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 In ARKIPEL 2019 - bromocorah, Festival Updates, Forum Festival
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Menyelami Bromocorah

Setelah sesi pidato kunci Otty Widasari secara apik menetapkan landasan perbincangan bromocorah dalam Forum Festival dan juga keseluruhan rangkaian ARKIPEL tahun ini, panel pertama Forum Festival yang bertajukBromocorah: Posisinya dalam Konteks Sosial, Politik, Kulturalakan menyelami bingkaian bromocorah. Panel ini hendak mendalami setiap seluk kompleksitas bromocorah dalam konteks wilayah Indonesia, Asia, dan Amerika Latin. Panel ini berlangsung di GoetheHaus, Goethe-Institut Indonesia pada 19 September 2019, dengan mengundang tiga ahli dan akademisi: Manneke Budiman (pengajar Fakultas Ilmu Budaya Universitas Indonesia), Philippa Lovatt (akademisi dari Inggris dengan fokus studi sinema Asia Timur dan Asia Tenggara), dan Ronny Agustinus (ahli studi kawasan Amerika Latin), dimoderatori oleh Prashasti Wilujeng Putri.

Manneke Budiman tengah memaparkan materinya tentang bromocorah dalam konteks sastra di Asia.

Bicara tentang bromocorah tentu tak lepas dari bicara tentang sistem. Posisi bromocorah selalu berada di luar sistem, namun eksistensi bromocorah pun berjalan beriringan dengan eksistensi sistem. Pembicara pertama, Manneke Budiman, memaparkan telisikannya terhadap ambiguitas representasi bromocorah dalam Sastra Indonesia. Dalam karya cerita pendek Mochtar Lubis berjudul Bromocorah, si bromocorah digambarkan secara manusiawiia merupakan suami dan ayah yang menyayangi keluarganya. Ia melakukan perlawanan terhadap sistem sekonyong-konyong karena ia adalah korban dari sistem itu sendiri, menempati posisi ampas masyarakat dan secara subjektif merasa terasing dari kehidupan kampungnya walau tak semua warga kampung menempatkannya sebagai orang asing. Perasaan subjektif ini kemudian membentuk kelas sosial yang sama sekali berbedabukan jelata, bukan elit, namun menempati ruang kosong yang tak dapat diisi kemapanan sistem dan eksistensinya selalu ada namun tak pernah diakui. Sementara dalam karya berjudul Jante Arkidam, karakter bernama sama dengan judul puisinya digambarkan sebagai bromocorahsi penjahat tulen yang merampok, berjudi, mabuk, dan main perempuan, serta kerap menantang aparat keamanan. Selain menunjukkan sisi lain representasi bromocorah, Jante Arkidam juga menyiratkan kritik terhadap kegagalan sistem negara yang seharusnya berfungsi menjaga kestabilan dan keajegan. Di akhir paparannya, Manneke menyimpulkan bahwa bromocorah merupakan pelaku sekaligus korban, ia seperti virus parasit yang menempati ruang vakum yang tak terjamah sistem yang sakit.

Suasana audiens panel pertama Forum Festival ARKIPEL bromocorah.


Philippa Lovatt tengah memaparkan materinya tentang bromocorah dalam konteks aktivisme dalam sinema dan realitas sosial.

Menggeser pandangan ke kawasan Asia lain, Philippa Lovatt memaparkan kebromocorahan antologi Ten Years Thailand (2018). Filem yang dibuat dalam budaya sensor seringkali harus mengambil bentuk aktivisme klandestin untuk bernegosiasi dengan pembatasan oleh sistem. Instabilitas politik yang terjadi di Thailand pasca kudeta dan wafatnya Raja Bhumibol Adulyadej membuat kiasan literatur dan sinema distopia seolah tercermin dalam realita sehari-hari. Empat karya dalam antologi Ten Years Thailand iniSunset karya Aditya Assarat, Catopia karya Wisit Sasanatieng, Planetarium karya Chulayarnnon Siriphol, dan Song of the City karya Apichatpong Weerasethakul’s Song of the Citykemudian mengambil bentuk dunia distopia sebagai penggambaran dan kritik terhadap situasi politik Thailand yang tak ubahnya realita distopia. Imajinasi politis yang digambarkan dalam empat karya ini menyerukan dengan lantang penggalian atas masa lalu dan masa depan, menelusuri masa lalu untuk menawarkan harapan masa depan yang radikal, terwujud dalam potensialitas bromocorah.

Budi Irawanto dari Jogja Netpac Asian Film Festival mengajukan pertanyaan pada diskusi panel pertama Forum Festival.

Kawasan Amerika Latin pun menawarkan kekayaan kompleksitas kultural yang tak kalah menarik dalam perbincangan bromocorah. Telaahan Ronny Agustinus atas bandit-bandit sosial yang melegenda di Amerika Latin dimulai dari tokoh Joaquin Murrieta, peternak-penggembala asal Meksiko yang bermigrasi ke California pada tahun 1850an. Ia mengalami berbagai diskriminasi, mendorongnya pada aksi pembalasan dendam hingga menjadi tokoh yang ditakuti. Kisah hidupnya telah bercampur dengan mitosidentitas aslinya dicabut dan dibubuhi dengan identitas apa saja, menjadi ikon bromocorah bagi siapa saja. Fiksi dan fakta tak lagi soal bagi konstruksi identitas kebromocorahannya. Selama ketidakadilan terjadi, maka bromocorah akan selalu eksis.

Seusai ketiga pembicara selesai, audiens dipersilakan untuk bertanya atau menanggapi. Giliran pertama, Mas Budi Irawanto dari Jogja-NETPAC Asian Film Festival (JAFF) bertanya kepada Manneke tentang romantisasi bromocorah dalam karya sastra sebagai cara menyembunyikan antagonisme. Ia juga bertanya pada Philippa tentang bentuk yang paling signifikan atas potensialitas bromocorah dalam aktivismeapakah bentuk eksperimentasinya, atau penggambaran resistensi terhadap citra resmi masyarakat.

Manneke menjawab bahwa romantisasi ini bukanlah bentuk kenaifan para seniman, namun justru itu menjadi poin subversif terhadap wacana dominan negara. Sementara itu, Philippa menjawab bahwa potensialitas bromocorah dalam filemtidak hanya budaya filem Thailand namun juga budaya filem global terletak pada kemampuannya untuk menjembatani diskusi publik, meningkatkan kesadaran masyarakat, dan membawa pertanyaan-pertanyaan politis ini ke ruang-ruang publik.

Riar Rizaldi mengemukakan pandangannya tentang bromocorah dalam konteks kultur digital dan internet hari ini.

English

Diving into Bromocorah

After the keynote speech session by Otty Widasari neatly established the basis for bromocorah discussion at the Festival Forum and also the entire ARKIPEL event this year, the first panel of the Festival Forum titled “Bromocorah: Its Position in the Social, Political, Cultural Context” will be diving the bromocorah frame. This panel aimed to trace every detail of the complexity of bromocorah in the context of Indonesia, Asia, and Latin America. This panel was held at GoetheHaus, Goethe-Institut Indonesia on September 19, 2019, by inviting three experts and academics: Manneke Budiman (lecturer at the Faculty of Humanities, University of Indonesia), Philippa Lovatt (academics from the UK focusing on East Asian and Southeast Asian cinema studies), and Ronny Agustinus (Latin America studies expert), moderated by Prashasti Wilujeng Putri.

Manneke Budiman is elaborating his presentation on bromocorah in the literary context in Asia.

The discussion of bromocorah is inseparable from the discussion regarding the system. The position of bromocorah is always outside the system, but the existence of the bromocorah goes handinhand with the existence of the system. The first speaker, Manneke Budiman, explained his presentation on the ambiguity of the representation of bromocorah in Indonesian literature. In Mochtar Lubis’s short story Bromocorah, the bromocorah is depicted humanely he is a husband and a father who loves his family. He fights against the system because he is a victim of the system itself, becoming a residue of the society and subjectively feels alienated from his village community even if not all villagers put him as a stranger. The subjective feeling formed a different social class not a part of the commoners, not part of the elites. He occupies a vacuum space that cannot be fulfilled by the established system, and it always exists but was never recognized. While in the poem Jante Arkidam, the character whose name is the same as the title of the poem is described as bromocorah the real offenderwho robs, gambles, drinks, and philandering, and often challenges the police. Not only shows the other side of the representation of bromocorah, Jante Arkidam also implies criticism of the failure of the state system, which supposes to enforce stability. At the end of his presentation, Manneke concluded that bromocorah is both a perpetrator and a victim; he is like a parasitic virus that occupies a vacuum space unable to be touched by a diseased system.

The atmosphere of the audience in the first panel of ARKIPEL bromocorah’s Forum Festival.


Philippa Lovatt is elaborating her presentation on bromocorah in the context of activism in cinema and social reality.

Shifting the focus to another Asian region, Philippa Lovatt explained the notion of bromocorah in an anthology of Ten Years Thailand (2018). Films created in censorship culture often have to take the form of clandestine activism to negotiate with the restrictions of the system. The political instability that occurred in Thailand after the coup and the death of King Bhumibol Adulyadej made the dystopian literary and cinema trope undistinguishable with the everyday reality. Four works in the anthology of Ten Years Thailand Aditya Assarat’s Sunset, Wisit Sasanatieng’s Catopia, Chulayarnnon Siriphol’s Planetarium, and Apichatpong Weerasethakul’s Song of the City took the form of the world of dystopia as a depiction and critique of Thailand’s political situation similar to the dystopian reality. The political imagination depicted in these four works calls out for excavation of the past and the future, tracing the history to offer radical hopes of the future, embodied in the potentiality of bromocorah.

Budi Irawanto from Jogja Netpac Asian Film Festival asked questions at the discussion of the first panel discussion of Forum Festival.

The Latin American region also offers a rich cultural complexity that is no less interesting in bromocorah talks. Ronny Agustinus’s analysis of the legendary social bandits in Latin America began with Joaquin Murrieta, a Mexican farmer-shepherd who migrated to California in the 1850s. He experienced various discriminations, pushing him to take revenge that eventually made him one of the most feared figure. His life story had been mixed with myth – his real identity was revoked and augmented with any identity, becoming a bromocorah icon for anyone. Fiction and facts are no longer an issue within the construction of his bromocorah identity. As long as injustice occurs, bromocorah will always exist.

After the three speakers finished their presentations, the audience was welcome to ask questions or to respond. The first questioner was Mas Budi Irawanto from Jogja-NETPAC Asian Film Festival (JAFF). He asked Manneke about the romanticization of bromocorah in literary works as a way to hide antagonism. He also asked Philippa on the most significant form of bromocorah potentiality in activism whether it is the form of experimentation or the depiction of resistance toward the official image of society.

Manneke answered that the romanticization was not a naivety of the artists, but it was subversive to the dominant discourse of the state. Meanwhile, Philippa answered that the potentiality of bromocorah in films not only Thai film culture but also global film culture lies in its ability to bridge public discussion, raise public awareness, and bring these political questions to public spaces.

Riar Rizaldi expressed his opinion on bromocorah in the context of digital and internet culture today.

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