KEPERCAYAAN DAN KEHIDUPAN: SUATU PERSPEKTIF SUNDA WIWITAN (FAITH AND LIVING: A PERSPECTIVE OF SUNDA WIWITAN) RESEARCH AND DESIGN PRODUCTION FOR FILM REPORTS
By Silmi Nabilah ID No. 009201300055
A Research and Creative Project Report presented to The School of Humanities President University In partial fulfillment of the requirements of Bachelor Degree on Communication Studies, Concentration in Film and Television
2017
DECLARATION OF ORIGINALITY
I declare that this thesis, entitled “BERKETUHANAN DAN BERNEGARA: SUATU PERSPEKTIF DARI SUNDA WIWITAN RESEARCH AND DESIGN PRODUCTION FOR FILM REPORTS”, is to the best of my knowledge and belief, an original piece of my work that has not been submitted, either in whole or in part, to another university to obtain a degree
Cikarang, Indonesia, 17th May 2017
Silmi Nabilah
ACKNOWLEDGMENTS
“Allah will raise those who have believed among you and those who were given knowledge, by degrees. And Allah is acquainted with what you do” – Al Mujadila: 11
In the name of Allah, the most gracious, the especially merciful. It is a greatest blessing that I can finally finish my study in President University, thesis and documentary film. I would like to express my gratitude to the Almighty God, Allah SWT for his blessing and uncountable love which given to me and give me strength and patient to get through up and down during my study in President University. And to go through all of this, there is always a massive supports and love from people surround me and also spend their time and energy to help during my study in President University. Therefore, I would like to deliver highest gratitude to these people who has been supporting, loving, giving advice and prayer: 1. Bunch of love and thanks to my parents, Bayu Nugraha and Maya Shinta who always give the unconditional love, endless support and prayer so I can stay motivate and strong during my study since first year. And many love for the beautiful little angel, Nadinnara Khaleesa Salwa, who always cheers me up whenever I feel down during my thesis completion. 2. I would like to give my gratitude to Mr. Syamsuddin Azis as my research advisor and Mr. Hari Suryanto as my creative advisor for all their time and energy spent, motivation, advices, knowledge, inspirations, ideas and guidance during my thesis writing. 3. I would like to express my gratitude to Mr. Teuku Rezasyah, Ph.D as Dean of Faculty of Humanities in President University. 4. My sincere gratitude to Mr. Dindin Dimyati S.Sos., MM as Head of Communication study program. 5. I would like to express my gratitude for these great lecturers of Film and Telvisiom, Mr. Hari Suryanto, Mr. Nur Hidayat, Mr. Ardha Muhlisiun for all the knowledge, guidance, inspirations and advices. 6. I would like to say thank you to Ms. Irani Yosef for the support and motivation during finish my final project. 7. I would like to say thank you to Kang Jajat, Mbah Widi, Kang Going, Kang Diki, Kang Tri, Kang Yana, Kang Ogi and Kampung Cireundeu people for accepting me, also give me a chance and support me to do my research and documentary film in Kampung Cireundeu. 8. I would like to send my love and also bunch of thank to my beloved late grandfather, (Alm) Dadang Kadarisman, for all the love he gave me and support every decision that I made. I know you already rest in peace by God‟s side. I promise I will make you proud. And I also dedicated this for you. 9. And bunch of love for my grandmother, Tien Agustini, for all the love she gives me and prayer during my study. 10. I am also grateful to have Paman Oki and Tante Ica for always support me, giving help, advice and encourage me to stay positive during my study. And also to my lovely cousins, Teh Nasya, Ade Sefa and Kakang Rayn, who always spread the happiness to surrounding, including me. 11. I would like to say my sincere thanks to Arshinta Agnahorti, Fajar Aulia, Ghisna Ayesha, Tia Mega Putri and Ajeng Diah Permata S who help me through my assignments and projects since the first year until my last year. And also Eton, for the support and motivate me since the first year. 12. My special thanks to Film and Television batch 2013, Aditya Kurniawan, Adrin Vitadini, Amanda Ariesta, Cindy Arcelia, Feng Xiao Han, Ghanding Ghali Kanory, Ghinaa Atikawati, Mutiara Pertiwi, and Yohanes Indrawan for all the laugh and tears through the semesters and also thanks for supporting each other. 13. I specially thank Rahmat Ramdhani, Oktaviani Anjasari and Vivian Yuli who always support since a long time ago. Thank you for always being here. 14. Especially for my crew during the production and post-production, Beni, Reza and Nugroho, for sharing the knowledge and experience, also patiently to understand instruction during the production. I can‟t do this without all of you.
ABSTRACT
Indonesia has so many varieties of tribes, culture, and belief. Beliefs in Indonesia are not only the major religions such as Islam, Christianity, Buddhism, Hinduism and other major religions. Indonesia also has local traditional beliefs that already exist before the other major religions came along in Indonesia. Sunda Wiwitan is one of local belief that still exists until now. But as time goes by, the existence of Sunda Wiwitan is threatened. The lack of recognition from the government that make Sunda Wiwitan is easy experience criminalization. And The purpose of this study is the researcher will explore more about how is the local government recognition to Sunda Wiwitan believers and what is the implication of the government recognition to Sunda Wiwitan believers.. The researcher will approach ethnography in this research to understand on how government recognition and the implications to Sunda Wiwitan believers. The researcher hopes this research will give better understanding about traditional local belief, Sunda Wiwitan. Later on, the result of this research will use as a fundamental to create a documentary film.
Keywords: Belief, Local belief, Religion, Sunda Wiwitan, Government, Indonesia, Ethnography, History.
TABLE OF CONTENTS
CHAPTER I: INTRODUCTION 1 1.1 BACKGROUND 1 1.2 PRODUCTION PURPOSES 1 1.3 RESEARCH QUESTIONS 2 1.4 INTENDED IMPACTS 2 1.5 TARGET AUDIENCES CHAPTER II: LITERATURE REVIEW 4 2.1 A BRIEF HISTORY OF SUNDA WIWITAN 5 2.2 SUNDA WIWITAN AND THE GOVERNMENT RECOGNITION 7 CHAPTER III: METHODOLOGY 10 3.1 CONCEPTUAL FRAMEWORK OF THE FILM 10 3.2 METHOD 10 3.2.1 RESEARCH APPROACH 10 3.2.2 OBJECT/PHENOMENON TO BE FILMED 11 3.2.3 UNIT OF ANALYSIS 11 3.2.4 DATA COLLECTION TECHNIQUE 11 3.2.5 CODING AND ANALYZING OF DATA PROCEDURES 12 3.2.6 TRUSTWORTHINESS AND AUTHENCITY 12 CHAPTER IV: RESULT TO BE FILMED 13 4.1 GOVERNMENT RECOGNITION TO SUNDA WIWITAN BELIEVERS 13 4.2 THE IMPLICATION OF GOVERNMENT RECOGNITION TO 15 SUNDA WIWITAN BELIEVERS 4.2.1 MARRIAGE CERTIFICATE 15 4.2.2 BIRTH CERTIFICATE 16 4.2.3 IDENTITY CARD 16 CHAPTER V: CONLUSION 18 CHAPTER VI: PRODUCTION DESIGN 19 6.1 DEVELOPMENT OF SCENARIO 19 6.1.1 FILM STATEMENT 19 6.1.2 THEME 19 6.1.3 BASIC STORY 19 ` 6.1.4 SYNOPSIS 20 6.1.5 TREATMENT 22 6.2 THE ANALYSIS OF SCENARIO 40 6.2.1 MESSAGE ANALYSIS 40 6.2.2 CHARACTER ANALYSIS 41 6.2.3 SETTING ANALYSIS 43 6.2.4 PROPERTY ANALYSIS 48 6.2.5 WARDROBE ANALYSIS 51 6.2.6 MAKE UP AND HAIRSTYLE ANALYSIS 53 6.3 CREATIVE CONCEPT 55 6.3.1 CONCEPT OF WRITING SCENARIO 55 6.3.2 CONCEPT OF PRODUCTION 56 6.3.3 CONCEPT OF DIRECTING 58 6.3.4 CONCEPT OF CINEMATOGRAPHY 60 6.3.5 CONCEPT OF ARTISTIC 62 6.3.6 CONCEPT OF MUSIC AND SOUND 63 6.3.7 CONCEPT OF EDITING 63 6.3.8 CONCEPT OF THE OPENING, TITLE TYPHOGRAPHY AND THE CREDIT OF THE TITLE FILM 65 6.3.9 CONCEPT OF POSTER 65 6.4 FILM BREAKDOWN 66 6.4.1 SETTING AND LOCATION BREAKDOWN 66 6.4.2 CAST BREAKDOWN 68 6.4.3 PROPERTY BREAKDOWN 69 6.4.4 WARDROBE BREAKDOWN 70 6.4.5 HAIRSTYLE AND MAKE UP BREAKDOWN 72 6.4.6 CAMERA AND LIGHTING BREAKDOWN 74 6.4.7 MASTER BREAKDOWN 77 6.5 HUNTING/PLAN SURVEY 81 6.5.1 HUNTING TALENT CAST 81 6.5.2 HUNTING LOCATION 81 6.5.3 PROPERTIES 81 6.5.4 WARDROBE 81 6.5.5 MAKE UP AND HAIRSTYLE 82 6.5.6 LOGISTICS 82 6.5.7 TRASNPORTATION 82 6.5.8 ACCOMODATION 82 6.5.9 COMMUNICATION 82 6.5.10 EQUIPMENT 82 6.5.11 WORKSHOP 82 6.5.12 HUNTING TEAM 83 6.5.13 HUNTING SCHEDULE 83 6.5.14 HUNTING BUDGET 83 6.6 PRODUCTION SCHEDULE 85 6.6.1 PRE PRODUCTION SCHEDULE 85 6.6.2 SHOOTING SCHEDULE 86 6.6.3 ON LINE SHOOTING SCHEDULE 93 6.6.4 POST PRODUCTION SCHEDULE 94 6.7 PRODUCTION BUDGET 95 6.7.1 BUDGET ESTIMATION 95 6.7.2 BUDGET SUMMARY 97 CHAPTER VII: PRODUCTION REPORT 98 7.1 SCENARIO 98 7.1.1 TECHNICAL PROBLEM 98 7.1.2 NON TECHNICAL PROBLEM 98 7.1.3 SOLUTIONS 98 7.2 DIRECTOR 99 7.2.1 TECHNICAL PROBLEM 99 7.2.2 NON TECHNICAL PROBLEM 99 7.2.3 SOLUTIONS 99 7.3 PRODUCTION 100 7.3.1 TECHNICAL PROBLEM 100 7.3.2 NON TECHNICAL PROBLEM 100 7.3.3 SOLUTIONS 100 7.4 CINEMATOGRAPHY 100 7.4.1 TECHNICAL PROBLEM 100 7.4.2 NON TECHNICAL PROBLEM 101 7.4.3 SOLUTIONS 101 7.5 ARTISTIC 101 7.5.1 TECHNICAL PROBLEM 101 7.5.2 NON TECHNICAL PROBLEM 101 7.5.3 SOLUTIONS 101 7.6 EDITING 7.6.1 TECHNICAL PROBLEM 101 7.6.2 NON TECHNICAL PROBLEM 101 7.6.3 SOLUTIONS 102 7.7 SOUND 102 7.7.1 TECHNICAL PROBLEM 102 7.7.2 NON TECHNICAL PROBLEM 102 7.7.3 SOLUTIONS 102 7.8 TALENT 102 7.8.1 TECHNICAL PROBLEM 102 7.8.2 NON TECHNICAL PROBLEM 103 7.8.3 SOLUTIONS 103 7.9 WARDROBE 103 7.9.1 TECHNICAL PROBLEM 103 7.9.2 NON TECHNICAL PROBLEM 103 7.9.3 SOLUTIONS 103 7.10 PROPERTY 103 7.10.1 TECHNICAL PROBLEM 103 7.10.2 NON TECHNICAL PROBLEM 104 7.10.3 SOLUTIONS 104 CHAPTER VIII: CONCLUSION AND RECOMMENDATION 105 8.1 CONCLUSION 105 8.2 RECOMMENDATION 105 8.2.1 FOR FILMMAKERS 105 8.2.2 FOR CAMPUS 105 BIBLIOGRAPHY 107 APPENDIX 109
CHAPTER I INTRODUCTION
1.1 BACKGROUND Indonesia, as we know, is a multi-cultural country, home of many tribes, ethnicities and also religions or belief. Beside world great religion such as Islam, Christianity, Buddhism, Hinduism, and Confucianism, Indonesia has also local believes that passed down from the ancestors. Every ethnicity has different belief depending on the ancestor they believe in. Sunda Wiwitan, for example, is one of local belief that some Indonesian citizens believe. Sunda Wiwitan has been there long before six official religions existed in Indonesia. The meaning of “wiwitan” in Sunda Wiwitan is “the beginning or the first.” And the word Sunda does not only mean an ethnicity, but it has philosophy that means as peace or light.
The discrimination to Sunda Wiwitan believers is still last up to now. Even so, Sunda Wiwitan believers still fight for their right as Indonesia citizens. The lack of recognition from the government makes so hard for Sunda Wiwitan to not live under the shadow of fear of discrimination. The beliefs of the native people from different origins have long been embraced by the local people many years before the spread of other religions, which now have taken, place in the modern society. Government recognition of the existence of six major religions in Indonesia created a crucial problem of religion management in Indonesia. One of the problems that come out is a label between „recognized‟ and „not recognized‟, majority and minority, global religion and belief of origin, primitive and modern and others. The existence of religions that recognized by government these days becomes the opponent of the beliefs of origin. The recognized religions got amenity, while local religions have always been positioned as the religion of the oppressed, marginalized, judged and doesn‟t have space to practice their religious values. Local religions positioned as enlightenment target and other movements.
Every Indonesian citizens whether they are believe in one of six official religions in Indonesia or believe in local belief, should get the same rights for living. Sunda Wiwitan believers are Indonesian citizens; their adherents have lived in Indonesia long before the six official religions spread around Indonesia. But, for the adherents of Sunda Wiwitan, it is still difficult to obtain legal documents, which is really important for our life as Indonesia citizen. Without legal documents, it also means that they don‟t have identity as citizens.
To be able to obtain legal documents such as marriage certificate, birth certificate, and identity card, the religion of the person should be the one that recognized by the Government. Meanwhile, the Government still sees Sunda Wiwitan as Indonesia local culture and only a „belief‟ not a religion, thus, the adherents of Sunda Wiwitan is almost impossible to obtain legal documents. One of example, their religion column in Identity Card is empty, because Sunda Wiwitan is not recognized as religion in Indonesia. It is also trigger discrimination from society. So often Sunda Wiwitan believers considered not believe in the existence of God, but in their teaching, they believe in One God or they called as Batara Tunggal or „Sang Hyang Kersa‟. The discrimination that Sunda Wiwitan believers get both from the state and the society that push Sunda Wiwitan to the side of extinction.
1.2 PRODUCTION PURPOSES 1. To explore Sunda Wiwitan culture. 2. To introduce or re-introduce Sunda Wiwitan as one of Indonesia‟s local belief to Indonesians. 3. To show the implication that Sunda Wiwitan believers obtain because of lacking recognition from the government. 4. To show the audience both point of view from Sunda Wiwitan believers and the local government. 1.3 RESEARCH QUESTIONS 1. How is the Indonesian‟s government recognition to Sunda Wiwitan believers? 2. What are the implications of Sunda Wiwitan in relation to the lack recognition from the government? 1.4 INTENDED IMPACTS 1. The audience will know more about Sunda Wiwitan as one of Indonesia‟s local belief. 2. The audience will know the struggle that Sunda Wiwitan believers experienced due to lack recognition from the government. 3. The audience will get inform to both point of view to the problem from Sunda Wiwitan believers‟ view and the local government‟s view. 4. To open audience mind about the existence of local beliefs in Indonesia. 1.5 TARGET AUDIENCES Demographic o Gender: Men and Women o Age: 16 – 50 years old o Economic Status: A-B-C Geography: Indonesia Psychographic: Interested to the cultural themed movies, history and art Habit: Watching movie, observing culture Special audience: Students and Culture observer
CHAPTER II LITERATURE REVIEW
Bhineka Tunggal Ika is a principle of the state and society for all Indonesian citizens. This principle was taken by the fact that Indonesia is formed on a sense of togetherness of social differentiation either ethnicity, race, religion or other distinguishing very varied growing in Indonesia. As a nation, Indonesia is home to all the tribes in Nusantara whose culture was different between each other, Indonesia emerged as a sovereign government that guarantees the freedom of all cultures and ensure that the same basic rights to all ethnic groups in the archipelago. This assurance is a certainty of freedom, such as FD Rosevelt opinion that freedom is part of the basic human rights included in the cultural freedom and freedom of religion or belief in this regard (cited in Musdah, 2007). In the aspect of all cultures there must be trust as a fundamental principle of society and living, belief in the figure of 'God' or 'the Creator' in every ethnic and sub-ethnic group in Indonesia are relatively similar to the mention of a different, structurally concept of belief in 'God' this is recognized by the state in the unit's major religions.
Indonesia recognizes six major religion and one faith belief formally, but cultural belief recognized as a cultural asset in society. This makes the rights of belief for tribes that were not pleasing into the great religions and not well recognized to be less noticed by the state, so as to create a structural gap between the formal recognition of the state of the facts. Administratively, based on the Law on Civil Registration No. 23 of 2006, the formal status of the belief in 'God' can be divided into two, adherents of religion (in this case, including religions Semitic or major religions such as Islam, Christianity, etc.) and a seeker of belief in God Almighty (everyone who recognize and believe in their value appreciation belief in God Almighty). Belief in God Almighty by these regulations taken from religious customs, in Indonesia there are indigenous religions such as Sunda wiwitan, Parmalim, pelebegu, Kaharingan, kejawen, aluk ta dolo, and so on. The distinction of this recognition led to the seeker of belief like Sunda wiwitan lose their right to get the facilities provided by the state such as social security, social protection and guarantee of other life in the state and cultured. Sunda wiwitan as a cultural belief is a genuine culture of the archipelago that developed the procedure in the lives of Sunda people. Sunda Wiwitan has procedures beliefs and cultural complex with a historical perspective that is rich in cultural values. Sunda Wiwitan as a belief in the civilization of the Sundanese has a living system and the term of belief in god. As a cultural belief, Sunda Wiwitan sometimes considered a conservative fundamentalist belief and not accordance with the changing times, so it is often underestimated both by society and the state. This chapter will discuss how Sunda wiwitan become a widespread cultural belief, how government recognition to Sunda Wiwitan believers and the implication of the recognition to Sunda Wiwitan believers.
2.1 A BRIEF HISTORY OF SUNDA WIWITAN Sunda is a tribe that dominated the area of West Java, but the root of the Sundanese themselves are historically not very clear where its origin. Most researchers believe that the Sundanese had existed since the beginning of AD and stayed in the mountains around the border of Central Java and West Java and Banten partially, they open up land and planting crops to meet their needs. As a human civilization, Sundanese also has a belief to become guidance in living; this belief is called Sunda Wiwitan. Sunda Wiwitan is a cult Sundanese people back there; they believe that belief as the original belief, an indigenous belief of Sundanese.
Sunda in Indonesia vocabulary back then was referred to as the naming of a region based on a map of the world on the territory of Indonesia (Nusantara), namely as the level of regions 'Sunda Besar' (The Greater Sunda Islands) includes a set of islands that are large (Sumatra, Java, Madura, Kalimantan) and 'small Sunda' (the Lesser Sunda Islands), which is a series of islands that are smaller and located in the east of Java (Bali, Lombok, Flores, Sumbawa, Sumba, bread, etc.). Meanwhile, according to Djatikusumah. as quoted by Indrawardana (2014) , Sunda can be defined by three basic concepts
1. Philosophical that means clean, beautiful, nice light and so on
2. Ethnicity that refers to a community of people
3. Geographical that refers to the naming of a region.
In this case distinguished by the Greater Sunda term that covers a large island in Indonesia, when back then was Nusantara, like Java, Sumatra, Kalimantan and Lesser Sunda covering Bali, Sumbawa, Lombok Flores and others. Sunda Wiwitan consists of two words "Sunda" and "Wiwitan", while Wiwitan interpreted as the origin; it is etymologically gives meaning Wiwitan as the original sunda. By the definition above, Sunda Wiwitan interpreted as a stream of beliefs held by the original Sunda until today.
The study on local beliefs becomes very popular at this time since there are many local beliefs untapped by scientific study. In addition to this study also wanted to know how far the flow of the belief compared to the major religions recognized by the state; the identity of local beliefs still affect adherents of the major religions in Indonesia; state government policies that sometimes does not recognize their existence; and the existence of local beliefs still exist today (Hakiki, 2011). There is progress on research conducted by Indrawardana in 2011, according to Indrawardana, The origin of Sunda Wiwitan cannot be known with certainty when it started considering no authentic evidence that explains the certainty of the time dimension. In further research in 2014, Indrawardana states that the origin of the Sunda wiwitan began to spread before the history of BC and continues to grow.
Sunda Wiwitan belief is developed by Pangeran Madrais from Cigugur, Kuningan. Madrais, which usually called as Kiai Madrais, is the descendants of Kesultanan Gebang, a sultanate from East Cirebon. Madrais did not create Sunda Wiwitan but spread the opinions as well as the philosophies originate from ancients belief in the Sundanese region, which is Sunda Wiwitan. When the government of Dutch East Indies attacked the sultanate, Madrais was evacuated to Cigugur region. Madrais who also known as Pangeran Sadewa Alibasa, raised in Islam tradition and grew as a spiritualist person. He established a Muslim boarding school or pesantren as the center of Islamic teaching, but then he developed an understanding from pre-Islam Sundaneese people who were agrarian..
Unfortunately, Madrais‟ teaching was not accepted by the Kiai (Moslem religious leader), then other teacher Muslim teachers excommunicated him and he expelled from that place. And Dutch East Indies took this situation as the advantage and then used it to arrest and charge him of spreading occult Islamic Teachings and provocative speech. According to Djatikusumah, Madrais‟ grandchild, the arrest was also caused by Madrais‟ activities that influences people to appreciate and encourage their own culture and refuse to any foreign culture (Kurnia, 2014). That activity trigger Dutch East Indie‟s anger and saw it as a threat to their existence. The government of Dutch East Indies used the conflict with other Moslem leaders as a motive to arrest and banish Madrais to Ternate. The exact date of Madrais‟ banishment is difficult to define but approximated in 1908 (Kurnia, 2014)
According by the research that conducted by Kurnia (2014), the beliefs of Sunda Wiwitan can be trailed by three ancient manusripts: Sewaka Darma (believed to have existed since the beginning od the eighteenth century), Sanghyang Siksa Kanda Ng Karesian (written in 1518), and Amanat Galunggung (originating from the Sundanese King Rakeyan Darmasiksa 1175-1197). These manuscripts are about the teachings life of ancient Sundanese people, mixed with the philosophies of Hinduism/Buddhism.
2.2 SUNDA WIWITAN AND THE GOVERNMENT RECOGNITION
Global influence has entered Indonesia, post-modern culture or culture of the world into the joints of living in society. So that the local culture is required to be acculturated to the world's cultures which are much different from the conditions of the cultural community, including in Religion, Belief, and state. Religion and faith in the whole world, including in Indonesia seemed cornered to the major religions without giving space to local belief as a result of the culture. Some others actually erase the sense of religion and look at religion as an individual thing that does not need to be discussed and must be separated from society, this view led to religious people and countries that recognize religion as a part of the life become marginalized and considered as fundamentalists. Historically, the unfair treatment for the belief and the local culture clearly occurs when the western countries, Europe, adventured at the same time looking for colonies to propagate the understanding of 3G 'Glory, God, Gospel' (Bambang, 2014), as the basic principle for discovering the new world, this understanding makes the colony became losing their cultural roots and beliefs.
Some cult becomes marginalized, even happens local ethnic marginalization by migrants in some cases in Indonesia. Local ethnic becoming "minor communities" in the practice of culture in their own environment. Their association with the Sunda Wiwitan, Indrawardana (2014) and Bambang (2014) confirms that a case of marginalization of indigenous faiths of Sunda Wiwitan in Kanekes communities (Bedouin) and the Indigenous community of Karuhun Urang, Cigugur, whose the adherents spread in West Java, and other regions.
Every religion has a doctrine of absolute truth and has guidelines as well as a logical consequence that the system will deny the truth of other religions. The doctrine of 'religious' complicates the appearance this kind of pluralist paradigm that believes that every religion has its own safety way. Religious doctrines tend to force the indigenous people is also due to the conceptual dichotomy between the terms religion and belief. So far it is still a fairly long debate among the group considers that the term of religion is the belief that "officially recognized by the state" (which comes from outside and distributed in Indonesia), while indigenous beliefs is not a religion but 'belief'. Therefore, we need a 'new paradigm' in the outlook and attitude in the presence of other religious beliefs with themselves in the life of a heterogeneous society in Indonesia.
Based on the rules, Hakiki (2011) viewed that, as strange discrimination to the believer of the origin belief, one of discrimination is there has been no recognition of the origin belief as a religion. Hakiki (2011) stated that government has own definition about religion. According to government, a religion is a belief system that arranged based on the scripture that has precise teachings, has prophets and prayer book. From that definition clearly that the origin belief is not recognize as a religion. There are rules about the freedom of choosing religion or belief is actually stated in article 18 of Law No. 12 of 2005: 1. Everyone shall have the right to freedom of thought, conscience and religion. This right shall include freedom to have or to adopt a religion or belief of his choice, and freedom, either individually or in community with others and in public or private, to manifest his religion or belief in worship, observance, practice and teaching. 2. No one shall be subject to coercion, which would impair his freedom to have or to adopt a religion or belief of his choice. 3. Freedom to manifest one's religion or beliefs may be subject only to such limitations as are prescribed by law and are necessary to protect public safety, order, health, or morals or the fundamental rights and freedoms of others. 4. The States Parties to the present Covenant undertake to have respect for the liberty of parents and, when applicable, legal guardians to ensure the religious and moral education of their children in conformity with their own convictions.
CHAPTER III RESEARCH METHODOLOGY
3.1 CONCEPTUAL FRAMEWORK OF THE FILM
This conceptual framework is based on the Chapter II, Literature Review consisting of discussing about the government recognition of Sunda Wiwitan believers and the implication of the government recognition to Sunda Wiwitan believers.
Sunda Wiwitan
Government Recognition to Sunda Wiwitan Believers
The Implication of Indonesia Formal Recognition Government Recognition to Sunda Wiwitan Believers
KTP
Akta Lahir
Surat Nikah
(Graphic 1)
3.2 METHOD
This part discusses about method applied for this research including research approach, object/phenomenon to be filmed, unit of analysis, data collection technique, coding and interpretation, trustworthiness and authenticity of this research study.
3.2.1 RESEARCH APPROACH
In order to have a better understanding of the implication of the government recognition to Sunda Wiwitan believers, I will apply Phenomenological approach to answer the research questions as stated in Chapter I. 3.2.2 OBJECT/PHENOMENON TO BE FILMED
The phenomenon of this research is the implication of the Indonesia government recognition to Sunda Wiwitan believers. I have focused mainly on how the government recognition imply to the community‟s activities in obtaining legal certificates identity card, marriage certificate and birth certificate (See Graphic 1).
3.2.3 UNIT OF ANALYSIS
This research is to understand the implication of the government recognition to Sunda Wiwitan believers. In order to understand the implication, the units of analysis are the individual of member of community, the leader, the leader of their traditional organization.
3.2.4 DATA COLLECTION TECHNIQUE
To answer the research questions stated in Chapter I, I used documents, observation, and in depth interview to collect the data. I observed the daily life of Sunda Wiwitan believers and also observed the ritual of Sunda Wiwitan. Meanwhile in the interview, I asked to the leaders and expert of Sunda Wiwitan to kindly explain and describe more about the implication they experienced when obtaining the legal certificates from the government. In order to cover all the explanations and dialogs from the sources (participants) I have used cameras as the research instrument. There are three research instruments I have employed for this research as follows:
1. Observation Since the approach of this research is Phenomenological, I, as a researcher have immersed to the community to find out the implication of Indonesia government recognition to Sunda Wiwitan believers through observing their shared culture, shared belief, and ritual activities and how they experienced difficulties in obtaining the legal government certificates. 2. In Depth Interview I have interviewed six members of the community experience to the difficulties, the community leader, the leader of traditional organization of the community, to obtain better understanding about the implication of the Indonesia government recognition to Sunda Wiwitan believers. In this case how the member of community experience the difficulties in obtaining legal government certificates. 3. Documents I also collected documents regarding the legal certificate to support my findings, for example identity card, birth certificate and marriage certificate. And from the local government.
3.2.5 CODING AND ANALYZING OF DATA PROCEDURES
In order to answer research questions, I have developed four steps of analyzing the data:
1. Identified and located a culture-sharing group of the community to study. 2. Selected cultural themes or issues in this regard the implication of the Indonesia government recognition to Sunda Wiwitan believers. 3. Identified and analyzed their cultural concepts and how they faced with the problems. 4. Gathered information from the members and group of community about how they experienced the implication of the Indonesia government recognition to Sunda Wiwitan believers.
3.2.6 TRUSTWORTHINESS AND AUTHENTICITY
To make this research trustworthy and authentic, in collecting data I have directly interviewed the leader of Sunda Wiwitan as the expert of its belief. And I also interviewed the expert of the local belief and culture. Moreover, in order to follow the authentic story about Sunda Wiwitan, I collected story directly from the participants about how the government recognition really affect on Sunda Wiwitan believers‟ life. CHAPTER IV RESULTS TO BE FILMED
4.1 Government Recognition to Sunda Wiwitan Believers Indonesia formally only recognizes six religions, which are Islam, Christian, Catholic, Hindu, Buddha and Confucius. Therefore, only those religions that have representations in Ministry of Religious affairs both central and regional levels. Religions that get recognition from the government have space and able to practice their religious ceremonials and acts of prayers as they are protected by laws. Those religions have a complete structure of the organization that supports continuity of conducting and spreading religious values. With a complete structure organizations, the six religions spoiled by facilities to support the religion existence in the future. The beliefs of the native people from different origins have long been embraced by the local people many years before the spread of other religions, which now have taken, place in the modern society. Including one of the local beliefs, Sunda Wiwitan, that doesn‟t get much recognition from the government. Government recognition of the existence of six major religions in Indonesia created a crucial problem of religion management in Indonesia. Sunda Wiwitan that categorized as „aliran kebatinan‟ or penghayat has been fighting for their freedom and to get official recognition as religion from the government. In 1955, Sunda Wiwitan was under one umbrella, which is BKKI (Badan Kongres Kebatinan Seluruh Indonesia) or Indonesian Congress of Mysticism that established by Wongsonegoro, the mystic politician. In 1958, BKKI asked President Soekarno to recognize kebatinan as official religions in Indonesia (Mutaqin, 2014). In 1959, the Minister of Religion, K.H. Wahib Wahab was requested by the House of Representative to define the term of „religion‟ officially (Mutaqin, 2014). The term „Kepercayaan‟ deliberately chosen as strategy to get government recognition as this word state clearly in 1945 constitution, Article 29, section 1 (The State shall be based upon the belief in the One and Only God) and section 2 (The State guarantess all persons the freedom of worship, each according to his/her own religion beliefs) (Mutaqin, 2014). Finally in 1973, formal recognition from government was accomplished by kebatinan/kepercayaan organization when the Decree of People‟s Consultative Assembly of Republic Indonesia (TAP MPR, Ketetapan Majlis Permusyawaratan Rakyat) No. IV/MPR /1973 on the Perspective of the Course of the Nation (GBHN, Garis Besar Haluan Negara) determined keperecayaan „was explicitly recognized as an independent but legitimate option within the terms of Pancasila‟ (Stange 1986:90). Yet, the state still recognize kepercayaan as „belief‟ not a „religion‟. And belief is something that called as the second-class category of faith by Julia D. Howell (2005:475). And „kepercayaan‟ is not managed under the Ministry of Religion but managed under the Ministry of Education and Culture and now under the Ministry of Culture and Tourism (Mutaqin, 2014) Abah Widi, one of sunda wiwitan believer and also one of influential person in Kampung Cireunderu said in interview that lack of recognition from government is a mistake. He stated: “Ya mungkin sebetulnya, karena mungkin pemerintah lebih condong kepada mayoritas. Sebetulnya itu kesalahan. Karena kalau berbicara Sunda Wiwitan juga, Abah juga melakukan dan mengakui yang namanya Sunda Wiwitan sebenarnya mah tidak ada perbedaan dengan agama lain hanya mungkin sunda wiwitan itu kurang dikenal oleh pemerintah karena mungkin belum diketahui berapa banyak penganut sunda wiwitan.”
Abah Widi argues that Sunda Wiwitan is same as other religion. Speaking of faith, he said the purpose of all religions is same. And Sunda Wiwitan still tries to get rights from government about their existence in Indonesia, as Abah Widi said in interview: “Karena Abah sendiri kan sampai sekarang secara terus menerus berjuang untuk mendapatkan hak dari pemerintah, karena kalau menurut abah juga yang namanya sunda wiwitan itu sudah bagian dari Negara kita. Karena mengapa dulu mengakui sunda wiwitan sebetulnya mah, ya contoh di cireundeu saja, mengakui sunda wiwitan karena dulu pertama kan sebelum agama-agama masuk ke Negara kita. Disini, menurut sesepuh dulu, ada manusia pertama di kampung cireundeu ya mungkin termasuk di Negara kita, itu sebelum agama datang dari budaya timu, budaya barat. Itu kan mereka belum ada agama jadi mereka mengaku termasuk tatar sunda, Jawa Barat. Itu kan mereka mengakui orang sunda pertama. Jadi wiwitan itu pertama, kalo bahasa sundanya wiwitan itu mimiti, jadi pertamanya ada manusia ya mereka mengakui karena daerahnya daerah sunda atau tatar sunda, mereka mengaku sunda mimiti, sunda wiwitan atau sunda pertama, karena sebelum agama agama masuk. Smape sekarang mungkin abah secatra terus menerus menjaga kelestarian, ya ini kan udah bentuk warisan dari nenek moyang.”.
Sunda Wiwitan believers are still struggling to get full recognition from the government. As Abah Widi said, Sunda Wiwitan believers are Indonesian citizens, which means they also have the same rights with other religions believers. And it still remains a question why Sunda Wiwitan not getting much recognition from the government.
4.2 The Implication of Government Recognition to Sunda Wiwitan Believers The tension between Sunda Wiwitan believers and the government still last up to now. Somehow, Sunda Wiwitan still gets discrimination in their surrounding. Besides discrimination, the implication of government recognition to Sunda Wiwitan believers is the difficulty in obtaining formal documents such as KTP (Identity Card), Surat nikah (marriage certificate), and Akta lahir (Birth certificate). Those formal documents are really important and needed for school, a bank account and any other things that matter to their daily life. 4.2.1 Marriage Certificate In Indonesia, marriage certificate is the first step to obtain all formal documents such as birth certificate and identity card (Mutaqin, 2014). And unrecognized marriage is really a serious problem in Indonesia. Without marriage certificate, it is almost impossible to obtain birth certificate. Without birth certificate, the child of the couples is the citizen without identity and the effect will last for the rest of their life. There are so many changes for marriage regulation for the adherents of kepercayaan. A letter from Ministry of Interior No.221a in 1975 states that the registry and identification of the citizen is only valid for the official religions and the religious identity of Penghayat should be left blank (Mutaqin, 2014). The letter from the Ministry of Religion No.5/5943/78 on 3 July 1976 reconfirmed the exclusion of penghayat by stating that Penghayat is not a religion and therefore their marriage and funeral ceremonies are only valid if they fit within the rules of the religions (Sairin & Pattiasina 1996: 320-9). As result, the followers of penghayat should follow the rules and marry based on six official religions. Based on Mulder (1978: 9) reports, the most followers of penghayat married according to Islamic law. Then only to obtaining marriage certificate, many penghayat followers convert to one of six official religions and then re-convert to their belief after the legalization of a marriage.
4.2.2 Birth Certificate Birth certificate is really important to identify the identity of children as a citizen. But, not so many penghayat followers marriage that recognized by the state. Without marriage certificate, if the couple has a child they cannot obtain the birth certificate under the name of biological father and mother. And because of the marriage is not recognized by the state and the child need to have an identity as citizen, the child‟s birth certificate only under the name of the mother, which can being up the wrong perception from the citizens that does not know the background of it. Birth certificate that only under the name of the mother commonly got bad judgment from the citizens, because that usually means the child came from the relationship outside of marriage. But for Sunda Wiwitan followers‟ case, they married according to Sunda Wiwitan rites but not recognize by the state. This problem that brings up discrimination from the citizens and make the Sunda Wiwitan believers easy to criminalize.
4.2.3 Identity Card In identity card or KTP, there is a religion column that a person can fill between 6 official religions in Indonesia, which are Islam, Christian, Catholic, Hindu, Buddha, and Confucianism. But, for Sunda Wiwitan believers, they are forced to empty the religion column because what they believe in does not in the 6 official religions. This empty column, that creates the misunderstanding from other people. When people see an empty religion column, they tend to think that the person is communist, even though in reality, Sunda Wiwitan believers believe in One God or called as „Sang Hyang Kersa‟. As Abah Widi said in the interview that the government should explain to other Indonesia citizens that the empty religion column doesn‟t mean they are communists: “ Karena disini sudah masuk kota, ini masuk kota cireundeu, ya namanya masuk kota harus punya KTP, KK, identitas. Ya akhirnya mungkin di ktp, itu justru abah tidak tahu niat pemerintah, kenapa di kolom agama hanya strip? Itu abah belum tau. Ya mungkin kemauan abah mungkin tolong kalo pemerintah bijak, kalo memang belum diberikan haknya untuk mengisi kolom agama, ya tolonglah klarifikasi ke daerah lain bahwa strip ini orang sunda wiwitan, bukan tidak punya agama. Memang abah tidak punya agama, abah mah da emang bukan orang beragama tapi orang berkeyakinan dilandasi dengan percaya adanya tuhan, hanya itu. Kalo di adat percaya ayana gusti. Karena semua menurut keyakinan abah, semua orang semua manusia diciptaan ku gusti, karena tuhan upami di adat, gusti itu tidak menciptakan agama menciptakannya manusia, dengan bakalnya alam”
In the 1945 Constitution of The Republic of Indonesia stated that “tiap-tiap penduduk diberi kebebasan untuk memilih dan mempraktikan kepercayaannya” (every citizen has freedom to choose and practice the religious values) and “menjamin semuanya akan kebebasan untuk menyembah, menurut agama atau kepercayaannya” (guaranteed a freedom to practice the act of prayer based on their religions or what they believe in). But however, the government only recognizes six religions, which are Islam, Christian, Catholic, Hindu, Buddha, and Confucius.
In article 28E section 2 of the constitution stated that Indonesia citizens have freedom to choose what they believe in, but there are still no „Atheist‟ status or “Aliran kepercayaan” in KTP, only six official religions that can be written in KTP. People assume that the government is more likely to oblige than give the right to the citizens to choose one of the religions that the government recognize. In article 28E section 3 stated that “Identitas budaya dan hak masyarakat tradisional dihormati selaras dengan perkembangan zaman dan peradaban”. The article clearly stated that Sunda Wiwitan believers should be respected based on what they believe in, which classify them in traditional citizens rights. Not only about the faith and religion, in this article the citizens and the government have to respect the acts of the way they live and their tradition.
CHAPTER V
CONCLUSION
This study observes about Sunda Wiwitan, which is Indonesia‟s local belief. The concentrations are the government recognition to Sunda Wiwitan believers and the implications of the government recognition to Sunda Wiwitan believers.
5.1 Government Recognition to Sunda Wiwitan Sunda Wiwitan is a belief that exists in Indonesia long before Islam, Christian, Catholic, Hindu, Buddhism and Confucianism existed in Indonesia. After the spreading of those six religions, Sunda Wiwitan is getting eliminated. The lack of attention of the Government towards the Sunda Wiwitan, cause much impact for the believer. One of them is discrimination. And the right as the Indonesia citizens is not obtained by adherents of Sunda Wiwitan, whereas adherents of Sunda Wiwitan is a citizen of Indonesia and had the same rights as other religion believers. Up to now, the government still recognizes Sunda Wiwitan as „belief‟ not „religion‟.
5.2 The Implication of Government Recognition to Sunda Wiwitan Believers The impact of the lack of Government attention, one of which is difficult to make legal documents such as identity card, birth Certificate, and marriage certificate. In the Identity card, there is religion column and there will usually be rendered religion what our personal religious beliefs, but for adherents of sunda wiwitan, the religion column marked with (-) which could be interpreted as empty. Empty religion column that is what makes people looked different and Sunda wiwitan considered Communists or did not trust the existence of God. And by that, it makes Sunda Wiwitan believers easier for criminalization and also got bad perception from society.
CHAPTER VI PRODUCTION DESIGN
6.1 DEVELOPMENT OF SCENARIO 6.1.1 FILM STATEMENT “Konsekuensi pilihan menjalankan perilaku leluhur”
6.1.2 THEME Implikasi administratif komunitas masyarakat sunda wiwitan dalam hukum administratif Negara Indonesia.
6.1.3 BASIC STORY Sunda wiwitan adalah aliran kepercayaan atau seringkali disebut sebagai agama asli Indonesia. Hingga sekarang, komunitas masyarakat sunda wiwitan masih berada di Indonesia walaupun jumlahnya tidak sebanyak pemeluk agama-agama lainnya. Komunitas masyarakat sunda wiwitan salah satunya berada di Kampung Adat Cireundeu, Cimahi, Jawa Barat. Komunitas masyarakat sunda wiwitan masih memegang teguh perilaku leluhur sampai saat ini. Miindung ka waktu, mibapa ka jaman itulah yang terus diterapkan oleh komunitas masyarakat sunda wiwitan. Mereka dapat bertahan dalam segala kondisi waktu dan zaman tanpa kehilangan identitas tentang jati diri mereka yang sebenarnya. Tetap menjalankan perilaku leluhur di zaman yang berkembang bukan berarti mereka melupakan identitasnya dan kewajiban mereka sebagai warga Negara Indonesia yang taat akan peraturan. Dengan adanya perubahan-perubahan yang terjadi di Indonesia seiring perkembangan system administratif pemerintahan Indonesia, komunitas masyarakat sunda wiwitan mengalami kesulitan dalam menghadapi administrasi Negara tersebut. Dikarenakan, Sunda Wiwitan hanya dikategorikan sebagai kepercayaan, bukan agama. Dengan ketentuan seperti itu, komunitas masyarakat sunda wiwitan sangat sulit untuk mendapatkan dokumen-dokumen resmi yang dibutuhkan berupa identitasnya sebagai warga Negara Indonesia. Berbagai cara telah dilalui oleh komunitas masyarakat sunda wiwitan untuk mendapatkan hak-hak administrasinya sampai sekarang, dengan memperjuangkan identitas sebagai warga Negara Indonesia, mereka juga memperjuangkan diri sebagai komunitas masyarakat sunda wiwitan untuk tidak bersembunyi di tanah kelahirannya, komunitas ini berharap tidak ada lagi diskriminasi terhadap komunitas masyarakat sunda wiwitan.
6.1.4 SYNOPSIS Sebuah alunan tembang sunda wiwitan terdengar merdu ditengah sunyinya malam di kampung adat cireundeu. Terletak di leuwigajah, kota cimahi, suasana nyaman dan tentram menyelimuti Kampung Adat Cireundeu. Suasana yang tenang dan udaranya yang terasa sejuk, membuat kita seakan lupa berada di tengah kota yang ramai akan lalu-lalang kendaraan. Terlihat anak-anak bermain di balai desa dengan riangnya dan para penduduk desa pergi untuk bercocok tanam. Komunitas masyarakat sunda wiwitan yang masih berpegang teguh untuk menjalankan perilaku leluhur, namun tidak juga menolak akan perkembangan dan perubahan zaman. Dapat dilihat dari cara mereka berpakaian, tempat tinggal dan juga cara mereka berkomunikasi. Sekilas kita mungkin hanya melihat mereka masyarakat modern sama seperti yang lainnya, namun yang tidak diketahui jauh dalam diri mereka, mereka masih tetap konsisten untuk menjalankan perilaku leluhur. Dibalik suasana tenang dan nyaman di kampung adat cireundeu, tersimpan masalah yang hingga kini masih mempersulit komunitas masyarakat sunda wiwitan untuk mendapatkan identitasnya sebagai warga Negara Indonesia. Ketua adat komunitas masyarakat sunda wiwitan di kampung cireundeu duduk di balai desa dan menjelaskan masalah yang dihadapi komunitas masyarakat sunda wiwitan, yaitu menghadapi system administrasi Negara. Perasaan campur aduk, marah, sedih sangat terasa ketika beliau berbicara tentang masalah yang dihadapi saat ini. Di salahsatu rumah warga, salahsatu pasangan yang merupakan penganut sunda wiwitan, menjelaskan masalah yang mereka hadapi. Dengan tidak dicatatkannya pernikahan mereka di KUA dan juga kolom agama yang kosong di KTP mereka. Kesulitan dalam menghadapi administrasi Negara sangat mempengaruhi kehidupan mereka sebagai warga Negara Indonesia. Diskiriminasi yang didapatkan dari masyarakat sekitar tidak menyurutkan mereka untuk tetap berpegang teguh menjalankan perilaku leluhur. Menanggapi masalah administrasi komunitas masyarakat sunda wiwitan, di kantor kelurahan leuwigajah, Lurah setempat menjelaskan apa yang menjadi masalah yang menyulitkan komunitas masyarakat sunda wiwitan dalam menghadapi system administarasi Negara. Sunda wiwitan di Indonesia, dikategorikan sebagai kepercayaan. Tidak banyak bantuan yang dapat ditawarkan oleh kelurahan setempat, dikarenakan mereka hanya mengikuti peraturan yang sudah ditetapkan dan mengikuti system administrasi Negara yang sudah ditentukan oleh pemerintah. Begitupun situasinya di KUA setempat, mereka tidak dapat mengatasi situasi ini lebih lanjut dikarenakan sudah terdapat peraturan-peraturan dari pemerintah yang tidak bisa mereka langgar.
6.1.5 TREATMENT SEGMEN 1 / OPENING NO VISUAL AUDIO DURASI KET 1 Shot landscape Kota Cimahi - Tembang sunda 2 menit - Meminta izin wiwitan untuk - Ambience memainkan tembang sunda wiwitan
Shot perbatasan Cimahi-Padalarang
Shot tugu 0 kilometer Alun-alun Cimahi
Shot keramaian kota di Kota Cimahi
Shot pasar antri baru cimahi
Shot aktifitas di pasar antri baru cimahi
SEGMEN II NO VISUAL AUDIO DURASI KET 2 Shot acara seren taun - Ambience 5 menit - Wawancara
Interview kang going tentang sejarah singkat kampong cireundeu
Insert shot papan selamat datang kampung cireundeu
Insert shot mata air
Shot aktifitas warga kampung cireundeu
SEGMEN III NO VISUAL AUDIO DURASI KET 3 Shot kantor kelurahan leuwigajah -Ambience 5 menit -Wawancara
Shot aktifitas di kelurahan leuwigajah
Interview Pak Jajang tentang kampung adat cireundeu
SEGMEN IV NO VISUAL AUDIO DURASI KET 4 Shot acara seren taun -Ambience 3 menit - Meminta izin untuk -Wawancara mengambil gambar dokumen seperti KTP dan berita nikah
Interview Kang Yana tentang permasalahan hak sipil yang dihadapi masyarakat adat di kampung cireundeu
Insert KTP masyarakat adat
Insert dokumen pernikahan masyarakat adat pada zaman penjajahan Belanda
Insert anak-anak kampung cireundeu
SEGMEN V NO VISUAL AUDIO DURATION KET 5 Timelapse kebun singkong - Ambience 7 menit - Meminta izin untuk - Wawancara menampilkan dokumentasi saat pernikahan masyarakat adat
Shot acara seren taun
Interview Pak Jajang tentang masalah pengurusan KTP, Surat nikah dan akta lahir yang dihadapi masyarakat adat
Insert aktifitas warga kampung cireundeu
Insert aktifitas di kelurahan
Interview Kang Tri tentang pengalaman kesulitan dalam mengurus KTP, surat nikah, dan akta lahir.
Insert Kang Tri menunjukkan KTP
Insert suasana di bank
Insert masyarakat adat sedang berdoa
Insert pernikahan masyarakat adat
SEGMEN VI NO VISUAL AUDIO DURASI KET 6 Shot acara seren taun - Ambience 3 menit - Wawancara
Interview Pak Jajang mengenai konsekuensi yang dihadapi masyarakat adat terhadap hak sipil
Interview Kang Yana mengenai konsekuensi menjalankan perilaku adat
Interview Kang Tri menanggapi masalah masyarakat adat yang dihadapi
SEGMEN VII/CLOSING NO VISUAL AUDIO DURASI KET 7 Shot anak-anak bermain oray-orayan di Ambience 1 menit acara seren taun
Shot anak-anak kampung cireundeu sedang berbaris
Shot anak-anak kampung cireundeu sedang berkumpul
Shot anak-anak memutari lapangan saat oray-orayan di acara seren taun
6.2 THE ANALYSIS OF THE SCENARIO 6.2.1 MESSAGE ANALYSIS 1. SEQUENCE 1 Description: One person play kecapi and one person sing tembang. The symbol of Cimahi and the welcoming board in Kampung Adat Cireundeu. Message: Introducing the place of the story Cimahi and also introducing Kampung Adat Cireundeu and one of their culture which is tembang. 2. SEQUENCE 2 Description: In saung near balai saresehan, Kang going explain about sunda wiwitan and kampung cireundeu. Message: Introducing deeper about kampung cireundeu and short explanation about sunda wiwitan. 3. SEQUENCE 3 Description: In Balai Saresehan, Kang Yana explain about the problem that the people of sunda wiwitan face. Message: Introducing about the problem that people of sunda wiwitan face. 4. SEQUENCE 4 Description: In kelurahan leuwigajah, Kasi Pemerintahan dan trantibum explain about Kampung Cireundeu and the problem they face in obtaining formal documents in Kelurahan. Message: Introducing the problem in loval government point of view. 5. SEQUENCE 5 Description: In saung near Kang Tri‟s house, he explain the experiences and the problems he faced when he obtained identity card and marriage certficate. Message: Introducing deeper about the problem and one of the case that people of sunda wiwitan going through. 6. CLOSING Description: The conclusion of the problem from Sunda Wiwitan side and the local government side. Message: Inform the conlusion of the problem.
6.2.2 CHARACTER ANALYSIS 1. Kang Going Character : Interviewees Sequence : 2 Gender : Man Height : 175cm Body Posture : Round Skin tone : Brown Eyes color : Dark brown Hair : Black, long straight Description : Kang going is one of kampung adat cireundeu people. He is from garut and moved to Kampung Cireundeu 10 years ago, yet he also came from the place where the people also believe in Sunda Wiwitan. 2. Kang Yana Character : Interviewees – Lulugu Sequence : 4,6 Gender : Man Height : 160cm Body Posture : Thin Skin tone : Brown Eyes Color : Black Hair : Black, straight Description : Kang Yana is one of Kampung Adat Cireundeu people. He is also Sunda Wiwitan adherent. He is lulugu in Kampung Adat Cireundeu and he is taking care of external relations as representative from Kampung Adat Cireundeu 3. Kang Tri Character : Interviewees – Lulugu Sequence : 5,6 Gender : Man Height : 160cm Body Posture : Thin Skin tone : Brown
Eyes Color : Black Hair : Black, straight Description :Kang tri is Sunda Wiwitan adherent who lives in Kampung Adat Cireundeu. He is lulugu in Kampung Adat Cireundeu and he is responsible fro the external relations in Kampung Adat Cireundeu
4. Jajang Character : Interviewee – Kasi Pemerintahan dan Trantibum Leuwigajah Sequence : 3,5,6 Gender : Man Height : 165cm Body Posture : Thin Skin Tone : Brown Eyes Color : Black Hair : Black, Straight Description : Pak Jajang is one of Kelurahan officer. He is Kasi Pemerintahan dan Trantibum in Leuwigajah.
6.2.3 SETTING ANALYSIS 1. Perbatasan Cimahi – Padalarang Contribution: Establish Cimahi City Sequence: 1
2. Tugu 0 kilometer Cimahi Contribution: Establish Cimahi City Sequence: 1
3. Pasar Antri Baru Contribution: As symbol of modernity in Cimahi City and establish for comparison to kampung cireundeu Seuqence: 1
4. Kampung Adat Cireundeu Contribution: Establish Kampung Cireundeu and to inform audience the location of Sunda Wiwitan adherents in Cimahi Sequence: 1
5. Living Room (Kang Going‟s house) Contribution: Interview setting of kang going Sequence: 2
6. Kantor kelurahan leuwigajah Contribution: Interview setting for Pak Jajang Sequence: 3,5,6
7. Saung Bale Saresehan Contribution: Interview setting for Kang Yana Sequence: 4,6
8. Saung Desa Contribution: Interview setting for Kang Tri Sequence: 5,6
9. Bank Contribution: Insert bank situation Sequence: 5
10. Lapangan badminton Bale Saresehan Contribution: place where seren taun event held Sequence: 4,5,7
11. Kebun Singkong Contribution: shows kampug adat cireundeu people activity Sequence: 2,5
12. Puncak Gunung Salam Contribution: Establish landscape of Cimahi Sequence: 1
6.2.4 PROPERTY ANALYSIS 1. Wood Chair Sequence: 2 Description: Chair made from wood Contribution: Kang going sits when interview
2. Padi Sequence: 2 Description: Padi in Kang going‟s living room Contribution: As prosperity symbol for Kampung Adat Cireundeu People
3. Identity Card Sequence: 4,5 Description: Indonesian citizen identity card Contribution: To show religion column in Sunda Wiwitan adherents ID
4. Kursi Kantor Sequence: 3,5,6 Description: a chair with leather layer Contribution: Place for Pak Jajang sits when interview
5. Berkas File Sequence: 3,5,6 Description: Office files Contribution: To show office‟s task
6. Meja Kantor Sequence: 3,5,6 Description: wood table Contribution: a place for the files
7. Dokumen berita nikah lama Sequence: 4 Description: marriage document Contribution: to show sunda wiwitan old marriage document
8. Dokumen berita nikah baru Sequence: 4 Description:marriage document Contribution: to show sunda wiwitan new marriage document
9. Kartu Keluarga Sequence: 4 Description: family card Contribution: to show sunda wiwitan family card
6.2.5 WARDROBE ANALYSIS 1. Kang Going Sequence: 2 Description: Salontreng, pangsi, iket Contribution: to show traditional clothes and symbol as Sunda Wiwitan adherents
2. Pak Jajang Sequence: 3,5,6 Description: work uniform Contribution: to show Pak Jajang works in Kelurahan
3. Kang Yana Sequence: 4,6 Description: pangsi, black shirt, iket Contribution: to show traditional clothes and symbol as Sunda Wiwitan adherents
4. Kang Tri Sequence: 5,6 Description: Salontreng, pangsi, iket Contribution: to show traditional clothes and symbol as Sunda Wiwitan adherents
6.2.6 MAKE UP AND HAIRSTYLE ANALYSIS 1. Kang Going Sequence: 2 Description: Natural, neat hair using iket Contribution: to show Kang Going still preserve his culture by using Iket
2. Kang Yana Sequence: 4,6 Description: Natural, neat hair using iket Contribution: To show Kang Yana still preserves his culture by using Iket
3. Kang Tri Sequence: 5,6 Description: Natural, neat hair using iket Contribution: To show Kang tri still preserves his culture by using Iket
4. Pak Jajang Sequence: 3,5,6 Description: Natural, neat hair Contribution: To show he is a worker / officer in Kelurahan.
6.3 CREATIVE CONCEPT 6.3.1 CONCEPT OF WRITING THE SCENARIO Documentary film has evolved in recent years. Documentary is a term to describe a non-fiction film that “documents” and capture reality. “Identitas” film capture the reality of the adherents of Sunda Wiwitan in Kampung Cireundeu, Cimahi. Shot and scenes in “Identitas” film grouped into sequences. The sequences combined together and create a story for the film. The “Identitas” film use a three act film structure to build tensions to the audience. The three act film structure divided into three parts. Part one is the setup, second part is the confrontation, and third part is the resolution. Act I : Introduce the main character of the film so the audience know who have the role in the film. Then continue to introduce to the conflict of the film. Part I must present the strong hook to grab the audience attention and interest. Part I ended with the first plot of the film to continue the story.
Act II : The second part is where the problem is growing and the tension of the problem increased. This part is the core where the audiences enjoys the movie. To make the second part more interesting, at least there are three things that need to be included in the film. 1. Curiosity: The feeling of curiosity to know how the ending will be. 2. Suspense: The tensions can be increased by put the dramatics elements. 3. Surprise: Thing that unexpected from the audiences
Act III: The third part is the final part of the film. This part explain the ending of the film and audience will know the result or the conlusion of the movie. There are three options for the ending of film that are happy ending, sad ending or open ending. Following the three act concept, “Identitas” film first sequence begins with giving information the audience the establish of Cimahi, to inform the audience where the film take place. Then continue with the establish of Kampung Adat Cireundeu board and short explanation about Kampung Adat Cireundeu to inform audience where the exact place the adherents of Sunda Wiwitan lives. The second sequence start with the explanation of kampung cireundeu from kelurahan based on their database, to inform the audience how many people lives in kampung adat cireundeu and how many people in Kampung Adat Cireundeu who are the adherents of Sunda Wiwitan. The third and forth sequences are the key of the film that explain the problem that the adherents of sunda wiwitan experienced in obtaining formal documents. The third sequences start to dive into the conflift that become the point of the film. And the forth sequences is going deeper to the problem and support the core of the film become stronger with telling the experience from one of sunda wiwitan adherent in Kampung Adat Cireundeu in obtaining formal documents and how the problem affect their life. The fifth sequence consists of the statement from both side in responding the problem. In this part, the conclusions are coming from two sides. The audiences will get inform how the adherents of sunda wiwitan respond to this problem and also how kelurahan trying to handle to the problem. This part also a sign that the film is coming to the end. The last part is closed by showing the sunda wiwitan adherents showing their identity card with a smile, to inform the audience that although they have their problem with their identity card and other formal documents, they are still proud and happy to live as Sunda Wiwitan adherents and this part is a sign that the story has finished. 6.3.2 CONCEPT OF THE PRODUCTION The “Identitas” film production consist of Producer, Director, Script Writer, Camera, and Sound Designer. Producer, Director and Script Writer handled by myself and the camera, sound designer and editing helped by the crew.
(Tambah gambar three angle production) Each crew has position and responsibilities in order to help the production of Identitas film runs smoothly. Producer: Producer responsibilities are to plan and coordinate various aspects of film production. Like searching a story for production, making production proposal based on idea or film scenario, arrange production design, find source for the film budget, supervise film production and responsible for the whole film production. Director: Director has a role to lead the process of film production. Director responsible to control every act and dialogue in front of the camera and responsible to lead all crews and direct the actor/actress. Script Writer: Script Writer role is responsible for writing the script and the outline of the film story. Camera Person: Camera person has responsibility to operate all camera tools that needed for composition, focus, camera movement and all that include in photography Sound Mixer: Sound mixer is responsible for recording all sounds during the film production.
And in the process of making Identitas film, I have through step by step starting from developing idea until the post production. Development For the development, i started with finding an idea, do research and observation, create the plot for the story and finalized the idea for “Identitas” film. Pre-Production After doing research and observations, i selected which informations that are important and less important, which information that need to be expanded, which part that become cause and effect to increase the dramatic elements in the film, and divide which part is the main part and supporting part that give meaning to the film. After analyzing the result of the research, the next step is writing the script and divided to four steps. The first step is transform the idea become synopsis. The second step is create the treatment or the storyline to picture the whole story. The next step is writing the
shooting script. It is important to have clear picture of the film. The audio and visual of the film become the reference for the director and camera person to decide the visualzation, shots structure and scenes. And the last step is writing the editing script. After those four steps, i select the crew that consist of three people for film production. After selecting the crew, i start to arrange the schedule and prepare the tools for production. Production In production, me and the crew follow the things that has planned at pre-production. And we also approach the people of Kampung Adat Cireundeu to create an intimate atmosphere and it can helps us to gain trust then have maximal data. Post-production After we collect all footage that needed for the film from the production. We are moving to editing process. I prepare the editing script so the editor has the idea of what i want for the film. I also ask help from my friend to create the film poster and DVD cover. 6.3.3 CONCEPT OF DIRECTING In a storytelling, whether it is literature or film, there are two types of storytelling, which are linear and non-linear. Linear narrative is where the story placed in chronological order as simply as A to B to C to D and so on. Linear narrative is the most common narrative used. When a story uses linear narrative, usually the story will have a clear beginning, middle and end.
Non-linear narrative is where the story is not based on chronological order. The story keep jump in to other times. In non-linear narrative, the beginning and the ending of the film can be anywhere. The ending of the film can be placed in the opening of the film. Non-linear narrative often uses flashback to the past or flash forward to the future. For example, if the linear narrative chronological order is like A-B-C-D but in non-linear chronological order is like A-D-B-C or B-A-C-D. In „Identitas‟ film, I use linear narrative for my storytelling style. I choose linear narrative because I want the audience to know first the main problem in this film. At the beginning of the film, it starts with introducing Kampung Adat Cireundeu to the audience. And the film continues to introducing the main problem and the film end with the conclusion of the problem. There are six types of documentary film that function like subgenre to documentary film itself. There are poetic, expository, participatory, observational, reflexive, performative. According to Bill Nichols in his book Introduction to Documentary, he said that the six modes establish a loose framework of affiliation within which individuals may work, they set up conventions that a given film may adopt; and they provide specific expectations viewers anticipate having fulfilled. The Poetic Mode In the poetic mode, the filmmaker sacrifices the traditional linear continuity to construct the story structure and the sense of a very specific location in time and place that follows from it to explore associations and patterns that involve temporal rhythms and spatial juxtapositions (Nichols, 2001) The Expository Mode The expository mode constructs a specific argument or point of view for the audience and usually speaks directly to the audience. Expository mode aim to inform / persuade the audience and use „the voice of god‟ as the narration. The Participatory Mode Participatory documentary gives us a sense of what it is like for the filmmaker to be in a given situation and how that situation alters as a
result (Nichols, 2001). Bill Nichols defines participatory mode as “[when] the encounter between filmmaker and subject is recorded and the filmmaker actively engages with the situation they are documenting.” The Observational Mode In the observational mode, the filmmaker become the silent observer of the subject.In observation mode, the filmmaker sacrifice staging, arrangement and composition of a scene to observing lived experience spontaneously. The observational mode typically have no voice over commentary, no supplementary music or sound, no intertitles, no historical reenactments, no behaviour repeated for the camera and no interviews. The Reflexive Mode In the reflexive mode, the process of negotiation between filmmaker and the viewer become the focus of attention (Nichols, 2001). The reflexive mode speaks not only about the historical world, but about the problems and issues of representing it. Documentaries set out to re- adjust the assumptions and expectation of its audience, not add new knowing to existing categories. The Perfomative Mode Performative documentary endorses the latter position and sets out to demonstrate how embodied knowledge provides entry into an understanding of the more general processes at work in society (Nichols, 2001). It set out to demonstrate how the specifies of personal experience provide entry into an understanding of the more general processes at work in society. This is done by stressing the emotional complexity of experience from the perspective of the filmmaker. 6.3.4 CONCEPT OF CINEMATOGRAPHY This film is showing a story about the struggle of sunda wiwitan adherents in kampung adat cireundeu. Start with Cimahi logo to show that the film take place in Cimahi. And then continue to Kampung Adat Cireundeu welcome board to introduce the place of sunda wiwitan adherents lives. In sequence 1 and 2, most of the pictures tell the audience how the athmosphere and the
activity in Kampung Adat Cireundeu. Then in sequence 3, Kang Yana (the interviewee) explain about what is the problem that Sunda Wiwitan adherents face in obtaining formal documents and the beside the interview part, i put screenshots of articles that contain news about formal documents problem that Sunda Wiwitan in Kampung Adat Cireundeu. And there are also proofs that support what the interviewee talk about, like the identity card and marriage certificate. In sequence 4, Kang Tri tell the audience the experience he had in obtaining formal documents start from identity card, marriage certificate and birth certificate. And also there are proofs to support his statement during the interview. When he talks about the marriage certificate, i put Kang Tri‟s wedding picture into the film. And last are sequence 5 and 6, as conclusion and closing. In closing, the sunda wiwitan adherents shows their identity card to the camera with a smile on their face as a symbol that even though they have problems with their formal documents, they are still proud to be the adherents of Sunda Wiwitan. In this film, i use Expository as my documentary film style. Expository style is heavily researched and known as essay films because the film aim to educate or explain things. Identitas film is explains about the issues that the adherents experience in obtaining legal documents. This film also include interviews, illustrative visuals and photos that support the story. In Identitas film, I use various types of shots and angle, to add some variety in the film Extreme Wide Shot: Used to show subject from a distance or the area in which the scene is taking place. This type of shot useful for establishing a scene. Wide Shot: The subject takes up the full frame. Shows subject from top to bottom. For a person this would be head to toes, though not necessarily filling the frame. Medium Shot: Shows part of the subject in more detail. Medium Close-Up: It is between a medium shot and a close-up, generally framing the subject from chest or shoulder up. Close Up: Fills the screen with part of the subject, such as a person‟s head or face.
Extreme Close Up: Emphasize a small area or detail of the subject. Eye-Level: Eye level angle is the most common view. It shows subject as we would expect to see them in real life. It is a fairly neutral shot. Low Angle: This shows the subject from below, giving them impression of being more powerful or dominant Bird‟s eye: A high angle shot that is taken from directly overhead and from a distance. 6.3.5 CONCEPT OF ARTISTIC Mis-en-scene is a french term that means “placing on stage”. Placing on stage means what appears on screen from setting, lighting, properties, costume, make-up and so on. Artistic in a film is important to help the audience understand the emotional aspects in film. In this film, the artistic concept is natural from make-up to wardrobe without any artistic change. Because this film is documentary film, I did not manipulated the visual room Lighting Most lighting in this film I use available light and only in interviews I use LED for lighting. I try to use available light as much as I can so the film looks more natural. Costume In this film, the interviewee uses their own clothes. For people in kampong adat cireundeu, they are wearing their traditional clothes to show their identity as Sunda Wiwitan adherents. And for the interviewee from kelurahan, he wears his work uniform to show his identity and his position. Make-Up The make-up in Identitas film, I applied natural concept, without adding any additional make-up. Setting In Identitas film, the location of its film is taken in Cimahi. Specifically most of the scenes in this film take place in Kampung Adat Cireundeu. Properties
The properties in this film follows natural concept. I do not add any additional properties inside the frame. I re-arrange the properties so it will look better in frame. 6.3.6 CONCEPT OF MUSIC AND SOUND Identitas film concept music and sound will be categorized into diegetic sound. Diegetic sound is a sound that the source is invisible on the screen. Another term for diegetic sound is actual sound. Diegetic sound can either on screen or off screen, whatever its source within the frame or outside frame. Diegetic sound is a sound that audience hear is the same sound that the characters in the film hear. For example, bird chirping, car‟s horn and so on. While there is also non-diegetic sound that helps to enhance the mood of the film. Non diegetic sound is a sound that source is neither visible on the screen nor has been implied to be present in action. Another term of non-diegetic sound is commentary sound. Non diegetic sound represented as coming from sources outside story spaces. For example like narrator telling the story. 6.3.7 CONCEPT OF EDITING Editing is a technique that combines single shots to become a whole complete story. Editing process is arranging single shots to become a scene and from scenes arrangement become sequence and after sequences become a film. There are two types of editing technique which are continuity editing and discontinuity editing. Continuity Editing Continuity editing is an editing technique that refers to arranging shots in a sequence to suggest a progression of events. Continuity editing has a smooth flow from shot to shot. And also logical coherence between shots. Continuity editing has rules, which are: 1. Directional continuity: There are directions which characters and objects should be moving, from camera view or the audience. 2. Eye line match: Matches eye line between characters or objects. 3. Match on action cut: Cutting on action and cut matches with first shot action. 4. Shot/reverse shot: mainly use for conversations
5. Cross-cutting: Action at the same time in two different locations. Cross cutting used to cause tension and form parallels. 6. Establishing shot: Establishing shot used to set context up in which scene take place. It also guides the audience to understand the action. 7. Re-establishing shot: Required to lead back to a previous line of action. 8. Spatial continuity: Establish geography in a scene and 180° line Discontinuity Editing Discontinuity editing is a unique style of editing in film that is antithetical to that of normal cinema. The filmmaker will deliberately use an arrangement of shots that seem out of the place or confusing relative to a traditional narrative. Identitas film applies continuity editing concept to maintain the continuity of the story and the problem in this film. So, the audience can follow and understand the main issue in this film since the opening until the conclusion at the end of the film. In film editing, the transition is a sign for the shots end and continue to the next shots and it also becomes the bridge of one shot to another. In Identitas film editing, I use various types of transitions. Cut: The most common transitions. Cut happens when one shot instantly replace one shot to another. Dissolve: Dissolve is when one shot gradually replace by the next shot; one disappears as the next one appears. Commonly used as a sign of the passage of time. Fade in/out: Fade in when a solid colour gradually gives way to the picture, usually used in the beginning of the movies. Meanwhile, fade out is the opposite. Fade out is when the picture gradually replaced by black screen or any solid colour. Usually used to conclude film or at the end of the film.
Cutaway: The picture moving from the action to something else and then coming back to the action. Cutaway transitions usually used to edit out boring scenes. 6.3.8 CONCEPT OF THE OPENING, TITLE TYPHOGRAPHY AND THE CREDIT OF TITLE FILM (1) Opening Concept
Identitas film will opened by black screen with sentence “a film by Silmi Nabilah” and follow by tembang Kampung Cireundeu and establish shot of Cimahi from the top of Puncak Gunung Salam. Then continue with Cimahi city situation.
(2) Title Typography Concept
I choose “IDENTITAS” as my film title because my film is bring up the problem about Sunda Wiwitan adherents in obtaining legal documents such as identity card, birth certificate and marriage certificate. Those legal documents are the identity as Indonesian citizen.
The typography for the film title, I choose Times New Roman with bold font and sharp. And it has means that the problem in this film, is clear enough for everyone to see and emphasize the problem itself.
(3) Credit Title Concept
The credit will appear in the last shot where the kids are playing “oray- orayan” and then will slowly fade to black but the credit still continue.
6.3.9 CONCEPT OF POSTER The poster for this film will feature a person showing identity card. But the face of the person will be blurred and focus on the Identity Card. I will use black as the background that merges with the person who holding the identity card.
6.4 FILM BREAKDOWN 6.4.1 SETTING AND LOCATION BREAKDOWN SETTING AND LOCATION NO LOCATION AMOUNT SEQUENCES 1 2 3 4 5 6 7 1 Perbatasan Cimahi-Padalarang 2 Tugu 0 kilometer alun-alun Cimahi 3 Pasar Antri Baru 4 Kampung Adat Cireundeu 5 Ruang Tamu (Rumah Kang Going) 6 Kantor Kelurahan Leuwigajah 7 Saung Bale Saresehan 8 Saung Desa 9 Bank 10 Lapangan badminton bale saresehan 11 Kebun Singkong 12 Puncak Gunung Salam
6.4.2 CAST BREAKDOWN CAST NO NAME AMOUNT SEQUENCE 1 2 3 4 5 6 7 1 Kang Going 2 Kang Yana 3 Kang Tri 4 Pak Jajang
6.4.3 PROPERTY BREAKDOWN PROPERTIES NO NAME OF ITEMS AMOUNT SEQUENCE 1 2 3 4 5 6 7 1 Wood Chair 2 Padi 3 Identity Card 4 Office Chair 5 File 6 Office Table 7 Old marriage document 8 New marriage document 9 Kartu Keluarga
6.4.4 WARDROBE BREAKDOWN WARDROBE NO NAME AMOUNT SEQUENCE 1 2 3 4 5 6 7 1 Kang Going Salontreng Pangsi Iket Inner Shirt 2 Kang Yana Pangsi Iket Black Shirt 3 Kang Tri Salontreng Pangsi Iket 4 Pak Jajang Daily Uniform
6.4.5 HAIRSTYLE AND MAKE UP BREAKDOWN MAKE UP AND HAIRSTYLE NO MAKE UP & HAIRSTYLE AMOUNT SEQUENCE 1 2 3 4 5 6 7 1 Kang Going Natural Little messy long hair using Iket 2 Kang Yana Natural Neat hair using Iket 3 Kang Tri Natural Neat hair using Iket 4 Pak Jajang Natural Neat Hair
6.4.6 CAMERA AND LIGHTING BREAKDOWN NO SEQUENCE DESCRIPTION CAMERA TYPE OF SHOT LENSE SIZE LIGHTING MOVEMENT 1 1 Introducing the location of the story -Still ELS, CU 18mm-200mm Natural which is in Cimahi, West Java. -Handheld -Panning -Zooming 2 1 Introduce Cimahi as the modern city -Still LS, MS 18mm-200mm Natural that also crowded by people and -Handheld various activites. -Zooming 3 2 Introduce the place Sunda Wiwitan -Still LS, CU, MCU 18mm-200mm Natural adherents lives in Kampung Adat -Handheld Cireundeu 4 2 Interview Kang Going about a brief -Still MCU 18mm-200mm LED Medium introduction about Kampung Adat Portable AL- Cireundeu 522C & H522W 5 3 Establish Kelurahan office and the -Still LS 18mm-200mm LED Medium activity inside Kelurahan -Handheld Portable AL- 522C & H522W
6 3 Interview Pak Jajang about -Still MCU 18mm-200mm LED Medium administration data of Kampung Adat Portable AL- Cireundeu 522C & H522W 7 4 Interview Kang Yana about -Still MCU 18mm-200mm LED Medium government recognition to Sunda Portable AL- Wiwitan adherents in Kampung Adat 522C & H522W Cireundeu 8 4 Insert showing Identity Card and -Still CU 18mm-200mm LED Medium marriage certificate -Zooming Portable AL- 522C & H522W 9 5 Timelapse Kebun singkong -Still LS 18mm-200mm Natural 10 5 Interview Pak Jajang about the Sunda -Still MCU 18mm-200mm LED Medium Wiwitan adherents‟ problem in Portable AL- obtaining Identity card, marriage 522C & H522W certificate and birth certificate. 11 5 Insert people‟s activity in Kampung -Still LS 18mm-200mm Adat Cireundeu 12 5 Insert activity in kelurahan office -Handheld MS 18mm-200mm LED Medium Portable AL-
522C & H522W 13 5 Interview Kang Tri about the -Still MCU 18mm-200mm LED Medium experience the difficulty in obtaining Portable AL- legal documents 522C & H522W 14 5 Insert Kang Tri showing his identity -Still CU 18mm-200mm LED Medium card -Zooming Portable AL- 522C & H522W 15 5 Insert activity in bank -Handheld MS 18mm-200mm Natural 16 5 Insert Sunda Wiwitan adherents -Handheld MS 18mm-200mm Natural praying 17 6 Interview Pak Jajang about the -Still MCU 18mm-200mm LED Medium consequences that Sunda Wiwitan Portable AL- faced to obtain legal documents 522C & H522W 18 6 Interview Kang Yana about the -Still MCU 18mm-200mm LED Medium consequences of Sunda Wiwitan Portable AL- adherents to the difficulty obtaining 522C & H522W legal documents 19 6 Interview Kang Tri responding to the -Still MCU 18mm-200mm LED Medium problem that Sunda Wiwitan Portable AL-
adherents faced 522C & H522W 20 7 Seren taun activit -Still LS, MCU, CU 18mm-200mm Natural -Handheld
6.4.7 MASTER BREAKDOWN 1. NO SEQ I/E D/N SETTING CAST EXTRAS PROP COSTUME MAKE UP ACTION 1 1 E D Gunung Puncak Establish the location Salam of the story placed in Perbatasan Cimahi- Cimahi Padalarang Tugu 0 Kilometer Cimahi 2 1 E D Pasar Antri Baru Shows Cimahi as the modern city 3 2 E D Kampung Adat Establish of the area of Cireundeu Sunda Wiwitan adherents live in Cimahi 4 2 I N Kang Going‟s house Kang -Padi -Salontreng -Natural Kang going explain a Going -Pangsi brief history about -Iket Kampung Adat -Inner Shirt Cireundeu 5 3 E D Kelurahan Office Establish of kelurahan
office 6 3 I D Kelurahan office Pak Jajang -File -Daily -Natural Pak Jajang explain -Office Uniform about Kampung Adat Chair Cireundeu -Office Administration data table 7 4 E D Saung Bale Kang -Iket Natural Kang Yana explains Saresehan Yana -Black Shirt about the difficulty of -Pangsi obtaiing legal documents by Sunda Wiwitan adherents 8 5 E D Kebun Singkong Transition from sequence 4 to 5 9 5 I D Kelurahan Office Pak Jajang -File -Daily Natural Pak Jajang explains -Office unform about the problems Chair that Sunda Wiwitan -Office faced in obtaining Table legal documents 10 5 I D Kelurahan office Insert activities in
kelurahan 11 5 E N Saung Desa Kang Tri -Iket Natural Kang Tri explain his -Pangsi experience of the -Salontreng difficulty in obtaining legal documents 12 5 I D Bank Insert Bank activities 13 6 I D Kelurahan office Pak Jajang Daily Natural Pak Jajang explain the Uniform consequences that Sunda WIwitan adherents face in obtaining legal documents 13 6 E D Saung Bale Kang -Iket Natural Kang Yana explains Saresehan Yana -Black shirt the consequences of -Pangsi Sunda Wiwitan adherents to the difficulty obtaining legal documents 14 6 E N Saung Desa Kang Tri -Iket Natural Interview Kang Tri
-Salontreng responding to the -Pangsi problem that Sunda Wiwitan adherents faced 15 7 E D Lapangan Shows seren taun Badminton Bale activity Saresehan
6.5 HUNTING PLAN/SURVEY 6.5.1 HUNTING TALENT CAST As Identitas film tells about the problem in obtain formal documents that Sunda Wiwitan adherents experiences, I focused on Sunda Wiwitan adherents that live in Kampung Adat Cireundeu. Therefore, I choose the cast the people who are Sunda Wiwitan adherents and lives in Kampung Adat Cireundeu. I choose three people who are have influences in Kampung Adat Cireundeu and have experiences in the difficulty of obtain the legal documents. And for the other point of view, I find cast in Kelurahan, a person that able to explain the regulations and the problem from local government point of view. 6.5.2 HUNTING LOCATION
Looking for the places where Sunda Wiwitan adherents lives is quite challenging. There are Sunda Wiwitan adherent who also lives in some region in West Java. Therefore, I am going to do research where the nearest Sunda Wiwitan adherents live. There are some places in West Java that I plan to visit: Cigugur (Kuningan) Kampung Adat Cireundeu (Cimahi) Kanekes (Banten) Cisolok (Sukabumi) Kampung Naga (Tasikmalaya) 6.5.3 PROPERTIES
Because this is a documentary film, I am not going to prepare any properties because I want to maintain the film as natural as possible. And for the interview I am not going to prepare any properties but I am going to re-arrange the properties that available in the area. 6.5.4 WARDROBE
For the wardrobe, I am not going to prepare the wardrobe. The wardrobe will be prepared by the interviewees. But I am going to ask the interviewees from Kampung Adat Cireundeu to wear Pangsi or their traditional clothes.
6.5.5 MAKE UP AND HAIRSTYLE
There will be no make-up and hair styling because I want to keep it natural and stick to the real condition. 6.5.6 LOGISTICS
I will find the nearest supermarket or mini-market to buy the supplies that needed for the production and the crew such as: Battery, mineral water, snacks and any other things that needed. But for saving time, I am going to buy some supplies that needed for the crew a day before we go to the place for film production. For the meal, I will find the nearest restaurants that suitable for the meal budget. 6.5.7 TRANSPORTATION
I am going to use my mom‟s car as the transportation to the location. And my mom will drop me and the crew off in the production location. And if the location is moving to other places, my mom will pick us to drive us to other location. 6.5.8 ACCOMODATION
For the accommodation, I will find the nearest motel that has reasonable price. Since the team consist of three men and one woman, I will book two rooms. 6.5.9 COMMUNICATION
To contact the interviewees, I will communicate with them by telephone. And also make schedule coordination for the interview. And for communication with the crew, I do not really need a media to contact them because we are going to stay together during the production but I also made a group in whatsapp to communicate to each other. 6.5.10 EQUIPMENT
I do not need to prepare the equipment for the production process because all the equipment already supported by FTV President University. I only need to prepare some equipment like battery. 6.5.11 WORKSHOP
I will check all the equipment that borrowed from FTV Laboratory one day before we go to the location of film production.
6.5.12 HUNTING TEAM
All the hunting I will do it by myself. Since the locations that I planned are not too far. 6.5.13 HUNTING SCHEDULE Location Hunting: 12th September 2016 Equipment Workshop: 28th February 2017 – 2nd March 2017 6.5.14 HUNTING BUDGET
No Item Amount Price Total Fuel 1 Cikarang- 1 IDR150,000.00 IDR150,000.00 Cimahi Fuel 2 Cimahi- 1 IDR150,000.00 IDR150,000.00 Cikarang Toll fee 3 Cikarang- 1 IDR50,000.00 IDR50,000.00 Cimahi Toll fee 4 Cimahi- 1 IDR50,000.00 IDR50,000.00 Cikarang Fuel 5 Cikarang- 1 IDR150,000.00 IDR150,000.00 Cimahi Fuel 6 Cimahi- 1 IDR150,000.00 IDR150,000.00 Cikarang Toll fee 7 Cikarang- 1 IDR50,000.00 IDR50,000.00 Cimahi Toll Fee 8 Cimahi- 1 IDR50,000.00 IDR50,000.00 Cikarang 9 Photocopy IDR5,000.00 IDR5,000.00 Fuel 10 Cikarang- 1 IDR150,000.00 IDR150,000.00 Cimahi Fuel 11 Cimahi- 1 IDR150,000.00 IDR150,000.00 Cikarang
Toll fee 12 Cikarang- 1 IDR50,000.00 IDR50,000.00 Cimahi Toll fee 13 Cimahi- 1 IDR50,000.00 IDR50,000.00 Cikarang Meals (one 14 IDR135,000.00 IDR135,000.00 person) 15 Snacks UDR 50,000 IDR50,000.00 16 Gift Souvenir IDR200,000.00 IDR200,000.00 Fuel 17 Cikarang- 1 IDR150,000.00 IDR150,000.00 Cimahi Fuel 18 Cimahi- 1 IDR150,000.00 IDR150,000.00 Cikarang Toll fee 19 Cikarang- 1 IDR50,000.00 IDR50,000.00 Cimahi Toll fee 20 Cimahi- 1 IDR50,000.00 IDR50,000.00 Cikarang TOTAL IDR1,990,000.00
6.6 PRODUCTION SCHEDULE 6.6.1 PRE PRODUCTION SCHEDULE ACTIVITES SEPTEMBER OCTOBER NOVEMBER DECEMBER JANUARY FEBRUARY MARCH APRIL
(WEEKS) 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 PRE PRODUCTION PRE RESEARCH
CHAPTER I,II,III,IV,V RESEARCH CHAPTER VI,VII PRODUCTION
SHOOTING
POST PRODUCTION
EDITING MIXING DESIGNING
6.6.2 SHOOTING SCHEDULE
FTV PRESIDENT UNIVERSITY PRODUCTION “IDENTITAS” DIRECTOR: SILMI NABILAH PRODUSER: SILMI NABILAH SHOOTING SCHEDULE Location: LEUWIGAJAH-CIMAHI Crew Wall: 07.00 WIB Contact Person: Silmi Nabilah 085604547600 Break Fast: 08.00-09.00 Lunch: 14.30-15.30 Dinner: 20.00-21.00 Friday, March 3rd 2017
TIME SEQ LOCATION ACTION E/I CAST PROPS COSTUME NOTES D/N 08.00-09.00 Breakfast 11.00-12.00 Heading to perbatasan cimahi padalarang 12.30-13.00 1 Perbatasan cimahi- Establish 3/d padalarang perbatasan Cimahi Padalarang 13.00-13.30 Heading to alun-alun kota cimahi 14.30-15.30 Break Lunch 15.30-16.30 Heading Back to Kampung Adat Cireundeu 16.30-18.00 1 Kampung Adat People‟s E/D Cireundeu activity 18.00-18.05 Back to house
FTV PRESIDENT UNIVERSITY PRODUCTION “IDENTITAS” DIRECTOR: SILMI NABILAH PRODUSER: SILMI NABILAH SHOOTING SCHEDULE Location: Leuwigajah - Cimahi Crew Wall: 07.00 WIB Contact Person: Silmi Nabilah 085604547600 Break Fast: 09.00-10.00 Lunch: 14.15-15.00 Dinner: 19.00-20.00 Saturday, March 4th 2017
TIME SEQ LOCATION ACTION E/I CAST PROPS COSTUME NOTES D/N 00.00-00.05 Heading to Saung 00.05-02.00 2 Saung ronda Interview E/N Kang Going Pangsi, Iket, Black Shirt 02.00-02.05 Back to House 09.00-10.00 Breakfast 10.00-10.05 Heading to Bale Saresehan 10.05-11.00 Gather in Bale Saeresehan 11.00-12.15 Heading to Puncak Gunung Salam 12.15-13.00 1 Puncak Gunung Establish E/D Salam Kota Cimahi 13.00-14.15 Back to Bale Saresehan 14.15-15.00 Break Lunch 15.00-16.30 4,6 Saung bale Interview E/D Kang Yana Pangsi, black saresehan shirt, iket 16.30-16.35 Heading back to house
FTV PRESIDENT UNIVERSITY PRODUCTION “IDENTITAS” DIRECTOR: SILMI NABILAH PRODUSER: SILMI NABILAH SHOOTING SCHEDULE Location: Leuwigajah-Cimahi Crew Wall: 07.00 WIB Contact Person: Silmi Nabilah 085604547600 Break Fast: 09.00-12.00 Lunch: 15.00-16.00 Dinner: 22.00-22.30 Saturday, March 5th 2017
TIME SEQ LOCATION ACTION E/I CAST PROPS COSTUME NOTES D/N 09.00-12.00 Breakfast 12.00-15.00 1 Kampung Adat People‟s E/D Cireundeu activity 15.00-16.00 Lunch 16.00-16.05 Heading back to house 19.00-19.05 Heading to Kang Yana house 19.05-20.00 4 Kang Yana House I/N Kang Yana Marriage Pangsi, Black document Shirt, Iket 20.00-20.02 Heading to Kang Tri house 20.02-20.10 Kang Tri House 20.10-22.00 5,6 Saung Desa E/N Kang Tri Marriage Pangsi, Black document Shirt, Iket
FTV PRESIDENT UNIVERSITY PRODUCTION “IDENTITAS” DIRECTOR: SILMI NABILAH PRODUSER: SILMI NABILAH SHOOTING SCHEDULE Location: LEUWIGAJAH-CIMAHI Crew Wall: 07.00 WIB Contact Person: Silmi Nabilah 085604547600 Break Fast: 09.00-10.00 Lunch: 17.00-17.30 Dinner: 20.00-21.00 Monday, March 6th 2017
TIME SEQ LOCATION ACTION E/I CAST PROPS COSTUME NOTES D/N 05.00-09.00 3 Kang Iki House Timelapse E/D from the roof 09.00-10.00 Breakfast 10.00-15.00 Preparation 15.00-15.15 heading to Kelurahan 15.15-17.00 3,5,6 Kelurahan Interview I/D Pak Jajang Office Work chair, Table Uniform chair, files 17.00-17.15 Heading Back to house 17.15-21.00 Free Time 21.00-23.00 Heading back to Cikarang
FTV PRESIDENT UNIVERSITY PRODUCTION “IDENTITAS” DIRECTOR: SILMI NABILAH PRODUSER: SILMI NABILAH SHOOTING SCHEDULE Location: Kampung Cireundeu Crew Wall: 20.00 WIB Contact Person: Silmi Nabilah 085604547600 Break Fast: - Lunch: - Dinner: 22.00 Monday, April 3rd 2017
TIME SEQ LOCATION ACTION E/I CAST PROPS COSTUME NOTES D/N 22.00 Arrived at Kampung Cireundeu 22.30 Rest
FTV PRESIDENT UNIVERSITY PRODUCTION “IDENTITAS” DIRECTOR: SILMI NABILAH PRODUSER: SILMI NABILAH SHOOTING SCHEDULE Location: LEUWIGAJAH-CIMAHI Crew Wall: 07.00 WIB Contact Person: Silmi Nabilah 085604547600 Break Fast: 09.00 Lunch: 13.30-14.30 Dinner: 20.00-21.00 Tuesday, April 4th 2017 TIME SEQ LOCATION ACTION E/I CAST PROPS COSTUME NOTES D/N 09.00-09.30 Heading to Pasar Antri Baru 09.30-12.00 1 Pasar Antri Baru Establish E/D traditional market and people’s activity 12.00-12.30 Heading to Supemarket 12.30-13.30 1 Supermarket People’s I/D activity 13.30-14.30 Break Lunch 14.30-15.00 Heading to Cimahi 15.00-16.30 1 Cimahi Establish E/D monument to leuwigajah 16.30-17.00 Heading back to kampung adat cireundeu 20.00-21.00 2 Kang Going‟s house Interview I/N Kang Going Wood Black shirt, chair, Padi pangsi, iket
FTV PRESIDENT UNIVERSITY PRODUCTION “IDENTITAS” DIRECTOR: SILMI NABILAH PRODUSER: SILMI NABILAH SHOOTING SCHEDULE Location: LEUWIGAJAH-CIMAHI Crew Wall: 07.00 WIB Contact Person: Silmi Nabilah 085604547600 Break Fast: 09.00-09.30 Lunch: 13.30-14.30 Dinner: 20.00 Wednesday, April 5th 2017
TIME SEQ LOCATION ACTION E/I CAST PROPS COSTUME NOTES D/N 09.00-09.30 Breakfast 09.30-11.00 preparation 11.00-11.30 Heading to Gunung Salam 11.30-12.00 1 Gunung Salam E/D 12.00-13.00 2 Kebun Singkong E/D 13.00-13.30 Heading back to house 13.30-14.30 Lunch 14.30-14.45 Heading to Kelurahan 14.45-15.30 3,5,6 Kelurahan Interview I/D Pak Jajang Offce Work chairm uniform, shoes office table, files 15.30-15.45 Heading back to house 15.45-17.00 free time 17.00 heading back to Bekasi
6.6.3 ONLINE SHOOTING SCHEDULE ON LINE SCHEDULE “IDENTITAS” FRIDAY, MARCH 3RD 2017 TIME LOCATION SEQUENCE E/I D/N CASTS 12.30-13.00 Perbatasan Cimahi Padalarang 1 E D 13.30-14.30 Alun-alun Kota Cimahi 1 E D 16.30-18.00 Kampung Adat Cireundeu 1 E D
ON LINE SCHEDULE “IDENTITAS” SATURDAY, MARCH 4TH 2017 TIME LOCATION SEQUENCE E/I D/N CASTS 00.05-02.00 Saung Ronda 2 E N Kang Going 12.15-13.00 Puncak Gunung Salam 1 E D 15.00-16.30 Saung Bale Saresehan 4,6 E D Kang Yana
ON LINE SCHEDULE “IDENTITAS” SUNDAY, MARCH 5TH 2017 TIME LOCATION SEQUENCE E/I D/N CASTS 12.00-15.00 Kampung Adat Cireundeu 1 E D 19.05-20.00 Kang Yana‟s house 4 I N 20.10-22.00 Saung Desa 5,6 E N Kang Tri
ON LINE SCHEDULE “IDENTITAS” MONDAY, MARCH 6th 2017 TIME LOCATION SEQUENCE E/I D/N CASTS 05.00-09.00 Kang Iki‟s House 3 E D 15.15-17.00 Kelurahan 3,5,6 I D Pak Jajang
ON LINE SCHEDULE “IDENTITAS” TUESDAY, APRIL 4TH 2017 TIME LOCATION SEQUENCE E/I D/N CASTS 09.30-12.00 Pasar Antri Baru 1 E D 12.30-13.30 Supermarket 1 I D 15.00-16.30 Leuwigajah 1 E D 20.00-21.00 Kang Going‟s House 2 I N Kang Going
ON LINE SCHEDULE “IDENTITAS” WEDNESDAY, APRIL 5TH 2017 TIME LOCATION SEQUENCE E/I D/N CASTS 11.30-12.00 Mata Air Gunung Salam 1 E D 12.00-13.00 Kebun Singkong 2 E D 14.45-15.30 Kelurahan 3,5,6 I D Pak Jajang
6.6.4 POST PRODUCTION SCHEDULE NO STEP DURATION PLANNING DATE 1 Logging video and audio data 2 days 7th March – 8th March 2017 2 Offline 3 Weeks 8th March 2017 -29th March 2017 3 On line 1 weeks 30th march 2017 – 6th April 4 Color Correction 2 days 7th April 2017-9th April 2017 5 Color Grading 2 days 10th April – 12th April 2017 6 Mixing 3 days 13th April- 16th April 2017
6.7 PRODUCTION BUDGET 6.7.1 BUDGET ESTIMATION
6.7.2 BUDGET SUMMARY
"IDENTITAS" FINAL BUDGETING NO BUDGET DESTINATION TOTAL 1 PRE-PRODUCTION IDR1,990,000
2 PRODUCTION IDR3,000,000
3 POST-PRODUCTION IDR1,050,000
4 MISCELLANEOUS IDR500,000
GRAND TOTAL IDR6,540,000
CHAPTER VII PRODUCTION REPORT
7.1 SCENARIO 7.1.1 TECHNICAL PROBLEM I experienced difficulty to find reliable information about Sunda Wiwitan. And first I also get confused on what theme I would use based on Sunda Wiwitan topic. I was thinking to choose about Sunda Wiwitan ritual or annual event, but then I tried to do further research about Sunda Wiwitan. After I did further research, I found out about the problem that still not resolved until today, which is lack of recognition from government to Sunda Wiwitan and the difficulty that Sunda Wiwitan adherents experience in obtaining legal documents such as identity card, marriage certificate and birth certificate. I still had doubt which one I should choose for my film, and then I asked my research advisor which one is better. After listened to his advice, I decided to choose Sunda Wiwitan adherents‟ problem about legal documents. 7.1.2 NON TECHNICAL PROBLEM Used Sunda Wiwitan theme as my film project got me overwhelmed. I had to read and learnt about belief, religion, Sunda Wiwitan‟s history and Indonesia‟s law, which was really challenging for me. This theme for me is also quite sensitive because I talked about a belief and if I made mistake it could lead to misunderstand and misjudgement.
7.1.3 SOLUTIONS For technical problem, I still had doubt which one I should choose for my film, and then I asked my research advisor which one is better. After listened to his advice, I decided to choose Sunda Wiwitan adherents‟ problem about legal documents. Because there are many film documentary that have Sunda Wiwitan ritual/annual event, and I wanted to make a different one. For non-technical, I learned by reading journals and opened websites that focus on Sunda Wiwitan topic. I also watched videos from youtube with „Sunda Wiwitan‟ keywords as my references. And to avoid misunderstand and misjudgement, I tried to find the reliable information carefully.
7.2 DIRECTOR PROBLEM 7.2.1 TECHNICAL PROBLEM I had to maximizing picture in Kampung Adat Cireundeu due to limited area and not all location can be shoot by camera. For example, there are forbidden forest that only some people can enter and the visitor can‟t come in. There are so many interesting stories those Sunda Wiwitan adherents in Kampung Adat Cireundeu told, but can‟t be put into film because of privacy matter. There was miscommunication between me and cameraperson for the interviewee position in front of camera and the position of interviewee was too aside from the frame. I had to do change to the scenario treatment due to changes that happens during production process
7.2.2 NON TECHNICAL PROBLEM I was planning to interview the chief of tribal council to explain about Kampung Adat Cireundeu, but because my production held on the weekend, I could not make it to interview him due to his busy schedule in the weekend On the first day of production, I and the crew were planning to go to Puncak Gunung Salam in the morning. We wait for Kang Iki to picked us up, but because of he woke up late, we cancelled the schedule that day. I was planning to interview Pak Lurah, but due to his busy schedule that day and he could not be interrupted. When the crew and I wanted to take landscape picture of Cimahi, we had to climb Puncak Gunung Salam that can be reached two hours walk to get into the top. And due to rules in Kampung Adat Cireundeu, we have to take off our shoes and sandals and climb with bare-foot.
7.2.3 SOLUTIONS For technical problem, for the first problem, I tried to maximize the picture to shoot the places in Kampung Adat Cireundeu and also tried to do different angle to give variation. The second problem, I respected their request to keep some stories off the camera and not insist them to tell the story in front of camera. For the third problem, I went back to the location the next month to retake the interview, but not all interview.
Because I am afraid if I retake the entire interview, it will not be the same as the first interview. For the non-technical problem, for the first problem, I tried to find another person and I asked Kang Going to tell brief history about Kampung Adat Cireundeu. For the second problem, because in that day we cancelled the schedule to go to Puncak Gunung Salam, we finally went to Puncak Gunung Salam in the next day. For the third problem, we interviewed Pak Jajang as Kasi Pemberdayaan Masyarakat to become representative of Kelurahan. And the last problem, we follow the rules and we finally made it to Puncak Gunung Salam with barefoot which was a new experience for me and the crew. 7.3 PRODUCTION PROBLEM 7.3.1 TECHNICAL PROBLEM For technical problem in production, I had arranged the schedule for production, due to many changes, I need to reschedule more than once. But most of all, there was no significant problem during the production 7.3.2 NON TECHNICAL PROBLEM On the first day I and the crew arrived to Kampung Adat Cireundeu, we were feel a bit awkward because we were the visitor there and I always felt afraid if i filmed a scene in wrong place because there are places that are not allowed to be filmed. The weather also 7.3.3 SOLUTIONS For technical problem, I needed to keep update for the schedule because it could change anytime. I made sure the interviewee when they can be interviewed to arrange the schedule. For non-technical problem, in the day two the crew and I finally get along with people in Kampung Adat Cireundeu and I also gain more information by that. And I had Kang Iki to guide us through the production process, so I can asked him which one that can be filmed and which one is not.
7.4 CINEMATOGRAPHY PROBLEM 7.4.1 TECHNICAL PROBLEM When the crew and I went to Gunung Puncak Salam, we did not bring tripod because we thought it was so heavy and we need to bring it while climb to Gunung Puncak
Salam. And after we reached the top, I realized that it was a mistake not to bring tripod with us because the view from top of Gunung Puncak Salam is really beautiful. 7.4.2 NON TECHNICAL PROBLEM During production process, the weather was really uncertain. But most of the evening during the production was raining. I wanted to take time-lapse during the sunset but I could not make it because sky was so dark and came heavy rain. Only few scenes that I could took during evening. 7.4.3 SOLUTION For technical problem, because I did not bring the tripod, the idea came from Reza to put the camera at the top of my camera bag to take a standstill scene. And some scene took by handheld even it was a bit shaky. For non-technical problem, due to the weather, I had to maximize filming during morning and in the afternoon. 7.5 ARTISTIC PROBLEM 7.5.1 TECHNICAL PROBLEM For the interview, I was planning to filmed Kang Going session in Kebun Singkong, but due to we need to climb Puncak Gunung Salam to go to there, we cancelled. 7.5.2 NON TECHNICAL PROBLEM When the interview session in Kang Going house, the crew and I needed to re-arrange the setting because it was a bit messy. 7.5.3 SOLUTION For technical problem, I finally decided to do Kang Going interview session in his house for time efficiency and not interrupted his activity. For non technical problem, the crew and I cleaned up and re-arrange the setting and put some properties to convey the message in film. 7.6 EDITING PROBLEM 7.6.1 TECHNICAL PROBLEM When start to logged in the data and the crew and me tried to arrange it sequence by sequence. After we arranged it, I realized there was some empty spaces that cause the emotions of the film did not appear. And there were less shots for insert in interview scene. 7.6.2 NON TECHNICAL PROBLEM On the first few days, I edited the rough cut with the crew. But due to their busy schedules, I continue to edit by myself but I also felt overwhelmed because I need to
focus on two things, the editing and the thesis. And I also lack of knowledge in editing. I could not edit the film since my laptop was broken because it cannot be charged, so I need to borrow to my friend, Ludy. But the obstacle here, because the laptop belongs to Ludy, everytime he needs it, I have to give it to him so it distract the editing schedule. 7.6.3 SOLUTION For technical problem, to fill the empty spaces and shots, I came back to the location to retake some shots that needed to fill the empty spaces in the film. For non technical problem, I asked my creative advisor, Mr. Sinthu for teach me more for editing and I also ask his advice for the editing. And for the laptop for editing, I tried to arrange the schedule with Ludy, when can I use his laptop and when he need to use the laptop. 7.7 SOUND PROBLEM 7.7.1 TECHNICAL PROBLEM In second interview with Kang going, the sound from the clip on was not really clear due to his clothes. And it was sounds like too close to his chest and the voice heard like from the chest so his voice sounds too deep. 7.7.2 NON TECHNICAL PROBLEM Fortunately, there is no significant non-technical problem in sound. The process of sound recording was run smoothly. 7.7.3 SOLUTION For technical problem, I took it off the clip on from Kang going and put it in the table near Kang Going so the voice sounded clear and not to deep. 7.8 TALENT 7.8.1 TECHNICAL PROBLEM There are several changes in the interviewee. First, I wanted to the chief of tribal council to explain about the brief history of Kampung Adat Cireundeu, but he could not make it because his schedule was really busy in the weekend. And I intended to interview Pak Lurah, but he could not make it also because there are so many people that day who already made appointment with him and his schedule was really busy. Then, in interview scene about experience in obtaining legal documents, I was intended to interview a couple but I cancelled it.
7.8.2 NON TECHNICAL PROBLEM I already made a schedule for the interview, but Kang Yana and Kang Tri had unexpectedly agenda, which should be attended, so they asked me to postpone the interview and re arrange the schedule. 7.8.3 SOLUTIONS For technical problem, first I searched another person to explain about the brief history of Kampung Adat Cireundeu, then I asked Kang going if he could help me for the interview, then he agreed to do the interview. Second, the assistance of Pak Lurah suggested me to interview Pak Jajang to represented Kelurahan. So I asked Pak Jajang if he can be interviewed, and he agreed to do the interview. And third, I was intended to interview Kang Tri and his wife, but because it was already night, his wife already asleep, so I decided to interview only Kang Tri. For non-technical problem, I re arranged the schedule and interviewed Kang Yana and Kang Tri after they came back to Kampung Adat Cireundeu. 7.9 WARDROBE 7.9.1 TECHNICAL PROBLEM Fortunately, there is no problem for the wardrobe. Because, the interviewees are use the wardrobe I intended to in a daily activity. Like Kang Going, Kang Yana, and Kang Tri, they are already using Pangsi and Iket in their daily activity. And when I told them I want to do the interview, without I was asking, they change their clothes into using pangsi and iket. And for Pak Jajang, I interviewed him during his work time so he uses his work uniform. 7.9.2 NON TECHNICAL PROBLEM There is also no problem that happened in non-technical problem for the wardrobe. 7.9.3 SOLUTIONS Fortunately, most of all there are no problems for wardrobe. There was initiation from the interviewee to change to their traditional clothes because according to them the wardrobe is the symbol of who they are. 7.10 PROPERTY 7.10.1 TECHNICAL PROBLEM There is no significant problem for property. Because this is a documentary film, I did not need to prepare the properties. I just used the available properties and re arrange it to made it looks good in frame.
7.10.2 NON TECHNICAL PROBLEM In non-technical problem there are also no problems for the properties. 7.10.3 SOLUTIONS For property, I just need to re-arrange the available property and put it in the nice order.
CHAPTER VIII CONCLUSIONS AND RECOMMENDATION
8.1 CONCLUSION Indonesia with its variety of race, religion, tribes and belief has the unsolved case that never has been answered. Sunda Wiwitan as one of local belief in Indonesia from West Java, have stayed in Indonesia long before any religion came to Indonesia. But, as time goes by, Sunda Wiwitan adherents are decreasing. Today, only few region in West Java that still preserve Sunda Wiwitan as their belief. One of them is in Kampung Adat Cireundeu, Leuwigajah, Cimahi. Because Sunda Wiwitan today becomes the minority in Indonesia, they are receiving discriminations due to what their belief. And also the lack recognition from government makes Sunda Wiwitan adherents difficult in obtaining legal documents such as Identity Card, Marriage ceritificate, and birth certificate. It makes Sunda Wiwitan adherents easily become criminal object. Meanwhile, Sunda Wiwitan adherents are people who still preserve the origin culture of Indonesia. The lack recognition from government makes it more difficult for Sunda Wiwitan adherents to live their life normally for citizen administration. 8.2 RECOMMENDATION 8.2.1 For Filmmakers Making documentary has its own challenge. Then as filmmaker who wants to make documentary film, should prepare everything. From A to Z. Mental preparation is the most important. We should ready for the changing plan. Have many back-up plans is better than we worry about what to do next. In making documentary film, we never know what will happen, what will change and what will be cancelled. Research is important. Do not ever take granted of it. Research will help you to know what you are going to do, also help you to make back-up plan for production later. Therefore, you should do serious research and always aware to your surrounding. 8.2.2 For Campus It would be great if campus have funding for FTV studio to support the final project. Because in making the final project it cost a lot of money. Maybe campus can support from the funding besides the production tools. Since, FTV students need to make
thesis and film, it would be better if the final project can be done in group. Because, the FTV students getting overwhelmed to finish both thesis and film by their selves.
BIBILIOGRAPHY
Ira Indrawardana, 2014. Berketuhanan Dalam Perspektif Kepercayaan Sunda Wiwitan. Jurnal Melintas, 30. Vol 1. 2014 Ira Indrawardana. 2011. Sunda Wiwitan dalam Dinamika Zaman. Makalah dalam Konferensi Internasional Budaya Sundar 2011. Kiki Muhammad Hakiki, Politik Identitas Agama Lokal (Studi Kasus Aliran Kebatinan) dalam Jurnal Analisis, Volume XI, No. 1, Juni 2011. Mulia, Siti Musdah. 2007 Hak Asasi Manusia Dan Kebebasan Beragama.Makalah dalam Diskusi Panel: Perkembangan Konsep Tindak Pidana Terkait Dengan Agama Dalam Pembaharuan KUHP. Aliansi RKUHP. Kurnia, Lilawati. "“Seren Taun” between hegemony and culture industry; Reading a Sundanese ritual of harvest in Cigugur, West Java." Wacana 15.2 (2014): 300-313. Mulia, Siti Musdah. 2007 Hak Asasi Manusia Dan Kebebasan Beragama.Makalah dalam Diskusi Panel: Perkembangan Konsep Tindak Pidana Terkait Dengan Agama Dalam Pembaharuan KUHP. Aliansi RKUHP.
Pawiro, Abdurrahman Misno Bambang. 2013. Baduy Pluralism: From Myth to Reality. Borneo Journal of Religious Studies (BJRS) Volume 2 Number 1 June 2013.
Zezen Zaenal Mutaqin (2014) Penghayat, orthodoxy and the legal politics of the state, Indonesia and the Malay World, 42:122, 1-23 Stange, Paul. 1986. Legitimate mysticism in Indonesia. Review of Indonesian and Malaysian Affairs 20: 76–117. Howell, Julia Day. 2005. Muslim, the New Age and marginal religions in Indonesia: changing meaning of religious pluralism. Social Compass 52: 473–93. Sairin, Wienata, and Joseph Marcus Pattiasina. 1996. Pelaksanaan Undang- Undang Perkawinan dalam perspektif Kristen: himpunan telaah tentang perkawinan di lingkungan persekutuan gereja-gereja Indonesia [The implementation of Marriage Law in
the perspective of Christianity: the compilation of study on marriages in the communion of the churches in Indonesia]. Jakarta: Gunung Mulia. Mulder, Niels. 1978. Mysticism & everyday life in contemporary Java: cultural persistence and change. Singapore: Singapore University Press.
APPENDIX
1. DIRECTOR SHOT SEQUENCE 1 SHOT VISUAL AUDIO 1 ELS dan ZOOM IN pemandangan kota - Ambience cimahi dari puncak gunung salam - -Sound Effect 2 ELS Lalu lalang kendaraan di perbatasan Cimahi-Padalarang 3 LS tugu titik kilometer, PAN memutar 4 WS jalan raya, CHANGE FOCUS ke jalan 5 MS tukang parkir sedang mengatur jalan 6 MS jalan raya 7 LS Tulisan pasar antri baru 8 LS Suasana luar pasar antri baru 9 LS suasana di dalam pasar antri baru 10 LS suasana pasar antri baru 11 LS suasana terminal antri baru 12 MS pengamen di angkot SEQUENCE 2 1 Fade to white. ELS pemandangan kota -Suara Karinding cimahi dari Puncak gunung salam. PAN - Ambience Kiri 2 LS keramaian penyambutan acara seren taun 3 MS orang-orang yang menghadiri acara seren taun 4 MS penjaga acara seren taun 5 MS Wawancara Kang Going Wawancara 6 MCU Papan selamat datang kampung - Suara karinding cireundeu - Ambience
7 CU Aliran air di sumber mata air 8 MCU aliran mata air 9 LS, PAN kiri pemandangan hutan di gunung salam 10 MS Aktifitas berkerbun warga 11 MS, TILT UP sesajian acara seren taun 12 MS Sesajian acara seren taun 13 MS aktifitas membuat rasi 14 MCU aktifitas warga membuat rasi, TILT UP SEQUENCE 3 1 MS aktifitas warga membawa sesajian Ambience saat acara seren taun 2 LS, Zoom in Kantor kelurahan leuwigajah 3 MS, pan kiri aktifitas di kantor kelurahan 4 MCU, Change focus ke nama 5 MCU, Wawancara Pak Jajang Wawancara 6 MS petunjuk jalan Ambience 7 MS, PAN kanan rumah warga 8 LS, aktfitas warga di saung 9 MS, Aktifitas anak sekolah di kampung cireundeu 10 MS, Pan Kanan Acara seren taun 11 MS barisan acara seren taun SEQUENCE 4 1 MS para tamu acara seren taun berjalan Ambience menuju Bale saresehan 2 MS wawancara kang Yana Wawancara 3 MS warga kampung adat cireundeu Ambience berbaris di acara seren taun 4 ECU, Zoom in ktp kang Yana,
5 MS Aktifitas seren taun di bale saresehan 6 ECU, Zoom in berita nikah zaman penjajahan Belanda 7 MS anak-anak sedang berkumpul 8 MS Aktifitas di kantor kelurahan SEQUENCE 5 1 LS kebun singkong Ambience 2 MS bermain angklung di cara seren taun 3 MS Wawancara Pak Jajang Wawancara 4 MS Aktifitas memasak ibu-ibu di Ambience kampung cireundeu 5 LS aktifitas warga di kebun singkong 6 MS Aktifitas di kantor kelurahan 7 MS tamu kelurahan berdiri di luar kantor kelurahan 8 MS Wawancara Kang Tri Wawancara 9 ECU, Zoom in KTP kang Tri Ambience 10 LS orang berjalan ke teller bank 11 MS customer service di bank 12 LS tamu yang menghadiri acara seren taun 13 MS orang sedang mengurus KTP 14 MCU ibu-ibu berkumpul di bale saresehan 15 MS warga membawa seserahan 16 MCU ibu-ibu sedang berdoa 17 LS permainan angklung di acara seren taun 18 MS anak yang sedang menari 19 MS akad pernikahan sunda wiwitan 20 MS Acara pernikahan sunda wiwitan 21 MS bermain kecapi dan menyanyikan
tembang 22 MS Wawancara romo simon Wawancara 23 MCU Pemimpin upacara seren taun Ambience 24 LS barisan warga membawa seserahan acara seren taun 25 LS anak-anak mengitari lapangan di acara seren taun 26 LS aktifitas seren taun di dalam bale saresehan 27 MCU acara siraman nikahan SEQUENCE 6 1 LS kerumunan keramaian warga Ambience menuruni jalan saat acara seren taun 2 MS orang-orang yang menghadiri acara seren taun 3 MS pengawal di upacara seren taun 4 MCU tamu yang menghadiri acara seren taun 5 MS permainan angklung penyambutan acara seren taun 6 MS wawancara pak Jajang Wawancara 7 MS wawancara kang Yana 8 MS wawancara Kang Tri 9 MS wawancara Romo Simon SEQUENCE 7 1 MS anak-anak berjalan berbaris - Sound Effect 2 MS anak-anak kecil perempuan - Ambience berkumpul dan berbaris 3 MS anak-anak kecil laki-laki berkumpul 4 MS anak kecil sedang kebingungan 5 MS anak kecil bermain di lapangan saat acara seren taun 6 MS anak-anak bermain oray-orayan
2. FLOOR PLAN Kang Going‟s Interview
4 3
5 2
1 : Entrance door 2: Table 3. Wood Chair 4: Round Table 1 6 5: Chair 6: Door to kitchen
Kang Yana‟s Interview
1: Saung Bale 1 Saresehan 2: Bale Saresehan
2
Kang Tri‟s Interview
2 3
1,3,4,5: House 1 4 2: Saung Desa
5
Pak Jajang Interview
2 1: office table 1 2: office chair 3: customer service 3 area
3. CREW LIST NO Full Name Phone E-mail Job Description 1 Silmi Nabilah 085604547600 [email protected] Producer Director D,O.P Editor 2 Muhammad 08982544302 [email protected] Camera Reza Maulana Person Editing Operator 3 Beni Satriya 081290023909 [email protected] Behind the scene Lighting Editing operator 4 Nugroho 081399134284 [email protected] Lighting Anjar Saputra Sound Designer Editing Operator
4. TALENT LIST No Name Phone Cast 1 Going - Pemuda Kampung Cireundeu 2 Yana 085221357509 Lulugu 3 Triyana Santika - Lulugu 4 Jajang Bintaya - Kasi Pemberdayaan Masyarakat
5. LOCATION MAP Kampung Adat Cireundeu
Alun-alun Kota Cimahi
Pasar Antri Baru
Kelurahan Leuwigajah
6. EDITING SCRIPT CODE DUR VISUAL AUDIO SEQUENCE 1 - 24s 00034.MTS 3S EXT. Puncak Gunung Salam Ambience + Sound 00035.MTS 2S EXT. Perbatasan Cimahi - Effect Padalarang 00041.MTS 3S EXT. Tugu 0 kilometer cimahi MVI_3828.MOV 2S EXT. Keramaian kota cimahi 00008.MTS 2S EXT. Pasar antri baru cimahi MVI_3833.MOV 2s INT. Aktifitas di pasar antri abru cimahi 00012.MTS 2s EXT. Terminal antri baru
00002.MTS 2s EXT. Keramaian jalanan kota MVI_3813.MOV 2s cimahi MVI_3817.MOV 2s MVI_3819.MOV 2 SEQUENCE 2 – 2 mins 0032.MTS 2s EXT. Kapung adat cireundeu Ambience MVI_9440.MOV 2s MVI_9477.MOV 2s MVI_9446.MOV 2s 00037.MTS 30s INT. Wawancara Kang Going Wawancara MVI_3881.MOV 2s EXT. Kampung adat cireundeu 00040.MTS 2s 00044.MTS 2s 00054.MTS 2s 00052.MTS 2s MVI_4006.MOV 2s 00037.MTS 1m INT Wawancara Kang Going Wawancara MVI_9381.MOV 2s EXT. Kampung adat cireundeu MVI_9379.MOV 2s 00028.MTS 3s 00030.MTS 3s SEQUENCE 3 – 5m MVI_9452.MOV 30s EXT Kantor kelurahan leuwigajah Ambience 00013.MTS 2s INT kantor kelurahan leuwigajah 00007.MTS 2s MVI_4144.MOV 2s 00001.MTS 45s INT Wawancara Pak Jajang Wawancara 00020.MTS 10s EXT kampung adat cireundeu 00013.MTS 10s 00022.MTS 5s 0007.MTS 5s INT Kantor kelurahan leuwigajah MVI_9927.MOV 5s MVI_9926.MOV 5s SEQUENCE 4 – 3m MVI_9481.MOV 30s EXT. Kampung adat cireundeu Ambience
00041.MTS 2,5m EXT. Wawancara Kang Yana Wawancara MVI_9926.MOV 1s EXT. Kampung Adat Cireundeu 00050.MTS 1s MVI_9959.MOV 1s 00044.MTS 1s MVI_9436.MOV 1s MVI_4140.MOV 1s 00041.MTS 1s SEQUENCE 5 – 14m 00037.MTS 2s EXT Kebun Singkong Tembang Cireundeu MVI_9465.MOV 2s EXT lapangan badminton Ambience 00002.MTS 1m INT wawancara pak jajang Wawancara 00031.MTS 2s EXT kampung adat cireundeu MVI_4004.MOV 2s MVI_4139.MOV 2s MVI_4146.MOV 2s INT Kantor kelurahan leuwigajah 00058.MTS 1m EXT wawancara kang Tri Wawancara 00061.MTS 2s EXT Saung MVI_6919.MOV 2s INT Suasana Bank MVI_6920.MOV 2s MVI_9445.MOV 2s 00003.MTS 40s INT wawancara pak jajang wawancara MVI_4002.MOV 2s INT kantor kelurahan leuwigajah MVI_4142.MOV 2s 00059.MTS 1m EXT wawancara kang Tri wawancara MVI_4001.MOV 2s INT kantor kelurahan leuwigajah MVI_9737.MOV 2s MVI_9450.MOV 2s MVI_9485.MOV 2s 00003.MTS 1m INT wawancara pak jajang wawancara MVI_9679.MOV 2s EXT kampung adat cireundeu MVI_9674.MOV 2s MVI_9671.MOV 3s 00059.MTS 1m EXT Wawancara Kang Tri wawancara MVI_9678.MOV 2s EXT kampung adat cireundeu MVI_9679.MOV 3s MVI_9429.MOV 2s 00051.MTS 35s EXT Saung MVI_7094.MOV 2m INT wawancara romo simon wawancara MVI_9457.MOV 5s EXT Kampung Adat Cireundeu MVI_9477.MOV 3s MVI_9478.MOV 2s MVI_9470.MOV 3s MVI_9941.MOV 3s MVI_9390.MOV 2s MVI_7095.MOV 3m INT wawancara romo simon MVI_9951.MOV 5s EXT Kampung adat cireundeu
MVI_9671.MOV 3s MVI_7095.MOV 2s MVI_9675.MOV 5s MVI_4002.MOV 3s SEQUENCE 6 – 2,5m MVI_9453.MOV 30s EXT Kampung Adat Cireundeu ambience MVI_9444.MOV 2s MVI_9446.MOV 2s MVI_9430.MOV 2s MVI_9448.MOV 2s MVI_9451.MOV 2s MVI_9452.MOV 2s 00006.MTS 30s INT. Wawancara Pak Jajang wawancara 00042.MTS 30s EXT. Wawancara Kang Yana Wawancara 00059.MTS 30s EXT. Wawancara Kang Tri Wawancara MVI_7095.MOV 30s INT. Wawancara romo simon Wawancara SEQUENCE 7 - 1,5m MVI_9473.MOV 10s EXT. Kampung adat cireundeu Ambience + sound MVI_9427.MOV 10s effect MVI_9431.MOV 10s MVI_9432.MOV 10s MVI_9435.MOV 10s MVI_9439.MOV 10s MVI_9466.MOV 10s MVI_9469.MOV 10s MVI_9472.MOV 10s
7. ADMINISTRATION FORM
8. CREW AGREEMENT FORM
9. TALENT AGREEMENT FORM
10. LOCATION AGREEMENT