Long before the era of Netflix or Disney Plus, Indonesian
society had already embraced the charm of outdoor cinema, known as layar
tancap. Although it later became associated with negative connotations,
there was a time when these affordable film screenings were a hallmark of
prestige for communities hosting wedding celebrations or circumcision
ceremonies.
According to Misbach Yusa Biran’s Peran Pemuda dalam
Kebangkitan Film Indonesia (2009), the history of layar tancap in
Indonesia cannot be separated from Japanese propaganda during the Greater East
Asia War. Six months after seizing control of Indonesia from the Dutch, the
Japanese military government established Sendenbu, the Bureau of
Propaganda and Information, led by military officer Machida Kenji, who had a
keen interest in literature and culture. Japan understood the powerful
influence of cinema in shaping public opinion and gaining sympathy in the
territories they occupied. As a result, in April 1943, they established Jawa
Enhai, a film distributor responsible for regulating film distribution and
utilizing cinema as a propaganda tool.
However, Japan faced a significant obstacle. In 1943, Java
had a population of 50 million, but only 117 cinema theaters. This translated
to one theater serving an average of 400,000 people, which was far from
feasible. To extend their propaganda’s reach, the Japanese military began
screening films in open spaces. This mobile cinema approach, later known as layar
tancap, or bioskop keliling (traveling cinema), allowed films to be
shown to wider audiences.
Initially, these screenings were intended for specific
groups such as factory workers, students, and forced laborers (romusa).
However, layar tancap quickly expanded to become a widespread
phenomenon. By December 1943, Jawa Enhai had established five
operational bases for layar tancap across Jakarta, Yogyakarta, Semarang,
Surabaya, and Malang. The screenings were accompanied by mobile teams traveling
from village to village with film equipment packed into trucks.
The Japanese military’s efforts to attract large crowds
through layar tancap proved successful. In December 1943, when they
celebrated the anniversary of the Greater East Asia War, these screenings drew
tens of thousands of viewers. For instance, 53,000 people gathered in Jakarta,
while 104,000 in Jakarta’s neighboring areas and 96,000 in Bogor watched the
screenings. Even romusa laborers in Banten were drawn to the open-air
cinemas.
The equipment used in these screenings included 16mm or 35mm
celluloid film reels, projectors, 3x7 or 4x8-meter screens, bamboo or steel
stands, sound systems, and diesel generators. While the image quality was
inferior to conventional cinema screenings, layar tancap still became a
cultural sensation, especially during the 1990s when it was synonymous with
hosting prestigious events like weddings or circumcisions.
As the business of layar tancap thrived,
entrepreneurs such as Zein Arsyad, Ayong Suteja, and Hasan Basri Raja Medan
formed the Indonesian Mobile Cinema Association (PERBIKI) in 1978. This
organization worked closely with the government to expand access to films,
especially in rural areas, and supported initiatives such as the Film Masuk
Desa (Film Goes to Villages) program.
Before screening the main films, layar tancap
operators often voluntarily showed informational films on topics like family
planning, agricultural development, or election campaigns. Additionally, the
mobile cinemas frequently featured propaganda films, such as Janur Kuning
(1979), Serangan Fajar (1982), and Penumpasan Pengkhianatan G30S/PKI
(1984), all of which glorified Indonesia’s then-President Suharto and his
pivotal role in key historical events.
Despite its role in promoting government programs and its
mobile nature, which allowed it to reach remote rural areas, layar tancap
businesses faced challenges. Entrepreneurs frequently complained about the
burdensome bureaucratic process for obtaining permits, which were often
accompanied by requests for bribes from local officials. Without such smoking
money, permits could be denied, or even worse, their equipment could be
confiscated.
Interestingly, the Japanese were not the first to introduce
mobile cinema in Indonesia. Prior to their arrival, a Dutchman known as Mr.
Talbot had been organizing film screenings, referred to as gambar idoep
(living pictures), using makeshift bamboo and zinc structures.
By the 1990s, as Indonesia’s mobile cinema landscape grew,
so did its challenges. While organizations like PERFIKI (formerly PERBIKI)
tried to maintain standards and prevent the showing of adult content, some
unscrupulous operators displayed films containing pornography, further
tarnishing the image of layar tancap. The screenings also often became
hubs for gambling and drinking, further contributing to the decline of the
outdoor cinema tradition.
In its heyday, layar tancap was a unique blend of
entertainment, education, and propaganda, representing a dynamic chapter in
Indonesia’s cinematic history. Though its popularity faded with the rise of
modern cinemas and later, digital streaming, the legacy of layar tancap
continues to hold a special place in the hearts of many Indonesians who
remember it as more than just a movie screening—it was a community event, a
symbol of prestige, and a connection to the broader world.
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