{"id":12241,"date":"2023-10-01T15:18:39","date_gmt":"2023-10-01T08:18:39","guid":{"rendered":"https:\/\/arkipel.org\/?p=12241"},"modified":"2023-10-01T15:20:59","modified_gmt":"2023-10-01T08:20:59","slug":"candikala-01-noli-me-tangere","status":"publish","type":"post","link":"https:\/\/arkipel.org\/candikala-01-noli-me-tangere\/","title":{"rendered":"Candikala 1: Journey to the Past with a Stone Time Machine"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Candikala 1: Kembali ke Masa Lalu dengan Mesin Waktu dari Batu-Batu” css=”.vc_custom_1696147782401{margin-bottom: 0px !important;}”]Program ARKIPEL <\/span>Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival <\/span><\/i>pada Jumat, 29 September 2023 yang memutar salah satu karya filem Candikala membawa kita kembali ke masa lalu. Perjalanan penelusuran ini menggunakan sebuah mesin waktu dari batu-batu gigantis yang susunannya terasa magis. <\/span>Luthfan Nur Rochman<\/b> selaku <\/span>host<\/span><\/i> perjalanan ini mengatakan di panduan pembukanya, <\/span>platform<\/span><\/i> Candikala merupakan usaha belajar bersama-sama, dimana kawan-kawan Forum Lenteng mempelajari situs-situs arkeologis yang berisi banyak hal, namun seolah terabaikan dalam referensi seni kita saat ini.<\/span><\/p>\n

Filem yang dimaksud berjudul <\/span>Siwalaya<\/span><\/i> (2022) arahan <\/span>Afrian Purnama<\/b> dan <\/span>Yuki Aditya<\/b> yang merekam dengan detail candi Hindu paling populer di Indonesia: Candi Prambanan yang terletak di Yogyakarta. Dalam penelusuran masa lampau ini, pada adegan awal, para audiens diajak mengamati Gunung Merapi yang digdaya. Gunung tersebut lantas menunjukkan audiens lanskap Candi Prambanan dari kejauhan.<\/span><\/p>\n

Perjalanan ini memiliki persinggahan di beberapa pos pemberhentian. Pada tiap momen itu, audiens dipersilahkan untuk mengamati berbagai relief dan arca yang tiap lekuknya ditangkap dengan atraktif oleh mata kamera. Relief-relief yang terukir di batu-batu andesit itu pun menuturkan berbagai cerita, antara lain kisah-kisah tentang silsilah keluarga, dinamika sosial politik kerajaan Majapahit, peran sungai yang sangat fundamental, teknik pengukuran batuan bangunan candi yang simetris, bentuk relief yang tergolong seni klasik, kondisi pertanian, dan kucing yang ditafsirkan sebagai pengusir hama.<\/span><\/p>\n

Salah satu cerita yang menarik adalah bagaimana orang-orang pada masa itu bisa mengadaptasikan pengelompokkan kasta yang terjadi di India dengan sistem kerja berdasarkan skill khusus masing-masing golongan. Misalnya, golongan Brahmana yang memiliki keahlian untuk memahat. Keahlian ini pun tidak dimiliki oleh golongan lain. Dedikasi sepenuhnya sesuai dengan kemampuan masing-masing ini menjadi dharma kala itu. Jika ditilik dengan masa sekarang, sistem kerja era Mataram ini terasa masih relevan di masa sekarang, dimana pada sebuah perusahaan, tiap divisi diisi oleh orang-orang dengan keahlian masing-masing. Bagian produksi di pabrik tentu tidak bisa menggantikan peran seorang akuntan yang duduk di ruang ber-AC.<\/span><\/p>\n

Perjalanan berlanjut di mana mesin waktu dari batu-batu ini mengalami pemugaran drastis pada era kolonialisme. Proses tersebut dilakukan dengan cara sembrono dan tidak mengacu pada konstruksi asli. Cor dan semen yang digunakan tidak lantas menjamin kekokohan.<\/span><\/p>\n

Sebelum perjalanan usai, audiens diajak berdiskusi dengan dua pembuat filem yang terlibat dalam filem <\/span>Siwalaya<\/span><\/i>: Yuki Aditya (sutradara) dan <\/span>Robby Octavian<\/b> (penata kamera). Yuki mengaku ia sangat terpukau dengan batu-batu beserta reliefnya yang ia lihat ketika kunjungan. Namun sekaligus mempertanyakan, filem ini nantinya akan seperti apa. Mereka pun melakukan penelusuran terhadap kejadian-kejadian penting yang terjadi sepanjang sejarah terkait dengan candi tersebut, di mana pada perjalanannya, nama candi ini acap kali berubah terkait berbagai kepentingan dalam sejarah. Robby menambahkan, perubahan-perubahan itu tercermin dengan konsep waktu pagi, siang, dan sore yang ditampilkan. Luthfan Nur Rochman, seorang arkeolog, periset proyek Candikala dan sutradara salah satu filem mengaku terkejut dengan pendekatan yang dilakukan Yuki dan kawan-kawan terkait batu-batu, tekstur, dan berbagai interpretasi.<\/span><\/p>\n

\u00a0<\/span>Mansur Zikri<\/b>, seorang kritikus seni independen bertanya, bagaimana tim filem ini berupaya mengarahkan diri mereka supaya tidak ada penjabaran-penjabaran relief yang imajinatif. Yuki menjawab, ruang-ruang interpretasi <\/span>Siwalaya<\/span><\/i> diisi berdasarkan naskah-naskah kuno dan riset pada wawancara, serta tulisan-tulisan akademik yang terpercaya.<\/span><\/p>\n

Setelah sesi tanya-jawab, mesin waktu dari batu-batu kembali lagi ke masa kini. Beberapa audiens pun mengungkapkan pendapatnya tentang perjalanan ke masa lalu tersebut.<\/span><\/p>\n

Ali Aladawy<\/b>, seorang kurator dan kritikus filem dari Mesir mengungkapkan, perjalanan ini memberikannya pembelajaran tentang budaya visual asli Indonesia sebelum masa-masa kolonial. Ia mengapresiasi bagaimana pembuat filem membedah bagian-bagian penting candi tersebut dan penggunaan berbagai metafora. Ia menganggap, meskipun candi tersebut terlihat diam, tapi sebetulnya ia selalu aktif sepanjang waktu. Dialah aktor dalam sejarah.<\/span><\/p>\n

Naghmeh Abbasi<\/b>, seorang pembuat filem dari Iran, mengatakan kekagumannya pada struktur filem <\/span>Siwalaya<\/span><\/i>, di mana ada pergerakan dari ruang-ruang menuju arsip. Ia seperti melihat perjalanan batu-batu, bagaimana mereka bergerak, berubah, dan menjadi bagian dari fenomena budaya, sosial, dan politik. Ia juga belajar banyak pada cerita-cerita yang disampaikan di filem ini.<\/span><\/p>\n

Sementara bagi <\/span>Gunawan<\/b>, seorang peneliti asal Aceh, hal menarik dari filem <\/span>Siwalaya <\/span><\/i>adalah bagaimana konsep pagi, siang, dan malam digunakan untuk menunjukkan fase perubahan penggunaan candi. Konsep cocok dengan perubahan nama-nama untuk menyebut candi ini. Hal yang menarik juga, disini mereka mengapresiasi format filem dikaitkan pada arca-arca dengan membahas aspek rasio. Dengan demikian, mereka seolah memberi <\/span>footnote<\/span><\/i> baru pada sejarah sinema, bahwa pengalaman sinematik itu sudah dialami orang-orang sebelum filem itu sendiri ditemukan. Filem ini memiliki visual dan tekstur yang cocok. Ini adalah cara belajar sejarah yang tidak membosankan.<\/span><\/p>\n

Proses pemugaran candi masih berlangsung hingga saat ini. Bahkan hingga masa depan. Narasi dalam <\/span>Siwalaya<\/span><\/i> menyebutkan, proses ini bisa memakan waktu hingga dua ratus tahun! Menarik juga jika ada tur ke masa depan dengan mesin waktu dari batu-batu hasil pemugaran.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Candikala 1: Journey to the Past with a Stone Time Machine” css=”.vc_custom_1696147813809{margin-bottom: 0px !important;}”]The program at ARKIPEL <\/span>Noli Me Tangere – 10th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> on Friday, September 29, 2023 that screened one of Candikala’s films took us back in time. This journey used a time machine of gigantic stones that had magical structure. <\/span>Luthfan Nur Rochman<\/b> as the host of this journey said in his opening guide, the Candikala platform is a joint learning effort, where Forum Lenteng members studied archaeological sites that contain many things, but seem to be neglected in our current art references.<\/span><\/p>\n

The movie, <\/span>Siwalaya<\/span><\/i> (2022) directed by <\/span>Afrian Purnama<\/b> and <\/span>Yuki Aditya<\/b>, captures in detail the most popular Hindu temple in Indonesia: Prambanan, located in Yogyakarta. In this exploration of the past, in the initial scene, the audience was invited to observe the powerful Mount Merapi. The mountain then showed the audience the landscape of Prambanan from a distance.<\/span><\/p>\n

This journey had several stopping points. At each moment, the audience was conditioned to observe various reliefs and statues captured attractively by the camera’s eye. The curves of the reliefs engraved on the andesite stones also told various stories, including stories about family lineage, the socio-political dynamics of the Majapahit kingdom, the fundamental role of rivers, the symmetrical measurement technique of temple building, the shape of reliefs classified as classical art, agricultural conditions, and cats interpreted as midges.<\/span><\/p>\n

One interesting story was how people at that time could adapt the caste grouping that occurred in India with a work system based on the special skills of each class. For example, Brahmins who had the expertise to sculpt while this skill was not owned by others. Dedication carried out according to each of their abilities became <\/span>dharma<\/span><\/i> at that time. When viewed in the present, this work system is still relevant today, where in a company, each division is filled with people with their respective expertise. The production department in a factory certainly cannot replace the role of an accountant sitting in an air-conditioned room.<\/span><\/p>\n

The journey continues as the stone time machine underwent a drastic restoration during the colonial era. The process was done in a frivolous manner and it did not refer to the original construction. The castings and cement used did not necessarily provide sturdiness.<\/span><\/p>\n

Before the journey was over, the audience was invited to discuss with two filmmakers involved in <\/span>Siwalaya<\/span><\/i>: Yuki Aditya (director) and <\/span>Robby Octavian<\/b> (cameraman). Yuki admitted that he was fascinated by the stones and their reliefs that he saw during his visit. But at the same time, he questioned what this movie would be like. They also traced important events that occurred throughout history related to the temple, where on its journey, the name of this temple often changed due to various interests in history. Robby added that these changes are reflected in the concept of time: morning, afternoon, and evening that are displayed in the visuals. Luthfan Nur Rochman, an archaeologist, who also researched Candikala<\/span> project and directed one of the films, said he was surprised by Yuki and his team\u2019s approach to the stones, textures and various interpretations.<\/span><\/p>\n

Mansur Zikri<\/b>, an independent art critic, asked how the film team tried to steer themselves away from imaginative relief explanations. Yuki replied that <\/span>Siwalaya<\/span><\/i>‘s interpretation spaces were based on ancient texts and research on interviews, as well as reliable academic writings.<\/span><\/p>\n

After the Q&A session, the stone time machine returned to the present. Several participants expressed their opinions about the journey.\u00a0<\/span><\/p>\n

Ali Aladawy<\/b>, a curator and film critic from Egypt, said that the trip gave him an insight into Indonesia’s original visual culture before the colonial era. He appreciated how the filmmakers dissected important parts of the temple and the use of various metaphors. He thinks that although the temple looks still, it is actually active all the time. It is an actor in history.<\/span><\/p>\n

Naghmeh Abbasi<\/b>, a filmmaker from Iran, expressed her admiration for the structure of <\/span>Siwalaya<\/span><\/i>‘s film, where there was a movement from spaces to archives. It was like seeing the journey of stones, how they move, change, and become part of cultural, social, and political phenomena. She also learned a lot from the stories told in this movie.<\/span><\/p>\n

For <\/span>Gunawan<\/b>, a researcher from Aceh, the interesting part about <\/span>Siwalaya<\/span><\/i> is how the concept of morning-day-night is used to show the changing phases of the temple’s use. The concept matches the change of names to refer to this temple. It is also interesting that in this film, they appreciate the format of film attributed to the statues and reliefs by discussing the aspect ratio. Thus, they seem to give a new footnote to the history of cinema, that the cinematic experience was already experienced by people before the film itself was invented. The film has visuals and textures. It’s a fun way to learn history.<\/span><\/p>\n

The process of restoring the temple is still ongoing. Even into the future. The narration in <\/span>Siwalaya<\/span><\/i> mentioned that this process can take up to two hundred years! It would also be interesting if there was a tour to the future with a time machine of the restored stones.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12243,12244,12245″ 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=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Candikala 1: Kembali ke Masa Lalu dengan Mesin Waktu dari Batu-Batu” css=”.vc_custom_1696147782401{margin-bottom: 0px !important;}”]Program ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival pada Jumat, 29 September 2023 yang memutar salah satu karya filem Candikala membawa kita kembali ke masa lalu. Perjalanan penelusuran ini menggunakan sebuah mesin […]<\/p>\n","protected":false},"author":170,"featured_media":12244,"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":[658,384,1,349],"tags":[652,653],"jetpack_publicize_connections":[],"yoast_head":"\nCandikala 1: Journey to the Past with a Stone Time Machine — 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\/candikala-01-noli-me-tangere\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Candikala 1: Journey to the Past with a Stone Time Machine — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Candikala 1: Kembali ke Masa Lalu dengan Mesin Waktu dari Batu-Batu” css=”.vc_custom_1696147782401{margin-bottom: 0px !important;}”]Program ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival pada Jumat, 29 September 2023 yang memutar salah satu karya filem Candikala membawa kita kembali ke masa lalu. 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Ia bekerja sebagai dosen di sebuah kampus politeknik. Sebagai pembuat film, film-filmnya telah diputar di berbagai festival film, seperti ARKIPEL: Jakarta International Experimental & Documentary Film Festival, Images Forum (Jepang), Festival Film Dokumenter (FFD), Minikino: Bali International Short Film Festival, dan juga Monitor 15, sebuah program tur yang diadakan oleh SAVAC (South Asian Visual Art Center). Saat ini ia sedang mempelajari eksperimentasi seni visual di Milisifilem Collective. -- Ali Satri Efendi was born in Karawang, currently lives in Bekasi. He works as a lecturer in a polytechnic campus. As a filmmaker, his films were screened at various film festivals, such as ARKIPEL: Jakarta International Experimental & Documentary Film Festival, Images Forum (Japan), Festival Film Dokumenter (FFD),\u00a0 Minikino: Bali International Short Film Festival, as well as Monitor 15, a tour program conducted by SAVAC (South Asian Visual Art Center). He is currently studying visual art experimentations at Milisifilem Collective.\",\"url\":\"https:\/\/arkipel.org\/people\/alisatriefendi\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Candikala 1: Journey to the Past with a Stone Time Machine — 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\/candikala-01-noli-me-tangere\/","og_locale":"en_US","og_type":"article","og_title":"Candikala 1: Journey to the Past with a Stone Time Machine — ARKIPEL","og_description":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Candikala 1: Kembali ke Masa Lalu dengan Mesin Waktu dari Batu-Batu” css=”.vc_custom_1696147782401{margin-bottom: 0px !important;}”]Program ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival pada Jumat, 29 September 2023 yang memutar salah satu karya filem Candikala membawa kita kembali ke masa lalu. 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