{"id":10230,"date":"2019-08-25T22:44:59","date_gmt":"2019-08-25T15:44:59","guid":{"rendered":"https:\/\/arkipel.org\/?p=10230"},"modified":"2019-08-26T14:50:20","modified_gmt":"2019-08-26T07:50:20","slug":"the-dance-of-camera","status":"publish","type":"post","link":"https:\/\/arkipel.org\/the-dance-of-camera\/","title":{"rendered":"The Dance of Camera"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Tarian Kamera” css=”.vc_custom_1566805661374{margin-bottom: 0px !important;}”]\n
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Program Penyangan Khusus yang dilaksanakan pada pukul 19.00 tanggal 25 Agustus 2019 merupakan salah satu program terakhir dari ARKIPEL bromocorah \u2013<\/i> 7<\/i>th<\/i> Jakarta International\u00a0Documentary & Experimental Film Festival<\/i>. Kali ini Dhuha Ramadhani (Dhuha) membawakan kurasi dari tiga filem karya Sardono W. Kusumo. Filem yang pertama diputar berjudul Taifun<\/i> (1970) hadir dalam format bisu dan hitam-putih. Filem ini dibuat dengan medium seluloid 16 mm dan memperlihatkan gerak tubuh penari yang mencoba menaklukkan badai. Efek seluloid yang berjamur justru mengindikasikan sebuah proses alamiah\u00a0penyimpanan arsip. Ketiadaan intervensi dari si sutradara justru menandakan bahwa proses eksperimentasinya berada pada keputusan sutradara untuk mempertahankan kondisi filem tersebut sampai pada tahap akhir yang dipertontonkan kepada publik. Filem Taifun<\/i> kemudian menegaskan peluang tafsir yang lebih luas karena sifat dasar dari filem seluloid muncul dari dirinya sendiri yang terlepas dari faktor-faktor alamiah.<\/p>\n

Filem kedua, masih berupa filem bisu dan hitam-putih, berjudul <\/span>Kecak Rina<\/span><\/i> (1970), menggunakan medium seluloid 16 mm berdurasi 8 menit. Puluhan tangan yang dilayangkan oleh orang-orang bertelanjang dada dan hanya menutupi bagian bawah tubuh bak pakaian dalam memenuhi bingkai kamera. Perlahan kamera mulai mengikuti gerakan tubuh orang-orang yang membentuk lingkaran. Beberapa anak kecil serta laki-laki dewasa menempati posisinya masing-masing sambil menggerakkan tubuhnya. Pada awalnya, intensi merekam tarian ini bukan untuk diperlihatkan ke publik. Dhuha menjelaskan bahwa kedua filem tersebut merupakan sebuah catatan harian Sardono dalam bentuk arsip praktik seni tari. Ternyata, saat ditelaah lebih jauh, dalam filem-filem ini terdapat sebuah kesadaran filemis dari sutradara. Sardono menawarkan kelebihannya berbahasa visual. Kecenderungan untuk tidak bertutur secara naratif memiliki tawaran lebih untuk dapat direspon dengan lebih imaginatif oleh penonton. Maka, menurut Otty Widasari, dengan kesadaran koreografi pada tari yang dimiliki Sardono sebagai penari yang memahami koreografi tari, kamera menempatkan tarian Kecak tidak sebagai objek yang berjarak untuk direkam. Bahkan objek yang dimaksud sebelumnya tidak berhenti pada para penari Kecak, juga objek-objek di sekitarnya seperti pohon yang kemudian direspon oleh para penari. Pohon itu tidak sekedar sebuah pohon, melainkan terlibat sebagai aktor.\u00a0<\/span><\/p>\n

Sedangkan pada filem ketiga,\u00a0<\/span>Dongeng dari Dirah<\/span><\/i> – 1992 (<\/span>The Sorceress of Dirah<\/span><\/i>), kali ini Sardono bersama Robert Chappell (USA) berkolaborasi menghasilkan filem berwarna dan bersuara yang berdurasi 45 menit, menggunakan medium seluloid 35 mm. Filem ini memiliki intensi yang berbeda dari dua filem sebelumnya. Kali ini, ia memang diniatkan untuk dinikmati oleh publik, bukan lagi sebagai catatan harian. Sutradara melakukan eksperimentasi lewat adegan sebuah pertunjukan tari dan menyelipkan beberapa adegan yang seharusnya berada di belakang panggung. Kamera yang berada di mana saja, di setiap seluk beluk adegan, memperlihatkan permainan eksperimentasi visual yang liar oleh sutradara.\u00a0<\/span><\/p>\n

Setelah pemutaran filem, beberapa teman mendiskusikan filem tersebut di area foyer.\u00a0 Terdapat berbagai pendapat mengenai filem-filem Sardono yang saya dengar. Ada yang mengatakan bahwa filem <\/span>Dongeng dari Dirah<\/span><\/i> seamacam memperlihatkan <\/span>mocking <\/span><\/i>sejarah sinema. Namun ada pula yang mengatakan bahwa semua unsur ada di dalam filem ini sehingga sebagai penonton, kita bisa melihat proses pertunjukan tari hingga filem menampilkan pertunjukan yang sesungguhnya setelahnya. Ada pula yang mengatakan bahwa filem <\/span>Dongeng dari Dirah <\/span><\/i>bersifat sangat politis dan memperlihatkan singgungan dengan modernitas lewat benda-benda yang keluar dari tubuh raksasa.\u00a0<\/span><\/p>\n

Dhuha mengatakan bahwa terdapat situasi hari ini bahwa filem eksperimental justru dibayangkan sekedar berhenti pada eksperimentasi visual dan bentuk saja. Situasi ini terutama terjadi pada skena filem eksperimental Indonesia. Melihat eksperimentasi Sardono dalam ketiga karyanya yang dihadirkan pada program ini, saya cenderung sepakat dengan pernyataan Dhuha, bahwa pemikiran Sardono memiliki representasi eksperimental yang tinggi dalam konteks sejarah Indonesia dan mungkin bahkan Asia Tenggara.\u00a0<\/span><\/p>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”The Dance of Camera” css=”.vc_custom_1566805556097{margin-bottom: 0px !important;}”]Special Screening, the program held at 7 PM on August 25, 2019, was one of the last programs of ARKIPEL <\/span>bromocorah \u2013<\/span><\/i> 7<\/span><\/i>th<\/span><\/i> Jakarta International\u00a0Documentary & Experimental Film Festival<\/span><\/i>. This time, Dhuha Ramadhani (Dhuha) brought forth a curatorial of three films by Sardono W. Kusumo. The first film was <\/span>Taifun<\/span><\/i> (1970), presented as a silent, black-and-white film. This film is made on a 16mm celluloid, showing the bodily movements of a dancer who tried to conquer the storm. The moldy celluloid indicated a natural process of archive storing. The lack of intervention from the director tells us that his experimentation was in the decision to maintain the film\u2019s decaying condition to be shown to the public. <\/span>Taifun<\/span><\/i> confirmed a further possibility of interpretation from the basic nature of the celluloid, regardless of other natural causes.\u00a0<\/span><\/p>\n

The second film, still a silent black-and-white film, was <\/span>Kecak Rina<\/span><\/i> (1970), shot on 16mm, with a duration of 8 minutes. Pairs of hands of shirtless men waving above filled the camera frame. Slowly, the camera started following the movements of people, forming a circle. Some boys and men stood in their place, moving their bodies. At first, the recording of this film was not intended to be shown in public. Dhuha explained that both films were Sardono\u2019s log taking form the archives of dance movement. But after further examination, these films contain the director\u2019s cinematic consciousness. Sardono offered his proficiency in visual language. His tendency to speak in a non-narrative way provides an opportunity for the audience\u2019s imagination to respond it. According to Otty Widasari, with Sardono\u2019s choreographical consciousness on the medium of dance\u2014him being a dancer who understands choreography\u2014the camera does not posit the Kecak dance as a distanced object of recording. Even the disposition did not stop at the Kecak dancers, but also the objects around them, like trees, which are responded by the dancers. The trees became involved as actors in this film.\u00a0<\/span><\/p>\n

On the third film, <\/span>Dongeng dari Dirah<\/span><\/i> – 1992 (<\/span>The Sorceress of Dirah<\/span><\/i>), this time Sardono and Robert Chappell (USA) collaborated in shooting a color film with sound, with a duration of 45 minutes, shot using 35mm. This film has a different intention compared to the previous ones: it is meant to be enjoyed by the public, no longer functioning as his log. The director experimented through a scene of a dance performance, slipping a couple of scenes that should have been in the backstage. The camera, omnipresent in every scene, displaying a wild visual experimentation by the director.\u00a0<\/span><\/p>\n

After the screening, some of my friends started to discuss the film on the foyer area. The opinions are varied: someone said that <\/span>The Sorceress of Dirah<\/span><\/i> showed us the mocking of cinema history. But others said that the audience can see the whole process of performing, from the preparation to the final dance performance, through all the aspects in the film. Another said that <\/span>The Sorceress of Dirah<\/span><\/i> was a political statement, displaying an intersection with modernity through the things that came out of the giant\u2019s body.<\/span><\/p>\n

Dhuha said that today, experimental film is assumed to stop at merely visual and formal experimentation. This happens in Indonesia\u2019s experimental film scene. With Sardono\u2019s experimentation in three of his works presented in this program, I agree with Dhuha that Sardono\u2019s ideas contain an intense experimental representation in Indonesia\u2019s historical context, perhaps even in the Southeast Asia.<\/span>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”10225,10226,10224,10223,10222″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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With Sardono\u2019s experimentation in three of his works presented in this program, I agree with Dhuha that Sardono\u2019s ideas contain an intense experimental representation in Indonesia\u2019s historical context, perhaps even in the Southeast Asia.","breadcrumb":{"@id":"https:\/\/arkipel.org\/the-dance-of-camera\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/the-dance-of-camera\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/the-dance-of-camera\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_sardono_4.jpg?fit=1280%2C720&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_sardono_4.jpg?fit=1280%2C720&ssl=1","width":1280,"height":720},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/the-dance-of-camera\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"The Dance of Camera"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c40d017746e298e9d0b8abe423d19766","name":"Maria C. Silalahi","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/9d6fab4cf9f3b671d2ae319c6ab3bfe5?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/9d6fab4cf9f3b671d2ae319c6ab3bfe5?s=96&d=mm&r=g","caption":"Maria C. Silalahi"},"description":"Maria C. Silalahi (lahir di Jakarta, 31 Mei 1993) lulus dari Departemen Kriminologi, Universitas Indonesia pada tahun 2018. Sejak saat itu ia belajar praktik eksperimentasi visual di Milisifilem Collective. Saat ini dia adalah salah satu pengurus Forum Lenteng untuk program AKUMASSA. - Maria C. Silalahi\u00a0 (b. Jakarta, 31 May 1993) graduated from Criminology, University of Indonesia in 2018. She studies the experimental visual at Milisifilem Collective since then. She is now one of members of Forum Lenteng, in charge of AKUMASSA program. \u2022","url":"https:\/\/arkipel.org\/people\/mariacsilalahi\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_sardono_4.jpg?fit=1280%2C720&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2F0","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10230"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/150"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10230"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10230\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10224"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10230"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10230"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10230"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}