{"id":10658,"date":"2020-11-09T18:30:01","date_gmt":"2020-11-09T11:30:01","guid":{"rendered":"https:\/\/arkipel.org\/?p=10658"},"modified":"2020-11-15T20:49:52","modified_gmt":"2020-11-15T13:49:52","slug":"notes-on-navigating-the-twilight-zone","status":"publish","type":"post","link":"https:\/\/arkipel.org\/notes-on-navigating-the-twilight-zone\/","title":{"rendered":"Notes on Navigating the Twilight Zone"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Catatan-Catatan Navigasi Zona Temaram” css=”.vc_custom_1605448147040{margin-bottom: 0px !important;}”]\n
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Panel pertama dari Forum Festival tahun ini dimulai tidak lama setelah pembukaan dan pidato kunci. Moderator Luthfan Nur Rochman memulai panel pertama dengan menjelaskan tema yang akan dibicarakan: \u201cMenavigasikan Zona Temaram Hari Ini\u201d. Panel ini membahas situasi zona temaram kita hari ini, terutama terkait situasi pandemi dan kegagalan modernisme, serta upaya untuk menavigasikannya ke masa depan. Panel ini diisi oleh Butet Manurung, Martin Suryajaya, dan Hizkia Yosie Polimpung serta diadakan pada Jumat, 6 November 2020, pukul 19.30. Pada ruang Zoom Webinar, panel ini dihadiri oleh sekitar 320 hadirin yang sebelumnya telah mendaftar. Pada siaran langsung di akun Youtube Jurnal Footage, sampai dengan berita ini ditulis pada 8 November, tercatat 339 penonton yang menyaksikan panel ini.<\/span><\/p>\n

Sebagai pendiri \u201cSokola Rimba\u201d, Butet Manurung banyak mengaitkan pembahasannya dengan pengalamannya mengajar di Orang Rimba. Ia mengatakan bahwa terdapat kecenderungan narasi yang menggambarkan masyarakat adat sebagai kelompok primitif yang \u201cbodoh\u201d. Padahal, penilaian \u201cpintar\u201d dan \u201cbodoh\u201d tergantung oleh siapa yang berbicara. Setelah sekian lama mengajar, Butet mendorong edukasi yang berfokus pada kepribadian dan kepentingan para murid dibanding kepentingan kurikulum dan angka sebagai tolak ukur. Ia mendorong model pendidikan yang mengkritisi kurikulum Nasional yang homogen serta tidak mengakomodasi situasi, karakter, dan kondisi murid-muridnya. Ia merasa bahwa penyeragaman yang dibawa oleh kurikulum Nasional akan membunuh keberagamaan. Maka, untuk dapat menavigasikannya hari ini, kita mesti belajar dari berbagai sudut pandang dan tidak hanya mencari jawabannya dari konteks urban.\u00a0<\/span><\/p>\n

Kemudian, Martin Suryajaya mengaitkan kata navigasi dengan konteks sebuah peta. Jika melihat kartografi lama, bisa ditemukan tulisan <\/span>hic sunt dracones<\/span><\/i>, atau \u201cDi sini ada naga\u201d dalam bahasa Latin. <\/span>Hic sunt dracones<\/span><\/i> menandai wilayah-wilayah yang belum dijelajahi yang penuh bahaya dan belum diketahui ada apa di sana. Hal tersebut digambarkan oleh \u201cnaga\u201d yang bersifat bahaya. Martin lalu menjelaskan jika masa kini adalah sebuah peta, maka tulisan <\/span>Hic sunt coronae<\/span><\/i> (\u201c<\/span>Di sini ada Corona<\/span><\/i>\u201d) akan menutupi seluruh wilayah. Maksud dari Martin, saat ini adalah wilayah yang belum dieksplorasi dan membutuhkan data untuk menavigasikannya. Ia pun memberikan sejumlah ramalan atau prediksi yang mungkin terjadi di masa depan jika pandemi ini terus berlangsung.<\/span><\/p>\n

Panelis terakhir adalah Hizkia Yosie Polimpung dan ia menjelaskan navigasi sebagai metodologi yang menentukan arah. Untuk menavigasi adalah untuk bisa mengambil tindakan-tindakan selanjutnya yang sekarang mungkin dianggap tidak mungkin. Namun, banyak sekali distraksi dan kendala yang membuat sulit proses mencari jalan tersebut. Yosie menggarisbawahi posisi kapitalisme sebagai sumber kendala terbesar. Kapitalisme memaksa pekerja untuk menjadi relevan karena \u201cmenjadi relevan\u201d adalah satu-satunya cara supaya bisa hidup. Di sisi lain, rezim kerja bergaji pun turut merenggut dan mengatur jam hidup, bahkan waktu untuk berbicara tentang masa depan dan imajinasi tentang masa depan pun tidak tersedia. Dalam hal ini, ia mempertanyakan kembali tentang imajinasi masa depan yang hendak dinavigasikan.<\/span><\/p>\n

Sesudah para panelis selesai, moderator langsung memasuki sesi tanya jawab. Pertanyaan-pertanyaan yang diberikan untuk para panelis secara garis besar merujuk pada bagaimana merespons keadaan atau situasi sekarang yang serba kacau. Menurut Butet, untuk merespons situasi, maka orang harus melek situasi dan masalah sekitar terlebih dahulu. Martin merujuk pada ekonomi yang lebih lokal, yang tidak harus tergantung oleh rantai global. Sedangkan Yosie merasa kolonialisme dan kekacauan darinya adalah sesuatu yang harus diterima telah terjadi agar kita lebih bisa fokus mengimajinasikan masa depan.<\/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=”Notes on Navigating the Twilight Zone” css=”.vc_custom_1604922111449{margin-bottom: 0px !important;}”]The first panel of this year’s Forum Festival began shortly after the opening and keynote speech. Moderator Luthfan Nur Rochman opened the discussion by introducing the theme \u201cNavigating the Twilight Zone in the Current Time\u201d. This panel dives deeper into our twilight zone today, especially regarding the pandemic situation and the failure of modernism, and further efforts to navigate into the future. This panel was held on Friday, November 6, 2020, at 19.30, and its speakers are Butet Manurung, Martin Suryajaya, and Hizkia Yosie Polimpung. This panel was attended by 320 attendees who had previously registered in the Zoom Webinar room. Simultaneously, in a live broadcast from Jurnal Footage YouTube account, until this news was written on November 8, 339 viewers watched this panel.<\/span><\/p>\n

As the founder of “Sokola Rimba”, Butet Manurung related much of her presentation to her experience of teaching <\/span>orang rimba<\/span><\/i> (translation: jungle people, a colloquial term for Anak Dalam tribe). She criticized the common tendency in narratives that portray indigenous people as “backward” primitive tribes. In fact, judgments of \u201cforward\u201d and \u201cbackwards\u201d highly depend on who has the power to speak. From her long-time teaching experiences, Butet campaigns for an education that focuses on the students’ personality and concerns, contrary to the interest of the curriculum and dependence on numbers as benchmarks. She encouraged an education model as a critic towards the homogeneous national curriculum that does not accommodate the students’ varying situation, character, and conditions. She believes that this uniformity promoted by the national curriculum is dangerous to our diversity. To navigate the present, we must learn from many perspectives instead of seeking solutions only from the urban context.<\/span><\/p>\n

Martin Suryajaya associated the word \u2018navigation\u2019 with a map. Looking at medieval cartography, you will find the inscription hic sunt dracones<\/i>, or “Here be dragons” in Latin. Hic sunt dracones<\/i> mark unexplored areas that are considered dangerous and unknown, represented by the dangerous \u201cdragon\u201d. Martin imagined that if the present were a map, then Hic sunt coronae<\/i> (“Here be Corona”) would be inscripted all over the region. At the moment, this is an unexplored territory that requires more data for us to navigate it. He also gave some imagined prophecies or predictions that might happen in the future if this pandemic continues.<\/p>\n

Hizkia Yosie Polimpung, the last speaker, described navigation as a methodology that determines direction. To navigate is to be able to take further actions, which may now be deemed impossible. However, there are so many distractions and obstacles that make it difficult to find this path. Yosie underlined capitalism as the most significant source of obstacles. Capitalism forces workers to stay relevant because “staying relevant” is the only way they can live. On the other hand, the regime of waged labor also takes away and regulates the hours of life, in which the laborers do not even have time to talk about the future and have no way to imagine it. In this case, he questions the \u201cimaginations of future\u201d that we are trying to navigate.<\/span><\/p>\n

After each presentation, the moderator opened the q&a session. The questions generally refer to the ways to respond to the current chaotic situation. According to Butet, to respond to the situation, people must have the literacy to be aware of the situation and problems around them. Martin emphasized the role of the local economy, the one that does not necessarily depend on global chains. Meanwhile, Yosie thought that colonialism and its had to be accepted in order to focus on our imagination of the future.<\/span>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”10659,10660,10661,10662,10663,10664,10665,10666,10667,10668,10669,10670″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Utami","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/482ba0e70413ef5a0b2f9a3aed6c0349?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/482ba0e70413ef5a0b2f9a3aed6c0349?s=96&d=mm&r=g","caption":"Niskala H. Utami"},"description":"Niskala H. Utami, dikenal sebagai sebuah enigma, adalah seorang seniman multidisipliner yang karyanya mencakup penulisan dan lukisan. Niskala punya pengalaman kerja di berbagai jenis bidang, dari penulis naskah, astrada, manajer proyek, manajer bagi seorang seniman pendatang baru, penulis redaksi, pemimpin kreatif, dan seterusnya. Namun yang selalu konsisten dalam kehidupan Niskala adalah keteguhannya untuk menjelajahi dunia perfileman, musik, dan kesenian. - Niskala H. Utami, also known as sebuah enigma (an enigma), is a multidisciplinary artist who mainly works with writing and paintings. Niskala has experiences in various job outlets such as scriptwriter, assistant director, project manager, manager to an emerging artist, editorial writer, creative lead, etc. But what is consistent in Niskala is a determination to explore the world of films, music, and art.","url":"https:\/\/arkipel.org\/people\/contact-niskalahapsari\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/11\/ff2020_panel-1_10.jpg?fit=1280%2C720&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2LU","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10658","targetHints":{"allow":["GET"]}}],"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\/145"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10658"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10658\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10668"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10658"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10658"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10658"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}