{"id":9980,"date":"2019-08-19T11:00:35","date_gmt":"2019-08-19T04:00:35","guid":{"rendered":"https:\/\/arkipel.org\/?p=9980"},"modified":"2019-08-22T20:45:53","modified_gmt":"2019-08-22T13:45:53","slug":"understanding-bromocorah-and-its-representation-in-nagabonar","status":"publish","type":"post","link":"https:\/\/arkipel.org\/understanding-bromocorah-and-its-representation-in-nagabonar\/","title":{"rendered":"Understanding Bromocorah and Its Representation in \u201cNagabonar\u201d"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text css=”.vc_custom_1566481549762{margin-bottom: 0px !important;}”]Untuk menangkap pembingkaian filem-filem di ARKIPEL <\/span>\u2013 7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i> dengan temanya <\/span>bromocorah<\/span><\/i>, penonton perlu memahami terlebih dahulu, apa itu konsep\u201cbromocorah\u201d? Pidato kunci yang dibacakan oleh Otty Widasari pada hari Senin (19\/08) pukul 09.00, berupaya memberikan pengantar untuk menyelami tema tersebut dalam simposium Forum Festival dan program-program yang akan ditayangkan selama seminggu ke depan.\u00a0<\/span><\/p>\n

Dihadiri oleh 23 orang, pidato kunci diawali sambutan oleh Prashasti Wilujeng Putri sebagai koordinator Forum Festival. Ia memberikan penjelasan singkat mengenai konsep \u201cbromocorah\u201d\u2014 ia yang berpindah dari satu rezim ke rezim lainnya, keberadaannya yang di luar sistem, namun punya kemampuan untuk menyelinap di sela-selanya. Ia menciptakan kemungkinan dan ruang-ruang baru. Dalam festival kali ini, bromocorah diterjemahkan dalam konteks sosial-politiknya. Selanjutnya, Prashasti memperkenalkan Otty Widasari sebagai kepala selektor dan seniman yang dinilai cocok untuk berbagi tafsirannya mengenai fenomena bromocorah.<\/span><\/p>\n

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Otty Widasari bersama moderator Parashasti Wilujeng putri dalam sesi diskusi setelah pembacaan pidato kunci.<\/p><\/div>\n

Otty memulai presentasinya dengan memberikan profil singkat beberapa sosok yang mendapat label bromocorah yang beraksi dari era 1950-an sampai 1980-an, antara lain Kusni Kasdut, Muksin Tamnge, Henky Tupanwael, Bathi Mulyono, dan peristiwa pembersihan <\/span>gali<\/span><\/i> oleh pemerintah di tahun 1980-an. Melalui fenomenatersebut, ia menyimpulkan bahwa definisi \u201cpenjahat\u201d diciptakan pemerintah sebagai upaya mengonstruksi tokoh antagonis dalam sejarah yang mereka tulis. Dari ranah sosial-politik, ia berpindah kepada representasinya dalam filem, yang sering digunakan sebagai cara menyampaikan kritik terhadap pemerintah secara subtil. Salah satunya adalah dengan cara menampilkan gambaran penjahat-penjahat jalanan dengan kompleksitas karakter yang memungkinkan adanya penjelasan psikologis di balik kejahatan mereka.<\/span><\/p>\n

Dalam pidatonya, Otty fokus membedah penggambaran konsep bromocorah dalam filem <\/span>Nagabonar<\/span><\/i> (1986) yang disutradarai MT Risyaf dan ditulis Asrul Sani. Diselingi klip-klip dari filem tersebut, ia menyingkapkan posisi bromocorah yang berada di luar sistem, melalui sosok si Jenderal yang muncul di tengah-tengah kekacauan peran di masa revolusi. Saat revolusi tercapai, dan sistem akan kembali mapan, sistem tersebut akan meninggalkan si Jenderal. Namun, Otty sampai pada kesimpulan bahwa ampas-ampas yang kemudian dilegitimasi dalam suatu golongan itu justru akan \u201cmenjadi\u201d dan berlipat ganda, bahkan membentuk estetikanya sendiri dan mengalir mengikuti arus sistem.<\/span><\/p>\n

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Manneke Budiman mengajukan pertanyaan pada Otty Widasari.<\/p><\/div>\n

Seusai pidato, Prashasti melempar pertanyaan kepada para audiens. Philippa Lovatt, peneliti dari Inggris, memberikan pertanyaan mengenai fenomena bromocorah dalam estetika perfileman Indonesia kontemporer. Namun, menurut Otty estetika bukan lagi jadi pakem dalam kebromocorahan kontemporer, karena budaya prosumer yang makin marak dalam masyarakat. Jika ingin melihat fenomena bromocorah kontemporer, Otty menyarankan untuk mengamati aspek perkembangan media di Indonesia. Hafiz menambahkan jawaban Otty, bahwa kebromocorahan dalam perfileman Indonesia kontemporer ada pada kesadaran membingkai masa lalu dengan cara baru. Ia memberikan contoh karya-karya Yosep Anggi Noen, yang mampu menawarkan cara pandang baru untuk membaca peristiwa 1965 dan 1998.\u00a0<\/span><\/p>\n

Pertanyaan lainnya dilontarkan Manneke Budiman, seorang akademisi dari Fakultas Ilmu Budaya, Universitas Indonesia. Ia mempertanyakan representasi dari fenomena bromocorah dalam filem <\/span>Nagabonar<\/span><\/i> tersebut, mengapa kritik yang dipilih melalui genre komedi, dan mengapa tokoh Nagabonar ditulis berasal dari etnis Batak? Otty pun menjelaskan filem-filem yang sedang marak di era 1980-an, di antaranya filem-filem laga dan penjahat. Filem-filem tersebut mengkritisi mental bobrok sistem dengan cara yang berkelit\u2014bagaimana agar kritik tersebut tampil sesubtil mungkin untuk menghindari penyensoran. Permasalahan etnis juga berkaitan dengan konteks zamannya, di mana ada stereotip-stereotip tertentu yang diasosiasikan dengan etnis tertentu yang dipopulerkan sebagai bagian dari lelucon yang masih dianggap patut pada zamannya.<\/span><\/p>\n<\/div>\n<\/div>\n

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Hafiz selaku Direktur Artistik ARKIPEL berpartisipasi dalam sesi diskusi pasca pembacaan pidato kunci Otty Widasari.<\/p><\/div>\n<\/div>\n<\/div>\n

\u00a0<\/span>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Notes on ARKIPEL bromocorah Press Conference” css=”.vc_custom_1566481503085{margin-bottom: 0px !important;}”]To capture the framing of the films in ARKIPEL <\/span>\u2013 7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i> with the theme <\/span>bromocorah<\/span><\/i>, first, the audience needs to be able to grasp the concept of \u201cbromocorah.\u201d Otty Widasari\u2019s keynote speech on Monday (08\/19) 9 AM attempted to give an introduction of the theme, before diving deep into it in the Forum Festival symposiums and other programs that will be screened in the next week.<\/span><\/p>\n

Prashasti Wilujeng Putri, as the Forum Festival coordinator, greeted the 23 people in attendance before the keynote speech starts. She explained the concept \u201cbromocorah\u201d briefly\u2014as an entity that traveled from one regime to another, how it exists outside the system, yet it has the ability to slip through them. It creates a possibility and new spaces. In this year\u2019s festival, bromocorah is translated in a socio-political context. Then, she introduced Otty Widasari as the head selector and an artist who is deemed suitable to share her interpretation on the phenomenon. <\/span><\/p>\n

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Otty Widasari with Parashasti Wilujeng Putri as moderator in the discussion session after the reading of keynote speech.<\/p><\/div>\n

Otty started the presentation with brief profiles of some figures who were labeled asbromocorahs during the 1950s to the 1980s: Kusni Kasdut, Muksin Tamnge, Henky Tupanwael, Bathi Mulyono, and the mass murder of <\/span>gali<\/span><\/i> organized by the government in the 1980s. Up to this point, she concluded that the definition of \u201coffender\u201d is created by the government to construct the antagonist role in their written history. From the socio-political ground, she moves on to the representation of bromocorah in films as a tool of subtle criticism towards the government. One of the filmmakers\u2019 subtle criticism is to portray these street criminals with their layered complexity that enables a psychological explanation behind their crimes.<\/span><\/p>\n

In her speech, Otty dissected the portrayal of bromocorah concept in <\/span>Nagabonar <\/span><\/i>(1986) directed by MT Risyaf and written by Asrul Sani. Followed by clips from the films, she revealed the position of bromocorah outside the system through the figure of the General that rose in the middle of the chaos in the revolution era. When the revolution succeeded, and the system starts to settle, the system will leave the General behind. But, Otty concluded that these residues of a system that are legitimated as a certain group would eventually come into being and multiply, they will even form their own aesthetic and flow along with the system\u2019s current. <\/span><\/p>\n

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Manneke Budiman delivered a question to Otty Widasari.<\/p><\/div>\n

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After the speech, Prashasti opened the floor. Philippa Lovatt, a researcher from UK, asked about the phenomenon of bromocorah in the aesthetic of contemporary Indonesian films. Otty answered that a contemporary notion of bromocorah can no longer be measured in term of aesthetics, because of the emerging of prosumer culture in this society. She proposed that contemporary bromocorah phenomenon can be read through the development of media in Indonesia. Hafiz added that bromocorah in Indonesian films is embedded in the awareness in framing the past through a new point of view. For example, the works of Yosep Anggi Noen that offer a fresh perspective to read the events in 1965 and 1998.<\/span><\/p>\n

Another question was asked by Manneke Budiman, a scholar from the Faculty of Humanities, University of Indonesia. His question was regarding the representation of bromocorah in <\/span>Nagabonar<\/span><\/i>, why did the criticism take the form of comedy, and why was <\/span>Nagabonar<\/span><\/i> written as a descendant of Batak? Otty explained that the films that came from the 1980s were mostly action and criminal films. Those films criticized the flaws of the system subtly\u2014so they can dodge the censorship at the time. On the subject of ethnicity, at the time, stereotypes were still considered appropriate humor that didn\u2019t have a problem.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Hafiz as Artistic Director of ARKIPEL participated in the discussion session after the reading of Otty Widasari’s keynote speech.<\/p><\/div>\n<\/div>\n<\/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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ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/understanding-bromocorah-and-its-representation-in-nagabonar\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/understanding-bromocorah-and-its-representation-in-nagabonar\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_6968_keynote-speech-1.jpg?fit=5184%2C3456&ssl=1","datePublished":"2019-08-19T04:00:35+00:00","dateModified":"2019-08-22T13:45:53+00:00","description":"To capture the framing of the films in ARKIPEL \u2013 7th Jakarta International Documentary and Experimental Film Festival with the theme bromocorah, first, the audience needs to be able to grasp the concept of \u201cbromocorah.\u201d Otty Widasari\u2019s keynote speech on Monday (08\/19) 9 AM attempted to give an introduction of the theme, before diving deep into it in the Forum Festival symposiums and other programs that will be screened in the next 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