Selama 12 tahun ngajar film, acting, media, nulis, teater dan ngedirect, gue sering ketemu aktor atau orang yang mengaku aktor, yang bikin gue capek banget. Ini konteksnya gue sebagai pengajar, sutradara dan hasil ngeghibah sama temen-temen di industri ya. Kerja bareng aktor-aktor yang nyusahin lumayan sering jadi cukup tahu gimana ngehandlenya, sampe filmnya jadi. Ini 5 macam aktor yang sering ngerepotin gue, dan cara ngehandlenya.
Pertama, aktor yang belajar akting buat jadi bintang atau selebriti. Ini orang-orang menyedihkan yang terpengaruh media atau sosial media soal aktor. Mereka sama sekali nggak paham apa itu akting sebagai seni, dan ingin masuk ke industri sinetron atau apapun yang bisa mewujudkan mimpi glamor mereka. Gue cuma berharap, impian itu cuma jadi pintu masuk untuk menerima sebuah kenyataan bahwa menjadi aktor sama saja seperti pekerjaan seni lainnya seperti melukis, mematung, mengedit, menari, memotret, dll. Tidak ada yang spesial soal seni peran. Ia cuma pekerjaan biasa saja yang perlu bakat dan keterampilan, serta tentunya panggilan hati dan panggilan syuting.
Cara handle: kalo duitnya ga gede, jangan mau kerja sama aktor kayak gini. Kalo duitnya gede, kasih aja apa maunya produserlo. Dan siap-siap tipu-tipu pake kamera aja. Kasih insto buat nangis, siap dubbing, dan siapin astrada buat bacain skrip buat si aktor superstar ini biar dia tinggal ngulang ngomong nggak usah ngehapal. Taik emang, tapi duit, borr.
Kedua, aktor berbakat yang tidak suka membaca. Bisa jadi dia akan jago akting di bawah sutradara yang bagus; bisa jadi dia dapat menyampaikan empati dan perasaan dengan baik, tapi nggak paham subtext naskah, nggak bisa metodologi dalam pendekatan kepada karakter, nggak bisa menjelaskan referensi-referensi yang ia pakai. Sulit kerja sama aktor yang kosakatanya sedikit, susah komunikasi sama dia. Dan metodenya nggak bisa diduplikasi karena banyak yang pake feeling doang, nggak terukur. Terlalu banyak bermain dengan kebetulan. Ga bisa main teknik nafas atau teknik olah tubuh karakter yang bisa mengolah mood dan karakter jadi lebih siap buat di take dan retake.
Cara handle: sediain waktu yang lama buat dia panas. Banyakin ngobrol praporduksi untuk isi kepalanya dengan referensi karena dia biasanya auditory learner, alias males baca seneng ngobrol. Kalo waktunya sedikit, well suruh fake ajalah, pokoknya kelar. Males overtime nungguin doi in the mood. Nggak baca sih, lemot deh.
Ketiga, aktor sotoy metode banyak gaya. Ini ngeselin sih: udah males baca sotoy pula. Dan ini buanyak banget yang gue kenal: dari yang gayanya sok-sok dukun kearifan lokal, gaya orang gila, sampe yang sok rockstar mabok-mabokan di set panggung untuk ngikutin idolanya di jaman orba. Gak jaman bor, kayak gitu. Ini jaman internet, malu lo sama Meissner dan Stanislavski. Brecht muntah di alam kubur gara-gara lo ngomong Verfremdungsteffekt aja ga lancar tapi lo berkoar-koar. Malu lo sama Deadpool yang udah break the fourth wall di bioskop!
Cara ngehandlenya: pecat aja. Suruh suting sama demit atau bikin film art sama Jim Morrison.
Keempat, aktor yang berbakat, tapi nggak mau ngalah demi egonya. Ini aktor yang cuma perduli sama akting dia sendiri tapi nggak sama pertunjukkan atau filmnya secara keseluruhan. Mikirnya akting harus dia yang nikmat sendirian, orang harus ikut dia semua. Self centered actor kayak gini harus kena producer atau sutradara yang bisa nempeleng dia buat ngingetin kalo akting itu proyek tim, bukan proyek sendirian. Dan hubungan antar aktor dengan rekan sekerjanya yang lain seperti hubungan lelaki dengan perempuan: si lelaki harus bekerja keras untuk memberikan kenikmatan pada si perempuan dengan banyak ngalah dan mendengarkan, karena kalau perempuannya orgasme, seksnya berhasil. Tapi kalau lelakinya doang, well, it’s lame bro.
Cara ngehandlenya: ajak ngobrol dan minta tolong buat saling sayang aja sama satu sama lain. Bikin dia ngerti kalo cuma dia doang yang bagus, film ini jadi jelek dan penonton juga males. Kalo dia nggak mau dan ngancem hengkang, lepasin aja. Berarti dia nggak sayang sama elo, lawan mainnya, dan kru yang lain. Tunda aja dulu syuting sampe dapet yang hatinya lebih tulus.
Ke lima, aktor yang ga mau kelihatan aslinya. Akting itu adalah seni kejujuran, bukan seni pura-pura. Karena untuk pura-pura dalam acting, si aktor harus bisa pura-pura dengan jujur sampai semua orang percaya bahwa dia pura-pura. Aktor yang masih punya banyak tembok untuk nunjukkin sisi lemah dirinya, sisi buruk dirinya, adalah aktor yang nggak siap akting. Dia harus selesai dulu menerima diri apa adanya, untuk bisa berkembang. Dan satu-satunya cara untuk menerima diri itu adalah dengan latihan, latihan dan latihan—dengan guru dan sparing partner yang benar.
Cara ngehandlenya: demi filmnya, fake aja udah. Yang penting ceritanya tersampaikan. Habis itu evaluasi, suruh aja latihan lagi. Tapi film yang sudah dishoot, ya sudah. Salah kamu sendiri pilih dia dari awal. JANGAN PERNAH BERUSAHA NGECRACK DI SET! Aktor kayak gini kalo sampe kamu crack emosinya bisa ga terkontrol. Abis itu ga bisa ganti shot atau take ulang. Cracking emosi itu butuh guru yang bagus.
Jadi, kawan-kawan aktor sekalian, gua harap kalian jadi paham ekspektasi gue sebagai director/producer/scriptwriter/mentor kalian. Tapi kalau kalian nggak bisa memuaskan ekspektasi gue, ya nggak apa-apa juga. Toh, banyak aktor yang gue kenal adalah yang 5 di atas. Tapi berharap kalian jadi lebih keren, boleh dong.
Love and peace out lah!
***
Makasih sudah baca sampe habis. Kalau kamu suka sama blog ini, boleh lah nyumbang om yang nulis kopi dengan klik tombol di bawah ini, biar punya motivasi.
Menulis review teater sambil menonton teater, laporan langsung dari pementasan “K” oleh Teater Pandora adalah pengalaman pertama buat saya. Daripada live feed, saya lebih konservatif: bikin esei kilat.
Sejak awal, dengan tergantungnya poster film Reservoir Dogs di dinding di dalam kafe tempat drama penyanderaan berlangsung, lalu para aktor masuk ke panggung, kita ‘hendak’ dibawa ke dunia film kriminal/gangster Hollywood. Rasa Tarantino atau Francis Coppola hadir sekali di pementasan ini. Dialog – dialog comotan drama barat, karakter -karakter serasa film Scarface, tetapi dalam sebuah konsep permainan ruang yang durhaka terhadap konteks: karena di pementasan ini, langit (baca: barat) dijinjing, bumi tidak mau dipijak. Dan kalau bumi tidak mau dipijak, bumi akan melawan.
Saya yang menonton paham masalah permainan ruang. Tapi pementasan yang dilakukan di halaman kafe, seharusnya tidak lupa pada konteks kelas. Ada perseteruan kelas yang sangat parah dalam pementasan ini yang harus kita semua renungkan, khususnya soal Teater Indonesia, bukan hanya soal Teater Pandora. Selama pementasan, ada pertunjukkan lain yang bergema di luar pagar: ondel-ondel dan gerobak dangdut. Pementasan yang tiketnya cenderung mahal (300 ribu rupiah) ini tidak bisa mensterilkan venue dari kecoak-kecoak proletar di luar sana. Sama seperti Jazz gunung yang tiketnya bisa jutaan rupiah, tapi tidak bisa tidak mendengar Jazz tanpa iringan musik reok di luar venue. Salah siapa ini?
Sebagai seorang hipokrit yang kekiri-kirian tapi suka barang-barang mahal, saya bilang ya salah pengampu pementasan! Ada sebuah krisis identitas yang terjadi di banyak Teater Indonesia, yaitu bentuknya guyub, gayanya borjuis. Kita harusnya belajar pada menir-menir Belanda (atau bupati/pejabat desa) yang suka panggil Teater Rakyat main di halaman rumah, dan membiarkan kaum papa ikut menonton gratis.
Sementara, ketika Teater Pandora berusaha bermain ruang, ia mengajak perang pertunjukkan lokal seperti Ondel-ondel atau Gerobak dangdut dalam perebutan ruang publik. Apa lagi ketika konsepnya Teater Barat, kontrasnya jadi begitu terasa. Perebutan ruang ini bisa saja dihindari kalau saja pementasan ini ber konteks Indonesia, sebuah perampokan dan penyanderaan dimana para penonton adalah bystander, dan ondel-ondel serta gerobak dangdut yang lewat menjadi bagian konteks yang disyukuri ketika ada, dan tidak mengganggu ketika tiada.
Sayangnya itu tidak terjadi. Seperti film atau serial kriminal Indonesia macam Brata, yang polisi dan penjahatnya gaya Hollywood, pementasan ini pun gagal total memberi imajinasi baru bagi identitas penontonnya secara khusus dan Indonesia secara umum.
Namun, kita harus (selalu) menghargai hasil kerja keras Seniman kita, khususnya yang kita bisa merasakan kerja keras itu. Bagaimanapun, sangat terasa pementasan ini adalah hasil kerja keras. Dan salah konteks pementasan ini, adalah salah kebanyakan kita di kota yang kurang dekat dengan rakyat di luar gedung pertunjukkan.
This is one of my favorite production during my time as a Performance Strategy lecturer in Binus International University. Adapted to the stage beautifully by two of my most talented students, Ryan Pratama and Audrey Julia, I’d like to share this to all of you–I’d really like to see this play again someday. As an opening, I also put my rendition of the poem Kafka on the Shore, the first version, performed live during rehearsal, sung by the jazzy voice of Carinthia Khairana. Yuda Wahyudin and Asep Rachman Muchlas from my band, Wonderbra, helped with this version. Too bad, Asep bailed out during the performance.
KAFKA ON THE SHORE (Live version) – Arranged by Nosa Normanda – Sung by Carinthia Khairana
The stage is divided into four, which helped to deliver many scenes. The performance treatment was quite simple, audience imagination helped a lot in creating space in a small stage.
The play is divided into two acts. This is the first act, which started from the middle of the book, where Kafka and Nakata starts their journey separately but slowly being intertwined by surrealist events, Nakata made the cause, and Kafka got the effect.
Nosa Normanda directing the stage division and lighting block.
Character List
Colonel Sanders
Founder of KFC. Narator
Nakata
A 60-70 year old man who can speak to cats. He is currently looking for a cat named Goma.
Kawamura
A dumb cat with limited vocabulary.
Mimi A Siamese cat who knows about Opera and educated.
Okawa
A Tabby cat.
Black Dog
A dog owned by Johnnie Walker
Johnnie Walker
Named and looks after the brand of whiskey. A mysterious figure who captures cats and knows the location of Goma.
Kafka
A high school boy who leaves his house.
Crow
Kafka’s Alter Ego.
Sakura
A girl Kafka meets on a bus.
Ms. Saeki
The library owner.
Oshima
The librarian.
Young Ms. Saeki (Audrey Julia) and Colonel Sanders (Dewa Agastya Bima)
ACT I
PROLOGUE
Mysterious music. Lights fade in. Colonel Sanders standing on the center stage, holding a bucket of chicken. Sanders is walking alone toward the center while the other are freezing like a statue.
COLONEL SANDERS
[to audience] Hello there. I don’t think I need to introduce myself. I am using this form so you will be familiar. But let’s check a bit. Who am I? [the audience respond] Good. Yes. I am the inventor of the secret recipe of the most delicious fried chicken in the whole world. I am Colonel Sanders. And I’m here to guide you into the magical world of “Kafka on The Shore.”
How many of you have read this Kafka book by Haruki Murakami? Not so many, I See… That’s good. because the less you read, the less protest you will give me for this free interpretation performance.
The play you’re about to see is real. Not based on reality, but it is the present reality. Like you and I being here at this particular time. Your presence here is not a coincidence. Everything is not a coincidence. We are all here connected by some magical thing. Magical, because it is impossible to trace. Nobody knows for sure, why we are here. The universe conspires to unite us in this particular place, particular time.
Now, what you’re about to see will confuse you—just like if you visit new places. If you want to understand, the one thing you have to do is NOT to ask. Just follow the story and don’t let your mind think. Explore all possibilities. Let yourself get lost.
Our story begin with a boy named Kafka and an old man named Nakata. The boy is a runaway, the old man too. Kafka started his journey by following his heart. While Nakata started by following cats. Yes, this stupid old man have no other ability but to talk to cats. And just like Alice who follows the rabbit to wonderland, this old man is following the cats to a world of wonder. A very dark and insidious wonder.
Music plays. The cats enter and dancing. They are preparing the stage for the first scene. Lights out.
Scene 1 – A Bus Station
Enter Kafka, Crow and Sakura
SAKURA
Well, I guess this is where we parted. I’m going that way. And you should be going there. The hotel is not far. It’s nice talking to you Kafka.
KAFKA
Me too. Bye.
SAKURA
Bye.
They walk opposite direction.
CROW
She likes you. If you look back, she’s gonna give you her number.
Kafka looks back. Sakura is also looking back. They smile and walk. Suddenly Sakura calls Kafka.
SAKURA
Kafka! Wait!
(She approach him, taking a pen and a piece of paper from her bag)
This is my number–
CROW
See!
SAKURA
If you need anything, just call. I never do this before, giving my number to strangers. But… I don’t believe you’re 21 years old. Sorry. Just… call me… if you need to. Bye…
Sakura exeunt. Kafka just stood there looking at her direction.
CROW
She doesn’t know you’re the strongest fifteen years old. Haha.
KAFKA
She could be my sister.
CROW
Indeed, and like your father’s prophecy, you could fuck her. And your mom. haha.
KAFKA
Shut up. I’m leaving father and all his madness behind.
CROW
No you’re not! You’re not an adult, and you’re not alone. I’ll always be around.
KAFKA
Pfft! Nobody can see you but me. You’re not around.
CROW
Yes I am
KAFKA
No you’re not.
They both exeunt.
Kawamura (Ryan Pratama), Mimi (Yana Kirana), and Nakata (Reza Daniel Laluyan)
NAKATA
I’m sorry, I did not tell you this, but I’m not very bright. I don’t understand what you are saying.
KAWAMURA
I tried tuna. Try tuna and tie it up. Here. HERE!!
NAKATA
Tuna? Did you mean the fish?
KAWAMURA
I tried tuna. Tried it. Tie it up. Tie it up, Kwa’mura.
[Nakata scratches the back of his head]
[Enter MIMI. Laughing]
[Kawamura goes back to licking his paws]
MIMI
Excuse me, you are Mr. Nakata, correct?
NAKATA
Yes that is right. Pleased to meet you.
MIMI
Likewise. Please, call me Mimi. Mimi as in Mimi from La Boheme.
[Nakata pauses for a while]
NAKATA
Uhh.. I see.
MIMI
An opera, you see. By Puccini. My owner is a great fan of the opera. If I could, I’d sing it for you… But I’m not much of a singer.
NAKATA
Nakata is happy to meet you, Mimi.
MIMI
As am I. Mr. Nakata, I am known as a self-reliant. That means I’m a private type of cat. But this… Youngster here. I heard you’ve been hanging around and talking to cats. I never meet a human who can talk to cats before. But you see, even if you can talk to us, Kawamura here, [Mimi motions at Kawamura]
[Kawamura continues licking his paws] is, not the… brightest in the litter, one might say.
NAKATA
Oh, please don’t say that. I’m afraid I’m as dumb as Kawamura-san. It’s difficult for me to get by without anyone’s help. Nakata even get a sub-city from the government to help me. But sometimes Nakata gets so bored that I help people look for their missing cats. Being able to talk to cats really help. If the government were to find out, they might think I’m able to get by by myself and stop giving me the sub city.
MIMI
Ah, very well then. I don’t mean to eavesdrop, but from what I overheard in your conversation with Kawamura, I take it you are looking for a cat?
NAKATA
Yes, yes I am. I have been waiting for two days here. Many cats told me that there are many stranded cats here.
MIMI
Goma, her name is, yes?
NAKATA
yes.
MIMI
And you think Kawamura has seen Goma?
NAKATA
That’s what he told me. But I can’t seem to understand anything else he’s been saying.
MIMI
If you don’t mind, may I speak with him?
NAKATA
By all means, go ahead.
MIMI
Hey!
[Mimi smacks Kawamura in the face]
MIMI
Keep your eyes on me you worthless shit!
[Kawamura is startled]
[Kawamura hisses]
MIMI
Tell me everything you know!
KAWAMURA
Uhh, uhh. What want know?
MIMI
I asked you once, milk-drinker!
[Mimi smacks Kawamura on the face]
KAWAMURA
Goma? Goma much tied up. So tuna.
MIMI
He uses… *Tuna*?
[Emphasis on TUNA]
KAWAMURA
Yes! Such Goma! Very tuna! Man so very tied up!
MIMI
Where? Where is this man?
[Mimi slightly hisses to scare Kawamura off]
KAWAMURA
Very here! This construct. –Truction!
[Kawamura stuttering]
MIMI
Who? Who did this?
KAWAMURA
Very hat. Such strange. Much boot long. So much leather! Tied ’em up! Leather! Goma tied! Much probable!
[Kawamura is visibly scared]
NAKATA
Anything?
MIMI
Go away, filth!
[Kawamura runs away]
MIMI
He’s seen Goma a few times here. I don’t keep company with many cats, and I don’t want to get fleas, so I hardly ever go over here. As you’re no doubt aware, fleas are like a bad habit–awfully hard to get rid of once you get them.
NAKATA
Thank you very much. When was this, if I may ask?
MIMI
Three or four days ago.
NAKATA
If I’m not mistaken, it rained then?
MIMI
I guess so. The other cats haven’t seen Goma after that either. Kawamura isn’t very bright, but I trust most of what he says.
NAKATA
Thank you very much, Mimi. But what does he mean by tuna?
MIMI
The number of words he’s familiar with is limited, is what I’m saying. So for him everything that’s good to eat is tuna. For him tuna’s the creme de la creme, as far as food goes. He doesn’t know there are such things as sea bream, halibut, or yellowtail.
NAKATA
Nakata likes eel himself, you know?
MIMI
Ah, I am fond of eel as well. Anyway, what he was getting at is: a bad person showed up here who catches cats. The other cats believe this man may have taken Goma away. The man lures them with something good to eat, that’s why Kawamura kept saying tuna. He then throws them inside a large sack.
[Nakata rubs his forehead]
NAKATA
Nakata does not understand… What would he do with a cat once he caught them?
MIMI
Well there’s the people who likes to experiment. Then there’s the people who would eat cats. Finally, there are people who would torture them for no reason at all. It makes them feel good… Some sickos are like that, you know.
NAKATA
So what you’re saying is this… “Sicko”… Might have Goma?
[Mimi sighs]
MIMI
I’d rather not think about it… But that is a possibility.
NAKATA
Mimi, Nakata is going to look at that empty lot.
MIMI
According to that idiot, this “sicko” is very tall, wears a strange tall hat and long leather boots. He walks fast and looks very unusual. So even if you don’t know him I think you’ll be able to tell him apart. If you wait around here long enough, he might even show up.
NAKATA
Nakata kindly thanks you, Mimi. I will wait here some more.
MIMI
You should be really careful, Nakata-san. This man is trouble, a lot of trouble. If I were you I’d never set on that lot. But I understand it’s your job and you need to do what you must.
NAKATA
I will be very careful, Mimi.
[Mimi goes away]
Nakata take his rice box. Some cats circling him, and Nakata give some food to them. Lights out.
Kafka (Darenth Tanaya) and Oshima (Najmi Ismail) in the library.
Scene 3 – Library
(Kafka enters the library)
(Oshima sits behind the receptionist desk).
OSHIMA
Good morning. Can I help you?
(He stops writing)
(He smiles politely)
KAFKA
I’m okay. Thanks.
OSHIMA
Is this your first visit?
(Kafka nods)
OSHIMA
(Stares at Kafka intensely for a couple of seconds)
(Continue his writing)
You are free to read any books you want in the reading room. You are now allowed to bring camera and eat inside the library. We close at five. Are you in high school?
KAFKA
Yes, I am.
CROW
HAHAHAHAHA. He knows you’re a liar.
(He whispers to kafka’s ear)
KAFKA
It’s a very beautiful building.
OSHIMA
(He nods. stops writing and looks at kafka)
It is a very nice place, especially for the lonely people.
(He winks and smiles jokingly)
CROW
See? he knows!
(Moves to the other side)
What are you going to do boy?
(whispers to kafka’s ear)
Hmmmm. I can hear the beat of your heart.
(Kafka smiles politely to Oshima)
OSHIMA
If you’re interested, there is going to be a tour around the library soon.
KAFKA
Are you the one who does the tour?
OSHIMA
No. Ms. Saeki will. She’s a wonderful woman. You will like her.
Just call me Oshima. And you?
KAFKA
I’m Kafka. Kafka Tamura.
OSHIMA
What a weird name for a Japanese. But nice to meet you Kafka.
(He smiles and continues his writing)
If you need any help, just ask me. okay?
KAFKA
Thanks Oshima.
OSHIMA
Before that kafka, if I may just ask, is your school closed today?
CROW(Clapping his hand and smiles)
KAFKA
No.
OSHIMA
Hmm. Refusing to go to school then.
(He smiles)
KAFKA
Its not refusing. Im just decided not to.
OSHIMA
(raises one eyebrow)
You’re interesting kafka. You seem smart too.
KAFKA
And you seem to know a lot too.
OSHIMA
Hahahaha. Well, you will know a lot when you realize you’re different.
KAFKA
Different?
OSHIMA
(Doesn’t say anything but smiles mysteriously).
KAFKA
I’ll come back tomorrow. Thank you Oshima.
OSHIMA
I’ll see you then.
(wave his hand)
(Kafka walks and Ms.Saeki comes in)
KAFKA
(He stops and stares at her)
CROW
What is it Kafka? Imagination crosses your dirty mind?
OKAWA
So you can talk? I see you come and go around this place a lot, old man.
NAKATA
Nakata is looking for a missing cat, Goma. Mimi-san said there is a “sicko” who takes cats away and Nakata hopes to find him and ask where Goma is. Tell me, what is your name?
OKAWA
Ain’t got one.
NAKATA
How about Okawa?
OKAWA
Whatever.
NAKATA
Would you like some sardines? You know, as a token of us meeting each other.
OKAWA
Sure, I like sardines.
NAKATA
Actually, I’ve been asked to locate a missing cat. A female tortoiseshell by the name of Goma. Mr. Kawamura told me this cat has been spotted in this vacant lot. So Nakata’s been sitting here for several days waiting for Goma to show up. I was wondering if, by chance, you may have run across her?
[Okawa frowns a bit looks disturbed]
OKAWA
I’m thankful for the sardine, but I can’t really talk about that. If you know what’s good for you , you’ll stay way from this place. I don’t want you to get in trouble. Please, consider this warning as a thank-you for the food.
[Okawa rushes away]
[A few seconds pass]
[ENTER BLACK DOG]
[Black Dog stares at Nakata]
[Nakata stares back at Black Dog]
[Staring intensifies]
BLACK DOG
Stand up.
[Nakata stands up]
BLACK DOG
Follow me.
[Nakata starts following the dog]
NAKATA
Where are you taking me?
[They keep walking]
NAKATA
Are you the government? Please, I’m just looking for a lost cat. A tortoiseshell named Goma.
[They keep walking]
Scene 5 – Park – At night
(Kafka wakes up covered with blood)
KAFKA
Shit!
(He stands up searching for his backpack. His things are everywhere. He crawls to pick his things.)
CROW
You. You. You’re in trouble.
(walks next to crawling kafka. He is playing with his nail.)
KAFKA
Shut up! I don’t want to listen to you!
CROW
Well if you want me to shut my mouth then you will pay the price.
KAFKA
Fuck you. You’re not helping!
(Yelling with desperation).
CROW
I will. But looking at you right now, huh. Such a disappointment.
KAFKA
What do you mean?
CROW
Relax kafka. If you wanna be the toughest 15 year old boy you have to stay calm.
(He sits on the ground)
Call her.
KAFKA (Stops walking)
Call who?
CROW
That girl, you stupid. She gave you her number. The one you wanted to have sex with. Hahahahahahaha.
KAFKA
Sakura?
(Crow whistles)
KAFKA
(Takes out his wallet and dials Sakura’s number.)
Sakura. Sakura. I need some help. Long story.
I don’t know. I think it’s the forest in front of the train station. Okay. Okay.
Thank you Sakura.
Lights out.
Johnie Walker (Carlos Camelo), Black Dog (Caesar Gemal), Nakata (Reza Daniel Laluyan), and Okawa (Dimas Rangga)
Scene 6 – Johnnie Walker’s House
There is a chair where Johnnie Walker sits. He sits behind a desk turning away from Nakata
On the desk is a Johnnie Walker bottle, two glasses, and a desk lamp.
Below the desk is a bag filled with cats and a black box filled with utensils to cut the cats open
Around 4-5 meters from the desk is a chair for Nakata to sit.
Around the set is cats’ head but it is darkened for now
[Sitting on a chair, JOHNNIE WALKER]
[ENTER NAKATA]
NAKATA
Uh, Hello…?
[Johnnie Walker turns from his chair]
JOHNNIE WALKER
Please… Take a seat.
NAKATA
Sorry to bother you, but my name is Nakata. I don’t mean to bother you, I just followed this dog… Are you the governor?
JOHNNIE WALKER
You could say that. It doesn’t matter anyway.
[Nakata stares at Johnnie Walker, up and down. Trying to figure out who… what he is.]
JOHNNIE WALKER
You know who I am, I assume?
[Johnnie Walker motions at himself]
NAKATA
No sir, I’m not very bright.
JOHNNIE WALKER
You’re sure you’ve never seen me before? Alcohol, whiskey… Doesn’t ring a bell?
[Johnnie Walker walks around to show himself more]
NAKATA
I really don’t know who you are.
JOHNNIE WALKER
What does it matter? I am but a concept. A piece of the universe’s mind.
[Nakata cocks his head to the side, looking confused]
NAKATA
Are you a foreigner, Mr. Johnnie Walker?
JOHNNIE WALKER
If it helps you to understand me, than yes. I’m a foreigner. I’m a foreigner, but I’m also not. No matter, both are true.
NAKATA
Did you have the dog to bring me here?
JOHNNIE WALKER
Yes I did.
[Johnnie Walker claps twice]
[BLACK DOG leaves]
[Johnnie Walker drinks his glass of whiskey]
JOHNNIE WALKER
It has come to my attention that you’ve been waiting in that vacant spot for several days for me to show up.
NAKATA
Yes! That’s right. You’ll have to forgive me, I’m not so bright. And I forget things quickly. Yes I have been waiting for you.
[Lighting change to show that the sun is setting, it’s getting darker]
JOHNNIE WALKER
It’s getting dark, let’s cut to the chase, shall we? You wanted to see me because of this cat?
NAKATA
Yes, Mrs. Koizumi asked Nakata to find her. I’ve been looking for Goma for the past ten days or so. Do you know Goma?
JOHNNIE WALKER
I know Goma very well.
NAKATA
Do you know where she might be?
JOHNNIE WALKER
I do.
NAKATA
Is she near?
JOHNNIE WALKER
Very near. Check that.
[Motions at the fridge]
[Nakata opens the fridge.]
[Nakata realizes that cat heads are all around him.]
[Nakata is surprised]
NAKATA
What.. What is this?
JOHNNIE WALKER
Ah, it dawned on you now, didn’t it? Well? Do you see Goma there?
[Johnnie Walker points at the fridge.]
[Nakata seems unfazed, focused, even.]
[Nakata looks carefully for Goma.]
NAKATA
No, there is no tortoiseshell cat here. Nakata cannot find Goma.
JOHNNIE WALKER
Are you absolutely sure?
NAKATA
Yes. Can I please take Goma home?
[Johnnie Walker smiles]
JOHNNIE WALKER
It depends on you.
NAKATA
On… Nakata?
JOHNNIE WALKER
That’s correct.
NAKATA
So what should Nakata do?
JOHNNIE WALKER
I want you to do something for me.
NAKATA
Is it something Nakata can do?
JOHNNIE WALKER
Of course… I never ask the impossible, that would be a COLOSSAL waste of time, yeah?
NAKATA
Yeah, that’s true.
JOHNNIE WALKER
In all honesty, I’ve been looking for someone like you. It wasn’t easy to find the right person.
NAKATA
No worries, Nakata has plenty of free time.
JOHNNIE WALKER
So here we are, the man who is searching for the lost cat. And I.. The one who cut off all these cats’ heads.
[Johnnie Walker chuckles]
JOHNNIE WALKER
You see, I’m collecting them.
NAKATA
Wait. You are Mr. Sicko? Who catches cats in that lot and kills them?
JOHNNIE WALKER
Sicko? No no no… I am Johnnie walker, infamous cat killer. At your service.
[Takes off hat and bows a little bit]
[Nakata looks confused, and rubs the back of his head]
JOHNNIE WALKER
I can see that you are confused, Mr. Nakata. You must be wondering why I am killing these cats, why I could oh-so-mercilessly cut off their heads. Am I right?
NAKATA
Yes, that is the question Nakata wants to ask.
[Johnnie Walker takes a sip of his glass calmly before continuing.]
JOHNNIE WALKER
I am not some maniac who kills for pleasure. No. I am not someone with too much spare time and money that I kill. No. I kill these cats for their *souls*.
[Emphasis on SOULS]
JOHNNIE WALKER
The next question should be “why their souls?” Simple, really. I’m killing them to collect their souls.
[Nakata nods as if he understands, confusion still apparent in his face]
JOHNNIE WALKER
Gathering their souls is the starting point of the whole project…
[Nakata nods while rubbing the back of his head.]
JOHNNIE WALKER
But I digress, what you want, is to take Goma home, yes?
NAKATA
Yes. Nakata wants to bring her home.
JOHNNIE WALKER
Ah, but we have business to attend to, do we not? You want to bring Goma home, but I was about to cut off the heads of the cats I’ve captured.
[Johnnie Walker laughs]
[Johnnie Walker walks towards Nakata a few steps]
NAKATA
No, no, no that would be bad.
JOHNNIE WALKER
Hahaha. Seems we are at an impasse. But no matter. We can negotiate, can we not?
NAKATA
Yes, yes we can.
JOHNNIE WALKER
Well, I want you to do something for me.
NAKATA
Is it something Nakata can do?
JOHNNIE WALKER
I thought we already settled that?
NAKATA
Oh [facepalms self]. Aplogogies, Mr. Walker. We did settle that.
JOHNNIE WALKER
What you can do… Is to kill me. Take my life.
NAKATA
You want Nakata to… Kill you?
JOHNNIE WALKER
Yes. I’m sick and tired of this life. I’ve lived a long, long time. I don’t even remember how old I am. And I don’t feel like living any longer. I’m sick and tired of killing cats. I’ve had enough!
[Johnnie Walker starts to walk around]
JOHNNIE WALKER
Nobody respects what I’m doing. And taking my own life isn’t an option. Goddamn rules. If I want to die, I have to get somebody else to kill me. That’s where you come in.
NAKATA
What? Why? Why me? Nakata never killed anyone before.
JOHNNIE WALKER
I know, I know. You’ve never killed anyone before. Blah blah blah
NAKATA
But killing someone is not… Nakata is not good… In killing someone.
JOHNNIE WALKER
I have made my decision. I want to die. I want you to kill me.
[Nakata brought out a handkerchief from his pocket and wipes his sweat from his forehead]
NAKATA
But I don’t know how to do it.
JOHNNIE WALKER
Yeah, the trick is to not hesitate. Here, let me give you an example. It’s not human, but hey, who knows? It might help!
[Johnnie Walker grins at Nakata]
[Johnnie Walker starts whistling a song]
[Johnnie Walker brings out a large leather case from below his desk, puts in on his chair, opens it]
[Johnnie Walker sweeps off everything on his desk with his hand as to make room.]
[Johnnie Walker puts the cat on the table, the cat not moving.]
JOHNNIE WALKER
Back to the matter at hand. I have five cats. Fresh. They are paralyzed, I have injected them. They can see, they can hear… They can feel.
[Johnnie Walker straightens the cat, preparing it for the kill]
JOHNNIE WALKER
What I’m gonna do now is to slice open their chests with my scalpel.
[Johnnie Walker brings out a black box from inside his desk, puts it on the table next to the cat]
[Johnnie Walker starts unpacking the box, scalpel, razor, tweezers, a small electric saw.]
JOHNNIE WALKER
Extract their still beating hearts, and cut their heads off. Sounds simple, yes?
[Johnnie Walker laughs]
[Johnnie walker picks up a scalpel]
[Johnnie Walker starts whistling again]
JOHNNIE WALKER
To give you more time, I will make Goma the last cat. Remember, either I kill Goma, or you kill me. The clocks ticks… Now.
[Johnnie Walker slices open the cat.]
[Johnnie walker continues whistling.]
[Johnnie Walker shows the cat’s heart to Nakata.]
JOHNNIE WALKER
See? Everything has a proper order. Look, LOOK! it’s still beating!!!
[Johnnie walker eats the heart.]
[Nakata looks away]
NAKATA
Unghh..
JOHNNIE WALKER
Ahh, that hits the spot. Nice and warm.
JOHNNIE WALKER
You believe me now that I say this is a lot of work. Look at how bloody I am. The dry cleaning bills are relentless!
[Johnnie Walker slices the cat open, guts everywhere]
[Johnnie Walker is still whistling]
[Nakata looks scared, sank down on a chair]
NAKATA
Stop! Stop this! Nakata cannot take it anymore!
JOHNNIE WALKER
You know what to do here, Mr. Nakata.
[Eats the cat’s heart]
NAKATA
Nakata is not a killer!
JOHNNIE WALKER
Now this is where things get interesting. I believe you two already know each other.
[Johnnie Walker brings out Kawammura]
JOHNNIE WALKER
Mr. Kawamura, Mr. Nakata, Mr. Nakata, Mr. Kawamura. Hello? Hello Goodbye.
[Johnnie Walker slits open Kawamura’s Belly]
[Kawamura SCREAMS]
The Cats Murder Scene
[Nakata covers his eyes with his hands]
JOHNNIE WALKER
You have to look! That is one of the rules! Closing your eyes isn’t going to change anything.
[Nakata uncovers his eyes]
[Johnnie Walker eats his heart. Slowly this time.]
JOHNNIE WALKER
See, once you’ve acquired the taste, you’re just… Hooked.
[Johnnie Walker dips his index finger to where the heart used to be and then sucks it intently]
NAKATA
Please Mr. Walker, Nakata cannot stand it anymore!
JOHNNIE WALKER
Well I’m sorry you feel bad, we established that you have a mission and I have a mission. I would stop if I could, but the die is cast.
[Johnnie Walker reaches inside the bag]
JOHNNIE WALKER
And now we have…
[Johnnie Walker brings out Mimi]
JOHNNIE WALKER
The Siamese. I must tell you, it is no easy feat to catch Mimi. Mi Chiamano Mimi, Puccini. Artistic. Simply artistic. Hahahahahahaha!!!
[Nakata speaks in a deep, different voice]
NAKATA
Johnnie Walker, please, stop it. Nakata is going crazy. Nakata doesn’t feel like myself anymore.
[Johnnie Walker laughs maniacally]
JOHNNIE WALKER
Not yourself anymore?! That IS the trick! Wonderful! Beautiful!
[Nakata stepped up from his seat, walks towards Johnnie Walker, takes a knife from his table and stabs him in the stomach, then stabs him in the chest.
[Johnnie Walker stops laughing, shocked, but delighted]
[Nakata then stabs him repeatedly, around 6-8 times.]
[Johnnie Walker coughs blood. Lumps of cat’s heart came out as well]
[Johnnie Walker dies]
[Blood everywhere]
[Nakata looks at his bloodied hands]
[Nakata looks at Mimi and picks her up. Finds Goma in the bag. Stood still looking at him with pity]
NAKATA
Let’s go home… Goma.
Lights out.
Kafka (Darenth Tanaya) and Sakura (Filine Julia), The Hand Job Scene.
Act 7: Sakura’s room
(In a bedroom of an apartment. Dark, the only source of light is the bed lamp. There is one table, one sofa, and one bed)
(Sakura and Kafka enter the room)
(Kafka looks scared.)
SAKURA
Kid, you owe me a story.
(Kafka remains silence. He looks down and up, down and up.)
SAKURA
Is that bloodstains?
(She touches his shirt.)
KAFKA
Yes.
(He looks up to Sakura.)
SAKURA
Now that I’m awake, There is no way I’d get back to sleep before listening to your story. Tell me.
KAFKA
I’m not a high school student.
(Sakura stares at him understandably. She pats his head)
KAFKA
I ran away from home to find my mother and sister. They left when I was little. I don’t remember anything, not even my mom’s face.
Today, I woke up and decided to go the library. Everything seemed fine, until all of a sudden I woke up and found myself collapsed outside a shrine covered with blood. And yes, I don’t remember. I don’t remember anything about being involved in some kind of criminal.
SAKURA
You sure you don’t remember doing anything wrong?
KAFKA
As far as I can remember, yes. It was really weird. You woke up feeling tired but you didn’t remember what you just did.
SAKURA
Are you hurt Kafka?
KAFKA
No, I don’t think so.
SAKURA
Take off your shirt for a minute
(Kafka takes off his shirt)
(Sakura sees a bruise on his left shoulder. She grabs it)
(Kafka gasps)
SAKURA
You hit something pretty hard or something hit you.
(Kafka nods)
(She touches the bruises and gives it a soft massage)
(She takes his shirt and tosses it in a plastic and garbage.)
(She walks to her drawer and takes one clean shirt)
SAKURA
Here. It’s the biggest shirt I could find.
(She hands the shirt to kafka)
KAFKA
Thanks. (He smiles)
(There is a brief silence)
KAFKA
Sakura, I’m really scared.
(He looks into her eyes)
CROW
Don’t be such a pussy!
SAKURA
(She touches his hand)
Lets just not think about it now. Okay then. Lets just sleep. We’ll talk about it again tomorrow.
(She stands up and walks to her bed.)
KAFKA
I have my sleeping bag. Don’t bother me; I’ll just lie down in the corner.
(He takes out his sleeping bag and spread it on the floor)
CROW
I know you wanna sleep next to her.
(Silence)
SAKURA
Hey, can’t fall asleep?
KAFKA
Yeah.
SAKURA Wanna come here and lay with me?
CROW
Wow. What a lucky day!
CROW
If that’s okay?
SAKURA
Yea. But don’t get me wrong.
(Kafka moves from couch to bed)
I have a boyfriend in Tokyo. When it comes to sex Im pretty much a conservative one. Just think of us as brother and sister you understand?
KAFKA
Okay.
CROW
Look at her body. Wow. What a perfection.
(Sakura hugs him)
(It turns him on)
SAKURA
Oh my God. hahahaha. That is fast.
KAFKA
Sorry. Didn’t mean to.
CROW
Didn’t mean to? HAHAHAHAHA. What a liar.
SAKURA
Its okay. It’s a normal thing.
(she rubs his ‘thing’ under the blanket)
(silence. Only the hmm sound)
CROW
Touch her. Touch her. I know you want to.
(Kafka moves his hand)
SAKURA
Don’t touch little boy. I’m just helping you to relax. How is it? I’m pretty good, huh?
KAFKA
It’s …. fantastic.
CROW
Sex. Sex. Sex. Sex….
SAKURA
Good.
KAFKA
Sakura, can I ask you one thing?
SAKURA
What is it?
KAFKA
Is it okay if I imagine you naked?
CROW
You don’t have to ask stupid! Just do it!
SAKURA
Hahaha. Why are you telling me that?
KAFKA
I don’t know. I just think it’s important to get permission first.
SAKURA
You’re funny and polite you know that? Okay then. You can imagine me naked.
KAFKA
Thank you.
(Shaking continues. Kafka ejaculated)
SAKURA
I imagine how nice it’d be if I was your real sister.
Esei Pengantar untuk Album Iman Fattah, “Sonic Collage: Beats, Glitches and Digital Noises,” ini pertama kali terbit di blog Iman Fattah, 18 April 2014.
Eksistensi. Betapa mudah kita ada di dunia dan betapa berat proses setelahnya. Proses mengisi. Proses menjadi. Sesungguhnya hidup akan lebih mudah ketika kita lahir di sebuah lingkungan sederhana. Sebuah keluarga yang tinggal di hutan, tanpa koneksi ke keluarga-keluarga lain. Tanpa banjir informasi. Tanpa referensi. Aturan hidup jelas: kita hanya mesti bertahan. Tapi semua jadi ringan namun sulit dipapah ketika kita hidup di dalam masyarakat yang kompleks. Dalam teknologi yang maju, teknologi yang awalnya dimaksudkan untuk membantu hidup kita, kita malah terperangkap. Di gedung-gedung. Di kubikel-kubikel kantor. Di depan TV di rumah. Dalam gubuk kumuh semi permanen di pinggir kali. Dalam bus, angkot dan mobil di kemacetan. Kita, homo Jakartanensis, adalah manusia yang menanggung beban berat. Dimana pun kita hidup, sebagai siapapun: orang kaya, orang miskin, tua, muda, berbagai macam profesi, berbagai macam etnis, berbagai macam perjuangan, kita sulit. Sulit karena kita tidak hanya dituntut untuk bertahan hidup. Kita dituntut untuk kreatif membuat identitas kita, siapa kita, apa yang bisa kita lakukan, apa yang kita bicarakan, apa yang kita tahu, apa yang kita percaya dan apa yang kita beli. Semua itu menentukan identitas kita.
Suku Mentawai telah hidup di hutan hujan tropis selama ribuan tahun. Kredit foto Sergey Ponomarev untuk The New York Times
Tantangan terbesar bukan bertahan hidup. Tantangan terbesar adalah memaknai hidup. Memaknai diri dan orang lain. Memaknai dunia. Dan semakin banyak informasi, semakin banyak tahu, semakin banyak hubungan maka semakin sulit kita memaknai eksistensi kita. Semakin sulit mencari tujuan. Karena itu kita seringkali lari kepada yang menawarkan kepastian instan: korporasi kapitalis, agama, atau sesederhana menyerah kalah dengan mengerahkan tenaga kita untuk bertahan hidup saja seperti apapun caranya—halal atau haram. Kota mengajarkan kita untuk menjadi konsumen semata. Menjadi robot yang selalu bekerja. Atau menjadi binatang yang selalu berusaha memuaskan hasrat semata. Di situ kemanusiaan kita diambil. Dalam kekayaan atau kemiskinan material, ketika kita hanya mengonsumsi, kita menjadi miskin. Miskin makna. Miskin keberadaan. Dalam konteks seperti inilah Iman Fattah mengomposisi Sonic Collage: Beats, Glitches and Digital Noises.
Melawan dengan Mengembalikan Suara
Sonic Collage: Beats, Glitches and Digital Noises melawan semua konteks di atas. Direkam dalam medium pita kaset, ia adalah sebuah abstraksi kehidupan posmodern: teknologi baru dalam medium lama. Isinya terdengar baru, namun sesungguhnya ‘hanya’ dibuat dari setitik sisa kemanusiaan dalam peradaban kota kita: setitik elemen manusia yang membaca, memproses dan mencipta hal-hal dari suara-suara keseharian yang seringkali dianggap biasa, mengganggu dan tak ada. Walaupun konsep ini sudah sering dibuat oleh banyak seniman lain baik dalam seni rupa, teater, film dan musik—dalam genre yang kini sering dikenal sebagai Neo-Realisme—namun konsep ini akan jadi selalu baru. Karena manusia adalah makhluk yang selalu unik, tak pernah diciptakan sama. Bahkan anak kembar yang lahir dan dibesarkan oleh keluarga yang sama pun akan melihat dunia dengan cara yang berbeda.
Album ini adalah sedikit permaknaan kehidupan kota. Sebuah bukti bahwa kita yang hidup dalam mesin besar ini adalah manusia, bukan robot atau binatang. Ia adalah kumpulan kolase, bukan montase. Montase adalah gabungan-gabungan elemen yang disatukan tapi memiliki batas sambungan, seperti shot-shot pada sebuah film, seperi Frankenstein, seperti Chimera. Sementara kolase adalah gabungan elemen yang menyatu menjadi satu kesatuan namun masih jelas bentuk aslinya. Seperti komposisi musik dengan suara-suara yang berbeda-beda. Kolase adalah batas abu-abu: ia tidak membuat yang lama lantas hilang jadi yang baru. Ibarat makanan, kolase bukan sup, tapi salad. Bukan sayur asem yang membuat semua bahan didominasi asam, tapi gado-gado yang rasanya khas tapi kita tahu setiap elemen yang kita makan bekerjasama membuat rasa itu.
Saya tidak mampu mendeskripsikan lagu-lagu dalam album ini dengan kata-kata. Saya tidak punya kemampuan untuk mengkotak-kotakkannya, memaknainya dengan pasti. Yang saya bisa lakukan hanya memberikan metafor-metafor untuk mendeskripsikan rasa yang saya dengar. Dan saya yakin, Iman Fattah pun, dengan semua konsep dan penjelasannya mau tak mau harus rela memberikan semua pemaknaan komposisi album ini kepada pendengar. Tapi bukan berarti album ini hadir begitu saja tanpa sebuah proses. Komposisi-komposisi ini adalah abstraksi: hasil perenungan, hasil proses yang diseleksi dan digubah secara sadar yang diambil dari alam bawah sadar. Dari suara-suara yang dihasilkan kota dan diserap oleh senimannya lalu darinya ia ramu sebuah komposisi suara.
Inilah sebuah bentuk perlawanan terhadap semua yang didengar, semua yang dikonsumsi. Suara-suara yang dianggap biasa, mengganggu dan tiada dikombinasikan menjadi sebuah aransemen. Dan bukan sembarang aransemen: seperti mencipta musik Blues, suara-suara mekanik direproduksi dengan alami, melalui proses pengendapan di alam bawah sadar dan dikembalikan ke kenyataan. Inilah perlawanan. Seperti membalas penganiyayan dengan mengembalikannya dalam bentuk pelukan hangat dengan tubuh yang terlanjur rusak. Karena itulah, jika anda merelakan dipeluk oleh kolase-kolase ini, membiarkan setiap suaranya mengalir tanpa anda mencari-cari artinya, niscaya anda akan mendapatkan sebuah katarsis, pembersihan diri, dan hubungan dengan rasa kota. Perlawanan seperti Ahimsa: melawan dengan menyerah.
Homo Jakartanensis Punya Rasa
“Gue selama ini hidup di Jakarta. Kota yang penuh hiruk pikuk manusia dengan semua kehidupan dan suara-suaranya.” Ujar Iman dalam sebuah sesi wawancara via Whatsapp (16/4). “Kenapa Sonic Collage? Karena suara-suara yang setiap hari kita dengar adalah kolase.”
Kolase di kehidupan kota adalah ekses konstruksi kota. Jika anda perhatikan, kota adalah hasil dari modernitas barat yang hadir dengan banyak pengorbanan. Seorang kawan saya pernah mengatakan bahwa Jakarta adalah kanker buat Indonesia. Jakarta menjadi metropolitan, pusat ekonomi dan pemerintahan setelah banyak kejadian berdarah. Dari zaman kolonial, pembantaian PKI tahun 65, pembantaian pemberontakan lokal di seluruh Indonesia, penjualan aset dan sumber daya alam di seluruh negeri, semua untuk memberi asupan kepada kanker ini. Dan kita hidup di dalamnya. Kita makan dari asupan-asupan darah dan penderitaan daerah tertinggal tanpa infrastruktur, dengan korup dari pemerintah lokal yang belajar dari pemerintah pusat. Di sini, di kota ini, Kanker bernyanyi dalam dentuman palu konstruksi gedung, dalam pukulan pada anak-anak jalanan, teriakan tukang bakso, suara pembawa acara infotainment, pidato politik menjual janji, iklan, mal-mal, toa mesjid yang berleleran khotbah benci dan segala keberisikan. Semua ekses ini akan memulu bising dan jahat, jika kita tidak bisa memaknainya.
Manusia Gerobak di Jakarta. Foto oleh Chelluz Palun (chelluznote.blogspot.co.id)
Maka kolase-kolase ini hadir sebagai sebuah komposisi yang harmonis dalam ketidakharmonisannya. Sebuah Paradoks. Oxymoron. Irasional. Seraya menantang kita untuk memaknainya sesuai dengan pengalaman dan kehidupan kita sendiri. Orang yang tidak tinggal di kota mungkin asing dengan suara-suara ini dan bisa menjadikannya sebuah kebaruan. Sementara kita manusia kota, punya tanggung jawab lebih untuk paham—bukan mengerti, tapi paham. Pengertian perlu penjelasan, namun pemahaman perlu perasaan. Pemahaman perlu kemampuan membaca, mendengar dan merasa. Dan dengan pemahaman itu kita tidak terjebak. Pemahaman membuat kita bermakna dan ada yang bisa kita lakukan dalam konteks kita ini: berproduksi sebagai diri sendiri, untuk diri sendiri dan orang lain. Berbagi pemahaman.
Tanpa pemahaman dan berbagi pemahaman maka yang bisa kita lihat dari kota ini adalah kekosongan makna. Pemuasan hasrat yang tak ada habisnya. Penghabisan umur buat sesuatu yang tidak ada artinya. Tanpa pemahaman, kita akan bergerak tanpa arti atau tujuan. Dan kehidupan menjadi ilusi. Kerja cerdas, pesta keras menjadi prinsip kehidupan kota, tapi untuk apa jika kita tidak paham untuk apa kerja dan ada apa sehabis pesta. Ketika hasil pekerjaan kita hanya uang yang kita hamburkan dalam pesta, sementara kita terasing dari apa-apa yang kita buat dan kita jual sendiri, kita terjebak dalam lingkaran kekosongan ini.
Satu-satunya cara untuk keluar adalah dengan mengekspresikan rasa itu. Rasa senang, muak, sedih, tawa, tangis, bingung dan ketakutan harus keluar dari tubuh kita dan kita bagi. Seni kota kebanyakan adalah ekspresi rasa-rasa itu, termasuk album eksperimen ini. Semua nomor seperti komposisi musik klasik dalam medium baru, medium suara kota. Nuansa industrial, kesepian dalam keramaian, indoktrinasi politik dan agama serta individualisme, hadir dalam komposisi-komposisi yang berbeda-beda. Kolase adalah rasa Jakarta yang sebenarnya, karena sekeras apapun kita berusaha menjadi berbeda, kita ada di dalam konteks yang sama dan mau tak mau harus terima perbedaan-perbedaan itu. Betapapun sakitnya. Betapapun busuknya.
As We Watch in Horror
Saya tidak mungkin membahas semua komposisi dalam album ini satu persatu. Setiap nomor dibuat dalam suasana dan konteks yang berbeda-beda dan membutuhkan pendekatan yang berbeda. Alih-alih membuat artikel pendek, saya malah bisa membuat sebuah disertasi. Jadi saya memilih membahas satu lagu secara singkat, sebuah nomor berjudul As We Watch in Horror. Lagu ini menarik untuk saya pribadi karena nuansa yang ditampilkan, permainan tempo dan kekayaan komposisinya. Pembukaannya terdengar sangat kota, dengan beat yang cepat dan penuh irama ritmik mekanik. Semakin ke tengah, banyak suara-suara asing masuk dan membuat menjadi sangat horor, dan pada akhirnya tempo melambat dan nuansanya menjadi sangat…melankolik.
Lagu ini menurut saya cocok sekali dimainkan di diskotik ketika para dugemers sedang asik joged dengan inex. Karena setelah bagian tengah dan belakang, niscaya mereka akan dilanda paranoia parah dan pulang dengan melankolia. Karena pada akhir lagu ini, saya bisa merasakan sebuah ketidakberdayaan yang sangat perih. Ketidakberdayaan manusia kota terhadap apa yang mereka tahu: bahwa semua kemapanan bisa berakhir dalam kesia-siaan ketika zaman atau Tuhan atau alam memaksa mereka. Pada akhirnya manusia kota adalah manusia.
Sekedar ilustrasi, As We Watch in Horror mengingatkan saya pada sebuah pementasan teater di Amerika tahun 1970 hasil besutan sutradara, komposer dan pianis Ralph Ortiz berjudul The Sky is Falling. Penonton ditempatkan dalam sebuah ruangan dengan sebuah TV besar. Sejak awal penonton telah diberitahu bahwa apa yang mereka saksikan di TV adalah live dari ruangan sebelah. Sementara di ruangan yang lain, aktor memulai pertunjukkan dengan menyiksa dan membunuh ayam-ayam dan tikus-tikus dengan keji. Setelah pementasan, diadakan sesi diskusi. Para penonton protes, marah, dan kecewa, apalagi ketika mereka melihat ayam-ayam dan tikus-tikus yang termutilasi, dengan darah dan jeroan dimana-mana—beberapa binatang itu masih hidup. Mereka tidak bisa memaknai pertunjukan sadis semacam itu, dan menganggap Ortiz seorang sadis dan gila. Menanggapi amarah penonton, Ortiz malah bertanya balik ke penonton: “Anda melihatnya di TV, anda tahu dimana itu terjadi, kenapa anda tidak menghentikannya?”
Ralph Ortiz dalam salah satu pementasannya, yang hari ini dikenal sebagai destructivist art.
Pementasan tersebut adalah sebuah bentuk protes terhadap masyarakat Amerika ketika melihat perang Vietnam. Televisi menyajikan hal yang terjadi di belahan bumi yang lain dan yang bisa orang lakukan adalah mengeluh dan marah-marah dari ruang TV nya—menganggap semua yang terjadi adalah sebuah ‘pertunjukan di luar kuasa mereka.’ Zaman ini tentunya sudah berubah. Ada banyak hal yang bisa kita lakukan demi mendukung atau tidak mendukung suatu kejadian di dunia. Dari sumbangan lewat bank, atau sekedar petisi online bisa digunakan sebagai alat politik. Sayangnya, di Indonesia, orang tidak semudah itu bergerak kritis dan lebih sering menjadi penonton pasif. Semakin maju teknologi dan penyebaran informasi, semakin pasif manusianya. Dan kepasifan itu… sakit.
Itulah yang saya rasakan ketika mendengar keseluruhan komposisi panjang As We Watch in Horror. Iman menjelaskan sedikit tentang lagu itu:
Komposisi itu gue bikin sambil lihat gempa dan tsunami di Jepang. Ibaratnya ada tiga part. Part 1 yang kenceng acak-acakan. Jepang sebagai negara maju dengan sonic collage yang rame, part 2 feedback panjang ketika tsunami datang, dan part 3 kehancuran kota-kotanya setelah bencana. As We Watch in Horror adalah representasi ketika kita lihat TV, media, dan timeline. Betapa menakutkannya hal-hal ini dan gerenasi sekarang bisa melihatnya secara langsung semua kejadiannya.
Lagu itu adalah sebuah narasi panjang soal kesakitan masyarakat kota akan kepasifannya sendiri. Empati bisa kita rasakan, tapi mandeg dalam ketidaktahuan kita dan keterputusan kita untuk memberi bantuan atau berbuat sesuatu. Kita di kota lebih suka mengurus hal-hal yang dekat seperti pembunuh kucing atau etika ABG yang tak memberi duduk ibu hamil di kereta, daripada hal-hal jauh yang lebih parah. Kebanyakan kita mengeluh dan menunggu untuk ada orang yang bisa menyalurkan bantuan kita, alih-alih mencari atau membuat saluran bantuan. Filosofi kota yang kebanyakan kita anut adalah Philosophy of the Bystander, filsafat penonton.
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Aih, saya bicara terlalu banyak. Sebaiknya kita akhiri saja diskusi ini agar anda bisa mulai mencari tahu bagaimana cara mendapatkan album ini dan merasakannya sendiri. Karena album ini penuh tantangan untuk pendengarnya baik dari konten dan distribusinya. “Gue nggak mau berbentuk album musik yang bisa dijual secara populer, makanya musik yang gue compose itu sebetulnya bukan musik, tapi komposisi,” ujar Iman.
“Telinga manusia sebetulnya punya kemampuan untuk isolasi suara;” lanjutnya. “Kita bisa mengisolasi suara mana yang mau kita fokus. Contoh, kalo kita ngobrol dengan lawan bicara di pinggir jalan yang ramai, kita bisa tahu dia ngomong apa, jadi suara jalanan berisik itu jadi background. Dari hal ini gue punya ide bahwa sebetulnya kehidupan kita ini penuh dengan kolase setiap saat.”
Ya. Kita mestinya bisa fokus. Kita bisa memilih. Bahwa dalam kesemerawutan kota, kebisingan bunyi, kita bisa pilih fokus dan tujuan apa. Album ini berusaha mengingatkan kita akan kebebasan itu, agar kita bisa bergerak dalam arus yang kacau. Kebebasan yang seringkali kita lupakan dan saatnya kita rebut kembali.
Nosa Normanda
Esei Nosa 