{"id":13121,"date":"2024-09-05T11:36:41","date_gmt":"2024-09-05T04:36:41","guid":{"rendered":"https:\/\/arkipel.org\/?p=13121"},"modified":"2024-09-05T11:43:30","modified_gmt":"2024-09-05T04:43:30","slug":"curatorial-4","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-4\/","title":{"rendered":"Curatorial Program: Resisting with Language, Leaping with Cinema"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Program Kuratorial: Melawan dengan Bahasa, Melompat dengan Sinema” css=”.vc_custom_1725511293968{margin-bottom: 0px !important;}”]“<\/span>Ousmane Sembene<\/b>, dalam filemnya mengobrak-abrik persoalan tatapan terhadap yang telanjang.” Tulis <\/span>Prashasti Wilujeng Putri<\/b> dalam pengantar kuratorialnya berjudul <\/span>Lompatan Bahasa, <\/span><\/i>sebagai pengantar bagi khalayak untuk menyaksikan filem bertajuk <\/span>Xala<\/span><\/i> (1975)<\/span> karya Ousmane Sembene, pada gelaran ARKIPEL <\/span>Garden of Earthly Delights – 11th Jakarta International Documentary and Experimental Film Festival<\/span><\/i>, Rabu (28\/8) malam.<\/span><\/p>\n

Pengantar tersebut menavigasi kita pada permainan bahasa yang diperagakan Sembene dalam filemnya. Menurut Asti, lompatan bahasa akan menghadirkan semacam perasaan alienasi terhadap penonton-penontonnya. Karena penonton kebanyakan berbahasa Inggris, sementara Sembene dalam filemnya menggunakan bahasa yang melompat-lompat, dari bahasa Wolof ke Perancis hingga ke bahasa Arab dan Inggris.\u00a0<\/span><\/p>\n

Sepanjang filem, lanjut Asti, penonton juga akan diperdengarkan lagu latar berbahasa Wolof yang tidak dibarengi dengan subteks untuk memperjelas artinya. Hal ini dapat dimaknai bahwa Sembene dengan sadar menyuguhkan filemnya untuk orang-orang Dakar, sementara publik internasional dengan bahasa Eropa mereka dibiarkan tenggelam dalam keberjarakan sebuah makna bahasa.\u00a0<\/span><\/p>\n

“Dalam filem ini, kita bisa merasakan lompatan-lompatan bahasa, baik itu yang ada pada dialognya, musik latarnya, bahkan visualnya. Artinya, Sembene menggunakan bahasa sebagai alat negosiasi, kalau bukan, pemberontakan,” Ujarnya.\u00a0<\/span><\/p>\n

“Secara visual, kita akan menjumpai makna atau persepsi ketelanjangan yang dibolak-balik oleh Sembene. Perempuan dibuat telanjang, tapi sebenarnya untuk menelanjangi tokoh laki-laki, El Hadjie. Ia diolok-olok dan dibuat tidak berfungsi dengan kutukan Impotensi,” sambung Asti.<\/span><\/p>\n

Apa yang ditampilkan sang sutradara melalui permainan bahasanya merupakan satu dari sekian banyak cara untuk menunjukkan sebuah pernyataan dan respons atas pandangan Eropa ke negara-negara bekas jajahan, salah satunya Senegal.\u00a0<\/span><\/p>\n

Tapi di sisi lain, gerak-gerik perlawanan tersebut tetap dikemas ke dalam bentuk artistik yang mampu mengaktifkan sensori kita sebagai penonton. Filem ini berhasil mengaktifkan apa yang disebut Afrizal Malna sebagai bunyi bahasa. Kita mungkin tidak mengerti arti bahasa Wolof, Perancis, bahkan Inggris yang ada dalam filem ini, tapi melalui bunyi bahasanya kita bisa memahami ada daya lain dari bahasa yang sedang bekerja, dan mengaktifkan sensori kita.<\/span><\/p>\n

Sebab itu pula, Asti, melalui pembacaannya menganggap filem ini menjadi penting untuk memperlihatkan kekuatan sinema dalam menyatakan suatu perlawanan. “Saya bisa merasakan kemarahan Sembene keluar dari layar. Di filem lainya, <\/span>Black Girl<\/span><\/i> misalnya, bisa ditemukan kemarahan serupa, tapi di filem ini rasa marah bisa terasa seperti menyentuh kulit saya. Dan yang terpenting, bahasa tutur, visual dan gestur dalam filem ini berhasil mengonstruksi kemarahan terhadap kolonialisme dan pemerintahan yang korup,” pungkas Asti.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Curatorial Program: Resisting with Language, Leaping with Cinema” css=”.vc_custom_1725511946159{margin-bottom: 0px !important;}”]\u201c<\/span>Ousmane Sembene<\/b>, in his film, disrupts the issue of the stare towards the naked.\u201d Wrote <\/span>Prashasti Wilujeng Putri<\/b> in her curatorial essay titled<\/span> Surpassing Signals<\/span><\/i>, as an introduction for audiences to watch Xala (1975) by Ousmane Sembene, at the ARKIPEL Garden of Earthly Delights – 11th Jakarta International Documentary and Experimental Film Festival, Wednesday (28\/8) night.<\/span><\/p>\n

The introduction navigated us to the language game that Sembene demonstrates in his film. According to Asti, the language leap presents a feeling of alienation to the audiences. Since the audiences mostly speak English, while Sembene in his film uses languages that leap from Wolof to French to Arabic and English.\u00a0<\/span><\/p>\n

Throughout the film, Asti continued, the audiences would also be listened to a Wolof-language background song that was not accompanied by a subtext to clarify its meaning. This can be interpreted that Sembene consciously presents his film for the people of Dakar, while the international public with their European languages are left to drown in the distance of language meaning.\u00a0<\/span><\/p>\n

\u201cIn this film, we can feel the leap of language, including the dialog, the background music, and even the visuals. This means that Sembene uses language as a tool of negotiation, if not, rebellion,\u201d she said.<\/span><\/p>\n

\u201cVisually, we will encounter the meaning or perception of nakedness that is distorted by Sembene. Women are made naked, but actually to strip the male character, El Hadjie. He is mocked and made dysfunctional by the curse of impotence,\u201d Asti continued.<\/span><\/p>\n

What the director shows through his language game is one of the many ways to show statements and responses to European views on former colonized countries, one of which is Senegal.\u00a0<\/span><\/p>\n

But on the other hand, these rebellious gestures are still packaged into an artistic form that is able to activate our senses as viewers. This film succeeds in activating what <\/span>Afrizal Malna<\/b> calls <\/span>the sound of language<\/span><\/i>. We may not understand the meaning of Wolof, French, or even English in this film, but through the sound of language we can understand that there is another force of language that works and activates our senses.<\/span><\/p>\n

For this reason, Asti, through her reading, considers this film to be important to show the power of cinema in expressing resistance. \u201cI can feel Sembene’s anger coming out of the screen. In another film, Black Girl, for example, similar anger can be found, but here the anger feels like it touches my skin. And most importantly, the spoken language, visuals and gestures in this film successfully construct anger towards colonialism and corrupt government,\u201d Asti concluded.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”13111,13110,13109,13108,13107,13106,13105″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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