{"id":10242,"date":"2019-08-25T15:00:27","date_gmt":"2019-08-25T08:00:27","guid":{"rendered":"https:\/\/arkipel.org\/?p=10242"},"modified":"2019-08-26T15:05:57","modified_gmt":"2019-08-26T08:05:57","slug":"bromocorah-the-miscount","status":"publish","type":"post","link":"https:\/\/arkipel.org\/bromocorah-the-miscount\/","title":{"rendered":"Bromocorah: The Miscount"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Bromocorah: Yang Salah Hitung” css=”.vc_custom_1566806654590{margin-bottom: 0px !important;}”]\n
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Ada dua definisi <\/span>bromocorah<\/span><\/i> \u2014 atau <\/span>bramacorah<\/span><\/i> \u2014 dalam KBBI versi terbaru. Dua definisi ini merujuk pada istilah hukum, dan keduanya sama-sama berkaitan dengan pelaku tindak pidana. Namun bagi Akbar Yumni, juri sekaligus kurator untuk ARKIPEL <\/span>bromocorah<\/span><\/i> 7<\/span>th<\/span> \u2013 <\/span>Jakarta International Documentary and Experimental Film Festival<\/span><\/i>, bromocorah bisa hadir pada sosok seorang guru bernama Ibrahim dalam filem <\/span>Titian Serambut Dibelah Tujuh<\/span><\/i> karya Chaerul Umam (1982), yang dipresentasikannya pada program kuratorial <\/span>Citra dan Dissensus<\/span><\/i>, Minggu, 25 Agustus 2019, di Auditorium GoetheHaus Jakarta.<\/span><\/p>\n

Terdapat 17 orang penonton yang tercatat menghadiri program tersebut pada pukul 13:00. Filem yang naskahnya ditulis oleh Asrul Sani ini merupakan filem hasil digitalisasi dari Sinematek Indonesia. Sebelumnya pada tahun 1959, Asrul Sani sempat memfilemkan naskahnya ini dengan judul yang sama. Sayang, ketika saya bertanya mengenai keberadaan filem tersebut, Akbar pun kesulitan untuk menemukan materi filem versi Asrul Sani.<\/span><\/p>\n

Sebagaimana saya singgung tadi, secara naratif, tokoh Ibrahim hadir memecah kejumudan tatanan sosial yang menyimpang secara moral. Namun posisi bromocroah tokoh Ibrahim bukan dalam kategori moral. Ia bukan lagi bromocroah dalam posisi sebagai residivis, <\/span>gali<\/span><\/i>, atau bandit. Akbar Yumni, menggunakan pandangan Jaques Ranciere mengenai \u201cthe wrong\u201d atau \u201c<\/span>le tort<\/span><\/i>\u201d yang merujuk pada makna netral dari kata \u2018keliru\u2019 atau salah hitung. Ibrahim dalam filem ini telah menjadi tokoh yang \u201ctak terhitung\u201d dalam kerangka pemikiran Ranciere, terutama kaitannya dengan kebutuhan untuk mengonfigurasi kembali tatanan yang ada.\u00a0<\/span><\/p>\n

Menariknya, di tengah era Orde Baru yang kala itu memberlakukan sensor ketat serta ada kecenderungan konstruksi cerita yang bernada dakwah, filem ini justru hadir menyinggung persoalan seksualitas yang akhir-akhir ini menjadi isu yang cukup sensitif. Hal ini pun memantik pertanyaan dari Scott Miller Berry, juri dan kurator ARKIPEL <\/span>bromocorah<\/span><\/i> pada sesi diskusi yang diadakan setelah penayangan filem. Pertanyaan Scott ditanggapi oleh Hafiz Rancajale, Direktur Artistik ARKIPEL <\/span>bromocorah<\/span><\/i>. Menurutnya, Chaerul Umam dan Asrul Sani adalah tokoh yang cukup islami, tetapi kita tidak dapat menempatkan posisi pembacaan filem ini dalam pandangan Islam di Indonesia seperti sekarang sebab konteks sosio-politik-kultural hari ini sangat berbeda dari periode sebelumnya.<\/span><\/p>\n

Menurut Pingkan, salah satu aspek yang menarik dari filem ini ialah pola solusi konflik filem yang tidak didatangkan secara langsung oleh guru atau Ustad, melainkan dari sosok antah-berantah. Hal ini menurutnya cukup berbeda dengan pola filem-filem di masa itu yang cenderung menghadirkan solusi lewat sosok guru maupun Ustad. Akbar sendiri mengungkapkan bahwa sosok pencerita di awal dan penutup filem adalah kecenderungan filem di Indonesia. Gaya tutur yang ia sebut <\/span>Deus ex Machina<\/span><\/i> ini pun digunakan dalam filem <\/span>Titian Rambut Dibelah Tujuh.<\/span><\/i><\/p>\n

Joel Hitchins Samson dari Inggris menanyakan tentang penggunaan burung dalam filem ini. Menurut Akbar, burun dalam filem ini bisa menjadi penanda tentang bagaimana kegilaan sering diekspresikan lewat hubungan manusia dengan hal-hal yang tak lazim, salah satunya hewan. Hal tersebut juga bisa menjadi penanda tentang konsep modernisme yang dinarasikan melalui kegilaan. Di satu sisi, hubungan si gadis dan burung tersebut juga bisa menjadi bentuk ekspresi ketidakpercayaannya pada masyarakat di sekitarnya kala itu.<\/span><\/p>\n

Dengan segala kompleksitasnya, filem <\/span>Titian Serambut Dibelah Tujuh<\/span><\/i> ini selalu menghadirkan wacana diskursif yang, menurut saya pribadi, merupakan wilayah sastraik yang seringkali luput pada filem-filem Indonesia masa sekarang.<\/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=”Bromocorah: The Miscount” css=”.vc_custom_1566806292165{margin-bottom: 0px !important;}”]There are two definitions of <\/span>bromocorah <\/span><\/i>\u2014 or <\/span>bramacorah <\/span><\/i>\u2014 on the latest version of The Great Dictionary of the Indonesian Language. Both definitions refer to the legal term, and both are related to criminal acts. But, for Akbar Yumni, jury and curator for ARKIPEL <\/span>bromocorah<\/span><\/i> 7<\/span>th<\/span> \u2013 <\/span>Jakarta International Documentary and Experimental Film Festival, <\/span><\/i>bromocorah is present in the figure of Ustadz Ibrahim in <\/span>Titian Serambut Dibelah Tujuh <\/span><\/i>(The Holy Bridge) by Chaerul Umam (1982), presented in curatorial program <\/span>Image and Dissensus, <\/span><\/i>Sunday, August 25, 2019 at GoetheHaus Jakarta.<\/span><\/p>\n

About 17 audiences were attending the program at 1:00 pm. The film, written by Asrul Sani, was digitized by Sinematek Indonesia. Prior in 1959, Asrul Sani filmed this script with the same title. Unfortunately, when I asked about the whereabouts of the film, Akbar also had the difficulty finding the Asrul Sani\u2019s version.<\/span><\/p>\n

As I mentioned previously, in the film\u2019s narrative, the character of Ibrahim came to break the stagnation of the morally deviant social order. But the position of bromocorah in Ibrahim’s figure is not within the moral category. He is no longer bromocorah in position as recidivist, <\/span>gali<\/span><\/i>, or bandit. Akbar Yumni, using the perspective of Jacques Ranciere regarding ‘the wrong’ or <\/span>‘le tort’<\/span><\/i> that is closer to the neutral meaning of ‘the wrong’ or \u2018miscount\u2019. Ibrahim in the film is an ‘uncount’ figure in the framework of Ranciere, particularly regarding the need to reconfigure the existing order.<\/span><\/p>\n

Interestingly, in the middle of the New Order, which at the time enacted strict censor and the films have a tendency of preaching within the narrative construction, this film brought sexuality into the cinema screen, which lately has become a sensitive matter. This sparked a question from Scott Miller Berry, a jury and curator of ARKIPEL <\/span>bromocorah, <\/span><\/i>in the discussion session after the screening. The question was responded by Hafiz Rancajale, Artistic Director of ARKIPEL <\/span>bromocorah.<\/span><\/i> According to him, Chaerul Umam and Asrul Sani are quite religious figures, but the Islamic context of this film is quite different compared to the Islamic context today because there is a very distinct socio-political-cultural context in the previous period.<\/span><\/p>\n

According to Pingkan, one interesting aspect of this film is the pattern of film conflict solutions that were not directly emerged from a teacher or Ustad, but from an anonymous figure. For her, this is quite different from the existing patterns in that era that tends to solve the conflict with the presence of a teacher or Ustadz figure. Akbar himself explained that the appearance of a narrator at the beginning and end of the film is indeed a prominent tendency in Indonesian cinema. This kind of storytelling, which he called <\/span>Deus ex Machina,<\/span><\/i> is also used in <\/span>Titian Rambut Dibelah Tujuh.<\/span><\/i><\/p>\n

Joel Hitchins Samson from England asked of the symbolism of the bird in the film. According to Akbar, the bird could be a sign of the insanity expressed through human relations with unusual things, one of them being an animal. It could also be a sign of modernism narrated as insanity. On one side, the relationship between the girl and the bird could also be a form of expression of the girl\u2019s distrust toward the society at the time.<\/span><\/p>\n

With all of its complexity, <\/span>Titian Serambut Dibelah Tujuh<\/span><\/i> presents a discourse that, for me personally, is a poetic domain often missing in Indonesian films today.<\/span>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”10248,10247,10246,10245,10244,10243″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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But, for Akbar Yumni, jury and curator for ARKIPEL bromocorah 7th \u2013 Jakarta International Documentary and Experimental Film Festival, bromocorah is present in the figure of Ustadz Ibrahim in Titian Serambut Dibelah Tujuh (The Holy Bridge) by Chaerul Umam (1982), presented in curatorial program Image and Dissensus, Sunday, August 25, 2019 at GoetheHaus Jakarta.","og_url":"https:\/\/arkipel.org\/bromocorah-the-miscount\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_published_time":"2019-08-25T08:00:27+00:00","article_modified_time":"2019-08-26T08:05:57+00:00","og_image":[{"width":1280,"height":720,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_titian_5.jpg?fit=1280%2C720&ssl=1","type":"image\/jpeg"}],"author":"Dhanurendra Pandji","twitter_card":"summary_large_image","twitter_creator":"@arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Dhanurendra Pandji","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/"},"author":{"name":"Dhanurendra Pandji","@id":"https:\/\/arkipel.org\/#\/schema\/person\/048b0efafbc61937f73e034e039cd771"},"headline":"Bromocorah: The Miscount","datePublished":"2019-08-25T08:00:27+00:00","dateModified":"2019-08-26T08:05:57+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/"},"wordCount":1140,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_titian_5.jpg?fit=1280%2C720&ssl=1","keywords":["2019","bromocorah","Curatorial Program"],"articleSection":["ARKIPEL 2019 - bromocorah","Curatorial Program","Festival Updates"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/bromocorah-the-miscount\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/","url":"https:\/\/arkipel.org\/bromocorah-the-miscount\/","name":"Bromocorah: The Miscount — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_titian_5.jpg?fit=1280%2C720&ssl=1","datePublished":"2019-08-25T08:00:27+00:00","dateModified":"2019-08-26T08:05:57+00:00","description":"There are two definitions of bromocorah \u2014 or bramacorah \u2014 on the latest version of The Great Dictionary of the Indonesian Language. 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But, for Akbar Yumni, jury and curator for ARKIPEL bromocorah 7th \u2013 Jakarta International Documentary and Experimental Film Festival, bromocorah is present in the figure of Ustadz Ibrahim in Titian Serambut Dibelah Tujuh (The Holy Bridge) by Chaerul Umam (1982), presented in curatorial program Image and Dissensus, Sunday, August 25, 2019 at GoetheHaus Jakarta.","breadcrumb":{"@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/bromocorah-the-miscount\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_titian_5.jpg?fit=1280%2C720&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_titian_5.jpg?fit=1280%2C720&ssl=1","width":1280,"height":720},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/bromocorah-the-miscount\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Bromocorah: The Miscount"}]},{"@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\/048b0efafbc61937f73e034e039cd771","name":"Dhanurendra Pandji","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c9702ff7c736c0fb8ab0050c09b5eb27?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c9702ff7c736c0fb8ab0050c09b5eb27?s=96&d=mm&r=g","caption":"Dhanurendra Pandji"},"description":"Dhanurendra Pandji (lahir 1997 di Temanggung) pernah belajar di Universitas Negeri Jakarta. Sejak 2017, ia telah mempelajari praktik produksi visual eksperimental bersama Milisifilem Collective dan juga menulis untuk Visual Jalanan. Pada bulan Maret 2019, pameran tunggalnya yang pertama berjudul \"Remembrance of Things Past\" diadakan di Forum Lenteng. Dia sekarang memprakarsai platform studi pembuatan zine, Kelab Klub, dan bekerja paruh waktu di Kineforum sebagai proyeksionis. - Dhanurendra Pandji\u00a0(b. 1997 in Temanggung) once studied in the State University of Jakarta. Since 2017, he has been studying experimental visual in Milisifilem Collective and also writing for Visual Jalanan. In March 2019 his first solo exhibition titled \u201cRemembrance of Things Past\u201d was held at Forum Lenteng. He\u2019s now initiating zine-making study platform Kelab Klub, and working part-time at Kineforum as a projectionist.","url":"https:\/\/arkipel.org\/people\/dhanupandji\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/b_titian_5.jpg?fit=1280%2C720&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2Fc","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10242"}],"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\/151"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10242"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10242\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10247"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10242"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10242"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}