The economy of an agrarian society relies on agriculture that produces food to meet its own needs as well as for commerce. The phenomenon in Indonesia, rice fields as an agricultural base has experienced various twists and turns of travel. Rice fields can be seen from a cultural, economic, to political perspective. From the point of view of rice culture, it formed a spirit of mutual cooperation, gave birth to techniques and cultivation of plants, to become objects of art. From the economic point of view, rice fields have supported the country's food needs and even exported. From a political standpoint, the rice fields have witnessed the journey of the Orde Baru regime's hegemony in maintaining its power, gain legitimacy to suppress the potential of the community in the name of national development and stability, and to represent the success of economic development through rice self-sufficiency by increasing rice productivity through agricultural extensification and intensification [1]. With the support of a single channel of television media at that time, the government has succeeded in infiltrating the propaganda claim of success in development, with the communication being built is top-down, so that other impacts are not revealed. This condition creates a paradoxical situation in the reality of society. This is used as the basis for the writer to create works by presenting the rice field as a representation of the portrait of an agrarian country, Indonesia. Through an instrumentalist art approach, the work is embodied in video installation media, because this media can better represent the writer's ideas in narrating time-based narratives. This work is expected to inspire connoisseurs, open views about rice fields in the context of culture, economics, and politics, which ultimately can provide awareness about the nation's social conditions in the present reality.
Volume 11 | 03-Special Issue
Pages: 561-565