{"id":11444,"date":"2022-11-22T18:54:08","date_gmt":"2022-11-22T11:54:08","guid":{"rendered":"https:\/\/arkipel.org\/?p=11444"},"modified":"2022-12-01T04:19:07","modified_gmt":"2022-11-30T21:19:07","slug":"catch-22-spesial-presentation-1","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-spesial-presentation-1\/","title":{"rendered":"Catch 22 – Special Presentation 1"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669129590292{margin-bottom: 0px !important;}”]\n

Memikirkan Kembali Risiko dari Arsip Imperial
\n<\/b><\/strong>Rethinking the Risk of Imperial Archive<\/b><\/em><\/span><\/h1>\n

Host <\/em>Manshur Zikri<\/b><\/strong><\/p>\n

Kamis, 1 Des 2022 \u2013 16:00<\/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_1669843140895{margin-bottom: 0px !important;}”]Kuratorial ini menyajikan dua filem yang saling berkaitan, baik dari segi polemik yang dimunculkannya maupun dari segi ketertautan latar sejarah dan sumber material yang digunakannya. Kedua filem tersebut secara naratif sama-sama membawa kita kembali ke suatu ekspedisi audiovisual tentang sebuah kelompok masyarakat di Lembah Baliem, Papua masa lampau, adalah <\/span>Dead Birds<\/span><\/i> (1963) karya Robert Gardner dan <\/span>Expedition Content<\/span><\/i> (2020) karya Ernst Karel dan Veronika Kusumaryati.<\/span><\/p>\n

Filem pertama, <\/span>Dead Birds,<\/span><\/i> bercerita tentang kehidupan Weyak dan kelompoknya yang menjalani hari-hari dengan bertani, ritual, dan perang. Secara umum, filem dokumenter ini dianggap penting dari segi estetika, posisi kultural, maupun latar sejarah oleh sejumlah kalangan. Filem ini juga dipandang sebagai kanon di ranah disiplin etnografi dan antropologi visual, khususnya yang menempatkan audiovisual sebagai teknologi dan metode riset utama. Akan tetapi, tidak sedikit pula yang mengkritik filem ini karena suatu alasan: cara pandang kolonialnya dalam mengkonstruksi pengertian kita tentang masyarakat Suku Hubula\u2014suku bangsa yang mendiami kawasan Lembah Baliem\u2014sebagai Yang Liyan.<\/span><\/p>\n

Secara substansial, diperkuat oleh motif delusional Gardner yang ingin \u201cmenyelamatkan\u201d budaya Hubula\u00b9<\/span>, <\/span>Dead Birds <\/span><\/i>menunjukkan interpretasi tentang inferioritas, brutalitas, dan primitivitas masyarakat yang menjadi subjek dokumenternya. Motif saintifiknya, bagaimanapun, menegaskan modus yang memproblematisasi Hubula sebagai \u201cfenomena yang mesti dijaga\u201d dan seakan menawarkan antropologi visual sebagai \u201csolusi\u201d. Dalam konteks itu, filem ini agaknya memicu dampak negatif terhadap Suku Hubula.<\/span><\/p>\n

Filem kedua, <\/span>Expedition Content,<\/span><\/i> adalah dokumenter berupa komposisi sonik hasil pilahan dari arsip rekaman audio sepanjang 37 jam yang diambil Michael C. Rockefeller pada lokasi dan waktu yang sama dengan pembuatan filem <\/span>Dead Birds<\/span><\/i>, yaitu tepatnya tahun 1961. Faktanya, arsip audio ini memang merupakan bagian dari Harvard Peabody Expedition to Netherlands New Guinea, proyek ekspedisi yang kala itu diorganisir khusus untuk memproduksi filem <\/span>Dead Birds<\/span><\/i>. Rockefeller bertugas merekam dan mengumpulkan bunyi-bunyi peristiwa setempat untuk mendukung penelitian antropologis yang dilakukan oleh tim ekspedisi yang dipimpin Robert Gardner tersebut.<\/span><\/p>\n

Visual filem <\/span>Expedition Content <\/span><\/i>sendiri, sebagian besar, hanyalah latar hitam. Selebihnya: sejumlah teks muncul di menit-menit tertentu untuk memandu plot ataupun berfungsi sebagai <\/span>subtitle<\/span><\/i>. Selain itu, ada satu <\/span>scene<\/span><\/i> di menit 50-an yang menampilkan <\/span>footage<\/span><\/i> kegiatan ritual di dalam sebuah gua kelelawar.\u00a0<\/span><\/p>\n

Secara garis besar, filem <\/span>Expedition Content<\/span><\/i> dikonstruksi sebagai dokumenter eksperimental mengenai faktualitas-faktualitas yang tak muncul dalam <\/span>Dead Birds<\/span><\/i>. Ia menjadi semacam perluasan sonik-sinematik dari semesta Suku Hubula. Filem ini menawarkan imajinasi baru kepada penonton melalui arsip lama yang\u2014berbeda dengan <\/span>Dead Birds\u2014<\/span><\/i>justru turut memposisikan orang-orang di balik proyek yang dipimpin Gardner (termasuk Rockefeller dan Gardner sendiri) sebagai bagian dari protagonis cerita.\u00a0<\/span><\/p>\n

Gagasan-gagasan yang seturut dengan konsep <\/span>Catch-22<\/span><\/i> barangkali tidak seketika akan kita temukan pada masing-masing filem. Akan tetapi, karena kita mencoba menayangkan keduanya dalam satu tajuk kuratorial yang bervisi pada pengembangan cara berpikir dan diskusi mengenai kritik terhadap modus-modus pengungkapan dari arsip-arsip imperial, maka hubungan antara kedua filem tersebut akan merangsang sebuah perenungan paling pokok: pembangunan kritik institusional terhadap proyek kolonial melalui penghadiran kembali penggalan-penggalan arsipnya, memuat risiko pemeranan kembali proyek kolonial itu sendiri\u00b2.<\/span> Jika memang hanya itu satu-satunya cara kritik dekolonial atas rezim arsip, artinya kita tengah menghadapi dilema <\/span>Catch-22<\/span><\/i>.\u00a0<\/span><\/p>\n

Namun, kuratorial ini bukan diniatkan sebagai suatu penghakiman atas posisi ideologis dari kedua filem yang, jika dihadap-hadapkan, memang mempunyai hubungan yang kritikal. Satu alasan yang tidak boleh dikesampingkan adalah, dalam rangka membuka konteks sejarah dari sinema etnografi dan perkembangan eksperimentatif antropologi visual, kita wajib menyertakan <\/span>Dead Birds<\/span><\/i>, filem yang lebih dulu ada dan menjadi referensi sekaligus sasaran bagi pengkritiknya, yaitu <\/span>Expedition Content<\/span><\/i>. Dan kuratorial ini justru hendak mengetengahkan tema terkait risiko yang disebut di atas sebagai pintu untuk memasuki perbincangan yang lebih dalam dan khusus: bagaimana, di satu sisi, sinema dapat mengemban risiko sebagai alat kekerasan epistemologis, tetapi di sisi yang lain juga dapat menjadi sarana kritik dan tandingan terhadap wacana kekerasan yang menjadi konsekuensi dari penggunaan sinema dalam kepentingan dan ruang lingkup ideologi tertentu.<\/span><\/p>\n

Lagipula, dari segi pemahaman ulang terhadap medium, hubungan kedua karya ini bagaimanapun juga menciptakan suatu kritisisme dekonstruksional mengenai ontologi sinema: selain apa yang tampak tatkala mata menonton layar, yang disebut sinema sejatinya adalah juga hal-hal yang ada dan dapat diimajinasikan sebelum dan sesudah kamera merekam peristiwa; serta sebelum dan sesudah layar menampilkan representasi peristiwa yang dihasilkan kamera itu.<\/span><\/p>\n

Namun, apakah demikian halnya dengan apa-apa yang berada di luar cakupan bingkai filem itu sendiri? Jika sinema merupakan suatu keterhubungan yang sama rata dan bersifat siklus dari semua ini\u2014peristiwa, interpretasi, imajinasi, merekam, rekaman, tontonan, menonton, mencerap, cerapan, kesan, lalu kembali ke interpretasi, dan lantas ke peristiwa lagi\u2014bagaimana kemudian kita harus menyikapi sebuah filem berbasis arsip-arsip imperial yang tengah berbicara kepada konteks situasional dan kontemporernya hari ini, ketika beragam keadaan merupakan warisan sejarah kelam kolonial yang di dalamnya subjek-subjek masa kini juga menjadi ahli waris kekerasan dari rezim arsip yang ada? *<\/span><\/p>\n

1. V. Kusumaryati dan E. Karel, <\/span>ibid., hal. 17. <\/span><\/em><\/h6>\n
2. Risiko ini juga sebagaimana disadari dan diakui oleh sutradara Expedition Content. Lihat Veronika Kusumaryati dan Ernst Karel, “Expedition Content and the Harvard Peabody Expedition to Netherlands New Guinea, 1961”, MAST – The Journal of Media Art Study and Theory, Volume 2, Issue 2, 2021, hal. 23.<\/span><\/em><\/h6>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669123203946{margin-bottom: 0px !important;}”]This curatorial presents two films that are related to each other, both in terms of the polemic it raises and in terms of the historical background and material sources it uses. The two films narratively take us back to an audiovisual expedition about a community group in the Baliem Valley, Papua in the past, are <\/span>Dead Birds <\/span><\/i>(1963) by Robert Gardner and <\/span>Expedition Content <\/span><\/i>(2020) by Ernst Karel and Veronika Kusumaryati.<\/span><\/p>\n

The first film, <\/span>Dead Birds, <\/span><\/i>tells the story of the lives of Weyak and his group who live their days with farming, rituals, and war. In general, some circles consider this documentary film important in terms of its aesthetic, cultural position, and historical background. This film is also seen as a canon in the field of ethnography and visual anthropology, especially by those that place audiovisual as the main technology and research method. However, some criticize this film for one reason: its colonial perspective in constructing our understanding of the Hubula people – an ethnic group that inhabits the Baliem Valley region – as the Others.<\/span><\/p>\n

Substantially, reinforced by Gardner’s delusional motive of wanting to \u201csave\u201d Hubula culture\u00b9<\/span>, <\/span>Dead Birds <\/span><\/i>shows an interpretation of the inferiority, brutality, and primitiveness of the society that is the subject of his documentary. The scientific motive, however, emphasizes the problematic mode of Hubula as a “phenomenon that must be taken care of” and seems to offer visual anthropology as a “solution”. In that context, this film seems to have a negative impact on the Hubula Tribe.<\/span><\/p>\n

The second film, <\/span>Expedition Content, <\/span><\/i>is a documentary in the form of a sonic composition as a result of processing from 37 hours of audio recording archive taken by Michael C. Rockefeller at the same location and time as the filming of <\/span>Dead Birds<\/span><\/i>, namely in 1961. This audio archive is a part of the Harvard Peabody Expedition to Netherlands New Guinea, an expedition project that at that time was specially organized to produce the film <\/span>Dead Birds<\/span><\/i>. Rockefeller was in charge of recording and collecting sounds of local events to support anthropological research conducted by the expedition team led by Robert Gardner.<\/span><\/p>\n

Visuals in the <\/span>Expedition Content film <\/span><\/i>itself are, for the most part, just a black background, with some texts appearing at certain minutes to guide the plot or function as subtitles. Apart from that, one scene around minute 50 shows footage<\/span> of ritual activities in a bat cave.<\/span><\/p>\n

Broadly speaking, the film <\/span>Expedition Content <\/span><\/i>is constructed as an experimental documentary about facts that do not appear in <\/span>Dead Birds<\/span><\/i>. It becomes a sort of sonic-cinematic expansion of the Hubula Tribe universe. This film offers a new imagination to the audience through old archives which\u2014unlike <\/span>Dead Birds <\/span><\/i>\u2014helped position the people behind the project led by Gardner (including Rockefeller and Gardner himself) as part of the protagonists of the story.<\/span><\/p>\n

We may not directly find ideas that are in line with the <\/span>Catch-22 concept <\/span><\/i>in each film. However, since we are trying to present both of them in a curatorial to envision a development in ways of thinking and discussing criticisms towards the modes of disclosure from imperial archives, the relationship between the two films will stimulate a most basic contemplation: constructing an institutional critique towards the colonial project by redisplaying fragments of its archives risks reenacting the project itself\u00b2.<\/span> If indeed that is the only way to criticize the decolonial archive regime, then we are facing a catch-22<\/span> dilemma.<\/span><\/p>\n

This curatorial is not intended as a judgment on the ideological positions of the two films which, if confronted, do have such a critical relationship. One reason that cannot be ruled out is that to open up the historical context of ethnographic cinema and the experimental development of visual anthropology, we must include <\/span>Dead Birds<\/span><\/i>, a film that existed earlier and became a reference as well as a target for its critic, <\/span>Expedition Content<\/span><\/i>. However, this curatorial aims to highlight the risk-related theme mentioned above as a door to enter deeper and specific conversations: on the one hand, cinema can carry risks as a tool of epistemological violence; but also on the other hand, it can be a means of criticism and a counterpoint to discourses of violence which are consequences of the use of cinema in the interests and scope of certain ideologies.<\/span><\/p>\n

Moreover, from the perspective of re-understanding the medium, the relationship between these two works nevertheless creates a deconstructional criticism of the ontology of cinema: apart from what is visible when the eye watches the screen, true cinema are also things that exist and can be imagined before and after the camera records the event; and before and after the screen projects the representation of the event recorded by the camera.<\/span><\/p>\n

But, is that the case with anything outside the scope of the film frame itself? If cinema is an equal and cyclical connection of all these things\u00a0 \u2014 events, their interpretations, imagination, recording, the record itself, viewing, watching, perceiving, perception, impression, then returning to interpretation, and then to the event again \u2014 how then should we address a film based on imperial archives, speaking to its situational and contemporary context today, when various circumstances have become a part of the dark colonial legacy, in which its actual subjects have inherited the violence of the existing regime of archive? *<\/span><\/p>\n

1. V. Kusumaryati and E. Karel, <\/span>ibid.<\/span>, Thing. 17.<\/span><\/em><\/h6>\n
2. This risk is also realized and acknowledged by the director of <\/span>Expedition Content<\/span>. See Veronika Kusumaryati and Ernst Karel, “Expedition Content and the Harvard Peabody Expedition to Netherlands New Guinea, 1961”, <\/span>MAST – The Journal of Media Art Study and Theory<\/span>, Volume 2, Issue 2, 2021, p. 23.<\/span><\/em><\/h6>\n[\/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=”11484″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669130126525{margin-bottom: 0px !important;}”]\n

Dead Birds<\/i><\/b><\/h2>\n

Filmmaker <\/em>Robert Gardner<\/strong>
\n<\/span>International Title<\/em> Dead Birds<\/i><\/b>
\n<\/strong>Country of Production<\/em> USA
\n<\/strong>Language<\/em> English
\n<\/strong>Subtitle<\/em> \u00a0–<\/strong><\/p>\n

85 min, color, 1964<\/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_1669130183731{margin-bottom: 0px !important;}”]Berupa dokumenter etnografis ekspositori dengan struktur naratif nonlinier yang dipandu sulih suara sang maha tahu, <\/span>Dead Birds<\/span><\/i> menjejaki kisah hidup Weyak, si petani dan pejuang, dan Pua, si penggembala muda. Gardner secara sinematik menafsir sistem bertahan hidup sekelompok suku yang ada di kawasan Lembah Baliem dengan menarik fenomena “burung mati”, baik sebagai istilah referensial (mengacu pada objek budaya) maupun alegoris (tentang falsafah hidup) terkait kepercayaan masyarakat Suku Dani. Sebagai tafsiran yang tentunya mewakili ideologi sebuah bangsa yang mengganggap dirinya adidaya, serta cara pandangnya terhadap apa yang mereka anggap sang lian, film ini mengarahkan kita untuk melihat kehidupan orang-orang Dani kala itu sebagai bagian dari budaya Neolithic klasik; mereka dikisahkan sebagai komunitas yang mendedikasikan hidupnya pada sebuah sistem peperangan antarsuku.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669130213160{margin-bottom: 0px !important;}”]An expository ethnographic documentary with a nonlinear narrative structure guided by the all-knowing voiceover, Dead Birds <\/i>traces the life story of Weyak, a farmer and warrior, and Pua, the young shepherd. Gardner cinematically interprets the survival system of a group of tribes in Baliem Valley by drawing on the phenomenon of \u201cdead birds\u201d, both as a referential (referring to cultural objects) and allegorical term (regarding their philosophy of life) related to the beliefs of the Dani people. As an interpretation that certainly represents the ideology of a nation that considers itself to be the superpower, as well as their perspective on what they consider as the other, this film directs us to see the life of Dani people at the time as a part of the classic Neolithic culture; they are depicted as a community that dedicates their life to a system of inter-tribal warfare. <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11487″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669130281779{margin-bottom: 0px !important;}”]Robert Gardner (1925-2014) adalah Direktur Pusat Studi Film di Universitas Harvard dari tahun 1957 hingga 1997. Ia dikenal dengan kiprahnya di bidang film non-fiksi. Beberapa filmnya yang paling terkenal termasuk <\/span>Dead Birds <\/span><\/i>(1964); <\/span>Rivers of Sand<\/span><\/i> (1974); dan <\/span>Forest of Bliss <\/span><\/i>(1985). Film Gardner telah menerima banyak penghargaan, termasuk Penghargaan Robert J. Flaherty untuk film non fiksi terbaik (dua kali); dan Golden Lion untuk Film Terbaik di Festival Film Florence (tiga kali). Robert Gardner menerima gelar Bachelor of Arts dan Master of Arts dari Harvard University. Dia adalah anggota dari American Academy of Arts and Sciences dan The Academy of Motion Picture Arts and Sciences.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669130309137{margin-bottom: 0px !important;}”]Robert Gardner (1925-2014) was the Director of the Film Study Center at Harvard University from 1957 to 1997. He is known for his work in the field of non-fiction film. Some of his most prominent films include <\/span>Dead Birds <\/span><\/i>(1964); <\/span>Rivers of Sand<\/span><\/i> (1974); and <\/span>Forest of Bliss <\/span><\/i>(1985). Gardner\u2019s films have received numerous awards, including the Robert J. Flaherty Award for best nonfiction film (twice); and the Golden Lion for Best Film at the Florence Film Festival (three times). Robert Gardner received Bachelor of Arts and Master of Arts degrees from Harvard University. He is a Fellow of the American Academy of Arts and Sciences and the The Academy of Motion Picture Arts and Sciences.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1669130676352-7831d6f5-34af”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11490″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669130846767{margin-bottom: 0px !important;}”]\n

Expedition Content<\/i><\/b><\/h2>\n

Filmmaker Ernst Karel, Veronika Kusumaryati<\/strong><\/em>
\n<\/span>International Title<\/em> Expedition Content<\/i><\/b>
\n<\/strong>Country of Production<\/em> USA
\n<\/strong>Language<\/em> English, Hubula
\n<\/strong>Subtitle<\/em> English<\/strong><\/p>\n

78 min, stereo, HD, color, 2020<\/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_1669130874770{margin-bottom: 0px !important;}”]Expedition Content<\/span><\/i> adalah dokumenter berupa komposisi sonik hasil pilahan dari arsip rekaman audio sepanjang 37 jam yang diambil Michael C. Rockefeller pada lokasi dan waktu yang sama dengan pembuatan filem <\/span>Dead Birds<\/span><\/i>, yaitu tepatnya tahun 1961. Visual filem <\/span>Expedition Content <\/span><\/i>sendiri, sebagian besar, hanyalah latar hitam. Selebihnya: sejumlah teks muncul di menit-menit tertentu untuk memandu plot ataupun berfungsi sebagai <\/span>subtitle<\/span><\/i>. Selain itu, ada satu <\/span>scene<\/span><\/i> di menit 50-an yang menampilkan <\/span>footage<\/span><\/i> kegiatan ritual di dalam sebuah gua kelelawar. Filem ini menawarkan imajinasi baru kepada penonton melalui arsip lama yang\u2014berbeda dengan <\/span>Dead Birds<\/span><\/i> (referensi sekaligus sasaran kritik filem ini)\u2014justru turut memposisikan orang-orang di balik proyek yang dipimpin Gardner (termasuk Rockefeller dan Gardner sendiri) sebagai bagian dari protagonis cerita.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669130895858{margin-bottom: 0px !important;}”]Expedition Content <\/span><\/i>is a documentary in the form of a sonic composition as a result of processing from 37 hours of audio recording archive taken by Michael C. Rockefeller at the same location and time as the filming of <\/span>Dead Birds<\/span><\/i>, namely in 1961. Visuals in the <\/span>Expedition Content film <\/span><\/i>itself are, for the most part, just a black background, with some texts appearing at certain minutes to guide the plot or function as subtitles. Apart from that, one scene around minute 50 shows footage<\/span> of ritual activities in a bat cave. This film offers a new imagination to the audience through old archives which\u2014unlike <\/span>Dead Birds <\/span><\/i>\u2014helped position the people behind the project led by Gardner (including Rockefeller and Gardner himself) as part of the protagonists of the story.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669130676676-5de03466-a929″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11488″][vc_single_image image=”11489″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669130932877{margin-bottom: 0px !important;}”]Ernst Karel bekerja dengan medium suara, termasuk musik elektroakustik; karya suara nonfiksi eksperimental untuk instalasi dan pertunjukan multikanal; kolaborasi gambar-suara; dan suara pascaproduksi untuk film nonfiksi. Akhir-akhir ini, dia berkutat dengan praktik merekam suara di suatu lokasi dan membuat komposisi dari rekaman tersebut; dan proyek terbarunya juga mengusung arsip suara. Di Sensory Ethnography Lab di Universitas Harvard, dia berkolaborasi menggunakan suara untuk sejumlah filem dan mengembangkan serta mengajarkan kursus berbasis praktik dalam ‘etnografi sonik’.<\/span>[\/vc_column_text][vc_column_text css=”.vc_custom_1669131203406{margin-bottom: 0px !important;}”]Veronika Kusumaryati adalah seorang antropolog politik dan media yang bekerja di Papua Barat, sebuah istilah yang merujuk pada provinsi Papua dan Papua Barat di Indonesia. Keilmuannya terkait dengan teori dan historiografi kolonialisme, dekolonisasi, dan pascakolonialitas. Dia memegang gelar doktor dari departemen antropologi di Harvard dengan bidang sekunder di Film dan Studi Visual. Dia adalah afiliasi dari Sensory Ethnography Lab dan saat ini menjadi <\/span>postdoctoral fellow<\/span><\/i> di Universitas Georgetown.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669130954991{margin-bottom: 0px !important;}”]Ernst Karel works with sound, including electroacoustic music, experimental nonfiction sound works for multichannel installation and performance, image-sound collaboration, and post-production sound for nonfiction film. Lately, he works around the practice of actuality\/location recording and composing with those recordings, with recent projects also taking up archival audio. At the Sensory Ethnography Lab at Harvard University, he collaborated on sound for a number of films and developed and taught a practice-based course in ‘sonic ethnography.\u2019<\/span>[\/vc_column_text][vc_column_text css=”.vc_custom_1669131228398{margin-bottom: 0px !important;}”]Veronika Kusumaryati is a political and media anthropologist working in West Papua, a self-identifying term referring to Papua and West Papua provinces of Indonesia. Her scholarship engages with the theories and historiography of colonialism, decolonization, and postcoloniality. She holds a doctoral degree from the department of anthropology at Harvard with a secondary field in Film and Visual Studies. She is an affiliate of the Sensory Ethnography Lab and currently a postdoctoral fellow at Georgetown University.<\/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 Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8119″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669164234975{margin-bottom: 0px !important;}”]Manshur Zikri<\/b>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669164269440{margin-bottom: 0px !important;}”]Manshur Zikri<\/b>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

A subtle disruption to the system arises from the daily lives of people on the “periphery”, as reflected in two curated films here. Even though they do not fully agitate the dominating authorities, the “divergent model” of work, and the behaviour or response that belong to the marginalised people (outside the system) keep alive the criticism of social and economic determinants. That is perhaps the one of bromocorah’s existential trait in the society.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[618,344],"tags":[621,620,280],"jetpack_publicize_connections":[],"yoast_head":"\nCatch 22 - Special Presentation 1 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Referring to the previous Catch-22 illustration about the cockpit, this curatorial invites you to question again, what if those two visual modes mess up our perception of cinema and today's conflicts? 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