{"id":8737,"date":"2018-08-11T17:58:28","date_gmt":"2018-08-11T10:58:28","guid":{"rendered":"http:\/\/arkipel.org\/?p=8737"},"modified":"2018-08-11T17:58:28","modified_gmt":"2018-08-11T10:58:28","slug":"homoludens-notes-festival-forum-panel-4","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-notes-festival-forum-panel-4\/","title":{"rendered":"Notes on Forum Festival Panel IV"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Catatan Tentang Forum Festival Panel IV” css=”.vc_custom_1533984417140{margin-bottom: 0px !important;}”]\n

Catatan Panel 4 Forum Festival ARKIPEL homoludens<\/em><\/h2>\n

Panel pertama dari Forum Festival hari kedua yang dilaksanakan pada Kamis pagi, 9 Agustus 2018 ini bertemakan Melampaui Kolaborasi: Antara Berkarya Kolektif <\/em>dan Individu<\/em>. <\/em>Acara ini masih dilaksanakan di tempat yan sama yaitu di GoetheHaus, Goethe-Institut Indonesien dari pukul 09.00 \u2013 10.30 WIB\u00a0 dan dihadiri 26 peserta.<\/p>\n

Acara ini dibuka oleh Manshur Zikri yang berlaku sebagai moderator dengan menjelaskan maksud dari topik yang diambil yaitu mengenai struktur suatu karya kolaborasi dan proses di baliknya. Ia berharap agar panel ini bisa memberi gambaran filosofis mengenai kolaborasi terutama dalam praktik bermedia atau gambar bergerak.<\/p>\n

\"\"

Kiri ke Kanan: Helen Petts, Manshur Zikri, Otty Widasari<\/p><\/div>\n

Pada awal pembicaraannya, Helen bercerita tentang latar belakangnya dan pengalamannya dahulu di mana peralatan video yang menunjang aktivitasnya merupakan perangkat yang mahal, namun akhirnya perlahan-lahan mulai bisa diakses umum karena saat ini teknologi semakin ringkas dan mobile<\/em>. Setelah bercerita tentang latar belakangnya, Helen melanjutkan dengan memutar kumpulan karyanya dari tahun 1985 sampai sekarang. Di karya-karya filemnya, Helen banyak mengeksplorasi bebunyian yang tidak biasa seperti penggunaan bebunyian dari objek temuan, perluasan teknik vokal dan bunyi violincello serta berbagai instrumen lainnya.<\/p>\n

Setelah memutar karya filemnya, Helen menjelaskan bagaimana kerangka \u201ckolaborasi\u201d yang ia lakukan dengan\u00a0 para musisi eksperimental tersebut. Misalnya pada karyanya yang ia persembahkan untuk seorang pemain saksofon di mana Helen mengeksplorasi rekaman video permainan sang pemain saksofon yang menderita demensia. Dia menjelaskan bahwa kedua bingkai yang ia tampilkan di layar merupakan 2 situasi yang berbeda yang dialami oleh sang pemain saksofon. Bingkai pertama (sebelah kanan) adalah rekaman di mana ia belum mengalami demensia dan bingkai kedua (sebelah kiri) adalah rekaman ketika sang pemain saksofon telah mengalami demensia.<\/p>\n

\"\"

Riar Rizaldi berkomentar dalam sesi diskusi.<\/p><\/div>\n

Setelah Helen selesai mempresentasikan materinya, lalu moderator mempersilahkan pembicara kedua untuk mempresentasikan materinya. Pada awal pembicaraan, Otty mencoba untuk\u00a0 mengulas dan \u201cmembandingkan\u201d kata kolaborasi<\/em> dengan kata gotong<\/em> royong<\/em>.<\/em> \u00a0Menurut Otty, gotong royong adalah sesuatu yang sudah menyatu dengan kebiasaan orang Indonesia dan menurutnya ketika seniman di Indonesia \u201cberkolaborasi\u201d, sebetulnya mereka sedang melakukan kebiasaan gotong royong yang biasa mereka lakukan di keseharian.<\/p>\n

Melanjutkan materinya, Otty memberikan contoh sebuah proyek seni kolaborasi yang dilakukkannya pada tahun 2016 di dalam kerangka komunitas AKUMASSA yang berkolaborasi dengan komunitas Pasirputih di Lombok. Proyek tersebut bernama Bangsal Menggawe di mana kata Bangsal<\/em> merujuk pada nama pelabuhan di lokasi proyek seni tersebut di Lombok dan kata Menggawe <\/em>berarti berpesta<\/em> dalam bahasa setempat. Dalam praktiknya, Otty mengundang seniman-seniman untuk berkolaborasi dengan masyarakat setempat untuk menggarap sebuah aksi kultural \u2013 di antaranya berupa pawai kesenian yang dilakukan pada presentasi final.<\/p>\n

Pada praktiknya, seniman-seniman yang terlibat menggarap karya mereka dengan cara mengerjakannya bersama-sama masyarakat. Mereka secara tidak langsung memberikan tandingan terhadap praktik turisme yang menggeser pola kehidupan masyarakat. Sebagai contoh, ketika seorang aktor monolog dari Lombok bernama Ahmad Saleh Tabibudin \u2013 atau lebih dikenal sebagai Asta \u2013 terlibat dalam proyek ini, ia akhirnya bersama-sama dengan masyarakat membuat sebuah karya seni yang berbentuk pertandingan bola dimana Asta menjadi komentatornya. Secara tidak langsung, warga yang tadinya hanya berjibaku dengan soal turisme seperti penyewaan kapal dan lain-lain, kini mereka bersama-sama berkumpul untuk melakukan pertandingan sepak bola seperti kebiasaan mereka dahulu. Hingga kemudian pada puncak acara, semua masyarakat dan seniman \u201cberpesta\u201d bersama dengan melakukan berbagai kegiatan kesenian. Otty menambahkan bahwa pada saat itu turisme berhenti sejenak karena aksi kultural, sebuah pagelaran kesenian yang dilakukan secara bersama-sama antara masyarakat dan seniman yang terlibat. Otty juga menjelaskan bahwa proyek kesenian itu tidak hanya berhenti pada acara tersebut, namun juga berlanjut ke arah tali persaudaraan di mana antar komunitas kesenian ini pun saling membantu ketika terjadi bencana gempa yang kini sedang terjadi di Lombok.<\/p>\n

\"\"

Anggun Priambodo dalam sesi diskusi<\/p><\/div>\n

Setelah kedua pembicara mempresentasikan presentasi mereka masing-masing, moderator membuka sesi diskusi. Penanya pertama yaitu Riar Rizaldi yang merupakan seniman dari Bandung, memberikan tanggapan terhadap materi Otty dan memberikan pertanyaan kepada Helen. Ia menanggapi Otty dengan menyatakan bahwa proyek yang telah dilakukan Otty bersama AKUMASSA dan Pasirputih merupakan kegiatan yang positif karena kemudian seniman tidak sekedar memakai masyarakat sebagai objek eksploitasi demi kepentingan artistik saja. Mereka juga bergerak bersama masyarakat untuk ikut bersama-sama terlibat di dalam proyek ini. Dan kepada Helen, ia bertanya apa artinya improvisasi musik terhadap gambar bergerak dan sebaliknya bagi Helen. Untuk menjawab pertanyaan ini, Helen berkata bahwa dia belajar dari improvisasi musik untuk melihat dengan cara yang lain.<\/p>\n

Pertanyaan kedua datang dari Hiroshi Sunairi yang merupakan seorang sutradara dari Jepang yang salah satu karyanya terpilih dalam Kompetisi Internasional tahun ini. Ia bertanya kepada Helen tentang bagaimana perasaan sang pemain saksofon ketika mendengar modifikasinya\/de-komposisi terhadap rekaman karyanya? Karena secara tidak langsung, dengan mengkolase rekaman-rekaman permainan sang pemain saksofon, Helen telah melakukan kegiatan komposisi musik. Helen lalu menjawabnya dengan singkat bahwa karya ini dibuat sebagai karya dedikasi untuk sang pemain saksofon dan karya ini dibuat setelah ia meninggal.\"\"<\/p>\n

Pertanyaan ketiga dari Scott Miller Berry, seorang pembuat filem dan pegiat kebudayaan yang tinggaldari Toronto, diarahkan kepada Otty tentang tantangan dalam melakukan proyek kolaborasi seperti yang ia lakukan bersama AKUMASSA dan Pasirputih. Otty menjawab bahwa tantangannya adalah bagaimana caranya untuk dapat memberikan tandingan bagi otoritas yang selama ini merasa bahwa masyarakat tidak \u201cberdaya\u201d dengan membuat program-program \u201cpemberdayaan\u201d dan membalikannya dengan memberdayakan pihak otoritas.<\/p>\n

Di sela-sela pertanyaan terakhir, Helen dan Hiroshi mengungkapkan cerita yang mereka alami tentang bagaimana aktivitas \u201cgotong-royong\u201d terjadi di Inggris dan Jepang. Sebagai contohnya ialah ketika Hiroshi bercerita bahwa saat ini masyarakat Jepang sudah menjadi individual namun terdapat satu cerita dimana saat terjadi sebuah bencana alam di Jepang, terdapat 1 orang yang terbiasa bertegur sapa dengan semua orang lain dan kemudian saat bencana terjadi, orang tersebutlah yang memulai untuk menghubungi semua orang dan menyebarkan informasi. Hiroshi juga memberikan pertanyaan penutup dengan melontarkan kepada kedua pembicara tentang bagaimana untuk menumbuhkan kesadaran gotong royong ini agar menjadi\u00a0 kesadaran bersama? Otty menjawab, bahwa kesadaran tersebut sebetulnya ada pada semua orang namun hanya ditidurkan oleh sistem. Seni dalam hal ini, menurut Otty, dapat mengaktivasi hal itu melalui karya. Helen pun menyetujui pernyataan Otty tersebut.[\/vc_column_text][vc_row_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Catatan Tentang Forum Festival Panel IV” css=”.vc_custom_1533984980155{margin-bottom: 0px !important;}”]\n

Catatan Panel 4 Forum Festival ARKIPEL homoludens<\/em><\/h2>\n

The first panel on the second day of Forum Festival was held on Thursday morning of August 9, 2018. It was titled Beyond Collaboration: Between Collective and Individual Practice<\/em>. As the previous panels, it was held at the GoetheHaus, Goethe-Institut Indonesien between 09.00 \u2013 10.30 AM, and attended by 26 participants.<\/p>\n

The panel was opened by Manshur Zikri as the moderator, explaining the purpose of this topic which was to dig out the structure of collaborative work and the process behind it. He hoped this panel could conclude a philosophical foundation on collaboration, especially concerning media practice or moving images.<\/p>\n

Next, he introduced both of the speakers. The first speaker was Helen Petts, an England-based artist and filmmaker. The second speaker was Otty Widasari, a cultural activist.<\/p>\n

\"\"

Kiri ke Kanan: Helen Petts, Manshur Zikri, Otty Widasari<\/p><\/div>\n

Opening her presentation, Helen talked about her background and past experience, where video equipment that supported her activities were once expensive, but technological advancement made them more compact, mobile, and accessible for the public now. She continued by screening a few of her works that were produced between 1985 until today. In her films, she explored the unusual sounds, such as sounds produced by everyday objects, expanded vocal technique, violoncello, and other musical instruments.<\/p>\n

After screening some of her films, Helen explained the framework of \u201ccollaboration\u201d she had done with those experimental musicians. For instance in her work that was dedicated to a saxophonist, in which she explored the video that records his performance who at that time was suffering dementia. She explained that the two frames arranged in one screen are two different situations that the saxophonist went through. The first frame (on the right) was recorded before he had dementia, and the second one (on the left) was recorded when he had dementia.<\/p>\n

\"\"

Riar Rizaldi berkomentar dalam sesi diskusi.<\/p><\/div>\n

Following the end of Helen\u2019s presentation, Manshur gave the stage to the second speaker. Otty began her presentation by re-examining the word \u201ccollaboration\u201d and comparing it with \u201cgotong royong<\/em>\u201d. She defined gotong royong <\/em>\u2013 which can be translated as lifting the weigh together in English \u2013 as a spirit that already had existed in the habit of many Indonesians. And according to Otty, when Indonesian artists \u201ccollaborate\u201d, indeed they are performing gotong-royong which has been part of their everyday life.<\/p>\n

One of her examples was a collaborative art project she worked on with AKUMASSA, a citizen journalism initiative, in collaboration with Pasirputih community from Lombok. The project was called Bangsal Menggawe<\/em>: the word Bangsal<\/em> is derived from the name of a port in Lombok where the project took place, and the word \u201c<\/em>Menggawe\u201d <\/em>means \u201cto celebrate\u201d in the local language. In her practice, Otty invited artists to collaborate with the local citizens to perform a series of cultural events, among them is in which they organize an art parade as the final presentation.<\/p>\n

In its practice, the artists that were involved in this project has worked together with the locals in producing their artworks. They promoted a new standpoint to counter the practice of tourism that has started to shift the local\u2019s pattern of life. For example, when a monologue actor from Lombok, Ahmad Saleh Tabibudin (known as Asta) was involved in this project, he created a work of art with the locals in the form of a football match, in which Asta played his role as the commentator. Indirectly, the people whose focus were limited to the business of tourism, for example, the boatmen, are now gathering to play football like they used to. On the main event, the locals and artists celebrated it through various artistic activities. Otty added that at the time the tourism business was paused because the workers joined the other citizens and artists on those art festivities. She explained that the project was not the end of their friendship, but the bonding strengthens, even now these art communities helped each other when the earthquake strikes Lombok.<\/p>\n

\"\"

Anggun Priambodo dalam sesi diskusi<\/p><\/div>\n

After both speakers had presented their topic, the moderator opened the question and answer session. The first question came from Riar Rizaldi, an artist from Bandung, who responded to Otty\u2019s topic and asked Helen a question. He appraised Otty\u2019s project with AKUMASSA and Pasirputih, because the artist does not exploit the citizens for aesthetic purposes only. Together with the locals, they are involved in this project. He also asked Helen what does musical improvisation means for moving images, and vice versa.<\/em> To this question, Helen answered that she is still learning from musical improvisation to observe in another way.<\/p>\n

The second question was asked by Hiroshi Sunairi, a director from Japan whose film was chosen in this year\u2019s International Competition. He asked Helen how the saxophonist felt listening to the modification\/de-composition of his recording, because what she did was collaging his recordings. Helen answered shortly by saying that her work was actually made after the musician passed away.<\/p>\n

The third question was from Scott Miller Berry. He asked to Otty about the challenges in a collaborative project such as the ones she did with AKUMASSA and Pasirputih. Otty answered that her biggest challenge was countering the authority that assumed the society is \u201cpowerless\u201d, which makes them think the society needs an \u201cempowerment\u201d program. She tries to reverse this dis<\/p>\n

In the last question, Helen and Hiroshi shared the experience of gotong<\/em> royong<\/em> they had in England and Japan. One of the examples from Hiroshi, he said that the Japanese society has become more individualistic. However, there was this person who always greets everyone he meets and when a natural disaster stroke, he started to contact everyone to spread the information. Hiroshi also asked the final question to both of the speakers, on how to grow this gotong<\/em> royong<\/em> awareness into a collective way of thinking? Otty answer was, that the awareness lives inside of everyone, but the system puts it to sleep. Art, in this case, can activate it through works of art. In this case, Helen agreed to Otty\u2019s final statement.<\/p>\n

\"\"<\/p>\n

In the last question, Helen and Hiroshi shared the experience of gotong<\/em> royong<\/em> they had in England and Japan. One of the examples from Hiroshi, he said that the Japanese society has become more individualistic. However, there was this person who always greets everyone he meets and when a natural disaster stroke, he started to contact everyone to spread the information. Hiroshi also asked the final question to both of the speakers, on how to grow this gotong<\/em> royong<\/em> awareness into a collective way of thinking? Otty answer was, that the awareness lives inside of everyone, but the system puts it to sleep. Art, in this case, can activate it through works of art. In this case, Helen agreed to Otty\u2019s final statement.[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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