{"id":11222,"date":"2021-12-07T20:42:02","date_gmt":"2021-12-07T13:42:02","guid":{"rendered":"https:\/\/arkipel.org\/?p=11222"},"modified":"2021-12-07T20:42:02","modified_gmt":"2021-12-07T13:42:02","slug":"to-witness-a-changing-landscape-and-frame-it","status":"publish","type":"post","link":"https:\/\/arkipel.org\/to-witness-a-changing-landscape-and-frame-it\/","title":{"rendered":"Candrawala: To Witness a Changing Landscape and Frame It"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Melihat Lanskap Berubah dan Membingkainya” css=”.vc_custom_1638884014618{margin-bottom: 0px !important;}”]Mungkin lanskap juga tentang bagaimana ia berubah, bagaimana kita melihatnya bergerak setiap saat dan menyadari perubahan itu sendiri. Berada di titik di mana kita berdiri, duduk, tengkurap atau bergelantungan, bagaimanapun itu, kita tetap berada atau menjadi bagian darinya. Bagaimana kita melihat \u2018lanskap\u2019, ya mungkin saja melalui cara kita membingkainya, dengan mata atau kamera.<\/span><\/p>\n

Pada tanggal 5 Desember 2021, ARKIPEL menayangkan berbagai kurasi filem, salah satunya Candrawala. Ada empat filem, di antaranya; <\/span>Katarsis Yang Tak Kunjung Selesai <\/span><\/i>(2020), <\/span>Di Pinggir Kali Citarum<\/span><\/i> (2019), <\/span>Anak Merak<\/span><\/i> (2020), dan\u00a0 <\/span>Diary of Cattle<\/span><\/i> (2019). Filem ini adalah kurasi <\/span>Dhuha Ramadhani<\/b> dan <\/span>Dini Adanurani<\/b>.\u00a0\u00a0<\/span><\/p>\n

Katarsis Yang Tak Kunjung Selesai<\/span><\/i>, sebuah filem yang disutradarai oleh <\/span>Riski Rianda.<\/b> Pengalaman menonton yang seru, di mana saya si penonton menyaksikan lanskap dengan bingkaian dan fokus saya sendiri. Durasi satu <\/span>shot<\/span><\/i> cukup untuk melihat kedetilan. Menggerakkan bola mata ke sudut-sudut layar, memperhatikan satu objek, kadang juga seperti berada dalam lanskap itu. Lalu, di beberapa bagian saya \u201ckeluar\u201d dari dalam lanskap itu. Mendengar jelas suara knalpot motor, orang berjalan, dan suara hujan di tempat saya menonton, (Rumah Tamera – Solok Creative Hub) suara-suara yang lebih keras dari filem ini.<\/span><\/p>\n

Filem selanjutnya adalah <\/span>Di Pinggir Kali Citarum<\/span><\/i>, <\/span>Ali Satri Efendi<\/b>. Seorang petani, pembuat batu bata, sekaligus penyedia jasa penyebrangan motor dan orang yang melintasi kali. Ia menjadi pemandu kita melihat aktivitas di sekitar Kali Citarum.\u00a0<\/span><\/p>\n

Filem ini merekam perubahan yang terjadi pada sebuah lanskap. Jika pepatah Minang mengatakan \u201c<\/span>sakali aia gadang, sakali tapian barubah\u201d <\/span><\/i>(Sekali air besar, sekali tepian berubah). Artinya, sesuatu yang besar di luar diri kita turut mempengaruhi kita, seperti pandemi. Atau sesuatu yang intens juga perlahan memberikan perubahan.\u00a0 Ya, tapi bisa jadi tepian berubah dan air akan melebar.\u00a0 Seperti filem ini yang menggiring kita bagaimana memaknai\u00a0 ulang bencana alam.<\/span><\/p>\n

Film ke-3 adalah <\/span>Anak Merak<\/span><\/i>, <\/span>Saleksa Srengenge<\/b>. Bagaimana kamera hadir di sekitar kita. Merekam seorang anak sekolah bersiap-siap pergi ke sekolah, kemudian merekam aktivitasnya. Sepulang sekolah mereka berkenalan dengan\u00a0 kamera dengan cara \u2018memainkan\u2019 kamera itu sendiri. Para pembuat filem mengajak anak-anak sekolah untuk menceritakan pengalamannya soal filem, lalu mereka menjawabnya dengan cepat, malu-malu, dan ada yang diam. Lalu, mereka ditawari untuk mengarang cerita untuk satu filem. Selanjutnya, filem Anak Merak digiring oleh para anak sekolah, mereka memegang kamera, menjadi aktor, dan lainnya. Ini mengingatkan saya pada filem <\/span>Jagal (The Act of Killing)<\/span><\/i> karya Joshua Oppenheimer. Menampilkan adegan sedang membuat filem di dalam filem.\u00a0<\/span><\/p>\n

Diary of Cattle<\/span><\/i>, <\/span>Lidia Afrilita<\/b> dan <\/span>David Darmadi<\/b>, merupakan film keempat dalam kuratorial ini. Merekam aktivitas di Tempat Pembuangan Akhir (TPA) di Kota Padang. Sebelumnya, saya cukup akrab dengan lokasi ini, seorang kawan juga menjadikannya sebagai materi skripsinya. Juga TPA yang berada dekat dari markas Gubuak Kopi, komunitas tempat saya beraktivitas. Di TPA tersebut, para sapi-sapi mencari makan dan bermain. Sepanjang film ini kita dikenalkan dengan ekosistem \u2018daur ulang\u2019 atau siklus yang berulang tak berhenti.<\/span><\/p>\n

Filem ini dapat ditonton di <\/span>website<\/span><\/i> Festival ARKIPEL<\/span><\/a> hingga 11 Desember 2021.<\/span><\/p>\n

 <\/p>\n

Terjemahan Bahasa Inggris oleh Gladyza Vanska<\/span><\/i>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”To Witness a Changing Landscape and Frame It” css=”.vc_custom_1638884177254{margin-bottom: 0px !important;}”]To talk about landscape is probably to see how it changes, to see it move all the time and to be aware of the change itself. However we stand, sit, lie on our stomach or hang, we would still be in or be part of the landscape. The way we see \u201clandscape\u201d is probably just how we frame it with our eyes or the camera.<\/span><\/p>\n

On December 5th, 2021, ARKIPEL presented a number of film curations, one of which was the Candrawala program, in which four films were showed: <\/span>Katarsis Yang Tak Kunjung Selesai <\/span><\/i>(literal translation: <\/span>The Never-Ending Catharsis<\/span><\/i>)<\/span> (2020), <\/span>Di Pinggir Kali Citarum<\/span><\/i> (literal translation: <\/span>At the Edge of the Citarum River<\/span><\/i>) (2019), <\/span>Anak Merak<\/span><\/i> (literal translation: Children of Merak<\/em><\/span>) (2020), and <\/span>Diary of Cattle<\/span><\/i> (2019). These films are the curatorial work of <\/span>Dhuha Ramadhani<\/b> and <\/span>Dini Adanurani<\/b>.<\/span><\/p>\n

Katarsis Yang Tak Kunjung Selesai <\/span><\/i>(literal translation: <\/span>The Never-Ending Catharsis<\/span><\/i>) is a film directed by <\/span>Riski Rianda<\/b>. It was a fascinating viewing experience in which I, as the audience, witnessed the landscape with my own frame and focus. One shot was just enough to see the details. I moved my eyeballs to the corners of the screen, observed just one object, sometimes I even felt like being in the landscape shown on the screen. Then in some parts, I was thrown out of it, hearing clearly the noises of muffler, people walking, and rainfall from where I watched the film (Rumah Tamera – Solok Creative Hub), noises louder than the film.<\/span><\/p>\n

The next film was <\/span>Di Pinggir Kali Citarum<\/span><\/i> (literal translation: <\/span>At the Edge of the Citarum River<\/span><\/i>), by <\/span>Ali Satri Efendi<\/b>. He was a farmer, a brickmaker, who also provides the service of getting motorbikes and people across the river. He was our guide to see the activities around the Citarum river.<\/span><\/p>\n

This film captured how landscape changes. In the tradition of Minang people, there is a saying, \u201c<\/span>Sakali aia gadang, sakali tapian barubah\u201d <\/span><\/i>(literal translation: Once the water got big, the riverbanks change). It means, something bigger than ourselves has an effect on us, such as the pandemic. Or something intense slowly gives way to change. But it can also mean the riverbankschange and the water overflowsas a result, like this film, which led us to new interpretations of disasters.<\/span><\/p>\n

The third film was <\/span>Anak Merak<\/span><\/i> (literal translation: <\/span>Children of Merak<\/span><\/i>), by <\/span>Saleksa Srengenge<\/b>. It showed the presence of cameras around us. It captured a child getting ready for school, then captured their activities. At school, the kids got to know the camera by playing with it. The filmmaker asked them to share their experience with films, some answered quickly, some were shy, and the rest were quiet. The children were offered a chance to make up stories for a film. Afterwards, the film itself was led by the school kids, they held the camera, they acted and so forth. This reminded me of the film <\/span>Jagal<\/span><\/i> (official English title: <\/span>The Act of Killing<\/span><\/i>)<\/span> by <\/span>Joshua Oppenheimer<\/b>, with scenes of a film made within a film.<\/span><\/p>\n

Diary of Cattle<\/span><\/i>, by <\/span>Lidia Afrilita<\/b> and <\/span>David Darmadi<\/b>, was the fourth film in this curatorial. It captured the activities in a landfill in the city of Padang. I have been quite familiar with this site before, since a friend studied it in their thesis. This landfill is close to the Gubuak Kopi base, a community where I am active in. In said landfill, the cattle came out to eat or play. During the film, we were introduced to the \u201crecycling\u201d ecosystem or a cycle with never-ending loops.<\/span><\/p>\n

These films are currently available to watch on the <\/span>Festival ARKIPEL<\/span><\/a> website until December 11th, 2021.<\/span><\/p>\n

 <\/p>\n

English translation by Gladyza Vanska<\/span><\/i>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11229,11231,11232,11230″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

ARKIPEL presented a number of film curations, one of which was the Candrawala program, in which four films were showed: Katarsis Yang Tak Kunjung Selesai (2020), Di Pinggir Kali Citarum (2019), Anak Merak (2020), and Diary of Cattle (2019).<\/p>\n","protected":false},"author":157,"featured_media":11232,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"[FESTIVAL STORIES] This film captured how a landscape changes. In the tradition of Minang people, there is a saying, \u201cSakali aia gadang, sakali tapian barubah\u201d. Read more in Biahlil Badri's coverage.","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,535,343,384,1,385,344],"tags":[552,573,303,586,587,590,588],"class_list":["post-11222","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arkipel-2021-twilight-zone","category-event-coverage","category-festival-program","category-festival-stories","category-festival-updates","category-film-screening-reviews","category-international-competition-program","tag-552","tag-ali-satri-efendi","tag-candrawala","tag-david-darmadi","tag-lidia-afrilita","tag-riski-rianda","tag-saleksa-srengenge"],"jetpack_publicize_connections":[],"yoast_head":"\nCandrawala: To Witness a Changing Landscape and Frame It — ARKIPEL<\/title>\n<meta name=\"description\" content=\"ARKIPEL presented a number of film curations, one of which was the Candrawala program, in which four films were showed: Katarsis Yang Tak Kunjung Selesai (2020), Di Pinggir Kali Citarum (2019), Anak Merak (2020), and Diary of Cattle (2019).\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/to-witness-a-changing-landscape-and-frame-it\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Candrawala: To Witness a Changing Landscape and Frame It — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"ARKIPEL presented a number of film curations, one of which was the Candrawala program, in which four films were showed: Katarsis Yang Tak Kunjung Selesai (2020), Di Pinggir Kali Citarum (2019), Anak Merak (2020), and Diary of Cattle (2019).\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/to-witness-a-changing-landscape-and-frame-it\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:published_time\" content=\"2021-12-07T13:42:02+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/arkipel.org\/wp-content\/uploads\/2021\/12\/2_anak-merak.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"720\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Biahlil Badri\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Biahlil Badri\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/to-witness-a-changing-landscape-and-frame-it\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/to-witness-a-changing-landscape-and-frame-it\/\"},\"author\":{\"name\":\"Biahlil Badri\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/da36c6f112233203d3b6cbedc0c59c69\"},\"headline\":\"Candrawala: To Witness a Changing Landscape and Frame It\",\"datePublished\":\"2021-12-07T13:42:02+00:00\",\"dateModified\":\"2021-12-07T13:42:02+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/to-witness-a-changing-landscape-and-frame-it\/\"},\"wordCount\":1186,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/to-witness-a-changing-landscape-and-frame-it\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/12\/2_anak-merak.png?fit=1280%2C720&ssl=1\",\"keywords\":[\"2021\",\"Ali Satri Efendi\",\"Candrawala\",\"david darmadi\",\"lidia afrilita\",\"riski rianda\",\"saleksa srengenge\"],\"articleSection\":[\"ARKIPEL 2021 - 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Biahlil Badri, aktif berkegiatan di Gubuak Kopi. Ia merupakan salah satu pendiri Rumah Tamera \u2013 Solok Creative Hub, sebuah ruang kolaborasi seniman dan pegiat kreatif muda Solok dan Sumatera Barat. Sekarang aktif mengelola akun @solokmilikwarga sebuah metode pengarsipan lokal Solok melalui Instagram. Pada awal 2020 mendirikan band PAPAN IKLAN. Founder kik_Batuang sebuah metode pengarsipan lokal Gantuang Ciri berbasis media Instagram. Juga aktif menulis dengan ketertarikan terhadap isu-isu budaya, sejarah, dan lingkungan. Menyenangi dapur dan masak-masaknya. M. Biahlil Badri is active in Gubuak Kopi. He is one of the founders of Rumah Tamera \u2013 Solok Creative Hub, a collaborative space for young artists and creative actors in Solok and West Sumatera. He currently organizes @solokmilikwarga Instagram account, a local archiving method of Solok through Instagram. In early 2020, he founded a band, PAPAN IKLAN. 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