{"id":2185,"date":"2023-03-08T11:22:52","date_gmt":"2023-03-08T11:22:52","guid":{"rendered":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/?page_id=2185"},"modified":"2024-05-01T10:31:27","modified_gmt":"2024-05-01T09:31:27","slug":"khairani-barokka-april-2022","status":"publish","type":"page","link":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/khairani-barokka-april-2022\/","title":{"rendered":"Khairani Barokka, April 2022"},"content":{"rendered":"\t\t
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What I am Reading Now\u2026<\/strong>
Khairani Barokka<\/strong>
April 2022<\/p><\/div>


Have you ever watched a film and thought \u2018We are so lucky to have this in the world\u2019? One of the texts I\u2019ve found most relevant to extractive colonial capitalism, matching reality\u2019s brutal conditions, is\u00a0<\/span>Bacurau<\/i><\/b>, directed by\u00a0<\/span><\/span>Kleber Mendon<\/span><\/b>\u00e7<\/b>a Filho and Juliano Dornelles<\/span><\/b>. Set in Pernambuco, Brazil, it doesn\u2019t give a damn about genre classification, and is brutal, cathartic, communal and worth every cheer. Since seeing it a year or so ago, I\u2019ve thought of so many aspects of it so often\u2014a guidepost for igniting fervor through art. A must-see.<\/span><\/p><\/div>

The film, to my mind, has a soul sibling in\u00a0<\/span>Tentacle<\/i><\/b>, by\u00a0<\/span>Rita Indiana<\/b>, translated by\u00a0<\/span>Achy Obejas<\/b>. In the future, Acilde Figueroa is a maid in the Dominican Republic who holds the predestined key to local environmental salvation. A time-travelling paragon of climate fiction, I recommend this to everyone who hasn\u2019t read it.<\/span>\u00a0<\/b><\/p><\/div>

Pluriverse: A Post-Development Dictionary<\/span><\/i><\/b>\u00a0<\/span><\/span>is a continual treasure trove of ideas and movements around the world, beyond and in opposition to the so-called \u2018development\u2019 regime. In a sense, a way of connecting the previous two texts in context. I dip into this book again and again, and have learned so much\u2014as well as feeling gratified that indigenous, grassroots movements\u2019 wisdom, philosophies, and cosmologies are being brought to larger audiences, and placed in connection with each other, as biomes in solidarity.<\/span><\/p><\/div>

Breaking the Silence: Survivors Speak about \u201965-\u201966 Violence in Indonesia<\/span><\/i><\/b><\/a>, edited by\u00a0<\/span>Putu Oka Sukanta<\/b>\u00a0<\/span>and translated by\u00a0<\/span>Jennifer Lindsay<\/b>, is a text I am getting through slowly, with reverence. In reading about collective traumas, there is always a pull to seek out survivors\u2019 own voices. Scholar Intan Paramaditha has written about the \u2018narratives of discovery\u2019 surrounding Westerners\u2019 writing and filmmaking on the (US-backed) \u201965-\u201966 massacre, that is predicated on colonial tropes of exploration, othering, and consumption of trauma. Often, Indonesian research assistants and translators are not given credit due for the risks they take in helping these accounts come to the fore.\u00a0<\/span><\/span>Breaking the Silence<\/span><\/i><\/b><\/a>\u00a0<\/span><\/span>is a tome of first-person accounts given dignity and foregrounded. Certainly psychologically important for those of us who grew up in Indonesia\u2019s New Order dictatorship, and I hope for the genocide\u2019s survivors.<\/span><\/p><\/div>

Ending on a note of humor, and humor\u2019s key role in resistance to coloniality, I\u2019d like to signal-boost the series\u00a0<\/span>Reservation Dogs<\/i><\/b>, created by\u00a0<\/span>Sterlin Harjo<\/b>\u00a0<\/span>and\u00a0<\/span>Taika Waititi<\/b>. It\u2019s the story of four teens with much time to kill on a Native American reservation. Hijinks, of course, ensue, and so do encounters with spirit guides, as the quartet grapple with a friend\u2019s death, questions of whether or not to leave home, and dilemmas of how to contribute to one\u2019s people. There is tenderness and deep resonance amid the hilarity; the pilot is a masterclass in this. Here\u2019s to the future, to the importance of silliness in indigenous childhoods everywhere, and to the words \u2018Land Back\u2019 displayed on more and more screens, until that return becomes reality.<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Khairani Barokka<\/strong>\u00a0<\/span>is a Minang-Javanese writer and artist from Jakarta, now based in London, whose work is presented widely internationally. Among Okka\u2019s honours, she has been\u202fModern Poetry in Translation<\/i>\u2019s Inaugural Poet-in-Residence, a UNFPA Indonesian Young Leader Driving Social Change for arts practice and research, and Associate Artist at the UK\u2019s National Centre for Writing. Centering disability justice as anticolonial praxis, her works include most recent book\u202fUltimatum Orangutan\u00a0<\/i>(Nine Arches), shortlisted for the Barbellion Prize.\u00a0<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Watching<\/b><\/p><\/div>

Bacurau<\/b><\/em>, directed by Kleber Mendon\u00e7a Filho and Juliano Dornelles (CinemaSc\u00f3pio Produ\u00e7\u00f5es, 2019)<\/b><\/b><\/p><\/div>

Reservation Dogs<\/b><\/em>, created by Sterlin Harjo and Taika Waititi (FX Productions, 2021\u2013present)<\/b><\/p><\/div>

Reading<\/strong><\/p><\/div>

Tentacle<\/b><\/em>, Rita Indiana, \u2018tr. Achy Obejas (And Other Stories, 2018)<\/b><\/b><\/p><\/div>

Pluriverse: A Post-Development Dictionary,<\/b><\/em>\u00a0<\/i><\/b><\/span>Ashish Kothari, Ariel Salleh, Arturo Escobar, Federico Demaria, Alberto Acosta (Eds.) (Tulika Books, 2019)<\/b><\/p><\/div>

Breaking the Silence: Survivors Speak about \u201965-\u201966 Violence in Indonesia<\/b><\/a>,<\/b><\/em>\u00a0<\/i><\/b><\/span>edited by Putu Oka Sukanta and translated by Jennifer Lindsay (Monash University, 2020)<\/b><\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Please note the views published in What I am Reading Now…<\/i> are personal reflections of the contributors.
These may not necessarily represent the views of the University of Dundee.<\/span>
<\/span>\u2014\u2014\u2014<\/span><\/p>\n

Home<\/a><\/p>\n

Previous<\/span> Issue: Rabindranath X Bhose, March 2022<\/strong><\/a>
<\/b>Next Issue: Tako Taal, May 2022<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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about projects What I am Reading Now\u2026Khairani BarokkaApril 2022 Have you ever watched a film and thought \u2018We are so lucky to have this in the world\u2019? One of the texts I\u2019ve found most relevant to extractive colonial capitalism, matching reality\u2019s brutal conditions, is\u00a0Bacurau, directed by\u00a0Kleber Mendon\u00e7a Filho and Juliano Dornelles. Set in Pernambuco, Brazil, …<\/p>\n","protected":false},"author":525,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2185","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/2185","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/users\/525"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/comments?post=2185"}],"version-history":[{"count":39,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/2185\/revisions"}],"predecessor-version":[{"id":3947,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/2185\/revisions\/3947"}],"wp:attachment":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/media?parent=2185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}