MENANAM GERAKAN RAKYAT DI PEDESAAN PEMALANG
Jul 24, 2015
Depolitisasi Kekeringan oleh Menteri Marwan Jafar
Jul 27, 2015

M

Kalau ada orang yang telah memberi pengaruh besar dalam penghormatanku pada dunia musik, mungkin orang yang namanya kujadikan judul tulisan inilah yang kutunjuk. M. Dia adalah guru musik di Sekolah Menengah Pertama-ku. Di masa-masa itu, ketika kekuasaan Soeharto dan Orde barunya memasuki tahun 1990-an awal, nama “M” lekat dengan sosok seorang menteri yang tutur bicaranya lambat, matanya sayu atau mengantuk, dan gerak tubuh yang tak menggairahkan. Namun sosok M di SMP-ku justru sebaliknya. Perawakannya tinggi kurus, rambut tersisir rapi, pakaian necis, dan kalau berjalan tubuhnya seperti memantul-mantul. Kontras dengan sosok M Sang juru bicara terpercaya Jenderal Soeharto, guru muda yang memiliki kesamaan nama dengan sang menteri justru tampil dengan gaya meledak-ledak kalau sudah berbicara musik. Kalau mau kilas balik, aku semakin yakin bahwa tubuhnyabergerak seirama dengan nada-nada yang sedang ia hayati. Bila tak mengajar, aku yang sering mencuri pandang gerak tubuhnya seperti menangkap citra elegansi dan kemegahan dari musik Mozart dalam dirinya.

Di SMP-SMP lain, umumya pelajaran musik bukanlah pelajaran yang membikin siswa takut. Dalam sistem pendidikan dimana pelajaran eksakta dianggap punya kelas lebih tinggi,pelajaran musik sering diposisikan di rangking buncit bersama pelajaran olahraga atau seni rupa. Namun hal itu tidak berlaku di sekolahku. Orang yang bisa menghadirkan aura menakutkan dari pelajaran musik itu adalah M. Bagaimana tidak, pertama kali masuk kelas, ia langsung menguji setiap siswa untuk menyanyi sepotong dua potong, lalu menghakimi kami dengan “becus menyanyi” atau “tak becus menyanyi.” Selain pelajaran musik, ia sering menunjukkan kelasnya dengan menyelipkan pengetahuan-pengetahuan lain yang membuat kami sadar kalau ia guru yang cerdas. Cara mengajar musiknya pun tak tanggung-tanggung. Pelajaran musik kelas satu diisi dengan membaca not-not balok dan segala peraturannya yang bikin pening kepal. Begitu masuk kelas dua, kami diharuskan mendengarkan komposisi-komposisi musik Mozart, Beethoven, Johan Sebastian Bach, dan para musisi klasik yang tak kami ketahui sama sekali. Kegilaannya makin menjadi-jadi saat kami masuk kelas tiga. Ia meminta para siswa menjelaskan pandangan mereka tentang komposisi-komposisi tersebut. Dan ujian pelajaran musik sesungguhnya, menurut guru eksentrik ini, adalah dengan mencipta lagu. Kalau bukan guru idealis, tak mungkin ia membuat kurikulum musik yang akan betul-betul kelimpungan dicerna siswa-siswa dari desa yang sebagian besar akrab dengan lagu dangdut atau pop ala Betharia Sonata dan Tommy J Pisa. Sepanjang ingatanku, tak ada satu pun di antara kami yang paham dengan apa yang ia ajarkan!

Obsesinya pada kesempurnaan dalam menghayati lagu benar-benar menyusahkan kami. Dari kelas satu sampai kelas tiga SMP, hampir semua siswa sepakat bahwa siksaan dari guru ini niscaya datang ketika kelas mereka kebagian jatah upacara bendera. Paduan suara harus berlatih tiga kali dalam seminggu seusai pelajaran terakhir di sekolah. Barisan paduan suara harus rapi, dengan aturan yang badannya paling pendek di depan dan yang paling tinggi di belakang. Sebelum berlatih menyanyi, ia akan mengeluarkan garpu tala dari saku bajunya, membunyikan garpu tala itu dengan jentikan jari telunjuk kanan, mengepaskan nada awal, dan menyesuaikannya dengan suara koor siswa tersebut. Kalau ada sedikit saja siswa yang berani berlaku seenaknya selama latihan, ia tak segan-segan menghukum siswa itu dengan makian hingga tamparan. Lelaki yang sensitif dengan nada-nada yang agung atau religius ala Bach itu bisa menjadi monster mengerikan bila sudah menghukum siswa yang melanggar aturan bermusik dan aturan sekolah pada umumnya.

Sudah sejak awal masuk SMP aku mengagumi sosok satu ini di samping jerih kalau-kalau sifat monsternya keluar. Sebabnyatak lain karena ia memasang standar tinggi dalam pelajaran musik bagi siswanya.Di antara semua guru, barangkali M inilah salah satu guru yang tahu mana siswa yang berotak ‘encer’ dan mana yang berotak ‘kental.’ Dialah orang yang membuka wawasan musik kami yang semula akrab dengan macapatan, dangdut, atau pop dengan musik klasik yang begitu asing di telinga kami. Sampai sekarang aku tak bisa melupakan masa-masa kelas dua SMP-ku, ketika dengan keras kepala ia mengajarkan dua lagu dari Filipina. Salah satu di antara dua lagu itu berjudul Dahil Sa Iyo. Dari mana ia mendapatkan inspirasi untuk mengajarkan lagu-lagu berbahasa Tagalog pada kami yang fasih berbahasa Jawa atau Indonesia dan hanya tahu satu dua kosakata dari bahasa Inggris? Dengan antusias ia mengisahkan betapa populer dan romantisnya lagu ini bagi penduduk Filipina. Saat sebagian siswa yang keranjingan musik pop sedang membicarakan Anggun C Sasmi, dengan cara berbicara yang terkesan mengejek ia menganalisis lagu-lagu Anggun C Sasmi lengkap dengan cara menyanyi pelantun lagu “Mimpi” itu.

Di kemudian hari, ketika menyimak kuliah tentang Sonata Piano 1-32 dari Andras Schiff, Aku tersenyum sendiri dengan amsal tentang Mozart dan Beethoven dari Andras Schiff. Musisi klasik dari Hongaria itu menyebut Mozart sebagai musisi dari langit karena melodi-melodi yang digubah Mozart begitu adi-manusia. Sebaliknya, Beethoven adalah musisi yang sangat manusiawi, karena melodi-melodinya sederhana terlepas dari cara memainkannya yang susah. Uraian Schiff itu langsung membawa ingatanku pada guru musik di masa SMP-ku yang anehnya menggemari Johan Sebastian Bach. Bagi kami yang tak paham selera musiknya, M memang guru musik dari langit.

Baru setelah menginjak dewasa aku bisa mengerti bahwa cara mengajarnya, gerak tubuh maupun gaya bicaranya, dan obsesinya pada kesempurnaan adalah perwujudan kecintaannya pada musik. Pada suatu ketika, di sela-sela mengajar, M menceritakan proses belajarnya di jurusan musik di salah satu Universitas di Semarang. Karena berasal dari keluarga miskin, sekali pun sangat menyukai alat musik piano, ia tak pernah punya kesempatan memiliki benda itu. Kesempatannya menyentuh alat musik hanya ada di kampus atau dalam pertunjukan-pertunjukan. Namun karena tuntutan belajarnya sendiri, ia menciptakan piano palsu dari meja yang digambari tus-tuts piano, sementara di bawahnya ia juga memasang alat yang ia andaikan sebagai pedal. Selama di kampus, ia menggunakan telinganya baik-baik untuk merekam bunyi tiap tuts itu sehingga ketika dikost ia melatih sensitivitas musikalnya dengan bekal imajinasi dan piano palsunya! Di kemudian hari, ketika membaca kisah bagaimana Ekalaya belajar memanah dengan mengimajinasikan Durna sedang mengawasi dan membimbingnya memanah, aku bisa sedikit membayangkan susahnya orang belajar dengan menggunakan imajinasi dan seluruh kekuatan inderanya. Hanya karena kecintaan pada sesuatu hal yang bisa membuat orang melakukan hal-hal gila seperti Ekalaya atau M tersebut.

Kecintaannya pada musik itu pula yang membuat ia rela membentuk paduan suara yang hebat di sekolah kami. Dari kerja kerasnya, selama tiga tahun belajar di SMP itu paduan suara sekolahkuselalu menang lomba paduan suara di tingkat provinsi. Dengan gaya latihan keras serupa ia menjadikan beberapa siswa yang hobi menyanyi bisa memenangkan lomba Bahana Suara Pelajar hingga sampai ke tingkat provinsi pula. Di masa ketika perpisahan sekolah SMP lain tidak diisi dengan hiburan musik, sekolah kami memberikan hiburan musik live di setiap perpisahan sekolah. Dengan keuletannya peralatan musik di sekolah kami lengkap dan menjadi nilai lebih dibandingkan sekolah lain. Ia bukan sosok musisi gombal dan oportunis seperti Tranh Puong dalam novel “Menembus Mimpi Hampa” karya Dhuong Thu Huong, bukan musisi klasik seperti tokoh-tokoh yang ia ajarkan di sekolah kami. Namun sebagai seorang guru, ia telah menanam citarasa musik yang akan terus diingat oleh siswanya bertahun-tahun setelah meninggalkan bangku Sekolah Menengah Pertama.

Sebelumnya aku tak pernah membayangkan orang dengan kecintaan musik seperti M bisa terpisah dari dunia yang telah ia geluti selama puluhan tahun. Hanya ada kata ‘mustahil’yang menjalar di benakku seandainya dipaksa memikirkan kemungkinan itu. Namun kenyataan seringkali tampil lebih perkasa dan akbar daripada imajinasi atau fiksi. Kenyataan yang tak terjangkau imajinasi manusia itu kadang hadir untuk mengemplang kepala manusia bahwa apa pun bisa terjadi di dunia ini. Kenyataan seperti inilah yang menerkam M, guru musik yang eksentrik itu.

Beberapa tahun lalu, saat tak sengaja pulang dan ngobrol dengan adikku, secara sambil lalu aku menanyakan kabar M. Secara tak terduga adikku menjawab bahwa guru yang selalu berpenampilan necis itu tak lagi mengajar musik. Entah pertempuran batin apa yang ada dalam dirinya, pengagum Johan Sebastian Bach itu berbalik 180 derajat mengharamkan musik. Dari sosok yang tak pernah tampil religius, lewat pertempuran batin yang hanya diketahui olehnya sendiri, M memutuskan menjadi anggota jamaah tabligh. Konon, akibat pertempuran batin itu, selama berbulan-bulan ia terus menangis dan tak mau mengajar. Berbulan-bulan ia menangis dan termenung sendiri di ruang BK yang memang sepi. Aku tak tahu apakah dosa yang ia tangisi itu adalah akibat kecintaan yang berlebihan pada musik atau karena faktor lain. Pihak sekolah tentu bingung dengan pilihan sang guru musik. Selama lebih dari satu dekade, lelaki bergigi kelinci itulah yang paling otoritatif dalam mengajar musik. Kalau ia tak lagi mau mengajar, mereka harus mencari penggantinya. Lalu bagaimana ia menjalani hari-hari dalam hidupnya kalau sesuatu yang sangat ia cintai harus hilang dalam dirinya?

Apa yang terjadi dengan M ini mengingatkanku dengan dua hal, yaitu hukuman Ekalaya dan nasib tokoh dalam drama-drama tragis Yunani. Dalam kisah Ekalaya, karena kekhawatiran Durna bahwa murid terkasihnya—Arjuna—akan kalah kemampuan dengan Ekalaya, Durna melakukan perbuatan terkutuk. Dengan memanfaatkan otoritasnya sebagai Guru yang dibayangkan Ekalaya, ia menuntut Ekalaya untuk memotong jempol kanannya sehingga kemampuan memanahnya akan hilang. Pemotongan jempol itu sebagai hukuman karena Ekalaya dianggap mencuri ilmu Durna. Dengan kepatuhan seorang murid—meski Durna hanya menjadi guru imajinatifnya—ia rela jempol tangankanannya dipotong. Ia tak lagi menjadi pemanah ulung karena tak menjadi murid resmi Durna.

Peristiwa yang menimpa M juga membawa ingatanku pada apa yang dikatakan oleh Aristoteles dalam On Poetic sebagai “peripetheia.” Peripetheia adalah fase dimana sang tokoh dalam drama-drama Yunani menyadari bahwa apa yang diyakininya di masa lalu itu salah. Ada dua tindakan yang mungkin diambil oleh sang tokoh menyikapi momen peripetheia: pertama ia akan meninggalkan keyakinan dan seluruh tindakan yang lahir dari keyakinan-keyakinan di masa lalunya, kedua ia akan terus dengan keras kepala memegang keyakinan itu dan melakukan tindakan-tindakan yang merupakan cerminan dari keyakinannya dengan resiko tutup mata terhadap kebenaran baru.

Kemungkinan apa pun bisa terjadi dengan M. Lelehan airmatanya selama berbulan-bulan dan kekeraskepalaannya untuk tak lagi mengajar musik di sekolah bisa menjadi petunjuk kalau penjelasan Aristotelian itu mengacu pada pilihan pertama pasca momen peripetheia: ia merangkul kebenaran baru dan melepaskan yang lama. Kalau penjelasannya seperti itu, aku tak begitu terlalu sedih. Namun apa jadinya kalau nasibnya yang harus melepaskan dunia musik dalam dirinya itu adalah karena hukuman yang semestinya ‘tak pantas’ ia terima, hanya karena di masa kuliahnya ia belajar piano dengan memencet tuts-tuts palsu yang ia gambar sendiri di atas permukaan meja?

Kadang aku bertanya-tanya secara ngawur apakah perubahan radikalnya dalam bermusik ikut pula dipengaruhi oleh musik-musik gubahan Johan Sebastian Bach? Religiusitas yang tak pernah terpupuk secara langsung lewat laku ibadah formal dalam konteksnya M tentu terpupuk oleh warna religius yang kental dari komposisi-komposisi Bach. Aku bergidik membayangkan tabrakan antara pengaruh musik Bach dalam dirinya dengan doktrin-doktrin agama yang justru mengharamkan musik. Dan Aku lebih bergidik lagi manakala membayangkan musik yang telah mengalir dalam darah, merasuk ke tulang belulangnya, memenuhi telinganya, dan harmoninya yang telah menyatu dengan nafas itu terus mencari jalan keluar dari kekerasan doktrin-doktrin ajaran agamanya yang mengharamkan musik.

Bertahun-tahun aku terus memikirkan gurukuyang berinisial M itu. Rasa hormat padanya karena telah menanamkan rasa hormat yang tinggi pada dunia musik membuatku terus mendoakan agar ia menjalani pilihan terbaik. Seperti Beethoven di masa-masa ketika ia telah tuli namun tetap menciptakan komposisi musik berbekal ingatannya pada nada-nada, aku berharap guruku itu bisa menemukan simetri dari keyakinan agama dan tindakan yang merupakan perwujudan dari keyakinannya. Semoga setiap dzikirnya, setiap gerakan sholat, setiap tutur kata dan amal perbuatannya adalah bentuk musik lain yang sedang ia mainkan.

Sebagai seorang murid yang gagal, aku akan selalu mengingatnya sebagai guru yang elegan, dengan cara bicara dan gerak tubuh yang menjadi perwujudan pada hasrat dan selera musikalnya yang tinggi. Aku akan terus mengenang cara berjalannya yang tampak memantul-mantul dan pancaran wajahnya yang menunjukkan bahwa pikirannya berada di dunia lain.[]

Dwi Cipta
Dwi Cipta
Penulis cerita dan esai. Belajar menulis dan menerjemah secara otodidak. Kini sedang belajar di dunia penerbitan dengan ikut mendirikan dan menakhodai Literasi Press.

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