Kaganga

FIVE MINUTES RAVES (MERACAU)

Avatar

Nowadays, not too nowadays though, world is crowded by, especially through audio-visual media i.e. movie, the word ‘Avatar’. But, what actually Avatar is? Avatar, or Avatara in Hinduism religion, can be defined as incarnation of god, especially Vishnu, in human or animal form in order to help mankind from harm and injustice. Vishnu or Agni or Chu Ta is one of the major of gods of Hinduism and Indian mythology, beside Indra, Soma, and Shiva, that is regarded as the god of peace, the preserve of the universe. According to two beliefs, human may accomplish by following predetermined paths of task faithfully, and good and evil powers (gods and demons) contend for dominion of the world. Unfortunately, the balance of the power was troubled by evil. That’s why Vishnu descends to earth in a mortal form (avatar) to save humankind and world. Rama and Krishna are two important descents that are popularly recognized. Customarily, he is depicted in dark blue with four arms: one hand holds a lotus; a second holds a conch; a third holds a discus; and the fourth carries a mace. While lotus symbolizes unfolding of creation and conch symbolizes the origin of existences, discus and mace apparently were gained by Vishnu as reward for those who can defeat Indra, the god of the atmosphere, storms, rain, and battle.  Lately, based on lotus and conch, Vishnu is assumed as the four elements of the world i.e. earth, air, fire and water. But as we know, numbers of movies represent Vishnu in his form of Avatar refers only to earth. The rest is forgotten, and that cannot be forgiven.

Aphonia

Related to a movie still, there is a Japan’s movie entitled The Snail Restaurant. What will be discussed is not about how the story is, for there are lots of aspects that can be analyzed, but rather than the main character of the movie. Rinko or Furino Rinko is actually an excellent girl with skill and talent. Little Rinko is an unfortunate girl for her the people of her villages always make rumors that her mother likes men so much.  This makes Rinko sad that and calls a mind by leaving her mother and went to her grandma in the city. Within her grandma that is great in making dishes, she learns everything about it until she makes up her dream to manage a restaurant. But before she conveys her dream, her grandma has already passed on and left to her a grind to make miso (one of Japanese dishes). In a short time, she falls in love with Turk man that has same interest in dishes. But, unfortunately, the truth is revealed: His love is a thief that steals everything belongs to Rinko: money, love and her dream. The result of this is aphonia. Rinko looses her power of speech and makes conversation with helps of a note. She writes everything on it each time conversation is held. As a term, aphonia defines itself as some kind of incapacity in speaking a language with no relation to disease or injury over speech instruments (articulation). It is rare from other characters in most of the movies since the main character is the significant one that delivers within him or her message of the story in the movie. In this movie, Rinko speaks not a single word except one: oishii, which means delicious. Related to nowadays situation of the world, one maybe keeps this aphonia to decrease sounds and voice so that, for a little while, one can have a peaceful life far form noise and crowd. Rinko is a fine model of aphonia, living a life without voice and sound, though a the fact drags her down, as the climax of the movies is revealed, that she was born form her  mother that keeps the virginity till the end of life.

Agraphia

Recently, I have been writing whether articles, short story, poem, etc. using ecological view for its perspective –yet, I haven’t published the writings in this blog. The problems occurs when I write some writings that have no classification or, let‘s say, genre among what I have said before. Surely, the writings talk about everything in exception that it uses one and only ecology for their perspective. Things definitely have names and I assure myself to give names for my writings unless if I condemn myself to lose my creativity in creating works before I have to be defeated upon agraphia. The word agraphia consists of two main root of words, i.e. a which means without or not, and graphia, that is derived from Greek graphein, which means write. In other word, agraphia is meant by having incapacity to state one’s mind over writing. I have experience how does it feels to be an aphasic person, which is not only lack in understanding language whether speech or written, but also lack in holding conversation, stating myself, and recognizing sign and symbol. And I don’t want this recent problem turns me back to that situation. At last, action is accomplished. Based on fact that man is animal educandum (homo faber) I made myself status or genre upon my writing. I call it ecography, that in indirect way makes one as ecograper. However, in my opinion, name is matter, because only human being that makes names upon things before he or she gives a damn upon something. [Pipin Saswa]

Subang-West Java, December 18, 2011

Dhandhaka

Kau

Telah sampai rencana pada batasnya

Ketika kampung demi kampung kumasuki

Sekaligus kutinggalkan dalam bait-bait puisi

Akhirnya aku pulang menujumu

Entah seperti apa aku harus menyebutmu

Mungkinkah laut tempat kembali aku pada bunda

atau gunung tiang segala pancang para bapak

Bahkan cakrawala pun tak bisa menerjemahkanmu

Mungkin tak ada lagi kata mungkin

Di saat aku telah menerima semua

Seperti aku menerima waktu sebagai waktu

Rindu sebagai rindu aku sebagai aku

Dan kau

Telah kusebut dan terima apa adamu

Subang, Agustus 2011

Pertigaan, Suatu Pagi

Berjalan menuju gerbang, kabut mengendap di kacamataku

Dunia yang buram, pagi yang muram

Tanah-tanah penjelasan mengantar kabar hari

lewat anyir ikan asin dan busuk sayuran

Redu redam sebuah pertigaan dengan bahasa perniagaan

yang terdedah dari satu lubang

Atas nama hidup, apalah arti anyir dan kebusukan?

Ia menjaga kita untuk tetap mandi setelah malam menyisakan

simbah keringat karena mimpi yang tak terbeli

lantas bercermin seraya menyisir rambut rapi

Di pertigaan, kebusukan yang lain menunggu di balik pintu

Ia diam namun mengajarkan: tentang bagaimana kita mencuci

tangan setelah mengotorinya meski kebusukan

tak benar-benar pergi dan ayal selalu dipermainkan

Subang, Desember 2011

Jalan Menuju Surga

Ke Bukanagara, jalan panjang, lurus dan lengang

Pohan hitam berderet rapi di kiri-kanan

Hantu-hantu bergentayangan, tak ada cahaya

Tiba-tiba aku terkejut ketika Siamang berkata

sambil bergaya di sebuah cabang, “seribu kilometer

menuju tempat tujuan.” Batu-batu jalan berdiam

di kaki, bahu dan tenggorokanku. Ketika sampai

aku bertanya pada seorang bapak

Kemana jalan menuju surga. Ia berkata:

“Jalan menuju surga ada di urat lehermu

di antara batu-batu waktu yang seringkali kau lempar

padaku.”

Subang, Desember 2011

Dhandhaka

Musim Kelima

Pagi adalah bibirmu yang ruyup di antara musim kuyup

Langkah telah pulang ke sarang ke puputan

Seperti engkau yang selalu menyimpan kerinduan tatapan

bersama malam ditinggal sekawanan mega

Maka bergeraklah pintaku ke arah barat

setelah berita menumpahkan cakap

Sedang pagi masih saja melesapkan jejak

di luruh kerudungmu yang teduh

Siang bagai miang di depan gelas kacaku

Bulir hening diam semati karang

Kau gigir di tubir dzikir sambil berkaca pada tanya

dan menanam kembali musim

yang kau sendiri tak tahu apa namanya

Padangbatu, 2008

Syal Kesaksian

Mungkin syal ini paling lirih dengan bisunya

mendapatimu duduk bersama senja. Aku cemburu

Tapi gerimis masih saja berbaris menguncupkan bunga

Padahal ia tak pernah berjanji pada bumi yang ingin basah

juga nurani yang hendak menorehkan sejarah

Fajar memerah, namun syalku tak lantas marah

Diredamnya deru darahku. Dihempasnya harum namamu

Kuterduduk membaca hujan, meminang alam, menggemakan bisu

tentang langit yang selalu mengaku beratap satu

Padangbatu, 2008

Kiblat Pertemuan

           

Hujan ikhlaskan perjalanan awan

menapaki jejak dengan basahnya

Bulir air menjelma jadi airmata

membuka genangan luka

Matahari pun gigir ke alenia tenggara

mengingkari janji, menghitamkan tatapan

di antara gerak cuaca. Seperti kau:

Perempuan kuyup menembus kegelisahan

demi kegelisahan yang ruyup

sambil menanggalkan percakapan

di kiblat pertemuan. Seperti aku:

Yang tak mengerti tanda lahir di tubuhku

juga garis tanganmu yang tak pernah bersatu

menerjemahkan setiap kecupan

Sedang musim telah sempurna

menghantarkan kembali riwayat mata angin

bersama sunyi dan keraguan

Padangbatu, 2008

Peta Kesunyian

Sudah lama kiranya aku memandang hati sendiri

Disergap berkali-kali oleh rasa cemas

ketika langkah demi langkah menepi dari arah barat

mengembangkan wajah tak tegas

Maka seperti ditusuk-tusuk rindu

aku pun lari membawa resah

menabur gelisah. Menghindari matahari

yang hendak memanggang pandangku

dan melipatnya dalam peta kesunyian

Musim pun berubah. Kecuali musim di dadaku

yang selalu gugur dan kembali kubur

sedang tatapan itu belum kuterjemahkan:

Tentang keningmu yang basah dan tangan tengadah

yang kusebut sebagai nurani

Sehingga musim mengerti bahwa ia tak harus diam

oleh hati yang menyergah pergi

Maka, haruskah kubuang tanya

hingga airmata hanya berita menjelma doa?

Padangbatu, 2008

Selimut Waktu 

Selain malam yang membentang

awan-awan kembali ke sarang

tak ada lagi gelak yang kauhantar

bersama rimbun daun-daun

Kau pun terseduh bersama kabut

Menggenggam jari sendiri jadi selimut

Selimut yang dulu mendekap kesendirianku

bersama waktu yang kupapah namun terluka

sebelum rebah sebagai air mata

Maka seperti pulang yang telah menjadi kawan

kau melangkah lagi ke arah entah

tanpa mengucap salam

Meninggalkanku bersama pilu dan gamang

Padangbatu, 2008

Impresi Rindu

Malam melepaskan gaibnya bersama sembilu

Air mengukir waktu di antara wajah yang mesti diseka

bersama kebekuan yang lesap di dekap buku jari

Jiwa dibawa lari disergah matahari yang masih berjanji

Suara parau seakan masih akrab menerjemahkan risau

sedang bagi tatapan mata adalah nikmat dan langkah

adalah ibu yang melahirkan kata-kata dalam untaian kalimat

walau kita tahu bahwa rebah adalah tempat semua kiblat

Padangbatu, 2008

Sempat dimuat di Lampung Post, Minggu, 1 Februari 2009.

Uma #7

The earth does not argue,
Is not pathetic, has no arrangements,
Does not scream, haste, persuade, threaten, promise,
Makes no discriminations, has no conceivable failures,
Closes nothing, refuses nothing, shuts none out.

Walt Whitman (1819 - 1892)

U.S. poet.

Leaves of Grass, "A Song of the Rolling Earth"