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Mendengarkan Puisi Berorasi Review Buku Ibadah Mendengarkan, Shany Kasysyaf

JIKA sewaktu mahasiswa tak tak sempat berorasi di jalan raya, maka lewat puisi, hasrat berorasi bisa disalurkan. Berpuisi adalah berorasi. Orang yang berorasi biasanya ingin menyampaikan kritik atau gugatan yang terjadi disekelilingnya. Puisi cukup baik untuk dijadikan alat kritik. Kegelisahan, kemuakan terhadap pemerintah, kota yang tak menyenangkan atau kemunafikan orang-orang yang pernah berada dalam satu kelompok perjuangan, adalah momen yang kerap dipuitisasi oleh penyair sebagai referensi dan refleksinya dalam menulis puisi.

Buku ibadah mendengarkan (2017), anggitan Shany Kasysyaf adalah buku puisi (orasi) bertema kritik sosial. Buku berisi 40 puisi ini adalah hasil dari pengalaman langsung penyair saat bersentuhan dengan realitas sosial. Shany yang berstatus sebagai anasir Perhimpunan Pers Mahasiswa Indonesia (PPMI) sudah tentu tak berjarak dari tema dalam puisi-puisinya.

Pengalaman Shany dalam menjalani hidup membuatnya menelurkan beberapa gugatan. Interaksi antar manusia satu dengan manusia lain yang tak lagi intim, ditangkap oleh Shany dengan peka dan digubahnya menjadi sebuah puisi: sebagian manusia malas mendengar,/ sebagian lagi tuli benar.// jika ibadah adalah mendengarkan./ sudikah kita mengerjakan?/ meski bicara lebih menyenangkan. (hlm. 68).

Laku mendegarkan, apalagi dengan sungguh-sungguh, adalah sesuatu yang semakin susah kita temui sekarang. Penguasa, politikus, dan seorang alim, atau bahkan siapa pun, selalu ingin didengarkan, tapi enggan untuk mendengar. Kebanyakan kita hanya ingin keluh-kesahnya dimengerti oleh orang lain dan dibantu jika sedang tertimpa masalah. Tapi beda soal jika kita yang dimintai bantuan. Kita mesti berpikir berkali-kali sebelum mengiyakan dan mengulurkan tangan.

Belum lagi jika kita tinggal di kota. Struktur masyarakat kota yang berbeda dengan di desa, di gambarkan Shany dengan jenis orang yang individual, ia menulis: dekat/ tak mengenal,// berpapasan/ tak menyapa.// begitu/ tabiat pongah/ manusia kota. (hal. 12). Keakraban dengan tetangga adalah barang langka jika kalian hidup di kota. Pembaca di ajak untuk menyadari hal-hal yang mungkin luput kita sadari. Gugatan Shany terhadap pertalian masyarakat kota yang hidup di dalamnya, bertaut dengan segala hal yang telah mengonstruksi bagaimana masyarakat kota pada akhirnya terpola menjadi orang yang individual.

Problematika hidup memang tak ada habisnya. Penderitaan itu bertambah ketika suara orang-orang yang mendaku diri sebagai aparatur negara tak betul-betul mewakili keinginan rakyatnya. Shany berusaha memberi tahu kita agar tak mudah percaya pada omongan orang-orang yang sesak dengan kebohongan.

Ia mencatat: kritik menteri/ terhadap kemiskinan/ hanyalah jelmaan/ hipokrisi borjuasi. (hal. 24). Kita lebih sering mendapati omongan para pejabat atau politisi tak sesuai dengan apa yang terjadi. Pidato-pidatonya yang disampaikan dari mimbar ke mimbar lebih terasa seperti bualan dan kemunafikan. Ia mengoreksi sesuatu dan menjanjikan satu hal, akan tetapi melakukan hal yang lain. Saya menangkap kekesalan Shany: saya mencurigai/ aturan main/ pemerintah;/ orang miskin/ sengaja dipelihara/ oleh Negara,/ barangkali hanya demi/ menggenapkan data (hal. 26-27).

Dalam kacamata Shany, realitas tak berdiri utuh. Banyak hal-hal yang berkecamuk dan telah runtuh. Politik, kehidupan rakyat kecil, dan termasuk pendidikan. Pendidik mestinya tak pilih-pilih dalam mendidik. Tapi lain ide lain realitas. Pendidikan di negeri kita kerap keluar melenceng dari cita-citanya. Gambaran itu di tuangkan Shany dalam puisinya: mereka sungkan mendidik bajingan,/ mereka enggan menerima berandalan,/ mereka malas mendidik susah payah. (hal. 80). Puisi ini berkisah tentang seseorang yang dipecat dari tempatnya menuntut ilmu. Entah karena nakal, bodoh, atau tak mau ikut pada aturan.

Sudah seharusnya kampus jadi tempat mendidik, mengajarkan kebaikan, dan melepaskan manusia dari belenggu kebodohan. Tapi hari ini, kampus gemar memecat dan enggan mengajari orang yang harusnya mendapatkan pendidikan. Kejengkelan Shany digubahnya menjadi puisi: Padahal apa gunanya sekolah,/ kalau menjadi baik kita sudah?// apa gunanya sekolah/ jika pintar kita telah? (hal. 80-81).

Di Indonesia, puisi bertema kritik sosial sudah pernah dituliskan. Setidaknya W.S. Rendra dan Wiji Thukul pernah membawa puisi bertema kritik sosial ke tengah gelanggang perpuisian Indonesia. Puisi berwajah kritik sosial pada dasarnya adalah ungkapan kejujuran tentang dunia yang apa adanya.

Dalam buku Potret Pembangunan dalam Puisi (1993) karya W.S Rendra dan Aku Ingin Jadi Peluru (2000) karya Wiji Thukul, kita akan menemukan puisi berisi gugatan terhadap kondisi sosial yang berjalan timpang di Orde Baru. Strategi bahasa keseharian dipilih agar ketimpangan itu mampu dipahami dengan baik oleh para pembacanya. Maka, jika kita hendak mencari diksi yang indah dan mendayu-dayu, mungkin kita tak akan menemukannya.

Rendra maupun Wiji Thukul, ternyata mempengaruhi Shany dalam menggubah puisi. Puisi berjudul gen y misalnya, lahir setelah Shany membaca “Sajak Anak Muda” gubahan W.S Rendra. Dan terkhusus untuk Thukul, sebuah puisi memoar ditulis Shany dengan judul wiji yang hilang. Di sana ia menceritakan tentang ketidakjelasan nasib yang menimpa Thukul setelah tak pernah pulang dan menyisakan banyak pertanyaan bagi keluarganya. Shany mencatat: petang beberapa pekan,/ cemas ibu yang gahar,/ menjelma ketakutan,/ dan selubung pertanyaan// “kapan bapak pulang?” (hal. 17). Kasus yang menimpa Thukul, adalah sebuah kejahatan HAM yang pernah dilakukan oleh negara dan tak pernah ada usaha untuk menyelesaikannya. Saya pikir, puisi itu serupa ajakan untuk melawan lupa, bahwa sampai hari ini ada hal yang belum selesai atau sengaja tak ingin diselesaikan oleh tangan-tangan negara.

Jalan aktivis, memungkinkan bagi Shany untuk bercengkerama dengan realitas zaman yang penuh kemelut di hadapannya. Kondisi yang kacau balau menuntut untuk ditanggapi dan diberikan respon. Dan jalan puisi ia pilih sebagai bentuk respon dan cara lain berdemonstrasi. Membaca kumpulan puisi Shany seolah sedang mendengarkannya berorasi. Ia mengecam dan menggugat segala hal melalui hentakan diksi yang tajam.

Bagi saya, buku ibadah mendengarkan secara tematik cukup kuat. Shany pandai memanfaatkan rima, irama, dan metrum dalam menulis puisinya, sehingga kesan estetik puisi-puisi protesnya tetap terasa indah ketika dibaca. Kendati demikian, di beberapa bagian masih ada kesalahan teknis dalam penulisan seperti penggunaan kata yang tidak baku dan penggunaan tanda baca yang tak sesuai kaidah berbahasa yang baik dan benar. Kesalahan itu saya berikan penanda agar kelak ketika bertemu dengan penulisnya saya bisa memintai pertanggung jawaban.

Saya lantas tak sabar ingin bertemu dengan Shany, melihatnya membaca puisi, melihatnya lantang berorasi.

Mario Hikmat

Mahasiswa FKM UNHAS. Belajar di LISAN Cab. Makassar, sedang cari pengalaman kerja di Dialektika Coffee and Bookshop. Buku perdana: Jalan Panjang Tanpa Nama, 2017

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Tentang Penulis

Mario Hikmat

Mahasiswa FKM UNHAS. Belajar di LISAN Cab. Makassar, sedang cari pengalaman kerja di Dialektika Coffee and Bookshop. Buku perdana: Jalan Panjang Tanpa Nama, 2017

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