{"id":8974,"date":"2018-08-16T13:35:04","date_gmt":"2018-08-16T06:35:04","guid":{"rendered":"http:\/\/arkipel.org\/?p=8974"},"modified":"2018-08-16T18:02:55","modified_gmt":"2018-08-16T11:02:55","slug":"homoludens-personality-of-the-body-that-is-constantly-demanded-to-be-impersonal","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-personality-of-the-body-that-is-constantly-demanded-to-be-impersonal\/","title":{"rendered":"Personality of the Body that is Constantly Demanded to be Impersonal"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”catatan tentang kompetisi internasional 7″ css=”.vc_custom_1534417202256{margin-bottom: 0px !important;}”]\n

Personalitas Tubuh yang Senantiasa Dituntut Impersonal<\/strong><\/h2>\n

Pertanyaan soal ruang-ruang personal tubuh yang manusia diami selalu menjadi problematika yang tidak pernah ada habisnya, terutama jika seseorang itu hidup di wilayah di mana kebebasan memiliki harga yang sangat mahal. Tubuh personal sebagai sesuatu yang primordial dari seorang individu, kerap kali dituntut untuk juga dapat mengembangkan gagasannya dan mengungkapkannya dalam ruang lingkup komunal. Akankah selama ini manusia yang hidup dalam panji-panji \u201cmanusia adalah makhluk sosial\u201d, akhirnya menjadi terkungkung dalam situasi penuh dengan kegamangan personalitas tubuhnya sendiri?<\/p>\n

Hal inilah yang berusaha disajikan oleh Ugeng Moetidjo lewat dua filem yang dikurasinya, yang mempertontonkan objektifikasi tubuh personal yang harus bergerak merangkak keluar dari kesukuan primordialnya. Dua filem yang dikurasi oleh Ugeng ini diputar dalam Kompetisi Internasional 7 dalam ARKIPEL <\/em>homoludens: 6th<\/sup> Jakarta International Experimental and Documentary Film Festival <\/em>yang pemutarannya dilakukan di Kineforum, Taman Ismail Marzuki, Jakarta Pusat pada Minggu, 12 Agustus 2018. Dua filem ini berjudul Meta Marathon <\/em>karya Saeed Keshavars dari Iran dengan durasi 73 menit dan Le Cadeau <\/em>karya Myriam Van Imschoot dari Belgia berdurasi 49 menit.<\/p>\n

\"\"

Ugeng T. Moetidjo, ketua tim selektor, menyajikan esai kuratorialnya<\/p><\/div>\n

Dalam filem pertama, Meta Marathon, <\/em>penonton akan mendapati sebuah filem yang mendokumentasikan seorang pemuda di pelosok Iran bernama Qudratulloh Bayyat. Ia merupakan seorang buruh pabrik sederhana yang yakin mampu memecahkan rekor dunia lari marathon 200 KM, dengan jalur lintas kota di Iran. Ia sangat sesumbar kepada penduduk di desanya, bahkan menyiapkan kru filem untuk mengabadikan dokumentasi segala persiapannya dari mulai latihan, pra-marathon, hingga marathon tiba. Persoalan tubuh personalnya yang hendak memecahkan rekor marathon rupanya menjadi hal yang impersonal, ketika seisi desa begitu mendukungnya dan seolah merasa menjadi satu tubuh dengannya; kesuksesan maupun kekalahan Bayyat nantinya menjadi bagian dari diri mereka juga. Suara-suara yang dikeluarkan oleh Bayyat melalui pesan ketidakadilan menuju pemecahan rekornya juga akhirnya menjadi sesuatu yang impersonal pula, karena juga menyangkut dan mengangkat harkat martabat banyak orang di sekelilingnya.<\/p>\n

\"\"

Berkaus biru: Isabelle vander Stockt, menceritakan kisah di balik pembuatan filem Le Cadeau sebagai seorang produser<\/p><\/div>\n

Filem kedua, Le Cadeau, <\/em>mengangkat kisah tentang sekelompok wanita dari Timur Tengah yang hidup di Prancis, tentang sebuah tradisi jeritan yang melengking merdu bernama zaghareet <\/em>atau dalam Bahasa Prancis biasa disebut youyou. <\/em>Wanita-wanita ini memiliki kisah yang tidak jauh berbeda mengenai opresi, kekerasan, dan ketidakadilan yang dialami, yang mereka tumpahkan dalam lantunan nyaring youyou <\/em>dari atap rumah, agar bisa didengarkan oleh orang lain. Praktik ini menjadi sebuah fenomena impersonal, di mana ungkapan emosi personal diluapkan secara lantang dalam ruang lingkup komunal yang saling bersilangan. Komunitas ini pada akhirnya juga mampu menggunakan lanskap terbuka sebagai ruang performativitas mereka, hingga yang personal tidak lagi menjadi personal, dan berusaha mengajak lainnya untuk turut berdiri dalam barisan mereka. Ada suatu momen memberi dan menerima dalam bentuk pesan suara lantunan nyaring tersebut, sesuatu yang belum tentu bisa mereka lakukan di negara asal mereka.<\/p>\n

Dua filem yang disajikan dalam Kompetisi Internasional 7 ini memiliki latar belakang geografis dan budaya yang tidak jauh berbeda, yakni dari Timur Tengah. Dalam dua filem itu secara implisit hendak mengatakan sebuah hal: bahwa letak geografis juga nyatanya sangat memengaruhi ruang tubuh personal seorang individu. Pada akhirnya, menurut Ugeng, selalu muncul keinginan bagi tubuh untuk mereproduksi identitasnya ke dalam mesin media; penarikan diri ke arah ke arena komunal.<\/p>\n

\"\"<\/p>\n

Para penonton Kompetisi Internasional 7[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”notes on international competition 7″ css=”.vc_custom_1534417300039{margin-bottom: 0px !important;}”]\n

Personality of the Body that is Constantly Demanded to be Impersonal<\/strong><\/h2>\n

Questions regarding personal body space of human being are always going to be an endless problem, especially if that person lives in an area where freedom has an expensive price tag. Personal body is something that is primordial of an individual, more often than not demanded to also develop its discourses and revealing them in a communal space. Would the human being forever lives behind the \u201chuman being are a social entity\u201d, which eventually trapping them in an uncertain situation of its own bodily personality?<\/p>\n

This is what Ugeng Moetidjo conveys through two films he curated, which presents the objectification of personal body, having to crawl out of its primordial nature. Two films being curated by Ugeng are screened at International Competition 7 in ARKIPEL homoludens: 6th Jakarta International Experimental and Documentary Film Festival <\/em>which took place in Kineforum, Taman Ismail Marzuki, Central Jakarta on Sunday, 12 August 2018. The two films titled Meta Marathon <\/em>by Saeed Keshavars from Iran with duration of 73 minutes and Le Cadeau <\/em>by Myriam Van Imschoot of Belgium with duration of 49 minutes.<\/p>\n

\"\"

Ugeng T. Moetidjo, head of film selector team, presents his curatorial essay<\/p><\/div>\n

In the first film, Meta<\/em> Marathon<\/em>, the audiences will find a film that documented a young man in Iran by the name of Qudratulloh Bayyat. He is a simple factory worker that is sure on himself able to break the 200 KM marathon run world record, with the track that crosses a city in Iran. He is boasting his plan to the people in his village and even hired a film crew to document the whole preparation from training, pre-marathon, until the time for the marathon. The issue of his personal body that is intending to break the marathon record is also becoming impersonal, as soon as the whole village backs him up and acts as if they became unified in a body with him; both success and losses of Bayyat would eventually become a part of themselves. The voices being sounded by Bayyat through the message of injustice until the record-breaking moment would also be something that is impersonal because they would concern the dignity of many people around him.<\/p>\n

\"\"

Blue shirt: Isabelle vander Stockt, telling her story about the Le Cadeau filmmaking as a producer<\/p><\/div>\n

The second film, Le<\/em> Cadeau<\/em>, tells a story of a group of women from the Middle East living in France. The film tells about a tradition of melodious shouting namely zaghareet<\/em>, or it is commonly referred to as youyou<\/em> in French. These women have stories which do not differ from the topic of oppression, violence, and injustice being faced, where they conveyed it all through the loud youyou<\/em> from the top of their house so that everyone can hear. This practice becomes an impersonal phenomenon, whereas the personal emotion being conveyed loudly in a communal space are intertwining with each other. This community would be eventually able to use an open landscape as a performativity space for them, until what was personal becomes not personal, and all the while inviting others to stand in their line. There is a give and take moment in the form of this loud melodious shouting, something that they may not be able to do in their home country.<\/p>\n

Those two films screened at International Competition 7 have a similar geographical and cultural background, which is Middle East. The two films implicitly tries to convey something: that the geographical location has a significant effect to the personal body space of an individual. Eventually, according to Ugeng, the willingness of the body to reproduce its identity into the media machine would always appear; the act of pulling oneselves into the communal arena.<\/p>\n

\"\"

International Competition 7 audience<\/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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