{"id":11716,"date":"2022-12-06T19:49:23","date_gmt":"2022-12-06T12:49:23","guid":{"rendered":"https:\/\/arkipel.org\/?p=11716"},"modified":"2022-12-06T19:49:23","modified_gmt":"2022-12-06T12:49:23","slug":"notes-on-candrawala-the-juxtaposition-of-the-location-and-an-authors-wisdom","status":"publish","type":"post","link":"https:\/\/arkipel.org\/notes-on-candrawala-the-juxtaposition-of-the-location-and-an-authors-wisdom\/","title":{"rendered":"Notes on Candrawala: The Juxtaposition of the Location and An Author\u2019s Wisdom"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1670329812070-d1d17725-e079″][vc_column_text css=”.vc_custom_1670330342143{margin-bottom: 0px !important;}”]Penayangan Candrawala pada hari Selasa (29\/11) dimulai pada waktu 9:46, terlambat dari jadwal yang direncanakan karena Forum Festival sebelum acara ini berlangsung lebih lama dari rencana. Setelah beristirahat dari dua forum di hari itu, sebagian besar tamu ARKIPEL masuk ke dalam bioskop untuk menonton program Candrawala yang dipandu dan dikurasi oleh <\/span>I Gde Mika<\/b> (kurator dan pembuat filem di Forum Lenteng) berjudul <\/span>Lokasi yang Bersanding dengan Kebijakan Pengarang.<\/span><\/i> Program Candrawala ini dibagi menjadi dua tanggal karena masalah durasi. Pada malam ini, program Candrawala menayangkan dua filem. Filem-filem yang ditayangkan pada program malam ini adalah <\/span>What Eri Testifies at the End of the Roll <\/span><\/i>(Muhaimin Nurrizqy<\/strong>, 2021) dan <\/span>Nisan Tak Terukir<\/span><\/i> (Abdul Ghaniy Rosyidin<\/strong>, 2022). Tiga filem selanjutnya akan ditayangkan pada hari Jumat, 2 Desember 2022 pada jam 19:00. Program Candrawala pada malam ini selesai pada waktu 24:17 dan dilanjutkan sesi diskusi dan tanya jawab di luar ruang penayangan.<\/span><\/p>\n

Program Candrawala pada tahun ini menekankan lokasi, di mana subjek filem bukan hanya lokasi atau orang-orang yang bergerak di atasnya, tetapi juga dalam hubungan yang terjalin antara bagaimana film ini terbangun (lokasi yang hidup) dan juga subjek film formal lainnya (narasi, karakter, dll). Interaksi manusia yang naratif disandingkan dengan lokasi yang hidup ditujukan untuk memantik kesadaran filem. Film pertama yang ditayangkan, <\/span>What Eri Testifies at the End of the Roll<\/span><\/i>, diceritakan sebuah bioskop yang bernama Eri. Bagaimana sejarah Orde Baru mengubah nama tempat tersebut, \u201cmendidik\u201d tempat tersebut, yang dimaknai dalam filem melalui adegan penayangan filem di bioskop secara terbalik: terbalik dalam arti gambar dijungkirbalikkan dan juga diputar dalam urutan dari belakang ke depan. Filem kedua yang ditayangkan berjudul <\/span>Nisan Tak Terukir<\/span><\/i>. Filem ini mengikuti jejak seorang bromocorah yang ditandai oleh nisan. Nisan dalam filem ini berlaku sebagai lokasi dan juga penghubung sejarah sebagai cerita yang dihidupkan melalui orang-orang yang ceritanya terhapus, dan juga bagi tokoh dan saksi kejadian tersebut yang masih hidup. .\u00a0<\/span><\/p>\n

Acara dilanjutkan dengan sesi diskusi. Sutradara <\/span>What Eri Testifies at the End of the Roll<\/span><\/i>, Nurrizqy, mengatakan bahwa ia tidak ingin filem ini terasa jurnalistik, ia hanya ingin bercerita melalui gambar-gambar. Sutradara <\/span>Nisan Tak Terukir<\/span><\/i>, Ghaniy,<\/span> menceritakan bagaimana filem ini berangkat melalui peristiwa penembakan misterius. Dia kemudian meneliti data-data koran dari tahun 1982-1985 untuk mengerucutkan peristiwa penembakan misterius yang terjadi di seluruh Indonesia kepada peristiwa yang dekat dengan tempat tinggalnya. Dia menemukan desa dan orang-orang yang dapat menceritakan kejadian penembakan bromocorah tersebut. Merespon penjelasan mereka, Mika mengangkat dialog \u201ctempat itu\u201d pada film <\/span>What Eri Testifies at the End of the Roll <\/span><\/i>yang menjelaskan bahwa aktivitas dan orang-orang yang berada pada tempat tersebut menjadikan lokasi sebagai subjek yang hidup. <\/span>Otty Widasari <\/b>(seniman, penulis, kepala selektor ARKIPEL) kemudian bertanya apa alasan pembuat filem muda dalam sesi ini memiliki ketertarikan akan era Orde Baru. Nurrizqy menjawab bahwa bioskop memiliki masa kejayaan pada tahun 70-an, dan juga bioskop pada masa itu wajib menayangkan film <\/span>Pengkhianatan G30S\/PKI<\/span><\/i> (1984). Bioskop bagi Nurrizqy adalah hal yang langka di tempat tinggalnya dulu. Apabila dia ingin menonton, dia hanya bisa menonton melalui laptop. Bioskop baginya adalah gerbang ketertarikannya akan isu pada masa rezim itu.<\/span><\/p>\n

Rosyidin yang lahir tahun 1997 sering mendengar cerita tentang masa-masa sulit saat dia lahir. Dia juga memiliki kakak yang selalu bercerita tentang kebenciannya akan Soeharto. Baginya, banyak pertanyaan akan rezim Orde Baru yang belum terungkap dan ingin mereka jawab melalui pandangan baru. <\/span>Luthfan<\/b> Nur Rochman <\/b>(kurator, selektor ARKIPEL) bertanya, apakah percakapan Orde Baru memiliki resistensi dalam subjek yang diwawancarai? Apakah mereka punya ketegangan dalam bagaimana mereka membicarakan isu tersebut? Mereka berdua menjawab bahwa pengaruh rezim Orde Baru masih mempengaruhi dunia mereka, tetapi subjek-subjek dalam filem sudah berdamai dengan rezim itu. Nurrizqy menambahkan bahwa baginya tempat Eri memiliki eksistensi yang absurd. Pekerja di bioskop itu pernah mengatakan, \u201cSaya ga kuat kerja\u2026 ya tapi mau gimana lagi?\u201d yang Nurrizqy bandingkan dengan mitos Sisyphus. Ketika tidak ada yang menanyakan pertanyaan lagi, Mika mengajak kita untuk melanjutkan diskusi di lantai tiga gedung Forum Lenteng.\u00a0<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1670329812076-34287374-5486″][vc_column_text css=”.vc_custom_1670330297634{margin-bottom: 0px !important;}”]The Candrawala screening on Tuesday (29\/11) starts at 9:46 a.m., is shown late from the planned schedule because Forum Festival that took place before the event was held longer than planned. After taking a break from two forums that day, most of ARKIPEL’s guests went into the cinema to watch the Candrawala program which was hosted and curated by <\/span>I Gde Mika<\/b> (curator and filmmaker at Forum Lenteng) titled <\/span>The Juxtaposition of the Location and An Author\u2019s Wisdom<\/span><\/i>. The Candrawala program was divided into two dates due to the films\u2019 duration. This evening, the Candrawala program screened two films. The films that were screened in the program are <\/span>What Eri Testifies at the End of the Roll<\/span><\/i> (Muhaimin Nurrizqy<\/strong>, 2021) and <\/span>Nisan Tak Terukir <\/span><\/i>or <\/span>The Unengraved Tombstones<\/span><\/i> (Abdul Ghaniy Rosyidin<\/strong>, 2022). The next three films will be screened on Friday, 2 December 2022 at 19:00. Tonight’s Candrawala program ends at 24:17 and continued with a discussion and QnA session outside the screening room.<\/span><\/p>\n

This year’s Candrawala program emphasizes location, where the subject of the film is not just the location or the people moving on it. But also in the relationship that exists between how the film is constructed (the living location) and also the other formal film subjects (narration, characters, etc). The narrative human interactions juxtaposed with the living locations are intended to ignite the film\u2019s consciousness. The first film shown, <\/span>What Eri Testifies at the End of the Roll<\/span><\/i>, is about a cinema theater named Eri. the film navigates how the history of the New Order have changed the name of the place, thus “educating” the place, which is interpreted in the film through the scene showing the film in the cinema upside down: upside down in the sense that the projection of image is turned upside down and also played in reverse order from the end to its beginning. The second film that was screened was <\/span>The Unengraved Tombstone<\/span><\/i>. This film follows the trail of a <\/span>bromocorah<\/span><\/i> (outlaw) marked by a tombstone. The gravestones in this film act as locations as well as historical links, as stories that are brought to life through people whose stories were erased, while also connected through actors and witnesses of the stories who are still alive.<\/span><\/p>\n

The event continued with a discussion session. The director of <\/span>What Eri Testifies at the End of the Roll<\/span><\/i>, Nurrizqy, said that he did not want this film to feel journalistic, he only wanted to tell the film through images. The director of <\/span>The Unengraved Tombstone<\/span><\/i>, Ghaniy, tells how this film departs through mysterious shooting incidents which were rampant during the New Order era. He then researched newspaper data from 1982-1985 to narrow down mysterious shootings that occurred throughout Indonesia to events close to where he lived. He found villages and people who could tell the story of the Bromocorah shooting. Responding to their explanation, Mika brought up the dialogue “that place” in the film <\/span>What Eri Testifies at the End of the Roll<\/span><\/i> which explained that the activities and people in that place make the location a living subject. <\/span>Otty Widasari<\/b> (artist, writer, head selector of ARKIPEL) asked why the young filmmakers in this session were interested in the New Order era. Nurrizqy replied that cinema had its heyday in the 70s, and also that cinemas at that time had to show the film <\/span>Pengkhianatan G30S\/PKI<\/span><\/i> (1984). Cinema for Nurrizqy is a rarity in where he used to live. If he wants to watch, he can only watch on his laptop. Cinema for him was a gateway for his interest in this issue during that regime.<\/span><\/p>\n

Rosyidin, who was born in 1997, often hears stories about the difficult times when he was born. He also has an older sister who always talks about her hatred of Suharto. For him, there are many questions about the New Order regime that have not been revealed and in which they want to answer through new perspectives. <\/span>Luthfan Nur Rochman<\/b> (curator, selector of ARKIPEL) asked, did the New Order conversation inflict resistance to the subjects interviewed? Do they have tension in how they talk about the issue? They both answered that the influence of the New Order regime still affected their world, but the subjects in the film were already at peace with the regime. Nurrizqy then added that for him Eri Theatre lives an absurd existence. The worker at the cinema once said, “I no longer have the strength to work… but what can I do?” which Nurrizqy compared to the myth of Sisyphus. When no one asked any more questions, Mika invited us to continue the discussion on the third floor of the Forum Lenteng building.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11717,11718,11719,11720,11721″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1670329812070-d1d17725-e079″][vc_column_text css=”.vc_custom_1670330342143{margin-bottom: 0px !important;}”]Penayangan Candrawala pada hari Selasa (29\/11) dimulai pada waktu 9:46, terlambat dari jadwal yang direncanakan karena Forum Festival sebelum acara ini berlangsung lebih lama dari rencana. Setelah beristirahat dari dua forum di hari itu, sebagian besar tamu ARKIPEL masuk ke dalam bioskop untuk menonton program Candrawala yang dipandu dan […]<\/p>\n","protected":false},"author":164,"featured_media":11717,"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":[618,347,384,1],"tags":[625,619,303],"jetpack_publicize_connections":[],"yoast_head":"\nNotes on Candrawala: The Juxtaposition of the Location and An Author\u2019s Wisdom — 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-candrawala-the-juxtaposition-of-the-location-and-an-authors-wisdom\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Notes on Candrawala: The Juxtaposition of the Location and An Author\u2019s Wisdom — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1670329812070-d1d17725-e079″][vc_column_text css=”.vc_custom_1670330342143{margin-bottom: 0px !important;}”]Penayangan Candrawala pada hari Selasa (29\/11) dimulai pada waktu 9:46, terlambat dari jadwal yang direncanakan karena Forum Festival sebelum acara ini berlangsung lebih lama dari rencana. 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\/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Notes on Candrawala: The Juxtaposition of the Location and An Author\u2019s Wisdom — ARKIPEL","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/notes-on-candrawala-the-juxtaposition-of-the-location-and-an-authors-wisdom\/","og_locale":"en_US","og_type":"article","og_title":"Notes on Candrawala: The Juxtaposition of the Location and An Author\u2019s Wisdom — ARKIPEL","og_description":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1670329812070-d1d17725-e079″][vc_column_text css=”.vc_custom_1670330342143{margin-bottom: 0px !important;}”]Penayangan Candrawala pada hari Selasa (29\/11) dimulai pada waktu 9:46, terlambat dari jadwal yang direncanakan karena Forum Festival sebelum acara ini berlangsung lebih lama dari rencana. 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