1Pulau Buru Tanah Air Beta Buru Island My HomeDocumentary, 40 min., 2016Director Rahung NasutionProducers Whisnu Yonar and Dolorosa SinagaProduction Beranda RakyatDistributed via Indonesian with English subtitles 2Buru Island My Home follows the journey of former detainees, Hersri Setiawan and Tejabayu Soedjojono to the island in the Moluccas that was used by the Indonesian New Order regime as a prison site. They meet old friends, visit the graves of those who have passed away and tell their part of the island’s history. 3Hersri, a writer, was a member of the People’s Cultural Institute Lekra, Lembaga Kebudayaan Rakyat, a leftist cultural group that was linked to the Indonesian Communist Party. Tejabayu was a student activist in the organisation CGMI Concentrasi Gerakan Mahasiswa Indonesia, Indonesian Student Movement Centre at the prestigious Gadjah Mada University in Yogyakarta, Indonesia. The two are reasonably well-known publicly as former detainees, Hersri in particular, who has written several books about his experiences on Buru Island. Making use of his creative works, the film features a few of his poems as a voiceover and text on screen, evoking island life under the barrel of a gun. 4The Indonesian government transported and detained about 12,000 men from Java from the time Buru was first used as a place of detention in 1969 until their release in 1978. The camp’s most famous resident was Pramoedya Ananta Toer, who, like Hersri, was a writer and a member of Lekra. Works by former detainees and Lekra writers were banned by the government after the 1965 suppression of the Communist Party. Those sent to Buru Island from 1969 onwards by the army-dominated government led by President Suharto came from all walks of life ; the one factor that united them was their actual or suspected links with the PKI and leftist mass organisations. 5The film opens with a domestic scene of Hersri making himself a hot drink in his home and then listening to a cassette and looking at some notebooks. Shortly after President Suharto resigned in May 1998, which ushered in democratisation for Indonesia, Hersri travelled to several countries where he collected hundreds of interviews with Indonesians exiled abroad as a result of their differences with the New Order regime. Perhaps the cassette was the result of one such interview, although the filmmakers do not make this clear to the viewer. 6The film opens with mention of 30 September 1965’ and refers to a genocide and survivors of crimes of humanity’, but does not provide further explanation. On 30 September 1965, a group of army officers and soldiers calling themselves the 30 September Movement abducted and killed six generals and a lieutenant, including the highest echelon of leadership of the Indonesian Army. Major-General, later President, Suharto led a violent suppression campaign of this group and the PKI that Suharto alleged was the mastermind of the group. The suppression of the PKI resulted in the killing of half a million members and sympathisers of the party by the army and civilian militias. About 600,000 to three-quarters of a million Indonesians were also detained, mostly without trial, including those on Buru. The Suharto regime, over its 32 years in office, carefully restricted discussions about the army’s actions to gain power from President Sukarno in those tumultuous years of 1965-1966. By restricting the ability of writers like Hersri to communicate their experiences following their incarceration, the regime ensured that its version of history, provided in the school curriculum and in popular media, was easily transmitted to younger generations born many years after these events. 7It is this painful work of re-weaving connections with the younger generation and re-establishing contact with the places and people of Buru that the film is preoccupied with showing. Transmigrants, namely settlers from other parts of Indonesia, and indigenous people also live on Buru. The island is facing environmental problems from gold mining on the adjacent island of Sulawesi. Hersri undertakes his journey back to Buru also with his wife, activist Ita Nadia, and daughter, Ken Setiawan, an academic at the University of Melbourne, who herself writes and publishes on the 1965 issue. The film crew follows their journey by land and sea to find those former detainees Hersri knew who chose to remain, and to revisit some sites of significance to detainees. There is rich potential here for exploring how the family negotiates a difficult and mysterious past, given for many younger people, it has been difficult to unearth family histories that entail connections with the 1965 cataclysm. In a poignant scene, the three stand together, while Hersri recounted his early life, including his leadership of a poetry reading association in Yogyakarta and his subsequent placement with the Afro-Asian Writers’ Bureau office in Colombo, then-Ceylon in the early 1960s. Hersri Setiawan and his daughter, Ken Setiawan 8The film’s fly-on-the-wall’ observational style lends an intimacy to the scene above as we observe the three. In several parts of the film, the bond between Hersri and his daughter Ken is readily apparent and made explicit most frequently by Ken’s statements to Hersri’s former fellow detainees about her feelings of being on the island, with meeting them, and in retracing Hersri’s steps with him. However, we do not gain much further insight into the relationship between father and daughter. Similarly, Hersri’s conversations with other former detainees on the island about Indonesian politics lack context, and therefore are obscure for the viewer. 2 Hersri Setiawan, Diburu di Pulau Buru, Yogyakarta Galang Press, 2006, p. 194. 3 Anonymous, At Australia Bridge’, in Baskara T. Wardaya S. J ed., Truth Will Out Indonesian acco ... 9In visiting the sites of memory on the island, those places that marked and recalled incarceration, we see a refurbished cultural hall where detainees used to perform, a modest monument marking the village established in line with the prison camp, Savanajaya, and the grave of one of his closest friends while in exile, Heru Santoso. The movie does not explain the significance of this particular Heru was a leader of the CGMI student organisation in Surabaya, East Java, and had tried to convince Hersri to make an escape attempt from the island. According to one former exile, Heru died from hepatitis in the camp 10Regrettably, there is also little explanation here about the sites other than what is voiced by the interlocutors on screen. Without adequate setting up’ and organisation of information by the filmmakers, the significance of these sites is not transmitted adequately to the viewer. For example, a scene where prayers are recited by the group, led by a Father, Baskara who was not introduced in the film, beside Heru’s neglected grave could have been even more poignant, had we understood something about the deceased. 4 See comment by Whisnu Yonar in Ika Krismantari, Documentary Provides Different Angle on 1965 Trage ... 11This film provides glimpses of Buru Island, a relatively remote part of Indonesia and the return of men who had years of their lives taken by a faraway ruling regime by being placed there. They returned as free men who are still haunted by memories of those they left behind. This is surely a powerful premise for a documentary. Contrasting with other documentaries which provide more contextualization through interviews and archival images, the director chose to follow the men to Buru without providing background information about the key dramatis personae and the events that impacted their lives. The film may pose some difficulties for viewers who have little knowledge about Indonesian history, in particular, the history of the Indonesian Left and its destruction by the army in 1965. The observational style leaves the viewer wondering about some of the organisations and individuals mentioned in Hersri’s narrative, about which the film does not provide much explanation. In using mainly impromptu observation as its chief technique, the resulting footage contains many narrative gaps. Owing to the technique chosen ‒ the absence of active intervention such as the addition of interviews and tighter editing, and the lack of context and information provided ‒, it would be hard for younger Indonesians, the film’s purported target audience, to follow the narrative thread in this film fully and to develop more knowledge about the anti-communist violence of There continues to be disinformation and confusion in Indonesia and internationally about these events, including the phenomenon of long-term imprisonment, Indonesia’s major human rights issue of the 1970s. While the film contributes somewhat to our historical knowledge, there continues to be many unexplored possibilities in telling the story of Buru. The survivors of this gross human rights violation are diminishing in number and to tell their stories powerfully and meaningfully would contribute significantly to addressing this past.

Simposium Nasional 1965, seberapapun kita menyangsikan niat dan fungsinya, merupakan jawaban bagi kemustahilan konsensus mengenai peristiwa 1965 dan pembantaian setelahnya. Simposium tersebut setidaknya mampu membuka dialog terkait fakta yang simpang siur di balik salah satu tragedi kemanusiaan terbesar pada abad 20. Lebih penting lagi, publik dapat menyaksikan seluruh prosesi simposium melalui Youtube. Masyarakat membutuhkan simposium ini, terlepas dari apapun rekomendasi yang dihasilkan nantinya. Terlebih lagi sekarang, ketika masyarakat kian erat membentengi kebenaran masing-masing tanpa membuka celah untuk dialog. Memang, simposium yang bertajuk Membedah Tragedi 1965 itu belumlah ideal. Perkara yang paling kentara adalah minimnya waktu bagi setiap orang untuk berbicara, baik bagi para audiens maupun narasumber. Tentu bukan kapasitas saya untuk mencurigai keseriusan penyelenggara, yang dalam hal ini adalah negara, lalu mengoreksi kerangka program, apalagi mengkritik kecakapan moderasi saat diskusi. Dan saya juga tidak tahu berapa waktu yang tepat untuk sepenuhnya mengakomodir semua suara dalam forum. Tapi saya percaya bahwa satu forum jelaslah tidak akan cukup untuk menguak berbagai cerita terkait peristiwa 1965. Perlu ada upaya lain, untuk mendampingi momentum ini, demi tersalurkannya cerita-cerita tersebut ke ruang khalayak dan dialog kita bersama. Pada titik ini, kita bicara tentang kemungkinan dialog yang sehat di tataran sipil. Pasalnya, menjadi ironis ketika upaya dialog tentang peristiwa 65 di berbagai ruang khalayak masih dihantui oleh ancaman pembubaran. Negara, yang dalam hal ini diwakilkan oleh kepolisian, bukannya melindungi malah justru menjadi perpanjangan tangan dari ancaman tersebut—dengan memastikan pihak penyelenggara menuruti ormas. Fasisme-fasisme macam ini jelas berbahaya. Karena ormas tersebut bisa jadi tidak tahu, dan seringnya memang tidak tahu, apa yang mereka larang. Mereka cuma tahu kalau mereka benar, tanpa benar-benar mempertanyakan kebenaran yang mereka percayai. Dan akan terus begitu, karena negara menjamin kebebalan mereka dan menutup kemungkinan terciptanya dialog yang sehat. Film sebagai Suara Selama simposium, ada beberapa narasumber yang menyinggung film sebagai catatan materi mereka. Dua yang disebutkan adalah Senyap 2014 karya Joshua Oppenheimer dan Surat dari Praha 2016 karya Angga Dwimas Sasongko. Kedua film tersebut, terlepas dari kecakapan sinematiknya, terbukti mampu diperhitungkan sebagai bagian dari tragedi kemanusiaan yang menjadi luka negeri ini. Tentunya, masih banyak film-film lain yang mengusung wacana serupa, yang mungkin tidak atau belum terakomodir dalam forum-forum terkait 1965. Pulau Buru Tanah Air Beta adalah salah satunya. Pulau Buru Tanah Air Beta merupakan dokumenter garapan Rahung Nasution yang mengungkap cerita penahanan dan kerja paksa di Pulau Buru 1968-1979. Pemutaran perdananya, pada 16 Maret 2016 lalu, mendapat ancaman demonstrasi dari ormas sehingga pihak penyelenggara membatalkan acara–demi keselamatan pelajar di Goethe. Pemutaran film lalu berpindah ke kantor Komisi Nasional Hak Asasi Manusia, berserta pernyataan sikap dari para pihak pembuat Pulau Buru Tanah Air Beta. Saat film diputar, dapat kita saksikan napak tilas Hersri Setiawan, seorang sastrawan Lekra yang pernah mendekam di Pulau Buru. Bersama putrinya, Ken Setiawan, tercipta percakapan antara ekstapol dengan anaknya, yang semasa sekolah dicekoki kebohongan sejarah. Sepotong demi sepotong, masa lalu diceritakan, dan terungkaplah fakta bahwa Pak Hersri tidak terlibat peristiwa 30 September. Nyatanya, ia justru terlibat dalam berbagai perhelatan penting, salah satunya Konferensi Pengarang Asia-Afrika. Pulau Buru Tanah Air Beta juga menampilkan kunjungan Pak Hersri dan kawan eks tapol lain—Tedjabayu Sudjojono salah satunya—ke tempat-tempat yang menjadi saksi dari pembuangan dulu. Ternyata, hampir tidak ada tanda-tanda kehadiran para tapol, serta bekas kerja paksa di sana. Di Desa Savanajaya, hanya ada sebuah gedung kesenian dan satu monumen kecil, berisikan nama-nama tentara selaku pihak yang membangun desa. Padahal para tahanan politik yang mengupayakannya. Lewat obrolan para tokoh, kita dapat memahami apa yang terjadi di sana dulu, sekalipun hanya sedikit artefak yang tersisa sekarang. Kita bisa mendengar bagaimana bentuk awal dari gedung kesenian, ataupun makna monumen di Desa Savanajaya. Terucapkan juga bahwa monumen di Desa Savanajaya tidak perlu dihancurkan, karena di situlah bukti penindasan terjadi. Dan nama-nama yang ada di monumen, justru menampilkan nama-nama para penindas. Selain melalui obrolan para tokoh, Pulau Buru Tanah Air Beta juga menyiasati minimnya catatan sejarah di Pulau Buru lewat pembacaan puisi yang Pak Hersri lakukan. Puisi tersebut menyuguhkan emosi pada tempat-tempat yang membisu–seperti Pantai Sanleko dan sebuah makam atas nama Heru. Ada pula penuturan warga Buru lain, dari yang transmigran hingga aparat negara, mengenai kehadiran para tapol dulu. Kita jadi tahu bagaimana kehadiran para ekstapol dimaknai oleh warga setempat. Seorang petani, misalnya, mengatakan bahwa ia mengetahui cara-cara bersawah dari para tapol dulu. Pelurusan Sejarah Nampak ada upaya meluruskan sejarah dalam Pulau Buru Tanah Air Beta. Tertulis jelas di baju Pak Hersri, “Pulau Buru adalah bukti Orde Baru keliru”. Upaya pelurusan sejarah ini sayangnya terasa agak tanggung, mengingat tidak terlalu banyak data dan narasumber yang film tawarkan. Beda halnya dengan film terkait 1965 lain, yang berupaya memaparkan banyak fakta. Misal, yang juga membahas Lekra, adalah Tjidurian 19. Dalam dokumenter itu, sosok Hersri Setiawan dan kawan-kawan Lekra lainnya juga bercerita mengenai ketegangan politik menjelang 1965, peristiwa coup, dan juga hubungan antara PKI dan Lekra—yang tidak serta-merta sejalan. Tapi tentu tuntutan pelurusan sejarah tidak sepenuhnya diwajibkan pada Pulau Buru Tanah Air Beta. Sebab, pada lingkup yang lebih personal, kita juga bisa melihat film ini sebagai upaya anak mengenal bapaknya—yang kisah hidupnya kerap tersaring propaganda negara. Melalui kehadiran Ken Setiawan itulah, Pulau Buru Tanah Air Beta memperluas cakupannya lebih dari sekadar narasi sejarah. Film ini jadi berbicara tentang aksi yang bisa dilakukan anak muda, yakni melakukan konfirmasi ihwal sejarah negeri ini. Pulau Buru Tanah Air Beta, meski memiliki tawaran yang menarik, masih jauh dari sempurna sebagai film. Perkembangan tiap tokoh tidak terlalu mulus, terutama untuk Ken Setiawan. Kita tidak dipaparkan, misalnya bagaimana Ken pada adegan di akhir bisa sampai seemosional itu. Hal-hal yang ia sebut, seperti obrolannya dengan Pak Tedja dan para esktapol lain, juga tidak terlihat cukup banyak di layar. Tapi rasanya, hal tersebut tidak terlalu jadi soal. Sebab apapun itu kekurangan film ini, menjadi tidak terlalu bermasalah ketika kita melihat Pulau Buru Tanah Air Beta sebagai pelengkap dari film-film lain yang mendokumentasikan peristiwa 1965. Kenyataan bahwa apapun terkait 65 ditutupi oleh rezim, membuat banyaknya upaya pengungkapan dari berbagai medium, salah satunya film. Tapi tentu mereka terbentur pada minimnya jumlah bahan, serta kredibilitasnya di mata publik—yang bisa jadi lebih percaya narasi sejarah versi negara. Konsekuensinya, banyak dokumenter yang ingin bicara 65 akhirnya berserah pada napak tilas—dari narasumber-sumber yang masih hidup. Inilah kemudian kesulitannya, setiap karya menjadi kepingan-kepingan sendiri yang perlu dirangkai kembali dalam kepala penonton. Mengatakan bahwa keutuhan film bisa datang dari luar jelas berisiko. Sebab seakan-akan film bermuatan penguakan fakta tidak perlu tuntas sebagai karya. Dalam hal ini, mungkin perlu dipahami juga bahwa nilai film tidak hanya ada pada tubuh film itu sendiri. Memaksakannya cakap secara tekstual memang perlu, tapi tentu ada kerepotannya sendiri. Misal, jadi memakan waktu yang lama karena harus menelaah setiap kemungkinan yang ada, atau ketika ingin cepat, jadi menghajar batas-batas etika. Wacana-wacana Menyediakan waktu yang lama untuk proses kreatif, dalam urusan pengungkapan isu 1965, jelas dilematis. Sebab semakin lama menunda, semakin tua pula para korban yang ada. Dalam rangkaian footage di Mass Grave 2001 karya Lexy Rambadeta, ada tiga tokoh penting yang sudah tiada Pramoedya Ananta Toer, Gus Dur, dan Ibu Sulami. Tapi hingga akhir hayatnya, yang mereka resahkan tak tuntas pula. Itu baru satu film. Belum film lain, dengan tokoh dan penyintas lain, dari yang ada maupun yang tak ada dalam film. Terkait etika, menjadi menarik untuk melihat lagi tulisan-tulisan terkait Senyap dan Jagal di Cinema Poetica. Thomas Barker, dalam tulisannya berjudul Can We Defend The Act of Killing and The Look of Silence?, mengatakan bahwa dua film Oppenheimer lebih berhasil memantik pewacanaan tentang 1965, ketimbang, misalnya, 40 Years of Silence An Indonesian Tragedy 2009 karya Robert Lemelson. Kemudian itu menjadi fakta yang perlu dipertimbangkan, kalau bukan pembelaan, saat kita membahas etika dalam film Senyap. Walaupun demikian, pernyataan itu pun tetap perlu dipertanyakan. Karena, mendapat sorotan dan dibincangkan bukanlah satu-satunya pencapaian. Yang lebih penting untuk dipertanyakan adalah pewacanaan macam apa, atau obrolan seperti apa, yang muncul ketika Senyap dan Jagal hadir. Dua film tersebut, alih-alih menghasilkan pewacanaan rekonsiliasi, malahan bisa saja memantik kebencian, melalui dikotomi yang membunuh dan yang terbunuh sepanjang narasi film. Harus diakui, Senyap dan Jagal memang istimewa karena mampu menjangkau alam pikir para pelaku. Namun kedua film itu melangkah terlalu jauh. Keduanya tidak sekadar memahami alam pikir pelaku, tapi juga mengeksploitasinya. Celakanya, tanpa disertai konteks yang kuat, kita bisa saja mengklaim para pelaku kejam, seperti halnya para pelaku mengklaim korbannya kejam. Film-film terkait tragedi 1965 mungkin memang punya keutuhan lain, selain keutuhan dalam tubuh film itu sendiri. Bisa jadi, justru nilai dari keutuhan yang di luar film itulah yang lebih penting, mengingat masih kaburnya ingatan kolektif masyarakat tentang 1965. Tidak peduli itu film panjang bioskop seperti Surat dari Praha, film pendek seperti Klayaban, film yang dipertanyakan etikanya macam Senyap dan Jagal, bahkan film propaganda macam Pengkhianatan G30S/PKI. Semua punya nilai yang melebihi nilai intrinsiknya. Asalkan, setiap wacana dalam film itu dikaji dalam sebuah konteks yang relevan, demi kebutuhan berdialog satu sama lain. Dengan begitu, kita bisa jadi tidak perlu mengadakan simposium terus-menerus di semua daerah. Bisa juga dengan merancang program film dengan kerangka yang matang. Dilanjutkan dengan pemutaran keliling, atau mungkin juga pertukaran program di jaringan komunitas film, sekaligus dengan narasumber yang kompeten untuk diskusi. Dengan catatan negara harus melindungi jalannya pemutaran. Artinya, terlebih dahulu perlu ada pengakuan kesalahan negara mengenai tragedi 1965, yang menjadi prakondisi untuk tingkatan akar rumput. Supaya kita bisa berdialog secara sehat melalui pemutaran film dan diskusi bersama. Pulau Buru Tanah Air Beta 2016 Durasi 48 menit Sutradara Rahung Nasution Negara Indonesia

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Pembatalanpemutaran Film "Pulau Buru Tanah Air Beta" karya Rahung Nasution, Rabu (16/3/2016), sangat disayangkan. Kamis, 6 Januari 2022; Cari. Network. Tribunnews.com; TribunnewsWiki.com;

Voice from the island Scenes from Pulau Buru Tanah Air Beta, a documentary film by Rahung Nasution. Courtesy of Rahung NasutionThe planned screening of the documentary Pulau Buru Tanah Air Beta Buru Island My Homeland may not be the first event to receive threats for telling stories of the 1965 tragedy, but it boasts a more persistent audience and organizer than most such film, by chef and director Rahung Nasution, had its screening sabotaged on Wednesday by a group of fundamentalists not happy with the materials covered by the film. Similar disruptions have affected the screenings of other film'€™s dealing with the same issue. Public viewings of The Look of Silence by American director Joshua Oppenheimer, for example, were canceled in several regions due to unlike The Look of Silence, that mostly succumbed to protesters'€™ demands, the screening of Pulau Buru Tanah Air Beta still took place, though the organizing committee had to move the event from the Goethe Institute to the National Commission on Human Rights Komnas HAM headquarters in Menteng, Central Jakarta, on Wednesday venue change itself was also a form of protest against the police who refused to guarantee the security of the event.'€œThey can'€™t silence us,'€ organizing committee representative Dhyta Caturani said followed by loud cheers from the audience that packed the screening room at Komnas committee had to organize a second screening to cater for the overwhelming numbers, many not fitting into the first screening as the new venue was smaller than the planned in the Banda Sea, the island of Buru is associated with the country'€™s dark human-rights record around the time of the Sept. 30 coup attempt, which was blamed on the Indonesian Communist Party PKI. Many people who were accused of having connections with the PKI were imprisoned on the island without trial. They included late Indonesian acclaimed author Pramoedya Ananta Toer who refused to be silenced, writing numerous notes, letters and essays during his imprisonment in the other documentary films on this issue only speak about the victims or perpetrators, Pulau Buru Tanah Air Beta has given airtime to a different voice that of the young film tells a story about a young woman named Ken Setiawan who accompanies her father Hersri Setiawan and his friend Tedjabayu on a pilgrimage to Buru Island where they had previously been held captive for years due to their connections with the the island, Ken learns about her father'€™s past and the trauma he suffered. She meets her father'€™s fellow former political prisoners who still live on the island.'€œEvery child must know their parents'€™ history,'€ Ken says at the beginning of the movie, while holding back her tears.'€œThis place [Buru Island] is the first in Indonesia where I feel free to say that I am the daughter of a political prisoner,'€ she says in another Yonar, the film'€™s producer, said that the film was dedicated to the young generation because they were the only hope for the nation in the struggle for truth and reconciliation following the 1965 activists, victims and the families of victims of the 1965 tragedy have demanded the government deliver justice for the hundreds of thousands of people killed and sent into exile without trial during that bloody hope arises under the administration of President Joko '€œJokowi'€ Widodo, who has pledged to resolve past human-rights abuses, including the 1965 crimes. Yet, his promise has not been backed up by action so the press conference before the screening, Hersri himself spoke and expressed regret that Jokowi did not mention the country'€™s dark past during his recent state visit to Buru Island.'€œNot a single word did he mention about the land being developed by the hard work of political prisoners. Without us, Buru Island would not be the major producer of rice it is today,'€ he said in the film'€™s director Rahung said this project was his way of repaying his debt to the nation'€™s history.'€œAs part of the younger generation, I have an obligation to tell the truth. I was told when I was little that Buru Island was an island filled with bad people. But, we know that is not true,'€ he that opinion, Whisnu said the film'€™s target audience was young people because he wanted to see the country nurture young people who were '€œhistory healthy'€ to move toward a better article has been changed to include the correction of quotes by Ken receive comprehensive and earlier access to The Jakarta Post print edition, please subscribe to our epaper through iOS' iTunes, Android's Google Play, Blackberry World or Microsoft's Windows Store. Subscription includes free daily editions of The Nation, The Star Malaysia, the Philippine Daily Inquirer and Asia News. TGbJNWZ.

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