{"id":8585,"date":"2018-08-02T19:18:55","date_gmt":"2018-08-02T12:18:55","guid":{"rendered":"http:\/\/arkipel.org\/?p=8585"},"modified":"2019-07-05T01:22:36","modified_gmt":"2019-07-04T18:22:36","slug":"arkipel-homoludens-kultursinema-5-gelora-purnaraga","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-kultursinema-5-gelora-purnaraga\/","title":{"rendered":"KULTURSINEMA #5: Gelora Purnaraga"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533225174895{margin-bottom: 0px !important;}”]\n

KULTURSINEMA #5: Gelora Purnaraga<\/strong>
\n Passion of The Perfect Body<\/em><\/h1>\n

Curator: Mahardika Yudha<\/strong><\/p>\n

Opening Night: Wednesday, August 8, 2018 | 07:00 pm | Galeri Cipta III – TIM
\nDaily Exhibition: August 9-15, 2018 | 01:00 pm – 09.00 pm | Galeri Cipta III – TIM<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1533225569675{margin-bottom: 0px !important;}”]Games of The New Emerging Forces<\/em> (Ganefo) I diselenggarakan di Jakarta pada November 1963, berselang satu tahun tiga bulan sejak penyelenggaraan Asian Games IV di Jakarta pada Agustus 1962. Ganefo merupakan sebuah kejadian kebudayaan. Ia tidak hanya pesta olahraga, tetapi juga seni dan budaya yang rencananya akan berlangsung setiap empat tahun sekali. Perhelatan Ganefo 1963 melibatkan 51 negara yang berpartisipasi dari benua Asia, Afrika, Amerika, dan Eropa. Baik dalam kompetisi olahraga maupun perhelatan seni dan budaya\u2014seperti pameran lukisan, festival filem, dan pertunjukan seni tradisional, tari, dan music\u2014yang diselenggarakan baik di gedung pertunjukan maupun ruang-ruang publik di Jakarta. Partisipasinya lebih banyak daripada pada penyelenggaraan Asian Games IV yang melibatkan 17 negara dari Asia.<\/p>\n

Penyelenggaraan Ganefo bukanlah terjadi tanpa sejarah. Ia bukan sekadar tindakan responsif dari penangguhan keanggotaan Indonesia di dalam Komite Olahraga Olimpiade saat itu dan kejadian penskorsan Indonesia dari keikutsertaan pada Olimpiade Tokyo 1964. Bersamaan dengan ini, gagasan membangun persatuan negara-negara new emerging forces <\/em>telah tumbuh dan berkembang jauh sebelum kejadian tersebut. Jika kita menengok perjalanan strategi dan pernyataan negeri ini dalam membangun sejarah olahraganya di mata dunia internasional, Ganefo merupakan puncak dari prestasi-prestasi sebelumnya. Di tahun 1948, ketika negeri ini belum diakui secara internasional sebagai sebuah negara, Indonesia telah berani menyelenggarakan Pekan Olahraga Nasional pertamanya di Surakarta. Lalu di tahun 1962, Indonesia menyelenggarakan pesta olahraga tingkat regional Asia. Dan kemudian di tahun 1963, Ganefo menjadi monumen olahraga tingkat internasional. Olahraga sebagai pernyataan kebudayaan telah dibangun jauh sebelum Ganefo 1963 berlangsung.<\/p>\n

Sejak Konferensi Asia Afrika 1955, Indonesia telah berusaha menjadi ‘media’ dengan menyediakan ‘saluran dan ruang’ untuk menghubungkan, menjembatani, dan menyatukan gagasan-gagasan bersama dari negara-negara yang baru atau belum merdeka, sedang berkembang dan menata negaranya, atau negara-negara yang menginginkan persahabatan dan perdamaian dunia tanpa penghisapan antara manusia oleh manusia di seluruh dunia di dalam bidang kebudayaan. Ganefo hanyalah satu pernyataan dari sekian banyak pernyataan yang digagas dan didukung oleh Indonesia, seperti Asian Games, Konferensi Wartawan Asia Afrika, Festival Film Asia Afrika, Konferensi Federasi Buruh, Pekan Film Asia Afrika, Konferensi Mahasiswa, Pemuda, Wanita, Rakyat, Pengarang, hingga ide membentuk Konferensi Pelukis Asia Afrika, dan lain sebagainya. Tak heran jika semangat itu, yang termanifestasikan dalam pesta olahraga Ganefo, mendapatkan tanggapan aktif dari hampir seluruh lapisan masyarakat internasional dan khususnya masyarakat Indonesia. Kejadian Ganefo merupakan puncak perayaan yang telah berhasil menyisihkan perbedaan ideologi dan menyatukan mereka dalam satu perhelatan akbar olahraga. Masyarakat Indonesia tidak hanya menghadiri dan menonton setiap pertandingan sebagai pernyataan partisipasi dalam kejadian tersebut, tetapi juga ikut menyumbangkan berbagai pikiran dan materi untuk mensukseskan Ganefo, atau bagaimana kisah Ganefo telah menginspirasi masyarakat untuk membuat makanan dan es yang diberi nama Ganefo, atau memberi nama anak-anak mereka dengan menambahkan kata Ganefo, dan lain sebagainya. Kota Jakarta yang menjadi tuan rumah penyelenggaraan Ganefo dan juga kota-kota lain di Indonesia juga dihiasi oleh berbagai macam atribut dan slogan Ganefo, baik yang dibuat oleh pemerintah maupun oleh warganya sendiri.<\/p>\n

Hal-hal sosial yang terjadi di luar lapangan permainan dan kompetisi itu, juga terjadi saat berlangsungnya berbagai cabang pertandingan yang diselenggarakan oleh Ganefo. Slogan kompetisi antara teman dengan teman selalu didengungkan dan dijaga dengan baik, juga bahwa persahabatan menjadi tujuan utama daripada hasil akhir berupa kemenangan maupun kekalahan. Para penonton akan bertepuk tangan dengan keras dan menyemangati setiap olahragawan dari bangsa mana pun yang bertindak fair<\/em>, gigih, dan berjuang hingga akhir. Para penonton akan berteriak, “Ini Ganefo Bung!” jika ada olahragawan atau pertandingan yang mulai memperlihatkan sikap permusuhan. Capaian-capaian dalam pemecahan rekor dunia yang terjadi selama berlangsungnya Ganefo menjadi kemenangan bersama seluruh masyarakat new emerging forces<\/em>. Tubuh-tubuh yang bermain dan berkompetisi itu menjadi representasi dari kesetiakawanan tubuh masyarakat new emerging foces<\/em>. Kejadian ini tidak hanya terjadi saat pesta olahraga Ganefo berlangsung dari 10-22 November 1963. Tetapi pertandingan persahabatan terus berlangsung di kota-kota lainnya hingga ke luar pulau Jawa. Olahragawan-olahragawan dari negara-negara sahabat berkunjung dan melakukan pertandingan persahabatan dengan olahragawan-olahragawan setempat.<\/p>\n

 <\/p>\n

Melacak Ide Tubuh yang Sempurna di dalam Filem Tentang Ganefo<\/strong><\/p>\n

Jika dibandingkan dengan filem Olympia<\/em> (1938) yang dibuat oleh Leni Riefenstahl yang berhasil mengimajinasikan bagaimana tubuh-tubuh mulia bangsa Aria di dalam filem, filem berita tentang penyelenggaraan Ganefo yang diproduksi oleh Perusahaan Film Negara jauh dari bagaimana mengimajinasikan ‘tubuh-tubuh yang sempurna’. Bahkan, filem-filem tersebut tidak berhasil merepresentasikan bagaimana kesetiakawanan tubuh yang terjadi di antara negara-negara new emerging forces<\/em> yang menjadi inti dari penyelenggaraan Ganefo. Dari filem-filem berita yang masih dapat disaksikan yang tersimpan di Arsip Nasional Republik Indonesia, seperti reel<\/em> Serba-serbi Ganefo I, Ganefo IV, Ganefo V, Ganefo VI, Menyongsong Lahirnya Ganefo, Ganefo VII, Ganefo III, Ganefo IV, Ganefo IR, dan Olahraga Ganefo, filem-filem ini berhenti pada sifat mendokumentasikan kejadian kompetisi olahraga pada umumnya. Filem-filem berita tentang Ganefo yang masuk di dalam program Gelora Indonesia ini diputar di bioskop-bioskop di seluruh Indonesia, juga telah disiarkan di televisi-televisi Belanda, Republik Persatuan Arab, ataupun Syria pasca Ganefo berlangsung. Di sisi lain, terdapat informasi bahwa usaha untuk mengkonstruksi ‘tubuh-tubuh yang sempurna’ dan ‘kesetiakawanan bangsa-bangsa’ di dalam filem juga dilakukan oleh Perusahaan Film Negara dengan membuat filem dokumenter Membina Persahabatan Dalam Ganefo I <\/em>(1963) sepanjang 12 reel<\/em> dan mendapat kritikan tajam di berbagai surat kabar tentang kegagalannya dalam merepresentasikan persahabatan dan tujuan dari diadakannya Ganefo.[i]<\/a> Sutradara Bachtiar Siagian konon juga membuat filem dokumenter tentang Ganefo,[ii]<\/a> atau kerjasama antara Indonesia dengan Republik Rakyat Tiongkok yang membuat filem fitur dokumenter tentang Ganefo I dalam format filem berwarna.[iii]<\/a> Produksi filem ini konon dilakukan untuk menandingi rencana produksi filem dokumenter berwarna tentang Olimpiade Tokyo 1964 yang hendak dibuat oleh sutradara Akira Kurosawa.[iv]<\/a> Namun, filem-filem dokumenter ini belum dapat ditemukan dan ditonton oleh tim peneliti Kultursinema, baik di Arsip Nasional Republik Indonesia, maupun arsip-arsip filem di luar negeri. Mungkin, ide tentang ‘tubuh-tubuh yang sempurna’ yang dibayangkan dari perhelatan Ganefo dapat dilihat di dalam filem-filem itu. Namun kami tidak bisa memastikannya.<\/p>\n

Mengacu pada tema h<\/em>omo<\/em>l<\/em>udens <\/em>yang menjadi poros pembahasan dalam ARKIPEL – Jakarta International Documentary and Experimental Film Festival 2018<\/em>, Kultursinema #5: Gelora Purnaraga<\/em> mencoba melihat kembali bagaimana kejadian Ganefo di tahun 1963 dalam bingkai: permainan olahraga dan ide tubuh yang sempurna melalui dua bagian, tubuh-tubuh sosial<\/em> dan gestur-gestur ragawi<\/em>. Tubuh-tubuh sosial mengacu dari interaksi sosial yang terjadi di dalam dan luar lapangan permainan dan kompetisi, sedang gestur-gestur ragawi<\/em> mengacu pada gestur-gestur jasmaniah olahragawan yang terjadi di dalam lapangan permainan dan kompetisi.<\/p>\n

Pameran Kultursinema #5: Gelora Purnaraga<\/em> mencoba untuk menggunakan arsip-arsip filem digital yang diperoleh dari Arsip Nasional Republik Indonesia sebagai materi utama untuk melacak, mengkonstruksi, menerjemahkan, atau menginterpretasikan ‘tubuh-tubuh Ganefo’ sebagai ‘ide tubuh yang sempurna’. Juga mencoba mereproduksi berbagai arsip visual yang mengimajinasikan ‘tubuh-tubuh yang sempurna’ yang merupakan capaian dan manifestasi yang dibentuk dari permainan olahraga maupun dari jalinan relasi-relasi kesetiakawanan dalam kejadian-kejadian sosial yang terjadi selama sebelum, saat, dan sesudah pesta olahraga itu terjadi.<\/p>\n

Pameran Kultursinema #5: Gelora Purnaraga <\/em>mengucapkan banyak terima kasih kepada teman-teman yang berpartisipasi dalam merealisasikan usaha melacak ‘ide tubuh yang sempurna’ dalam perhelatan Ganefo; Dialita dan Sisir Tanah, Yes No Wave, Klub Karya Bulu Tangkis, dan teman-teman Forum Lenteng lainnya. Juga Arsip Nasional Republik Indonesia maupun Perum Produksi Film Negara yang telah membantu dalam merealisasikan pameran ini. ***[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1533225728713{margin-bottom: 0px !important;}”]The first game of the New Emerging Forces (Ganefo) was held in Jakarta in November 1963. It was one year and three months after the fourth Asian Games in Jakarta in August 1962. Ganefo was a cultural event. It was not just a sports game but also an art and cultural festivities that was scheduled to take place once every four years. The 1963 Ganefo involved 51 participating countries of Asia, Africa, America and Europe, both in the sports competitions as well as the art and cultural happenings, such as painting exhibition, film festival, traditional art, dance and music performances organized in halls and public spaces of Jakarta. This was more than the Asian Games IV that involved 17 Asian countries.<\/span><\/p>\n

The event of Ganefo was not without history. It was not just a response of Indonesian membership\u2019s postponement in the Olympic Sports Committee at that time and its suspension in the 1964 Tokyo Olympic. However, the idea of building unity among new emerging forces had grown and developed far before these events. If we look back at the journey of this country\u2019s strategy and statements in building its sports history before the international eyes, Ganefo was the summit of the previous achievements. In 1948, when this country had yet gained acknowledgement as a state, Indonesia already dared to organise its first National Sports Week in Surakarta. Next, in 1962 Indonesia held an Asian sports festival on a regional level. Then, in 1963 Ganefo became a testament of an international sports game. Sports became a cultural statement built far before the 1963 Ganefo took place.<\/span><\/p>\n

Since the 1955 Asian-African Conference, Indonesia has become a \u201cmedia\u201d and provided \u201ccanals and spaces\u201d to connect, bridge and unite the collective idea of the newly or not yet independent countries, the developing countries or those still in organizing mode, or those who wanted world peace and friendship without exploitation of humans by humans in all over the world. Ganefo was one of the many statements initiated and supported by Indonesia, just as Asian Games, Asian African Journalists Conference, Asian African Film Festival, Labor Federations Conference, Asian African Film Week, Students, Women, People and Authors\u2019 Conference, all the way up to the idea to establish Asian African Painters\u2019 Conference, and so on. It was no wonder then that the spirit, manifested in the Ganefo sports game, received favourable responses from the people of all levels, both on the international and national scope. The case of Ganefo was a celebration peak that set aside ideological differences and united all the people of Indonesia in one great sporting event. The Indonesian people not only attended and watched all the games to express their participation but also contributed all kinds of idea and material to make it successful. One can imagine how the story of Ganefo inspiring people to create dishes and ice creams called Ganefo or even made them name their children with the word Ganefo, and so on. The city of Jakarta, the host of Ganefo, and other cities in Indonesia were decked with Ganefo accessories and slogans, made by both government and the people.<\/span><\/p>\n

Social functions outside the field and the competitions happened during all the sports branches held in Ganefo. Competition slogans among friends echoed and are well obeyed; friendship also became the point of reference instead of victory or defeat as the end result. The audience would clap hard and encourage all sportsmen from all countries who were fair, resilient, fighting to the end. The audience would yell, \u201cThis is Ganefo, comrade!\u201d whenever an athlete or a game started to exude a hostile atmosphere. World record achievements occurring throughout the Ganefo became a collective victory of all the people of the new emerging forces. The interplaying and competing bodies became a solidarity\u2019s representation of the collective body of new emerging forces. It was not only during the games themselves from November 10-22, 1963; the friendly matches took place in other cities as well, even outside of Java. Sportsmen of friendly countries visited and did friendly matches with the local ones.<\/span><\/p>\n

Tracking<\/strong> the Idea of A Perfect Body in Films about Ganefo<\/strong><\/span><\/p>\n

Compared to Leni Riefenstahl\u2019s Olympia (1938) success in imagining how the noble bodies of the Aryan race in the film, newsreels about Ganefo produced by the State Film Company (Perusahaan Film Negara) were far from the imagination of \u201cthe perfect bodies\u201d. These films didn\u2019t even succeed in representing how body solidarity occurred among new emerging forces, which was the core of the Ganefo. Of the newsreels that still can be watched, stored in the National Archives of the Republic of Indonesia are the reels of Serba-serbi Ganefo I<\/em> (Sundries of Ganefo I)<\/em>, Ganefo IV, Ganefo V, Ganefo VI, Menyongsong Lahirnya Ganefo<\/em> (Welcoming the Birth of Ganefo)<\/em>, Ganefo VII, Ganefo III, Ganefo IV, Ganefo IR, <\/em>and Olahraga Ganefo<\/em>(The Sport of Ganefo)<\/em>. These films stopped at documenting the sports matches in general. News about Ganefo in this program of Gelora Indonesia was screened in all theatres of Indonesia, also on television stations in the Netherlands, The United Arab Republic, and Syria after the Ganefo. On the other side, there was an information that the State Film Company also made an effort to construct \u201cperfect bodies\u201d and \u201csolidarity among countries\u201d through the making of a feature documentary entitled Membina Persahataban dalam Ganefo I<\/em> (Fostering Friendship in Ganefo I<\/em>,1963) made into 12 reels and receiving criticisms in the newspapers about its failure to represent the friendship and the goal of Ganefo.[1]<\/a> Director Bachtiar Siagian allegedly also made a documentary film about Ganefo,\u00a0 or cooperation between Indonesia and the People\u2019s Republic of China, which produced a documentary feature film about Ganefo I in colour format.[2]<\/a> It was said that this film production was to rival the production plan of the colour documentary feature film about the 1964 Tokyo Olympic, to be made by the director Akira Kurosawa.[3]<\/a> However, Kultursinema\u2019s research team couldn\u2019t found and watch these documentaries, whether in the National Archives of the Republic of Indonesia or anywhere else abroad. Perhaps, the idea of \u201cperfect bodies\u201d imagined in the Ganefo could be seen from those films. Something we can\u2019t ascertain.<\/span><\/p>\n

Referring to the theme of homoludens<\/em>, the subject matter of ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival 2018<\/em>, Kultursinema #5: <\/em>Passion of The Perfect Body<\/em> tries to re-examine how the Ganefo in 1963 happened through the frame of a sports event and the idea of perfect bodies which are divided into two parts: social bodies and physical gestures. Social bodies refer to the social interactions happening inside and outside the matches and competitions while physical gestures refer to the sportsmen\u2019s physical gestures occurring inside and outside the games and contests.<\/span><\/p>\n

The exhibition Kultursinema #5: <\/em>Passion of The Perfect Body<\/em> tries to use the digital film archives obtained from the National Archives of the Republic of Indonesia as the primary source to track, construct, translate, or interpret \u201cGanefo bodies\u201d as \u201cthe perfect bodies\u201d. It also tries to reproduce various visual archives that imagined \u201cthe perfect bodies\u201d which are achievements and manifestations of the sports games and the relations of solidarity in the social events happened before, during, and after the game.<\/span><\/p>\n

The exhibition Kultursinema #5: <\/em>Passion of The Perfect Body <\/em>expresses many thanks to friends who have participated in realizing this effort to trace the idea of \u201cperfect bodies\u201d in Ganefo; Dialita and Sisir Tanah, YESNOWAVE, Klub Karya Bulu Tangkis, and other friends of Forum Lenteng. Many thanks also to the National Archives of the Republic of Indonesia and the State Film Company (Perum Produksi Film Negara) for their assistance in realizing this exhibition. ***<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator border_width=”2″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1533225589472{margin-bottom: 0px !important;}”]\n

[i]<\/a> Bintang Timur, 21 Desember 1963. Filem Membina Persahabatan Dalam Ganefo I<\/em> telah ditayangkan perdana untuk para undangan pada 19 Desember 1963 di Studio PFN Jatinegara. Surat kabar itu juga menuliskan bahwa “kurangnya diarahkan kamera kesifat-sifat persahabatan yang berlangsung di luar gelanggang di mana misalnya terlihat olahragawan hitam sedang berangkul-rangkulan dengan yang putih karena kegirangan atau kelakar-kelakar yang terjadi di antara para olahragawan itu sendiri. Juga tidak tampak dalam film ini diabadikan olahragawan yang mengangkat tinggi-tinggi semboyan ‘Onward! No Retreat!<\/em>” seperti misalnya itu olahragawan Philipina J. Medina dalam lari 10.000 m di mana dia harus sendirian menyelesaikan beberapa kali putaran sedang yang lain-lain sudah sampai di finish<\/em>, namun dia tidak mundur.”<\/p>\n

[ii]<\/a> Siagian, Bachtiar. (2013, 5 November). Bachtiar Siagian <\/em>d<\/em>an Misteri Realisme Sosialis <\/em>d<\/em>alam Film<\/em> Indonesia<\/em>. Diakses dari https:\/\/indoprogress.com\/2013\/11\/bachtiar-siagian-dan-misteri-realisme-sosialis-dalam-film-indonesia\/<\/a><\/p>\n

[iii]<\/a> Hingga pameran ini berlangsung, tim peneliti Kultursinema belum bisa memastikan keberadaan filem tersebut. Dalam beberapa surat kabar disebutkan kalau filem itu rencananya dapat diselesaikan pada bulan Februari 1964 dan rencananya akan disebarluaskan ke seluruh negara-negara yang terlibat Ganefo dan juga ke seluruh Indonesia.<\/p>\n

[iv]<\/a> Filem itu akhirnya diserahkan dan dikerjakan oleh Kon Ichikawa dengan judul Tokyo Olympiad<\/em> (1965).[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1533225741373{margin-bottom: 0px !important;}”]\n

[1]<\/a> Bintang Timur<\/em>, December 21, 1963. The film Membina Persahabatan Dalam Ganefo I<\/em> was premiered for invitation only on December 19, 1963, in the State Film Company\u2019s theatre, Jatinegara. The newspaper also wrote that \u201cthe lack of camera perspective on the friendship acts happening outside the arenas, for example how a black sportsman embraced a white one out of sheer joy or jokes uttered among the athletes. Also missing from this film was sportsment appreciated the slogan \u2018Onward! No retreat!\u2019, such as the Philipino sportsman, J. Medina, in the 10.000 m number where he must finish several mid-range rounds while the others already arrived on the finish line and he never backed out.\u201d<\/span><\/p>\n

[2]<\/a> Until the day of this exhibition, the Kultursinema research team hasn\u2019t been able to verify the existence of that film. Several newspapers mentioned that the film was scheduled to finish in February 1964 and would be distributed to all the countries involved in Ganefo, and also all over Indonesia.<\/span><\/p>\n

[3]<\/a> The film was finally given to and directed by Kon Ichikawa, entitled Tokyo Olympiad <\/em>(1965).<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Curator” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8589″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533226100095{margin-bottom: 0px !important;}”]\n

Mahardika Yudha (Jakarta 1989). <\/b> Filem pertamanya yang berjudul Rangjebor (2014) disutradarai bersama Mohammad Fauzy. Ia juga membuat karya seni video dan merupakan kurator berbagai pameran seni rupa maupun seni media. Karyanya juga telah dipresentasikan pada berbagai pameran internasional seperti di Singapore Biennale 2013 dan Videobrasil 2013.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533226149702{margin-bottom: 0px !important;}”]\n

Mahardika Yudha (Jakarta 1989). <\/b>Made his first film Rangjebor (2014), co-directed by Mohammad Fauzy. He also made video art and curator of many fine art and media art exhibitions. Some of his works have been presented in many international art exhibitions such as Singapore Biennale 2013 and Videobrasil 2013.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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