august, 2017

thursday24august13:00- 15:00International Competition 03The Liminality of Roots13:00 - 15:00 UTC+7 GoetheHausFestival Program:International Competition

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Details

Curated by
Ugeng T. Moetidjo

Total Duration
117 minutes

Venue

Goethehaus – Jakarta / 20 August 2017, 13.00
Goethehaus – Jakarta / 24 August 2017, 13.00


Film list

Welu de Fasli (Wahyu Utami Wati & Ishak Iskandar, Indonesia, 2016, 10 minutes)

Momen etnografis yang sahaja tentang ekonomi produksi pada panen budidaya kemiri oleh tiga lelaki dari dua generasi keluarga peladang nun di satu desa terpencil di Flores. Di tengah momen itu, yang paling muda menyadari hadirnya pihak ketiga yang tak terlihat—media dan sang etnografer—sebagai pihak luar yang merekam momen mereka. Sebuah dokumenter yang terkesan sederhana namun mengandung kilasan masalah tentang keterkucilan daerah berikut kesenjangan sosial dan politik kebijakan yang menyertainya sejak dulu, antara pusat terhadap daerah, yang secara umum mencerminkan kondisi masyarakat-masyarakat setempat hingga kini.

An ethnographic moment on the economy of production in the event of harvesting the candlenut by three men of two generations of farming families in a remote village in Flores. In the middle of that moment, the youngest realized the presence of an invisible third—the media and the ethnographer—asoutsiders who recorded their moments. A documentary that seems simple but contains a glimpse of problem about the isolation of a region along with its social and political discrepancies on its accompanying policy, between the center against the region, which generally reflects the conditions of the local communities to this day.

Moo Ya (Filippo Ticozzi, Italy, 2016, 63 minutes)

Di mana pun, perang saudara membekaskan luka mendalam pada warga sebangsa. Luka itu tak mudah disembuhkan oleh sekadar rekonsiliasi sehingga mereka harus mampu menanggung trauma. Dengan sikap demikian, dokumenter entograf-politis ini mengajukan kesaksian para korban selamat dari masa-masa kelamnya kemanusiaan di Uganda. Setelah perang, rutinitas Opio sang gitaris buta ialah mendengarkan tentang negerinya dari radio dan dari desau-desau alam di halaman rumahnya, sampai suatu ketika, seakan terpanggil oleh ingatan dari rutinitasnya, ia melakukan perjalanan menyusuri desa-desa yang pernah bergenang darah, dan bersua kembali dengan kaum sewarga. Mereka merasakan bahwa kehadiran Opio dan tindakannya mesti disambut dengan upacara pertemuan antarwarga, yangmungkin dapat sedikit meredakan luka.

Everywhere, civil wars have deeply wounded its citizens. The wound isn’t easily cured by only reconciling, so they must be able to bear trauma. In this manner, this ethnographical-political documentary brought testimony of survivors from the dark days of humanity in Uganda. After the war, the routinity of Opio, a blind guitarist, is listening to his country from radio and from the rush of nature in his yard, until one day, as if recalled by memory from his routines, he traveled through the villages that were once bloodied, and met the village residents again. They feel that the presence of Opio and his actions should be greeted with a gathering ceremony of the people, which may slightly relieve the wounds.

Altas Cidades de Ossadas / High Cities of Bone (Joäo Salaviza, Portugal, 2016, 18 minutes)

Demi dapat kembali ke kehidupan asalinya dan menghayati lagi akar komunitas kulturalnya yang hilang terempas modernisasi infrastruktur, seorang Kreol peresah harus memberontak terhadap dunia aktual yang telah mengungkung dan menggerus segenap naluri kemerdekaannya selama ini. Dalam gelap malam lanskap ladang tebu tropis warisan kolonial, gerundel monolog lagu rap yang terapal sebagai mantra, seolah menunaikan perjalanan mitologis Karlon, sang rapper Kreol. Narasi mantra yang ekspresif purbawi itu terdengar sebagai pesan-pesan imaterial yang menggantikan sistem komunikasi umum. Sebuah gagasan tentang sikap balik terhadap kekuatan resmi yang menafikan ekspresi-ekspresi kelokalan di latar perbatasan antara ranah akar dan kawasan mirip kota yang dibangun sebagai institusi suaka bagi komunitas-komunitas para liyan.

In order to return to his original life and to re-live the roots of his cultural community that were lost to infrastructural modernization, an anxious Creole had to revolt against the actual world that had contained and eroded all of his independence instincts. In the dark night of sugarcane tropical landscape of colonial heritage, mutter of rap song’s monologue chanted as a mantra, as if fulfilling the mythological journey of Karlon, the Creole rapper. Puritanical expressive mantra’s narrative sounds as an immaterial messages replacing general communication system. An idea of official power reversal that denies local expressions on the border between the root and the city-like regions built as an asylum institution for other communities.

Maxamba (Suzanne Barnard & Sofia Borges, Portugal, 2015, 25 minutes)

Waktu seolah mesin hari yang macet dalam rumah rapuh suami-isteri tua dari diaspora kedua kolonial Portugis-India. Ruang seperti selalu menunda eksistensi temporernya kecuali menghujaninya dengan kenangan dan ingatan personal yang menyimpan beragam kehadiran masa lalu dari tubuh dan identitas, menjahit, gastronomi dan hortikultura. Dinding-dinding rumah menjadi batas yang begitu terjaga terhadap masuknya dunia luar dan tetangga selain melalui pantulan-pantulan kecilnya yang samar pada cermin-cermin yang tak solid, ventilasi, jendela, dan batas dinding hunian itu. Tak ada cara masuk untuk mengenali sepenuhnya jaringan hibrida di situ tanpa lebih dulu memahami ruang gramatik teritorinya yang terposisikan sebagai Mula-mula kita merindu, tapi (lama-lama) akhirnya lupa.

Time as if a jammed day-machine in a fragile house of an old couple from the second diaspora of colonial-Portuguese-Indian. The space like always delay its temporary existence unless showering it with memories and personal reminiscence storing various past presences of body and identity, stitching, gastronomy and horticulture. The walls of the house become an awaken border for the entrance of outside world and neighbors, other than through vague small reflections on the unsolid mirrors, ventilation, windows, and boundary wall of that habitation. There is no way to go in to fully recognize the hybrid network there without formerly understanding its territorial grammatical space positioned as “First we miss, but (after a long time) finally forgot”.

 

Time

(Thursday) 13:00 - 15:00 UTC+7

Location

GoetheHaus

Sam Ratulangi 9-15, Jakarta - 10350

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