SULUK | SULUK PUTU WIJAYA
EMPU
THE MAESTRO
UPACARA ADAT | TRADITIONAL CEREMONY
TENONGAN
PESAN DAMAI DARI LERENG SINDORO A MESSAGE OF PEACE FROM SINDORO SLOPE
BAHASA | LANGUAGE
BAHASA YANG MESTI DISELAMATKAN THE LANGUAGE THAT NEEDS TO BE SAVED
JALAN SUNYI
MAESTRO-MAESTRO
THE LONELY PATH OF THE MAESTROS DWIBAHASA BILINGUAL
HARGA RP 48.500,VOL. II | NO. 16 |15 APRIL -15 MEI 2012
Daftar Isi Contents
54 MAESTRO-MAESTRO YANG TERLUPAKAN GONG | GONG
THE FORGOTTEN MAESTROS
Pementasan Opera Batak di Taman Ismail Marzuki, Jakarta, 4 April 2012, menghadirkan Zulkaidah Harahap, maestro Opera Batak yang dalam usia 65 tahun masih bening suaranya ketika menyanyi di panggung. Ia adalah salah satu maestro Opera Batak, selain Alister Nainggolan (73 tahun) yang juga tampil malam itu. Di kampungnya, Zulkaidah sudah tak banyak lagi berpentas. “Dulu waktu remaja aku tak pernah mencangkul, sekarang aku mencangkul,” ujarnya, tertawa. The recent staging of Batak Opera at Taman Ismail Marzuki in Jakarta, on April 4, 2012, featured Zulkaidah Harahap, a 65 year old Batak Opera maestro who still have her clear voice onstage. She is one of the maestros of Batak Opera, beside Alister Nainggolan (73) who also appeared onstage that evening. In her village, Zulkaidah has not been performing for long. “In my teens, I never hack, now I am using the hoe on the field,” she laughed.
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SULUK | ESSENCE PUTU WIJAYA
EMPU THE MAESTRO
SEORANG menjadi empu bila ia mencapai taraf tertinggi dalam kemampuannya di sebuah bidang. Ia bagaikan cahaya bagi orang lain. Memberikan arah, tuntunan, teladan, serta inspirasi bagi mereka yang mengikuti jejaknya. Kebesarannya bukan karena dipujikan, bukan karena keadaan sekitarnya yang membuat ia menonjol, bukan juga karena rekayasa dan manipulasi, melainkan karena ia memang besar. A PERSON is a maestro when he or she has reached the highest level of competence in a field. The person will be the light for other people, to show direction, guidance, examples, and inspiration to those who follow their path. They do not owe their greatness to praises, nor to circumstances that allow them a spotlight, nor to engineered condition and manipulation, but because they are indeed grand. 2
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PROFIL | PROFILE TITIK BALIK
HAPPY SALMA
THE TURNING POINT OF HAPPY SALMA
MENGAWALI karier sebagai gadis sampul majalah remaja pertengahan tahun 1990-an, Happy Salma kini menjelma menjadi pekerja seni yang patut diperhitungkan. Dunia kepenulisan dan panggung dia taklukkan sekaligus dalam satu helaan napas. Apa yang menjadi titik balik lompatan kariernya? STARTING her career as a cover girl of a teen magazine in mid 1990s, Happy Salma have become an artist worthy of consideration. She conquers both the world of writing and stage in a single breath. What is her turning point in her career leap?
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UPACARA ADAT | TRADITIONAL CEREMONY
Foto Sampul |Cover Picture: HARDY MENDROFA
TENONGAN Pesan Damai dari Lereng Sindoro
DI BALIK SAMPUL | BEHIND THE COVER
A MESSAGE OF PEACE FROM SINDORO SLOPE
Setiap bulan Sura (Muharam) warga sebuah desa, yang banyak melahirkan penari lengger, menggelar tradisi tenongan yang mampu meretas sekat perbedaan agama dan keyakinan. Every month of Sura (Muharam) the people of a village, the birth place of many lengger dancers, held tenongan rituals that trespass barriers of differences between religions and beliefs. KESEHATAN | HEALTH Melalui Yoga, Memburu Kedamaian Searching for Peace through Yoga
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PERMAINAN TRADITIONAL | TRADITIONAL GAME NDEPROK MAIN BEKELAN Sitting on the Floor Playing Bekelan
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ARSITEKTUR | ARCHITECTURE RUMAH TIGA GENERASI MARGA CHIA A Three-Generation Home of The Chia Clan
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KULINER | CULINARY WEDANG TAHU PENGHANGAT TUBUH PADA MUSIM HUJAN Hot Ginger Tofu Drink , Keeps Us Warm in Rainy Season
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TOKOH | FIGURE AYU UTAMI SI BUNGSU PEMBERANI Ayu Utami, the Bold Youngest Kid
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WAWANCARA | INTERVIEW
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SLAMET ABDUL SJUKUR:
“HUBUNGAN GELAP DEBUSSY DENGAN GAMELAN JAWA” “FORBIDDEN AFFAIR OF DEBUSSY AND GAMELAN” SITUS | SITE JEJAK SIWA DI DUSUN MANGIR Traces of Shiva in Mangir Village
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KOMUNITAS | COMMUNITY
85
KOMUNITAS PECINTA MUSIK INDONESIA | INDONESIAN MUSIC LOVER COMMUNITY
PENCARI JEJAK YANG TERABAIKAN The Forsaken Trackers
SENI RUPA | VISUAL ART PEREMPUAN DALAM SENI RUPA Women in Fine Arts KALAM | WORD TO PONDER
PUTU WIJAYA
92 114
BILA KARTINI MENULIS SURAT LAGI
When Kartini Wrote Another Letter
FESTIVAL | FESTIVAL KOMA MEMBUAT SEJARAH Koma Makes History
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PANORAMA | PANORAMA YANG LAIN DARI BATAM Another Side Of Batam
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S
ampul majalah Warisan Indonesia edisi kali ini menampilkan wajah salah seorang maestro yang dibahas di dalam GONG, yaitu Raden Achmad Kosasih. Sosok yang dikenal sebagai Bapak Komik Indonesia ini, pada 1960-1970-an dikenal sebagai komikus wayang terutama kisah Ramayana dan Mahabharata. Pada 4 April 2012, ia genap berusia 93 tahun. Namun, ia masih tetap tampak gagah dan tidak pikun. Ia sudah sejak 1990-an tidak menggambar lagi, yaitu sejak tangannya sering bergetar. Komik-komiknya belakangan banyak diterbitkan kembali untuk menyembuhkan kerinduan pembaca setianya. GONG edisi ini mengangkat para maestro berbagai kesenian yang sudah berusia lanjut tentang kehidupan mereka sekarang setelah tak dipuja-puji masyarakat. Selain RA Kosasih ada juga Encim Masnah (gambang kromong) dan Edi Sunarso. Sebagian besar dari mereka hidup sederhana bahkan miskin pada hari tua, padahal mereka sangat berjasa bagi kebudayaan Indonesia.
T
he cover of this edition presents one of the many maestros featured in GONG. He is Raden Achmad Kosasih. The Father of Indonesian Comic, during the 1960s to 1970s, he was known as wayang comic artist with his Ramayana and Mahabharata wayang epic series. He turns 93 on April 4, 2012. However, he still looks gallant and he is not senile at all. He has stopped drawing since the 90s, when his hands started to tremble. His comics are widely republished to quench the thirst of his loyal readers. This edition’s GONG features the maestros of various arts in their old age, after they are no longer praised by the society. Besides RA Kosasih, there is also Encim Masnah (xylophone artist) and sculptor Edi Sunarso. Most of them are living their senior years modestly and even in poverty, while in fact they have been meritorious for Indonesian culture.
Melalui Yoga, Memburu Kedamaian SEARCHING FOR PEACE THROUGH YOGA
OLEH/BY WAYAN SUNARTA (BALI) BALI sesungguhnya adalah tempat mencari kedamaian. Sayang, ledakan bom mengoyaknya. Sebuah festival untuk meraih lagi kedamaian itu kembali digelar. Kini pesertanya sudah jauh lebih banyak ketimbang saat pertama berlangsung. BALI is precisely the place to find peace. Unfortunately, however, the bomb has disrupted that quest. A festival was held to resume that quest once again. This time around, the number of participants was far superior compared to the one held for the first time.
V
ibrasi kedamaian memancar dari kawasan Bali Purnati, Desa Batuan, sekitar 5 kilometer dari Ubud. Sejak 28 Maret hingga 1 April 2012, ratusan orang dari sejumlah negara yang haus akan kehidupan spiritual berkumpul di sana. Mereka selalu tampak ceria selama mengikuti berbagai jenis kursus yoga berlatar tari dan musik. Di sini Yoga tak sakral, tetapi penuh tawa canda tanpa mengurangi makna spiritualitasnya. Panitia mengatur kursus-kursus yoga di beberapa tempat, dari pagi hingga petang. Sebagian peserta tekun berlatih yoga asana, kelompok lain memadukan yoga asana dengan gerakan tari dan musik Afrika. Ada juga kelas meditasi, penyembuhan, dan terapi. 14
T
he aura of peace strongly vibrates throughout the Bali Purnati area, Batuan Village, around 5 kilometers from Ubud. Starting from 28 March until 1 April 2012, hundreds of people from a number of countries earnestly searching for a spiritual tranquility, have descended on the island. They were always in a continuous joyous mood while following in earnest the various courses of yoga, accompanied by colorful array of dances and music as a background. Here, yoga is not sacred, but full of laughter and joy, without undermining its spiritual significance. The organizing committee has been busy preparing several yoga classes in various places, from morning till sunset.
Warisan Indonesia I Vol. II I No. 16 I 15 April -15 Mei 2012
Phalayasa
BALI SPIRIT FESTIVAL 2012
Suasana memang penuh keceriaan. Beberapa orang duduk seenaknya di rerumputan membentuk kelompokkelompok kecil. Di sekitar lokasi terdapat stan-stan makanan dan minuman vegetarian, suvenir, pakaian, teknik penyembuhan dengan kristal, dan alat-alat kebutuhan yoga dan spiritual. Itulah suasana Bali Spirit Festival (BSF), yang tahun ini memasuki usia ke-5. Suatu festival spiritual bertaraf internasional berlatar gagasan sederhana; ajakan untuk hidup sehat. Penggagasnya ada tiga, yaitu I Kadek Gunarta, Meghan Pappenheim, dan Robert Weber. Menurut Kadek Gunarta, festival ini memang menyasar orang asing. Namun, ada juga beberapa peserta dari Indonesia. Ide awal festival bertolak dari pemulihan Bali pasca-tragedi Bom Bali, memulihkan pencitraan Bali sebagai daerah tujuan wisata seni dan budaya, termasuk juga wisata spiritual. Dibandingkan tahun-tahun sebelumnya, tahun ini jumlah peserta meningkat. Ada sekitar 600 peserta asing yang datang khusus untuk ikut festival dan sekitar 300 peserta wisatawan asing yang berlibur di Bali. “Yoga memang telah menjadi gaya hidup. Kehidupan modern yang materialistis telah menjadikan banyak orang seperti mesin. Akhirnya, muncul kesadaran untuk mengisi diri dengan kegiatan-kegiatan spiritual, seperti yoga dan meditasi. Mungkin itu salah satu alasan, mengapa festival ini diminati banyak orang asing,” tutur Gunarta, arsitek yang juga mantan penyair ini. Puluhan pelatih yoga berpengalaman secara khusus didatangkan dari beberapa negara. Mereka punya sertifikat sesuai keahlian yoga yang mereka tekuni.
Phalayasa
Phalayasa
Phalayasa
Kesehatan Health
Some participants are deeply immersed in absorbing the asana yoga, other groups are combining the asana yoga with some African dancing movements and songs. There were even meditation, healing and therapy classes. It was a joyous occasion indeed. A number of people sit leisurely on the grass, forming small groupings. The location was enlivened with food and beverage stalls, stands of souvenir, clothes, healing techniques with crystal, also equipment for yoga and spiritual activities. This was the true atmosphere of the Bali Spirit Festival (BSF), which celebrates its fifth anniversary this year. An international spiritual festival held with a rather simple background; as an appeal for a healthy life. It was conceived by three people: I Kadek Gunarta, Meghan Pappenheim and Robert Weber. According to Kadek Gunarta, this festival was actually targeted for foreigners. However, there were also Indonesian participants. The original idea came about in the aftermath of the Bali bombing tragedy, to restore its tarnished image as tourist art and culture destination, including the spiritual tourism as well. Compared to the previous years, the number of this year’s attendants has increased substantially. There were about 600 foreign participants who purposely took part in the festival and around 300 foreign tourists who were spending their holiday in Bali.
Kehidupan modern yang materialistis telah menjadikan banyak orang seperti mesin. Akhirnya muncul kesadaran untuk mengisi diri dengan kegiatan-kegiatan spiritual The modern materialistic life-style has transformed many individuals into machineline beings. In the end, an awaress has emerged to immerse oneself with spiritual activities
“Yoga has indeed become a way of life. The modern materialistic life-style has transformed many individuals into machine-like beings. In the end, an awareness has emerged to immerse oneself with spiritual activities, such as yoga and meditation. This might be one of the reasons why the current festival has drawn the interest of many foreigners,” said Gunarta, an architect and concurrently a former poet.
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Anis Efizudin
Tenongan Pesan Damai dari Lereng Sindoro A MESSAGE OF PEACE FROM SINDORO SLOPE
OLEH/BY ALI SUBCHI (WONOSOBO) Setiap bulan Sura (Muharam) warga sebuah desa, yang banyak melahirkan penari lengger, menggelar tradisi tenongan yang mampu meretas sekat perbedaan agama dan keyakinan. Every month of Sura (Muharam) the people of a village, the birth place of many lengger dancers, held tenongan rituals that trespass barriers of differences between religions and beliefs. 18
Warisan Indonesia I Vol. II I No. 16 I 15 April -15 Mei 2012
Anis Efizudin
Anis Efizudin
Kearifan Lokal Local Wisdom
N
UN di lereng Gunung Sindoro, ratusan warga yang kebanyakan kaum perempuan berjalan beriringan membawa tenong—tempat makanan yang terbuat dari anyaman bambu. Tenong yang berisi aneka makanan itu diletakkan di atas kepala (disunggi— bahasa Jawa) untuk sesajen ritual tenongan atau disebut juga tarakan di Padepokan Kesenian, Dusun Giyanti, Desa Kadipaten, Kecamatan Selomerto, Kabupaten Wonosobo, Jawa Tengah, baru-baru ini. Tradisi tenongan dilakukan setiap tahun pada bulan Sura (Muharam) penanggalan Jawa, meneruskan tradisi yang sudah dilakukan oleh nenek moyang warga di dusun berhawa sejuk itu. Tenong yang dihias menggunakan kertas warna-warni itu dijadikan tempat menaruh makanan, seperti jajanan pasar, buah-buahan, dan ubiubian hasil kebun. ”Hingga sekarang, keberadaan ritual
O
n yonder slope of Mountain Sindoro, hundreds of villagers mostly women were walking in files carrying tenong—food container made of plaited bamboo. Tenong filled with all sorts of food was placed and carried on their heads (disunggi—Javanese) for tenongan offering rituals—also called tarakan—at the Padepokan Kesenian (Sanctuary of Art), in Giyanti Hamlet, Kadipaten Village, Selomerto District, Wonosobo Regency, Cental Java. The tradition of tenongan is held annually in the month of Sura (Muharam) of the Javanese calendar, continuing the tradition passed down from the ancestors of the villagers. Tenong decorated with colorful papers is the container for food such as traditional snacks, fruits, and tubers. “The ritual of tenongan has been kept alive to this day,” said an elder of Giyanti village, Sosro Wardoyo. Warisan Indonesia I Vol. II I No. 16 I April 15 - May 15 2012
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Ibnu Setiadi
Permainan Tradisional Traditional Games
Main Bekelan SITTING ON THE FLOOR PLAYING BEKELAN
Para ibu tentu ingat dengan permainan tradisional yang legendaris ini. Sebab, bekel sangat identik dengan gadis-gadis usia 10-12 tahun sejak zaman dahulu. Bisa dibilang, permainan bekel adalah permainan “jadul� (zaman dulu) yang hingga kini masih eksis. Meski tak seramai dulu, kita masih bisa mendapati anak-anak perempuan bermain bekel di teras rumah atau halaman sekolah saat istirahat. Mothers do remember this very popular traditional game. Well, bekel is so synonymous with 10 to 12 year old girls since long time ago. You can say that the game of bekel is an old-fashioned game surviving to date. Although it is not as popular and widespread as it used to be, we could still find young girls playing them in the porch or even at school yard during break. Warisan Indonesia I Vol. II I No. 16 I April 15 - May 15 2012
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Arsitektur Architecture
Muhlis Suhaeri
Rumah Tiga Generasi
Marga Chia A THREE-GENERATION HOME OF THE CHIA CLAN
OLEH/BY MUHLIS SUHAERI (SINGKAWANG) Sebuah rumah berdiri di pinggir kelokan sungai di tengah Kota Singkawang, Kalimantan Barat. Lebar dan kedalaman sungai memberikan arti, pada masa lalu, wilayah itu bisa dilayari hingga ke muara sungai. A house was standing by a river bend in the middle of Singkawang, West Kalimantan. The width and depth of the river let us know that once it was sailed deep into the estuary. Warisan Indonesia I Vol. II I No. 16 I April 15 - May 15 2012
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Yanuar Dwi Sarjono
Wedang Tahu
Penghangat Tubuh pada Musim Hujan HOT GINGER TOFU DRINK , KEEPS US WARM IN RAINY SEASON OLEH/BY IYAN DSI (SEMARANG)
Pada musim hujan, masyarakat Semarang dan Solo, Jawa Tengah, punya cara sendiri untuk menghangatkan badan. Minum wedang tahu yang hangat dan lembut di bibir adalah salah satu cara mengusir hawa dingin. During the rainy season, the people of Semarang and Solo in Central Java, have their own way to warm the body. Drinking warm wedang (hot ginger beverage) tofu that soft on the lips is one way to cast out the cold weather. 32
Warisan Indonesia I Vol. II I No. 16 I 15 April -15 Mei 2012
Yanuar Dwi Sarjono
Kuliner Culinary
M
I
Sebutan nama yang berbeda itu sebenarnya untuk menunjuk jenis minuman sama, sebuah minuman hangat atau wedang dengan bahan dasar utama kedelai. Melalui proses pemasakan dan dipadu kuah jahe, menjadikan sebuah jajanan ringan nan lembut menghangatkan.
The different terms actually indicate the same drink, a warm ginger beverage or wedang with soybean as the main ingredient. Through the cooking process and combined with hot ginger syrup, it is such a light and soft sweet treat.
Sekilas wedang tahu ini seperti bubur sumsum. Apalagi saat dihidangkan di mangkuk, terlihat irisanirisan kembang tahu berwarna putih dengan kuah jahe berwarna kecokelatan, serta aroma serai yang menyegarkan.
At a glance the wedang tahu looks like bubur sumsum (a sweet dessert of rice flour porridge and palm sugar sauce). The serving of soft pieces of white tofu crème poured with hot ginger syrup in a cup is truly inviting. All the more so with the refreshing fragrant of lemongrass.
Wedang tahu bukanlah kuliner tanpa sejarah. Konon, minuman tradisional ini dulu dibawa ke Semarang oleh imigran China yang menjalankan misi dagangnya, sekitar awal abad ke-19. Lama-kelamaan orang pun menyukainya sehingga kemudian berkembang di Semarang hingga Solo. Sekitar tahun 1980-an, wedang tahu masih marak diperdagangkan dari kampung ke kampung, baik di Semarang maupun Solo.
Wedang tahu is not a culinary that has no history. Legend has it that the traditional beverage was brought to Semarang by the Chinese immigrants coming to trade, around early 19th century. Eventually people loved it, and it was known across Semarang and Solo. Around the 1980s, the wedang tahu was sold everywhere from kampong to kampong, in Semarang as well as in Solo.
Belakangan, penjual semakin langka karena regenerasi penjual terhenti. Menurut Supardi (42), penjual wedang tahu keliling di Semarang, dirinya merupakan generasi ketiga. Wedang tahu tersebut merupakan warisan dari kakeknya dan secara turun-temurun melanjutkannya. “Memang, sekarang yang jualan sudah semakin sedikit,” kata pria asal Klaten, Jawa Tengah, ini.
Only just recently, wedang tahu vendors are seldom to be found since there has been no regeneration. According to Supardi (42), a wedang tahu vendor in Semarang, he is the third generation. The wedang tahu business was inherited from his grandfather and handed down through generations. “It is true that there are only few vendors,” said the man originated from Klaten, Central Java.
INUMAN yang satu ini adalah minuman khas di Kota Semarang dan Solo, Jawa Tengah. Menjadi minuman legendaris, tetapi semakin langka yang menjajakan. Ya, minuman ini di Semarang bernama wedang tahu, tetapi di Solo orang menyebutnya tahok.
t is a typical beverage of the cities of Semarang and Solo. It has become legendary, but at the same time, those who sell it are getting scarce. That’s right, in Semarang the warm drink is called wedang tahu, but in Solo they call it tahok.
Pembuatan wedang tahu semua secara alami dan hampir sama dengan pembuatan susu kedelai. Agar sedikit lebih kenyal, sari kedelai ditambahi tepung hunkwe The making of wedang tahu is all natural and almost similar to making soymilk. To make it more chewy, hunkwe flour is added
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Hardy Mendrofa
Profil Profile
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Warisan Indonesia I Vol. II I No. 16 I 15 April -15 Mei 2012
Profil Profile
TITIK BALIK
Happy Salma THE TURNING POINT OF HAPPY SALMA
MENGAWALI karier sebagai gadis sampul majalah remaja pertengahan tahun 1990-an, Happy Salma kini menjelma menjadi pekerja seni yang patut diperhitungkan. Dunia kepenulisan dan panggung dia taklukkan sekaligus dalam satu helaan napas. Apa yang menjadi titik balik lompatan kariernya?
STARTING her career as a cover girl of a teen magazine in mid 1990s, Happy Salma have become an artist worthy of consideration. She conquers both the world of writing and stage in a single breath. What is her turning point in her career leap?
“S
AYA mengakui bahwa karya-karya besar sastra Indonesia banyak memengaruhi cara pandang saya. Bahkan, saya berani menggeluti dunia panggung teater juga karena kecintaan saya pada karya-karya besar tersebut,” begitu pengakuan pekerja seni berwajah ayu tersebut tanpa merinci karya-karya besar mana yang dia maksudkan. Menjelang peringatan Hari Kartini yang jatuh pada 21 April ini, Happy Salma tengah disibukkan dengan berbagai rutinitas. Salah satunya, latihan pementasan “Roro Mendut”, yang akan dihelat pada 14 April 2012 lalu di Teater Jakarta, Taman Ismail Marzuki (TIM), Jakarta.
“I
must admit that Indonesia art masterpiece have had a profound effect on my perception. In fact, I dare myself to also gain passion in the theatre out of my love of these masterpieces,” so admitted the beautiful artist without naming any of those she refers to as masterpieces.
In the wake of the Kartini Day this coming 21st April, Happy Salma is busy with her daily routine. One is a rehearsal of the play “Roro Mendut”, staged on April 14, 2012 at Teater Jakarta, Taman Ismail Marzuki (TIM), Jakarta.
Happy Salma, kelahiran Sukabumi 14 Januari 1980 ini, mengaku sejak kecil sudah terbiasa menulis puisi, menari, hingga mengikuti cerdas-cermat. Happy adalah anak keempat dari enam bersaudara. Ayahnya bernama Dachlan Suhendara (almarhum), dan ibunya, Iis Rohaeni, seorang pengusaha mebel sekaligus kontraktor. Kini, Happy berstatus nyonya Tjokorda Dwi Santana Max Kerthyasa, seorang pengusaha asal “Pulau Dewata” Bali.
Happy Salma, born in Sukabumi January 14, 1980, admits that since she was little she has been accustomed to writing poems, dancing and participating in quizzes. Happy is the fourth child of six. Her father was late Dachlan Suhendara, and her mother, Iis Rohaeni, is a furniture entrepreneur as well as a contractor. Now, Happy is the wife of Tjokorda Dwi Santana Max Kerthyasa, a businessman from “The Island of Gods,” Bali.
“Saat duduk di bangku sekolah dasar (SD), saya senang bikin cerita pendek (cerpen), suka bikin majalah sendiri buat adik saya dan anaknya bibi di rumah jadi pelanggannya,” kenangnya, saat ditemui di sela-sela latihan pementasan “Roro Mendut” di House Club, Apartemen Pavilliun, Jalan Jenderal Sudirman, Jakarta, baru-baru ini.
“In elementary school, I enjoyed writing short stories, creating my own magazine for my younger siblings and cousins and they were the subscribers in the house,” she recalled, when interviewed amidst the showing of “Roro Mendut” at House Club, Apartemen Pavillion, Jenderal Sudirman Road, Jakarta, recently.
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Profil Profile
“Seni itu sebuah usaha mencarikan bentuk estetik bagi kejujuran”.
B
“Art is a search of an aesthetic form for honesty.”
EGITULAH novelis Ayu Utami (44) merumuskan pengertian seni. Cita-cita menjadi seniman, yang sempat diinterupsi keluarganya dengan melarang dia mendaftar di Fakultas Seni Rupa dan Desain (FSRD) ITB Bandung, kini sudah dalam genggamannya. Meski tidak menjadi pelukis seperti cita-cita semula, kini Ayu menjadi novelis yang pencapaian estetis dan teknik komposisinya sangat mungkin tidak bisa terkejar penulis lain segenerasinya. Di tengah maraknya “sastra motivasi” yang akhir-akhir ini mewabah, pemilik nama lengkap Justina Ayu Utami ini konsisten menyajikan karya yang berdimensi sejarah, politik, antropologi sosial, spiritualitas, dan tentu seksualitas dengan penuh kejujuran dan daya kritis yang mengentak. Meskipun dia harus ”membayar mahal” atas pilihannya ini. Dia sempat dicibir dan dianggap penebar “sastra-perkelaminan” ketika Saman novel pertamanya yang menjadi pemenang Sayembara Roman Dewan Kesenian Jakarta (DKJ) tahun 1998 mengguncang dunia sastra negeri ini. Seni merangkaikan kata-kata menjadi kekuatan deretan penulis novel nonfiksi Indonesia era 1990-an. Namun, Ayu-lah yang disebut-sebut sebagai pembawa angin segar ‘keberanian’. Urusan diterima khalayak atau tidak, dia tidak terlalu memikirkan. Memang, sejak diterbitkannya novel Saman dan Larung (2001) dengan sudut pandang “aku” yang berganti di tiap bab, nama Ayu Utami lahir sebagai novelis pembawa kebebasan sastra. Kedua novelnya yang dianggap memperluas batas cakrawala sastra Indonesia ini diganjar anugerah Prince Claus Award (2000) dan penghargaan Majelis Sastra Asia Tenggara (2008).
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Warisan Indonesia I Vol. II I No. 16 I 15 April -15 Mei 2012
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uch is the formulation of art according to novelist Ayu Utami (44). Her dream to be an artist had been interrupted by her family when she was denied permission to register at the Department of Fine Arts and Design at Bandung Institute of Technology (ITB). But it is now in her hands. Although she did not get her wish to be a painter, she is now a novelist with aesthetic achievement and composition technique which probably could never be achieved by other writers in her generation. Among the hustle and bustle of “motivational literary” spreading wide recently, Justina Ayu Utami has been consistently crafting works rich with dimensions of history, politics, social anthropology, spirituality, and certainly sexuality brimming with honesty and criticism that jolt people. She had to pay high for such choice of works though. She has been ridiculed and even regarded as an advocate of “sex literary” when her first novel Saman won the 1998 Jakarta Arts Council’s Competition of Fiction that shook the literary world of this country. The art of composing words were the strength of Indonesian nonfiction novelists in the 1990s. Yet, it was Ayu who has been regarded as bringing a fresh air of ‘courage’. Whether or not the public welcomed the book, it did not matter much to her. Indeed, ever since the publication of Saman and Larung (2001) with “I” point of view that changes in each chapter, the name Ayu Utami was born as novelist who advocates literary freedom. Both novels—viewed as broadening the horizon of Indonesian literary—were awarded the Prince Claus Award (2000) and South East Asia Council Literature Award (2008).
Profil Profile
AYU UTAMI Si Bungsu Pemberani Warisan Indonesia I Vol. II I No. 16 I April 15 - May 15 2012
Ibnu Setiadi
AYU UTAMI, THE BOLD YOUNGEST KID
43
SLAMET ABDUL SJUKUR:
“Hubungan gelap Debussy dengan Gamelan Jawa” “FORBIDDEN AFFAIR OF DEBUSSY AND GAMELAN”
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Wawancara Interview
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elahiran Surabaya tahun 1935 ini, mendapat julukan Bapak Musik Kontemporer Indonesia. Dia bekerja di Paris setelah belajar pada Olivier Messiaen, Henri Dutilleaux, dan Pierre Scheffer. Namun, mantan dekan di Institut Kesenian Jakarta ini, sekarang lebih suka menjadi komposer dan guru piano di Jakarta dan Surabaya.
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orn in Surabaya in 1935, he earned the title Father of Indonesian Contemporary Music. He worked in Paris following his study with Olivier Messiaen, Henri Dutilleux, and Pierre Schaeffer. However, this former dean of the Jakarta Art Institute now prefers to be a composer and piano teacher in Jakarta and Surabaya. Now Slamet who was a teacher to Rahayu Supanggah and Gilang Ramadhan, is doing his musical work by request of the French Government for the Debussy Year 2012 in the commemoration of the 150th anniversary of France’s great composer, Claude Debussy (1862-1918). Debussy was said to be overwhelmed when he listened to the performance of Javanese gamelan in the L’exposition Universelle at the colonial exhibition which displayed the Oriental art to mark the French Revolution’s 100th anniversary in Paris in 1889.
Banyak yang berpendapat begitu besar pengaruh gamelan pada karya Debussy. Betulkah? “Ada hubungan gelap antara Debussy dan gamelan” ujar Abdul Sjukur. Rita Sri Hastuti mewawancarainya di Jakarta, di sela kesibukannya menciptakan karya yang direncanakan selesai akhir Agustus 2012.
Many hold that the impact of the gamelan on Debussy’s works was great. Is that true? “There is an affair between Debussy and gamelan” said Abdul Sjukur. Rita Sri Hastuti interviewed him in Jakarta, amidst his busy schedule composing his piece scheduled to complete by the end of August 2012.
Ketika pada 1970-an Guruh Soekarnoputra menciptakan musik yang merupakan perpaduan musik Barat dan gamelan, ada pengamat yang menyebutkan bahwa yang sudah lebih dulu melakukan hal serupa adalah Claude Debussy Apakah betul? Betul dan salah.
When in 1970s Guruh Soekarnoputra composed a score combining Western music with gamelan, some critics said there was someone who had done it much earlier, Claude Debussy. Is that true? True and false.
Maksudnya? Begini. Ceritanya, pada tahun 1889, ada l’exposition universelle sebagai peringatan 100 tahun Revolusi Prancis di penjara Bastille. Suatu festival besar-besaran diselenggarakan, termasuk didirikannya Menara Eiffel menandai peringatan sejarah tersebut. Belanda juga diundang ikut merayakan karena mereka punya koloni di Indonesia. Belanda memamerkan teh hasil perkebunan Parakan Salak, dan sebagai penggembiranya, orangorang dari perkebunan tersebut bermain gamelan bersama empat penari yang waktu itu masih berusia 14 tahunan. Menurut dokumen festival, Claude Debussy saban hari datang ke situ. Kagum.
What do you mean? You see, it’s like this. In 1889, there was this l’exposition universelle commemorating the French Revolution’s 100th anniversary in Bastille. A great festival was held including the construction of the Eiffel Tower marking the historical event. The Dutch also did the same as they had their colony in Indonesia. The Dutch exhibited the tea produce from the Parakan Salak plantation, and as an extra the people from the plantation performed the gamelan with four dancers who were young girls in their mid teens. According to the festival document, Claude Debussy visited every day. He was overwhelmed.
Hardy Mendrofa
Kini Slamet yang pernah menjadi guru Rahayu Supanggah dan Gilang Ramadhan ini, sedang mengerjakan sebuah karya musik yang dipesan oleh Pemerintah Prancis dalam rangka merayakan Tahun Debussy 2012 yang menandai 150 tahun kelahiran komponis besar dari Prancis, Claude Debussy (1862-1918). Konon Debussy sangat terpukau ketika pada 1889 mendengarkan gamelan Jawa yang tampil dalam L’exposition Universelle di Paris, khususnya dalam pameran kolonial yang menyajikan kesenian dunia Timur, untuk memperingati 100 tahun Revolusi Prancis.
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Hardy Mendrofa
Gong Gong
MAESTRO MAESTRO YANG TERLUPAKAN THE FORGOTTEN MAESTROS
Pementasan Opera Batak di Taman Ismail Marzuki, Jakarta, 4 April 2012, menghadirkan Zulkaidah Harahap, maestro Opera Batak yang dalam usia 65 tahun masih bening suaranya ketika menyanyi di panggung. Ia adalah salah satu maestro Opera Batak, selain Alister Nainggolan (73 tahun) yang juga tampil malam itu. Di kampungnya, Zulkaidah sudah tak banyak lagi berpentas. “Dulu waktu remaja aku tak pernah mencangkul, sekarang aku mencangkul,” ujarnya, tertawa.
The recent staging of Batak Opera at Taman Ismail Marzuki in Jakarta, on April 4, 2012, featured Zulkaidah Harahap, a 65 year old Batak Opera maestro who still have her clear voice onstage. She is one of the maestros of Batak Opera, beside Alister Nainggolan (73) who also appeared onstage that evening. In her village, Zulkaidah has not been performing for long. “In my teens, I never hack, now I am using the hoe on the field,” she laughed.
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A Kosasih, mengenakan sarung dan kemeja batik lengan panjang, duduk santai di teras rumah anaknya di Rempoa, Jakarta Selatan. Sebuah tongkat panjang tersandar di kursinya. Ia tampak senang sekali ketika ada tamu yang menyambangi. “Maaf ini, saya mau beli roti dulu,” katanya sambil mengeluarkan uang dari saku kemejanya.
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aden Achmad Kosasih was wearing a sarong and a long sleeved batik shirt, he sat leisurely at the terrace of his daughter’s house in Rempoa, South Jakarta. A long staff was propped to his chair. He looked delighted to see a guest visiting him. “Please excuse me, I would like to buy some bread,” he said, taking out money from his pocket.
Yanuar Dwi Sarjono
MAESTRO
Tak Harus Menderita NO NEED FOR A MAESTRO TO SUFFER OLEH/BY IYAN DWI S, SINGGIR KARTANA Beberapa maestro bisa hidup layak. Meski tetap bersahaja, hidup mereka tak hedonistis dan terus berharap ada regenerasi yang baik. Some maestros live a decent life. They remain humble, with a modest life far from hedonistic. They have hopes that there will always be proper regeneration.
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Hardy Mendrofa
Gong Gong
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A
isah kehidupan maestro tak selalu identik dengan penderitaan. Pada hari tuanya, penyanyi keroncong Waljinah bisa menikmati hidup dengan damai. Bandingkan misalnya dengan Encim Masnah, maestro gambang kromong di Tangerang. Pada usia senjanya, Encim masih bernyanyi dan hanya menerima honor tak lebih dari Rp 500.000 semalaman tampil.
life story of a maestro is not always identical to sufferings. In her old age, the keroncong singer Waljinah lives her life peacefully. It is a lopsided comparison with Encim Masnah, a maestro of gambang kromong in Tangerang. In her seasoned years, Encim still sings and receives honorarium of no more than Rp 500,000 for an evening performance. It is about US$ 50.
Waljinah juga lebih beruntung ketimbang Zulkaidah Harahap, penyanyi Opera Batak, yang malah menghabiskan hari-hari dengan bertani di sebuah areal persawahan di Pematangsiantar, Sumatera Utara. Pekerjaan itu tak pernah ia kenal semasa mudanya walau besar dari keluarga petani. Pada usia 65 tahun, tubuh perempuan ini tampak kekar dan kuat, tak seperti nenek keluarga berada yang selalu mendapat bantuan orangorang sekelilingnya.
Waljinah is also more fortunate than Zulkaidah Harahap—a Batak Opera singer—who spends her days farming in the field of Pematangsiantar, North Sumatera. It is an occupation she had never known of during her younger days, although she was brought up in a family of farmers. Now in her 65 years of age, her body looks fit and strong, certainly unlike the grandmothers of wealthy families who always receive help from people around them.
Waljinah: “Sebenarnya saya juga berharap pemerintah memperhatikan lebih lagi pada kehidupan seniman” Waljinah: ”I still have hopes that the government pay more attention to the artists”
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Come Join US !!
Be a part of the next big thing in Photography and make a change through your lens
Gong Gong
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FRANS SEDA PRIZE Hadiah: Camera Canon EOS 1DX + Bonus Lens 35mm
photo award 2012
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GAMBARA PHOTO AWARD 2012 - Flores Bangkit
GA
AGENDA GAMBARA ROADSHOW 2012 MEDAN
SURABAYA
19 - 25 Maret : Pameran Foto
23 Mei - 17 Juni : Pameran Foto.
23-25 Maret : - Workshop Fotografi. - Peluncuran website gambara.co.id - Peluncuran buku Gambara Nias. - Talkshow Artefak Indonesia + Talkshow bersama ANTARA dalam persiapan pembuatan buku “BATAK : Perjalanan ke Tanah Leluhur”. - Cocktail party + lelang foto.
16-17 Juni : - Workshop Fotografi. - Peluncuran website gambara.co.id - Peluncuran buku Gambara Nias. - Talkshow Artefak Indonesia. - Cocktail party + lelang foto.
BANDUNG
YOGYAKARTA
1-22 April : Pameran Foto.
21 Juni – 15 Juli : Pameran Foto
total hadiah : 461Juta ++ WINNER OF GAMBARA PHOTO AWARD 2012 + Camera Leica M9P + Bonus Lens 35mm
Trophy 14-15 Juli : - Workshop Fotografi. - Peluncuran website gambara.co.id - Peluncuran buku Gambara Nias. - Talkshow Artefak Indonesia. - Cocktail party + lelang foto. - Pengumuman Finalis Gambara Photo Award 2012 Flores Bangkit (20 Duta Gambara Flores).
21-22 April : - Workshop Fotografi. - Peluncuran website gambara.co.id - Peluncuran buku Gambara Nias. - Talkshow Artefak Indonesia. - Cocktail party + lelang foto. BALI 27 April - 20 Mei : Pameran Foto. 19-20 Mei : - Workshop Fotografi. - Peluncuran website gambara.co.id - Peluncuran buku Gambara Nias. - Talkshow Artefak Indonesia. - Cocktail party + lelang foto.
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Warisan Indonesia I Vol. II I No. 16 I April 15 - May 15 2012
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A. Budi Adi Santosa
Jejak Siwa di Dusun Mangir TRACES OF SHIVA IN MANGIR VILLAGE
OLEH/BY SINGGIR KARTANA Dusun Mangir lekat dengan Siwaisme, sebuah tradisi pemujaan Dewa Siwa. Inilah kluster budaya peninggalan Majapahit yang masih terasa denyutnya hingga kini. Mangir Village is closely associated with a sort of Shivaism, a tradition of worshiping Shiva. This is a cultural cluster remain of Majapahit still resounding to this day.
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Namun, desa ini jauh lebih kondang ketimbang desadesa lain di sekitarnya. Orang banyak yakin di sanalah dahulu pernah berkuasa seorang tokoh legendaris Ki Ageng Mangir Wanabaya.
Nonetheless, the village is far from getting the spotlight as other surrounding villages so. It is believed that it is the very village where a powerful legendary figure once reigned: Ki Ageng Mangir Wanabaya.
epintas, Dusun Mangir tak beda dengan pedusunan lain di Bantul, Yogyakarta. Kala siang suasana terasa teduh oleh rimbunnya pepohonan sesekali terdengar suara teriakan orangorang yang bekerja di sawah. Tak ada hiruk-pikuk suara kendaraan, orang pun terlihat santai di alam agraris.
n a glance, Mangir Village bears no difference with other villages in Bantul, Yogyakarta. At noon the tree shades brings calmness to the village while once in a while shouts of people working on the paddy fields can be heard. No noise from motor vehicles. Life is very relaxed in the agrarian atmosphere.
Purwadi Teguh Al Rosyid
CACI
Perang Tanpa Dendam WAR WITHOUT ANIMOSITY
OLEH/BY ASTRI APRIYANI “Cetar!” Suara kendiki yang mencambuk udara membuka tari caci, sebuah tari yang biasa dilakukan di Manggarai, Flores, Nusa Tenggara Timur (NTT), sebagai bagian dari persembahan. Zaman dahulu, caci merupakan bagian dari berilka, persembahan yang disuguhkan pada upacara peresmian kampung. “Whack!” The sound of kendiki slashing the air started the caci dance, a dance commonly performed in Manggarai, Flores, East Lesser Sunda Islands (NTT), as a part of an offering ceremony. In the old times, caci is part of berilka, the offering presented at the inauguration of a village. 98
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Ibnu Setiadi
Koma
Membuat Sejarah KOMA MAKES HISTORY
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eater tradisi memiliki banyak hal yang patut dipelajari. Kelompok dan para pemainnya dalam mengabdikan diri pada teater sudah teruji oleh zaman. Kendati teater tak benar-benar bisa menghidupi, membuat para pengabdinya tak bisa mengandalkannya sebagai profesi, kesetiaan mereka luar biasa. Dengan hidup dari pekerjaan lain, mereka mengabdi kepada “profesinya” itu dengan rasa cinta yang tak pernah luntur. Setiap hari tampil, bahkan dalam kondisi yang sangat bersahaja, tak menghalangi mereka untuk selalu hadir prima. Teater modern Indonesia beda. Satu pementasan memerlukan waktu berlatih sebulan atau beberapa bulan. Baru tampil beberapa kali saja sudah membuat para pemainnya kecapean dan bosan. Di Taman Ismail Marzuki (berdiri 1968), pada awalawal kepedulian Pemerintah DKI (khususnya Gubernur Ali Sadikin) menghidupi kesenian, pertunjukan teater berlangsung selama 3 hari. Teater Populer dan Teater Kecil meningkatkannya jadi 5 hari. Kemudian seminggu. 120
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There are many things worthy to learn in traditional theater. The group and the players who devote their service to theater are time proven. Despite the fact that theaters can never really provide a living, and the actors cannot depend on it as a profession, they are amazingly faithful. Earning a living from other jobs, they are devoted to their “profession” with a feeling of love that will not fade. They perform everyday, and their humble condition never even once gets in their way to stay impeccable though. Indonesian modern theaters are distinct. One staging would need a month or more to practice. Just a few times of performance have exhausted the actors. At Taman Ismail Marzuki (founded in 1968), during the beginning of the city government’s attention to support art, particularly during the Governor Ali Sadikin period, theater performance was usually staged for three days. Teater Populer and Teater Kecil had increased it to five days. Then a week. Then Teater Mandiri started the 10-day performance. Afterward, Teater Koma made a record of 2 weeks. Then 3 weeks.
Ibnu Setiadi
Java Jazz
Dirasuki Tradisi JAVA JAZZ, POSSESSED WITH TRADITION
B
obby McFerrin menggaet Dwiki Dharmawan memainkan musik lokal dalam Java Jazz. Perhelatan akbar yang menyihir penonton dengan menaburkan bau rock dan pop ke dalam jazz jadi tambah memukau.
B
Setiap tahun kenduri akbar Java Jazz membawa kejutan. Tahun lalu, ia berhasil memboyong Carlos Santana yang sebelumnya menolak datang ke Indonesia. Tahun sebelumnya, bau-bau rock dan nuansa pop yang ditaburkan dalam perhelatan juga sudah membuat tua-muda, rakyat biasa dan pejabat, hadir. Kini Java Jazz menjemput musik lokal.
Every year the grand celebration of jazz brings a surprise. Last year, Dwiki successfully brought Carlos Santana who had refused previously to come to the country. A year earlier, fragrance of rock and pop sprayed over the event had attracted all ages, from all walks of life. This time, Java Jazz reserved an ample room for local music.
“Perasaan saya sangat terhormat karena Bobby McFerrin itu orang besar,” kata Dwiki Dharmawan menuturkan pengalamannya tampil bareng dengan pelantun “Don’t Worry be Happy” itu pada malam pertama Java Jazz 2012. Dwiki yang sudah sering melanglang buana berkolaborasi dengan para musisi jazz dunia menyiapkan dirinya selama 10 hari. Pentas 75 menit itu yang juga mengetengahkan kecak Bali, rebab khas Melayu, tari saman, dan angklung Sunda yang memukau penonton.
“I felt honored since Bobby McFerrin is a great man,” Dwiki Dharmawan told about his experience to jam with the singer of “Don’t Worry be Happy” on the first evening of 2012 Java Jazz. Dwiki, who has been around the world to collaborate with world jazz musicians, was preparing himself for ten days. The 75 minutes performance also featured the Balinese kecak dance, typical Malay rebab (Arabic string instrument, a spike fiddle), Acehnese saman dance, and Sundanese angklung that put the audience in awe.
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obby McFerrin partners with Dwiki Dharmawan to play local music in Java Jazz held recently early March in Jakarta. The huge event has mesmerized the audience with flavors of rock and pop hence the jazz became more fascinating.
Guna Dwi
Menikmati Ulang Tahun
Masyarakat Adat CELEBRATING THE ANNIVERSARY OF INDIGENOUS PEOPLE
Kelompok masyarakat adat di Indonesia yang tergabung dalam Aliansi Masyarakat Adat Nusantara (AMAN) berkumpul di Goethe Haus, Jalan Sam Ratulangi, Jakarta, beberapa pekan lalu dalam memperingati Hari Ulang Tahun Ke-13 AMAN. The indigenous people in Indonesia who unite in the Indigenous People Alliance of the Archipelago (AMAN) gathered at the Goethe Haus, Sam Ratulangi Street, Jakarta, recently to celebrate the 13th anniversary of the organization.
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ak anak yang menjelang remaja, pesta hari jadi aliansi itu berlangsung meriah. Sekitar 500 pengunjung yang hadir tidak hanya datang dari Jakarta, tetapi juga dari Sumatera Utara (Danau Toba), Kalimantan Tengah, Kalimantan Timur, Halmahera Utara, dan Papua Barat. Bahkan, beberapa warga negara asing pun turut antusias. Acara yang juga penyambutan hari jadi ke-17 Masyarakat Adat itu diisi pameran foto tokoh adat—antara lain Eliza Kissya, lelaki asal Ambon (Maluku), peraih penghargaan Kalpataru dan Satya Lencana. 126
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ust like a kid growing into adolescence, their birthday party was festive. About 500 guests coming not only from Jakarta, but also from North Sumatera (Lake Toba), Central Kalimantan, East Kalimantan, North Halmahera, and West Papua. There were even some foreigners who joined the merriment. The 13th birthday party of Indigenous People was celebrated also with photo exhibition of indigenous figures—including Eliza Kissya, from Ambon (Maluku). He had been awarded with Kalpataru (an honor for those who conserve the environment) and Satya Lencana (to honor the service of an individual to the country).
gambara.co.id
GAMBARA PHOTO AWARD 2012:
FLORES BANGKIT Roadshow ke Medan
FLORES REVIVAL
etelah sukses dengan Gambara Nias Bangkit Photo Competition pada 2010, kini Komunitas Budaya Visual Gambara menghelat “Gambara Award 2012: Flores Bangkit” dengan tema “Cinta Bhinneka Tunggal Ika”.
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Sebagai langkah awal, Komunitas Gambara dan majalah seni dan budaya Warisan Indonesia pada 19-25 Maret 2012 mengadakan roadshow ke Medan, Sumatera Utara.
As first stage, the Gambara Community collaborated with Warisan Indonesia art and culture magazine to hold a roadshow in Medan, North Sumatera on March 19-25, 2012.
Menurut Trisakti Simorangkir, Project Director dan Pemimpin Umum Majalah Warisan Indonesia, pihaknya berkumpul di kota Medan ini, selain dalam rangka sosialisasi program Gambara Award 2012: Flores Bangkit, juga sebagai bentuk tanggung jawab Gambara yang telah sukses menghelat lomba fotografi di Nias tahun 2010.
According to Trisakti Simorangkir, the Project Director who is also the Director of Warisan Indonesia, this event, which took place in Medan, was held to introduce the Gambara Award 2012: Flores Bangkit and also as an accountability report of the 2010 Gambara’s Photography Competition in Nias, that gained outstanding achievement.
Dalam acara ini yang dihadiri, antara lain, oleh Ketua Badan Promosi Pariwisata Sumatera Utara Hendri Hutabarat, Trisakti menjelaskan, tujuan utama Kompetisi Foto Gambara Nias Bangkit adalah merekam realitas sosial di daerah sebagaimana adanya, guna keperluan publikasi seluas-luasnya tentang daerah tersebut. 128
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aving successfully organized The Gambara Nias Bangkit Photo Competition in 2010, the Gambara Visual Culture Community convene “the Gambara Award 2012: Flores Revival” that takes the theme of “Love of Diversity”.
At this event—attended by the Head of Tourism Promotion Board of North Sumatera, Hendri Hutabarat, Trisakti explained, the main purpose of The Gambara Nias Revival Photography Competition was to catch social reality as it was taken, to publish the potential of the region as widely as possible.
gambara.co.id
Festival Festival
Adapun tujuan dari kompetisi tersebut, kata Trisakti, adalah untuk menyajikan informasi dan pemahaman visual terkini tentang realitas sosial dari suatu daerah yang berhubungan dengan aspek kesehatan, pendidikan, dan sosial masyarakat.
Trisakti explicated further that the objective of this competition is to present the latest information and visual comprehension about social reality of particular region—related to health, education and social aspects in the society.
Roadshow Gambara di Medan ini juga ditandai dengan pemutaran video Gambara Nias Bangkit 2010, peluncuran buku After Math, serta lelang foto karya Gambara Nias dan Antara yang hasilnya sebesar Rp 11.600.000 digunakan untuk kelanjutan kegiatan Gambara di Nias melalui Nias Photography Club (NPC).
The Medan Gambara Roadshow was enlivened with Gambara Nias Bangkit 2010 Video screening, After Math book launching, and an auction of Gambara Nias - Antara photographs. The profit from this auction, which was Rp 11,600,000 (about US$ 12,000), will be used for Gambara activities in Nias through Nias Photography Club (NPC).
Galeri Foto Jurnalistik Antara juga mempresentasikan pembuatan buku Batak: Perjalanan ke Tanah Leluhur. Dilanjutkan dengan diskusi “Saatnya, Selamatkan Artefak Warisan Budaya Sumatera Utara” dengan pembicara “Bapak Arkeologi Indonesia” Mundardjito, Rita Margaretha Setianingsih (peneliti dari Balai Arkeologi Medan), dan Ketut Wiradnyana (arkeolog prasejarah di Balai Arkeologi Medan). Kegiatan ini juga diisi dengan lokakarya fotografi “Realitas Sosial” oleh Oscar Motuloh dan Arbain Rambey serta diskusi fotografi dengan tema “Potret dan Human Interest” oleh Darius Manihuruk, Fajar Ginting, dan Zaki Nasution dan “Makro dan Still Life” oleh Riza Marlon, Handri Fitrido, Faisal Reza, dan Bongky Sitepu. Yang tidak kalah menarik adalah kehadiran tari tatak menabi page (tari memotong padi) dari Pakpak Barat. Tarian yang tampil memukau dengan gerakan indah dan gemulai ini menggambarkan keceriaan warga dalam memanen padi. “Gerakan-gerakan yang menonjol dalam tarian ini adalah seluruh proses kegiatan memanen padi, mulai dari memotong, mengangkut ke lumbung, merontokkan padi, menampinya, hingga mengangkutnya ke rumah masing-masing,” kata Atur P. Solin, yang mendampingi para penari asal Pakpak Barat tersebut. BAMBANG TRIYONO
The Antara Journalistic Photo Gallery was also presenting the progress of the book Batak: Perjalanan ke Tanah Leluhur (Batak: The Journey to Ancestor Origin). It was continued with a discussion: “It is Time to Save the Artifact of North Sumatera Cultural Heritage”, which was delivered by “The Father of Indonesian Archeologist” Mundardjito, Rita Margaretha Setianingsih (researcher from Medan Archeologist Board), and Ketut Wiradnyana (a prehistoric archeologist, also from Medan Archeologist Board) The highlights of the event were a photography workshop “Social Reality” by Oscar Motuloh and Arbain Rambey, a photography discussion, titled: “Portraits and Human Interest”, presented by Darius Manihuruk, Fajar Ginting, and Zaki Nasution and “Macro and Still Life”, presented by Riza Marlon, Handri Fitrido, Faisal Reza, and Bongky Sitepu. Traditional Batak dance was also performed on this event. It was a tatak menabi page dance (cutting the rice paddy dance) from West Pakpak. Its beautiful graceful dance moves displayed the joy of rice paddy harvest time. “The prominent moves of the dance showed the entire process of harvesting, from cutting the rice paddy, putting them into the rice barn, shedding the rice grains, sieving the rice and bringing the rice to dweller’s residence,” said Atur P. Solin, who accompanied the West Pakpak dancers. BAM
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gambara.co.id
Warisan Budaya untuk Semua
CULTURAL HERITAGE FOR EVERYONE
“K
ita negara yang masih belum mengerti soal kebudayaan,” kata Prof. Dr. Mundardjito, Guru Besar Arkeologi Universitas Indonesia, dalam sebuah diskusi bertajuk “Saatnya, Selamatkan Artefak Warisan Budaya Sumatera Utara”, 25 Maret 2012, di Medan.
“W
e are a country that still does not comprehend culture,” said Prof. Dr. Mundardjito, Professor of Archaeology from the University of Indonesia, in a discussion titled “It is time to save the Cultural Heritage Artifacts of North Sumatera” held on March 25, 2012, in Medan.
Dalam diskusi yang diselenggarakan oleh Komunitas Gambara bekerja sama dengan majalah Warisan Indonesia tersebut, Mundardjito memaparkan topik “Pembangunan Berwawasan Pelestarian dan Pelestarian Berwawasan Pembangunan” berkaitan dengan konsep pelestarian masa kini.
In the discussion organized by Gambara Community collaborating with Warisan Indonesia magazine, Mundardjito exposed the topic of “Conservation-Based Development and Development-Based Conservation” related to today’s concept of conservation.
Sebagai pembicara pertama, Mundardjito mengatakan, artefak adalah suatu benda buatan manusia dan ditempatkan sebagai situs. “Ini adalah hasil karya nenek moyang kita yang harus dilestarikan,” kata pria yang sehari-hari disapa Pak Oti ini.
As the main speaker, Mundardjito said, artifacts are man-made and positioned as a site. “The are the works of our ancestors and we need to conserve them,” said the man who is warmly known as Pak Oti.
Pada awal pembahasannya, Mundardjito menuturkan bahwa adanya kebudayaan Batak, Borobudur, kota tua di Jakarta, serta kota tua di Medan merupakan karakteristik yang dimiliki bangsa Indonesia.
In the beginning of his discussion, Mundardjito told that the presence of Batak culture, Borobudur, old towns in Jakarta and Medan, they are all characteristics of Indonesia as a nation.
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In Memoriam In Memoriam
Misbach Yusa Biran
Sudah Pergi
Ibnu Setiadi
MISBACH YUSA BIRAN HAS GONE
P
ELOPOR dokumentasi film Indonesia, H. Misbach Yusa Biran, meninggal pada Rabu, 11 April 2012, pukul 07.00, dalam usia 78 tahun di Eka Hospital, Bumi Serpong Damai, Tangerang. Ia dirawat di rumah sakit sejak Minggu, 1 April 2012. “Entah kenapa, sudah dua minggu saya sesak napas,” keluhnya, ketika menerima Warisan Indonesia pada Jumat, 30 Maret 2012, di lantai dua rumahnya, di Jalan Taman Besakih, Sentul City. “Padahal, semua-semuanya saya normal,” tambahnya. Kendati dengan tersengal-sengal dan suara pelahan, kelahiran Rangkas Bitung, Banten, 11 September 1933, ini tetap bersemangat menuturkan perjalanannya membangun Sinematek Indonesia. Ia juga senang ketika diminta berfoto, baik sendiri maupun bersama Nani Wijaya—istri tercintanya—yang ketika itu sudah bersiap-siap berangkat shooting. “Saya mendirikan Sinematek Indonesia karena sudah tidak mau lagi menjadi sutradara. Waktu itu booming film-film buka-bukaan,” tutur sutradara film 1960-1970-an ini, antara lain Dibalik Tjahaya Gemerlapan dan Menyusuri Jejak Berdarah. Ketika ia mengajukan gagasannya kepada Gubernur DKI Jakarta itu, Ali Sadikin, ia diminta meyakinkan betapa pentingnya sinematek sebagai dokumentasi perfilman Indonesia. “Kalau tidak ada sinematek, kita tidak dapat mengetahui sejarah perfilman Indonesia,” ujar Misbach, yang mengawali dengan mengumpulkan film satu per satu dari produser.
T
he pioneer of Indonesian film archive, H. Misbach Yusa Biran, passed away on Wednesday, April 11, 2012, at 07.00, at age 78, in Eka Hospital, Bumi Serpong Damai, Tangerang. He had been hospitalized since Sunday, April 1, 2012. “I really don’t know, I have been having shortness of breath for two weeks,” he sighed, when Warisan Indonesia visited him two days before he went to the hospital, on Friday, March 30, at the second floor of his house at Taman Besakih, Sentul City. “Whereas, I feel all is well with me,” he added. Despite his panting and faint voice, the man born in Rangkas Bitung, Banten, September 11, 1933, was full of spirit when he told his experience developing Sinematek Indonesia, the Indonesian Film Archive. He was also delighted when asked for a picture, by himself and with his beloved wife Nani Wijaya, who was getting ready to go to a film shooting.
“I founded Sinematek Indonesia because I did not want to be a director anymore. At the time, films that exploit sexuality were widespread,” said the director of 1960s-1970s movies, including Di Balik Tjahaya Gemerlapan (Behind the Sparkling Lights) and Menyusuri Jejak Berdarah (Tracing the Bloody Trail). When he proposed to the Jakarta Governor at the time, Ali Sadikin, he was asked to convince how important it was to build a cinematheque, a film archive. “When there was no cinematheque, we would not know about Indonesian movie history,” said Misbach, who started it by collecting movies one by one from producers.
Sebelum mengembuskan napas terakhir, Misbach mengaku kecewa karena sinematek yang ia bangun adalah sinematek pertama di ASEAN, “Sekarang dengan Vietnam saja, kita kalah,” ujarnya.
Before he breathed his last breath, Misbach said he was disappointed with the condition of the cinematheque despite it being the first in South East Asia. “Vietnam has a better one,”he said.
Selamat jalan, Pak Misbach, semoga ada yang dapat memupus kekecewaanmu. RITA SRI HASTUTI
Have a good journed, Pak Misbach, hopefully one day your disappointment is dispelled. RSH
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YANG LAIN DARI | ANOTHER SIDE OF
TEKS & FOTO | TEXT & PHOTOS : NYOMAN BAYU Y. 134
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Panorama Panorama
B
atam. Bayangan pertama yang ada dalam benak kita adalah kota industri dengan barang-barang elektronik “murah”. Sepertinya stereotipe ini harus patah manakala kita lebih dalam lagi mengeksplorasi kota yang satu ini. Murah mungkin bukan mantera sakti lagi sejak beberapa tahun terakhir, tetapi memang tidak dimungkiri bahwa beberapa barang di sini mendapatkan perlakuan bebas pajak. Bandar Udara Internasional Hang Nadim yang modern menyambut dengan hangat ketika mendarat di Batam. Segera saja, taksi bandara sudah membawa Warisan Indonesia menuju Batam Center dan Lubuk Baja (Nagoya) yang merupakan salah satu lokasi perdagangan terkenal di Batam. Kota Batam telah tumbuh sebagai sebuah kota industri dan perdagangan yang ramai. Namun, melalui fotofoto ini kita melihat bahwa ada pemandangan yang berbeda dari sekadar kota industri yang modern.
B
atam. The first image that comes to mind is an industrial city with “cheap” electronic goods. Looks like we have to break this stereotype when we explore the city further. Cheap probably does not serve as a magical mantra anymore in recent years. Although some goods here receive the special treatment of duty free indeed. The modern Hang Nadim International Airport warmly welcomes us arriving in Batam. Soon enough, a taxi takes Warisan Indonesia to Batam Center and Lubuk Baja (Nagoya), famous business locations in Batam. Batam has grown into a lively industrial and trading city. Yet, through these pictures we can see there are other dimensions of it, distinct from being merely a modern industrial city.
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ZooM Zoom
JAGALAH HUTAN JANGAN NODAI PRESERVE THE FORESTS, DO NOT TAINT THEM 138
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| PETER FRANK
I
NDONESIA, merupakan salah satu negara yang kaya akan keanekaragaman hayati. Keunikan flora dan fauna dapat ditemukan di seluruh hutan yang ada di Indonesia. Hutan juga memainkan peran penting dalam penanggulangan perubahan iklim. Berjuta-juta orang bergantung pada hutan sebagai sumber mata pencaharian. Namun, mengapa ada yang tega menodai bahkan membabat hutan hanya untuk kepentingan pribadi?
| KOMARUDIN
I
NDONESIA is a country rich with biodiversity. The distinctions of its flora and fauna can be found in the entire forests across the nation. Forests also play a major role to overcome climate change impacts. Millions of people depend on the forests as their source of living. Yet, why do some people have the heart to destroy the forest for personal interest?
Jangan berhenti mengingatkan betapa pentingnya hutan bagi kehidupan manusia. Tahun lalu, dalam rangka Tahun Hutan Internasional, FORCLIME menyelenggarakan lomba foto bertema Hutan & Keanekaragaman Hayati. Tak pelak lagi, lomba itu juga disertai semangat meningkatkan kesadaran masyarakat akan kebutuhan hutan, khususnya hutan Indonesia.
Never stop reminding ourselves the importance of forest for the life of human race. Last year, to mark the International Year of Forest, FORCLIME held a photo competition with a theme of Forest & Biodiversity. Undoubtedly, the competition brought the spirit to raise public awareness on the needs of forest, in particular Indonesian forests.
Lihatlah karya para fotografer yang menampilkan aktivitas masyarakat adat sebagai salah satu penjaga adat serta keanekaragaman hayati Indonesia. Mudah-mudahan melalui karya-karya terbaik lomba tersebut – yang akan dipamerkan di GoetheHaus Jakarta pada 18 April sampai 5 Mei 2012 – kita semakin tahu tentang kehidupan masyarakat tradisi yang sangat mengagungkan kearifan lokal yang diturunkan oleh leluhurnya. Bagaimana dengan kita? HARDY MENDROFA
Take a closer look at the works of the photographers featuring the activities of indigenous people as the guardians of Indonesian biodiversity. Hopefully through these best works of the competition—that will be on display at the exhibition in GoetheHaus Jakarta from April 18 thru May 5, 2012—we would be more aware of the life of traditional communities who honor the local wisdom they inherit from their ancestors. How about us? RHM
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