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Film Activism in Contemporary Indonesia : Queer Autoethnography, Film Festival Politics, and the Subversion of Heteronormativity

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Film Activism in Contemporary Indonesia : Queer Autoethnography, Film Festival Politics, and the Subversion of Heteronormativity Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2015 Film activism in contemporary Indonesia : queer autoethnography, film festival politics, and the subversion of heteronormativity Coppens, Laura Abstract: ENGLISCH This dissertation explores the cultural phenomenon of film activism in the context of democratization and Islamization in post-Suharto Indonesia. Focusing on lesbian, gay, bisexual, and transgender (LGBT) cultural producers, namely the organizers of Asia’s largest queer film festival, the Q! Film Festival, and the directors of the collaborative film anthology Anak-Anak Srikandi, it aims to illuminate an aesthetic movement that has played an active part in the construction of the new Indone- sian nation since the political reformation in 1998. By demonstrating how film activists in contemporary Indonesia generate new forms of queer knowledge and enable community and alliance building based on affinity, I challenge and ask for the extension of existing notions of the political in LGBT rights activism. I argue that film activism creates inclusive critical sites of resistance where oppressive heteronormative discourses can be subverted and reconfigured in liberatory ways. Drawing on anthropological fieldwork at the Q! Film Festival, interviews with key participants, close ethnographic analysis of Anak-Anak Srikandi and of my own involvement in the film’s production, this work contributes to the study and practice of anthropological filmmaking, to the emerging field of film festival studies, and also to interdisci- plinary studies of non-Western media. DEUTSCH Die vorliegende Dissertation untersucht das kulturelle Phänomen des Filmaktivismus im Kontext von Demokratisierung und Islamisierung im post-autoritären Indonesien. Die Analyse fokussiert sich dabei auf queere Kulturproduzenten, insbesondere den Organ- isator_innen des Q! Film Festivals in Jakarta, dem größten schwul-lesbischen Filmfestival in Asien, und den Regisseur_innen des kollaborativen Filmprojekts Anak- Anak Srikandi. Ziel der ethnographischen Arbeit ist es eine bisher wenig betrachtete junge künstlerische Bewegung, die eine wichtige Rolle in der Neugestaltung der indonesischen Gesellschaft seit der politischen Reform im Jahr 1998 gespielt hat, zu beleuchten. Es wird aufgezeigt wie Filmaktivist_innen neue Formen queeren Wissens generieren und die Bildung von Gemeinschaften und Allianzen basierend auf Affinitäten fördern. Die Praktiken der indone- sischen queeren Kulturproduzent_innen hinterfragen bestehende Auffassungen darüber welche Strategien in der schwul-lesbischen Bewegungen gemeinhin als politisch betrachtet werden. Auf der Grundlage dieser Erkenntnis wird gezeigt wie durch Filmaktivismus inkludierende politische Orte des Widerstands gegen vorherrschende heteronormative Diskurse geschaffen werden. Die praxisbasierte Arbeit stützt sich auf mehrmonatigen anthropologischen Feldforschungsphasen, auf Experteninterviews und auf die kollektive Produktion des Films Anak-Anak Srikandi. Die Forschung leistet einen wichtigen Beitrag zur Theorie und Praxis ethnographischen Filmemachens, dem noch jungen Forschungsfeld der Film Festival Studies und zur interdisziplinären Erforschung außereuropäischer Medien. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-164475 Dissertation Published Version Originally published at: Coppens, Laura. Film activism in contemporary Indonesia : queer autoethnography, film festival politics, and the subversion of heteronormativity. 2015, University of Zurich, Faculty of Arts. 2 FILM ACTIVISM IN CONTEMPORARY INDONESIA Queer Autoethnography, Film Festival Politics, and the Subversion of Heteronormativity Thesis Presented to the Faculty of Arts and Social Sciences of the University of Zurich for the Degree of Doctor of Philosophy by Laura Coppens Accepted in the Autumn Term 2014 on the Recommendation of the Doctoral Committee: Prof. Dr. Mareile Flitsch (main advisor) Prof. Dr. Saskia Wieringa Prof. Dr. Bettina Dennerlein Zurich, 2015 ACKNOWLEDGEMENTS Here I would like to take the opportunity to express my warm gratitude to some of the many people to whom I am indebted. First of all, I would like to thank my dissertation committee, Bettina Dennerlein, Mareile Flitsch, and Saskia Wieringa, for their invaluable feedback, advice, critique, encouragement, and support along the way. A very special thanks and my deep gratitude go to Saskia Wieringa, whose intense engagement with my work helped me significantly to articulate the various topics this study covers. I would also like to thank Faye Ginsburg and Pegi Veil from the Center of Media, Culture, and History and Angela Zito from the Center for Religion and Media for providing me with office space and for their hospitality and support during my one-year visiting fellowship at New York University. The former’s humor and warmth, in particular, made my long and often lonely journey so much more enjoyable. In Indonesia, I want to thank my many friends, collaborators, colleagues, and interlocutors for their time, their generosity, and their critical insight, which ultimately made this project possible. In particular, I want to thank Lely Cabe, our film’s location manager, and the very helpful staff at the Goethe Institute in Jakarta. Lely’s organizational talent and extensive experience in event management, in particular, proved invaluable to the success of the film project. Thanks are also due to In-Docs, especially Sofia Setyorini and Chandra Tanzil, and to Sri Agustine and Lily Sugianto from Ardhanary Institute for supporting Anak-Anak Srikandi. A very warm and special thank you goes to John Badalu and Meninaputri of the Q! Film Festival (Q!FF). Without their patience, benevolent energy, continuous support, and friendship over the years, this project surely would have failed. After all, it was at the Q!FF where the whole idea for this work was born. Further, I am grateful to Ahmad Haly, Dimas Hary, Faozan Rizal, Lulu Ratna, Lalu Roisamri, Dédé Oetomo, Yulita Molyganta, Vien Tanjung, Papang Hidayat, Lucky Kuswandi, Valentine Merrita Sari, and Rainer Oktavianus. Most of all, I wish to express my deep gratitude to the directors of Anak-Anak Srikandi, namely Stea Lim, Winnie Wibowo, Yulia Dwi Andriyanti, Hera Danish, Oji, Afank Mariani, Imelda Taurina Mandala, and Eggie Dian. These powerful women forced me to rethink my own assumptions and way of seeing the world. Finally, I wish to thank Soleh and Anik, our wonderful wayang kulit performers, for their time and incredible talent. There are also a number of friends and colleagues in Germany and Switzerland who supported me considerably. I would like to thank my friend and colleague Gitte Beckmann for many wonderful dinners and conversations over the years, for bearing with me when I was distressed about my dissertation, and for making our time as roommates in Zurich very special. I wish to thank Angelika Levi for her hard work, invaluable critique, and collaboration as well as her filmic visions, which continue to inspire me. Furthermore, I offer my gratitude to my colleagues Justyna Jaguscik, Elena Lange, and Darcy Alexander, with whom I shared the arduous journey of dissertation writing and who have helped me to maintain some perspective about the things that are important in life. At the Department of Social and Cultural Anthropology in Zurich, my thanks go to Willemijn de Jong and Piet van Eeuwijk, with whom I had the pleasure of organizing a student excursion to Indonesia. I also want to thank my student Manuel Berger for sharing his material and thoughts on the Q! Film Festival with me. Further, I am thankful to Saskia Schäfer for drawing my attention to additional research on religious violence and for her willingness to discuss research questions and findings, often linking them to her own research and experiences in Indonesia. This academic exchange was highly valuable in helping me to develop my argument and analyze my data. I also thank Skadi Loist for providing me with literature and knowledge about the global queer film festival circuit. A big thank you goes to my language editor David Jobanputra for patiently polishing my grammar and syntax. This research would not have been possible without institutional support. Funding was generously provided by the University of Zurich’s Research Priority Program “Asia and Europe.” My stay in New York was funded by the Swiss National Science Foundation and the Stiefel-Zanger Foundation. Parts of an earlier version of chapter three were first published as Coppens, L. (2012). Stories from the Margins: Collaborative Filmmaking and Autoethnography as Tools for LGBT Activism in Indonesia. Journal des Anthropologues, 131- 160; as Coppens, L. (2013a). Zur Konzeption des kollaborativen Dokumentarfilms Anak- Anak Srikandi (Children of Srikandi). In E. Ballhaus (ed.), Dokumentarfilm: Schulen, Projekte, Konzepte (pp. 212-219). Berlin: Reimer; and as Coppens, L. (2013a). The Questions of Authorship in the Collaborative Film Project Anak-Anak Srikandi (Children of Srikandi). Tsantsa, 18, 99-103. Last, and most importantly, my gratitude goes to my partner, Océan, for his patience, trust, support, and unconditional love over these last several years. iii ABSTRACT This dissertation explores the cultural phenomenon of film activism in the context of democratization and Islamization in post-Suharto Indonesia. Focusing on lesbian, gay, bisexual, and transgender (LGBT) cultural
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