Indonesian National Commission on Human Rights: 1965 massacre a gross violation of human rights

Based on their investigation on the 1965 coup, the National Commission on Human Rights (KOMNASHAM) told reporters in its news conference that state officials under the Operational Command for the Restoration of Security and Order (Kopkamtib) led by the late President Soeharto who served from 1965 to 1967, and between 1977 and 1978, should be taken to court for various crimes, including mass rapes, tortures and killings.

For futher reading:

Another EM news article about the 1965 Coup:


Several music videos about that tragedy:


From the media:



    Competition: Bhinneka Tinggal Duka?

    Bahasa Indonesia

    Jakarta: July 18, 2012

    Bhinneka Tinggal Duka? Kompetisi Video Online (IN)toleransi/ Diversity Leaves Grief? Online Video Competition on (in)tolerance in Indonesia

    EngageMedia is pleased to announce the launch of a new online video competition.

    The aim of the competition is to use online video technologies to develop space and tools for Indonesian people to articulate their aspirations for peace and their frustrations with violence. The winning videos will be used as tools for education, campaigning and advocacy by individuals and civil society groups working on issues of diversity and tolerance and Indonesia.

    The name of the competition draws from the national motto of Indonesia, ‘Bhinneka Tunggal Ika’, an Old Javanese saying loosely translated as ‘Unity in Diversity’ and literally meaning ‘(Although) in pieces, yet One’.

    EngageMedia’s competition remixes this ubiquitous motto into ‘Bhinneka Tinggal Duka?’ or ‘Diversity Leaves Grief?’ referring to the violence that has resulted from religious intolerance in Indonesia over the last decade.

    Indonesian videomakers are invited to submit their short videos online at

    There are over AUD1000 in prizes and winners will be invited to a master class on video distribution in Jakarta.

    Details at

    Twitter hashtag: #bhinnekatinggalduka


    Contact: [email protected]

    Supported by: Paras Indonesia, Gambar Gerak, Wahid Institute, Indonesia Tanpa FPI, OurVoice, Perkumpulan 6211, Sejuk

    Featured Filmmaker

    Featured Filmmaker: Sathis Kumar Krishnan

    Name: Sathis Kumar Krishnan

    Age: 29

    Location: Penang, Malaysia

    Recent work:


    I was born and raised in Ipoh, Perak. I’m working full time as a primary school teacher under the Education Ministry. And I’m also a part time volunteer as a citizen journalist with CJMY since 2010. Apart from that I’ve also been an independent Tamil blogger since 2007 and have been actively involved in grassroot issues pertaining to social injustice and marginalisation of the poor.

    1. Tell us who you are as a filmmaker.

    Basically, film-making is my passion and my attachment to Citizen Journalists Malaysia (CJMY) as a volunteer has helped spur my passion further as it is a serious platform for citizens like me to highlight issues faced by the ordinary people of this country. In the course of the production of a film we get to change lives, and that is very important to me.

    Serious violations on human rights and marginalisation of the poor have been the content of my films. My reason for focusing on these issues is that I hope that my stories may bring relative changes to their lives and to subsequently cause a change in the system as it has been reason for their oppression.

    2. How did you come to video as a medium? Why do you work with the moving image?

    I started my video making in 2005 at college while undergoing practical training in a Tamil school in Johor. My assignment was to produce a video for the school building fund rising dinner. A huge fund was collected and my video was instrumental in achieving this and I realised how much video can cause a significant impact.

    I feel that moving images reflects and reaches the emotion, and is able to transmute facts in its genuine form and it has the capacity to create a bond between the viewers and the contents.

    Just like in movies, documentaries, and short-films, the interaction between the viewer and the content cannot be directed. The possibility of transformation is endless. For example, a film might mitigate change in such a way that one becomes more conscious towards senior citizens, or decide to make a donation, or bring a parent back from an old folks home, or decide never to be a helpless old person, or uses the content to educate – or just does noting at all but tells the story to another who chooses differently because of the story they heard about.

    We as film-makers will never know the impact of our stories but this makes it all the more exciting.

    3. What are the main issues you address in your video work?

    I am particularly attached to issues representing human rights and the marginalised poor. Issues which I mostly covered were temple demolition, statelessness, land grabbing, educational discrimination, religious conversion and the like.

    Issues like these receive little or no limelight from the main-stream media and the people who are going through these issues have it hard. Their problems are real and the suffering they go though is immense. I feel it is my duty to help them by documenting their stories.

    4. We saw your videos about Indian cultural and political rights, please tell us a bit about this and why you choose this?

    Personally, I have seen and experienced the issues of injustice against the Indian minority poor, and I think these issues are ignored and not given attention by those in authority. Moreover, the mass media such as television, newspapers, do not dare to address issues involving human rights violations against minorities. The Hindraf rally in 2007 opened my eyes about the seriousness of the oppression under the current system. I really want to highlight the implications of the system for the public to seek justice for the injustices which have been practiced for years and which need to be rectified for the future of the nation.

    5. Tell us about the favourite piece of video you have made, in regards to social justice or the environment.

    Almost all of my videos are my favorite, because I’ll only make a video on issues which I feel are important. One video I made (Remnants of a life in a container) about a senior citizen who lives in a container for the last four years, received good response from the public, and many have come forward to help him, including the local assemblyman and welfare department. These little acts of helping mean a lot to me. I am sure it has improved the life of the senior citizen too.

    6. How do you think online distribution is changing the field of independent video making? How do you use online tools in your work?

    Independent video journalists like me are very dependent on online sharing because it is quick and efficient in delivering news to our target audience. I usually will upload my videos into YouTube and Vimeo and embed the video on the news portal and share the link in Facebook, Google, Yahoo groups, and others. Lately, I have been using Universal Subtitles for my videos, to subtitle my videos in English and Malay.

    The trick is to make sure a wide audience can access ones video. Once we have a strong following then I am sure the task of looking for an audience reduces over time.

    If you know of any interesting filmmakers around Asia Pacific you’d like to see featured on, write to us today!