The Cultural Identity of Nusantara in a Movie Entitled Sang Pencerah by Hanung Bramantyo

HARMONIA : Journal of Arts Research and Education 16 (1) (2016), 57-65 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v16i1.6768

Dyah Gayatri Puspitasari, Setiawan Sabana, Hafiz Aziz Ahmad Bandung Institute of Technology, Bandung, Indonesia Jl. Ganesha No.10, Jawa Barat Indonesia E-mail: [email protected]

Received: March 8, 2016. Revised: May 3, 2016. Accepted: June 4, 2016

Abstract

Nowadays, during this intercultural era and global challenge, film can be interpreted as a practical strategy to develop meaning and Indonesian cultural identity. Through many singers of audiovisual creation, film has not only served as entertainment, but can also act as an instrument to reflect local values and traditional perspective through the storytelling that has been presented by film director. This role is a significant point to develop local insight and cultural value as the identity of Indonesian film. Although, at some point, this strategy still becomes a problem in In- donesian film fields.Sang Pencerah film that was directed by Hanung Bramantyo is one of Indone- sian films that attempted to deliver local identity in its storytelling. This research is an endeavour to identify Indonesian cultural identity that has been represented through Sang Pencerah film. By applying cultural studies and interdisciplinary as their methods, the researchers acquired some interesting findings. Firstly, aesthetic and thematic elements in the film narrative had a significant relation to traditional and cultural values of Javanese society. Secondly, the meaning of cultural identity also had a linear proportion to spiritual values in life, such as determination, peaceful- ness, gloriness, tolerance, as well as social understanding. Therefore, it can be concluded that the Sang Pencerah film is a manifestation of Hanung Bramantyo regarding to the meaning of Indone- sian culture that is based on Javanese society’s local wisdom.

Keywords: film; identity; culture; Indonesia; Javanese

How to Cite: Puspitasari, D. G., Sabana, S., & Ahmad, H. A. (2016). The Cultural Identity of Nusantara in a Movie Entitled Sang Pencerah by Hanung Bramantyo. Harmonia: Journal of Arts Research And Education, 16(1), 57-65. doi:http://dx.doi. org/10.15294/harmonia.v16i1.6768

INTRODUCTION itself. Unfortunately, the consequences of this continuation is the emergence of on- Recently, Nusantara society is fa- tology instability. At this point, cultural cing more complex and unexpected cultu- identity turns out to be at stake. Here, an ral bumps. Culture is placed into a mixed attempt in developing practical strategy in interaction between our local and other’s understanding meaning that may create culture. Culture seems to become a cumu- and shape the Nusantara’s cultural identi- lative experience and behavioral pattern ty is considerably needed. This is resulted that is interactive, fluid, and ‘unfrozen’. from a form of Nusantara cultural identity Sugiharto (2016, p. 2) consider this as the that has a significant role in constructing ability to lead certain situation into the integrated and authentic self-conception tendency of new reintegration towards the had by Nusantara society. core values of the culture, or in the contra- On the other hand, in their daily life, ry, it may ruin the core value of the culture the modern Nusantara society is now do-

57 58 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 57-65 minated by highly sophisticated screen Indonesia’s local films. This is often failing technology as movie or film. Film as one several Indonesian films in reflecting iden- of screen technology manifestation, is no tity and phenomena of the life of Nusan- longer known only in entertainment but tara society. Several Indonesian action or also in a range number communication of superhero films, for example, are packa- social, political, economic, art, education, ged into a set of fist fights or more to the philosophy, and religion ritual. In other Hollywood superhero’s style. In addition words, the film is now turning into one of is the tendency of the plot, setting and lo- decisive language means of public commu- cation that usually take place in foreign nication (Sugiharto, 2013, p. 308). Moreo- countries. These are often done in order ver, it has to be admitted that film industry to only achieve visual aesthetic value as is increasingly shaping the urban society’s well as market sale value. Therefore, amid mentality (Sugiharto, 2013, p. 309). At this the challenges faced in the recent era, an point, McCabe (1985, pp. 51-55) argues attempt in packaging Indonesia’s film as that film has its own ability to effectively the practice of studying meaning behind perform as an ideological construction that locality and Nusantara cultural identity legitimates mental and intellectual based becomes an essential matter to be studied. on certain interest and point of view. As a In relation to this, researcher in this result, study about film becomes essential study, has chosen a film entitled Sang Pen- since the film itself is not only a means of cerah by Hanung Bramantyo as an object of entertainment anymore but more of a va- the study. The choice is supported by the lue. fact that this film is carried out the story of With this potential, the film can be one influential Islamic figure in Indonesia, employed as a practical strategy to stu- K.H. Ahmad Dahlan, the founder of one of dy, meaning behind the Nusantara cultu- Islamic organizations in Indonesia named ral identity. Through various audiovisual Muhammadiyah in 1926. The film is clai- symbols that are created, the film is able med to the historical, cultural, and valuab- to become a means of reflection of value le aspects of Indonesian society during that and life perspective related to both the era, especially for Javanese society. The aspect of the locality contained in the sto- researcher assumes that this film, through ry and film scenario. In the film itself, the its film maker Hanung Bramantyo, had society (viewers) is given to cultural gaze packaged a storyline that is contained with about images related to cultural identity. enormous values of Nusantara’s cultural The film is able to make it viewable and identity. By this assumption, two research listenable for reflection of images is used questions are raised, 1) how is the relati- as an actual reality towards individuals/ on of the element of aesthetic and thema- society. It thus becomes an inevitable for- tic in the film entitled Sang Pencerah to the mation of identification process that is ef- formation of society’s cultural identity? fective for the society (viewers). 2) How do the messages and values con- In the reality, this fact creates a cer- tained in the film become understandable tain problem in the Indonesian cinematic for the society? world itself. Even though Indonesian mo- vies are increasingly showing a positive METHOD development, however, the strategy used in cultivating the aspect of locality as an According to the problem raised in identity in Indonesia’s films that claiming this study, interdisciplinary approach was themselves as employing Nusantara’s cul- employed in this study. It included the art ture is still arguable within the Indonesian of film and cultural studies. The method filmmakers. The influence of Hollywood, used here was qualitative. Operationally, taste, and market demand usually ero- this approach and method worked by pla- des the self-identity, meaning attached in cing culture as a manifestation of society’s Dyah Gayatri Puspitasari et al., The Cultural Identity of Nusantara in a Movie Entitled ... 59 behavior, attitude, idea, and product as so- mething dynamics, routine, and complex. This interdisciplinary perspective is born from the theoretical struggle that is motivated by practical phenomenon in the la- test cultural development. In this perspective, culture is not seen as a raw and static meaning, but more to a dynamic, prog- ressive, and even subversive. Culture is then interpreted as a process of production and meaning exchange (Barker, 2005, p. 10). Relation that is mutually intersecting within culture necessities various discipli- nes eclectically. At this point, there is no Figure 1. Interdisciplinary Method superior theory and definition which may Source: Saidi (2008, p. 4) dominate one’s understanding (Kellner, 2010, p. 34). If the interdisciplinary method is Eclecticism in interdisciplinary met- applied orderly based on the previous cul- hod has a way of working that is based on tural figure, relevancy will be appeared. a specific discipline as the “ontology- ba The appearance will be in a form of film sis”. In this study, the film which is seen as as an artwork that is placed as cultural ar- an artwork is the “basis of ontology” that tifacts with necessity in interdisciplinary is referred. It means that film as an object method as its analysis shiv. of study has to be addressed as an autono- mous art institution which is built by rela- RESULT AND DISCUSSION tion between aspects within its structure. This acts as the basis of analysis which is Textual Fact of Sang Pencerah then referred as objectivity. This stage is The film entitled Sang Pencerah tells then continued into the next level, which the viewer about a central figure of one is symbolization. If during the first stage, of Islamic organizations in Indonesia cal- structural method assistance was needed, led Muhammadiyah named K.H. Ahmad in this stage, structural semiotics would Dahlan (1926). During his struggle in es- also need to be implemented. Here, the art- tablishing the organization, Yogyakarta work of the film is read as a set of markers society was in poor poverty. The life of that refers to several other marks outside the society was in chaos because of Net- of the film itself. herland colonialism and greedy local go- In achieving larger and deeper mea- vernments. The misery of life felt by so- ning, reference (marker) has to be explored ciety caused them to trap in the practices and dissected up to the maximal limit. The of superstition, mysticism, and other ir- relation between complex markers and rational behaviors. Various attempts had signs in semiotics necessitates that study been made by Ahmad Dahlan to solve this will comprehend all codes (a set of signs problem. As for example, he preached by and markers that has become one’s rule, giving critical statements towards supers- law, etc.) within the user society. It may tition, mysticism, offering ritual, etc. Dah- in a form of author code, language code, lan had also ever suggested to shift the di- a cultural code, political code, social code, rection of Qibla, to teach Islam by playing etc. At this point, various relevant discip- violin, to wear vast or blankon (Javanese lines (outside the film) are needed until it traditional hat) whenever he delivered his may break a deep horizon. The operation preaching, as well as to change the situa- method is illustrated in the following Fi- tion of pesantren (Islamic boarding school) gure 1. which was previously using only floor and 60 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 57-65 mat to be equipped with tables and chairs. is set based on local perspective. This the- Dahlan’s perspective and behavior were matic side is motivated by Javanese local considered as deviated as soon as he ex- belief. According to semiotic perspective pressed his ideas. A mass chaos was then of Pierce (Short, 2007, p. 214), the nuance of occurred. The follower of Imam Masjid Be- brown color which is shown in almost the sar Kauman, Kyai Cholil Kamaludiningrat, entire film is the index of old periodical in a central figure of Islam in Yogyakarta in Javanese space and time. In Javanese phi- that era who opposed Dahlan, destroyed losophy itself, the brown nuance as shown Dahlan’s place where he usually taught in the film is interpreted as kesejagatan or his students which was broadly known as the universe that is based on the value of Langgar Kidoel. However, Muhammadiyah manungsa (people), jagad (universe), and under Ahmad Dahlan successfully found gusti Alloh (the Creator). its own place within the society. The born of Muhammadiyah was then known as the sign of the born of a new bright hope (pencerahan). Muhammadiyah, until recent days, has had enormous numbers of followers. Besides introducing and strengt- hening Islam, this organization also takes part in society’s education, health, and other social aspects, in order to lead its followers to a situation where they can find a new bright hope (pencerahan). Figure 2. Artistic Management in the Cin- Nusantara Cultural Identity Markers ematic Aspect of Sang Pencerah Film An identity formation of a certain Source: Sang Pencerah Film, Documented film is closely influenced by the relation by Researcher (2016) between aesthetic and thematic elements within its structure. Aesthetic element comprises cinematic aspects of the film, such as a visual element, cinematography, editing, and voices, whereas thematic element encompasses film narrative aspect, such as the aspect of the storyline or film theme (Pratista, 2008, pp. 1-2). Sang Pen- cerah is considered as a film that compre- hends a considerable amount of aesthetic and thematic symbols which are related Figure 3. Artistic Management of Light- towards each other to form a cultural iden- ning Movement tity in Javanese culture space and time. Source: Sang Pencerah Film, Documented From figure 2, it can be seen that a by Researcher (2016) smart execution from Hanung Braman- tyo on the artistic aspect of the cinematic Examining the lighting and shadow of Sang Pencerah film, such as: costumes, as the aspect of artistic management in this properties, setting, and lighting. Especial- film has its own attractiveness. Sang Pen- ly for the lightning aspect, the textual fact cerah belongs to a film that utilizes light- of the Sang Pencerah film shows that the ning movement and shadow aspects as an implicit lighting within the word ‘pence- interpretation aspect which is framed with rah’ is thematic, and not only deal with the Javanese cultural code surrounded it. One technical term of bright and dark. In its vi- example of previous theory is shown du- sual narration, it is shown how the lighting ring the scene in which showing Dahlan is Dyah Gayatri Puspitasari et al., The Cultural Identity of Nusantara in a Movie Entitled ... 61 thinking hard and more to brooding (Figu- wall. The visualization technique of this re 3). Dahlan, during that scene, is trying shadow is related closely to the concept to brace himself in facing all conflicts that of solah in the aesthetic of sabet in Javanese he has since all the followers of Kyai Cho- puppet. Sabet in Javanese puppet illustra- lil (the antagonist) label him as an infidel tes the atmosphere of a particular scene or Islamic leader. Up to that point, Dahlan st- certain character of actor in puppet show, rengthens himself to be strong in fighting while, solah means the movement of puppet for his belief. character that draws certain atmosphere or The scene is focused on dark visual act (Soetarno, 2007, pp. 129-132). frame, contrast with the shadow of lightning that is directed to the figure of Dah- lan. Minutes after that, the lighting seems to be darker and moves to the sky. This lightning visualization can be interpreted as interpretation strategy towards the aspect of lightning on its philosophical level. As discussed before, in Javanese culture, lighting is not merely a technical matter regarding bright and dark, but also a sub- stance with value complexity that is con- Figure 4. Shadow Movement Artistic tained within it. The God is interpreted as Management Sang Mahacahaya (The One who gives us Source: Sang Pencerah Film, Documented a bright hope of life). Referring to semio- by Researcher (2016) tic perspective of Peirce, the movement of lightning or illumination can be inter- Other significant aesthetic aspect role preted as index of spiritual value rasa (fee- in this film is laid in the element of voices. ling) and eling (remembering). In Javanese Throughout the film, the soundtrack is philosophy, feeling is an implicit load, the packaged in the combination of orchestra, deepest interpretation, and an emotional Javanese gending (Javanese local instru- feeling in one’s heart (Soetomo, 2007, p. ment), and Islamic character tone. Further, 13). Further, eling sing nyimaake is inter- in some dialogs, several scenes are using preted as our attitude in always remem- Javanese language or Bahasa Indonesia in bering our God as the One who is capab- Javanese accent. The interesting part here le to get somebody to disappear, destroy, is one scene which shows one character eliminate, and abolish certain objects in a is singing Javanese traditional song. The short and sudden time. Through this at- scene is shown when Dahlan feels extre- titude, one is able to strengthen one’s own mely depressed with his condition when self when evil approaches by and spread he is forced to face kinds of conflict and out in front of one’s eyes. Therefore, one contra from societies. In that scene, his un- will give one’s self to God and believe that cle then supports him while singing a Java- He will destroy all evils in human world nese traditional song which contains valu- (Bayuadhy, 2015, pp. 13-15). able meaning. The way of the uncle sings Figure 4 shows examples of shadow this Javanese traditional song gives the movement artistic management in Sang sense of deep emotion that is felt by vie- Pencerah film. This scene emphasizes the wers of the film. The combination between event when all Kyai Cholil followers are song and visual artistic management that destroying and burning Langgar Kidoel is shown gives the nuance and aesthetic of where Dahlan is usually taught his lesson traditional Java. to his followers. It is shown how group of massive mass is symbolized as silhouet- te movement reflected in Dahlan’s house 62 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 57-65

The Analysis of Sang Pencerah’s Narra- livelihood of the people, especially in the tion Structure practice of Islam in Javane’ Space and time Besides the role of relation between Javanese story. aesthetic elements, the formation of Nus- The text of this film explicitly sends antara culture identity in Sang Pencerah the message. Verbal and visual descripti- Film can be also identified from its narration about the misery of Yogyakarta society ve aspect. It becomes interesting since the also the practices of superstition, mysti- formation of cultural identity of Nusantara cism, and other irrational behavior are gi- is resulted from the strategy of contradic- ven in this movie as the dark side. From tion between two main characters in the here, the film narration is then moving and film (K.H. Ahmad Dahlan and Kyai Cholil paying more attention the contradiction Kamaludiningrat). Conflict between the- between binary oppositions. se characters is able to string up various events for the next story to begin. Referring to the structural linguistic perspective from Ferdinand de Saussu- re (1990), generally, it is clearly seen that the structure of this film is constructed by Figure 5. Dahlan’s Departure to Mecca dichotomy or binary opposition. The bi- Source: Sang Pencerah Film, Documented nary oppositions in this film are: Ahmad by Researcher (2016) Dahlan-Kyai Cholil Kamaludiningrat, en- lightment-darkness, Kauman Great Mos- On the scene of Dahlan’s departure que-Langgar Kidoel, smartness-stupidity, to Mecca to deepen his knowledge about modern-traditional, rationality-mystic, Islam, it is explicitly seen that Dahlan is rich-poor, vast-lurik (Javanese traditional willing to spare his family and Yogyakar- costume), blankon (Javanese traditional ta society from the bondage of darkness. hat)-turban (Arabic Style traditional hat), In semiotic, it is symbolized by the acti- a classroom with tables and chairs-a clas- on of Dahlan who left Yogyakarta and sroom without tables and chairs (students went to Mecca. Binary opposition is then sit on the floor), etc. These binary opposi- seen from the willingness of Dahlan who tions become the main frame that shape went to Mecca in the age of 15 instead of the integrity of the story and the integrity in older age when people usually did. This of cultural identity of Nusantara inside a creates the relation of binary opposition film. between Dahlan’s perspective of thinking and people surrounded him. At this point, Relation of Binary Opposition in Identity it can be interpreted that Dahlan attempts Interpretation of Nusantara Culture to present a new rationale on the darkness In structuralism perspective, the tit- (old rationale) owned by Yogyakarta so- le Sang Pencerah in this film is becoming ciety during that era. an emphasis that refers to the binary op- In Javanese culture’s perspective, position between enlightenment and dark- phenomenon shown in Ahmad Dahlan ness. In linguistics, pencerah means giving film is linear to Javanese’s philosophy enlightenment or hopes that changes the Urip iku Urup. It means that the prosperity dark into the light. Therefore, Sang Pence- in human’s life lies in the meaning of gi- rah in this film refers to a man that is able ving and not asking. Second, Urip Ike (Life to use the light he had to change the con- is) Urup (a flashlight). Here, it means that dition of his place of living. It can be iden- the prosperity of human’s life lies in their tified later that this title is metaphoric sin- ability in becoming a ‘light’ that may ligh- ce the enlightenment happens here is not ten the life of other people (Musman, 2015, only the actual condition of changing the p.36). Therefore, meaning that is under- dark into the light, but more to change the Dyah Gayatri Puspitasari et al., The Cultural Identity of Nusantara in a Movie Entitled ... 63 lined here is that life is bright and needs a interpreted as a confirmation of binary op- light on (vision). In addition, life supposed position between traditional and modern to be filled with the act of giving to others. teaching method. The violin itself is inter- Thus, from the philosophy, this scene preted as a Western culture product that is seems to be the reflection towards prover- fully opposed the tradition of Islam. Here, bs eling miring sesame and waspada ing lair the violin is opposed tambourine. The vi- lan batine inside Dahlan. Eling miring ses- sualization of the tambourine is sent from ame is an attitude of caring to others as a the scene where there is a procession of realization that in this world, man cannot hadroh that is played when Dahlan is about live alone (Bayuadhy, 2015, pp. 18-19). to fly to Mecca. Tambourine contains the Whereas waspada ing lair lan batine is an aspect of collectivity, crowded, massive, action of being aware inside and outside and used as a symbol of traditional cha- ourselves (Musman, 2015, p.68). With this racter. While, the violin is individualist awareness, a man is able to employ a deep and acts the symbol of modern character. thought that is different from other peop- The voice produced by tambourine can le. This awareness comprises readiness be interpreted as an outer sound which on oneself to face various disasters or risk means that the sound produced is limited either the real or hidden one. Sharpening to people’s ear production. It can only be one’s soul to face the challenge of life is heard. On the other hand, the sound pro- closely related to one’s way of thinking. duced by the violin is inner. It means that An inner alert becomes a cornerstone of the sound produced can be internalized by thinking that may born one’s smartness, people’s deepest heart. Therefore, Dahlan brave, firmness, wisdom, and a high con- is using the violin as one of his strategies cern as well. in teaching his students since it considers to be awakened and is able to encourage people to understand and internalize the taught given. This is can be interpreted as Hanung Bramantyo’s, the director, way of emphasizing the interpretation upon the values Figure 6. Violin and Furnished Classroom of openness, carefulness, and smartness with Tables and Chairs had by Ahmad Dahlan in facing differen- Source: Sang Pencerah Film, Documented ces, negotiating, adopting, struggling, and by Researcher (2016) communicating his thought, also changing his society into a better and more modern A binary opposition relation can be taught. Up to this point, we can learn that also found during the scene shows that differentiation is natural to happen within Dahlan equips the classroom of his pesant- a group of people who try to live hand in ren (Islamic boarding school) with tables hand in a certain society. Differentiation, and chairs. This scene is emphasizing bina- however, is a means to achieve harmony. ry opposition between modern and tradi- Contradicted cultural value can be inter- tional learning method in Islamic boarding preted and selected intelligently until we school. Whereas coat and blankon, Javanese able to mutually reinforcing without neg- traditional hat, wore by Dahlan in a go- lecting up to the point that we may destroy vernment classroom can be interpreted as the core value national culture. In Javanese a marker that is opposed with lurik, Java- philosophy, this perspective of life is inter- nese traditional clothes, and turban, Arabic preted as the attitude of ngluruk tanpa bala Style hat, is also used as a tradition shift and tan kena mbedak-mbedakke. Ngluruk tan- marker. pa bala has meaning that fighting or strug- Besides, the scene where the violin is gling does not always need mass. Victory used by Dahlan in teaching Islam can be does not always achieve through war or 64 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 57-65 fight, besides, by an intelligent -commu with local intelligence, compromise, and nication and negotiation (Musman, 2015, tolerance (Saidi, 2012, p.80). This is seen p.97). Whereas, tan kena mbedka-mbedakke is from the dialogue between two central an action of appreciating differences to cre- characters in the story who finally realize ate and keep the harmony of life (Bayuad- that they are both Moslem who share the hy, 2015, p.179). same religion that is Islam. It means that they are brothers who need to remind, res- pect, and protect each other’s role in pro- tecting Islam. They also agree to learn to- gether to be a pure person in front of God since only Him knowing the truth that they are arguing and debating. A human Figure 7. Kyai Cholil and Ahmad Dahlan can only struggle. In Javanese philosophy, Source: Sang Pencerah Film, Documented this scene can be interpreted as kena ing by Researcher (2016) cidra that is correction and self-improve- ment (Bayuadhy, 2015, p.145), and memayu From the relation analysis, therefore, hayuning bawana, ambrasta dur hangkara. subjectivity contradiction formation bet- The proverb means that human lives in this ween K.H. Ahmad Dahlan – Kyai Cholil world by attempting to achieve the feeling Kamaludiningrat is considerably seen real. of safety, happiness, and prosperity, while Here, we can see that Ahmad Dahlan and at the same time wanting to destroy anger Kyai Cholil are in the relation that both of and greed (Musman, 2015, p. 65). them want the position as a leader. In other words, they basically are on the contradic- CONCLUSION tion of the system. Ahmad Dahlan’s way of thinking is basically formed from mo- Based on the study result, it can be dernism subjectivity while Kyai Cholil’s is concluded that through the structure of more to the traditional one. In this frame- meaning contradiction, the film entitled work, Ahmad Dahlan sees Islam from the Sang Pencerah is able to significantly raise ratio of science in which religion supposed and shape Nusantara’s cultural identity. to be free from tradition. Therefore, Ah- Therefore, Sang Pencerah is not only a film mad Dahlan is resistant towards tradition that appoints a famous figure as the cent- and claim that any practices about supers- ral of the film, but broader to uphold and tition and mystic are not justified. On the discuss tradition versus modern society other hand, Kyai Cholil sees Islam as a tra- phenomenon that becomes an issue. ditional person in that era. He is basically Although Sang Pencerah is conside- traditional and anti-differences. For him, red as a very modern film, however, the religion seems helpless in facing problem traditional aspect is not cornered, inju- in that era. red, or abandoned. A new rationale that From the message attached in the is given by Hanung Bramantyo through film, we may learn that an action of over his film can be also considered as Ahmad distinction tends to belong to cultural fun- Dahlan’s. A rationale that is based on local damentalism (Sugiharto, 2016, p. 1). This is wisdom that is rooted in Javanese culture’s considered to be dangerous since it shares noble values of philosophy. This is sup- the same understanding and definition of posed to be an eminence that needs to be racism. It turns out to be unrealistic at- attached inside Nusantara’s society and titude and blurs the clarity of the human’s become its own integrity identity that may way of thinking about complexity of prob- balance dynamics in a more complex cul- lems in real life. tural contradiction. In the final scene of the film, howe- On the other hand, the strategy of ver, this conflict is finally able to be solved contradiction used in this film, can be also Dyah Gayatri Puspitasari et al., The Cultural Identity of Nusantara in a Movie Entitled ... 65 interpreted as a message from Hanung can lead the world and limit one’s action. Bramantyo, that culture is basically grown from conflict. Even, culture is the conflict REFERENCES itself. Both the radical and light conflict are both appeared in every culture and Barker, C. (2005). Cultural Studies, Teori dan human civilization’s history. Thus, cultu- Praktik, translated by TIM KUNCI re is supposed to be able to be interpreted Cultural Studies Centre. Yogyakarta: as unlimited space for the emergence of Bentang. continuous comment, conflict, and value. Bayuadhy, G. (2015). Eling Lan Waspada. Culture cannot be placed as a nostalgia Yogyakarta: Saufa. of exclusivity that tends to be mystic and Mac Cabe, C. (1985). 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