Pragmatic Nationalism through Cultural Identities in Good News From Indonesia Instagram Account

  

Allusio1-8

Pragmatic Nationalism through Cultural Identities

in Good News From Indonesia Instagram Account

  Annisa Rochma Sari Diah Ariani Arimbi

  

English Department, Universitas Airlangga

Abstract

  

The mainstream media in Indonesia has blatantly exposed unbalance coverage towards phenomena across the

country. Inevitably, it leads to the pessimistic response from the citizens, which affects their nationalism spirit.

Emerging as an alternative media, GNFI eagerly provides ‘the good news’ to counter such hegemony of mass

media. This study aims to show how GNFI Instagram account constructs alternative discourse to raise the spirit of

nationalism through its images. Besides, this research uses a theory of imagined communities by Benedict Anderson

and new media by Denis Mc Quail combined within critical visual analysis to discern the images. The result shows

that GNFI has been consistently portraying cultural identities in a form of good news since it was actively engaged

with audiences in Instagram. Secondly, GNFI also re-contextualizes particular issues in the images to fit with

current regime as well as global circumstances. As for the last, GNFI also maximizes its online platform to reach

wider audiences; particularly the Indonesians not living in the territorial yet believe that they are part of imagined

communities of Indonesia. In conclusion, the efforts of GNFI to portray such cultural identities resemble the notion

of pragmatic nationalism in which highly focuses on solving the problems in Indonesia without losing the identity

of being Indonesian.

  Keywords: GNFI, instagram, pragmatic nationalism

1. Introduction

  Indonesia’s mainstream media provide less space to depict the actualization of Bhinneka Tunggal Ika and Pancasila through socio-cultural practices in the entire territorial area of Indonesia, from Sabang to Merauke. Their justification is because of its lack of conflict, issues, and sensationalism. The mainstream media is unevenly assumed themselves as the watchdog of the government; so it could prioritize and blow up certain issues to be consumed in the country. However, numerous media scholars see it as media commodification caused by the political figures in maintaining their domination of power and the capital owners who purposefully gain the maximum profits (Heryanto and Adi 330; Sen and Hill 69). Therefore, Indonesians (particularly those who live in urban areas and consume the mainstream media) are lacking of references on how to accentuate their identities of being Indonesia. Moreover, the reality depiction in media could ensure the audiences to think that there is no hope in the country because most of the elite conflicts are not well solved.

  Malihah stated that 80% of Indonesian youth feels negativity towards Indonesia archipelago to describe contemporary Indonesia (Malihah 150). She conducted a phenomenology to interview 100 students and to find ho w they perceive Indonesia. From the respondents’ answers, she found that the cause they feel negative about Indonesia was characteristics of the people that closely linked with violence and moral degradation. These characters would severely affect Indonesi a’s future and goals to be Golden

  Indonesia in 2045. Participants frequently answered that they perceive Indonesia mainly from the mainstream media sources. They watch, listen, and analyze news about bombings, rape, free-sex activities, terrorism, narcotics consumer, and criminal events in their daily live. Otherwise, the alternatives are limited from infotainment gossip program, music-reality shows, or any other inessential programs with abundant numbers of advertisements. They realized that they only cons ume ‘trash’ rather than useful information. Allusio

  The mainstream media also expands their outreach within internet through their media portal (Sen and Hill 113). On one hand, it significantly decreases the function of internet in providing high-quality alternative contents since the mass media holds on its ideology tightly. Indonesians who have been so pessimistic to the country would be more frustrated due to uncontrollable commentaries and responses given to particular news only because they could throw any comments with any reasons. On the other hand, there are several initiatives from the society to grow digital activism to resist the hegemony of mass media. Lim (125-130) discussing about the digital activism in Indonesia proves that it successfully mobilizes mass support if it only carries low-risk activities with basic narratives underlying the nation building such as nationalism and religiosity. She suggested that in order to fruitfully raise awareness and gather the mass, so to speak, digital platform must not demand high-risk sacrifices from its audiences.

  Instead of Facebook as what Lim has analyzed, this study attempts to analyze an Instagram account of Good News From Indonesia which consistently provides positive contents to balance the negative depiction in mainstream media. It was 2009 that a group of progressive and concerned youths led by Akhyari Hananto established GNFI in www.goodnewsfromindonesia.org even though he thought about the idea since 2007. Its founders extend to reach more viewers through social media such as Twitter, Facebook, Line, Youtube, Instagram, and Tumblr. Being an alternative in the midst of Indonesian media, GNFI strictly carries a belief of “good news is good news” underlying its jargon, “Restoring Optimism”. According to web statistics from Alexa.com in 2012, GNFI website was visited by 2000-2500 visitors, mostly Indonesians, and young adults age 18-24 years old (Widodo 7-8). Akhyari Hananto, about re- developing optimism through online media, was eventually chosen as one of Youth Women Netizenawardees honored by The Marketeer foundation (Ayu). The latest one, GNFI was chosen to achieve and AKI (Anugerah Komunikasi Indonesia) award in 2015 (Metro TV). Since the sense of nation’s belonging depends on creative process done by the actors, the time, and space surrounding it (Arimbiet.al 9), I believe that creative process by GNFI would eventually lead to the spirit of nationalism for the audiences.

  I choose GNFI Instagram account amongst its online media as the object of study because of the following reasons: there has been a statistical research analyzing its Twitter account (Widodo 1) and

  

Instagram has its exceeding qualities on promoting ideas through attractive pictures and captivated

  captions. It provides viewers with varies pictures range from sports, academic, engineering, traveling, education, and culinary spots, and a caption explaining the images. The captions attempt to captivate audiences by portraying positive information to echo the spirit of what the pictures have said. GNFI deliberately portrays the pictures resembling the national cultures and cultural identities of Indonesia in digital world within its usage of new media platform or internet.

  Developing nationalism discourse of contemporary Indonesia, this study looks critically into a gap drawing how nationalism is represented within the internet. Because alternative media conveys resistant journalism against the mainstream media, there might be distinguished cultural identities to be appeared explaining the notion of Indonesian-ness (Menayang et.al . 153). They bravely expose ‘hidden’ truth viewed from another lens; so that it reshapes what society views towards information.

  In the past, kingdoms in what then known as Nusantara ambitiously explored and exploited the islands with various motivations, such as searching for gold and spices and taking a grip of other kingdoms. However, after European troops settled down, they soon recognized their public enemy that brought other values of life, modernity, that clashed their traditional believes and truths. Many kingdoms considered that the colonizers would take over their lands; yet, some of them, particularly the opposition of ongoing administration, allied with the Europeans to destroy the Kingdom. The colonizers built forces with an agreement from the opposition parties; so that they would understand the weakness and opportunities of the inlanders (Lombard 46). It seems that threat towards their sovereignty was a great cause to increase the awareness in forming national allies; forming the cultural roots as a nation.

  However, Indonesians, mostly the upper class or blue-blooded natives, to expand their power, also benefited the development in transportation, education, and western-style administration by colonizers. Hence, the spirit to form a nation appeared near 1928. Hundred-years of coalition amongst kingdoms unite their descendants within political parties and movements such as Jong Sumatranen Bond, Jong Java,

  Pragmatic Nationalism through Cultural Identities in Good News From Indonesia Instagram Account

  and Jong Celebes. Later, they conducted the first national youth congress in October 28, 1928 to formulate

  

Sumpah Pemuda text or the Pledge of Youth. It declared three short verses symbolizing unity as a nation,

  unity in language, and homeland unity (Arimbi et al 18). Future Indonesian generations mark this historical phenomenon conspicuously to trigger nationalism spirit of Indonesians.

  Those become national identities of pre-independence day fueling other braveries from the youth to declare Indonesia’s freedom from centuries of colonization. According to Barker (208), the verses are imageries representing symbol and practices of battles for freedom during centuries of monarchy and colonization period. Benedict Anderson (120) gave the term of such efforts as colonial nationalism; the concept appeared as the colonizer awoke the consciousness of colonized with their modern knowledge.

  Series of historical events above proves that the process of national identities formation in Indonesia could not be separated from the spread and exchanges of cultural identities. Similar to what Hall argues (in Barker 208) that national identities may vary in shapes, figures, and types; yet the variety is fused within arbitrary distinguished cultural domination. As Indonesia’s eternal wisdom written on the legs of Garuda Pancasila, Bhinneka Tunggal Ika

  ; Indonesia’s national identities is always detached to its unity in diversity. Hence, talking about nationalism in Indonesia; it is a feeling, a sense, and an attempt of togetherness and fraternity despite highly diverse background and culture beyond more than 250 million of Indonesians. Indonesians are united as one nation-state; that is called Indonesia.

  Benedict Anderson disposed argument of nationalism discourse in regards to anomaly of its definition as the matter stands. Inspired by his first visit to Indonesia before great communist party riots in 1965; he offered to read nationalism from anthropological perspective. His view is to accentuate nation-ness encompassed from cultural artifacts created and owned by certain society (Arimbiet.al. 20, Nihayah and Agus 381). Anderson assumes that it has grown since the era of Enlightenment at the time that people were ‘enlightened’ by the power of science and they ignored their religious background and hierarchical administration. Nationalism could assemble people; status, work, living, and any racist criteria do not matter; as long as they believe they share similar spirit, cultural artifacts, and experiences, they could have the spirit of nationalism. Th rough this understanding, he defines nation as “imagined political community

• – and imagined as both inherently limited and sovereign” (Anderson 5).

  In globalization era, imagined community is being practically real through the internet. Wired technology in carnates the bond within one’s mind through accelerated information exchanges facilitated by languages, images, and sound to be perceived by significant others. People are more ‘connected’, in literal meaning, as they ‘connect’ to the internet. Dennis McQuail argues that the new media conveys new sensation towards its users reflecting in these aspects: (1) the social presence of ones, (2) the autonomy of managing emotion, (3) interactivity process with the sources, (4) privacy experience of media usage, and (5) sense of playfulness (McQuail 155-156). It results on communication and information exchange acceleration, yet causes it users to unaware of their surrounding and real life. In Eriksen’s (16) word, “to enable the sense of identity which can be exploited socially, politically, and economically, but only at the cost of entering into a tense, sometimes conflictual relationship with the territorial space.”

  Regarding to nationalism context, internet has shown both supportive and contradictive bonding corresponding to particular issues. In the one hand, #Indonesiaunite, a nationalist spirit begun by Pandji Pragiwaksono (189) is an effective counterattack as well as neutralizer terrorism rage happening in Indonesia in 2009. It was widely spread over Twitter to help stabilizing chaotic condition caused by the bomb in Jakarta. In the middle 2016, when terrorism re-attacked Jakarta, people spread #kamitidaktakut (we are not afraid) through social media and mainstream media. A spontaneous yet shrewd reaction from Indonesian netizen reduces Indonesia’s economy sudden fluctuation, affects political stabilization, and most importantly, strengthens Indonesians’ mentality. In the other side, where the negativity rises from the social media, religious and ethnic sentiments are widespread during 2017 gubernatorial election in Jakarta is captured for the example. One of the candidates is Basuki Tjahaja Purnama, former Jakarta’s governor, who is born as Chinese descent. Indonesians seem to be divided into three groups react towards the election; the pro-pluralism, the contra-pluralism, the abstain and or neutral side. The pro-pluralism group argues that any competent Indonesian, regardless of his or her ethnic, race, and religion, should be the power-owner as long as he or she commits to lead the city for a betterment. The contra-pluralism Allusio

  group opposes this with following ideal criteria of the leader: he or she should be a native Indonesian, and particularly a Javanese Muslim. Both first and second groups frequently produce hate speech in social media causing intense cyber war and sometimes cyber crimes. Later, it would be worsened by offline provocateurs to direct demonstrations across the country. Both positive and negative reactions are the factual and conflicted phenomena of imagined communities in post-colonial Indonesia in which has developed and expanded over time.

  2. Methodology

  This study uses qualitative approach to analyze selected data of Good News From Indonesia Instagram account allowing intense discursive and interpretation uncovered the deepest meaning and ideology of a text (Hall 27 and Ida 59). The primary data were screen-captured from the official Instagram account of

  th

  Good News From Indonesia in May 11 , 2016. I selected the posts in every Indonesia’s National Day in

  st nd

  2015. The National Days of Indonesia consist of: (1) 21 of May as of April as Kartini’s Day, (2) 2

  th st

  National Education Day, (3) 20 of May as National Resurrection Day, (4) 1 of June as Pancasila

  th st

  Birthday, (5) 17 of August as Independence Day, (6) 1 of October as Pancasila Day to commemorate

  th th

  30 September massive atrocities involved the Communist Party (PKI), (7) 28 of October as Youth

  th

  Pledge Day, and (8) 10 of November as Heroes Day. The secondary data would be addressed to the online and offline library through academic books, journals, and articles to support the finding and analysis of the researcher.

  I tend to do visual analysis method offered by Martin Lister and Liz Wells (61-91) to analyze the meaning of the images. The three main elements to be justified carefully and critically through visual analysis of a text are audiences, purpose, and context. The connection amongst those three units is required to develop sufficient argument towards the idea proposed. In other words, I conduct a description process, which becomes the first procedure in seeking knowledge within the objects. Later, I examine them following this process: generate response and analyzing.

  3. Discussion

  As what Anderson argued, imagined means every member does not really know each other to distinguish them as a part of nation. They imagine that some people sharing similar traits and particular cultural identities are in-group members. Limited occurs because every nation has elastic boundaries whether on its people o r geographical situation. Sovereign is related to people’s freedom towards intercontinental divine and religious grips as well as hierarchical administration. The very least of its concept is community; where people gather for fraternity and total sacrifice to defend the nation. This is more or less inspired Anderson to apply such concept to explain the Unity in Diversity motto of Indonesia. Its citizen consists of various and numerous ethnic, languages, religions, and cultures; yet it still could be united in the name of Indonesia. Here, locality aforementioned by Anthony Giddens (in Ibrahim and Bachruddin 23) as a significant point in which depends on the unique traits of a person, a community, and a particular circumstance or cultural root, requires to be notified as a basis to form cultural identities. Related to the concept, nationalism in global context is to recognize and promote locality, to be self- determined as part of a nation-state (Anderson 5). Therefore, the identity portrayed within any image of particular nation to reflect self-determination and locality plays vital roles to grow the sense of nationalism.

  The logo of GNFI, in which supposedly represents GNFI, has the following components: 1. the head of Garuda, a mystical bird carrying a shield of the five basic principles of Indonesia; the verses of Pancasila. The Garuda echoes a sharp forward look,

2. Javanese batik motifs,

  3. traditional weapons (keris, kujang, mandau), 4. ethnic musical instruments (tifa, seruling), 5. sacred places in Indonesia (Hindu sacred door), 6. maritime living things (fish and sailing boat), 7. plants (trees, rice, and cotton) 8. gunungan (a property of Javanese shadow puppet show).

  Pragmatic Nationalism through Cultural Identities in Good News From Indonesia Instagram Account

  All the components conceived the logo is the representation of cultural identities of thousands ethnic living in Indonesia. The logo emphasizes that Indonesia is not merely about Java and Bali, yet it consists of multicultural living entities from Sabang in Aceh to Merauke in Papua. Garuda as the mystical creature would show the guidance through Pancasila to reach the dreams of the country.

  Following its distinctive logo, GNFI then publishes the good news to support the actualization of

  

Bhinneka Tunggal Ika. Publishing the good news practically challenges the hegemony of the mainstream

  media in Indonesia. GNFI has set its standard from the beginning as an alternative towards the trend lines of blatant discourses produced by established media owners and agents. There are two ways about how GNFI ensures the people: portraying re-contextualization of Indo nesian’s cultural identities and communicating mostly through Bahasa Indonesia.

  Through its caption in an image posted on April 21, 2015:

  “Selamat memperingati dan menghayati

Hari Kartini kepada seluruh wanita Indonesia yang digdaya dan luar biasa”; GNFI has echoed about

  women’s equality in the new Indonesia. Kartini was one of women heroes, acknowledged as the symbol of women’s struggle in feudalistic era. Despite of her controversy roles by corresponding with her Dutch friends, Kartini was still regarded as the pioneer of the enlightenment of Indonesian women. Her courage to share her opinion and her voice in a time when a woman should be oppressed, published through a book entitled Habis Gelap Terbitlah Terang (From Darkness to Light), constructs her to be a remarkable figure in Indonesia (van Wichelen 44)

  . In the caption, the word ‘Kartini’ is associated with these following lexical choices: ‘wanita’ (woman), ‘digdaya’ (invulnerable), and ‘luar biasa’ (exceptional). Associating women in Kartini context wi th masculine term such as ‘digdaya’ seems a little bizarre, since Kartini herself could not choose her fate to do more than sharing her opinion. Her parents forced her to be the second wife of the head of municipality in such a young age and stayed at home even though she could learn reading and writing (achieve Western education), as well as domestic skills. Thus, reading this caption would limit the contextual of being modern Indonesian women within the patriarchal society. Women may evolve themselves in appropriate circumstances; for instance, aspects that related to domestic situation and nurturing environment. However, mentioning Kartini would create notable remembrance and model for women in Indonesia that they should be tough and extraordinary to play their roles in the society, just as Kartini, even the social norms of patriarchal culture in Indonesia may circumscribe them (Arivia iv).

  These captions are mostly published in Bahasa Indonesia; the official language of Indonesians. Benedict Anderson (180

  ) agrees about Nairn’s opinion that “the nationalism brought by new intellectual middle class could invite people to enter the history; in which the invitation cards must be written in the language they understand”. Hence, if GNFI writes the news in Bahasa Indonesia, it would trigger a collective consciousness of people, regardless their ethnic, race, religions, and age, to identify themselves as Indonesians.

  Besides through cultural identities and Bahasa Indonesia, GNFI embraces the spirit of nationalism through constructing discourses of current issues in democratizing Indonesia. As Benedict Anderson (216) said that nationalism is derived from historical knowledge, yet with several modifications fitted on its age. Historical knowledge would not portray a c ountry’s development if the citizens do not contextualize it within their continuing situations. Though there may be particular changes, yet it inescapably is derived from the roots. The following contextual circumstances would be based on current dynamic issues in Indonesia covering multicultural ethnicity and internationalization.

  Regarding to multicultural ethnicity, GNFI portrays Bong Li Piang, a snack from Bangka Belitung. The caption says that Bong Li Piang was produced by the combination of Hakka and Malay recipes because they were living peacefully and thus, learning each other’s culture. In Bangka Island, the snacks are sold in affordable price so that common people could enjoy it with their families. Looking deeper, the portrayal of Bong Li Piang, it is not a kind of snack decorated with luxurious plating in a deluxe restaurant.

  These snacks are simply plated in a light orange bowl with heart shape. There is question why amongst hundreds pictures of Bong Li Piang on the internet, the administrator of GNFI uploads this one. I argues that its simplicity echoes the root of Tionghoa-Indonesian relationship with an ease and peace since their ancestors were destined to live together. Perpetuating this relation, the heart-shape bowl clearly conveys Allusio

  why it should be prolonged until nowadays; that over years both Hence, related to the topic, food is symbolized as the ultimate unity factor of Tionghoa and Indonesians to share their identity and their beliefs through their recipes. By understanding this context, welcoming the non-indigenous ethnic may be easier for Indonesians to include them as their part of life, although they may recall that there would be tight competition in several aspects, in economic aspect for instance. GNFI attempts to embrace the notion of multiculturalism, a spirit of uniting the country despite the cultural background of the citizens in Abdurrahman Wahid presidency (Wahid 152). It is expected to give alternative perspective towards the remaining problematic perception of Tionghoa, or other non-indigenous people (Suryadinata 6).

  What GNFI did to resemble the internationalization process is to upload some images with full or mixed English caption, particularly for the Tourism category. Regarding to the notion of internationalization, GNFI realizes that their images and captions are spread globally through the internet; hence, they write the caption in English in order to be read by international society. Besides, using English to introduce Indonesia is a step to accentuate progressive involvement of Indonesia towards global challenges. It does not necessarily mean that Indonesians would lose its unique identities rather they would significantly assimilate and enrich their national characters along with universal culture (Tanu 580). Internationalization, despite its strong connection with globalization, may not be harm for particular nation to build and flourish nationalism spirit as long as it is utilized properly by any respective parties.

  GNFI Instagram account has maximized its potential reach to spread their good news through the new media. Denis McQuail argued that the new media constructs a new circumstance by imitating the real world as a medium for verbal as well as non-verbal interactions (McQuail 160). Instagram is one of the so-called social media, which inevitably belongs to the new media group. Through its distinguish features such as square space for videos and photos, caption, like, comment, direct message, location, link by hastag, and editing tabs (Zappavigna 273), purposefully for its marketing strategy, Instagram emphasizes the effect of sensation proposed by McQuail. GNFI uploaded photos about Indonesians from Sabang to Merauke, numbers of local activities in Indonesia, cultural products, and magnificent panoramas. These pictures show the socio-cultural presence of

  ‘other’ Indonesians who live far away from Java Island, what they do for living, and how they maintain their life there. In doing so, GNFI emerges their social presence as part of Indonesia. The portrayal of the

  ‘whole’ Indonesians awake the awareness of multicultural entities residing in Indonesia. Furthermore, each posting represents different momentum and mood, yet it reflects the main concern of GNFI; it affects on people’s attention also their responses. It is proved by the sum of like and comments for each picture. This is how social media offers the autonomy of managing emotions from producers and audiences.

  To reveal the ideology beyond the images, I consider an idea of pragmatic nationalism. In Indonesia’s contexts, pragmatic nationalism politically is established by policy reforms based on national interest and the broader involvement in international stage; as what have been envisioned by Joko Widodo, or Jokowi.

  According to Syailendra (2), Jokowi has tak en his stance on it for he is inspired by Soekarno’s Trisakti principles: self-sufficiency in economy, assertive self-determination amongst international events, and national identity development. Since Joko Widodo was given the mandate to be the President in 2014, Indonesia has been directed to be more pragmatic as a country. Through his popular jargon, Kerja, Kerja,

  

Kerja (work, work, work) and Revolusi Mental (mental revolution), Jokowi has intention to bring

  Indonesia into an arduous global contest through effective problem solving. It is proved by his composition of the presidency cabinet who is typically having strong economic and business background,

  

blusukan (down-to-earth) monitoring, the growth of economy sourced from start-ups and entrepreneurs,

  the card programs (Programs of Kartu Indonesia Sehat and Kartu Indonesia Pintar ), and Indonesia’s deeper involvement in ASEAN and Trans Pacific Parties together with United States, Japan, and China

  (Mulyana). His view towards Indonesia is how to apply development not as a utopia, yet the real action, which conveys the real benefits for Indonesians. Culturally speaking, pragmatic nationalism will be successfully applied if Indonesians own strong reasons, identities, and dignity to struggle for the nation. It also treasures the collective memories to motivate the citizens to contribute more to Indonesia. The analysis shows that GNFI adjusts its theme and issues towards the current discourses in Indonesia which at the most follow the Jokowi’s missions. However, it also embraces the negative effects if the process of

  Pragmatic Nationalism through Cultural Identities in Good News From Indonesia Instagram Account

  internalization is too excessive and takes over the national interests. It would eventually decrease the ongoing process on being Indonesia through capitalism, neo-liberalism, and other ideological practices grounded in the cultural institutions.

  4. Conclusion

  Borrowing Benedict Anderson’s concept of nation, imagined communities limited and bound by the spirit of sovereignty, and McQuail’s theory of new media, I concludes that the images and caption uploaded by Good News From Indonesia Instagram Account embrace and signify re-contextualization of Indonesia’s cultural identities. It echoes the spirit of internationalization and adjusts the culture with global circumstance it deals with. It depicts youth, innovation, and progressive development to accentuate and confront negativities thrown out to public by its counterparts. Although it only exists in social media, it gains more powerful bargaining position and sovereignty than the mainstream media that depends on adverti sers and capitalists’ interest.

  In analyzing GNFI, I argue about pragmatic nationalism underlying its model of nationalism. It is characterized by the intention of bringing Indonesia up to international stage by enforcing financial stabilization, embracing multiculturalism society through the portrayal of cultural identities, welcoming internationalization as part of the lives of Indonesians. It synchronizes with missions envisioned by Joko Widodo, the current President of Indonesia. However, it could become a threat to Indonesia if is practiced improperly.

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