{"id":11079,"date":"2021-11-28T00:44:02","date_gmt":"2021-11-27T17:44:02","guid":{"rendered":"https:\/\/arkipel.org\/?p=11079"},"modified":"2021-11-29T15:35:34","modified_gmt":"2021-11-29T08:35:34","slug":"forum-festival-2021-keynote-speech","status":"publish","type":"post","link":"https:\/\/arkipel.org\/forum-festival-2021-keynote-speech\/","title":{"rendered":"Keynote Speech: Returning to Animism in Southeast Asia Cinema Exhibition"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Kembali ke Animisme dalam Eksibisi Sinema Asia Tenggara” css=”.vc_custom_1638174861202{margin-bottom: 0px !important;}”]\n
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Forum Festival 2021<\/strong>\u2014sebagai simposium dan bagian dari ARKIPEL <\/span>Twilight Zone \u2013 8<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i>\u2014resmi dibuka pada 26 November 2021. Presentasi pertama, sebuah pidato kunci, disampaikan oleh akademisi film dari Thailand, <\/span>May Adadol Ingawanij<\/b>. Ingawanij sendiri pernah terlibat dalam ARKIPEL 2015 sebagai salah satu juri dan pembicara dalam simposium Forum Festival. Fokus utama karya-karyanya adalah de-westernisasi dan desentralisasi studi dan praktik film. Beliau adalah Profesor Seni Sinematik di Universitas Westminster, tempat beliau berlaku sebagai salah satu pengarah Pusat Riset dan Pendidikan Seni dan Media. Sementara itu, panel pidato kunci ini dimoderatori oleh <\/span>Prashasti Wilujeng Putri, <\/b>seniman dan mahasiswi S2 di bidang Studi Budaya dan Media. Panel dimulai pada pukul 16.15 dan berakhir pada pukul 17.45 Waktu Indonesia Bagian Barat (WIB). Panel dipresentasikan serentak pada Zoom dan Youtube, dengan dihadiri oleh 53 orang di Zoom dan 71 orang di Youtube.<\/span><\/p>\n

Dengan dokumentasi video dan foto yang disajikan dalam bentuk <\/span>slide<\/span><\/i>, pidato \u201cAparatus Animistik\u201d oleh Ingawanij mengamati genealogi praktik sinema di luar ruang di Asia Tenggara, khususnya Thailand, dan berargumen bahwa dalam praktik ini, film berfungsi sebagai pertemuan dan alat komunikasi antara manusia dan non-manusia. Beliau mengamati adanya dua elemen dalam risetnya tentang Animisme yang terkait erat dengan tema ARKIPEL tahun ini: Twilight Zone (Zona Temaram). Elemen pertama yaitu kedua konsep berurusan dengan ketidakpastian, membuat manusia mempertanyakan kuasa dan kerentanannya dalam hal ini. Yang kedua yaitu ruang sinema menjadi tempat bertemunya para penghuni dalam konteks kosmologis.<\/span><\/p>\n

Presentasi Ingawanij menceritakan perjalanan dan refleksinya terhadap riset berbasis kuratorialnya yang menggunakan animisme sebagai <\/span>platform<\/span><\/i>. Secara singkat, beliau mendefinisikan animisme di Asia Tenggara sebagai praktik komunikasi antara manusia dan non-manusia. Manusia berlaku sebagai penginisiasi yang memberi sesajen, terposisikan sebagai makhluk tanpa kuasa yang mengikuti logika ritual untuk berkomunikasi dengan mereka yang berkuasa: kaum roh. Proyek kuratorial Animisme beliau berawal dari pertanyaannya mengenai hakikat sinema\u2014untuk apa dan siapa\u2014di saat sinema tidak lagi didikte oleh manusia dan kaidah-kaidah eksibisi. Beliau menunjukkan beberapa pemutaran film yang digabung dengan praktik-praktik ritual; dari seluloid yang diberkati oleh biksu-biksu Buddhis di Thailand, sampai Hungry Ghost Festival yang tiap tahunnya memutarkan film untuk kaum roh di Malaysia tanpa dihadiri oleh manusia sebagai penonton utama. Dalam hal ini, aparatus animistik menjadi praktik komunikasi kosmologis, tempat tindakan manusia\u2014makhluk tanpa kuasa beserta sesajen dan ritualnya yang seringkali diimprovisasi\u2014bisa diartikan sebagai semacam usaha untuk membayangkan masa depannya sendiri.<\/span><\/p>\n

Setelah presentasi berakhir, terdapat empat pertanyaan dari hadirin di Zoom dan satu pertanyaan di Youtube. Luthfan Nur Rochman, pembuat film, meminta Ingawanij menjelaskan sebuah kalimat di salah satu makalahnya, \u201c…untuk mengganti fungsi sinema sebagai aparatus, menjadi dispositif\u201d, yang ditulis oleh Ingawanij pada tahun 2018 dan diakui sebagai usaha pertamanya dalam mengamati genealogi. Ingawanij menjawab, dispositif itu awalnya dianggap sebagai cara membedakan praktik pemutaran di Thailand dari kaidah-kaidah praktik yang mapan; praktik yang amat terimprovisasi sehingga ketidakterdugaan bisa muncul menurut konteks lokalnya.<\/span><\/p>\n

Di Youtube, Adi Osman, mahasiswa Kajian Budaya, meminta Ingawanij menjelaskan lebih lanjut gagasan kerentanan manusia, dan cara pewujudan kerentanan ini dalam konteks eksibisi. Ingawanij menjawab, praktik kuratorialnya berkisar menjadikan dirinya sendiri rentan terhadap ketidakterdugaan ruang itu, dan banyak dinamika dalam aparatus animistik sangat bergantung pada improvisasi manusia.<\/span><\/p>\n

Pertanyaan terakhir datang dari Hafiz Rancajale, seniman-kurator dan Direktur Artistik ARKIPEL. Rancajale berpendapat, dalam pertunjukan wayang, ada rasa kepercayaan yang melekat pada penonton, yang tidak ada dalam film karena sifat materialis film itu sendiri. Beliau kemudian bertanya, apakah menurut Ingawanij per(tentang)an ini dapat dikompromikan dalam satu pengalaman sinematik. Ingawanij menanggapi, dalam aparatus animistik, peran pemutar film menjadi penting karena tugasnya sebagai agen manusia yang mengadakan eksibisi itu, tapi tidak berarti manusia itu sendiri perlu percaya pada yang dikerjakannya. Beliau berkomentar, logika prosedural dalam pembuatan eksibisi ini sangat merefleksikan kondisi ekologi manusia-roh yang unik.<\/span><\/p>\n

 <\/p>\n

Terjemahan Bahasa Indonesia oleh Gladyza Vanska<\/span><\/em><\/p>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Returning to Animism in Southeast Asia Cinema Exhibition” css=”.vc_custom_1638026489810{margin-bottom: 0px !important;}”]Forum Festival 2021<\/strong>\u2013as the symposium and part of ARKIPEL <\/span>Twilight Zone \u2013 8<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i>\u2013was officially opened on 26<\/span>th<\/span> November 2021. The first presentation, a keynote speech, was delivered by a Thai film scholar <\/span>May Adadol Ingawanij<\/b>. Ingawanij herself has been involved as one of the ARKIPEL\u2019s jury and speaker for Forum Festival symposium back in 2015. Her works mainly focus on de-westernizing and de-centralizing film studies and practices. She is a Professor of Cinematic Arts at the University of Westminster where she co-directs the Centre for Research and Education in Arts and Media. Meanwhile, this keynote speech panel was moderated by <\/span>Prashasti Wilujeng Putri<\/b>, an artist and a graduate student majoring in Cultural and Media Studies. The panel started at 4.15pm and ended at 17.45pm Western Indonesian Time (WIB). It was presented on Zoom and Youtube simultaneously, with 53 people attending on Zoom and 71 on Youtube.\u00a0<\/span><\/p>\n

Using presentation slides of video and photo documentations, Ingawanij\u2019s speech \u201cAnimistic Apparatus\u201d examined the genealogies of outdoor cinema practices in Southeast Asia, especially Thailand, and argued that film in this practice functions as an encounter and communication tool between human and non-human. She noted that there were two elements from her research on Animism that closely tied with ARKIPEL\u2019s yearly theme: Twilight Zone. The first element was both concepts dealt with place of uncertainty, making us question the human agencies and their vulnerability in this case. The second one was that cinema space became an encounter of inhabitants in cosmological context.\u00a0<\/span><\/p>\n

Ingawanij\u2019s presentation consisted of her journey and reflection on her curatorial-based research that used animism as a platform. She briefly defined animism in Southeast Asia as a communicational practice between human and non-human. Human acted as the initiator who made offerings, they were positioned as a powerless being that followed ritualistic logic in order to communicate with the powerful ones: the spirits. The origin of her curatorial project of Animism dated back to her questioning what is cinema and what is it for when cinema is no longer dictated by human and by the convention of exhibition. She presented a number of film projections that were combined with ritual practices; from celluloid blessed by Buddhist monks in Thailand, to the Hungry Ghost Festivals that annually projected film for the spirits in Malaysia without the presence of human as its main audience. In this case, animistic apparatus became a cosmological communication practice where the actions of the humans\u2013the powerless ones along with their offerings and often improvised rituals\u2013could be read as some kind of attempt to imagine a certain future for their own.<\/span><\/p>\n

After the presentation ended, there were four questions from the audience on Zoom and one question on Youtube. Luthfan Nur Rochman, a filmmaker, asked Ingawanij to elaborate a sentence in one of her papers, \u2018…to makeshift cinema as an apparatus, towards dispositive\u2019, which was written by Ingawanij in 2018 and credited as her first attempt to examine genealogy. Ingawanij replied that dispositive was initially thought as a way to differentiate the projection practice in Thailand from the established one; a highly improvised practice in which an unpredictability might come up according to its localized context.<\/span><\/p>\n

On YouTube, Adi Osman, a Cultural Studies student, asked Ingawanij to further talk about the notion of vulnerability of human, and how this vulnerability manifested in the context of exhibition. Ingawanij replied that her curatorial practice revolved around making herself vulnerable to the unpredictability of the space, and that a lot of dynamic in animistic apparatus very much depended on human improvisation.\u00a0<\/span><\/p>\n

The last question came from Hafiz Rancajale, an artist-curator and the artistic director of ARKIPEL, in which Rancajale said that in <\/span>wayang<\/span><\/i>, the Javanese traditional shadow puppet play, there was a sense of belief attached to the audience, whereas that kind of belief was not present in film due to the film\u2019s materiality. Rancajale then asked whether Ingawanij thought this (in)difference could be compromised in one cinematic experience. Ingawanij responded that in animistic apparatus, the role of projectionist was important due to their task as a human agent that made the exhibition happen, yet they did not necessarily have to be a believer in order to carry out their task. She commented that this procedural logic of exhibition-making very much reflected the unique condition of human-spirit ecology.<\/span><\/p>\n

The recording of this panel is available on YouTube<\/a>. <\/span><\/p>\n

 <\/p>\n

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