Opini
Press conference
Published
8 years agoon
By
Mitra Wacana
Preventing radicalism, extremism and terrorism for village communities, as well as optimising the role of women.
Radicalism, extremism and terrorism (RET) has become a discourse that is sucking up the energy of Indonesia. Discussions about radicalism, extremism and terrorism are not new in Indonesia. Since the beginning of independence, until reformasi, terrorist actions have appeared in various forms, movements as well as counter-terrorism policies. During the period of the old order, the government approached security in a way that subverted the law. The new order period wasn’t much different, with the government just to emphasise security and strengthening intelligence operations. Meanwhile in the reformasi period, there are significant differences, people are able to freely express their opinion, the government has become a democracy, and a human rights perspective is used in influencing policy, and law enforcement. This was symbolised with the creation of Law 15, 2003, about Eradicating Terrorists Acts, after the 2002 Bali Bomb tragedy.
The National Agency of Counter Terrorism notes that having a radical attitude and understanding alone does not necessarily make a person fall into the ideology and acts of terrorism. There are other factors that cause a person to join in with terrorism networks. First, domestic, that is situation and conditions in the country, such as poverty, injustice or feeling dissatisfied with the government. Second, international influence, namely the influence of the foreign environment that provides the impetus for the growth of religious sentiments such as global injustices, arrogant foreign policy, and modern imperialism in other countries. Third, cultural factors that are linked with not having a comprehensive understanding of religion, and textual scripture interpretation. Radical attitudes are often motivated by the above factors, and are often the reasons people will choose to join in a terrorism network as well as commit terrorist actions.
Sharing knowledge to audiences about the dangers of RET, its roots, impacts and the scope of it is one of the methods to prevent the spread of networks, and the dangers of RET. Besides this thing, preventing RET through various methods is done through including all of the elements, either instituational or village communities, as well as optimising womens groups, especially those that are in the village. Remember, at this moment the village is suspected to become a new recruiting groud for groups or people that want to spread radical ideas.
Mitra Wacana WRC notes that there are two important issues that need to be addressed in the prevention of radicalism, extremism and terrorism, starting from the village, as well as encouraging the optimisation of the role of womens groups in the village. First, Mitra Wacana WRC encourages village governments to start including RET prevention programs to be discussed in village development planning meetings, so that the community is increasingly alert and aware of the importance of preventing the spread of radicalism. Second, to encourage all elements of society to not ignore the role of women’s groups. Women have shown that they have the ability to strongly consolidate either in organisations, groups or activities that include their communities. For example, at this moment there are 9 villages that have an organisation known as Children and Women’s Learning Center (P3A) that is supported by Mitra Wacana WRC. Through these P3A we have seen that there is the potential to include them as conveyors of the message about preventing RET.
There are several goals from carrying out this seminar, such as; First, describing the results of Mitra Wacana WRC’s research, which was carrried out in 3 District of Kulonprogo Regency about the potential for village resilience to tackle RET and discuss a prevention model through community organizing. Second, to share information about the importance of preventing RET. Third, describe the RET prevetion strategy in Kulonprogo regency. Fourth, optimise the role of women in preventing RET.
In this, Mitra Wacana WRC feels we need a role in carrying out RET prevention measures, through activities that are aimed to create awareness, caring and increase the capacity of society in the village through seminars, public campaigns, cadre training as well as distributing RET prevention material. Mitra Wacana WRC views it as necessary that there are cadres in the village, especially women’s groups that have been supported so that they consider, and understand the message, and we also aim to build their resilience so that they are not impacted by unfriendly religious discourse, and the presence of violent actions.
Opini
Sejarah Perfilman Indonesia: Layar Indonesia dan Identitas Bangsa
Published
3 hours agoon
21 May 2026By
Mitra Wacana

Adela Damanik, Mahasiswa Sastra Indonesia Universitas Andalas
Bagaimana mungkin sebuah film sederhana yang sudah diputar hampir seabad lalu dapat melahirkan sebuah tradisi seni yang terus hidup hingga kini? Pertanyaan ini akan membawa kita pada sejarah perfilman Indonesia. Sebuah perjalanan panjang yang merekam perkembangan seni dalam menciptakan identitas bangsa. Mulai dari film yang tanpa suara hingga karya yang sudah melanglang buana di kancah film internasional.
Kisah ini dimulai pada tahun 1926, dengan hadirnya Loetoeng Kasaroeng, sebuah film tanpa suara yang disutradarai oleh L. Heuveldorp dan diproduksi oleh Java Film Company. Film ini diadaptasi dari legenda Jawa Barat dan menampilkan seorang gadis pribumi sebagai pemainnya. Film ini cukup sukses, karena diputar selama satu minggu di bioskop-bioskop kota Bandung, mulai 31 Desember 1926 hingga 6 Januari 1927.
Tak sampai di situ, sejarah perfilman Indonesia dimulai sejak kembalinya seorang wartawan yang sempat ditangkap Belanda karena meliput Perjanjian Renville yang bebas pada 1949. Usmar Ismail kemudian mendirikan Perusahaan Film Nasional Indonesia (Perfini). Bersamaan dengan itu, Jamaluddin Malik mendirikan Perseroan Artis Film Indonesia (Persari). Dari sinilah lahir film Darah dan Doa. Syuting pertama film ini dimulai pada 30 Maret 1950. Film Darah dan Doa merupakan film yang menggunakan bahasa Indonesia yang baik dengan latar belakang kultura Indonesia. Itu sebabnya, tanggal 30 Maret ditetapkan sebagai Hari Film Nasional. Sejak saat itu, film-film dijadikan sebagai alat penghibur.
Namun, pada perkembangannya muncul perbedaan pandangan dalam dunia perfilman Indonesia. Terbentuk dua kubu, yaitu kalangan seniman dan para pedagang film. Bagi para seniman, film harus memiliki kualitas dan nilai seni yang baik. Sementara itu, bagi pedagang film dan pengusaha bioskop, yang terpenting adalah menarik banyak penonton. Untuk menjembatani perbedaan tersebut, akhirnya disepakati diadakannya sebuah ajang nasional, yaitu Festival Film Indonesia (FFI) pertama pada tahun 1955.
Pada tahun 1962, Jamaludin Malik dan Usmar Ismail bekerja sama dengan produser Filipina untuk membuat Film Holiday in Bali yang merupakan film berwarna pertama. Dilanjutkan kerja sama dengan Singapura dalam membuat Film Bayangan di Waktu fajar. Tahun 1965 selanjutnya dibentuk dewan produksi film nasional yang menghasilkan sejumlah film percontohan antara lain Film Apa yang Kau Cari Palupi karya Asrul Sani. Pada tahun 1967, Film Apa yang Kau Cari Palupi menjadikan film pertama Indonesia yang mendapat penghargaan di ajang festival internasional.
Tiga puluh tahun sejak pertama kali digelar, pada tahun 1992 masa kerja Festival Film Indonesia (FFI) berhenti. Vakumnya ajang penghargaan ini beriringan dengan menurunnya produksi film nasional. Namun, memasuki dekade 2000-an, perfilman Indonesia kembali bergerak dengan hadirnya Petualangan Sherina karya Riri Riza, disusul oleh Ada Apa dengan Cinta? karya Rudi Sujarwo, yang berhasil menarik kembali minat penonton. Kebangkitan film-film ini kemudian membuka jalan bagi penyelenggaraan kembali FFI pada tahun 2004, yang kali ini difasilitasi oleh pemerintah, dan sejak saat itu FFI kembali digelar secara rutin sebagai wadah apresiasi bagi insan perfilman nasional.
Era baru perfilman Indonesia ditandai dengan munculnya sejumlah pemilik modal yang kembali berinvestasi dalam produksi film nasional. Dari situ lahirlah berbagai karya populer karya Nia Dinata seperti Ca-bau-kan karya Nia Dinata, Arisan!, Berbagi Suami. Pada saat yang sama, pelaku industri film dari kalangan China dan India juga ikut kembali bergerak dengan menghasilkan film-film laris, di antaranya Kafir karya Mardaly Sjarifdan Eiffel… I’m in Love Nasri Cheepy.
Sejarah panjang ini membuktikan bahwa perfilman Indonesia bukan sekadar hiburan, melainkan juga cermin budaya, identitas, dan dinamika masyarakat. Dari Loetoeng Kasaroeng hingga era film populer modern, perjalanan perfilman Indonesia akan terus menorehkan jejak baru di masa depan.

Sejarah Perfilman Indonesia: Layar Indonesia dan Identitas Bangsa

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