Indonesiana Vol. 11 The Charms of Indonesian Culture by Indonesiana Majalah

VOLUME

11 2021

THE CHARMS OF INDONESIAN CULTURE

Gondang Toba

Melodical Prayers When Local Wisdom and Technology Align Hurja Siluluton, Batak Angkola’s Death Ceremony Beautiful Prehistoric Rock Art in Misool ISSN 2406-8063

772406

806005

The joyous smile of a Batak community’s elder (oppung) – Denison.

CUSTOMS AND Adat Istiadat TRADITIONS

Manuskrip MANUSCRIPT

RITUAL

Ritus

ORAL

Tradisi Lisan TRADITION I

2 INDONESIANA VOL. 11, 2021

LANGUAGE Bahasa

TRADITIONAL Pengetahuan KNOWLEDGE Tradisional

ART

Seni

TRADITIONAL Olahraga SPORT Tradisional

TRADITIONAL Permainan GAMES

Tradisional

TRADITIONAL

Teknologi TECHNOLOGY Tradisional

10 10Objek Object of Pemajuan Cultural Kebudayaan Advancment

FOREWORD

RESTU GUNAWAN Director of Cultural Development and Utilization Directorate General of Culture

Foreword Thank God, Alhamdullilah Indonesiana

the village so that the community can

ability of the village to be developed to

Magazine Volume 11 can be presented

develop and use it for welfare through

improve the welfare of the community.

before you, our esteemed readers. We

strengthening the cultural ecosystem.

Human resources and natural resources

are honored to have public’s appreciation

The paradigm of development based on

are local potentials that are owned as a

and enthusiasm from the previous

culture should start from the smallest

determining factor for the success of a

volumes, therefore the Editorial Team of

unit in Indonesia, namely the village.

village development.

Indonesiana Magazine tries even harder to

Cultural interactions that store the

give their best. We hope this magazine can

order of life values are themselves born,

Various cultural stories in the archipelago

be published on time despite the various

grow, and develop naturally in village

that have been recorded and illustrated

obstacles and challenges that remain

communities. This is in accordance with

in Indonesiana Magazine volume 11,

amid Indonesia’s condition which is still

Article 4 of Law No. 6 of 2014 concerning

are evidence of the commitment of the

undergoing PPKM at various levels. This

Villages which states that one of the

Directorate General of Culture, Ministry

year’s Indonesiana magazine is published

objectives of village regulation is to

of Education and Culture, through

in two languages, in Indonesian and

preserve and promote the customs,

programmes that are supervised by the

English. The publication of Indonesiana

traditions, and culture of the village

Directorate of Cultural Development and

Magazine Vol. 11 is expected to be a

community.

Utilization in carrying out cultural missions

medium of cultural diplomacy that

that refer to the Law for the Advancement Amid the COVID-19 pandemic, the

of Culture No. 5 of 2017. Hopefully, this

programme for the advancement

reading will be an inspiration for every

of village culture through the Pokja

reader, especially the people of Indonesia,

for community empowerment was

to continue to contribute to advancing

Among the many varieties of cultures

successfully implemented to the

Indonesia’s culture, appreciating works

that our nation has, one of which

utilisation stage with the number

from various regions in Indonesia, and

comes from the village. Since 2020, the

of villages meeting the target. This

maintaining the flame of culture.

Directorate General of Culture through the

indicates high-level enthusiasm of

Directorate of Development and Culture

the villagers towards one of these

has started the Cultural Advancement

priority programmes. The various local

Village programme. This programme is

potentials possessed by each village are

carried out to rediscover the potential of

the power, strength, willingness, and

introduces and disseminates information on cultural wealth from various regions in Indonesia.

VOL. 11, 2021 INDONESIANA 1

10 11 VOLUME

2021

KILAU BUDAYA INDONESIA

Pengarah HILMAR FARID Direktur Jenderal Kebudayaan Penanggung Jawab RESTU GUNAWAN GUNAWA N Direktur Pengembangan dan Pemanfaatan Kebudayaa Kebudayaann Koordinator Umum Umum & & Koordinator Pemimpin Redaksi Redaks i Pemimpin BINSAR SIMANULLANG SIMANULLANG BINSAR Redaktur Pelaksana Pelaksana Redaktur SUSI IVVATY IVVATY SUSI Redaktur Naska h Redaktur Naskah MARTIN SURYAJAYA MARTIN SURYAJAYA ALFIAN S. SIAGIAN ALFIAN S. SIAGIAN Redaktur Fot o Redaktur Foto SYEFRI LUWIS SYEFRI LUWIS Tata Letak Tata Letak ZUL LUBIS Fotografer Fotografer JESSIKA NADYA OGESVELTRY JESSIKA YUDHINADYA WISNUOGESVELTRY ARYAND I YUDHI WISNU ARYANDI Sekretariat Sekretariat POKJA PENGEMBANGAN DIREKTORAT PPK POKJA PENGEMBANGAN DIREKTORAT PPK

Editor Note’s Any kind of campaign about advancement is hard to succeed if it’s only done once or twice. Its strategic messaging must be carried out continuously in various ways to reach wider audiences. Awareness will only be formed over time and thus the set goals can be achieved. Of course, it takes hard work for that. One campaign about advancement that has been integrated into policy and realised in the programme of activities at the Directorate General of Culture of the Ministry of Education and Culture is the advancement of cultural village, done in collaboration with relevant ministries. The legal basis is clear, one of which is Law no. 6 of 2014 concerning Villages. In Article 4, it is stated that one of the objectives of village regulation is to preserve and promote the customs, traditions and culture of the village community. Consequently, the advancement of culture cannot be separated from the advancement of society. Realising a village that is culturally advanced means making the village prosperous as well because a village that is poor in the economy and poor in change is the same as a village that is poor in culture. A culturally prosperous village means having and applying moral values, economic values, artistic values, and scientific values. To continue to promote the campaign on villages and village development, Indonesiana Volume 11 still presents the main topic of cultural advancement on villages This is done in continuation of the previous edition. The stories of villages that were partially facilitated by the Directorate General of Culture are very inspiring and can serve as examples of how these communities develop their villages. Basically, these villages have been working on their own cultural advancement, such as Paya Dedep Village in Central Aceh. In Paya Dedep, the acculturation of Javanese and Gayo culture has emerged naturally, almost

Kementerian Kementerian Pendidikan, Pendidikan, Kebudayaan, Kebudayaan, Riset, Riset, Indonesiaa dan Teknologi Republik Indonesi Direktorat Pengembangan dan Pemanfaatan Kebudayaan Gedung Lt. 9, 9, Gedung E. E. Lt. Jl. Jl. Jenderal Jenderal Sudirman Sudirman Kav. Kav. 4-5 4-5 Senayan, Jakarta 10270 (021) 5725534 (021) 5725534

without friction, since the ’80s when the New Order launched the transmigration programme. Hendea Village in Buton, Southeast Sulawesi has a ma’a ta’a tradition that is still practised today, strengthening relationships between residents. Here, gotong royong are not just words. Pitu Village in Nglanggeran Village, Gunung Kidul, DI Yogyakarta also has a story about how to be selfsufficient in food.

indonesiana.diversity@gmail.com

Various Directorate programmes have also been recorded in sufficient detail.

http://kebudayaan.kemdikbud.go.i d http://kebudayaan.kemdikbud.go.id

Take the example of zoning in the Dieng temple area of Central Java as an effort

Majalah Indonesiana bertujuan untuk promosi promosi budaya budaya Indonesia, Indonesia, dan dan tidak tidak diperjualbelikan. diperjualbelikan. untuk Komentar Komentar atas atas artikel, artikel, foto foto dan dan lain-lain lain-lain ditujukan ditujukan kepada: kepada: indonesiana.diversity@gmail.co m indonesiana.diversity@gmail.com

to protect cultural heritage. Interesting rubrics related to the object of cultural advancement will add to our love for this country, how the richness and diversity of culture can bring out the smallest hints of glee in our hearts. We are proud of our culture, therefore we preserve it. There is the oral tradition of sawakka

Sampul depan: depan: Gaya bertenaga buruhsang pabrik genteng-Jatisura . Sampul Senyum bahagia oppung Denison (foto: Pandu Rahadian )

Sampul belakang : Kerangka di Penguburan Terbuka Daerah Keramat Sampul belakang: PenariPelindungan Caci dan kain Songke. di Misool - Dit. PCBM (Direktorat Cagar Budaya dan (foto: Dodi Sandradi) Permuseuman)

in Talaud, the Sundanese rhyme, the serampang duabelas dance which is now in critical condition, to the Balinese gringsing literature which is full of symbols and meanings. The figure rubric features maestro Umbu Landu Paranggi (in memoriam) as notes and memories of his great role in the Indonesian literary world. Happy reading.

INDONESIANAVOL. VOL.11, 11,2021 2021 222 INDONESIANA INDONESIANA VOL. 10, 2021

Editor-in-chief

MESSAGE

HILMAR FARID Director General of Culture Ministry of Education, Culture, Research and Technology Republic of Indonesia

Message from the Director General of Culture Indonesia’s wealth of traditional arts and culture is infinite. This cultural wealth is now faced with the reality of an era marked by the interplay between Indonesian culture itself and cultures that come from outside of the archipelago. If not managed properly, Indonesia’s cultural wealth can decline and disappear one by one, replaced by new cultures that emerge from global interactions. In itself, globalization is not a negative symptom. Globalization also enriches the nation’s cultural wealth. However, this will only happen if continuous efforts are made to manage the cultural wealth that has become part of the nation’s personality so that influences that come from outside can be absorbed properly.

The life of modern society is never separated from the traces of the influence of traditional culture. The way of thinking and the behaviours of modern humans are motivated by the

recognising who we truly are today. As

value system that lives in traditional

the fruit of human creativity, taste and

societies. Without this traditional

initiative, cultural heritage is also a vehicle

cultural background, we will be lost in

where we learn from the experiences

the direction of global life and have no

of people who lived in other times and

impact on world civilization. Therefore,

places. In this way, cultural heritage is not

we need to always pay attention to

only an exclusive reference for society but

the voices that come from traditional

is universal and beneficial for all mankind.

cultures to guide us to behave well, with

That’s where the appreciation of cultural

a strong cultural personality, and on

heritage becomes an appreciation of the

that basis, participate in influencing the

cultural diversity of mankind.

world’s civilization. All of this will only happen if the sources of reference for traditional culture are made the core of our common life as a society. One

Law No. 5 / 2017 on the Advancement of

source of cultural references is cultural

Culture has outlined the main approach

heritage.

that must be taken in advancing Indonesian national culture. The law lists ten categories of cultural objects: (1) oral traditions, (2) manuscripts, (3) customs, (4) rites, (5) traditional knowledge, (6) traditional technology, (7) arts, (8) language, (9) folk games and (10) traditional sports. The ten categories of cultural objects constitute the cultural wealth of the Indonesian nation that must be promoted through efforts to protect, develop, utilise these objects and foster

For this reason, I welcome the publication of Indonesiana Magazine Volume 11, which raises the richness of our nation’s cultural heritage by exploring various inspirations from villages, youth, maritime cultural practices, as well as various local

In the process of forming identity and

cultural expressions. Hopefully, through

personality, cultural heritage plays an

this reading, we can all be firmer in

important role as a cultural reference

choosing the path of cultural advancement

for a society that is passed down from

that will lead Indonesia to the vision of

generation to generation. Cultural

cultural advancement in the next 20 years:

heritage is a record of important

“Indonesia is happy based on cultural

milestones in the journey of culture

diversity that educates, reconciles and

which is a source of inspiration for

prospers.”

common practice today. Interacting with cultural heritage, therefore, means not only interacting with the past but also

the human resources that manage them.

VOL. 11, 2021 INDONESIANA 3

CONTENT S SAMBUTAN

RUBRIK PEMAJUAN KEBUDAYAAN

Direktur Pengembangan dan Pemanfaatan Kebudayaan

ADAT ISTIADAT

Direktur Jenderal Kebudayaan

TRADISI LISAN

MAIN TOPIC/FEATURE 6

Cross-Border Acculturation in Paya Dedep Village

“Ma’a Ta’a”, the Joy of Hendea Residents

The Potential of Songah Art in Citengah Village

Catching Dew in Pitu Village

Komik Strip: Cerita Keharmonisan dari Tenganan

PERISTIWA

When Local Wisdom and Technology Align

Gondang Toba Melodical Prayers

The Importance of Zoning in Dieng Temple

Restoration Continues in the Prambanan Temple Area

Data museum

4 INDONESIANA VOL. 11, 2021

Horja Siluluton, Batak Angkola’s Death Ceremony

Gardening and Gratitude in Talaud

WASTRA 54

Gringsing, Weaving Balance

JALUR REMPAH 58

Spice Trading Network in Tomini Bay

KULINER 62

Spice Treasures in A Bowl of Coto

RITUALS 66

Environmental Conservation Through Sanggring Ritual

LITERATURE

PERFORMING ARTS 70

Serampang Duabelas…Your History Before, Your Story Now 90

Waiting for Carita Pantun’s Documentation Generation

SPICE ROUTE

FILM

PERPEDUUR: As Expensive as Bangka White Pepper

MUSEUM

CAGAR BUDAYA 78

Beautiful Prehistoric Rock Art in Misool

MANUSKRIP 82

The Healing Power of Borneo Camphor in Various Archi- pelago’s Manuscripts

Returning FFI to the People

Correspondence Memory: Kring… Kring Pos

PERSONALITY 102 Umbu Landu Paranggi: The Master Who Lives Among the Winds

ARCHITECTURE 86

Understanding Jakarta as a Symbolic Space

VOL. 11, 2021 INDONESIANA 5

MAIN TOPIC/FEATURE

Maybe some of us are unaware that in Aceh, especially in the Gayo land, Javanese culture lives and survives just like in its original home, and gets richer after experiencing acculturation with the local culture. Several districts here have become settlements for the Javanese community, such as Aceh Tamiang, Langsa, Aceh Besar, West Aceh, Nagan Raya, Central Aceh, Bener Meriah, and Aceh Singkil. Some of them have settled since the colonial period, who were brought in to work on plantations owned by Europeans. Some came during the early days of Indonesia’s independence, and others joined the transmigration programme under President Soeharto in 1982.

CrossBorder Acculturation in Paya DedepVillage

Crossing Borders in Culture Zullubis

6 INDONESIANA VOL. 11, 2021

Coffee for generations Zullubis

aya Dedep Village in Jagong Jeget

While Dieng is famous for its potatoes,

District, Central Aceh Regency is

Paya Dedep is famous for its coffee.

a village that has emerged and

developed because of the transmigration programme. Prior to the division, this village was part of Paya Tungel Village, one of 7 Transmigration Placement Units (UPT) in Central Aceh District. Geographically, Paya Dedep Village is located in a mountainous area with an altitude of about 1600 metres above sea level. The air is very cold. If we look at the Accuweather application, the air temperature at 11.00 is only 19 degrees Celsius in normal weather. At 3.00 in the morning, the temperature can go below 0 degrees.

Coffee is indeed the main commodity of the Gayo highlands, from Bener Meriah Regency, Central Aceh, to Gayo Lues. According to Q Grader, Gayo coffee has a distinctive aroma and taste. The quality of the seeds is very suitable for various types of processing, especially natural fermentation. In addition, the acidity level is also low, so Gayo coffee is relatively safe for consumption by coffee lovers with gastric problems. Various vegetables and fruits such as oranges and papaya also grow well in this mountainous area.

In Java, this temperature is roughly the same as the temperature in the Dieng plateau. It’s just a different atmosphere.

VOL. 11, 2021 INDONESIANA 7

The age of the Javanese community

when mixed with its natural beauty will

by place, or an association that arises

in Paya Dedep is still relatively young,

make Paya Dedep Village a culture-based

because people live close together in an

around 40 years or two generations after

ecotourism area.

area. Its meaning is much deeper than

their first arrival. Memories of their place of origin in Java are still firmly attached to their psyche, and they still have an emotional attachment to their place of origin (or as a Javanese saying goes: the flame is still alive).

Adaptive, Friendly, and Open Just like other Javanese communities in Gayo land, the Javanese community in Paya Dedep always shows a welcoming attitude to others. They are used to seeing outsiders coming to visit. Their smiles give a warm feeling in the heart and have become a blanket amid the

The people of Paya Dedep have a strong bond with each other, which even exceeds blood relations. This bond was born from a long history of stories of the same fate and shared responsibility – when they arrived on the same ship, when they felt the harshness of clearing the land with only minimal tools, until when they shared their lives afterwards.

group ties based on kinship relations (gemeinschaft by blood) because the bonds that are built transcend differences in cultural identities such as ethnicity and even religion. This bond also gave rise to the term sedulur sak kampung (family from the same village) for the Gayo people and people from other tribes who live with them.

All of this resulted in the formation of

Currently, the Javanese community in

group ties with a very strong level of

Gayo Land masters at least two region-

social cohesion, which sociologists Selo

al languages, namely Javanese as their

Soemardjan and Soelaiman Soemardi call

mother tongue and Gayo as a market

paguyuban (association).

language (lingua franca). In fact, many

cold temperature that pierce the bone.

The association that was formed was not

It’s an extraordinary impression, even

only limited to the Javanese community,

though this village is not a tourism area.

but also with other tribes including the

Whether we realise it or not, this friendly

Gayo people as indigenous people. Re-

and open attitude is actually the basic

ferring to Ferdinand Tonnies, this kind of

capital of ideal human resources, which

community model is called a gemeinschaft

even masters the Acehnese language and Jamee language. They mastered these languages to be able to mingle with the local community, especially related to buying and selling activities that reach beyond the districts and provinces. The local language is also used to respect the

Border-Crossing tunes Zullubis

8 INDONESIANA VOL. 11, 2021

Coffee, a gift for the nation Zullubis

Art is nutritious food for the soul - Zullubis

culture that first existed. For example,

aries. In one of the film clips, Javanese

wear the Gayo filigree as is the usual

if they are together and happen to be

children dance the guel and Gayo children

tradition in Central Aceh. Likewise, with

among the Gayo people, they will speak

play the reog art. The climax is reog and

the reception, the bride and groom will

Gayo language. The use of this language

guel dances on one stage against the

usually change clothes according to their

may look simple, but this is a form of

backdrop of a beautiful mountainous

respective customs as a symbol that

tolerance that exists in the Javanese com-

landscape as a symbol of harmony be-

they have tied the promise of life under

munity in Paya Dedep.

tween two different cultures. This condi-

two different values. Not to forget, gagar

tion is an ideal picture of how we should

mayang is a witness to the union of two

live side by side in diversity.

lovebirds from different ethnic groups.

The acculturation that has occurred in

This mixed marriage produces a new gen-

the Javanese community in Paya Dedep

eration which Prof. Usman Pelly calls the

is proof that every human being has

hybrid generation. The hybrid generation

the ability to adapt to the environment

is the key to realising a more integrated

easily. Their resilience strategy is quite

society because they are the result of

simple, namely by holding the proverb

the process of cultural acculturation in

“where the earth is stepped on, the sky is

a tangible form. Differences in identity

upheld”. Evidently, no conflict has been

not only live around them but also run in

heard between them since 1982.

their blood. They are not Javanese, nor

Acculturation and Mixed Marriage In anthropology theory, every culture that lives close together for a certain period of time will trigger the acculturation process. In simple terms, this acculturation is a situation when one culture learns one or more elements of another culture and makes it a part of its culture. The elements of culture in question can be in the form of tradition, language, social system, knowledge, rites, religion, and art. In the

Of the various acculturation processes in

village of Paya Dedep, the acculturation

Paya Dedep, intermarriage is one unique

of Javanese and Gayo culture has existed

thing. Mixed marriages usually occur

side by side for a long time.

between Javanese and Gayo people, but

In a short film entitled “Jangin” released by a youth community called Etnis Mountain Signature (EMS), it is illustrated that acculturation occurs in an artistic setting that transcends existing cultural bound-

there are also Javanese people who mar-

are they Gayo, but they can be Javanese and Gayo. Therefore, they can understand every difference to minimise the potential for conflict. (Dharma Kelana Putra, BPNB Aceh)

ry people from other tribes because they migrate and then return to Paya Dedep. In intermarriage, acculturation occurs very intensely. For example, during the marriage contract, both partners usually

VOL. 11, 2021 INDONESIANA 9

MAIN TOPIC/FEATURE

“Ma’a Ta’a” Hendea People’s Joy of Life

Ma’a ta’a is a tradition of the people of South Buton, Southeast Sulawesi Province, which means eating togehter in the language of the Cia-cia tribe. Time passes and ma’a ta’a is now better known as the name for South Buton people party, especially in Hendea Village. The event is simply a feast. Each house prepares food and cakes that are served to relatives, acquittances, and guests who come to visit. The peak of the communal feast is held in the baruga (galampa). The ma’a ta’a tradition is also a meeting place for residents who have relatives in areas outside of South Buton.

10 INDONESIANA INDONESIANAVOL. VOL.11, 11,2021 2021 10

Ma’a ta’a is held once a year by the people of Hendea Village, Sampolawa District, South Buton Regency, Southeast Sulawesi Province for generations and remains

es, there is an inner processing stage that various conflicts due to the changes that humans face in their lives (page 94).

sustainable until now. Geographically,

The traditional feast of ma’a ta’a or mata’a

Hendea Village in South Buton Regency

(having fun) is carried out as gratitude be-

is located in a mountainous area that is

cause the east and west harvest seasons

suitable for agricultural land with a pop-

have been successfully completed. This

ulation of 2,017 people in 2019. Usually,

traditional party has been carried out

ma’a ta’a is carried out after harvesting

for generations since hundreds of years

rice or other crops, as is customary in the

ago, which began with the permission

rituals of an agrarian society.

and policy of the Sultan of Buton at that

Victor Turner views that rituals from an anthropological point of view is a form of social drama that displays symbolic roles. Through this social drama, various aspects of people’s lives are shown to be responded to together (The Forest of Symbols, Aspects Of Ndembu Ritual, 1987, pages 32-33). Specifically, in the ritual of transition or the rites of passag-

Ma’a ta’a ritual for the Cia Cia tribe.

causes humans to be able to get out of

time. The food and drinks served in this traditional ritual are a form of gratitude to the Almighty (Cia-cia Tribe holds Mata’a Traditional Party, 2010, kompas.com). Several Stages of Ritual The peak of the ma’a ta’a tradition was held for three days with various stages of implementation. The first stage is to oano

VOL.11, 11,2021 2021 INDONESIANA INDONESIANA 11 11 VOL.

Rejoicing in culinary wonders;

ma’a ta’a or deliberation to determine the

while reading prayers to the spirits of the

morning. The ritual begins with Pipaliki-

best appropriate days for the feast, led

ancestors who have fallen. People whose

ano bicubitara, namely the collection of

by traditional stakeholders and attended

families have died also perform the ritual

harvest products that are hung in each

by the community in galampa (baruga).

of burning incense and visiting the graves

resident’s house, such as cassava, corn,

In this stage, after an agreement in the

of their parents or other family members

peanuts, coconut, and other plants. Pipa-

customary deliberation, the ma’a ta’a

in the afternoon. After the pilgrimage pro-

likiano bicubitara is only done by youth

event is decided twelve days later (quoted

cess is complete, each family lineage gath-

(sarano anamhane). After that, all sarano

from the desakultur.kemdikbud.go.id page,

ers at the house of the eldest sister with

anamhane is directed back to Galampa to

accessed in August 2021).

a canister filled with food to read prayers

do the bongka barata.

The next stage is nduano ganda or (beating a drum). The instrument used in this event is a drum called lakanterega, a tradi-

and eat together. This ritual aims to make people remember the family members who have died.

event begins with circling the galampa courtyard three times by a traditional

tional musical instrument made of wood

After burning the incense, the next event

elder as the opening ceremony for the

and goat skin with 50 cm diameter. The

is posambua. This is where traditional

pangencei or mangaru, pilinda or linda

drum percussion section is held at night

figures sit facing each other and then

dance, and manca or pencak silat. Linda

in the traditional house (galampa) which

give each other food in the form of large

and pencak silat dance activities continue

has to be attended by traditional leaders

diamonds (kauru), which is accompanied

to be carried out by all levels of society

(mancuana popa’ano) and male communi-

by a prayer. The traditional elders then

starting from children, teenagers, adults,

ty leaders (sarano anamhane). The nduano

exchange poems with sentences of advice

and the elderly to the accompaniment of

ganda is a sign that the main event of

or invitations to the whole community to

the lakterega drum until the next morning.

ma’a ta’a will start four days later.

share and appreciate, respect, and main-

The third stage is tampoano api which means burning incense. This process is

tain the ties of friendship for the sake of strengthening the ties of brotherhood.

The last part of the ritual is kalepa, which is a way of serving food in a canister while praying all together led by custom leaders

carried out by traditional elders in the

The awaited peak of ma’a ta’a then

as a form of gratitude for the success of

baruga or galampa, by burning incense

arrives. Karamea a’alono or a party that

the harvest festival in a year. The imple-

lasts for the whole day and night, starting

mentation of this event is only attended

from 08:00 am until 05:30 am the next

The implementation of the bongka barata

12 INDONESIANA VOL. 11, 2021

Old and young, everyone celebrates together.

Ma’a ta’a involve all elements of society.

by parents (heads of families) in galampa

of the ancestors which is still maintained

which consisted of various professions.

and preserved by the residents of Hendea

Reading this prayer aims to maintain the

Village.

safety of farmers, traders, police, soldiers, and all residents when making a living, whether in the village or overseas. After reading the prayer and eating together, they shake hands with each other, marking the end of the ma’a ta’a traditional party.

Hum, History Researcher and Lecturer at BINUS University Malang).

Ma’a ta’a culture is an effective communication medium for the Cia-cia tribe to bridge communication between citizens across generations, especially in strengthening kinship. This culture is at the same time an effective medium used to convey messages from communicators to a wide

Tightening the Family Ties

audience as is the definition of media in

For the Cia-cia tribe, the ma’a ta’a ritual

Communication Studies, 1998: page 119).

Harfield Cangara’s view (Introduction to

shows the importance of maintaining friendship to tighten their kinship ties,

Media is also an extension of the human

creating stronger unity. With great

senses, citing Marshal Macluhan in Dedi

enthusiasm and prayers from the elders,

Kurnia Syah Putra (Media and Politics,

without never giving up and with great

Finding the Relationship Between the Di-

hopes of returning to their hometown,

mensions of Symbiotic Mutualism, Media

all community activities return to normal.

and Politics, 2012: page 2). The definition

Farmers are back to wrestling with their

of media is suitable to describe ma’a ta’a

crops, migrants are back to lift their an-

culture as a medium of communication to

chors to endeavour across the ocean, po-

ancestors and between citizens. All senses

lice and soldiers are back on guard, and

are involved (Faishal Hilmy Maulida, M.

teachers are back to school. This ma’a ta’a culture has become the oldest heritage

VOL. 11, 2021 INDONESIANA 13

MAIN TOPIC/FEATURE

Songah traditional music from Citengah Village Alip Purnomo

Songah Art Potency

In Citengah Village

he Covid-19 pandemic that has infected this earth has affected most sectors of our lives and caused unfortunate even misserable impacts on economic, social, and community activities all over the world. One sector that has been heavily impacted is tourism, especially tourist villages. A survey conducted by the Tourism Village Institute in April

2020 showed that the tourist villages that were the respondents had closed their tourism activities. In March 2020, 49% of tourist villages lost potential income of around 25 million rupiah; 35.1% potential loss of income between 25 million rupiah to 100 million rupiah; and 15.5% have the potential to lose more than 100 million rupiah in income.

14 INDONESIANA VOL. 11, 2021

Government Regulation Number 23 of 2020 concerning the Implementation of the National Economic Recovery Program (PEN) aims to stabilise the financial system and provide new instruments to minimise the impact of the Covid-19 pandemic on the village economy. In 2021, village funds will be used primarily for economic recovery during the pandemic by targeting three aspects, one of which is the development of tourist villages. Based on data from the Association of Indonesian Tourism Villages, there are

A piece musical instrument for songah - Directorate General of Culture

currently 1,302 tourist villages in Indonesia. The top six rankings: 138 tourist villages in West Java, 132 villages in Central Java, 114 villages in East Java, 92 villages in East Nusa Tenggara, 87 villages in North Sumatra, and 57 villages in DI

Songah brings joy -

Yogyakarta. The Ministry of Tourism and

Alip Purnomo

Creative Economy targets 244 certified tourist villages to become independent tourist villages by 2024. Tourism village also covers micro and small businesses. The ability of tourist villages to absorb labour cannot be underestimated. Nationally, 63,350,222 micro-enterprise units were able to absorb 107,376,540 workers. The 783,132 small-scale business units are able to absorb around 5,831,256 workers. This potential is expected to stimulate the rise of a rural-based community economy. The Sumedang Regent, in a meeting with 11 regional heads and the Minister of Tourism and Creative Economy in March 2021, said that a 360-degree virtual tour is currently being developed. The virtual tour is expected to make it easier for

From Pine Forest to Curug

tourists to access information on tourist

Citengah Village is located in South

destinations, one of which is in Citengah

Sumedang District, Sumedang Regency,

Village.

West Java. Topographically, Citengah Village is located on the slopes of a

mountain with an altitude of approximately 501-1000 meters above sea level. This village has an area of 3,406 hectares or 30.61% of the total area of South Sumedang District. Citengah village is a fertile village, has many springs, and is

VOL. 11, 2021 INDONESIANA 15

Songsong Kendang Directorate General of Culture.

surrounded by several rivers, such as the

to build a terminal which will also be

community interacts with their nature

Cihonje River, Citengah River, and the

developed for water tourism, because its

and creatively uses the resources around

Citundun River.

position is close to the Cihonje River.

them to be used as artistic tools. The

Citengah Village has stunning natural

The tourism sector in Citengah Village

scenery. Pine forests, waterfalls, Mar-

contributes to Village Original Income

gawindu tea plantations, historical sites,

(PAD). In 2021, Citengah Village PAD will

and river views, are the mainstay tourism

contribute 7.3 per cent to the APBDes

objects of Sumedang Regency. Access

which amounts to approximately 1.5 bil-

to Citengah Village is relatively easy to

lion rupiah. Amid the pandemic and the

Songah comes from the word songong

reach. There are also 23 waterfalls that

sluggish tourism sector, this figure can

which is a tool used to blow hawu (a stove

have not been arranged and managed

certainly increase optimism for the devel-

for cooking) and ngah which indicates the

properly.

opment of village tourism in the future.

identity of the region, Citengah Village.

Apart from the private sector, tourism

Songah Arts

in Citengah Village is also managed by the Village-Owned Enterprises (BUMDes), which is currently developing the management of tourist parking services as well as securing tea and pine resin gardens. Until now, Karya Mukti BUMDes has been able to generate up to 30 million rupiah. Although not a fantastic

existence of bamboo in Citengah Village is quite abundant. In addition to art, bamboo is also used for daily needs, such as building houses, cooking utensils and so on.

Songsong is usually played with other traditional musical instruments such as

Traditional art is a potential that can

the flute and the harp. The combination

be developed as a tourism attraction.

of songah and other traditional musical

Traditional art has the required strengths

instruments brings listeners into a unique

in tourism products, namely uniqueness,

spiritual experience.

authenticity, originality, and diversity. Citengah village has a distinctive art namely songah or songong Citengah.

Songah is often played during hajat lembur (working overtime) ritual, a tradition of gratitude by caring for nature

number, this revenue is capital and at the

Songah is a musical instrument made

which consists of various other activities,

same time optimism, that village tourism

of tamiang bamboo. Songah is capable

namely ruwat jagat, art performances,

management can continue to develop

of producing a low-frequency sound,

and karuhun pilgrimages. Songah was

and become the focus of the business.

similar to a bass gong. The existence of

even featured in the opening ceremony

Currently, the village government is trying

songah also shows how the surrounding

16 INDONESIANA VOL. 11, 2021

of the Paragliding World Championship in Sumedang Regency in 2019. Songsong also participated in the 2014 People’s Party.

Post-pandemic Opportunities A number of experts have predicted a change in travel trends after the pandem-

support of the district government has begun with promoting their tourist destinations through virtual tour programmes.

ic. People will prefer tourist destinations

The role of the central government is

Slowly, songah can not only be enjoyed

that are nature-based, rural and have

expected to be able to encourage village

by residents of Citengah Village but also

characteristics, both in terms of customs

tourism with various programmes, for ex-

nationally and even internationally. Son-

and unique arts. This is truly good news

ample, efforts to improve hygiene, health

gah events can be complemented by tra-

for Citengah Village. Therefore, the village

and safety standards through the Clean,

ditional children’s games such as egrang

must improve itself while also adapting to

Health, Safety & Environmental Sustain-

(stilts) and gatrik which are still played by

new habits.

ability (CHSE) program. The role of the

children in Citengah.

Of course, the village isn’t working alone.

The potential for historical tourism has

There must be efforts and support from

also been explored, for example, rem-

various parties. So far, Citengah Village

nants of the Dutch colonial heritage (a

already has the capital of supporting nat-

lorry rail to transport tea commodities)

ural conditions, creative human resourc-

and the graves of a number of scholars,

es, unique traditional arts, and BUMDes

the founders of Citengah Village, as well

who are experienced in managing village

as important figures from the Sumedang

tourism. The support of the village gov-

kingdom.

ernment through village funds in building infrastructure is also there. Likewise, the

private sector and banks is also expected in developing tourism infrastructure in the village, including providing access to capital for the community through MSMEs engaged in the tourism sector. This synergy is expected to be able to revive the village tourism sector which was ravaged by the pandemic. The hope is that the environment and health-based rural economy will be excited again. Let’s start from the village (Steve Christiantara, Akatiga Researcher).

Songah’s bamboo tunes Directorate General of Culture.

VOL. 11, 2021 INDONESIANA 17

MAIN TOPIC/FEATURE

Catching dew, attracting tourists.

Chatching Dew In

Kampung Pitu II

18 18 INDONESIANA INDONESIANAVOL. VOL.11, 11,2021 2021

After passing through narrow, uneven roads, we continued to climb to a height of more than 1,000 metres above sea level. We finally arrived after Pak Aan picked us up at a crossroads in a neighbouring village. Kampung Pitu is a name of RT (Rukun Tetangga) --smallest organisation of goverment administrative system-namely RT 19 Nglanggeran Village, which indeed only contains seven heads of families (KK). If a new family is created through marriage and registers a new KK, the KK of the parents is then revoked and the child joins as the head of the family, including their unmarried younger siblings. There are also many residents of Kampung Pitu who, after getting married, move away from the village. Dew Catcher 1 Syefri Luwis

“There are also those who later died, and then their KK was changed in the name of their children. Anyway, naturally, it just

Ademe Gunung Merapi Purba [Merapi ancient volcano is so cold] Melu krungu suaramu ngomongke apa [I could hear what you’re saying] Ademe Gunung Merapi Purba [Merapi ancient volcano is so cold] Sing nang Nglanggeran Wonosari Yogyakarta [It’s the one in Nglanggeran Wonosari Yogyakarta]

happens, there have always been only seven families in this village, with a population of 30-40 people,” explained Aan.

e were humming part of the lyrics of “Banyu Langit”, a great song compossed by Didi Kempot, along

the way to Kampung Pitu in Nglanggeran Village, Gunung Kidul, Yogyakarta Special Region, not far from the “Gunung Merapi Purba” ecotourism area. If you want to go to Kampung Pitu, the ancient volcano can be a benchmark. The mountain, which was once active around 20-60 million years ago, is in the form of giant andesite rock, stretching wide about 800 metres with a height of 300 meters. We sang the song along on mobile phones, looking for a signal that suddenly disappeared and reappeared again. If we hadn’t kept in contact with Pak Aan, a community leader in Kampung Pitu, we

Dew Catcher 2 Syefri Luwis

would have gotten lost so many times.

VOL. 11, 2021 INDONESIANA 19

Documenting the Dew Catcher.

The caretaker of the Guyangan Lake in Kampung Pitu, Yatnorejo (75) told us a bit of the history of Pitu Village, especially regarding the kinah gadhung wulung tree, which is considered sacred because the fallen leaves are never seen by local residents but, they believe, the leaves “fly” to the Yogyakarta Kraton area. There used to be five trees, and the locals named them after the Javanese days, namely pon, wage, kliwon, legi, and pahing. Mbah Yatno quoted a story told by a village elder, the late Mbah Redjodimuljo. Now, kinah gadhung wulung no longer exists, it just disappears into its roots, without anyone knowing about it.

to be the one who “created the village” or

Nglanggeran Wetan, because Kampung

who first came to the village and became

Pitu was only “officially” used in 2015

the forerunner of the existence of Pitu Vil-

after winning the traditional community

lage. In short, from the time of Iro Dikro-

competition in Semarang.

mo to the next generation, the number of families in Kampung Pitu has always been just seven. This is in accordance with empu pitu, the symbol of pitung pusering jagad (seven navels of the universe).

Difficult Economy A resident of Kampung Pitu recounted how it was in 1978, when he first came, as quoted in the book “Komunitas Kampung Pitu Gunung Kidul” [The Community of Kampung Pitu Gunung Kidul] by Bambang H Suta Purwana, Theresiana Ani Larasati, and Ambar Adrianto (BNPB

Mbah Yatno and Aan also recounted the

DIY, 2019). At that time, the name of the

genealogy of Iro Dikromo who is believed

village was still Telaga Guyangan Dusun

20 INDONESIANA VOL. 11, 2021

“I came here when the economic situation was difficult, the road was only footpath. The main income came from farming cassava, rice, corn, and guava. The problem was that the harvest was difficult to sell because everything had to go through the narrow footpath. To sell it to the market, we carried the harvest on our shoulders or our head. We would depart at 01.00 in the morning and when we reached the Piyungan market the day would already be brightly lit. 12 guavas were sold for five rupiahs. We also sold wood, charcoal, all of which were hand-carried to the market. The daily food was tiwul or rice. We only started to prosper here when

A house of one of the residents of Pitu Village - Syefri Luwis

Foto : The oldest house in Pitu Village. It’s now left empty after the owner passed away (Syefri Luwis)

Foto : Pitu Village’s Pendopo (Syefri Luwis)

electricity came in 1997. Even then we had to use a cable extension that was 700 metres long. It was only in 2001 that cars could enter.” How difficult it was to live in a remote area in this republic, which was extraordinarily underdeveloped compared to big cities. In 1997, when the New Order regime had been in power for 30 years, development was far from evenly distributed, electricity was still hard to come by. Let alone in eastern Indonesia, in Yogyakarta which is a major city in the centre of Java, it was still difficult to get state facilities.

Self-sufficiency If they didn’t use their brains, are self-sufficient, how can the people of Kampung Pitu survive? Nglanggeran Village in general is increasingly classified as developed, mainly because of the ancient volcano tourism. However, Kampung Pitu,

Nglanggran Village still owned a wood

(Swietenia mahogany) which have a rela-

charcoal making business. The wood was

tively long growth period.

taken from community forests, which were part of a 1962 reforestation project to combat erosion. There are also various types of guavas (Anacardium accidentale) and melanding (Acacia glauca) vegetations there.

a small part (only one RT) of the village, is

In 1965-1967 the government provided

not that developed.

seeds of the acacia plant (Acacia auricu-

Until ten years ago (Djoko Purwanggono, 2011), 70 per cent of the population of

“Until now, most of the livelihoods of the residents of Pitu Village and Nglanggeran Village are in general, yes, farmers. The harvests are to meet their own needs and are sold as well,” said Aan, who is active as a tourism manager at the “Gunung Merapi Purba” Community Secretariat.

liformis). Residents also independently plant sono trees (Dalbergia latifoila), teak trees (Tectona grandis), and mahogany

VOL. 11, 2021 INDONESIANA 21

Mbah Yantno Rejo, a village elder Syefri Luwis

In addition to relying on rice fields and

the lake which are believed to be the

Education and Culture in 2020 provided

farms to live and support their fami-

tracks of the sembrani horse, the ride of

facilitation for artists to remain empow-

lies, the residents of Kampung Pitu and

the angels.

ered during the Covid-19 pandemic. One

Nglanggeran Village, in general, are smarter in utilising the potential of nature tourism and ecotourism to attract guests to come to the village. The ancient volcano is increasingly recognised, and various researches on traditions and tourism are carried out, including by the DIY Cultural Values Preservation Center. The mass media has also been spreading more and more news about Kampung Pitu. Some of the spots visited by tourists besides the Gunung Merapi Purba are Telaga Guyangan and the horse footprints near

22 INDONESIANA VOL. 11, 2021

“Now, more and more people come, even from outside the city, from Bali for example, just to wash their faces at Guyangan Lake. So, we developed another thing, namely orchid cultivation,” said Aan. Now, according to a survey by the Orchid

of the artists who had the opportunity to create useful works was Rudi Hendriatno, an artist who graduated from the Craft Department, Faculty of Fine Arts and Design, the Indonesian Arts Institute of Yogyakarta.

Conservation Park, 21 species of orchids

The artist from Padang who was born in

can be found here.

1980 made creative installations pieces

Dew Catcher

that not only boast artistic elements but also have practical benefits. The expertise

The government through the Director-

of the owner of Studio_211 Yogyakarta is

ate General of Culture of the Ministry of

craft art, so his idea would be very fitting to be applied in Kampung Pitu. What’s

this idea? Dew catcher installation. When presented with an offer to create useful and moving works of art, Rudi didn’t think about it too long. He was

tree is transcended to the installation, it

it makes us close to nature. Wood is also

becomes a kind of water bank. My job is

part of everyday life,” he said.

how to make this installation artful, and not carelessly,” explained Rudi.

Now the Kampung Pitu, Nglanggeran Village, is increasingly cultured. Residents

already used to experimenting with

The materials needed include galvanised

build their own village to be empowered

installation works. “Artistic and useful. I

pipes of various sizes, strip plates, paint,

(Jessika Nadya Ogesveltry and Susi

immediately thought of remote locations,

nylon nets, wires, and lights. It took only

Ivvaty).

for example when a village finds it diffi-

45 days to complete the installation, from

cult to procure water, what can I do as an

the site survey, consultation with water

artist? Then I thought of a dew catcher

and weather experts, to the building

installation,” said Rudi in Pitu Village.

execution of the installation. It is appro-

The function of the tool is to catch the water that is “trapped” in the morning dew, then flow it down through a hose to the bottom where the water is contained in a large bucket. For the dew to be captured, the height of the installation must be more than 2,000 metres above

priate to hand over the work to Rudi, who in 2013 won the Indonesian Art Award and whose works have been exhibited in various galleries in Indonesia and abroad. His skills in processing wood into contemporary works of art have received public recognition. “I chose wood because

sea level. “So, the natural function of the

Pitu Village’s oldest cemetery Syefri Luwis

VOL. 11, 2021 INDONESIANA 23

24 INDONESIANA VOL. 11, 2021

VOL. 11, 2021 INDONESIANA 25

KEMAH BUDAYA

When

Local Wisdom and

Technology

Align

26 INDONESIANA INDONESIANAVOL. VOL.11, 11,2021 2021 26

rban modernisation has been proven to encourage urbanisation which results in a reduced population in rural areas. On the other hand, uneven

development between cities and villages increases the gap in quality of life, thus creating social friction. Competition in life is tight, unemployment is increasing, crime is rising. Urbanisation can be prevented by developing village potentials that accommodate local interests. Each village has different characteristics, such as geographical conditions and economic potential, so that the handling cannot be generalised. Villages in mountainous areas are certainly different from villages in swamps, on the banks of rivers or lakes, and the coast. Competitiveness can be increased through the development of local, knowledge-based potential: the creation of new products, service offerings, or the application of more effective and efficient methods. Cultural innovation means the integration of scientific and technological prog-

ress with regional cultural heritage and

STEAM (Science, Technology, Engineering,

Discussing culture is always related to

potential, and is supported by the village

Arts, and Mathematics) in collaboration

traditions that are strongly bound in the

community who participate as a whole.

with local wisdom for the advancement

social structure. All rural residents in

Through cultural innovation, villages

of culture.

Indonesia primordially certainly already

can empower their cultural identity as a source of prosperity. Cultural Camp and Cultural Challenge The Youth Cultural Camp (KBKM), as a programme initiated by the Ministry of Education and Culture in 2019, seeks to answer the challenges of advancing culture in various regions. KBKM which in 2021 carries the theme “Village Innovation for the Advancement of Culture” wants to encourage the younger generation to produce innovation by increasing the synergy between modern and traditional technologies such as the creation of new intelligence based on

have ethnic loyalty to their respective ethAs a cultural work platform, KBKM is a

nic groups, because since childhood they

space for exchanging good experiences,

have grown and developed in the culture

working together, taking realistic actions,

of that ethnic group.

and building networks. By fostering the spirit of collaboration, this activity

With the results in the form of appli-

is directed at building an ecosystem,

cation-based innovation and proto-

creating interactions among participants,

type-based innovation, KBKM participants

communities, and stakeholders which

will build each idea and concept into a

is later expected to create a collective

prototype that is sharpened during the

awareness. Programmatic actions are

activation process. The development of

urgently needed so those rural areas can

KBKM ideas is expected to give birth to

grow sustainably. To solve each problem,

original innovations. This means that

KBKM participants are encouraged to em-

participants can explain the ideas and

power the power of local wisdom in an

concepts that exist in their thoughts

area that can control and give direction to

clearly and those that purely manifest

cultural advancement.

from their thoughts or groups.

Participants of KBKM posing together for photo documentation. – Dit. PTLK

VOL.11, 11,2021 2021INDONESIANA INDONESIANA 27 27 VOL.

Participants of Cultural Camp presenting their ideas. Dit. PTLK

The ideas generated certainly reflect the

ipants to create reality-based innovations

immediately. The next most concrete

ability to seize opportunities and are born

and innovations based on problems that

step is to determine the most effective

from a critical and analytical attitude in

exist in the field. Starting from under-

and efficient ways to do it.

understanding social realities, seeking

standing the background of people’s lives,

priority solutions to problems through

recognising all aspects of their life, the

innovation and appropriate actions. In

living traditions, their philosophy of life,

addition, the innovations created by the

daily living habits and others.

participants are expected to come from the ability to adapt to the environment to solve any problems that exist in their social sphere. Reality-Based Innovation With a hybrid learning pattern that combines online and offline sessions and with living in the village which is the locus of group research, KBKM encourages partic-

28 INDONESIANA VOL. 11, 2021

The view of culture-based progress that comes from traditional knowledge and technology is very possible to target various things, ranging from Food Resil-

Then the participants map the problem

ience, creation and utilisation of new and

by analysing the needs of the commu-

renewable energy sources, technology

nity in the village and investigating the

development and transportation man-

discrepancy between real conditions

agement to solve accessibility problems,

and ideal conditions, either through

technology development in information

interviews or from direct experience of

and communication, to the development

the research participants. After that, the

of health technology and medicine.

group of participants will make a priority scale, which ones are the most important and which ones need to be addressed

Increased awareness of the importance of technology’s role in economic growth

will also mobilise people to strength-

Application-based technology can also

the function and quality of protected

en their technological capabilities. For

target the development of cyber villages.

areas and environmental sustainability

example, the development of livestock

Applications for marketing village prod-

may also be one of the answers on how

and fisheries productivity can be applied

ucts from online-based traditional mar-

to behave wisely towards nature. It is

by exploring local knowledge about

kets can be a form of developing small

hoped that these various innovation de-

traditional ingredients from medicinal

and medium industries. The innovation

velopment efforts will be a real contribu-

plants. Another example is the use of

that revives information about traditional

tion from youth throughout Indonesia to

local cultural heritage to increase the

culinary culture, which is currently rare,

the advancement of Indonesian culture.

productivity of food crops, the develop-

may be closely related to the identity of a

(Agus Hermanto, PPK Directorate General

ment of post-harvest technology, and the

region. Likewise with the development of

of Culture Kemdikbudristek)

cultivation of plantation crops for food

information that can lift regional tourism;

security.

a variety of local languages and tradition-

Biotechnology based on ancestral culture can improve the quality of processed natural resources in the fields of food, pharmaceuticals, medicines, cosmetics, and industrial materials. Traditional

al arts, traditional ceremonies to physical potential; marine parks, traditional villages, natural wonders, natural panoramas (mountains or beaches), regional museums, to historical loci.

knowledge and technology in the energy

Ultimately, technological developments

sector can shift the use of oil and coal to

can extend to changing the entire envi-

wind, natural gas, solar energy, reservoir

ronmental landscape. Application-based

hydro energy, and biomass.

cultural innovations that can strengthen

Assembling rice transplanter machine Syefri Luwis

VOL. 11, 2021 INDONESIANA 29

MUSIK

GODANG TOBA

MELODICAL PLaYERS

Sulim (transverse flute) from Batak Toba - Julius Bramanto.

30 30 INDONESIANA INDONESIANAVOL. VOL.11, 11,2021 2021

f we talk about traditional music, of course, it will be closely related to the rich, authentic philosophy

and spiritual values found in a society. Music is never separated from cultural expression in any community group, not least in the ancient volcanic caldera area which is now known as the Lake Toba region. The ancient volcanic eruption in Toba which occurred about 70,000 years ago was very powerful. Scientists believe that the eruption reduced the human population massively. It is not surprising that the Lake Toba area has a unique history of the beginning of human life and has taken root in the lives of its people even before the arrival of Abrahamic religions on this archipelago.

Magical gondang Denison

The local indigenous people believe that Toba is the place where human civilization began, this is reinforced by the legend of Debata Mulajadi na Bolon along with traditional rituals which are

(wind instrument). Meanwhile, Gondang

A maestro of traditional Batak music,

expressions of worshipping the Almighty.

Hasapi consists of instruments called

Marsius Sitohang, stated that the use of

The prayers that are said in these rituals

garantung (wooden xylophone), sarune

gondang music should even be taken very

are usually accompanied by a musical

etek (a type of clarinet), odap, sulim, and

seriously. If there are residents who want

ensemble and are characteristic of the

hesek. The main difference between these

to perform a ritual with the gondang, the

Batak Toba people.

two types of gondang can be seen in the

gondang or pargonsi players must be giv-

addition to the instruments used, as well

en the best food by the suhut (the owner

as their use. Gondang Sabangun is usually

of the event) the day before, so that they

played outside the building (house), while

are happy and can play gondang music

Gondang Hasapi is usually played indoors.

solemnly. It is not surprising that this

Although Gondang Hasapi and Gondang

pargonsi has a respectable social status

Sabangun share the same repertoire,

in the Batak Toba community because

in practice these two types of musical

they act as an intermediary for delivering

ensembles are never played in the same

prayers through gondang music.

One of the typical Toba ritual music is the Gondang Batak Toba which has a long history. Gondang music is always played mainly by the Parmalim community who are adherents of old beliefs that have been passed down from generation to generation. In general, the music of Gondang Batak Toba is divided into two types, namely Gondang Sabangun and Gondang Hasapi. Gondang Sabangun consists of instruments called ogung (gong), hesek (percussion), gordang (rhythm-determining drum), odap (two-sided drum), taganing (5 melodic drums), and sarune bolon

ritual ceremony.

If observed from the point of view

For the Batak Toba people, gondang has

of music studies, the composition of

a sacred function because it is a means

gondang music is quite unique. Although

of conveying prayers and hopes to the

the notation used can be written with a

creator. Rituals that usually use gondang

common scale, the structure of the scale

music include death ceremonies, wed-

is not the same. When compared to dia-

ding parties and even rituals to pray for

tonic scales in Western music, which has

the sick to rituals to ask for the rain.

seven levels, gondang only has five major

VOL. VOL. 11, 11, 2021 2021 INDONESIANA INDONESIANA 31 31

diatonic tones, namely do, re, mi, fa, and

From a rhythmic point of view, the

Along with the times, it must be acknowl-

sol. This scale arrangement can be found

rhythm and tempo of the gondang music

edged that the role of Gondang Toba in

in the taganing and garantung musical

seem to vary greatly depending on the

society has experienced a shift in values

instruments. The uniqueness of this

improvisation and aesthetics of the

when sometimes it is played outside

tone makes the gondang have a unique

sarune and taganing players who often

the area of customs and worship. Many

pentatonic scale structure, and even no

play in a trance state. This will be very

young Toba people try to get the gondang

similarities can be found with any ethnic

different when compared to other ethnic

out of its cultural boundaries, collaborat-

music in the world.

music rhythms, such as gamelan, which

ing with other musical instruments. The

has a very tight rhythmic pattern.

32 32 INDONESIANA INDONESIANAVOL. VOL.11, 11,2021 2021

The regeneration of culture - Denison

creative efforts made by these young

it as a way for the younger generation to

of Film, Music and New Media, Director-

musicians need to be appreciated, for

preserve, appreciate ancestral heritage,

ate General of Culture, Kemdikbudristek)

example combining gondang playing with

and contribute to introducing it to the

drums, keyboards, and electric guitars.

outside world. In that way, the younger

However, it should not be seen as something that threatens the extinction of the essence of the music of Gondang Toba, which is basically a ritual expression. View

generation who are not familiar with the music of Gondang Toba will begin to study and participate in preserving ancestral culture. (Denison Wicaksono: Directorate

VOL. 11, 2021 INDONESIANA 33

PERLINDUNGAN

zoning The Importance of in Dieng Temple

Dieng Temple with the beauty of its natural landscape which is wrapped in cultural richness has undoubtedly become a magnet for tourism enthusiasts. Located in the highlands, 2000 metres above sea level, Dieng Temple is located in two administrative areas, namely Banjarnegara Regency and Wonosobo Regency, Central Java Province. The Dieng Temple was built in two stages: between 650-730 AD which was called Old Dieng Langgam and 730800 AD or New Dieng Langgam. The temples included in the Old Dieng Langgam style are Arjuna Temple, Semar Temple, Srikandi Temple, and Gatotkaca Temple, while the New Dieng Langgam style includes Puntadewa Temple, Sembodro Temple, and Bima Temple.

34 INDONESIANA VOL. 11, 2021

Arjuna Temple is often engulfed in mist. Dit. DPK

ased on the distribution of the temples, there are six clusters of temples (temple complexes) which are included in the administrative area of Banjarnegara Regency, namely (1) Dwarawati Temple, (2) Setyaki Temple, (3) Arjuna Temple Complex, (4) Gatotkaca Temple, (5) Kunti Temple and (6) Bima Temple. In addition to the cluster of temples, there are remnants of the

Dharmasala building and the ancient tunnel of Gangsiran Aswatama. The relics of Hindu sites in the administrative area of Wonosobo Regency include two sites, the Tuk Bimo Lukar Site and the Watukelir Site.

After the old temples were built, the people who adopted the Dieng culture, who were mostly Hindu, seemed to just disappear. The Dieng Temple was discussed again after a British soldier named H.C. Cornelius wrote down the findings of archaeological sites in his travel notes in 1814. Then the Dutch, J. Kinsbergen and Van Kinsbergen visited the Dieng plateau in 1856 and reactivated gangsiran aswatama so that the water circulation in the Arjuna Temple complex returned to a good condition and the temple was not flooded. However, the excavation and utilisation process was also quite controversial, because according to the community, the Dutch also took stones off the temples to build infrastructure around the temple. In addition, they also found various valuable relics such as jewellery which they raided and brought to the Netherlands.

VOL. 11, 2021 INDONESIANA 35

The Dieng Temple Cultural Conservation

In general, the basis for determining

mapping experts. As we know, the Dieng

Area has been designated as a National

zoning includes:

Temple Cultural Conservation Area is

Rank Cultural Conservation Area based on the Decree of the Minister of Education and Culture number 007/M/2017. Cultural heritage establishment is a such

characterised by a site with a spreading

a. Identification of the distribution, type,

pattern, so that the characteristics of the

and density level of material cultural

surrounding land use are also different.

heritage;

For this reason, it is appropriate to use

goverment’s protection effort to ensure

b. The importance of its value for history,

a cell model zoning system. The results

its sustainability.

science, education, religion, and culture;

of the study formulated three zones in

In addition to what i mentioned above,

c. Environmental conditions (physical,

the safeguards as mandated in Constitu-

social, cultural, administrative);

tion Number 11 of 2010 about Cultural Conservation are zoning. Zoning is the establishment of spatial boundaries that aim to regulate, control, and facilitate various needs in the effort to preserve cultural heritage. There are four zones

this area, namely the core zone of 34.63 hectares, the buffer zone of 68.43 hectares, and the development zone of 66.01

d. Utilisation and planning of space

hectares.

utilisation in and around the site and/or

1) The core zone is the main protected

cultural conservation area;

area to protect the most important part of the cultural heritage. In this zone, no

e. Zone development and utilisation potential; and

intervention is allowed except for re-

heritage area, namely the core zone,

f. The nature, types, and forms of distur-

tural heritage. The determination of the

buffer zone, developer zone, and support

bances and threats that have an impact

core zone in the Dieng Temple Cultural

zone. The four zones do not have to be all

on the cultural conservation

Conservation Area is based on the need

that can be applied to the site or cultural

there, it can be adjusted to the protection needs and the results of the study.

search purposes or efforts to protect cul-

for protection and also land ownership

In 2020, a Zoning Study of the National Ranking of the Dieng Temple was carried out by involving several archaeologists, anthropologists, planologists, and

by the government, namely the Central Java Cultural Conservation Preservation Center.

Dwarawati Temple - Dit. DPK Gatotkaca Temple; - Dit. DPK

36 INDONESIANA VOL. 11, 2021

2) Support zone is the area that protects

Regulations concerning the zoning

pected to improve the RTRW which every

the core zone. The shape of the buffer zone

of the Dieng Enshrinement Cultural

five years can be evaluated and revised if

ideally surrounds the core zone, but based

Conservation Area can be applied if

deemed necessary. This is a bright spot

on the existing characteristics of land use,

it is stated or adopted in a regional

in the protection efforts through zoning

infrastructure, and topography in the Dieng

regulation regarding regional spatial

which will then be adopted in the regional

area, this form cannot be achieved: some

planning. Therefore, there is a need

spatial planning regulations where the

parts of the development zone cannot be

for synchronization between the

cultural heritage is located.

made around the core zone. A strategy was

results of the zoning study and the

also made to overcome these obstacles,

Regional Spatial Plan (RTRW) or the

namely establishing strict rules so as not to

Detailed Spatial Planning (RDTR). In

add to the potential threat to the sustain-

this regard, communication has been

ability of cultural heritage. Concretely,

established with the Banjarnegara and

existing buildings or facilities are allowed

Wonosobo Regency Spatial Planning

to remain to stand, but new buildings are

Offices during the socialization of the

prohibited from being erected.

results of the zoning study in 2020.

3) Development zone is an area for activi-

In the regional spatial plan in Ban-

will certainly have an impact on the pres-

ties to develop potential cultural heritage

jarnegara Regency and Wonosobo

ervation of cultural heritage, Dieng local

for recreational purposes, natural environ-

Regency, the Dieng Temple Cultural

culture, and the Dieng Plateau landscape

ment conservation areas, cultural land-

Conservation Area is included in the

which has been an attraction for tourists.

scapes, traditional cultural life, religion, and

cultural protection area. However, the

It is hoped that the wheels of the com-

tourism. This zone is a densely built area,

provisions regarding activities and reg-

munity’s economy can also spin well, for

both residential and commercial, so it is

ulations related to development, util-

the welfare of the community (Albertus

necessary to control licensing for develop-

isation, and development in the area

Napitupulu, Directorate of Cultural

ment and utilisation in this area.

have not been described in detail. The

Protection, Kemdikbudristek).

With the synchronisation of regulations between the central government and local governments, as well as the concern of the community around the cultural heritage area, it is hoped that the Dieng Temple Cultural Conservation Area can be sustainable. The preservation of the Dieng Temple Cultural Conservation Area

results of the zoning study that have been carried out by the team are ex-

A Dieng potato farmer prays before planting his rice field Dit. DPK

A discussion among the members of the temple zoning team

Dit. DPK

VOL. 11, 2021 INDONESIANA 37

GALERI FOTO

38 INDONESIANA INDONESIANA VOL. VOL. 11, 11, 2021 2021 38

Restoration Continues in the

prambanan temple area

Prambanan Temple continues to improve -

Yudhi Wisnu

VOL. 11, 11, 2021 2021 INDONESIANA INDONESIANA 39 39 VOL.

t was a hot early April 2021 afternoon

“After the foundation parts matched,

Vishnu Temple, 4. Nandi Temple, 5. Garu-

at Loro Jonggrang Prambanan Temple.

then we started to try to arrange the

da and Angsa Temple, 6. Apit Temple (2

However, we were still excited to

body parts of the temple. If the old stone

buildings), 7. Kelir Temple (4 buildings), 8.

visit the temple complex located in

needed has not been obtained, it can be

Angle Temple (4 buildings).

Karangasem Hamlet, Bokoharjo Village,

replaced with other stones, as long as it is

Prambanan District, Sleman, Yogyakarta

plain white. The officer will mark the new

Special Region. The Corona pandemic has

one with a lead,” continued Edi. Due to

indeed curbed the desire of many people

the Corona pandemic, physical activities

to travel, but once in a while, it is okay

were cancelled in 2020 and started again

to refresh the mind. During the Covid-19

in 2021. The first yard fence was restored

pandemic, tourist destinations were

after Lebaran, after that the works contin-

closed, but recently they have started to

ue to the entrance to the south side.

reopen with restrictions, for example, visitors are not allowed to enter temple booths because these visitors could then be bumping into each other.

to Candi Ijo, the highest temple in DIY, located in Sambirejo Village, Prambanan, Sleman. Arriving at the temple whose landscape is terraced and surrounded by cliffs, we immediately climbed the stairs to the main temple on the top terrace. We were greeted by Polsus Didik Windar-

Lons, in 1733, this temple has been

to and technicians Margono and Sularto,

designated a World Cultural Heritage by

who that day were in charge of guarding

the UNESCO World Heritage Committee

Ijo Temple.

Number C.642 in 1991 under the name

yard of the second temple. “We are doing

Prambanan Temple Compounds. The

a trial arrangement, by grouping it per

Prambanan Temple Complex, also known

building. This work is part of the resto-

as the Loro Jonggrang Temple, is divided

ration of the temple,” said Prasetyo Edi, a

into three concentric (central) courtyards,

staff member of the Yogyakarta Cultural

connected by gates located on all four

Heritage Preservation Center, when we

sides.

In the temple complex, which was first discovered by H.E. Dorrepaal in 188, there are 17 structures located on 11 terraces. The main temple on the top terrace measures 1843x1843 centimetres and is 1600 centimetres high. Inside the main temple, there is a chamber con-

The outer courtyard of Prambanan Tem-

taining the Linga-Yoni which symbolises

If someone asks, “How long will it take to

ple is surrounded by a fence measuring

Lord Shiva who is united with Goddess

restore the temple?”. The answer would

390x390 metres. The middle yard is sur-

Parvati. In front of the main temple, three

be that restoration is a long-term job.

rounded by a fence measuring 220x220

perwara temples are facing east.

Therefore, the restoration programme

metres. On the second page, there are

must be scheduled and budgeted every

224 perwara temples which are arranged

year, for the sake of cultural conservation

into four rows that get deeper and high-

as well. “For the restoration of the tem-

er. The first row has 68 pieces, the second

ple, first a technical study must be done

row has 60 pieces, the third row has 52

which normally take five months. Then

pieces, and the fourth row has 44 pieces.

the experiments are grouped per building. Trial rearrangement is done in layers. First the foundation, then monument one, monument two, roof one, roof two,” explained Edi.

Jonggrang, we continued our journey

First discovered by a Dutch citizen, C.A.

Several workers looked busy in the court-

met him around Loro Jonggrang.

After circling several temples in Loro

40 INDONESIANA VOL. 11, 2021

The sun is getting lower towards the west, although the heat has not gone away. Enough of the temple tour this time. No need to look at everything closely. Sometimes something needs to be looked at from a distance so that we can

Inside the central courtyard, which is sur-

perceive beauty and mystery differently

rounded by a fence measuring 110x110

(Susi Ivvaty and Jessica Nadya).

metres, there are 16 temple buildings spread over eight plots: 1. Shiva Temple as the main temple, 2. Brahma Temple, 3.

A gold-coloured afternoon at Candi Ijo - Dhimas Satriaa https://www.shutterstock.com/g/Dhimasadi

The restoration works continue in 2021 after being put to a stop temporarily in 2020 Yudhi Wisnu

It’s a continuous process Yudhi Wisnu

Ijo Temple is the highest ancient structure in Yogyakarta Susi Ivvaty

The restoration works don’t stop Yudhi Wisnu

VOL. 11, 2021 INDONESIANA 41

BUDAYA DALAM DATA

Peraturan Pemerintah Nomor 66 Tahun 2015 Museum adalah lembaga yang berfungsi melindungi, mengembangkan, memanfaatkan koleksi, dan mengomunikasikannya kepada masyarakat. Koleksi Museum yang selanjutnya disebut Koleksi adalah Benda Cagar Budaya, Bangunan Cagar Budaya, dan/atau Struktur Cagar Budaya dan/atau Bukan Cagar Budaya yang merupakan bukti material hasil budaya dan/atau material alam dan lingkungannya yang mempunyai nilai penting bagi sejarah, ilmu pengetahuan, pendidikan, agama, kebudayaan, teknologi, dan/atau pariwisata. Pemilik Museum adalah pemerintah, pemerintah daerah, setiap orang atau masyarakat hukum adat yang mendirikan museum.

42 INDONESIANA VOL. 11, 2021

SEKILAS MUSEUM

439

Museum di Indonesia

Kementerian Lembaga

TNI

POLRI

Pemerintah Provinsi

57 18 27 2 57

Pemerintah Kabupaten

Pemerintah Kota

Setiap orang

36 147

VOL. 11, 2021 INDONESIANA 43

ADAT ISTIADAT

Horja Siluluton

Batak Angkola’s Death Ceremony

W I

The boy who wears the happu or the crown of the King of Batak Angkola is the first grandson of the deceased for whom the horja siluluton is held. The Batak Angkola proverb says, habang halihi tinggal tungko or when the eagle has flown, only the pole is left - Yudhi Wisnu.

hen a member of the

Tapanuli region has been around since

Sibualbuali mountain valley still adhered

Batak Angkola indigenous

Ompu Palti Raja Siregar, King of Angkola

to the Ha-sipelebeguon (animism) belief.

community dies, they recite,

– Sipirok. The ritual was passed on to his

“habang halihi, stay tukko” (the eagle

descendants who then spread to Parau

flies, only the pole left). The ritual of the

Sorat, Baringin and Sipirok Godang. At

death of the people living in the Southern

the time, the people who inhabited the

44 INDONESIANA VOL. 11, 2021

The Batak Angkola community, who was then predominantly Muslim, changed the traditional ceremony known as the

gaja lumpat to a horja siluluton (feast of misfortune) which is held when someone dies. The Batak Angkola people believe that when a person dies, their worldly task is finished. The word siluluton means mourning. Thus, horja siluluton means activities related to misfortune, such as death, building graves, moving graves. The focus

Before the corpse is brought to the cemetery, a “manariakkon” event is held, which is like an obituary reading of the history and virtues of the deceased. Manariakkon “habang halihi stay tukko” - Yudhi Wisnu;

of the discussion for this piece is limited to the funeral ceremony. Traditionally, when there is death in the community, the Batak Angkola people carry out the following rituals: sounding tawak-tawak, ogung and tabuh (percussion) to inform the huta or luat residents that a relative has died. The family of the deceased then slaughters a buffalo (nabontar/longa tinuktung). It should be noted that the slaughter of a buffalo can only be carried out if the person who dies has been celebrated according to the proper adat way during their marriage. The implementation of the siluluton custom will never be separated from the dalihan natolu kinship system. The slaughter of nabontar (buffalo) is not only

A group of soldiers escort the deceased’s first grandson to the funeral. After the funeral, the grandson will immediately be given the same king’s name as his late oppung - Yudhi Wisnu.

a symbol that the deceased has entered the highest life goal, hasangapon, but

the host and their relatives are obliged

also a sign of sadness. The buffalo’s tulan

to invite the kings by means of sembah

riccan (thigh meat), which is specially

sirih (prayer involving betel nut) and

slaughtered in honour of the deceased,

berita sirih that informs that a traditional

will be handed over according to the

assembly will be held led by King Panusu-

custom by the kahanggi (descendant rel-

nan Bulung. At the customary court,

atives) and anak boru (wife taker) of the

King Panusunan Bulung will question

person who dies to the mora (wife-giver).

the intention and purpose of the family

The handover of the riccan tulan is a

inviting the king and asking why there are

substitute for the word that their anak

hombung and roto around the mourning

boru (who takes a wife from their family

house. The king also asks about the adat

side) has died and their daughter or sister

title of the deceased so that later it can

is now a widow.

be passed on to the first grandson of

This ritual begins with a family deliberation called tahi ni suhut na dialap tahi ni kahanggi ditungkoli anak boru dohot di tuai morana. After the first deliberation,

the deceased. The main requirement for carrying out this ritual is a buffalo which will be slaughtered and served to the king and his people.

Vehicle to the Upper Realm The implementation of the siluluton traditional ritual is carried out as strictly as possible. In the horja siluluton ritual in the Batak Angkola community is the presence of hombung and roto. The respect given to someone who dies in a traditional atmosphere of sayur matua bulung is when the corpse is placed on a roto (roppan) which is a kind of table with four pillars as high as 0.50 cm. Hombung is a coffin that covers a corpse made of wood with angkola carvings and decorated with ulos angkola, and wrapped in red, white and black cloth. While roto is a coffin made of bamboo. Hombung is not just a mere cover but also

VOL. 11, 2021 INDONESIANA 45

Relatives of the deceased carry the corpse in a hombung (coffin) which is equipped with a roto (complete cover). Each roto follows a type of hombung that corresponds to the social standing of the deceased - Yudhi Wisnu.

a distinctive marker. Hombung and roto

Roto at the highest level is the roto gaja

Other requirements for this ritual also

have 3 kinds of levels:

lumpat given to people from families

include a sword and spear to guard the

who have slaughtered seven buffalo

king, tuku or happu worn by the king’s

sfor seven successive generations from

grandson, a haronduk (betel container)

their ancestors, were elderly, all of their

covered with yellow cloth for betel leaves,

2. Roto payung is in the same package

children have completed adat (married),

a red and white flag erected right in front

with hombung rapotan,

who often participated in traditional

of the funeral home page which symbo-

ceremonies either big or small inside the

lises Indonesian citizenship, a traditional

village or outside the village, and those

flag of which pole is made of bamboo

with their funeral pavilion prepared.

that is not cut off so that the indentation

1. Roto gobak is in the same package with hombung manusun/hombung manolon,

3. Roto gaja lumpat is in the same package with hombung rapotan The use of the roto is adjusted to the last status of the person who dies. Roto gobak or blanket coffins are given to ordinary people who at the end of their lives have offspring who can afford to slaughter a buffalo for their parents’ misfortune ceremony. Roto payung is given to people who come from the descendants of the kings of huta or luat who lead the village or sub-district where they live.

46 INDONESIANA VOL. 11, 2021

Like other rituals, the requirements for the horja siluluton also follow the surat tumbaga holing upacara namely buffalo and pauing rarangan duka – a yellow tradi-

of the bamboo can face the funeral home which symbolises mourning, ulos sadum Angkola or abit godang, doal (small gong), small change coins, and yellow rice.

tional umbrella put right in front of the

Before the body is sent to the cemetery

funeral home and when the body is sent

there is still an event called a manar-

to the cemetery, the umbrella is used by

iakkon (speech) for the family of the

the grandson of the king of the deceased.

deceased to hold. On that occasion, an honest reading of jujur ngolu (eulogy) by members of the dalihan natolu, local

government, religious leaders, kings, and

that have not been paid during his life-

This ritual is indeed an embodiment

closed with a speech by King Panusunan

time. King Panusunan Bulung’s speech

of the highest level of cultural value,

Bulung.

is closed by shouting the word “Horas!”

hasangapon or good luck. Horja siluluton

three times accompanied by hitting the

is held to celebrate the last life cycle

doal (small gongs) as much as possible in

(death) of the Batak Angkola people.

an odd count. The corpse is then handed

(Andian Siregar Siagian, Youth observer

over to religious leaders for burial.

of Batak Angkola Customs and Culture)

In his speech, King Panusunan Bulung (king of the local traditional territory) will explain the meaning of each of the equipment used during the rituals as well as awarding the deceased’s title to their

The traditional ceremony is resumed

oldest grandson. Next, King Panusunan

after the group that carries the corpse

Bulung orders the corpse lifters to come

returns from the graveyard. The next rit-

forward and backwards seven times. It is

ual is the ceremony where the deceased’s

a symbol that all disputes and hurtful ac-

eldest grandson is given their grandpar-

tions that have not been resolved during

ent’s title. This ceremony is led by King

the deceased’s life can be ended.

Panusunan Bulung, accompanied by King

Simultaneously, the anak boru or the party taking the wife from the deceased will spread small change coins that have been mixed with yellow rice as a symbol

Pangondian and other kings. This title giving ceremony marks the end of the traditional ceremony and the title is declared valid for as long as it is customary.

of replacing the debts of the deceased

The local community participates in preparing the hombung or coffin that will carry the body of the deceased to his grave - Yudhi Wisnu.

VOL. 11, 2021 INDONESIANA 47

TRADISI LISAN

Talaud’s panoramic scenery – Obet Semuel.

I I

48 INDONESIANA VOL. 11, 2021 48 INDONESIANA VOL. 11, 2021

w a a k k a S

gardening and gratitude in Talaud I I

VOL. 11, 2021 INDONESIANA 49 VOL. 11, 2021 INDONESIANA 49

he Talaud community is a group

of people who have historically and culturally inhabited a group of

islands on the lips of the Pacific known as the islands in the Talaud Archipelago Regency, as the outermost island above North Sulawesi which is the home of the Republic of Indonesia, directly adjacent to the neighbouring country of the Philippines. They have been present since about 4000 BC. Talaud in the local language is “taloda” which comes from two words: the word “talo” was the name of a person who came from Talaud, and the word “oda” was the name of his wife who came from the island of Mindanao, Philippines. The two words were combined as “taloda” and became the name of their offspring. The story also goes that the name “Talaud” came from the root word “melaude” which means far to the sea – the prefix “ta” means no, so Talaud means not far from the sea. Talaud can also come from the root word “tau” plus “led (laude)”, tau means people, led (laude) means ocean, so talaude means ocean people or samuderawan. Talaud is often also called Porodisa. The word “porodisa” comes from the Portuguese “paradise” which means heaven, it is said that when the Portuguese came to Talaud, they were enchanted by the beauty of Talaud, but because the local

Customs Suitable for Planting

traditional ceremonies as the culmination

people could not pronounce it well they

The Talaud community’s adherence to

of a series of farming work activities after

said porodisa. There is also a theory that

customs and traditional leaders or other

the traditional ceremonies of malintukku

porodisa comes from the Talaud language

community leaders is still very strong.

halele, malintukku wualanna, manimbul-

itself, namely from the word porrossa and

They believe that a violation of adat will

lah sasuanna, and mallano sasuanna.

dissa. The word “porrossa” means to cut,

have consequences that will be borne

Sawakka is an expression of gratitude

behead, while the word “dissa” means

by them and can bring disaster in the

made by those who have worked hard,

attack so that porodisa is a word that was

form of illness, death, natural disaster, or

experienced God’s help during their work,

spoken loudly and loudly to encourage

failure in economic income.

received the results of their hard work

the Talaud people to move forward to attack the Portuguese who wanted to colonise Talaud.

Sawakka is an oral tradition of the Talaud community which is told from generation to generation by traditional leaders called Ratumbanua or inangu Wanua or Timaddu

Ruangna. Oral traditions are spoken in

50 INDONESIANA VOL. 11, 2021

and in the end realized that it was all thanks to God.

Magrove forest in Talaud- shutterstock_1949604586 – Tevi Images - https://www.shutterstock.com/g/ Tevi+Images

for planting. The next stage is the community will plant the land with the seeds that have been prepared in advance. This traditional ceremony implies a request to the Almighty so that the seeds to be planted can grow well and ultimately produce an abundant harvest and provide prosperity.

Manimbullah Sasuanna Traditional Ceremony The traditional ceremony of manimbullah sasuanna or fumigating / healthy plants is a traditional ceremony carried out in the process of maintaining plants so that plants can thrive and give abundant results. This ceremony is usually carried out sometime after the plants have started to grow, where people will burn something around the plants with the intention and belief that the smoke has a fertility impact on the plants that have been planted and begin to grow.

Mallano Sasuanna Traditional Ceremony The traditional ceremony of The whole series of farming rituals is

The machete is a symbol of land

divided into stages, each of which is

clearing activities, so it needs to

marked by a traditional ceremony.

be said and prayed to be blessed

Malintukku Halele Traditional Ceremony The traditional ceremony of malintukku halele or lowering a

by God and to avoid accidents while working.

Malintukku Wualan Traditional Ceremony

machete is a traditional cere-

The traditional ceremony of

mony that is usually done when

malintukku wualan or lowering

the community is about to start

of seeds is a follow-up activity

clearing and preparing land for

after the community has finished

planting. It can be done alone but

clearing and preparing the land

malanno sasuanna or asking for prayers so that plants are protected from disease is a traditional ceremony carried out during the maintenance process and waiting for the harvest to arrive. Diseases can attack plants that have started to grow so that through this traditional ceremony, people ask for God’s protection so that the plants they have planted get protection and produce abundant harvests.

usually done in groups (ma’ariu).

VOL. 11, 2021 INDONESIANA 51

Celebrating Sawakka - Clartje Awulle.

Grateful Through Sawakka After all the farming rituals are over, the sawakka or thanksgiving ceremony for the harvest is started as a thanksgiving to God over the result of the harvest. In this ritual, Ratumbanua as the traditional leader conveys a prayer of gratitude as an expression of deep gratitude because God has answered prayers ranging from land clearing, planting seeds, maintenance and harvesting and God has protected the farming community while

The sawakka traditional ceremony is fol-

banua as the traditional leader will

lowed by the entire community as an ex-

perform the ritual of cutting the ba’aa

pression of gratitude for the entire com-

and continue with enjoying the food

munity to God for bestowing blessings

that has been brought down from their

in abundance so that the atmosphere

respective homes to be eaten together.

that appears is an atmosphere of joy,

Complementing the joy, the traditional

brotherhood, and peace. This is shown by

ceremony is usually performed with a

the whole community bringing food from

series of dances that tell the story of

their respective homes (saruwenten) and

opening fields, planting rice, cultivating,

gathering in a losoh (large tent) which was

and reaping the results as an expression

erected together in the field and ready to

of gratitude.

participate in traditional ceremonies.

Talaud folk songs as a cultural identity

working through health, strength, and

In this traditional ceremony, a ba’aa is

are also sung to complete the joy in the

ability. Usually, religious leaders, in this

placed, namely a large diamond woven

thanksgiving ceremony. Some of Talaud’s

case, pastors, pastors or elders, are also

in the form of an asiare bird (eagle), as

popular folk songs are songs of praise to

allowed to offer a prayer of thanks to

a symbol of prosperity that has been

the region, including Lembungu Rintulu,

God.

received through the harvest. Ratum-

Porodisa I’lellare’, Su’ Bowon’ Manu Darua,

52 INDONESIANA VOL. 11, 2021

Tuta Mandassa, Eh Apa Lodda Sia, Passaran’nu Indonesia, Oh Taloda Inariadi, and Tahaloang Tomdolana. The songs describe the praise and worship of the land of birth and the love of the Talaud people for the land of Talaud. These songs tell that when they leave, the land of Talaud will always be remembered and not forgotten. This illustrates that external influences do not shake Talaud’s identity, but instead encourage the preservation of local culture. This is a manifestation of cultural resilience that must be nurtured and preserved to promote the advancement of Indonesian culture (Clartje S.E. Awulle, Donna Sampaleng, Mayske Rinny Liando: Lecturer from Minahasa) Talaud people harmoniously celebrate Christmas and Sawakka together Clartje Awulle;

Sawakka celebration in Talaud – Clartje Awulle

VOL. 11, 2021 INDONESIANA 53

WASTRA

Gringsing Weaving Balance

54 INDONESIANA VOL. 11, 2021

hen you hear the word Bali, what comes to mind is a beautiful natural panorama and a strong sense of traditions. Balinese people still bind themselves to their traditions, including their traditional cloth tradition. It

is not surprising that in some places woven fabrics with distinctive motifs inspired by nature exist. The process of making this woven cloth is tied to tradition. Gringsing cloth from Tenganan Pegringsingan is one of them.

For the people of Tenganan Pegringsin-

is not only believed by the people of

gan, weaving is not just about producing

Tenganan Pegringsingan but also in other

a piece of cloth to cover the body or

areas in Bali. Therefore, the Balinese peo-

for fashion needs. Gringsing cloth has a

ple require the presence of gringsing cloth

special function in the religious tradition

as a repellent against danger.

of the Pegringsingan community. This woven cloth is present in most religious ceremonies. On some of them, Gringsing cloth is even the main requirement in the ceremony.

ceremony of tolak bala and pleading for protection for the middle child of a family whose older and younger siblings (first and third children) have passed away. It

contain the meaning of balance but also

is said that Gringsing weaving was created

the colours in the weaving itself. The

when Lord Indra was admiring the beauty

colours black, red, and white or yellow-

of the sky at night. Lord Indra, then,

ish on the Gringsing cloth symbolise the

showed the beauty of the stars in the sky

elements of water, fire, and air. The three

to Wong Paneges. That was what inspired

colours must be balanced so that nature

the birth of various kinds of Gringsing

and the body avoid pain.

weaving motifs.

According to the saga, the people of

Another version believes that the

Tenganan Pegringsingan are descendants

Gringsing weaving skill was obtained from

of Wong Paneges who came from the

Dadong Bungkuk, the Gringsing weaver

territory of the Beuntung Kingdom. Wong

on the Moon. Dadong Bungkuk’s exper-

Paneges taught the importance of main-

tise was imitated by the Grinsing com-

taining balance to their descendants. This

munity so that this meaningful weaving

is so that life can continue. The principle

tradition was born.

dara (plus sign) motif as a symbol in people’s lives. This symbol is also depicted

Photo: Tenganan youth wearing gringsing weaving while performing the Abwang Lemah dance. (Ni Wayan Widayanti Arioka)

sanan empeg motif, which is used in the

Not only do the motifs in the weaving

of balance is symbolised by the tapak

Description: an example of gringsing weaving being used in a ritual in Tenganan Pegringsingan.

For example, the Gringsing cloth with the

Weaving for Tradition Sustainability

in the lubeng motif, the basic motif of

For the people of Tenganan Pagrings-

Gringsing weaving.

ingan, weaving is a process of rigorous

The name Gringsing itself comes from the word gering which means sick and sing which means not. So, gringsing means not getting sick or avoiding getting sick. Therefore, gringsing is also believed to have magical powers as a repellent against bad things or bad luck. This belief

spiritual practise and taste. Gringsing is a double ikat weaving, namely the vertical dihi thread (the width of the fabric) and the horizontal pakan thread (the long section of the fabric). This double ikat has a motif that is produced through a special binding and colouring process. For

VOL. 11, 2021 INDONESIANA 55

Description: Pekak Raji’s daily task is processing cotton into yarn.

Photo: Pekak Raji. (Ni Wayan Widayanti Arioka)

information, the double tie is a symbol of

cess of spinning yarn is a process full of

is the process of dyeing the fabric blue.

rwabhineda which means that everything

patience and thoroughness. Oftentimes,

This process should not be carried out in

is always in pairs and complements each

the spun cotton breaks halfway and

the Tenganan Pegringsingan area. The

other.

needs to be reconnected to keep it going.

ngames process is carried out by the com-

Gringsing weaving is the result of a long

However, Gringsing cloth is a sacred cloth

process. Starting from spinning cotton

for the people of Tenganan Pegringsin-

Furthermore, the process of soaking the

into yarn, preparing yarn for dihi and

gan. Gringsing is treated with great care,

yarn for dyeing, both the first soaking

pakan, tying yarn to form motifs, dyeing

even from the time it is still a thread.

and subsequent soaking, should not be

yarn, to marrying dihi and pakan yarns to

The brushing process is the process of

carried out during the kajeng (third day

become a piece of cloth. At least, there

ensuring that all threads are separat-

in tri wara, three-day cycle of time in the

are eighteen steps that must be done to

ed before the weaving process begins.

Balinese lunar calendar).

produce a piece of Gringsing cloth. This

This process is like combing hair. Yarn

long and time-consuming series of pro-

is considered like hair that needs to be

cesses is a representation of self-control

combed carefully so as not to break. The

and patience as a spiritual practice.

brushing motion is the same as combing

One thing that is unique to the Tenganan

hair, from top to bottom, and is repeated

Pegringsingan community is that they ex-

many times until the threads are dry and

pect marriages to take place among their

nothing sticks to each other.

own community. Of course, the typical

The weaving process is Mebed or separating the cotton fibre from the seeds, nyetet or splitting and cleaning the cotton, ngu-

lung or rolling the cotton on a bamboo

This shows that the weaving tradition

stalk, to ngantih or spinning the thread

in Tenganan Pegringsingan is bound by

using a jantra or a cylindrical wooden

various rules that must be obeyed. Other

wheel that is rotated by hand. The pro-

rules include the ngames process, which

56 INDONESIANA VOL. 11, 2021

munity in Bugbug Village, Karangasem.

Integrated Into Religious Traditions

Tenganan Pegringsingan cloth is the cloth used as the main dress for traditional weddings. However, the tradition does not stop at just wearing Gringsing cloth

during the wedding ceremony, but it also

cut) and have never been worn as cloth-

someone who will continue this rare, yarn

involves other rituals. For example, the

ing. Currently, Gringsing cloth is also used

spinning skill.

best dowry is not in the form of money

to cover the corpse in death ceremonies.

or other expensive objects, but a grinsing

But this is not a must.

thread that symbolises the connection between the two families.

In the end, Gringsing is not just a piece of cloth with interesting and ethnically

The bride in Tenganan Pegringsingan

unique motifs but is a patient process

is obliged to ngantih (spun yarn) at the

to achieve a balance in life. Attachment

house of a family outside the village of

to Gringsing weaving is attachment to

Tenganan Pegringsingan. This ritual con-

religious rituals and attachment to the

tains the message that after marriage she

continuation of tradition. The revitalisa-

must be ready to become a mother who

tion effort is expected to be able to make

weaves her children’s clothes herself.

Gringsing cloth sustainable amid the

Still related to the wedding ceremony, in mebanten kaja, a husband and wife who

Ni Wayan Widayanti Arioka, BPNB Bali

onslaught of mass textile production and the use of synthetic dyes.

have just been married for the past year

Pekak Raji, the only yarn spinner in

must introduce themselves as husband

Tenganan Pegringsingan, just passed

and wife to Ida Bhatara Sanghyang. They

away at the end of 2020. His departure

must prepare additional offerings in the

certainly affects the continuity of the yarn

form of a pair of red and black Gringsing

spinning tradition in Tenganan Pagrings-

cloth. The Gringsing brought by this cou-

ingan. However, the people of Tenganan

ple is a holy Gringsing whose sheets are

Pegringsingan believe that there will be

still continuous (the edges have not been

Description: Weaving process in Tenganan Pegringsingan.

Photo: The process of weaving. (Ni Wayan Widayanti Arioka)

VOL. 11, 2021 INDONESIANA 57

JALUR REMPAH Photo: Gorontalo before 1880, Woodbury & Page (Batavia), KITLV 26755.

Spice Trading Network in Tomini Bay

omini Bay is not very popular with millennials or Indonesians in general. We are more familiar

with Manado, Gorontalo, Makassar, Sulawesi, and other land-oriented areas. Tomini Bay is not well known not because of its position, which is quite far from the centre of Indonesia, but because, for some reasons, historians are not that interested in telling the stories of Tomini Bay when, in fact, Tomini Bay is one of the largest bays in the world and was an important part of the spice trade network.

58 INDONESIANA VOL. 11, 2021

Tomini Bay is a marine area that connects

Shipping and trade in Tomini Bay have

the provinces of North Sulawesi, Goron-

a different character from the shipping

talo, and Central Sulawesi. This area acts

and trade of the other parts of the

as the “launchpad” for commodity trade

archipelago. The differences in character

trajectories in the three regions. Tomini

are caused by geographical factors and

Bay has 56 islands spread over an area

various commodities, including turtle

of about 59,500 km2, with a coastline of

shells, resin, rattan, salt, gold, and various

about 1,179 km2. With a fairly large area,

land products including spices. Geo-

Tomini Bay holds quite a lot of historical

graphical factors and the wealth of these

complexity, especially regarding shipping

commodities have invited many traders

and trade.

from various places; even Chinese traders often visit Tomini Bay.

The hectic activity in Tomini Bay made this region an important destination in the shipping and trade network of the archipelago. The network was known as the spice trade network and the Gulf of Tomini was in the spice trade network itself. The bay is bound in a network that extends from Malacca to Maluku. The attachment of Tomini Bay to the archipelago’s shipping network is very

Photo : Engels telegraafkabelschip Faraday in de Golf van Tomini (British Telegraph Cable Ship, Faraday, in Tomini Bay, 1913, Oud albumnr 3/113. Album afkomstig van C.H. de Goeje, destijds inspecteur van scheepvaart te Batavia. KITLV 94557.

possible because the Tomini Bay area is not only a producer of trading commodities but was also a supporter of commodity flows in the spice trading network. The support provided by Tomini Bay also covered many various in-demand commodities other than spices. For example, gold and precious metals. These commodities were brought to Maluku and used for the manufacture of weapons and tools to support the spice trade. Turtle shells are a rare commodity that was in great demand by the Chinese because they can make various kinds of merchandise with them.

Spices and Tomini Bay Anthony Reid in Southeast Asia in the Commerce Period of 1450-1680: Southeast

Photo : Fishermen on Tomini Bay Beach (Vissers in de Baai van Tomini), Circa 1920, KITLV 34579.

Asia Global Trade Network (2011) said that basically, spices were commodities that were in great demand by traders, especially Europeans and Chinese. Based on the records of Ghau Ju-Kua, pepper had become a commodity originating from Java in the 12th century. In addition, the Chola Kingdom which expanded its territory to Java and Bali aimed to control the spice trade centre in the 10th and 11th centuries, as written by Djoko Marihandono and B Kanumoyoso, in Spices, Spice Routes, and the Dynamics of the Archipelago Society (2016). Europeans finally arrived in the archipelago in the 16th century, then the Portuguese conquered Malacca in July 1511, followed by

Photo : Tomini steamship in Tomini Bay (Stoomschip Tomini in de bocht van de Golf van Tomini), circa 1900, KITLV 4574.

VOL. 11, 2021 INDONESIANA 59

Gorontalo Bay (Baai van Gorontalo), circa 1927, KITLV 171162.

Antonio d’Abreau’s expedition to Maluku

various commodities that were quite sale-

in November 1511 (LY Andaya, The World

able in the international market. That was

of Maluku: Eastern Indonesia in the Early

the plus point. One commodity that was

Modern Period, 1993).

quite popular in the 19th century was sea

The conquest of Maluku became very important because it became the centre of the archipelago’s spice trade at that time. Moreover, the Portuguese also had control of Malacca. Practically this condition made the Portuguese control the spice trading network. However, Portuguese dominance began to decline when the Dutch managed to reach the archipelago and on February 25, 1605, and the Portuguese were subdued. The spice trade network was finally controlled

trading commodities in the international route of the Sulu Zone, a route known as the main commodity of sea cucumbers which had been very popular with the Chinese since the 1500s because it could also be used as medicine. This was noted by H Sutherland in Trepang and Wangkang: the China Trade of Eighteenth-Century Makassar c. 1720s-1840s. Authority and Enterprise among the Peoples of South Sulawesi (2000).

Iron, which came from Banggai, was also traded in large quantities in the Moluccas. In addition to iron, there were also iron weapons such as machetes, swords, and knives. Gold was imported from other islands, as written by Anggita Pramesti, Adrian Perkasa, and A Cortesao in Tome Pires’ Suma Oriental: A Journey from the Red Sea to China and Francisco Rodrigues’ Book (2005). Tome Pires revealed in his travel notes that gold was obtained from other islands. One island he was referring to was Tomini Bay. It was because, in the 8th century, this region was said to produce quite good quality gold, especially

by the Dutch, in this case, the VOC, and

In addition, traders from China could

in Gorontalo and Moutong, referring to

spices became a commodity that was mo-

also obtain turtle shells from Tomini Bay.

J.G.F. Riedel in De Vestiging Der Mandaren

nopolised by the Dutch and their trading

This condition made Gorontalo’s position

In de Tomini-Landen. In A. B. C. Stuart (Ed.),

network.

important as a trade entry point in

Tijdschrift Indische Taal, Land- En Volken-

Tomini Bay. But spices were still the main

kunde. Bataviaasch Genootschap van Kun-

international trade commodity obtained

sten en Westenschappen (1870). The VOC

from the Moluccas.

even established a military post to guard

Tomini Bay, which was tied to the spice trading network, was also influenced by the Dutch rule of the Indonesian archipelago because Tomini Bay had great potential to become a shipping and trading area with the production of

cucumbers. Tomini Bay was a supplier of

Closed Trading Network

60 INDONESIANA VOL. 11, 2021

this area and was continued by the Dutch East Indies government by establishing several regional security posts.

the four regions that supported Tomini

bly played an important role in the sus-

Harbor in the 19th century.

tainability of the archipelago’s spice trade

The three regions finally had their own roles and characters to support shipping

network (Abd. Karim, Makassar Religious Research and Development Center)

and trade in Tomini Bay. Gorontalo was the entrepôt, Muotong was the gathering centre, and Parigi was the buffer point. Parigi could also be a collection centre for the surrounding area that supplied forest and marine products which were then distributed to the central port. This condition became an important point that supported the formation of shipping and trade networks. The connectivity that occurred between these regions was supported by commodities distributed from one point to another. The points in question were Gorontalo, Moutong, and Parigi. The connectivity of After Mouton (Moutong) signed a contract with the Dutch East Indies on February 24, 1832, the Netherlands no longer made contact with the area, as if it was separated from the territory of the Dutch East Indies (S Kartodirdjo in the Summary of the Political Situation of the Dutch East Indies in 1839-1848. National Archives

the Tomini Bay area as a closed shipping and trade network made commodity flows to be centralised to Gorontalo. The spice trade network ties were then connected through Gorontalo and Manado. That way, the spice network was connected to Tomini Bay which indubita-

Republic of Indonesia, 1973). The Tomini Bay large area was a huge potential for the Dutch East Indies government. Control was carried out to the neck area of Tomini Bay which consisted of the Sigentie, Kasimbar, Toriboelie and Ampibaboe areas. The aim was to control shipping routes and commodity distribution because the area was a producer of forest and gold commodities, under the Moutong administration (Besluit No. 14, Buitenzorg 27 August 1897, ANRI). The four areas are right on the east coast of Tomini Bay. Under these conditions, the position of Tomini Port became a transit port for commodities brought by seafarers to be distributed to Gorontalo. The following illustrates the position of

Parigi, Circa 1937, Reis van A.A. Cense door Midden-Celebes, KITLV 29438

VOL. 11, 2021 INDONESIANA 61

KULINER

Spice Tresure in

ow l of Coto

A bowl of happiness. shutterstock_1982143724 – Tyasindayanti - https:// www.shutterstock.com/g/ Tyas+Indayanti

t is undeniable that

longer

everyone has different

experiences and expressions

when it comes to soups. Different palate, different way of tasting. A soup that is

a strange thing

example, makes it easier for customers to like. Amid the clutches of restaurants

that each person has their own favourite

that serve a variety of regional food and

coto stall.

foreign food, supported by a magnificent or modern building, the coto stall has not

easy to find and one of the favourites for

The taste of the sauce, the meat, the

people, especially in Makassar, is coto.

price, the place, and the service, are

The taste of coto gives rise to subjectivity.

among the determinants of why people

Two or more people often argue with

like one or two or even more coto stalls.

Each coto stall has a distinctive sauce and

each other about which coto stall they like

Beside the taste, precise location also

offers different tenderness of the meat.

is the best. Despite this, coto stalls never

determines whether coto stalls can last

Some serve very thick gravy, some don’t.

lose their prestige. Young and old come

for decades. Being suitably located on

Some offer very tender meat pieces,

to visit to taste this unique food. It’s no

the edge or not far from the highway, for

some are medium, and even a bit tough.

62 INDONESIANA VOL. 11, 2021

been left out by the lovers of exotic soup dishes, even though their setup is simple.

This is related to the duration of the cook-

Coto is a form of identity - shutterstock_1695167698 - Musfirahsergi99 - https://www.shutterstock. com/g/Musfirahsergi99

ing. The fireplace for the gravy must also be maintained. Some stalls have been using firewood from the start and still survive until now because the unique aroma seems genuine. Some shop owners choose oil stoves because they are reluctant to use wood – after all the shops are normally not spacious. If the meat and offal are not cooked, and it takes tens of minutes according to the cook’s calculation, the coto will not be served, unless the visitor is willing to patiently wait. Maintaining the composition of the taste is indeed a major concern.

Stall Distribution Of course, it’s easy to find a coto shop in Makassar. The stalls that can be visited are located on Perintis Kemerdekaan Street, Urip Sumoharjo Street, Andi Pangeran Pettarani Street, Emmy Saelan Monument Street, Minasa Upa Street, Antang Raya Street, Sultan Alauddin Street, Abdullah Daeng Sirua Street, Monginsidi Street, Gagak Street, Nusantara Street, Ranggong Street, Sunu Street, Merpati Street, Tiger Street. The naming of coto stalls often refers to street names (not applicable to stalls with many branches), people’s names, or regional names. The coto’s trade potential is huge. People

menu before their activities, because coto

it towel) is the essence of coto. “I have no

will not get tired of eating it, even though

stalls are usually open since morning.

doubts in what he taught me, considering

they often cook at home too. The cheap

Some people also believe that eating coto

that he was making coto for decades.

price of a bowl of coto doesn’t guaran-

can be a solution when blood pressure is

Both as a waiter at a coto stall, which was

tee that the shop will be crowded with

low. Breakfast with coto provides positive

considered the first coto stall in this city,

visitors. Similarly, expensive coto stalls

energy to get through the day.

to being a maker and owner of a stall

are also not a guarantee for customers to

Coto Origins

stay away. Everyone’s palate is different, right? Customers know which coto stalls

Coto is different from soto. Anto (41),

are right for their taste buds.

a shop owner on Jalan Perintis Ke-

For some residents who live in the city of Makassar, coto is sometimes a breakfast

merdekaan Makassar, quoted his late father’s story, that tripe (people often call

that he then passed on to his children,” he said. Many people argue about the origin of the soupy fare, by observing its various aspects, from the selection of spices, the selection of meat, to the way of presenta-

VOL. 11, 2021 INDONESIANA 63

(widow) from jantung-daging (heart and meat). If the customer wants to order heart-meat-brain, then the acronym is janda berpikir (thinking). Similarly, janda mau mandi (a widow who wants to take a bath) means heart-meat-towel (tripe).

There is also japar or heart-lung, parto or paru to’, and daus or meat-offal. Tanpa perasaan (without feeling) means mixed but without the liver. Jahat (evil) means heart and liver, dapur (kitchen) means lung and meat, and oplosan means a mixture of meat and offal. Stall owners need to be continuously creative to keep Dansa (dance) on the menu means meat only (daging saja).shutterstock_1742453021 – Yohanes Setiyanto - https:// www.shutterstock.com/g/ yohanes_setiyanto

gaining attraction. With the rapid use of social media, stalls can use the menu acronyms as a way of promotion. Visitors are also happy to publish these cool findings on their social media accounts.

tion. There are no local sources, docu-

for the seasoning consist of peanuts, lem-

However, these acronyms are just acro-

ments, or reports from foreign nations

ongrass, coriander, cumin, candlenut, red

nyms displayed on the menu, people will

before the 20th century that say coto is a

and white onions, cinnamon, and others.

still order what is commonly spoken.

typical food or consumed by the people

However, in execution, it is never easy

of South Sulawesi. That’s because spices

to know the correct proportions of these

were an expensive product in the past.

ingredients. Some say coto sauce requires

“Coto most likely came about only in the

40 spices. However, Anto denied it. “It’s

early half of the 20th century. However,

too much and what would be included

further historical research on this culinary

among these 40 spices?” he said.

treasure has not been carried out in depth yet,” said Dr. Amrullah Amir, a history lecturer at Hasanudin University who often researches and writes about the history of the 17th century in South Sulawesi.

Makassar is that there are stalls that provide free ketupat, however much you can eat. It’s an ingenious strategy to get customers because new stalls must survive against many coto stalls that already have

A person who holds a celebration often

many years’ head start and are already

chooses to order coto from their favourite

famous. In addition to ketupat, the shop

stall and serve it as a dish at the event

owner also provides rice and buras.

because they don’t want to disappoint the guests. It is not easy to process spices to make a savoury coto sauce. It can fail if you are not an expert or someone who is used to mixing the spices. It is well known that the main ingredients of coto are meat and offal and that the ingredients

What’s interesting about coto stalls in

64 INDONESIANA VOL. 11, 2021

An interesting gimmick that is seen as a market strategy for a unique coto dish menu list, for example, is using acronyms. Dansa (dance), is short for daging saja (meat only without offal). Another acronym that can make you smile is janda

Interesting things about coto, especially the mixture of spices that produce a unique sauce, make coto still exist in the eyes of local, national, and foreign culinary connoisseurs (Alfian Dippahatang, writer from Bulukumba).

An abundance of spices. - shutterstock_1915352725 - Hanifah Kurniati - https://www.shutterstock.com/g/ Hanifah+Kurniati

VOL. 11, 2021 INDONESIANA 65

RITUAL

Thanksgiving ritual at the spring - Henry Nurcahyo

Environmental Conservation Throught Sanggring Ritual

endhak sanggring is a ritual

However, this is actually a ritual for

chicken and cooked in special ways. So

that is annually do in Tlemang

conservating the environment, folklore,

mendhak sanggring is a series of rituals

village, Ngimbang district,

and special traditional culinary that are

that are generally similar to Bersih Desa

only cooked once a year.

rituals. Tlemang people believe that

Lamongan regency, East Java. Literally, the words “mendhak” means the commemoration of the death or haul.

66 INDONESIANA VOL. 11, 2021

Sanggring, itself, is the name of a soupy dish from Lamongan which is made from

sanggring soup has efficacy that can resist disease or as tradition medicine.

A communal thanksgiving through a feast- Henry Nurcahyo

Wayang Krucil performance - Henry Nurcahyo

Accordingly, the origin of the word

a prayer at the grave of Ki Buyut Terik

Sanggring from tasting the food because it

sanggring refers to ‘sanggring wong gering’

who is believed to be the founder of the

is precisely the taste of the food that will

phrase means medicine for the sick. In

village. The whole process of cooking

be a sign of the future. If it tastes good,

addition, this ritual is also considered

sanggring can only be done by men. The

it means that their offering is accepted.

as a prayer intended for people and the

leader of the Juru Sanggring must also

On the other hand, if the food tastes too

leaders of the village to always grant the

be a descendant of the previous Juru

salty, too sweet or even unpleasant to

grace and safety by the God Almighty.

Sanggring and he must did fasting one

taste, then it’s not good news.

It is also a hope for a healthy life, fertile

day and night. The three large frying

agriculture without pests, good fortune,

pans used are also heirlooms that have

and to be kept away from badlucks and

been used for generations to cook the

disasters.

sanggring soup.

The Unique Procedure of the Sanggring Ritual

According to tradition, the number of

chicken), cooking ingredients, food for

men involved in the cooking process

selamatan (ambeng) and also human

is forty. Meanwhile, the women have

resources. The leader of the ritual must

their own duties in the kitchen such as

also be held by the village head, as the

preparing whole roasted chicken donated

legitimacy of the position and power of

by residents, preparing food for guests

the village head who also serves as the

and other matters that are not directly

adat head.

Tlemang is a village located in the limestone hills surrounded by teak forest in the district of Lamongan. Even though this village has many springs but, unfortunately, this limestone areas are

related to the mendhak sanggring ritual.

This belief in sacredness is marked by the sincerity of the villagers in giving donations in the form of money, chicken (or eggs for those who do not have

This nyanggring tradition also exists in

not ideal for rice fields and, therefore,

After being slaughtered, the chicken is

Gresik. The ritual is usually held during

only for corn plantation at its best.

plucked then boiled in hot water, and

the fasting month and enjoyed as an iftar

then the meat is shreded, then cooked

meal but Tlemang ritual lasts for four

with various spices in three large pans

consecutive days based on the Javanese

which must be done in the open air.

calendar, which is every 24 to 27 of

Essensially, the Mendhak Sanggring event is the cooking and eating together of the sanggring vegetable soup conducted by the villagers. It is preceded with doing

There is a customary law that forbids Juru

VOL. 11, 2021 INDONESIANA 67

The conclusion of the ritual takes place at the sacred cemetery Henry Nurcahyo

Jumadil Awal. In addition, there is also the

that the area around the tomb that is

afternoon a recitation of the Muslim

ritual of ndhudhug sumber or cleaning

once lush and full of shrubs in a short

prayer is held in the form of istighosah

the springs, cleaning the tombs and

time turns clean and full of lights.

prayer. This is indeed an additional event

performing wayang krucil, a traditional

Understandably, for one year no one

which according to tradition does not

puppet show, for two consecutive days.

is allowed to enter the cemetery area.

exist. It only started about ten years ago

The Sanggring Ritual

Meanwhile, at the tomb, the wrapping

to adopt the interests of the Muslim

cloth is replaced, the roof of the alang-

clergy. On the third day, the wayang krucil

On the first day, the series of events

alang leaf is also replaced, and the red

performance starts early in the morning

begins with cleaning up two sendhang

and white cloth is also covered with a

in the village head’s yard. Two goats are

(springs), sendhang wedok (female

new one.

slaughtered for a selamatan as a special

springs) and sendhang lanang (male springs). Previously, it was started by the Village Head (Kades) and village elders with a ritual of sprinkling young coconut water mixed with badheg (fermented cassava juice) and several ingredients. After that, the Modin leads a selamatan (a thanksgiving meal), with the dishes brought by each resident.

(67 years old), Ki Buyut Terik (Raden Nurlali), is said to have come from the family of the King of Mataram who left the Mataram Kingdom around 1677 because he was disappointed with the Dutch colonial intervention. Raden Nurlali then headed east, serving and studying at Sunan Giri in Gresik who gave him the

menu dedicated to Ki Buyut Terik which is then locked in a room. While the wayang krucil is still in progress, some residents led by the village head visit the grave of Ki Buyut Terik, offering prayers as a sign that the mendhak ritual is about to begin. After leaving the tomb, residents then enjoy a special dish with mutton meat in the village head’s yard.

The second day is for the ritual at the

task of spreading Islam in the Lamongan

The fourth day is the highlight of the

tomb of the village founder Ki Buyut

area.

mendhak sanggring ritual. There is

Terik. Residents clear the bushes so

According to a village elder, Mujiono

68 INDONESIANA VOL. 11, 2021

After the tomb area is cleaned, in the

another wayang krucil show with a

Preparing the grilled chicken dish Henry Nurcahyo The soupy sanggring dish is locked in a room as an offeringbefore being served to the ritual participants Henry Nurcahyo

different play where all the committee members and puppeteers are dressed in traditional clothes, which is unlike the

After the village head makes his remarks

some residents throw coins to be

previous stage where everyone wears

and the Modin deliver the players, the

grabbed by members of the crowd. This

everyday clothes.

Juru Sanggring then start serving up the

is called udhik and is an unforgettable

At the same place and time, since the

sanggring to the residents. After all the

part of this ritual. With the event ending,

vegetables soup are used up, the leader

the residents gradually leave the

of Juru Sanggring then rolls the pan as

location. (Henri Nurcahyo, Head of the

give donations for the implementation of

part of the tradition.

BrangWetan Cultural Arts Community)

this ritual. Some also donate firewood.

The tradition of mendhak sanggring is

By noon the villagers will have flocked

a means of community harmony. Even

morning, villager donates a chicken each and a packet of jangkep seasoning and

to the location. A total of 44 plates of sanggring are deliberately prepared by the committee as an offering for Ki Buyut Sanggring which have been stored in a closed room. After being prayed for, the food is then served to the guests.

residents who live outside the city do not want to miss joining in this annual ritual. They stand in a very long line in the ritual to the tomb. They bring a pack of sow flowers and give alms to express their gratitude to God Almighty and make

The performance of the wayang krucil,

offerings to Ki Buyut Terik.

which will be approaching its peak, will

The final event is the tutup gedhek

be noticed by almost no one. All of the

thanksgiving, an expression of gratitude

residents will concentrate on waiting for

because the ceremony has run smoothly.

the distribution of sanggring.

Meanwhile, in the middle of the crowd,

VOL. 11, 2021 INDONESIANA 69

SENI PERTUNJUKAN

A Serampang Duabelas dancer sporting a variation of the full dance costume – Sony Herdiana.

70 70 INDONESIANA INDONESIANAVOL. VOL.11, 11,2021 2021

Serampang Duabelas.. T

Your History Before, Your Story Now

he period of activity restriction due to the COVID-19 pandemic, which although hampered researchers in collecting data, turned out to bring new ideas about the Serampang Duabelas dance. It’s a social dance that was created around 1959 to have its own meaning.

The meaning of Serampang Duabelas

Dance, Malay dances at the time only

The Serampang Duabelas dance was

must inevitably be linked to the cultural

used jumping footwork and agility of

designed to fend off the social entertain-

policy of Bung Karno, the first president

hand movements, prioritising eye glances

ment of dances that were becoming pop-

of the Republic of Indonesia, which en-

to the rhythm of songs such as Lagu Dua.

ular. This dance finally became suited to

couraged the development of traditional

The Serampang Duabelas dance consists

the era. It became a strong entertainment

dance into a national social dance. This

of twelve different Malay rhythms/songs

attraction for young people and students,

policy was taken as cultural resistance to

such as senandung, mak inang, or rhythms

including the elderly.

the invasion of western music with Bill

influenced by Portuguese rhythms

Hayley’s rock and roll dance fever that

such as Lagu Dua, Pulau Sari, and Arabic

entered Indonesia through the popular-

influences like Zapin, Barodah, as well as

isation of his films. Rock and roll music

Karo influences such as Patam Patam and

The dynamics of these various rhythms

and dance were considered obscene and

Gubang.

with the agility of skilful footwork filled

not in accordance with the personality of the Indonesian people.

The twelve (duabelas) kinds of rhythms in the dance convey the love story of the

Popular Entertainment As Well As Tradition

many popular entertainment shows in the ’60s with various variations by Malay entertainment groups, and perhaps it

Serampang Duabelas was created by Sau-

two lovebirds from meeting up, getting

ti Daulay, a schoolteacher from Perbaun-

to know each other, harbouring feelings,

gan, Medan, in 1938 before World War

intoxication, love signs, responding to

II. Sauti felt the need to create a more

signals, guessing, still not believing, an-

regular dance based on Malay dance

swers, proposals, escorting the bride and

movements, as found in North Sumatra

groom side by side and, finally, intimate

among rural folk communities as well as

love encounters with handkerchiefs. The

Malay-Minang celebrities such as Elly

in the Malay palace environment, such as

Serampang Duabelas dance as a paired

Kasim, Nuskan Syarief, and Yuni Amir

the Serdang Palace. At that time, dances

dance has the complexity of agile and dy-

became popular thanks to the undeni-

that still functioned as social rituals were

namic footwork, it can be a social dance

able groove of the Serampang Duabelas

maintained as an effort to elevate Malay

that acts as an entertainment or a pop

dance. Choreographers such as Syaugi

culture and an effort to gather inter-com-

singer’s dance, or it can be improved into

Bustami, Yuni Amir, Nurdjajadi, who were

munity associations. Sauti then worked

a performing art.

famous for their singing fan dances, also

on her new choreography using the love story of young people as a theme and made it a kind of wedding dance.

The entry of pop culture from the west through radio and films was considered to have an influence that was not in ac-

According to Tengku Lukman Sinar, a

cordance with the Proklamasi ideology in

Malay cultural observer and author of

1959 and is not in line with the promo-

Introduction to Ethnomusicology and Malay

tion of national personality at the time.

could be considered as a prologue to the “boom” of music and dangdut dances in the future. The variety was liked by young audiences because it was dynamic, lively, and exciting.

became celebrities thanks to the development of Serampang Duabelas through popular media and films. Likewise, Nani Widjaja, a film celebrity, was originally a Serampang Duabelas star as well as Yuni Amir and Nizmah.

VOL. 11, 2021 INDONESIANA 71

The 3rd Serampang 12 National Contest Medan April 21 - 28 th, 1963 - Perpusnas RI

The popularity of this dance then expand-

al Goodwill Missions abroad. This cultural

The climax was a Malay Dance Workshop

ed to Singapore and Malaysia thanks to

mission influenced the development of

at the Jakarta Arts Council Art Festival

the cool hands of Tengku Yohanit, a danc-

Malay culture in neighbouring countries,

at Taman Ismail Marzuki in 1976. The

er from Medan, and Suryanti Liu Cun Wai

especially Singapore and all over the

discussion was expected to be an encour-

(Acun). Suryanti Liu Cun Wai, who was

Malay Peninsula.

agement for the creativity of other Malay

the defending champion of the Serampang Duabelas Festival competition, later became the maestro of the development of this dance in Singapore and Malaysia. Now Suryanti is the promoter of Indonesian dance in Hong Kong with The Southeast Asia Dance Troupe.

Anyone who could dance and experience it at that time knew that the Serampang Duabelas dance was like the viral Covid fever that infected young people. However, the development of this dance was briefly halted in 1965, but thankfully, Serampang Duabelas rose again as tra-

In the 1960s, along with other Indonesian

ditional dance and was widely discussed

dances, the Serampang Duabelas dance

everywhere.

participated in various Indonesian Cultur-

dance artists to catch up with this highly popular national social dance and at the same time respond to the fast-paced changing times. DKJ hoped that Malay dance would grow and become a factor in generating national culture. Furthermore, in the ’80s, Tom Ibnur came and gave rise to other alternatives in the development of Malay dance through Zapin which is a variation of Serampang Duabelas. Now, in 2021, suddenly an idea emerged to hold a Zapin Award.

72 INDONESIANA VOL. 11, 2021

Today’s Challenge During its heyday, Serampang Duabelas only had rock and roll to face, now there are various variants of Latino ballroom dances to compete with such as the cha cha cha, samba, salsa, bachata, and Zumba (all are also social dances), as well as competitive performances in the Olympics – a programme from World Dancesports Federation. However, what is exciting is that there are also line dances in the style of local Indonesian cultures

It is important to raise popular entertain-

proclaimed it as a national social dance

ment arts to a wider arena and it would

and to Sauti Daulay who performed

be better if it is supported by policies in

it for the first time on April 9, 1938, in

the creative economy, especially for the

Medan. (Julianti Parani Ph.D. choreogra-

development of dance. If not, Serampang

pher-dancer, researcher-writer, senior

Duabelas will be just a memory, left

lecturer at IKJ)

behind in the traditional realm. For now, it’s enough to perform the dance the commemoration of Serampang Duabelas Dance Day while remembering its fantastic boom in the ’60s. We give our appreciation to Bung Karno who once

such as Poco Poco, Lenggang Jakarta, and Maumere. Advances in media and technology played a major role in Serampang Duabelas becoming an integral part of expressions of entertainment arts including popular performing arts whose ups and downs can quickly change according to the dynamics of new and innovative tastes. In the west, we can see the tremendous development of popular entertainment and performing arts, which also has an impact on our country, thanks to globalisation, supported by the creative economy, which supports the political commodity of trade. How times have changed, and now ideology has no more influence on popular entertainment it seems. However, creativity that comes from local dances can be considered as a competition to achieve various competencies, such as through the creative economy. It is interesting to note, that Indonesian local style line dances are being used and developed in the fitness and art sectors, considering how Serampang Duabelas used to be able to “possess” anyone like “covid”.

Participants of a Serampang Duabelas contest in 1963 – National Library of Indonesia.

VOL. 11, 2021 INDONESIANA 73

JALUR REMPAH White pepper - shutterstock_327386213 – ELAKSHI CREATIVE BUSINESS - https:// www.shutterstock.com/g/ecbpl

PERPEDUUR As Expensive As Bangka White Pepper

74 INDONESIANA VOL. 11, 2021

Peperduur (as expensive as pepper) is a typical expression of the Bangka people. This expression shows how sahang (large grain pepper) “brought more money to the Bangka people”. (Hooyer DG--Resident of Bangka, 1928-1931).

Finely ground white pepper. - shutterstock_561597922 – Sivapoom Yamasaki - https://www.shutterstock.com/g/Sivapoom+Yamasaki

Finely ground white pepper. - shutterstock_1897520770 - FabrikaSimf - https:// www.shutterstock. com/g/FabrikaSimf

On the other hand, before the Dutch of these commodities, such as turtles, agarwood, frankincense, areca nut and tin were commodities from the island of

angka pepper is an export commodity that has been traded since the Sriwijaya era. Hsin-tang-

shu, a historian from the Tang Dynasty, China, in the 7th century AD, recorded that the Sriwijaya Kingdom at the time had 14 trading cities. One of the listed trading cities was Kotakapur Bangka. In the historical record, Kotakapur was one of the supporting ports (feeder points) for the Sriwijaya Kingdom. Based on its characteristics and geographical location, it is very likely that Kotakapur was indeed one of the important supporting port cities for the Sriwijaya Kingdom.

Bangka. Likewise, sahang (Piper ningrum), a pepper with large grains and very spicy, which is a plant inherited from our ancestors from generation to generation, is not only a plantation product but also a cultural product for the Bangka people. The history of pepper moved briefly to Banten to see the spice route from precolonial to colonial times. History says that the Sultanate of Banten reached the peak of its glory along with the strengthening of the influence of Islam, the weakening of the Sultanate of Demak, and the strengthening of intercontinental trade in the sixteenth century. Before becoming a sultanate, Banten had

It is believed that in the past, Arab

become an important pepper producing

countries had various trade products,

country in the world. At that time, the

such as cloves, nutmeg, cardamom,

world’s spice trade, including pepper, was

areca nut, agarwood, sapan wood, spices,

dominated by the Portuguese with Lisbon

turtles, gold, silver, and pepper. If traced

as the main port.

Revolution, the city of Antwerp was the centre of spice distribution in Northern Europe. However, after 1591, the Portuguese cooperated with Germany, Spain and Italy and made Hamburg a centre for the distribution of spices and abandoned Antwerp. This prompted the Dutch to enter the intercontinental spice trade. To that end, the Dutch needed to maintain the supply and distribution of their pepper. Therefore, the Dutch made an agreement with the King of Samiam (King of Sunda Ruler of Banten) and with Henrique Lem the envoy of Jorge d’Albuquerque, the Portuguese Governor of Malacca. In return for Portuguese assistance for helping them fight their enemy, namely the Islamic kingdom of Demak, the Portuguese were allowed by the King of Sunda to build a fort and were given security guarantees in making their voyage to Banten.

carefully, most of these commodities came from the Sriwijaya Kingdom. Some

VOL. 11, 2021 INDONESIANA 75

Participants of a Serampang Duabelas contest in 1963 – National Library of Indonesia.

The Portuguese then built a fort at Kalapa

through Tujuh Island (Chi-shu) in the

Harbor on August 21, 1522, marked by

Likewise, the journey to the south

north of the island of Bangka to the island

the laying of a memorial stone (padrao in

to enter the Bangka Strait through a

of Bangka itself to the Bangka Strait and

Portuguese). The padrao was found on

narrow strait between Tanjung Tapa and

then to Sunda (Shun-t’a). This agreement

Jalan Cengkeh, Jakarta (formerly known

Tanjung Means, San-mai shu (Maspari

only lasted a short time because, in 1527

as Prinsen Straat). Now, the padrao is

Island), Kuala Tu-ma-heng (Wai Tulang

AD, Fatahillah succeeded in taking over

stored in the Jakarta National Museum

Bawang), and Lin-ma to (Wai Seputih).

Sunda Kelapa from the Portuguese.

with inventory number 18423/26.

And the passage continued through KaoTa-lan-pang (Wai Sekampung), Nu-sha

This pepper trade route was of course a

The shipping route from Aur island

la (Ketapang), Shih-tan (Sumur Island).

major concern for the Demak Sultanate,

to Banten was guaranteed. Stopover

From here the direction of the route was

Banten Sultanate, Palembang Sultanate

ports at Chang-yao shu (Mapor Island),

changed to the southeast and after seven

and the kingdoms on the east coast

Lung-ya-ta-shait (Mount Daik on Lingga

hours, they finally arrived at Shun-t’a

of Sumatra such as Riau Lingga and

Island), Man-t’ouhsu (Roti Island), Chi-shu

(Sunda) which was also guaranteed to be

Jambi. These kingdoms competed for

(Seven Island) and Peng-chia shan (Mount

safe.

influence and power over shipping and

Bangka, Mount Menumbing), even at the This trade route, of course, followed the

cause of the wars between the Sultanate

the upstream to Chiii-chiang (Palembang)

area around the East coast of Sumatra,

of Banten during the reign of Sultan

were secured.

trade routes, and it became the main

mouth of the Palembang River towards

76 INDONESIANA VOL. 11, 2021

Maulana Muhammad also known as

Kanjeng Ratu Banten Surosowan or

Sultan Abdurrahman (1662-1706)

of the tin mining sector. Pepper was

Pangeran Ratu ing Banten (1580-1596

succeeded in laying a strong social,

gradually abandoned and the inhabitants

AD) against the Sultanate of Palembang.

economic, political, and cultural life

of the island of Bangka began to switch

In the battles in Palembang and around

for the people in the territory of the

to the tin mining sector. The transition

the Musi river, Maulana Muhammad was

Sultanate of Palembang Darussalam,

was marked by the opening of tin mining

killed and his troops returned to Banten.

including in the Sindang area, an area

trenches with simple technology through

located on the border of the sultanate

a shifting perforation system (tobo-alih).

In subsequent developments around the

whose population was mardika (free)

mid-17th century, the pepper trade was

on the island of Bangka. The main

Pepper was reintroduced in the 19th

marked by the intervention of the VOC

task of the residents of the Sindang

century, and slowly pepper returned to

(Verenigde Oost-Indische Compagnie). In

area was guarding the border. Sultan

its former glory. Pepper planting was

1642 AD, the Kingdom of Palembang was

Abdurrahman obliged his territories to

again a part of Bangka culture. The

ruled by Prince Sedo ing Kenayan. At that

develop pepper plants. He also created a

Bangka people again used peperduur as a

time the kingdom of Palembang signed

water system between Ogan, Komering,

distinctive expression. As a smallholding

a pepper trade agreement with the VOC

and Mesuji, which was not only used for

(people’s plant), sahang has brought

in Batavia (1710). According to Alfiah’s

agriculture, but also defence purposes.

prosperity and to the people of Bangka.

notes, the agreement was later renewed

Thanks to sahang, the number of Bangka

by the Dutch East Indies government with

The inner areas on the west coast of the

people who perform the haj pilgrimage

the tin trade (1722) which was signed by

island of Bangka were the Sindang area

has increased. As Resident Hooyer (1931)

the VOC representative with Sultan Ratu

which at the time of Sultan Abdurrahman

said, pepper is more prosperous than

Anum Komaruddin from Palembang.

was required to plant sahang/sang

tin (Dato’ Akhmad Elvian, DPMP, Bangka

(pepper). However, along with the start

Belitung historian and cultural award

This agreement opened the door wider

of tin exploitation, because of its high

recipient).

for the Dutch to buy tin from other areas

value and marketability in the world

in Bangka, including Toboali. This was

market, the Sultanate of Palembang

recorded in the ANRI archives based on

implemented a new policy for the Bangka

a report by K. Heynis, resident of Bangka

island region, namely the development

and Palembang to the Comissarissen regarding the districts of Blinjoe, Soengi Liat, Marawang and Pankal Pinang in 1818. On February 13, 1682 AD, Prince Aria, son of sultan Abdurrahman, established a fort in Bangkakota, on the river of the same name, with a unit of troops from Makassar. The construction of this fort was primarily aimed at securing the narrow shipping lanes, pepper, and tin trade in the Bangka Strait, which is located close to Bangkakota. The construction of this fort was opposed by the VOC because it interfered with their pepper trade flow, and it was a threat to VOC ships in the area. Fresh white pepper - shutterstock_1897520770 - FabrikaSimf - https:// www.shutterstock. com/g/FabrikaSimf

VOL. 11, 2021 INDONESIANA 77

CAGAR BUDAYA

Beautiful Prehistoric Rock Art in P

Misool

rehistoric rock art is a relic of

thousands or even tens of thousands of

a painting of a pig in Leang Timpuseng,

early human art found all over the

years old. However, most of the rock arts

Maros, South Sulawesi. The painting is

world. The term rock art is used

in the world are not recognised as a pure

estimated to be around 35,400 years old.

to describe a work of art in the form of

relic of prehistoric times by local people.

Another one is a painting of an animal

a painting, sculpture, or a sketch that is

Based on observations made by modern

resembling a bull in Saleh Jeriji Hole (East

inscribed in an immovable place, such as

science in the 19th-20th centuries AD, the

Kutai, East Kalimantan), which is believed

on the walls of a cave, cliff, or boulder. In

indigenous people of Australia and Amer-

to be around 40,000 years old. Further-

general, rock art is made by traditional

ica are peoples who are still practising the

more, there is the painting of scenes

hunter-gatherer communities, although

tradition of rock art.

depicting hunting activities in Leang Bulu

there are some rock arts originating from farming communities or cultivators. Laboratory analysis of rock art painting materials shows that these paintings are

78 INDONESIANA INDONESIANAVOL. VOL.11, 11,2021 2021 78

Sipong 4, Maros-Pangkep Region, South It was only in recent years that Indone-

Sulawesi, that is believed to be around

sian prehistoric rock arts began to attract

43,900 years old. The results of the study

international attention. One of them is

show that during the ice age around

Yucapan Cave Site.

50,000-11,000 years ago, humans in France and Spain as well as in Kalimantan and Sulawesi lived in the same rock art tradition era, using red dye, and drawing handprints and large animals.

experts theorise that human creativity emerged gradually starting about 200,000

Experts view that rock arts found around

years ago. One certain thing is that rock

the world are prehistoric relics that mark

art is a product of human creativity that

the emergence of the dawn of humanity.

has lived thousands of years back.

Some experts theorise that some 40,000

Misool Rock Art District

years ago, inside the human mind, a sudden burst of creative power took place,

When we stand admiring the red painting

which led to the simultaneous emergence

on the wall of the karst cliffs that rise

of rock art all over the world. Some other

above the calm sea of Misool, it is difficult

for our minds not to drift off to imagine what the painter may have felt thousands of years ago. The Misool Rock Art Area is located in a karst cluster in East and South Misool, Raja Ampat, West Papua, which can be visited by hiring a guide and boat from Yelu Village. The village is connected to the city of Sorong by a ferry that sails twice a week. The rock art

VOL.11, 11,2021 2021 INDONESIANA INDONESIANA 79 79 VOL.

Ope

n Ceme

tery in Misool -

Dit. PCB M

(Di rec tor at eo fC

l ra tu ul seum Protection); d Mu n an atio erv ns Co A

v lc o

e in

acred Area u the S s ed

en r bu

-D ial BM (Directora te o it. PC f

interpret the paintings. The study of meaning concluded that the painting was a symbol of spirits associated with caves, mother goddesses, and fertility. Data collection carried out by the government

karst cluster seems to have had a special social role for the society in its vicinity for thousands of years. Besides being very beautiful, because of its remote location, the area provides an immersive and even “spiritual” experience for its visitors.

until 2019 has documented at least 40

Rock art observers point out that there

prehistoric rock art sites in the area.

are 434 paintings and drawings depicted

The rock art in Misool is unique because it is located in a group of karst islands that form a maze in the sea. Research shows that this karst cluster area does not have a freshwater source, so it can be concluded that the supporting community does not live there. This is different from the caves in Europe and Sulawesi and Kalimantan which are the dwellings of prehistoric people.

on the karst cliffs of Misool. The paintings and drawings on the cliffs include non-figurative motifs (39%), handprints (25%), animals (20%), circles (10%), and anthropomorphic, pickaxes, unidentified sketches, and boomerang sketches. which are only 1-2% each. Paintings depicting animals have 87 images, consisting of tuna (40%), dolphins (28%), surgeonfish (16%), whales, imaginary fish, snakes, sharks, birds, and reptiles, of which there

as today’s paintings can be interpreted in various ways, paintings from thousands of years ago are similar. An analogy that can be made to give meaning to the area that houses the rock art is to apply statistical methods to the archaeological data, namely to the data of the paintings themselves. Data on the frequency and distribution of painting motifs can be arranged into a pattern. Then, the pattern is compared with social ethnographic data that is

are only five images.

associated with meaning in rock arts

where people placed the bodies of their

The Meaning of Rock Art

carried out in Misool and there is an

relatives until the early 20th century. Until

Researchers have not been able to find

interpretation that the animal images in

now, human skulls and skeletons, as well

out the true meaning of these rock arts

the rock arts found in Misool were made

as wooden statues, pottery, ceramics,

for the community that made them. Just

as secular expressions of people’s daily

In addition to rock arts, small caves in the karst cluster also house open tombs

and others can still be found there. The

n) .

Misool was first conducted in 2011 to

ect io

An archaeological study of rock art in

and Museum Prot

divers who frequently work in the area.

Cu ltu ra

paintings in Misool were first reported by tion rva se on lC

on et el

red Sac the t sa

80 INDONESIANA VOL. 11, 2021

around the world. This method has been

life. There are several ethnographic cases

Seni Cadas di dinding Gua Yucapan - Dit. PCBM (Direktorat Pelindungan Cagar Budaya dan Permuseuman)

Ro c

g Se

af ; iff s Cl

Ro c

e w

ls al of

es - Dit. PCBM (D ir n Cav e c t apa ora Yu c te of the C

imagination about the mystery of human existence in the world. In this karst hill, people from the past have poured their creative power which may be inspired by the natural beauty of Misool since thousands of years ago! (Joshua Adrian Pasaribu and Feri Latief)

ul ra

r se

na tio

u nd M

seum Protection)

This interpretation is far from a compre-

secular context in Australian rock art too,

hensive conclusion, considering that it is

that painting is interpreted as a leisure

possible that the paintings came from a

activity, celebration of a successful hunt,

very long tradition, maybe even tens of

and the designation of locations where

thousands of years. Based on the analogy

there are many game animals.

of prehistoric painting motifs, it can be

The average animal motif is depicted at the bottom of the karst cliff, which is about 1-2 metres above sea level. Meanwhile, geometric motifs and handprints are located at the top of the cliff, at a height that even reaches about 10 meters above sea level. Based on these data, it is

assumed that the handprints and tuna or dolphin motifs date back to an ancient

Foto : Seni Cadas di Dinding Gua Yucapan

related to the depiction of animals in a

era, perhaps around 40,000 years ago during the early migration of humans to the Australian continent. The pickaxe motif, however, was from the period of farming about 5,000 years ago.

strongly suspected that geometric motifs

The ancient paintings on the walls of the

and handprints have symbolic value and

karst hills in the shady sea of Misool,

are more sacred than animal motifs.

which are preserved, surely spark our

VOL. 11, 2021 INDONESIANA 81

MANUSKRIP Barus or camphor in English (Cinnamomum camphora). - https:// www.shutterstock.com/g/ ecbpl – ELAKSHI CREATIVE BUSINESS

The Healing Power of

Borneo Champor in Various Archipelago’s Manuscripts

he distinctive smell of camphor (kapur barus) has long attracted commodity hunters from

all over the world to the Indonesian archipelago. The umbil oil or borneol from the Borneo camphor tree is efficacious as inflammatory medicine and analgesics (pain relievers), as well as food additives. Its white and transparent colour, grabbed by kapur tree (Dryobalanops aromatica) and camphor trees (Cinnamomum camphora) trappers, embraced with local wisdom. It takes extra patience to wait for the proper growth of one camphor tree. It takes around 50 years to get a mature Borneo camphor tree with good quality and sell it at a fantastic price. Uniquely, the exact location of Barus is

century, for example, came across cam-

when Umar bin Abdul Aziz gave praise in his

still being debated, even though it is now

phor, which they thought was salt in jars,

reply to a king from Sriwijaya. It’s said that

included in the administrative area of

when they had just conquered Chosroes

Sriwijaya had a camphor scent that could be

Central Tapanuli Regency, North Sumatra.

II’s Sasanid Dynasty’s palace on the banks

smelled for miles away.

If you look at changes from one era to

of the Tigris River.

another, it is possible that the position of

Yi Jing, who lived around the same age,

be traced back to the Portuguese explorers

also mentioned “Po-Lu camphor” as the

who arrived in the Indonesian archipelago in

main commodity of Shih-li-fo-shih alias

the 16th century AD. Tomé Pires, a Portu-

Camphor is mentioned in Western

Sriwijaya. The name Po-lu refers to the

guese who was careful to observe conditions

records through Aetii Medici, by Ateius

Chinese name for Barus in the classical

in the archipelago, said that the “kingdom” of

Amida (502-578 AD). The fame of the

Chinese prose from the Tang Dynasty

Baros was wealthy.

aroma of camphor also spread to West

entitled Hsin-Tang-Shu, which was “Lang-

Asia. Umar bin Khattab’s troops in the 7th

po-lu-si”. The Arabs mentioned camphor

the port and coastal city of Barus moved for a reason.

in 775 AD in Kitab al-Fitan wal ‘Malahim,

The start of the trading pulse of Barus could

82 INDONESIANA VOL. 11, 2021

Medicine Manuscript Batak medicine manuscript, commonly called pustaha, mentions that camphor is useful for curing various diseases. The sap of camphor (hayu hapur) is always used to cure lumbago (haccit gotting), rheumatism (jumbalang), stomach pain, and to treat wounds (mabugang). Datu (shaman in Batak ethnic) also use umbel

rut ti(na) jadi jalma, kawah jadi kasorgaan,

Another Sundanese manuscript that

(340) cahina jadi kasturi, kapuleka (a)

mentions camphor is About Medicines

ér mawar, ruhakna reujeung budahna,

from Ciwidey (South Bandung). The manu-

mate<11a>mahan kapur baruna .The

script written in the Pegon (Arabic) script

translation: (335) My son, Purnawijaya,

in Sundanese and Cirebon languages is

after becoming a human, hell becomes

a collection of the Sri Baduga Bandung

heaven, (340) the water becomes fra-

State Museum with number 273 glass 55.

grantful, kapuleka, rose water, coals and the foam turn into camphor.

Kapur barus is mentioned on page 20 and page 24: (125) … lamon balad amba (126) majing kana dada’ ngarana sétan (127) ka-

oil as a medicine for broken bones (maponggol), misplacement of joints, or cracked bones. Umbel oil is also useful for preserving/eliminating the smell of corpses, preventing damage to cloth, and stopping bleeding from cuts, burns, and stomach aches. The ingredients for the medicine include

One of the books of Thib which tells the story of barus (the book is a collection of the National Library of Indonesia) Syefri Luwis; - Syefri Luwis

five types of turmeric, five nutmeg seeds, various roots, banana, areca nut, coconut, sappelulut, green coconut, umbil oil, banana midrib, and rumbia or wood. The process: all the ingredients are pounded as fine as possible and then cooked with green coconut and umber oil. The datu then chants, “Biccumirloh dirahuman dirahuman, dirahumin rahumin. Toruna dodo (Be strong like God. Be brave like Mr. Tanjala. Bless you to move like the circle of rice. Bless the Messenger of Allah, La Ilaaha Illallaah)”. Camphor in Sundanese culture appears in the Darmajati manuscript (Kropak 423) collection of the National Library. Wawangsalan or Sundanese classical poetry written in Old Sundanese language and script means surrender (self) and offering to the Eternal. This manuscript is from the collection of the Regent of Galuh R.A. Kusumadiningrat (1839-1886) and is thought to have come from Kawali (North Ciamis). Camphor is mentioned in line 340 as follows: (335) … Anaking Purnawijaya, (hu)

One of the tombstones at the Mahligai Tomb Complex - Septianda Perdana. - https://www. shutterstock.com/g/ Septianda+Perdana Septianda Perdana

VOL. 11, 2021 INDONESIANA 83

limur watekna hareneg ati (128) tambana

it’s the signs for the devil talapuk (151)

chillies, five cloves, two nutmeg seeds,

konéng je(u)ng apu serta (129) ditepake(u)

camphor is the medicine, jeringau (152)

two shallots, three onions, five mustard

n tilu kali sarta (130) ulah ngambekan

roasted powder, while warm, rub (153) on

greens. Everything is grounded; add wa-

lamon te(u) hadé (131) tambana konéng

the body.

gedé tujuh (132) keret dawun seret daun (133) singugu salasih bawang be(u)re(u) m (134) mangsoi katumbar jinten (135) disimburke(u)n, … dan (148) … lamon balad (149) amba majing kana cuqur ngarana (150) sétan talapuk watekna jadi(151) kapur barus tambana jaringa (152) au bungbu pagang hanet-hanet usap- (153)

Primbon Jampi Jawi Volume 1 and Volume 2 of the Reksa Pustaka Mangkunegaran Surakarta’s collection mentions camphor as a medicinal ingredient to treat abuh (swelling) pain suffered by children or the elderly, and swelling in the breasts and

script mentions in detail the methods of treatment made from spices. Swelling due to a fall, for example, is different from the cure for swelling not caused by an impact (swelling without a cause or abuh tanpa jalaran).

uterus. The ingredients for the concoc-

The manuscript from Aceh that mentions

tion are roots, rhizomes, tubers, wood,

camphor is the Kitab Tib which uses Jawi

The translation: (125) … if balad amba

seeds, leaves, flowers, fruit, mushrooms,

(Arabic) script and Malay language, the

(126) is attacked on the chest, that’s the

camphor, chicken egg yolks (the kampung

collection of Teungku Amir at Meunasah

devil (127) kalimur, it’s the signs of a liver

variant), as well as fresh water, arak, and

Kruet Teumpeun, Teupin Raya Pidie,

ailment (128) the medicine is turmeric

vinegar.

Nanggroe Aceh Darussalam. Chapter 14,

usapke(u)n, …

and camphor (129) clapped three times and (130) don’t get angry if it doesn’t work (131) the medicine is temulawak tujuh (132) peel … leaves (133) senggugu, basil, shallots (134) coriander, cumin (135) sprayed, … and (148) rubbed, if balad (149) amba attack the mouth part (150)

The Javanese manuscript entitled Serat

ter, then mix with three saga of camphor. Apply on the swelling area. The manu-

84 INDONESIANA VOL. 11, 2021

The composition of the medicinal herbs for 12 kinds of abuh or swollen disease includes four saga of kayu timur (eastern wood), manis jangan as long as fingers,

for example, mentions a headache medicine. “Take some pekakan leaves, camphor and sendawa, then grind them and put the concoction on the head, afiat.”

mungsi and sintok and lima saga, kencur,

Chapter 8 mentions a medicine for eye

ginger, three slices of lempuyang, three

pain. “First, take rhubarb, aloes, kumkum,

Mahligai burial complex in Aek Dakka Village, Central Tapanuli - https://www.shutterstock.com/image-https://www.shutterstock.com/g/nineimage - nineimage

sandalwood, cloves, some rose water,

Old camphor trees can be identified by

people describe Barus and its champor

camphor and amber. Mix it all well and

the appearance of bumps on their trunks,

according to their respective points of

then drink it, afiat.” Chapter 25 talks

however, they are now very difficult to

view. The accumulated narratives need

about an eye pain medicine, “Take temu

find. To this day, camphor-producing

to be reinterpreted through concrete

putih and a white pottery bowl and a little

kapur trees still grow in Aceh Singkil,

actions, for example through the preser-

camphor, then grind it on an iron, the

Subulussalam, and Central Tapanuli.

vation of cultural heritage or sustainable

water is lime water and honey water then

However, the production of camphor is

nature conservation. Cross-disciplinary

put it in the eye that hurts, afiat.”

decreasing in the western area of Singkil,

studies are also needed to achieve this

the Natal River, between Sibolga and

goal (Sinta Ridwan: Philologist, Anan-

Padang Sidempuan to Aerbangis, as well

tarupa Studios R&D Researcher and

as on the Riau Islands including in Beng-

Barus Spice Story).

Chapter 60 covers a dental medicine, “First take the stem of senduduk and the stem of merdadi puan and the stalks of kaffir limes and large stalks of melad and

kalis and Malacca.

cold rice and the stem of parasites and

Since 2019, the International Union for

the stem of maja and the stems of patah

Conservation of Nature (IUCN) has put

kemudi. Dry all of them in the sun. After

Dryobalanops aromatica on its “red list”

that, burn the stems, take the ashes, take

as an endangered species. The threat

a little shrimp paste, a little camphor,

is caused by improper logging practices

and a little siam gall, and a little sawa gall,

to get camphor crystals on tree trunks.

then mix all them and put it on the teeth

Other reasons are fires and deforestation

for three days and clench them at night.”

caused by oil palm plantations. Barus has become collective memory

Barus At Present

for some people in Asia and Europe, but

VOL. 11, 2021 INDONESIANA 85

ARSITEKTUR

Understanding

Jakarta as a Symbolic Space

of its elements and problems. One urban

The history of the city is local because

problem and its people can be examined

the city is a small institution under the

through the concept of modernity, to

province and the state. Therefore, the

explain more diversely about urban

chronology of urban history is different

history in Indonesia, as said by urban

from the chronology of national history.

planning expert Ilham Makkelo. From the

Changes in the context of the state may

perspective of history and archaeology,

have an impact on the city so that the

cities are a representation of national

chronology of the city’s history must be

identity and identity because of their

independent – not necessarily dependent

material culture.

on the chronology of national history.

ince the beginning of the 19th century, the urban landscape has grown rapidly with the complexity

86 INDONESIANA VOL. 11, 2021

Cities can also be seen as non-geographical spaces. Post-structural scholars see the city as a more complex space. Henri Lefebvre views space not merely as a geographical space, but also a social space that is not only produced through the relations of production and reproduction but also complex social relations. Simultaneously, space is production,

The towering Monas in 1979 - Fridus Steijlen - KITLV D13240; Hotel Indonesia roundabout during MRT 2016 construction - Syefri Luwis.

means of production, part of the social

problems. Other studies of city imagery

as kings and regents, before the arrival

forces of factors of production, and, at

are also included in the book edited by

of foreign invaders. The city is physically

the same time, objects for consumption.

Peter J.M. Nas, Urban Symbolism (1993).

characterised by being centred around

Not Just A Space

The history of a colonised city can be

The study of space was conducted, for example, by Hans-Dieter Evers and Rudiger Korff in their book Urbanism in Southeast Asia: Meaning and Power in Social Spaces. The book discusses more about the city as a living space with all its

attributed to the colonial era. In general, the stages are the era of the traditional city (or pre-colonial city), the colonial city

the pavilion where the traditional ruler resides. The characteristics of a traditional city do not disappear when colonialism comes.

era, and the post-colonial city era. A tra-

The colonial city era is when the cities

ditional city is a city that developed when

are under the control of the colonial

it was under the rule of local rulers, such

government. For Indonesia, the colonial

VOL. 11, 2021 INDONESIANA 87

Hotel Indonesia roundabout in 2016 - Syefri Luwis.

city first appeared when the Dutch began

Urban symbolism is expressed through

At the beginning of Indonesia’s indepen-

to establish their power. The Dutch first

city layouts, architecture, statues,

dence, President Sukarno helped design

landed in Jayakarta, which later changed

street and place names, poetry, rituals,

the city of Jakarta as the central power

to Batavia, and was changed again to

festivals, and processions. Also, through

of the city, which at that time was the

Jakarta during the Japanese occupa-

other facets such as myths, novels, films,

centre of an independent state. Soekar-

tion. The city of Batavia was built by the

poetry, music, songs, and websites, all of

no built a national monument (Monas),

Dutch in the early 17th century and later

which can be called carriers of materi-

the Istiqlal mosque, and the magnificent

became the centre of colonial rule in

al, discursive, iconic, and behavioural

Hotel Indonesia, but was considered to

Indonesia.

symbols.

have paid little attention to the construc-

From the point of view of material

The City of Jakarta That is Full of Meaning

culture – especially archaeology – the development of a city is part of a long cycle of urban life, including the processes of decay, revitalisation, and reclamation. One contemporary trend in urban history writing is to use an approach in urban anthropology, namely urban symbolic ecology, which emphasises the cultural dimensions of the city and is oriented towards the formation, distribution, meaning of symbols, and rituals in relation to the built environment.

The city of Jakarta (especially the city of Central Jakarta) is full of symbols, including the meaning of the main monuments of Soekarno’s reign. Markus Zahnd sees it in context as a “post-colonial Javanese city”, which was generally built at the beginning of Indonesia’s independence until it entered the era of globalization. The city of Jakarta can be said to be a representation of the city of Java which is a strong symbol of a modern Indonesian state.

88 INDONESIANA VOL. 11, 2021

tion of public facilities. Jakarta became a “city without urbanism” by placing a monument in the middle of the city centre. According to Eryudhawan, in the 19651985 City Planning, the Governor of DKI Jakarta, Ali Sadikin (1966-1977) brought new changes to the modernization of the city. Old areas such as the Old Town and the historical buildings in it garnered attention. Then, in 1968 the local government made efforts to protect and develop the old buildings.

Furthermore, during the New Order era, President Soeharto built the Lubang Buaya Monument to commemorate the betrayal of the PKI in 1965 and built Taman Mini Indonesia Indah (TMII) as a miniature of Indonesian ethnicity and culture. The economic development of the 80-90s which gave rise to new middle classes was reflected in the construction of shopping centres and luxury apartments. Gradually, the emergence of skyscrapers (city skyline) neutralised the symbolic layers that had been built in the previous era, including the Kota Tua area on the north coast of Jakarta. The city of Jakarta was popularised with the image of a modern and international city, the imagination to become a big country. It is exhibited in the form of advertisements and news. Jakarta in Evers’s view is a “theatre country”. The symbols create a facade of modernity with an identity as an international city, but there

is something that Jakarta is hiding. Marsely L. Kehoe said that Jakarta was built on the Dutch colonial identity, which was represented by the revitalisation of the National Archives Building on Jalan Gajah Mada, West Jakarta, and the identity of Indonesian nationalism and culture represented by the construction of the Taman Mini Indonesia Indah (TMII) in 1971 by then President Suharto. However, until now, colonial elements are still part of Indonesia’s postcolonial identity

structures in Central Jakarta. Post-independence Central Jakarta was designed full of material symbols, with Monas, the Istiqlal mosque, and office buildings, which represent a pre-colonial city with the palace, alun-alun, and adjacent centres of economic activity. Unfortunately, the appearance of skyscrapers neutralises these symbols, including in the Old City area of Jakarta and the Sunda Kelapa Harbor. (Ary Sulistyo, Directorate of Cultural Protection Kemendikbudristek)

in many revitalised colonial buildings. The identity of the city of Jakarta cannot be separated from the moment of Indonesian Independence in 1945, although it is still strongly influenced by Dutch colonial elements. The city of Central Jakarta is a spatial unit of various historical events that are manifested through material remains. In the Decree of the Governor of DKI Jakarta No. 473/1993, there are 63 buildings and 4 historical

Tanjung Priok Station - Syefri Luwis.

VOL. 11, 2021 INDONESIANA 89

SASTRA

Waiting For

“Carita Pantun’s”

Documentation Generation

Pantun Kaenti narrator from Baduy, Banten, Circa 1910, KITLV 5283

90 INDONESIANA VOL. 11, 2021

Mang Ayi Basajan, a juru pantun from Subang Regency, narrated the “Ciung Wanara” story at a Sundanese pantun performance at the Ajip Rosidi Library Building on July 7, 2020. (Photo: Dadan Sutisna).

n 1518, the scribe of Sanghyang Siksa Kandang Karesian, an ancient Sundanese manuscript in the form

of didactic prose, mentioned four titles of carita pantun. He wrote exactly like this, “Hayang nyaho in the rhyme ma: Langgalarang, Banyakcatra, Siliwangi, Haturwangi, prepantun tanya” (If you want to know about carita pantun: Langgalarang, Banyakcatra, Siliwangi, Haturwangi, ask the juru pantun (pantun master or poet). Based on this text, carita pantun is considered as the oldest original Sundanese literature which came in the form of an oral tradition.

Pantun in Malay repertoire is a type of

The effort to document carita pantung has

C. M. Pleyte (1911) estimates that Sun-

short poem, which in Sundanese society

been attempted since the end of the 19th

danese carita pantun had existed long be-

is equivalent to a susualan or a sisindiran

century. Hawe Setiawan and Atep Kurnia

fore the Hindu era. Meanwhile, Wim van

(satire). Meanwhile, the Sundanese carita

(2018) believe that Raden Aria Bratadiwi-

Zanten (1987) suspects that the writing

pantun is a relatively long story, in the

djaja from Ciamis was the first person to

of the pantun had been done since the

form of an octosyllabic metered poem,

record the carita pantun of Lutung Kasa-

16th century. Until now (in 2021), pantun

which is spoken and sung by the juru

rung in 1845, which was spoken verbatim

is still performed by juru pantun in sacred

pantun (poet) to the accompaniment of

by juru pantun Aki Kriawacana. The hand-

rituals related to rice planting/harvesting,

harp music that he plays himself. In its

written manuscript is now a collection of

marriage, circumcision, and ruwatan,

development, the rhythm of the harp

the Leiden Library. Then in 1882, Tjakra-

as can be found in several Kasepuhan

would be accompanied by tarawangsa,

kusumah from Rangkasbitung, recorded

Banten Kidul and Baduy, Lebak Regency,

kecrek, flute, gamelan, and even pesinden

a synopsis of the story of the carita pan-

Banten. However, the numbers continue

(female singers). Maybe it’s just carita

tun Kuda Malela which he obtained from a

to decline and there is a fear that this

pantung from Baduy which until now has

juru pantun from Baduy. The manuscript

classical form of art is going extinct.

only been sung by a poet who mantun

is now stored in the National Library.

(performs) while strumming a nine-

In 1891, Jacobs and Meijer published a

stringed harp himself.

transcription of the carita pantung Ciung

The carita pantun spread throughout the Tatar Sunda (Sundanese Folklore) is com-

Wanara. In 1905, Pleyte published Raden

pletely different from the Malay pantun.

VOL. 11, 2021 INDONESIANA 91

“Ciung Wanara” is one of the stories that characterise the Sundanese people. – Dadan Sutisna

Moending Laja Di Koesoema and Loetoeng

recorded. Meanwhile, Wim van Zanten

Kasaroeng. Others have also made effort

in Music of the Baduy People of Western

to record, transcribe, publish, and adapt

Java; Singing Is a Medicine (2021) states

carita pantun for different mediums such

that it is safer to limit that only 60 titles

as Eringa (1949), Ajip Rosidi (1970-1974),

are known, referring to Eringa’s (1949) re-

Kartini et al. (1990), Andrew N. Weintraub

search, even then it’s unknown how many

(1990), Jakob Sumardjo (2013), and Wim

of those are well documented. Moreover,

van Zanten (1987–2021).

the four titles mentioned in Sanghyang

However, until now, it is not clear how many stories of Sundanese carita pantun have been documented. Hawe Setiawan and Atep Kurnia in the Sundanese Culture Lecture (2018) chapter Panorama Pantun Sunda, mention that there are about 70-120 titles of pantun that have been

92 INDONESIANA VOL. 11, 2021

Siksa Kandang Karesian are no longer known. What’s sad is that the recordings of carita pantung done by Ajip Rosidi no longer exist, not at the Ajip Rosidi Library in Bandung nor the Leiden University/ KITLV Library in the Netherlands.

Lutung Kasarung Among the few Sundanese carita pantun that have been recorded, transcribed, published, it seems that only Lutung Kasarung is the most popular and boasts various versions that have been translated into various genres. Pudentia MPSS (1992) mentions that from the history of the reception of the text, the story of Lutung Kasarung has been transformed not only in the form of cross-cultural (from Sundanese to Dutch, Indonesian, Javanese, and English) but also across forms and medium (from oral to written, from written pantun to prose, poetry, opera,

When carrying out the Sundanese Poetry

made the other day is mostly based on

and Folklore Research Project, Ajip Rosidi

the reconstruction of my own imagina-

(1973) also stated that not all juru pantun

tion. Many parts do not connect or are

want to tell the story of Lutung Kasarung.

not logical, so I made them logical and

However, he still managed to record it

the connections. Of course, this is unac-

from Ki Sajin, a juru pantun from Baduy in

ceptable.”

1973 and published it in the same year. Wim van Zanten (2021) also managed to record the audio of Lutung Kasarung from the same juru pantun in January 1977. Indeed, carita pantun should be considered part of “religion” (for Baduy people) and not part of “art”, and he has received permission from the Baduy to record Lutung Kasarung.

or figures from the Islamic world present

threat of the extinction of the carita

in these stories. Neither does Arabic and

pantun is getting more and more real,

European vocabulary.

in transcribing the carita pantun delivnovel, fairy tale and even film). It is also

ered by Ki Sajin from Baduy. In fact, he

necessary to add the form of wawacan,

cancelled the rajah (the “prayer” part of

gending karesnen, and tembang cianjuran.

a rhyme) in the Carita Lutung Kasarung

also considered sacred. Danasasmita and

Keuling and Lutung Kasarung from Baduy

in Banten or West Java. Meanwhile, the

(1974), Ajip Rosidi revealed his difficulties

transcended the pantun form too, but it is

spoken. However, pantun such as Paksi

There are no names of prophets, angels,

In “Introduction” to Carita Buyut Orenyeng

popular carita pantun and that it has

used when the carita pantun was first

ropean languages is almost untraceable.

Methodological Difficulty

here, that Lutung Kasarung is the most

slightly deviates from the initial language

from the juru pantun who are still living

recorded in the 1970s?

support it. There seems to be a paradox

is the language of the “present” which

no attempt to document carita pantun

inherited the carita pantun that Ajip Rosidi

story by the juru pantun or by those who

that the language used in carita pantun

show that the influence of Arabic and Eu-

to shrink from year to year. Has anyone

Lutung Kasarung is considered a sacred

Sundanese Oral Literature (1993), states

After that, it seems that there has been

as the number of juru pantun continues

Some researchers say that the story of

Concerning language, Ayatrohaedi in Carita Pantun: [The] “Historical Romance” [of]

version which was published a year earlier, due to transcription errors. Wim van Zanten (2021) also experienced the same problem. Perhaps the difficulty in understanding it was caused because the sentence structure in the Sundanese dialect of Baduy which is different from common Sundanese.

Djatisunda (1986) for example, say that

Said Ajip, “That’s why I’m not going to

the story of Lutung Kasarung in the Baduy

include a summary of the story this time

area, Banten, is considered sacred be-

because I have to admit that the summa-

cause it talks about how to care for rice.

ry of the story of Lutung Kasarung that I

There are still many things that have not been revealed about carita pantun, in terms of the text and especially the sociological or anthropological side of the people who support it. In fact, until now, there has not been found a single study that focuses on the stories of the remaining juru pantun as an active actor in teaching, preserving, and passing on knowledge about carita pantun. Although, perhaps, the Sundanese carita pantun can only be designated as intangible cultural heritage (WBTb) from the Sundanese Folklore (Tatar Sunda) from West Java and Banten, unlike the Malay pantun which has been recognised by UNESCO in 2020 as a WBTb (World Intangible Cultural Heritage) from Indonesia and Malaysia. [Niduparas Erlang, novelist]

VOL. 11, 2021 INDONESIANA 93

FILM

Retuning FFI to the People Awards Night Arman Febryan

94 INDONESIANA VOL. 11, 2021

he Indonesian film industry has

Young filmmakers blessed with superior

of the Citra Cup. However, FFI was still be-

a long history. Likewise, the

technical skills then formed the Indone-

ing held because national film production

Indonesian Film Festival (FFI) as

sian Film Society (MFI), which began to

continued to grow.

an event to support promotion and a

carry out “political” movements, such as

barometer of achievement, has been

protesting the victory of Nayato Fionula’s

held for quite a long time. If calculated

film “Eskul” in 2006. They believed that

Law Number 33 concerning Film was

since it was first held in 1955, FFI

“Eskul” didn’t deserve the Best Film crown

born in 2009 along with Indonesian Film

has reached the age of 76 years, not

due to accusations of plagiarism and

Agency (BPI), an agency formed by the

including the gap between 1993 – 2004

film community with facilitation from the

when film production was absent.

illustrations from foreign films such as

state. BPI was born on January 17, 2014,

“Taegukgi”, “Gladiator”, and “Munich”.

through a large deliberation on January

The Birth of the Film Law

15-17, 2014. One of BPI’s first tasks was

The revival of FFI in 2004 was an effort by

MFI firmly rejected the 2006 FFI jury’s de-

the National Film Development Agency

cision. Several MFI members returned the

(BP2N), with its chairman H. Djonny

Citra Trophy they had received. Directors

BPI with Alex Komang as chairman began

Syafruddin and secretary Adisurya Abdi.

Riri Riza and Mira Lesmana who won the

to become the organiser of FFI. Kemala

The idea to reorganise FFI at that time

2005 Citra Cup for the film “Gie” returned

Atmojo was elected as Chairman of the

was because film production was starting

the trophy on January 3, 2005. After that,

FFI Executive Committee, and he made

to spring back to life. One of them, “Ada

22 Citra Cup winners from 2004 to 2006

new rules for judging the participating

Apa Dengan Cinta” [What’s Up With Cin-

also followed suit. MFI also urged the

films. He collaborated with Delloite, a

ta], even became a successful box office.

dissolution of the government’s Film Cen-

survey institute. FFI judges did not have

sorship Institute. The young filmmakers

to judge together in a forum as in the

believed that the running and the funding

previous judging system but could review

of FFI by the Ministry of Culture and Tour-

films and judge from anywhere. The jury

ism was not transparent. They urged that

was given a floppy disk containing the

FFI be temporarily suspended.

participants’ films to watch. The results of

The younger generation of filmmakers who felt they had contributed to the revival of Indonesian cinema also had a “hidden agenda”: they wanted to seize control of the organization of film festivals, which for years had been under the

BP2N finally issued a decision numbered

control of old-generation filmmakers who

06/KEP/BP2N/2007, regarding the cancel-

controlled all parts of Indonesian cinema.

lation of the Citra Utama Cup Best Film award for “Eskul” and changing the form

Joko Anwar receiving his award Arman Febryan

to organise an FFI.

the assessment were then inserted into a drop box provided by Delloitte. There were 100 judges selected from the film association. It was later revealed that

Gunawan Maryanto also took home one of the main prizes - Arman Febryan

VOL. 11, 2021 INDONESIANA 95

Celebrating the awards - Arman Febryan

not all the judges actually watched the

which started from the office of the

The urgency of the implementation of AFI

films sent to them, as also admitted by

Governor of South Sumatra, Griya Agung

was not clear because the format and the

Lukman Sardi, Chief Executive of FFI 2016

to Kuto Besak Fort, was quite attractive to

films that were judged were the same as

on August 2, 2017. Since it was being held

the public because it was attended by 25

FFI. Why not just strengthen FFI, a festival

by BPI, FFI became elitist.

artists, accompanied by a drum band, the

that has a long history and has been

ontel community, the large motorcycle

recognised as a barometer of national

community, and the jeep community.

film production and quality? As a result,

In terms of delivering information on FFI activities, the era of the FFI Standing Committee (Pantap) from 1988 to 1992 was the best. At the time, Pantap FFI had four fields, namely the Events Division, the Foreign Affairs Division, the Judging Division, and the Public Relations / Documentation and Publication Division. The Public Relations, Publication and Documentation Division, chaired by Ilham Bintang, continued to work hard to provide information about FFI to the media through press releases or in-person meetings at the Film Building on Jalan Menteng Raya in Central Jakarta.

covered by the Ministry of Education and

AFI under the Ministry of Education and

Culture (now Kemdikbudristek). However,

Culture.

until 2014, FFI was still under the Ministry of Tourism and Creative Economy. The Ministry of Education and Culture then designed a film festival with a scale and echo equivalent to that of FFI, plus cultural embellishments. No longer using the name of the festival, but appreciation. In 2012, the Directorate of Arts and Film Development of the Ministry of Education

tivity for FFI to bring artists closer to the

Appreciation (AFI) event for the first time.

96 INDONESIANA VOL. 11, 2021

festivals, FFI organised by the Ministry of Tourism and Creative Economy and

and Culture f held an Indonesian Film

held at FFI 2014 Palembang. The parade,

since 2012, the government has had two

According to the Film Law, film affairs are

The artist parade was a supporting accommunity. The last artist parade was

The Emergence of AFI

In 2015, the Ministry of Education and Culture established a new work unit called the Film Development Center (Pusbang Film). In the same year, FFI was fully owned by Pusbang Film, so the Ministry of Education and Culture held two film festivals a year. The difference was, FFI was carried out by BPI, while AFI was held by outsiders, from filmmakers as well, who initiated AFI from the start. Similar to FFI, AFI were also held several times in different locations all over Indonesia, such as in Maimoon Palace, Medan

(2014), Fort Vredeburg Yogyakarta (2015),

Journalists also play a big role in FFI,

Manado (2016), and in Banyuwangi

because journalists will be the bridge be-

(2017). However, in 2018, the government

tween the film community and the gener-

seemed to want to concentrate on just

al public. In the past, journalists were not

one festival, so the AFI began to decline.

only “mouthpieces” for film activities, but

Returning the function of FFI to become

were involved in them. When the imple-

an event that brings the film world closer

mentation of FFI experienced a vacuum

to the people is a challenge, especially

due to uncertain political conditions, film

during the current Corona pandemic.

journalists took the initiative to create

(Herman Wijaya, journalist and film

their own festival. Between 1970 and

observer)

To be honest, FFI is also losing its appeal, and the general public is not really concerned. In fact, the aim of FFI should not just to be a barometer of the quality and growth of national films, it should also be a tool to bring films closer to the people. Currently, its organisation seems elitist, not close nor open to the people at all.

Information of the Republic of Indonesia, which at that time was a national film development institution.

1975, there was a limited festival in the form of the Best Actor/Actress Selection which was held by PWI Jaya Film Section. This activity was eventually rivalled by

According to Firman Bintang, the strength

the film community, which was managed

of FFI is in areas outside of Java. There’s

by the Indonesian Film Foundation (YFI),

no need to feel down if you have to go

and received support from the Ministry of

to the regions, join the parades. “Film people must carry out FFI like the goals of their predecessors. Don’t be shy. Look for people who understand, are willing and able to work, and must be supported. But it’s hard for film people to unite. It’s always been about individual groups,” he said. FFI is a gathering event. We get together, party, after a year of work. We’re partying. Farmers party, fishermen party. In the party there are awards for people who are able to work. After the party is over, we go back to work. If there are shortcomings, weaknesses, don’t make it a big thing. Bringing films closer to the people is a noble goal that can maintain the existence of national films in the following years. This was proven when FFI was first held in 1955. At that time, the “upper class” people watched American-made films, while the “lower class” people preferred Malay (Malaysian) and Indian films. With the existence of FFI, people are slowly becoming fond of Indonesian films. Laura Basuki showed off her award Arman Febryan

VOL. 11, 2021 INDONESIANA 97

MUSEUM

Pos

Memori Korespondensi:

Kring… Kring The front facade of PT Pos Indonesia’s Head Office Jessika Nadya.

The flower generation and gen-X Can still remember the postman on his bicycle, visiting people’s homes, delivering letters or money orders. So great is his service, that the song “I am a very diligent postman. I deliver letters on a bicycle. I deliver to all houses. I don’t choose rich and poor. Kring kring pos…”, whose melody is similar to the song

“My Ancestors Were Sailors” by Ibu Sud. Gradually, the wind-powered carriage was replaced with a motorcycle, which over time was also swallowed up by the times and even auctioned off. In this 21st century, all memories of postcards, postage stamps, telegraphs, giro accounts, as well as the history of mail delivery since the days of the Dutch East Indies can be recalled through a visit to the Indonesian Postal Museum in Bandung.

98 INDONESIANA VOL. 11, 2021

The Pos Indonesia Museum is located in the same building as the Head Office of PT Pos Indonesia (Persero) on Jalan Cilaki Bandung, a complex that also hosts the West Java Provincial government headquarters known as Gedung Sate. In March 2021, editors of Indonesiana magazine visited the Pos Indonesia Museum to see the current situation. We had previously searched for preliminary information via Google. When typing “museum pos Indonesia”, the suggested search term that appeared at the top was “museum pos Indonesia haunted”. It’s amusing, but also understandable. Maybe people are curious about the location where the old collections are stored in the basement (the lights must be turned on even during the day). In addition, it is also located in an old building, which includes objects of cultural heritage. Most minds would immediately think: haunted… One of the collections of the Indonesian Postal Museum Jessika Nadya

Old History in Old Building Visiting the Indonesian Postal Museum means reaping two things at once: the history of the post in Indonesia, which is much older than the age of the Republic of Indonesia, and the history of the old building that is used as the headquarter of PT Pos Indonesia. We can get to know Abdurahim Djodjodipoera and R Dijar, officials of the PTT Bureau during the Dutch East Indies who received awards for their national spirit and services. In addition to discussing history and archaeology, we can also explore the beauty of the building’s architecture. It’s a complete package. Architecture as we know it is a combination of works of art, science, and technology in creating space as a place for human activity. Colonial architecture,

more specifically, is a grafted architec-

Gedung Sate complex, a building with

ture from its mother country, Europe, to

six ornaments piled up in the shape of

its colonies. The Dutch colonial archi-

guava. Gedung Sate itself is only a small

tecture is Dutch architecture that was

part or about 5% of the Dutch East Indies

developed in Indonesia when Indonesia

“Civil Government Office Center Complex”

was controlled by the Dutch around the

which occupies an area of 27,000 square

beginning of the 17th century until 1942,

meters in North Bandung (Harastoeti

as written by Djoko Soekiman in Indies

DH in 100 Cultural Heritage Buildings in

Culture from the VOC Age to the Revolution

Bandung, 2011).

(2011). The most prominent feature is the symmetrical facade and floor plan of the building as well as the entrance gate with two doors.

These buildings are evidence of the ongoing process and stages of development and growth of the city of Bandung. The Dutch colonial government through

Data from the Bandung City govern-

“The International Congresses of Modern

ment states that there are at least 1,700

Architecture” (CIAM) in 1931 appointed

cultural heritage buildings in Bandung,

Bandung as a prototype of a colonial city

one of which is the headquarter of PT Pos Indonesia, which is located in the

VOL. 11, 2021 INDONESIANA 99

Indonesian Postal Museum visitor Jessika Nadya

in the world, as quoted by Rizky Pratama in Cultural Heritage Building on ABC Street Area in Bandung (2019).

Postal Information Kiosk - Jessika Nadya.

Similar to Gedung Sate, the PT Pos Indonesia building was also designed by architect Ir J. Berger. It took up to 2,000 workers to build it, and among them, about 150 workers came from Confucian or Cantonese China who were skilled carpenters and stone carvers in their country. The Dutch architect, Dr.Hendrik Petrus Berlage, said that the design of the Central Indies Civil Administration Office complex in Bandung was a gargantuan work.

was revitalised. On 27 September 1983,

books, visualisations, and dioramas of

to coincide with the 38th Postel Service

posting activities, colonial-era clothing, a

Day, the Minister of Tourism, Post and

statue of a Pos Indonesia figure, Mas Su-

Telecommunications Achmad Tahir

harto, a postal officer who was kidnapped

changed its name to the Postal and Giro

by the Dutch.

Museum, which later changed again in 1995 to the Indonesian Postal Museum.

From Stamps to Manuscripts One of the museum’s collections that are

The postal museum has existed since

still known today is stamps. The number

the Dutch East Indies era in 1933 under

has reached 131,000,000 pieces from

the name Pos Telegraph and Telephone

Indonesia and 178 countries since 1933.

(PTT). During World War II until the

In addition, there are 200 collections of

Japanese era in Indonesia in 1942, the

various pieces of equipment, such as

museum was neglected and continued to

package scales and stamp printing tools,

be neglected until the end of 1979. It was

securities papers, mail carriers, and even

only in the early 1980s that the museum

manuscripts. Other collections include

100 INDONESIANA VOL. 11, 2021

We entered the museum accompanied by Pak Cucu, the building guard. The museum is closed on Sundays, and the guides are off, but we were allowed in. We started down the stairs and had our first sight: a photo of Governor General Gustaaf Willem Baron van Imhoff, Founder of the Batavia Post Office (founded on 26 August 1746), which was also the first post office created by the Dutch East Indies. Going down the stairs again, we found several old pieces of equipment

such as a stamp transaction machine

Collections that are also very valuable

Reproductions of the golden letters of

with 50, 100, 500, and 1,000 rupiah notes

are several manuscripts in the form of

these kings, including those from Aceh,

and a manual package scale.

letters from the kings of the archipelago

Riau, Lingga, Palembang, Banten, Yogya-

to British officials which are framed in

karta, Banjarmasin, Ambon, and Ternate,

glass and displayed on the walls of the

as well as ancient texts from Batak, Ma-

museum. One of them was a letter from

lay, Sunda, Java, Madura, Bali, Bugis, and

the last king of the Riau-Johor kingdom,

Makassar were exhibited in 1991. The

Sultan Mahmud Syah, to Raffles in 1811,

manuscript exhibition was a collaboration

which stated that a warship would be

between the British Library London, the

sent fully armed to assist the British

National Library of Indonesia, and Pos

troops. The letter is written in Malay

Indonesia.

If we turned left, we could see the nostalgic paddle bikes and mail delivery motorbikes. Some of the stamp collections are displayed on wooden boards that are protected by glass so that they can be seen directly. However, some collections can only be seen with the help of officers, because the collections are attached to vertically attached boards resembling a wooden cupboard measuring 1.5 x 1 x 2.5 metres.

using Jawi letters on English paper. From Lingga, Engku Sayid Muhammad Zain al-Kudsi, advisor to Sultan Mahmud Syah, also sent a letter to Raffles in 1811. At

One rare collection is the world’s first

that time, the Riau, Lingga and Pahang

postage stamp drawn by Queen Victo-

regions were under the control of the

ria. The stamp, named The Penny Black,

Kingdom of Johor, which was ruled not

was issued by the British government in

only by the sultan from Malay but also

1840. However, the idea of using postage

the prince from Bugis, who was even

stamps as a replacement for mailing

more influential. The London Treaty of

costs had been conceived long before

1824 stated that the Malay peninsula and

that, namely on December 3, 1795, by Sir

Singapore were separated from Sumatra

Rowland Hill, a senior officer in the British

and Riau Islands, which divided Riau and

Tax Service.

Johor into two.

Such was our visit to the museum. The past seems to be real again, filling the memory of our present. History tells the story through its collections. Not merely romanticizing but making it a foothold for improvement and goodness in the future. Let’s go to the museum! (Susi Ivvaty and Jessika Nadya, Editors of Indonesiana Magazine).

Package scales Jessika Nadya

VOL. 11, 2021 INDONESIANA 101

FIGUR

Umbu Landu Paranggi:

The Master Who Live Among the Wind’s Umbu Landu Paranggi, the mysterious maestro passed away on April 6, 2021, in Bali. The literary world of the country is in mourning. Umbu was not as famous as his pupils like Emha Ainun Nadjib or Linus Suryadi because he chose to stay away from the “light”. Many people could only hear his name from reading the works he created in the ’70s and ’80s. And they’re not easy to find either. Indonesiana magazine has chosen Umbu to feature in our Personality section so that his name is inscribed here as an archive or a kind of record, as well as to remember his absolute dedication to the advancement of his poetic art.

mha Ainun Nadjib once joked,

The joke shows how prestigious the

“A poet whose poetry has been

poetry section of “Sabana “magazine was

published in “Sabana” is like

in the eyes of the young poets of Yogya-

he/she has gone on a pilgrimage and

karta at the time. Although Pelopor Yogya

those whose poetry has been published

was just a local media, the Sabana section

in Horison is as if they have already

was regarded as no less prestigious than

completed the Isra Mikraj.”

those of national literary magazines such as Horizon and Budaya Djaya.

102 INDONESIANA VOL. 11, 2021

But what made Pelopor Yogya so prestigious? It was due to a former literary editor of the magazine, Pelopor Yogya, based on Jalan Malioboro 175 A, Yogyakarta, who was a highly respected personality in the world of Indonesian poetry. He was Umbu Landu Paranggi, a

The discussion groups grew so large that

the streets, in the market, and the alleys

their discussion session could no longer

of life. Those moments must then be

be held just once a week but it had to be

immortalised into strong prose and tell

held almost every night, and it took place

their own story.

along Jalan Malioboro. PSK developed into a place to read, write, and discuss without the limitation of time.

Emha once told me that almost every night he was invited by Umbu to walk a distance of about 15-20 km along the

Umbu was a detailed teacher. He was so

streets of Yogyakarta. Once or twice a

detailed and intense that he was able to

month, Umbu even walked to Magelang,

nurture young, budding writer wannabes

to Klaten, to Wates, to Parangtritis to

to become classy, celebrated poets. He

train his senses and increase his life

was later dubbed the President of Ma-

experiences. Not only once or twice did

lioboro. Umbu taught the young, aspiring

Umbu suddenly appear at his boarding

poets of Yogyakarta to travel on foot to

house in the middle of the night and take him out to walk on foot to capture those poetic moments. Emha added that Umbu was also active in encouraging PSK members to organise literary camps or literary readings in various locations, ranging from the hillsides outside of Yogyakarta, the banks of the Code River, the outskirts of Progo River, the Gajah Wong River to

poet born in Sumba, August 10, 1943. For Indonesia’s literary world, Umbu was a mentor, teacher, inner sharpener, as well as an advisor for many

Di bekoerajalah kau bagi nyawaku waku

poets. Umbu trained and produced many poets who are active in Yogyakarta and also at the national level, such as Emha Ainun Nadjib and the late Linus Suryadi Agustinus. It was on the second floor of the Pelopor Yogya magazine editorial office that on March 5, 1968, Umbu formed the Persada Study Club (PSK) poet community. This learning community formed by Umbu then emerged as the organiser of discussions and workshops to hone writing skills. The community initially gathered every week and at each meeting, the members were invited to read their work in front of the others to then be given criticism and input by Umbu.

the far corners of the city of Yogyakarta to train their senses and intuition. Umbu emphasised that literature is life and to become a good writer, one must start from experience. He invited his students to capture poetic moments which they

suny agi nya b u a k h a l a j r e k risau sunyi be lah kau bagi nyawaku kerja risau sunyi be lah kau bagi nyawaku i kerja risau sunyi be u bagi kau bekerjalah suny awak risau risau ny i kau bekerjalah sunyi bag risau nyawaku i kau bekerjalah sunyi bag risau nyawaku i kau bekerjalah sunyi bag risau nyawaku Kauku

could only oversee closer by walking. These moments can only be obtained by paying attention to the little things on

VOL. 11, 2021 INDONESIANA 103

All illustrations are sketched by Zul Lubis

mosques, Islamic boarding schools and

poets whose poems are considered ma-

rubric became lively because it provided

markets.

ture. Umbu stated that those who could

a space for literary discussions between

break into the “Post Budaya” category

the authors, the readers and the critics.

In 1975, Umbu disappeared from Yogyakarta until in 1979 he appeared in Bali. There he did the same as what he had done in Yogyakarta. He looked for the hidden talents of young Balinese poets and then sewed, weeded, and cultivated them. Therefore, Balinese poets from the 1980s to 2000s were generally born of Umbu’s fruit of labour done through the poetry section in the Bali Post newspaper. At Bali Post, Umbu divided the poetry section into four categories, (1) “Pawai” for beginners who are just learning to write poetry, (2) “Kompetisi” for poets whose poetry is considered good and ready to compete with other poets of the same level, (3) “Penyair” is for those whose poems were ready to be contested outside Bali, and (4) “Posbud” or “Pos Budaya” for

104 INDONESIANA VOL. 11, 2021

were those whose poems were at the same level as the poems of nationally-recognised poets published in Horison. Umbu also created a “Solo Run” category for poets whose works were featured in one full page of the newspaper and this highest category was very difficult to break into.

In the 2000s, Umbu added more rubrics such as “Posis” or “Pos Siswa” to accommodate high school student writings and “Posmas” or “Pos Mahasiswa” to accommodate university student writings, and “Pos Solo Run” for writers whose poems deserved a treatment no unlike a solo exhibition. In addition, Umbu also

Wayan Sunartha, a Balinese poet,

provided space for teachers who liked

explained that Umbu’s ranking system

to write short essays. There were times

“bewitched” young Balinese and ignited

when poetry and prose in the Balinese

their passion to write poetry. It didn’t stop

language appeared and Umbu included

there. Umbu often encouraged the poets

these works in the pages of his literary ru-

whose poems had just broken into the

bric as a form of appreciation for regional

“Pawai” and “Competition” categories so

literature.

that they could write better through writing essays and poetry criticisms on the works of these young writers. This literary

Umbu was not the type of literary editor who just sat behind a desk. He ran his editorial department according to the

concept of “turba” or “turun ke bawah”

him through a friend of a friend, but I

man on a horse looking around the vast-

[getting your own hands dirty with doing

couldn’t take a picture. He refused, and

ness of nature around him. The man is

the work yourself]. Umbu often invited

I couldn’t help but smile in agreement.

Umbu. In my imagination, he dominates

young Denpasar poets to explore the

However, we did have time to talk, or

the whole scene and is therefore capable

life of Pasar Kumbasari which was open

rather I heard him speak. It was more like

of moulding it into anything. The rocky

24 hours to pay attention to the little

small talk, not really an interview.

ground, the clumps that grow here and

things that took place there. Not only in Denpasar but Umbu also descended to the other districts around Bali. Umbu even scheduled regular meetings to hold regular poetry appreciation sessions at these outer districts. Unexpectedly, in Jembrana and Singaraja, literary workshops appeared. Umbu also managed

Sapardi Djoko Damono, in a book, wrote, “Every time I remember Umbu, I like to imagine a savanna that stretches between a hilly land and the sea whose end is somewhere far away over the horizon. There I imagine horses roaming, and

there, the grass, the footpaths of horses, and everywhere. Faraway, the sea is always turbulent, shouting eternal voices to the silent land which is occasionally disturbed by the neighing of horses. Umbu, in my imagination, is that freedom.”

from a distance, I see a prince, a sturdy

to give life to literary appreciation and creation in remote villages in Bali, such as Marga Village in Tabanan. Umbu was a highly skilled and extremely talented poet, especially in creating lyrical rhymes. However, he seemed to enjoy being a teacher for young poets more. Umbu was happier to see that his pupils could write better poems than even those he wrote himself. He forgot his own career and works as a poet to further grow the poems of others. He was a pioneer, educator, and teacher who produced strong, capable wordsmiths. Until the end of his life, Umbu was known as a poet whose house was among the winds. No one knew where his permanent residence was. Umbu resided wherever he liked. Anywhere could be home for him. He rarely agreed to attend art events, even though he was specially invited. But, as Wayan Sunartha said, he would appear out of the blue if the event caught his attention, or he would just observe the event from a distance or from behind the “shadows”. I also had difficulties meeting Umbu. When I heard that Umbu would be somewhere, I went and waited a few days for the interview. I was finally able to meet

Apa Ada Angin di Jakarta Apa Ada Angin di Jakarta Seperti dilepas desa Melati Apa cintaku bisa lagi cari Akar bukit Wonosari Yang diam di dasar jiwaku Terlontar jauh ke sudut kota Kenangkanlah jua yang celaka Orang usiran kota raya Pulanglah ke desa Membangun esok hari Kembali ke huma berhati Sebagian tulisan ini pernah dimuat di buku “Anugrah Kebudayaan Indonesia 2020.”

VOL. 11, 2021 INDONESIANA 105

Being Indonesians Zul Lubis.

106 INDONESIANA VOL. 11, 2021

Bhinekka (diversity) Zul Lubis.

VOL. 11, 2021 INDONESIANA 107

TIDAK UNTUK DIJUAL

Kementerian Pendidikan, Kebudayaan, Riset, dan Teknologi Republik Indonesia Direktorat Pengembangan dan Pemanfaatan Kebudayaan Gedung E. Lt. 9, Jl. Jenderal Sudirman Kav. 4-5 Senayan, Jakarta 10270

108 INDONESIANA VOL. 11, 2021

(021) 5725534 (021) 5725534 indonesiana.diversity@gmail.com http://kebudayaan.kemdikbud.go.id

Indonesiana Vol. 11 The Charms of Indonesian Culture

Articles inside

Correspondence Memory: Kring… Kring Pos

Returning FFI to the People

Waiting for Carita Pantun’s Documentation Generation

Understanding Jakarta as a Symbolic Space

Beautiful Prehistoric Rock Art in Misool

PERPEDUUR: As Expensive as Bangka White Pepper

The Healing Power of Borneo Camphor in Various Archi pelago’s Manuscripts

Spice Trading Network in Tomini Bay

Environmental Conservation Through Sanggring Ritual

Serampang Duabelas…Your History Before, Your Story Now

Spice Treasures in A Bowl of Coto

Gringsing, Weaving Balance

The Importance of Zoning in Dieng Temple

Catching Dew in Pitu Village

Restoration Continues in the Prambanan Temple Area

“Ma’a Ta’a”, the Joy of Hendea Residents

Gondang Toba Melodical Prayers

Gardening and Gratitude in Talaud

Cross-Border Acculturation in Paya Dedep Village

The Potential of Songah Art in Citengah Village