{"id":4856,"date":"2015-09-14T18:35:00","date_gmt":"2015-09-14T11:35:00","guid":{"rendered":"http:\/\/arkipel.org\/?p=4856"},"modified":"2017-08-02T19:49:36","modified_gmt":"2017-08-02T12:49:36","slug":"curatorial-program-screening-on-bachtiar-siagians-violetta","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-program-screening-on-bachtiar-siagians-violetta\/","title":{"rendered":"Curatorial Program Screening on Bachtiar Siagian\u2019s Violetta"},"content":{"rendered":"
<\/p>\n
Filem Violetta<\/em> karya Bachtiar Siagian akhirnya ditayangkan di depan publik masa kini di Kineforum, pada 25 Agustus, 2015. Filem ini merupakan satu dari dua karya sutradara yang berafiliasi dengan LEKRA (Lembaga Kebudayaan Rakyat) yang tersisa, dan selama 50 tahun hanya tersimpan di Sinematek Indonesia. Penayangan yang dihadiri oleh 50 penonton itu merupakan Program Kuratorial oleh Bunga Siagian, dengan judul esai kuratorial Bachtiar Siagian dan Violetta: Ideologi dan Seni Hiburan<\/em>.<\/p>\n Filem ini ditayangkan dengan tujuan membuka satu diskusi lebih luas dan paling baru mengenai salah satu kemungkinan apa itu \u201cSinema LEKRA\u201d dari segi estetik, yang coba diusahakan dibaca melalui Violetta<\/em>. Selama ini, \u201cSinema LEKRA\u201d seperti mitos, nyaris tidak ada pembahasan mengenai visual filem yang konstruktif. Karena, setidaknya hingga saat ini, pembahasan mengenai \u201cSinema LEKRA\u201d selalu merujuk kepada tulisan yang dibuat oleh Salim Said dan Khrisna Sen. Menurut kurator, bacaan Salim Said merupakan sebuah definisi \u201cSinema LEKRA\u201d di dalam konteks gerakan politik dan bukan estetika, sementara Khrisna Sen agak kurang jeli ketika membaca filem-filem Bachtiar Siagian melalui konstruksi skenario dan sejarah oral, dan melewatkan filem Violetta<\/em> yang masih dikoleksi Sinematek.<\/p>\n Setelah penayangan filem, kurator membuka sesi tanya jawab. Terjadi keheningan beberapa saat dan sedikit kebingungan di wajah penonton. Lalu kurator memberikan sedikit penjelasan bahwa apa yang ditafsir oleh kuratorial ini mengenai filem Violetta<\/em> sesungguhnya merupakan satu hal yang baru. Di dalam sejarah Orde Baru, filem Bachtiar Siagian dikonstruksi sebagai filem propaganda berideologi komunis yang dilarang pemerintah. Pada kenyataannya, filem Violetta<\/em> adalah filem percintaan yang ringan secara narasi, namun ketat terhadap konstruksi bentuk.<\/p>\n Pada proses tanya jawab selanjutnya, beberapa tamu ARKIPEL, seperti May Adadol (Bangkok Experimental Film Festival), Shai Heredia (Experimenta India), dan Amy Fung (Images Festival) mengajukan pertanyaan menarik. Misalnya, Shai Heredia, yang bertanya mengenai kewajaran mengenai adanya dua pemeran utama perempuan sekaligus pada konteks tahun 60-an, atau Amy Fung yang kemudian bertanya mengenai proses pengarsipan filem di Indonesia.<\/p>\n <\/p>\n –<\/p>\n For the first time, Violetta <\/em>by Bachtiar Siagian, shown to the public in Kineforum, August 25, 2015. This film made by a director affiliated with LEKRA (Lembaga Kebudayaan Rakyat), and was kept in Sinematek Indonesia for almost 50 years, being one among two films by LEKRA\u2019s directors. The screening that was attended by 50 people is a part of Bunga Siagian\u2019s curatorial program, \u201cBachtiar Siagian and Violetta: Ideology and Entertainment\u201c<\/span><\/p>\n According to Siagian\u2019s curatorial, this film is screened to the public to open wider discussion and new interpretation on what is LEKRA film through its Violetta<\/em> aesthetics. For a long time, LEKRA became a myth because there is no discussion on the visual of the film. When talking about LEKRA-affiliated-directors\u2019 films, the definition always refers to Salim Said and Khrisna Sen wrtings. As the curator has said, Salim Said\u2019s view on LEKRA was only in the political context, not the aesthetics. While Khrisna Sen\u2019s was on the surface \u2013 she only read Siagian\u2019s films through the scenarios and historycal construction but didn\u2019t try to see Violetta that in fact was kept in Sinematek.<\/span><\/p>\n The room was quiet and some audiences bewildered for a while after the screening is finished. After that, Siagian explains that she found new meaning and interpretation afrter watching Violetta<\/em>. During New Order regime, Siagian\u2019s films were prohibited and regarded as communism propaganda film. In fact, Violetta<\/em> is a romance film, easy-to-catch for the narration but concise for the form.<\/span><\/p>\n For the next Q&A session, some questions come from May Adadol (Bangkok Experimental Film Festival), Shai Heredia (Experimenta India), and Amy Fung (Images Festival). Heredia asked and emphasized on the two female characters in the film and the way they constructed in 60\u2019s era. While Amy Fung asked on the process of film archiving in Indonesia.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" According to Siagian\u2019s curatorial, this film is screened to the public to open wider discussion and new interpretation on what is LEKRA film through its Violetta aesthetics. For a long time, LEKRA became a myth because there is no discussion on the visual of the film.<\/p>\n","protected":false},"author":5,"featured_media":4244,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"[LATE POST - Grand Illsuion] Curatorial Program Screening on Bachtiar Siagian\u2019s Violetta","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[368,345,385],"tags":[229,279,228],"jetpack_publicize_connections":[],"yoast_head":"\n