[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-46065-en":3,"doc-seo-46065-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":13,"seo_description":14,"update_tm":28,"read_time":29},46065,1099514067438,"River Wang","https://ap-avatar.wpscdn.com/avatar/100002539ee87300030?x-image-process=image/resize,m_fixed,w_180,h_180&k=1780474512215547542",8,"Research & Report","Pancasila in the Minor Key: TVRI's Si Unyil Models the Child","Examines how Indonesian state television TVRI used the children’s puppet series “Si Unyil” (first aired April 1981) to advance political and cultural socialization. The study links the program to Pancasila citizenship, national development, and state hegemony, describing how hundreds of episodes continuously modeled an idealized child as a good Indonesian citizen. It analyzes narrative form, characters, and parody to show how preferred center–periphery relations and culturally “unitary” family ideals were produced.","INDONESLOCORNELL  \nPancasila in the Minor Key:TVRI's \"Si Unyil\"Models the Child  \nAuthor(s):Philip Kitley  \nSource:Indonesia,No.68(Oct.,1999),pp.129-152  \nPublished by:Cornell University Press;Southeast Asia Program Publications at CornellUniversity  \nStable URL:https://www.jstor.org/stable/3351297  \nAccessed:23-10-201909:44 UTC  \nREFERENCES  \nLinked references are available on JSTOR for this article:  \nhttps://www jstor.org/stable/3351297?seq=1&cid=pdf-reference\\#references_tab_contentsYou may need to log in to JSTOR to access the linked references.  \nJSTOR is a not-for-profit service that helps scholars,researchers,and students discover,use,and build upon a widerange of content in a trusted digital archive.We use information technology and tools to increase productivity andfacilitate new forms of scholarship.For more information about JSTOR,please contact support@jstor.org.  \nYour use of the JSTOR archive indicates your acceptance of the Terms &Conditions of Use,available athttps://about.jstor.org/terms  \nSoutheast Asia Program Publications at Cornell University,Cornell University Pressare collaborating with JSTOR to digitize,preserve and extend access to Indonesia  \n# PANCASILA IN THE MINOR KEY:TVRI's SI UNYIL MODELS THECHILD\n\nPhilip Kitley  \n## Introduction\n\nThe Presidential ban on television advertising in 1981 shifted the state to centerscreen and changed the way TVRI(Televisi Republik Indonesia)constructed itsaudience.After 1981,untrammeled by market considerations and with a vastlyexpanded national audience within its reach,TVRI interpellated its audience as apublic and a national family.One segment of the family singled out as subjects forspecific national address was the audience of young children.This essay presents acase study of how television asserted its role in the Indonesian government's nationalculture project as an important agency of political and cultural socialization throughthe development of the children's puppet series Si Unyil [(The Boy)Unyil],screenedfor the first time in April 1981.Si Unyil is perhaps the best known television programin Indonesia.The first episode was screened on April 5,1981,and the series has beenbroadcast continuously ever since,making it the longest running fictional program onIndonesian television.A total of 603 episodes were screened between 1981 and 1993.  \nIn Indonesia,as in most countries,\"the state assumes that its inhabitants are notnecessarily born as good citizens;children must be taught and socialized by the stateto become good citizens.\"1In the politics of state television,so-called“children'stelevision\"becomes part of the machinery of state hegemony.The weekly episodes ofSi Unyil were crafted by a talented production team to contribute to the manageddevelopment of children into good Indonesian citizens who were knowledgeable about  \nand committed to national development.I begin by situating the series in thediscourses of Pancasila citizenship and national development.Official statements ofthe objectives of the series and the top-down directives which initiated it are noted.The series is also shown to be part of a flow of programming focused on nationaldevelopment and the modeling of preferred center-periphery relations.In the section\"Narrative Form and Generic Characteristics\"I turn to textual analysis and discussthe ideological work of the series in modeling the desired child social subject.I arguethat the adaptation of the conventional structure of the situation comedy in Si Unyilmodels dependent,paternalistic political relations between village communities andthe national center.  \nFollowing a discussion of character in which the hierarchical relations betweenchildren and adults,community and state-center are noted,I move on to consider therole of parody in the series in the characters of Pak Raden and Ogah and Ableh.Here Iargue that parody performs the paedocratic²function of turning unacceptable adultbehavior into derisory comedy to delineate and reinforce prefe","cbCainHsEqytNtrX","https://ap.wps.com/l/cbCainHsEqytNtrX","pdf",2690982,3,1,25,"English","en",105,"# Introduction\n## Si Unyil and Metaphors of Shaping and Guiding\n## Ideological Goals and State Directives","[{\"question\":\"What shift in Indonesian television policy enabled TVRI’s national audience expansion after 1981?\",\"answer\":\"A presidential ban on television advertising in 1981 redirected the state toward center-screen broadcasting, reshaping how TVRI constructed its audience and reach.\"},{\"question\":\"How does the series “Si Unyil” relate to Pancasila-based political education?\",\"answer\":\"Official objectives and directives describe the program as incorporating government messages into entertaining children’s narratives, used to plant Pancasila values through role play and related approaches.\"},{\"question\":\"What does the analysis argue about narrative and parody in modeling the desired child?\",\"answer\":\"The study contends that adapting sitcom structures in “Si Unyil” reinforces paternalistic relations, while parody—through adult characters—turns unacceptable behavior into derisory comedy to reinforce preferred 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