{"id":1205,"date":"2025-04-27T14:31:19","date_gmt":"2025-04-27T14:31:19","guid":{"rendered":"https:\/\/surup.co\/?p=1205"},"modified":"2025-05-19T09:27:28","modified_gmt":"2025-05-19T09:27:28","slug":"tulang-lunak-bandeng-juwana-ii-seni-kota-dan-politik-kehidupan-review-buku","status":"publish","type":"post","link":"https:\/\/surup.co\/index.php\/2025\/04\/27\/tulang-lunak-bandeng-juwana-ii-seni-kota-dan-politik-kehidupan-review-buku\/","title":{"rendered":"Tulang Lunak Bandeng Juwana II: Seni, Kota, dan Politik Kehidupan (Review Buku)"},"content":{"rendered":"\n

Oleh Taring Pena<\/strong>

Bagaimana kita membicarakan kota tanpa jatuh pada glorifikasi modernitas atau sekadar nostalgia kampung? Bagaimana seni bisa menjadi lebih dari sekadar ekspresi personal, melainkan alat negosiasi, advokasi, bahkan strategi bertahan hidup? Buku Tulang Lunak Bandeng Juwana II (2024) yang disusun oleh Kolektif Hysteria menawarkan jawaban alternatif terhadap pertanyaan-pertanyaan tersebut.<\/p>\n\n\n\n

\"\"
Cover buku Tulang Lunak Bandeng Juwana II (2024)<\/figcaption><\/figure>\n\n\n\n

Diterbitkan dengan dukungan Dana Indonesiana, buku ini mencatat rangkaian praktik seni dan budaya yang dilakukan Hysteria dalam kurun waktu 2023\u20132024 di Semarang dan sekitarnya. Tapi Tulang Lunak Bandeng Juwana II bukan sekadar katalog kegiatan. Ia adalah peta kultural, naskah gerakan, sekaligus manifesto bawah tanah tentang bagaimana komunitas bisa bertahan di tengah kota yang makin keras dan kapitalistik.<\/p>\n\n\n\n

Kampung sebagai Subjek, Bukan Objek<\/strong><\/p>\n\n\n\n

Dalam banyak proyek pembangunan, kampung sering diposisikan sebagai residu: sesuatu yang perlu ditertibkan, dipugar, atau dikorbankan demi jalan raya, apartemen, dan pusat belanja. Hysteria menolak narasi ini. Melalui PekaKota Institute, mereka memperlakukan kampung sebagai subjek: sebagai sumber pengetahuan, laboratorium sosial, dan medan estetik.<\/p>\n\n\n\n

Kelas-kelas intensif, forum diskusi, mentoring, dan purwarupa yang dijalankan Hysteria bukan semata proyek edukasi, melainkan proses merakit daya tahan. Mereka mengundang narasumber dari berbagai bidang\u2014dari seni visual, urban studies, hingga studi kecerdasan buatan\u2014untuk mendiskusikan bagaimana warga kampung bisa beradaptasi, tanpa kehilangan identitas dan agensi.<\/p>\n\n\n\n

\"\"
Diskusi bersama komunitas di Pasuruan Jawa Timur, bertajuk “Mada-mada, Nonton, dan Bedah Bukunya Hysteria” 25\/04\/2025<\/figcaption><\/figure>\n\n\n\n

Di sini, pendekatan Hysteria terasa sangat poskolonial: mereka tak sekadar memindahkan teori Barat ke konteks lokal, melainkan membangun pengetahuan dari pengalaman sehari-hari warga kota dan kampung.<\/p>\n\n\n\n

Ruang Publik sebagai Arena Advokasi<\/strong><\/p>\n\n\n\n

Melalui Re-Publik, Hysteria memperluas medan pertempuran: dari kampung ke jalanan, dari komunitas ke ruang publik kota. DITAMPART (Dinas Cipta Tempat dan Ruang Terpadu) menjadi proyek kunci dalam upaya ini: tur seni keliling 17 kota dan kabupaten, yang berusaha mengaktivasi ruang-ruang publik sebagai arena negosiasi wacana budaya.<\/p>\n\n\n\n

Di tengah dominasi pembangunan berbasis kapital, kerja-kerja DITAMPART mengingatkan bahwa ruang publik adalah hak, bukan privilese. Mereka menunjukkan bahwa seni di ruang publik tidak harus monumental atau mahal\u2014cukup dengan ketekunan, keberanian, dan strategi membajak narasi.<\/p>\n\n\n\n

Membaca Bandeng Juwana sebagai Strategi Kultural<\/strong><\/p>\n\n\n\n

Mengapa Bandeng Juwana dijadikan judul? Ini bukan pilihan estetis belaka. Bandeng Juwana\u2014kuliner khas Semarang\u2014adalah produk migrasi, adaptasi, dan naturalisasi. Seperti bandeng yang dilunakkan durinya agar bisa dimakan siapa saja, demikian pula kerja budaya Hysteria: keras, tajam, tetapi lentur dan bisa berkelindan dalam berbagai konteks.<\/p>\n\n\n\n

Dalam pemaknaan ini, Hysteria menjalankan apa yang oleh Homi Bhabha disebut sebagai mimikri: mengadopsi bentuk kota modern sambil menyusupkan makna baru ke dalamnya. Mereka tidak frontal melawan kota; mereka menginfeksi kota dari dalam dengan nilai-nilai gotong royong, partisipasi, dan keberdayaan lokal.<\/p>\n\n\n\n

Ekosistem Seni sebagai Infrastruktur Sosial<\/strong><\/p>\n\n\n\n

Pada bagian Pada Ekosistem, Hysteria menunjukkan bahwa seni tak bisa berdiri sendiri. Mereka membangun jaringan residensi, mentoring, diskusi, dan kolaborasi lintas komunitas dan kota. Pranala 5.0 dan 6.0, Usil (Ulas Film), serta Kandang\/Tandang adalah contoh bagaimana ekosistem kreatif bisa menjadi infrastruktur sosial alternatif.<\/p>\n\n\n\n

Di tengah kota yang penuh dengan pembangunan fisik, Hysteria memilih membangun \u201cinfrastruktur lunak\u201d: jejaring solidaritas, pengetahuan kolektif, dan imajinasi bersama.<\/p>\n\n\n\n

Penutup: Gerakan yang Pelan, Tapi Penuh Arah<\/strong><\/p>\n\n\n\n

Mungkin salah satu kalimat paling kuat dari buku ini adalah:
“Di kota yang makin bising, masih ada yang memilih berjalan pelan, tapi penuh arah.”

Di tengah dunia yang dikuasai oleh logika kecepatan, kompetisi, dan efisiensi, Hysteria mengajukan model gerakan yang lambat, adaptif, dan berbasis relasi. Mereka mengingatkan kita bahwa perubahan besar sering lahir dari kerja kecil yang sabar dan konsisten.<\/p>\n\n\n\n

Tulang Lunak Bandeng Juwana II adalah bacaan penting bukan hanya bagi pegiat seni atau aktivis komunitas, tetapi juga bagi siapa saja yang peduli tentang masa depan kota-kota kita: masa depan yang lebih adil, berkelanjutan, dan manusiawi.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Oleh Taring Pena Bagaimana kita membicarakan kota tanpa jatuh pada glorifikasi modernitas atau sekadar nostalgia kampung? 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