{"id":9779,"date":"2019-08-13T02:04:45","date_gmt":"2019-08-12T19:04:45","guid":{"rendered":"https:\/\/arkipel.org\/?p=9779"},"modified":"2019-08-13T02:04:45","modified_gmt":"2019-08-12T19:04:45","slug":"image-and-dissensus","status":"publish","type":"post","link":"https:\/\/arkipel.org\/image-and-dissensus\/","title":{"rendered":"Image and Dissensus"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565636647650{margin-bottom: 0px !important;}”]\n

Image and Dissensus
\n<\/em><\/strong>Citra dan Disensus<\/em><\/h1>\n

Curator: Akbar Yumni<\/strong><\/p>\n

Saturday, August 25, 2019 | 13:00 | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565636184776{margin-bottom: 0px !important;}”]\n

Bromocorah secara kekinian, semacam kontingensi, ia postulat yang selalu berpotensi ada dalam setiap tatanan. Sebagaimana modernitas mengalami krisis dari paham esensialismenya, bahwa selalu ada yang \u2018salah hitung\u2019 dari pembagian geometris dalam sebuah tatanan yang didasari oleh esensialisme tersebut. Istilah \u2018salah hitung\u2019 merujuk pengertian \u2018yang salah\u2019 (the wrong<\/i>\/le tort<\/i>) dari pandangan Jacques Ranciere\u00a0 <\/span>dalam melihat sebuah tatanan bahwa selalu ada yang luput karena keterbatasan inderawi. Pengertian \u2018yang salah\u2019 bukan sebuah kategori moral, namun lebih dekat ke makna netral \u2018keliru\u2019 atau salah hitung. Dalam kerangka politik Ranciere, ia adalah disensus (ketidaksepakatan, gangguaan) yakni ketika \u2018yang salah\u2019 yang menegaskan dirinya ada atau memverifikasi dirinya ada di depan tatanan yang tidak menghitungnya tersebut. Pandangan Ranciere ini, sebenarnya untuk menyatakan bahwa kesetaraan adalah pendasaran atas segalanya, namun kesetaraan\u00a0 <\/span>bukanlah tujuan. Kesetaraan justru menjadi titik berangkat dan selalu diandaikan terus-menerus untuk mengakomodir hal \u2018yang salah’ atau\u00a0 <\/span>‘tak dihitung’ memverifikasi dan menegaskan dirinya di hadapan tatanan sosial. Sementara jika kesetaraan sebagai tujuan maka akan merujuk pada kesetaraan distributif atau proposional, yaitu kesetaraan yang sudah mengandaikan pembagian-pembagian. Kesetaraan dalam pandangan Ranciere ini bersifat kontingen, ia bukanlah kesetaraan yang bersifat material, namun lebih kesetaraan akal budi yang memang dimiliki oleh semua manusia. Seturut tema bromocorah<\/i>, dalam kaitannya dengan konsepsi \u2018yang salah\u2019 menurut Ranciere, postulatnya tidak lagi diandaikan dalam pretensi moral, namun bisa diandaikan sebagai pihak \u2018yang salah\u2019 sebagaimana pandangan Ranciere tersebut, untuk melihat bagaimana kerja-kerja seni hari ini sudah tidak bisa lagi dipartisi dalam bidang-bidang medium maupun genre yang tetap, untuk melihat kemungkinan-kemungkinan dari hal-hal yang tak terlihat dan tak terdengar menjadi nampak dari situasi sosial politik kekinian yang semakin kompleks.<\/p>\n

Filem Titan Serambut dibelah Tujuh<\/i> (1983) oleh sutradara Chaerul Umam berdasarkan naskah Asrul Sani \u2014 Asrul sendiri sebelumnya telah memfilemkan naskahnya dengan judul yang sama pada\u00a0 <\/span>tahun 1959 \u2013 merupakan kisah bagaimana keindividuan tokoh Ibrahim hadir memecah kejumudan tatanan sosial yang timpang secara moral. Ibrahim telah menjadi tokoh yang dalam kerangka pemikiran Ranciere ialah sebagai yang \u2018tak dihitung\u2019, yang kemudian menegaskan kesetaraannya dalam usahanya mengonfigurasi kembali tatanan yang ada. Secara naratif, tokoh Ibrahim adalah figur asing yang datang ke sebuah desa untuk menjadi guru, keindividuannya merupakan pandangan modernitas kala itu,\u00a0 <\/span>namun posisinya biasanya dibaca sebagai sebuah pihak \u2018yang salah\u2019 ala Ranciere. Seperti biasa, dalam narasi lama kehadiran orang luar membawa sebuah kesadaran sosial baru yang kemudian mengubahnya dengan menyingkap beberapa kebobrokan tatanan lama yang bisu tanpa kehadiran orang \u2018baru\u2019. Tokoh Ibrahim adalah bromocorah dalam pengertian pihak \u2018yang salah\u2019 dalam kerangka pemikiran Ranciere. Ia bukan lagi bromocorah dalam konsepsi moral sebagai bandit, pemberontak dan lain sebagainya. Bromocorah dalam konteks tokoh Ibrahim adalah sebagai postulat individu yang selalu berusaha mengakali dan menegaskan dirinya di tengah kejumudan sebuah sistem agar untuk dikonfigurasi kembali.\u00a0 \u00a0<\/span><\/p>\n

Membaca ulang filem Titian Serambut Dibelah Tujuh<\/i> ini, sebagaimana semangat politik dalam diri bromocorah sebagai pihak \u2018yang salah\u2019 ala Ranciere, mendorong pembacaan yang meletakkan politik bukan lagi sebagai soal penggunaan dan perebutan kekuasaan. Politik adalah disensus \u2013 sebagaimana seni \u2013 ia adalah ketidaksepakatan atau gangguan terhadap tatanan yang ada, yang selalu mengandaikan ada pihak yang tidak dihitung. Hubungan citra pada filem pada dasarnya memiliki potensi kedekatan dengan politik, sebagaimana juga pandangan Ranciere yang melihat kedua hal tersebut sama-sama terlibat dengan apa yang disebutnya\u00a0 <\/span>sebagai \u2018partisi yang sensibel (inderawi)\u2019 (distribution of the sensible<\/i>).\u00a0 <\/span>Pengertian sensibel bukanlah persoalan ketepatan persepsi (yang terlihat, yang dapat terdengar, yang dapat terjamah), namun sensibel yang beroperasi sebagai seperangkat hubungan yang terbuka pada kontestasi (Manuel Ramos, 2013:218). Sebagaimana postulat bromocorah, citra sendiri bukanlah sesuatu yang eksklusif. Ia dibentuk oleh elemen-elemen yang berbeda yang meluapkan sebuah kesatuan visual. Potensi citra ini bahkan juga mengakomodir potensi kapasitas penonton dan seniman yang setara agar tidak terjebak sistem beku dari geometris di antara keduanya. Melalui pandangan Roland Barthes tentang hubungan studium<\/i> (maksud pengarang\/seniman)-punctum<\/i> (impresi penonton) mengandaikan bahwa citra selain memiliki potensi mengubah tatanan \u2018apa yang tak visibel\u2019 (terlihat) menjadi visibel, dan yang tak terdengar menjadi terdengar, citra juga mengandaikan ketaksaannya pada otonomi penonton yang lepas dari maksud pengarang. Sebagaimana ambilan panjang (long take<\/i>) dari adegan-adegan pada filem Titian Serambut dibelah Tujuh <\/i>ini, citra yang bergerak seperti yang dibayangkan Andre Bazin, ia selalu memberikan durasi bagi para penonton untuk terus memilih citra apa yang akan diimpresi sehingga citra bersifat taksa. Citra selalu memiliki potensi sebagai disensus.\u00a0 \u00a0<\/span><\/p>\n

Sumber: <\/b><\/p>\n

Ramos, Manuel. \u201cRanciere\u2019s Politic of the Image\u201d dalam Theorizing Visual Studies<\/i> (edited by James Elkins and Kristi McGuiere, with Maureen Burns, Alicia Chester and Joel Kuennen). New York: Routledge. 2013.
\nWibowo, Setyo. Pengantar dalam Disensus: Demokrasi sebagai Perselisihan menurut Jacques Ranciere<\/i> oleh Sri Indiyastutik. Jakarta: Penerbit Kompas. 2019.<\/p>\n

\u00a0\u00a0<\/span><\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565636205109{margin-bottom: 0px !important;}”]\n

Bromocorah<\/i> today, a kind of contingency, is a postulate which always potentially exists in every social order. As modernity experiences its essentialism crisis, there is always a ‘miscount’ of geometrical division in an order based on that essentialism. The term ‘miscount’ refers to the definition of ‘the wrong\/le tort<\/i>‘ from Jacques Ranciere’s view on seeing an order, that there is always something missing due to the limit of sense perception. The notion of ‘the wrong’ is not in terms of moral category, but closer to the neutral meaning of \u2018the wrong\u2019 or miscount. In Ranciere’s political framework, it is a dissensus (disagreement, disorder) when ‘the wrong’ confirms its existence or verifies itself in front of the order that does not count it. This perspective states that equality is the foundation of everything, but equality is not the goal. Instead, equality is the initial point and is continuously assumed to accommodate \u2018the wrong\u2019 or \u2018miscount\u2019 that verifies itself in front of the social order. If equality is assumed as a goal, it will refer to distributive or proportional equality; it is the equality that presupposes division. Equality in Ranciere’s perspective is contingent, it is not a material equality, but rather an equality of common sense which is shared by all humans. In accordance with the bromocorah<\/i> theme, and in relation to the concept of ‘the wrong’ by Ranciere, the postulate of bromocorah <\/i>is no longer assumed in moral pretensions, but it can be assumed as ‘the wrong’ party, to see how the works of art nowadays can no longer be divided into either fixed medium or genre, to see the possibilities that unseen and unheard things become apparent in this increasingly complex current socio-political situation.<\/p>\n

The film Titian Serambut Dibelah Tujuh <\/i>(The Narrow Bridge \u2013 <\/i>1983) directed by Chaerul Umam and based on Asrul Sani\u2019s script \u2013 Asrul himself previously directed the script with the same title in 1959 \u2013 is a story of how individuality of the character named Ibrahim breaks the rigidity of a morally imbalanced social order. Ibrahim has become a figure whom in Ranciere’s framework is the ‘uncount’, who then confirms his equality in his attempt to reconfigure the established order. Narratively, Ibrahim’s character is an outsider who comes to a village to become a teacher, his individuality is a view of modernity at the time, but his position is usually read as ‘the wrong’ by Ranciere. In the old narrative, the presence of an outsider usually brings a new social awareness, which then changes the social order by exposing some of the depravity of the old order \u2013 the one without the presence of that ‘new’ person. Ibrahim is a bromocorah<\/i> in the sense of \u2018the wrong’ party in Ranciere\u2019s framework. He is no longer a bromocorah<\/i> in its moral conception as a bandit, a rebel and so on. Bromocorah<\/i> in the context of Ibrahim is as an individualistic postulate who always tries to outsmart and assert himself in the midst of a rigid system of social order, so that the order will be reconfigured later on.<\/p>\n

Rereading the film Titian Serambut Di Belah Tujuh<\/i>, similar to the political spirit in bromocorah<\/i> as ‘the wrong’ a la Ranciere, encourages a reading that no longer puts politics as a matter of using and gaining the power. Politics is a dissensus \u2013 like art \u2013 it is a disagreement or interference towards the established order, it always assumes that there are parties uncount. The relation of image to cinema basically has the potential for closeness to politics, both of these are equally involved with what Ranciere called as ‘distribution of the sensible’. The meaning of the sensible is not a matter of accuracy of perception (the visible, audible, touchable), but the sensible which operates as a set of relations open to contestation (Manuel Ramos, 2013: 218). Similar to the bromocorah<\/i> postulate, the image itself is not exclusive. It is formed by different elements which bring forth a visual unity. The potential of this image even accommodates the potential of equal capacity between the audience and the artists so as not to get caught up in the rigid geometrical system between the two. Roland Barthes’s view of the studium<\/i> (author or artist’s intention) punctum <\/i>(audience’s impression) relation presupposes that image potentially can change the order of \u2018invisible\u2019 to \u2018visible\u2019, the inaudible to audible; image also presupposes its equivocality to the audience\u2019s autonomy detached from the artist\u2019s intention. The long takes in Titian Serambut Dibelah Tujuh<\/i>, are the moving images as imagined by Andre Bazin, always providing duration to the audience to continue choosing which image to be impressed; thus, the image is equivocal. The image always has the potential as a dissensus.<\/p>\n

Source:<\/b><\/p>\n

Ramos, Manuel. “Ranciere’s Politics of the Image” in Theorizing Visual Studies<\/i> (edited by James Elkins and Kristi McGuire, with Maureen Burns, Alicia Chester and Joel Kuennen). New York: Routledge. 2013.
\nWibowo, Setyo. Introduction in Dissensus: Democracy as Disputes according to Jacques Ranciere <\/i>by Sri Indiyastutik. Jakarta: Kompas. 2019.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9547″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565636356120{margin-bottom: 0px !important;}”]\n

Titian Serambut Dibelah Tujuh<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Chaerul Umam<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0The Narrow Bridge
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

97 min 35 sec, stereo, 35mm digitized version, color, 1982[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565636380404{margin-bottom: 0px !important;}”]\n

Berkisah tentang tokoh seorang guru Ibrahim yang datang ke sebuah desa tempat ia bertugas, filem Titian Serambut Dibelah Tujuh<\/i> ini ditulis oleh Asrul Sani sebagai semacam semangat modernitas kala itu dalam pergulatan individu yang berhadapan dengan situasi tatanan sosial masyarakat. Tokoh Ibrahim yang bertugas di tempat barunya sebagai guru, menghadapi banyak kejanggalan sosial dan harus berhadapan dengan pergulatan moralnya, sampai kemudian selubung tatanan lama tersingkap dan Ibrahim membawa perubahan. Meski tema tentang isu \u2018yang liyan\u2019 tidak mendapatkan tempat secara kekiniaan, namun spektrum kerangka narasinya bisa dibaca sebagai sebuah pandangan kultur Islam kala itu.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565636391251{margin-bottom: 0px !important;}”]\n

Narrating a story of how a figure named Ibrahim came to a village for his duty, Titian Serambut Dibelah Tujuh<\/i> (The Narrow Bridge) was written by Asrul Sani as a spirit of modernity at that time wherein individual struggle must deal with the social order of society. As a teacher who is on duty in a new place, he encountered social deviances and must deal with his moral struggle, until the old order in that society was unveiled and he could bring in the change. Although the issue of \u201cthe other\u201d doesn\u2019t receive a place in the contemporary era, the spectrum of this film\u2019s narrative structure can be interpreted as the Islamic cultural perspective at that time.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9780″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565636439451{margin-bottom: 0px !important;}”]\n

Chaerul Umam<\/em>\u00a0 <\/span><\/b>(1943-2013) lahir di Tegal, Jawa Tengah, pada 4 April 1943. Ia adalah seorang sutradara yang mengawali karirnya melalui ajakan sutradara Indonesia ternama \u2013 D. Djajakusuma \u2013 sebagai seorang dubber<\/i> (pengisi suara). Ia sempat mengenyam pendidikan di Universitas Gadjah Mada Yogyakarta (tingkat II), dan aktif di Teater Amatir (1964-1966), dan Bengkel Teater Rendra (1966-1970). Beberapa karyanya mendapatkan penghargaan sebagai sutradara terbaik pada FFI (Festival Film Indonesia) seperti Ramadhan dan Ramona<\/i> (1986), dan filemnya Titian Serambut Dibelah Tujuh<\/i> mendapatkan penghargaan filem terbaik pada tahun 1983.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565636455772{margin-bottom: 0px !important;}”]\n

Chaerul Umam<\/em>\u00a0 <\/span><\/b>(1943-2013) <\/b>was born in Tegal, Central Java, on 4 April 1943. He started his career as a dubber through an invitation from a famous Indonesian film director, D. Djajakusuma, before he became a film director. He graduated from Gadjah Mada University Yogyakarta and was active in Amatir Theatre (1964-1966) and in Bengkel Teater Rendra <\/i>(1966-1970). Some of his works was awarded as best director in Indonesia Film Festival, such as Ramadhan dan Ramona<\/i> (1986). His film, Titian Serambut Dibelah Tujuh <\/i>(The Narrow Bridge) was awarded as best film in 1983.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Curator” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8101″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565636552759{margin-bottom: 0px !important;}”]Akbar Yumni<\/em>\u00a0<\/strong>(Jakarta, 1975) adalah kritikus, kurator filem, dan anggota Forum Lenteng. Ia adalah Pemimpin Redaksi\u00a0Jurnal Footage<\/em>\u00a0(www.jurnalfootage.net)<\/a>. Sedang menempuh pendidikan Filsafat di Sekolah Tinggi Filsafat Driyarkara, Jakarta. Ia juga bekerja sebagai peneliti lepas di Dewan Kesenian Jakarta. Saat ini ia tengah mengerjakan proyek performan dan arsip filem-filem yang hilang di era kekuasaan otoriter.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565636564009{margin-bottom: 0px !important;}”]Akbar Yumni<\/strong><\/em>\u00a0(Jakarta, 1975) is a film critic and curator, and a member of Forum Lenteng, as well as Editor in Chief of Jurnal Footage (www.jurnalfootage.net<\/a>). He studies Philosophy at Sekolah Tinggi Filsafat Driyarkara, Jakarta. He is also a freelance researcher at Jakarta Arts Council. He is currently working on a performance project and archives of the lost films in the authoritarian era.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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