artisana

rt isan

artisan Issue #2 2019

cemetery,

past ... or

future?

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Pemakaman kerap dikaitkan dengan kematian, hantu, roh gentayangan, atau sesuatu yang tak lazim dibicarakan. Saya melihat kuburan sebagai sebuah catatan. seperti buku. Semacam surat cinta yang dituliskan di batu-batu nisan, meskipun tidak semua begitu. Ada yang bahkan tanpa nama, tanpa nisan, atau sudah lenyap, roboh. Tapi begitu seseorang mati, semua hal tentangnya menjadi diingat kembali. Bahkan terkadang di nisan tertulis sebab kematian. Kenyataan ada yang hilang membuat sesuatu diingat kembali meski hanya sebentar. Meski semua orang tak memiliki catatan tentang hidupnya sendiri, tapi setiap orang mungkin berhak memiliki nisan. Sebab di sana ia yang tak bisa menuliskan hidupnya dituliskan, atau harus dituliskan oleh yang lain. Ia punya kesempatan diingat walau hanya sejenak. 

Karena itulah, pada akhirnya, setelah beberapa lama menyambangi berbagai kuburan di berbagai tempat, berdiam di sana, dan melihat berbagai nisan, saya menemukan bahwa makam, atau pemakaman, atau lebih spesifik lagi nisan, itu bukan cerita tentang kematian, tapi perayaan atas kehidupan, - bukan perayaan atas “kehidupan setelah kematian” melainkan kehidupan yang pernah dialami, dilewati, dan yang kini. Ia semacam bentuk final dari amor fati. Jadi makam sebenarnya tidak bicara tentang masa lalu atau masa depan, tapi masa kini. Ia merumuskan yang lalu dan yang akan datang sekaligus dalam bentuk monumen. Pada kenyataannya, hidup dicatat di sana, kendati tak setiap kematian meminta pemakaman.

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Mungkin di masa depan karena lahan yang semakin sempit, akan muncul pertanyaan: Masih relevankah pemakaman, dan kuburan? Sementara itu, puluhan atau ratusan tahun ke depan, masing-masing dari kita mungkin mulai fasih menuliskan sendiri nama, memilih nisannya di kuburan virtual.

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Funerals are often associated with death, ghosts, wandering spirits, or something that is not commonly discussed. I see the grave as a note, like a book, like love letters written on tombstones. Some of them even nameless, without gravestones, or have disappeared, collapsed. But once someone dies, everything about her/him becomes remembered. Sometimes, there is a note about the cause of death. The fact that something was missing makes something recalled again, even if only briefly. Although everyone does not have a record of his own life, but they may have the right to have a tombstone, because she/he who can not write his/her life, will be written, or must be written by others. She/he has a chance to be remembered even for a moment.

After visited various graves in various places, stayed there, and saw various gravestones, I found that a tomb, or a cemetery, or more specifically a gravestone, was not a story about death, but the celebration of life, the now: not celebration of “life after death” but a live that has been experienced, and passed. It is like a final form of amor fati. So the tomb is actually not talking about the past or the future, but the present. It formulated the past and the future as well as “the now” monu-ments. It looks like life has recorded there, although not every death asks for a funeral.

In the future, because of the land is increasingly narrow, the question will arise: Is cemetery still relevant? Maybe, in the next hundreds years, each of us might begin to write our name, choosing our gravestone in a virtual grave.

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Papier & Herbs is a brand that produces herbal tea aka tisane and smoking herbs blend. By exploring herbs, smellscape, and human journey through tisane as a medium, we try to find different perspectives to understand the cultural conditions of humanity in relation to nature, landscape, and their migrate body.

Artisan is a part of an aesthetic project initiated by Stanislaus Yangni, writer and founder of Papier & Herbs. Artisan explores a form of aesthetics that tries to articulate our everydayness in relation to space, place, people, landscape, food, travel, time, etc. Aesthetics is commonly associated to beauty, which is identical with art (visual). Artisan wants to invite us to enter another realm that is often forgotten or even ignored in aesthetics. We want to look at everyday life from which the energy of creation comes.