Kompas TV, the TV Industry and the Issue of Local Identity

After built up curiousity, I spent the morning watching the newly launched Kompas TV. Although the station's broadcasting permit is still in question, it has begun airing since Friday, 9 September 2011. The argument stated by the Indonesian Broadcasting Commission (KPI) was that, "They don’t have a broadcasting license and there is a possibility that they could override the identities of local television stations that will carry their programs in the regions." Kompas TV's own argument is that it is not a broadcasting institution. Kompas Gramedia CEO claims that it is a content provider produced by KG Production, aired through a cooperation with local TV stations. The basis of the KPI's warning is the 2002 Broadcasting Law that mandates for all television stations to seize airing nationally; in the attempt to empower local economy, manpower, and the autonomy for each area to determine the cultural content of their television landscape.

I set aside the debate on the legality of Kompas TV's broadcasting permit and observed its content. The 'content provider' claims to steer clear from the general trend of soap operas, reality shows and infotainments in the attempt to provide 'quality TV programmes'. While the main validation behind the proliferation of these 'tabloid-type' shows are 'market demand', ideological TV producers claim that the popularity of such programmes are because the TV industry does not provide any alternative. Being a virtually free entertainment option in a country where the majority falls in the middle-lower class category of AGB Nielsen's audience classification (approximately 60%), any form of television content is consumed. It is less market demand, more 'because we had no other choice'.

My own early observation of Kompas TV's content is that it attempts to reconstruct a television space that includes local ethnic identity that has been marginalised by the TV industry's mode of producing 'least objectionable programmes'. Under the heading of their entertainment programmes are travel documentaries such as Tarung (which is hosted by young blogger turned celebrity comedian Raditya Dika who is also often involved in various social movements), talkshow 180 derajat (hosted by TV personality, music artist, writer, and nationalist Pandji Pragiwaksono) and edutainment programme Science is Fun (aiming to teach young audience physics through experiments)*.

Through the variation of alternative television programmes that is almost absent in other national television stations, I question the feasibility and purpose behind challenging whether or not Kompas TV undermines local identity. The current television landscape is already undermining local identity and to counter the dominance of Jakarta-centric programmes, one needs to employ market logic that is still virtually impossible to be done by local television stations. Having talked to young audiences in Denpasar and Banda Aceh, I realise that although they desire local content, their own taste is shaped by decades of consuming nationally-aired commercial television programmes. "I don't watch local TV because its quality is so poor. If local TV is presented as attractive as the content of national TV, I'd definitely choose local TV," said a Banda Aceh respondent.

In order to rearrange the television industry's competition scheme, there should ideally be an effective regulation. Eight years have passed since the 2002 Broadcasting Law on Network Television is issued and commercial television stations still air nationally. Discreet political economy is at work, and unless a strong player with strategic programming emerges, the competition will mainly remain the same - continually undermining local economy and cultural content. Kompas TV's programming demonstrates that it has plans to rearrange this competition by providing a variation of quality television shows that includes local identity. And if the notion that the popularity of soap operas, reality shows and infotainment is because there is no alternative programmes - free market will work and and the audience will choose programmes that are of their interest, not (only) the industry's.

However, even if this happens, several issues still remain. Firstly, shifting power from one holder to another, regardless of whether or not the ideology is in line with the public's needs and wants, remains undermining towards the autonomy of local actors. The television infrastructure remains centred in Jakarta. Secondly, Kompas Gramedia Group has become one of the, if not the, largest media conglomerate in Indonesia. In the spirit of diversity of content and diversity of ownership, an idea that tries to ensure democracy is upheld through maintaining the plurality of media content and ownership, the Commission for the Supervision of Business Competition (KPPU) is obliged to monitor that the group is not violating any regulation that is set to ensure healthy competition between media corporations. Thirdly, Kompas TV's own attempt to rearrange the content of Indonesia's television landscape questions the role of the state in listening to the public's demands and reconstruct Indonesia's Post Authoritarian collective identity. With various movements that undermine the authority of the nation-state, from violence in the name of religion to the virtual absence of East Indonesia in the country's dominant culture, national identity becomes a crucial issue to moderate potential conflicts and clashing views. Because if the state, whose officials are elected 'democratically' by the public, does not strategise - the industry will.

*I can't help but note that there is a void of religious programmes, which perhaps is Kompas TV's attempt of deradicalisation - also demonstrated by its newspaper.

Stand Up Comedy Indonesia

Yesterday evening, I finally had the chance to see Stand Up Comedy Indonesia. Like other 'anything new' in Jakarta, it is quickly becoming a burgeoning scene where those in their twenties and thirties flock to be part of the trend. Or so I had thought.

A few years back while I was writing a paper, I came across journal articles on humour studies. Before you throw an encyclopedia at my head for even over-analysing laughing, bear with me. Firstly, a joke can only be funny if it's socially and culturally acceptable as 'the norm'. Laughing needs to be politically correct. It is the reason why different communities, societies, countries, region, etc, have 'localised jokes'.

Secondly, we have a tendency to laugh, nervously, when we are in uncomfortable situations. When we forget someone's name, arrive late, or other trivial mistakes. Laughing is a 'normaliser of discomfort'. Bring that on a societal level, anything we laugh about signifies what collectively makes us uncomfortable. Last night's topics: gender stereotypes (Miund), being an Indonesian-Chinese (Ernest Prakasa), and being overweight (Mo Sidik).

The articles I read came into mind as I was seeing everyone perform. Out of the performers that night, Ernest left the deepest impression on me. Aside from the fact that I laughed my ass off during the whole 20 minutes he performed, he opened up cultural taboos that the pluralist in me thoroughly enjoyed. Being mugged (palak) as a Chinese boy and that the difference between an NU and Muhammadiyah Chinese is that a Muhammadiyah Chinese celebrates Imlek a day before.


Pandji Pragiwaksono's performance in Comedy Cafe.

And, the nerd that I am, I spent the night Googling and reading about the performers. Some of them had their own political mission. Mo Sidik is fighting against discrimination towards overweight people (i.e. how his nephews and nieces asked him to be an Angry Bird) and Pandji Pragiwaksono is a cancer activist who advocates for the use of marijuana in cancer-related medical treatments (i.e. the weed jokes).

Although the cynic in me could not help but realise that many of the people who came that evening, after hearing a joke, looked at the friends they came with to know whether the joke was funny or not (i.e. social approval); listening to the performers I have great respect in the movement and the interest behind it. I look forward to seeing more to come.

That of Banda Aceh

For the last phase of my PhD data collection, I travel around the country (Denpasar, Banda Aceh, Jayapura, Makassar, Jayapura, Banjarmasin, and, err, Jakarta) to explore the dynamics between Islam, national identity, and television culture among young Indonesians. I have completed my Denpasar and Banda Aceh visits and, as usual, what I've learned so far - although far from finished - has made me felt just about the size of a pebble.

I met with a former student of mine, a local Acehnese, and one of the most intelligent human beings I've had in my class. Overlooking Lampuuk beach, she told me about her childhood, the long history of violence in Aceh, and how, during dinner with family, they overhear gunshots and continue eating. "When a relative has gone missing, it means they're not coming back," she told me.


Lampuuk Beach, Aceh.

Exploring the thoughts of my Acehnese respondents, the local customs, the food, the panoramic view, and reading about its political history - it is difficult not to realise the uniqueness of this region. I believe if it were not for the acculturation between traditional Acehnese culture and Islam, the socio-cultural practices would not be as peaceful, particularly after three decades of military occupation.* I found instances that prove the implementation of Islamic law in Banda Aceh a result of consensus, far more consciously formed than most of Javanese Muslims I have come to know all my life.

I cannot help but fall in love a bit with Serambi Mekkah, where the women I meet veil their heads and not their minds.

* For those interested to read more about the history and culture of Aceh, I recommend Aceh: History, Politics and Culture by Arndt Graf, Susanne Schroter, Edwin Wieringa (Eds).