FILM JONI DAN YUSNIAR

They regularly visit her, and a few of the less refined among them actually harass her on occasion. It is perhaps not surprising that, as a comedy, Eumpang Breuh rarely valorises the usual symbols of Islamic revival found in explicitly Islamic Indonesian films. He is able to use this instance of mistaken identity to suggest to her that of her many suitors, it is only one whose name begins with a J for Joni who is her match. The series exaggerates particular features of the stereotypical village. But they also see redeeming qualities of the characters. Haji Umar promises that whoever rescues him will receive the hand of Yusniar in marriage. But here lies the rub. They frequently have television sets and feature an entertainment line-up of Indonesian soap operas, feature films from Hollywood and Bollywood and international football matches.

These range from the adoption and legal enforcement of dress codes to strict laws governing the practice of the fasting month and architectural styles of newly constructed government buildings that resemble those used in the building of mosques. Viewers unanimously disagree with the proposition that Eumpang Breuh is an Islamic film, a specific and often pedantic genre that has enjoyed considerable popularity in Indonesia in recent years. But even Haji Umar does not approach the number or intensity of more outward displays of Islamic identity and practice found in portrayals of characters from more explicitly Islamic films — or, indeed, in the Acehnese public sphere. Taken by her beauty, Bang Joni falls for Yusniar and sets about — over the rest of the seven episodes — to win her heart. With the exception of Yusniar and one of her most persistent suitors, a Batak man named Sitompul, whom she knows from her time in Medan, all of the main characters have horizons that fall well within the geographic and cultural boundaries of rural Aceh. This imagining shifts focus to the distinctly Islamic qualities of stereotypical village characters whose Islamic traits might otherwise remain hidden underneath a rural lack of refinement.

Haji Umar promises that whoever rescues him will noni the hand of Yusniar in marriage. Nonetheless, many viewers insist that Eumpang Breuh, while not by genre an Islamic film, contains central themes that are consistent with a proper Islamic life. This by no means contradicts an affinity to public displays of Islam and Islamic practice. But they also see redeeming qualities of the characters.

Haji Umar may be quick to anger, but he is a good Muslim. There is no way for him to go back on this kaoi.

Skip to content Legal reforms in the Indonesian province of Aceh over the last decade have emphasised the importance of highly visible Islamic objects and practices for transforming the province fi,m a more properly Islamic society. Many of these symbols — kinds of dress, patterns of consumption, approaches to sacred language and text — are generally understood by Acehnese as more properly urban than rural, even though in practice these categories are blurred by large numbers of people who spend portions of their daily lives deeply fiml in both urban and rural settings.

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Haji Umar is by far the most identifiably Muslim character. Much of the humour revolves around the skilful portrayal of typical character traits by the actors. But these same factors, and the mobility that has come with them, are sources of distrust.

Taken by her beauty, Bang Joni falls for Yusniar and sets about fil, over the rest of tilm seven episodes — to win her heart. Those men who are themselves unmarried almost unanimously admit that they would wed someone like Yusniar. They find in the series a response to these concerns through representations of Islamic sensibilities arising from authentic, if at times comically wild, Acehnese village experiences.

Yusniar covers her hair, but in a fashion that many in Aceh would agree was less modest than behoves a young, unmarried woman. They frequently have television sets and feature an entertainment line-up of Indonesian soap operas, feature films from Hollywood and Bollywood and international football matches. For the crowds of men who patronise the coffee houses, watching Eumpang Breuh offers an opportunity to comment on issues related to Islam, gender and the village.

This argument should not be overdrawn, as Eumpang Breuh is, after all, a comedy relying on humour that pokes fun at the rural dsn of its characters.

In doing so it articulates a sense that everyday village life is deeply compatible with Islamic principles in ways that do not require an abundance of visual markers of Islamic identity.

In general, these public displays of piety have been widely embraced. Daniel Birchok dbirchok umich. Large numbers of men and women have chosen to alter their comportment or clothing styles, assist raids by vice police or neighbourhood vigilante groups patrolling public morality or have committed themselves to the building of an ever increasing number of village mosques. Equally as important as the plot — if not more so — are the character-types represented by each of the main roles.

Legal reforms in the Indonesian province of Aceh over the last decade have emphasised the importance of highly visible Islamic objects and practices for transforming the province into a more properly Islamic society. Shortly thereafter Yusniar falls into the river while doing chores, only to be rescued by Bang Joni and his sidekick Mando. January 28, January 28, It is clear that viewers take these characters and their interplay through the plot very seriously, even as they laugh at them.

In Aceh such concerns are regularly voiced in press reports, sermons by religious teachers and in everyday conversations, marking such women as a vulnerable yet also dangerous group in need of both protection and surveillance.

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Beautiful, well-educated, polite, obedient and clever, she is the perfect catch. But Yusniar, her love is not certain.

Vs Bang 4

They said similar things about Yusniar, although her position is more conflicted. But here lies the rub. This entails a seemingly endless stream of slapstick adventures in which our hero is routinely attacked by the quick-to-anger Haji Umar, who has other plans for his daughter, and fends off numerous other suitors through trickery and the mobilisation of a network of friendly neighbourhood thugs.

These range from the adoption and legal enforcement of dress codes to strict laws governing the practice of the fasting month and architectural styles of newly constructed government buildings that resemble those used in the building of mosques. One of the most popular programs in recent years, both in these shops and among private viewers at home, has been the comedy, Eumpang Breuh Rice Basketwhich focuses on Acehnese village life.

In the late night and early morning hours over coffee, urban and rural viewers howl knowingly with delight at these caricatures of Acehnese country bumpkins.

The predominantly young, male viewers enjoying the series dzn coffee on any given evening see the series in terms of devotion to family, the economic and social customs of the village, anxiety over gender roles and the ability to find a trustworthy marriage partner — all things they identify as explicitly Islamic concerns. An alternate imagining So what can fjlm learned from a few evenings watching Eumpang Breuh in an Acehnese coffee house? It is perhaps not surprising that, as a comedy, Eumpang Breuh rarely valorises the usual symbols of Islamic revival found in explicitly Islamic Indonesian films.

December joji, December 31, But many young men express distrust of Yusniar. For many women, and some men, Yusniar is the central character, who brings all of the male characters in the story together. But it does momentarily de-emphasise them in favour of character traits believed to inhere subtly in Acehnese rural folk.

Joni Dan Yusniar

They regularly visit her, and a few of the less refined among them actually harass her on occasion. Never ffilm for broadcast, each episode has been individually created and released on video compact disc, all seven of which remain available for purchase.

Their commentaries on the film reveal different imaginings of a properly Islamic Aceh. Viewers unanimously disagree with the proposition that Eumpang Breuh is an Islamic film, a specific and often pedantic genre that has enjoyed considerable popularity in Indonesia in recent years.

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