and also to

connect with the fans of Japanese film fans not only in Japan, but also in

other countries.207 The director of JF, Jakarta, Norihisa Tsukamoto, also

stated in his remark that in JFF 2016, in responding to the high interests in

Japanese movies and dramas, JF establish this event to present the recent

movies on the big screen which invites Indonesian people to know more

about Japanese culture from this event.208

205 The Japan Foundation, Jakarta. (n.d.). The Japan Foundation, Jakarta Facebook Fanpage. Retrieved October 9, 2018, from Facebook: https://web.facebook.com/JFJakarta/posts 206 The Japan Foundation. (2016). Japanese Film Festival 2016 Booklet. 5. The Japan Foundation. 207 The Japan Foundation. (2016). Japanese Film Festival 2016 Booklet. 4. The Japan Foundation. 208 The Japan Foundation. (2016). Japanese Film Festival 2016 Booklet. 6. The Japan Foundation.

88

Figure 5.16. Shuhei Nomura (left), Chelsea Islan (middle), and

Norihiro Koizumi (right) in Japanese Film Festival 2016

Source:

https://web.facebook.com/JFFJakarta/photos/a.832299860246238.1073741

828.826917270784497/869739899835567/

The event has side event called Japan Fun Day Show (JFDS) at

Atrium F3 fX Sudirman. The activities in this side event are including

performances, quizzes and competitions, and bazaar. It also held stamp

collecting contest by watching films that are shown during the event which

allowed the visitors to participate and get prizes such as JFF 2016 official

merchandise from tote bag to t-shirt. JFF 2016 invites a special guest star,

Shuhei Nomura, to come to Indonesia. He is the main actor of Chihayafuru

Part 1 and 2, two of 14 movies that are shown in JFF 2016. Not just that,

JFF 2016 also invited Norihiro Koizumi, the director of Chihayafuru Part 1

and 2. This event also invites an Indonesian actress as its brand ambassador,

Chelsea Islan. She is famous for her performance in the movie “Refrain”

and also other movies, sitcom, and advertisement. She also acted in a

television movie titled “When You Wish upon a Sakura” which is a

collaboration project between Japan and Indonesia.209

209 The Japan Foundation, Jakarta. (2016, November). Nuansa: Japanese Film Festival Tinggal Hitungan Hari! Halo Jepang!, IV, 21. The Daily Jakarta Shimbun.

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During the press conference of JFF 2016, Shuhei Nomura expresses

his gratitude to be invited to the event and hoped that this event can make

Indonesian people to know about Japanese people through movies. Nomura

hoped that through the movies that he is starring in can introduce the culture

of Japanese people and is accepted and loved by Indonesian people.210

Figure 5.17. Press Conference JFF 2016 at Cinemaxx fX Sudirman

Source:

https://web.facebook.com/JFFJakarta/photos/a.832299860246238.1073741

828.826917270784497/865725366903687/

There are 14 Japanese movies from various genres that are shown in

JFF 2016. On 24 November 2016, the film festival opened with the

screening of Chihayafuru Part 1. This movie is the live action of a comic

book and cartoon series (manga and anime) with the same title about

Japanese traditional card game named Karuta which based on classic

Japanese literature. Norihisa Tsukamoto believed that the screening of this

movie to formally open the event since it depicts classical tradition of Japan

that is still maintained in modern society.211 On the next day, 25 November

210 Audrey, A. (2016, November). Datang ke Indonesia, Shuhei Nomura Bawa Misi Pertukaran Budaya. Retrieved from Japanese Station Official Website: https://japanesestation.com/datang-ke-indonesia-shuhei-nomura-bawa-misi-pertukaran-budaya/ 211 The Japan Foundation. (2016). Japanese Film Festival 2016 Booklet. 6. The Japan Foundation.

90

2016, the festival played 11 movies, those are Chihayafuru Part 1 and 2, The

Anthem of the Heart, Sanada Ten Braves., What a Wonderful Family!, Over

the Fence, Kako: My Sullen Past, The Mohican Comes Home, The Boy and

the Beast, The Magnificent Nine, and Creepy. On the third day of the

festival, there are 11 movies that are shown which 8 of them were also

played on the previous days and 3 new movies were being played: Rudolf

the Black Cat, Tsukiji Wonderland, and Sweet Bean. On the last day, there

are 9 movies that were shown; those are What a Wonderful Family!, Over

the Fence, Chihayafuru Part 2, Rudolf the Black Cat, Tsukiji Wonderland,

Creepy, The Anthem of the Heart, and Sweet Bean.212

212 The Japan Foundation. (2016). Japanese Film Festival 2016 Booklet. 13. The Japan Foundation.

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Figure 5.18. Screening Schedule of Japanese Film Festival 2016

Source: https://www.kaorinusantara.or.id/newsline/63546/nikmati-

beragam-film-jepang-dalam-japanese-film-festival-2016

This event also provides and distributes the event’s booklet which

contains information of the event such as general information of the event,

the schedule of the screenings, synopsis of the movies, trivia of the theme

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of the movies, and also some other advertisements from media partners. The

JF Asia Center also collaborated with the 11th Jogja-NETPAC Asian Film

Festival to screen some of the movies that are shown in JFF 2016 to be

screened in the event. The 11th Jogja-NETPAC Asian Festival itself was

held on 28 November to 3 December 2016 in Yogyakarta.

Figure 5.19. 11th Jogja-NETPAC Asian Film Festival Poster

Source:

https://web.facebook.com/JFJakarta/photos/a.198931390179179.49239.15

0311718374480/1217917161613925/

5.6. Critical Analysis of Japan’s Success in Promoting Its Cultural

Diplomacy in Indonesia

According to Katzenstein, governments, through cultural diplomacy, are

seeking specific images in favor to support or alter the existing state identity.213

By this definition, cultural diplomacy is used by states to create desired image

and identity to foreign nations. As the results of occupation by the Allied forces

and the Peace Treaty of San Francisco in 1952, Japan had to renounce any of

its military power. There had also been pressure from its intellectuals, citizens,

and government officials to change the perception towards Japan which, at the

213 Cited in: Katzenstein (2005:38). Aoki-Okabe, M., Kawamura, Y., & Makita, T. (2006, February). The Study of International Cultural Relations of Postwar Japan. Discussion Paper No. 49. Japan: Institute of Developing Economies, JETRO. pp. 10.

93

time, Japan still get so many negative impression and resentment due to its

involvement in the War. Several of its government officials have been

indicating that the utilization of Japan’s soft power abroad is the solution to the

constitutional constraints which preventing Japan from using its hard power in

its international conducts.214

Ever since Japan acknowledges the importance of cultural diplomacy’s

role in re-branding itself as a “peaceful loving” and “culturally exciting”

country, they have been utilizing the export of cultural products especially in

the Asian nations.215 It is argued by intellectual and popular discourse in Japan

that Japan needs to step up and put extra attention on the development of

cultural policy and the export of culture as it is beneficial not only on

diplomatic aspect, but also in economic aspect as the popularization of cultural

products in foreign countries may resulted in the increase of the consumption

of Japanese consumption products and, even, the increase in the consumption

of the cultural products itself..216

Japan have to secure its geopolitical position in Asia to assure its foreign

policies and international conducts. Since the resentment and tension of Japan

in the Southeast Asia region was alarming for Japan’s economic and

diplomatic endeavors, the government has changed its course in public and

cultural diplomacy to help restore its image in the region. The once passive,

seemingly one-way interaction of international cultural relations policies has

become into a more interactive initiatives and methods encouraging a two-way

interaction between host countries and home country.217

214 Cited in: Sugiura, et al. (2004:30). Otmagzin, N. K. (2012). Geopolitics and Soft Power: Japan's Cultural Policy and Cultural Diplomacy. Asia-Pacific Review, 52. 215 Otmagzin, N. K. (2012). Geopolitics and Soft Power: Japan's Cultural Policy and Cultural Diplomacy. Asia-Pacific Review, 39. 216 Otmagzin, N. K. (2012). Geopolitics and Soft Power: Japan's Cultural Policy and Cultural Diplomacy. Asia-Pacific Review, 51. 217 Aoki-Okabe, M., Kawamura, Y., & Makita, T. (2006, February). The Study of International Cultural Relations of Postwar Japan. Discussion Paper No. 49. Japan: Institute of Developing Economies, JETRO.

94

As argued by Ogoura218, the means of cultural policies must now also

utilize contemporary art forms abroad, for example: music, film, manga, and

anime, alongside the Japanese high culture, such as: bunraku (puppet theater),

noh theater, chanoyu (tea ceremony), and ikebana. He also believes that with

the combination of both, the cultural policies still “transmit the Japanese spirit”

and also offers “international asset” to the world.

In this globalization era, where nation states must adapt to the

advancement of technologies, they ought to gradually change and improvise

its method and medium to further expands and maximizes its cultural policies.

Young generations nowadays are more likely to prefer an easier and fastest

way in learning and open to new information and ideas. By combining cultural

products such as food, music, or films together, it may become an important

measurement in regional interactions by promoting contact and cooperation

among the local civil society groups and encourage communalities of lifestyle

and consumption habits.219

According to Iwabuchi220, the local popular culture markets of Asia has

endorsed a wide range of cultural products, such as television programs,

animation, movies, comic books, fashion magazines, music, and other popular

culture fields and artifacts in the recent years which now plays an integral part

in the cultural lives of many young people in the region. This can be seen by

the increasing enthusiasm of the local people in the region, one of which is in

Indonesia. Japan has been conducting its cultural diplomacy in Indonesia

through some of its government agencies and independent institutions, such as

Japan’s MOFA, the Agency of Cultural Affairs of Japan, JETRO, the Japan

Foundation (JF), and other private institutions.

218 Ogoura, K. (2004). Kokusai zai’ no shin ni Kachi koso Sekai ni Hasshin Shiyo (Sharing Japan’s Cultural Products as “International Assents). Chuo Koron, 210-217. 219 Otmagzin, N. K. (2012). Geopolitics and Soft Power: Japan's Cultural Policy and Cultural Diplomacy. Asia-Pacific Review, 55. 220 Cited in: Iwabuchi (2002).

95

There are a lot of local communities that actively conduct many events

that celebrates the cultures of Japan in Indonesia, such as festivals, workshops,

seminars, and exhibitions. As the aforementioned Japanese government

entities (JF, Jakarta particularly) has been accommodating, supporting, and

acknowledging the activities that these local communities do, Japanese

cultures are gaining more popularities and enthusiasm within the local

audiences. JF, Jakarta has becoming one of the most important cultural

diplomacy instruments for Japan in Indonesia as its existence in Indonesia

established a more harmonious diplomatic relationship between Indonesia and

Japan.

However, even though that there may have been approvals by some of

the Indonesian of Japan, there still this little resentment towards Japan. Since

there are still some War sentiment within Indonesian people, as mentioned

before, the Japanese government is trying to correct this view and bring forth

an understanding, for example, with showcasing and present their struggles of

poverty after the War (even though most Japanese people would prefer not talk

about it) that may have never been heard or taught in Indonesia from the

Japanese people perspective through exhibitions, discussions, and film

screenings.

JF, Jakarta is carrying one of the most important roles in Japan’s cultural

diplomacy as it is the central institution which conducts Japan’s cultural

exchange activities and in carrying out Japan’s cultural policies.221 Its main

goal is not only to introduce Japanese culture to Indonesian people but also to

change and establish a more favorable image which may further develop and

tighten the relationship between Japan and Indonesia in diplomatic and

economic aspects.

221 Aoki-Okabe, M., Kawamura, Y., & Makita, T. (2006, February). The Study of International Cultural Relations of Postwar Japan. Discussion Paper No. 49. Japan: Institute of Developing Economies, JETRO.

96

In his public lecture as part of the Japanese Seminar Series conducted

by Budi Luhur University with the theme of “Japanese Culture Diplomacy in

Global Era” in 11 June 2015, Kenichi Takeyama, then Director of Information

and Culture of the Japan Embassy, stated that Japan’s cultural diplomacy in

Indonesia throughout the years have shown favourable results. He argues that

this can be seen as there is an increasing number of Indonesian people who

love Japanese cultures, especially among young people. Some of notable

efforts that the Japanese government to improve Indonesian people’s interest

in Japanese culture are include sending Japanese language teachers to high

schools, conducting speech contest for high school and university students,

conducting exchange program through JENESYS Program, conducting

Japanese cultural festivals, and more.222

To further expand the reach of Japanese cultural products to the local

audiences, JF, Jakarta cooperating with other Japanese government and private

institutions are seizing the opportunities to introduce, educate, and promote

Japanese culture in Indonesia through Japanese movies. It is since there has

been an increase in the popularity of Japanese movies, both animated and non-

animated. 223 There have been programs conducted by JF, Jakarta (often

associated with other local and Japan’s governmental and private institutions)

to promote Japanese culture through films to Indonesian people, such as

seminars, workshops, film festivals, and exhibitions.

On its regular programs, JF, Jakarta has been conducting bi-weekly

program in film screenings, and the “Cinema Caravan” program. Although

with these programs and the screening Japanese movies in local cinemas has

becoming more common, there are still so many of Japanese movies that have

not got the chance to be shown in Indonesia. For that, in 2015, the Agency of

Cultural Affairs of Japan, Japan Foundation, and Japan Image Council held

222 Universitas Budi Luhur. (2015, June 11). Seminar: Diplomasi Budaya Jepang di Era Global oleh Kedutaan Jepang di UBL. Retrieved October 25, 2018 from Universitas Budi Luhur Official Website: http://www.budiluhur.ac.id/en/seminardiplomasi-budaya-jepang-di-era-global-oleh-kedutaan-jepang-di-ubl/ 223 The Japan Foundation. (2016). Japanese Film Festival 2016 Booklet. The Japan Foundation.

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Japanese Film Festival 2015. This event gained positive feedbacks and

enthusiasm by Indonesian people and also Japanese people who live in

Indonesia. With the success of this event in 2015, JF, Jakarta, with

collaboration of JF Asia Center, then in 2016 held another Japanese Film

Festival with broader and bigger event from the previous event.

Through movies, the Japanese government can further introduce

Japanese culture. By screening movies with the themes of either of its

traditional or modern culture (or also a combination of both), the target

audiences, Indonesian people, can know even further and learn of Japanese

culture that they may have not known yet. They can also have an understanding

and a glimpse of the lifestyle and the daily lives of Japanese people and also

about the environment in Japan. These will gradually bring a more harmonious

relations between the people of the two countries in which will benefits in the

diplomatic relationship between Republic of Indonesia and Japan.

Japan’s cultural diplomacy in Indonesia may serve Japan a very

beneficial results in its international relations conduct considering that

Indonesia has a populous number of citizens which is great for foreign ventures

in many sectors. As argued by Kartikasari224, culture plays important role in

Japanese international relations in which has three dimensions to it. The first

one is in social role which provides the opportunity to introduce Japanese

cultures and common values to the foreign countries and to create mutual

understanding between countries involved. The second role is in political

aspect since culture is utilized as a tool to gain political benefits through public

and cultural diplomacy as soft power element to persuade and establish

cooperation between Japan and other nation states to achieve its national

interests. The third role is in economic aspect as the increasing interests of

cultural products is beneficial to its economy since people may want to buy

and use Japanese products and services whether for its quality and/or its appeal.

224 Kartikasari, W. (2018). The Role of Anime and Manga in Indonesia-Japan Cultural Diplomacy.

筑波学院大学紀要 13 (Tsukuba University Bulletin 13), 41-47.

98

Hence, culture may help benefitting Japan in, not only on regaining trust

and restoring the image of the country, but also benefits Japan’s other foreign

policy agendas. Through its cultural diplomacy, Japan can further their

relations with Indonesia in diplomatic relationship and economic partnership

and cooperation. It can also increase the variety of products to export to

Indonesia due to the popularity of Japanese product and culture. Many of its

cultural products is being sought out and preferred by Indonesian people, for

example in fashion, movies, music, culinary, and sports. Japan now can be

more proactive in promoting and implementing its cultural policies unlike in

its first few decades of cultural diplomacy practices in postwar era has been

very cautious and inward looking.225 It is since the way Indonesian, and other

Asian nations in the region, perceive its image has been shifting gradually.

Moreover, as Japan’s cultural diplomacy is putting more emphasis on

Indonesian youth, Indonesian people becoming more familiar with Japanese

cultures and products as they have known it since they were little.

With globalization making the flow of information is becoming easier

for people to interact, nation states must also adapt to this phenomenon. It is in

order to keep in touch and up-to-date on the trends of what would be best way

and strategy to implement its foreign policy to achieve its national interest.

Culture plays an important role in promoting, introducing, and shaping the

image of a nation state. For a nation state to engage with the people of another

countries, they must utilize anything that can help in pursuing its foreign policy

agenda and national interest. One of the most preferable media to promote a

nation’s culture is through movies. By exporting movies to other countries, it

contributes in promoting its culture whether it is in the aspects of its culinary,

folklores, urban legends and myths, daily lives, fashions, music, traditional

games, fine arts, sports, and others.

225 Otmagzin, N. K. (2012). Geopolitics and Soft Power: Japan's Cultural Policy and Cultural Diplomacy. Asia-Pacific Review, pp. 42.

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CHAPTER VI

CONCLUSION

As relations between states have becoming more complex, to further extend

bilateral relationship that has been established, states must utilize and maximize

every aspect that they have. Culture is one of the aspects that play an important role

in diplomacy. Cultural diplomacy has been used by many states to carry out its

foreign policy to achieve its national interests. Japan is one of the nation states that

practice cultural diplomacy. The main goal of Japan’s cultural diplomacy is to

correct misunderstanding and misconception that are addressed towards them. As

the goal is to change the view of Japan from this “militaristic image” from the

prewar era to a peace-loving country is also as a part of its commitment to its

Constitution, it can be seen that the goal of Japan’s cultural diplomacy is to achieve

its national interest.

Japan has done many projects and programs in decades through various

institutions including JF. It was established in 1972 after the 68th Session of the

National Diet on 29 January 1972. JF was first working under the jurisdiction of

Ministry of Foreign Affairs of Japan (MOFA Japan). JF is the sole institution of

Japan government which conduct comprehensive international exchange programs.

In 2003, JF transformed into an administrative institution which means JF can

manage and make its own programs and plan its budget that allows them to raise

funding if necessary, though it still get subsidize from the government of Japan. JF

has been operating in all over the world through its overseas offices. As argued by

Bahri, Japan has been devoting more attention to the Southeast Asian countries

since the region is Japan’s key trading partners. This explains JF has been more

focusing on the region with the establishment of the Japan Foundation Asia Center

in 2014.

100

JF also has one of its overseas offices in Indonesia, named the Japan

Foundation, Jakarta (JF, Jakarta). JF, Jakarta has been conducting various cultural

exchange programs and projects in Indonesia, especially in Jakarta. One of the

many activities of JF, Jakarta in Jakarta is the promotion of Japanese movies. The

Foundation has its, almost, monthly movie screenings in its office building and

Japanese film festivals. It also has a program named “Cinema Caravan” which

invites communities, organizations, and schools to know more about Japan through

movie screening and discussion. The goal for this Japanese film promotion program

is to introduce Japanese culture to Indonesian people and strengthen understanding

between the people of Indonesia towards Japan, such as culinary, traditions,

traditional cultures, pop cultures, beliefs, way of life, music, tourism, and many

others.

Japanese film festival held by JF gained many positive responses and

enthusiasm from Indonesian and Japanese that are residing in Indonesia alike. It is

because Japanese film is still quite hard to find in Indonesia and, also, it attracts

audiences by inviting popular actor and actress of the two nations as representatives

to be guest star and ambassador to the event. The event gets bigger every year

compared to its predecessor event to gain bigger audiences. It is hoped that this

event will continue to be held in Indonesia annually until 2020.

To reach out to the people of Indonesia about these programs, JF, Jakarta

uses its official social media accounts such as Facebook, Twitter, and Instagram.

Most of its online activities are done in its Facebook fan page since the official

website of JF, Jakarta was temporarily shut down for about a year. Not only through

social media, JF, Jakarta also used media partners such as Halo Jepang! newspaper,

KAORI Indonesia, Japanese Station, and other websites for Japanese lover

communities.

Throughout the years, particularly during 2013 until 2016, Japan has been

expanding and developing its programs in promoting Japanese movies. By

cooperating with cinemas in Indonesia, Cinemaxx Theatre and CGV.ID (or

previously known as CGV Blitz), other institutions and communities, they

expanded the scale of its program. One of its main selling points in the Japanese

101

Movie Festival 2016 is that they appointed one of Indonesian popular actress to

become the brand ambassador for the event. Not only that, they also invited one of

Japan’s famous actor and the producer of one, or two, of the movies that are being

shown in the event. This rare opportunity is seized by the fans of the actor to finally

meet him in person and to congratulate him on his endeavours. They also conduct

sub event where the participants can win prizes and have fun with its fringe event

where they showcase Japanese cultures, traditional and modern culture, and held

some competitions and quizzes. The inclusion of some of the movies being shown

in the 11th Jogja-NETPAC Asian Film Festival gives them the opportunity to see

the response of the people and use it as consideration for the next event.

Through these programs, there has been an increase in the interest of

Japanese movies from Indonesian people. However, its regular program of movie

screenings has been criticized that the JF, Jakarta is only doing it in weekdays on

working hours. There are some people that wanted to participate in the programs

but they cannot attend since they are working or still in school or have other

activities. It is best that JF, Jakarta starts to consider conducting these programs

outside the working hours and/or on the weekends. The author of this thesis also

recommends that JF, Jakarta keep increasing the variation of movies that are going

to be shown in the programs and covers more regions in Indonesia so they can gain

even bigger audiences and participants.

It can be said that the Japan’s government achieved some of its desired

results for its cultural diplomacy in Indonesia. It is since there have been positive

response from Indonesian public, especially from the local communities. With the

program fully equipped with many aspects of its culture, for example; the screening

of movies with the theme of Japan’s mythical creatures and folklore, traditional

game, the daily lives of the Japanese people, documentary and periodical themed

movies, it gives the audiences a little glance on what the culture in Japan is like

which build the interest in the audience for Japanese cultures.

As for Indonesia, with the increase of interests in Japanese cultural products,

it expands the making of a more variety in jobs opportunities. With the increase in

102

the interest of the Japanese culture, Indonesian people can know Japan better and

will gradually have mutual understanding. As it is beneficial for Japan, it is also

very beneficial for Indonesia as it can maintain the diplomatic relations between

states and also gives the opportunities for Indonesian youth to engage in projects

that assimilates the culture of both countries and to improve the quality of

Indonesian human resources in some aspects. It is also can be utilize as a mean to

bring Indonesian culture to the Japanese audiences through said projects.

103

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112

APPENDIX

113

The Japan Foundation, Jakarta Movie Screenings

2013

Date Event Name Conducted by Place Schedule Notes

22 Jan Pemutaran Film

Januari 2013

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

14:00-16:00

Torokko

16:30-18:30

Hana no Ato

02 Feb

“Ramah Tamah &

Nonton Film

Bersama”

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

12.00 – 12.30:

Information of

library and

activities of JF

12.30 – 13.00:

Appreciation

for library

members of JF

13.00 – 14.00:

‘5cm per-

second’ Movie

Screening

13-14

Mar

Pemutaran Film

Animasi Karya

Makoto Shinkai

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

13 Maret

14:00 The

Place

Promised in

Our Early

Days (Kumo

no Mukou

Yakushoku

no Basho)

16:30

Children

Who Chase

Lost Voices

(Hoshi o Ou

Kodomo)

14 Maret

14:00

Children

Who Chase

114

Lost Voices

(Hoshi o Ou

Kodomo)

16:30

5 Centimeter

per-Second

(Kyoshoku 5

Senchimeetor

u)

18-19

Apr

FILM seru di bulan

April – Film

Bernuansa

Makanan

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

18 April

14:00

Noriben

16:30

Nankyoku

Ryori Nin

19 April

14:00

Nankyoku

Ryori Nin

16:30

Noriben

10 May

14 May

SPECIAL FILM

SCREENING

International

Film Festival

for

Environment,

Health and

Culture, and

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

10 May

Title: INORI:

Conversation

with

Something

Great

Directed by

Tetsu

Shiratori

Time: 10:30-

11:30

Title:

KIZUNA

Taste of Aji

Stone

Directed by

Hideaki

Kataoka

Time: 14:00-

15:30

14 May

Title: 10,000

- WINNING

A WAR ON

115

SUICIDE IN

JAPAN

Directed by

Rene

Duignan,

USA

Time: 10:30-

12:00

Title: CANS

OF HOPE

Directed by

Hirokazu

Kishida

Time: 14:00-

14:30

Title:

GAREKI ;

Bangkit dari

reruntuhan

Time: 14:30-

15:00

20 May FROM KAMAISHI

TO BUKIT

DUABELAS

RAINFOREST

“How can

Education Meet the

Needs of the

People?”

The Japan

Foundation,

Jakarta, and

SOKOLA

Conference

Hall The Japan

Foundation,

Jakarta

Summitmas I,

2nd Floor Jl.

Jend. Sudirman

Kav 61-62

20 May

(14.30-18.00)

- Japan After

3.11-Disaster

Prevention

Education

- “Guru Rimba,

Dimanapun

Jadi Sekolah”

23-24

May

ANIMATION Film

Screening

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

23 May

14:00

Uchuu

Kyodai

16:30

116

Jend. Sudirman

Kav. 61-62

Jakarta

Hoshi o Ou

Kodomo

24 May

14:00

Houshi o Ou

Kodomo

16:30

Uchuu

Kyodai

13-14

Jun

27-28

Jun

FILM SERU

BULAN JUNI

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

13 June

14:00 Shodo

Girls

16:30

Hankyu

Railway

14 June

14:00

Hankyu

Railways

16:30 Shodo

Girls

27 June

14:00

Torokko

16:30 The

Wife of

Gegege

28 June

14:00 The

Wife of

Gegege

16:30

Torokko

11-12

Jul

18-19

Jul

25-26

Jul

FILM SERU

BULAN JULI –

HORROR

COMEDY

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

11 July

14:00

Izakaya Yurei

12 July

14:00

KAIRO

18 July

14:00 Gakkou

no Kaidan IV

19 July

117

14:00

Izakaya Yurei

25 July

14:00

KAIRO

26 July

14:00

Gakkou no

Kaidan IV

23 Aug Pemutaran film

mengenai SUMO

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

23 August

14:00

Semangat

Sumo (Shiko

Funjatta)

17 Sep Film Screening

about Tea

Ceremony (Cha no

Yu)

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta VIP

Room,

Jl. Jend

Sudirman Kav

61-62

Gd.

Summitmas I

Lt-2

17 September

16.00-16:50

19-20

Sep

26-27

Sep

FILM SERU

BULAN

SEPTEMBER –

YOUTH POWER

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

19 September

14:00 :

Pacchigi 1 /

Kelak Kita

Mengalahkan

nya

16:30 :

Pacchigi 2 /

Love and

Peace

20 September

14:00 :

Kamikaze

Taxi

118

16:30 :

Himitsu no

Hanazono

26 September

14:00 :

Himitsu no

Hanazono

16:30 :

Kamikaze

Taxi

27 September

14:00 :

Pacchigi 1 /

Kelak Kita

Mengalahkan

nya

16:30 :

Paccigi 2 /

Love and

Peace

20 Sep Cinema Caravan

“Shodo Girls”

The Japan

Foundation,

Jakarta and

Pondok

Pesantren

Darunnajah

Shodo Girls

01 Oct TALKSHOW DAN

PEMUTARAN

FILM by Sachio

Yoshioka

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

Murasaki

10.00-12.00

119

31 Oct

01 Nov

Pemutaran Film

STOP MOTION-

ANIMATION

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

31 October and

01 November

14.00

Komaneko –

The Curious

Cat

Komaneko’s

Christmas - A

Lost Present

2014


19-21

Mar

Film Screening

Movies by Yaguchi

Shinobu

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

19 March

14.00 : Happy

Flight

20 March

14.00 : Swing

Girls

21 March

14.00 :

ROBO-G

6 May

8 May

Pemutaran Film

Animasi Karya

Makoto Shinkai

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

6 May

14.00 : Hoshi

no Koe

14.30 : 5

Centimeters

per second

8 May

14.00

Children who

120

Chase Lost

Voices

16.00 Hoshi

no Koe

23-24

May

FILM seru di bulan

Mei

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

23 May

14:00

Uchuu

Kyodai

16:30

Hoshi o Ou

Kodomo

24 May

14:00

Houshi o Ou

Kodomo

16:30

Uchuu

Kyodai

26-27

Jun

30 Jun

FILM SERU

BULAN JUNI

2014

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

26 June

14:00 Mimpi

Malam Musim

Panas

27 June

14:00

Chikara:

The Sumo

Wrestler

Son

14:30

Kontak

Mata

30 June

14:00 Quartet

01-03

Jul

NONTON

BARENG FILM

SALJU

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta

Summitmas I,

2nd Floor Jl.

Jend. Sudirman

Kav 61-62

1 July

14:00 : Pinguin

Langit

(Penguins in

The Sky)

2 July

14:00 :

Nankyoku

Ryorinin (The

121

Chef of South

Polar)

3 July

14:00 : Negeri

Salju

(Yukiguni)

13-15

Aug

Animation Fiesta The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

13 August

14.00 : The

Place Promised

in Our Early

Days (雲の向

こう,約束の場

所)

14 August

14.00 : The

Garden of

Words (言の

葉の庭)

15.00 :

Voices of a

Distant Star (

星の声）

15 August

14.00 : 5 Cm

per Second (

秒速 5セン

チメートル)

16:30 Uchuu

Kyodai

8-10

Oct

FILM SERU

BULAN

OKTOBER

-Kisah

Mengharukan antara

Manusia dengan

Hewan-

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

8 October

Gonta Beruang

Malang

9 October

Kisah Hachiko

10 October:

Wanko

122

21 Nov

28 Nov

Special Animation

Film Screening by

Makoto Shinkai

The Japan

Foundation,

Jakarta

Kineforum

Taman Ismail

Marzuki,

Jl. Cikini Raya

No.73, Central

Jakarta

21 November

14:15 : The

Place

Promised in

Our Early

Days

17.00 : 5

Centimeters

Per Second

19.30 :

Garden of

Words

28 November

14.15 : 5

Centimeters

per Second

17.00 :

Garden of

Words

19.30 : Place

Promised in

Our Early

Days

2015


05 Mar

19 Mar

Film Seru Bulan

Maret – Perjuangan

seorang anak pasca

bencana

5 March

14.00 : Wanko

19 March

15.00 : Éclair

123

09-10

Apr

Film Seru

"Indahnya Musim

Semi" - Hana no

Ato -

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

9 April

14.00

Hana no Ato

10 April

14.00

Oh.. Musim

Semi

20-26

Apr

Penandatanganan

MoU IKJ – JIMI,

Lektur Tadao Sato

& “Ken Takakura”

Film Screening

The Japan

Foundation,

Institute of

Moving Image

(JIMI), and

Institut

Kesenian

Jakarta (IKJ)

Art Cinema

Kompleks

Taman Ismail

Marzuki (TIM)

Jl. Cikini Raya

no. 73

Jakarta Pusat

20 April

14.00-15.40

The Red

Peony

Gambler:

Flower Cards

March

21 April

15.30-18.00

Hot Pursuit

22 April

16.00

Saputangan

Kuning

23 April

16.00

Panggilan

Musim Semi

24 April

16.00

Stasiun

25 April

16.00 Yasha

26 April

13.00

Hot Pursuit

124

21 May

26 May

Film Seru Bulan

Mei 2015

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

21 May

14.00

Rail Truck

26 May

14.00

Hankyu

Railways

10 Jun

25 Jun

PEMUTARAN

FILM SERU JUNI

2015

-Kisah

Mengharukan Guru

& Murid-

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

10 June

14.00

Sekolah II

(Gakkou II)

25 June

14.00

Dua Belas

Pasang Bola

Mata

(Tokubetsu 24

no Hitomi)

07 Jul

09 Jul

Classic Film

Screening

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

7 July

14.00

Saputangan

Kuning

9 July

14.00

Panggilan

Musim

Semi

125

2016


21 Jan Film Screening

“Semangat Sumo”

(Shiko Funjatta)

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

Semangat Sumo

(Shiko Funjatta)

13.00

11 Feb Film Screening

“ROBO-G”

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

ROBO-G

13.30

05 Apr Film Screening

“Happy Flight”

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

Happy Flight

13.00

12 Apr Film Screening

AYO BERJUANG/

がんばっていきま

っしょい/GIVE IT

ALL

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

AYO

BERJUANG/ が

んばっていき

まっしょい

/GIVE IT ALL

13.30-15.30

126

18 May

26 May

Post World War II

Film Screening on

"Metamorphosis of

Japan after The

War",

The Japan

Foundation,

Jakarta

Bentara

Budaya,

Jakarta

Jl. Palmerah

Selatan No. 17

18 Mei

13.30

Higanbana

(1958)

16.00 Ugetsu

Monogatari

(1953)

26 Mei

13.30 Tokyo

Monogatari

(1953)

16.00 Izu no

Odoriko (1963)

16 Jun

21 Jun

23 Jun

28 Jun

NGABUBURIT

NONTON

BARENG di Japan

Foundation

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

16 June

14:00 Swing

Girls

21 June

14:00 Rock

Berkabung

23 June

14:00 Eclair

28 June

14:00 Quartet

16 Aug

18 Aug

23 Aug

25 Aug

Screening of “Tora

Jiro” Comedy Film

Series

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

16 August

14:00 Tora Jiro

dan Kembang

Sepatu (1981)

18 August

14:00 Tora Jiro

Menjadi Alim

(1983)

23 August

14:00 Tora Jiro

Pamanku

(1990)

25 August

14:00 Tora Jiro

Kisah Cinta

dari Shibamata

(1986)

127

15 Sep Film Screening

“Hotaru no Haka”

(Grave of Fireflies)

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

14.00-15.45

Hotaru no

Haka

20 Sep Film Screening "5

Centimeters per

Second"

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

14.00-15.45

5 Centimeters

per Second

20 Oct Film Screening

"Kappa no Sampei"

The Japan

Foundation,

Jakarta

The Japan

Foundation,

Jakarta Lobby

Hall,

Summitmas 1

2nd Floor, Jl.

Jend. Sudirman

Kav. 61-62

Jakarta

14.00-15.30

Kappa no

Sampei

31 Oct Japan Food Festival

Japan External

Trade

Organization

(JETRO)

Food Society

(Ground Floor)

Mall

Kasablanka

3 November

10:00 The

Chef of

South Polar

13:00

Akanezora

Beyond the

Crimson Sky

16:00

Karaage

USA

4 November

128

10:00 A

Drop of the

Grapevine

13:00

Noriben

16:00

Akanezora

Beyond the

Crimson Sky

10 November

10:00 Ramen

Samurai

13:00 A

Drop of the

Grapevine

16:00 The

Chef of

South Polar

11 November

10:00

Noriben

13:00

Karaage

USA

16:00 Ramen

Samurai

13 Nov Wisata Balai Kota

bersama The Japan

Foundation

The Japan

Foundation,

Jakarta and

Pemerintah

Provinsi DKI

Jakarta

Balai Agung,

Balai Kota

DKI Jakarta

09.00-15.00

“Karaage

USA”

- Wisata

Balai Kota

- Pemaparan

Jakarta Smart

City

- Pemutaran

Film Jepang

“Karaage

USA”

- Pertunjukan

Tari Jepang

“Yosakoi

Kochi”

- Pertunjukan

129

Perkusi

Jepang

“Taiko

Okinawa”

- Pengenalan

Kuliner

Jepang

- Kegiatan

lainnya

17 Nov Baros International

Film Festival

16:00-18:00

The Place

Promised in

Our Early Day

15-17

Dec

Somewhere New

(Someone New)

Goethe Institut,

The Japan

Foundation,

LifeLike

Pictures

Taman Ismail

Marzuki

Jl Cikini Raya

No.73, Jakarta

14:15

A Class to

Remember IV:

Fifteen (2001)

by Yoji

Yamada

1. Berlin is in

Germany

(Hannes

Stöhr, 2001)

2. Tabula

Rasa

(Adriyanto

Dewo, 2014)

3. When We

Leave (Feo

Aladag,

2010)

4. A Class to

Remember

IV: Fifteen

(Yoji

Yamada,

2001)

Source: https://www.facebook.com/JFJakarta/posts/

130

Source: http://www.id.emb-japan.go.jp/news15_47.html

131

Source:

https://www.facebook.com/JFFJakarta/photos/a.832299860246238.1073741828.8269172

70784497/868051596671064/

132

Source:

https://web.facebook.com/JFFJakarta/photos/a.870232246452999.1073741829.82691727

0784497/870232159786341/?type=3&theater