{"id":11447,"date":"2022-11-22T19:03:25","date_gmt":"2022-11-22T12:03:25","guid":{"rendered":"https:\/\/arkipel.org\/?p=11447"},"modified":"2022-11-23T13:26:02","modified_gmt":"2022-11-23T06:26:02","slug":"catch-22-spesial-presentation-2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-spesial-presentation-2\/","title":{"rendered":"Catch 22 – Special Presentation 2"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669139066601{margin-bottom: 0px !important;}”]\n

Mandala<\/b><\/strong><\/h1>\n

Host<\/em> Luthfan Nur Rochman<\/strong><\/p>\n

Kamis, 1 Des 2022 \u2013 19:00<\/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_1669138211943{margin-bottom: 0px !important;}”]Mukadimah<\/strong>
\nMandala, berasal dari bahasa Sansekerta yang berarti \u2018lingkaran\u2019, menjadi basis konseptual dalam mengkonfigurasi gagasan, spiritualisme, gestur, ruang bahkan teritori dalam sejarah kultural India. Hal ini terdiseminasi juga seiring pertukaran pemikiran pada era kosmopolitanisme awal di Asia awal abad Masehi, termasuk di beberapa bagian kepulauan Nusantara. Mandala diadaptasi menjadi sebuah cara berpikir dalam menata kosmologi orang-orang Nusantara yang tumbuh dengan cakrawala pegunungan di cincin api tropis. Ia turut menentukan perkembangan spiritual, sosial dan ekspresi kultural warga nusantara yang akomodatif terhadap pemikiran baru tersebut, termasuk juga unit politis yang mulai
\nikut dalam arus kosmopolitanisme saat itu. Dalam sejarah Asia Tenggara, mandala diteorikan sebagai kawasan yang menghimpun beberapa unit politik dalam ikatan vasal maupun pertukaran hadiah\/upeti. Di India, pengertian yang sama dibingkai dalam konsep
\nrajamandala.<\/p>\n

Sifat lingkaran dari mandala juga mengondisikan ketertutupannya. Aliran-aliran esoterisme dalam agama Hindu-Buddha seperti tantra mengajarkan pengetahuan kompleks keagamaan yang hanya bisa diakses oleh orang-orang dengan menjalani metode yang tidak bisa didapatkan dalam keseharian. Selain menjadi metode dalam semedi ia menjadi konsep perguruan yang menampung pelajar atau cantrik yang hidup berkelompok dan mendapatkan pengajaran langsung dari rsi atau mahagurunya. Mandala-mandala berdiri sendiri sebagai institusi pendidikan, mengambil jarak dari pemerintahan yang sekuler. Dalam sejarah Jawa, ia tersebar di gunung-gunung seperti Penanggungan, Merapi-Merbabu, yang masih bercokol di senjakala pengaruh Hindu-Buddha ketika kekuasaan Majapahit memudar. Gejala yang menurut para ahli adalah gerak kembali ke kepercayaan leluhur yang memuliakan gunung. Esoterisme dan gerak isolasi ini turut menjadi sebuah metode preservasi budaya yang berperan besar dalam adaptasi kebudayaan Nusantara terhadap kosmopolitanisme gagasan di masa selanjutnya. Mandala-mandala tersebut menjadi scriptoria yang mewariskan tulisan-tulisan masa terdahulu ke masyarakat yang mulai berganti kepercayaan dan masuk dalam arus Modernisme. Bentuk institusi inilah yang
\ndimanfaatkan para mubaligh Timur Dekat untuk menjadi titik berangkat penyebaran agama
\nIslam di Nusantara dengan nama Pesantren.<\/p>\n

Gerak mandala dari sebuah bentuk menjadi konsep lalu praktik dan kebertahanannya sebagai institusi menjadi sebuah pintu masuk yang menarik untuk melihat Catch-22 dalam kaitannya dengan persepsi bentuk. Catch-22 dapat kita cerap sebagai bentuk lingkaran sendiri yang mencakup situasi paradoksal tanpa jalan keluar. Ia dikaitkan dengan struktur birokrasi dan argumen yang disematkan dalam argumen yang membentuk aturan main dunia saat ini. Oleh karena itu, pemilihan filem Pesantren yang disutradarai oleh Shalahuddin Siregar yang menjelajahi premis lain dari sebuah konstruksi arus utama dari sebuah fenomena global dapat menjadi tawaran dalam menjelajahi lingkaran-lingkaran itu.<\/p>\n

Rules of Engagement<\/strong>
\nPeristiwa 9\/11 memicu reaksi berantai yang mempengaruhi aturan main global dalam menjustifikasi persekusi pada Islam. Padahal pasca keterlibatan (dan keruntuhan) Khilafah Islam yang berlangsung sejak Muhammad saw., Kekaisaran Utsmaniyah, di Perang Dunia I, gerakan pembaharuan Islam menggunakan Islam sebagai salah satu metode gerakan anti-imperialisme. Kebangkitan nasionalisme di dunia bertautan dengan gerakan Islam yang mulai menyasar aspek sosial politik di masyarakatnya, tak terkecuali Hindia Belanda. Institusi Pesantren yang sejak abad 19 mulai melancarkan serangan semi-sporadis terhadap kolonial Belanda (Padri di Sumatera, Diponegoro di Jawa) ada di dalam gejolak ini. Mandala, atau kadewaguruan, atau vihara yang sejak dahulu adalah institusi independen dalam Kerajaan Hindu-Buddha paralel dengan pesantren yang merupakan antitesis terhadap kolonialisme yang memegang kuasa. Ia menampung para pelajar muda untuk belajar agama dan membentuk sebuah jalur edukasi untuk menggalang kekuatan berpusat pada kyai. Walaupun dipersepsi sebagai institusi pendidikan yang kolot dalam Polemik Kebudayaan oleh para pendukung sistem pendidikan modernis, nyatanya pesantren adalah basis penting dalam nation-building pada saat itu.<\/p>\n

Sejarah Indonesia mencatat beberapa kanon pembacaan etik dalam perkembangan Islam dan bagaimana tegangannya dengan masyarakat. Kita masih ingat kiprah Islamolog terkemuka kolonial, Snouck Hugronje membajak ikatan Islam dan adat, membukakan jalan bagi taktik kolonial menundukkan Aceh. Riset seminal Clifford Geertz membingkai masyarakat Jawa dalam trikotomi yang monumental Santri, Abangan dan Priayi, yang membaca bagaimana tegangan antara priayi dan abangan yang sinkretik dengan santri yang lebih fundamentalis adalah fenomena ulang alik kontestasi politik di Indonesia yang ada dalam arus perang dingin. Pada pembacaan keduanya, institusi pesantren menjadi salah satu muara yang penting dalam membaca kecenderungan gerak para santri dalam mempertahankan nilai dan tradisi yang menjadi kekuatannya. Realita lapangannya, pesantren memang menjadi sebuah institusi yang selalu disowani elit politik dalam memapankan kekuasaannya. Mandala yang perlu dirangkul oleh rajamandala di sepanjang zaman.<\/p>\n

Filem Pesantren menjadi sebuah tawaran penting dalam memeriksa institusi terpenting Islam di negara Muslim terbesar dunia di tengah stigmatisasi global atas Islam. Pasca-Bom Bali yang menempatkan Indonesia sebagai salah satu simpul dalam jaringan teroris global, pembedahan atas premis-premis yang berlaku dalam doktrin Islam dilakukan secara akademis maupun artistik. Shalahuddin Siregar melakukan seleksi penting dalam menavigasikan isu fundamentalisme langsung ke dapurnya. Pemilihan metode sinematiknya dapat diargumentasikan sebagai sebuah pendekatan yang jenial dalam memeriksa institusi tersebut.<\/p>\n

Gerak Siklikal Memeriksa Institusi<\/strong>
\nSejak filem Titicut Follies (1967) oleh Frederick Wiseman memprovokasi masyarakat atas bongkaran institusi mental di Amerika Serikat, sinema menemukan pendekatan terbarunya. Beberapa label disematkan pada gaya Wiseman seperti cin\u00e9ma v\u00e9rit\u00e9, sebuah istilah yang diberikan pada karya-karya Jean Rouch yang menyadarkan penonton akan konstruksi filem dokumenter. Lalu, direct cinema yang menganggap kamera Wiseman sebagai lalat yang hinggap, mengamati non-intervensi. Kendati demikian, Wiseman sendiri menolak label-label itu. Ia berargumen bahwa filem yang dibuatnya, walaupun ia tidak mengarahkan subjeknya, adalah hasil konstruksi. Ia memiliki ritme dan tempo tertentu yang terkonstruksi di kepala sineasnya dan dialognya dengan puluhan jam footage yang disusunnya. Filem-filem Wiseman selanjutnya adalah proyek pembongkaran institusi-institusi raksasa Amerika Serikat yang mengondisikan kepatuhan konservatif dan represi baik itu psikis ataupun tubuh tanpa narasi Tuhan yang mengkontekstualisasinya. Sinema Wiseman menjadi salah satu body of work terpenting dalam sinema dunia.<\/p>\n

Siregar dengan Pesantren, mengamini pendekatan tersebut. Dalam Pesantren, Siregar mencoba menjelajahi sebuah institusi, Pesantren Kebon Jambu Al-Islamiy Cirebon, dengan menjadi observator yang intens. Tidak ada tanya jawab tentang pengalaman atau esensi antara sineas di belakang kamera dengan subjeknya. Kamera secara organik masuk ke asrama, jemuran, masjid, dan kelas-kelas mengikuti para santri dari berbagai tingkatan menjalani kehidupan di ruang-ruang institusi tersebut.<\/p>\n

Selain ruang kelas, ruang kesenian dan masjid, Siregar menemukan latar jenial yang memang digunakan oleh Pesantren untuk memantik diskusi terkait praktik Islam kontemporer dan relasi santri dengan dunia luar. Jemuran, asrama dan kantin menjadi sebuah puisi dalam membicarakan kerinduan santri dan ekspektasi orangtua terhadap institusi tersebut, selain dijadikan kelas oleh salah satu pengajar. Rapat-rapat yang ditangkap oleh Siregar menjadi tawaran bagi penonton untuk mendiskusikan relevansi institusi pesantren dengan perkembangan teknologi dan kesadaran sosial. Bingkai- bingkainya menangkap dengan intim pembicaraan serius ini dalam jarak dekat, seakan kamera ikut menjadi santri atau bagian dari para asatidz (guru-guru) yang mendiskusikan langkah terbaik bagi pengajaran dan potensi para santri.<\/p>\n

Rangkaian peristiwa yang dijadikan simpul dramaturgi oleh Siregar: Kongres Ulama Perempuan Indonesia dan akhirussanah (perpisahan akhir tahun ajaran) dengan jenial menjadi sebuah upaya dalam mempertemukan lingkaran-lingkaran konsep untuk menyibak praktik Pesantren kontemporer. Progresivitas nilai-nilai dapat ditemukan dalam tafsir kontemporer para kyai Pesantren Kebon Jambu yang ditekankan pada para santri dan lewat pertemuan-pertemuan dengan dunia luar. Sekuen terjun ke masyarakat juga turut mengungkap kiprah historis Pesantren yang disokong dan balik menyokong masyarakat di sekitarnya. Panggung yang menampilkan kemampuan artistik (dan sosial) para santrinya dapat kita lihat sebagai katarsis untuk mencairkan wacana-wacana yang selama ini mengungkung Islam sebagai institusi yang kolot dan resisten terhadap progresivitas. Mandala ini menguji ulang premis premis di dalamnya dengan praktik yang langsung berhadapan dengan nilai yang mapan.<\/p>\n

Seleksi dan strategi artistik Siregar inilah yang coba ditawarkan dalam memeriksa ulang institusi historis dalam kehidupan masyarakat Indonesia yang merupakan negara Islam terbesar. Dari keintiman yang dibawakan oleh filem ini, kita mendapatkan gambaran wacana tanding yang ada di tengah stigma pada Islam di dunia pasca-9\/11 dan Arab Spring. Usaha Shalahuddin Siregar dalam menempatkan Pesantren sebagai institusi merupakan salah satu upaya yang penting dalam sejarah sinema Indonesia yang luput membicarakan akar kultural kita dan kompleksitasnya kini serta mungkin studi akademik dan karya seni tentang bagaimana evolusi institusi besar ini berkontribusi dalam mempertemukan lingkaran-lingkaran fatalistik Catch-22 dan meramunya ulang menjadi bentuk yang baru dan cair tentunya.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669139027911{margin-bottom: 0px !important;}”]Preamble<\/strong>
\nMandala, derived from Sanskrit that means ‘circle’ has become the conceptual basis for configuring ideas, spiritualism, gestures, space and even territory in India\u2019s cultural history. This was also disseminated over time with the exchange of thoughts in the early cosmopolitanism era in Asia at the beginning of Anno Domini, including in several parts of the Indonesian archipelago. The Mandala was adapted into a way of thinking in organizing the cosmology of Indonesian people who grew up surrounded by a mountainous horizon in the tropical Ring of Fire. It also defined the development of the spiritual, social and cultural expressions of Indonesian people who were accommodative to this new thought, including the political units that began to take part in the stream of cosmopolitanism at that time. In the history of Southeast Asia, the mandala was theorized as a field that brought together several political units in vassalage ties and the exchange of gifts\/duties. In India, the same definition is framed in the concept of Rajamandala.<\/p>\n

The circular nature of the Mandala also conditions its enclosure. Esoteric schools of thought in Hinduism-Buddhism, such as tantra, teach complex religious knowledge that can only be accessed by people through methods that can\u2019t be obtained in mundane everyday life. In addition to being a method in meditation, it is also a collegial concept that accommodates students or cantrik who live in groups and receive direct instruction from their rsi<\/em> or mahaguru. The Mandalas stand alone as educational institutions, distancing themselves from secular government. In Javanese history, it was spread over mountains such as Penanggungan, Merapi-Merbabu, which were still entrenched in the twilight of Hindu-Buddhist influence when the reign of Majapahit faded. A symptom which according to experts is a return to ancestral beliefs that glorify mountains. Esotericism and this movement of isolation have also become a method of cultural preservation that plays a major role in adjusting Indonesian culture to the cosmopolitanism of ideas in the following period. These Mandalas became scriptorium which facilitated the passing-on of past writings to people who began to change their beliefs and enter the stream of modernism. It was this form of institution that was employed by Near Eastern preachers to become the starting point for the spread of Islam in the archipelago under the name \u2018pesantren\u2019.<\/p>\n

The Mandala\u2019s transformation from one form to a concept then its practice and survival as an institution is an interesting gateway to see Catch-22 in relation to the perception of form. We can perceive Catch-22 as a form of its own circle which includes paradoxical situations with a dead end. It is associated with bureaucratic structures and the arguments-within-arguments that shape the rules of game of the world today. Therefore, the selection of Pesantren directed by Shalahuddin Siregar that explores another premise of a mainstream construction of a global phenomenon can serve as a proposition in exploring these circles in question.<\/p>\n

Rules of Engagement<\/strong>
\nThe events of 9\/11 triggered a chain reaction that affected the global rules of the game in justifying the persecution of Islam. Whereas after the involvement (and collapse) of the Islamic Caliphate that had been going on since Muhammad (PBUH), the Ottoman Empire, in World War I, the Islamic revivalism used Islam as one of the methods of anti-imperialism movement. The rise of global nationalism\u00a0 is linked to the Islamic movement which began targeting the socio-political aspects of its society, including the Dutch East Indies. The institution of pesantren i.e Islamic boarding school which started carrying out semi-sporadic attacks on the Dutch colonists (Padri in Sumatra, Diponegoro in Java) since the 19th century was in this turmoil. Mandala, or kadewaguruan (monastery), or vihara which had long been an independent institution during the Hindu-Buddhist kingdom era is parallel to pesantren which is the antithesis of colonialism power. It accommodates young students to study religion and forms an educational pathway to consolidate strength centered on the kyai figure. Although perceived as an old-fashioned educational institution in the Cultural Polemic* by supporters of the modernist education system, in fact pesantren was an important basis for nation-building at that time.<\/p>\n

Indonesian history records several canons of ethical interpretation in the development of Islam and its tension with society. We still remember the work of the prominent colonial Islamologist Snouck Hugronje in hijacking the ties between Islam and customary tradition, paving the way for colonial tactics to subdue Aceh. Clifford Geertz\u2019s seminal research frames Javanese society in a monumental trichotomy of Santri, Abangan and Priayi, interpreting how the tension among syncretical priyayi and abangan with more fundamentalist santri is a phenomenon of political upheaval in Indonesia in the midst of the cold war. In his second interpretation, the institution of pesantren becomes one of the important estuaries in observing the tendency of the students i.e santri in maintaining the values and traditions that make up their strength. The reality on the ground is that pesantren has indeed become an institution that has always been supported by political elites in establishing their power. A Mandala that needs to be embraced by Rajamandala throughout the ages.<\/p>\n

Pesantren the film is an important proposition in examining the most important Islamic institutions in the world\u2019s largest Muslim country amidst the global stigmatization of Islam. After the Bali bombings that positioned Indonesia as one of the nodes in the global terrorist network, the analytical dissection of the prevailing premises of Islamic doctrine has been implemented both academically and artistically. Salahuddin Siregar made an important choice in navigating the issue of fundamentalism directly into its source. His choice of cinematic method might be argued as a genius approach in examining said institution.<\/p>\n

*Polemik Kebudayaan (The Cultural Polemic) is a widespread discourse among Indonesian cultural figures in the 1930s, contesting traditional and modern values in the beginning of the 20th century. The figures involved in the debate are Sultan Takdir Alisjahbana, Sanusi Pane, Purbatjaraka, Dr. Sutomo, Tjindarbumi, Adinegoro, Dr. M. Amir, and Ki Hajar Dewantara.<\/em><\/h6>\n

Cycling Through Institutional Checks and Balances<\/strong>
\nSince Titicut Follies (1967) a film by Frederick Wiseman provoked society over the dismantling of mental institutions in the United States, cinema has found a new approach. Several labels have been associated with Wiseman&#39;s style, such as cin\u00e9ma v\u00e9rit\u00e9, a term given to the works of Jean Rouch which awakens the audience to the construction of documentary films. Then, direct cinema which considers Wiseman\u2019s camera as a fly on the wall, a non-intervening observer. Nevertheless, Wiseman himself rejects these labels. He argues that the films he makes, even though he does not direct the subject, are the result of construction. He has a certain rhythm and tempo constructed in his film-making mind and his dialogues with dozens of hours of footage he has composed. Wiseman\u2019s subsequent films are a project to dismantle giant US institutions that shape conservative compliance and repression, whether psychological or physical, without God\u2019s narrative contextualizing it. Wiseman\u2019s cinema has become one of the most important bodies of work in world cinema.<\/p>\n

With Pesantren, Siregar is seconding the approach. In Pesantren, Siregar tries to explore an institution, Pesantren Kebon Jambu Al-Islamiy Cirebon, by becoming an intense observer. There is no dialogue about experience or essence between the filmmaker behind the camera and the subject. The camera organically enters the dormitory, clothesline, mosque, and classes following the students from various levels living their lives in the spaces of the institution.<\/p>\n

In addition to classrooms, art spaces and mosques, Siregar finds an ace background that was indeed used by pesantren to spark discussions regarding contemporary Islamic practices and the relations of santri with the outside world. The clothesline, dormitory and canteen become a poem in discussing the longing of santri and the expectations of parents for the institution, apart from being used as a classroom by one of the teachers. The meetings captured by Siregar serve as an invitation for the audience to discuss the relevance of pesantren to technological developments and social awareness. The frames intimately capture this serious conversation at close range, as if the camera is also becoming a santri or part of asatidz (teachers) who are discussing the best ways for teaching and the potential of santri.<\/p>\n

The series of events that Siregar turns into a dramaturgical knot: the Congress of Indonesian Women Ulama and Akhirussanah (farewell at the end of the school year) ingeniously become an attempt to bring together conceptual circles to uncover contemporary pesantren practices. Progressiveness of values can be found in the kyai\u2019s contemporary interpretations that are emphasized on the students and through meetings with the outside world. The plunging-into-community sequence also reveals the historical function of pesantren, supported by the community and supporting the community in return. We can see the stage showing santri\u2019s artistic (and social) abilities as a catharsis in diluting the discourses that have so far confined Islam as an institution that is old-fashioned and resistant to progress. This Mandala reexamines its premises with a practice that deals directly with established values.<\/p>\n

Siregar\u2019s artistic choice and strategy is the proposition in re-examining historical institutions in the life of Indonesian society, the largest Islamic country. From the intimacy transmitted by this film, we get a depiction of the counter-discourse that exists amidst the stigma of Islam in the post-9\/11 world and the Arab Spring. Shalahuddin Siregar\u2019s attempt to position pesantren as an institution is one of the most important efforts in the history of Indonesian cinema which overlooks the conversation about our cultural roots and their present complexity, and perhaps academic studies and works of art about how the evolution of this great institution contributes to bringing together fatalistic Catch-22 circles and blending it into a fluid new form, for sure.[\/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=”11500″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669182778793{margin-bottom: 0px !important;}”]\n

Pesantren<\/i><\/b><\/h2>\n

Filmmaker <\/em>Shalahuddin Siregar<\/strong>
\n<\/span>International Title<\/em> A Boarding School<\/i><\/b>
\n<\/strong>Country of Production<\/em> Indonesia, Japan, Qatar, Germany, South Africa
\n<\/strong>Language<\/em> Indonesian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

95 min, stereo, HD, color, 2019<\/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_1669139192475{margin-bottom: 0px !important;}”]Kebon Jambu Al Islamy Boarding School in Cirebon ditinggali oleh para santri dan <\/span>asatidz<\/span><\/i> yang memiliki aspirasinya sendiri-sendiri. Progresivitas tafsir atas dalil-dalil agama dan kepekaan terhadap perkembangan zaman dan masyarakat menjadi basis yang diajarkan pada santri untuk mempertajam kontribusi mereka. Dokumenter observasional ini mengajak kita untuk ikut berdiskusi dengan para santri di tengah stigma yang disematkan pada Islam hari ini.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669139259653{margin-bottom: 0px !important;}”]Kebon Jambu Al Islamy Boarding School in Cirebon is inhabited by santri (students) and <\/span>asatidz<\/span><\/i> (teachers) with their own aspirations. Progressive interpretation of the arguments of religion and sensitivity to the development of the times and society is the basis taught to students to sharpen their contributions. This observational documentary invites us to participate in a discussion with the students amidst the stigma attached to Islam today.<\/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=”11501″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669139439940{margin-bottom: 0px !important;}”]Shalahuddin Siregar belajar membuat film secara mandiri dengan menonton film dan mengikuti pelatihan membuat film berskala internasional, seperti Berlinale Talents di Berlin, Talents Tokyo, dan IDFA Academy di Amsterdam. Film dokumenter panjang pertamanya <\/span>Negeri di Bawah Kabut <\/span><\/i>telah diputar di berbagai festival film internasional. Film ini mendapatkan nominasi Film Dokumenter Panjang Terbaik di Asia Pacific Screen Awards 2012 dan memenangkan beberapa penghargaan seperti Special Jury Prize Dubai International Film Festival 2011. Tahun 2019, dia merilis dua film dokumenter panjang: <\/span>Lagu untuk Anakku<\/span><\/i>\u2014tayang perdana di DMZ International Documentary Film Festival di Korea Selatan, dan <\/span>Pesantren<\/span><\/i>\u2014tayang perdana di International Documentary Film Festival Amsterdam, sebuah ajang festival film dokumenter terbesar di dunia.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669139453833{margin-bottom: 0px !important;}”]Shalahuddin Siregar learned filmmaking independently through watching films and participating in international filmmaking training platforms, such as Berlinale Talents in Berlin, Talents Tokyo, and IDFA Academy in Amsterdam. His first feature documentary <\/span>Negeri di Bawah Kabut <\/span><\/i>has been screened in many international film festivals. This film was nominated for Best Feature Documentary in Asia Pacific Screen Awards 2012, and received many awards such as Special Jury Prize Dubai International Film Festival 2011. In 2019, he released two feature, <\/span>Lagu untuk Anakku<\/span><\/i>\u2013premiered in DMZ International Documentary Film Festival in South Korea, and <\/span>Pesantren (Boarding School)<\/span><\/i>\u2013premiered in International Documentary Film Festival Amsterdam, one of the biggest documentary film festivals in the world.<\/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=”11427″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669115120200{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/strong> (Jakarta, 19 Agustus 1993) adalah seorang peneliti, kurator dan pembuat film yang aktif menjadi anggota Milisifilem Collective, Forum Lenteng.<\/span><\/span> Dia lulus dari Program Arkeologi di Universitas Indonesia.<\/span><\/span> Ia sedang mengembangkan program Candikala di Forum Lenteng, yang mencoba mengontekstualisasikan warisan Hindu-Buddha di Indonesia melalui praktik seni rupa kontemporer.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669115079077{margin-bottom: 0px !important;}”]Luthfan Nur Rochman <\/strong>(Jakarta, 19 August 1993) is a researcher, curator and filmmaker who is an active member of the Milisifilem Collective, Forum Lenteng. He graduated from Archaeology Program in Universitas Indonesia. He is currently developing the Candikala program at Forum Lenteng, which is trying to recontextualize Hindu-Buddhist heritage in Indonesia through the practice of contemporary art.[\/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 2 — 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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