{"id":5977,"date":"2016-08-25T12:50:10","date_gmt":"2016-08-25T05:50:10","guid":{"rendered":"http:\/\/arkipel.org\/?p=5977"},"modified":"2017-08-02T19:06:39","modified_gmt":"2017-08-02T12:06:39","slug":"nation-memoria-passionis-cinema","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nation-memoria-passionis-cinema\/","title":{"rendered":"After Nation: A Memoria Passionis in Cinema"},"content":{"rendered":"[vc_row][vc_column][vc_column_text]\n

After Nation: Sebuah Memoria Passionis dalam Sinema<\/h2>\n

 <\/p>\n

Malam sebelum Rabu, 24 Agustus 2016, saya sudah bersiap-siap untuk tidur yang cukup agar bisa bangun bugar. Maklum saja, siang di hari Rabu tersebut akan menjadi pengalaman pertama saya menonton sebuah filem Asia Tenggara sepanjang 8 jam 8 menit. Tepat 10 menit sebelum filem dimulai, saya sudah memasuki teater 1 bioskop XXI Taman Ismail Marzuki. Kagum juga saya dengan pemandangan 53 orang lainnya yang sudah siap sedia dalam ruangan untuk menonton A Lullaby to the Sorrowful Mystery<\/em> karya Lav Diaz.<\/p>\n

\"dsc04609\"<\/p>\n

Filem ini dibuka dengan sebuah narasi revolusionis Filipina yang tengah menulis surat kepada kekasihnya tentang eksekusi mati Jose Rizal. Kemudian dalam adegan yang berbeda, seorang pemuda bernama Isagani tampak begitu puitis dalam kegilaannya meratapi hari kematian Jose Rizal. Eksekusi matinya muncul dalam sebuah adegan tanpa sosok, hanya suara letusan senapan dan wajah-wajah penduduk lokal Filipina sebagai saksi. Dalam warna hitam-putih, melankoli terasa begitu kental membuka karya sutradara asal Filipina ini. Sebuah penderitaan yang terbahasakan melalui visual.<\/p>\n

\"dsc04632\"<\/p>\n

Filem ini mengambil latar Revolusi Filipina di tahun 1896-1897. Berbagai mitos, tradisi lokal, dan keseharian penduduk lokal Filipina di masa lampau hadir dalam ekspresi yang artistik namun nyata. Sebuah bagian dari sejarah perjuangan pembentukan identitas bangsa Filipina yang dibungkus dalam pengembaraan beberapa sosok. Ada dua cerita dalam filem ini yang bagi saya begitu mencuri minat. Yang pertama ialah tentang Simoun yang penuh enigma dan menjadi musuh semua pihak. Dan yang kedua ialah tentang Gregoria de Jesus yang begitu menderita dalam pencariannya untuk menemukan tubuh sang suami sekaligus Bapak Revolusi, Andreas Bonifasio. Baik Simoun maupun Gregoria menyajikan kisah-kisah tragis yang lahir setelah eksekusi mati Jose Rizal.<\/p>\n

\"dsc04499\"<\/p>\n

\"dsc04545\"<\/p>\n

\"dsc04534\"<\/p>\n

\"dsc04526\"<\/p>\n

\"dsc04505\"<\/p>\n

Adegan yang paling saya ingat ialah adegan ketika Caesaria Belarmino memohon ampun pada Gregoria dan meminta dibunuh, sedangkan Gregoria histeris dan sempat nyaris membunuhnya. Caesaria Belarmino ialah wanita yang menyebabkan kemenangan Spanyol atas para revolusionis di Pertempuran Silang serta menyebabkan Andreas Bonifasio tertangkap. Gregoria secara tak sengaja telah bersahabat dengan wanita yang menjadi pemicu kematian suaminya. Sebagai perempuan, saya pun terbawa untuk merasa dari posisi Gregoria yang kehilangan suaminya dan dari posisi Caesaria yang berkhianat pada bangsanya karena situasi. Betapa keduanya sama-sama menjadi bagian dari tragedi yang menimpa bangsa Filipina di era kolonialisme Spanyol.<\/p>\n

Pada program ini, A Lullaby to the Sorrowful Mystery<\/em> diputar menjadi 2 bagian dengan interval 1 jam setiap 4 jam pemutaran. Pada sesi kedua, jumlah penonton tak jauh berbeda dari sesi pertama, yaitu sejumlah 43 orang. Tentu saja sebagian telah berganti namun sebagian adalah penonton yang menonton sejak menit pertama filem dimulai. Saya sempat berbincang dengan Bunga Siagian yang telah setia menonton filem ini sejak menit pertama hingga menit terakhir di jam ke-delapan. Menurutnya, filem ini bicara soal hal-hal yang terpinggirkan. Terutama kaitannya dengan pelaku sejarah yang kerap tak disebutkan dalam sejarah. Narasinya dimulai dari cerita tentang Jose Rizal yang akan dieksekusi mati namun tak sekalipun menampilkan sosoknya. Seolah ingin menggeser penokohan dalam sejarah Filipina.<\/p>\n

\"Ugeng

Ugeng T. Moetidjo dan Prashasti W. Putri membuka program penayangan filem Lav Diaz. \/ Ugeng T. Moetidjo and Prashasti W. Putri welcomed the audiences.<\/p><\/div>\n

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Berbicara tentang tokoh sejarah, filem ini tidak secara gamblang menampilkan mana yang tokoh utama dan bukan. Bahkan semua tokoh sepertinya bukan tokoh utama. Menurut Ugeng T. Moetidjo, selaku kurator program ini, setiap tokoh yang hadir tampak menjadi bagian dari identitas Filipina. Lanskap alam Filipina sengaja dihadirkan sebagai latar belakang yang menempel ketat pada setiap karakter di filem ini. Tidak ada potret atau tokoh utama dalam keseluruhan narasi filem kecuali riwayat Filipina itu sendiri. Ketika ditanya mengenai inti yang ingin disampaikan dalam filem ini, Ugeng merujuk pada kualitas ingatan kolektif bangsa Filipina.<\/p>\n

Kesan tentang memoria passionis<\/em> atau ingatan kolektif tentang penderitaan memang berkali-kali saya rasakan selagi menonton filem ini. Proses pembentukan identitas negara-bangsa Filipina pada era kolonialisme Spanyol sangat lekat dengan kisah-kisah yang terjadi setelah kematian Jose Rizal sebagai martir revolusi. Dalam hal konteks, latar belakang sejarah Indonesia sebetulnya sangat bisa diceritakan dengan cara yang serupa. Ingatan kolektif yang sarat akan penderitaan sama-sama bangsa Indonesia alami terutama terkait era kolonialisme dan peristiwa-peristiwa seputar tahun 1965. Namun sayangnya, kegelisahan dan persistensi yang sama tampaknya belum kita miliki sehingga karya dengan muatan memoria passionis<\/em> sejarah yang berkualitas pun belum bisa kita lahirkan.<\/p>\n

\"dsc04585\"<\/p>\n

\"dsc04577\"Terkait durasi, saya sempat bertanya pada Ugeng mengapa harus delapan jam. Menurut peneliti senior dan anggota Forum Lenteng ini, panjang durasi pada A Lullaby to the Sorrowful Mystery <\/em>kemungkinan adalah pilihan artistik dari sang sutarada. Ugeng bercerita mengenai wawancara Lav Diaz di berbagai media yang mengungkapkan bahwa durasi di filem ini mirip dengan durasi pada seni pertunjukan di Filipina. Ia menjadi suatu ritus publik bagi khalayak setempat. Dalam wawancara yang diceritakan Ugeng, Lav Diaz pun menyatakan bahwa sebetulnya penonton tak harus menonton keseluruhan filem. Tak masalah jika orang hanya menonton 10 menit dari filem ini jika ia sudah bisa menangkap keseluruhan maknanya. Justru yang sulit diterima sang sutradara ialah ketika filemnya musti diputar secara terpotong-potong.<\/p>\n

\"Suasana

Suasana saat filem A Lullaby to the Sorrowful Mystery akan diputar. \/ An atmosphere shortly befor the film began.<\/p><\/div>\n

\"Scott

Scott Miller Berry berbincang dengan Ruth Noack. \/ Scott Miller Berry was discussing with Ruth Noack.<\/p><\/div>\n

\"dsc04627\"<\/p>\n

\"dsc04623\"<\/p>\n

Wel!l<\/em> Setelah tahu betapa menyenangkannya menonton filem ini, sepertinya saya pun tak keberatan jika harus menonton filem ini selama 8 jam 8 menit tanpa jeda meskipun kemudian keluar dengan leher yang sedikit kaku-kaku.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n

After Nation: A Memoria Passionis in Cinema<\/span><\/h2>\n

 <\/p>\n

The night before Wednesday, August 24th<\/sup> 2016, I already prepared myself to have enough sleep so I can have fit body in the morning. Well, in that Wednesday afternoon I will have my first experience watching an 8 hours 8 minutes Southeast Asian film. Thus, I believe I need to be fit for it. Exactly 10 minutes before the screening, I started to enter theatre 1 cinema XXI Taman Ismail Marzuki. I saw 53 persons inside the cinema and I was impressed by their will to watch A Lullaby to the Sorrowful Mystery <\/em>by Lav Diaz.<\/span><\/p>\n

A narration from a Philippine revolutionist who is writing a letter to his lover about Jose Rizal\u2019s execution opened the film. Then in different scene, a young man named Isagani looked very poetic in his madness while mourning for the death of Joze Rizal. His execution emerged as a scene without figures, only the bursting riffles and the faces of Philippines as witness. In black and white colors, melancholia felt so strong in the work of this director from Philippine. A sorrow expressed through visual language.<\/span><\/p>\n

This film took Philippine Revolution in 1896-1897 as its background. Various myths, local tradition and the daily life of Philippines in the past were presented artistically and yet real. It\u2019s a part of the history of Philippines nation building struggle wrapped in several figures. There are two stories in this film that I found very interesting. The first one is about the enigmatic public enemy named Simoun. And the second one about Gregoria de Jesus who suffered so much in her quest to find the body of her husband and father of the Revolution, Andreas Bonifasio. Both Simoun and Gregoria presented tragic stories born after the execution of Jose Rizal.<\/span><\/p>\n

\u00a0The scene I remember in the most is the one when Caesaria Belarmino begged forgiveness and asked to be killed by Gregoria while Gregoria was so hysterical and had nearly killed her. Caesaria Belarmino is the woman who caused the Spanish victory over the revolutionists in the Battle of Silang and made Andreas Bonifasio being caught. Gregoria inadvertently has been friends with the woman who triggered the death of her husband. As a woman, I was carried away to sense everything from the position of Gregoria who lost her husband and from the position of Caesaria who betrayed his people because of the situation. Both of them became part of the tragedy befell upon the Filipino people in the era of Spanish colonialism.<\/span><\/p>\n

This program was divided into 2 parts with 1 hour interval every 4 hours screening. On the second session, the amount of the audiences was not much different from the first session, it was about 43 people. Of course some has been changed but most of them were the audiences who watched the film from the very first minute. I had my chance to talk with Bunga Siagian who has faithfully watched this film since the first minute to the last minute on the eighth hours. In her opinion, this film still discussed the marginal matters. Especially associated to the agents of history that is often unmentioned in history. The narration was started from the story of Jose Rizal\u2019s execution but until the end of the film there was no figure of Jose Rizal, not even his photograph. As if it wanted to shift the characterizations in the history of Philippine.<\/span><\/p>\n

Talking about the historical figures, this film does not explicitly show you which one the main character is and which one is not. In fact, all the characters seem to be not the main character. According to Ugeng T. Moetidjo as the curator of this program, every character showed up as a part of Philippines\u2019 identity. Philippine natural landscapes were deliberately presented as a background sticking closely to each character in this film. There is no portrait or main character in the entire film except for a history of Philippine itself. When I asked Ugeng about the substance conveyed in this film, he referred to the quality of Philippines\u2019 collective memory.<\/span><\/p>\n

Indeed when I watched this film I did get the impression of memoria passionis <\/em>or collective memory about the suffering. The nation building process of Philippines in the era of Spanish colonialism was related closely to the stories happened after the death of Jose Rizal as a martyr of the revolution. In terms of context, the historical background of Indonesia is actually can be told in similar way. The collective memory of the suffering experienced by Indonesian mainly related to the colonialism era and the events surrounding the year 1965. Unfortunately, we seem to not having the same anxiety and persistence to create a work revealing our qualified memoria passionis<\/em> history.<\/span><\/p>\n

About the length of this film duration, I got my chance to ask Ugeng why it has to be eight hours. According to this senior researcher and member of Forum Lenteng, the duration of A Lullaby to the Sorrowful Mystery <\/em>probably is the artistic choice of the director. Ugeng tried to see this through Lav Diaz interview in various media. It was told that the duration in this film is similar to the duration in Philipine\u2019s performing arts. It becomes a public ritual for local society. Lav Diaz also once stated in his interview that it would be better if the audience watch it for 10 minutes only but able to understand the whole context instead of watching it entirely but in parts. He objected the situation where his film screened in 2 parts or more.<\/span><\/p>\n

Well after knowing how enchanting the experience of watching this film, I don\u2019t seem to mind watching this film straightly for 8 hours 8 minutes without a break. Although later probably I will came out with a little neck stiffness.<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Indeed when I watched this film I did get the impression of memoria passionis or collective memory about the suffering. The nation building process of Philippines in the era of Spanish colonialism was related closely to the stories happened after the death of Jose Rizal as a martyr of the revolution. In terms of context, the historical background of Indonesia is actually can be told in similar way. The collective memory of the suffering experienced by Indonesian mainly related to the colonialism era and the events surrounding the year 1965. Unfortunately, we seem to not having the same anxiety and persistence to create a work revealing our qualified memoria passionis history.<\/p>\n","protected":false},"author":131,"featured_media":5993,"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":[369,385,344],"tags":[292,165,293,389],"jetpack_publicize_connections":[],"yoast_head":"\nAfter Nation: A Memoria Passionis in Cinema — 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\/nation-memoria-passionis-cinema\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"After Nation: A Memoria Passionis in Cinema — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"Indeed when I watched this film I did get the impression of memoria passionis or collective memory about the suffering. 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The nation building process of Philippines in the era of Spanish colonialism was related closely to the stories happened after the death of Jose Rizal as a martyr of the revolution. In terms of context, the historical background of Indonesia is actually can be told in similar way. The collective memory of the suffering experienced by Indonesian mainly related to the colonialism era and the events surrounding the year 1965. 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Saat ini ia adalah anggota Forum Lenteng yang bertanggung jawab untuk Divisi Riset dan Pengembangan. Ia juga berpartisipasi dalam Program Diorama \u2013 AKUMASSA. Selain aktif menulis kritik tentang filem di\u00a0Jurnal Footage, ia juga anggota peneliti di Koperasi Riset Purusha dan pegiat teater kafha di Universitas Paramadina. - Anggraeni Dwi Widhiasih\u00a0(Sleman, 21 Juni 1993) achieved her Bachelor Degree of International Relations study from Paramadina University in 2016. She is currently an active member of Research and Development program at Forum Lenteng and\u00a0 Diorama project by AKUMASSA, Forum Lenteng. Aside of actively writing film critic in\u00a0Jurnal Footage, she is also a member of Koperasi Riset Purusha and kafha theatre in Paramadina University.  ","url":"https:\/\/arkipel.org\/people\/anggraenidwiwidhiasih\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/09\/DSC04681.jpg?fit=1024%2C580&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-1yp","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/5977"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/131"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=5977"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/5977\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/5993"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=5977"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=5977"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=5977"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}