Sidoarjo Art Council and Arek Institute discuss playwright “Tubuh di Pukul 11”

Sidoarjo Art Council and Arek Institute discuss playwright “Tubuh di Pukul 11”

Arek Institute collaborates with the Regional Art Council of Sidoarjo, Gapus Theater of the Faculty of Humanities, Airlangga University (Teater Gapus FIB Unair), and Sidoarjo Poetry Night to organize a book discussion event. The discussed work is a script titled “Tubuh di Pukul 11”  by Adnan Guntur. The event is moderated by Arek Institute members, namely Aria Raharja and Haris Firismanda. Additionally, Arek Institute invited Dr. Autar Abdillah as a speaker to provide comments on Adnan’s work.

In this activity, Arek Institute, along with Sidoarjo Poetry Night, also presents poetry musicalization. Meanwhile, Teater Gapus contributes in the form of artistic performances that respond to Adnan Guntur’s work. The performer from Teater Gapus is Abdurahman Oka Fahrudin, who is also a student of Indonesian Literature at the Faculty of Humanities, Airlangga University.

This event is also one of the public activities of Arek Institute. This is because the event involves elements of public institutions as well as the broader community. It simultaneously marks discussion forums that bring innovation to the interpretation and documentation of literary works in the study or subculture environment of Arek.

Nasib Orang Pesisir: Kumpulan Puisi Abdul Hamid

Nasib Orang Pesisir: Kumpulan Puisi Abdul Hamid

Abdul Hamid | Alumni Bahasa dan Sastra Indonesia FIB Universitas Airlangga []

Nasib Orang Pesisir

Dulu kami merdeka, menikmati seluruh hasil jerih payah yang kami punya

Panen bandeng-lele sebanyak-banyaknya

Bebas dari segala aturan

Sebelum hari ini, seolah telah menjadi hak mereka

Nasib kami menggantung karenanya

Sungguh kemalangan nasib, tak bisa kami tolak lagi

Ribuan penghidupan kami, direbutnya dengan semena-mena

Sudah kami berusaha melawan, tapi

Lebih pandai mereka, meski kami yang punya

Mungkin ini sudah menjadi ketetapan-Nya

Mau gimana lagi

Saat ini kami

Hidup segan-mati takmau

Ini Kotaku

Ini kotaku beraspal gelombang

jalan-jalan banyak lubang

dan asap kendaraan, tiap hari

jadi oksigen parapejalan

kotaku ini, ladang investor

bercocok tanam uang

gedung-gedung menjulang

jadi pemandangan

tiap musim politik, para pejabat daerah

berebut kursi

memperbaiki jalan rusak

sampai dengan beri janji basi

agar rakyat memilih

Setelah jadi, eh malah kena kasus korupsi

Pada Suatu Masa

bumi akan tetap berputar

dan kita laju di dalamnya

sampai pada waktu yang ditentukan

pagi sampai pagi

segala aktivitas telah diatur

kita akan berjalan sampai pada titik lelah

dan akan ada kantuk yang mengistirahatkan tubuh sejenak

jangan kita lupa

bahwa waktu itu mahal

kita tak sadar telah lalim melupakannya

akan sampai pada satu masa mata tutup nyawa tiada

dan semua tak berharga

selain sesali waktu yang sudah lewat

dan kita akan ada pada rasa sesunyi sunyinya sunyi

tak bergerak, dihilangkan waktu

yang sempat kita lupa

The C4 Playwright

The C4 Playwright

Nuzula Maghfiro | Mahasiswa Bahasa dan Sastra Indonesia Universitas Airlangga []

Literary works never emerge from a void. Their presence stems from critical reasoning. Through their works, writers radically unveil matters often considered taboo in life. They question, challenge, and debate normative views that obscure other meanings of life. Thus, literary works are capable of transcending taboo perspectives and understandings in life. They go beyond normative meanings that settle in the shroud of human consciousness.

Furthermore, the dimension of human existence has “consciousness” not only in awareness of what happens around them but also in self-awareness and their existence. Existence is a new Archimedean point where humans attach the world and themselves. For Kierkegaard, humans are beings always challenged to choose and make decisions in the struggle of their lives. However, many uncertainties are difficult to understand rationally, uncertainties that make humans doubt and feel anxious about their future.

Similarly, the script “C4,” the third script from the head of the Saung Teater Adnan Guntur, presents a dimension of defection from majority reasoning. Looking back at Adnan Guntur’s previous work like “Body at 11:11,” this script seems to present differently from its predecessors. The choice of “C4” as a title appears as a marker and symbolic code that can evoke various interpretations among its readers.

If delved into deeper, the code “C4” has different meanings based on various fields. In military terms, C4 is a code for a specific type of explosive used by special forces. This explosive has an effective blast power to destroy something. Meanwhile, “C4” also has another meaning in the medical field. C4 is a code for a complement compound. In other words, it can also be understood as a compound in the blood that synchronizes with the immune system. This means that an increase or decrease in C4 can cause health disorders. Therefore, C4 is expected to always be in a stable (synchronized) condition to prevent health issues in the human body.

The concepts of explosion and synchronization have led to discoveries about creation and the formation of novelty. The creation myth in the Big Bang theory, for example, explains how the explosion will form dimensions of space and time. It presents a singularity point that explodes with such force. Then, it produces matter that continues to collide and rotate until it forms again into something that expands as a result of the explosion.

In Aristotle’s cosmology, he considered his ideas to form a perfect system, where each part logically follows another. For him, the activity of movement is always caused by a certain mover. As a series of cause-and-effect laws in the universe that must end at the first cause.

Moving towards human existence, Kierkegaard introduces his philosophical understanding of human existence that seriously considers human subjectivity, emphasizing passion and grappling with their life and existence as an individual. Kierkegaard’s thought becomes the starting point for new contemplation on the meaning of human existence as a person committed to being themselves. Through this basis, Kierkegaard proposed the concept of existentialism, emphasizing the issue of divinity or godliness at the peak of his thought.

Questioning the existence of divinity always finds a potentially infinite root because humans have a tendency to acknowledge a transcendent dimension. Understanding God or the transcendent rationally is nothing but a human effort to comprehend the visible and the invisible nature. It also solidifies their belief in the existence of a god considered to influence the intricacies of life. At the same time, humans who claim not to believe in transcendence also have a desire to rationalize such non-existence. They deny because they are unable to grasp its existence. In other words, any aim to understand and reject the transcendent is proof that its presence has truly influenced human life.

A sequence of searching, explosion, creation, dimensions of space and time, and matters of divinity share a common thread that melts together. The stage of existence becomes a dimension where the souls and bodies of humans reside. Searching within the human brain will hatch novelty. Explosion will shape emotions that explore problems, leading to new creation. Then, at the point of transcendence, humans are brought to something higher, mystical, and complex.

In short, the script “C4” was born as a dimension of social criticism on existence. The poet presents how the concept of explosion and destruction can push humans towards the search for their existence. They always strive towards awareness of the transcendent dimension, and it also leads to creation and the Creator. “C4” emerges as questions never accompanied by answers to any certainty.

Sanepa Kecowa Kota: Manjing Ajur Ajer

Sanepa Kecowa Kota: Manjing Ajur Ajer

Abdul Rahman Oka Fahrudzin | Mahasiswa Bahasa dan Sastra Indonesia FIB Universitas Airlangga | Teater Gapus []

Sanepa¹ Kecowa Kota

Manjing Ajur Ajer

barangkali kota bentala tlah ditinggali 

tikus-tikus menyulap keasrian menjelma 

kengerian. Seekor Kecowa Resi 

purbakala meleburi  rotasi zaman dan waktu 

bekerja menunjuk zaman

edan, akasia,

sengon, jati mati, 

melati, edelwis, 

ilalang hilang, dan rupa penghuni 

lainya terkubur cor beton, murung memancar mata 

matahari-bulan, di antara keriuhan yang menyongsong  

Siwa sanepa kecowa 

tembang    manjing ke gendang

 telinga penghuni habitat hingga

kahyangan 

Manjing Ajur Ajer, menangislah dewa

-dewa kehancuran manusia meleburi 

semesta, ngger, meleburlah 

pada semesta yang 

renta dengan jiwa 

Tuhan, luhur cahaya 

merakit 

semesta.

Hujan dan Nyanyian Tuhan

mendung wajahmu diperbatasan 

musim gugur doa 

menganga ke langit ceruk air mata 

Tuhan tersumbat kotoran

babi berterbangan serupa kapuk 

meletus sebelum hujan

diutus, adakah Tuhan yang tak luluh bila

puisi doa sedang merayu rintik 

turun bunyi drum

perlahan, lalu 

cepat, lebih 

cepat, dari gemuruh 

angin seruling, suara gledek  simbal sesekali menggelegar, dan sepenggal lirik

ciptaan hambanya Jika surga dan neraka tak pernah ada

Masihkan kau bersujud kepada-Nya  samar Tuhan bernyanyi.

Perempuan Musim Hujan

musim hujan perempuan jatuh 

di perapian melahap yang tersisa dari nasib kayu bakar, matanya menerawang lobang 

gedek melihat airmata di pipinya 

sendiri, pikiranya mengawang sesekali meledak rupa 

gledek, 

masihkah hujan sunyi tanpa surat kabar dari ibu di sorga? atau malam akan mengirim perjumpaan dalam mimpi? atau ketegaran ayahlah yang akan pulang ke dalam jiwaku?

Kelahiran Selepas Badai Musim Berakhir

badai musim berakhir

dewi sri segera melahirkan pesta akan

diselengarakan

takir dan sandingan memenuhi tuhuh

 ladang

bumbu,                        dan beras                                  jenang

 jajanan,                  tangkep,  kembang                        abang,

 sego                   rokok,       bumbu wedang                  bumbu 

bucet, mendang/katul/empok, jagung, kembang, endog nginang,

sementara bocah-bocah capung tertawa

mengejari senja mendendangkan mantra

Asalamualaikum, kula suguh, suguh larung, sekiduk kembang melati,

 arum gandane enak rasane, Sak mantune kula

 suguh, lek enten kekurangane kula nedhi sepunten, Sak

 mantune kula suguh, lek enten lupute kula

nedhi maklum. dukure pundak, nisore gulu, tak dadekna kemantenan dina iki

Bulan di Kota Hitam

Gemerlap kota meredup. Apartemen, Mall, Hotel, gulita. Jalan raya, gang-gang, trotoar, kelam. Jelma lorong hitam. Mataku ujung jalan ke tubuhmu, sendiri langit menyelimuti sinar

wajamu melarungi selangkangan mimpi gerbong-gerbong pendatang. serupa lilin menembus lautan keruh jiwa.

            debu hanya menyelinap bening matamu, mengganjal pojok retina, tapi akan membuatmu buta Haluan kampung halaman. polusi akan merangsek ke paru-parumu tertawa, lalu membuatmu tersedak keriangan palsu. terik akan membumi hanguskan mimpi di pori-porimu. 

            tanah ini akan membunuhmu, jalan, gedung-gedung, dan rupa kemewahan imitasi, menyeret kakimu ke kota hitam, seperti jari-jari raksasa buto. 

            Lihatlah rautnya, cahaya tlah sempurna terbit, kendati  kegelapan membalut rupawan, senyumnya utuh, menggerogoti tubuhmu, tapi biarlah

—terimalah

—jemputlah di ujung

 jalan. Bulan di kota 

hitam.

Tetumbuhan dari Rahim Perempuan

air bah mengalir dari rahim tlah merobah alang-alang kumitir  lautan kutuk, tak ada hembus angin bergesakan dengan arak-arakan domba langit dan suluk burung menyamar pada rintih awan.

tampak  segalanya terbalut mendung dijilati geledek.

Dari mulut Batara Guru menyembur titah meleburi Kalagumarang. 

“kepercayaanku telah tumbuh di jiwamu, bawalah syarat seserahan lamaranku”

aku tlah menyimpan takdir futur di tanganmu yang matang—sekuntum mawar dan sepotong sajak untuknya.

***

“adakah genni berani melawan tirta?”

Barangkali tak ada kecuali Kalagumarang, menjelmakan dirinya binatang iblis; menghambakan diri pada berahi, memperkosa bumi 

kepunyaan Wisnu, lalu mulutnya komat-kamit mengutuk jadi babi hutan, sebab libido tak tercurahkan.

Jarum jam merangkak di kebinalan kian

dahaga, sementara darah Wisnu menaiki purnama kemerah-merahan; tak ada lelaki rela istrinya diperkosa dan tak ada nafsu binatang yang menyadari lakunya melewati markah.

***

Dewi Sri terisak. Tidak salah, bila ingin mengenal raut penderitaan dan ketakutan, lihatlah perempuan terpojok dikejar hantu-hantu syahwat. Dia akan tersengut-sengut sepanjang subuh

bergulir, dan matanya meratap waspada, sekalipun pada debu terseret ke pipimya sejenak, lalu berlalu, luka menusuk

alang-alang kumitir  menghapus garis tipis kemurkahan dan kesedihan, Dewi Tisnawati. Utusan Batara Guru anak panah melesat di jantung kepercayaan Dewi, bisikan dipangkuan terakhir selembut angin, 

“semayamkan tubuhku di hutan Kendayana, sebagai persembahan untuk Dewi Sri”

***

Tujuh malam jasad melebur, dari rahim perempuan tetumbuhan menyubur; 

Kepala, kelapa, pete, kemlandingan, jengkol, dan tanaman liar penghias kemolekan hutan; telapak tangan tumbuh pisang; payudara tumbuh papaya; gigi tumbuh jagung; pusar tumbuh 

pohon aren; hati tumbuh sawo dan tanjung, dan dari mata tumbuh 

padi. 

Terbitan Policy Brief Seri 1

Terbitan Policy Brief Seri 1

Arek Institute merbitkan suatu Rekomendasi Kebijkan seri pertama. Karya ini adalah hasil kerja riset dari komite Pendampingan dan Penelitian Arek. Kedua komite tersebut menyusun rekomendasi ini dalam rangka melakukan pengkajian kebijakan kebudayaan di kota Surabaya. Sebab, Komite Pendampingan Arek sedang melakukan pendampingan komunitas pada kelompok kesenian Ludruk yang berada di kota Surabaya. Terbitan ini adalah salah satu rangkaian dari program advokasi komite Pendampingan Arek.

Adapun pengunduhan berkas tersebut dapat klik tautan di bawah ini: