{"id":8184,"date":"2018-07-31T03:48:19","date_gmt":"2018-07-30T20:48:19","guid":{"rendered":"http:\/\/arkipel.org\/?p=8184"},"modified":"2018-08-03T23:51:22","modified_gmt":"2018-08-03T16:51:22","slug":"arkipel-homoludens-international-competition-1","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-international-competition-1\/","title":{"rendered":"International Competition – 01"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533319038331{margin-bottom: 0px !important;}”]\n

The Misguided of Intense Excitement and Happiness
\n<\/strong>Kesesatan <\/em>dari Kegembiraan dan Kebahagiaan yang Mendalam<\/em><\/h1>\n

Host: Otty Widasari<\/strong><\/p>\n

Friday, August 10, 2018 | 01:00 pm | GoetheHaus
\nSunday, August 12, 2018 | 04:00 pm | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_accordion style=”modern” spacing=”2″ c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” title=”Read Curatorial Essay Here” tab_id=”1532963411840-b5b836d5-3d74″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532982008167{margin-bottom: 0px !important;}”]Kenyataan di balik filem ini adalah, Quame Nyantakyi merupakan seorang pasien psikiatrik, mantan gelandangan yang melakukan tindakan kriminal dan dipenjara oleh karenanya. Lalu dia dimasukkan dalam sebuah program perlindungan saksi, bernama ID-Care,<\/em> yang menyatakan diri sebagai sebuah program terapi modern. Program ini bertujuan merehabilitasi Quame untuk bisa dikembalikan ke dalam lingkungan masyarakatnya kembali.<\/p>\n

Selain Quame harus melakukan kunjungan rutin ke para terapisnya, dia juga dianjurkan untuk mengambil peran dalam sebuah produksi filem fiksi, di mana dalam filem tersebut Quame harus melakukan aksi penyidikan sebuah kasus pembunuhan.<\/p>\n

Jan Willem van Dam\u2014sang sutradara\u2014bereksperimentasi dalam filemnya untuk mencampur-baurkan kenyataan di luar filem dengan kenyataan filemis, mimpi dengan kenyataan sebenarnya, juga bingkaian dokumenter dengan bingkaian fiksi, yang dikemas dalam situasi Quame yang merasa dirinya mengalami euphoria-shortage<\/em>.<\/p>\n

Filem ini mempertanyakan: bagaimana sebuah program kepedulian modern bisa membantu seorang Quame dalam memahami hidupnya, menyelesaikan masalahnya untuk bisa bertahan hidup, menyesuaikan diri dengan masyarakat, atau sebaliknya malah menjerumuskannya pada kemunduran psikologis yang menyebabkan dia ingin segera mengakhiri hidup dengan jalan eutanasia?<\/p>\n

Marjinalitas merupakan kata kunci yang digunakan oleh kedua pihak. Negara dan warga. Poin-poin rumit dari golongan marginal dalam kelompok masyarakat\u2014seperti [orang] berkulit hitam, mantan pecandu, memiliki gangguan kejiwaan, gay<\/em>, serta memiliki catatan kriminal\u2014yang dimiliki Quame, dimanfaatkan oleh kedua pihak dan menjadikan tema filem ini selalu berkutat pada persoalan okupasi dan diokupasi, juga terokupasi.<\/p>\n

Warga dalam konteks ini adalah Quame, seorang warga negara Belanda keturunan Suriname, negara yang pernah dikolonisasi oleh Belanda. Dia dianggap sebagai pelaku kriminal, korban penyakit sosisal, sekaligus objek dari program kepedulian sosial negara. Dia dirawat sebagaimana tanggung jawab seorang bapak kepada anaknya yang tersesat. Karena alasan-alasan semacam dia tidak ingin dibantu, pemberontak, dan banyak menuntut, sang anak kemudian ditinggalkan. Keinginan negara dan warganya tidaklah pernah sejalan. Biar bagaimanapun, bagasi kebudayaan kolonial dan kolonimya pasti memiliki pengalaman yang berbeda. Sebuah gambaran di mana negara adalah sebuah sistem yang wacananya tidak pernah lepas dari political correctness<\/em>.<\/p>\n

Marjinalitas digunakan oleh kedua belah pihak sebagai metode bertahan hidup, juga sebagai program wacana kepedulian modern. Identitas marginal tersebut dirawat baik-baik oleh keduanya. Mereka berdua tidak ingin itu berakhir, karena marjinalitas adalah posisi tengah. Sebuah status quo<\/em> yang bermain di tengah-tengah, antara pertarungan negara dengan warganya.<\/p>\n

Filem ini menyajikan sebuah pertarungan yang digambarkan selalu memenangkan penguasa, maka si warga pun memanipulasi kemarjinalannya sebagai pola bertahan hidup. ***[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533069956151{margin-bottom: 0px !important;}”]The reality behind this film is that Quame Nyantakyi was a patient of a psychiatric ward, who had been homeless and imprisoned for a crime. He then joined a witness protection program called ID-Care, that declared themselves as a modern therapy program. The program\u2019s purpose was to rehabilitate Quame until he was fit enough to be a part of the society.<\/span><\/p>\n

Besides routinely visiting his therapists, he was also recommended to take on a role in a fictional film production, in which the character he plays will have to solve a murder case.<\/span><\/p>\n

The director, Jan Willem van Dam, experimented by distorting the boundary between reality in the film and outside of it, dreams and reality, documenter and fiction. The storytelling style is explained in Quame\u2019s situation, in which he felt himself experiencing euphoria-shortage.<\/span><\/p>\n

This film questions whether a modern healthcare program could help Quame in coming to terms with his life, solving all his problems to survive, adapting with the society, or would it cause him psychological regression that will make him choose to end his life through euthanasia?<\/span><\/p>\n

Marginality is a keyword used by both parties: the country and its people. Complicated cases from marginalised parts of the society\u2014those who are black, ex-drug addicts, mentally ill, gay, or has a criminal record\u2014including Quame, is being used by both parties, establishing the film\u2019s theme on the notion of occupation and the occupied.<\/span><\/p>\n

The people, in this context, is Quame, a Dutch citizen who also has a Surinamese descent, a country that once had been colonized by the Dutch. He was considered a criminal, victim of a social malady, and an object of the country\u2019s social welfare program. He was taken care of, like how a father took care of his lost child. The child gets left behind because he was considered a rebel, does not want to be helped, and too demanding. The country and its people\u2019s wants can never be aligned. However, the colonial cultural baggage and its colonies have a different experience. This paints a picture of the state that always dabbles on the discourse of political correctness.<\/span><\/p>\n

Both parties use marginality as a way to survive, also as a discourse of modern welfare. They both conserve the marginal identity. They prevent it from ending because the marginality exists in the middle: a status quo that plays in the middle of the battlefield, between the state and its people.<\/span><\/p>\n

This film displays a battle that is always depicted as favoring the ruler. Therefore, the people manipulate their own marginal identity as a pattern of survival. ***<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8221″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532983023412{margin-bottom: 0px !important;}”]\n

The Fly Misery of Quam\u00e9 Nyantakyi<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Jan Willem van Dam<\/strong> (The Netherlands)
\nInternational Title<\/em>\u00a0\u00a0The Fly Misery of Quam\u00e9 Nyantakyi
\n<\/strong>Country of Production<\/em>\u00a0\u00a0The Netherlands
\n<\/strong>Language<\/em>\u00a0\u00a0Dutch
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

120 min, stereo, HDC, HD, 16:9, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532982312433{margin-bottom: 0px !important;}”]Quame Nyantakyi<\/strong> adalah seorang pasien psikiatrik, mantan gelandangan yang melakukan tindakan kriminal dan dipenjara oleh karenanya. Lalu dia dimasukkan dalam sebuah program perlindungan saksi, sebuah program terapi modern. Program ini bertujuan merehabilitasi Quame untuk bisa dikembalikan ke dalam lingkungan masyarakatnya kembali.<\/p>\n

Selain Quame harus melakukan kunjungan rutin ke para terapisnya, dia juga dianjurkan untuk mengambil peran dalam sebuah produksi filem fiksi, di mana dalam filem tersebut Quame harus melakukan aksi penyidikan sebuah kasus pembunuhan.<\/p>\n

Filem ini menyajikan sebuah pertarungan yang digambarkan selalu memenangkan penguasa, maka si warga pun memanipulasi kemarjinalannya sebagai pola bertahan hidup.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532982338865{margin-bottom: 0px !important;}”]Quame Nyantakyi<\/strong> was a patient of a psychiatric ward, who had been homeless and imprisoned because of a crime. He then joined a witness protection program, a modern therapy program. The program\u2019s purpose was to rehabilitate Quame until he was fit enough to be a part of the society.<\/span><\/p>\n

Besides routinely visiting his therapists, he was also recommended to take on a role in a fictional film production, in which the character he plays will have to solve a murder case.<\/span><\/p>\n

This film displays a battle that is always depicted as favoring<\/span>\u00a0the ruler. Therefore, the people manipulate their own marginal identity as a pattern of survival.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8195″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532982717171{margin-bottom: 0px !important;}”]Jan Willem van Dam<\/em><\/strong> (1962) adalah salah satu pendiri Filmstad Den Haag. Ia membuat banyak filem pendek yang diproduksi oleh seniman, festival, dan berbagai kegiatan terkait filem. Karyanya mencakup film fiksi, eksperimental, dan dokumenter esai yang dalam perjalanannya, menyelisik kehidupan dan pembuatan film. Ketertarikannya bisa bersifat politis, humoris, pesimis, realistis, atau seperti mimpi. Dalam film-filmnya, orang-orang, yang ia temui dalam perjalanan atau di jalanan kota asalnya, dan para aktor bermunculan. Dalam semua filmnya, para protagonis kurang lebih tersesat di dunia ini tetapi entah bagaimana dapat bertahan hidup.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1532982744889{margin-bottom: 0px !important;}”]Jan Willem van Dam<\/strong> (1962) was a co-founder of Filmstad Den Haa. He produced many shorts made by artists, organized festivals and many film events. He is a fictional, experimental, essayistic film- documentary maker who in his travelogues, investigates life and filmmaking. His concerns can be political, humorous, pessimistic, realistic or dreamlike. In his films, real people, whom he meets on travels or on the streets of his hometown, and real actors appear. In all his films the protagonists are more or less lost in this world but are somehow made to survive.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8120″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533032242397{margin-bottom: 0px !important;}”]Otty Widasari <\/strong>(lahir di Balikpapan, 1973) merupakan lulusan Seni Murni di Institut Kesenian Jakarta (IKJ). Ia pernah kuliah di jurusan Jurnalistik, Institut Ilmu Sosial dan Ilmu Politik (IISIP) Jakarta. Ia adalah seniman, penulis, sutradara filem, dan salah satu pendiri Forum Lenteng. Direktur Program Pendidikan Media Berbasis Komunitas, akumassa<\/em>, dan Pemimpin Redaksi www.akumassa.org<\/a>.<\/p>\n

Otty Widasari adalah salah satu anggota tim selektor ARKIPEL\u00a0homoludens.<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533032286730{margin-bottom: 0px !important;}”]Otty Widasari <\/em><\/strong>(b. 1973 in Balikpapan) graduated Fine Arts at Jakarta Institute of Arts (IKJ). She once studied Jurnalistic at Institute of Social and Political Science Jakarta (IISIP)<\/em>. She is an artist, writer, filmmaker, and one of the founders of Forum Lenteng. She is also Program Director of akumassa<\/em>\u00a0and Editor in Chief at <\/em>www.akumassa.org<\/a>.<\/span><\/p>\n

Otty Widasari is one of the selector members at ARKIPEL\u00a0homoludens<\/em>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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