Berikut tulisan seorang kawan yang pernah S2 di Oz sekarang s3 di German (Istrinya mas Ahmad Norma Permata). Tulisan ini berangkat dari diskusi di milis teman-teman muslim di Monash University (lihat di bagian bawah). Tulisannya (apalagi englishnya untuk ukuran Indonesia) sangat baik sekali. Karena itu layak mendapat apresiasi.
Selamat membaca. Semoga berguna. Wassalam, Asep Saefumillah, PhD Kemarahan Taufik Ismail (Catatan Perempuan) Muenster, January 16th 2007 Taufik Ismail's Anger against ¼ and ½ Indonesian Women Literary Works dewi candraningrum, Muenster January 9, 2007, senior poet and artist, Taufik Ismail (TI) deliver his culture oration in IPB, entitled Gerakan Syahwat Merdeka (The Free Sexual-Arousal Movement). Syahwat derived from an Arabic term which could be equated with English words "arousal". His words are decorated with ultra morality under the name of absolute fear against the global conspiracy. He spoke against a bunch of conspirators who propagated this lusty sexual arousal which were categorized into 13 lusty faces. As if these 13 movements have been inspired by a satanic call to destroy the morality of the Indonesian. The most interesting face is number five, (5) "writers, publishers, sexual propagandist which are merely ¼ and ½ to be categorized as literary works. Those of Indonesian women's writers who are only interested in talking about sexual arousal. They have no shame at all. It is a literary mazhab of s.m.s (sastra mazhab selangkang)." It is clearly a glance of anger. I was tempted to imagine who those women writers are, those who write not in his mores and those who write under the correct morality. What is correct and incorrect in morality? What kind of ideological cloak that decorated the absolute ideal morality he embraced? What kinds of cosmological construct that defines "what art is" Taufik is now believing? I then retoured my rereading on the work of Helvy Tiana Rosa and Ayu Utami, two Indonesian women writers who have a different gender construction in relation with morality. Hamka once wrote and shed his capture of peaceful mores under the abode of Kabah (Di Bawah Lindoengan Ka'bah). He propagated these way of life in his well-known Padang published Pedoman Masjarakat in the thirties. The quest for Islamic identity which was inertly searched by former Islamic writers was then transformed by Hamka into outwardly search. This outward search is now also shared by women writers in Forum Lingkar Pena. The propagation shed its light on the mass Islamic pops magazine like Annida and Sabili whom one of its prominent Islamic women writers, Helvy Tiana Rosa (HTR), becomes the main actor. HTR is in firm search of Islamic identity. Her Cut Dini, Lizetta, and Hanan are shouldered with the roles of star of wars to defend and protect other Muslimah. If Hamka spoke against the Dutch, Helvy read against the global war on terror which have apparently cornered the Muslim. These works of literature are being read as well as being interpreted thousands of times. The Islamic identities that they uniquely represented through its characters have its legacy in every person who read it. The Islamic mores is usurped in the beauty of its brave major women characters. The untouchable beauty of her Muslim women is inaugurated to serve the Islamic morality a women of Islam are willing to participate. Helvy's aesthetical works deserve a place in the rainbow of contemporary Indonesian women writers. Writers can never live without critics. Critics affirm the legacy writers deserve to achieve. These very rights shall be guaranteed and protected by "the civilization of ratio" that we affirm. The way Ayu Utami pick a woman character to speak against the patriarchal feudal construction of women's bodies, represent her ability in giving back women women's own voices. Voices that enable them to apprehend the meaning of sexuality in women's own social cultural construct. She has returned the right the women have. She has interrogated the level of horizon which is casted upon the soul of the languages. Her words were often attacked that they sparkled with the glance of lust, which is immoral. The deep structure that was roamed by her words represents a different cosmological gender construction. The sound of existentialism, of the being, is obstructed to speak against the taboos feudal Indonesian. Ayu very mores shed further challenge to the so-called rigid-textual-scriptural interpretation. Like Helvy, Ayu's aesthetical facts deserve a place in the rainbow of contemporary Indonesian women's writers. >From the surface hermeneutical inquiry, it seems that Ayu's and Helvy's construction of women's bodies are in conflict. It is indeed, but not necessarily paradoxical. The civilizations of "here and now" and "there and after" remain enriching the color of Indonesian women's writers. They are the precious wealth, Indonesian have. Clerics may laud that the world of "there and after" is better and holier than the world of "lusty here and now". A senior poet will surely assure and appreciate both of the works as equally valid. A senior poet will not easily angry just to stamp that the literary works of "here and now" is lusty, is immoral, is solely ¼ and ½ to be regarded as "literary". Taufik's anger to one of both genres is an anger of an old man. An old man who is longing for the world of "holy-sacred there and after". His anger could be interpreted as his own shock of his inability to see that "morality" shall become the responsibility of not only women but men as well. His morality is deeply ingrained in his interpretation that "women's bodies as source of temptation", that spectators of those temptations are freed from any responsibility of the so-called ultra-morality. Is this fair? Shall morality be shouldered merely to women's bodies? How about the spectators who apparently shows their greedy patriarchal mores in the name of religion? The different gender constructions that are perceived by Helvy and Ayu need not necessarily to be paradoxical. The different positions they outcast could be paradoxical that certainly enhance the source of creativity. They are the deposit of millions of interpretations which lubricated the hermeneutical cycle of work of arts. The beauty their words represented is the rainbow of contemporary Indonesian writers. Ayu together with other Indonesian writers establish a remarkable group of women who created a great deal of the fabric of modern Indonesian women writers, to retell the story of women from different social cultural background, to mediate the voices of women, to negotiate the resistances into the aesthetical transformation, which are indeed women's own stories, which are belong to women, only. The writer is recipient of DAAD Stipendium. She could be reached at <[EMAIL PROTECTED]>. --- In [EMAIL PROTECTED], asep saefumillah <[EMAIL PROTECTED]> wrote: > > Tentu saja moralis itu bagus-bagus saja dan itu ada tempatnya. > Tetapi moral yang terlalu dikhotbahkan secara telanjang pada sajak penyair TI mengesankan beliau tidak sedang bersair tetapi berkhotbah. Pada posisi ini ia jadi seperti seperti Habib Ridzik, Arifin Ilham. Dan memang nggak ada larangan mencampurkan epistema puisi dan epistema moral. > > Ini sekedar appresiasi saja. > Boleh toh? > > salam, > asep > > Sent: Friday, January 5, 2007 8:15:43 AM > Subject: Re: [hanif-net]- Gerakan syahwat merdeka Taufiq ismail > > Bukannya memang mesti begitu kang Asep? Moralis bagus > toh? > > Kalo penyairnya amoral, nanti kita punya pebisnis > amoral, aleg amoral, dosen amoral, dll :-) > > --- asep saefumillah <[EMAIL PROTECTED] com> wrote: > > > Saya pengagum TI. > > Tapi kali ini kok TI ya penyair ya moralis juga. > > Sajak ini kalau mau dieksakkan.. 1/2 sastra dan 1/2 > > lagi ajaran moral. > > jadi mungkin cucuk ehh cocok buat orasi budaya di > > TIM dan bisa juga buat bahan khotbah... > > > > salam, > > asep > > Sent: Thursday, January 4, 2007 10:18:31 AM > > Subject: [hanif-net]- Gerakan syahwat merdeka Taufiq > > ismail > > > > PERSPEKTIF TAUFIQ ISMAIL > > > > > > 13 Wajah Gerakan Syahwat Merdeka > > > > Di dalam gelombang reformasi yang membawa perubahan > > politik sewindu yang lalu, sebuah arus besar > > digerakkan oleh kelompok permisif dan adiktif > > menumpang masuk ke tanah air kita. Arus besar itu, > > sesuai karakteristiknya, tepat disebut sebagai > > gerakan syahwat merdeka. > > > > Tak ada sosok organisasi resminya, tapi jaringan > > kerja samanya mendunia, kapital raksasa mendanainya, > > ideologi gabungan melandasinya, dan banyak media > > massa jadi pengeras suaranya. > > > > Ada tiga belas komponen dalam gerakan dengan seks > > sebagai jaringan pengikatnya ini: > > > > PERTAMA adalah praktisi sehari-hari kehidupan > > pribadi dan kelompok dalam perilaku seks bebas > > hetero dan homo, terang-terangan dan > > sembunyi-sembunyi dan sebagian anti-pernikahan > > resmi. > > > > KEDUA, penerbit majalah dan tabloid mesum, yang > > telah menikmati tiada perlunya SIUPP. Mereka menjual > > wajah dan kulit perempuan muda, lalu menawarkan jasa > > hubungan kelamin pada pembaca pria dan wanita lewat > > nomor telepon genggam. > > > > KETIGA, produser, penulis skrip, dan pengiklan acara > > televisi syahwat. Seks siswa dengan guru, ayah > > dengan anak, siswa dengan siswa, siswa dengan pria > > paruh baya, siswa dengan pekerja seks komersial > > --ditayangkan pada jam prime time, kalau pemainnya > > terkenal. Setiap tayangan televisi, rata-rata 170 > > juta orang yang memirsa. > > > > KEEMPAT, 4,200,000 (empat koma dua juta) situs porno > > dunia, 100,000 (seratus ribu) situs porno Indonesia > > di internet. Dengan empat kali klik di komputer, > > anatomi tubuh perempuan dan laki-laki, sekaligus > > cara berfungsinya, dapat diakses gratis, sama > > mudahnya dilakukan baik dari San Francisco, > > Timbuktu, Rotterdam, maupun Sidoarjo. > > > > KELIMA, penulis, penerbit, dan propagandis buku > > syahwat 1/4 sastra dan 1/2 sastra. Di Malaysia, > > penulis yang mencabul-cabulkan karyanya penulis > > pria. Di Indonesia, penulis yang asyik dengan > > wilayah selangkang dan sekitarnya mayoritas penulis > > perempuan. Ada kritikus sastra Malaysia berkata: > > "Wah, Pak Taufiq, pengarang wanita Indonesia > > berani-berani. Kok, mereka tidak malu, ya?" Memang > > begitulah, RASA MALU ITU YANG SUDAH TERKIKIS, bukan > > saja pada penulis-penulis perempuan aliran s.m.s. > > (sastra mazhab selangkang) itu, melainkan juga pada > > banyak bagian dari bangsa. > > > > KEENAM, penerbit dan pengedar komik cabul. Komik > > yang kebanyakan terbitan Jepang yang diterjemahkan > > itu tampak di kulit luar biasa saja, tapi di > > dalamnya banyak gambar hubungan badannya, misalnya > > (bukan main) antara siswa dan Bu Guru. Harganya Rp > > 2.000. > > > > KETUJUH, produsen, pengganda, pembajak, pengecer, > > dan penonton VCD/DVD biru. Indonesia kini jadi surga > > besar pornografi paling murah di dunia. Angka resmi > > produksi dan bajakan 2 juta-20 juta keping setahun. > > Harga yang dulu Rp 30.000 sekeping, kini turun > > menjadi Rp 3.000. Luar biasa murah. Anak-anak SMA, > > SMP, bahkan SD kita bisa membelinya tanpa risi > > karena tak ada larangan peraturan pemerintah. > > Sesudah menonton, mereka ingin mencobakannya, dan > > akhirnya bisa terlibat prostitusi dan/atau aborsi. > > > > KEDELAPAN, pabrikan dan konsumen alkohol. Minuman > > keras dari berbagai merek dengan mudah bisa > > diperoleh di pasaran. Kemasan botol kecil > > diproduksi, mudah masuk kantong celana, harga murah, > > dijual di kios tukang rokok di depan sekolah, remaja > > dengan bebas bisa membelinya. Di Amerika dan Eropa, > > batas umur larangan di bawah 18 tahun. > > > > KESEMBILAN, produsen, pengedar, dan pengguna > > narkoba. Tingkat keterlibatan Indonesia bukan pada > > pengedar dan pengguna saja, bahkan kini sampai pada > > derajat produsen dunia. Enam juta anak muda > > Indonesia terperangkap dan ratusan ribu menjadi > > korbannya. > > > > KESEPULUH, pabrikan, pengiklan, dan pengisap > > nikotin. Korban racun nikotin 57.000 orang per > > tahun, maknanya setiap hari 156 orang mati, atau > > setiap sembilan menit seorang pecandu rokok > > meninggal. Pemasukan pajak Rp 15 trilyun (1996), > > tapi ongkos pengobatan berbagai penyakit akibatnya > > Rp 30 trilyun. > > > > Mengapa alkohol, narkoba, dan nikotin termasuk dalam > > kategori kontributor arus syahwat merdeka ini? > > Karena sifat adiktifnya, kecanduannya, yang sangat > > mirip, begitu pula proses pembentukan ketiga adiksi > > tersebut dalam susunan saraf pusat manusia. Dalam > > masyarakat permisif, interaksi antara seks dan > > alkohol, narkoba dan nikotin, akrab sekali. > > Interaksi ini kemudian berlanjut dengan tindak > > kriminal berikutnya: pemerasan, perampokan, sampai > > ke titik puncaknya pembunuhan. > > > > KESEBELAS, pengiklan perempuan dan laki-laki > > panggilan. Dalam masyarakat permisif, iklan semacam > > ini menjadi jembatan komunikasi yang diperlukan. > > > > KEDUA BELAS, germo dan pelanggan prostitusi. Apabila > > hubungan syahwat suka-sama-suka yang gratis tidak > > tersedia, hubungan dalam bentuk perjanjian bayaran > > merupakan jalan keluarnya. Dalam hal ini, prostitusi > > berfungsi. > > > > KETIGA BELAS, dokter dan dukun praktisi aborsi. > > Akibat kombinasi berbagai faktor di atas, kasus > > pemerkosaan dan kehamilan di luar pernikahan > > meningkat drastis. > > > > Seorang peneliti dari sebuah universitas di Jakarta > > menyebutkan bahwa angka aborsi di Indonesia 2,2 juta > > setahun. Maknanya setiap 15 detik seorang calon bayi > > di suatu tempat di negeri kita meninggal akibat dari > > salah satu atau gabungan faktor-faktor di atas. > > Inilah produk akhirnya. > > > > Luar biasa destruksi sosial yang dilakukan Gerakan > > Syahwat Merdeka ini, yang ciri kolektifnya adalah > > budaya malu yang telah kikis nyaris habis dalam diri > > mereka. > > > > Taufiq Ismail > > Penyair, budayawan > > [Perspektif, Gatra Nomor 7 Beredar Kamis, 28 > > Desember 2006]
