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Farid Sathotho
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Locus
Published by Research and Social Study Institute
ISSN : -     EISSN : 30264561     DOI : https://doi.org/10.33292/locus.v2i01
Core Subject :
Journal of Local Culture Studies is an international journal that promotes the study of art and local culture in various unique and specific aspects, covering art and cultural history, visual arts, performing arts, popular art and culture, culinary art, traditional culture, and traditional knowledge and skill systems. The journal publishes peer-reviewed research across all local arts and culture areas, drawing on various criteria such as originality, importance, or interdisciplinary relevance.
Arjuna Subject : -
Articles 20 Documents
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A Critique of Global Pop Culture's Hygiene Standardization Against the Megibung Tradition in Installation Art I Putu Yogantara; I Nyoman Rediasa; I Wayan Sudiarta
Journal of Local Culture Study Vol. 3 No. 01: June, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i01.21

Abstract

The communal Megibung tradition of Karangasem and the Lawar preparation at its centre are increasingly marginalised by a standard of hygiene that global popular culture presents as universal. The international gaze reads organic, hand-prepared, open-air food as unsanitary, and that verdict is now internalised by younger Balinese, who withdraw from a practice they have learned to see as dirty. Existing scholarship treats Megibung as a culinary and sociological object, examines Lawar from a food-safety standpoint, or analyses ritual as a vehicle of cultural transmission; none has treated the hygiene conflict itself as the material of an artwork. This article reports an artistic research project that designed an installation as a critical response to that conflict. The enquiry combined participatory observation of Megibung and Lawar preparation at customary events in Karangasem Regency over approximately six months, semi-structured interviews with tradition bearers and younger residents, analysis through cultural hegemony, the classification of pollution, and the tourist gaze, and material realisation in the studio. The resulting work, Ritus yang Dihakimi (The Judged Rite), places a full gibungan replica, comprising rice, three Lawar variants, sate, urutan, and komoh, at floor level and encircles it with macro-scaled green flies cast in resin and fiberglass. Because the standing viewer shares the elevation of the swarm rather than that of the dish, the audience is placed inside the structure of judgement rather than outside it. The contribution of the article is to demonstrate that hygiene standardisation can be argued spatially and materially as well as analytically.
Reduction, Addition, and Variation in the Dialogue Ecranization of the Novel and Film Toba Dreams Vita Anggraeni Pasaribu
Journal of Local Culture Study Vol. 3 No. 01: June, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i01.22

Abstract

Ecranization, the transposition of a literary work to film, almost always alters dialogue, yet dialogue is rarely the primary unit of analysis in Indonesian ecranization scholarship, which has concentrated instead on plot, character, and setting. This article examines the entire dialogue of the 2015 novel and film Toba Dreams to describe how the two versions differ and to identify the narrative functions those differences serve. Working from Eneste's typology of ecranization change together with Damono's concept of media transposition and Eriyanto's story-plot distinction, the study comprehensively mapped every dialogue exchange across the 248-page novel and 140-minute film according to story and plot sequence, classified each pair as reduction, addition, variation, or similarity, and cross-checked classifications among three researchers. Reduction was the most frequent type of change, followed by addition and then variation, while identical dialogue occurred only rarely and in short exchanges. Reduction served durational and expository economy; addition strengthened dramatic tension, Batak cultural locality, and scene transition; variation aligned dialogue with the director's characterization choices. These findings show that dialogue ecranization is not a mechanical transcription of written speech but a creative negotiation that nonetheless preserves the novel's narrative essence, and they extend Eneste's framework, developed principally for plot and character, to dialogue as a distinct and comprehensively analyzable unit of adaptation.
Job Rotation, Competence, and Work Motivation among Arts-Institution Staff in Yogyakarta: Implications for Film Production Crew Management Rosmini Rosmini
Journal of Local Culture Study Vol. 3 No. 01: June, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i01.23

Abstract

Arts higher education institutions in Indonesia carry a dual organisational character: they employ educational staff on permanent administrative appointments while simultaneously housing production-based study programmes whose work is assembled project by project. Human resource scholarship has addressed these two worlds separately, and no study has asked whether findings from one transfer to the other inside a single institution. This article examines how far a statistically supported mediation model of job rotation, competence, and work motivation on employee performance, established among the educational staff of Institut Seni Indonesia Yogyakarta, is conceptually relevant to the management of film production crews in the same institution. The study combines a secondary summary of that model — a census of 185 educational staff analysed by structural equation modelling in AMOS 22 — with a thematic synthesis of twenty-one publications and policy documents on film and television production management in Indonesia and on project-based organising in the creative industries. The mediation model supports all seven hypothesised paths, with work motivation mediating the effects of both job rotation and competence. The synthesis identifies three parallels, each of them qualified: rotation for development corresponds only partly to placement by expertise; administrative competence and the national film competency standards share a measurement logic but not their content; and individual motivation is displaced in production by the producer’s situational leadership under deadline. The article contributes a testable set of propositions and shows that uniform human resource policy across administrative and production units cannot be assumed.
Javanese Limasan Architecture and 3D Modeling for the Revitalization of the Rumah Sandi Dukuh Heritage Site Avril Ailsa Suha Maharani
Journal of Local Culture Study Vol. 3 No. 01: June, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i01.24

Abstract

Rumah Sandi Dukuh is a Javanese limasan house in Kulon Progo, Yogyakarta, that served as an emergency post of the Dinas Code, Indonesia's wartime cryptography service, during the Second Dutch Military Aggression, and is now managed by Museum Sandi as an object presumed to be cultural heritage. Its revitalization programme had not been preceded by a systematic architectural study, leaving the building's historical form undocumented ahead of physical intervention. This study documents the identity, dimensions, and architectural style of Rumah Sandi Dukuh and produces a three-dimensional model as a technical reference for its revitalization. A qualitative case study carried out between September and December 2024 combined field observation and architectural measurement at the site, in-depth interviews with the museum officer responsible for the site and with a son of the original owner, and a literature study on heritage revitalization and Javanese vernacular architecture. Building-identity data were compiled on a Cultural Heritage Building Identity Sheet, and findings were triangulated across measurement and testimony before being modeled digitally. Rumah Sandi Dukuh, built before 1948, is found to be a limasan apitan pengapit, formed from two limasan lawakan units joined at the emper with a talang air, with a building area of 117 m² on a plot of 1,190 m². The resulting model, covering the building's ground floor, has been used by the Badan Siber dan Sandi Negara since November 2024 to guide the site's revitalization. The case shows how a small heritage institution can operationalize the documentation-before-designation principle of international conservation doctrine largely through manual methods.
Producership, Characterization, and Gender Representation in the Luna Maya Suzzanna Horror Franchise, Indonesia 1981–2023 Denny Antyo Hartanto
Journal of Local Culture Study Vol. 3 No. 01: June, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i01.25

Abstract

Indonesian horror cinema has moved over the past decade from single-film production towards franchise production, yet scholarship on this shift has continued to treat textual analysis and industrial analysis as separate undertakings. This article examines how producership, directorial characterization, and gender representation together sustain the Luna Maya Suzzanna franchise, produced by Soraya Intercine Films since 2018. Three films are compared: Sundelbolong (1981, Sisworo Gautama Putra), which serves as the baseline for the original icon, and the two franchise titles led by Luna Maya, Bernapas dalam Kubur (2018, Rocky Soraya and Anggy Umbara) and Malam Jumat Kliwon (2023, Guntur Soeharjanto). The study combines close textual analysis of the three films with a corpus of some thirty-five publicly circulated paratexts published between 2018 and 2024, including producer and director interviews, press-conference reports, trailers, and reviews. Material was coded in two passes against the physiological, psychological, and sociological dimensions of characterization and triangulated across independent sources. The character retains a stable basic structure across all three films, that of a wronged woman who returns as a vengeful supernatural force, while variation concentrates in the sociological dimension, moving from domestic betrayal in the first franchise film to family economic pressure in the second. The producer sustains iconic identity through consistent casting, visual and narrative reference to the original Suzzanna titles, and the recurring presence of veteran supporting performers, while promotion frames every release as the return of the horror queen. Character thus operates simultaneously as a narrative unit and as an industrial asset managed across changes of director.
Unity, Complexity, and Intensity in Upcycled Paper Craft: Aesthetic Value at Gegaen Lima Craft, Sudaji Village, Bali Muh Efendi; Luh Suartini; I Wayan Sudiarta
Journal of Local Culture Study Vol. 3 No. 02: December, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i02.26

Abstract

Paper waste is among the most abundant and least valorised household residues in rural Bali, yet studies of Balinese upcycled craft have concentrated on bamboo, wood, and coconut materials, leaving paper-based practice largely undocumented and never examined as an aesthetic medium. This article examines how aesthetic value is constituted in upcycled paper craft at Gegaen Lima Craft, a household micro-enterprise in Sudaji Village, Buleleng Regency, established in 2015, which converts discarded school textbooks into fifteen types of household, ceremonial, and accessory products through a coiling-and-weaving technique. The study follows a descriptive qualitative design. Fieldwork at the enterprise combined participant observation of the production process, semi-structured interviews with the founder and the relatives and neighbouring producers who work with her, and systematic photographic documentation of the complete product range, which was analysed as an exhaustive corpus of sixteen documented items. Monroe Beardsley’s criteria of unity, complexity, and intensity provide the analytical framework, applied first to each item and then comparatively across four functional categories. Aesthetic value in this craft is generated primarily through intensity rather than through applied ornament: because the coiled paper strand is the sole formal vocabulary available, distinction arises from precision of execution and from the disciplined repetition of a single element across differing forms. Complexity varies inversely with functional constraint, except in ceremonial vessels, where cultural significance prompts deliberate elaboration; unity follows from the constructive logic of coiling itself. Upcycled paper craft sustains local material culture not by imitating traditional media but by reproducing traditional object-types in a new material register.
Shot as an Instrument of Visual Characterization in the Religious Biopic Muhammad: The Messenger of God Istnaindanu Agustino Nugroho; Deddy Setyawan
Journal of Local Culture Study Vol. 3 No. 02: December, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i02.27

Abstract

Religious biopics that withhold the face of their central figure place an unusual burden on cinematography, since the character must be constructed from everything except the face. Scholarship on shot and characterization has grown quickly, yet it has been drawn almost entirely from films whose protagonists can be shown in close-up, leaving the face-avoidant case unexamined. This article examines how shot functions as an instrument of visual characterization in the 2015 film directed by Majid Majidi, and evaluates how effectively it does so. The study is a qualitative textual analysis of a single-film corpus that combines the four shot elements of angle nature, level angle, shot size, and camera movement with a three-dimensional model of character and a criterion of narrative coherence. Shots bearing directly on the protagonist were sampled purposively from the full runtime and grouped into the three age ranges the film depicts: infancy, childhood, and pre-adolescence. Each shot was coded for its four elements, interpreted for its characterization meaning, and assessed against the narrative context of the scene in which it appears. Objective angle, high level angle, medium shot size, and follow movement form the dominant combination. Effectiveness is nevertheless uneven: repeated high angle flattens psychological characterization and in places contradicts the protagonist’s social standing, one subjective-angle scene distorts his physical proportion, and a tilt-up misreads the emotional weight of the scene it closes. The article contributes an evaluative, rather than descriptive, framework for analysing cinematography produced under representational constraint.
Narrative Discourse as Social Cristique in Mouly Surya's Sumba Film Marlina the Murderer in Four Act Bunga Islammy
Journal of Local Culture Study Vol. 3 No. 02: December, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i02.28

Abstract

Indonesian scholarship on Mouly Surya's 2017 feature set in Sumba has concentrated almost entirely on what the film represents: gender injustice, feminist symbolism, and female resistance to patriarchal custom. How that representation is organised as discourse has remained unexamined. This article analyses the film as an audiovisual narrative text in order to establish how its formal organisation carries an argument about sexual violence. The study applies Gerard Genette's narratology to the complete 93-minute film, read through three stages of viewing conducted between February and May 2025, with every observation logged by timecode against the five categories of order, duration, frequency, mood, and voice; Laura Mulvey's critique of the gaze and Cathy Caruth's account of traumatic memory are introduced as interpretive lenses at the point of discussion. The analysis finds an almost unbroken linear order across four titled acts, with analepsis withheld precisely where the protagonist's past and her post-violence state would conventionally invite it; a duration that expands when power relations shift, compresses movement that does not alter the conflict, and elides the aftermath of killing; a strictly singulative frequency; a mood that migrates between internal, zero, and external focalisation so that victimhood is distributed across two women without the victim's body becoming spectacle; and a voice that remains heterodiegetic and extradiegetic throughout, refusing the protagonist verbal authority over her own story. Together these choices constitute a structural refusal of the social demand that survivors repeatedly explain and prove their experience.
Transmission and Sustainability of the Kelentangan Tradition in Dayak Benuaq Ritual, East Kalimantan Eli Irawati; Surya Dandes
Journal of Local Culture Study Vol. 3 No. 02: December, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i02.29

Abstract

The continuity of an oral musical tradition is ordinarily explained by the effectiveness of its transmission, yet transmission alone does not account for why some traditions persist while others fall silent. This article examines how kelentangan, the gong-row ensemble of the Dayak Benuaq of East Kalimantan, is transmitted, and how that transmission relates to the continuity of the tradition. The study draws on musical ethnography, which treats music both as sound and as the product of a set of social activities, and on the interaction of concept, behaviour, and sound together with the idea of participatory performance. Fieldwork was carried out in the villages of Tanjung Isuy, Mancong, and Muara Lawa in Kutai Barat Regency, and combined participant observation of the gantar dance, of the belian bawo and belian sentiu healing ceremonies, and of the kwangkay secondary mortuary rite with in-depth interviews with fifteen informants selected by snowball sampling: players of two generations, ritual specialists, dancers, and customary elders. The findings show that the tradition is inherited without any dedicated institution, curriculum, or scheduled lesson. Learning proceeds aurally and by imitation within the occasions on which the music is performed, along a graded path from the hanging gong to the drum and finally to the gong row, and it regenerates two populations at once: players and the public against which playing is judged. Continuity therefore rests less on transmission itself than on the ritual occasions that host it, and safeguarding measures addressed to transmission alone will not secure the tradition.
The Role of Arts and Culture-Based Teachers in Increasing Vocational School Students’ Participation in Student Film Festivals Deddy Setyawan
Journal of Local Culture Study Vol. 3 No. 02: December, 2025
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v3i02.31

Abstract

Vocational secondary education in Indonesia is organised around technical competence, and the arts and culture teacher is commonly treated as peripheral to that purpose. Film has nevertheless become the most accessible expressive medium available to vocational students, and student film festivals the principal arena in which their work is judged. This article examines how arts and culture teachers shape the willingness of vocational school students to take part in the Festival Film Pelajar Jogja and in the screening and mentoring programme organised around it. The study is qualitative and interpretive, reading teaching practice through Durkheim’s conception of the social fact and through the sociology of film festivals. It draws on semi-structured interviews with fifteen informants — school leaders, arts and culture teachers, festival organisers, a film director and students — and on observation of mentoring workshops, screenings and appreciation sessions. Thematic analysis identifies three teacher practices recurring across the schools studied: intensive mentoring through idea development, scripting and shooting; structured film education combining screening, technical demonstration and analysis; and community-based learning in which student work is presented to a local audience and discussed with it. Each practice raises not only technical skill but confidence, collaborative capacity and analytical judgement. The article argues that the arts and culture teacher functions less as an instructor in a subject than as a mediator between the school and the film community, and that festival participation is the outcome of that mediation.

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