{"id":11141,"date":"2021-11-29T20:36:35","date_gmt":"2021-11-29T13:36:35","guid":{"rendered":"https:\/\/arkipel.org\/?p=11141"},"modified":"2021-11-29T20:45:20","modified_gmt":"2021-11-29T13:45:20","slug":"special-screening-dolo","status":"publish","type":"post","link":"https:\/\/arkipel.org\/special-screening-dolo\/","title":{"rendered":"Special Screening “DOLO”: The Veranda for Everybody"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Beranda untuk Semua Orang” css=”.vc_custom_1638193354293{margin-bottom: 0px !important;}”]\u201cSaya tidak akan pernah berhenti bekerja, bergerak, dan terus berjuang demi kemanusian!\u201d ucap <\/span>Dolorosa Sinaga<\/b> setelah filem <\/span>DOLO<\/span><\/i> selesai diputar pada program Special Screening dalam perhelatan ARKIPEL <\/span>Twilight Zone <\/span><\/i>– <\/span>Jakarta International Documentary & Experimental Film Festival<\/span><\/i>, pada 28 November 2021 di Cinepolis Plaza Semanggi, Jakarta Selatan.\u00a0<\/span><\/p>\n

Ia berdiri dari kursinya saat Otty Widasari, Kepala Selektor ARKIPEL, datang memberikan bunga. Ia kemudian berjalan ke depan ruang pemutaran, tersenyum lebar meski wajah tidak lagi kencang, rambut memutih, dengan mata yang berkaca-kaca, ia menghadap ke kiri dan kanan, menerima salut dan tepuk tangan dari penonton. Ialah Dolorosa Sinaga, seniman patung, aktivis kemanusiaan, dan sosok yang menginisiasi sebuah ruang publik bagi seniman dan aktivis pada 1990-an untuk bertemu. Tokoh yang sedang dibingkai oleh filem <\/span>DOLO<\/span><\/i>.<\/span><\/p>\n

DOLO <\/span><\/i>(2021) merupakan filem dokumenter yang diproduksi oleh <\/span>Forum Lenteng<\/b> & <\/span>Milisifilem Collective<\/b>, disutradarai <\/span>Hafiz Rancajale<\/b>, seorang seniman, kurator, dan pendiri Forum Lenteng. Ia sebelumnya pula menyutradarai <\/span>Marah di Bumi Lambu <\/span><\/i>(2014), <\/span>Anak Sabiran: di Balik Cahaya Gemerlapan (Sang Arsip)<\/span><\/i> (2013), dan <\/span>Dongeng Rangkas <\/span><\/i>(2011). Selain itu, Hafiz merupakan salah satu \u201canak spiritual\u201d dari Dolorosa Sinaga saat ruang di Garuda pada 1990-an yang dibangun oleh Dolorosa menjadi tempat berkumpulnya para seniman dan aktivis.<\/span><\/p>\n

Beberapa pekan sebelumnya, filem <\/span>DOLO <\/span><\/i>masuk dalam program Kompetisi Dokumenter Panjang Indonesia dalam gelaran Festival Film Dokumenter (FFD) 2021. Filem ini berkompetisi dengan tiga filem lainnya; <\/span>Invisible Hopes <\/span><\/i>(2021, Lamtiar Simorangkir), <\/span>Tale of Time <\/span><\/i>(2021, Agni Tirta), dan <\/span>The Enigma of Hedonism<\/span><\/i> (2020, Wimo Bayang).\u00a0<\/span><\/p>\n

Dalam filem <\/span>DOLO<\/span><\/i>, Dolorosa Sinaga diperlihatkan dengan aktivitas kesehariannya, mengerjakan patung di studio, bermain piano, pertemuan daring, nongkrong di beranda, dan di sela-sela kegiatan tersebut Hafiz berbincang dengan Dolorosa. Beranda merupakan visual yang ditampilkan sangat panjang dan intens dalam filem. Beranda yang besar dan panjang, disorot dari ujung kanan sampai ujung kiri dengan pelan, selain juga menampilkan sepanjang lorong dalam beranda tersebut.\u00a0<\/span>Di beranda itulah tempat para seniman dan aktivis pada 1990-an berkumpul dan menjadi tempat \u201cpulang\u201d bagi mereka. Di sana, mereka tidur dan makan, berdiskusi terkait seni, sosial, dan politik. <\/span><\/p>\n

Bagian selanjutnya menampilkan orang-orang yang pernah beraktivitas di Beranda Garuda sebagai narasumber. Mereka berbicara tentang suasana dan iklim di sana. Para narasumber menjelaskan kondisi sosial dan politik pada tahun itu, yang menjadikan beranda tersebut penting pada masanya. Di antara para narasumber tersebut, ada Hilmar Farid, Ignatius Haryanto, Alexander Supartono, Farah Wardani, Iwan Simatupang, hingga Olin Monteiro. <\/span>Dalam beberapa percakapan, Diskusi Bulan Purnama sering kali disebut sebagai salah satu pertemuan penting. Pertemuan tersebut diadakan setiap malam bulan purnama, dan menjadi tempat berkumpulnya para aktivis dan seniman, tua dan muda. Kita akan diajak membayangkan kursi dan meja panjang di beranda Garuda yang disorot secara intens tadi diisi oleh orang-orang yang diwawancarai oleh Hafiz. Orang-orang yang dikenal Hafiz di beranda itu.<\/span><\/p>\n

Dolorosa tidak hanya direfleksikan lewat beranda yang ia inisiasi bersama suaminya Ardjuna Hutagalung dan cerita dari berbagai narasumber tadi, tetapi juga dari patung-patungnya. Bagaimana Dolorosa menyuarakan ketertindasan perempuan dan persoalan kemanusiaan dalam karya-karyanya, serta prestasi yang ia raih dalam kesenimanannya.\u00a0<\/span><\/p>\n

Ucapan Dolorosa pada bagian akhir filem merupakan titik yang melebur apa yang sedang dibingkai <\/span>DOLO<\/span><\/i>. Pada bagian ini, Dolorosa mengatakan bahwa apa-apa yang telah dilalui di beranda itu bukan karena dirinya, tetapi karena kalian, ia menghadap kepada Hafiz. Hal itu menegaskan bahwa beranda itu tidak hanya soal dirinya, tetapi menjadi ruang publik yang berkontribusi pada persoalan sosial-politik di Indonesia, dan proses kreatif bagi mereka yang pernah ada dalam beranda tersebut.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Terjemahan Bahasa Inggris oleh Innas Tsuroiya<\/span><\/i>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”The Veranda for Everybody” css=”.vc_custom_1638193373094{margin-bottom: 0px !important;}”]\u201cI will never stop working, moving, and continuing to fight for humanity!\u201d said <\/span>Dolorosa Sinaga <\/b>after the screening of <\/span>DOLO<\/span><\/i> in the Special Screening program at ARKIPEL <\/span>Twilight Zone – Jakarta International Documentary & Experimental Film Festival<\/span><\/i>, on November 28, 2021 at Cinepolis Plaza Semanggi, South Jakarta.<\/span><\/p>\n

She stood from her chair when Otty Widasari, Head Selector of ARKIPEL, came to give her flowers. She then walked to the front of the screening room, smiling widely despite her age, white hair, teary eyes, looking right and left accepting the salutes and applause from the audience. It is Dolorosa Sinaga, a sculptor, humanitarian activist, and the person who initiated a public space for artists and activists in the 1990s to meet. The titular figure from the film <\/span>DOLO<\/span><\/i>.<\/span><\/p>\n

DOLO<\/span><\/i> (2021) is a documentary film produced by <\/span>Forum Lenteng<\/b> & <\/span>Milisifilem Collective<\/b>, directed by <\/span>Hafiz Rancajale<\/b>, an artist, curator, and founder of Forum Lenteng. Previously he has directed <\/span>Marah di Bumi Lambu <\/span><\/i>(2014), <\/span>Anak Sabiran: di Balik Cahaya Gemerlapan (Sang Arsip)<\/span><\/i> (2013), and <\/span>Dongeng Rangkas <\/span><\/i>(2011). Besides, Hafiz is one of the “spiritual apprentices” of Dolorosa Sinaga when a public space at Garuda built by Dolorosa in the 1990s became a meeting place for\u00a0 artists and activists.<\/span><\/p>\n

Several weeks prior, DOLO was screened at the Indonesian Feature-length Documentary Competition program at Festival Film Dokumenter (FFD) 2021. This film competed against three other films; <\/span>Invisible Hopes <\/span><\/i>(2021, Lamtiar Simorangkir), <\/span>Tale of Time <\/span><\/i>(2021, Agni Tirta), and <\/span>The Enigma of Hedonism<\/span><\/i> (2020, Wimo Bayang).\u00a0<\/span><\/p>\n

In DOLO, Dolorosa Sinaga is shown with her daily activities, working on sculptures in the studio, playing the piano, online meetings, hanging out on the veranda, and in-between those activities, Hafiz converses with Dolorosa. The veranda is shown in a continuous and intense take in the film. The large and long veranda is shot carefully from right to left, as well as shooting along the hallway in the veranda.<\/span><\/p>\n

That veranda is the place where artists and activists in the 1990s gathered and became a “second home” for them. There, they slept and ate, discussed art and sociopolitics. The following part showed the people who used to gather there as the sources. They recounted the situation and climate at the Garuda veranda. The sources also explained the sociopolitical conditions during those years which made the veranda important at that time. Among the sources were Hilmar Farid, Martin Aleida, Ignatius Haryanto, Alexander Supartono, Farah Wardani, Iwan Simatupang, and Olin Monteiro. In some conversations, Diskusi Bulan Purnama<\/em> (Full Moon Discussion) were mentioned as one of the important gatherings. The gatherings were held every full moon night, and became the meeting point for activists and artists at the time, young and old alike.\u00a0<\/span>We are invited to imagine the chairs and long tables in the intensely-filmed veranda seated with people who get interviewed by Hafiz. People whom Hafiz knew in that veranda.<\/span><\/p>\n

Dolorosa is not only reflected through the veranda that she initiated with her husband Ardjuna Hutagalung and from the stories of various sources, but also from her sculptures. How Dolorosa voiced the oppression of women and humanitarian issues in her work, and her achievements in artistic practice.<\/span><\/p>\n

Dolorosa’s words in the end of the film is the melting point of what DOLO is framing. In this part, Dolorosa said that whatever had happened in this veranda was not because of her but because of all of you, as she faced Hafiz. It bears the statement that the veranda is not merely about her, but a public space which contributed to Indonesia’s sociopolitical affairs, and the creative process of those who were once present in the veranda.\u00a0<\/span><\/p>\n

 <\/p>\n

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