{"id":8989,"date":"2018-08-16T18:00:16","date_gmt":"2018-08-16T11:00:16","guid":{"rendered":"http:\/\/arkipel.org\/?p=8989"},"modified":"2018-08-16T18:54:29","modified_gmt":"2018-08-16T11:54:29","slug":"homoludens-focus-on-kidlat-tahimik-2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-focus-on-kidlat-tahimik-2\/","title":{"rendered":"Focus On Kidlat Tahimik: The Screening of Who Invented the Yo-yo? Who invented the Moon Buggy"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”catatan tentang “focus on kidlat tahimik“ 2″ css=”.vc_custom_1534420384792{margin-bottom: 0px !important;}”]\n

Focus On Kidlat Tahimik: The Screening of Who Invented the Yo-yo? Who invented the Moon Buggy
\n<\/strong><\/h2>\n

Pada pelaksanaan di hari ketujuh, Selasa, 14 Agustus 2018, ARKIPEL\u00a0homoludens\u00a0<\/em>\u2013\u00a06th Jakarta International Documentary and Experimental\u00a0 Film Festival<\/em>, memutarkan filem dari Kidlat Tahimik. Kidlat Tahimik adalah seorang seniman dan pembuat filem kelahiran Filipina. Capaian dari filem-filem yang diproduksi oleh Kidlat Tahimik membuatnya dianggap sebagai salah satu tokoh sinema terbaik di Asia Tenggara.<\/p>\n

Filem pertama yang diputarkan ialah The<\/em> Perfume Nightmare<\/em>. <\/em>Kemudian pada sesi kedua, filem Who Invented the Yo-yo? Who <\/em>I<\/em>nvented the Moon Buggy<\/em> ditayangkan. Sesi kedua tersebut dihadiri kurang lebih sekitar 50 penonton. Sebelum filem diputar, acara dibuka oleh Manshur Zikri dan dilanjutkan dengan kata pengantar dari Merv Espina yang merupakan seorang seniman, organisator dan peneliti dari Filipina. Acara tersebut juga dibuka oleh Kidlat Tahimik sendiri.<\/p>\n

 <\/p>\n

\"\"

Suasana sebelum penayangan kedua filem Kidlat Tahimik<\/p><\/div>\n

Kidlat bercerita bahwa filem kedua ini dibuat ketika ia tinggal di Jerman di sebuah peternakan. Ia juga bercerita bahwa dalam proses pembuatan filem ini, ia tidak menuliskan naskahnya dan hanya memutuskan bagaimana awal dan akhir fielmnya. Ia bekerja dengan mengumpulkan sekuen dan mencoba untuk mendapatkan momentum. Selama pembuatan filem, ia bermain dengan kosmos dan mendapat sekuen yang dirasa tepat sehingga akhirnya ia berhasil menyelesaikan filemnya.<\/p>\n

Ia juga bercerita bahwa filem ini sempat diputar di kota Houston, di sebuah pemutaran filem yang disponsori oleh NASA. Namun pada sesi wawancara, Kidlat tidak ingat apakah ada pihak dari NASA yang menonton filemnya. Ia juga ingin sekali tahu bagaimana reaksi NASA ketika menonton filem ini, apakah mereka akan marah dan menyangkal mentah-mentah cara-cara yang kurang masuk akal dalam proyek luar angkasa a la<\/em> Kidlat, atau mereka malah akan terinspirasi untuk menggunakan bawang sebagai bahan bakar. Demikian yang Kidlat ceritakan sambil tertawa.<\/p>\n

\"\"

Kidlat Tahimik sedang memberikan penjelasan mengenai filemnya<\/p><\/div>\n

Pada filem ini, ia juga mengangkat topik yang hampir sama dengan filem pertama, yaitu metafora tentang seseorang dari dunia ketiga yang ingin mendapatkan sesuatu yang lebih dari dunia pertama. Namun dibungkus dengan latar belakang kisah tentang proyek peluncuran roket ke bulan, di mana ia bercerita bahwa di dunia ketiga hanya ada roket-roket yang terbuat dari bambu dan harus pergi ke dunia pertama untuk dapat membuat roket.<\/p>\n

Di dalam filem kedua ini, Kidlat bercerita tentang proyek pembuatan roket tersebut yang dilandasi oleh keinginan untuk memainkan Yo-yo di bulan. Di dalam filem ini, Kidlat Tahimik juga bekerjasama dengan sekelompok anak-anak di sebuah peternakan Bavaria untuk mengerjakan proyek pesawat luar angkasa tersebut. Proyek luar angkasa independen tersebut dilakukan dengan cara-cara yang kita tidak bayangkan sebelumnya, penuh dengan imajinasi yang liar seperti penggunaan bawang, maupun riset-riset lainnya yang unik sebagai penunjang proyek peluncuran roket ke bulan versi Kidlat.<\/p>\n

Keliaran imajinasi dan penggunaan alat-alat yang tidak masuk di akal tersebut juga mengundang gelak tawa dari penonton. Tercatat bahwa penonton berkali-kali tertawa saat pemutaran filem pertama dan kedua. Kidlat juga senang dengan respon dari penonton, ketika garapan \u201cbermain-main\u201d yang ia buat mendapatkan respon hangat dari penonton. Setelah pemutaran filem kedua selesai, Kidlat dan Merv kembali menampakan diri mereka di depan layar ruang pemutaran untuk berdiskusi dengan penonton.<\/p>\n

Pada sesi tanya jawab ini terdapat beberapa pertanyaan yang dilontarkan oleh penonton, misalnya seperti tentang arsip negatif dari filem Who Invented the Yo-yo? Who <\/em>I<\/em>nvented the Moon Buggy<\/em> yang sempat hilang, dan beberapa hal teknis tentang pembuatan filem ini, terutama penggunaan teknologi analog dalam membuat filem. Pertanyaan juga dilontarkan terkait bagaimana Kidlat mendapatkan materi audio untuk karyanya.<\/p>\n

\"\"

Irwan Ahmett, seniman, sedang merespon filem Kidlat Tahimik “Who Invented the Yo-yo? Who invented the Moon Buggy”<\/p><\/div>\n

Kidlat mengatakan dalam sesi diskusi ini bahwa ia tidak bisa mendapatkan arsip negatif dari filemnya dan ia harus mengakalinya dari materi yang ada. Kidlat bercerita tentang mengapa ia menggunakan banyak materi audio dari musik-musik Filipina. Materi tersebut yang ia gunakan karena itulah yang tersedia dan mudah didapatkan pada saat itu. Ia juga bercerita bahwa ia juga menggunakan beberapa materi bunyi dari rekaman Jose Maceda, seorang komponis besar Filipina.<\/p>\n

Kidlat kemudian bercerita sekaligus memberi nasihat kepada para pembuat filem muda untuk mengikuti Duende <\/em>dalam diri masing-masing. D<\/em>uende<\/em> yang dimaksud adalah semacam inner voice <\/em>atau juga mungkin bisa diartikan dengan kata hati. Ia juga juga menambahkan untuk jangan terlalu terpaku pada teori yang didapatkan di kelas dalam membuat filem. Selain membahas tentang filem, Kidlat dalam sesi diskusi ini juga bercerita tentang kenangannya berjumpa dengan Soekarno ketika ia masih sangat kecil.[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”notes on “focus on kidlat tahimik“ 2″ css=”.vc_custom_1534420348759{margin-bottom: 0px !important;}”]\n

Focus On Kidlat Tahimik: The Screening of Who Invented the Yo-yo? Who invented the Moon Buggy
\n<\/strong><\/h2>\n

On its seventh day of event, Tuesday, August 14th<\/sup> 2018, ARKIPEL\u00a0homoludens\u00a0<\/em>\u2013\u00a06th Jakarta International Documentary and Experimental\u00a0Film Festival<\/em>, screened the films of Kidlat Tahimik. Kidlat Tahimik is a renowned artist and film director from Philippines. The achievement from the films he produced has made him one of the most important filmmakers in South East Asia cinema.<\/p>\n

The first film screened was The Perfume Nightmare<\/em>. Then in the second session, the film screened was Who Invented the Yo-yo? Who <\/em>I<\/em>nvented the Moon Buggy <\/em>. The second session was attended by approximately 50 participants. Before the film was played, Manshur Zikri opened the program along with Merv Espina who is an artist, organisator and also researcher from Phillipines. Kidlat Tahimik also opened this program after the introduction from Manshur Zikri and Merv.<\/p>\n

\"\"

The atmosphere before Kidlat’s film “Who Invented the Yo-yo? Who invented the Moon Buggy” screening.<\/p><\/div>\n

Kidlat recounted that he made the second film when he lived in a farm areas in Germany. He also told us that in the making process of this film, he wrote the script and just decided how the beginning and the ending would be going to. He worked by collecting the sequences and tried to get the momentum of the scenes. During the filmmaking process, he played with the cosmos and gambled his luck to get the right sequence until he finally finished the film.<\/p>\n

The film was also screened in Houston, in a film screening event, which apparently, was sponsored by NASA. However in the interview session, Kidlat didn\u2019t really remember if there\u2019s any representative from NASA who happened to watch his film at that time. He genuinely wanted to know how NASA would react if they watched this film; would they be mad and disclaimed Kidlat\u2019s own ways of space project harshly. Or would they be inspired to use onion as a fuel engine? Kidlat shared this story with a good dose of laugh.<\/p>\n

\"\"

Kidlat Tahimik was giving explanation about his film.<\/p><\/div>\n

In this film, he also raised a similar topic as his first film, which is a metaphor of a person from the third world country who wants to achieve more from first world countries. Wrapped in a setting of a rocket launch project to the moon, the rockets in third world countries are impossibly made from bamboos and the person needs to go to the first world countries to make a proper rocket for his mission.<\/p>\n

In the second film, Kidlat shows us the process of making the rocket project which was triggered by the desire to play a yo-yo on the moon. In this film, Kidlat Tahimik was also worked with a group of children from a Bavarian farm to do this spaceship project. They did this independent space project in most unimaginable ways, fueled with wild imaginations of using onions and other unique researches to make this project happened in the most Kidlat\u2019s own version.<\/p>\n

Their wild imaginations and the usage of unimaginable tools got a big laugh from the audiences. It\u2019s noted that the audiences were laughing unstoppably when they watched the first and second films. Kidlat looked satisfied for the audiences\u2019 responses, while his \u201cplayful\u201d production got a warm response from them. After the second film screening, Kidlat and Merv stood in front of the audience to lead a discussion.<\/p>\n

In this question and answer session, there were several questions coming from the audiences, such as about the negative archive from Who Invented the Yo-yo? Who <\/em>I<\/em>nvented the Moon Buggy <\/em>which happened to be lost before. There was also other technical question about the filmmaking process, particularly about the analog technique of making the film. Other audience also questioned about how Kidlat got the audio materials for his works.<\/p>\n

\"\"

Irwan Ahmett, artist, responded to Kidlat Tahimik’s film “Who Invented the Yo-yo? Who invented the Moon Buggy”.<\/p><\/div>\n

Kidlat responded the first question by saying that he actually couldn\u2019t get the negative archive from his film, so he had to find his way from the existing materials. Kidlat told us on why he used so many audio materials from the Philippines music. The main reason was because they were easier to get and available at that time. He also told us on why he used some of noises materials from Jose Maceda\u2019s recording, a famed composer from the Philippines.<\/p>\n

Kidlat also shared and gave advice to any young film-maker, to follow Duende<\/em> in their own selves. Duende<\/em> could be translated to be human\u2019s inner voice or conscience.\u00a0 He also added by saying that the film-makers should not be focusing on theories too much in any filmmaking class. Besides discussing about the films, Kidlat also shared his stories about his memory of meeting Soekarno, when he was still very young.[\/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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Karya-karya individual dan kolektifnya pernah dimainkan di beberapa festival seperti Young Composers in Southeast Asia Festival 2013, 21st Young Composers Meeting, Studio Musikfabrik meetsACME, Shanghai New Music Week, SETTS #1, Biennale Jogja XIII #3, 1st Celebration of One Year Asia Culture Center, Art Summit Indonesia, ASEAN Creation. Tahun 2018 ia mendapatkan beasiswa dari OeAD-Austrian Agency for International Cooperation in Education and Research untuk belajar komposisi di University of Music and Performing Arts Graz, Austria dengan Prof. Beat Furrer, ia juga mengambil kelas komposisi Algoritma dengan Gerhard Nierhaus. - Septian \"Gembul\" Dwi Cahyo (Jakarta, September 7, 1992) is an Indonesian young composer, graduated from Indonesian Institute of The Arts Yogyakarta. His music has been featured at festivals such as Young Composers in Southeast Asia Festival 2013, 21st Young Composers Meeting, Studio Musikfabrik meets ACME, Shanghai New Music Week, SETTS #1, Biennale Jogja XIII #3, 1st Celebration of One Year Asia Culture Center, Art Summit Indonesia, ASEAN Creation. in 2018 he received a scholarship from OeAD-Austrian Agency for International Cooperation in Education and Research to study at Kunstuniversit\u00e4t Graz with his supervisor Prof. Beat Furrer, he also took algorithmic composition class with Gerhard Nierhaus.","url":"https:\/\/arkipel.org\/people\/gembul_unta\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/kidlat-2-2.jpg?fit=1280%2C853&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2kZ","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8989"}],"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\/146"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=8989"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8989\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/8994"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=8989"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=8989"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=8989"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}