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Cyber Sastra: Perlawanan Terhadap Hegemoni Dalam Sastra Indonesia

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Cyber Sastra: Perlawanan Terhadap Hegemoni Dalam Sastra Indonesia Komposisi, 2018, Tahun 3, No 2 Yulhasni, Cyber Sastra; Perlawanan… CYBER SASTRA: PERLAWANAN TERHADAP HEGEMONI DALAM SASTRA INDONESIA Yulhasni Edy Suprayetno Praktik hegemoni sastra sudah berlangsung cukup lama terutama sejak bangsa ini mengenal baca tulis. Bahkan perlawanan terhadap dominasi tersebut menandakan telah terjadi hegemoni dalam sastra Indonesia. Praktik hegemoni tidak hanya dipraktikkan oleh kekuasaan. Sejak pertama sekali Sastra Indonesia Modern diperkenalkan dalam panggung politik Indonesia, maka sejarah kemudian mencatat beberapa bagian penting yang harus dipahami masyarakat, yakni tokoh, waktu dan peristiwa sastra. Di Indonesia, geger sastra sempat muncul ke permukaan akibar gerakan puisi esai Denny JA yang kemudian bermuara masuknya nama ini dalam buku controversial terbitanPustaka HB Jassin ‘’33 Tokoh Sastra Indonesia Paling Berpengaruh.’’ Kata Kunci: Cyber Sastra, Perlawanan, Sastra Indonesia. Pendahuluan Dalam khazanah Sejarah Sastra sastra cenderung mempertontonkan Indonesia, perkembangan karya sastra penolakan terhadap gerakan selalu identik dengan proses kreatifitas mengatasnamakan sastra. Di Indonesia, yang mengikutinya. Sejak pertama sekali geger sastra sempat muncul kepermukaan Sastra Indonesia Modern diperkenalkan akibat gerakan puisi esai Denny JA yang dalam panggung politik Indonesia, maka kemudian bermuara masuknya nama ini sejarah kemudian mencatat beberapa dalam buku controversial terbitan Pustaka bagian penting yang harus dipahami HB Jassin ‘’33 TokohSastra Indonesia masyarakat, yakni tokoh, waktu, dan Paling Berpengaruh.’. peristiwa sastra. Dengan demikian, ruang Jauh sebelum geger sastra itu lingkup pembicaraan sastra tidak melebar muncul, di berbagai daerah telah lahir terlalu jauh dan bias dimaknai sebagai politik sastra dengan gendering perang lahirnya tanda-tanda dari proses kreatif Anti Jakarta. Konon kabarnya soal Jakarta tersebut. dan non Jakarta dalam khazanah sastra kita sudah cukup lama berlangsung bahkan Dari zaman Balai Pustaka yang ditandai dengan lahirnya novel fenomenal dinilai sebagai sesuatu yang ‘basi.’ Siti Nurbaya karangan Marah Rusli hingga Sekadar mengingatkan memori kita lahirnya Angkatan 2000 yang dimaknai tentang itu, pada dekade 1972-1973 Remy kelahiran pengarang-pengarang perempuan Silado yang berasal dari Jawa Barat telah menolak dominasi itu lewat Gerakan Puisi Indonesia, khazanah Sastra Indonesia selalu ditandai dengan berbagai persoalan Mbeling di majalah Aktuil, kemudian ada ‘politik berkarya.’ Saya menyebut politik gerakan Pengadilan Puisi di Bandung berkarya karena proses penciptaan karya (1974), Proklamasi Puisi Bebas oleh Grup Apresiasi Sastra ITB (1979), Emha Ainun 106 Komposisi, 2018, Tahun 3, No 2 Yulhasni, Cyber Sastra; Perlawanan… Nadjib dengan kumpulan esainya Sastra Cyber Sastra: Perlawanan atas yang Membebaskan (1982), dan Kekuasaan Perdebatan Sastra Kontekstual di Solo (1984). Di akhir 1990, di luar Jakarta juga Gerakan cyber sastra atau karya bermunculan komunitas-komunitas sastra sastra yang terbit di internet, sebenarnya dalam gerakan kreativitas. Kita mengenal telah lama muncul di kurun waktu 90-an gerakan Revitalisasi Sastra Pedalaman namun kemudian di tahun 2001 kembali (RSP) oleh Kusprihyanto Nama (Ngawi) mencuat setelah terbitnya buku Graffiti dan Beno Siang Pamungkas di Solo, Gratitude pada tanggal 9 Mei 2001. Masyarakat Sastra Jakarta (MSJ)oleh Graffiti Gratitude merupakan buku Korrie Layun Rampan dan Slamet antalogi puisi cyber. Penerbitan antalogi Sukirnanto, Komunitas Sastra Indonesia tersebut dimotori oleh Sutan Iwan Soekri (KSI) di Jabotabek yang dimotori Wowok Munaf, Nanang Suryadi, Nunuk Suraja, Hesti Prabowo dkk, Komunitas Gorong- Tulus Widjarnako, Cunong, dan Medy gorong di Depok yang dimotori Sitok Loekito. Mereka tergabung dalam satu Srengenge, Teater Utan Kayu (TUK) di yayasan yaitu Yayasan Multimedia Sastra Jakarta yang dimotori Gunawan Mohamad, (YMS) (Nanang, dkk.2001). Forum Lingkar Pena yang dimotori Helvy Di luar medium konvensional Tiana Rosa, Yayasan Multimedia Sastra cetak, internet menghadirkan cara (YMS) yang dimotori Medy Loekito dkk, distribusi baru. Pada tahun 90-an muncul Akademi Kebudayaan Yogyakarta (AKY) laman Cybersastra yang cukup aktif oleh Puthut EA dkk, Komunitas menerbitkan karya maupun kritik. Rumahlebah oleh Raudal Tanjung Banua, Sayangnya laman ini sudah tidak aktif lagi. komunitas Rumah Dunia yang dimotori Posisi laman ini dilanjutkan oleh laman Gola Gong, dan banyak lagi komunitas- Media sastra yang, sayangnya, tidak terlalu komunitas di berbagai daerah di Indonesia aktif dalam menerbitkan kritik. Banyak (yulhasni, 2012). pula penulis pemula yang menulis ulasan, Proses dan dinamika yang apresiasi, maupun kritik dalam blog pribadi. Belakangan muncul pula grup- tergambar di atas saya letakkan sebagai politik sastra. Ini dimaknai sebuah upaya grup di sosial media yang khususkan penolakan atas berbagai dominasi satu dalam mendiskusikan sastra koran (di kelompok. Praktik hegemoni sastra sudah Facebook misalnya, ada grup sastra Koran berlangsung cukup lama terutama sejak minggu yang mengumpulkan cerpen, puisi, bangsa ini mengenal baca tulis. Bahkan dan esai yang dimuat dalam Koran perlawanan terhadap dominasi tersebut minggu). Medium internet sebenarnya menandakan telah terjadi hegemoni dalam menawarkan kemajuan dalam kritik sastra; sastra Indonesia. Praktik hegemoni tidak ialebih mudah diakses, tidak terbatas hanya dipraktikkan oleh kekuasaan dalam panjang tulisan, memungkinkan (bangsa ini pernah mengalami distorsi lebih banyak kritikus yang muncul, serta budaya saat karya-karya Hamka dibreidel memungkinkan diskusi yang lebih intens. Lekra dan karya-karya Pramudya Ananta Namun, pada nyatanya, tulisan di internet Toer dibakar Orde Baru). belum punya otoritas sebagaimana cetak. Yovanta Arif (2014) Banyak kritik sastra 107 Komposisi, 2018, Tahun 3, No 2 Yulhasni, Cyber Sastra; Perlawanan… dalam laman blog pribadi memiliki Kanonisasi dalam sastra Indonesia masalah dalam hal penulisan dan tersebut sejatinya tetap mendudukkan penyuntingan; dari susunan kalimat yang adanya otoritas tertentu dari mereka yang berantakan, kedodoran dalam hal rujukan, mengklaim sebagai sastrawan. Padahal argumentasi yang tidak runtut, kurangnya dalam perkembangan karya sastra, otoritas perspektif kritis, atau bahkan tidak punya tertinggi tersebut berada di tangan ide tulisan sama sekali. pembaca. Radhar Panca Dahana menulis Situmorang (2004) Kehadiran sastra semestinya dikembalikan pada gerakan cyber sastra memunculkan pro dan pembaca, baik secara teoretis maupun kontra. Dalam buku yang dieditori Saut praktis. Jika sastra dibiarkan dalam kondisi Situmorang terangkum berbagai reaksi penyingkiran, yang terjadi hanyalah negative dan positif kehadiran gerakan perebutan otoritas sastra di kalangan tersebut. Ahmadun Yosi Herfanda dalam sastrawan, penerbit, dan kritikus sastra artikelnya berjudul ”Puisi Cyber, Genre (Radhar Panca Dahana. 2001). atau Tong Sampah” secara terang-terangan Sebenarnya polemic tersebut menyebut puisi yang terbit di internet muncul ketika karya-karya tersebut sebagai ’’tong sampah.’’ Hal itu karena diterbitkan dalam bentuk buku. Saat karya karya yang terbit di internet adalah jenis tersebut muncul di internet, polemiknya sastra yang tidak bisa terbit di media cetak, tidak menguat sebagaimana gerakan yang (Herfanda, AhmadunYosi, 2004). Bahkan cenderung sering lahir dalam khazanah tidak kurang garang, penyair ternama Sastra Indonesia. Sutardji Coulzoum Bachri menyebutnya Munculnya sastra internet tentu sebagai ’tai yang dikemas secara menarik berkait langsung dengan kemunculan akan lebih laku dibandingkan dengan puisi internet di Indonesia di kurun waktu 90-an. yang dikemas secara asal-asalan.’Ia Kemunculan internet ditengarai ikut mengkritik cover buku tersebut yang menumbuhkembangkan khazanan sastra dipandang kurang baik dan tidak layak Indonesia. Bahkan beberapa penulis dijual (Semboja, Asep. 2008). ternama muncul kepermukaa berawal dari Begitu keras dan tajam internet, sepert Raditya Dika. ’penghinaan’ terhadap kehadiran sastra di Dapat dipahami bahwa sastra internet tidak serta merta kemudian internet mau tidak mau akan mengalami mematikan kecederungan itu. Justeru sebuah metamorfosis sebagai akibat karena tekanan yang bertubi-tubi tersebut berkembangnya jejaring sosial di tanah air. membuat sastra internet mendapat tempat Siapa pun hari ini, serta merta akan tersendiri dalam khazanah sastra Indonesia. memperebutkan otoritas pembaca di Berbagai perlombaan bertajuk ’’sastra facebook, twitter, dan blog pribadi. Tentu online’’ justeru marak di tanah air. saja problem terbesar kemudian adalah Polemik kehadiran puisi internet ini ujian yang berada pada otoritas pembaca. kembali menggiring perbincangan kepada Pengguna internet di Indonesia yang telah kanonisasi dalam sastra Indonesia, sesuatu menembus angka 88,1 juta jiwa yang telah lama diterapkan Belanda ketika memungkinkan kehadiran sastra internet membuat Komisi Bacaan Rakyat atau mendapat tempat tersendiri. Balai Pustaka di era tahun 20-an. 108 Komposisi, 2018, Tahun 3, No 2 Yulhasni, Cyber Sastra; Perlawanan… Kesimpulan Daftar Rujukan Menuangkan gagasan dan ide di Herfanda, AhmadunYosi. 2004. “Puisi mana saja adalah hak pribadi setiap Cyber, Genre atau Tong Sampah” manusia. Ide dan gagasan dalam bentuk dalamCyber GrafittiPolemik: apapun, sepertinya halnya sastra internet, Sastra Cyberpunk. SautSitumorang membuka ruang yang luas bagi tumbuhnya (Editor). Yogyakarta: Jendela. sastra alternatif yang ”memberontak” Nanang Suryadi, dkk. 2001. Graffiti terhadap
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