{"id":9992,"date":"2019-08-19T12:00:52","date_gmt":"2019-08-19T05:00:52","guid":{"rendered":"https:\/\/arkipel.org\/?p=9992"},"modified":"2019-08-22T15:15:16","modified_gmt":"2019-08-22T08:15:16","slug":"diving-into-bromocorah","status":"publish","type":"post","link":"https:\/\/arkipel.org\/diving-into-bromocorah\/","title":{"rendered":"Diving into Bromocorah"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Menyelami Bromocorah” css=”.vc_custom_1566269798693{margin-bottom: 0px !important;}”]\n
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Setelah <\/span>sesi<\/span> <\/span>pidato<\/span> <\/span>kunci<\/span> <\/span>Otty<\/span> <\/span>Widasari<\/span> <\/span>secara<\/span> <\/span>apik<\/span> <\/span>menetapkan<\/span> <\/span>landasan<\/span> <\/span>perbincangan<\/span> <\/span>bromocorah<\/span> <\/span>dalam<\/span> Forum Festival dan juga <\/span>keseluruhan<\/span> <\/span>rangkaian<\/span> ARKIPEL <\/span>tahun<\/span> <\/span>ini<\/span>, panel <\/span>pertama<\/span> Forum Festival yang <\/span>bertajuk<\/span> “<\/span>Bromocorah<\/span>: <\/span>Posisinya<\/span> <\/span>dalam<\/span> <\/span>Konteks<\/span> <\/span>Sosial<\/span>, <\/span>Politik<\/span>, <\/span>Kultural<\/span>” <\/span>akan<\/span> <\/span>menyelam<\/span>i<\/span> <\/span>bingkaian<\/span> <\/span>bromocorah<\/span>. Panel <\/span>ini<\/span> <\/span>hendak<\/span> <\/span>mendalami<\/span> <\/span>setiap<\/span> <\/span>seluk<\/span> <\/span>kompleksitas<\/span> <\/span>bromocorah<\/span> <\/span>dalam<\/span> <\/span>konteks<\/span> wilayah Indonesia, Asia, dan Amerika Latin<\/span>. Panel <\/span>ini<\/span> <\/span>berlangsung<\/span> di <\/span>GoetheHaus<\/span>, Goethe-<\/span>Institut<\/span> Indonesia<\/span> pada<\/span> 19 September 2019, <\/span>dengan<\/span> <\/span>mengundang<\/span> <\/span>tiga<\/span> <\/span>ahli<\/span> dan <\/span>akademisi<\/span>: <\/span>Manneke<\/span> Budiman <\/span>(<\/span>pengajar<\/span> <\/span>Fakultas<\/span> <\/span>Ilmu<\/span> <\/span>Budaya<\/span> <\/span>Universitas<\/span> Indonesia), <\/span>Philippa <\/span>Lovatt<\/span> <\/span>(<\/span>akademisi<\/span> <\/span>dari<\/span> <\/span>Inggris<\/span> <\/span>dengan<\/span> <\/span>fokus<\/span> <\/span>studi<\/span> <\/span>sinema<\/span> Asia Timur dan Asia Tenggara), dan <\/span>Ronny <\/span>Agustinus<\/span> <\/span>(<\/span>ahli<\/span> <\/span>studi<\/span> <\/span>kawasan<\/span> Amerika Latin), <\/span>dimoderatori<\/span> oleh <\/span>Prashasti<\/span> <\/span>Wilujeng<\/span> Putri<\/span>.<\/span><\/p>\n

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Manneke Budiman tengah memaparkan materinya tentang bromocorah dalam konteks sastra di Asia.<\/p><\/div>\n

Bicara<\/span> <\/span>tentang<\/span> <\/span>bromocorah<\/span> <\/span>tentu<\/span> <\/span>tak<\/span> <\/span>lepas<\/span> <\/span>dari<\/span> <\/span>bicara<\/span> <\/span>tentang<\/span> <\/span>sistem<\/span>. <\/span>Posisi<\/span> <\/span>bromocorah<\/span> <\/span>selalu<\/span> <\/span>berada<\/span> di <\/span>luar<\/span> <\/span>sistem<\/span>, <\/span>namun<\/span> <\/span>eksistensi<\/span> <\/span>bromocorah<\/span> <\/span>pun <\/span>berjalan<\/span> <\/span>beriringan<\/span> <\/span>dengan<\/span> <\/span>eksistensi<\/span> <\/span>sistem<\/span>. <\/span>Pembicara<\/span> <\/span>pertama<\/span>, <\/span>Manneke<\/span> Budiman, <\/span>memaparkan<\/span> <\/span>telisikannya<\/span> <\/span>terhadap<\/span> <\/span>ambiguitas<\/span> <\/span>representasi<\/span> <\/span>bromocorah<\/span> <\/span>dalam<\/span> Sastra Indonesia. <\/span>Dalam<\/span> <\/span>karya<\/span> <\/span>cerita<\/span> <\/span>pendek<\/span> <\/span>Mochtar<\/span> <\/span>Lubis<\/span> <\/span>berjudul<\/span> <\/span>Bromocorah<\/span>, <\/span>si<\/span> <\/span>bromocorah<\/span> <\/span>digambarkan<\/span> <\/span>secara<\/span> <\/span>manusiawi<\/span> \u2013 <\/span>ia<\/span> <\/span>merupakan<\/span> <\/span>suami<\/span> dan ayah yang <\/span>menyayangi<\/span> <\/span>keluarganya<\/span>. <\/span>Ia<\/span> <\/span>melakukan<\/span> <\/span>perlawanan<\/span> <\/span>terhadap<\/span> <\/span>sistem<\/span> <\/span>sekonyong-konyong<\/span> <\/span>karena<\/span> <\/span>ia<\/span> <\/span>adalah<\/span> korban <\/span>dari<\/span> <\/span>sistem<\/span> <\/span>itu<\/span> <\/span>sendiri<\/span>, <\/span>menempati<\/span> <\/span>posisi<\/span> <\/span>ampas<\/span> <\/span>masyarakat<\/span> dan <\/span>secara<\/span> <\/span>subjektif<\/span> <\/span>merasa<\/span> <\/span>terasing<\/span> <\/span>dari<\/span> <\/span>kehidupan<\/span> <\/span>kampungnya<\/span> <\/span>walau<\/span> <\/span>tak<\/span> <\/span>semua<\/span> <\/span>warga<\/span> kampung <\/span>menempatkannya<\/span> <\/span>sebagai<\/span> orang <\/span>asing<\/span>. <\/span>Perasaan<\/span> <\/span>subjektif<\/span> <\/span>ini<\/span> <\/span>kemudian<\/span> <\/span>membentuk<\/span> <\/span>kelas<\/span> <\/span>sosial<\/span> yang <\/span>sama<\/span> <\/span>sekali<\/span> <\/span>berbeda<\/span> \u2013 <\/span>bukan<\/span> <\/span>jelata<\/span>, <\/span>bukan<\/span> <\/span>elit<\/span>, <\/span>namun<\/span> <\/span>menempati<\/span> <\/span>ruang<\/span> <\/span>kosong<\/span> yang <\/span>tak<\/span> <\/span>dapat<\/span> <\/span>diisi<\/span> <\/span>kemapanan<\/span> <\/span>sistem<\/span> dan <\/span>e<\/span>ksistensinya<\/span> <\/span>selalu<\/span> <\/span>ada<\/span> <\/span>namun<\/span> <\/span>tak<\/span> <\/span>pernah<\/span> <\/span>diakui<\/span>. <\/span>Sementara<\/span> <\/span>dalam<\/span> <\/span>karya<\/span> <\/span>berjudul<\/span> <\/span>Jante <\/span>Arkidam<\/span>, <\/span>karakter<\/span> <\/span>bernama<\/span> <\/span>sama<\/span> <\/span>dengan<\/span> <\/span>judul<\/span> <\/span>puisinya<\/span> <\/span>digambarkan<\/span> <\/span>sebagai<\/span> <\/span>bromocorah<\/span> \u2013 <\/span>si<\/span> <\/span>penjahat<\/span> <\/span>tulen<\/span> <\/span>\u2013 <\/span>yang<\/span> <\/span>merampok<\/span>, <\/span>berjudi<\/span>, <\/span>mabuk<\/span>, dan main <\/span>perempuan<\/span>, <\/span>serta<\/span> <\/span>kerap<\/span> <\/span>menantang<\/span> <\/span>aparat<\/span> <\/span>keamanan<\/span>. <\/span>Selain<\/span> <\/span>menunjukkan<\/span> <\/span>sisi<\/span> lain <\/span>representasi<\/span> <\/span>bromocorah<\/span>, <\/span>Jante <\/span>Arkidam<\/span> juga <\/span>menyiratkan<\/span> <\/span>kritik<\/span> <\/span>terhadap<\/span> <\/span>kegagalan<\/span> <\/span>sistem<\/span> negara yang <\/span>seharusnya<\/span> <\/span>berfungsi<\/span> <\/span>menjaga<\/span> <\/span>kestabilan<\/span> dan <\/span>keajegan<\/span>. Di <\/span>akhir<\/span> <\/span>paparannya<\/span>, <\/span>Ma<\/span>n<\/span>neke<\/span> <\/span>menyimpulkan<\/span> <\/span>bahwa<\/span> <\/span>bromocorah<\/span> <\/span>merupakan<\/span> <\/span>pelaku<\/span> <\/span>sekaligus<\/span> korban, <\/span>ia<\/span> <\/span>seperti<\/span> virus <\/span>parasit<\/span> yang <\/span>menempati<\/span> <\/span>ruang<\/span> <\/span>vakum<\/span> yang <\/span>tak<\/span> <\/span>terjamah<\/span> <\/span>sistem<\/span> yang <\/span>sakit<\/span>.<\/span><\/p>\n

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Suasana audiens panel pertama Forum Festival ARKIPEL bromocorah.<\/p><\/div>\n

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Philippa Lovatt tengah memaparkan materinya tentang bromocorah dalam konteks aktivisme dalam sinema dan realitas sosial.<\/p><\/div>\n

Menggeser<\/span> <\/span>pandangan<\/span> <\/span>ke<\/span> <\/span>kawasan<\/span> Asia lain, Philippa <\/span>Lovat<\/span>t<\/span> <\/span>memaparkan<\/span> <\/span>kebromocorahan<\/span> <\/span>antologi<\/span> <\/span>Ten Years Thailand<\/span> (2018).<\/span> <\/span>Filem<\/span> yang <\/span>dibuat<\/span> <\/span>dalam<\/span> <\/span>budaya<\/span> sensor <\/span>seringkali<\/span> <\/span>harus<\/span> <\/span>mengambil<\/span> <\/span>bentuk<\/span> <\/span>aktivisme<\/span> <\/span>klandestin<\/span> <\/span>untuk<\/span> <\/span>bernegosiasi<\/span> <\/span>dengan<\/span> <\/span>pembatasan<\/span> oleh<\/span> <\/span>sistem<\/span>. <\/span>Instabilitas<\/span> <\/span>politik<\/span> yang <\/span>terjadi<\/span> di Thailand <\/span>pasca<\/span> <\/span>kudeta<\/span> dan <\/span>wafatnya<\/span> Raja Bhumibol Adulyadej <\/span>membuat<\/span> <\/span>kiasan<\/span> <\/span>literatur<\/span> dan <\/span>sinema<\/span> <\/span>distopia<\/span> <\/span>seolah<\/span> <\/span>tercermin<\/span> <\/span>dalam<\/span> <\/span>realita<\/span> <\/span>sehari-hari<\/span>. <\/span>Empat<\/span> <\/span>karya<\/span> <\/span>dalam<\/span> <\/span>antologi<\/span> <\/span>Ten Years Thailand <\/span>ini<\/span> \u2013 <\/span>Sunset<\/span> <\/span>karya<\/span> Aditya <\/span>Assarat<\/span>, <\/span>Catopia<\/span> <\/span>karya<\/span> <\/span>Wisit<\/span> <\/span>Sasanatieng<\/span>, <\/span>Planetarium<\/span> <\/span>karya<\/span> <\/span>Chulayarnnon<\/span> <\/span>Siriphol<\/span>, dan <\/span>Song of the City<\/span> <\/span>karya<\/span> <\/span>Apichatpong<\/span> Weerasethakul\u2019s Song of the City<\/span> \u2013 <\/span>kemudian<\/span> <\/span>mengambil<\/span> <\/span>bentuk<\/span> dunia <\/span>distopia<\/span> <\/span>sebagai<\/span> <\/span>penggambaran<\/span> dan <\/span>kritik<\/span> <\/span>terhadap<\/span> <\/span>situasi<\/span> <\/span>politik<\/span> Thailand yang <\/span>tak<\/span> <\/span>ubahnya<\/span> <\/span>realita<\/span> <\/span>distopia<\/span>. <\/span>Imajinasi<\/span> <\/span>politis<\/span> <\/span>yang <\/span>di<\/span>gambarkan<\/span> <\/span>dalam<\/span> <\/span>empat<\/span> <\/span>karya<\/span> <\/span>ini<\/span> <\/span>menyerukan<\/span> <\/span>dengan<\/span> <\/span>lantang<\/span> <\/span>penggalian<\/span> <\/span>atas<\/span> masa <\/span>lalu<\/span> dan masa <\/span>depan<\/span>, <\/span>menelusuri<\/span> masa <\/span>lalu<\/span> <\/span>untuk<\/span> <\/span>menawarkan<\/span> <\/span>harapan<\/span> masa <\/span>depan<\/span> yang <\/span>radikal<\/span>, <\/span>terwujud<\/span> <\/span>dalam<\/span> <\/span>potensialitas<\/span> <\/span>bromocorah<\/span>.<\/span><\/p>\n<\/div>\n<\/div>\n

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Budi Irawanto dari Jogja Netpac Asian Film Festival mengajukan pertanyaan pada diskusi panel pertama Forum Festival.<\/p><\/div>\n

Kawasan Amerika Latin pun <\/span>menawarkan<\/span> <\/span>kekayaan<\/span> <\/span>kompleksitas<\/span> <\/span>kultural<\/span> yang <\/span>tak<\/span> <\/span>kalah<\/span> <\/span>menarik<\/span> <\/span>dalam<\/span> <\/span>perbincangan<\/span> <\/span>bromocorah<\/span>. <\/span>Telaahan<\/span> Ronny <\/span>Agustinus<\/span> <\/span>atas<\/span> bandit-bandit <\/span>sosial<\/span> yang <\/span>melegenda<\/span> di Amerika Latin <\/span>dimulai<\/span> <\/span>dari<\/span> <\/span>tokoh<\/span> Joaquin Murrieta, <\/span>peternak-penggembala<\/span> <\/span>asal<\/span> <\/span>Meksiko<\/span> yang <\/span>ber<\/span>migrasi<\/span> <\/span>ke<\/span> California pada<\/span> <\/span>tahun<\/span> 1850<\/span>–<\/span>an. <\/span>Ia<\/span> <\/span>mengalami<\/span> <\/span>berbagai<\/span> <\/span>diskriminasi<\/span>, <\/span>mendorongnya<\/span> pada <\/span>aksi<\/span> <\/span>pem<\/span>balas<\/span>an<\/span> <\/span>dendam<\/span> <\/span>hingga<\/span> <\/span>menjadi<\/span> <\/span>tokoh<\/span> yang <\/span>ditakuti<\/span>. <\/span>Kisah<\/span> <\/span>hidupnya<\/span> <\/span>telah<\/span> <\/span>bercampur<\/span> <\/span>dengan<\/span> <\/span>mitos<\/span> \u2013 <\/span>identitas<\/span> <\/span>aslinya<\/span> <\/span>dicabut<\/span> dan <\/span>dibubuhi<\/span> <\/span>dengan<\/span> <\/span>identitas<\/span> <\/span>apa<\/span> <\/span>saja<\/span>, <\/span>menjadi<\/span> ikon <\/span>bromocorah<\/span> <\/span>bagi<\/span> <\/span>siapa<\/span> <\/span>saja<\/span>. <\/span>Fiksi<\/span> dan <\/span>fakta<\/span> <\/span>tak<\/span> <\/span>lagi<\/span> <\/span>soal<\/span> <\/span>bagi<\/span> <\/span>konstruksi<\/span> <\/span>identitas<\/span> <\/span>kebromocorahannya<\/span>. <\/span>Selama<\/span> <\/span>ketidakadilan<\/span> <\/span>terjadi<\/span>, <\/span>maka<\/span> <\/span>bromocorah<\/span> <\/span>akan<\/span> <\/span>selalu<\/span> <\/span>eksis<\/span>.<\/span><\/p>\n

Seusai<\/span> <\/span>ketiga<\/span> <\/span>pembicara<\/span> <\/span>selesai<\/span>, <\/span>audiens<\/span> <\/span>dipersilakan<\/span> <\/span>untuk<\/span> <\/span>bertanya<\/span> <\/span>atau<\/span> <\/span>menanggapi<\/span>. <\/span>Giliran<\/span> <\/span>pertama<\/span>, Mas Budi <\/span>Ir<\/span>a<\/span>wanto<\/span> <\/span>dari<\/span> Jogja-NETPAC Asian Film Festival (JAFF) <\/span>bertanya<\/span> <\/span>kepada<\/span> <\/span>Manneke<\/span> <\/span>tentang<\/span> <\/span>romantisasi<\/span> <\/span>bromocorah<\/span> <\/span>dalam<\/span> <\/span>karya<\/span> sastra <\/span>sebagai<\/span> <\/span>cara<\/span> <\/span>menyembunyikan<\/span> <\/span>antagonisme<\/span>. <\/span>Ia<\/span> juga <\/span>bertanya<\/span> pada Philippa <\/span>tentang<\/span> <\/span>bentuk<\/span> yang paling <\/span>signifikan<\/span> <\/span>atas<\/span> <\/span>potensialitas<\/span> <\/span>bromocorah<\/span> <\/span>dalam<\/span> <\/span>aktivisme<\/span> \u2013 <\/span>apakah<\/span> <\/span>bentuk<\/span> <\/span>eksperimentasinya<\/span>, <\/span>atau<\/span> <\/span>penggambaran<\/span> <\/span>resistensi<\/span> <\/span>terhadap<\/span> <\/span>citra<\/span> <\/span>resmi<\/span> <\/span>masyarakat<\/span>.<\/span><\/p>\n

Manneke<\/span> <\/span>menjawab<\/span> <\/span>bahwa<\/span> <\/span>romantisasi<\/span> <\/span>ini<\/span> <\/span>bukanlah<\/span> <\/span>bentuk<\/span> <\/span>kenaifan<\/span> para <\/span>seniman<\/span>, <\/span>namun<\/span> <\/span>justru<\/span> <\/span>itu<\/span> <\/span>menjadi<\/span> <\/span>poin<\/span> <\/span>subversif<\/span> <\/span>terhadap<\/span> <\/span>wacana<\/span> <\/span>dominan<\/span> negara. <\/span>Sementara<\/span> <\/span>itu<\/span>, Philippa <\/span>menjawab<\/span> <\/span>bahwa<\/span> <\/span>potensialitas<\/span> <\/span>bromocorah<\/span> <\/span>dalam<\/span> <\/span>filem<\/span> \u2013 <\/span>tidak<\/span> <\/span>hanya<\/span> <\/span>budaya<\/span> <\/span>filem<\/span> Thailand <\/span>namun<\/span> juga <\/span>budaya<\/span> <\/span>filem<\/span> global<\/span> \u2013<\/span> <\/span>terletak<\/span> <\/span>pada <\/span>kemampuannya<\/span> <\/span>untuk<\/span> <\/span>menjembatani<\/span> <\/span>diskusi<\/span> <\/span>publik<\/span>, <\/span>meningkatkan<\/span> <\/span>kesadaran<\/span> <\/span>masyarakat<\/span>, dan <\/span>membawa<\/span> <\/span>pertanyaan-pertanyaan<\/span> <\/span>politis<\/span> <\/span>ini<\/span> <\/span>ke<\/span> <\/span>ruang-ruang<\/span> <\/span>publik<\/span>.<\/span><\/p>\n

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Riar Rizaldi mengemukakan pandangannya tentang bromocorah dalam konteks kultur digital dan internet hari ini.<\/p><\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Diving into Bromocorah” css=”.vc_custom_1566269914845{margin-bottom: 0px !important;}”]\n

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After <\/span>the<\/span> key<\/span>note<\/span> speech session <\/span>by <\/span>Otty<\/span> <\/span>Widasari<\/span> neatly established the basis for <\/span>bromocorah<\/span> <\/span>discussion<\/span> at the Festival Forum and also the entire ARKIPEL <\/span>event<\/span> this year, the first panel of the Festival Forum titled “<\/span>Bromocorah<\/span>: Its Position in the Social, Political, Cultural Context” will <\/span>be diving<\/span> the <\/span>bromocorah<\/span> frame. This panel <\/span>aimed<\/span> to <\/span>trace <\/span>every detail of the complexity of <\/span>bromocorah<\/span> in the context of Indonesia, Asia<\/span>,<\/span> and Latin America. This panel <\/span>was held <\/span>at <\/span>GoetheHaus<\/span>, Goethe-<\/span>Institut<\/span> Indonesia on September 19, 2019, by inviting three experts and academics: <\/span>Manneke<\/span> Budiman<\/span> (lecturer at the Faculty of <\/span>Humanities<\/span>, University of Indonesia), <\/span>Philippa <\/span>Lovatt<\/span> (academics from <\/span>the <\/span>UK <\/span>focus<\/span>ing<\/span> on East Asian and Southeast Asian cinema studies), and <\/span>Ronny <\/span>Agustinus<\/span> (Latin America<\/span> <\/span>studies expert), moderated by <\/span>Prashasti<\/span> <\/span>Wilujeng<\/span> Putri.<\/span><\/p>\n

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Manneke Budiman is elaborating his presentation on bromocorah in the literary context in Asia.<\/p><\/div>\n

The discussion of<\/span> <\/span>bromocorah<\/span> <\/span>is inseparable<\/span> from <\/span>the discussion regarding<\/span> <\/span>the <\/span>system. The <\/span>position of <\/span>bromocorah<\/span> is always outside the system, but the existence of the <\/span>bromocorah<\/span> goes hand<\/span>–<\/span>in<\/span>–<\/span>hand with the existence of the system. The first speaker, <\/span>Manneke<\/span> Budiman, explained his <\/span>presentation<\/span> <\/span>on <\/span>the ambiguity of <\/span>the representation of <\/span>bromocorah<\/span> in Indonesian <\/span>l<\/span>iterature. In <\/span>Mochtar<\/span> <\/span>Lubis’s<\/span> short story <\/span>Bromocorah<\/span>, the <\/span>bromocorah<\/span> is depicted humanely <\/span>\u2013<\/span> he is <\/span>a<\/span> husband and <\/span>a <\/span>father who loves his family. He <\/span>fights<\/span> against the system because he <\/span>is<\/span> a victim of the system itself, <\/span>becoming a residue of the society<\/span> and subjectively <\/span>feels<\/span> alienated from his village <\/span>community<\/span> even <\/span>if<\/span> not all villagers put him as a stranger. <\/span>The<\/span> subjective feeling form<\/span>ed<\/span> a different social class <\/span>\u2013<\/span> not <\/span>a part of the commoners<\/span>, not <\/span>part of the <\/span>elite<\/span>s.<\/span> <\/span>He<\/span> <\/span>occupies<\/span> a<\/span> vacuum <\/span>space that cannot be <\/span>ful<\/span>filled <\/span>by<\/span> the <\/span>established<\/span> system<\/span>,<\/span> and <\/span>it<\/span> always <\/span>exists <\/span>but <\/span>was <\/span>never recognized. While in the <\/span>poem<\/span> <\/span>Jante <\/span>Arkidam<\/span>, the character <\/span>whose <\/span>name<\/span> is the<\/span> same as the title of the poem is described as <\/span>bromocorah<\/span> <\/span>\u2013 <\/span>the real <\/span>offender<\/span> \u2013 <\/span>who rob<\/span>s<\/span>, gambl<\/span>es<\/span>, dr<\/span>i<\/span>nk<\/span>s<\/span>, and <\/span>philandering<\/span>, and often challenge<\/span>s <\/span>the <\/span>police<\/span>. <\/span>Not only <\/span>show<\/span>s<\/span> the other side of the <\/span>representation of <\/span>bromocorah<\/span>, <\/span>Jante <\/span>Arkidam<\/span> also implie<\/span>s<\/span> criticism of the failure of the state system<\/span>,<\/span> which s<\/span>upposes <\/span>to <\/span>enforce<\/span> stability. At the end of his presentation, <\/span>Manneke<\/span> concluded that <\/span>bromocorah<\/span> is both a perpetrator and a victim<\/span>;<\/span> he is like a parasitic virus that occupies a<\/span> <\/span>vacuum<\/span> space<\/span> <\/span>unable to be<\/span> touched by a diseased system.<\/span><\/p>\n

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The atmosphere of the audience in the first panel of ARKIPEL bromocorah’s Forum Festival.<\/p><\/div>\n

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Philippa Lovatt is elaborating her presentation on bromocorah in the context of activism in cinema and social reality.<\/p><\/div>\n

Shifting <\/span>the focus<\/span> to <\/span>an<\/span>other Asian <\/span>region<\/span>, Philippa <\/span>Lovatt<\/span> explained the <\/span>notion<\/span> of <\/span>bromocorah<\/span> in <\/span>an <\/span>anthology of <\/span>Ten Years Thailand<\/span> (2018). Films created in censorship culture often have to take the form of clandestine activism to negotiate<\/span> with the restrictions of the system<\/span>. The political instability that occurred in Thailand after the coup and the death of King Bhumibol Adulyadej made the <\/span>dystopian <\/span>literary and cinema <\/span>trope undistinguishable with the<\/span> everyday reality. Four works in the anthology of <\/span>Ten Years Thailand<\/span> <\/span>\u2013<\/span> Aditya <\/span>Assarat’s<\/span> <\/span>Sunset<\/span>, <\/span>Wisit<\/span> <\/span>Sasanatieng’s<\/span> <\/span>Catopia<\/span>, <\/span>Chulayarnnon<\/span> <\/span>Siriphol’s<\/span> <\/span>Planetarium<\/span>, and <\/span>Apichatpong<\/span> Weerasethakul’s <\/span>Song of the City<\/span> <\/span>\u2013 <\/span>took the form of the world of dystopia as a depiction and critique of Thailand’s political situation <\/span>similar to<\/span> the <\/span>dystopian <\/span>reality. The political imagination depicted in these four works calls <\/span>out<\/span> for excavation of the past and the future, tracing the <\/span>history<\/span> to offer radical hopes<\/span> of the future<\/span>, <\/span>embodied<\/span> in the <\/span>potentiality of <\/span>bromocorah<\/span>.<\/span><\/p>\n<\/div>\n<\/div>\n

\n
\n
\"\"

Budi Irawanto from Jogja Netpac Asian Film Festival asked questions at the discussion of the first panel discussion of Forum Festival.<\/p><\/div>\n

\n
\n

The Latin American region also offers a <\/span>rich<\/span> cultural complexity that is<\/span> <\/span>no less interesting in <\/span>bromocorah<\/span> talks. Ronny <\/span>Agustinus’s<\/span> <\/span>analysis<\/span> of <\/span>the <\/span>legendary social bandits in Latin <\/span>America began with Joaquin Murrieta, a Mexican farmer<\/span>-shepherd <\/span>who migrated to California in the 1850s. He experienced various discrimination<\/span>s<\/span>, pushing him to take revenge <\/span>that eventually made him one of the most <\/span>feared figure. His life story ha<\/span>d<\/span> been mixed with myth – his real identity <\/span>was<\/span> revoked and <\/span>augmented<\/span> with any identity, becoming <\/span>a<\/span> <\/span>bromocorah<\/span> <\/span>icon <\/span>for anyone. Fiction and facts are no longer a<\/span>n issue within <\/span>the construction of <\/span>his <\/span>bromocorah<\/span> identity. As long as injustice occurs, <\/span>bromocorah<\/span> will always exist.<\/span><\/p>\n<\/div>\n<\/div>\n

\n
\n

After the three speakers finished<\/span> their presentations<\/span>, the audience <\/span>was<\/span> welcome to ask questions or <\/span>to <\/span>respond. The first<\/span> questioner<\/span> <\/span>was<\/span> Mas Budi <\/span>Irawanto<\/span> from Jogja-NETPAC Asian Film Festival (JAFF)<\/span>. He<\/span> asked <\/span>Manneke<\/span> about the <\/span>romanticization<\/span> of <\/span>bromocorah<\/span> in literary works as a way to hide antagonism. He also asked Philippa <\/span>on<\/span> the most significant form of <\/span>bromocorah<\/span> potentiality in activism <\/span>\u2013<\/span> whether it <\/span>is<\/span> the form of experimentation or the <\/span>depiction<\/span> of resistance to<\/span>ward<\/span> the official image of society.<\/span><\/p>\n

Manneke<\/span> answered that th<\/span>e<\/span> <\/span>romanticization<\/span> was not a naivety of <\/span>the <\/span>artists, but it <\/span>was<\/span> subversive to the dominant discourse of the state. Meanwhile, Philippa answered that the potentiality of <\/span>bromocorah<\/span> in films <\/span>\u2013<\/span> not only Thai film culture but also global film culture <\/span>\u2013<\/span> lies in its ability to bridge public discussion, raise public awareness, and bring these political questions to public spaces.<\/span><\/p>\n<\/div>\n<\/div>\n

\"\"

Riar Rizaldi expressed his opinion on bromocorah in the context of digital and internet culture today.<\/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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