{"id":2513,"date":"2014-09-08T16:42:14","date_gmt":"2014-09-08T09:42:14","guid":{"rendered":"http:\/\/arkipel.org\/?p=2513"},"modified":"2017-08-08T03:34:27","modified_gmt":"2017-08-07T20:34:27","slug":"eksperimentasi-sebagai-keberpihakan-politik","status":"publish","type":"post","link":"https:\/\/arkipel.org\/eksperimentasi-sebagai-keberpihakan-politik\/","title":{"rendered":"Eksperimentasi Sebagai Keberpihakan Politik"},"content":{"rendered":"[accordion auto=”0″][accordion_item title=”Foreword”]\n[column type=”1\/2″ last=”0″ class=””]\n

Eksperimentasi Sebagai Keberpihakan Politik<\/h1>\n

 <\/p>\n

Dalam seni, eksperimentasi bukanlah melulu mengenai keberpihakan artistik, melainkan juga keberpihakan politik. Keberpihakan politik yang seringkali muncul dalam eksperimentasi seni adalah keberpihakan pada dua hal: narasi-narasi kecil, dan orang-orang kecil.<\/p>\n

Kenyataan ini menarik untuk kita sandingkan dengan sejarah sinema di Indonesia, yang secara historis ternyata tidak menjejakkan kakinya atas fondasi kebudayaan ataupun ekonomi sebagaimana sejarah sinema pada lumrahnya, melainkan atas fondasi politik. Hanya saja, dalam kasus Indonesia, politik yang menjadi batu asas sejarah sinema bukanlah politik yang mengandung keberpihakan pada khalayak ramai, melainkan keberpihakan pada elit berkepentingan yang akrab dengan tampuk-tampuk pengambilan keputusan, sejarah sinema Indonesia berpihak pada narasi-narasi besar dan orang-orang besar. Sinema yang berpihak pada rakyat belumlah sukses menjadi objek utama sejarah kita.<\/p>\n

Dalam pada wacana tersebut, program ini menyambangi sinema eksperimentasi sebagai \u201cmata\u201d untuk menangkap politik yang berpihak pada kawula ramai (orang biasa, wong cilik<\/i>) di beberapa ragam geografis beserta tantangan-tantangan yang membutuhkan keberpihakan politik untuk tetap bertahan hidup.<\/p>\n

Keberpihakan politik dalam eksperimentasi sinema diperlihatkan betul oleh filem-filem macam Asier and I<\/i>, sebuah percobaan yang membolak-balik beban antara Moral Negara dan Moral Pemberontak. Moral Negara diwakili oleh pemerintah Spanyol, dan Moral Pemberontak diwakili oleh ETA (Euskadi Ta Askatasuna<\/i>), sebuah gerakan separatis yang memimpikan wilayah Basque merdeka dari Spanyol. Bagi Asier and I<\/i>, siapa yang berbudi dan siapa yang teroris sangat bergantung pada posisi kita memilih untuk memihak. \u2018I\u2019 dalam filem mewakili Moral Negara, sementara \u2018Asier\u2019 adalah yang memilih bergabung dengan ETA. Permainan terletak pada subjektifitas I, aku, yang dihantui oleh empat macam masalah: masalah asal (origin<\/i>), akhir (kematian), pengetahuan dan ketubuhan. Empat masalah inilah yang membangun subjektifitas yang menjadi corong perspektif tokoh Aku dalam Asier and I<\/i>. Permainan subjektifitas tentu saja adalah permainan moral, oleh karena subjektifitas dibentuk oleh pengalaman-pengalaman yang tidak dapat direduksi menjadi berjarak. Inilah yang membungkus Asier and I<\/i> ke dalam semesta anti-hero yang sangat tendensius menjatuhkan diri dalam kolonialisme dan bahkan fasisme.<\/p>\n

Keberpihakan pada khalayak ramai turut pula diperlihatkan oleh beberapa filem dengan semangat memproblematisasi memori sebagai bagian dari entitas politik. Grito<\/i>, misalnya, menempatkan foto-foto orang tak dikenal dalam kamar gelap lalu memutarkannya nyaris tanpa penjelasan. Shadow of your Smile<\/i> dan Grandfather Cortico<\/i> mempermainkan kamar gelap itu lewat retorika berbeda, yang satu menggunakan teknologi video, yang satu memakai industri ubin. Pada Grito<\/i>, pembungkaman adalah keadaan niscaya yang menyiratkan rahasia-rahasia yang belum terbuka, belum jelas muasal sejarahnya, dan memilih diam sebagai moda bersuara.<\/p>\n

Grito<\/i> tampak setengah-setengah dalam berkelindan dengan historiografi politik di Argentina bilamana dibandingkan dengan Shadow of Your Smile<\/i> dan Grandfather Cortico<\/i>, dua filem yang mengupayakan dialog dengan narasi-narasi besar di negara mereka sendiri. Shadow of Your Smile<\/i> berdialog dengan dua hal: swasensor sebagai distopia akan warga yang sudah kebiasaan dibatasi, dan pada politik Putin pasca polemik kebudayaannya dengan Pussy Riot dan homophobia<\/i>. Di tengah masalah terbaru, di saat Putin mencoba mengisolasi Rusia dengan berbagai macam pembatasan impor, Shadow of Your Smile<\/i> menjadi semakin relevan dengan kualitas meta<\/i> yang dibawanya lewat look video<\/i> yang ditawarkan. Grandfather Cortico<\/i> di sisi lain, mengungkap sejarah sebagai subjek yang tak bisa bertahan tanpa objek: sejarah pastilah sejarah tentang sesuatu. Grandfather Cortico<\/i> melipatgandakan objek sejarah lewat refraksi-refraksi yang memantul dari ubin, kakek, perburuhan dan industrialisasi serta negara. Di dalamnya terdapat kualitas trans-sejarah (transhistorical quality<\/i>) yang melampaui objek-objek berbeda dalam sebuah jaring laba-laba besar.<\/p>\n

Hasil mencengangkan dalam usaha memproblematisasi memori dan persepsi ada pada The Park<\/i>, sebuah dokumenter bercorak partisipatoris ala Chronicle of Summer<\/i> yang mengizinkan rakyat Turki berbeda pendapat tentang apa yang mereka lihat di televisi. Bila Grito<\/i> setengah-setengah, The Park<\/i> justru sepenuh hati. Inilah filem yang melakukan eksperimentasi atas esensi demokrasi sebagai laboratorium berbeda pendapat dengan memperhatikan kompleksitas latar belakang responden: jarak dengan objek pembicaraan, umur, latar belakang pendidikan, dsb.<\/p>\n

Pada akhirnya, rangkaian program ini adalah upaya untuk mencatat bahwa keberpihakan politik adalah senjata yang paling ampuh nan sederhana untuk melawan apatisme yang mendarah-daging sebagai konsekuensi dari pilihan model politik tertentu, baik itu demokrasi, islamisme, maupun komunisme beserta berbagai varian praktiknya.<\/p>\n[\/column]\n[column type=”1\/2″ last=”1″ class=””]\n

Experimentation as a Political Will<\/span><\/h1>\n

 <\/p>\n

In arts, experimentation is not only about an artistic will, but also a political one. In most cases, its political character emerges in the form of micro narratives and characterization of the common people.\u00a0<\/span><\/p>\n

This is interesting particularly in regard to the history of cinema in Indonesia which has never been based on cultural and industrial reasons as common as it is in the history of cinema in general. Indonesian cinema instead has been standing on the foundation of the political. Yet, in the case of Indonesia, the politic that baselines the foundation of its cinema history is not a politic that stands in the place of the common people, but a politic that stands for the interest of the elites, those who are sitting in power. The history of Indonesian cinema is the history that caters to grand narrative and big people. Cinema that stands with the people hasn\u2019t succeeded in becoming the primary object of our history. \u00a0<\/span><\/p>\n

For the purpose of this discourse, this program revisits experimental cinema as an \u201ceye\u201d to capture the political that stands with the people (common people, wong cilik [Javanese, little people-red]<\/i>) in several geographical sites and some challenges that requires political engagements as its survival mode.\u00a0<\/span><\/p>\n

Political engagements in experimental cinema have been truly shown by films such as Asier and I<\/i>, an experimentation to reverse the burden between State Morale and Rebel Morale. The State Morale is represented by the government of Spain, while the Rebel Morale is represented by ETA (Euskadi Ta Askatasuna<\/i>), a separatist group who dreams of a free Basque region outside Spain. For Asier and I<\/i>, who is the righteous character and who is the terrorist depend on our stance that we choose. \u2018I\u2019 in the film represents the State Morale, while \u2018Asier\u2019 is the one who chooses to join ETA. The game is located in the subjectivity of \u2018I\u2019, I who is haunted by four kinds of problems: origin, death, knowledge and corporeality. These four problems construct a subjectivity that becomes the perspective of \u2018I\u2019 in Asier and I<\/i>. A game of subjectivity is of course a game of morality, because subjectivity is formed by experiences which cannot be reduced into something distant. This is something that wraps Asier and I <\/i>into the universe of a very tendentious anti-hero that falls himself into the field of the colonialism or even fascism in discussion.<\/span><\/p>\n

Engagements with the public have also been shown by several films with a spirit to problematize memory as part of political entity. Grito<\/i>, for instance, places photos of unknown people in the dark room and screens them almost without an explanation. Shadow of your Smile <\/i>and Grandfather Cortico <\/i>play on the problem of memory using different rhetorics. The first employs video technology, the other uses the tile industry. In Grito<\/i>, oppression is an inevitable situation which implies unrevealed secrets, as yet unclear where its origin begins, towards which it is going, and the film chooses to stand in silence as its mode of revealing.\u00a0<\/span><\/p>\n

Grito <\/i>seems \u201chalf-heartily\u201d to engage with political historiography in Argentina when compared to Shadow of Your Smile <\/i>and Grandfather Cortico<\/i>, two films that attempt to build a dialogue with the grand narratives in their own country. Shadow of Your Smile <\/i>is in a dialogue with two things: self-censorship as a dystopia where people who have been accustomed to oppression censor themselves and Putin\u2019s politics in the post cultural polemic of Pussy Riot and homophobia. Amidst the even newer problems, where Putin attempts to isolate Russia using various import controls, Shadow of Your Smile <\/i>becomes even more relevant with its meta-quality namely the video look that it offers. At the other end, Grandfather Cortico<\/i> reveals history as a subject that cannot survive without an object: history is always a history about something. Grandfather Cortico <\/i>multiplies the object of history through the way of refractions; which reflect from the tiles, the grandfather, the labor and industrialization and the state. Inside the film exists a transhistorical quality which surpasses different objects in a giant spider web.\u00a0<\/span><\/p>\n

An astonishing result in the attempt to problematize memory and perception is The Park<\/i>, a participatory documentary in the style of Rouch\u2019s Chronicle of Summer<\/i> which allows the people of Turkey to have different opinions about what they saw on television. If Grito<\/i> does it half-heartily, The Park <\/i>executes it whole-heartily. This is the film that conducts experimentation on the essence of democracy as a laboratory for different opinions by paying attention to the complexity of respondents\u2019 background: the distance between object of conversation and its subjects, age, education background, etc.\u00a0<\/span><\/p>\n

Ultimately, this program serves aim to say that political engagements are simple yet lethal weapons to stand against apathy, as apathy is in itself an inseparable consequences of every political system possible, whether it is democracy, Islamism, or communism with their various practices.<\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=”Films”]\n

\n

\""Asier<\/a><\/p>\n

Asier ETA Biok \/ <\/strong>Asier AND I<\/strong>
\n<\/i><\/span>Amaia Merino & Aitor Merino\u00a0(Spain\/Ecuador)<\/span><\/p>\n<\/div>\n

\n

\""The<\/a><\/p>\n

The Park<\/strong>
\nDorota & Monika Proba (Turkey\/Poland)<\/span><\/p>\n<\/div>\n

\n

\""The<\/a><\/p>\n

The Shadow of Your Smile\u00a0<\/strong>
\nAlexei Dmitriev (Russia)<\/span><\/p>\n<\/div>\n

\n

\""Grito<\/a><\/p>\n

Grito \/ <\/strong>Scream<\/strong>
\n<\/i><\/span>Andr\u00e9s Denegri (Argentina)<\/span><\/p>\n<\/div>\n[divider type=”space” height=”20″ no_border=”1″ \/]\n

\n

\""Av\u00f4<\/a><\/p>\n

Av\u00f4 Corti\u00e7o \/\u00a0<\/span><\/strong>Grandfather Corti\u00e7o<\/strong>
\n<\/i>Ricardo Batalheiro (Portugal)<\/span><\/p>\n

\u00a0<\/i><\/p>\n<\/div>\n

\n

\""Playing<\/a><\/p>\n

Playing With Fire<\/strong>
\nAnneta Papathanassiou (Greece)<\/span><\/p>\n<\/div>\n

\n

\""Historias<\/span><\/a><\/span><\/p>\n

Historias de Balcones \/\u00a0Balcony Tales
\n<\/i><\/span><\/strong>Helle Windel\u00f8v-Lidz\u00e9llius (Denmark)<\/span><\/p>\n<\/div>\n[\/accordion_item]\n[\/accordion]\n","protected":false},"excerpt":{"rendered":"

In arts, experimentation is not only about an artistic will, but also a political one. In most cases, its political character emerges in the form of micro narratives and characterization of the common people. <\/p>\n","protected":false},"author":77,"featured_media":2391,"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":[362,344],"tags":[128,122],"jetpack_publicize_connections":[],"yoast_head":"\nEksperimentasi Sebagai Keberpihakan Politik — 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\/eksperimentasi-sebagai-keberpihakan-politik\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eksperimentasi Sebagai Keberpihakan Politik — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"In arts, experimentation is not only about an artistic will, but also a political one. 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