D. Djajakusuma

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D. Djajakusuma
Rayuwa
Haihuwa Temanggung (en) Fassara, 1 ga Augusta, 1918
ƙasa Indonesiya
Mutuwa Jakarta, 28 Oktoba 1987
Makwanci Karet Bivak Cemetery (en) Fassara
Karatu
Makaranta University of Washington (en) Fassara
Makarantar USC na Fasahar Sinima
Harsuna Indonesian (en) Fassara
Sana'a
Sana'a Jarumi, darakta da marubin wasannin kwaykwayo
IMDb nm2676200

Djadoeg Djajakusuma [lower-alpha 1] ( [dʒaˈdʊʔ dʒajakuˈsuma] ; 1 ga Agusta, 1918 - 28 Oktoba 1987) darektan fina-finan Indonesiya ne kuma mai tallata fasahar gargajiya. An haife shi ga wani mai daraja da matarsa a Temanggung, tsakiyar Java, Djajakusuma ya zama mai sha'awar fasaha a lokacin ƙuruciyarsa, ya zaɓi ya ci gaba da aikin wasan kwaikwayo. A lokacin mulkin Jafananci daga shekarar 1943 zuwa 1945 ya kasance mai fassara kuma ɗan wasan kwaikwayo, kuma a cikin shekaru huɗu na juyin juya halin ƙasa wanda ya biyo baya ya yi aiki a sashin ilimi na soja, kamfanonin labarai da yawa, da wasan kwaikwayo.

A cikin 1951, Djajakusuma ya shiga Kamfanin Fina-Finai na Kasa (Perfini) bisa gayyatar Umar Ismail . Bayan ya fara fitowa a matsayin darakta tare da Embun, Djajakusuma ya sake fitar da ƙarin fina-finai goma sha ɗaya tare da kamfanin kafin ya tafi a 1964. Daga nan ya koma gidan wasan kwaikwayo na gargajiya na Indonesiya, gami da wayang . Ko da yake ya ci gaba da jagorantar fina-finai ba tare da Perfini ba, yawancin ƙarfinsa an sadaukar da shi don inganta fasahar gargajiya da koyar da fina-finai. Bayan sama da shekaru goma na rashin lafiya da hawan jini, Djajakusuma ya fadi a lokacin wani biki kuma ya mutu. An binne shi a makabartar Karet Bivak .

Djajakusuma mai sadaukarwa amma mai saurin fusata ya sami tasiri a kan hakikanin ra'ayin Usman Ismail, duk da cewa ya fi mayar da hankali kan al'amuran al'ada na rayuwa. Wasannin wasan kwaikwayo nasa sun yi ƙoƙarin sabunta tsarin gargajiya ta yadda za a sami karbuwa sosai a duniyar zamani. An ba shi lambar yabo da sake farfado da tsarin wasan kwaikwayo na Betawi lenong kuma ya sami lambobin yabo da yawa don shirya fina-finai, ciki har da lambar yabo ta nasarar rayuwa a bikin fina-finai na Indonesiya .

Tarihin Rayuwa[gyara sashe | gyara masomin]

Rayuwar farko[gyara sashe | gyara masomin]

An haifi Djajakusuma a ranar 1 ga Agusta 1918 a Parakan, Temanggung, Central Java, Dutch East Indies, [1] ga mahaifin priyayi, Raden Mas Aryo Djojokoesomo, da matarsa Kasimah. Djajakusuma shi ne ɗa na biyar cikin shida da ma'auratan suka haifa, waɗanda suka rayu cikin jin daɗi daga albashin Djojokoesomo a matsayin jami'in gwamnati. [2] Lokacin da yake matashi yana jin daɗin kallon wasan kwaikwayo, kamar wasan tsana na wayang da salon rawan gargajiya tayuban ; [2] A wasu lokuta ya kan bar gidansa bayan ya kwanta barci don kallon shirye-shiryen. Tare da abokansa, zai aiwatar da labaran da mahaifiyarsa ta gaya masa. [3] Lokacin da aka fara nuna fina-finai na Hollywood da aka shigo da su, ya kasance mai kallo mai ban sha'awa, yana kallon Yammacin Turai kuma yana aiki tare da Charlie Chaplin . [2]

Djajakusuma saboda matsayinsa na ɗan babban mutum, ya sami damar samun ilimi. Ya kammala karatunsa a Semarang, Central Java, [4] yana sauke karatu daga shirin ilimin halitta a babbar makarantar sakandare a can a 1941. [2] Ko da yake iyalinsa suna fatan ya zama ma'aikacin gwamnati kamar mahaifinsa, Djajakusuma ya yanke shawarar zuwa. cikin wasan kwaikwayo . [3] Ya koma garinsu na ɗan lokaci kaɗan kafin ya gane cewa ba zai sami dama ba a Parakan. Saboda haka, a farkon 1943 – kusan shekara guda bayan da Indies suka mamaye daular Japan – Djajakusuma ya koma cibiyar siyasar mulkin mallaka, Jakarta, don neman aiki. [2]

Djajakusuma ya sami aiki a Cibiyar Al'adu [lower-alpha 2] a matsayin mai fassara kuma ɗan wasan kwaikwayo a ƙarƙashin Armijn Pane . [5] Daga cikin ayyukan da ya fassara akwai guda da yawa na marubucin wasan kwaikwayo na Sweden August Strindberg da marubucin wasan kwaikwayo na Norwegian Henrik Ibsen, [lower-alpha 3] [6] da kuma tarihin Japan da kuma wasan kwaikwayo na kabuki da yawa. [2] Yayin da yake tare da cibiyar, Djajakusuma ya rubuta wasan kwaikwayo da yawa na wasansa. [2] A cikin lokacinsa na kyauta, Djajakusuma ya taimaka wajen kafa kamfanin wasan kwaikwayo mai son Maya, tare da masu fasaha irin su HB Jassin, Rosihan Anwar, da Usmar Ismail . Tawagar, wacce aka kafa don mayar da martani ga sha'awar samun yancin fasaha, ta yi fassarar ayyukan Turai da na asali na Ismail da El Hakim. [lower-alpha 4] Don haɓaka ma'anar kishin ƙasa ta Indonesiya yayin da har yanzu ke bin ka'idodin ofishin sa ido na Jafananci, yawancin wasan kwaikwayo na Maya ba su haɓaka Japan a sarari ba, sai dai Babban Yankin Gabas ta Tsakiya Co-Prosperity Sphere . Jigogi masu goyan bayan ƙungiyoyin kishin ƙasa na Indonesiya, a halin yanzu, sun kasance a cikin ayyukan. Tare da Maya, Djajakusuma ya yi tafiya daga ƙauye zuwa ƙauye, yana yin wasan kwaikwayo. [2]

Juyin Juya Halin Indonesiya[gyara sashe | gyara masomin]

Shugaba Sukarno ya shelanta 'yancin kai a Indonesia a ranar 17 ga Agusta 1945, kwanaki bayan tashin bama-bamai na Hiroshima da Nagasaki . Da yake tsammanin gwamnatin mulkin mallaka na Holland za ta dawo, Djajakusuma da Ismail sun taimaka wajen kafa 'yan wasan kwaikwayo masu zaman kansu (Seniman Merdeka) a matsayin nau'i na juriya. Kungiyar ta zagaya ko'ina cikin birnin, inda ta yada labarin samun 'yancin kai a Indonesiya a yayin da take wasa da wata babbar mota kirar iska. Bayan zuwan Netherlands Indies Civil Administration, ƙungiyar wasu lokuta ta yi ƙoƙarin yin leken asiri a kan Turawa ko ɓoye bayanan da za a yi la'akari da amfani ga sojojin Holland da suka dawo. Saboda wannan aiki mai hatsarin gaske, Djajakusuma ya fara ɗaukar bindiga, kuma ya tafi Banten don neman kyai don ya hana shi harsashi. [2]

A farkon 1946, tare da sojojin mulkin mallaka na Holland da ke iko da Jakarta, Djajakusuma ya gudu zuwa sabon babban birnin kasar a Yogyakarta . [6] A can, ya shafe lokaci tare da kamfanin dillancin labarai na kasa Antara [7] kafin ya shiga sashin ilimi na soja, ya kai matsayin kyaftin. [8] Ga soja Djajakusuma ya gyara Tentara na mako-mako; ya kuma ba da gudummawar kasidu ga mujallar al'adun Ismail ta Arena . [2] Duk da shigarsa a cikin jarida, bai yi watsi da wasan kwaikwayo ba; tare da Surjo Sumanto, ya kafa ƙungiyar da ta yi wa sojoji da kuma tada hankali, wani lokacin tafiya zuwa fagen fama. [2]

Usman Ismail, wanda ya zana Djajakusuma zuwa Perfini a shekarar 1951

Bayan juyin juya halin Indonesiya ya ƙare tare da amincewar Dutch na 'yancin kai na Indonesiya a 1949, Djajakusuma ya ci gaba da aiki a matsayin ɗan jarida na Patriot (wani rebranding na Tentara ) da kuma mujallar Kebudajaan Nusantara ; [4] An sake buɗe Mataram, kuma Djajakusuma ya fara koyarwa a wurin yayin da yake sarrafa sinimar Soboharsono da rubuta wasan kwaikwayo da yawa. [2] Ismail, a halin yanzu, ya koma Jakarta ya kafa kamfanin shirya fina-finai na kasa ( Perusahaan Film Nasional</link> , ko Perfini); [9] da farko samar, Darah dan Doa ( The Long March ), wanda ya ba da wani almara version na Siliwangi Division ta tafiya daga Yogyakarta zuwa West Java a 1948, Ismail ne ya ba da umarni kuma aka sake shi a 1950. [8]

Sana'a tare da Perfini[gyara sashe | gyara masomin]

A cikin shirye-shiryen fim dinsa na biyu, Enam Djam di Jogja ( Sa'o'i shida a Yogyakarta ), Ismail ya tuno da Djajakusuma zuwa Jakarta. Don fim ɗin, Djajakusuma ya taimaka wa Ismail daidaita Janar Assault na 1 Maris 1949 don allon. An kammala samarwa akan ƙaramin kasafin kuɗi; Daga baya Djajakusuma ya tuna cewa sai an kunna kyamarar su da batirin mota. [2] Duk da wannan da sauran matsalolin, Djajakusuma ya ci gaba da kasancewa bayan kammala fim din, ya kammala wani aikin Perfini, Dosa Tak Berampun ( Zunubi wanda ba a gafartawa ), daga baya a wannan shekarar. Ismail ya kasance darakta na wannan fim, game da wani mutum da ya bar iyalinsa bayan an canza shi ta hanyar murmushin wata mace. [10]

Yayin da Ismail, wanda ya kasance shugaban Perfini, ya tafi kasashen waje don nazarin cinematography a Makarantar Theater, Film da Television a Jami'ar California, Los Angeles, Djajakusuma ya fara daukar matsayi mafi girma a Perfini. Ya fara halartan darakta a shekara ta 1952 tare da Embun ( Dewdrop ), wanda ya nuna matsalolin tunani da sojoji suka fuskanta a lokacin da suka koma kauyensu bayan juyin juya hali. [11] An harbe fim din a Wonosari, a lokacin a tsakiyar fari, don ba da misali na gani ga rayukan bakararre na mayaƙa. [2] Saboda yadda yake nuna camfe-camfe na gargajiya, fim ɗin ya sami matsala tare da ofishin tace labarai da masu suka; camfi an yi la'akari da cewa bai dace da buƙatun sabuwar jamhuriya na zamani ba. [8] Sakin Embun ya sa Djajakusuma ɗaya daga cikin daraktoci guda huɗu don yin aiki ga Perfini; Sauran su ne Ismail, Nya Abas Akup, da Wahyu Sihombing. [12]

Shirye-shiryen Djajakusuma na gaba, Terimalah Laguku ( Take My Song ; 1952), wani mawaki ne game da tsohon mawaƙin matalauta wanda ya siyar da saxophone ɗinsa don taimakawa tsohon ɗalibin sa. [2] Ko da yake ingancin fasahar fim ɗin ba ta da kyau, lokacin da ya koma Indonesia a 1953 Ismail ya ji daɗin aikin, yana mai cewa an yi gyara sosai. A cikin shekara ta gaba Ismail ya ba da bayanin da ya koya a UCLA ga ma'aikatan Perfini; Djajakusuma ya bi wadannan darussa sosai. [2] Wannan ya biyo bayan Harimau Tjampa ( Tiger daga Tjampa ) a cikin 1953, wani fim game da mutumin da ya yi ƙoƙari ya rama mutuwar mahaifinsa. Saita a cikin al'adun Minang, [13] fim ɗin ya nuna wasu tsiraici na farko a cikin samar da gida [14] kuma ya kasance babban nasara mai mahimmanci. [2]

Djajakusuma yana shiga jirgi don zuwa Sumatra don yin fim na Arni, c. 1955

A cikin 1954 Djajakusuma ya ba da umarnin wasan kwaikwayo guda biyu, Putri dari Medan ( 'yar Medan ) da Mertua Sinting ( Masu Iyaye ). Na farko ya yi magana da samari uku da suka kuduri aniyar ba za su yi aure ba, sai don karfinsu ya kau da kai bayan sun hadu da wasu matan Medan, [15] yayin da na biyu ya bi wani mutum da ya ki zabin auren dansa saboda rashin zuriyarta mai daraja. sannan ya za6i mace daya ta zama matar dansa. [16] A shekara mai zuwa Djajakusuma ya taimaka wajen kafa Guild Hotunan Indonesiya ( Persatuan Artis Film Indonesia</link> ; PARFI). [3] Fim ɗinsa ɗaya kawai a waccan shekarar, wasan kwaikwayo Arni, ya ba da labarin wani mutum da ya auri wata mace yayin da matarsa marar lafiya ta tafi Padang, Sumatra, don magani. [17]

Djajakusuma ya yi karatun fina-finai a Amurka, na farko a Jami'ar Washington a Seattle, sannan a Makarantar Cinematic Arts ta Jami'ar Kudancin California, daga 1956 zuwa 1957. [3] Lokacin da ya koma Indonesia, ya yi aiki tare da Ismail kuma Ma'aikacin Perfini Asrul Sani ya kafa Cibiyar Nazarin Wasanni ta Kasa ta Indonesia ( Akademi Teater Nasional Indonesia</link> ), wanda ya inganta gaskiya; Mawallafin wasan kwaikwayo na Indonesiya Putu Wijaya ya bayyana gaskiyar da makarantar ta inganta a matsayin ɗan Indonesiya fiye da na Yamma, [18] yayin da Djajakusuma ke la'akari da wahayi daga ƙungiyar 'yan asalin Italiya. [6] Djajakusuma ya kasance malami a makarantar har zuwa 1970, kuma dalibansa sun dauke shi mai ban dariya da saukin kusanci. [2]

Bayan ya koma Indonesia, Djajakusuma ya fara aiki a kan Tjambuk Api ( Whips of Fire ; 1958), wani zargi game da cin hanci da rashawa a Indonesia ; wannan jigon ya sa ofishin tace fim din yana gudanar da shi kusan shekara guda. [13] Daraktan ya bi wannan tare da wasan kwaikwayo Pak Prawiro ( Mr. Prawiro ), wanda Bankin Savings Bank ( Bank Tabungan Pos ya dauki nauyinsa.</link> ) da nufin isar da mahimmancin samun tanadi . [19] A wannan lokacin ya yi nazarin gidan wasan kwaikwayo na gargajiya na Indiya, yana tafiya zuwa Calcutta, Madras, da New Delhi ; ya yi fatan wannan kwarewa ta farko za ta kara masa kwarin gwiwa wajen yin fim din labaran gargajiya na Indonesiya. [20]

A cikin 1960 Djajakusuma ya fitar da fim dinsa na farko da ya danganci labarun wayang na gargajiya, Lahirnja Gatotkatja ; [21] 'yar tsana ta gargajiya ta burge shi tun yana yaro, kuma ya ji daɗin halin Gatotkaca sosai. [22] Shot a Yogyakarta, fim ɗin ya ƙunshi ɗimbin taurari daga Jakarta da hazaka na gida wajen tallafawa matsayin. [23] Duk da haka, ya kasance mai jayayya: dhalang da wasu masu ilimin wayang sunyi jayayya cewa daraktan ya yi watsi da al'amuran gargajiya da yawa. [2] A waccan shekarar Djajakusuma kuma ya yi aiki a matsayin manajan samarwa na Ismail's Pedjuang ( Warriors for Freedom ) [2] kuma ya jagoranci Mak Tjomblang ( Mrs. Tjomblang ), wani wasan barkwanci da aka samo shi daga wasan kwaikwayo na Nikolai Gogol na 1842 Aure . [24]

Djajakusuma ya sake fitar da wani wasan barkwanci, Masa Topan dan Badai ( Lokacin Cyclones da Storms ), a cikin 1963; Fim ɗin ya ta'allaka ne akan yanayin iyali na uba mai ra'ayin mazan jiya, uwa mai sassaucin ra'ayi, da 'ya'yansu mata biyu matasa waɗanda ke cikin bala'in samartaka. [25] A shekara mai zuwa Djajakusuma ya ba da umarnin fim ɗinsa na ƙarshe tare da Perfini, Rimba Bergema ( Echoing Jungles ), wanda ke nufin haɓaka masana'antar roba ta ƙasa. [26] A wannan shekarar ya taimaka wajen kafa kungiyar ma'aikatan fim da TV ( Persatuan Karyawan Film dan TV</link> ), [3] mayar da martani ga ƙungiyar Fina-finan Indonesiya ta ɗauki nauyin Lekra . [2] Kamar yadda Ismail da mafi yawan ma'aikatan Perfini, Djajakusuma ya yi kaurin suna wajen adawa da Lekra mai alaka da gurguzu ; Ƙungiyar al'adu kuma ta kasance maƙiya ga waɗanda ke da alaƙa da Perfini. [8]

A ƙarshen lokacinsa tare da Perfini, Djajakusuma ya sake yin aiki a cikin fasahar gargajiya. Ya ba da lokaci mai yawa don inganta wayarng . A 1967 ya shirya bikin Wayang na kasa, [7] wanda ya rushe jim kadan bayan haka saboda rashin kudi. [27] A cikin 1967 ya shirya fim ɗin Bimo Kroda wanda aka yi wa wayang wahayi ga Pantja Murti Film, [2] wanda ya yi amfani da lalatar Pandawa . - 'yan'uwa a cikin almara Hindu Mahābhārata – wakilcin sace [13] sacen da kisan gilla da aka yi wa manyan hafsoshin soji biyar a lokacin Harkar 30 ga Satumba a shekarar 1965 . Ya shirya Makon Waya guda biyu, a 1970 da 1974, da kuma bikin wayang na [7] a shekarar 1977. ta hanyar zamanantar da shi. [2]

A halin yanzu, Djajakusuma ya taimaka wajen haɓaka fasahohin fasaha kamar Betawi lenong da Javanese ludruk a cikin shekaru da yawa. [28] An san shi musamman don farfado da lenong . [lower-alpha 5] Tun daga 1968, Djajakusuma ya fito a talabijin a matsayin mai ba da shawara na lenong, wanda a lokacin ya iyakance ga ƙauyuka na karkara kuma yana gab da mutuwa. Ya ƙãra sanannun sanannun fom yayin da yake jayayya game da biyan kuɗin da ya dace ga masu yin wasan kwaikwayo. [2] Ta hanyar 1970s lenong aka yi a Ismail Marzuki Hall, yana zana ɗimbin masu sauraro, [29] da yawancin masu wasan kwaikwayo na lenong sun sami yabo na yau da kullun a cikin masana'antar fim. [30]

Djajakusuma ya kuma inganta ayyukan da ba na al'ada ba, na zamani da na waje. A cikin 1968 ya zama shugaban majalisar fasaha ta Jakarta, matsayin da ya rike har zuwa 1977, [3] kuma a cikin 1970 ya gudanar da bikin kiɗan kroncong . [31] Tun da kafa makarantar a 1970, ya zama malami a Cibiyar Ilimin Fasaha ta Jakarta ( Lembaga Pendidikan Kesenian Jakarta</link> , daga baya Jakarta Art Institute [ Institut Kesenian Jakarta</link> , ko IKJ]), koyar da cinematography. Don kara fahimtar wasan kwaikwayo na duniya, a shekarar 1977 ya tafi Japan da China don nazarin al'adunsu. [2] Daga baya ya jagoranci dalibai a cikin wasan kwaikwayo daban-daban, ciki har da daidaitawa na noh na Japan da wasan opera na kasar Sin ; [2] da yawa daga cikin wa] annan wasanni an gudanar da su a Zauren Ismail Marzuki. [4] A cikin 1970s Djajakusuma ya rike mukamai iri-iri a kungiyoyin fina-finai, ciki har da memba na Majalisar Fina-finai (1974-76), memba na kwamitin amintattu na Watsa shirye-shiryen Rediyo da TV (1976), kuma memba na Ofishin Bunkasa Fina-Finan Kasa (1977-78). [2]

Hasashen Djajakusuma a harkar fim ya ragu. A cikin 1971 ya jagoranci fina-finansa na ƙarshe, Api di Bukit Menoreh ( Wuta a Dutsen Menoreh ) da Malin Kundang (Anak Durhaka) ( Malin Kundang [Yaron Mara imani] ). Na farko, wanda aka saki don Filin Fina-Finai na Penas kuma bisa wani labari na Singih Hadi Mintardja, ya biyo bayan sojoji daga Masarautar Pajang a kokarinsu na fatattakar sojoji daga masarautar Jipang da ke adawa da juna. [2] Fim na biyu shi ne daidaita tatsuniyar Malay mai suna iri ɗaya. [3] Fim ɗin Rano Karno da Putu Wijaya a matsayin jarumi, fim ɗin ya biyo bayan wani ƙaramin yaro wanda ya manta tushen sa bayan ya kwashe yawancin kuruciyarsa a teku. [2] Matsayinsa na ƙarshe a matsayin mai shirya fina-finai shine a cikin 1977, lokacin da ya taimaka wajen samar da wasan barkwanci na Fritz G. Schadt Bang Kojak ( Brother Kojak ; 1977). [2]

A cikin 1977 Djajakusuma ya yi aiki a kan juri na Bikin Fina-finan Indonesiya ( Festival Film Indonesia</link> , ko FFI). [lower-alpha 6] Yayin da yake karanta hukuncin, sai ya fadi aka garzaya da shi asibiti, Rosihan Anwar ya kammala karatun. [32] Makwabcin Djajakusuma kuma mai yawan aiki Taufiq Ismail ya shaida wa manema labarai cewa ba shi ne karon farko da Djajakusuma ya ruguje ba. [33] Djajakusuma ya ci gaba da fama da matsanancin rauni kwatsam har tsawon rayuwarsa, [34] sakamakon hawan jini. [7]

Duk da rashin lafiyarsa da sauri, Djajakusuma ya ci gaba da ƙwazo a fannin fasaha. A cikin 1980 ya yi fitowar fim ɗinsa na ƙarshe, kuma kawai rawar da ya taka akan babban allo, yana aiki a cikin Ismail Soebardjo's Perempuan dalam Pasungan ( Mace a hannun jari ). [35] Shi da Sofia WD sun bayyana iyayen da suke saka ‘yarsu a hannun jari don hukunta ta saboda rashin biyayya; [2] a cikin wata hira da Suara Karya, Soebardjo ya tuna cewa, daga lokacin da ya rubuta shi, kawai ya yi la'akari da Djajakusuma don rawar. [36] Perempuan dalam Pasungan ya lashe kyautar Citra Award don Mafi kyawun Fim a 1981 Indonesiya Film Festival, [2] kuma Djajakusuma ya nuna sha'awar yin fina-finai da yawa; wannan, duk da haka, bai taɓa gane ba. [27] A cikin 1983 Djajakusuma ya yi aiki a matsayin shugaban Faculty of Arts a IKJ, [37] kuma a cikin 1984 ya je bikin Nahiyoyi Uku a Nantes, Faransa, inda aka nuna fina-finansa guda biyu don yabo. [13]

  1. ↑ Other spellings of his first name include Djadug, Djadoek, and Djaduk, while his last name may also be spelled Djajakoesoema
  2. ↑ The Cultural Centre was known by both Indonesian and Japanese names. The Indonesian name was Poesat Keboedajaan, whereas the Japanese name was Template:Nihongo. The Cultural Centre promoted the growth of various art forms, including film and drama, with the ultimate goal of providing propaganda for the Japanese political position Template:Harv.
  3. ↑ Neither Norway nor Sweden was at war with Japan at the time, meaning such translations were considered acceptable by Djajakusuma's superiors Template:Harv.
  4. ↑ El Hakim was the pseudonym of Abu Hanifah Template:Harv.
  5. ↑ The Indonesian cultural scholar S. M. Ardan credits Djajakusuma as the driving force behind the revitalisation of lenong Template:Harv, and the biographer Satyagraha Hoerip dedicates several pages to Djajakusuma's involvement with lenong, a level of detail matched only by his discussion of Djajakusuma's role in the modernisation of wayang orang. As with Ardan, he credits Djajakusuma with the revitalisation; unlike Ardan, he notes that two other cultural figures (Soemantri Sastro Suwondho and Ardan) also helped save the dramatic form Template:Harv.
  6. ↑ Djajakusuma subsequently served on the jury several times Template:Harv.
  1. ↑ Setiawan 2009, National Film Month; Ardan 1987, Djaduk Djajakusuma
  2. ↑ 2.00 2.01 2.02 2.03 2.04 2.05 2.06 2.07 2.08 2.09 2.10 2.11 2.12 2.13 2.14 2.15 2.16 2.17 2.18 2.19 2.20 2.21 2.22 2.23 2.24 2.25 2.26 2.27 2.28 2.29 2.30 2.31 Hoerip 1995.
  3. ↑ 3.0 3.1 3.2 3.3 3.4 3.5 3.6 Darmawi 1982, Djadoeg Djajakusuma.
  4. ↑ 4.0 4.1 4.2 JCG, Djaduk Djajakusuma.
  5. ↑ JCG, Djaduk Djajakusuma; Kompas 1987, Budayawan D. Djajakusuma
  6. ↑ 6.0 6.1 6.2 Biran 2009.
  7. ↑ 7.0 7.1 7.2 7.3 Suara Karya 1987, D.Djajakusuma.
  8. ↑ 8.0 8.1 8.2 8.3 Said 1982.
  9. ↑ Setiawan 2009, National Film Month.
  10. ↑ Hoerip 1995; Said 1982; Filmindonesia.or.id, Filmografi
  11. ↑ JCG, Djaduk Djajakusuma; Said 1982
  12. ↑ Anwar 2004.
  13. ↑ 13.0 13.1 13.2 13.3 Marselli 1987, Mengenang D. Djajakusuma.
  14. ↑ Imanjaya 2006.
  15. ↑ Filmindonesia.or.id, Putri dari Medan.
  16. ↑ Filmindonesia.or.id, Mertua Sinting.
  17. ↑ Filmindonesia.or.id, Arni.
  18. ↑ National Library of Indonesia, Pandangan Tokoh: Putu Wijaya.
  19. ↑ Filmindonesia.or.id, Pak Prawiro.
  20. ↑ Berita Buana 1975, Djaduk Djajakusuma Mengenal Wayang; Hoerip 1995
  21. ↑ Suara Karya 1987, D.Djajakusuma; Filmindonesia.or.id, Filmografi
  22. ↑ Berita Buana 1975, Djaduk Djajakusuma Mengenal Wayang.
  23. ↑ Nasional 1960, (Untitled).
  24. ↑ Filmindonesia.or.id, Mak Tjomblang.
  25. ↑ Filmindonesia.or.id, Masa Topan dan Badai.
  26. ↑ Filmindonesia.or.id, Rimba Bergema.
  27. ↑ 27.0 27.1 Panembahan 1987, Barangkali, 40 pCt Manusia.
  28. ↑ Kompas 1987, Budayawan D. Djajakusuma; Kadarjono 1970
  29. ↑ Ardan 1987, Djaduk Djajakusuma; Hoerip 1995
  30. ↑ Loven 2008.
  31. ↑ Dharyono 1987, Selamat Jalan Djadug Djajakoesoema.
  32. ↑ Ardan 1987, Djaduk Djajakusuma.
  33. ↑ National Library of Indonesia, Pandangan Tokoh: Taufiq Ismail.
  34. ↑ Kompas 1987, Budayawan D. Djajakusuma.
  35. ↑ Filmindonesia.or.id, Filmografi; Filmindonesia.or.id, Perempuan dalam Pasungan
  36. ↑ Iskandar 1983, Sebagia Besar Hidupnya.
  37. ↑ Darmawi 1982, Djadoeg Djajakusuma; Kompas 1987, Budayawan D. Djajakusuma
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