{"id":11055,"date":"2021-11-26T16:32:09","date_gmt":"2021-11-26T09:32:09","guid":{"rendered":"https:\/\/arkipel.org\/?p=11055"},"modified":"2021-11-29T15:37:56","modified_gmt":"2021-11-29T08:37:56","slug":"kultursinema-harimau-tjampa","status":"publish","type":"post","link":"https:\/\/arkipel.org\/kultursinema-harimau-tjampa\/","title":{"rendered":"KULTURSINEMA #7: Harimau Tjampa"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637868595763{margin-bottom: 0px !important;}”]\n

KULTURSINEMA #7: Harimau Tjampa
\n<\/em><\/strong><\/h1>\n

Writers:
\nAfrian Purnama, Dini Adanurani, I Gde Mika, Luthfan Nur Rochman,\u00a0Prashasti W. Putri, Volta Ahmad Jonneva, Wahyu Budiman Dasta<\/h3>\n[\/vc_column_text][vc_empty_space][vc_text_separator title=”BOOK LAUNCH | WEDNESDAY, DECEMBER 15, 2021 | 16.00 WIB” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637864529216{margin-bottom: 0px !important;}”]Pilihan kami untuk menyorot filem <\/span>Harimau Tjampa<\/span><\/i> berangkat dari keinginan untuk mengeksplor lebih luas narasi pencarian jati diri bangsa pasca-Revolusi di ranah sinema. Pengukuhan filem <\/span>The Long March (Darah dan Doa) <\/span><\/i>sebagai tonggak filem nasional pertama telah mengerucutkan imajinasi masyarakat akan filem nasional yang militeristik, dan perjuangan melawan penjajah yang didominasi perang dan senjata. Di sisi lain, pada tahun 1953, filem <\/span>Harimau Tjampa <\/span><\/i>memberikan potensi untuk menjelajahi gagasan nasionalisme melalui warisan-warisan sejarah yang membentuk Indonesia hingga kini: kebudayaan tradisional dan kolonialisme. Penjelajahan ini juga dilakukan di ranah estetika, seperti penggunaan randai sebagai pembingkai konstruksi filem.\u00a0<\/span><\/span><\/p>\n

Harimau Tjampa<\/span><\/i> adalah filem Indonesia. Tentunya pernyataan itu dilandasi dengan fakta bahwa <\/span>Harimau Tjampa<\/span><\/i> dibuat di Indonesia, dari tangan orang-orang yang lahir di Indonesia pula. Namun ungkapan \u2018filem Indonesia\u201d sendiri memiliki berbagai dimensi pernyataan dan pemaknaan; apakah filem Indonesia berarti hanya sekedar filem yang berlatar, berisi budaya dan menggunakan bahasa Indonesia, atau apakah filem Indonesia berarti filem yang memberdayakan berbagai unsur budaya yang ada di Indonesia, dan menerjemahkannya ke dalam medium yang lain, yaitu filem. Ada banyak filem Indonesia yang masuk pada kategori pertama, namun sedikit sekali filem Indonesia yang berada di kategori kedua. <\/span>Harimau Tjampa<\/span><\/i>, bagi kami, adalah satu dari sedikit filem tersebut. Penerjemahan itulah yang coba diungkap dan dibedah oleh tim Kultursinema. Bagi kami, struktur cerita dan gambar di <\/span>Harimau Tjampa <\/span><\/i>sangatlah progresif, bahkan hingga sekarang. Djadoeg Djajakusuma menggunakan Randai sebagai bangunan utama konstruksi filemnya sehingga <\/span>Harimau Tjampa<\/span><\/i> bisa dilihat sebagai filem yang berupaya untuk melepaskan diri dari struktur filem yang sudah mapan, yaitu struktur filem yang dibuat di Barat.<\/span><\/span><\/p>\n

Penulisan di buku ini bukanlah penulisan akademik, dalam artian bahwa tulisan-tulisannya tidak terikat dalam kerangka teoritis yang baku dan cara penulisan yang formal. Masing masing dari insan yang terlibat memiliki latar belakang yang berbeda; ada mahasiswa filem, kurator, seniman, arkeolog, filsuf dan pembuat filem. Kesemuanya memiliki cara pandang yang berbeda dalam melihat <\/span>Harimau Tjampa<\/span><\/i>. Hal ini lah yang coba kami tawarkan pada pembaca, yaitu kebebasan dalam melihat, membongkar, dan menginterpretasi filem. Kebebasan yang berarti melibatkan berbagai metodologi dan pendekatan yang berbeda (semoga!) bila dibandingkan dengan publikasi studi filem lainnya.\u00a0<\/span><\/span><\/p>\n

Harimau Tjampa<\/span><\/i> adalah filem penting dalam sejarah sinema Indonesia. Posisi Kultursinema dalam hal ini adalah mencoba untuk melihat <\/span>Harimau Tjampa<\/span><\/i> tidak hanya sebagai artefak budaya, namun juga mengkontekstualkannya ke dalam permasalahan kontemporer. Dari awal didirikan, Kultursinema adalah praktik yang memposisikan bagaimana publik melihat sejarah sinema-\u2018nya\u2019. Sejak tahun 2014 hingga 2019, Kultursinema selalu terselenggara dalam bentuk pameran. Tahun ini, karena cukup beresiko untuk mengundang banyak orang dalam suatu ruang pamer yang sempit dan tertutup, maka salah satu upaya kami untuk konsisten menyelenggarakan program ini secara publik adalah menerbitkan hasil riset yang sudah kami lakukan sejak tahun 2020 ke dalam bentuk buku. Selain itu, Kultursinema akan menyelenggarakan diskusi publik yang akan diadakan secara daring sebagai bagian dalam program ARKIPEL Twilight Zone \u2013<\/span> 8th Jakarta International Documentary & Experimental Film Festival <\/span><\/i>\u00a02021.<\/span><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637864630373{margin-bottom: 0px !important;}”]Our choice to highlight the film <\/span>Harimau Tjampa<\/span><\/i> stems from the desire to explore more broadly the narrative of the search for the post-Revolution national identity in the realm of cinema. The inauguration of the film <\/span>The Long March<\/span><\/i> as the milestone for the first national film specifies people’s imaginations about a militaristic national film, and the struggle against colonialism dominated by war and weapons. On the other hand, in 1953, the film <\/span>Harimau Tjampa<\/span><\/i> provided the potential to explore the idea of \u200b\u200bnationalism through the historical legacies that have shaped Indonesia to this day: traditional culture and colonialism. This exploration is also carried out in the realm of aesthetics, such as the use of <\/span>randai<\/span><\/i> (a traditional theatre performance based on <\/span>silek<\/span><\/i> martial art and <\/span>kaba<\/span><\/i> narratives deriving from Minangkabau) as a frame for film construction.<\/span><\/span><\/p>\n

Harimau Tjampa<\/span><\/i> is an Indonesian film. Of course, this statement is based on the fact that <\/span>Harimau Tjampa<\/span><\/i> was made in Indonesia, from the hands of people who were born in Indonesia as well. However, the expression ‘Indonesian film’ itself has various dimensions of statement and meaning; does Indonesian film mean just a film with a background, containing culture and using the Indonesian language, or does Indonesian film mean a film that empowers various cultural elements in Indonesia, and translates it into another medium, namely film. There are many Indonesian films that fall into the first category, but very few Indonesian films are in the second category. <\/span>Harimau Tjampa,<\/span><\/i> for us, is one of the few films. Such translation is what the Kultursinema team is trying to uncover and dissect. For us, the structure of stories and images in <\/span>Harimau Tjampa<\/span><\/i> is very progressive, even today. Djadoeg Djajakusuma uses <\/span>Randai<\/span><\/i> as the main building for his film construction so that <\/span>Harimau Tjampa<\/span><\/i> can be seen as a film that seeks to break away from the established film structure, namely the structure of films made in the West.<\/span><\/span><\/p>\n

The writing in this book is not academic writing, in the sense that the writings are not bound by a standard theoretical framework and a formal way of writing. Each of the people involved has a different background; there are film students, curators, artists, archaeologists, philosophers, and filmmakers. All of them have different perspectives on seeing <\/span>Harimau Tjampa<\/span><\/i>. This is what we offer to the readers, namely the freedom to view, disassemble, and interpret films. Meaningful freedom involves a variety of different methodologies and approaches (hopefully!) compared to other film studies publications.<\/span><\/span><\/p>\n

Harimau Tjampa<\/span><\/i> is an important film in the history of Indonesian cinema. Kultursinema’s position in this regard is to try to see it not only as a cultural artifact, but also contextualize it into contemporary issues. From the very beginning, Kultursinema is a practice that positions how the public sees the history of ‘its’ cinema. From 2014 to 2019, Kultursinema has always been held in the form of exhibitions. This year, because it is quite risky to invite many people in a narrow and closed exhibition room, one of our efforts to consistently hold this program publicly is to publish the results of research that we have been doing since 2020 into the form of a book. In addition, Kultursinema will hold a public discussion which will be held online as part of the ARKIPEL Twilight Zone \u2013 <\/span>8<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival 2021 <\/span><\/i>program.<\/span><\/span>[\/vc_column_text][\/vc_column][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About Kultursinema” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9866″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637864956703{margin-bottom: 0px !important;}”]Kultursinema<\/strong><\/em> merupakan salah satu program ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival<\/em> yang berlangsung sejak tahun 2014. Pameran ini diselenggarakan sebagai upaya untuk mengumpulkan, mendata, membaca, dan memaknai kembali kultur sinema di Indonesia dalam segala aspek yang telah berkembang selama lebih dari satu abad. Kultursinema selalu berupaya menghadirkan tema-tema spesifik yang beririsan dengan poros tema festival di setiap penyelenggaraannya.<\/p>\n

Sejak perhelatan keenam, pameran ini akan mencoba mempraktikkan moda kuratorial bersama yang melibatkan beberapa kurator untuk saling berdiskusi, membaca, dan menerjemahkan sejarah sosial dan sejarah estetika sinema di Indonesia melalui arsip-arsip sinema.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637864974076{margin-bottom: 0px !important;}”]Kultursinema<\/em><\/strong> is one of the programs in ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival since 2014. This exhibition is held as the effort to collect, record, read and reinterpret the cinema culture in Indonesia in all aspects that has progressed for more than a decade. Kultursinema always attempts to bring forth specific themes that touch upon the festival themes each year.<\/span><\/p>\n

Since its sixth exhibition, Kultursinema will try to implement collective curatorial that involves several curators to collectively discuss, read and interpret the social history and aesthetic of cinema history in Indonesia through the archives of cinema.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Newsreel is one of the films that has a long history in Indonesia besides fiction and documentary films. Newsreels started to develop during the Japanese military reign in Indonesia around 1942-1945. During that time, the founding fathers of Indonesian cinema were honing and deepening their knowledge of film production, gaining an insight into the notion and function of cinema beyond entertainment: that it also has the potential to construct an ideal of shared identity.<\/p>\n","protected":false},"author":1,"featured_media":11057,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Kultursinema #7: Harimau Tjampa","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,343,348],"tags":[526,528,310],"jetpack_publicize_connections":[],"yoast_head":"\nKULTURSINEMA #7: Harimau Tjampa — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Our choice to highlight the film Harimau Tjampa stems from the desire to explore more broadly the narrative of the search for the post-Revolution national identity in the realm of cinema. 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