Amid the pandemic, creative arts workers need ongoing support. For that, the government can partner with the private sector. The government is advised to provide sustainable support for the survival of artists, art workers, and the creative economy. social restrictions due to the Covid-19 pandemic have a serious impact on artists, art workers, and the creative economy. In general, they cannot stand alone while doing activities. an art event usually involves tens to hundreds of technical workers. When art events are canceled or postponed due to a pandemic, their income will automatically be affected. What should be monitored is the government’s policy to support artists, art workers, and the creative economy to keep working. He gave an example of two virtual programs that must be criticized, namely the Home Performance belonging to the Ministry of Tourism and Creative Economy (Kemenparekraf) and the Joint Solidarity Concert with Keeping Indonesia. Acting Director of the Music Industry, Performing Arts and Publishing Kemenparekraf Amin Abdullah explained, through the Home Performance program, artists or art workers can upload works of three to five minutes duration to the Kemenparekraf Instagram account. Postponed or canceled
Based on data from the Indonesian Art Coalition as of April 21 2020 at 4:00 p.m., 234 art events were postponed or canceled due to the pandemic. These art events include film productions, music concerts, exhibitions, and museums.
Ratri Ninditya, Indonesian Arts and Cultural Policy Research Coordinator, appreciated the government’s efforts to accommodate artists working in virtual spaces. However, according to him, this is not yet a perfect solution.
If support for working at home is given in the form of selection, Ratri emphasizes the importance of transparency, criteria, and selection. The government must always remember that artists and art workers must be respected for their work.
He hopes that all government policies to support the survival of the artists don’t get patchy. Ratri also advised the government to collaborate with private companies to accommodate the artists to continue working. If the solution is a virtual “stage”, the government must ensure equal distribution of internet infrastructure.
Having experienced a long and dynamic journey, the film industry in Indonesia can be said to have begun to grow.
Several works of Indonesian filmmakers have received recognition both at home and abroad.
This of course gives fresh air and inspiration for other filmmakers to create other innovative and inspiring works. But unfortunately, in the midst of this positive movement, the filmmakers seemed to be struggling alone without any support from the government.
One of the demands of the 1998 reform movement was to carry out reforms in the political and cultural fields, including in the field of film. In line with the shift in the position of film from a political to a cultural group and the development of science and technology, an idea was born about the need for a new paradigm.
Film as a work of cultural art that is manifested based on cinematographic principles is a cultural phenomenon. This means that films are the result of a citizen’s creative process carried out by combining beauty, technological sophistication, as well as value systems, ideas, norms, and human actions in society, nation, and state. Thus a film is not value-free because it has a series of vital ideas and messages which are developed as a collective work of many organized people. That is why a film is a social institution that has a personality, vision, and mission that will determine its quality and feasibility. This is very much influenced by the competence and dedication of the people who work collectively, technological advances, and other resources.