{"id":8631,"date":"2018-08-06T18:32:04","date_gmt":"2018-08-06T11:32:04","guid":{"rendered":"http:\/\/arkipel.org\/?p=8631"},"modified":"2018-08-08T18:40:37","modified_gmt":"2018-08-08T11:40:37","slug":"homoludens-reading-the-world-and-cinema-through-arkipel","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-reading-the-world-and-cinema-through-arkipel\/","title":{"rendered":"Reading the World and Cinema Through ARKIPEL"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533727700388{margin-bottom: 0px !important;}”]\n

Reading the World and Cinema Through ARKIPEL<\/strong>
\nMembaca Dunia dan Sinema Melalui ARKIPEL<\/em><\/h1>\n

by Aulia A. Dianti<\/strong><\/p>\n

Notes on ARKIPEL’s Volunteer Workshop<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”BAHASA INDONESIA” tab_id=”1533727736704-c81c34c2-3e25″][vc_column_text css=”.vc_custom_1533727777317{margin-bottom: 0px !important;}”]Setelah melewati drama telat bangun dan nyasar<\/em> bersama ojek online<\/em>, akhirnya saya sampai juga dengan selamat di Forum Lenteng. Ada urusan apa yang membuat saya harus datang ke rumah mungil nan asri di kawasan Tanjung Barat pada hari Minggu pagi yang cerah itu? Yup, hari itu, Minggu, 29 Juli 2018, merupakan hari lokakarya untuk para volunteer, bagian dari acara ARKIPEL homoludens<\/em>: 6th Jakarta International Documentary & Experimental Film Festival yang diinisiasi dan diselenggarakan oleh Forum Lenteng. Acara lokakarya ini juga menjadi kali pertama kami sebagai 30 volunteer<\/em> terpilih untuk saling bertatap muka satu sama lain. Meskipun memang, ada beberapa nama yang sudah lama malang melintang di ARKIPEL dari tahun-tahun sebelumnya.<\/p>\n

Selayaknya anak baru yang masih malu-malu, saya hanya duduk anteng<\/em> di sudut ruangan sambil sesekali berkenalan dengan sesama volunteer<\/em>, menunggu acara dimulai. Sekitar 20 menit kemudian, Dhanurendra Pandji atau Pandji, sebagai koordinator volunteer<\/em> dalam kepanitiaan ARKIPEL, meminta waktu sedikit lagi untuk memulai acara yang seharusnya dimulai sejak pukul 10.00 pagi. Ah, acara apa pun memang terasa kurang afdal kalau belum ngaret<\/em> dari waktu yang ditentukan. Setelah menunggu lagi selama beberapa belas menit, akhirnya acara pun benar-benar dimulai.<\/p>\n

Acara lokakarya hari itu dibuka oleh Yuki Aditya, selaku Direktur Festival ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival, dengan mengenalkan Forum Lenteng dan ARKIPEL itu sendiri. Forum Lenteng, yang mengabdikan dirinya bagi perkembangan kajian sosio-kultural, mendasarkan ARKIPEL sebagai sebuah \u201cmedium\u201d penjelajahan kondisi sosial, politik, ekonomi dan budaya global melalui sinema. Upaya Forum Lenteng melalui ARKIPEL itu dapat terlihat secara dari pemilihan tema-tema ARKIPEL itu sendiri. Seperti tema ARKIPEL di tahun 2016, yaitu social\/kapital<\/em>, yang dimaksudkan sebagai bentuk refleksi sosial, politik, budaya, dan ekonomi akan wacana perubahan masa kini. Yang lebih baru, ARKIPEL muncul dengan tema Penal Colony<\/em> di tahun 2017, yang menyinggung konsep-konsep semacam kontrol, pendisiplinan, maupun esensi kebebasan yang dibalut dengan pemikiran-pemikiran kriminologis.<\/p>\n

Di tahun keenam penyelenggaraannya, Forum Lenteng mengusung tema homoludens<\/em>, atau jika diterjemahkan secara harfiah bermakna sebagai \u201cmanusia yang bermain\u201d. Tema ini diusung dengan kesadaran akan kemajuan teknologi secara global yang memungkinkan sekaligus mendorong seseorang untuk kembali menjadi \u201cperformatif dan spontan\u201d \u2013 dengan kata lain, bermain-main. Yuki juga mengaitkan tema tahun ini dengan momentum acara Asian Games yang akan dilaksanakan pada bulan Agustus hingga September tahun ini di Indonesia. Bagaimana Asian Games bukan hanya bisa dilihat sebagai kompetisi olahraga biasa, tetapi juga sebagai parade perayaan atas performativitas tubuh manusia itu sendiri.<\/p>\n

Sesi workshop selanjutnya membahas tentang pemahaman akan filem eksperimental yang diisi oleh Manshur Zikri sebagai bagian dari komite seleksi sekaligus salah satu kurator filem di ARKIPEL. Secara terminologis, oleh beberapa pengamat, filem eksperimental memang sering ditujukan bagi filem-filem dengan semangat avant-garde<\/em> yang tidak mengikuti formula filem-filem arus utama. Istilah ini, kadang kala, juga mengacu pada filem-filem yang lahir dalam konteks zaman-zaman tertentu. Namun pada dasarnya, Zikri pribadi menolak adanya upaya kategorisasi genre yang kaku terhadap sinema. \u201cDengan kita membuat filem, itu saja sebenarnya sudah bisa dibilang \u2018eksperimental\u2019. Karena, kita [sudah pasti] bereksperimen dalam membuat filem,\u201d ujarnya.<\/p>\n

Setelah itu, hal yang paling saya nantikan pun tiba: istirahat dan makan siang gratis! Kami pun beristirahat sejenak dan menikmati santapan siang yang telah disediakan oleh panitia. Setelah puas beristirahat dan kenyang, lokakarya pun berlanjut. Kali ini dibawakan oleh Afrian Purnama yang membahas tentang Kultursinema, yaitu program pameran dari ARKIPEL. Secara garis besar, materi yang dibahas oleh Rian bermuara pada sejarah, proses kelahiran serta kemunculan kultur sinema dunia dan Indonesia (atau Hindia Belanda, pada zamannya).<\/p>\n

Rian menceritakan proses kelahiran sinema yang, oleh para pengamat sering disebut, diawali oleh Lumiere bersaudara yang pertama kali menayangkan filem ke hadapan publik sekitar tahun 1895. Perusahaan fotografi yang dikelola oleh Lumiere bersaudara sering mengirimkan operator kamera\u2014profesi yang bisa dikategorikan sebagai sutradara pada saat ini\u2014ke berbagai wilayah, termasuk daerah-daerah tropis seperti Hindia Belanda. Dapat diduga, para operator kamera yang mula-mula datang ke Indonesia, mungkin, juga berasal (atau bagian dari) jaringan Lumiere tersebut. Operator kamera yang datang ke Hindia Belanda bertugas untuk merekam keadaan Hindia Belanda pada waktu itu, sebagai upaya menangkap representasi yang dapat terasa riil bagi orang-orang Eropa. Meskipun pada akhirnya, kebenaran latar filem yang dihasilkan memang ada yang masih dipertanyakan. Rian juga menceritakan bagaimana habitus sinematik orang-orang Hindia Belanda zaman dahulu terbentuk dari adanya tukang filem keliling, dengan adanya beragam konteks sosio-historis yang mengitarinya.<\/p>\n

Sutradara pada zaman Hindia Belanda juga lebih banyak didominasi oleh kelompok etnis Tionghoa. Sebut saja Kwee Zwan Liang, The Teng Chun, Wong Bersaudara hingga Tan Tjoei Hock, yang menghiasi dunia sinematik Hindia Belanda dengan karya-karyanya sejak tahun 1920 hingga 1940-an. Yang juga menarik perhatian saya adalah bagaimana para sineas awal ini, dengan segala keterbatasan teknologi yang ada, mencoba untuk terus bereksperimen dengan filem yang mereka buat. Upaya eksperimental yang dilakukan pun, misalnya, sesederhana menggores atau membuat scratch<\/em> pada seluloid untuk membuat efek sulap yang dilakukan oleh aktor dalam filem tersebut.<\/p>\n

Dhuha Ramadhani menjadi pembicara terakhir dalam sesi lokakarya ARKIPEL hari itu. Ia membahas tentang Candrawala, sebuah program kuratorial dari ARKIPEL yang berangkat dari kesadaran akan fenomena visual Indonesia terkini yang semakin bebas, tak terkontrol, dipertemukan dengan isu yang beragam, hingga terproduksi menjadi sebuah produk tontonan yang dapat kita nikmati sebagai penonton. Sesuai dengan makna namanya, Candrawala berusaha memfasilitasi pembacaan nilai, makna maupun gaya ungkap yang tersembunyi dari filem-filem lokal Indonesia yang terkurasi. Setidaknya, ada 6 filem yang terkurasi dalam program Candrawala tahun ini. Dhuha, yang juga merupakan salah satu kurator dalam program Candrawala, menyebut Kakak Mau Beli Tisu, Ojek Lusi, Lahir di Darat Besar di Laut, Kasihan<\/em>, What\u2019s Wrong with My Film<\/em> dan Rimba Kini<\/em> sebagai filem-filem yang nantinya akan ditampilkan pada ARKIPEL homoludens<\/em>. ***[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”ENGLISH” tab_id=”1533727736719-7ed17898-5e8c”][vc_column_text css=”.vc_custom_1533727886281{margin-bottom: 0px !important;}”]After a drama of waking up late and getting lost in the middle of nowhere with online driver, I finally arrived safely at Forum Lenteng. What kind of hassle that made me come to this petite, cosy house in Tanjung Barat, on a lazy, beautiful Sunday? Yup, that day, Sunday, July 29, 2018, was the day of the workshop from ARKIPEL homoludens: <\/em>6th Jakarta International Documentary & Experimental Film Festival, which is initiated and pioneered by Forum Lenteng. This workshop was also the day we, as 30 chosen volunteers, finally met each other for the very first time. Although, there are several familiar names that have been involved as volunteers already long before.<\/span><\/p>\n

Like a normal new face on the crowd, I just sat calmly in the corner while trying to mingle with other volunteers, waiting the workshop to be started. Around 20 minutes later, Dhanurendra Pandji or Pandji, who\u2019s in charged as the volunteer coordinator in ARKIPEL, told us to wait a few more minutes for the workshop that was supposed to start at 10.00 a.m. Ah, there\u2019s nothing more humane than being late in this kind of occasion. After we waited for some more minutes, the workshop was finally started.<\/span><\/p>\n

The workshop was opened by Yuki Aditya, as the Festival Director of ARKIPEL\u2013Jakarta International Documentary and Experimental Film Festival, introducing Forum Lenteng and ARKIPEL to the volunteers. Forum Lenteng, which devoted itself to socio-cultural studies development, established ARKIPEL as an expedition medium of social, politics, economy and cultural global state through cinema. Forum Lenteng\u2019s ambition for ARKIPEL can be seen clearly in the choices of the themes of ARKIPEL itself. In 2016, for example, ARKIPEL had chosen social\/kapital <\/em>as their major theme, which was meant to be a reflection of social, politic, cultural and economy of change discourse in today\u2019s era. For the latest festival, ARKIPEL had chosen Penal Colony<\/em> as the major theme in 2017, which explored so many concepts such as control, disciplinary and essence of freedom that were discussed in criminological paradigms.<\/span><\/p>\n

In its sixth year, Forum Lenteng chose the theme of homoludens<\/em>, which literally translates to \u201cthe playing human\u201d. The theme was chosen with the awareness of technology and world advancement globally which enables and pushes someone to be performative and spontaneous\u2014or in other words, being playful. Yuki also pointed out the correlation of this year\u2019s theme with the momentum of Asian Games event which will be held in August and September this year in Indonesia. Asian Games should not be seen as a normal sports competition only, but also as a celebration of the performativity of the human\u2019s body.<\/span><\/p>\n

The next workshop session explained about experimental film, led by Manshur Zikri as one of the film selection committee team and curator of ARKIPEL. Terminologically, according to few observers, experimental film refers to any film motivated by the avant-garde spirit, which doesn\u2019t follow any formula of mainstream films. It also refers to any film that produced in the context of a particular era. But apparently, Zikri has a different opinion about this rigid genre categorization. \u201cIf you\u2019re making a film, [the act] itself can be seen as experimental. That\u2019s because you\u2019re [certainly] experimenting in making films.\u201d said Zikri confidently.<\/span><\/p>\n

After the session with Zikri was finished, here comes the sessions I\u2019ve been waited for so long: break time and free lunch! The volunteers were taking a short break and having lunch that has been prepared by the committee. After this fulfilling session, the workshop session was continued. The next session was presented by Afrian Purnama, which discussed Cinema Culture, an exhibition program from ARKIPEL. His presentation focused on history, early development and the emergence of cinema culture globally and in Indonesia context (or Dutch East Indies, at that time).<\/span><\/p>\n

Rian recounted the early development days of cinema, which was initiated by Lumiere brothers, who screened the first film publicly in 1895. They would later actively sent their company\u2019s camera operator\u2014a job title that considered to be a film director nowadays, to many different regions of the world; including Dutch East Indies. It is speculated that those camera operators that came early to Indonesia belonged to the Lumiere network. Those camera operators were assigned to record the condition of Dutch East Indies at that time, to serve as a media of a realistic representation for Europeans. Although, the truth behind the settings of some of the films are still disputable. Rian also explained on how the cinematic habitus of Dutch East Indies people was formed because of the existence of travelling film exhibitor (like the old travelling circus performers), with various socio-historical contexts that follow.<\/span><\/p>\n

Early film directors in Dutch East Indies era were also dominated by Chinese. There were some prominent names, such as Kwee Zwan Liang, The Teng Chun, Wong Bersaudara and Tan Tjoei Hock, whose films were dominated Dutch East Indies\u2019 cinema from 1920 to 1940s. The thing that also amazed me, as an audience, is the how these filmmakers were very experimental in their films, despite the lack of technologies at that time. One of experimental thing they did, which I adore very much, was to simply scratch the celluloid to create the effect of magic trick from the actor who played as a magician in the film.<\/span><\/p>\n

Dhuha Ramadhani became the last presenter of the ARKIPEL\u2019s workshop session that day. Dhuha talked about Candrawala, a curatorial program from ARKIPEL that started from the awareness of the newest Indonesian visual phenomenon that becomes more free, uncontrolled, is met by various issues, and is produced as a consumable media product that we can watch as the audience. Living up to its name, Candrawala attempts to facilitate the exposition of hidden value, meaning and main angles from the curated local Indonesian films. There are 6 films that are being curated in Candrawala this year. Dhuha, as the curator of Candrawala, listed Kakak Mau Beli Tisu, Ojek Lusi, Lahir di Darat Besar di Laut, Kasihan<\/em>, What\u2019s Wrong with My Film<\/em> and Rimba Kini<\/em> as the curated films that will be showcased in ARKIPEL homoludens<\/em>. ***<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Dhianti (Jakarta, 27 September 1995) adalah lulusan Kriminologi dari Universitas Indonesia. Menyukai film, makanan gratis dan bercita-cita untuk dapat bereinkarnasi sebagai Jeff Goldblum di kehidupan selanjutnya. Di luar aktivitasnya dalam kegiatan sukarela, ia bekerja sebagai pekerja lepas desain grafis. Sapa dia di akun Twitternya @27Aulia untuk mengobrol soal\u00a0\u00a0 makanan, komik dan kucing. - Aulia A. Dhianti (Jakarta, September 27th 1995) is a Criminology graduate at Universitas Indonesia. Love films, free food and aspire to be reincarnated as Jeff Goldblum in her next life. When she's not joining any volunteering works, she's accepting work commision as a graphic designer freelancer. 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Dhianti (Jakarta, 27 September 1995) adalah lulusan Kriminologi dari Universitas Indonesia. Menyukai film, makanan gratis dan bercita-cita untuk dapat bereinkarnasi sebagai Jeff Goldblum di kehidupan selanjutnya. Di luar aktivitasnya dalam kegiatan sukarela, ia bekerja sebagai pekerja lepas desain grafis. Sapa dia di akun Twitternya @27Aulia untuk mengobrol soal\u00a0\u00a0 makanan, komik dan kucing. - Aulia A. Dhianti (Jakarta, September 27th 1995) is a Criminology graduate at Universitas Indonesia. Love films, free food and aspire to be reincarnated as Jeff Goldblum in her next life. When she's not joining any volunteering works, she's accepting work commision as a graphic designer freelancer. 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