{"id":7162,"date":"2017-08-21T15:00:08","date_gmt":"2017-08-21T08:00:08","guid":{"rendered":"http:\/\/arkipel.org\/?p=7162"},"modified":"2017-08-23T15:24:02","modified_gmt":"2017-08-23T08:24:02","slug":"resisting-psychological-colonization-refusing-conformity","status":"publish","type":"post","link":"https:\/\/arkipel.org\/resisting-psychological-colonization-refusing-conformity\/","title":{"rendered":"Resisting Psychological Colonization, Refusing Conformity"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503392228-1-21″][vc_column_text title=”Melawan Kolonisasi Psikologis, Menolak Kenyamanan: Catatan Program Kurator Muda Asia \u201cClosure\u201d”]Warna merupakan salah satu instrumen yang efektif untuk mengendalikan perilaku manusia pada tataran psikologis. Warna yang hangat dapat memberikan ketenangan batin, sementara warna yang mencolok dapat mengakibatkan lonjakan emosi, mulai dari panik hingga geram. Selain warna, suara juga memiliki peranan yang kurang lebih sama. Perpaduan kedua elemen ini akan membentuk sebuah pengalaman audio-visual yang, jika digunakan dengan baik, akan mengkonstruksi sebuah tatanan sosial secara halus. Inilah yang dimaksud dengan \u2018kolonisasi psikologis\u2019.<\/p>\n
\"\"

Jihyeon Song.<\/p><\/div>\n

Jihyeon Song, seorang kurator muda asal Korea Selatan menjadi salah satu presenter dalam ARKIPEL Penal Colony<\/em> dengan programnya yang berjudul \u201cClosure\u201d yang ditayangkan di studio pemutaran Kineforum pada Minggu, 20 Agustus 2017. Meskipun ini merupakan pengalaman pertamanya menjadi presenter dalam festival filem di luar Korea Selatan, Jihyeon terlihat cukup percaya diri saat menjelaskan tema dari program kuratorial ini. 45 penonton yang memenuhi studio pemutaran Kineforum juga terlihat sangat mengapresiasi kehadirannya.<\/p>\n

Melalui enam filem yang diputar hari itu: A Short History of Decay <\/em>(2014), Strategic Operations \u2013 Hyper Realistic <\/em>(2015), Long Live<\/em> (2011), Scrumped <\/em>(2016), Proximity of Longing <\/em>(2016), dan The Three Enchantments<\/em> (2016), Jihyeon berusaha mengajak kita untuk memahami apa itu \u2018kolonisasi psikologis\u2019. Menurutnya, dominasi fisik yang umum pada era kolonialisme telah bertransformasi menjadi dominasi psikologis, visual, dan mental.<\/p>\n

Saya melihat bahwa penjelasan Jihyeon sangat relevan dengan konteks hari ini di mana kita dituntut untuk melihat visual-visual serupa yang membuat kita merasa tenang. Sebagai contoh, pakaian yang kita kenakan cenderung berwarna gelap atau netral, begitu pula dengan kendaraan di jalanan, ataupun papan iklan. Menggunakan warna tertentu yang bersifat mencolok akan berisiko membuat kita terasingkan, dipandang aneh, atau \u2013 dalam beberapa kasus \u2013 dituduh komunis. Hal ini sesungguhnya menciptakan suatu kestabilan dalam masyarakat yang berujung pada kepatuhan.<\/p>\n

\"\"

Suasana diskusi usai pemutaran filem.<\/p><\/div>\n

Filem-filem yang diputar oleh Jihyeon Song secara terang-terangan mencoba mengatakan \u2018persetan<\/em>!\u2019 terhadap rezim visual yang dihadirkan koloni pidana kontemporer. A Short History of Decay<\/em> merupakan montase atas video-video propaganda yang dibuat oleh pemerintah Amerika Serikat yang kemudian di-twist<\/em> dengan menggunakan teknik editing kontemporer untuk mengaburkan visual yang ada. Lin Shih-chieh, sang sutradara, seolah berusaha mengambil alih video-video propaganda tersebut dan melakukan dekontekstualisasi untuk menunjukkan kebusukan yang tersembunyi.<\/p>\n

Sementara itu, Minha Park, dalam Strategic Operations \u2013 Hyper Realistic<\/em> terlihat berusaha mengolok-olok hasrat warga Amerika Serikat untuk mengkonsumsi pengalaman kekerasan perang sambil tetap merasa aman. Park kemudian juga memberikan kritik terhadap industri filem Hollywood yang mengkomodifikasi pengalaman kekerasan melalui filem-filem Blockbuster yang ditayangkan setiap tahunnya. Pada kenyataannya, pengalaman kekerasan yang ditayangkan Hollywood memang telah mengkonstruksi makna \u2018kekerasan\u2019 sebagai sesuatu yang heroik sehingga pantas dirayakan.<\/p>\n

Long Live<\/em> karya Yao Jui-chung menampilkan figur seorang pria Taiwan yang mengenakan seragam Jepang meneriakkan \u2018Banzai!<\/em>\u2019 berulang-ulang di dalam sebuah ruang teater yang kosong di tengah Kabupaten Kinmen yang telah diluluhlantakkan oleh invasi Jepang. Saya menangkap bahwa sorakan terhadap Kekaisaran Jepang yang meninggalkan Taiwan dalam puing-puing ini merupakan bukti bagaimana kolonialisme telah mempengaruhi kesadaran masyarakat di tataran psikologis. Terlepas dari berbagai eksploitasi yang mereka lakukan, kerinduan itu masih tersimpan dalam benak, entah sebagai kenangan teror atau romantisme.<\/p>\n

Scrumped <\/em>yang disutradari oleh Seoungho Cho memberikan pengalaman audio-visual yang menurut saya paling menarik dari seluruh filem yang ditayangkan oleh Jihyeon Song. Sebagai seseorang yang dapat menonton sekuens \u2018Stargate\u2019 dari 2001: Space Odyssey<\/em> (1968) hingga ratusan kali, saya merasa terhipnotis oleh montase salju, pepohonan, teratai, lilin, yang diperelok dengan teknik editing kontemporer seraya diiringi nyanyian mistis seorang pendeta Buddha. Seoungho, melalui filem ini, berusaha menunjukkan bagaimana agama dapat mendominasi pikiran kita dan membuat kita lupa pada segalanya. Jika benar itu adalah intensi sang sutradara, maka saya dapat bertestimoni bahwa ia telah berhasil.<\/p>\n

Proximity of Longing <\/em>karya Sejin Kim juga memberikan pengalaman audio-visual yang tidak kalah menarik. Filem ini mendokumentasikan penderitaan para migran yang tersebar di seluruh dunia serta bagaimana logika kekuasaan memungkinkan hal ini terus terjadi. Sejin Kim dalam filem ini menggunakan warna-warna yang sangat mencolok dan terus berubah-ubah sehingga terkesan melompat ke depan mata. Hal ini kemungkinan digunakan untuk memicu kesadaran penonton bahwa apa yang mereka lihat merupakan suatu masalah besar. Uniknya lagi, seluruh filem ini dinarasikan melalui suara mesin seolah-olah mengkritik masyarakat kebanyakan yang senantiasa memandang isu imigrasi dengan dingin dan terkalkulasi.<\/p>\n

Terakhir, The Three Enchantments <\/em>karya Jon Lazam menceritakan bagaimana kolonialis menjajah Filipina dengan memberikan dongeng-dongeng yang memikat mereka agar rela dijajah. Salah satu bagian dari filem tersebut, \u201cThe Mermaid\u201d mengingatkan saya pada kisah Ariel si Putri Duyung. Layaknya Ariel yang menukar suaranya yang indah demi sepasang kaki untuk memikat sang pangeran yang tidak mencintainya, warga Filipina pun juga menukar kebebasan mereka demi kemewahan-kemewahan yang tidak mereka butuhkan: otomobil dan konstruksi kecantikan a la <\/em>Barat.<\/p>\n

\"\"

Adi Osman (dari Padang, Sumatera Barat) menyampaikan pertanyaan kepada Song Jihyeon.<\/p><\/div>\n

\u201cClosure\u201d dapat dimaknai sebagai alegori dari kenyamanan, sesuatu yang diinginkan dan didamba hampir setiap insan manusia. Akan tetapi, kita harus mencurigai atas alasan apa kita menjadi nyaman dan siapa yang diuntungkan dari kenyamanan yang kita miliki. Jihyeon Song, melalui program kuratorialnya, berusaha mendobrak penonton dari kursi nyamannya. Karena selama Anda masih merasa nyaman, mustahil Anda dapat berempati dengan penderitaan-penderitaan yang dialami orang lain. Akan mustahil juga bagi Anda untuk menyadari keterpenjaraan Anda di dalam koloni pidana ini. Sebagaimana pernah dilantunkan oleh Oasis: \u201cGonna start a revolution from my bed!<\/em>\u201d ***<\/p>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503392228-2-71″][vc_column_text title=”Resisting Psychological Colonization, Refusing Conformity: Notes on Asian Young Curator Program \u201cClosure\u201d”]Color is one of an effective instrument to control people\u2019s behavior in psychological level. A warm color can give us inner peace, while strong colors can cause emotional surge, from panic to furious. Besides color, sound can also have a similar role. The combination of these two elements will create an audio-visual experience which, if used correctly, will construct a social order in a very subtle way. This is \u2018psychological colonization.\u2019<\/p>\n

\"\"

Jihyeon Song<\/p><\/div>\n

Jihyeon Song, the young curator from South Korea becomes one of the presenter in ARKIPEL Penal Colony<\/em> with her program titled \u201cClosure\u201d which was screened in the screening studio Kineforum on Sundah, August 20th<\/sup>, 2017. Although it was her first time curating films outside of South Korea, Jihyeon seems very confident when she explained her theme in this curatorial program. The 45 audience occupying the screening studio Kineforum also seems to appreciate her presence.<\/p>\n

Through the six movie screened that day: A Short History of Decay <\/em>(2014), Strategic Operations \u2013 Hyper Realistic <\/em>(2015), Long Live<\/em> (2011), Scrumped <\/em>(2016), Proximity of Longing <\/em>(2016), and The Three Enchantments<\/em> (2016), Jihyeon tries to invite us to understand what is \u2018psychological colonization\u2019. According to her, physical domination commonly used in colonialism era has transformed into psychological, visual, and mental domination.<\/p>\n

\"\"

Discussion after the screening.<\/p><\/div>\n

I believe that Jihyeon\u2019s explanation is very relevant in contemporary context where we are demanded to see similar visuals which makes us comfortable. For example, the clothes we used tends to be dark or neutral, as well as the vehicles in the street, or billboard. Wearing certain strong colors will only risked us being alienated, looked at in a weird way, or \u2013 in some cases \u2013 accused of being a communist. This actually creates stability in society which ended up in docility.<\/p>\n

The films screened by Jihyeon Song is blatantly trying to say \u2018screw it!<\/em>\u2019 toward the visual regime presented by contemporary penal colony. A Short History of Decay <\/em>is a montage of US government propaganda video which then twisted using contemporary editing technique to obscure the visuals. Lin Shih-chieh, the director, appears to try to take over the propaganda video and decontextualize it to show corrupted nature hidden in that video.<\/p>\n

Meanwhile, Minha Park, in Strategic Operations \u2013 Hyper Realistic <\/em>seems to try to make fun of American\u2019s desire to consume the violence experience of war while still feeling safe. Park then gives her critique to Hollywood film industry which commodifies the experience of violence through their Blockbuster films. In reality, the experience of violence depicted by Hollywood has constructed \u2018violence\u2019 as something heroic that deserves to be celebrated.<\/p>\n

Long Live <\/em>by Yao Jui-chung shows a figur of Taiwanese man in Japanese military uniform who constantly screams \u2018Banzai!<\/em>\u2019 in the middle of empty theatre in Kinmen district which has been devastated because of Japanese invasion. I see that the cry for Japanese Empire which has left Taiwan in pieces proves that colonialism has affected people\u2019s awareness in psychological level. Despite of the exploitation that they have done, the yearning for them still remains, either as a memory of terror or romanticism.<\/p>\n

Scrumped <\/em>directed by Seoungho Cho offers \u2013 what I think \u2013 the most interesting audio-visual experience among all of the films screened by Jihyeon Song. As a person who can watched the \u2018Stargate\u2019 sequence from 2001: Space Odyssey <\/em>(1968) numerous times, I felt hypnotized by the montage of snow, trees, lotus, candle beautified by contemporary editing technique while accompanied with a mystical song from a Buddhist monk. Seoungho, through this film, tries to show how religion can dominate our mind and makes ur forget everything. If it was truly the director\u2019s intention, then I can testified that he has succeed.<\/p>\n

Proximity of Longing <\/em>by Sejin Kim also gives a quite interesting audio-visual experience. This film documented the suffering of immigrants throughout the world and how the logic of power allows this problem to keep happening. Sejin Kim in this film uses very strong colors which rapidly change as if jumping toward the eye. This is probably done to trigger the audience\u2019 awareness that what they see is a huge problem. Another thing that is unique in this film is how the whole narration is narrated by a machine voice as if criticizing most people who views immigration issue in a cold and calculated way.<\/p>\n

Lastly, The Three Enchantments <\/em>by Jon Lazam tells a story of how colonialist invaded Philippines by giving fairytales to enchant them so they can be more willing to be colonized. One sequence of the film, \u2018The Mermaid<\/em>\u2019 reminds me of the tale of Ariel the Mermaid. Just like Ariel who trades her voice for a pair of legs to enchant the prince who did not love her back, the Filipino also trades their freedom for luxuries they never need: automobile and western construction of beauty.<\/p>\n

\"\"

Adi Osman (from Padang, West Sumatera), one of the audiences was asking a question to Jihyeon Song about her curatorial.<\/p><\/div>\n

\u201cClosure\u201d can be interpreted as an allegory of conformity, something which is desired by every human being. However, we must always question the comfortable feeling we got from conformity and who benefits from this conformity. Jihyeon Song, through her curatorial program, tries to break the audience from their comfortable chair. Because when you still feels comfortable, it will be impossible for you to empathize with others\u2019 suffering. It will also be equally impossible for you to realize your imprisonment in this penal colony. As has been sung by Oasis: \u201cGonna start a revolution from my bed!<\/em>\u201d ***[\/vc_column_text][\/vc_tab][\/vc_tabs][vc_gallery type=”flexslider_slide” interval=”3″ images=”7164,7172,7171,7170,7169,7168,7167,7166,7165″ img_size=”full” title=”Gallery”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Jihyeon Song, the young curator from South Korea becomes one of the presenter in ARKIPEL Penal Colony with her program titled \u201cClosure\u201d which was screened in the screening studio Kineforum on Sundah, August 20th, 2017. <\/p>\n","protected":false},"author":136,"featured_media":7167,"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":[370,346,1,385],"tags":[338,287,340,464],"class_list":["post-7162","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-festival-theme-arkipel-2017-penal-colony","category-asian-young-curator","category-festival-updates","category-film-screening-reviews","tag-338","tag-asian-young-curator","tag-penal-colony","tag-song-jihyeon"],"jetpack_publicize_connections":[],"yoast_head":"\nResisting Psychological Colonization, Refusing Conformity — 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\/resisting-psychological-colonization-refusing-conformity\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resisting Psychological Colonization, Refusing Conformity — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"Jihyeon Song, the young curator from South Korea becomes one of the presenter in ARKIPEL Penal Colony with her program titled \u201cClosure\u201d which was screened in the screening studio Kineforum on Sundah, August 20th, 2017.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/resisting-psychological-colonization-refusing-conformity\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-08-21T08:00:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-08-23T08:24:02+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/foto-song-jihyeon-04.jpg?fit=1280%2C853&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"853\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Gema R. 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