{"id":11696,"date":"2022-12-05T17:41:24","date_gmt":"2022-12-05T10:41:24","guid":{"rendered":"https:\/\/arkipel.org\/?p=11696"},"modified":"2022-12-05T17:41:24","modified_gmt":"2022-12-05T10:41:24","slug":"notes-on-special-presentation-02","status":"publish","type":"post","link":"https:\/\/arkipel.org\/notes-on-special-presentation-02\/","title":{"rendered":"Notes on Special Presentation 02"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1670235753861-09c39f79-20d8″][vc_column_text css=”.vc_custom_1670236054223{margin-bottom: 0px !important;}”]Malam ini telah dilaksanakan pemutaran film <\/span>Pesantren <\/span><\/i>(2017), mungkin film dokumenter paling berwarna dan \u2018hidup\u2019 dari film yang sejauh ini kutonton di ARKIPEL, mungkin pula sepanjang hidupku. Film yang telah tayang pada <\/span>Amsterdam International Documentary Film Festival<\/span><\/a> (IDFA) 2019 ini menampilkan <\/span>mandala-mandala <\/span><\/i>(dalam kata <\/span>Luthfan<\/b>, sang kurator dan <\/span>host<\/span><\/i>) kehidupan dalam Pondok Pesantren Kebon Jambu Al-Islamy, Ciwaringin, Cirebon, suatu pesantren \u2018tradisional\u2019 yang cukup \u2018unik\u2019 dari segi tertentu, tempat santri-santri berbagai macam asal-usul dan usia mengenyam pendidikan selama tujuh tahun.<\/span><\/p>\n

Secara keseluruhan penonton pasti terpukau dengan spiritualitas dari film ini \u2013 pengajian subuh oleh santri-santri yang baru bangun terjalin dengan kesunyian dan suara jangkrik penanda subuh, sedang sajak qosidah yang dilantunkan oleh santriwati yang mengikuti kelas seni suara menggambarkan bentuk cinta yang sangat \u2018pribadi\u2019 dengan Baginda Rasulullah shallallahu ‘alahi wa sallam. Namun <\/span>Pesantren <\/span><\/i>menampilkan pula sisi-sisi kehidupan para santri, guru, dan kyai yang lebih \u2018banal\u2019 namun unik: dua guru laki-laki memperbincangkan soal turunnya jumlah guru ngaji di desa-desa dan turunnya jumlah anak-anak yang bisa mengaji, sementara beberapa guru wanita mengutarakan pendapat mereka soal kedudukan wanita dalam pesantren tersebut dan masyarakat. Suka duka persiapan dan latihan grup angklung dan tari turut ditampilkan, dan tiada terlupa pula curhatan para santri dan santriwati yang rindu kampung halaman dan keluarga. Salah satu bagian penting dari \u2018alur\u2019 film ini ialah Kongres Ulama Perempuan Film (KUPI) tahun 2017, yang menjadi kebanggaaan tersendiri bagi penghuni pesantren Kebon Jeruk, sebab merupakan kongres ulama perempuan pertama <\/span>di dunia<\/b>.<\/span><\/p>\n

Nampak dua orang santri cilik mencoba mengumpulkan kartu prestasi yang tanda tangannya patut dipertanyakan, dan dalam adegan yang lain santri yang agak lebih tua membaca <\/span>A Life of Pi <\/span><\/i>dan ada pula santriwati membawa tas bertuliskan ARMY (<\/span>fandom <\/span><\/i>boyband Korea). Film ini mengandung nyanyian dan tarian, serta canda gurau dari lomba <\/span>stand-up comedy <\/span><\/i>(yang menurut salah satu kyai yang tampil pada film tersebut dapat digunakan sebagai media dakwah), namun juga ada adegan-adegan mengharukan yang dipenuhi tangis: seorang guru wanita yang menangis kegirangan sebab diterima masuk salah satu universitas di Semarang, seorang santriwati tahun ketujuh, anggota kelompok tari yang berpisah dengan adik-adik kelasnya. <\/span>Pesantren <\/span><\/i>menggambarkan para santri dan kyai sebagai anggota bangsa dan negara, tiada jauh beda dari para pemirsanya. Dengan kisah-kisah mereka tersendiri.<\/span><\/p>\n

Film ini disutradarai oleh\u00a0<\/span>Shalahuddin \u201cUdin\u201d Siregar, <\/b>yang pada kesempatan kali ini turut hadir di Forum Lenteng. Dalam jawaban-jawaban yang ia paparkan terkait beberapa pertanyaan yang dilontarkan pada sesi tanya-jawab, ia membeberkan bagian-bagian tertentu dalam proses produksi film. Salah satunya pergeseran \u201cparadigma\u201d yang terjadi di tengah produksi film: awalnya film ini dimaksudkan untuk berdialog dengan khalayak internasional, oleh karena itu bentukan awal film ini, menurut Udin, jauh lebih \u201catmosferis\u201d dan \u201csunyi\u201d. Namun pada titik tertentu, beliau merasa film ini cukup relevan pula bagi penonton tanah air, sehingga pada akhirnya film ini dibuat dengan \u2018rasa\u2019 yang lebih berwarna dan bernada. Melalui film ini Udin bermaksud menampilkan bahwa \u201cIslam itu \u2018ringan\u2019, fleksibel\u201d; adapun pemilihan tokoh-tokoh dalam <\/span>Pesantren <\/span><\/i>didasarkan atas isu-isu yang mereka wakili. Tantangan yang dialami dalam produksi film tidak hanya dari segi teknis: Udin mengakui merasa semacam dilema moral ketika merekam adegan-adegan yang cukup dramatis dan \u2018intim\u2019, yakni adegan yang membeberkan sisi-sisi pribadi tertentu dari para tokoh.\u00a0<\/span><\/p>\n

Menurut refleksi Udin, sebagian besar kesuksesan film ini adalah berkat para santri dan guru Pesantren Kebon Jeruk, yang baginya lebih layak menerima pendapatan tiket daripada dirinya.<\/span><\/p>\n

Beberapa teknik yang digunakan Bang Udin cukup mengesankan: dalam film penonton bisa menyaksikan \u2018potret\u2019 wajah-wajah yang menyiratkan seribu kata. Dari wawancara singkat dengan Udin, saya sebagai seorang awam juga baru tahu perihal penggunaan mikrofon <\/span>clip-on <\/span><\/i>untuk merekam percakapan tertentu yang akan sulit terekam dari jauh, semisal percakapan telepon.<\/span><\/p>\n

Penayangan film disusul dengan sesi tanya-jawab yang cukup panjang; tampak banyak penonton yang cukup antusias melontarkan pertanyaan dan komentar pada sang sineas. <\/span>Hafiz Rancajale<\/b>, sutradara veteran dan salah satu pendiri Forum Lenteng, membandingkan <\/span>Pesantren <\/span><\/i>dengan dua produksi lebih awal Udin. Menurut beliau, isu-isu yang diangkat <\/span>Pesantren <\/span><\/i>lebih jelas, namun tak berkutat dengan isu-isu yang \u201cLSM banget!\u201d sehingga membuka peluang lebih luas bagi penonton untuk bertafsir. <\/span>Adi <\/b>dari Ciputat bertanya perihal alasan pemilihan isu dan tokoh, sedangkan\u00a0<\/span>Wahyu <\/b>dari Cirebon berkomentar soal peran wanita dalam masyarakat Cirebon dan Indramayu yang cukup menonjol.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1670235753867-40380618-5f48″][vc_column_text css=”.vc_custom_1670236215170{margin-bottom: 0px !important;}”]Tonight marked the screening of <\/span>A Boarding School <\/span><\/i>(2019) (Indonesian title: <\/span>Pesantren<\/span><\/i>), perhaps the most vivacious and loquacious documentary I have witnessed in ARKIPEL, if not in life. The film, which was screened in the 2019 <\/span>Amsterdam International Documentary Film Festival<\/span><\/a> (IDFA), offers its viewers slices \u2013 or in <\/span>Luthfan<\/b>\u2019s term, <\/span>mandalas<\/span><\/i>, i.e. circles \u2013 of life in Pondok Pesantren Kebon Jambu Al-Islamy, Ciwaringin, Cirebon, a typical, but unique in some respects, large \u2018traditional\u2019\u00a0 Islamic boarding academy in which students spend up to seven years studying Islamic (Quranic recitation, jurisprudence, rhetorics, etc.) and secular (e.g. the arts) subjects far away from home.<\/span><\/p>\n

The film is replete with spirituality \u2013 the <\/span>santris\u2019<\/span><\/i>\u00a0 recital of verses of the Holy Quran mingles with the silence and the chirps of grasshoppers at dawn, in a choir that attests to the greatness and mercy of the Almighty, while the lyrics of the qasida sung by the girls of the music class represent a very intimate form of devotion. Yet the film does not shirk away from the more quotidian aspects of <\/span>pesantren <\/span><\/i>life: two male instructors lament the dwindling rates of Arabic literacy in the villages which depend on the <\/span>pesantren <\/span><\/i>for education , two female instructors discuss <\/span>angklung <\/span><\/i>bands and dance troupes plan and rehearse for upcoming performances, while some others discuss the role women play in the <\/span>pesantren<\/span><\/i>. Feelings of homesickness is in the air; some of the <\/span>santris<\/span><\/i> can’t shake the thoughts of home and their parents off their mind. Featured especially in <\/span>A Boarding School <\/span><\/i>is the 2017 Indonesia Women Scholar\u2019s Congress (KUPI), held on 25-27 April of the same year, a particular source of pride for inhabitants of the <\/span>pesantren<\/span><\/i>, being the first female scholar (<\/span>\u0101lim\u0101t<\/span><\/i>) congress <\/span>in the world<\/b>.\u00a0<\/span><\/p>\n

We see two young santris trying to submit dubiously-signed progress-report cards for approval, an older one reading <\/span>A Life of Pi <\/span><\/i>and another toting an ARMY (the fandom) backpack. We see featured in the film plenty of singing and dancing, laughter from a stand-up comedy competition (which, according to a <\/span>kyai <\/span><\/i>featured in the film, has the potential to become an effective medium of <\/span>da\u2019wah<\/span><\/i>), and some extremely harrowing, tear-filled scenes: a teacher overflowing with joy and praise after learning of her being accepted into a university in Semarang, a seventh-year student parting with fellow members of the dance troupe during graduation night. If anything, <\/span>A Boarding School <\/span><\/i>depicts the <\/span>santris <\/span><\/i>and <\/span>kyais <\/span><\/i>of Kebon Jeruk are members of the community just like the rest of us. With stories to tell.<\/span><\/p>\n

All of the above are achieved by the direction of <\/span>Shalahuddin \u201cUdin\u201d Siregar<\/b>, who has graced the occasion with his presence. While responding to questions posed during the Q&A session (for which see below), he let us in on certain aspects of the production of the film. Of note is a certain \u201cshift of paradigm\u201d \u2013 <\/span>A Boarding School <\/span><\/i>was planned and shot with international documentary screenings in mind, but at a point during the course of the film\u2019s production he thought that it would benefit Indonesian audiences as much if not more \u2013 this entailed a few departures from the initial conception, such as the substitution of the atmospheric, sombre \u2018feel\u2019 of the latter for the colourful, sonorous edition displayed on screens. Udin felt compelled, by the scenes and lectures he witnessed in the <\/span>pesantren<\/span><\/i>, to present what he terms a \u201clight-weight, flexible Islam\u201d; the figures featured in the film are chosen on the basis of issues they have to represent. The challenges met in the production of the film go beyond technical frivolities. Certain scenes posed Udin a certain \u2018moral dilemma\u2019: he felt slight discomfort at shooting the more dramatic, intimate scenes depicting the students\u2019 personal tribulations. Much of the success of the film, Udin reflected, are to be attributed to the students and teachers of Kebon Jeruk, who he said are more deserving of ticket sales than he is.\u00a0<\/span><\/p>\n

Some of the techniques he used during the production of the film are impressive: the audience may have noticed shots depicting faces which tell a thousand words. In a brief interview with Mr. Siregar he informed me of the usage of clip-on microphones embedded on the person of members of the \u2018cast\u2019 to record speeches occurring in their vicinity (e.g. phone calls).<\/span><\/p>\n

The screening was followed by a rather lengthy Q&A session in which many among the audience seemed to participate with much enthusiasm. <\/span>Hafiz Rancajale<\/b>, a veteran producer and one of the founders of Forum Lenteng and building in which our festival took place, compared <\/span>Pesantren <\/span><\/i>with Siregar\u2019s previous productions; he claims that the former leaves more freedom for interpretation on the part of the audience, being not as markedly tied to any \u201cNGO\u201d issue. <\/span>Adi<\/b> of Ciputat wished to know the reasoning behind the choices of issues and figures depicted on the film, while <\/span>Wahyu <\/b>of Cirebon pointed out the (relatively) predominant role of women in Cirebon and Indramayu \u2013 i.e. the vicinity of the <\/span>pesantren<\/span><\/i>.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11703,11702,11700,11699,11698,11697″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Film yang telah tayang pada Amsterdam International Documentary Film Festival (IDFA) 2019 ini menampilkan mandala-mandala (dalam kata Luthfan, sang kurator dan host) […]<\/p>\n","protected":false},"author":163,"featured_media":11697,"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":[618,345,1,349],"tags":[625,649,619],"jetpack_publicize_connections":[],"yoast_head":"\nNotes on Special Presentation 02 — ARKIPEL<\/title>\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\/notes-on-special-presentation-02\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Notes on Special Presentation 02 — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1670235753861-09c39f79-20d8″][vc_column_text css=”.vc_custom_1670236054223{margin-bottom: 0px !important;}”]Malam ini telah dilaksanakan pemutaran film Pesantren (2017), mungkin film dokumenter paling berwarna dan \u2018hidup\u2019 dari film yang sejauh ini kutonton di ARKIPEL, mungkin pula sepanjang hidupku. 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