The Relation of Italian Neorealism, French New Wave and New German Cinema (Part 2)

           After we look at Italian Neorealism, now it’s time to see the French New Wave. It all started during the 1950’s, where the idealism of political movements during postwar gave way to a more apolitical culture of consumption and leisure. The emerging generation was led by youth who read film journals and attended screenings at Cahiers du Cinéma and “art & experiment” cinemas. However the government didn’t tap these new consumers. In 1958, the film industry was declining that the youngsters would like to make their own film, thus the government created Prime de la Qualité ("subsidy for quality"), where filmmakers receive subsidy for making films, if the script is interesting. This new style of film comprises of daily lives instead of studio-like films. It doesn’t mean New Wave filmmakers don’t like Hollywood films, they do like their artwork. However to them, filmmaking techniques can be invented, and surprisingly it became an inspiration to many famous filmmakers, one of them is Quentin Tarantino in his Pulp Fiction (1994). So what makes this wave so special? Jump cuts, rapid editing, on-location shooting, natural lighting, mobile cameras, and long takes (Hitchman, 2008) became the most prominent shots. These techniques have helped filmmakers shift into an artistic scene, where they experiment creativity in using shots. For instance, À bout de Souffle (1960) uses so much jump cuts in Patricia’s scene, when she was sitting in the car, because Godard wanted to give audience a sign that they are watching a film (Channel Criswell, 2015). In addition, they focus on what is more important in a frame, in order to save time during filming. Just like when you want to make an establishment shot. If you don’t have any budget, it is impossible to catch the city of New York with octocopter right? Or even cranes. Therefore Godard framed one important background, which is the door, and the man who wanted to run across. Thus, if the man moves across he can pan his camera. Less budget, saves time (Channel Criswell, 2015). This movement has been increasing until other filmmakers besides André Bazin’s Group, The Left Bank (Rive Gauche) had made several films that consist of professional, experimental movement. It consisted of Agnès Varda, Alain Resnais, and Jacques Demy. Three of them created films that aimed to emphasize literary and political perspectives, instead of cinematic language. As a result, Hiroshima Mon Amour won as the best film in Cannes Festival, 1959 due to the sexual intimacy, as well as political situations during Pearl Harbor in the story (Thompson & Bordwell, 2003). Unfortunately, during whole decade society didn’t put more interest into New Wave films anymore, until it declined. Therefore, New German Cinema has emerged, starting in 1962.

            Twenty six young filmmakers have signed a manifesto that the old film is dead in Oberhausen Film Festival. As a result, these pioneers, Herzog, Fassbinder, Schlöndorff, Wenders and Syberberg became the pioneers of New German Cinema.

“We were all great movie fans and we went to cinemas when we were 15 years old and 20 years old, 5 and 6 times a week; and we always what we saw was Manhattan, Hong Kong, California, Marseille, Paris and Rome. So I think we have a terrible need to show places in here too, and people who lives here too. And we want to show them. We wondered why aren’t we ever happening on the screen? Why always the others?”-Schlöndorff- (Anything I Like, 2013)

This movement happened not because they are inspired to replicate French New Wave, however they made films in order to rebel films that contained political propaganda, commercial films and gain more active spectators. The main reason was these youngsters want to make films again. Thus, these filmmakers gained petition for the government to give them subsidy. It took a lot of hard work because the governments didn’t believe what they were doing. Therefore, filmmakers used the limited, given equipment in order to create films. According to Schlöndorff, Germany has something to tell, which is from their cultural customs, as well as from literary works. It is proved when he adapted a novel called The Lost Honour of Katharina Blum (1974). The story tells about a maid who fell in love with a random guy in a party, and it turned out he is a terrorist and Katharina became a trap by the police. In this film, Schlöndorff conveyed the loss of humanity in people; he thought that people became mean by taking advantage of people. As a  result, Schlöndorff had successfully won two prizes in German Film Awards and San Sebastian International Film Festival (Schlöndorff, 1976). What makes this film different from other waves was the aspect of political rebellion, against commercial films that just making films based on market’s demands. Thus, these three movements reflect within each other, in similarity and differences.     

           It seems interesting to see the connections between those three waves, after the movement of Italian Neorealism. Clearly, each waves have a different flow of story when conducting new filmmaking, but on the other hand these movements have a quite similarity, and differences in each similarity, which will be looked at how they create history. I will elaborate about the similarity, and this similarity will show their differences as well.

The similarity can be seen from camera techniques. Mostly, young cinemas and neorealism used shot on-location, natural sound & lighting, low budget, handheld cameras, and improvised plot & dialogue. French New Wave is influenced by Italian Neorealism at first, then followed by German New Cinema (Thompson & Bordwell, 2003).  But there is something much more than these inventions. It is how filmmakers create a movement against political oppression and old tradition. Three of these movements has conveyed the angle of humanity based on those eras.

            Let’s jump back again to Italian Neorealism. This movement portrays the angle of humanity under an economic problem. Italian filmmakers make films as a stand against fascism, under the rule of Mussolini. Thus, Roberto Rossellini and Vittorio De Sica has captured the other side of Italy, besides political propaganda, and economy during post-war era. Mostly, Rossellini and De Sica wanted to portray the effects of working class men during post-war (Thompson & Bordwell, 2013). These Italian filmmakers wanted to convey that these people have suffered terrible unemployment and lack of financial stability. Only chosen people who can have a job but didn’t have an access to seize more income, except receiving low wages (De Sica, 1948). Moreover, elder people didn’t get any right to have a good place to stay due to unsustainable finance for pension. This example of reality has been depicted in another De Sica’s film, Umberto D. Umberto desperately tried to raise the money by selling his books and watch, even beg on the streets, so that he can pay his landlady, Antonia (De Sica, 1952).

             Another story when it comes to French New Wave. The French created La Nouvelle Vague in order to fight conservatism of Cinéma du papa, which consist of continuity, and targeted mainly to old people. In relation to social change, this old film connected to conservatism in covering sexuality and freedom in filmmaking. The reason is when there was a student protest against wage and social discrimination against sexes. At that time, youngsters separated dorms into men and women, which caused rage in students because sleeping together is a part of their freedom (‘Egalité! Liberté! Sexualité!: Paris, may 1968’, 2008). In addition, men and women must wear certain outfit as a part of manners during school, however the education system is discriminating. Only people with straight A’s can get to reputable universities. Based on this social problem, due to sexual and social oppression, Henri Langlois created Cinématheque Française. After the existence of his place, the 2 legendary film communities have emerged; Rive Gauche (The Left Bank) and Cahiers du Cinéma, which consist of André Bazin, François Truffaut, Eric Rohmer and Jacques Rivette. [W1] Mainly, Cahiers group is the pioneer of French New Wave, by establishing film critiques. They made reviews, criticized bad movies, analyzed films, and made films (Thompson & Bordwell), in order for movie goers to learn about film (Thompson & Bordwell, 2003). That was the most prominent signature of this movement in France because it is like the pioneer of film knowledge, particularly in learning French New Wave. In addition, the sexual revolution influenced how filmmakers obtain more liberal censorship by showing naked bodies. But what about The Left Bank? This group tended to see cinema as similar to other arts, particularly literature. According to The Left Bank, films can be made documentarily and experimentally, where the story in literature will be taken only the important ones. It is like when you skim an essay, and you highlight it with stabilo. This highlight will be used as one of the shot list (Channel Criswell, 2015). If you look at the film, À bout de souffle (1960), this film didn’t put continuity, meaning Godard just jump the shot into another scene, without smooth cutting, and surprisingly it turned out to look quite good. Although it might seem slightly distracting, but somehow Godard had successfully created witty shots (Godard, 1960).

        New German Cinema also played in developing a new angle of the story, and also this movement aimed to rebel political oppression and capitalism (Anything I Like, 2013). In addition, they wanted to show the life of the character. For instance, in Kluge’s film Yesterday Girl, Anita G. must drift through cities, tries to hold a job, indulges in petty theft, has love affairs, and winds up pregnant and in prison. In this film, it seems that Kluge might be inspired by Neorealism, because it tells the sad life of a character. But in terms of camera techniques, comparing to French New Wave, he still puts continuity in order to depict Anita’s past life and her present day (Thompson & Bordwell, 2003).

           To sum up the comparison above, in terms of storytelling, Italian Neorealism and German New Cinema is like a documentary film, because they want to show the exact reality of Italy from stories into shots, which might be boring for some audiences. But in contrary, French New Waves tells about the life of French youngsters (Thompson & Bordwell, 2003). In relation to New German Cinema, filmmakers experiment literature of politics and character relations. As it is explained before, the message of Katharina Blum’s story is related to the terrorism of Baader-Meinhof organization (Anything I Like, 2013). From the youngsters’ rebellion, finally they made an auteur film from their version, which means each of their films have a trademark in film techniques, or story. Thus, this movement has created an art cinema, and it has influenced Europe and Hollywood. Thanks to Italian Neorealism, De Sica and Rossellini has successfully convinced youngsters that making films can be done and inspired by your surroundings, especially through the parts of the world like Indonesia. Yes, it is very complicated because the history might seem quite different comparing to young cinema. However, I believe that Indonesian government should take a look in films, not just the censorship, but the distribution, and the subsidy system. Governments can form an institution of independent movies where young directors have a chance to develop their creativity, and when the story is interesting, they can give subsidies for youngsters to continue their filmmaking. It is beneficial for the government due to the fact that it will increase Indonesia’s tourism, as well as introducing the daily lives of Indonesians, from city life until rural life.   

The Relation of Italian Neorealism, French New Wave and New German Cinema (Part 1)

             Imagine if you are in a studio with an expensive set, filming a luxurious Hollywood story that can entertain the world. You are in L.A with good sunrays, full of camera supported machines just to capture certain shots, if you like filmmaking, this might be your dream come true. In addition, there will be a credit title like Scorsese, or Tarantino, which might sound good for your future career. Of course, you might get an awesome benefit from income, trust by people for applying creativity, and fame. But what if making films indicate something more about that? These film styles proves further filmmaker to go beyond the comfort zone. Films don’t have to be made inside a studio, or must put special effects just to make scene transitions. Moreover, you don’t have to think hard about depicting stories. Making films don’t have to tell stories about luxurious life; instead, these film styles tried to discover different angles of stories, takes, messages in order for people to enjoy, and understand the connections of film and socio-political aspects. Italian Neorealism, French New Wave and German New Wave were the answer. Starting 1940’s until 1960’s, these film styles were a huge breakthrough for youth and the history of cinema industry (Hitchman, 2008). From these styles, it can be shown that making films can be brought into a new angle, which is realism and new takes, which will be explained further.

                Let’s flash back to the decade of Italian Neorealism during 1943. The term ‘neorealism’ was applied by Antonio Pietrangeli to one of Luchino Visconti’s films, Ossessione (1943), then some famous neorealism filmmakers such as Roberto Rosselini, Visconti and Vittorio De Sica, which were Rome, Open City (1945), Shoeshine (1946), Paisan (1946), Bicycle Thieves (1948) and The Earth Trembles (1948) in order to convey messages on the voice of poor working class (Hitchman, 2008). It all began when Italy was under Benito Mussolini in World War II. Mussolini has controlled the country since 1924, and also the censorship of films. During that time many Italians enjoyed Hollywood film, and these films successfully ‘doctrine’ Italians by picturing the admiring life of Hollywood. Since more Italians put attention on Hollywood films, Mussolini created censorship rules through dubbing control, as well as creating LUCE (L’unione Cinematografica Educativa 1925-1929) which produce movies that educates national politics and Italian culture with the intention of shifting Italians’ interest from Hollywood movies, and also to persuade Italians for further weapons before continuing World War II (‘The Cinema under Mussolini’, n.d). One year later, in 1943, Luigi Freddi led Direzione Generale per la Cinema, a state funded and controlled censorship institution, held up by Fascists and War Minister Officials. Their job was to examine scripts, award filmmakers who won films in a Fascism cause, and monitor the importation of foreign films (‘The Cinema under Mussolini’, n.d). The objective of this institution was like in Suharto’s regime. They want to ban Hollywood films due to the negative influence on their country’s nationalism, and additionally, Italian filmmakers could not make films that oppose Mussolini’s ideology of fascism. As a result, many Italian workers were depressed due to the lack of entertaining movies and the lacking of economic structure because of war. Therefore, Mussolini conducts ENIC (Ente Nazionale Industrie Cinematografiche) bought up a movie theater chain. In 1938, the ENIC expanded to re-regulate the number of foreign films. This channel may lead to the increase of viewers as long as the importation was still limited. In addition, Mussolini established Centro Sperimentale di Cinematografia, a professional film school which still functions today (‘The Cinema under Mussolini’, n.d). More importantly, Mussolini opened up Italy’s first film studio, Cinecitta in 1937, to help filmmakers produce movies consist of Fascist messages. By the time Mussolini held the grand opening, April 21st, was very impactful that it was the day believed to be the founding of ancient Rome, thereby drawing a connection between the greatness of ancient Rome and that of Italian Cinema. Mussolini named himself the principal orchestra in Italian Cinema by placing a picture of himself behind a film camera with a spin-off of Lenin's quote , “Film is the most powerful weapon” at the Cinecitta' studios (‘The Cinema under Mussolini’, n.d). After the fall of Mussolini in 1943 in the end of World War II, some filmmakers created a liberation of film making, where directors shoot real locations, as well as using non-professional actors from factory and working class employees in order to cut the budget. In addition, filmmakers put an angle of the life of working class men, as a conveyance of Italy’s condition during Mussolini’s regime. For instance, the movie The Bicycle Thieves portrays life of a factory worker, Antonio Ricci, who was losing a bicycle for his main working transportation under post-World War II economic crisis. This man worked hard to find his bicycle by asking policemen for help, or else he wouldn’t have been able to work. The obstacles of prejudices of his economic status and untruthfulness made him obliged to steal one bike (De Sica, 1948). From this brief synopsis, this film indicates how the life of working class men has less privileges of earning a living due to high unemployment during post-war.

             As it is explained before, the aim of Italian neorealism is to emphasize social problems such as unemployment, poverty, and the life of working class men. Ideologically, besides focusing on social problems, filmmakers want to oppose fascism by focusing on an emphasized emotion rather than abstract ideas, with the purpose of showing sad emotions, natural acting, and sad endings. If we look at The Bicycle Thieves, the main actor in a nonprofessional. In fact, he is a factory worker which was assigned as an actor (Sphinxj1019, 2013). This style of film proves that making films can be done not just on studio, but on set as well, and since the sound control isn’t yet practical enough, filmmakers must redub their voices during editing, which indicates that these filmmakers proved that making films can be inspired from environments surrounding us. As a result, Italian Neorealism has influenced other film movements in France and Germany based on the political and social issues as well, until the France youth made La Nouvelle Vague (French New Wave) such as Jean Luc-Godard, Francois Truffaut, Jacques Rivette and Eric Rohmer. They embraced neorealism as a benchmark of making films (2012) and soon the Neue Deutsche Welle (New German Cinema) in the ideas low-budget style of filmmaking, after the declining of German Cinema.  

Film and The Third Worldism

Many Western youth supports the abolishment of Vietnam War, and instead supports
communism and third world philosophies (Maoism, Cuban, etc.) However, it becomes very ironic when the Vietnam and other third world countries have started to rebel against them, because in fact the government (especially U.S toward Vietnam) has taken many people’s lives. Until several years later some filmmakers studied film in Europe and decided to make films in different styles as a part of political weapon. It starts like this.

The rise of third world films has established during 1960’s until 70’s (most active during 70’s),
where Vietnam has lost the relationship with Soviet Union, and gain sovereignty out of imperialism
oppression. Other countries such as Egypt, Turkey, India, Africa, Cuba and others strive to be on their
own by making films as a part of rebellious stance on colonialism, by creating films that are inspired by Art Films.

For example, the Turkish film named Umut (Hope; ‘1970’) implies Italian neorealism approach by
describing the life of a taxi man who struggles hard to win the lottery, while everybody laughed at him. This film is inspired by neorealism because it uses the story angle of a horse taxi driver who strives to be rich in order to sustain his family’s living, after his horse passed away (Serif Gören, 1970) . From this moment, many third world countries created political films with the aim of political rebellion toward the imperialists after the invasion. Then why were they inspired by European films? Because in these days the United States has strived to conquer the world, that many aesthetics of their culture doctrines many third world countries, yet wreck their political virtue as well, for instance in Vietnam, Turkey, and Africa. But on the other hand, South America was haunted by American films. The influence of Hollywood market has successfully doctrine South America by giving the aspects of their music, star system, and the glamorous system of Hollywood studios, while at the same time they imply neorealism technique as well; although the main purpose of the film style is to create a political movement.

I believe that this era of Third Worldism influenced many countries in many ways. Some
European films might be inspired by Italian Neoralism and Soviet Montage instead of Hollywood, while Hollywood can influence how the movie industry works in South America, yet being rebellious with North America also. I think the influence of film styles had greatly doctrine third world countries, while at the same time they have their voice for their own country. It is not just about the film style, but it is about their life story; their angle of what the filmmakers want to say about their condition. It is like the other side of youth rebellion.

How Films Can Change People

The revolution of New Era in western countries have emerged until the social change
exist. From this revolution the social and cultural perspective may affect how they behave
nowadays, in addition the influence of social change and historical timeline may lead to how
the film in many countries depict what they are. In terms of Hollywood films, within two
decades Hollywood films had a drastic recession and rise due to the lack of audiences’ market
and style of genres. However, the influence of social change affected greatly on today’s
Hollywood films.

In 1960’s the expansion of new notion of women’s’ rights, black people power, and the
development of birth control had become a ‘counterculture,’ where society shift their lifestyle
into an anti-mainstream, which are sex and drugs. Since the movie recession existed during
those times, as a result Hollywood movies were made as an “engaged” filmmaking of social
protest. 1 It has shifted into low budget productions, in addition they were inspired by European
art house films, and one of them was by filming scenes in real locations. The reason why low-
budget films were a trend is because the interest of movie theaters were recessing, until they
showcased the same movie for about 6-12 months. According to the movie producers, the only
way that Hollywood movies can emerge is to show sexual contents, promiscuity and suburban
adultery.

This change lead Hollywood films regain the thrown by changing the film marketing. The
producers created categories for film ratings, created studios for successful films, and as a way
to balance the supply and demand regarding film budgets, for big-budget films they showcased
it every high season. One of the most memorable films were The Godfather (1972), Jaws (1975)
and Star Wars (1976). After that, Hollywood expanded into establishment of talent agencies,
low budget films, and new genres; such as sexploitation, horror, action and martial arts films.
I think that from these changes, the help of their commercial purpose turned Hollywood
films into the most powerful film production in the world. They’re techniques of film marketing
greatly targeted to the audience very well, that they actually gain the dignity back in return.
Due to this change, the expansion of Hollywood films can easily ‘doctrine’ almost the entire
world, including other continents such as Asia. From their perseverance of gaining the
reputation of Hollywood, the inspiration of social change can refer to what they will think about
the next filmmaking style.

German New Wave? Hmm I Should've Known Better

The invention of new wave cinemas did spread across several countries, such as Italy,
German and Great Britain. These movies are mostly made in low budget system, as well as
depicting the rebellion of youngsters back then. According to them, every stories must be a
personal conveyance to the audience. Meaning that films can be made based on their daily lives
and point-of-views of the society, and political system. The most prominent example of this
kind of rebellion is to Germany, because the application of the old system didn’t quite impactful
for the new waves; such as war, dictatorship, and taboo system. Therefore, what makes
German movies in these times differ to other types of new waves films? Here is how it
happened.

It started when there was Oberhausen Film Festival in 1962. Twenty-six young
filmmakers declared that the old film is dead. Due to the decay of mainstream movies, after
three years of public debate, the government has finally established Kuratorium Junger Deutsch
Film (“Commission for Young German Film”), and gave free-loans for young filmmakers if the
script is good enough to be filmed. Moreover, as a part of their freedom of speech, many
German films experienced new perspectives of stories, by describing broken marriages, soured
affairs, rebellious youth and casual sex.

This theme relates to the film Baader Meinhof Complex. Although it was released on
2008, however this film described the situation of German rebellion during 1960’s, which was
the terrorist organization, Baader Meinhof Group. The group was considered as a leftist in West
German area, because at that time they were supporting Marxism-Leninism, Anti-Fascism and
Third Worldism ideology. As a result these rebellious acts has changed the way German did
until now.

In conclusion, this type of new wave films pictured the rebellion of youngsters during
the 60’s. As a result this type of film can be accepted by the society because many youngsters
agree with their thought, and had a lot of control from the government. But what about in
Indonesia? C’est au contraire. The influence of religion (specifically Muslims) played a major
role of what societal norms have to be.

French New Wave: La Vie en Rose

The innovation of French New Wave Cinema, (or can be referred to La Nouvelle Vague)
was a film language innovation during French cinematic history. During the 50’s until about late
70’s, at first the style of French films were very dictated under Hollywood approach, meaning
that making good films must build a studio, and must have expensive machines in order to get
the best takes. According to youth filmmakers, the message delivery is not personal to the
French daily life. As a result, François Truffaut, Jean-Luc Godard, Agnes Varda, Claude Chabrol,
Jacques Rivette, Alain Resnais, Louis Male, Eric Rohmer and Jacques Demy made a
breakthrough, which is called La Nouvelle Vague.

The influence of La Nouvelle Vague came when youth filmmakers decided to change the
filmmaking theory, by capturing real life experience in the movie, and invented new shots
without adding expensive equipment; because at that time, although they admire studio-made
film, however French films didn’t express human life, thought, and emotion in a genuine way. 1
In this era of film, most directors portray the reality of French lives. As a result, most films
attracted great attention to youth that big theaters in France started to experience bankruptcy.
Therefore, the government of France subsidized those directors in order to develop their new
films, as well as entering the movie theater.

Most youth preferred to attend small movie screenings, as well as appalled in seeing
new shots. So what is so special about the shots? Mostly, La Nouvelle Vague applied jump cuts,
rapid editing, shooting outdoors & location, natural lighting, improvised dialogue and plotting,
direct sound recording and long takes 2 . For instance, the application of the new wave film on
L’auberge Espagnole and Casse-tête Chinois applied jump cuts during the last scene in
L’auberge Espagnole, where the director showed different faces in one sequence, and freeze
shots in Casse-tête Chinois.

I think this invention of French New Wave really amaze me, because it is not just about
the shot inventions, but the style of 50’s and 70’s that indirectly becomes a trademark of La
Nouvelle Vague, although some shots have been applied in some film nowadays, however the
influence of La Nouvelle Vague has created a major change in cinematic development, as well
as the pop culture in fashion, advertising, and lifestyle.

Here's How Italian Neoralism Movies Show A Glimpse of Real Life.

The early modernism of films had influenced Italy in redeveloping the liberation of their
country, after Mussollini being executed. During Mussollini’s regime, the development of film
wasn’t as free as before, because during that time the allied military forces in Italy cooperated
with the U.S government, which has slowly occupied the whole domination of market system,
including film. As a result, the revolution of this film making affects almost the entire world
started from 1945, and clearly affect the country’s social change.

These movements from small productions in Italy became a hit as they created films
with the element of neorealism. In this style, the depiction is to visualize the conditions of
working class during the post war era. For instance, Bicycle Thieves portray a perfect example of
neorealism because the character of a working class showed a part of rebellious of Italian film
movement, after the dictatorship of Mussollini in making propaganda films.

In this movie, the story portrays the struggle of a working man during economic crisis, who strived to find his bike with his son. However he couldn’t find the bike until he must steal someone’s bike in order to work for his family. From this story in general, Italian neorealism describes a life of humanity, mostly takes an angle of working class people. One of the example is the film, Umberto D. The director brings a maid as a main character in order to see another perspective as well as her
life. Moreover, many Italian neorealism as well portrays melodramatic effect, due to the fact
that Italian film makers want to show something real, especially during post war era.

On the other hand, the most magnificent is that Italian realism created new shots that
were also magnificently innovative through the journey of film history, which are shooting in a
real, outdoor setting, voice editing, as well as the length shot. As a result, I believe that Italian
neorealism helps the world to show unique perspectives in gripping a story. Comparing to
Hollywood classical films, many point-of-views are character driven, which means that
Hollywood film makers emphasize more on the psychology of a character, while Italian
neorealism focuses on social problems.

In my opinion, during these times film makers had power to give propaganda to the world because those films aim to get sympathy for those who watch it, and most importantly it tells the truth. In contrast, I believe that Italian neorealism is slightly influenced by the U.S colony, because from Umberto D scene, the shot focuses on the character driven mode, and if those film makers want to make a different genre, I believe that the elements of classical Hollywood movies cannot be fully separated. Therefore this neorealism can be an inspiration movie making for certain genres, for example biopic, historical, and individuals story.

The Development of Hollywood Films

The development of Hollywood films have become a major impact in the culture of
commercialism. This implication of film culture in the commercialism existed when the Great
Depression caused major economic and infrastructure loss. Therefore, some filmmakers and
businessmen thought that making films are one of the assets of economic development.
Franklin Roosevelt established The National Recovery Administration, where film
productions hired societies in working, as well as creating several big movie productions which
created oligopoly and money trusts. From these policies the Hollywood development has
formed a major impact in Hollywood films. In addition, many film productions strive to get
more income for every productions. As a result, one of the classic approaches to commercialism
is to segment stories, stars and camera movement into the target market. However, due to
some decreases of viewers, MGM made B movies into more luxurious.

So what is the special characteristic of Hollywood films? Mostly, they put famous stars
as a highlight of their film. It proves that there are some long lasting famous actors in several
leading movie productions. For instance, Greta Garbo, Judy Garland, Gene Kelly, Katharine
Hepburn, Clark Gable, Spencer Tracy and Marie Dressler. All of them are the stars of MGM, and
because of them, MGM gets more income, especially for the theater. In addition, movie
theaters also made some sales promotions during ‘low season,’ by adding popcorn, and buy 1
get 3 movies.

The difference between the development of German movies and Hollywood movies is
that German uses the power of investments to film, until they made an economic recovery,
while Hollywood movies formed commercialism as a part of culture, from its story elements
until movie distribution and sales. Also, due to the long development, US has the power to
distribute films by doctrine people for almost the entire world. Due to the story, camera
movements invention and star quality, as a result Hollywood films can be one of the most
powerful and influential in the world.

French Impressionism and Surrealism

The effect of Depression lead France to created several films that are inspired by
Depression, such as suicidal, prostitution, as well as sad endings. But that was not the case;
French films have their own specialties because they have different standards of quality
comparing to American films during 1910 above. In this reflection paper, the explanation would
indicate the comparison between American films and French films, as well as how the historical
issues lead to different approach of filming during World War times, until as the way they are
now.

French films mostly focus on the quality of surrealism and artistic approaches, by
which means film makers put ‘weird’ scenes as a symbol to show message to the audience,
comparing to American films, because American films usually focus too much on the stars
quality, in order to increase market sales. In terms of story and artists, most American films
portray social problem issues; which means there is a moralistic message in the story. If you
don’t want to get trouble on drugs, then don’t do drugs. Comparing to French films, usually film
makers focus on the journey of a character. However, in France art creations are supported by the
government, while most American stories might be slightly mainstream, because the culture of
film is set by marketers, and based on public consumption. As a result, inspired by the German
invasion and the monetary crisis, many French films were created in an aesthetically manner,
which are surrealism and poetic realism.

The reason why French films put the element of surrealism is because they wanted to
convey message that France needs to stop the war. Also through the film makers’ psychoanalysis
(self-contemplation for instance), therefore one of the films have greatly shocked the audience at
that time, such as Un Chien Andalous. Another thing that influences the form of French film is
through poetic realism, which means that most endings are set realistically. For instance, one of
the newest films, Blue is The Warmest Color portrays a sad ending when Adele met Emma, her
ex-girlfriend, she secretly hoped that Emma will rekindle their relationship during Emma’s
gallery exhibition, but Emma already brought a new girlfriend, Lise, until Adele finally went
away. This sad ending idea might be caused by the effect of Great Depression, due to the fact
that the ending is very real.

In conclusion, based on these comparisons before, with French movie characteristics it
focuses on poetic realism, as it is been reflected on the last paragraph. Will this approach be
applicable for today’s market? I believe poetic realism is suitable for today market, especially in
this pop culture era. Because nowadays, the effect of globalization assimilates many people in
the world, so that every story does not have to be from cause & effect perspective, but how and
why the character does certain action, whether it is a good deed or a bad deed.

The Rise of American Film

The development of film in the United States has turned the great history of lifetime.
Ever since French, German and Italy joined Word War I, the States used that chance to optimize
film industry as a propaganda, as well as made film rolls from their last war equipment. As a
result, D.W Griffith, the pioneer of film maker, created one of the best-selling movie after Judith
of Bethulia (1913), which is The Birth of a Nation. This film had greatly attracted many
audiences due to controversy regarding race segregation, as well as making several films that are
embedded in a historical setting; such as Intolerance (1916) and Broken Blossome (1919). The
production of Griffith was one of the most everlasting creation, until the World War I caused
production loss.

After World War I, Griffith and his informal student, Mark Sennett, tried to make a
comedic film, which is called Slapstick, until it boomed greatly at that time, in order to create
laughter for audience. In addition, Charlie Chaplin also produced and played his film, that he
became famous for his funny pantomimes. However, many independent films grew, therefore
more rivalries emerge until the Motion Pictures Patent Company must had to face bankruptcy.
As a result, more genres emerge several years later, including film distributions, the rise of
famous stars and the rise of sound.

As it is seen from the brief history, I think Griffith has a very genius strategy in forming
film history from United States into almost the entire world, not just because of the controversial
stories, yet he knew how to market the stories in a right time. For instance, The Birth of A Nation
became very controversial because the practice of race segregation was very related to their
everyday lives. Even the black actors are actually artificial. It was played by white guys but they
painted into black. Although the film was (in the end) banned. However many people would dare
to watch it. Moreover, after World War I Griffith and Sennett created comedy films, which I
assume that they want to make people experience joy. Especially when it comes to the era of
sound.

People might wanted joy at that time, therefore they adapted musical theatre stage play into film, in order to make the audience happy. In conclusion, I think Hollywood has made a film
production into a promising entertainment business into an international scale. This is scary but
true, as a result Hollywood films has successfully pioneered people’s movie consumption.

Early Cinematic Origins and the Infancy of Film

The birth of film began to be popular during the times of industrial revolution,
particularly around the late 1880’s and the early 1890’s. It was firstly recorded by Thomas Alva
Edison, where he started to shot vaudeville and circus acts, by which means the actors play in a
stage act only, until he made a first, commercial film production in New York called Edison
Company. This invention of film was magical at that time because at first he invented electric
light bulb and phonograph (as one of his inventions), as a result the project of light helped him to
record motion pictures for vaudeville and circus acts. However the picture was categorized as a
silent film because there was no sound at that time, until Lumière Brothers discovered another
kind of motion picture.

From Lumière Brothers portable camera, they started to observe real life objects where
they can project a real movement which relates to reality, such as The Arrival of Train (1895).
The reaction of people were astounded when watching this film, as the train came right towards
the audience. From this moment Lumière Brothers created stories which is set in a real life
setting, which are L’arroseur Arrosé (1895) and A Game of Cards (1896). In addition, George
Mèlies, a magician, created first special effects on his films, and created many fairytale films.
One of them is called A Trip to the Moon.

In 1903, Edwin S. Porter created two films, where he combined several shots in one
scene through editing, in order to see the detailed action in one shot. He made Life of An
American and The Great Train Robbery, as well as David Griffith, who invented film language
in order to give signs in every shot, which are long-shot to describe a situation, medium shot for
expressing relation and connection (conversation) and close up shot for detailed expression.
All of these developments form many good films that can be entertained and learned by
many audiences in the world, from just a telling picture, until it became a storytelling picture.

These stories developed are not just inspired by real life experiences, but from literature as well.
Therefore, when creating a story for film the element of realism and formalism could not be
separated because humans also might adapt some stories from daily life, no matter how
imaginative they are.

Easy to be Said, Not Easy to be Done

Teenagers. They roam around as far as they could to explore life, enjoy, seeking acceptance, yet wasting time as if time never existed. Falling in love, running to places in the heart of emptiness, searching for the meaning of life in different ways, or even stay inside the dark, fearing the world and society will put you down in alienation. Just like me. I live in a world where everybody likes to make sense of everything. But in my case, searching for companion is one of the top priorities. 

Sometimes, searching for companion turns out to be ironic. It is ironic when you think that the person you love have the same feeling for you, but actually he/she doesn't, or still into you, but too tired to stay. No replies, rejecting messages, and unresponsive reply when looking at your face. Although logically this response implies you to let go, sometimes the ego would like to win, because the relationship seems to have mutual connection, where you talk about random stuff for hours, share laughter and good reciprocity, just like in romantic movies. But when the fate doesn't grant your wish, the best escape to run away from problems. 

Running away is the best escape I think, rather than making a fool of yourself by still chasing someone you love, but it will be the worst escape for your soul. The process of self-acceptance is long, and it is okay to look back and cry, as a process of learning, because the best love is the love that you can never receive. That way you will appreciate the meaning of a person's presence, and the meaning of a person's departure. Maybe there is someone who experiences as same as you, however there's no mutual feelings from you either, and you are not willing to be connected to him/her. Try to appreciate them, if you have this kind of experience. Put yourself in their shoes. 

After that look around you. There are many kinds of love that needs to be cherished. The love of family, friends, pet, even unfortunate, innocent children who's in the need of love. Sometimes spending time with someone close to you is the best one. Although your feeling might feel empty, but abundance can be found in other kinds of perspectives. Try to cherish the new cycle of love, no matter how hurtful it is to let go. Probably, the best companion is someone who's right in front of you.

Note: Every people do have different values, so this point-of-view may not applicable to all people. But if there's any experience if this similar feeling, please do share your thoughts.  

Kacamata Hitam: Not a Conforming Example of Jakarta Street Culture

It is a short thought of me when it comes to bring up one topic that I think it was funny. One thing that comes up on my mind is about sunglasses, or you can say "Kacamata Hitam." According to Wikipedia literally, the term of sunglasses is to prevent damaged eyes due to the brightness of sunlight. 

              Sunglasses or sun glasses are a form of protective eyewear designed primarily to prevent                 bright sunlight and high-energy visible light from damaging or discomforting the eyes. They                   can sometimes also function as a visual aid, as variously termed spectacles or glasses exist,                  featuring lenses that are colored, polarized or darkened. In the early 20th century they were                  also known as sun cheaters (cheaters being an American slang term for glasses).^[1]

Well, as you can see, it is very logical right? Sunglasses are good to protect your eyes from eye damage and help you protect under sunlight exposure. But the unofficial rule doesn't quite happen in Jakarta street culture, specifically to middle class citizens from B-D who mainly prefers to take public transportation daily. This morning, I tried to wear my sunglasses and guess what? Many people stared. In a weird way. How ironic it is when this is a tropical climate while the culture seems contradicting. 

POSTMO: When Theater World is Mean to You

The audition started when the sun came down. Many contestants were waiting in line for an audition of musical theater, yet some people got nervous. I looked at some people who were apparently are dancers. They were so graceful and sharp when practicing their body before audition, and while everyone had a turn for auditions I felt that they had greatly impressed the judges. While me? I am basically started in fine arts theater, that means I am not yet qualified in singing and dancing. I went to several musical auditions before, and the luck is not on me now. Then I talked to my friend who was sitting next to me, watching one of the contestants singing beautifully, but actually have no feeling with the character. I asked, “How come those contestants have better possibility to be accepted but she didn’t put the character into it?” She replied, “Because they search for people like that. That’s why I would not care if they won’t be accepted.”

The era of postmodernism relies on the drastic state of rebellion against modernism during 1970’s, since the era of modernism gave many disadvantages on people’s lives. Postmodernists believe that people needs more than logic. Moreover they believe in the existence of pluralism, existence of information based on individuals’ critic and point-of-view; from architecture, literature, arts and theater. As a result theater practitioners changed the method from the old style (Brechtian) into the era of modernism and postmodernism (Stanislavski & Antonin Artaud). For instance, during Brechtian era, the acting style of old theaters are mostly implemented mechanically, which means all bodies and facial expressions dominate the stage play. However the acting seems very rigid, therefore Stanislavski implemented the new system of naturalism, where actors focus on interpreting feelings into the character, as well as the world of spontaneous acting.

But what about broadway? According to Dr. Raymond Sener from Centre for Socio-Eco-Nomic Development, Broadway theaters involve less emotional approach, because Broadway focuses on consciousness and much less emotional experience, political criticism and simple entertainment. It is okay because postmodernism takes varieties on many types of theater. That’s why, in Indonesia most musical auditions count more on the style of singing and dancing rather than the acting, while fine art theaters encourage actors to improve acting skills. In additions, most theater auditions aim to find people who are fit in with the character. So, if you are not accepted in an audition, it doesn’t mean that you are not eligible, it’s just that the character doesn’t fit in; and if you want to sign up for an audition, just decide which audition might fit in for you.

http://www.sabda.org/reformed/etos_postmodern

http://www.bbc.co.uk/education/guides/zxn4mp3/revision/10

http://www.mngt.waikato.ac.nz/ejrot/cmsconference/2005/proceedings/postcolonialism/Saner.pdf

http://etheses.bham.ac.uk/3321/1/Stephenson12MPhil.pdf

The Reason why I am Afraid of Marriage

It's been several months since I didn't blog that much. For several months, I thought many relationships problem happen continuously in the media, especially when it comes to divorce. From what I thought right now, I do believe that marriage is not the source of happiness, moreover a good guarantee for people to achieve happiness. Since my age is not yet qualified to step on the world of settlement, here's the reason why I think marriage should be reconsidered:

1. Only you can make yourself happy 
When I was a kid I used to love watching many princess fairy tales and most of them always emphasize happy endings, where the prince is finally come to save, and love the princess truly just the way they are. But in reality? Love can fade. Many couples strive to maintain relationship by keeping communication pace and remember wedding vows, but I do believe that not all people can do that. Some people might rather find someone else as a rebound, and would not care if the wife/husband is just sitting at home, waiting for the spouse to come and have a good time. If the secret revealed, in the end it's just a heartbreak. What if the spouses' keep cheating? What if the spark is losing that the couples can't get it back anymore? It hurts that slowly, without realizing it, the self-esteem will fade. "Am I still pretty? Am I good enough? Am I responsible enough? Maybe not." Sometimes people learn to seek admiration and closeness from people, without remembering that the self is much worth it.

2. When Mr/Mrs. Right changes to Mr/Mrs. I-Don't-Know-Who-The-Person-Is-Anymore
Someone once told me, that relationship takes several phase of knowing someone deeper. From honeymoon phase, until he/she knows who the person really is. When it comes to dealing with this surprising character, for example highly temperamental, addiction of substances, materialistic, and many more. Although he/she might know their flaws before marriage, if one of the spouses can't handle the problem well it will turn into a major catastrophe.

3. It's all about the money...and the job division!
Indeed! According to several wedding magazines, many couples ended up divorced because of financial problems. The word money is inseparable when it comes to marriage, in order to pay for household expenses, insurance, credit card, and other never ending debt. Most payments must be paid by two people in order to be balanced, but worst of all is when the financial agreement is unfair, and only one person will get the benefit. For example, a woman named E is a successful career woman, and she is the one who provides everything for the family. She must drive home, standing in the middle of traffic for several hours, must still cook dinner, while the husband is just sitting in front of the TV, and never appreciates her time to cook while her body is tired; instead of cooking for her, or at least not criticize it. That's what I'm most afraid of.

4. Challenge = in laws
In Indonesia, when someone is married, it's like you "marry" the family. Although the couples have already started with their life, some parents still want to be involved in the spouse's business. If there's any problem, especially when the in laws stay at home, the gossip will be spread in viral!


Well that's all I can say for now. Marriage is more than just about being happy, and it is not a guarantee to live happily ever after, because in the end, if the couples are in catastrophe there's a chance for major separation; which is divorce. Hence, what for if I spend million Rupiah only for wedding, but when it comes to the game I feel like in jail? Or even ended up choose the wrong person? It is a waste of time. I believe I do have a say in this because marriage can be practiced by just living together in an apartment. Secondly, I am afraid of failure because the realm of marriage is very serious, and since my age is still young enough I'm not ready for that. I guess that makes sense.

A Pursuit of Devotion – Struggle of Harekrishna from New Order Regime until Now

Abstract

                Many people would like to strive to achieve tranquility and contentment. Some of them would like to put their spiritual in peace by devoting to The One who is close to your heart, such as religion; including Harekrishna. This paper is conducted by ethnographic approach in order to understand deeper about their devotion to Krishna, and their struggle to maintain their devotion to Krishna, alongside with the modernism of social life.

 

                It was a sunny, Sunday morning, June 22nd, 2014. As I woke up in a sunny morning, I hastily prepare myself to go to ISCKON by train, in order to join meditation in a temple which is located in Pasar Baru, curiously want to research about the devotees. I quickly pick up an instant breakfast, put important stuff inside my red backpack, and straight headed to Juanda station, and waited for a long queue as soon as I arrived there. After I arrived there, I took an ojek, and as I entered ISKCON, surprisingly nobody’s there in that meditation room; so as the prasadam[1] room. Only two people standing and talking in front of my sight. I approached them and asked, “is there any meditation class today?”  Then the man replied, “No. They are going to celebrate Ratha-Yatra Festival in Monas by carrying Jagannath[2] chariot. Did you know the news already?” I quickly panicked that I missed the chance to be there with the devotees. The oriental woman suddenly offered me to come with her. “Come on, we’ll go by ojek.”

                Her name is Mataji[3] Lalita. She is the co-founder of ISKCON in Jakarta, along with her husband, which is the first man who spreaded Harekrishna, Prabhu Isha (not a real name). She said this festival temple was being offered a chance by the government of Jakarta to involve in their carnival called ‘Jakarnaval,’ as a part of celebrating Jakarta’s annual 487th birthday. There will be a combination of Kirtan, and chanting the supreme ‘Harekrishna’ from Monas to Bundaran HI.

Devotees carrying Jagannath Chariot

In Monas it was very crowded. Many people selling souvenirs, and preparing for their chariot attributes for the afternoon carnival. She said, “If you see the devotees, they are the ones who wear white outfit and Indian outfit.“ As me and Mataji searched them, we almost got lost, until we saw the Jagannath chariot in (approximately) the North Gate. “There it is!” I exclaimed.

There were a lot of people who were involved in the carnival, which is about 50 people above. It was more shocking than I expected to be, because generally only a few people attend Bhagavad Gita class in the ISKCON, but it turned out to be surprising. During these times they pamper themselves with the cheerful Kirtan, and some of them indulge themselves by eating prasadam. Those people were very welcoming, happy and feeling in peace. I talked to a couple who are devotees, which were Bayu and Putri. We talked for hours about the meaning of spirituality based on the principles of Harekrishna, and it turns out that they truly devoted on Krishna more than I can imagine, based on their private experience, and they are willing to participate this festival as a way to remember Krishna as the God.

 Jagannath Chariot

Ratha-Yatra Festival began to start at 3.00 pm. Everybody gathered into different positions with different duties. The first one was the one who carries the chariot, several of them became the actors (6 Radhas and 1 Krishna), and the rest became musicians and crews for sound system. I was the one who carried Jagannath. As we proceed the carnival, we waited for the other carnivals to pass, until it was our turn to show the spotlight. Everybody chants Harekrishna,Haribol! as their part of love and remembering Krishna as God. One of the devotees serve fruits as a part of ritual, in terms of cleaning their negative feeling of greediness, in addition everybody sings. Everybody can feel the ecstacy of joyfulness, with the feeling that Krishna resides within them.

The sun sets until night. It was the time for me to go back home. I said goodbye to Putri, and suddenly she asked, and I never thought this incident became a slightly, lesson-learned moment.

“Are you on period?”

“What about it?” I replied.

“You can’t pull Jagannath chariot if you’ve got period.”

“What if I already pulled Jagannath?” I asked.

“It’s okay, you don’t know. But next time, ask.”

Based on this event before, it can be seen that many devotees want to pursuit their devotion, specifically to Krishna. However, what is Krishna exactly? Why does all devotees chant Harekrishna? And how they search the process of living in peace to the divine? This is how it starts.

Harekrishna is a sect from Hinduism, where it is established internationally by Srila Prabhupada, who brought Harekrishna to the Western territory. It was in New York City, 1966 during the hippie movement, where a lot of people were seeking of peace from war. As Srila Prabhupada spread the wisdom through scholars and statesmen, many people were touched by his teachings of devotion, until he developed an institution of Harekrishna called ISKCON (International Society of Krishna Consciousness). These teachings consist of mostly Bhakti yoga with the support of various ways of mantras.

It all established around 1960’s-1970’s, where the Brahmachari,[4] Srila Prabhupada spread Krishna’s notion firstly to New York. The society felt touched on those wisdoms that more people want to join the meditation. Soon Srila Prabhupada and many devotees voluntarily spread the wisdom across the world, including Indonesia.

                To know how Harekrishna established in Indonesia, I asked briefly to Mataji Lalita about the history of the ISKCON temple. According to her, in 1968, Srila Prabhupada contributed his pilgrimage to Indonesia. He first arrived in Kebon Sirih, Jakarta, along with other devotees. He spread to Mataji Lalita’s[5] husband in 1978, who (in the end) became the first devotee in Indonesia. As more devotees develop ISCKON became expanded into many regions such as Rawamangun, Pasar Baru, Bali, and so on. [N3] 

History of ISKCON in Indonesia – A struggle of holding the temple

ISKCON[6] was established in Indonesia in 1973. Srila Prabhupada went to Indonesia in 2 days for preaching about the concept of spirituality based on Krishna’s consciousness (the principles will be explained on further page). He transferred Krishna’s concept of spiritualism to fellow Westerners who were apparently the devotees, then one of the devotees spread Harekrishna to Prabhu Isha, Prabhu Tatwa Darsi, along with his friends.[7] Then, they established ISKCON firstly in Rawamangun in 1981. They firstly presented to Lembaga Admisi Negara (Admission State Agencies), then rented a small building there in order to proceed religious practices, such as Bhakti yoga, Bhagavad Gita class, Kirtan, etc. However, since the place was rented temporarily, they moved to Jalan Keboja which is located in Tomang. According to Prabhu Isha, this Institution was banned in Tomang because of some misunderstandings between them.

During the 90’s it was the decade of new order. Soeharto had been ruling Indonesia for 32 years. His law of human rights began to be misused as a way to monopolize social law, political law, and economic law (indonesia-investments) by maintaining political status but in contrast he corrupted Indonesia’s economy by monopolizing political regulations and systemized tax payment, which made people had to pay taxes for Soeharto, Soeharto even went far by selling some islands and natural resources to deveoped countries, until a major crisis occured in Indonesia, specifically in Jakarta. Also, he interpreted strict laws, which is by limiting Indonesian citizens freedom of speech and rebellious act hence Soeharto’s law increases society’s fear of doing anything democratically. 

According to Prabhu Tatwa Darsi, in new order regime devotees in Jakarta and Bali simultaneously spread Bhagavad Gita, the fundamental bible of Krishna, in a translated version to Indonesia. The expansion occured through door-to-door, mouth-to-mouth, or during class. Then a negative incident happened when there was wrong translation of Bhagavad Gita, until the government had major misunderstanding. Governors thought Harekrishna taught society to be an atheist. Therefore Harekrishna was banned in Tomang.

The good news was that they can still have permit to open ISKCON in several places. Governors did not really care about the expansion of Harekrishna. Assuming that the governors just took Harekrishna as a belief, not a religion until Abdurahman Wahid, the president of Indonesia on 1999-2001, legalized Kong Hu Chu as a part of religion (Imandasari, 2010). The devotees of Harekrishna opened ISKCON located in Cililitan, then they opened some temples in other places such as Batam, Puncak, Medan, Surabaya, etc. After the renting time expired in Cililitan, they moved to Pasar Baru. They saw an old school building but the building was not used so they took the buiding and decorate it and made it as a temple. They still use the building in Pasar Baru to do the preaching and spiritualism activities until now.

Harekrishna Spiritual Principles 

One of the most fundamental principles in Harekrishna meditation is through Bhakti yoga. Generally, there are three types of yoga practices. Firstly it’s called Karma-yoga (the practices of conscious action), Jnana-yoga (the practices of philosophy and contemplation) and Hatha Yoga (the practices of yoga-asanas and breathing exercise)[8].  However, Bhakti Yoga focuses more on the relation within self devotion to the Supreme God, Krishna. This yoga consists of chanting that says Sanskrit mantras, which is called mantra meditation. This mediation is a part of Bhakti yoga.    

Mantra meditation focuses on chants for the Supreme Being. There are two types of meditation, which are Japa and Kirtan. Japa focuses on the personal chant by counting 108 japa mala beads. In Muslim, it is closely similar to the practice of dzikir. During this chanting, every bead must say a Sanskrit mantra until the japa mala complete until ‘one round;’ while Kirtan meditation focuses on dancing and singing mantras with other devotees, usually supported by musical instruments. This meditation could be filled by energetic music or soothing music, in order to

Kirtan

develop happiness through singing Sanskrit mantras in Kirtan, and develop Bhakti yoga. According to Prabhu Tatwa, the most effective yoga to seek spirituality enlightment is through Bhakti yoga because the focus of seeking spirituality is straightforward. Sidhanta-veda teaches us six principles of HareKrishna to  achieve moksa (liberty), and freed from birth and death. Therefore saying hare rama, hare krishna indicates that Krishna is a place of eternal happiness (Wikana, 2010).

The first one is about  the spirit. We are not a body, we are eternal spirits (aham brahma asmi) who are trapped in materials.  We are the eternal sparks from the highest persona of God himself, Sri Krishna. Basically, our true nature is very spiritual (Brahman). However, as for now, our nature is covered because of globalization.

The second is the doctrine of karma and reincarnation. Our relationshi with God is being strained now because of the fallacy in developing independence that God has given to us. We fell in love with the world that is full of materials, full of luxury. And the thing that we always forget is that all of this is temporary. We are trapped in worldly enjoyment that we forget about God. This enjoyment is covered in triguna which caused the grip attachment to the worldy happiness and resulting in karma. This karma is about reincarnation. As long as you haven’t discovered about the basic of serving God, you will always be in the boredd-and-died cycle (purnabhava samsara).

The third one is about the teaching of Isvara. Sri Krishna is the highest persona of God Almighty. He is the main personality (purusuttama) which means that He is eternal, He was not born, He knows everything (omnisciense). He is everywhere, omnipotent, the cause of all causes (sarva karanam), and the most interesting personality. Brahma states; “Isvarah paramah krsnah, sat cit ananda vigraha’ which means Sri Krishna is the controller of all the things that happen in this world, He is eternal, He has the most knowledge, and He is full of bliss and happiness.

The fourth one is the philosopy of Prakrti (nature material). Sri Krishna declares that He is the source of manifestation and consolidation, both the material world and the spiritual world.

The fifth one is the teaching of Bhakti-yoga. Our relationsip with Sri Krishna is pure and can be revived through the implementation of serving our spiritual love, and it is strings-attached free.

The sixth one is the teaching of Bhakti-yoga. Veda is the absolute truth, spiritual science, which is absolutely necessary to understand the role of a bona fide spiritual preacher. Highly qualified preachers and have the authority or preachers who are in the line of a series of spiritual education (Parampara). Spiritual master will guide us to realize our true self which is eternal, full of knowledge and full of bliss, as the nature of God (SELAYANG PANDANG TENTANG HAREKRISHNA (kesadaran Krishna) , 2012).

                According to Prabhu Tatwa, the concept of heaven and hell is vague. There is no such thing as heavn and hell in the afterlife. The concept of hell is that we suffer in this world. By suffering means we are not living our lives happily, yet full of obstacles in life. It all is happening in the world until we understand the real concept of serving God fully. There is also a good karma which means that if we did good in our previous lives, we could live our lives happily. There is less fulfillment inside people’s souls. Eternal happiness is the only existing thing in the spiritual world. Hell does not exist in the spiritual world. As long as we pray to God, praise the Lord, loving God, and we remember God when we are dying, then God will forgive our sins. We are freed from material punishments. People will reincarnate until the end of the world as long as they haven’t reached Krishna’s consciousness. After we reached Krishna’s consciousness, we would not go back to the living world and we will live in Heaven, we will live to serve Krishna. That is the concept of Heaven which is written in Bhagavad Gita. According to verse 4.5 in Bhagavad Gita, Krishna states:

The God Almighty said: you and I are born again and again. I can remember all of the birth, but you cannot remember, O conqueror of enemies! (verse 4.5) (Prabhupada)

This verse states that every human comes from spiritual world. In contrast they forgot what they actually come from, due to the fact their spirit may reincarnate to another period of time. They may change sex, or even change into another part of being, such as an animal, if a soul is attached fully to material world, which are lust, stupidity, and good deeds. If a soul keeps attached to material world, a soul may reincarnate into a different path all over again, and the time isn’t eternal. Only spiritual world is eternal to everybody. As a result, devotees are encouraged to fulfill what is there for them, and be grateful for it. One of the daily activities that are fundamental for devotees are being a vegetarian. According to Prabhu Tatwa, the reason being a vegetarian is because of the metaphor ‘you are what you eat.’ Humans may become greedy because they put their ego into killing animals, and might eat a lot for their own sake.

The Concept of Vegetarian

                As it is explained before, the concept of Harekrishna is to minimize material deeds in order to serve Krishna, due to the fact that humans are a part of spiritual being. Therefore, the concept of spirit after death may reincarnate to another being, such as animal. That’s the reason why a lot of devotees become a vegetarian. In ashram[9], vegetables are an absolute cuisine for devotees, because according to Veda, animals are also a part of life being (14Ju). As a result, if one of the devotees eat meat, that means he/she may contribute killing animals. That’s why being a vegetarian is very important.

                What about the vegetables itself? After all, plants are a part of vegetables, and it’s a part of live being as well. However, vegetables are a part of Krishna’s creation. Eating animals’ meat is not appreciated by this religion. It is because animals are part of Krishna’s creations and they have soul, they are like humas, they have feelings, and they are the reincarnations of humans from their previous lives. We have no right to take living beings’ lives away from them.

                Even though vegetables are part of Krishna’s creations, it is not considered killing when we eat them. In fact, in karma-yoga, it is stated that we as human beings have to eat vegetables only because vegetables are not considered as part of reincarnations. Human beings need food to survive, it is one of the reason why we are excused for eating vegetables. Eggs are not part of vegetables. Harekrishna forbid their devotees from eating eggs because eggs is the embryo, it is a part of reincarnations because in time being, the eggs will hatch and become a part of living soul.

                For instance, we can modify hotdogs. Real hotdogs use sausages as their fundamental ingredient. We can modify it by replace the sausage into salads and beans or eggplants, depends on each individuals’ likings. That’s the reason why the food is called prasadam.

A Pursuit of Devotion – Reasons why devotees devote Krishna

                Mostly, many devotees affiliate Harekrishna because of seeking. Not many people devote Harekrishna based on their family; most people affiliates Harekrishna based on their seeking discovery, according to Prabhu Olik, when I followed Bhagavad Gita class. As a result this is why the curiosity of finding their reasons occur to me. Why do devotees choose Harekrishna rather than any religion in the world? Although seeking the best religion may be one of the most fundamental path for individuals, there must be some reason why devotees choose Krishna as a part of fulfilling their spiritual lives.

                Back to the time of Ratha-Yatra, I gathered with Hayasirsa (not a real name), Bayu, and Putri. Hayasirsa is a devotee, same like Bayu and Putri. He is taking master degree in UHI (Universitas Hindu Indonesia) majoring in religion and culture, Bayu is a photographer and his lover, Putri, is taking masters degree of psychology in a private university. All of them are Balinese, including many other devotees, most likely.

For hours, we talked about the concept of spirituality within Krishna consciousness. According to Bayu, every person has their free will. Humans have a gift to choose which path they want to believe in, and gradually enjoy the process on living the path they took. Suddenly Hayasirsa asked, “What do you want to focus on your paper?” I replied it calmly. I just really want to know the reasons why devotees choose Harekrishna and their process of spiritual seeking.

                Hayasirsa began to share the story of how and why he chose Harekrishna as his religion. He said that he did some research about all religions; Catholic, Christian, Buddhist, Hinduism, and Muslim. He explored all those religions and he participated in their religious activities. And when he found out about Harekrishna religion, he felt this moment where the enlightment resides within him, because the concept fits for him, and the method of Kirtan seems very interesting to him. Based on what he learned about the process of meditation, there’s the psychology process that creates this state of contentment (Andreescu). In addition, according to healthguidance.org, dancing and singing are good for the soul. Both can make individuals feel tranquility and joyful (Williamson). In addition, dancing and sing help reducing stress inside the body, hence kirtan can help devotees to feel more happiness than usual. This purpose of being a devotee isn’t just for their psychology of self, however it increases spiritual relation (such as unconditional love) among themselves and Krishna.

                While Bayu, at first he was an agnostic. He mainly focused on traveling, as a result he travelled to Japan for several months, while working as a photographer. At first he went back for awhile, and he discovered his mother was a devotee of Harekrishna. He thought it was weird seeing her meditate. Then he tried to learn about the concept of Harekrishna in ISKCON of Japan. As he entered the temple he was surprised of how universal this religion is, when he saw another foreigner who came from the Western territory. He participated the yoga and he felt bigger transcendence within his spirituality, more than he could imagine. Then he started to change himself into a devotee. Right after he went back to Indonesia her mother passed away. From that moment his decision for being a devotee is final. According to Bayu, people can be devotees too even if they are from another religion. He said that every religion teaches the same thing; the absolute truth, the only difference is the meditation activities. It is proven in a book called the Diary of A Traveling Preacher, where Indrayuma Swami, the author, spreads Krishna’s wisdom across Europe, Middle-Eastern and Southeast Asia. As he arrived in Bangladesh, he met the Bangladesh ambassador in order to ask for permission to spread the wisdom. The ambassador curiously asked.

“Why do you want to visit my country?”

“Because according to BBC Bangladesh is one of the happiest country on Earth. I’m curious why the poorest country is the happiest, while my country, America, is the world’s richest, but came in a disappointing 7th place in a survey, in terms of contentedness. Obviously, happiness is not synonymous with material prosperity.”

The ambassador was appalled by his curiosity. He then gave him easier access for visa, and asked him to meet his family for dinner (Swami, 2005).

Analysis to Theatrical Approach

According to William Schechner, the author of Performance Theory, “Dances are pivots in a system transforming destructive behavior into constructive alliances.” (Schechner, 1988)

That means that every dances, every movements are no accidents. Dance movements mirror the things that we want to communicate, to convey to others. Therefore, there are so many dance moves and we can differentiate them, we can see what they are feeling just by seeing them dance.

There are major theatrical dramas performed by devotees. Specifically Ratha-Yatra. Ratha-Yatra is a festival where people praise Krishna and do some chants (see the first page). The purpose is to deliver the history of the religion, to spread Harekrishna’s religion to public society, and to emphasize our devotion to Krishna.

Devotees celebrate their special days by performing Kirtan, singing, and having big feast in public road by giving fruits to the audience. Moreover, there are actors who are playing Radha and Krishna as a symbol of eternal happiness.

With Krishna

According to Schechner, people set meanings into the ritual, and they develop the play based on what the story’s told, based on what kind of culture they are from in the first place (Schechner, 1988). [N4] As it is seen before, the body of Krishna is not blue, while the real body is blue. It means that Krihna’s existence is not always the same. As a spiritual being he can change the way it looks, due to the fact that he has this power of free will to change his physical appearance. Therefore, this construction was made by humans (Victor W. Turner, 2014). But according to Schechner, this process of creating performance does not come from one way only. It comes from theater and ritual as well. How by the representation of meanings inside the Ratha-Yatra. It is proven that the theory of semiotics can support this ritual, because this theory defines meaning-making by people. The signifier is the Jagannath chariot itself, while the signified defines the God of universe (Griffin, 2014).

Therefore this may be one of the reasons why devotees love Krishna as their God. It has this unconditional connection between them, that can’t separate them away.

REFERENCES

(n.d.). Retrieved July 5, 2014, from http://www.vedasastra.com/galeri-vedasastra/hindu-menjawab/vegetarian/

Andreescu, A. (n.d.). International Journal of Transpersonal Studies. Rethinking Prayer and Health Research: An Exploratory Inquiry on Prayer’s Psychological Dimension , 1-25.

Griffin, E. (2014). A First Look at Communication Theory 9th Edition. New York : McGraw-Hill.

Imandasari, R. (2010). PERUBAHAN ALIRAN KONG HU CHU MENJADI AGAMA KONG HU CHU PADA MASA PEMERINTAHAN GUS DUR. Retrieved July 5, 2014, from Universitas Sebelas Maret: http://eprints.uns.ac.id/2455/

indonesia-investments. (n.d.). Suharto's New Order. Retrieved July 5, 2014, from indonesia-investments: http://www.indonesia-investments.com/culture/politics/suharto-new-order/item180

Prabhupada, A. B. Bhagavad Gita As It Is. The Bhaktivedanta Book Trust.

Schechner, R. (1988). Performance Theory. United Kingdom: Routledge.

SELAYANG PANDANG TENTANG HAREKRISHNA (kesadaran Krishna) . (2012, Dcember 11). Retrieved from http://iskconbdg.blogspot.com/2012/12/tentang-hare-krishna-hare-krishna-itu.html

Swami, I. (2005). Diary of A Traveling Preacher. United States of America: Torchlight Publishing, Inc.

Victor W. Turner, E. M. (2014). Dewey, Dilthey, and drama: An Essay in the Anthropology of Experience. In V. W. Turner, The Anthropology of Experience.

Wikana, N. H. (2010). Merekonstruksi Hindu. Yogyakarta: Narayana Smrti Press.

Williamson, J. (n.d.). How Dancing Can Be Good for Our Body and Soul. Retrieved July 6, 2014, from health guidance: http://www.healthguidance.org/entry/13819/1/How-Dancing-Can-Be-Good-for-Our-Body-and-Soul.html

 

               

               

               

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[1] Foods that are purified through Mahamantra praying. All foods contain vegetarian content.

[2] The God who serves and guards the earth and its surroundings

[3] Generally it means “The Supreme Lord.” But it can be a representation of names for male & female. For male it’s called Prabhu.

[4] A person who studies scriptures of Harekrishna and spread the wisdom; can be called as ‘monk.’

[5] Mataji is a name-calling of Prabhu for girls

[6] International Society of Krishna Consciousness

[7] Interview with Prabhu Isha in ISKCON, 29/6/14

[8] (ISKCON of DC)

[9] A spiritual hemritage

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 [N1]Good Job! Good data, good historical background and good citations!

 [N2]Thesis statement. Should be inside the paper too.

 [N3]Good opening!

 [N4]Should be 1978, Performance theory