Government Organization in Cultural Diplomacy

THE CONTRIBUTIONS OF INTERNATIONAL NON- GOVERNMENT ORGANIZATION IN CULTURAL DIPLOMACY. CASE STUDY: UNION INTERNATIONALE DE LA MARIONETTE (UNIMA)-INDONESIA IN PROMOTING WAYANG AS A TOOL OF INDONESIAN CULTURAL DIPLOMACY (2009-2014)

ANNA INDAH PRATIWI ID no. 016201100094

A thesis presented to the Faculty of Humanities President University In partial fulfillment of the requirements for Bachelor Degree in International Relations Major in Diplomacy Studies

April 2015

THESIS ADVISER RECOMMENDATION LETTER

This thesis entitled “The Conributions of International Non- government Organization in Cultural Diplomacy. Case Study: Union Internationale de la Marionette (UNIMA)-Indonesia in Promoting Wayang as a Tool of Indonesian Cultural Diplomacy (2009-2014)” prepared and submitted by Anna Indah Pratiwi in partial fulfillment of the requirements for the degree of Bachelor Degree in the Faculty of Humanities has been reviewed and found to have satisfied the requirements for a thesis fit to be examined. I therefore recommend this thesis for Oral Defense

Cikarang, Indonesia, April 8, 2015

Acknowledged and recommended by,

DR. Muhammad A.S Hikam, M.A

DECLARATION OF ORIGINALITY

I declare that this thesis, entitled ―The Contributions of International Non-government Organization in Cultural Diplomacy. Case Study: The Role of Union Internationale de la Marionette (UNIMA)- Indonesia in Promoting Wayang as a Tool of Indonesian Cultural Diplomacy (2009-2014)‖ is, the best of my knowledge and belief, an original piece of work that has not been submitted, either in whole or in part, to another university to obtain a degree.

Cikarang, Indonesia, April 8, 2015

Anna Indah Pratiwi

PANEL OF EXAMINER APPROVAL SHEET

The Panel of Examiners declare that the thesis entitled ―The Contributions of International Organization in Cultural Diplomacy. Case Study: The Role of Union Internationale de la Marionette (UNIMA)-Indonesia in Promoting Wayang as a Tool of Indonesian Cultural Diplomacy (2009-2014)‖ that was submitted by Anna Indah Pratiwi majoring in International Relations from the Faculty of Humanities was assessed and approved to have passed the Oral Examinations on 8 April, 2015.

Teuku Rezasyah, Ph.D Chair – Panel of Examiner

Prof. Anak Agung Banyu Perwita, Ph.D Examiner

DR. Muhammad A.S Hikam, M.A Thesis Adviser

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ABSTRAK

Diplomasi budaya menjadi sebuah fenomena yang digunakan oleh berbagai Negara, baik Negara maju maupun berkembang sebagai usaha dalam mencapai kepentingan nasional di era globalisasi sekarang ini. Kepentingan nasional menjadi dasar perumusan politik luar negeri melalui diplomasi kebudayaan. Banyaknya Negara yang menggunakan Diplomasi budaya dan pengaruhnya secara signifikan terhadap suatu Negara, memberikan inspirasi kepada penulis untuk melakukan penelitian mengenai diplomasi kebudayaan Indonesia.

Indonesia sebagai Negara yang memiliki keanekaragaman budaya, memanfaatkan budaya sebagai alat diplomasi kebudayaan dalam pelaksanaan politik luar negeri, dimana akan mendukung kegiatan ekonomi makro yang berasal dari kepariwisataan dan ekonomi kreatif, dan yang lebih memfokuskan untuk membangun citra dalam hubungan internasional. Wayang merupakan salah satu jenis kebudayaan yang dimiliki Indonesia yang memiliki nilai seni tinggi dan menjadi alat komunikasi yang efektif dan positif, oleh karena itu Wayang dianggap mampu sebagai alat diplomasi kebudayaan Indonesia.

Dalam perkembangannya, para pelaku diplomasi kebudayaan bukan hanya pejabat Negara, namun juga individu, organisasi atau swasta yang mewakili kepentingan nasionalnya dengan persetujuan pemerintah. UNIMA merupakan satu-satunya organisasi internasional yang focus terhadap pelestarian Wayang di seluruh dunia. Keikutsertaan Indonesia dalam UNIMA menjadi peluang yang sangaat baik bagi Indonesia untuk melaksanakan diplomasi kebudayaan melalui Wayang. Penulis melalui penelitian ini, mencoba membahas peran UNIMA- Indonesia dalam menggunakan Wayang sebagai alat diplomasi kebudayaan Indonesia.

Kata kunci: kekuatan lunak, diplomasi public, diplomasi budaya, organisasi internasional, wayang

ABSTRACT

Cultural diplomacy becomes a phenomenon that used by various countries, both developed and developing countries as an attempt to achieve national interests in this current globalization era. The national interests is the basis of foreign policy formulation through cultural diplomacy. The number of countries that use cultural diplomacy and its influence significantly to a state, inspired the author to conduct research on Indonesian cultural diplomacy.

Indonesia as a country which has cultural diversity, Indonesia as a country which has a cultural diversity, utilizing culture as a tool of cultural diplomacy in the implementation of foreign policy, which will support the activities of the macro economy derived from tourism and the creative economy, and that more focused on building an image in international relations. Wayang is one type of culture that Indonesia, which has high artistic value and become an effective and positive communication tool. Hence, Wayang is considered capable as a tool of Indonesian cultural diplomacy.

In the development, the actors of cultural diplomacy are not only state officials, but also individuals, the organizations or private that represent its national interests by approval from the governments. UNIMA is the only international organization that focuses on the preservation of puppet throughout the world. The participation of Indonesia in the UNIMA becomes a great opportunity for Indonesia to implement cultural diplomacy through Wayang. The author through this research, try to discuss the role of UNIMA-Indonesia in using Wayang as a tool of Indonesian cultural diplomacy.

Keywords: soft power, public diplomacy, cultural diplomacy, international organization, wayang

ACKNOWLEDGEMENT

Alhamdulillahirobbil‟alamiin, Allahumma sholli „ala sayyidina

Muhammad. In the name of Allah, the most gracious and the most merciful.

Peace and salutation be upon to the noble Prophet of Islam, Muhammad S.A.W.

First of all, I would like to thank to my beloved parents; my dad Edwin Aldrin, my mom Haeri, Grandma Mimi, Syechquna H. Anda Ansara, Abah Sahib, Hj.

Erna and Emak to always give your prayer to me, to always guide, teach and help me in every condition. I‘m so grateful being their daughter, I‘m blessed because

Allah sent me parents like them. Thank you also to all my booster brothers; Alvin

Setyo Budi and Sabily Salam, thank for your prayers, attentions, affections and support. To all my other booster sisters, brothers, aunties, uncles; Bude Uci, Pakde

Bubu, Ate Oki, Uti Kibo, Inu, Ateo, Aroni, Mas Aziz, Silvy, Ka Bunga, Adinda,

Ersa, Alm. Tante Ertji, Om Ijal, Tante Kris, Nikita. Thanks for your prayers, patience and kindness.

I would like to express my deepest gratitude to my advisor, Mr.

Muhammad AS Hikam, for his excellent guidance, caring, patience, and providing me with an excellent atmosphere for doing a thesis. Without his advice and assistance by spending his time to correct my mistakes, it would be a lot tougher to the completion. Thank you also to Ms. Puji Winarni and Mba for your kindness. I learned much from his personality and his life. You are the best, Sir!

And also my deepest gratitude to Mr. T.A. Samodra and his family, for their kindness to help me in doing my thesis, thank you very much. I would like also thank to Ms. Woro for always give me knowledge about Wayang, the contribution by becoming the informant for my thesis and suggestion of book about Wayang. Thank you very much.

Thanks to the Vice Rector III Mr. Anak Agung Banyu Perwita and Dean of the School of International Relations Mr. Teuku Rezasyah for their contribution and attention. All lecturers and members of the staff of the International Relations,

President University, who helped me in many ways and made my educational journey at President University pleasant and unforgettable. My special thanks to my awesome lectures, Mr. Emir Chairullah for the help and support me to finish my bachelor degree as soon as possible by sending some materials to my email.

May Allah always blessed you, Sir.

To my lovely partners, Dara and Iga (Trio Hikam group); finally… our tears ended up with the happiness. I would like also thank to my everlasting best friends; Irina Apriana, Frida Riliandhita, Tommy Surya Pradana, Olga Arthaloka

Bonita, Mba Fifi, Luqman, Tiffani, Gita, Lintang, Aqma, Nabella, Luqman, Abi,

Ikhsan, Heny Suryani, Triska Yulistin, who have given me a cheerful and joyful world and beautiful togetherness. Last but not least, thanks for Presunivers,

International Relations 2009, 2010, 2011; especially International Relations 2011 class 1, you guys are awesome!

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Table of Contents

THESIS ADVISER RECOMMENDATION LETTER ...... i DECLARATION OF ORIGINALITY ...... ii PANEL OF EXAMINER APPROVAL SHEET ...... iii ABSTRAK ...... iv ABSTRACT ...... v

ACKNOWLEDGEMENT ...... vi

TABLE OF CONTENTS ...... viii

LIST OF TABLES AND FIGURES ...... xi LIST OF ACRONYMS ...... xii CHAPTER I ...... 1

INTRODUCTION ...... 1 I.1. Background of the Study ...... 1 I.2. Problem Identification ...... 2 I.3. Statement of the Problem ...... 3 1.4. Thesis Objectives ...... 3 1.5. Significance of the Study ...... 3 1.6. Conceptual Framework ...... 4 I.6.1. Public Diplomacy...... 4 I.6.2. Culture Diplomacy ...... 7 I.6.3. International Organizations ...... 8 1.7. Scope and Limitation of the Study ...... 9 1.8. Definition of Terms ...... 10 1.8.1. Diplomacy ...... 10 1.8.2. Wayang ...... 10 1.8.3. Cultural Diplomacy ...... 11

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1.8.4. Non-governmental Organizations (NGOs) ...... 11 1.9. Thesis Outline ...... 12

CHAPTER II ...... 14 LITERATURE REVIEW ...... 14 II.1. Cultural Diplomacy ...... 14 II.2. Contemporary Wayang in the Global Context ...... 18 II.3. Wayang and Cultural Diplomacy: The Linkages ...... 24 CHAPTER III ...... 27 RESEARCH METHODOLOGY ...... 27 III.1. Research Method ...... 27 III.2. Qualitative Approach ...... 27 III.3. Case Study ...... 28 III.4. Validity and Reliability of Qualitative Method ...... 29 III.5. Data Collection...... 31 III.5.1. Interview ...... 32 III.6. Data Analysis ...... 33 CHAPTER IV ...... 35 THE INDONESIAN CULTURAL DIPLOMACY THROUGH WAYANG .. 35 IV.1. Indonesian Cultural Diplomacy ...... 35 IV.2. The History and the Development of Wayang ...... 41 IV.3. Preservation the Creativity Wayang Beber, Wayang Gantung and Wayang Potehi ...... 45 IV.4. The Signifiant of Wayang as Indonesian Cultural Diplomacy ...... 46 IV.5. The Implementation of Indonesian Cultural Diplomacy ...... 51 IV.6. The Activities of Cultural Diplomacy encourage the progress to another field ...... 52

CHAPTER V ...... 57 THE ROLE OF UNIMA-INDONESIA IN PROMOTING WAYANG AS TOOL OF INDONESIAN CULTURAL DIPLOMACY ...... 57

V.1. UNIMA-Indonesia ...... 57 V.1.1. UNIMA International ...... 57 V.1.2. UNIMA-Indonesia...... 60 V.1.2.1.The Project of UNIMA-Indonesia in Promoting Wayang 60 V.2. The Overview of UNIMA-Indonesia ...... 65 V.3. Enhance the Image of Indonesia in International Presence ...... 67 V.4. Encourage the Preservation of Wayang to the Next Generation ...... 69 CHAPTER VI ...... 72 CONCLUSION AND RECOMMENDATIONS ...... 72 VI.1. Conclusion ...... 72 VI.2. Recommendations ...... 73

BIBLIOGRAPHY ...... 75 Books and Journals: ...... 75 Website:...... 76 Official Documents: ...... 80 Newspaper and Tabloid: ...... 81 Interviewers: ...... 81 APPENDICES ...... 82

______

LIST OF TABLES AND FIGURES

Figure 2.1 Actor and Objective of Cultural Diplomacy Scheme Table 2.2 Relations between Situation, Form, Objective and Medium of Cultural Diplomacy Figure 2.2 Model of Communication Table 3.1 Table of the Informants Figure 4.1 Wayang Kulit Purwa-Wayang Golek Figure 4.2 Sunan Kalijaga Wayang Kulit Figure 4.3 Punakawan Table 4.1 The Implementation of Indonesian Cultural Diplomacy Figure 5.1 The Relations of Indonesian Government and UNIMA-Indonesia Figure 5.2 Sanggar Paripurna Figure 5.3 Kampung Wayang-Wonogiri Figure 5.4 Kampung Wayang Golek-Bogor Figure 5.5 Baratayuda Comic Series

LIST OF ACRONYMS

UNESCO United Nations Educational, Scientific, and Cultural

Organization

SENA WANGI Sekretariat Nasional Wayang Indonesia

ASEA American for Eastern Arts

ASEAN World Cultural Forum

KIAS Kebudayaan Indonesian di Amerika Serikat

UNOG United Nations Office in Geneva

WIPO World Intellectual Property Organization

AEC ASEAN Economic Community

PEPADI Persatuan Pedalang Indonesia

APA ASEAN Puppetry Association

TMII Taman Mini Indonesia Indah

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CHAPTER I

INTRODUCTION

I.1. Background of the Study

The international relations is commonly understood as interactions among States, political actors, and military factions, within which these three aspects will continue to dominate in this discipline (Suwardi Wiriaatmaja, 1971). In practice, relations between States are dynamic and could be increasing political tensions. Therefore, good communications are needed to avoid failures in diplomacy. Moreover, the diplomacy can be a means to achieve political objectives and promotions of the State as well as a way to resolve international political tensions.

Traditional diplomacy or ‗the first track diplomacy‟ is a form of diplomacy that involves the states through the regularization process procedurally.1 However, seen from the current condition in which globalization becomes a complex situation and has had significant impacts on the states that further raise issues and new matters in International Relations, it is necessary to apply more effective form of diplomacy rather than the traditional diplomacy. Indonesia is a heterogeneous country that has a wide range of ethnic, tribal, religious, customs and language which are reflected in social life, economy and politics throughout Indonesia (Geertz, 1963, p.24). With the condition of pluralism in Indonesia, there is a strong possibility for Indonesia to show its identity by excavating its culture that aims to achieve national interests. One of the classic Indonesian cultures which evolved to the present through the transformation process, acculturation assimilation, and syncretism is Wayang (Traditional Puppets?). Wayang is expected to be an effective mean of cultural diplomacy for Indonesia.

1Brian White, ―Diplomacy‖, in John Baylis and Steve Smith, The Globalization of World Politics, (New York: Oxford University Press, 2005) p. 389-390 1

I.2. Problem Identification

Cultural diversity owned by Indonesia has not been fully recognized by, both Indonesian people and the government. The role of government in stimulating and supporting the existence of Indonesian culture is important, so the abundance of Indonesian culture can be developed in the foreseeable future. It must be realized in the era of globalization that Indonesia has been surrounded by foreign cultures that tend to be entrenched rather than its local culture. Wayang as one of the most popular Indonesian cultures contains values and morals in its characters and plot story. The symbol of Wayang can be a source of inspiration and motivation to behave positively, as the value of patriotism, willing to sacrifice and unyielding in fighting for the truth.2 Those values were encountered in the stories of puppets which can play a major role in sustaining and maintaining the sovereignty of the State, not only in politics aspect, but also the whole aspects of life.3

As we can see nowadays, there are various forms of warfare threat, with different shapes and types of non-conventional terrorism, human trafficking, and cyber war, as well as the culture wars.4 Therefore, the potential of nation's culture is staked as fortification of strength in various shapes, types and actors which are threats to national defense. The power of cultural diplomacy by using Wayang as a tool needs to be developed, both at regional and global level. Wayang expected to be a soft power to build a peaceful and equitable word, and the function of Wayang Puppet Theater is not only a spectacle, but also guidance.

Indonesia has two ministries which oversee cultural diplomacy, namely the Ministry of Foreign Affairs and Ministry of Education and Culture; both have a role in preserving culture of Indonesia. Unfortunately, both ministries have yet to provide and support significant roles in the preservation of Indonesian

2 Susanto Zuhdi, Wayang dan Ketahanan Budaya, (Jakarta, 2013) 3 ibid 4 A speech from Susanto Zuhdi, Expert Staff of Defense Minister in Politics, Depok, April 4, 2013 2 culture, especially Wayang. The main proponent engaged in cultural preservation fields are International Organizations and Non-government Organizations such as UNESCO, UNIMA-Indonesia and SENAWANGI which particularly engaged in preservation of Puppet. Seeing the value and functions are owned of Wayang, the role of government is needed in Indonesian culture development.

I.3. Statement of the Problem

 How can UNIMA-Indonesia, as an International Non-government Organization, use Wayang as an instrument of Indonesian Government‘s cultural diplomacy?

I.4. Thesis Objectives

By going through the statement of the problems, the main objectives of this thesis are:

- The contributions of UNIMA-Indonesia, as a part of an International Non- government Organization of puppeteries, in contributing Indonesian cultural diplomacy through Wayang.

I.5. Significance of the Study

This thesis will describe the use of Wayang as a tool of Indonesian cultural diplomacy, the role of Indonesian Government agencies, and the contributions of UNIMA-Indonesia in strengthening such an endeavor. There are several points which would enable the synergy between the government and UNIMA-Indonesia to work together in developing Wayang Theater of Indonesia. As the main actor, government has important role in supporting and seeing the potential of Wayang as a means of international cooperation. Furthermore, Wayang is an important

3 diplomatic instrument to improve positive image of Indonesia. Through UNIMA, the International Organization which has concerns in developing puppet, it is expected that it can be recognized and acknowledged worldwide. Besides, it becomes a way to open relations within member countries of UNIMA and achieve interest of Indonesian foreign affairs. Hopefully, this research will provide recommendations to both government and UNIMA-Indonesia in using Wayang as an effective tool for Indonesian diplomacy in the future.

I.6. Conceptual Framework

The conceptual framework will be a basis of this thesis and also be a literature review. The study of International Relations involve any kinds of interactions among countries, nations and groups of nations in the field of international society with all aspects related to this relationship. The mutual influence of International activity is Diplomacy, in which the government and International Organizations are trying to increase their objectives through diplomatic representative or through the other organs. Soft power becomes an important instrument, in which the state through several activities involve various actors and organizations that have an impact on the publish internationally, such as through actors; art and music galleries; media groups and journalists; public and non-government organizations, academics and so forth.5

1.6.1. Public Diplomacy

Edmund Gullion was introduced the term public diplomacy at Fletcher School of Law and Diplomacy, Tuffs University in 1965. Public opinion can

5 Josef Batora, Multistakeholder Public Diplomacy of Small and Medium-Sized States: Norway and Canada Compared, A paper presented in International Conference on Multistakeholder Diplomacy, Mediterranean Diplomatic Academy, Malta, February 11-13, 2005, Retrieved November 11, 2014 from http://www.diplomacy.edu/

4 support policy of the State and can affect a country's public opinion against the country.6 Murrow Center Brochure summarized Gullion concept according to which public diplomacy ‗encompasses dimensions of international relations beyond traditional diplomacy; the cultivation by governments of public in other countries; the interaction of private groups and interests in one country with another; the reporting of foreign affairs and its impact on policy; communication between those whose job is communication, as diplomats and foreign correspondents; and the process of intercultural communications‘.7

Bruce Gregory defines public diplomacy in the context of constructivism approach, as the means of state in achieving its national interest through social interaction and interplay, in order to successfully engage and influence public and achieve policy objectives over time.8 Public diplomacy is one of key instrument of soft power9, a diplomatic practice that involves many actors and organizations which conducted a form of propaganda as an attempt to manipulation of foreign publics or international public.10 As defined by Hans Tuch, public diplomacy is as ―a government‘s process of communicating with foreign publics in an attempt to bring about understanding for its nation‘s ideas and ideals, its institutions and culture, as well as its national goals and policies‖.11 America has long use public diplomacy as his soft power; for example Franklin Roosevelt's Four Freedoms in Europe at the end of World War II is one of the evidence of public diplomacy practice of America (Joseph S. Nye, 2004 p.6), its function evolves and realizes the tragedy of the World Trade Center attacks in America on September 11, 2001 or better known as the 9/11 tragedy. If its role can affect public opinion, public

6 Daniel S. Papp (1997), Contemporary International Relations, Frameworks for Understanding, (United States of America: Allyn and Bacon), p.442-443

7 Szondi Gyorgy (2008), Public Diplomacy and Nation Branding: Conceptual Similarities and Differences, (Netherland Institute of International Relations), p.2

8 Bruce Gregory.„Public Diplomacy and National Security: Lessons from the U.S. Experience‟. Small Wars Journal, 2008

9 Mellisen, Jan. The New Public Diplomacy: Soft Power in International Relations.(Great Britain: Palgrave Macmillan, 2005),p.3 10Ibid,p.11 11 Ibid, p.12 5 diplomacy will not only give a positive perspective of the State, but also will create a negative perspective due to the mechanism of cultural diplomacy which more emphasis on government-to-people or even people-to-people's relation where the State cannot provide full control in changing public opinion.

The three concepts on public diplomacy that related to Wayang are propaganda, nation-branding and culture relations.12 Propaganda is persuasive action which based on liberal notion of communication to the foreign publics. Through Wayang Puppet Theater a message can be delivered. Take a look from the history of Indonesia, in which Wayang Puppet Theater was used to promote government policies, such as confrontation between Indonesia and Malaysia as a medium of political propaganda. It performed a story about the Great War of Bharatayuda, where Indonesia as Pandawa and Malaysia as Kurawa (Kanti W. Walujo, 1995).

Nation-branding essentially about shaping a positive country‘s self-image that aimed at foreign publics, promoting and maintaining smooth international relations by strengthening links between societies or non-governmental actors.13 Wayang is the identity of Indonesia, the uniqueness of wayang puppet and the meaningful story and philosophy contained in Wayang Puppet Theater create positive image to foreign publics. Engage with foreign audiences on mutuality and the establishment of stable relationships on winning ‗hearts and minds‘ and building trust through culture relations.14 Creating friendship through culture could be realized through wayang as a human-link of understanding, and reflecting cultural values among nations and as a tool that harness "togetherness" among individuals.15

In the current situation, public diplomacy is an important in international relations. Public diplomacy as a tool of soft power that aims to attract others

12 Ibid, p.16 13 Ibid, p.21 14 Ibid, p.22 15 Mr. T.A Samodra as the President of UNIMA-Indonesia speech at the Wayang Summit 2012, November 24-25, 2012 6 without coercion or violence. Joseph S. Nye explained soft power is the ability to shape the perception of others, a product of practice of democracy politics. The ability related to non-materialize assets, such as culture that can attract the attention of other countries interested to follow, interesting national identity so that wowed its value, political value and institutions, and policies that are considered legitimate or has normal authority which make other countries want to be part of it.16 If the ability runs well, it will support a state to get the desired results in international politics.

1.6.2. Cultural Diplomacy

As a linchpin of public diplomacy, cultural diplomacy has a significant role to reach out foreign public‘s positive image in international era and effective on international ties between countries.17 In globalization era, culture becomes a transnational communication. Therefore, it is needed visibly active role in protecting and developing national culture to gain access to a foreign partners‘ telecommunications network. Besides, the objective of cultural diplomacy is to influence public opinion, both national and international levels to support a particular foreign policy. In the achievement the objectives of cultural diplomacy, eventually it is not only focused on the role of government, but also NGOs, private sector, academic and media have significant role in developing and maintaining national heritage by establishing principles that encourage creativity in order to promote culture abroad. According to theory of reflectivism ―identity‖ and ―culture‖ are the elements to study of diplomacy and international relations (Villanueva, 2010: 46). Cultural diplomacy is one of three sources of a nation‘s soft power (Nye, 2006) besides political values and foreign policy. In addition to influence public opinion

16 Joseph S. Nye.Public Diplomacy and Soft Power. Retrieved November 16, 2014 from http://ann.sagepub.com/content/616/1/94.full.pdf 17 Joseph S. Nye. Soft Power and Foreign Policy. Political Science Quarterly: Academic of Political Science, 2004 7 of social politic and cultural abroad, fostering positive national image, soft power also has significant economic implication which can advance foreign policy objectives. Understanding culture of other people and nations influences international cooperation and increasingly global markets (Feigenbaum, 2001), and nation branding (Anholt, 2010) which has significant role in cultural industries, it fostered through soft power and promote through cultural diplomacy.

Cultural diplomacy is a strategy for a long-term process of the developing country, involving a range of policies, initiatives and activities, to achieve its national interests through culture.18 Indonesia as a developing country has used Wayang as one of its cultural artefacts, as a tool of its cultural diplomacy. The art of Wayang and the values of Wayang Puppet Theater create positive image of Indonesia to foreign publics or nations. Because of its universal appeal, Wayang can be easily accepted in the world community. Through the development of Wayang in various regions around the world, it could help to open new cooperation with other countries that have history of puppetries which will also have effects on Indonesian creative economy.

1.6.3. International Organizations

International Organization is best described as "a union or an association of States, or of enterprises or of other national entities set up across national boundaries".19 Non-governmental Organization (NGOs), Intergovernmental Organizations (IGOs), profit or non-profit making is part of it.20

UNIMA is one of International NGOs as the partnership of UNESCO which engaged in the preservation of puppet. It has role to gain relationship across country boundaries which has history of puppet. According to transnational

18 Tulus Warsito & Wahyuni Kartikasari. Diplomasi Kebudayaan, Konsep dan Relevansi Bagi Negara Berkembang: Studi Kasus Indonesia, (Yogyakarta: Penerbit Ombak, 20017),p.2 19 Peter Fishcer (2012), International Orgaznizations, (Vienna), p.9 20 ibid 8 theory, NGOs are more important actors as the interest groups or subnational actors that exist within states.21 Both NGOs and states have to work together to realize their goals and give the contribution extensively to world politics to cope the challenges that surround them.22 Indonesia had become the member of UNIMA (UNIMA-Indonesia), UNIMA-Indonesia concern to preservation of Wayang to the world and it needs good synergy from the government of Indonesia in supporting Wayang, so that Wayang can be known and accepted easily to foreign publics or states for subsequently become a tool of Indonesian Cultural Diplomacy. The existences of non-state actors or NGOs have their position in International Relations in which NGOs have contributed a lot of to the international society.23 It is confirmed in the concept of global governance that NGOs doing internationally what governments do at the home country24, in which coordination the role of NGOs and civic society are emphasized.

1.7. Scope and Limitations of the Study

The scope and limitation of the study is the contribution of UNIMA- Indonesia in promoting Wayang worldwide. The role of UNIMA-Indonesia is to conduct cultural Indonesian diplomacy by involving Wayang in the International Conference and World puppet festival. Moreover, how to enroll governments in participating and supporting the puppet show as Indonesian national goals is expressed as well as a means to deliver message of peace.

21 Robert O. Keohane and Joseph S. Nye,Jr.Transnational Relations and World Politics. (Cambridge: Harvard University Press, 1971),p.vii 22 James N. Rosenau. The Study of Global Interdependence: Essays on the Transnationalisation of World Affairs (New York: Nichols, 1980),p.1 23 James N. Rosenau, ―Governance, Order and Change in World Politics‖ in James N. Rosenau and Ernest O. Czempiel.,Governance without Government: Order and Change in World Politics (Cambridge: Cambridge University Press, 1992),pp.4-5 24 Lawrence S. Finkelstein. ―What Is Global Governance‖, Global Governance, Vol. 1, No.3 (Sep- Dec, 1995),pp.368-369 9

1.8. Definition of Terms

I.8.1. Diplomacy

According to Oxford dictionary, the meanings of ―Diplomacy‖ are the profession, activity, or skill of managing international relations.25 The ability of the approach to achieve a goal without creating conflict and do not leave hate, doing secret negotiation by sending accredited envoys and International agreements and laws.26

Outlining root word of diplomacy, derived from the word of Diplomat which means diploma, Diplomacy is the activity diplomatic ways. Diplomat is a person who runs diplomacy. Diplomatic act is the international legal instruments that regulate the diplomat. Convention on diplomatic relations is a world-class convention in Vienna that govern what and how a diplomat can and cannot do anything. Diplomatic is an adjective for diplomacy activities. Diplomatic Manner is the rule of thumb for diplomats to behave. Diplomacy as a tool to achieve national goal of a State by diplomatic means comes in ways such as arbitrage, negotiation, mediation, etc.

I.8.2. Wayang

Wayang is the art of Indonesian cultural treasures that have the virtue of life values (art of edipeni-adiluhung). Its presence has been around a long time, which is about 1500 BC in the form of animistic rituals and growing from Hindu- Buddhist era, the era of the spread of Islamic, colonial times, until the time of independence (present). Wayang has the durability and high-power development; it is because of Wayang constantly experiencing acculturation cultural values and religious values.27 More than 100 types of Wayang are growing in almost all

25 Definition of Diplomacy. Retrieved October 10, 2014 from http://www.oxforddictionaries.com/definition/english/diplomacy 26 Definition of Diplomacy. Retrieved October 10, 2014 from http://www.merriam- webster.com/dictionary/diplomacy 27 Solichin (2013), Gatra Wayang Indonesia, (Jakarta), p.2-7 10 regions in Indonesia; there is over 100 plays of Wayang which has a different background because of differences in customs and cultures in every region and religion of a majority.28

In the context of the nation's culture, Wayang occupies important function and role. It contains ideology system that includes values and norms, ethics, aesthetics, philosophy and rules that have long been recognized and internalized by Indonesian people.

I.8.3. Cultural Diplomacy

Cultural Diplomacy is described as the ―exchange of ideas, information, art and other aspects of nations and people to foster mutual understanding‖.29 Culture consists of language, ideas, beliefs, customs, taboos, codes, institutions, tools, techniques, work of art, rituals, ceremonies, and symbols.30 The terms of "cultural diplomacy" has only recently been established, but very old phenomenon in international relations, which means the practice of cultural diplomacy or cultural exchanges has been established and the evidence of its practice can be seen throughout history and has existed for centuries.31

I.8.3. Non-governmental Organizations (NGOs)

Non-governmental Organizations are non-profit organizations that made up of individuals or national groups, not official representatives of national governments which cut across national boundaries that have purpose to promote common goals both in national and international level.32 In the document of

28 Ibid, p.8 29 Milton C. Cummings (2003). Culture Diplomacy and United States Government: A Survey (Washington, DC: Center for Arts and Culture), p.1 30 Merriam Webster‘s Collegiate Encyclopedia (2000), sv.‖culture‖ 31 Cultural Diplomacy. Retrieved October 1, 2014 from http://www.culturaldiplomacy.org/index.php?en_culturaldiplomacy 32 Gerard Clark.The Politics of NGOs in South-East Asia: Participation and Protest in the Philippines.(London: Routledge Press, 1998),p.2 11

United Nations NGOs describes as a non-profit entity whose members are citizens or associations of citizens of one or more countries and whose activities are determined by the collective will of its members in response to the needs of the member of one or more communities with which the NGO cooperates.33According to P.J. Simmons, there are four functions of NGOs which are setting agenda, negotiating outcomes, conferring legitimacy and making solution work. NGOs also have role in translating international agreements and norms.34

1.7. Thesis Outline

This thesis consists of six chapters:

Chapter I: Introduction

This chapter contains the background of the role of UNIMA-Indonesia in promoting Wayang. It starts with a study overview, problem identification, finding the research question, the objectives of the thesis, the conceptual framework of the thesis, determination of study scope and limitations, the definition of terms and the thesis outline.

Chapter II: Literature Review

This chapter will presents the theory and concept regarding cultural diplomacy. The description of development Wayang in the global world and the explanation of the linkages of Wayang to the cultural diplomacy.

Chapter III: Research Methodology

In this chapter will have more focus on the methodology used to conduct the study, how the author collects and analyzes the data. The author also conducts the interview with several informants in order to obtain first-hand data and thus improve their validity.

33 P.J. Simmons, ―Learning to Live with NGOs‖, Foreign Policy 112 (fall 1998),p.83 34 Ibid, p.84-7 12

Chapter IV: Data Analysis and Interpretation

This chapter elaborates the research on Indonesian cultural diplomacy, which actually mainly focus on the background of Indonesian cultural diplomacy and the development of Wayang as a tool of Indonesian cultural diplomacy.

Chapter V: Data Analysis and Interpretation

This chapter elaborates the research on UNIMA-Indonesia, which actually mainly focus on the role of UNIMA-Indonesia in promoting Wayang as a tool of Indonesian cultural diplomacy.

Chapter VI: Conclusion and Recommendation

This chapter will be the last part of the thesis, which explains the conclusion of the thesis and recommendations are included. In this chapter, in order to in order to present some additional information for the upcoming researchers who take the same topic as this research and to give them some perspectives of this research which hopefully will also be beneficial for anyone who reads this, especially for the improvement of the country itself.

Chapter II

LITERATURE REVIEWS

II.1. Cultural Diplomacy

Cultural diplomacy as a linchpin of public diplomacy is seen as forming international bridges and interactions, identifying networks and power domain between cultures and transcending national and cultural boundaries. Joseph Nye differentiates between soft power and hard power based on the nature of the behavior and tangibility of resources. He initiated the concept of soft power, defines it as ―the ability to achieve one‘s purposes the goals and the ability to get others to do what they otherwise wouldn‘t do‖.35 According to Nye, soft power is the combination of second and third of faces power together.36 Nye‘s soft power definition were: ―the ability to get what you want through attraction rather than coercion or payment‖ (Nye, 2004, p. x), which included ―culture, values and foreign policies‖ (Nye, 2004, p. 11).37 Nye extended his definition into ―the ability to affect others through the co-optive means of framing the agenda, persuading, and eliciting positive attraction in order to obtain preferred outcomes (2011, p.20- 21)‖ While further developing his concept of soft power, Nye (2002, 2004, 2011) has been focusing on the outcome of soft power.38

Culture in politics is to place culture within state foreign policy as the formulation of a national interest, which leads to the reification of the national character, belief system, strategic cultures and national identities. It entails promoting and already existing culture abroad, also involves the developing

35 Joseph S. Nye, The Changing Nature of World Power, Political Science Quarterly, vol. 105, No 2, pp. 177-192, Academy of Political Science, 1990. 36 Trunkos, Judit. (2013). Prospectus Proposal. What Is Soft Power Capability and How Does It Impact Foreign Policy?, p.2-3. 37 ibid 38 ibid 14

National culture and more active role in protecting.39 Culture in public diplomacy is an International actor's attempt to promote the national culture, to give impacts on public opinion counterparts and to build credibility and integrity through cultural exchange.40 It is one of different ways of practicing public diplomacy such as cultural diplomacy, media diplomacy, cyber diplomacy, aid diplomacy, sport diplomacy and so forth.41 Therefore, culture in public diplomacy implies that cultural diplomacy can be practiced as a means of public diplomacy through the art exhibition, through international festivals and the multicultural events.

Cultural diplomacy in terms of micro-culture is usually manifested in education, art, science, sport, exchange of expertise and so forth.42 The main objective of cultural diplomacy is to influence public opinion both at National and International level in order to support foreign policy. The actors of cultural diplomacy include government and nongovernment; National and International Organization; and private institution. In this case, the distinguish action between cultural diplomacy and non-cultural diplomacy is the actor and the target. Hence, the characteristic of the concepts of cultural diplomacy is based on the characteristic of its communication patterns, not based on the field of operation and or other field of discipline.

The United States invasion to Panama in 1992, in which the US forces wiretapped and changed television station of Panama to bring up the broadcast of US version which propagandize the US interests to the people of Panama through the language, accent and the appearance of Panama broadcaster. That case is a concrete example about how military utilize any kind of technologies as a form of propaganda and it was classified as one type of cultural diplomacy, because it‘s clear that the target of their propaganda is wide community.43

39 Louis Belanger (1999), Redefining Cultural Diplomacy: Cultural Security and Foreign Policy in Canada, Political Psychology, Vol. 20, No. 4, pp. 677-699. 40 Ki Won Hong (2011), Cultural Diplomacy form a Cultural Policy Perspective – Some Contestable Issues, Korea Association of Arts Management. 41 Kim, Hwajung (2011). Cultural Diplomacy as the Means of Soft Power in an Information Age, p.3. 42 Tulus Warsito & Wahyuni Kartikasari, Opcit, p.3 43 Tulus Warsito & Wahyuni Kartikasari, Opcit, p.18 15

Figure 2.1 Actor and Objective of Cultural Diplomacy Scheme44

Country A Country B

Government Government

National Power

National Interest National Interest

Cultural Strategy

People People

At the macro level, cultural diplomacy is a country‘s efforts to fight for achieving its National interests through culture, including the utilization of the fields of ideology, technology, politic, economic, military, social, art, and so forth in the constellation of the International community. And the form and objective of cultural diplomacy are greatly influenced and affect to the situation and condition among countries.

44 Tulus Warsito & Wahyuni Kartikasari, Opcit, p.17 16

Table 2.1 The Relations between Situation, Form, Objective and Medium of Cultural Diplomacy45

SITUATION FORM OBJECTIVE MEDIUM Exhibition Recognition Tourism Art Hegemony Sport Mission PEACE Friendship Education Exhange Negotiation Persuasion Trade Conference Art Propaganda Persuasion Politic Mission Persuasion Mass Media Exhange CRISIS Negotiation Recognition Diplomatic Threat High-level Mission Public Opinion Terror Threat Public Opinion Penetration Subversion Trade Mission CONFLICT Persuasion Paramilitary Exchange Boycott Recognition Official Forum Negotiation Third Party Competition Domination Military Terror Hegemony Paramilitary Penetration Threat Smuggling WAR Propaganda Subversion Public Opinion Embargo Recognition Trade Boycott Conquest Consumptive Goods Supply (including Blockade weapons)

Modernity and Cultural Pluralism46

World cultural pluralism gives an opportunity to the community of developing countries to ―be different‖ by exploring the local culture that is unique, distinctive, as well as to assist the achievement of National interests in the

45 Tulus Warsito & Wahyuni Kartikasari, Opcit, p.31 46 Tulus Warsito & Wahyuni Kartikasari, Opcit, p.45-47 17

International political arena by first determined its model and direction. When pluralism should be utilized as an opportunity for cultural diplomacy does not mean that the constellation of global culture necessarily disappears. Pluralism is an opportunity to perform typical, and globalism is another opportunity to other performs typical.

In terms of culture, the global culture is the sectors of culture that have the infrastructure and superstructure which are universal. Many cultural sectors which supported by media in universal scope, both in language, medium equipment or artistic engineering have chance of the occurrence global culture. Cultural expression is essentially about communication, the message and a tool to convey a message on a global scale must be global as well. The limits of global-plural only on the cultural dialogue scope between its actors and the audiences in relation to the substance of culture and media used in the dialogue.

II.2. Contemporary Wayang in the Global Context47

The existence of traditional puppet theaters practiced today around the world. UNESCO proclamations of puppet theaters such as opera dei pupi (2001), bunraku (2003), wayang (2003), and sbek thom (2005) as Masterpieces of the Oral and Intangible Heritage of Humanity constitute an international sign of recognition of traditional puppetry‘s cultural value as a form to stave off the extinction and change beyond recognition. Wayang is a traditional puppet which has durability in relations to global flows. The position of Wayang in the global context beginning in the colonial period until postcolonial era as a pusaka (sacred objects), and traditional norms and values stood in the way of radical experimentation with form.

The beginning of the nineteenth century, Wayang were transported to Europe in large number. A governor of Java during the British interregnum

47 Cohen, Matthew Isaac (2007), Contemporary Wayang in the Global Context, Asian Theater Journal, Vol. 24, No. 2, pp. 338-369 18

(1811–1816), T.S. Raffles, Dutch colonial civil servants and travelers returned from Java with hundreds of puppets. In the early twentieth century, Wayang provided the inspiration for European and American theatre practitioners. They were dissected, emulate and transformed Indonesian wayang kulit (shadow puppets) and wayang golek to then discover or invent their own techniques to apply to the technology of wayang without traveled to Java or Bali to study at the feet of puppet masters until the 1960s. Edward Gordon Craig is the one of the greatest European enthusiasts of wayang of the early twentieth century. Craig took immense in puppets of all kinds over the course of his long career. The large numbers of Javanese puppets in his collection—shadow puppets rod puppets and flat wooden puppets as used for teaching aspiring theatrical directors in his theatre school in Florence, and displayed them with pride in Zurich.

Richard Teschner is also the one who enthusiast with Wayang. He was enamored with high artistic quality, simple and effective means of operation of Indonesian rod-and-shadow puppets. He makes the work through the encounter of international modernism with Indonesian traditions of puppetry. Because of his of Indonesian rod puppetry stimulated puppeteers in Europe and North America to adapt wayang golek in their own fashion. Nina Simonovich- Efimova and Ivan Efimov are the Russian puppeteers and sculptors which credited by Sergei Obraztsov as being ―the creators of functional anatomy for puppets‖ (Obraztsov 1985: 159). Teschner was the inspired of the Elfirmovs to adopt the technology and adapt rod puppet techniques to create their own puppet. They had already been experimenting with modifications to become more elegant, and the arm movements acquired scope. Besides, Ray DaSilva, head of Puppeteers UK, had inspired and always viewed Sundanese rod puppets through the lens of Teschner.

If wayang golek juxtaposition of the head of the puppeteer with the puppets, so that audiences can read expressions of joy, anger, dignity, and craftiness from the face of the puppeteer; then, wayang kulit extend the frame of the stage into the third dimension, opening up the two-dimensional wayang kulit screen to our own world and incorporating the actual world into the world of wayang by concluding with the dance of one or two wayang golek puppets.

Teschner, Efivos and other modificated their kind of wayang with distanced the rood puppet from the human element and hiding the control rods and puppeteer from view.

A New Wave of Puppetry

In 1960s was a new era of intercultural communication in which two Indonesian people, Pandam Guritno and Oemartopo who introduced wayang in the United States. The background of Pandam Guritno was a lecture in law, but he had enthusiasm and general background in wayang. He encouraged demonstrating of wayang kulit and also as a way to communicate something about Javanese culture. Pandam also worked with James Brandon to launch the book that was published by Harvard University and to produce a wayang kulit show with Brandon‘s students of Asian theatre at Michigan State University.

Bob Brown was an ethnomusicologist student of Mantle Hood. He was initiatives to bring Indonesian performing artists to the United States to introduce wayang, gamelan, and allied arts. Brown also brought the Wonogiri puppeteer Oemartopo to teach in Wesleyan. Dennis Murphy was one of Brown and Oemartopo‘s students. Murphy was one of the first American composers to write new music for gamelan, he constructed his own gamelan instruments, ―Venerable Sir Voice of Thoom,‖ in 1960 in Plainfield, Vermont. It was becoming the first set of gamelan instruments to be constructed in the United States. Those instrumental as accompaniment the show of wayang and developed a new performance language called Thoomese and a Thoomese myth cycle integrating Javanese wayang figures such as Arjuna, Limbuk, and Cangik that made by Murphy in 1967. Brown moved from Wesleyan to California then contributed to American Society for Eastern Art (ASEA) developing an Indonesia focus starting in the late 1960s.

Oemartopo which has background as a professional puppeteer from a puppeteer family, with a broad knowledge of the art form, he taught gamelan and

20 wayang kulit classes, and performed a six-hour, Javanese-language wayang kulit performance on the lawn of Scripps‘s Oakland mansion in 1969. Oemartopo was able to give similar marathon performances with live gamelan music played by ASEA students in the following years. In subsequent years, Other Indonesian puppeteers including Solonese wayang kulit puppeteer Soetrisno, Sundanese wayang golek puppeteer Rujita Suhayaputra, and Balinese puppeteer I Nyoman Sumandhi also taught at ASEA. In the beginning of 1970s, Indonesian arts developed at a quicker pace on the west coast of the United States through superlative instructors in Javanese, Balinese, and Sundanese music, dance, and puppetry to work intensely with students and perform for the public as well.

After studying Javanese wayang kulit with Oemartopo and Soetrisno in California, Marc Hoffman decided to go to Indonesia to further his studies in Solo-style wayang kulit. And so do Director-designer Julie Taymor and actor director John Emigh who inspired to study in Indonesia. One of the Sumandhi students is Larry Reed, who studied traditional Balinese wayang at ASEA in the summer of 1973. In the following years, he went to Bali to study with Sumandhi‘s father Rajeg, learned puppet manipulation, language, music—all the skills which would allow him to perform himself. Kathy Foley, who specializes in wayang golek puppetry and now a professor at the University of California at Santa Cruz also presents at the ASEA or the Center for World Music 1974. Foley performs traditional wayang plays in English and also created numerous new productions based on European myths and tales (Herbert 2002: 208–225).

Indonesian Contemporary Wayang

I Wayan Wija and I Made Sidia are the Balinese puppeteers who travel internationally, collaborating with puppet artists and companies around the world, exchanging techniques and developing international perspectives. I Wayan Wija was the closest collaborators with Reed, when Reed studied in Bali. Besides, Wija also collaborated with the Mabou Mines, a New York based performance collaborative, in their production of Mahabharata (1992) and also collaborated

21 with Bang on a Can composer-clarinetist Evan Ziporyn in Shadow Bang that used projection screens set up in front of and behind the musicians and puppeteer. I Made Sidia inspired new forms and technologies, and new societal issues by creating wayang skateboard or well-known as electric puppet. Wayang skateboard uses a three- to five-meter long screen that extends beyond the hand‘s reach of the puppeteer; move around on skateboards as they animate puppets. The techniques of Wayang skateboard have been applied to therapeutic communal performances known as Wayang Dasanama Kerta (Wayang of the Ten Elements) which aimed to restore cosmic order after the 2002 bombing of Kuta‘s Sari Club (Sedana 2005).

I Made Sidia together with I Wayan Wija applied the techniques of Wayang skateboard to his puppetry and puppet direction to the binational Australian-Indonesian production of The Theft of Sita (2000), mingles the mythic universe of the Ramayana with contemporary social critique, gamelan music with jazz. Lanka is depicted as a ―version of Jakarta—skyscrapers, murderous traffic, poverty and oppression—and the depiction of Sita‘s rescue mingles with the popular uprising which led to the overthrow of Soeharto‖ (Shuttleworth 2001). I Wayan Wija decided to withdraw owing; it was because of the political tension between Australia and Indonesia in the wake of East Timor 1999. The project, which directed by Nigel Jamieson and designed by Julian Crouch had successfully introduced wayang and Indonesian politics to European and North American audiences of contemporary performance.

Contemporary Wayang and the World

The practical knowledge of Javanese and Balinese wayang explored by many performers outside of Indonesia. There are dozen puppeteers which brought in Pekan Wayang 1999, thus it dubbed foreign puppeteers by festival organizers, including non-Indonesian such as Helen Pausacker (Australia) and Sarah Bilby (Great Britain) as well as Javanese puppetry Sumarsam, Joko Susilo and Widiyanto, all of whom predominately reside outside Indonesia. The the United

States, Germany, and Britain provides examples of contrasting illustrations, in which most of foreign puppeteers produce traditionalist versions of wayang with gamelan accompaniment, and some others have formed companies to apply wayang golek and wayang kulit to explore the myth and its meaning in the modern world.

Kraig Grady directed a Los Angeles performance collective on homemade instruments and shadow plays using Javanese and Balinese wayang figures, shadow puppets from other traditions, as well as self-manufactured shadow puppets and projections which accompaniment microtonal music, named Anafora. The group purports to be an official cultural mission of the fictitious island nation of Anaphora, which has a shadow puppet tradition created by Indonesian migrants. The description of New Age myths narrates about attempted invasions of their multiethnic island nation on Anaphora shadow plays.

Schatten theater Kho produces shadow puppet theatre, namely Nyai Kangkung, a Cologne based ―neo-gamelan‖ fusion ensemble. Daniel Kho‘s directed shadow plays to maintain the integrity of the form, with a solo puppeteer seated before a traditional screen arrangement animating newly created puppets. The potential of wayang used for depicting the supernatural, thematically the play draws more on Goethe than Mahabharata or Ramayana.

The most active wayang-based group in the United Kingdom is Indigo Moon, directed by Yorkshire puppeteer Anna Ingleby and her Indonesian composer-partner Haviel Perdana. Ingleby is deeply respectful of wayang tradition, she studied wayang golek and wayang kulit as well as topeng mask dance and jaran kepang hobbyhorse dancing in Indonesia between 1995 and 1998. Ingle by uses both traditional and modified rod and shadow figures in her work, such as combine of simple Indonesian and English that can be understood by young children. Indigo Moon does not hide its Indonesian connections; its productions are not primarily intended as cultural bridges to Indonesia, but rather as occasions for meditating on social issues of global concern.

III.3. Wayang and Cultural Diplomacy: The Linkages

Cultural relations can make two nations become closer. That is why some countries in the world today are very concerned about the establishment of cultural relations, build and repair the cultural centers, because cultural centers become one of the effective means of diplomacy. Aside from being one of the bridges to identify the culture of a state, the opening of cultural centers describe the willingness to establish cultural relations between countries.

Conventionally, the understanding of diplomacy is an effort to fight for the country‘s national interests in the international community,48 which is not only as negotiations, but all attempts of foreign affairs.49 The macro understanding of culture should be associated to the diplomacy. Overall, cultural diplomacy can be defined as an effort of a state to fight for its national interests through cultural dimension, art, education, science and sport.

The Award of Wayang as Cultural Diplomacy50

UNESCO proclaimed Wayang as The Masterpiece of Oral and Intangible Heritage of Humanity on November 7, 2003. The objective of the award is to gain public attention to the world artistic and cultural heritage that is specific and valuable; so that encourage the government to take legal and administrative measures to protect the cultural heritage. From the 28 countries that stipulated as a world cultural heritage, shadow puppet got the highest score. It is because of the philosophy, moral and aesthetic contained on the performing of shadow puppet.

The award of UNESCO to shadow puppet is one of the outstanding achievements, so that enhance the image of Indonesia as well as considered to be very useful for the development of tourism. The UNESCO recognition to the Indonesian puppet (Wayang) also be interpreted that Wayang is de haute culture

48 K.J. Holsti, International Pollitics: A Framework for Analysis, Third Edition, (New Delhi: Prentice Hlml of India), p. 82-83 49 Roy S.L., Diplomasi, Translated by Harwanto & Mirsawati, (Jakarta: Rajawali Press, 1991) 50 Tulus Warsito & Wahyuni Kartikasari, Opcit, p.173-178 24

(high culture) and as an Indonesian monumental work to the world. The Wayang observer Prof. Franz Magnis Suseno S.J. assess Wayang is one of the valuable cultural expression, both in terms of performances as well as from the point of philosophy contained therein. In the view of Wayang expert, Prof. Dr. Soetarno, the art of Wayang performance (shadow) has contributed to the nation and character building or moral education.

Wayang as a Media of Communication51

According to Kathy Foley, Wayang can be used as a means of two-way communication, which has two main functions in social and political life, which are: as a trumpet of government to the people and to convey the will of the people for the government. In terms of diplomacy, it might have different functions, because the objective of diplomacy between countries is to achieve national interests of a country. The function of wayang as a medium of communication is implemented in a model of communication according to Anderson (1972:9):

Figure 2.2 Model of Communication

Communication-Binding-Context

CHANNEL

SOURCE MESSAGE RECEIVER

Specific Setting-Situation and General Environment

Communication-Binding-Context

51 Walujo, Kanti, Wayang Sebagai Media Komunikasi Tradisional dalam Diseminasi Informasi, (Jakarta: Ministry of Communication and Informatics of Republic of Indonesia, Directorat General of Pubic Information and Communication, 2011) 25

The model of communication presented by Anderson above appears that the channel or media play an important role in ―connecting‖ the source to the receiver. In this case, the media has a role as a vehicle reciprocal for the source to convey the message. If the media used in that model of communication is wayang, then the wayang serves as a bridge connecting the delivery of messages from the source to the receiver. In the case of cultural diplomacy, wayang is as one of the national cultural power that utilized as a channel or media to deliver national interests, in which the source and the receiver can be from government to government, government to people and people to people.

Chapter III

RESEARCH METHODOLOGY

III.1. Research Method

This research uses a qualitative approach as a quantitative approach is not really suitable since there are only a limited number of variable indicators used to answer the question of this research. The analysis itself is descriptive in nature and is intended to examine and present the facts in a systematic arrangement to make it more understandable. The qualitative research is strongly related to ideas, opinions, perceptions, or beliefs of people who are observed and these cannot be measured with numbers. This kind of research is conducted to achieve a whole image of a matter depending on human‘s perception observed.

III.2. Qualitative Approach

This thesis will use a qualitative method that applies evaluative approach (Yin, 2002:18). Qualitative approach is a method applied by social science researchers. The general framework of qualitative approach is seeking to explore phenomena which aimed to describe variation, individual experiences, group norms and explain relationship. It is also employed to answer the whys and hows of human behavior, opinion, and experience—information that is difficult to obtain through more quantitatively-oriented methods of data collection. A researcher will more focus on the process and the significant of phenomenon under study. In the qualitative approach, the research can be conducted in three main stages, which are (1) Data Collective; (2) Data Analysis; and (3) Report

Writing.52 In the end, a qualitative approach is more comprehensible as a method in which the data can be form of the statements, and the data generated is a descriptive data on the subject to be researched, either in the form of written or oral.53

Furthermore, a qualitative approach is the most suitable approach for this research because cultural diplomacy is mostly about the human behaviors and the social world inhabited by human beings which is difficult to explain in simple measurable terms. Therefore, the researcher, "position themselves" in the research to acknowledge how their interpretation flows from their own personal, cultural, and historical experiences, in order to make sense of (or interpret) the meanings others have about the world.54

III.3. Case Study

The purpose of this thesis is to find out how International NGOs such as UNIMA play a role to Indonesian cultural diplomacy through Wayang, which is Wayang is one of the Indonesian cultural diplomacy tools. This case study emphasizes a detailed contextual analysis of a limited number of events or conditions and the relationships between Indonesia and UNIMA. The case study research method allows investigators to retain the holistic and meaningful characteristics of real life events-such as individual life cycles, organizational and managerial processes, neighborhood change, international relations, and the maturation of industries.55 According to Robert K. Yin (Yin, 1984, p.23), case study research method is an empirical inquiry that investigates a contemporary phenomenon within real life context, in which the boundaries between

52 John W. Creswell, Research Design: Qualitative and Quantitative Approaches, (California, Sage Publications, 1994), p.148-161 53 Matthew B. Miles and A. Michael Huberman, Analisis Data Kualitiatif, (Jakarta: Universitas Indonesia Press, 1992), p.15 54 John W. Creswell, Research Design: Qualitative, Quantitative, and Mixed Methods Approaches, 2nd ed., (California, Sage Publications, 2003), p.8-9 55 Robert K. Yin, Case Study Research: Design and Methods, 3rd ed., (California, Sage Publication, 2003), p.2 28 phenomenon and context are not clearly tangible; and multiple sources of evidence are used. This approach has the potential to deal with easily in the complex situation, thus enables the researcher to answer ―how‖ and ―why‖ question by considering about how a phenomenon is influenced by the context within which it is situated.56

A case study is the most appropriate for this research because this research is intended to explain the use of cultural diplomacy as a diplomatic tool by the government of Indonesia to attain its national interests as well as promoting Wayang to the world. It will show the significance or the effectiveness of cultural diplomacy in attaining Indonesia‘s national interests by describing some data and their interpretation. A case study will also enable the researcher to explore the phenomenon from diverse perspectives.

III.4. Validity and Reliability of Qualitative Method

The key aspects of all research are validity and reliability which can make the difference between good research and poor research and can help to assure that fellow researchers accept findings as credibility and trustworthy. Qualitative research, as has been defined, can manifest the purpose of the social science which is producing credible descriptions of the social world, ‗…that in some controllable way corresponds to the social world that is being described‘ (Peräkylä, 2004: 283). Lawrence Newman asserts that ‗most qualitative researchers accept principles of reliability and validity, but uses the terms infrequently because of their close association with quantitative measurement‘ (Lawrence Newman, 2003: 184), but it is necessary to ‗… take a different perspective on the role of reliability and validity in qualitative studies‘ (Rubin and Babbie, 2010: 89).

56 Pamela Baxter and Susan Jack (2008), Qualitative Case Study Methodology: Study Design and Implementation for Novice Researchers, The Qualitative Report, Vol. 13, No.4, pp.544-559 29

Sarantakos (1994) has rightly emphasized that validity is ‗a methodological element not only of the quantitative but also of qualitative research, which consists of some concepts such as; cumulative validation, meaning findings be supported by other studies; communicative validation, findings be evaluated by respondents; argumentative validation, conclusion should be followed and tested; and ecological validation, using stable methods and taking into consideration the life and conditions of the researched‘ (Sarantakos, 1994: 76). All the types of conceptualization of qualitative validity have two characteristics on common; first to do the research in a professional, systematic and accurate manner; second, to state how research is composed, transparently.57 Lamnek, (1988: 154-9) argues that ‗qualitative studies achieve higher validity‘, that is because, in the qualitative research the ‗data are closer to the research field‘ than in quantitative research, and in qualitative research, ‗opinions and views of the research subjects are considered; data is closer to reality; and a successive expansion of data is possible‘, it means that the answer of the participant can be taken as a data and the transcripts of the interview allows to reinterpret and check the research.58 Based on the foregoing definitions, it may conclude that in order to achieve validity in qualitative research is to reduce the gap between representation and reality; the more data and conclusion are correspondent the more a piece of qualitative research is valid.

Lawrence Neuman, argues that for qualitative researchers, ‗reliability means dependability of consistency‘ and qualitative researchers ‗use variety of techniques (documents, interviews, participation) to record their observations consistently‘ (Lawrence Neuman, 2003: 184). According to Bryan, reliability is about the link between a measure and a concept, and within the context of qualitative study it is about generating a measurable concept, it is commonly used in relation to the question of whether the ‗measures that are devised for concepts in the social sciences are consistent‘ (2008: 31). In the qualitative study,

57 Mohammed Ali Bapir, Is it Possible for Qualitative Research to be Properly Valid and Reliable?, University of Warwick, Retrieved March 26, 2015 from https://www.academia.edu/997438/Validity_and_Reliability_in_Qualitative_Research 58 ibid 30

Hammersley points out; reliability refers to ‗the degree of consistency with which instances are assigned to the same category by different observers or by the same observers on different occasions‘ (Hammersley, 1992: 67).

Triangulation methods are also used in qualitative research. It is typically a strategy for improving the validity and reliability of research or evaluation of findings. Mathison (1988) elaborates this by saying:

Triangulation has risen an important methodological issue in naturalistic and qualitative approaches to evaluation [in order to] control bias and establishing valid propositions because traditional scientific techniques are incompatible with this alternate epistemology. (p. 13)

Patton (2001) argues that triangulation strengthens a study by combining methods. This can mean using several kinds of methods or data, including using both quantitative and qualitative approaches‖ (p. 247). The use of triangulation in the constructivism paradigm, then the use of investigators, method and data triangulations to record the construction of reality is appropriate (Johnson, 1997). In constructivism, an open-ended perspective adheres to the notion of data triangulation with the data collection through multiple methods, such as interviews, observations and recordings will lead to more valid, reliable and diverse construction of realities by allowing participants in a research to assist the researcher in the research question. In the end, the researcher uses the existence of some research methods related to the issue taken in this thesis, in order to make comparisons or as resources for getting the data or information and also uses multiple observers which have investigated the same issue or the same object as the researcher does.

III.5. Data Collection

In a qualitative research, the quality of the research actually depends on the quality and completeness of the data. The research used the formula of 4W+1H: What, Who, When, Where, and How. In this research, the researcher uses

3 techniques in gathering the data, namely: do the interviews, document analysis, and dissemination of questions related to the topic of research.

III.5.1. Interview

In this research, one of the data collection methods is by conducting the interviews. The interviews were conducted in Indonesian language to ensure that the researcher really can get the points of the interview. Through interviews, we can get information as well as clarification to avoid misunderstanding or misconception about the topic related. The interviewees themselves are the people who really understand about cultural diplomacy, especially Indonesian cultural diplomacy, that in this case are the people in UNIMA-Indonesia and some other people who specialize in concerning to the preservation of Wayang. The interviews were conducted individually, without specific duration.

Table 3.1 Presented below is a list of the informants.

Identity Position Institution

T.A. Samodra Widjaja President of UNIMA- Indonesia Dwi Woro Retno Member of UNIMA- Indonesian University Mastuti, S.S., M.Hum Indonesia

III.5.2. Document Analysis

Document analysis a systematic procedure for reviewing or evaluating documents—both printed and electronic (computer-based and Internet- transmitted) material. Like other analytical methods in qualitative research, document analysis requires that data be examined and interpreted in order to elicit meaning, gain understanding, and develop empirical knowledge (Corbin & Strauss, 2008; see also Rapley, 2007). Documents that may be used for systematic evaluation as part of a study take a variety of forms, include advertisements;

32 agendas; background papers; books and brochures; journals; event programs (i.e., printed outlines); letters and memoranda; newspapers (clippings/articles); program proposals; radio and television program scripts; organizational or institutional reports; and survey data.59 Photo albums can also furnish documentary material for research purposes which can be found in libraries, newspaper archives, historical society offices, and organizational or institutional files.60 In this research, the primary data is derived of the original documents of UNIMA- Indonesia. While secondary data derived from the literature review in the form of books, articles, journals, newspapers and so forth as a proponent of the primary data.

III.6. Data Analysis

In the qualitative research, data analysis is a process of tracking and arranging systematically toward the interview transcript, field notes, and other data sources that are collected, in order to improve the understanding of these data and then the result is interpreted by the researcher and then it is shared to the other people (Zuriah, 2006). On the analysis stage, the collected data are simplified to the easy-read and easy-understand format. The stages of the data analysis, namely are:

1. Data Collection The data collection conducted through the interviews, document analysis, and dissemination of questions related to the topic of research. The data collected are transformed into transcripts, by simplifying them into easily understood texts, afterwards encoded to facilitate the researcher to categorize the collected data.

59 Glenn A. Bowen (2009), Document Analysis as a Qualitative Research Method, Qualitative Research Journal, Vol. 9, No.2, pp. 27-40 60 ibid 33

2. Data Reduction On this stage, reduction the data means summarizing selecting principal matters, focusing on the main information, considering the theme and finding the patterns, and then eliminating the unimportant information for the research. Thereby, the reduced data will provide clearer images, which makes the researcher easy to collect the next data, and find them again if they are needed (Sugiono, 2006).

3. Conclusion After all, the researcher provides the answer of the problem formulation in qualitative research method to then make a conclusion of the data analysis. The conclusion in the qualitative research is expected to be a new finding that has not even been found before.

Chapter IV

THE INDONESIAN CULTURAL DIPLOMACY THROUGH WAYANG

IV.1. Indonesian Cultural Diplomacy

Diplomacy is a persuasion activity as a form of negotiation to attract people to achieve national interest in the International community.61 In other definition, diplomacy is an art of negotiation through peaceful means to obtain the desired objectives.62 Indonesia has been conducted diplomacy since before the independence of Indonesia characterized by the Youth Congress II which created ―SumpahPemuda‖ in 1928.63 Bangkok Declaration as a foundation of ASEAN becomes a milestone of Indonesian foreign affairs and it has become a form of Indonesian Multilateral Diplomacy to the present.64

Traditional diplomacy or first-track diplomacy process developed through government to government mechanism, but then public diplomacy or second track diplomacy (informal diplomacy) is emphasized to the government to people or people to people contact. According to the Pamela H. Smith (2008), public diplomacy is an attempt to achieve national interest of a country to understand, to inform, and influence foreign people in order to promote national interests and expand through dialogue with relations abroad. The purpose is to create good perception of international society towards a state, as a social foundation for the relations and the achievement of broader interests (Susetyo, 2008).

61K.J.Holsti. International Politics: A Framework for Analysis, Third Edition. (New Delhi: Prentice Hlml of India,1984), p. 82-83. 62S.L. Roy. Diplomacy, translated by Harwanto dan Miraswati. (Jakarta: PT. Raja GrafindoPersada, 1995), p.95 63SejarahDiplomasi Indonesia, Retrieved January 6, 2015 from http://www.kemlu.go.id/Pages/History.aspx?IDP=3&l=id 64ibid 35

The U.S state department stated; public diplomacy seeks to promote the national interest and the national security of the United States through understanding, informing, and influencing foreign publics and broadening dialogue between American citizens and institutions and their counterparts abroad. Public diplomacy or second track diplomacy as complements of first track diplomacy in which the effort of public diplomacy is to launch the negotiation proses within the actor of first track diplomacy. Total diplomacy by involving public diplomacy (multi-track diplomacy) is very needed to achieve success in carrying out the mission of foreign policy. The concept of Multi-track Diplomacy emphasized that in order to achieve international cooperation is not always through formal interaction or government to government contact. It utilizes all levels of society, from the ground-level of work of private citizens to the top- level meetings of state heads (Dr. Louise Diamond, 1991). There are nine interconnecting tracks in the concept of Multi-track diplomacy, as follows:

1. Government; the world of official diplomacy, policymaking through formal aspects of the governmental process 2. Nongovernment/Professional; professional non-governmental action to analyze, prevent, resolve, and manage international conflicts 3. Business; the provision of economic opportunities, international friendship and understanding, and informal channels of communication 4. Private Citizens; the various ways that individual citizens become involved through citizen diplomacy, exchange programs, private voluntary organizations, non-governmental organizations, and special interest groups 5. Research, Training, and Education; research, as it is connected to university programs, think tanks, and special-interest research centers; training programs that seek to provide training in practitioner skills such as negotiation, mediation, conflict resolution, and third-party facilitation; and education, including kindergarten through Ph.D programs that cover various aspects of global or cross-cultural studies, peace and world order studies, and conflict analysis, management, and resolution.

6. Activism; This track covers the field of peace and environmental activism on such issues as disarmament, human rights, social and economic justice, and advocacy of special-interest groups regarding specific governmental policies 7. Religion; the beliefs and peace oriented actions of spiritual and religious communities and such morality-based movements as pacifism 8. Funding; those foundations and individual philanthropists that provide the financial support for many of the activities undertaken by the other tracks 9. Communications or Media; the voice of the people: how public opinion gets shaped and expressed by the media-print, film, video, radio, electronic systems, and arts.65

Through multi-track diplomacy a mutual understanding and networking of the relationship between international actors can be expected decrease and solved the conflict. The Ministry of Indonesian Foreign Affairs, Hassan Wirrajuda stated that public diplomacy intends to look for a friend among the people of another country which can contribute to the effort of establish good relations with other country.66

As a means of building a good image in the eye of the world, public diplomacy is important to increase cooperation between countries, so that create trust that a nation has the potential to develop cooperation in all aspects of politics, economics, culture, and education which will carry out welfare to the people (Widodo & Trimananda, 2009). Public diplomacy is emphasized on the ways of communication with foreign public through cultural activities, student exchange, movie screening, theater performance, and so on (Pudjomartono, 2008). Because of its functions, means, and influences the division of public diplomacy has existed in the almost all Departments of Foreign Affairs in the world.67

65U.S. Ambassador John W. McDonald. Journal of Conflictology: The Institute of Multi-track Diplomacy. (USA, 2012), p.67-68 66AndrisDhitra. MisiKebudayaansebagaiAlatDiplomasiBudaya (Kajian IOV Indonesia).Retrieved January 19, 2015 from http://kebudayaan.kemdikbud.go.id/wp- content/uploads/sites/46/2013/10/andris-dhitra_diplomasi-budaya_kerja-sama-internasional_misi- kebudayaan-sebagai-diplomasi-budaya-kajian-iov-indonesia.pdf. 67ibid 37

As a multi-cultural country, Indonesia utilizes culture as a tool of diplomacy effectively in which all levels of society can contribute through cultural diplomacy. Indonesia has a great potential to develop cooperation in various fields, particularly in the field of culture.68

Tulus Warsito and Wahyuni Kartikasari explain that:

―Cultural diplomacy is attempts of a country to fight for its national interests through cultural dimensions, including the utilization in the fields of ideology, technology, political, economic, military, social, art, and etc. in the arena of international society‖69

Cultural diplomacy defined as the implementation of diplomatic system which used cultural approach as a means to achieve the goals. Besides, cultural diplomacy will bring the image of Indonesia as a highly cultured nation.

The foreign Minister Prof. Mochtar Kusumaatmadja pioneered and developed cultural diplomacy in the early 1990s. Through cultural diplomacy, the image of Indonesia will be implemented, developed, and strengthened as a noble personality and highly cultured nation. Cultural diplomacy is a part of public diplomacy which intensified by Indonesian government as a step that is not only government who can actively cooperate with foreign countries, but almost all elements such as private actors, civil society like students that aims to introduce Indonesian culture and be expected reached the value of mutual respect, peaceful, and full of harmony.70

Cultural diplomacy can be conducted synergistically between Department of Education and Culture, Department of Foreign Affairs, Department of Trade by involving embassies and supported from provinces through cultural exhibitions, art missions, workshops, cultural dialogue, movie screenings and publications. The means of cultural diplomacy is to influence public opinion both in the

68Mohammad Sholehi. Diplomasi Praktik Komunikasi Internasional. (Bandung: SimbiosaRekatama Media, 2011) 69Tulus Warsito dan Wahyuni Kartikasari, Opcit 70AndrisDhitra, Opcit 38 national level and international level as forms to support foreign policy and influence the decision makers in the government and international organization in order to achieve national interest.71

Cultural Diplomacy as stages and a system of Indonesian diplomacy, in the years of independence, particularly had political purposes, then, since the late 1960s was equipped with a diplomacy that is primarily aimed at the economic goals and development can be said as the development of Indonesian diplomacy fairly reasonable. Elements of culture can have a positive role in the development, including foreign policy, among others by:72

a. A good introduction by an Indonesian diplomat against the state culture in which he placed will greatly help in conducting tasks and achieve mission objectives in conducting tasks and achieve mission objectives. This issue has been studied by the Research and Development Department of Foreign Affairs of the Republic of Indonesia, in a study on "The role of culture as a means of diplomatic struggle", 1986. b. Instead a good introduction abroad against aspects of high Indonesian culture and diverse will also be able to give a good image of the Indonesian overseas. It has also been studied by the Research and Development Department of Foreign Affairs, which resulted in a study of the "Capita Selecta Indonesian Cultural Manifestation", 1984. c. Good image of Indonesia abroad will help the implementation of Indonesia's foreign policy, because is expected to be easier to convince them about the true nature of our nation that is a nation with highly civilized nation and unity in diversity (Bhineka Tunggal Ika). d. The introduction of Indonesian culture abroad will also be able to promote businesses in the field of economy, social, cultural, and tourism.

As the realization of the idea of cultural diplomacy, in 1984 established Nusantara Jaya Foundation, founded and chaired by Mochtar Kusumaatmadja and

71Andris Dhitra, Opcit 72 Tulus Warsito dan Wahyuni Kartikasari, Opcit, p.130 39 initiated the implementation of exhibition program which is Kebudayaan Indonesia di Amerika Serikat (KIAS, 1990s). The exhibition held to show various forms and creative products of Indonesian art. The exhibition stated in the President Instruction of Indonesian Republic No. 3, 1987 about The Performance of Kebudayaan Indonesia di Amerika Serikat Exhibition 1990-1991.73 KIAS exhibition was considered to be successful, received a positive response from U.S public, and supported by U.S Media such as CNN, NBC, ABC, San Francisco Examiner, The Washington Post, Dallas Morning News, Philadelphia Inguirer, Boston Herald, and Atlanta Journal. It effects to the foreign policy against Indonesian national interests.74 In addition to KIAS exhibition, there was ―Pasar Malam‖ event which is part of customs of Indonesian people that held in the Embassy of Indonesia for Netherland.75 There was also exhibition of Indonesian cultures such as traditional dances, batik, keris, and etc.76

Those activities are the implementation of Indonesian foreign policy which written in The Direction of Indonesian Foreign Policy No. 5 (ii), which stated; To create a more positive image of Indonesia through advancement of democracy and human rights, and protection of culture heritage: (ii) To participate in international forums for advancement of human rights and preservation of environment, and to support the adoption of protection of genetic resources, traditional knowledge, and folklore as part of international regime, ensuring the utilization of Indonesian cultural and traditional resources.77 Through the policy can be expected to continue the implementation of measures to create a more positive image of Indonesia in the eye of the world through cultural diplomacy.

73Penyelenggaraan Pameran Kebudayaan Indonesia Di Amerika Serikat Tahun 1990-1991. Retrieved January 22, 2015 from http://peraturan.bkpm.go.id/jdih/lampiran/InPres_3_1987.pdf 74AndrisDhitra, Opcit 75PasarMalam Indonesia 2013. Retrieved January 22, 2015from http://www.kemlu.go.id/thehague/Pages/default.aspx 76ibid 77Direction of Indonesian Foreign Policy. Retrieved January 7, 2015 from http://www.kemlu.go.id/Lists/Polugri/DispForm.aspx?ID=21&ContentTypeId=0x0100A740E07E 868F0340852A8F1A09A3CD45 40

IV.2. The History and the Development of Wayang

The culture art of Wayang is one of the most treasured cultural arts of Indonesia. It has quality of edipeni-adiluhung which means it contains of superb life values.78 The origin of puppet show comes from ancestors believed that the spirits of dead called as ―hyang‖ or ―dahyang‖ which represented in the forms of statues or images remained alive and could help the living, so that they did worship to the spirits of dead (Pagan Ritual).79 The development of Wayang had begun from Hinduism and Buddhism ruled over the nation, the spread of Islamic religion, colonial era and on to independence era nowadays. Wayang has been acculturated with other cultures since long ago and it proves that Wayang has the capability to with-stand and adapt the changes.80

There are so many different types of Wayang in every region of Indonesia from the simplest to the most elaborate and it is no less than 100 types of Wayang existed and grown. The transmigration process becomes one of the factors the spread of Wayang throughout Indonesia.81 It is proven by the existence different kind of Wayang in every region,82 such as Wayang Kulit Purwa which has grown significantly in Central Java, Yogyakarta and East Java, Wayang Kulit Purwa is one of the oldest kinds of Wayang Kulit and still exist until nowadays. The story of Wayang Kulit Purwa derived from the history of Mahabharata and Ramayana which originated the philosophy of Hinduism, but absorbed into the Indonesian culture. The theater consists of Dalang (Puppeteer), Niyaga or drummer with lather large amount about 30 persons and Swarawati or Sindhen (Singer) about 10 persons; Wayang Golek Sunda has grown in West Java, there are differences with Wayang Kulit Purwa in which the story of Wayang Golek Sunda derived from Babad Tanah Jawi, SeratMenak, Majapahit and Serat Panji; and the less of Niyaga.83

78Solichin.GatraWayang Indonesia.(Jakarta: Yayasan Total Indonesia, 2012), p.3 79Ibid, 4 80Ibid, 7 81Ibid, 8 82SENA WANGI. EnsiklopediaWayang Indonesia. (Jakarta: Sakanindo, 2000) 83Ibid 41

Figure 4.1 WayangKulitPurwa-WayangGolek (left to right) Photo by Heru S. Sudjarwo

The use of Wayang has undergone many changes to adapt the challenges in the modern era. It originated in animism era as a form of spirit worship, in the Hinduism the use of Wayang has influenced and developed to spread the teaching of Hindu, and it changed in which Wayang Kulit Purwa was adopted to spread of Islam in Indonesia by the Wali, Sunan Kali jaga. It shows that Wayang is the original cultural heritage of Indonesia, which developed through the acculturation process quite a long, so that Wayang has the capability to withstand and adapt the changes.84

84Ibid 42

Figure 4.2 Sunan Kalijaga Wayang Kulit Photo by Heru S. Sudjarwo

Although the history Wayang adopted from the story of Mahabharata and Ramayana which originally from India, but the Indonesian cultural values affect the development of Wayang. Thus, seen the differences clearly, in which the story of Mahabharata India version contained 20 types of Parwa, Indonesian version contained 18 types of Parwa.85

Gara-gara scene is as a supporter scene which is presented before the main scene of Wayang Theater. Gara-gara can be shown free scene which talks about anything either information or social criticism. It‘s supported by the characters of Punakawan, such as Semar, Gareng, Petruk, and Bagong. Besides, it supported by the funny story and use free language, so that it‘s highly awaited scene by the audiences. The characteristic of Punakawan not only as an entertainer in the scene, but deeper they are servants of major knight who have a duty to accompany the major knight to his destination safely. From these four figures of Punakawan, Semar has a very good character. Semar is an undefeated

85Sejarah Asal Usul Wayang, Retrieved on January 7, 2015 from http://supraba15.blogspot.com/2013/04/sejarah-asal-usul-wayang.html 43 god of the Pandawa who stay alive until the era of Madya, and he is considered as the ancestor of the King of Java and the whole world. Physically Semar looks like ugly and rough, but he has good personality. It breaks the United States Anthropologists thought, Clifford Geertz who stated that good physically represented good personality, whereas bad physically represented bad personality as well.86 Through figure of Semar and the three figures become a motivation to the people to think smart and respect to the thing that look simple.

Figure 4.3 Punakawan Photo by Heru S. Sudjarwo

Before independence, Wayang used to criticize the Dutch government, and after independence Wayang Pancasila created, it used as a tool to deliver five national principles of Indonesia, which is Pancasila (KantiWalujo, 1994:24) that become state philosophy. The founding father of Indonesia, Soekarno utilized Wayang as a tool to deliver national policy to the Indonesian people. It succeeded in delivering the policy, such as illiteracy eradication and other policies during the reign of Soekarno (KantiWalujo, 1994:6). The use of Wayang continued to the New Order, it used to deliver the messages of development. On April 12, 1969 almost all Dalang gathered in the National Palace and given the task to disseminate messages of development in every performance (Kanti Walujo,

86Wayang Sebagai Media Komunikasi Tradisional dalam Diseminasi Informasi, Opcit 44

1984:1). National development is not related to the physical development, but also the development of soul and the noble values of nation by medium of art, culture, and local wisdom.87

Because of its function, Wayang continues to evolve as a media to disseminate of information. The MPR through Wayang Theater delivered the four national pillars that held at the field of Gunung Kidul district governments.88 Wayang considered as a culture that has been rooted in the society, especially Javanese. It convinced that Wayang contained the values of education and the development of noble human character.

IV.3. Preservation the Creativity of Wayang Beber, Wayang Gantung and Wayang Potehi

As an International NGO which concern in preserving Wayang, UNIMA has to contribute to do the conservation program for the three types of Indonesian puppet that endangered, which are Wayang Beber, Wayang Gantung and Wayang Potehi. The purpose of preservation those three types of Wayang will give impact to the sustainable development of them..

From the three types of Wayang, they have different current condition and problem that is also influenced to the target program that UNIMA should have to do as a form of conservation.

a. The current condition of Wayang Beber is a limit on regeneration issued the mastermind, support tools (Beber) and the introduction of Wayang Beber on the younger generation. So that, as a form of conservation the program that can be done through the introduction of

87Speech of Budi SusiloSoepandji about KonsepWayang dalam Perspektif Geopolitikdan Ketahanan Budaya, on the event of Wayang Goes to Campus in Indonesian University, April 4, 2013

88Ketua MPR Sosialisasi 4 Pilar Kebangsaan Melalui Wayang Kulit. Retrieved October 29, 2014 from http://www.spdi.eu/ketua-mpr-sosialisasi-4-pilar-kebangsaan-melalui-wayang-kulit/

the socialization of young people; the development of the story and supporting means using digital technology; and workshop and comics beber Development. b. Different with Wayang Beber, Wayang Gantung now declined drastically and located on the edge of ravine of extinction. In addition, the number fans of Wayang Gantung also diminishing as the development of modern entertainment media more in demand by the public, especially the younger generation, as well as the regeneration of existing the mastermind successor. c. Wayang Potehi lack of regeneration of the players, especially the puppetter. One obstacle is the source of narratives derived from the Chinese classing stories also there is a constraint language acquisition. Therefore, it needs development of success puppeteer program through regular training of Wayang Potehi for the younger generation.

UNIMA has important role in implementing of Wayang conservation by doing socialization, workshop, observation, experiment, implementation and presentation in order to find out the causes and efforts to preserve Wayang, especially Wayang Beber, Wayang Gantung and Wayang Potehi.

IV.4. The Significant of Wayang as Indonesian Cultural Diplomacy

UNESCO assigned Wayang as a Masterpiece of the Oral Intangible Heritage of Humanity on November 7, 2003.89 It opens up the opportunities for Wayang is known throughout the world. The Minister of Foreign Affairs, Hassan Wirajuda on the opening performance of Wayang Kulit in Nusantara room- Ministry of Foreign Affairs, November 22, 2006 stated that ―My dream is to

89Wayang Puppet Theater. Retrieved January 26, 2015 from http://www.unesco.org/culture/ich/RL/00063

46 introduce Wayang abroad, and I hope it can be realized‖.90Indonesian government sees the potential of Wayang as one of the International cooperation. In 2008, The Foreign Minister stated that the Wayang is an important diplomatic instrument in order to improve the image of Indonesia. Therefore, The Foreign Minister created a policy supported by SENA WANGI through ―Friendship trough culture‖. The program contains activities of international cooperation through culture, which is not only the government, but also followed by the people of Indonesia. Based on the history, Wayang has been managed to occupy a strategic position in national development, which is also expected to be succeeded in international relations as Masterpieces of the World Cultural and as an instrument of diplomacy that is supported by concrete activities.

The performance, which was attended by Dalang from Australia Ki KRT Gaura Mancacaritadipura, Sinden from United States Nyi Elizabet, Nyi Hiromi from Jepang, H. Solichin as a chairman of Sena Wangi, ambassadors, and the officials of Ministry of Foreign Affairs, emphasized that Wayang is an important instrument of diplomacy.91 H. Solichin also added that Wayang became a way for the creation of friendship between countries.92 The uniqueness of Wayang became an attraction for foreign people to learn more about Wayang and be a part the show of Wayang.

On April 28, 2008 in the United Nations Headquarters, Wayang finally introduced abroad, with the theme ―Wayang Shadow Puppet Theatre of Indonesia‖.93 The event was held in cooperation with the United Nations Office in Geneva (UNOG), World Intellectual Property Organization (WIPO) and United Nations Educational, Scientific and Cultural Organization (UNESCO).94 It presented by a group of Indonesian Wayang and Gamelan which consists of seven members from Redi Waluyo Foundation and that led by Mr. Oni Eko Priyanto,

90Wayangmerupakan instrument pentingdiplomasi. Retrieved January 26, 2015 from http://www.kemlu.go.id/_layouts/mobile/PortalDetail-NewsLike.aspx?l=id&ItemID=9dcb2ba9- f785-4070-be61-9e49d5780dd6 91ibid 92 ibid 93Great Show of Wayang Indonesia in UN Headquarters-Geneva. Retrieved January 26, 2015 from http://www.kemlu.go.id/jenewa-un/Pages/Statement.aspx?IDP=4&IDP2=54&l=id 94ibid 47 they presents play of Dewa Ruci which tells Bratasena who looks for his identity.95 Through this event, it is expected increase the awareness to continuously preserve Wayang to the International community. It is also a form Indonesian cultural diplomacy to success of government programs which is ―Visit Indonesia Year 2008‖.96

Another form to promote Wayang as Indonesian cultural diplomacy, Hassan Wirajuda was conducted the show of Wayang on The Pejambon Coffee event which invited 180 invitees from the Ambassadors and diplomats of the neighboring countries, the national figures and officials echelon I and II of the Ministry of Foreign Affairs.97 It took the theme about ―The Envoy of Peace‖ which presented by the group of Wayang ―Sena Wangi‖.98 The message of peace which delivered through the show of Wayang proved its function that Wayang not only as a spectacle but also guidance.

Wayang Summit 2012 was a form of seriousness of Indonesia in making Wayang as a tool of Indonesian cultural diplomacy. It held on November 24-25, 2012 at Monas Cross Field South with tittle ―Knitting of World Cultural Cooperation through Wayang‖.99 The event supported by the staging of Wayang from domestic and foreign, which are Wayang Iran, Wayang Kenya, Wayang Beber Pacitan, Wayang Kulit Dalang Bocah, Wayang Kulit Palembang, Wayang Golek, Wayang Suket, Wayang Golek Menak Jogja, Wayang Orang Bharata and Wayang Kulit Purwa Solo.100 This event also supported by Prof. Wiendu Nuryanti, Ph.D., the vice Minister of Indonesian Education and Culture which stated that ―I hope from this event will be realized vision and strategy in preserving the Wayang as a means of strengthening the identity and vision of cooperation between countries,‖101 with the aim to affirm and reinforce Wayang

95ibid 96ibid 97Pejambon Coffee: The message of Peace through Wayang. Tabloid of Diplomacy. No. 15, Year II, February 15,2009-March, 14, 2009 98Ibid 99Cultural Diplomacy through Wayang. Retrieved October 3, 2014 from http://intisari- online.com/read/diplomasi-kebudayaan-lewat-wayang 100ibid 101ibid 48 as a culture of excellence and as the efforts to form of human civilization through its ability in character building and raise the knowledge to use science and technology. The positive impacts which are expected:

 Improving relations between nations through Friendship through culture program  Improving the image of nation and state of Indonesia  Affirming Wayang as owned of Indonesia, which has grown Internationally

It showed that Wayang will continue to use as an effective tool of Indonesian cultural diplomacy, which will create good cooperation between countries, so that can achieve Indonesian foreign affairs.

Indonesian Wayang participation of international festival in Turkey with the theme "Having Contingents in One Map" became a form of Indonesian cultural diplomacy through Wayang.102 Wayang Golek show presented by art group from Wayang Mueseum of DKI Jakarta was attracting the audiences successfully.103 Turkey also has a kind of marionette which called as "karagozhacivatkuklasi". In the breaks of festival, Prof. Dr. Burhan Okzan as a Director of International Cooperation of Akdeniz Univerity talked to the Indonesian Ambassador Nahari Agustini, he offers scholarships to various disciplines to Indonesian students.104 The similarity of art which has owned by Indonesia and Turkey strengthen the bilateral relations between the two countries. It is also realized by Agustini that Indonesian art performances have become one of the effort to further strengthen cooperation between the two countries which currently have a close strategic partnership.105

The performance of Gamelan and Wayang Kulit Jawa that held in Tibble Theatre, Täby, Stockholm on March 16, 2013 as a form to promote Indonesian

102WayangGolekenliven the International festival in Turkey. Retrieved January 26, 2015 from http://www.kemlu.go.id/ankara/Pages/Embassies.aspx?IDP=36&l=en 103ibid 104ibid 105ibid 49 culture.106 It attended by more than 300 people which consists of Indonesian diaspora, Swedish societies who lived in Stockholm, some guests of local governments representatives, and the Ambassador of Thailand and his wife.107 It was special performance of Wayang Kulit and Gamelan by Indonesian diaspora who lived in Stockholm.108 Through culture be expected to the Indonesian diaspora for always promote Indonesian culture in Stockholm, thus it strengthen the relations between Sweden and Indonesia.

Harmony World Puppet Carnival which was held in Bangkok gave the award to the Wayang Kulit Indonesia as the best shadow show.109 The International cultural event was attended by more than 80 countries of five continents which directly witnessed by more than 500 public and national media Thailand.110 Through its award can be increase the image of Indonesia in the eye of the world. Besides, it also be expected Wayang recognized as Indonesian cultural heritage by international communities.

Almost all ASEAN member countries have a history about Wayang or Puppet. It is proven by the collaboration of puppet show between Vietnamese water puppets which combined with Indonesian shadow puppet or Wayang Kulit, and collaborated with Cambodia shadow puppet on the event ―Collaboration Traditional Performing Arts Puppet ASEAN-China 2014‖.111 The event is expected to be one step to revive the puppet as a cultural tradition with a long history shared by all countries in Southeast Asia, and also as a form of cultural diplomacy through Wayang. Besides, the equation of culture is used as a collaboration in facing the ASEAN Economic Community (AEC 2015).112 The good synergy through culture is expected as counterbalance Economic Synergy in

106Indonesian diaspora Stockholm and the performance of Gamelan and Wayang Kulit Java. Retrieved January 26, 2015 from http://www.kemlu.go.id/stockholm/Pages/PressRelease.aspx?IDP=3&l=id 107ibid 108ibid 109Indonesian Wayang got The Best Shadow Show in Bangkok. Retrieved January 26, 2014 from http://www.kemlu.go.id/bangkok/Pages/Embassies.aspx?IDP=331&l=id 110ibid 111When Bima Collaborated with The Dragon. Retrieved October 3, 2015 from http://travel.kompas.com/read/2014/09/24/143500427/Ketika.Bima.Berkolaborasi.dengan.Naga 112ASEAN unite in Puppet. Jakarta: Kompas Newspaper,p.79. Published on November 25, 2014 50

ASEAN. Kacung Marijan as a Director General of Culture, Ministry of Education and Culture assess that collaboration through Wayang is considered as a form of Diplomacy in welcoming AEC 2015.113 Because Wayang is universal, cultural diplomacy through Wayang become an effective tool of second track diplomacy between ASEAN member countries that will be affect to the other aspects, especially economy and tourism.

IV.5. The Implementation of Indonesian Cultural Diplomacy

In this thesis, the writer try to look deeper and analyze the form of cultural diplomacy in which Wayang as a tool by linking between situation, form, purpose and facility of cultural diplomacy. Below is the table of the structure on analyzing the form of Indonesian cultural diplomacy:

Table 4.1

SITUATION FORM OBJECTIVE MEDIUM Exhibition Recognition Tourism Art Friendship Education PEACE Mission Exhange Persuasion Trade Conference Art

Wayang as a form of Indonesian art which has purposes to obtain the recognition of Wayang as Indonesian culture, to create a friendship between countries and persuade the international community‘s perspective about Indonesia. It can be done in two ways; direct, in the form of bilateral and multilateral relations and international conference in which government is directly involved; indirect through third countries and International Organizations by utilizing art, tourism, trade and education through exhibition, mission exchange of culture and conference.

113ibid 51

IV.6. The Activities of Cultural Diplomacy encourage the progress to another field

The uniqueness of Wayang by utilizing and develop it as a part of cultural diplomatic activity will affect to some fields that related to the Indonesian National development. Indonesian cultural heritage, Wayang can be a fascination to the Indonesian tourism and enable to increase the creative industry that will influence to the Indonesian sustainable development.

Tourism

Culture and tourism have interrelated roles. When a culture of a country is well known in international presence and effects on the international community, it will make them more curious to come to the country related to learn more about its culture. In this case, Indonesia has Wayang as its cultural heritage that has well known in the International presence through cultural diplomatic activity. Through the convention of the International Wayang Festival, International Conference and International Seminar in Indonesia become an effective effort to promote any variety of Wayang and Indonesian culture to the international community. Besides, it will also attract the foreign people to visit Indonesia to learn about Indonesian culture and enjoy the beauty of Indonesian nature. Wayang has successfully attracted foreign people to come to Indonesia to learn more about Wayang, such as to learn about how to play Wayang, how to create Wayang, how to be a Dalang or a Sinden and even to learn how to play Gamelan as well.

Tourism is one of the factors which have priority to the national development. It has been ratified on State Policy Guidelines (Tap. MPR. No. II/MPR/1983) which includes national and international tourism. National tourism aims to introduce the art and culture of Indonesia and also tourism place in Indonesia, so that the Indonesian people recognized their national identity and realized the richness of their country as a multicultural country. International tourism has significant influence to the Indonesia economic growth rate. The coming of foreign tourist will increase the foreign exchange of Indonesia and

52 improve the economic condition of people by taking advantage of business opportunities in the form of goods or services. To enhance the friendship and cooperation between countries because of the similarity of culture become another aim of tourism as an effort to maintain good relationship between countries which make easier for Indonesia in achieving its national development. In order to support the policy, UNIMA-Indonesia has conducted some activities which concern about the preservation of Wayang, for example: International Symposium, World Wayang Carnival, which are as forms to introduce as well as to attract foreign people to visit Indonesia and also learn Wayang.

Indonesia has tourist villages of Wayang in which every tourist can explore more about Wayang. Kampung Wayang is a predicate given to Kepuhsari village, Manyaran sub-district, Wonogiri district-Cenral Java Province, which is the cultural center of shadow puppet (Wayang Kulit).114

114 Kepuhsari, desa Wayang di Wonogiri. Retrieved January 25, 2015 from http://beritane.com/2014/12/02/kepuhsari-desa-wayang-di-wonogiri/ 53

Figure 5.3 Kampung Wayang-Wonogiri115

There is a Wukisari village in Yogyakarta that has become a destination of foreign tourist from many countries such as Swiss, France, Deutch and Japan to find out about Indonesian culture, especially about shadow puppet. In West Java, there is a Jelekong Village Tourist as a cultural center of Wayang Golek as a part of many kinds of Wayang which come from West Java and popular as ―The Warehouse of Wayang Golek puppeteers‖.

The concern of UNIMA-Indonesia in promoting and preserving of Wayang also should be attracting the foreign people to visit many places in Indonesia which also preserve Wayang. In this case, the Indonesian government, which is The Ministry of Tourism and Creative Economy and UNIMA-Indonesia, has to build good synergy and work together to develop and promote many places in Indonesia, which have background the culture of Wayang as a destination for domestic and foreign tourists to know, learn and preserve Wayang. Those two actors also have to focus on the quality of the human resource by providing soft skill training which is expected to stimulate as well as provide knowledge about the management system of tourist destination properly and capable to provide best

115 ibid 54 service to the tourist. Foreign language training is also important to support human resource in communicating with the foreign tourist as a form of service.

Wayang is an Indonesian cultural identity, as an art which has a function as a promotion and attraction, so that become a potential asset to the Indonesian tourism. As a developing country, the existence of cultural identity that supported by tourism become an attempt to minimize the influence of foreign cultures. Cultural diplomacy through cultural tourism has a beneficial role in creating friendship and peace among fellow human.

Creative Economy

Creative economy becomes a new force in Indonesia nowadays, in which the artists who have high creativity as a primary source, they utilize and combine the natural and cultural resource to create a product. Good synergy between human resource, natural resource and cultural resource create good potential that will have an effect on the Indonesian economic condition. The government as a main actor as well as a facilitator has an important role to support the development of creative industry. Government support is contained in the Presidential Instruction No. 6 of 2009 on the Creative Economy Development and Government Regulation No. 50 of 2011 on the Master Plan of National Tourism Development for the year 2010-2025.116 Creative economy in the International community has considerable opportunities, in which creative economic value increased 5% each year and it considered to contribute actively to the global community.117

Cultural tourism by developing the art of Wayang will be able to enhance the creative in Indonesia. It proved by the existing many regions that produce Wayang as a business in the creative industry. Bogor is one of the region that use

116 The Report of Performance Accountability of the Ministry of Tourism and Creative Economy in 2013. Retrieved April 10, 2015 from http://www.parekraf.go.id/userfiles/LAK%20Kemenparekraf%20Tahun%202013.pdf 117 ibid 55 natural resource, which is bamboo as a raw material in the manufacture of Wayang Golek, so as create its own market and be expected to become an icon for Bogor.

Figure 5.4 Kampung Wayang Golek-Bogor

It‘s not only shadow puppet or Wayang Kulit and Wayang Golek that influenced to the creative economy, but Wayang Orang also be able to develop in the creative industry as a performance art that support the tourism. Therefore, it needs support from the government together with the business actor, NGOs in this case is UNIMA-Indonesia and mass media, both print media and electronic media in supporting and developing creative industry through culture, especially Wayang. So, it has not only affected to the Indonesia economic movements to be better, but also Indonesia will recognized through its cultural identity in the eye of the world.

CHAPTER V

THE ROLE OF UNIMA-INDONESIA IN PROMOTING WAYANG AS A TOOL OF INDONESIAN CULTURAL DIPLOMACY

V.1. UNIMA-Indonesia

V.1.1. UNIMA International118

Union Internationale de la Marionette (UNIMA) is an International NGO established in Prague, Czechoslovakia on May 20, 1929 followed by several countries such as Bulgaria, France, Yugoslavia, Germany, Austria, Romania and the European Union. UNIMA becomes a very specific organization, which seeks to apply democratic principles that set out in the articles of association (statute) without losing the meaning of friendship, humanist character, which became the basis of a firm stance in achieving goals. Several times before World War II, UNIMA organized some conventions in Paris, 1929; then in Liege, 1930; and followed Ljubljana (Slovenia) in 1933. After the end of cold war in 1957, UNIMA again organized congress in Prague. In 1960s, UNIMA created a new policy, and organized well the congress as much as 12 times which related to the International festivals.

Washington D.C was the first city which organized the congress of UNIMA in 1980 outside European. In the 1988 was the first time of organized congress UNIMA which took place in Nagoya, Liga and Tokyo. In 1980, The headquarter of UNIMA moved to Charleville-Mézières, France, after 40 years of being in Prague.Mézièresis not only as the headquarters, but also as the Institute Internationale de la Marionette.

118The Official Document about UNIMA International of UNIMA-Indonesia 57

UNIMA becomes an organization that favored and respected since its foundation in 1929 until nowadays. The role of UNIMA is not only as a dynamic force, but always puts the values of humanism of friendship and mutual understanding, as stated in the articles of association. UNIMA also gives attention to all the parties whose lives has been enriched with the spirit and the beauty of puppets. There are several ways and goals of UNIMA in promoting puppet art, as follows as:

1. To Stimulate through all forms of communication, contact, and mutual exchange of information between continents and nations. 2. To organize the congresses, conferences, festivals, exhibitions and competitions or UNIMA as a supporter of those activities. 3. To assist those organizations to practice the democracy of trade union, financial and legal rights within the framework of their professional activities; UNIMA as a recommendation maker or to convey adequate proposals. 4. To encourage professional training. 5. To expand the history, theory, and scientific research. 6. To encourage renewal in puppet art, yet maintain the tradition of its own puppets. 7. Topropose the use of puppets as a medium of teaching ethics and aesthetics. 8. To participate in the activities of other organizations which share a common direction.

The organization structure of UNIMA:

1. Congress; the highest body UNIMA consists of selected counselors and all UNIMA members present, but only councilor who have voting rights, and they put through meeting in every 4 years. 2. Council; consists of councilors of each member state, they democratically elected before each Congress meets biennially, and once outside the congress.

3. The Executive Committee Consists of the president, secretary general The duty of Executive Committee is to manage the problem of UNIMA at every congress The President is also the president of the council. Secretary- General is responsible for communication and information International, work organization of the Executive Committee and finance. 4. National Center and Representative An UNIMA National Center can be established through two different Ways, which are:

a) Consist at least 10 people, either individually or collectively of a State. b) Chosen by the existence National Puppet Organization Secretary- General can appoint the deputy of UNIMA in a state which don‘t have UNIMA National Center. The deputy of UNIMA is a connection of UNIMA temporarily, which has functions: 1. To create a relationship between the puppeteer (dalang) of its country in order to establish the National Center. 2. To keep the relation with the Secretary General.

Each country may only have one UNIMA National Center, but may have regional branches in the same country. The desire to establish a national center should be addressed to the Executive Committee to get approval. Each National Centre develops its work based on its Articles of Association. To create a relation with the Secretary-General and should be carried out decisions which created by UNIMA International agencies.

What can be offered of the UNIMA, as follows as:

1. Relations and friendship with nations around the world which also have and preserve puppet. 2. Conducting meetings, conference, festival, exchange and collaboration. 3. Creating forms of cooperation with other countries that have puppet, either in the form of exhibitions, training, research, etc.

4. Providing information and publications on world development, courses, and workshops. 5. The pride to become a member of the oldest International Theater Organization in the world.

V.1.2. UNIMA-Indonesia119

UNIMA Indonesia was established on December 16, 2009 in Jakarta was signed by Drs. H. Solichin as a Chairman of the National Secretariat of Indonesian Wayang Sena Wangi; Ekotjipto, SH a Chairman of Indonesian Puppeteers Union; Mr. Dadi Pudmjee as a President of UNIMA International; Mr. Jack Trudeau, Secretary-General of UNIMA International at Sena Wangi office, Jakarta. The declaration of the establishment of UNIMA Indonesia was read out by Ambassador T.A. Samodra Widjaja at the Indonesian Vice President Palace, Jakarta and witnessed by the Indonesian Vice President H.R. DR. Boediono; Indonesian Minister for Culture and Tourism, Vice Minister of Foreign Affairs, President of UNIMA International Mr. Dadi Pudumjee, Secretary-General of UNIMA International Mr. Jack Trudeau, Foreign Ambassadors, Puppetry Communities, and other invitees.

V.1.2.1. The Project of UNIMA-Indonesia in Promoting Wayang

International Symposium120

On the October 17, 2011 in Kautaman building-TMII. UNIMA Indonesia held an International symposium, in which Wayang as a means of cultural development, build networks, and so forth; in order to realize the ―friendship through culture‖. The event was attended by participants from Australia, Austria, Malaysia, and Singapore. The outcome of the symposium is the agreement

119 The Official Document of UNIMA-Indonesia 120 The Official Document of International Symposium-UNIMA-Indonesia 60 achieved by signing of the ―Jakarta Joint Statement‖ by participants. The important elements of the joint agreement are as follows:

1. The participants in this International symposium as members of the world community realize the need for developing Friendship through Culture, because puppetry, as a human link of understanding, can reflect cultural values between nations. 2. Puppetry can serve as vehicles for transmission of cultural values to the younger generation, as entertainment and guidance in life, toward the formation of civilized society. 3. Building of civilized society is not only the responsibility of the governments, but it also the responsibility of the World Community through friendship through culture 4. Puppetry is an integral part of world culture which can play a role in development of friendship collaboration between nations in manifesting peace in the world 5. The forum in this international symposium is a tool for fulfilling the need for establishment of networking, enhancing mutual understanding and cultural collaboration between nations.

The 21stCongress of UNIMA and World Puppet Festival, May 27 to June 3 in Chengdu, China121

On May 27-June 3, 2012 held 21st congress of UNIMA and World Puppet Festival in Chengdu, China, which was a synergistic performance UNIMA International Festival Commission to improve the achievement of the success of UNIMA. The Congress participants were mostly artists or art teacher of high school in each country to share their experiences and knowledge through several seminars during the event.

121The report document of The 21st Congress of UNIMA and World Puppet Festival May 27 to June 3 in Chengdu, China 61

In the world puppet festival, May 27-June 3, 2012 followed by 113 participants from several countries, Indonesia, which was also participate and got the award for Best Heritage Award as well. It was a valuable experience for efforts to strengthen the universal values of traditional puppet art well targeted and appropriately on the world stage.

On the 21st Congress of UNIMA, on 29 May-2 June 2012 Indonesia participated in the election of a new management and a congressional hearing of UNIMA 2016 through a proxy vote or through a member of the executive committee of 3 councilors of UNIMA Indonesia, which are, Dr. Muhammad A.S Hikam to Ms. Jennifer Pfeiffer, Australia; Dr. Sastrouw to Mr. Jacques Trudeau, Canda; and from Gaura Manca carita dipura to Mr. Dadi D. Pudumjee India; also Dubes T.A Samodra Sriwidjaya, President UNIMA-Indonesia who was elected as Independent Councilor through a vote by the Executive Committee of UNIMA (old). Thus, Indonesia can be more involved in the hearing of UNIMA.

The delegation of UNIMA also explores the possibility of being able to run for the place of 23rd UNIMA congress organizers in 2020 and it got a positive response. In this case, to realize it is necessary support and good synergy from Parliament, stakeholders from various circles of society and cultural arts and even tourism.

World Wayang Summit122

World Wayang Summit is forum activities initiated by the Deputy Minister of Education and Cultural Affairs, Prof. Dr. Wiendu Nuryanti which held on November 24, 2012, which attended by Attended by Mr. Jacques Trudeau- Canada-Secretary General of UNIMA Internatonal; Ms. Karen Smith-UNIMA of USA; Ms. Tang Dayu—China; Mr. Li Yannian-China; Ms. Livij Kroflin-Croatia; Ms. Ranjana Pandey-India; Ms. Raphaele Fleury-France; Mr. Behrooz Gharipour- Iran; Mr. Pedelis Kyalo-Kenya; Prof. Dr. Timbul Haryono MSC-Indonesia; Mr.

122The Official Document of TOR World Wayang Summit-UNIMA-Indonesia 62

Solichin-Indonesia; Mr. Ekotjipto-Indonesia; Ambassador Suparmin Sunjoyo- Indonesia; Ambassador Samodra Widjaja-Indonesia. These activities utilize Wayang, Keris, and Gamelan as an effort to develop the Indonesian culture and promoting relations between nations, as well as initiate a common vision and strategy in preserving the world's cultural heritage as a means of strengthening the identity of the puppet and the vision of cooperation among States. These activities was adopt the theme ―The World Through Cultural Cooperation Knitting Wayang‖, invited several countries in ASIA such as Indonesia, Thailand, Cambodia, Vietnam, Malaysia, and India as participants. Meanwhile, some countries outside ASIA such as Australia, America, Africa, the Netherlands, and China as observers the development of Wayang. World Wayang Summit involved many people, which is not only the Wayang artist, but also the institutions and community organizations. The involvement of Indonesian Wayang Organizations highly influences on the course of events such as SENAWANGI and PEPADI in charge to encourage of domestic participants; UNIMA and APA in charge to encourage of foreign participants. The purposes of the forum activities of the World Wayang Summit, as follows:

1. To explore and acculturation values of humanism and multiculturalism, which contained the Wayang in the world. 2. To formulate wisdom values which contained of Wayang as an alternative solution to the problems of the world in the field of humanities. 3. To change return the world appreciation to the Wayang, Keris, and Gamelan to build the next generation. 4. To become Wayang as soft power or the instrument of cultural diplomacy in introduction between countries. 5. To improve the good relations among countries which have the same culture. 6. To declare Indonesia as one of the world‘s central Wayang.

Furthermore, the forum activities also endorsed the spirit and substances of the Jakarta Joint Statement to be fundamental basis for cooperation between UNIMA International and its members; and UNIMA-Indonesia in order to create a better

63 world developing friendship through culture. The participants also agree to find the proper ways and means to constructively the said document (Jakarta Joint Statement).

World Wayang Carnival 2013123

World Wayang Carnival which was held on September 1 to 8, 2013 in the courtyard of Sasana Langen Budaya-TMII is an international event which aims to restore the public's love of art and culture to its own tradition by introducing Puppet as the original Indonesian art and culture, which is intended continuous program annually and followed the introduction of puppets and other art and cultural traditions added to school curriculum. World Wayang Carnival involved government actors such as the Government of DKI Jakarta, Ministry of the Interior, the Ministry of Tourism and the creative industries, the Ministry of Industry, the determined Government of the province, Community Arts & Culture, Entrepreneur, cultural institutions or particular art; and steering committee as UNIMA Indonesia, SENA WANGI, PEPADI, the administrators of TMII. World Wayang Festival invited 40 countries from 3 Continents, such as:

Europe: Austria, Athens, Belarus, Belgium, France, Germany, Hungary, Italy, Lithuania, Netherland, Poland, Portugal, Russia, Spain

Asia & Oceania: Australia, China, Iran, Japan, Malaysia, South Korea, Thailand, Philippines, Singapore, Vietnam, Myanmar, North & South America: Brazil, Canada, Mexico, USA.

Indonesian Wayang like Wayang Golek Sunda, Wayang Kulit Purwa Bali, Wayang Kulit Sasak, Wayang Kulit Palembang, Wayang Kulit Banjar, Wayang Kulit Purwa Jawa Timur, Wayang Kulit Surakarta, WayangKulit Yogyakarta, Wayang Kulit Banyumas, Wayang Kulit Banyumas, Wayang kulit Cirebon, Wayang Beber, Wayang Krucil, Wayang Golek Capak Tegal, Wayang Gedok,

123 The Official Document of World Wayang Carnival 2013-UNIMA-Indonesia 64

WayangDalang Jemblung, Wayang Akapela, Wayang Kampung Sebelah, Wayang Uwong, Wayang Papermoon; as well as art and cultural traditions, such as Ketoprak, ludruk, Durmuluk of Palembang, and Opera Batak become the participants in the World Puppet Carnival 2013. The Carnival, which was held at Pewayangan Kautaman Building, TMII has the purposes, as follows:

1. World Wayang Carnival is expected to resonate widely and be able sparked a national movement returned back to the cultural tradition. 2. By getting to know and love the traditional culture, the national generation will be able to appreciate and apply the moral teachings which contained within the local wisdom. 3. By loving and respect cultural traditions, the national generation will have resistance to the penetration of foreign culture and soft power attacks which targeted the social and cultural objectives. 4. Expecting the government's political ability to teach the art of Wayang culture in schools as a compulsory subject. 5. World Wayang Carnival International standards would have contributed to the development of relations between states.

V.2. The Overview of UNIMA-Indonesia

UNIMA-Indonesia is an Indonesian International Non-Government Organization (INGO) was established based upon the lovers of Wayang to preserve Wayang both domestic and overseas. The implementation of activities such as congress, projects, exhibitions, conferences and festivals is an attempt in achieving the goal of UNIMA-Indonesia, which is to conduct the friendship with the various countries with the same culture without remove humanist character. UNIMA-Indonesia make Wayang as an instrument of teaching ethics, thus allowing the moral messages conveyed through the puppet show. Aesthetic value that owned by Wayang facilitate the implied messages which delivered in puppet show can be well-received by the audience.

One form of Wayang preservation committee by UNIMA-Indonesia is not just focussed on preservation Wayang itself, but also to anyone who dedicated himself to preserving Wayang, one of them is a Puppeteer or Dalang. Wayang becomes an effective means of communication for the government to convey its program to the people. It is because the element of Wayang is universal and the show packed interestingly, so that the people can receive and understand the policy very well. The purposes of UNIMA-Indonesia no others are to make Wayang as a medium of information and communication. In line with the function of Wayang as a means of delivery of government programs. In this case, the government must also give attention to Dalang and to the all members of a puppet show in may that Wayang can be continue to preserve.

INGO is an Indonesian government partner in achieving its national objective. The existence of UNIMA as an Indonesian government partner is to preserve the culture of Indonesia particularly Wayang. One of the Indonesian national objective is to hold the world order which based on lasting peace in accordance with the opening of UUD 1945 Alinea 4 that stated:

“Pursuant to which, in order to form a Government of the State of Indonesia that shall protect the whole people of Indonesia and the entire homeland of Indonesia, and in order to advance general prosperity, to develop the nation‟s intellectual life, and to contribute to the implementation of a world order based on freedom, lasting peace and social justice…”

Figure 5.1 The relations of Indonesian Government and UNIMA-Indonesia

The puppet show is considered as an effective way to deliver peace messages. UNIMA-Indonesia becomes a bridge in achieving Indonesian national objective which will also have an impact of the relation among other countries, which is upholds lasting peace. The Foreign Ministry of Directorate of Social and Culture and International Organizations, and also The Ministry of Culture and Education in carrying out all types of activities related to the function and objectives of puppet show. The puppet show is one of Indonesian culture which has been existing for a long time, having a wide base so that survive from time to time because the assimilation process, therefore Wayang considered to be a good means of delivering the development goals. The values contained in terms of Wayang be supporting the development, both economic, social and politic. It certainly can be accomplished over the support of the government, both central government and local government to jointly preserve Wayang. UNIMA-Indonesia also had great influence as INGO that conserves Wayang both domestic and overseas, thus the development process is expected to work better. Therefore, it is necessary active cooperation between Indonesian government and UNIMA- Indonesia in utilizing Wayang as an instrument of Culture Diplomacy that would be affected on the Indonesian National Development.

V.3. Enhance the Image of Indonesia in International Presence

Indonesia is not the only country which has the art of Wayang. There are about 90s countries which have puppet art and continued to preserve through the participation International Organization of Puppet such as UNIMA. UNIMA as an effective forum to introduce the specific characteristic of puppet from each country. UNIMA-Indonesia had made various efforts to introduce Wayang to the world community, one of them is by sending a delegation group of Wayang which is Sanggar Paripurna from Bali, that led by I Made Sidia presented electric puppet show that used enchanting plot and display innovative and artistic of multimedia technology with theme ―Yudistira become a King‖ (Sesaji Raja Surya) on the event of Asia Pacific International Puppet and Shadow Art Week in Nanchong,

The People‘s Republic of China, on June 1-7, 2014.124 Their performance won and got The Best Drama Awards,125 it is because creative presentation, but not eliminating the characteristics of Wayang and utilizing multimedia technology, so that made it more interesting.

Figure 5.2 Sanggar Paripurna

The uniqueness of Wayang is being an attraction to the world community. All aspects of being presented such as the music instrument, the plot and the message delivered on the Indonesian puppet show become its uniqueness compared to the other puppet show. The increasing of various types of Wayang because of the assimilation process and created by the artist of Wayang as an effort to attract people attention to love Wayang. The participation Indonesia in UNIMA becomes an opportunity for Indonesia to promote Wayang to the world. So that enhances the image of Indonesia as a highly cultured country.

All Indonesian culture is based on the constitution 1945, Pancasila, Unity in Diversity (Bhineka Tunggal Ika), and the principles underlying the identity of Indonesia. Nation Branding that formed as a result of cultural exchange through Wayang can keep up with the global competition. During this time, Indonesia has

124 BCA Support UNIMA in Asia Pacific International Puppet and Shadow Art Week. Retrieved January 28, 2015 from http://www.bca.co.id/id/about/hubungan-media/2014-Jul-07-BCA-Dukung- UNIMA/Asia-Pacific-International-Puppet.jsp 125 ibid 68 seen negatively because of several cases, such as corruption and terrorism. An Indonesian national identity, Wayang can be a form Indonesian propaganda to raise public awareness about Indonesian culture. Through the puppet show that upholds the value of adipeni-adiluhung could fix Indonesian reputation in the eye of the world and create an image of Indonesia better. UNIMA-International becomes an effective forum to promote Wayang as Indonesian cultural heritage, especially to the UNIMA countries member. Wayang is an aesthetic value performance, which reflection the Indonesian cultural heritage such as Gamelan, Batik, Blangkon, Kebaya and the traditional songs. It shows that puppet show becomes a tool to present various kinds of Indonesian cultural distinctiveness and it will have a huge impact to the image of Indonesia. Therefore, it can be expected that Indonesian culture, especially Wayang can contribute to the Indonesian cultural development work with UNIMA-Indonesia.126

V.4. Encourage the Preservation of Wayang to the Next Generation

Culture closely related to education, explicitly it becomes a necessity and the need of the presence of lifelong education in order to continue the cultural values from generation to generation. The young generation as a future generation becomes a main actor in preserving the culture. When the culture has been successfully introduced and loved by them, it means that the existence of culture will continue. The Indonesian governments, Parents, an education forum, the artists of Wayang and NGOs which also concern in preservation Wayang has the same role in introducing Wayang as Indonesian cultural identity to the next generation.

UNIMA-Indonesia as an INGO to preserve Wayang also has roles in introducing Wayang to the youth in Indonesia and the Indonesian youth who stay

126 Interview with Mr. T.A. Samodra Widjaja as the President of UNIMA-Indonesia on November 15, 2014 69 abroad. In order to attract young generation, UNIMA-Indonesia should be involved the young generation to participate in any kind of public event and formal event which conducted by UNIMA-Indonesia. Sarasehan UNIMA- Indonesia is one of formal event that has been successfully conducted by inviting the students from several universities in Indonesia. Besides, the public event such as ―Wayang Masuk Mall – Negeri Wayang Indonesia‖ in Grand Indonesia Mall was initiated by cooperating with PEPADI, KompasTV and BCA.127 The event was present the show of Wayang, workshop and other activities such as photo competitions by the object of Wayang, the performance of students from several schools and many booths about the world of Wayang. Those events were expected to conduct not only in Jakarta but also to other regions in Indonesia continually, as an effort to deliver the knowledge about Wayang to the young generation.

UNIMA-Indonesia has to build good relation with the young generation, so that its mission to preserve Wayang can run well. The relationship might begin through creating cooperation with the students in creating some events such as ―Wayang Goes to Campus‖ or ―Wayang Goes to School‖. It needs support from the Indonesian government, especially the Ministry of Education and Culture, the local NGOs such as SENAWANGI and PEPADI and also BCA as a private sector that also concern with the preservation of Wayang.

UNIMA-Indonesia launched the comic of Baratayuda on December 6, 2010 is an alternative effort to attract young generation as early as possible to recognize Wayang and as a form of character building.128 The success of UNIMA effort in introducing Wayang is proven by the large number of Baratayuda comics, which ordered by Gramedia, that is about 2000 copies.129 It indicates that the young generations are interested to know about Wayang through Baratayuda comics. UNIMA-Indonesia could also spread the comic of Baratayuda overseas

127 Rangkaian Kegiatan 57 Tahun BCA: Perkenalkan Wayang pada Generasi Muda, BCA Gelar Wayang Masuk Mall. Retrieved February 9, 2015 from http://www.bca.co.id/id/about/hubungan- media/2014_Feb_28_Perkenalkan_Wayang_pada_Generasi_Muda_BCA_Gelar_Wayang_Masuk_ Mall/2014_Feb_28_Perkenalkan_Wayang_pada_Generasi_Muda_BCA_Gelar_Wayang_Masuk_ Mall.jsp 128 The Official Document of Baratayuda Comic Series-UNIMA-Indonesia 129 Baratayuda Comic Series. Retrieved January 28, 2015 from http://www.unima.or.id/publications.html 70 cooperated with the Indonesian embassy, so the Indonesian young generation can read the comic of Baratayuda as well.

Figure 5.5 Baratayuda Comic Series130

130 ibid 71

CHAPTER VI

CONCLUSION AND RECOMMENDATIONS

VI.1. Conclusion

A wide variety of complex issues and the relationship between the dynamic state in international relations can increase political tensions between countries. As a result of globalization and democracy system which influence to the society in each state against the understanding of politics and create an opinion about the other country. Eventually, the awareness that arises in the public is an attention for a state to compete build good image of their countries in order to achieve their national interest.

The government is an important actor in carrying diplomatic relations as an attempt to enhance the positive image at the International level. However, in facing the globalization era is not enough to do the traditional diplomacy, in which the actor is just the government. It‘s also needed the role from the other actors, such as the citizens, social movements that formed in an organization and individuals who moving globally. Public involvement becomes an effective alternative to help the government communicate with other countries in the conduct of diplomacy.

Cultural diplomacy becomes an effective ways to build the image of a country that will also affect to state‘s foreign policy. The nature of culture is universal, it takes a comprehensive approach by involving a wide range of actors, not only the government, but also all levels of societies and NGOs. Indonesia is a heterogeneous country with its cultural diversity, that allow Indonesia to implement the cultural diplomacy.

Wayang is one of the Indonesian culture that is universal but also rich in the elements of Indonesian culture. So, it‘s suitable if Wayang become an

72 effective tool of Indonesian cultural diplomacy. UNIMA-Indonesia as International NGOs that bridge Wayang known in the world. The participation Indonesia to the UNIMA with the large number of members from various countries is a good step taken to be able to promote Wayang as Indonesian indigenous culture to the world wide. Cultural diplomacy through Wayang that conducted by UNIMA-Indonesia is expected to affect the preservation of Wayang also to the stability of the Indonesian economy, which is one of the Indonesia‘s national goals.

VI.2. Recommendations

There are few suggestions that could be done by UNIMA-Indonesia and Indonesian government in promoting and preserving Wayang, as well as a form of Indonesian Cultural Diplomacy through Wayang in the future, among others:

First, the relations between the Indonesian government and International Organizations are a form of symbiotic mutualism. With the existence of International Organizations or International NGOs as government partners can be facilitated a state to achieve its National interests. Even though Indonesia has several NGOs which also concern with preserving Wayang; however, UNIMA- Indonesia has significance role in preserving as well as promoting Wayang to the International community. Thus, the existence of Wayang is not only known domestically, but also overseas. Therefore, as the one and only International NGOs which is concerned with the preservation of Wayang, the Indonesian government needs to support all activities organized by UNIMA-Indonesia concretely as a form of cultural diplomacy through Wayang, so as to increase good synergy and effectiveness of the implementations of the programs.

Second, it‘s realized that the young generations are the heirs of culture in a country. Therefore, UNIMA-Indonesia has to increase its effort to introduce Wayang, which is not only focus on the young generation who live in Indonesia, but also for those who stayed abroad. UNIMA-Indonesia needs to cooperate with

73 the Indonesian embassy and the Indonesian Students Association to introduce and preserve Wayang to the Indonesian students and support them to perform a puppet show in the cultural events overseas.

Third, good relations between Indonesian government, UNIMA-Indonesia and education forum are needed as an attempt to preserve Wayang. The synchronization of those three actors will affected to the conserving Wayang as well as becoming effort to deliver the moral values which are contained in the puppet show to the next generation. After all, it‘s necessary support and good cooperation from various circles as an effective effort to achieve national goals of a country.

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Website:

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Baratayuda Comic Series. Retrieved January 28, 2015 from: http://www.unima.or.id/publications.html

Cultural Diplomacy through Wayang. Retrieved October 3, 2014 from: http://intisari-online.com/read/diplomasi-kebudayaan-lewat-wayang

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Indonesian diaspora Stockholm and the performance of Gamelan and Wayang Kulit Java. Retrieved January 26, 2015 from: http://www.kemlu.go.id/stockholm/Pages/PressRelease.aspx?IDP=3&l=id

Indonesian Wayang got The Best Shadow Show in Bangkok. Retrieved January 26, 2014 from: http://www.kemlu.go.id/bangkok/Pages/Embassies.aspx?IDP=331&l=id

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Official Documents:

The Official Document of Baratayuda Comic Series-UNIMA-Indonesia.

The Report of Performance Accountability of the Ministry of Tourism and Creative Economy in 2013.

The Official Document of World Wayang Carnival 2013-UNIMA-Indonesia.

The Official Document of TOR World Wayang Summit-UNIMA-Indonesia.

The report document of The 21st Congress of UNIMA and World Puppet Festival May 27 to June 3 in Chengdu, China.

The Official Document of UNIMA-Indonesia.

The Official Document of International Symposium-UNIMA-Indonesia.

The Official Document about UNIMA International of UNIMA-Indonesia.

Newspaper and Tabloid:

ASEAN unite in Puppet.(2014), November 25). Jakarta: Kompas Newspaper,p.79.

Pejambon Coffee: The message of Peace through Wayang. Tabloid of Diplomacy. No. 15, Year II, February 15,2009-March, 14, 2009.

Interviewers:

1. Mr. T.A. Samodra Widjaja as the President of UNIMA-Indonesia

2. Ms. Dwi Woro Retno Mastuti, S.S., M.Hum as the Member of UNIMA- Indonesia

APPENDICES

KETETAPAN MAJELIS PERMUSYAWARATAN RAKYAT REPUBLIK INDONESIA NOMOR: II/MPR/1983 TENTANG GARIS-GARIS BESAR HALUAN NEGARA DENGAN RAHMAT TUHAN YANG MAHA ESA MAJELIS PERMUSYAWARATAN RAKYAT REPUBLIK INDONESIA,

Menimbang : a. bahwa menjadi tugas Majelis Permusyawaratan Rakyat untuk menetapkan Garis-garis Besar Haluan Negara sebagai pola Umum Pembangunan Nasional yang merupakan rangkaian Program-program Pembangunan di segala bidang yang berlangsung secara terus menerus, untuk dapat mewujudkan Tujuan Nasional sebagaimana termaktub dalam Pembukaan Undang-undang Dasar 1945; b. bahwa Garis-garis besar Haluan Negara itu harus memberikan kejelasan arah bagi perjuangan Negara dan Rakyat Indonesia yang dewasa ini sedang membangun, agar dengan demikian dapat mewujudkan keadaan yang diinginkan dalam waktu lima tahun mendatang dalam rangka kelanjutannya yang berjangka panjang, sehingga secara bertahap dapat diwudkan cita-cita Bangsa Indonesia; c. bahwa pokok-pokok penyusunan dan penuangannya haruslah mampu memberikan gambaran mengenai wujud masa depan yang diinginkan, sehingga Garis-garis Besar Haluan Negara perlu disusun dan dituangkan

didalam Pola Umum Pembangunan secara sistematis, dalam kebulatan hubungan yang menyeluruh; d. bahwa oleh karena itu Majelis Permusyawaratan Rakyat yang keanggotaannya diresmikan pada tanggal 1 Oktober 1982, perlu menetapkan Ketetapan yang mengatur Garis-garis Besar Haluan Negara yang didasarkan atas aspirasi dan kepribadian Bangsa Indonesia demi penghayatan dan pengamalan kehidupan kenegaraan yang demokratis konstitusional berlandaskan Pancasila dan Undang-undang Dasar 1945;

Mengingat : 1. Pasal 1 ayat (2) dan Pasal 3 Undang-undang Dasar 1945;

2. Ketetapan MPR-RI No.IV/1978 tentang Garis-garis Besar Haluan Negara;

3. Ketetapan MPR-RI No.I/MPR/1983 tentang Peraturan Tata Tertib Majelis Permusyawaratan Rakyat; 4. Keputusan MPR-RI No.4/MPR/1982 tentang Penyelenggaraan Sidang Umum Majelis Permusyawaratan Rakyat Republik Indonesia bulan Maret

1983; Memperhatikan : 1. Permusyawaratan dalam Sidang Umum Majelis Permusyawaratan Rakyat Republik Indonesia bulan Maret 1983 yang membahas Rancangan Ketetapan tentang Garis-garis Besar Haluan Negara yang telah dipersiapkan oleh Badan Pekerja Majelis Permusyawaratan Rakyat Republik Indonesia; 2. Putusan Rapat Paripurna ke-6 tanggal 9 Maret 1983 Sidang Umum Majelis Permusyawaratan Rakyat Republik Indonesia bulan Maret 1983.

M E M U T U S K A N:

Menetapkan : KETETAPAN MAJELIS PERMUSYAWARATAN RAKYAT REPUBLIK INDONESIA TENTANG GARIS-GARIS BESAR HALUAN NEGARA. Pasal 1 Untuk dapat memperoleh kebulatan hubungan yang menyeluruh, maka sistematika Garis-garis Besar Haluan Negara disusun sebagai berikut: a) Bab I Pendahuluan; b) Bab II Pola Dasar Pembangunan Nasional; c) Bab III Pola Umum Pembangunan Jangka Panjang; d) Bab IV Pola Umum Pembangunan Lima Tahun Keempat; e) Bab V Penutup. Pasal 2 Isi beserta uraian perincian sebagaimana tersebut dalam pasal 1, terdapat dalam Naskah Garis-garis Besar Haluan Negara yang menjadi Bagian tak terpisahkan dari Ketetapan ini. Pasal 3 Dengan adanya Ketetapan ini, meteri yang belum tertampung dalam dan tidak bertentangan dengan Garis-garis Besar Haluan Negara ini, dapat diatur dalam

peraturan Perundangan.

Pasal 4 Menugaskan kepada Presiden Republik Indonesia/Mandataris Majelis Perwusyawaratan Rakyat untuk mengemban dan melaksanakan Ketetapan ini dengan Bagian Ketetapan yang berupa Garis-garis Besar Haluan Negara sebagaimana dimaksud dalam pasal 2 sesuai dengan bunyi dan makna sumpah jabatannya. Pasal 5 Ketetapan ini disahkan pada tanggal ditetapkan dan berlaku pada saat

dilaksanakannya ketentuan sebagaimana termuat dalam pasal 4 Ketetapan ini.

Ditetapkan di JAKARTA Pada tanggal 9 Maret 1983

PRESIDENT REPUBLIK INDONESIA

INSTRUKSI PRESIDENT REPUBLIK INDONESIA NOMOR 6 TAHUN 2009 TENTANG PENGEMBANGAN EKONOMI KREATIF

PRESIDEN REPUBLIK INDONESIA,

Dalam rangka keterpaduan pelaksanaan Pengembangan Ekonomi Kreatif, dengan ini menginstruksikan:

Kepada : 1. Menteri Koordinator Bidang Kesejahteraan Rakyat;

2. Menteri Koordinator Bidang Perekonomian;

3. Menteri Perdagangan;

4. Menteri Perindustrian;

5. Menteri Keuangan;

6. Menteri Hukum dan Hak Asasi Manusia;

7. Menteri Pertanian;

8. Menteri Komunikasi dan Informatika;

9. Menteri Kebudayaan dan Pariwisata;

10. Menteri Pendidikan Nasional;

11. Menteri Luar Negeri;

12. Menteri Dalam Negeri;

13. Menteri Tenaga Kerja dan Transmigrasi;

14. Menteri Pekerjaan Umum;

15. Menteri Kehutanan;

16. Menteri Kelautan dan Perikanan;

17. Menteri Energi dan Sumber Daya Mineral;

18. Menteri Perhubungan;

19. Menteri Negara Perencanaan Pembangunan Nasional/Kepala Badan Perencanaan Pembangunan Nasional;

20. Menteri Negara Koperasi dan Usaha Kecil dan Menengah;

21. Menteri Negara Riset dan Teknologi;

22. Menteri Negara Badan Usaha Milik Negara;

23. Menteri Negara Lingkungan Hidup;

24. Kepala Badan Pengkajian dan Penerapan Teknologi;

25. Kepala Badan Koordinasi Penanaman Modal;

26. Kepala Lembaga Ilmu Pengetahuan Indonesia;

27. Kepala Badan Standardisasi Nasional;

28. Seluruh Gubernur, Bupati/Walikota.

Untuk :

PERTAMA : Mendukung kebijakan Pengembangan Ekonomi Kreatif tahun 2009- 2015, yakni pengembangan kegiatan ekonomi berdasarkan pada kreativitas, keterampilan, dan bakat individu untuk menciptakan daya kreasi dan daya cipta individu yang bernilai ekonomis dan berpengaruh pada kesejahteraan masyarakat Indonesia, dengan sasaran, arah, dan strategi sebagaimana tercantum dalam Lampiran Instruksi Presiden ini.

KEDUA : Dalam rangka melaksanakan DIKTUM PERTAMA, mengutamakan

Pengembangan Ekonomi Kreatif sebagai berikut:

1. periklanan;

2. arsitektur;

3. pasar seni dan barang antik;

4. kerajinan;

5. desain;

6. fashion (mode);

7. film, video, dan fotografi;

8. permainan interaktif;

9. musik;

10. seni pertunjukan;

11. penerbitan dan percetakan;

12. layanan komputer dan piranti lunak;

13. radio dan televisi; dan

14. riset dan pengembangan.

KETIGA : Dalam rangka melaksanakan DIKTUM PERTAMA dan DIKTUM

KEDUA:

1. masing-masing Menteri, Kepala Lembaga Pemerintah Non Departemen, Gubernur, Bupati/Walikota menyusun dan melaksanakan Rencana Aksi Pengembangan Ekonomi Kreatif; dan bersama-sama menyukseskan program Tahun Indonesia Kreatif 2009.

KEEMPAT : 1. Dalam rangka melaksanakan DIKTUM KETIGA membentuk Tim Koordinasi Pengembangan Ekonomi Kreatif yang bertugas melakukan koordinasi penyusunan dan pelaksanaan Rencana Aksi Pengembangan Ekonomi Kreatif Tahun 2009-2015 dan pelaksanaan program Tahun Indonesia Kreatif 2009, dengan susunan keanggotaan Menteri Koordinator Bidang Kesejahteraan Rakyat sebagai Ketua, Menteri Koordinator Bidang Perekonomian sebagai Wakil Ketua, Menteri Perdagangan sebagai Pelaksana Harian I dan Menteri Perindustrian sebagai Pelaksana Harian II, serta beranggotakan pejabat Kementerian, Lembaga Pemerintah Non Departemen, instansi terkait lainnya, dan para pakar, sesuai kebutuhan, yang ditetapkan lebih lanjut oleh Ketua Tim Koordinasi Pengembangan Ekonomi Kreatif.

2. Dalam pelaksanaan tugasnya Tim Koordinasi Pengembangan Ekonomi Kreatif sebagaimana dimaksud pada angka 1 dibantu oleh Sekretariat dan Kelompok Kerja.

3. Susunan keanggotaan, tugas, dan tata kerja Sekretariat dan Kelompok Kerja sebagaimana dimaksud pada angka 2, diatur lebih lanjut oleh Ketua Tim Koordinasi Pengembangan Ekonomi Kreatif.

KELIMA : Melaporkan hasil pelaksanaan Instruksi Presiden ini kepada Presiden melalui Koordinator Bidang Kesejahteraan Rakyat setiap 6 (enam) bulan, atau sewaktu- waktu jika diminta Presiden.

KEENAM : Segala biaya yang diperlukan untuk pelaksanaan Instruksi Presiden ini dibebankan pada Anggaran Pendapatan dan Belanja Negara Instansi terkait dan Anggaran Pendapatan dan Belanja Daerah masing-masing.

KETUJUH : Melaksanakan Instruksi Presiden ini sebaik-baiknya dengan penuh tanggung jawab.

Dikeluarkan di Jakarta pada tanggal 5 Agustus 2009

PRESIDEN REPUBLIK NDONESIA, ttd.

DR. H. SUSILO BAMBANG YUDHOYONO

Salinan sesuai dengan aslinya

Deputi Sekretaris Kabinet

Bidang Hukum,

ttd

Dr. M. Iman Santoso

PERATURAN PEMERINTAH REPUBLIK INDONESIA

NOMOR 50 TAHUN 2011

TENTANG

RENCANA INDUK PEMBANGUNAN KEPARIWISATAAN NASIONAL

TAHUN 2010 - 2025

DENGAN RAHMAT TUHAN YANG MAHA ESA

PRESIDEN REPUBLIK INDONESIA,

Menimbang : bahwa untuk melaksanakan ketentuan Pasal 9 ayat (1) Undang-Undang Nomor 10 Tahun 2009 tentang Kepariwisataan perlu menetapkan Peraturan Pemerintah tentang Rencana Induk Pembangunan Kepariwisataan Nasional Tahun 2010-2025;

Mengingat : 1. Pasal 5 ayat (2) Undang-Undang Dasar Negara Republik Indonesia Tahun 1945; 2. Undang-Undang Nomor 10 Tahun 2009 tentang Kepariwisataan (Lembaran Negara Republik Indonesia Tahun 2009 Nomor 11, Tambahan Lembaran Negara Republik Indonesia Nomor 4966);

MEMUTUSKAN :

Menetapkan : PERATURAN PEMERINTAH TENTANG RENCANA INDUK PEMBANGUNAN KEPARIWISATAAN NASIONAL TAHUN 2010-2025.

BAB I

KETENTUAN UMUM

Pasal 1

Dalam Peraturan Pemerintah ini yang dimaksud dengan: 1. Kepariwisataan adalah keseluruhan kegiatan yang terkait dengan pariwisata dan bersifat multidimensi serta multidisiplin yang muncul sebagai wujud kebutuhan setiap orang dan negara serta interaksi antara wisatawan dan masyarakat setempat, sesama wisatawan, Pemerintah, Pemerintah Daerah, dan pengusaha. 2. Pembangunan adalah suatu proses perubahan ke arah yang lebih baik yang di dalamnya meliputi upaya-upaya perencanaan, implementasi dan pengendalian, dalam rangka penciptaan nilai tambah sesuai yang dikehendaki. 3. Rencana Induk Pembangunan Kepariwisataan Nasional yang selanjutnya disebut dengan RIPPARNAS adalah dokumen perencanaan pembangunan kepariwisataan nasional untuk periode 15 (lima belas) tahun terhitung sejak tahun 2010 sampai dengan tahun 2025. 4. Daerah Tujuan Pariwisata yang selanjutnya disebut Destinasi Pariwisata adalah kawasan geografis yang berada dalam satu atau lebih wilayah administratif yang di dalamnya terdapat Daya Tarik Wisata, Fasilitas Umum, Fasilitas Pariwisata, aksesibilitas, serta masyarakat yang saling terkait dan melengkapi terwujudnya Kepariwisataan.

5. Destinasi Pariwisata Nasional yang selanjutnya disingkat DPN adalah Destinasi Pariwisata yang berskala nasional. 6. Kawasan Strategis Pariwisata Nasional yang selanjutnya disingkat KSPN adalah kawasan yang memiliki fungsi utama pariwisata atau memiliki potensi untuk pengembangan pariwisata nasional yang mempunyai pengaruh penting dalam satu atau lebih aspek, seperti pertumbuhan ekonomi, sosial dan budaya, pemberdayaan sumber daya alam, daya dukung lingkungan hidup, serta pertahanan dan keamanan. 7. Perwilayahan Pembangunan DPN adalah hasil perwilayahan Pembangunan Kepariwisataan yang diwujudkan dalam bentuk DPN, dan KSPN. 8. Daya Tarik Wisata adalah segala sesuatu yang memiliki keunikan, keindahan, dan nilai yang berupa keanekaragaman kekayaan alam, budaya, dan hasil buatan manusia yang menjadi sasaran atau tujuan kunjungan wisatawan. 9. Aksesibilitas Pariwisata adalah semua jenis sarana dan prasarana transportasi yang mendukung pergerakan wisatawan dari wilayah asal wisatawan ke Destinasi Pariwisata maupun pergerakan di dalam wilayah Destinasi Pariwisata dalam kaitan dengan motivasi kunjungan wisata. 10. Prasarana Umum adalah kelengkapan dasar fisik suatu lingkungan yang pengadaannya memungkinkan suatu lingkungan dapat beroperasi dan berfungsi sebagaimana semestinya. 11. Fasilitas Umum adalah sarana pelayanan dasar fisik suatu lingkungan yang diperuntukkan bagi masyarakat umum dalam melakukan aktifitas kehidupan keseharian. 12. Fasilitas Pariwisata adalah semua jenis sarana yang secara khusus ditujukan untuk mendukung penciptaan kemudahan, kenyamanan, keselamatan wisatawan dalam melakukan kunjungan ke Destinasi Pariwisata. 13. Pemberdayaan Masyarakat adalah upaya untuk meningkatkan kesadaran, kapasitas, akses, dan peran masyarakat, baik secara individu maupun kelompok, dalam memajukan kualitas hidup, kemandirian, dan kesejahteraan melalui kegiatan Kepariwisataan. 14. Pemasaran Pariwisata adalah serangkaian proses untuk menciptakan, mengkomunikasikan, menyampaikan produk wisata dan mengelola relasi dengan wisatawan untuk mengembangkan Kepariwisataan dan seluruh pemangku kepentingannya. 15. Industri Pariwisata adalah kumpulan Usaha Pariwisata yang saling terkait dalam rangka menghasilkan barang dan/atau jasa bagi pemenuhan kebutuhan wisatawan dalam penyelenggaraan pariwisata. 16. Kelembagaan Kepariwisataan adalah kesatuan unsur beserta jaringannya yang dikembangkan secara terorganisasi, meliputi Pemerintah, Pemerintah Daerah, swasta dan masyarakat, sumber daya manusia, regulasi dan mekanisme operasional, yang secara berkesinambungan guna menghasilkan perubahan ke arah pencapaian tujuan di bidang Kepariwisataan. 17. Organisasi Kepariwisataan adalah institusi baik di lingkungan Pemerintah maupun swasta yang berhubungan dengan penyelenggaraan kegiatan Kepariwisataan. 18. Sumber Daya Manusia Pariwisata yang selanjutnya disingkat SDM Pariwisata adalah tenaga kerja yang pekerjaannya terkait secara langsung dan tidak langsung dengan kegiatan Kepariwisataan. 19. Usaha Pariwisata adalah usaha yang menyediakan barang dan/atau jasa bagi pemenuhan kebutuhan wisatawan dan penyelenggaraan pariwisata. 20. Sertifikasi adalah proses pemberian sertifikat kepada usaha dan pekerja pariwisata untuk mendukung peningkatan mutu produk pariwisata, pelayanan dan pengelolaan Kepariwisataan. 21. Pemerintah Pusat, selanjutnya disebut Pemerintah, adalah Presiden Republik Indonesia yang memegang kekuasaan pemerintahan negara Republik Indonesia sebagaimana dimaksud dalam Undang-Undang Dasar Negara Republik Indonesia Tahun 1945. 22. Menteri adalah menteri yang menyelenggarakan urusan pemerintahan di bidang Kepariwisataan. 23. Pemerintah Daerah adalah Gubernur, Bupati atau Walikota, dan perangkat daerah sebagai unsur penyelenggara pemerintahan daerah.

BAB II

PEMBANGUNAN KEPARIWISATAAN NASIONAL

Pasal 2

(1) Pembangunan kepariwisataan nasional meliputi:

a. Destinasi Pariwisata; b. Pemasaran Pariwisata; c. Industri Pariwisata; dan d. Kelembagaan Kepariwisataan.

(2) Pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (1) dilaksanakan berdasarkan RIPPARNAS.

(3) RIPPARNAS sebagaimana dimaksud pada ayat (2) memuat: a. visi; b. misi; c. tujuan; d. sasaran; dan e. arah pembangunan kepariwisataan nasional dalam kurun waktu tahun 2010 sampai dengan tahun 2025.

(4) Visi pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (3) huruf a adalah terwujudnya Indonesia sebagai negara tujuan pariwisata berkelas dunia, berdaya saing, berkelanjutan, mampu mendorong pembangunan daerah dan kesejahteraan rakyat.

(5) Dalam mewujudkan visi pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (4) ditempuh melalui 4 (empat) misi pembangunan kepariwisataan nasional meliputi pengembangan:

a. Destinasi Pariwisata yang aman, nyaman, menarik, mudah dicapai, berwawasan lingkungan, meningkatkan pendapatan nasional, daerah dan masyarakat; b. Pemasaran Pariwisata yang sinergis, unggul, dan bertanggung jawab untuk meningkatkan kunjungan wisatawan nusantara dan mancanegara; c. Industri Pariwisata yang berdaya saing, kredibel, menggerakkan kemitraan usaha, dan bertanggung jawab terhadap lingkungan alam dan sosial budaya; dan d. Organisasi Pemerintah, Pemerintah Daerah, swasta dan masyarakat, sumber daya manusia, regulasi, dan mekanisme operasional yang efektif dan efisien dalam rangka mendorong terwujudnya Pembangunan Kepariwisataan yang berkelanjutan.

(6) Tujuan pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (3) huruf c adalah:

a. meningkatkan kualitas dan kuantitas Destinasi Pariwisata; b. mengkomunikasikan Destinasi Pariwisata Indonesia dengan menggunakan media pemasaran secara efektif, efisien dan bertanggung jawab; c. mewujudkan Industri Pariwisata yang mampu menggerakkan perekonomian nasional; dan d. mengembangkan Kelembagaaan Kepariwisataan dan tata kelola pariwisata yang mampu mensinergikan Pembangunan Destinasi Pariwisata, Pemasaran Pariwisata, dan Industri Pariwisata secara profesional, efektif dan efisien.

(7) Sasaran pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (3) huruf d adalah peningkatan: a. jumlah kunjungan wisatawan mancanegara;

b. jumlah pergerakan wisatawan nusantara; c. jumlah penerimaan devisa dari wisatawan mancanegara; d. jumlah pengeluaran wisatawan nusantara; dan e. produk domestik bruto di bidang Kepariwisataan.

(8) Arah pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (3) huruf e meliputi pembangunan kepariwisataan nasional dilaksanakan:

a. dengan berdasarkan prinsip Pembangunan Kepariwisataan yang berkelanjutan; b. dengan orientasi pada upaya peningkatan pertumbuhan, peningkatan kesempatan kerja, pengurangan kemiskinan, serta pelestarian lingkungan; c. dengan tata kelola yang baik; d. secara terpadu secara lintas sektor, lintas daerah, dan lintas pelaku; dan e. dengan mendorong kemitraan sektor publik dan privat.

Pasal 3

Pelaksanaan RIPPARNAS sebagaimana dimaksud dalam Pasal 2 diselenggarakan secara terpadu oleh Pemerintah dan Pemerintah Daerah sesuai kewenangannya, dunia usaha, dan masyarakat.

Pasal 4

(1) RIPPARNAS menjadi pedoman bagi pembangunan kepariwisataan nasional. (2) RIPPARNAS sebagaimana dimaksud pada ayat (1) menjadi pedoman penyusunan Rencana Induk Pembangunan Kepariwisataan Provinsi. (3) RIPPARNAS dan Rencana Induk Pembangunan Kepariwisataan Provinsi sebagaimana dimaksud pada ayat (1) dan ayat (2) menjadi pedoman penyusunan Rencana Induk Pembangunan Kepariwisataan Kabupaten/Kota.

Pasal 5

Untuk mensinergikan penyusunan Rencana Induk Pembangunan Kepariwisataan Provinsi dan Rencana Induk Pembangunan Kepariwisataan Kabupaten/Kota, sebagaimana dimaksud dalam Pasal 4, Pemerintah Daerah dapat melakukan konsultasi dan koordinasi dengan Menteri.

Pasal 6

Indikator sasaran pembangunan kepariwisataan nasional sebagaimana dimaksud dalam Pasal 2 ayat (7) tercantum dalam Lampiran I yang tidak terpisahkan dari Peraturan Pemerintah ini.

Pasal 7

Arah pembangunan kepariwisataan nasional sebagaimana dimaksud dalam Pasal 2 ayat (8) menjadi dasar arah kebijakan, strategi, dan indikasi program pembangunan kepariwisataan nasional dalam kurun waktu tahun 2010 sampai dengan tahun 2025 yang meliputi Pembangunan: a. DPN; b. Pemasaran pariwisata nasional; c. Industri pariwisata nasional; dan d. Kelembagaan kepariwisataan nasional.

BAB III

PEMBANGUNAN DPN

Bagian Kesatu

Umum

Pasal 8

Pembangunan DPN sebagaimana dimaksud dalam Pasal 7 huruf a meliputi: a. Perwilayahan Pembangunan DPN; b. Pembangunan Daya Tarik Wisata; c. Pembangunan Aksesibilitas Pariwisata; d. Pembangunan Prasarana Umum, Fasilitas Umum dan Fasilitas Pariwisata; e. Pemberdayaan Masyarakat melalui Kepariwisataan; dan f. pengembangan investasi di bidang pariwisata.

Bagian Kedua

Perwilayahan Pembangunan DPN

Pasal 9

Perwilayahan Pembangunan DPN sebagaimana dimaksud dalam Pasal 8 huruf a meliputi: a. DPN; dan b. KSPN.

Pasal 10

(1) DPN sebagaimana dimaksud dalam Pasal 9 huruf a ditentukan dengan kriteria: a. merupakan kawasan geografis dengan cakupan wilayah provinsi dan/atau lintas provinsi yang di dalamnya terdapat kawasan-kawasan pengembangan pariwisata nasional, yang diantaranya merupakan KSPN; b. memiliki Daya Tarik Wisata yang berkualitas dan dikenal secara luas secara nasional dan internasional, serta membentuk jejaring produk wisata dalam bentuk pola pemaketan produk dan pola kunjungan wisatawan; c. memiliki kesesuaian tema Daya Tarik Wisata yang mendukung penguatan daya saing; d. memiliki dukungan jejaring aksesibilitas dan infrastruktur yang mendukung pergerakan wisatawan dan kegiatan Kepariwisataan; dan e. memiliki keterpaduan dengan rencana sektor terkait.

(2) KSPN sebagaimana dimaksud dalam Pasal 9 huruf b ditentukan dengan kriteria: a. memiliki fungsi utama pariwisata atau potensi pengembangan pariwisata; b. memiliki sumber daya pariwisata potensial untuk menjadi Daya Tarik Wisata unggulan dan memiliki citra yang sudah dikenal secara luas; c. memiliki potensi pasar, baik skala nasional maupun khususnya internasional; d. memiliki posisi dan peran potensial sebagai penggerak investasi; e. memiliki lokasi strategis yang berperan menjaga persatuan dan keutuhan wilayah; f. memiliki fungsi dan peran strategis dalam menjaga fungsi dan daya dukung lingkungan hidup; g. memiliki fungsi dan peran strategis dalam usaha pelestarian dan pemanfaatan asset budaya, termasuk di dalamnya aspek sejarah dan kepurbakalaan;

h. memiliki kesiapan dan dukungan masyarakat; i. memiliki kekhususan dari wilayah; j. berada di wilayah tujuan kunjungan pasar wisatawan utama dan pasar wisatawan potensial nasional; dan k. memiliki potensi kecenderungan produk wisata masa depan.

(3) Pembangunan DPN dan KSPN sebagaimana dimaksud dalam Pasal 9 dilaksanakan secara bertahap dengan kriteria prioritas memiliki: a. komponen destinasi yang siap untuk dikembangkan; b. posisi dan peran efektif sebagai penarik investasi yang strategis; c. posisi strategis sebagai simpul penggerak sistemik Pembangunan Kepariwisataan di wilayah sekitar baik dalam konteks regional maupun nasional; d. potensi kecenderungan produk wisata masa depan; e. kontribusi yang signifikan dan/atau prospek yang positif dalam menarik kunjungan wisatawan mancanegara dan wisatawan nusantara dalam waktu yang relatif cepat; f. citra yang sudah dikenal secara luas; g. kontribusi terhadap pengembangan keragaman produk wisata di Indonesia; dan h. keunggulan daya saing internasional.

Pasal 11

(1) Perwilayahan DPN sebagaimana dimaksud dalam Pasal 9 terdiri dari: a. 50 (lima puluh) DPN yang tersebar di 33 (tiga puluh tiga) provinsi; dan b. 88 (delapan puluh delapan) KSPN yang tersebar di 50 (lima puluh) DPN.

(2) Peta perwilayahan DPN sebagaimana dimaksud pada ayat (1) tercantum dalam Lampiran II dan Lampiran III yang tidak terpisahkan dari Peraturan Pemerintah ini.

Pasal 12

Arah kebijakan Pembangunan DPN dan KSPN meliputi: a. perencanaan Pembangunan DPN dan KSPN; b. penegakan regulasi Pembangunan DPN dan KSPN; dan c. pengendalian implementasi Pembangunan DPN dan KSPN.

Pasal 13

(1) Strategi untuk perencanaan Pembangunan DPN dan KSPN sebagaimana dimaksud dalam Pasal 12 huruf a meliputi: a. menyusun rencana induk dan rencana detail Pembangunan DPN dan KSPN; dan b. menyusun regulasi tata bangunan dan tata lingkungan DPN dan KSPN.

(2) Strategi untuk penegakan regulasi Pembangunan DPN dan KSPN sebagaimana dimaksud dalam Pasal 12 huruf b dilakukan melalui monitoring dan pengawasan oleh Pemerintah terhadap penerapan rencana detail DPN dan KSPN.

(3) Strategi untuk pengendalian implementasi rencana Pembangunan DPN dan KSPN sebagaimana dimaksud dalam Pasal 12 huruf c dilakukan melalui peningkatan koordinasi antara Pemerintah, Pemerintah Daerah, pelaku usaha dan masyarakat.

(4) KSPN sebagaimana dimaksud dalam Pasal 9 huruf b ditetapkan dengan Keputusan Presiden.

Bagian Ketiga

Pembangunan Daya Tarik Wisata

Pasal 14

(1) Pembangunan Daya Tarik Wisata sebagaimana dimaksud dalam Pasal 8 huruf b meliputi: a. Daya Tarik Wisata alam; b. Daya Tarik Wisata budaya; dan c. Daya Tarik Wisata hasil buatan manusia.

(2) Pembangunan Daya Tarik Wisata sebagaimana dimaksud pada ayat (1), dilaksanakan berdasarkan prinsip menjunjung tinggi nilai agama dan budaya, serta keseimbangan antara upaya pengembangan manajemen atraksi untuk menciptakan Daya Tarik Wisata yang berkualitas, berdaya saing, serta mengembangkan upaya konservasi untuk menjaga kelestarian dan keberlanjutan sumber dayanya.

Pasal 15

Arah kebijakan Pembangunan Daya Tarik Wisata sebagaimana dimaksud dalam Pasal 14 ayat (1), meliputi: a. perintisan pengembangan Daya Tarik Wisata dalam rangka mendorong pertumbuhan DPN dan pengembangan daerah; b. Pembangunan Daya Tarik Wisata untuk meningkatkan kualitas dan daya saing produk dalam menarik minat dan loyalitas segmen pasar yang ada; c. pemantapan Daya Tarik Wisata untuk meningkatkan daya saing produk dalam menarik kunjungan ulang wisatawan dan segmen pasar yang lebih luas; dan d. revitalisasi Daya Tarik Wisata dalam upaya peningkatan kualitas, keberlanjutan dan daya saing produk dan DPN.

Pasal 16

(1) Strategi untuk perintisan pengembangan Daya Tarik Wisata sebagaimana dimaksud dalam Pasal 15 huruf a, meliputi: a. mengembangkan Daya Tarik Wisata baru di Destinasi Pariwisata yang belum berkembang Kepariwisataannya; dan b. memperkuat upaya pengelolaan potensi Kepariwisataan dan lingkungan dalam mendukung upaya perintisan.

(2) Strategi untuk Pembangunan Daya Tarik Wisata sebagaimana dimaksud dalam Pasal 15 huruf b, meliputi: a. mengembangkan inovasi manajemen produk dan kapasitas Daya Tarik Wisata untuk mendorong akselerasi perkembangan DPN; dan b. memperkuat upaya konservasi potensi Kepariwisataan dan lingkungan dalam mendukung intensifikasi Daya Tarik Wisata.

(3) Strategi untuk pemantapan Daya Tarik Wisata sebagaimana dimaksud dalam Pasal 15 huruf c, meliputi : a. mengembangkan diversifikasi atau keragaman nilai Daya Tarik Wisata dalam berbagai tema terkait; dan b. memperkuat upaya penataan ruang wilayah dan konservasi potensi Kepariwisataan dan lingkungan dalam mendukung diversifikasi Daya Tarik Wisata.

(4) Strategi untuk revitalisasi Daya Tarik Wisata sebagaimana dimaksud dalam Pasal 15

huruf d, meliputi: a. revitalisasi struktur, elemen dan aktivitas yang menjadi penggerak kegiatan Kepariwisataan pada Daya Tarik Wisata; dan b. memperkuat upaya penataan ruang wilayah dan konservasi potensi Kepariwisataan dan lingkungan dalam mendukung revitalisasi daya tarik dan kawasan di sekitarnya.

Bagian Keempat

Pembangunan Aksesibilitas Pariwisata

Pasal 17

(1) Pembangunan Aksesibilitas Pariwisata, meliputi: a. penyediaan dan pengembangan sarana transportasi angkutan jalan, sungai, danau dan penyeberangan, angkutan laut, angkutan udara, dan angkutan kereta api; b. penyediaan dan pengembangan prasarana transportasi angkutan jalan, sungai, danau dan penyeberangan, angkutan laut, angkutan udara, dan angkutan kereta api; dan c. penyediaan dan pengembangan sistem transportasi angkutan jalan, sungai, danau dan penyeberangan, angkutan laut, angkutan udara, dan angkutan kereta api.

(2) Pembangunan Aksesibilitas Pariwisata sebagaimana dimaksud pada ayat (1) dimaksudkan untuk mendukung pengembangan Kepariwisataan dan pergerakan wisatawan menuju destinasi dan pergerakan wisatawan di dalam DPN.

Pasal 18

Arah kebijakan penyediaan dan pengembangan sarana transportasi angkutan jalan, sungai, danau dan penyeberangan, angkutan laut, angkutan udara, dan angkutan kereta api sebagaimana dimaksud dalam Pasal 17 ayat (1) huruf a, meliputi:

a. pengembangan dan peningkatan kemudahan akses dan pergerakan wisatawan menuju destinasi dan pergerakan wisatawan di DPN; dan b. pengembangan dan peningkatan kenyamanan dan keamanan pergerakan wisatawan menuju destinasi dan pergerakan wisatawan di DPN.

Pasal 19

(1) Strategi untuk pengembangan dan peningkatan kemudahan akses dan pergerakan wisatawan menuju destinasi dan pergerakan wisatawan di DPN sebagaimana dimaksud dalam Pasal 18 huruf a, meliputi:

a. meningkatkan ketersediaan moda transportasi sebagai sarana pergerakan wisatawan menuju destinasi dan pergerakan wisatawan di DPN sesuai kebutuhan dan perkembangan pasar; b. meningkatkan kecukupan kapasitas angkut moda transportasi menuju destinasi dan pergerakan wisatawan di Destinasi Pariwisata sesuai kebutuhan dan perkembangan pasar; dan c. mengembangkan keragaman atau diversifikasi jenis moda transportasi menuju destinasi dan pergerakan wisatawan di Destinasi Pariwisata sesuai kebutuhan dan perkembangan pasar.

(2) Strategi untuk pengembangan dan peningkatan kenyamanan dan keamanan pergerakan wisatawan menuju destinasi dan pergerakan wisatawan di DPN sebagaimana dimaksud dalam Pasal 18 huruf b, meliputi mengembangkan dan meningkatkan kualitas:

a. kenyamanan moda transportasi menuju destinasi dan pergerakan wisatawan di DPN

sesuai kebutuhan dan perkembangan pasar; dan b. keamanan moda transportasi untuk menjamin keselamatan perjalanan wisatawan menuju destinasi dan pergerakan wisatawan di DPN.

Pasal 20

Arah kebijakan penyediaan dan pengembangan prasarana transportasi angkutan jalan, sungai, danau dan penyeberangan, angkutan laut, angkutan udara, dan angkutan kereta api sebagaimana dimaksud dalam Pasal 17 ayat (1) huruf b, meliputi: a. pengembangan dan peningkatan kemudahan akses terhadap prasarana transportasi sebagai simpul pergerakan yang menghubungkan lokasi asal wisatawan menuju destinasi dan pergerakan wisatawan di DPN; b. pengembangan dan peningkatan keterhubungan antara DPN dengan pintu gerbang wisata regional dan/atau nasional maupun keterhubungan antar komponen daya tarik dan simpul-simpul pergerakan di dalam DPN; dan c. pengembangan dan peningkatan kenyamanan perjalanan menuju destinasi dan pergerakan wisatawan di dalam DPN.

Pasal 21

(1) Strategi untuk pengembangan dan peningkatan kemudahan akses terhadap prasarana transportasi sebagai simpul pergerakan yang menghubungkan lokasi asal wisatawan menuju destinasi dan pergerakan wisatawan di DPN sebagaimana dimaksud dalam Pasal 20 huruf a, meliputi meningkatkan:

a. ketersediaan prasarana simpul pergerakan moda transportasi pada lokasi-lokasi strategis di DPN sesuai kebutuhan dan perkembangan pasar; dan b. keterjangkauan prasarana simpul pergerakan moda transportasi dari pusat-pusat kegiatan pariwisata di DPN.

(2) Strategi untuk pengembangan dan peningkatan keterhubungan antara DPN dengan pintu gerbang wisata regional dan/atau nasional maupun keterhubungan antar komponen daya tarik dan simpul-simpul pergerakan di dalam DPN sebagaimana dimaksud dalam Pasal 20 huruf b, meliputi mengembangkan dan meningkatkan:

a. jaringan transportasi penghubung antara DPN dengan pintu gerbang wisata regional dan/atau nasional maupun keterhubungan antar komponen daya tarik dan simpul simpul pergerakan di dalam DPN; dan b. keterpaduan jaringan infrastruktur transportasi antara pintu gerbang wisata dan DPN serta komponen yang ada di dalamnya yang mendukung kemudahan transfer intermoda.

(3) Strategi untuk pengembangan dan peningkatan kenyamanan perjalanan menuju destinasi dan pergerakan wisatawan di dalam DPN sebagaimana dimaksud dalam Pasal 20 huruf c, meliputi mengembangkan dan meningkatkan kualitas dan kapasitas: a. jaringan transportasi untuk mendukung kemudahan, kenyamanan dan keselamatan pergerakan wisatawan sesuai kebutuhan dan perkembangan pasar; dan b. fasilitas persinggahan di sepanjang koridor pergerakan wisata di dalam DPN sesuai kebutuhan dan perkembangan pasar.

Pasal 22

Arah kebijakan penyediaan dan pengembangan sistem transportasi angkutan jalan, sungai, danau dan penyeberangan, angkutan laut, angkutan udara, dan angkutan kereta api sebagaimana dimaksud dalam Pasal 17 ayat (1) huruf c, meliputi: a. peningkatan kemudahan pergerakan wisatawan dengan memanfaatkan beragam jenis moda transportasi secara terpadu; dan b. peningkatan kemudahan akses terhadap informasi berbagai jenis moda transportasi dalam rangka perencanaan perjalanan wisata.

Pasal 23

(1) Strategi untuk peningkatan kemudahan pergerakan wisatawan dengan memanfaatkan beragam jenis moda transportasi secara terpadu sebagaimana dimaksud dalam Pasal 22 huruf a diwujudkan dalam bentuk Pembangunan sistem transportasi dan pelayanan terpadu di DPN.

(2) Strategi untuk peningkatan kemudahan akses terhadap informasi berbagai jenis moda transportasi dalam rangka perencanaan perjalanan wisata sebagaimana dimaksud dalam Pasal 22 huruf b, meliputi mengembangkan dan meningkatkan:

a. ketersediaan informasi pelayanan transportasi berbagai jenis moda dari pintu gerbang wisata ke DPN; dan b. kemudahan reservasi moda transportasi berbagai jenis moda. Pasal 24

(1) Pembangunan Aksesibilitas Pariwisata sebagaimana dimaksud dalam Pasal 17 ayat (1) diselenggarakan oleh Pemerintah, Pemerintah Daerah, Badan Usaha Milik Negara, Badan Usaha Milik Daerah, swasta dan masyarakat.

(2) Pembangunan Aksesibilitas Pariwisata dilaksanakan sesuai dengan ketentuan peraturan perundangan-undangan.

Bagian Kelima

Pembangunan Prasarana Umum, Fasilitas Umum, dan

Fasilitas Pariwisata

Pasal 25

Arah kebijakan Pembangunan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata meliputi: a. pengembangan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata dalam mendukung perintisan pengembangan DPN; b. peningkatan Prasarana Umum, kualitas Fasilitas Umum, dan Fasilitas Pariwisata yang mendukung pertumbuhan, meningkatkan kualitas dan daya saing DPN; dan c. pengendalian Prasarana Umum, Pembangunan Fasilitas Umum, dan Fasilitas Pariwisata bagi destinasi-destinasi pariwisata yang sudah melampaui ambang batas daya dukung.

Pasal 26

(1) Strategi untuk pengembangan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata dalam mendukung perintisan DPN sebagaimana dimaksud dalam Pasal 25 huruf a, meliputi: a. mendorong pemberian insentif untuk pengembangan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata dalam mendukung perintisan Destinasi Pariwisata; b. meningkatkan fasilitasi Pemerintah untuk pengembangan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata atas inisiatif swasta; dan c. merintis dan mengembangkan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata untuk mendukung kesiapan Destinasi Pariwisata dan meningkatkan daya saing Destinasi Pariwisata.

(2) Strategi untuk peningkatan kualitas Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata dalam mendukung pertumbuhan, meningkatkan kualitas dan daya saing DPN sebagaimana dimaksud dalam Pasal 25 huruf b, meliputi: a. mendorong dan menerapkan berbagai skema kemitraan antara Pemerintah dan swasta; b. mendorong dan menerapkan berbagai skema kemandirian pengelolaan; dan c. mendorong penerapan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata yang memenuhi kebutuhan wisatawan berkebutuhan khusus.

(3) Strategi untuk pengendalian Pembangunan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata bagi destinasi-destinasi pariwisata yang sudah melampaui ambang batas daya dukung sebagaimana dimaksud dalam Pasal 25 huruf c, meliputi: a. menyusun regulasi perijinan untuk menjaga daya dukung lingkungan; dan b. mendorong penegakan peraturan perundang-undangan.

Pasal 27

Pemberian insentif dalam Pembangunan Prasarana Umum, Fasilitas Umum, dan Fasilitas Pariwisata didasarkan pada ketentuan peraturan perundang-undangan. Bagian Keenam Pemberdayaan Masyarakat Melalui Kepariwisataan

Pasal 28

Arah kebijakan Pemberdayaan Masyarakat melalui Kepariwisataan meliputi: a. pengembangan potensi, kapasitas dan partisipasi masyarakat melalui Pembangunan Kepariwisataan; b. optimalisasi pengarusutamaan gender melalui Pembangunan Kepariwisataan; c. peningkatan potensi dan kapasitas sumber daya lokal melalui pengembangan usaha produktif di bidang pariwisata; d. penyusunan regulasi dan pemberian insentif untuk mendorong perkembangan industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah yang dikembangkan masyarakat lokal sesuai dengan ketentuan peraturan perundang-undangan; e. penguatan kemitraan rantai nilai antar usaha di bidang Kepariwisataan; f. perluasan akses pasar terhadap produk industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah yang dikembangkan masyarakat lokal; g. peningkatan akses dan dukungan permodalan dalam upaya mengembangkan produk industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah yang dikembangkan masyarakat lokal; h. peningkatan kesadaran dan peran masyarakat serta pemangku kepentingan terkait dalam mewujudkan sapta pesona untuk menciptakan iklim kondusif Kepariwisataan setempat; dan

98 i. peningkatan motivasi dan kemampuan masyarakat dalam mengenali dan mencintai bangsa dan tanah air melalui perjalanan wisata nusantara.

Pasal 29

(1) Strategi untuk pengembangan potensi, kapasitas dan partisipasi masyarakat sebagaimana dimaksud dalam Pasal 28 huruf a, meliputi: a. memetakan potensi dan kebutuhan penguatan kapasitas masyarakat lokal dalam pengembangan Kepariwisataan; b. memberdayakan potensi dan kapasitas masyarakat lokal dalam pengembangan Kepariwisataan; dan c. menguatkan kelembagaan masyarakat dan Pemerintah di tingkat lokal guna mendorong kapasitas dan peran masyarakat dalam pengembangan Kepariwisataan.

(2) Strategi untuk optimalisasi pengarusutamaan gender sebagaimana dimaksud dalam Pasal 28 huruf b, meliputi: a. meningkatkan pemahaman dan kesadaran masyarakat tentang pengarusutamaan gender dalam pengembangan pariwisata; dan b. meningkatkan peran masyarakat dalam perspektif kesetaraan gender dalam pengembangan Kepariwisataan di daerah.

(3) Strategi untuk peningkatan potensi dan kapasitas sumber daya lokal sebagaimana dimaksud dalam Pasal 28 huruf c, meliputi: a. meningkatkan pengembangan potensi sumber daya lokal sebagai Daya Tarik Wisata berbasis kelokalan dalam kerangka Pemberdayaan Masyarakat melalui pariwisata; b. mengembangkan potensi sumber daya lokal melalui desa wisata; c. meningkatkan kualitas produk industri kecil dan menengah sebagai komponen pendukung produk wisata di Destinasi Pariwisata; dan d. meningkatkan kemampuan berusaha pelaku Usaha Pariwisata skala usaha mikro, kecil dan menengah yang dikembangkan masyarakat lokal.

(4) Strategi untuk penyusunan regulasi dan pemberian insentif sebagaimana dimaksud dalam Pasal 28 huruf d, meliputi: a. mendorong pemberian insentif dan kemudahan bagi pengembangan industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah sesuai dengan ketentuan peraturan perundang-undangan; dan b. mendorong pelindungan terhadap kelangsungan industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah di sekitar Destinasi Pariwisata.

(5) Strategi untuk penguatan kemitraan rantai nilai antar usaha sebagaimana dimaksud dalam Pasal 28 huruf e, meliputi: a. mendorong kemitraan antar usaha Kepariwisataan dengan industri kecil dan menengah dan usaha mikro, kecil dan menengah; dan b. meningkatkan kualitas produk industri kecil dan menengah dan layanan jasa Kepariwisataan yang dikembangkan usaha mikro, kecil dan menengah dalam memenuhi standar pasar.

(6) Strategi untuk perluasan akses pasar terhadap produk industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah sebagaimana dimaksud dalam Pasal 28 huruf f, meliputi: a. memperkuat akses dan jejaring industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah dengan sumber potensi pasar dan informasi global; dan

b. meningkatkan tanggung jawab sosial dan lingkungan perusahaan dalam upaya memperluas akses pasar terhadap produk industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah.

(7) Strategi untuk peningkatan akses dan dukungan permodalan sebagaimana dimaksud dalam Pasal 28 huruf g, meliputi: a. mendorong pemberian insentif dan kemudahan terhadap akses permodalan bagi Usaha Pariwisata skala usaha mikro, kecil dan menengah dalam pengembangan usaha sesuai dengan ketentuan peraturan perundang-undangan; dan b. mendorong pemberian bantuan permodalan untuk mendukung perkembangan industri kecil dan menengah dan Usaha Pariwisata skala usaha mikro, kecil dan menengah di sekitar Destinasi Pariwisata.

(8) Strategi untuk peningkatan kesadaran dan peran masyarakat serta pemangku kepentingan terkait sebagaimana dimaksud dalam Pasal 28 huruf h, meliputi: a. meningkatkan pemahaman, dan kesadaran masyarakat tentang sadar wisata dalam mendukung pengembangan Kepariwisataan di daerah; b. meningkatkan peran serta masyarakat dalam mewujudkan sadar wisata bagi penciptaan iklim kondusif Kepariwisataan setempat; c. meningkatkan peran dan kapasitas masyarakat dan polisi pariwisata dalam menciptakan iklim kondusif Kepariwisataan; dan d. meningkatkan kualitas jejaring media dalam mendukung upaya Pemberdayaan Masyarakat di bidang pariwisata.

(9) Strategi untuk peningkatan motivasi dan kemampuan masyarakat sebagaimana dimaksud dalam Pasal 28 huruf i, meliputi: a. mengembangkan pariwisata sebagai investasi pengetahuan; dan b. meningkatkan kuantitas dan kualitas informasi pariwisata nusantara kepada masyarakat.

Bagian Ketuju Pengembangan Investasi di Bidang Pariwisata

Pasal 30

Arah kebijakan pengembangan investasi di bidang pariwisata meliputi: a. peningkatan pemberian insentif investasi di bidang pariwisata sesuai dengan ketentuan peraturan perundang-undangan; b. peningkatan kemudahan investasi di bidang pariwisata; dan c. peningkatan promosi investasi di bidang pariwisata.

Pasal 31

(1) Strategi untuk peningkatan pemberian insentif investasi di bidang pariwisata sebagaimana dimaksud dalam Pasal 30 huruf a, meliputi: a. mengembangkan mekanisme keringanan fiskal untuk menarik investasi modal asing di bidang pariwisata sesuai dengan ketentuan peraturan perundang-undangan di bidang keuangan; dan b. mengembangkan mekanisme keringanan fiskal untuk mendorong investasi dalam negeri di bidang pariwisata sesuai dengan ketentuan peraturan perundang-undangan di bidang keuangan.

(2) Strategi untuk peningkatan kemudahan investasi di bidang pariwisata sebagaimana dimaksud dalam Pasal 30 huruf b, meliputi: a. melaksanakan debirokratisasi investasi di bidang pariwisata; dan

100

b. melaksanakan deregulasi peraturan yang menghambat perizinan.

(3) Strategi untuk peningkatan promosi investasi di bidang pariwisata sebagaimana dimaksud dalam Pasal 30 huruf c, meliputi: a. menyediakan informasi peluang investasi di Destinasi Pariwisata; b. meningkatkan promosi investasi di bidang pariwisata di dalam negeri dan di luar negeri; dan c. meningkatkan sinergi promosi investasi di bidang pariwisata dengan sektor terkait.

BAB IV

PEMBANGUNAN PEMASARAN

PARIWISATA NASIONAL

Bagian Kesatu

Umum

Pasal 32

Pembangunan Pemasaran Pariwisata nasional meliputi: a. pengembangan pasar wisatawan; b. pengembangan citra pariwisata; c. pengembangan kemitraan Pemasaran Pariwisata; dan d. pengembangan promosi pariwisata.

Bagian Kedua

Pengembangan Pasar Wisatawan

Pasal 33

Arah kebijakan pengembangan pasar wisatawan sebagaimana dimaksud dalam Pasal 32 huruf a, diwujudkan dalam bentuk pemantapan segmen pasar wisatawan massal dan pengembangan segmen ceruk pasar untuk mengoptimalkan pengembangan Destinasi Pariwisata dan dinamika pasar global.

Pasal 34

Strategi untuk pemantapan segmen pasar wisatawan massal dan pengembangan segmen ceruk pasar sebagaimana dimaksud dalam Pasal 33 meliputi: a. meningkatkan pemasaran dan promosi untuk mendukung penciptaan Destinasi Pariwisata yang diprioritaskan; b. meningkatkan akselerasi pemasaran dan promosi pada pasar utama, baru, dan berkembang; c. mengembangkan pemasaran dan promosi untuk meningkatkan pertumbuhan segmen ceruk pasar; d. mengembangkan promosi berbasis tema tertentu;

101 e. meningkatkan akselerasi pergerakan wisatawan di seluruh Destinasi Pariwisata; dan f. meningkatkan intensifikasi pemasaran wisata konvensi, insentif dan pameran yang diselenggarakan oleh sektor lain.

Bagian Ketiga

Pengembangan Citra Pariwisata

Pasal 35

Arah kebijakan pengembangan citra pariwisata sebagaimana dimaksud dalam Pasal 32 huruf b, meliputi: a. peningkatan dan pemantapan citra pariwisata Indonesia secara berkelanjutan baik citra pariwisata nasional maupun citra pariwisata destinasi; dan b. peningkatan citra pariwisata Indonesia sebagai Destinasi Pariwisata yang aman, nyaman, dan berdaya saing.

Pasal 36

(1) Strategi untuk peningkatan dan pemantapan citra pariwisata Indonesia sebagaimana dimaksud dalam Pasal 35 huruf a, meliputi: a. meningkatkan dan memantapkan pemosisian citra pariwisata nasional di antara para pesaing; dan b. meningkatkan dan memantapkan pemosisian citra pariwisata destinasi.

(2) Peningkatan dan pemantapan pemosisian citra pariwisata nasional di antara para pesaing sebagaimana dimaksud pada ayat (1) huruf a didasarkan kepada kekuatan-kekuatan utama yang meliputi: a. karakter geografis kepulauan; b. nilai spiritualitas dan kearifan lokal; c. keanekaragaman hayati alam dan budaya; d. kepulauan yang kaya akan rempah-rempah; dan e. ikon-ikon lain yang dikenal luas baik secara nasional maupun di dunia internasional.

(3) Peningkatan dan pemantapan pemosisian citra pariwisata destinasi sebagaimana dimaksud pada ayat (1) huruf b didasarkan kepada kekuatan-kekuatan utama yang dimiliki masing-masing Destinasi Pariwisata.

(4) Strategi untuk peningkatan citra pariwisata Indonesia sebagai Destinasi Pariwisata yang aman, nyaman, dan berdaya saing sebagaimana dimaksud dalam Pasal 35 huruf b, diwujudkan melalui promosi, diplomasi, dan komunikasi.

Bagian Keempat

Pengembangan Kemitraan Pemasaran Pariwisata

Pasal 37

Arah kebijakan pengembangan kemitraan Pemasaran Pariwisata sebagaimana dimaksud dalam Pasal 32 huruf c diwujudkan dalam bentuk pengembangan kemitraan pemasaran yang terpadu, sinergis, berkesinambungan dan berkelanjutan.

Pasal 38

102

Strategi untuk pengembangan kemitraan pemasaran terpadu, sinergis, berkesinambungan dan berkelanjutan sebagaimana dimaksud dalam Pasal 37, meliputi meningkatkan: a. keterpaduan sinergis promosi antar pemangku kepentingan pariwisata nasional; dan b. strategi pemasaran berbasis pada pemasaran yang bertanggung jawab, yang menekankan tanggung jawab terhadap masyarakat, sumber daya lingkungan dan wisatawan.

Bagian Kelima

Pengembangan Promosi Pariwisata

Pasal 39

Arah kebijakan pengembangan promosi pariwisata sebagaimana dimaksud dalam Pasal 32 huruf d, meliputi: a. penguatan dan perluasan eksistensi promosi pariwisata Indonesia di dalam negeri; dan b. penguatan dan perluasan eksistensi promosi pariwisata Indonesia di luar negeri.

Pasal 40

(1) Strategi untuk penguatan dan perluasan eksistensi promosi pariwisata Indonesia di dalam negeri sebagaimana dimaksud dalam Pasal 39 huruf a, meliputi: a. menguatkan fungsi dan peran promosi pariwisata di dalam negeri; dan b. menguatkan dukungan, koordinasi dan sinkronisasi terhadap Badan Promosi Pariwisata Indonesia dan Badan Promosi Pariwisata Daerah.

(2) Strategi untuk penguatan dan perluasan eksistensi promosi pariwisata Indonesia di luar negeri sebagaimana dimaksud dalam Pasal 39 huruf b, meliputi: a. menguatkan fasilitasi, dukungan, koordinasi, dan sinkronisasi terhadap promosi pariwisata Indonesia di luar negeri, dan b. menguatkan fungsi dan keberadaan promosi pariwisata Indonesia di luar negeri.

(3) Penguatan fungsi dan keberadaan promosi pariwisata Indonesia di luar negeri sebagaimana dimaksud pada ayat (2) huruf b dilakukan melalui fasilitasi program kemitraan antara pelaku promosi pariwisata Indonesia di dalam negeri dengan pelaku promosi pariwisata Indonesia yang berada di luar negeri.

BAB V

PEMBANGUNAN INDUSTRI

PARIWISATA NASIONAL

Bagian Kesatu

Umum

Pasal 41

Pembangunan Industri Pariwisata nasional meliputi : a. penguatan struktur Industri Pariwisata;

103 b. peningkatan daya saing produk pariwisata; c. pengembangan kemitraan Usaha Pariwisata; d. penciptaan kredibilitas bisnis; dan e. pengembangan tanggung jawab terhadap lingkungan.

Bagian Kedua

Penguatan Struktur Industri Pariwisata

Pasal 42

Arah kebijakan penguatan struktur Industri Pariwisata sebagaimana dimaksud dalam Pasal 41 huruf a diwujudkan dalam bentuk penguatan fungsi, hierarki, dan hubungan antar mata rantai pembentuk Industri Pariwisata untuk meningkatkan daya saing Industri Pariwisata.

Pasal 43

Strategi untuk penguatan fungsi, hierarki, dan hubungan antar mata rantai pembentuk Industri Pariwisata sebagaimana dimaksud dalam Pasal 42, meliputi: a. meningkatkan sinergitas dan keadilan distributif antar mata rantai pembentuk Industri Pariwisata; b. menguatkan fungsi, hierarki, dan hubungan antar Usaha Pariwisata sejenis untuk meningkatkan daya saing; dan c. menguatkan mata rantai penciptaan nilai tambah antara pelaku Usaha Pariwisata dan sector terkait.

Bagian Ketiga

Peningkatan Daya Saing Produk Pariwisata

Pasal 44

Peningkatan daya saing produk pariwisata sebagaimana dimaksud dalam Pasal 41 huruf b, meliputi: a. daya saing Daya Tarik Wisata; b. daya saing Fasilitas Pariwisata; dan c. daya saing aksesibilitas.

Pasal 45

Arah kebijakan peningkatan daya saing Daya Tarik Wisata sebagaimana dimaksud dalam Pasal 44 huruf a diwujudkan dalam bentuk pengembangan kualitas dan keragaman usaha Daya Tarik Wisata.

Pasal 46

Strategi untuk pengembangan kualitas dan keragaman usaha Daya Tarik Wisata sebagaimana dimaksud dalam Pasal 45, meliputi: a. mengembangkan manajemen atraksi;

104

b. memperbaiki kualitas interpretasi; c. menguatkan kualitas produk wisata; dan d. meningkatkan pengemasan produk wisata.

Pasal 47

Arah kebijakan peningkatan daya saing Fasilitas Pariwisata sebagaimana dimaksud dalam Pasal 44 huruf b diwujudkan dalam bentuk pengembangan kapasitas dan kualitas fungsi dan layanan Fasilitas Pariwisata yang memenuhi standar internasional dan mengangkat unsur keunikan dan kekhasan lokal.

Pasal 48

Strategi untuk pengembangan kapasitas dan kualitas fungsi dan layanan Fasilitas Pariwisata sebagaimana dimaksud dalam Pasal 47 meliputi: a. mendorong dan meningkatkan standardisasi dan Sertifikasi Usaha Pariwisata; b. mengembangkan skema fasilitasi untuk mendorong pertumbuhan Usaha Pariwisata skala usaha mikro, kecil dan menengah; dan c. mendorong pemberian insentif untuk menggunakan produk dan tema yang memiliki keunikan dan kekhasan lokal.

Pasal 49

Arah kebijakan peningkatan daya saing aksesibilitas sebagaimana dimaksud dalam Pasal 44 huruf c diwujudkan dalam bentuk pengembangan kapasitas dan kualitas layanan jasa transportasi yang mendukung kemudahan perjalanan wisatawan ke Destinasi Pariwisata.

Pasal 50

Strategi untuk pengembangan kapasitas dan kualitas layanan jasa transportasi sebagaimana dimaksud dalam Pasal 49 dilaksanakan melalui peningkatan etika bisnis dalam pelayanan usaha transportasi pariwisata.

Bagian Keempat

Pengembangan Kemitraan Usaha Pariwisata Pasal 51

Arah kebijakan pengembangan kemitraan Usaha Pariwisata sebagaimana dimaksud dalam Pasal 41 huruf c diwujudkan dalam bentuk pengembangan skema kerja sama antara Pemerintah, Pemerintah Daerah, dunia usaha, dan masyarakat.

Pasal 52

Strategi untuk pengembangan skema kerja sama sebagaimana dimaksud dalam Pasal 51 meliputi: a. menguatkan kerja sama antara Pemerintah, Pemerintah Daerah, dunia usaha, dan masyarakat; b. menguatkan implementasi kerja sama antara Pemerintah, Pemerintah Daerah, dunia usaha, dan masyarakat; dan c. menguatkan monitoring dan evaluasi kerja sama antara Pemerintah, Pemerintah Daerah, dunia usaha, dan masyarakat.

105

Bagian Kelima

Penciptaan Kredibilitas Bisnis

Pasal 53

Arah kebijakan penciptaan kredibilitas bisnis sebagaimana dimaksud dalam Pasal 41 huruf d, diwujudkan dalam bentuk pengembangan manajemen dan pelayanan Usaha Pariwisata yang kredibel dan berkualitas.

Pasal 54

Strategi untuk pengembangan manajemen dan pelayanan Usaha Pariwisata yang kredibel dan berkualitas sebagaimana dimaksud dalam Pasal 53 meliputi: a. menerapkan standardisasi dan Sertifikasi Usaha Pariwisata yang mengacu pada prinsip-prinsip dan standar internasional dengan mengoptimalkan pemanfaatan sumber daya lokal; b. menerapkan sistem yang aman dan tepercaya dalam transaksi bisnis secara elektronik; dan c. mendukung penjaminan usaha melalui regulasi dan fasilitasi.

Bagian Keenam

Pengembangan Tanggung Jawab Terhadap Lingkungan

Pasal 55

Arah kebijakan pengembangan tanggung jawab terhadap lingkungan sebagaimana dimaksud dalam Pasal 41 huruf e diwujudkan dalam bentuk pengembangan manajemen Usaha Pariwisata yang mengacu kepada prinsip-prinsip Pembangunan pariwisata berkelanjutan, kode etik pariwisata dunia dan ekonomi hijau.

Pasal 56

Strategi untuk pengembangan manajemen Usaha Pariwisata sebagaimana dimaksud dalam Pasal 55 meliputi: a. mendorong tumbuhnya ekonomi hijau di sepanjang mata rantai Usaha Pariwisata; dan b. mengembangkan manajemen Usaha Pariwisata yang peduli terhadap pelestarian lingkungan dan budaya.

BAB VI

PEMBANGUNAN KELEMBAGAAN KEPARIWISATAAN NASIONAL

Bagian Kesatu

Umum

Pasal 57

Pembangunan Kelembagaan Kepariwisataan meliputi: a. penguatan Organisasi Kepariwisataan; b. pembangunan SDM Pariwisata; dan

106 c. penyelenggaraan penelitian dan pengembangan.

Bagian Kedua

Penguatan Organisasi Kepariwisataan

Pasal 58

Arah kebijakan penguatan Organisasi Kepariwisataan sebagaimana dimaksud dalam Pasal 57 huruf a, meliputi: a. reformasi birokrasi kelembagaan dan penguatan mekanisme kinerja organisasi untuk mendukung misi Kepariwisataan sebagai portofolio pembangunan nasional; b. memantapkan Organisasi Kepariwisataan dalam mendukung pariwisata sebagai pilar strategis pembangunan nasional; c. mengembangkan dan menguatkan Organisasi Kepariwisataan yang menangani bidang Pemasaran Pariwisata; d. mengembangkan dan menguatkan Organisasi Kepariwisataan yang menangani bidang Industri Pariwisata; dan e. mengembangkan dan menguatkan Organisasi Kepariwisataan yang menangani bidang Destinasi Pariwisata.

Pasal 59

(1) Strategi untuk akselerasi reformasi birokrasi kelembagaan dan penguatan mekanisme kinerja organisasi sebagaimana dimaksud dalam Pasal 58 huruf a, meliputi: a. menguatkan tata kelola Organisasi Kepariwisataan dalam struktur kementerian; b. menguatkan kemampuan perencanaan, pelaksanaan, dan pengawasan program Pembangunan Kepariwisataan; dan c. menguatkan mekanisme sinkronisasi dan harmonisasi program Pembangunan Kepariwisataan baik secara internal kementerian maupun lintas sektor.

(2) Strategi untuk pemantapan Organisasi Kepariwisataan dalam mendukung pariwisata sebagai pilar strategis pembangunan nasional sebagaimana dimaksud dalam Pasal 58 huruf b, meliputi: a. menguatkan fungsi strategis Kepariwisataan dalam menghasilkan devisa; b. meningkatkan Usaha Pariwisata terkait; c. meningkatkan Pemberdayaan Masyarakat; dan d. meningkatkan pelestarian lingkungan.

(3) Strategi untuk pengembangan dan penguatan Organisasi Kepariwisataan yang menangani bidang Pemasaran Pariwisata sebagaimana dimaksud dalam Pasal 58 huruf c, meliputi: a. menguatkan struktur dan fungsi organisasi bidang pemasaran di tingkat Pemerintah; b. memfasilitasi terbentuknya Badan Promosi Pariwisata Indonesia; dan c. menguatkan kemitraan antara Badan Promosi Pariwisata Indonesia dan Pemerintah dalam pembangunan kepariwisataan nasional.

(4) Strategi untuk pengembangan dan penguatan Organisasi Kepariwisataan yang menangani bidang Industri Pariwisata sebagaimana dimaksud dalam Pasal 58 huruf d, meliputi: a. memfasilitasi pembentukan Gabungan Industri Pariwisata Indonesia; dan b. menguatkan kemitraan antara Gabungan Industri Pariwisata Indonesia dan Pemerintah dalam pembangunan kepariwisataan nasional.

(5) Strategi untuk pengembangan dan penguatan Organisasi Kepariwisataan yang

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menangani bidang Destinasi Pariwisata sebagaimana dimaksud dalam Pasal 58 huruf e, meliputi: a. menguatkan struktur dan fungsi organisasi bidang pengembangan destinasi di tingkat Pemerintah; b. memfasilitasi terbentuknya organisasi pengembangan destinasi; dan c. menguatkan kemitraan antara organisasi pengembangan destinasi dan Pemerintah dalam pembangunan kepariwisataan nasional.

Bagian Ketiga

Pembangunan Sumber Daya Manusia Pariwisata

Pasal 60

Pembangunan SDM Pariwisata sebagaimana dimaksud dalam Pasal 57 huruf b, meliputi: a. SDM Pariwisata di tingkat Pemerintah; dan b. SDM Pariwisata di dunia usaha dan masyarakat.

Pasal 61

Arah kebijakan Pembangunan SDM Pariwisata di tingkat Pemerintah sebagaimana dimaksud dalam Pasal 60 huruf a, diwujudkan dalam bentuk peningkatan kapasitas dan kapabilitas SDM Pariwisata.

Pasal 62

Strategi untuk peningkatan kapasitas dan kapabilitas SDM Pariwisata di lingkungan Pemerintah sebagaimana dimaksud dalam Pasal 61, meliputi: a. meningkatkan kemampuan dan profesionalitas pegawai; b. meningkatkan kualitas pegawai bidang Kepariwisataan; dan c. meningkatkan kualitas sumber daya manusia pengelola pendidikan dan latihan bidang Kepariwisataan.

Pasal 63

Arah kebijakan Pembangunan SDM Pariwisata di dunia usaha dan masyarakat sebagaimana dimaksud dalam Pasal 60 huruf b diwujudkan dalam bentuk peningkatan kualitas dan kuantitas SDM Pariwisata.

Pasal 64

Strategi untuk Pembangunan SDM Pariwisata di dunia usaha dan masyarakat sebagaimana dimaksud dalam Pasal 63, meliputi: a. meningkatkan kualitas dan kuantitas sumber daya manusia yang memiliki sertifikasi kompetensi di setiap Destinasi Pariwisata; b. meningkatkan kemampuan kewirausahaan di bidang Kepariwisataan; dan c. meningkatkan kualitas dan kuantitas lembaga pendidikan Kepariwisataan yang terakreditasi.

Bagian Keempat

Penyelenggaraan Penelitian dan Pengembangan

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Pasal 65

Arah kebijakan penyelenggaraan penelitian dan pengembangan untuk mendukung Pembangunan Kepariwisataan sebagaimana dimaksud dalam Pasal 57 huruf c, meliputi: a. peningkatan penelitian yang berorientasi pada pengembangan Destinasi Pariwisata; b. peningkatan penelitian yang berorientasi pada pengembangan Pemasaran Pariwisata; c. peningkatan penelitian yang berorientasi pada pengembangan Industri Pariwisata; dan d. peningkatan penelitian yang berorientasi pada pengembangan kelembagaan dan SDM Pariwisata.

Pasal 66

(1) Strategi untuk peningkatan penelitian yang berorientasi pada pengembangan Destinasi Pariwisata sebagaimana dimaksud dalam Pasal 65 huruf a, meliputi: a. meningkatkan penelitian dalam rangka pengembangan Daya Tarik Wisata; b. meningkatkan penelitian dalam rangka pengembangan aksesibilitas dan/atau transportasi Kepariwisataan dalam mendukung daya saing DPN; c. meningkatkan penelitian dalam rangka pengembangan Prasarana Umum, Fasilitas Umum dan Fasilitas Pariwisata dalam mendukung daya saing DPN; d. meningkatkan penelitian dalam rangka memperkuat Pemberdayaan Masyarakat melalui Kepariwisataan; dan e. meningkatkan penelitian dalam rangka pengembangan dan peningkatan investasi di bidang pariwisata.

(2) Strategi untuk peningkatan penelitian yang berorientasi pada pengembangan Pemasaran Pariwisata sebagaimana dimaksud dalam Pasal 65 huruf b, meliputi: a. meningkatkan penelitian pasar wisatawan dalam rangka pengembangan pasar baru dan pengembangan produk; b. meningkatkan penelitian dalam rangka pengembangan dan penguatan citra pariwisata Indonesia; c. meningkatkan penelitian dalam rangka pengembangan kemitraan Pemasaran Pariwisata; dan d. meningkatkan penelitian dalam rangka peningkatan peran promosi pariwisata Indonesia di luar negeri.

(3) Strategi untuk peningkatan penelitian yang berorientasi pada pengembangan Industri Pariwisata sebagaimana dimaksud dalam Pasal 65 huruf c, meliputi: a. meningkatkan penelitian dalam rangka penguatan Industri Pariwisata; b. meningkatkan penelitian dalam rangka peningkatan daya saing produk pariwisata; c. meningkatkan penelitian dalam rangka pengembangan kemitraan Usaha Pariwisata; d. meningkatkan penelitian dalam rangka penciptaan kredibilitas bisnis; dan e. meningkatkan penelitian dalam rangka pengembangan tanggung jawab terhadap lingkungan.

(4) Strategi untuk peningkatan penelitian yang berorientasi pada pengembangan kelembagaan dan SDM Pariwisata sebagaimana dimaksud dalam Pasal 65 huruf d, meliputi: a. meningkatkan penelitian dalam rangka pengembangan Organisasi Kepariwisataan; dan b. meningkatkan penelitian dalam rangka pengembangan SDM Pariwisata.

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BAB VII

INDIKASI PROGRAM

PEMBANGUNAN KEPARIWISATAAN NASIONAL

Pasal 67

(1) Rincian indikasi program pembangunan kepariwisataan nasional dalam kurun waktu tahun 2010 sampai dengan tahun 2025 sebagaimana dimaksud dalam Pasal 2 ayat (1) dan Pasal 7 dan penanggung jawab pelaksanaannya tercantum dalam Lampiran IV yang tidak terpisahkan dari Peraturan Pemerintah ini.

(2) Indikasi program pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (1) dilaksanakan sesuai dengan tahapan Rencana Pembangunan Jangka Panjang (RPJP) dan Rencana Pembangunan Jangka Menengah (RPJM).

(3) Dalam pelaksanaan indikasi program pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (1), kementerian/lembaga sebagai penanggung jawab didukung oleh kementerian/lembaga terkait lainnya dan Pemerintah Daerah.

(4) Dalam pelaksanaan indikasi program pembangunan kepariwisataan nasional sebagaimana dimaksud pada ayat (1), dapat didukung oleh dunia usaha dan masyarakat.

BAB VIII

PENGAWASAN DAN PENGENDALIAN

Pasal 68

(1) Pemerintah melakukan pengawasan dan pengendalian pelaksanaan RIPPARNAS. (2) Pengawasan dan pengendalian dilakukan sesuai dengan ketentuan peraturan perundang undangan.

BAB IX

KETENTUAN PERALIHAN

Pasal 69

Pada saat Peraturan Pemerintah ini mulai berlaku: a. semua peraturan perundang-undangan yang terkait dengan Pembangunan Kepariwisataan yang telah ada dinyatakan tetap berlaku sepanjang tidak bertentangan atau belum diganti berdasarkan Peraturan Pemerintah ini. b. semua perjanjian kerja sama yang telah dilakukan antar Pemerintah dan/atau dengan pihak lain yang berkaitan dengan Pembangunan Kepariwisataan di luar Perwilayahan Pembangunan DPN sebagaimana dimaksud dalam Pasal 11 tetap berlaku sampai dengan berakhirnya masa perjanjian.

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BAB X

KETENTUAN PENUTUP

Pasal 70

Peraturan Pemerintah ini mulai berlaku pada tanggal diundangkan agar setiap orang mengetahuinya, memerintahkan pengundangan Peraturan Pemerintah ini dengan penempatannya dalam Lembaran Negara Republik Indonesia.

Ditetapkan di Jakarta pada tanggal 2 Desember 2011 PRESIDEN REPUBLIK NDONESIA,

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DR. H. SUSILO BAMBANG YUDHOYONO

Diundangkan di Jakarta Pada tanggal 2 Desember 2011 MENTERI HUKUM DAN HAK ASASI MANUSIA REPUBLIK INDONESIA,

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AMIR SYAMSUDIN LEMBARAN NEGARA REPUBLIK INDONESIA TAHUN 2011 NOMOR 12

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