{"id":7379,"date":"2017-08-24T09:00:48","date_gmt":"2017-08-24T02:00:48","guid":{"rendered":"http:\/\/arkipel.org\/?p=7379"},"modified":"2017-08-28T13:37:44","modified_gmt":"2017-08-28T06:37:44","slug":"tradition-forced-fade-away-rust","status":"publish","type":"post","link":"https:\/\/arkipel.org\/tradition-forced-fade-away-rust\/","title":{"rendered":"A Tradition (Forced to) Fade Away and Rust"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503900681-1-98″][vc_column_text title=”Tradisi yang (Dipaksa) Memudar dan Berkarat”]Di era yang semakin dikerubuti oleh wacana-wacana teknologi yang serba canggih, masyarakat seakan tidak lagi memiliki identitas yang berbeda-beda dalam dirinya, dan menjadi diseragamkan oleh keadaan. Meminjam kata-kata dari Otty Widasari, salah satu anggota tim selektor untuk sesi Kompetisi Internasional di ARKIPEL tahun ini, bahwasanya dunia modern mengedepankan sebuah pandangan yang mapan dan tunggal dalam menerjemahkan kemajuan, dan terpusat pada perspektif elite. Keunikan identitas manusia dan kelompoknya yang tampak dari sebuah tradisi seolah-olah lenyap, ditenggelamkan oleh entitas modern ini. Masih adakah panggung bagi tradisi, atau ia hanya bagaikan mesin tua berkarat yang kian ditinggalkan? Dalam Kompetisi Internasional 8 ini, empat belas penonton disuguhkan empat filem yang menggambarkan nasib tradisi di era modern yang saling berebut wacana. Pemutaran filem dilangsungkan di GoetheHaus, Jakarta pada Rabu, 23 Agustus 2017 pukul 13.00 \u2013 15.00 WIB.<\/p>\n
\"\"

Otty Widasari membacakan pengantar kuratorial untuk subprogram 7 Kompetisi Internasional.<\/p><\/div>\n

Filem pertama digarap oleh dua puluh seniman Basque, yang dikoordinasi oleh sutradara asal Spanyol, Bego Vicario. Filem ini berjudul Beti Bezperako Koplak<\/em> (atau Couplets of an Everlasting Eve<\/em>) yang walaupun hanya berdurasi enam menit, mampu memukau para penonton dengan animasi yang ditampilkan. Ya, tidak seperti tiga filem lainnya, filem pembuka kompetisi ini merupakan filem animasi yang sangat apik, dengan musik latar berupa ketukan-ketukan yang menggugah semangat maupun sisi magis filem tersebut. Visual yang digarap secara kolaboratif ini diisi dengan suara seorang narator yang membacakan sajak yang bertajuk dekolonisasi. Kisah martir Santa Agatha menjadi pembuka sekaligus benang merah sajak yang dibacakan tersebut. Hal yang tampak dari filem ini adalah keanekaragaman visual dan sajak yang dibacakan, sebab memang filem ini digarap secara kolaboratif tanpa ada satu penulis. Bagi Otty Widasari, filem ini menjadi salah satu contoh praktik kontemporer yang menghilangkan keterpusatan authorship<\/em>.<\/p>\n

\"\"

Suruchi Sharma, sutradara Utsav<\/em>.<\/p><\/div>\n

Filem kedua berjudul Utsav<\/em> yang digarap oleh sutradara asal India, Suruchi Sharma, yang pada pemutaran program tersebut berkesempatan untuk hadir. Sesuai dengan judulnya, filem ini mengisahkan festival Shekhawati Utsav yang berlangsung tiap tahunnya di India. Tradisi yang terlihat di festival itu begitu nyata dan masuk dalam kehidupan sehari-hari masyarakat di Jaipur, India. Ketika modernitas seolah-olah tidak memberikan ruang bagi tradisi untuk berkembang, namun sebuah wadah bernama Jaipur Virasat Foundation mampu mendobrak kekangan yang selama ini dilekatkan pada masyarakat. Festival Shekhawati Utsav yang ditampilkan menunjukkan identitas para warga yang terlibat, di tengah-tengah hiruk-pikuk keseharian mereka yang dihabiskan untuk bekerja. Secara tidak langsung, penonton diajak untuk menyadari bahwa tubuh ini menjadi otoritas penguasa di era modern, dan lewat festival yang rutin diadakan setiap tahun ini, tubuh kembali menjadi otoritas pemiliknya dan mengembalikan identitasnya lewat tradisi. Bagaikan angin segar ketika menontonnya, penonton disuguhkan lagu-lagu dan tarian-tarian khas India yang sungguh menunjukkan identitas asli warganya, di tengah himpitan kehidupan kapitalis yang memaksa mereka untuk sejenak meninggalkan identitasnya, dan bekerja untuk mencari sesuap nasi.<\/p>\n

Nyo Vweta Nafta<\/em> menjadi filem ketiga di kompetisi ini yang disutradarai oleh Ico Costa dari Portugal. Selama 22 menit, sutradara menyuguhkan kisah inferioritas warga Afrika yang sangat terasa sisa-sisa kolonialismenya. Menampilkan kehidupan keseharian warga di sana, sutradara berusaha untuk fokus menampilkan takaran kesuksesan hidup bagi warga di sana. Punya barang-barang bermerek, bisa pergi ke Afrika Selatan untuk bekerja, dan memiliki rumah yang terbuat dari brick <\/em>atau batu bata adalah hal yang menarik bagi penulis pribadi. Ketika ditelaah lebih lanjut, kehidupan yang sudah mencekik leher dan trauma masa kolonial diturunkan kepada generasi mudanya. Pada akhirnya, pola pikir semacam itu menjadi tradisi bagi warganya. Rasanya, tidak jauh beda dengan kondisi warga-warga pedesaan di sini, yang menggunakan takaran kesuksesan adalah ketika seseorang telah pergi dari desa dan hidup sukses di tanah orang. Pada akhirnya, itu menjadi identitas dan impian yang harus terealisasikan; sebuah tradisi.<\/p>\n

Fillem keempat adalah hasil garapan sutradara asal Brazil, Kika Nicolea, yang mengambil latar tempat di Korea Selatan. Tidelands<\/em> adalah filem yang paling membuat penonton terhenyak dengan kesengsaraan hidup masyarakat pesisir Korea Selatan akibat pembangunan infrastruktur yang tidak mempertimbangkan ekosistem perairan. Kedua belah pihak sama-sama punya kepentingan dan itu semua dipertaruhkan. Namun, pada akhirnya tampak secara nyata bahwa yang berkuasalah yang menang. Kesulitan para warganya untuk mencari kerang atau udang untuk dijual begitu menyesakkan dada, apalagi ditambah dengan kenangan-kenangan mereka yang ditampilkan lewat alat-alat tua yang sudah lapuk dan berkarat, yang dahulu digunakan untuk bekerja. Visual lumpur pekat yang menyelimuti perairan sangat menarik perhatian penulis, sebab itu seolah-olah hendak menunjukkan masa kejayaan warga pesisir yang telah lenyap. Pekat dan seretnya lumpur merepresentasikan hidup mereka, yang lambat laun harus meninggalkan tradisi mereka mencari nafkah di air dan lautan.<\/p>\n

\"\"<\/p>\n

Empat filem memiliki ciri khas dan perbedaannya masing-masing, namun ada satu kesamaan yang penulis lihat: sama-sama ada perjuangan untuk tetap memertahankan tradisi, walaupun itu hanya dapat sebatas di ingatan saja. Rupanya, walaupun tradisi seolah menjadi mesin yang berkarat di antara mesin-mesing yang baru dan canggih, mereka tidak begitu saja dilupakan. Tetap ada kepemilikan di sana, identitas mereka yang tidak akan lekang oleh waktu, dan sukacita yang mendalam ketika mampu melaksanakannya, sekalipun hanya memutarnya di dalam ingatan saja. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503900681-2-62″][vc_column_text title=”A Tradition (Forced to) Fade Away and Rust”]In an era where the discourse of technological advancement is more prevalent then the actual advancement itself, people were forced to live as if having different identities within themselves and getting uniformed by the circumstances. Borrowing the word of Otty Widasari, one of the selectors for ARKIPEL International Competition this year, that the modern world put forward an established and single perspective in interpreting advancement, mostly centered on elitist view. The uniqueness of human identity and its community which appears from traditions as if disappear, drowned by this so-called modern entity. Is there still a place for traditions or is it merely rusty machine which should be abandoned? In this International Competition 7, fourteen audience were presented by four films that depict the fate of tradition in this modern era where discourses are fighting over themselves. The screening was done in GoetheHaus, Jakarta on Wednesday, August 23rd, 2017 on 13.00-15.00.<\/p>\n

\"\"

Otty Widasari read the curatorial introduction of the subprogram 7 of International Competition.<\/p><\/div>\n

The first film was made by twenty Basque artists, coordinated by a Spanish director, Bego Vicario. The film titled Beti Bezperako Koplak<\/em> (or Couplets of an Everlasting Eve<\/em>), although only 6 minutes in duration, was able to enchant the audience with its animations. Yes, unlike the three other films, the opening film for this competition is a well-done animation, with a background music of percussion which evokes the spiritual and magical side of the film. The visuals that was produced collaboratively was filled to the brim with a voice of a narrator who read a poem about decolonization. The tale of a martyr, Santa Agatha, became the opening as well as the red thread that connects to the poem. What is unique to this film is the diversity of visuals and poems, which is possible due to the collaborative nature of this film. For Otty Widasari, this film is one of an example of contemporary practice in omitting the centrality of autorship.<\/p>\n

\"\"

Suruchi Sharma, the filmmaker of Utsav<\/em>.<\/p><\/div>\n

The second film titled Utsav<\/em> was made by an Indian director, Suruchi Sharma, which was fortunately able to come to the screening session. Just like the title, this film tells about a festival Shekhawati Utsav which was held annually in India. The tradition appeared in the festival looks so real and able to enter the everyday life of people in Jaipur, India. When modernity appears as if giving no space for tradition to develop, Jaipur Virasat Foundation managed to say the otherwise by breaking the boundary which is prevalent in the society. The Festival Shekhawati Utsav was able to show the identity of its people, in the middle of their busy life mostly spent for work. Indirectly, the audience were invited to realize that this body actually belongs to the powerful in modern era, and through this annual festival, the body returns to the owner and expresses their identity through tradition. The movie was very refreshing to be watched, the audience were presented by Indian songs and dances which shows the true identity of the people even after enduring the capitalistic life which forced them to leave their identity to work simply to survive.<\/p>\n

Nwo Vweta Nafta<\/em> was the third film in this competition, directed by Ico Costa from Portugal. For 22 minutes, the director presented a tale of African inferiority-complex as a result of colonialism. By showing the everyday life of its people, the director tries to focus on the standard of success for the people in Africa: A branded goods, travelling to South Africa to work, and owning a house made of brick (the latter is quite interesting for the author). When we see it further, the neck-strangling life and colonial trauma has been passed down to the younger generations. In the end, such mentality has become a tradition for its people. It seems not too different with the lives of villagers around here who believes that a succesful people is someone who can go outside from the village and becoming rich in the foreign land. In the end, it becomes an identity and a dream that must be realized, that is; a tradition.<\/p>\n

The fourth film was directed br Brazillian director, Kika Nicolea, who takes place in South Korea. Tidelands <\/em>is the best film when it comes to unsettling the audience with its portrayal of the suffering of Koreans living in coastal areas due to the development of infrastructure\u00a0 which does not consider the aquatic ecosystems. Both sides have their own interest and everything was at stake. However,\u00a0 it seems that the powerful will always win in the end. The hardship endured by the people to look for shellfish and shrimp to be sold is suffocating, especially when contrasted with the visuals of their memories through old, weathered, and rusty equipment which they used to use for fishing. The visuals of thick mud covering the waters piqued the interest of the author, since it shows as if the glory of coastal people have long gone. The thick and sluggish mud represents their current situation where they were forced to slowly leave their tradition.<\/p>\n

\"\"<\/p>\n

The four films have their own uniqueness. But there is one similarity that the author observe: all of them are a fight to preserve tradition, even if only in memories. It seems that eventhough tradition has become a rusty machine in front of new and advanced machine, they were not simply forgotten. People still yearn for their ownership of such machine, it is their identity which will not be killed by time, and a deep happiness when they were able to have it again, even only by playing it in a memory. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][vc_gallery type=”flexslider_slide” interval=”3″ images=”7388,7387,7386,7385,7384,7383,7382,7381″ img_size=”full” title=”Gallery”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Borrowing the word of Otty Widasari, one of the selectors for ARKIPEL International Competition this year, that the modern world put forward an established and single perspective in interpreting advancement, mostly centered on elitist view. <\/p>\n","protected":false},"author":138,"featured_media":7382,"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":[370,1,385,344],"tags":[338,192,410,340,447],"jetpack_publicize_connections":[],"yoast_head":"\nA Tradition (Forced to) Fade Away and Rust — 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\/tradition-forced-fade-away-rust\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Tradition (Forced to) Fade Away and Rust — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"Borrowing the word of Otty Widasari, one of the selectors for ARKIPEL International Competition this year, that the modern world put forward an established and single perspective in interpreting advancement, mostly centered on elitist view.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/tradition-forced-fade-away-rust\/\" \/>\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=\"2017-08-24T02:00:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-08-28T06:37:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/arkipel.org\/wp-content\/uploads\/2017\/08\/img_0693-1024x683.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"683\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Agatha Danastri Dian Pertiwi\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Agatha Danastri Dian Pertiwi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/tradition-forced-fade-away-rust\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/tradition-forced-fade-away-rust\/\"},\"author\":{\"name\":\"Agatha Danastri Dian Pertiwi\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/60b1bb9c2c86fb326fc1c40dd0e7c50e\"},\"headline\":\"A Tradition (Forced to) Fade Away and Rust\",\"datePublished\":\"2017-08-24T02:00:48+00:00\",\"dateModified\":\"2017-08-28T06:37:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/tradition-forced-fade-away-rust\/\"},\"wordCount\":1844,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/tradition-forced-fade-away-rust\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/img_0693.jpg?fit=5472%2C3648&ssl=1\",\"keywords\":[\"2017\",\"International Competition\",\"Otty Widasari\",\"Penal Colony\",\"Suruchi Sharma\"],\"articleSection\":[\"ARKIPEL 2017 - 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Aktif menulis dan telah terjun ke dunia jurnalistik sejak SMA. Kuliah dan menjadi penulis lepas khususnya dalam isu sosial dan HAM adalah kesibukannya saat ini. - Agatha Danastri Dian Pertiwi or Tiwi (30 Desember 1994) is a Philosophy Student in Driyarkara School of Philosophy. She is active in writing and has been involved in journalism since senior high. 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