{"id":7073,"date":"2017-08-20T09:30:39","date_gmt":"2017-08-20T02:30:39","guid":{"rendered":"http:\/\/arkipel.org\/?p=7073"},"modified":"2017-08-22T14:24:00","modified_gmt":"2017-08-22T07:24:00","slug":"notes-on-festival-forum-panel-iv","status":"publish","type":"post","link":"https:\/\/arkipel.org\/notes-on-festival-forum-panel-iv\/","title":{"rendered":"Notes on Forum Festival, Panel IV"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503305074-1-55″][vc_column_text title=”Catatan tentang Forum Festival, Panel IV”]Pada 19 Agustus 2017, Forum Festival, Panel ke-4 dilaksanakan di Goethe Institute sebagai kelanjutan dari rangkaian acara Festival ARKIPEL Penal Colony<\/em> \u2013 5th<\/sup> Jakarta International Documentary and Experimental Film Festival, 2017. Antusias pengunjung bisa saya rasakan sebelum memasuki auditorium Goethe. Waktu menunjukan pukul 11.03, gong pun berbunyi menandakan pengunjung sudah dapat memasuki auditorium. Mereka pun duduk dan melakukan diskusi kecil dengan gerombolannya sambil menunggu kedatangan moderator beserta pembicaranya.<\/p>\n

Acara pun dimulai dengan melakukan pengenalan para panelis oleh Mahardika Yudha selaku moderator. Pada keempat itu, ARKIPEL mengangkat tema \u201cSinema sebagai Cultural Interface.\u201d Panelis yang dihadirkan, antara lain Akbar Yumni (kritikus dan kurator ARKIPEL), Gaston Soehadi (akademisi di bidang kajian filem) dan Teng Mangansakan (sutradara, produser, penulis, serta direktur festival Salamindanaw Film Festival, Filipina). Kehadiran para panelis itu diharapkan dapat membuka ruang pemikiran bagi publik tentang proses kultur-sosial-politik atas teknologi itu sendiri. Panel ini juga mencoba mengangkat serta membedah kembali aspek antropologis untuk melihat titik temu ruang budaya yang muncul di dalam hubungan timbal-balik antara teknologi dan masyarakat.<\/p>\n

\"\"

Akbar Yumni.<\/p><\/div>\n

Akbar Yumni mengawali makalahnya dengan memaparkan pendapat terkait tema diskusi, \u201cCultural Interface\u201d. Menurutnya, kehadiran cultural interface<\/em> sendiri di konteks media baru sebenarnya bukanlah makna baru dalam artian harfiahnya. Akan tetapi, istilah \u201cbaru\u201d dalam konteks sinema ini diartikan sebagai kemunculan kecenderungan sinema untuk keluar dari rezim bahasa yang terpusat. Hal itu ia contohkan dengan menyebut praktik-praktik penggunaan dokumenter di Indonesia sebagai modus bertutur untuk mempresentasikan diferensiasi kode budaya tertentu. Ia menyebut beberapa judul filem, seperti karya Joshua Oppenheimern atau karya Bayu Prihantoro Filemon, sebagai contoh dari modus pengalaman dari bentuk filem dokumenter yang menuturkan aspek memori lewat \u201cperformans\u201d dan bukan semata wawancara yang mengejar validitas. Secara garis besar, Akbar Yumni mencoba untuk menghadirkan pemaparan tentang sebagaimana cultural interference<\/em> itu sendiri menjadi instrumen untuk mengkonstruk suatu realitas.<\/p>\n

\"\"

Mahardika Yudha (kiri, sebagai moderator) dan Gaston Soehadi (kanan, salah satu panelis).<\/p><\/div>\n

Kemudian, pembahasan dilanjutkkan oleh Gaston Soehadi selaku akademisi di bidang kajian filem. Terkait dengan tema yang dibahasnya, ia memaparkan bahwa adanya digitalisasi sinema sebagai cultural interface<\/em> tidak akan mengubah esensi story telling<\/em> yang dihadirkan oleh sinema. Secara historis, esensi story telling<\/em> ini sangat signifikan jika dilekatkan dengan budaya Asia, yaitu menggunakan filem sebagai medium dari masyarakat dalam membicarakan budayanya. Mengacu pada artikel Lev Manovich, Gaston Soehadi memaparkan bahwa filem-filem dengan teknologi menjadi alat untuk menciptakan realitas bagi penikmatnya. Terkait dengan konteks Asia, ia mengatakan bahwa konteks Asia terlalu luas dan majemuk. Tetapi ia melihat bahwa lewat dunia perfilemanan, identitas Asia yang dekat dan penuh koneksi dapat terealisasikan. Ia berpesan mengenai pentingnya tugas sinema untuk merepresentasikan budaya dan masyarakat, tidak terkecuali tradisi masyarakat Asia itu sendiri.<\/p>\n

\"\"

Teng Mangansakan (paling kanan) memaparkan masalah Bangsa Moro dalam konteks sinema.<\/p><\/div>\n

Kemudian, Teng sebagai pembicara terakhir memaparkan pembahasan \u201csinema sebagai cultural interface<\/em>\u201d dalam konteks Bangsa Moro sebagai penduduk asli dari Mindanao, tempat kelahiran Teng sendiri. Sebelum memulai pembahasannya mengenai Bangsa Moro, diskusi diawali dengan cerita pengalaman Teng mencari cobek di salah satu mall elite daerah Thamrin, Jakarta. Suasana diskusi pun sempat menjadi cair akibat gelak tawa pengunjung mendengar cerita perjalanan Teng mencari batu itu. Namun, apa yang hendak disampaikan Teng melalui pengalamannya mencari cobek adalah ia menggunakan perumpamaan mencari Batu Cobek sebagai salah satu bentuk langkah paling sederhana (kalau bukan tradisional) untuk berkoneksi (dengan lokasi ataupun manusia di lokasi itu). Cerita ini baginya dapat menjadi metafor terkait fungsi filem sebagai mediasi yang menjadi jembatan antara teknologi dan masyarakat. Adanya kecenderungan filem-filem arus utama yang menjadikan Bangsa Moro sebagai representasi kaum \u201cyang lain\u201d, antagonis, dan objek dari kolonialis, menurut Teng sendiri, interpretasi buruk terhadap Bangsa Moro tersebut membuktikan kekeliruan pikir atas filem. Ia berpendapat bahwa adanya pengaruh alur mainstream<\/em> yang melindungi ide lama. Sedangkan untuk filem independen sendiri berusaha menyajikan \u201ckebenaran\u201d baru yang terkadang bertabrakan dengan \u201ckebenaran\u201d lama. Sinema, menurut Teng, seharusnya sebagai alat refleksi dari identitas Asia. \u201cHubungkan jiwa Asia kita sama seperti Cobek Batu itu sendiri,\u201d begitulah kira-kira katanya.<\/p>\n

\"\"

Anggi, dari Yogyakarta, bertanya tentang relevansi penggunaan istilah “sinema dunia ketiga” pada masa sekarang.<\/p><\/div>\n

Usai penyampaian oleh masing-masing pembicara, panel tersebut dilanjutkan dengan sesi tanya-jawab. Tiga pertanyaan pun diajukan pada ketiga pembicara. Pertanyaan pertama membahas mengenai peranan sinema dalam merepresentasikan isu dalam konteks lokal dan global. Menangapi pertanyaan tersebut, Teng beranggapan bahwa istilah lokal maupun lokalitas adalah mengenai cara pandang masing-masing individu untuk memiliki authenticity<\/em> dalam menanggapi setiap pengalamannya. Gaston Soehadi dan Akbar Yumni juga menanggapi bahwa mengenai persoalan lokal dan lokalitas, identitas tidak semata-mata memiliki esensi tertentu, tetapi adanya koneksi yang muncul antar identitas lain karena di era media baru, tidak ada yang hirarki.<\/p>\n

Salah satu hadirin forum juga sempat menanggapi pembahasan oleh Gaston Soehadi. Penjelasan Gaston mengenai filem \u201cSecangkir Kopi Pahit\u201d sebagai contoh tentang filem yang berbicara tentang hilangnya batas-batas lokal, menurut si penanya yang bernama Ugeng T. Moetidjo, agak keliru. Si penanya justru menawarkan contoh kasus lain yang perlu dilihat untuk berbicara isu lokalitas dan lokasi itu, yakni Arific C. Noer dengan filemnya \u201cSuci Sang Primadona\u201d, filem-filem pendek Garin Nugroho di tahun 1990-an (\u201cCinta dalam Sepotong Roti\u201d), dan Mohammad Fauzi (\u201cThe Rain After\u201d).<\/p>\n

Kemudian pertanyaan terakhir diajukan oleh hadirin yang lain terkait relevansi penggunaan \u201ckategorisasi sinema dunia ketiga\u201d pada masa sekarang. Menanggapi pertanyaan tersebut, Gaston Soehadi memaparkan bahwa pembagian dunia sinema tersebutnya hanya sering digunakan dalam ranah akademis dan tidak selalu berlaku dalam setiap diskusi.<\/p>\n

Forum Festival Panel keempat itu dihadiri oleh 67 pengunjung dan diakhiri pada pukul 12.30 siang. ***<\/p>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503305074-2-9″][vc_column_text title=”Notes on Festival Forum, Panel IV”]On August 19, 2017, Forum Festival, 4th<\/sup> Panel was held at Goethe Institute as a continuation of the ARKIPEL Penal Colony \u2013 5th<\/sup> Jakarta International Documentary and Experimental Film Festival, 2017. I could feel the enthusiasm of visitors before entering Goethe auditorium. Time indicated at 11:03 am, sound of the gong indicating that the participants may enter auditorium. They sat down and held a small discussion with their friends while waiting for the arrival of moderator along with the speakers.<\/p>\n

 <\/p>\n

The event began with an introduction of the speakers by Mahadika Yudha as moderator. In this fourth panel, ARKIPEL raise a theme of “Cinema as a Cultural Interface.” The speakers were Akbar Yumni (critic and curator of ARKIPEL), Gaston Soehadi (academic in film studies) and Teng Mangansakan (director, producer, writer and director of Salamindanaw Film Festival, Philippines). The presence of the speakers is expected to open the public discussion on the socio-cultural-political process over the technology itself. It also attempts to raise and re-examine anthropological aspects to see the cultural spaces which emerges in the reciprocal relationship between technology and society.<\/p>\n

\"\"

Akbar Yumni.<\/p><\/div>\n

Akbar Yumni started his presentation by elaborating his opinion on the theme of discussion, “Cultural Interface”. According to him, the presence of cultural interface itself in the context of new media is actually not a new meaning in its literal sense. However, the term “new” in the context of cinema is defined as the emergence of cinematic tendencies to retreat from a regime of centralized language. This is illustrated by mentioning the practices of documentary usage in Indonesia as a mode of speech to present the differentiation of particular cultural codes. He mentioned several film titles, such as Joshua Oppenheimern’s or Bayu Prihantoro Filemon’s works, as examples of experience mode of a documentary film form that tells the aspect of memory through “performance” and not merely an interview pursuing validity. Broadly speaking, Akbar Yumni tried to present the exposure about how that cultural interference itself becomes an instrument to construct a reality.<\/p>\n

\"\"

Mahardika Yudha (left, the moderator) and Gaston Soehadi (right, one of panelists).<\/p><\/div>\n

Then, the discussion was continued by Gaston Soehadi as an academic in the field of film studies. Related to the theme discussed, he explained that the digitalization of cinema as a cultural interface will not change the essence of the story telling presented by cinema. Historically, the essence of storytelling is very significant if it is embedded with Asian culture, which is, using film as the medium of society in talking about its culture. Referring to the article of Lev Manovich, Gaston Soehadi explained that the film with technology is a tool to create reality for its audience. Associated with the Asian context, he said that the Asian context is too broad and diverse. But he perceived that through the film world, a close and connected Asian identity can be realized. He advised the importance of cinema’s task to represent the culture and society, not least the tradition of the Asian community itself.<\/p>\n

\"\"

Teng Mangansakan explained the issue of Bangsa Moro.<\/p><\/div>\n

Later, Teng as the last speaker described the discussion of “cinema as a cultural interface” in the context of the Bangsa Moro as native people of Mindanao, the birthplace of Teng himself. Before beginning his discussion of the Bangsa Moro, the discussion begins with the story of Teng’s experience in searching for cobek<\/em> in one of the elite malls of Thamrin area, Jakarta. The atmosphere of discussion was more relaxed for a moment due to the participants’ laughter listening to the story of Teng’s journey to find cobek<\/em>. However, what Teng tried to convey through his experience of finding cobek<\/em> is that he used the parable of looking for cobek<\/em> as one of the simplest (if non-traditional) steps to connect (to the location or to the human being at that location). This story for him can be a metaphor related to the function of film as a mediation that bridges technology and society. The tendency of mainstream films that make the Bangsa Moro as a representation of the “other”, the antagonist and object of the colonials, according to Teng himself, the bad interpretation of the Moro proves fallacy of thought on the film. He argued that the influence of the mainstream protects the old idea. Meanwhile, independent film tries to present a new “truth” that sometimes collided with the old “truth”. Cinema, according to Teng, should be a reflection of Asian identity. “Connecting our Asian souls just like Cobek Batu<\/em> itself,” he said.<\/p>\n

After each speaker delivered their presentation, the panel was continued by Q&A session. Three questions were asked to the three speakers. The first question discussed the role of cinema in representing issues in local and global contexts. In response to the question, Teng assumed that the local term and locality are about the perspective of each individual to have authenticity in response to each experience. Gaston Soehadi and Akbar Yumni also responded that on the issue of local and locality, identity does not merely have a certain essence, but the connection that arises between other identities because in the new media era, there is no hierarchy.<\/p>\n

One of the forum’s participants also briefly responded to the discussion by Gaston Soehadi. Gaston’s explanation of the film “Secangkir Kopi Pahit” as an example of a film that speaks about the loss of local boundaries, according to the questioner named Ugeng T. Moetidjo, is somewhat mistaken. The questioner offered an example of other cases that need to be seen to address the issue of locality and location, namely Arific C. Noer with his film “Suci Sang Primadona”, Garin Nugroho’s short films in the 1990s (“Cinta dalam Sepotong Roti”) , and Mohammad Fauzi (“The Rain After”).<\/p>\n

\"\"

One of the audiences, Anggi (from Yogyakarta) questioned to the panelists about the term of “third cinema” in contemporary context.<\/p><\/div>\n

Then the last question was asked by other participants about the relevance of the use of “the categorization of third world cinema” today. Responding to that question, Gaston Soehadi explained that such division of world cinema is often used only in the academic realm and does not always apply in any discussion.<\/p>\n

The fourth panel of Forum Festival was attended by 67 participants and was ended at 12.30 pm. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Novianty","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/a0f8a4d57ca3ccf0c8bdae4e9f2a75b9?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a0f8a4d57ca3ccf0c8bdae4e9f2a75b9?s=96&d=mm&r=g","caption":"Wienda P. Novianty"},"description":"Wienda Putri Novianty (Jakarta, 16 November 1997). Mahasiswi jurusan Hubungan Internasional, Universitas Bina Nusantara, yang memiliki ketertarikan di bidang musik dan filem. Kegiatan luangnya sering disibukkan dengan mengulik lagu dan travelling. Ia cukup aktif mengikuti kegiatan-kegiatan relawan, mulai dari relawan festival hingga pameran. - Wienda Putri Novianty (Jakarta, November 16, 1997). A college student majoring in International Relations study of Bina Nusantara University who has an interest in music and film. She often fills her spare time by exploring songs and traveling. 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