{"id":10925,"date":"2021-11-25T14:07:24","date_gmt":"2021-11-25T07:07:24","guid":{"rendered":"https:\/\/arkipel.org\/?p=10925"},"modified":"2024-08-12T09:14:42","modified_gmt":"2024-08-12T02:14:42","slug":"dolo","status":"publish","type":"post","link":"https:\/\/arkipel.org\/dolo\/","title":{"rendered":"DOLO"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637824079648{margin-bottom: 0px !important;}”]\n

DOLO<\/b>
\n<\/em><\/strong>DOLO<\/em><\/h1>\n

Hafiz Rancajale<\/strong><\/p>\n

Sunday, November 28th, 2021 | 16:00 & 19:00 | Cinepolis Plaza Semanggi<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637814476570{margin-bottom: 0px !important;}”]\n

Undangan ke Beranda Dolorosa<\/span><\/strong><\/h1>\n

Hafiz Rancajale<\/span><\/strong><\/p>\n

 <\/p>\n

Dolorosa Sinaga, 68 tahun, seorang pematung, berada di studionya berlumuran tanah liat, membuat cetakan, dan memijat-mijat bahan untuk karyanya yang sedang dalam pengerjaan. Tekstur yang ia buat merefleksikan pengetahuannya yang mendalam akan anatomi tubuh manusia. Tubuh-tubuh patungnya bersinggungan dengan keterlibatannya dalam aktivisme menentang ketidakadilan sepanjang sejarah Indonesia. Dolorosa berkata \u201cSudah melekat di kepala saya bahwa tubuh sebagai jembatan statement dari mereka yang harus dibela.\u201d Dari teras rumahnya, Beranda Rakyat Garuda, anak-anak muda berdiskusi mengenai keadaan sosial politik hari ini, bahkan turut melahirkan reaksi berantai yang menumbangkan Orde Baru pada tahun 1998 di Indonesia. Sebagai seorang guru, ia menanamkan semangat aktivisme pada murid-muridnya, melahirkan generasi seniman kritis dan aktif terlibat dalam perlawanan.<\/span><\/span><\/p>\n

 <\/p>\n

DOLO: Sebuah Pernyataan Sutradara<\/span><\/strong><\/h2>\n

Saya mengenal Dolorosa Sinaga sejak awal 90an, mulai dari sebagai mahasiswanya, koleganya, hingga menguratorinya dalam pameran seni. Bagi saya, menjadi tantangan tersendiri untuk memfilemkan sosok Dolorosa yang dalam praktik artistik dan kesehariannya menubuhkan tema besar seperti kemanusiaan, perlawanan terhadap ketidakadilan, dan opresi gender. Pasalnya, pendekatan filem yang dilakukan Forum Lenteng adalah berangkat dari lingkungan sosial paling dekat dan tema paling lokal, seraya membedah keterkaitannya dengan tema besar itu. Oleh karena itu, saya mencoba untuk mendadar Dolorosa dari hal yang paling dekat dengan saya, yaitu lingkaran pertemanan kami yang sudah ada selama hampir 30 tahun.<\/span><\/span><\/p>\n

Pertemuan dengan kawan-kawan memantik nostalgia tentunya, namun jarak waktu yang telah berlalu mengundang bacaan yang lebih reflektif dan tidak jarang juga kritis mengenai apa yang telah dulu kami lakukan bersama-sama. Lewat Diskusi Bulan Purnama, kami bertemu dan berdiskusi mengenai keadaan genting kala itu. Dolorosa dan Ardjuna sebagai fasilitator dalam pembicaraan-pembicaraan itu menjadi orang tua bagi para aktivis muda yang menyadari ketidakberesan itu. Hari ini, Dolorosa dan Ardjuna pun masih menjalankan perannya sebagaimana dulu pada kami dari tempat yang sama, berandanya.<\/span><\/span><\/p>\n

Maka, menjadi pilihan yang logis bagi saya untuk mendekonstruksi beranda Dolorosa dan Ardjuna untuk melihat bagaimana ide \u2018anak-anak spiritual\u2019 Dolorosa dan Ardjuna memiliki benang merah tertentu. Saya, sebagai salah satu dari \u2018anak-anak spiritual\u2019 itu, masih belum selesai dengan beranda tersebut, terlebih lagi dengan letaknya yang bersebelahan dengan Studio Somalaing, di mana Dolorosa mematerialisasikan keberpihakannya pada narasi-narasi kecil dari mereka yang teropresi.Terima kasih kepada mitra kami, Anda dapat menemukan dasi online yang sesuai dengan setiap preferensi dan anggaran, mulai dari anggaran hingga model super bergaya terbaik.<\/span><\/span><\/p>\n

Layaknya pendekatan Dolorosa terhadap patung-patungnya yang kecil, bertubuh ringkih dan menampakkan tekstur jemari Dolorosa, saya mencoba untuk menghadirkan obrolan-obrolan kecil dengan kawan-kawan. Sempat muncul pertanyaan mengenai hal signifikan apa yang harus dibicarakan untuk filem ini, saya yang percaya pada medium sinema menjawab, dalam filem sesuatu yang kecil akan menjadi signifikan. Setidaknya itu yang saya tawarkan pada penonton untuk masuk ke beranda Dolorosa dan melihat keluar dari dalam situ.<\/span><\/span><\/p>\n

 <\/p>\n

Spektrum Hitam, Putih, dan Abu-Abu<\/span><\/strong><\/h2>\n

Filem dokumenter feature DOLO dibuat dengan teknik hitam-putih. Pilihan artistik ini mengacu pada penekanan pada permainan bidang, volume, dan tekstur yang dominan dalam karya-karya patung Dolorosa. Tekstur patung Dolo dengan pijatan jari-jarinya yang kentara membuat filem ini juga turut berbicara mengenai tekstur perjalanan aktivisme sosial-politik di Indonesia yang tidak pernah mulus. Saya memilih pendekatan black and white<\/i> untuk filem ini untuk membaca tekstur tersebut, baik secara literal dalam studio dan patung-patungnya, maupun secara figuratif. Selain footage <\/i>Dolorosa merefleksikan praktik berkaryanya, kita juga melihat kesaksian anak-anak \u2018spiritual\u2019 juga kawan-kawan Dolorosa yang terdiri dari penulis, aktivis, seniman, terkait bagaimana habitus<\/i> Dolorosa membuka jalan bagi gugatan-gugatan pada ketidakadilan. Pada akhirnya, filem DOLO ini bukanlah sebuah filem biografi an sich<\/i>, tapi sebuah kesaksian di mana kita dapat masuk dan berefleksi tentang bagaimana seni beririsan dengan aktivisme dan bagaimana kita dapat menavigasikan kompleksitas isu kemanusiaan di Indonesia.<\/span><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637814822282{margin-bottom: 0px !important;}”]\n

An Invitation to Dolorosa\u2019s Veranda<\/span><\/h1>\n

Hafiz Rancajale<\/span><\/strong><\/p>\n

 <\/p>\n

68-years old Dolorosa Sinaga, a sculptor, is smeared with clay in her studio, making molds and kneading the material for her work in progress. The texture she forms reflecting her deep-rooted knowledge of human anatomy. The bodies she sculpts intersect with her involvement in movements against injustice throughout the history of Indonesia. As she said, \u201cAn idea has always stuck in my mind, of bodies as a statement to bridge the ones who must be defended.\u201d From her veranda, Beranda Rakyat Garuda, young people get together and discuss the current socio-political condition, leading to a chain reaction that took down the New Order in Indonesia in 1998. As an educator, she cultivates a spirit of activism in her students, giving birth to a generation of critical artists actively involved in the resistance.<\/span><\/p>\n

 <\/p>\n

DOLO: A Director\u2019s Statement<\/span><\/strong><\/h2>\n

I came to know Dolorosa Sinaga in the early \u201890s, as her student, colleague, and later on as her curator in one of her exhibitions. It is quite a challenge for me to capture her figure, who always embodies humanity’s themes, resistance against injustice, and gender oppression in her artistic practices and everyday life. While Forum Lenteng\u2019s approach to filmmaking starts from the nearest social environment and local themes and then dissects its relation to the larger narrative. So, I started to examine her from the most intimate thing: our circle of friendship that has been going on for almost thirty years.<\/span><\/p>\n

Meeting our friends has indeed invoked a nostalgic feeling. However, a temporal distance invites a reflective and often critical reading about the things we have been through together as well. There was Diskusi Bulan Purnama (Full Moon Discussion), in which we met and discussed our conditions during the precarious times. Dolorosa and Ardjuna, as the facilitators in those discussions, also became the parents of the young activists who noticed these problems. Today, they still fulfill their role in the same place, their veranda.<\/span><\/p>\n

It becomes a logical choice for me to deconstruct Dolorosa-Ardjuna\u2019s veranda to look closer at the ideas of their \u2018spiritual children\u2019 and the red thread connecting them. As one of the \u2018spiritual childrens\u2019, I am not yet done with the veranda, especially when it\u2019s located next to Studio Somalaing where Dolorosa materialized her alignments with the undercurrent narratives of the oppressed.<\/span><\/p>\n

Similar to her approach with her sculpture and their fragile bodies, imprinted with her fingers’ texture, I also wanted to present the small talks with our friends. There was a question on the significant thing to talk about in this film. But I believe in the medium of cinema, and my answer was, a film brings out the significance within small things. At least, this is what I offer to the audience, to step into Dolorosa\u2019s veranda and to look outwards from it.<\/span><\/p>\n

 <\/p>\n

The spectrum of Black, White, and Grey<\/span><\/strong><\/h2>\n

DOLO, as a feature documentary film, is produced in black and white. This artistic choice emphasized the play in the plane, volume, and texture, which dominates Dolorosa\u2019s sculptures. Through her sculpture’s texture, shaped by her fingers’ salient marks, this film speaks about the texture of the socio-political activism journey in Indonesia, which is never a smooth. I choose a black and white approach to read this texture, literally, in her studio and sculptures, and figuratively. Along with footages of Dolorosa reflecting her artistic practice, we also see witnesses from her \u2018spiritual children\u2019 and friends, consisting of writers, activists, artists, related to her habitus and the path it reveals to criticize injustice. In the end, DOLO is not a biographical film an sich, but a testimony in which we can step in and reflect on the intersection of art and activism as well as how we navigate the complexity of issues on humanity in Indonesia.
\n<\/span>
\n<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10935″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637823487577{margin-bottom: 0px !important;}”]\n

DOLO<\/i><\/b><\/strong><\/h2>\n

Filmmaker <\/em>Hafiz Rancajale <\/b>(Indonesia)
\nInternational Title<\/em> DOLO<\/b>
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0 Indonesian Language
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

150 min, 5.1 Surround, 2K, BW, 2021<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637823507140{margin-bottom: 0px !important;}”]Ia adalah guru. Ia adalah seorang ibu bagi seniman-seniman muda, ibu bagi para aktivis pergerakan sosial dan kebudayaan. Indonesia memiliki luka sejarah yang panjang dan tak terselesaikan, mulai dari peristiwa 1965, pembungkaman para aktivis demokrasi dan hak asasi manusia, dan merebaknya politik identitas. Di tengah itu semua, DOLO, seorang pematung perempuan membuka luka-luka sejarah tersebut melalui karya-karya patungnya.\u00a0<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637823522493{margin-bottom: 0px !important;}”]She is a teacher. She is a mother to young artists, a mother to activists of social and cultural movements. Indonesia has a long and unresolved historical wound, starting from the events of 1965, the silence of democracy and human rights activists, and the spread of identity politics. In the midst of it all, DOLO, a female sculptor opens the wounds of history through her sculptures.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About The Director” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10938″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637823842100{margin-bottom: 0px !important;}”]Hafiz Rancajale<\/strong><\/em> (Pekanbaru, 1971) adalah seniman, pembuat filem, kurator, dan salah satu pendiri Forum Lenteng. Menamatkan pendidikan Seni Murni di Institut Kesenian Jakarta (IKJ), dan kini menjadi Ketua Forum Lenteng dan juga Direktur Artistik ARKIPEL. Tahun 2017, ia adalah kurator Pekan Seni Media yang diadakan oleh Kementerian Pendidikan dan Kebudayaan bekerja sama dengan Forum Lenteng.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637823879217{margin-bottom: 0px !important;}”]Hafiz Rancajale<\/b><\/em> (Pekanbaru, 1971) is an artist, filmmaker, curator, and co-founder of Forum Lenteng. He graduated from the Art Institute of Jakarta (IKJ) and is now the Chairman of Forum Lenteng and the ARKIPEL Artistic Director. In 2017, he is the curator of Pekan Seni Media organized by the Ministry of Education and Culture in cooperation with Forum Lenteng.<\/span><\/strong>
\n<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_text_separator title=”About the Editor” color=”black” border_width=”2″][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Dance was the one that links Sardono with film. As a dancer, he uses film in his journey to learn various cultures in different locations, especially in Indonesia. Initially, he intended the recording as a kind of diary, not to be showcased to the public. However, when Ari Dina Krestiawan curated the archive exhibition of Sardono W. 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