{"id":8911,"date":"2018-08-15T12:02:47","date_gmt":"2018-08-15T05:02:47","guid":{"rendered":"http:\/\/arkipel.org\/?p=8911"},"modified":"2018-08-15T15:14:15","modified_gmt":"2018-08-15T08:14:15","slug":"homoludens-living-outside-the-western-understanding-of-society","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-living-outside-the-western-understanding-of-society\/","title":{"rendered":"Pratyaksha: Living Outside the Western Understanding of Society"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Notes on curatorial program 2″ css=”.vc_custom_1534320762813{margin-bottom: 0px !important;}”]\n

Pratyaksha: Hidup di Luar Pengertian Kemasyarakatan Barat <\/strong><\/h2>\n

Siapa yang memiliki dunia ini? Apakah Ibu Pertiwi yang memberikan sumber daya yang dibutuhkan untuk bertahan? Para Dewa yang menciptakan dunia ini dan bisa mengambilnya kembali? Atau manusia? Yang berabad-abad telah belajar untuk mengolah sawah dan lahan? Yang mengambil dan tidak memberi?<\/p>\n

Pertanyaan-pertanyaan itulah yang dipertimbangkan oleh Sonal Jain, sang kurator, saat ia membuat program ini sebagai bagian dari Program Kuratorial di ARKIPEL homoludens \u2013 6th Jakarta International Documentary and Experimental Film Festival <\/em>\u00a0yang dipresentasikan di Kineforum pada hari Minggu (13\/8). Sonal Jain adalah seorang seniman, pembuat filem, kurator, dan penulis dari India. Lulus dengan Sarjana Seni Rupa, Sonal Jain telah berkerja di industri seni selama kurang lebih 14 tahun. Dalam menyusun program ini, ia mengambil kritik terhadap antroposentris; manusia ditempatkan sebagai elemen utama atau yang paling penting di dunia, lebih penting dibanding Dewa atau hewan lain. Sonal tidak setuju dengan pernyataan tersebut, itulah sebabnya dua filem yang dia pilih menunjukan elemen lain yang ada.<\/p>\n

\"\"

Sonal Jain dan Manshur Zikri menyampaikan pengantar program kuratorial Pratyaksha<\/p><\/div>\n

Filem pertama adalah karya Kamal Swaroop yang berjudul \u201cPushkar Puran<\/em>\u201d (2017). Mempunyai latar belakang pendidikan filem, Kamal Swaroop sudah dianggap sebagai senior di bidangnya. Pada tahun 1989, ia membuat filem panjang berjudul Om Dar-B-Dar<\/em> yang dianggap sebagai filem kultus karena penuh dengan unsur-unsur surealis. Setelah itu dia sempat hiatus selama beberapa tahun sebelum kembali lagi ke dunia filem dengan membuat filem dokumenter.<\/p>\n

Pushkar Puran<\/em> merupakan sebuah dokumenter yang berdurasi 100 menit yang mengeksplorasi kota kecil Pushkar. Kota ini dianggap sebagai salah satu tempat tersuci dalam agama Hindu. Warga kota ini sangat dipengaruhi oleh kepercayaan mitologi. Penonton diberikan tur mengelilingi kota kecil ini dan setelah melihat lebih baik, seolah-olah kota ini belum pernah dijajah atau diperkenalkan oleh ideologi dari Barat. Dianggap sebagai projek pribadi, Pushkar Puran<\/em> mengeksplor dunia yang tersembunyi, jauh dari sentuhan Barat.<\/p>\n

\"\"

Para penonton yang menghadiri program kuratorial oleh Sonal Jain<\/p><\/div>\n

Filem kedua adalah karya Sohrab Hura yang berjudul The Lost Head and The Bird<\/em> (proyek berjalan). Berbeda dengan rekannya yang lebih senior, Sohrab Hura masih dianggap junior dalam bidang filem. Merupakan seorang fotografer berusia tiga puluh tahun, Sohrab sebentar lagi akan bergabung dalam Magnum Photos yang merupakan sebuah koperasi fotografi yang bergengsi. Film pertamanya yang berjudul Sweet Life<\/em> adalah tentang Ibunya yang menderita skizofernia dan anjingnya.<\/p>\n

Dalam filem The Lost Head and The Bird<\/em>, Sohrab Hura mengunakan fotografi untuk menyampaikan narasinya. Dia menciptakan cerita fiksi untuk seseorang yang nyata; Madhu. Madhu sendiri berada di luar anggapan tentang manusia ideal, namun ceritanya dominan tentang representasi masyarakat melalui media. Sohrab Hura menggunakan video dan gambar masa lalu yang dikumpulkannya dari berbagai tempat dan mengumpulkannya untuk membuat cerita. Dengan ini, Sohrab Hura mampu memberikan kesan perspektif yang berbeda terhadap kemasyarakatan.<\/p>\n

\"\"

Diskusi pasca program di Kineforum<\/p><\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Notes on curatorial program 2″ css=”.vc_custom_1534320575265{margin-bottom: 0px !important;}”]\n

Pratyaksha: Living Outside the Western Understanding of Society<\/strong><\/h2>\n

Who does the world belong to? Does it belong to mother nature, which provides us the resources we need to survive? Does it belong to the Gods? Those who gave this world to us and will take it back at any time? Or does it belong to the humans? Who, centuries ago, learned to cultivate the fields and manipulate the landscape, taking without giving?<\/p>\n

Those are the questions considered by Sonal Jain, the curator, as she creates this program as part of the Curatorial Program in ARKIPEL homoludens \u2013 6th Jakarta International Documentary and Experimental Film Festival at the Kineforum this Sunday (12\/8). Sonal Jain is an artist, filmmaker, curator, and author from India. Graduated as a Bachelor in Fine Arts, Sonal Jain has been in the art industry for about 14 years. She has this critical thought on anthropocentric view; a view that placed humankind as the central or most important element of existence even more than Gods or animals. Sonal, as a matter of fact, disagrees with it, which is why the two films she chose considers the possibility of other elements.<\/p>\n

\"\"

Sonal Jain and Manshur Zikri introduce the “Pratyaksha” curatorial program<\/p><\/div>\n

The first film was by Kamal Swaroop from India titled Pushkar Puran<\/em> (2017). With the background in film studies, Kamal Swaroop is considered a senior in his field. In 1989, he made a feature film called Om Dar-B-Dar<\/em> that almost received a status as a cult due to its surrealism. After that, he went on a hiatus and stopped making films for a long time. When he came back to filmmaking, he started making documentaries and Pushkar Puran<\/em> was one of it.<\/p>\n

A 100 minutes long documentary, Pushkar Puran<\/em> explores the small town of Pushkar, which is considered as one of the holiest places in Hinduism. Mythology heavily influences the townspeople. This documentary also looks beyond the history of colonialism. As the audiences are toured through the walls and town, it almost seems as if this little town had never been colonialized or introduced to western ideologies. Considered a personal project, Pushkar Puran<\/em> explores the hidden and peaceful world untouched by the hand of the west.<\/p>\n

\"\"

The audiences in Sonal Jain’s curatorial program<\/p><\/div>\n

The second film was by Sohrab Hura, also from India, entitled The Lost Head and The Bird <\/em>(ongoing). Unlike his senior counterpart, Sohrab Hura is still a junior in his field. A photographer in his early thirties, he is soon to join Magnum Photos, a prestigious photography cooperative. His first film entitled Sweet Life<\/em> was a very personal project about his mother who has schizophrenia and about their dog.<\/p>\n

In The Lost Head and The Bird<\/em>,<\/em> Sohrab Hura uses a collection of photography to create his narrative. He creates a fictional story for a very real person, Madhu. Madhu, a headless transvestite and prostitute, is to represent the marginalized society. She exists outside of what is considered as the ideal human, and yet her story heavily revolves around the representation of society through media. Sohrab Hura uses past paced videos and images he gathered from various places and compiles them to create a story. This gives the impression of a different perspective to what\u2019s it like living in society.<\/p>\n

\"\"

Left to right: Michael Baute, Haris, Sonal Jain, and Helen Petts discuses the curatorial work by Sonal Jain after the screening<\/p><\/div>\n[\/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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Who, centuries ago, learned to cultivate the fields and manipulate the landscape, taking without giving?","breadcrumb":{"@id":"https:\/\/arkipel.org\/homoludens-living-outside-the-western-understanding-of-society\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/homoludens-living-outside-the-western-understanding-of-society\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/homoludens-living-outside-the-western-understanding-of-society\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/sonal-jain-3.jpg?fit=1280%2C853&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/sonal-jain-3.jpg?fit=1280%2C853&ssl=1","width":1280,"height":853},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/homoludens-living-outside-the-western-understanding-of-society\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Pratyaksha: Living Outside the Western Understanding of Society"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/506a38894834b2f0166afe51668d5c96","name":"Niskala H. Utami","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/482ba0e70413ef5a0b2f9a3aed6c0349?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/482ba0e70413ef5a0b2f9a3aed6c0349?s=96&d=mm&r=g","caption":"Niskala H. Utami"},"description":"Niskala H. Utami, dikenal sebagai sebuah enigma, adalah seorang seniman multidisipliner yang karyanya mencakup penulisan dan lukisan. Niskala punya pengalaman kerja di berbagai jenis bidang, dari penulis naskah, astrada, manajer proyek, manajer bagi seorang seniman pendatang baru, penulis redaksi, pemimpin kreatif, dan seterusnya. Namun yang selalu konsisten dalam kehidupan Niskala adalah keteguhannya untuk menjelajahi dunia perfileman, musik, dan kesenian. - Niskala H. Utami, also known as sebuah enigma (an enigma), is a multidisciplinary artist who mainly works with writing and paintings. Niskala has experiences in various job outlets such as scriptwriter, assistant director, project manager, manager to an emerging artist, editorial writer, creative lead, etc. But what is consistent in Niskala is a determination to explore the world of films, music, and art.","url":"https:\/\/arkipel.org\/people\/contact-niskalahapsari\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/sonal-jain-3.jpg?fit=1280%2C853&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2jJ","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8911"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/145"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=8911"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8911\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/8916"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=8911"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=8911"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=8911"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}