{"id":9883,"date":"2019-08-14T17:07:40","date_gmt":"2019-08-14T10:07:40","guid":{"rendered":"https:\/\/arkipel.org\/?p=9883"},"modified":"2019-08-14T17:07:40","modified_gmt":"2019-08-14T10:07:40","slug":"focus-on-sardono-w-kusumo-experimental-cinema-in-indonesia","status":"publish","type":"post","link":"https:\/\/arkipel.org\/focus-on-sardono-w-kusumo-experimental-cinema-in-indonesia\/","title":{"rendered":"Focus on Sardono W. Kusumo: Experimental Cinema in Indonesia"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565775698184{margin-bottom: 0px !important;}”]\n

Focus on Sardono W. Kusumo: Experimental Cinema in Indonesia
\n<\/em><\/strong>Focus on Sardono W. Kusumo: Sinema Eksperimental di Indonesia<\/em><\/h1>\n

Curator: Dhuha Ramadhani\/strong><\/strong><\/p>\n

Saturday, August 24, 2019 | 19:00 | 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_1565777121088{margin-bottom: 0px !important;}”]\n

\u201c[\u2026] Di luar seni tradisi yang kujejaki,
\n<\/em>filem merupakan dunia kedua yang kurambah dengan mesra.\u201d
\n<\/em>\u2013 Sardono W. Kusumo \u2013<\/p>\n

Seni tari menjadi penghubung Sardono dengan filem. Sebagai penari, ia menggunakan filem dalam perjalanannya mempelajari beragam kebudayaan di berbagai lokasi, khususnya di Indonesia. Semula, rekaman tersebut ia niatkan sebagai semacam catatan hariannya, bukan untuk dipertontonkan ke publik. Namun, saat Ari Dina Krestiawan mengkurasi pameran arsip filem Sardono W. Kusumo di Singapura pada tahun 2016, rupanya filem rekaman Sardono membentangkan kesadaran filemisnya.<\/p>\n

Baginya, melihat melalui viewfinder <\/em>adalah cara untuk melatih kepekaan visual, tak terpisah dari upaya melatih keenam panca indera yang dibutuhkannya sebagai penari dan koreografer: pendengaran, penglihatan, peraba, perasa, dan penciuman serta kekuatan jiwa dalam tradisi tari tertentu yang disakralkan. Ketimbang speciality and productivity, <\/em>ia lebih percaya bahwa seni seharusnya didekati dengan modus training sensibility towards complexity.[1]<\/strong><\/a> <\/em>Ia mengkritik pendekatan modernitas abad ke-19 yang mendorong spesialisasi semata-mata demi mengejar produktivitas yang berakhir pada \u201ckemacetan\u201d\u2014 dan karenanya ia terlepas dari kenyataan sehari-hari. Hanya melalui latihan kepekaan itulah seniman mampu memahami kompleksitas kehidupan dan persoalan-persoalannya.<\/p>\n

Sungguh, filem-filem Sardono dapat dinikmati sebagai karya yang tuntas meski tanpa intensi membuat filem sebagai produk akhir. Dalam ranah sinema, apa yang dilakukan Sardono atas sebagian besar filemnya pada dasarnya berpegang pada teknik in-camera editing. <\/em>Melalui modus semacam ini, Jonas Mekas \u2013 seorang pembuat filem yang juga progresif menggunakan in-camera editing <\/em>dalam sebagian besar karya-karyanya, sebut saja dalam Diaries, Notes, Sketches <\/em>(1964-1969) \u2013 membongkar dan menangkap momen sebuah realitas. Modus in-camera editing <\/em>tentu membutuhkan kecermatan dan kesadaran dalam membingkai, sedangkan untuk menyadari momen (zen) sangat dibutuhkan pula kemampuan intuitif. Pada titik ini, sensibilitas Sardono yang terlatih melalui tari memainkan peran yang signifikan. Ia selalu menghitung sekaligus memperkirakan peristiwa apa yang mungkin terjadi. Setelah semuanya tersusun sebagai ide, saat itu lah Sardono mulai mencatat menggunakan filem[2]<\/a>. Itulah mengapa rekaman tari-tarian dalam bingkai kamera Sardono tidak menjadi dokumen gambar bergerak yang diam, justru melalui cutting <\/em>langsung atas peristiwa di hadapannya lah tari-tarian ini menjadi dinamis, puitis. Filem Sardono sekaligus menjadi semacam autobiografi dirinya, cara pandang, perasaan, dan pikiran-pikirannya.<\/p>\n

Tanpa menafikan pentingnya Meta-Ekologi <\/em>(1979)[3]<\/a> dalam sejarah filem eksperimental kita, nampaknya filem Taifun <\/em>(1970) karya Sardono jauh melampaui capaian estetika filem tersebut. Filem ini merekam Sentot Sudiharto yang menari-nari di atas bebatuan saat kota Osaka di Jepang dilanda Taifun Olga. Sebagai dokumenter, katakanlah, susunan gambar yang direkam Sardono mampu menghadirkan konstruksi dramatik tertentu yang merangkum konflik, imajinasi, dan ruang kritik secara sekaligus dalam intensinya yang hendak memahami kompleksitas kehidupan. Diawali dengan lanskap urban di Osaka, filem ini mulai bergerak ke hal-hal yang lebih alamiah. Kita diantar untuk keluar dari urbanitas dan diajak mengimajinasikan sesuatu yang barangkali purba: mempertemukan manusia dengan kebesaran semesta, berhadap-hadapan. Fragilitas material film yang dipertahankan karena alasan estetik dalam versi digitalnya memperlihatkan reruntuhan-reruntuhan material yang mentransformasikan dirinya sebagai jejak waktu. Jejak waktu imajinatif yang takkan kita temukan dalam filem-filem digital dengan timestamp-<\/em>nya. Atau lebih parah pada filem yang sengaja diberi efek-efek filem tua menggunakan filter untuk mengejar bentuk sebagai sebuah \u201cfilem eksperimental\u201d\u2014yang bagi Jon Jost, kecenderungan macam itu begitu banyak ia temui dalam filem-filem eksperimental yang lebih kontemporer: sebuah aksi menjadi eksperimental dengan cara keliru.[4]<\/a><\/p>\n

Eksperimentasi bahasa gerak kamera juga dapat kita temui dalam Kecak Rina (Teges Village, Bali) <\/em>(1971), sebuah rekaman catatan harian Sardono ketika ia dan rekannya melatih warga Desa Teges di Bali untuk menari kecak. Tanpa dibantu intertitles, <\/em>skenario, atau unsur-unsur teater, murni sebagai rekaman atas sebuah peristiwa latihan menari kecak yang tampak, filem ini mengingatkan kita pada upaya Dziga Vertov dalam mencari bahasa sinema yang universal untuk membebaskan diri dari bahasa dalam sastra dan teater. Memformulasikan teknik Kino-Eye <\/em>dan menerapkannya dalam filem Man With A Movie Camera <\/em>(1929), Vertov mengharapkan proses pemaknaan dalam filem ada di tangan penontonnya dan bukan pada skrip. Atas teknik ini, D.A. Peransi menyatakan Vertov luput bahwa ada seseorang di balik kamera, atau dengan kata lain, realitas yang berusaha ditangkap Vertov pada akhirnya bergantung pada interpretasi si pemegang kamera (atau sutradara) akan peristiwa yang tersaji di hadapannya.[5]<\/a> Meski Kecak Rina<\/em> masih disusun dengan modus cut to cut <\/em>sehingga terasa cukup direktif, namun kita tetap dapat menangkap gagasan tentang deep focus <\/em>yang dibayangkan oleh Andr\u00e9 Bazin. Ia (kamera) justru turut menjadi \u201csubjek peristiwa\u201d yang dapat mempengaruhi maupun dipengaruhi oleh situasi dan kondisi di sekitarnya. Tidak nampak upaya Sardono untuk menuturkan narasinya secara didaktif. Maka, ambilan-ambilan gambar yang disusun Sardono menghasilkan konstruksi yang terbuka bagi beragam impresi dan interpretasi dari tiap spektatornya.<\/p>\n

Keuletan Sardono dalam mengeksperimentasikan bahasa visual begitu nampak dalam Dongeng Dari Dirah <\/em>(1992).[6]<\/a> Berbagai adegan tampil efektif, dengan begitu menjadikannya puitik dan kontemplatif. Secara ketat ia mengukur tindak-tanduk aktor dengan kesadaran atas konteks spasialitasnya. Visual dan suara yang tersaji, pada taraf tertentu, berdiri secara otonom dan berdaya dramatik sehingga mengundang imajinasi kita pada pengalaman yang tak terbayangkan namun kontekstual dan relevan dengan masyarakat kita. Temuan-temuan bahasa visual Sardono adalah titik terang dalam kekhasan filem eksperimental kita, berbeda dengan tradisi Barat yang definitif, kaku, dan cenderung berkutat hanya pada persoalan eksplorasi bentuk-bentuk, komposisi, dan warna yang semata-mata demi estetika, yang pada taraf tertentu menjadikannya tercerabut dari konteks sosial-politik keberadaannya. Dalam konteks terkontemporer, sinema eksperimental, menurut Amy Fung, bukanlah purwa-rupa dari apa yang sudah dilakukan para pembuat filem eksperimental di dekade-dekade sebelumnya. Filem eksperimental seharusnya membuat kita lebih kritis terhadap segalanya, bukan sekedar bentuk.[7]<\/a> Dalam konteks ini, filem-filem Sardono mampu melampaui tuntutan itu. Maka, sejak saat ini, kita dapat mengenali Sardono sebagai pembuat filem eksperimental yang pertama di Indonesia.<\/p>\n

[1]<\/a> Wawancara penulis dengan Sardono W. Kusumo pada 9 Mei 2019 di Institut Kesenian Jakarta.<\/p>\n

[2]<\/a> Ibid.<\/p>\n

[3]<\/a> Meta-Ekologi<\/em> (1979) adalah filem karya Gotot Prakosa yang merekam seni pertunjukan berjudul sama Meta-Ekologi<\/em> (1975) karya Sardono. Filem ini menjadi rujukan tertua di Indonesia jika kita hendak membicarakan singgungan antara seni pertunjukan (tari) dan filem eksperimental.<\/p>\n

[4]<\/a> Wawancara Jurnal Footage dengan Jon Jost pada 28 Agustus 2015. \u201cJon Jost: Seni Kontemporer Tidak Indah\u201d. <\/em>Diakses dari: http:\/\/jurnalfootage.net\/v4\/jon-jost-seni-kontemporer-tidak-indah\/<\/a> pada 6 Agustus 2019 pukul 20.53 WIB.<\/p>\n

[5]<\/a> Peransi, D.A. 1950. \u201cSoal-Soal Seni Pada Filem Di Saat Ini\u201d. <\/em>Jakarta: MINGGUAN SIASAT edisi Minggu-12 Nopember 1950, Minggu-19 Nopember 1950, Minggu-26 Nopember 1950, dan Minggu-3 Desember 1950. Diakses dari: http:\/\/jurnalfootage.net\/v4\/kronik20080501-01\/<\/a> pada 6 Agustus 2019 pukul 21.06 WIB.<\/p>\n

[6]<\/a> Filem berskenario pertama yang disutradarai Sardono bersama Robert Chappell. Diadaptasi dari karya koreografi berjudul sama, Dongeng Dari Dirah <\/em>(1974).<\/p>\n

[7]<\/a> Wawancara Jurnal Footage dengan Amy Fung pada 29 Agustus 2015. \u201cAmy Fung: Kita Perlu Sintaks dan Gramar Baru Sinema\u201d. <\/em>Diakses dari: http:\/\/jurnalfootage.net\/v4\/amy-fung-kita-perlu-sintaks-dan-gramar-baru-sinema\/<\/a> pada 6 Agustus 2019 pukul 23.14 WIB.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565777110849{margin-bottom: 0px !important;}”]\n

“[…] Beyond traditional arts,
\n<\/em>cinema is the second world that I embrace intimately<\/em>. ”
\n– Sardono W. Kusumo \u2013<\/p>\n

Dance was the one that links Sardono with film. As a dancer, he uses film in his journey to learn various cultures in different locations, especially in Indonesia. Initially, he intended the recording as a kind of diary, not to be showcased to the public. However, when Ari Dina Krestiawan curated the archive exhibition of Sardono W. Kusumo\u2019s film in Singapore in 2016, apparently those films unfolded Sardono\u2019s filmic awareness.<\/p>\n

For him, seeing through the viewfinder<\/em> is a way to practice his visual sensitivity, inseparable from the effort to train the six senses he needs as a dancer and choreographer: hearing, sight, touch, taste, and smell also the strength of soul in certain sacred dance traditions. Rather than speciality<\/em> and productivity<\/em>, he believes that art should be approached with the mode of training sensibility towards complexity<\/em>.[1]<\/a> He criticized the 19th-century modernity approach that encouraged specialization solely in pursuit of productivity that came to “cul-de-sac”\u2014and therefore it was detached from everyday reality. Only through sensitivity training can artists understand the complexity of life and its problems.<\/p>\n

 <\/p>\n

Sardono’s films can be enjoyed as complete works even without his intention of making films as final product. In the realm of cinema, what Sardono did for most of his films basically is using in-camera editing<\/em> techniques. Through this mode, Jonas Mekas\u2014 a filmmaker who also progressively uses in-camera editing in most of his works, i.e. Diaries, Notes, Sketches <\/em>(1964-1969)\u2014 dissecting and capturing moments of reality. In-camera editing mode certainly requires carefulness and awareness in framing, while to realize the moment (zen) also requires intuitive abilities. At this point, Sardono’s sensibility that has been trained through dance played a significant role. He always counts and predicts what events might occur. After everything was arranged as an idea, it was then that Sardono began taking notes with his films.[2]<\/a> That is why the recording of the dances performances in Sardono’s frame does not become a static moving image document, but it is through direct cutting of the events before him that these dances become dynamic, poetic. Sardono’s films also become a kind of autobiography of himself, his perspective, feelings, and thoughts.<\/p>\n

Without overlooking the importance of Meta-Ecology<\/em> (1979)[3]<\/a> in the history of our experimental film, it seems that the film Taifun<\/em> (1970) by Sardono goes far beyond the aesthetic achievements of Meta-Ecology<\/em>. This film records Sentot Sudiharto dancing on the big rocks when the city of Osaka in Japan was hit by the Olga Typhoon. As a documentary, the structure of images recorded by Sardono is capable of presenting certain dramatic constructions that summarize conflict, imagination, and space of criticism all at once in an intensification that wants to understand the complexity of life. Starting with the urban landscape in Osaka, this film progresses to a more pristine landscape. It leads us to get out of urbanity and invites to imagine something that might be archaic: colliding people with the universe, vis-\u00e0-vis<\/em>. The fragility of film material preserved for aesthetic reasons in its digital version shows the debris that transformed itself as an epoch. Something that we will not find in digital films with its timestamp. Or worse, on films that are deliberately giving<\/p>\n

Old film effect by using filter to pursue the form as an “experimental film”. For Jon Jost, he encountered much of such tendencies in more contemporary experimental films: a misguided approach of experimental film.[4]<\/a><\/p>\n

We can also see the experimentation of camera movement in Kecak Rina<\/em> (Teges Village, Bali)<\/em> (1971), a diary film by Sardono when he and his colleagues trained Teges Village residents in Bali to do Kecak<\/em> dance. Without the help of intertitles, scenarios, or theatre elements, purely as a recording of people exercising the Kecak<\/em> dance, this film reminds us of Dziga Vertov’s efforts to find a universal cinema language to free himself from language of literature and theatre. Formulating the Kino-Eye technique and applying it in the film Man With A Movie Camera<\/em> (1929), Vertov expects the interpretation of the film is in the hands of the audience and not the script. For this kind of approach, D.A. Peransi stated that Vertov was missing a point that there was someone behind the camera, or in other words, the reality that Vertov was trying to capture ultimately depended on the camera holder’s (or director’s) interpretation of the events presented before him.[5]<\/a> Although Kecak Rina<\/em> is still arranged in a cut-to-cut<\/em> technique so that it feels quite directive, but we can still capture the idea of \u200b\u200bdeep focus according to Andr\u00e9 Bazin. It (camera) would also become a “subject” that can affect or be influenced by the situation and conditions around him. There was no visible attempt by Sardono to say his narrative actively. So, the images taken by Sardono created a construction that was open to various impressions and interpretations of each spectator.<\/p>\n

Sardono’s tenacity in experimenting with visual language is evident in The Sorceress of Dirah<\/em> (1992).[6]<\/a> Various scenes are effective, therefore it is poetic and contemplative. His attention to details measuring the motions of actors with awareness of their spatial context. The visuals and sounds presented, to some extent, stand autonomously and dramatically draw our imagination into transcendental experience that is relevant for to the context of Indonesian society. Sardono’s visual vocabularies are a distinct creature in the discourse of experimental filmmaking, in contrast to the Western tradition which is definitive, rigid, and tends to dwell only on the question of exploration of form, composition, color, etc for the sake of aesthetics, which to some degree alienate themselves from socio-political context. According to Amy Fung, contemporary experimental cinema should not be a replication of what experimental filmmakers have done in previous decades. Experimental films should make us more critical of everything, not just forms.[7]<\/a> In this context, Sardono’s films are able to surpass that assertion. From now on, we can recognize Sardono as the first experimental filmmaker in Indonesia.<\/p>\n

[1]<\/a> Curator’s interview with Sardono W. Kusumo on May 9, 2019 at the Jakarta Art Institute.<\/p>\n

[2]<\/a> Ibid.<\/p>\n

[3]<\/a> Meta-Ecology (1979) is a film by Gotot Prakosa which records a choreography of the same title, Meta-Ecology<\/em> (1975), by Sardono. This film is the oldest reference in Indonesia if we want to discuss the encounter between dance and experimental film.<\/p>\n

[4]<\/a> Journal Footage interview with Jon Jost on 28 August 2015. “Jon Jost: Seni Kontemporer Tidak Indah”<\/em>. Accessed from: http:\/\/jurnalfootage.net\/v4\/jon-jost-seni-kontemporer-tidak-indah\/<\/a> on 6 August 2019 at 20.53 WIB.<\/p>\n

[5]<\/a> Peransi, D.A. 1950. “Soal-Soal Seni Pada Filem Di Saat Ini<\/em>“. Jakarta: MINGGUAN SIASAT Sunday-12 November 1950, Sunday-19 November 1950, Sunday-26 November 1950, and Sunday-3 December 1950 editions. Accessed from: http:\/\/jurnalfootage.net\/v4\/kronik20080501-01\/<\/a> on 6 August 2019 at 21.06 WIB.<\/p>\n

[6]<\/a> The first screenplay film directed by Sardono along with Robert Chappell. Adapted from the choreography of the same title, Dongeng Dari Dirah<\/em> (1974).<\/p>\n

[7]<\/a> Journal Footage interview with Amy Fung on 29 August 2015. “Amy Fung: Kita Perlu Sintaks dan Gramar Baru Sinema<\/em>“. Accessed from: http:\/\/jurnalfootage.net\/v4\/amy-fung-kita-perlu-sintaks-dan-gramar-baru-sinema\/<\/a> on 6 August 2019 at 23.14 WIB.[\/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=”9562″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565775908437{margin-bottom: 0px !important;}”]\n

Taifun<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Sardono Waluyo Kusumo<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Taifun
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0–
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

8 min, Silent, 16mm on SD, B&W, 1970[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565775928580{margin-bottom: 0px !important;}”]Pada tahun 1970, Taifun Olga terjadi di Osaka, Jepang. Angin menderu-deru, seorang lelaki berdiri di atas gugusan batu besar menari menghadapi terpaannya. Melalui filem ini, Sardono mempertemukan unsur-unsur kebesaran alam dan kemanusian.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565775946858{margin-bottom: 0px !important;}”]In 1970, Hurricane Olga hit Osaka, Japan. The wind rumbled as a man who was standing upon a big cluster of rocks danced through the blasts. Through this film, Sardono brought together the elements of nature\u2019s power and humanity.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/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=”1565776330152-1ac4bda0-a8a2″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9563″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565776440759{margin-bottom: 0px !important;}”]\n

Kecak Rina (Teges Village, Bali)<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Sardono Waluyo Kusumo<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Taifun
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0–
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

16 min, silent, 16 mm on SD, B&W, 1972[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565776391435{margin-bottom: 0px !important;}”]Warga Desa Teges di Bali berlatih tarian Kecak Rina yang belum pernah mereka lakukan sebelumnya. Sardono dan beberapa rekannya datang untuk membimbing. Warga kemudian dibagi menjadi beberapa kelompok. Saat gladi pertama dimulai, atmosfer yang terjadi menghadirkan emosi yang tak terduga sebelumnya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565776405364{margin-bottom: 0px !important;}”]The people of Teges Village in Bali practiced Kecak Rina, a traditional dance they have never done before. Sardono and his colleagues came to the village as their mentors. The villagers were divided into groups.\u00a0 The atmosphere brings up unexpected emotions among them when the first rehearsal took place.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/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=”1565776335573-6a0be37c-56dd”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9571″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565776899490{margin-bottom: 0px !important;}”]\n

Dongeng Dari Dirah<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Sardono Waluyo Kusumo & Robert Chappell<\/strong> (Indonesia & USA)
\nInternational Title<\/em>\u00a0\u00a0The Sorceress of Dirah
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Balinese, Javanese, English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

40 min, sound, 35 mm on SD, color, 1992[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565777000921{margin-bottom: 0px !important;}”]Sebuah filem yang diadaptasi dari karya koreografi berjudul sama, Dongeng Dari Dirah (1974) <\/em>karya Sardono. <\/em>Filem Dongeng Dari Dirah <\/em>(1992) mencoba menafsirkan kembali kisah Calonarang. <\/em>Berlatar pada mitos dan legenda yang berkembang di masyarakat Bali, filem ini menggali bagaimana peran Barong dan Rangda sebagai simbol keseimbangan antara kebaikan dan keburukan berlangsung di tengah masyarakat.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565777013845{margin-bottom: 0px !important;}”]A film adapted from a choreographic work with the same title, Dongeng Dari Dirah ( The Sorceress of Dirah \u2013 1974) by Sardono W. Kusumo. The Sorceress of Dirah (1992) tries to reinterpret the story of Calonarang. Set in the myths and legends that evolve in Balinese society, this film explores the role of Barong and Rangda as a symbol of a balance between the good, and the evil materializes amid Balinese society.<\/span>[\/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 Sardono W. Kusumo” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9885″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565776139574{margin-bottom: 0px !important;}”]Sardono Waluyo Kusumo<\/strong> (lahir 6 Maret 1945 di Surakarta) adalah seorang koreografer, penari, sutradara filem, dan aktor. Ketika muda ia menekuni tari tradisional Jawa dan setelahnya berfokus dalam mengombinasikan tari tradisi dengan teknik tari modern. Pada tahun 1961, dia memimpin sebuah perhelatan tali kolosal dengan 250 penari di kompleks candi Prambanan, sekitar 18 km ke arah timur dari Yogyakarta di jalan menuju Surakarta. Pada tahun 1970-an, dia membentuk sanggar tari dan teaternya sendiri yang bernama Dance Theatre Sardono. Selain karirnya dalam tari, dia juga seorang aktor dan pembuat filem. Di samping karir profesionalnya, dia dikenal sebagai tokoh yang memperjuangkan kelestarian hutan hujan di Indonesia.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565776153581{margin-bottom: 0px !important;}”]Sardono Waluyo Kusumo<\/strong> (born March 6, 1945 in Surakarta) is an Indonesian choreographer, dancer, film director and actor. He studied classical Javanese dance and specialized afterwards in local dances in combination with modern dance techniques. In 1961, he led a major dance company of 250 dancers at the Hindu temple complex Prambanan, at about 18 km eastwards of Yogyakarta along the road to Surakarta. In the seventies, he founded his own theatre company, Dance Theatre Sardono. Next to his dancing career, he also was an actor and filmmaker. Besides his professional career, he is a promoter of the preservation of the rainforests in Indonesia.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][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=”9844″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565776317119{margin-bottom: 0px !important;}”]Dhuha Ramadhani<\/strong><\/em>\u00a0(lahir 23 Februari 1995, di Jakarta) adalah pembuat film dan kurator. Menyelesaikan pendidikan sarjana di Departemen Kriminologi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Indonesia. Anggota Forum Lenteng, aktif sebagai salah satu peserta program AKUMASSA. Sekarang, dia juga seorang peserta dalam Milisifilem Collective. Sejak 2018, ia adalah kurator program Candrawala di ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival. Pada Juli 2019 ia mempresentasikan kuratorialnya di Asia Forum 3 untuk EXiS \u2013 Experimental Film and Video Festival 2019, Seoul, Korea Selatan. Film-film terbarunya adalah\u00a0Jakarta Unfair<\/em>\u00a0(2016) dan\u00a0Into The Dark<\/em>\u00a0(2018).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565776264105{margin-bottom: 0px !important;}”]Dhuha Ramadhani<\/strong><\/em>\u00a0(b. February 23, 1995, in Jakarta) is a filmmaker and curator. Completed undergraduate education at the Department of Criminology, Faculty of Social and Political Sciences, University of Indonesia. Member of the Forum Lenteng, active as one of the AKUMASSA program participants. Now, he is also a participant in the Milisifilem Collective. Since 2018, he is the curator of Candrawala program at ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival. On July 2019 he presented his curatorial on Asia Forum 3 for EXiS \u2013 Experimental Film and Video Festival 2019, Seoul, South Korea. His latest films are\u00a0Jakarta Unfair<\/em>\u00a0(2016) and\u00a0Into The Dark<\/em>\u00a0(2018).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Dance was the one that links Sardono with film. As a dancer, he uses film in his journey to learn various cultures in different locations, especially in Indonesia. Initially, he intended the recording as a kind of diary, not to be showcased to the public. However, when Ari Dina Krestiawan curated the archive exhibition of Sardono W. 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