Dokarim writing school AA MANGGENG

INTRODUCTION

Thanks to Vergabegruppe, Germany, with whom Tikar Pandan Community has been cooperated to establish a writing school for the students in Aceh. The school name is Dokarim, refers to a folk-poetry who lived during the Dutch Colonial War in Aceh (1873) until the fall of the dynasty of Aceh sultanate (1903). Why the name of Dokarim has been selected to be given to this writing school, the reason is, beside Dokarim himself was not a famous person in Aceh history, but he was the one who took position against the state by taking sides with the victims.

The writing school which is supported by the Vergabegruppe is the third generation of Dokarim writing school. The first writing school was hold before tsunami, while the second generation was hold during June until December 2005 with donation from Hivos – Netherlands.

Dokarim writing school gives scholarship for 15 students (in form of transportation’s expenditure which is given monthly, lecturing materials, course subjects, facilitator and books that could be accessed anytime in Tikar Pandan’s library). The writing school takes six months to be completed, with 8 meetings in a month. Thus, every generation of Dokarim writing school will learn within 48 days with 3 hours of learning in every meeting. .

Many of Dokarim writing school’s alumnus had published their writings in the local media as well as national media.

The curriculum in the writing school is designed participatory. We discover the curriculum from the class dynamic. Thus, the curriculum is made by involving and considering the needs of the participants. In common, there are two plots in the curriculum. The first is introduction of theories that are not taught in the university. Those are philosophy, cultural studies, critical history, research methodology, ‘kampunggrafi’ (to mention anthropology and critical ethnography), sociology, the history of corruption, introduction to human rights and cinematography. The first plot is combined with social analysis and the deconstruction of the principle of basic knowledge. This combination is necessary since education system in Indonesia had put students as object, in order to make them fail to think critically. According to its vision, Dokarim writing school holds to achieve that prior goal. While the second plot is the technique of creative writing. The second plot is designed after considering that students had understood the social realities existed surround and any factors that had caused or influenced those realities. The combination is such 4 months for implementing the first plot and 2 months for the second plot.

The participants are learning either in the class or outdoor. We usually learn in kampong (or village), museums or city landmark. By doing this, we hope that the participants will have social proximity with the realities surrounding. The learning process rests on multimedia approach, besides reviewing texts and discourses that were created by excellent writings and mass media. Memento passionate becomes a creative and critical way as well as film, photos, and interactive discussion. The films that were played always appropriate with the curriculum. After that, the participants would be asked to make reviews that are going to be discussed together. By doing this, we aim to give the participants opportunity to discuss the ideas within the film and to improve their writing’s quality. Finally, they were given chance to publish their writings on mass media. The same process will occur to photos, advertisements and brochures that are going to be reviewed. They have to write and submit something relevant to the theme or monthly curriculum occasionally.

A notebook as a diary will be given to every participant at the beginning of learning process. This is important because in most of the cases, process of writing is usually ignored because they don’t have enough notes about everything. If there is any, it more likes daily activities, not ideas or any inspirations which suddenly come, that could be developed as quality writing. The main point is their notebook will be examined by facilitator or guest lecture occasionally. Sometimes they have to read it also to other participants spontaneously.

Writing a letter to anybody is also becoming an obligatory to every participant. Hence, letter becomes a way to tell story. Aside from that, the facilitator then will evaluate their letter and giving them reply. This is the basic level of entering and finding the strength of writing. The participants are free to write anything, to live their imagination, having dialogue within themselves and to flee their mind.

The concept of this school at the beginning is spare time, the same as the concept of school etymologically in Greek. We are asking the participants to learn on their spare time after they have finished with their routine activities. The concept of spare time had given us chance to say that this school uses playing concept. We are learning while playing. Hence, the second and third generations of Dokarim writing school that are donated by Vergabegruppe were designed as media to heal trauma of tsunami victims. And as the result, besides they have abilities to see the world and the realities with a new perspective at the moment, they also able to write those experiences and making it as spaces for trauma healing.

Dokarim writing school is carried out by a board named School Administer, consist of a headmaster (Fauzan Santa), class administer (Trisfayani), program manager (Mirisa Hasfaria), and finance manager (Yuziana). Besides that, there are also facilitators: Azhari, Fauzan Santa, Reza Idria, A.A. Manggeng and Wiratmadinata. Dokarim writing school also invites experts to become facilitator (see in attachment). According to perception that Dokarim writing school has to be existed, therefore Tikar Pandan community had asked individuals who have commitment with alternative education to become Board of Trustees, are:
- Azhari (Banda Aceh)
- Adila Suwarno (Jakarta)
- Elsa Clave (Paris, France)
- Evi Narti Zain (Banda Aceh)
- Edi Soepadmo (Jakarta)
- Nezar Patria (Jakarta)
- Nirwan Arsuka (Jakarta)
- Nirwan Dewanto (Jakarta)
- Ruth Misnick (Bonn, Germany) and
- Wiratmadinata (Banda Aceh).
Thus, we would like to ask any individual from Vergabeggruppe to become a member of Board of Trustees of Dokarim writing school.


PROGRESS REPORT

The writing class that was donated by Vergabeggruppe has been going more or less 3 months (February – May 2006) and followed by 15 participants who experienced the impact of tsunami (see in attachment). The recruitment had done by publicizing an advertisement in a local daily newspaper (Serambi Indonesia) for 10 days. The participants who had sent the application reached 121 persons. They had to pass interview hold by the team from Dokarim writing school also until we selected 15 candidates only that fill the requirements.

Until May 2006, the participants had started creative writing process and their writing have been published by several mass media, especially newspaper and campus magazine as well as any publication that is published by social institution. The number of information from reliable sources such as newspaper and internet about the space for creative writing is very much supporting their activities. Besides that, some new perspectives have arisen from systematically thinking method in responding issues and social contextual experiences, which colored the forum, discussion and debate among the participants. Thus, access to reading books become important for the participants. At least, there is an interest to understand the reality not only from one perspective.
One thing that is interesting, the participants are now aware that the learning process in the school has not given the participants free choice to express themselves. Contrary to this, here, in Dokarim writing school, they could give input to the learning process, such as having outdoor class by visiting beach, museum, historical sites, kampong or watching movie.

YANG TERTEMBAK TAHUN ITU

Sajak : AA MANGGENG

Unggas
dengan sayapnya
yang bertaburan di aspal jalan baru
dan rusa bermain dengan anaknya,
pincang !

Orang-orang kampung kebagian tetes darah
yang tergores pada setiap tanda tangan.

(ACEH, 1990)

GELISAH DAN SUNYI

SAJAK AA MANGGENG

acap sekali gelisah memporak-porandakan kedamaian
sedangkan sepi datang sendiri-sendiri tanpa kawalan
sepi juga sangat kompromi bahkan terdepak diam-diam dan pergi
mencari hati yang ditinggalkan kebahagiaan.

acap sekali gelisah menghalau perasaan sunyi
sedangkan sunyi datang dalam kedangkalan perasaan
menyusup ke sela-sela rimbun kegaduhan
mencari ujudnya yang dilimbung ketidakpastian.

gelisah terungkap ketika kesunyian membuka koridor alam perasaan
dan membiarkan pertarungan berkecamuk di lorong-lorong hampa

sunyi terungkap ketika kegelisahan menutup rapat-rapat pintu hati
dan membiarkan syair-syair kerinduan dan keterasingan bernyanyi.

gelisah dan sunyi adalah percakapan
tanpa kata-kata pun
punya makna.

(ACEH’1999)

DINIHARI DI TAMAN KAMBOJA

SAJAK AA MANGGENG

(Elegi dari Idi Cut)
bunga kamboja berguguran di sebuah pedalaman
padahal angin sangat bersahabat malam itu
di jalan-jalan mencekam
isyarat kedukaan tanpa terduga

bunga kamboja berguguran di sebuah pedalaman
aromanya ditiup angin ke seluruh penjuru
siapa yang sanggup menutup rahasia duka
atas kebiadaban manusia

pohon kamboja yang tumbuh di taman kita
penghias kebun-kebun negeri
adalah dia yang lahir dari sejarah
lalu gugur bunganya
luruh daunnya
tercabut akarnya
tumbang batangnya

kamboja, bunga kamboja
seorang ibu mencari anaknya
yang terkapar di bawah rontokan bunga
dalam gelimangan darah bersama orang-orang
yang tak tahu apa-apa.

(ACEH, 3 Pebruari 1999)

MENARIK DIRI

Ini ladang kita
tempat menyemai benih cinta
tempat kita memanen nasib
dan tempat menggambar harapan-harapan
dilangit
selalu dilangit
itulah sejarah
kini langit telah berubah
jadi kanvas dan sejumlah lukisan
berbentuk angan-angan.

masih di ladang kita
cinta tumbuh dalam ruang yang sempit

(ACEH,1999)

LENYAP - SENYAP

AA MANGGENG

Unggun kemuliaan di kamar tidur saudaraku
Telah redup oleh silau cahaya yang menyusup

Ketekunan yang ditidurkan jadi rayap-rayap
Merobohkan tiang penyangga rumah

Jangan berkata mungkin
karena pemusnahan

Jangan berkilah janji
karena mungkir

Hidupkan bara dengan napas cinta
Dan yang pergi dari keterkejutan
Adalah keriuhan yang mengabaikan sunyi

Unggun kemuliaan tepiskan silau cahaya
Dengan membuka celah lebih terbuka
Lalu tatap lekat-lekat diluar yang saudaraku anggap gelap.

Ketekunan yang dirampas rayap-rayap
Musti diganti dengan tiang keimanan
Sebab kelalaian terlalu mengendap-endap.

(ACEH’1993)

DIORAMA

SAJAK AA MANGGENG

Kita tidak perlu menangis, saudaraku
Hanya karena disiksa dan dihabisi
Sebab air mata seketika habis diseka

Kita hidupkan kesunyian yang teguh
Dan rebahkan keriuhan yang gelap

Sebentar lagi diorama kegelisahan akan dipertontonkan
Dari peran-peran pencabulan, pemerkosaan dan pembunuhan
Siapkan nurani kita menyaksikan hidup mereka

Kita hidupkan kesunyian yang teguh
Dan rebahkan keriuhan yang gelap

(ACEH’1998)

NYALA

Sajak AA MANGGENG:

nyalakan unggun dalam jiwamu, saudaraku
agar malam tidak kelamkan kehidupan
dan kita masih bisa berkirim kabar tentang kematian
pada setiap hari yang kita tunggu-tunggu itu
menjadi rutin jadinya

nyalakan unggun dalam jiwamu, saudaraku
agar semangat tetap menggelora dalam dada
dan kita tepis keraguan dijalan-jalan kebenaran
pada setiap keputusan yang kita sepakati bersama
adalah martabat kemanusiaan kita

cahaya jangan sampai silaukan ruang dan waktu
gelora jangan sampai jadi ria, saudaraku
timbang-timbangkan antara yang jihad dan dendam
agar unggun dalam jiwa memancarkan suluh kebenaran.

(ACEH’ 1999)

HPH HPHH

SAJAK AA MANGGENG:

nyiur hijau indonesiaku subur yang dinyanyikan
tidak lagi masuk dalam sukma
lagu syukur pada penutup rangkaian acara televisi
dengan hamparan keindahan alam
juga mengajak indonesia bersyukur dalam gambar
sebelum tertidur

impian putra-putri bangsa merambat kehutan-hutan
merambah rimba raya tempat berteduhnya penyanyi alam
tanpa meminta gedung-gedung pencakar untuk berlindung
di sini damai bersama pepohonan

badut-badut dengan topeng wajah majikannya
menyingkirkan suara-suara alam dan
kicau burung terusir ke padang tandus tak bertuan
indonesia berkibar ke atap-atap dunia lewat lagunya yang merdu

hari ini lembar-lembar surat keputusan
menyumbat mulut penyanyi alam yang khitmat di rimba
berteduh di bawah rimbun indonesia yang dibanggakan
berjuta-juta orang semakin tak mengerti makna
yang dilagukan
badut-badut dengan suara sumbang
membeo isi kertas yang sudah dibubuhi tanda tangan.

(NYANYIAN PANTAI SELATAN, 1990)

Pengembara

Sajak AA Manggeng

Tuhan,

bawalah jiwaku dalam sungaiMu
hanyut dalam arus tenang dan bergelombang
singgahkan aku pada tebing-tebing rerumputan
agar aku bisa rebahkan letihku dalam embun maafMu

mata air yang berdarah
beningkan dalam cawan kemuliaan
aku ingin reguk kenikmatan dari cawan yang memabukkan
bertemu makna kesucian

Tuhan,
bawalah aku dalam kendaraanMu
melintasi lintasan persimpangan dan
singgah di rumah-rumah keteduhan
agar aku lebih lama bersimpuh dan istirah
di alam ketenangan.

Tuhan,
aku teruskan pengembaraan
ke tengah-tengah rimbun Ridha-MU.

(ACEH’ 1994) 

YANG HILANG DI MUSIM BADAI

Sajak AA Manggeng

Aku cari engkau saudaraku
yang sudah lama tidak kembali
Apakah musim badai tanah rencong ini
telah mendekapmu di penjara-penjara rahasia?

Suara tidak selalu menjadi kata, saudaraku
untuk itu ingin aku pastikan nurani
atas kehilanganmu
Apakah engkau mendengarnya
dari sukma bumi
yang bernafaskan air mata

Saudaraku,
cahaya kunang-kunang
memberi isyarat duka cita
atas kepergianmu
Jangan kuburkan kebenaran, saudaraku
hanya karena paksaaan
bersuaralah meskipun tak jadi kata
kami mendengarnya di musim gugur daun-daun muda
berumahkan pepohonan tumbang
yang tercerabut akarnya

Pastikanlah saudaraku
jika engkau bersama Tuhan
menunggu pengadilan akhir riwayat
tinggal risau kami di jalan-jalan penuh gelagat
saat manusia memutuskan keadilan dimeja hijau
adakah suaramu bergema dari kubur rahasia?
sebab ada pertanyaan yang belum terjawab:
“berapa harga kemerdekaan dibanding nyawa?”
ACEH, 1999

TEATER MATA

Teater Mata didirikan tahun 1982 di Banda Aceh Pendiri : MASKIRBI, AA MANGGENG, T. CUT MIZARLI & INDA RUFIANI PENTAS PANGGUNG TEATER MATA 1982-2002 1. 1982 - Drama Eksperimental 1982, Monyet-Monyet 1986´- Pragmen Renungan Chairil Anwar - Drama³Putroe Ti2. 1983 - Gerak Kreatif 1988 ³Ekspresi Komposisi 1990 - Drama Granada - Drama Sketsa 3. 1984 - Drama Rebana Bunga Laut - Dramatisasi Puisi Solidaritas - Dramatisasi ? ?³Ahk? ?´ - Dramatari ? ?³Penyerangan Ka? ?²bah? ?´ - Pragmen Qurban - Musikalisasi Puisi Krueng Aceh 4. 1985 - Drama Serbuk Maut - Dramatisasi Puisi Ranub dan Daboh 5. !986 - Drama Hudep Saree Matee Syahid - Oratorium Kemerdekaan - Dramatisasi Sajak perang 6. 1987 - Drama ? ?³Oh Anunya? ?´ 7. 1988 - Musikalisasi Puisi lapar - Musikalisasi Puisi Hukla 8. 1989 - Drama Sumur Tanpa Dasar - Puisi Teateral 9. 1990 - Drama Malam Jahanam - Musikalisasi Puisi Jerit Burung 10. 1991 - Musikalisasi Puisi Kesaksian 11. 1992 - Drama ? ?³Machbeth? ?´ - Pentas Puisi Daboh dan Sajak Perang - Pentas Puisi Maskirbi kolaborasi 30 rapa? ?²I Pasee (uroh) - Drama Si Nyak 12. 1994 - Drama POMA (Luka Ibu Kita) Banda Aceh dan Jakarta (TIM) 13. 1995 - Drama POMA (Luka Ibu Kita) Banda Aceh-Yogya dan Solo 14. 1996 - Drama POMA (Luka Ibu Kita) Bandung 15. 1998 - Drama Musyawarah Burung 16. 1999 - Drama Meditasi Luka 17. 2002 - Drama ? ?³Jeeeh !? (Jalan Pintas) *****

ISYARAT ITUKAH, IBU

Sajak : AA Manggeng

Mendung memayungi jalan
pada ketergasaanku lingkup kenangan mengajak pulang
tapi hujan memburuku di terminal waktu

aku terkurung di sini
mengenang masa kanak-kanak bersamamu
karena rindu melebihi gelisahku
jarak merubah dia menjadi rama-rama

kupikir inilah isyarat
melebihi degub berita dukacita
yang arif telah mendekapku sekian kurun waktu
merantaiku di pintu-pintu rahasia

mendung memayungi jalan
di keputusanku ada yang tak sampai ke sukmamu
berulangkali kubaca
ketuaanmu adalah buku
di lembar-lembarnya bertuliskan keabadian kasih

aku dan berikut yang lahir dari rahim
mumenterjemahkan kalimat demi kalimat
menyusun buku baru yang tak sampai-sampai
hingga hujan turun di pelataran terminal tua
membentuk gundukan tanah
tanah yang masih basah oleh kedukaan.
(ACEH)

Seniman Aceh dari Kiri ke kanan (Sa'adou, Tjoet Sofdjan, Doel Cp Allisah, Hasyim Ks, Fahrul Mega, Wiratmadinata, AA Manggeng)

KINANTI

Kinanti, Kinantiku !.
Ramai dan sunyi rumah, pada satu jiwaku.
Ketika waktu bersayap camar, mengepaklah !
Terbang bebas, agar tak jenuh dikesunyian diri.
Sangkala waktu akan mempertemukan kita, entah dimana.
Kurasakan do’a-mu yang masqul, pada setiap langkahku, pasti!
Kapan kita dapat mencatat matahari,
sedangkan malam selalu pulaskan tidurmu,
aku terjaga Kinantiku pergi menjemput fajar.
"Suatu hari" janjiku padamu.
Engkau tersenyum maklum,
sebab kita telah sepakat,
memaklumi alir kehidupan !!.

NELANGSA CINTA

By: AA MANGGENG

Telah kuabaikan kenangan
Entah untuk berapa lama
Pasrah dalam penantian
Kutahu itu luka

Nelangsa oh tiada
Musnah segala cita
Dalam jiwamu tiada laraku
kutahu kau abaikan diriku

Sepi kini tak sepikan jalanmu
Musnah segala khayal
Dalam jiwamu tiada laraku
Pasrah dalam penantian

Nelangsa oh tiada
Nestapa sesal tiada jua
Jarak tempuh menjauh
Asmaraku terluka karenanya.