Indonesiana Vol. 10 The Charms of Indonesian Culture by Indonesiana Majalah

10 VOLUME

2021

THE CHARMS OF INDONESIAN CULTURE

CULTURAL WAY FROM JATISURA VILLAGE COLONIAL TRACES IN A CUP OF BAJAWA COFFEE INCOMPLETE WITHOUT DODOL

ISSN 2406-8063

772406

806005

2021, VOL. 10 INDONESIANA 1

N AT 1 NORTH SUMATRA

RIAU ISLANDS

IONAL CUL TURAL HERITAGE by PROVIN C E

NORTH SULAWESI

WEST KALIMANTAN

EAST KALIMANTAN

2 NORTH MALUKU

SOUTH SUMATRA WEST SUMATRA

SOUTH KALIMANTAN

BABEL ISLANDS

ULTURAL HERITAG C L A ES ATEGOR ON B Y CSTRUCTURES Y

EAST JAVA

2 1

SOUTH SULAWESI

3 WEST NUSA TENGGARA EAST NUSA TENGGARA

WEST JAVA

12 WEST S UM AT

2 National Cultural Heritages are located in DI Yogyakarta and Central Java

BUILDINGS

SITES

Legal Basis Law of the Republic of Indonesia Number 11 of 2010 about Cultural Heritage

AREAS OBJECTS

Indonesian Cultural Heritages which has been recognised as UNESCO World Heritage List CENTR

CEN

A JA

2 INDONESIANA VOL. 10, 2021

Sangiran Early Man Site in 1996

Data source: Directorate of Cultural Protection as of April 2021 Processed by: Directorate of Cultural Advancement and Utilization

Cultural Heritage Sites or Cultural Heritage Areas located in 2 (two) or more provinces are designated as Clause national Cultural Heritage. (CHAPTER VI Clause 34 Article 2, UURI No. 11 Year 2010)

in 2019

Cultural Landscape of Bali Province: the Subak System as a Manifestation of the Tri Hita Karana Philosophy in 2012

AVA AL J TR EN

(CHAPTER I Clause 1 Article 20, UURI No. 11 of 2020)

Ombilin Coal Mining Heritage of Sawahlunto

GYAKAR DI YO TA

National Cultural Heritage is a National Cultural Heritage that has been designated by the Minister as a national priority.

BALI

NAT I

CENTRAL JAVA

Prambanan Temple Compounds

Borobudur Temple Compounds

in 1991

F O REWORD Restu Gunawan Director of Cultural Development and Utilization Directorate General of Culture

The Cultural Advancement Village Programme the Cultural Advancement Village

is only enjoyed and seen, without being

Indonesiana Magazine Volume 10 of 2021

programme. This programme is carried

developed and used. The village is our

can be presented in front of our

out to rediscover the potential of

smallest form of society. If village culture

esteemed readers. With the public’s

the village so that its community can

is developed, then Indonesia will also

appreciation and enthusiasm for the

develop and use it for welfare through

progress, because national culture is

previous volume of Indonesiana

strengthening the cultural ecosystem.

formed by a collection of cultures that exist in the village.

Praise be to God, alhamdulillah

Magazine, the Indonesiana Magazine

The paradigm of development based on

Editorial Team has given their best so

culture should start from the smallest

that this magazine can be published

unit in Indonesia, namely the village.

archipelago that have been recorded and

with various obstacles and challenges

Cultural interactions that store life values

illustrated in Indonesiana Magazine

that currently remain, especially

are themselves born, grow, and develop

volume 10, are evidence of the

amid an unfortunate condition where

naturally in village communities. This

commitment of the Directorate General

Indonesia is still hit by a pandemic

is in accordance with Article 4 of Law

of Culture, Ministry of Education, Culture,

until now. This year’s Indonesiana

No. 6 of 2014 concerning Villages which

Research and Technology, through

Magazine is published in two languages,

states that one of the objectives of village

programmes that are supervised by the

namely Indonesian and English. The

regulation is to preserve and promote the

Directorate of Cultural Development

presence of Indonesiana Magazine vol.10

customs, traditions, and culture of the

and Utilization in carrying out cultural

is expected to be a medium of cultural

village community.

missions that refer to the Law on

diplomacy that introduces and

Currently, the villages in the country

Various cultural stories in the

the Advancement of Culture No 5 of

disseminates information on cultural

still have a wealth of local culture that

2017. Hopefully, this reading will be an

wealth from various regions in Indonesia.

needs to be re-excavated, preserved

inspiration for every reader, especially

and most importantly passed on to the

the people of Indonesia, to continue to

nation possess comes from the village.

younger generation. Each village has

contribute to the advancement of our

Since 2020, the Directorate General

a historical story, objects of cultural

culture, appreciating works from various

of Culture through the Directorate of

advancement, as well as a unique cultural

regions in Indonesia, and maintaining the

Development and Culture has started

heritage. But this is certainly in vain if it

flame of our culture.

One of the varieties of cultures that our

2021, VOL. 10 INDONESIANA 1

10 VOLUME

2021

THE CHARMS OF INDONESIAN CULTURE

Advisor HILMAR FARID Director General of Culture Project Director RESTU GUNAWAN Director of Cultural Development and Utilization Managing Director & Editor in Chief BINSAR SIMANULLANG Managing Editor SUSI IVVATY Editors MARTIN SURYAJAYA ALFIAN S. SIAGIAN Photo Editor SYEFRI LUWIS Design & Layout RAFLI L. SATO Photographers JESSIKA NADYA OGESVELTRY YUDHI WISNU ARYANDI Project Administrators DIRECTORATE OF CULTURAL DEVELOPMENT AND UTILIZATION CULTURAL DEVELOPMENT WORKING GROUP

Ministry of Education, Culture, Research and Technology Republic of Indonesia Directorate of Cultural Development and Utilization Building E. 9th Floor, Jl. Jenderal Sudirman Kav. 4-5 Senayan, Jakarta 10270 (021) 5725534 (021) 5725534 indonesiana.diversity@gmail.com http://kebudayaan.kemdikbud.go.id

Indonesiana magazine aims to promotion of Indonesian culture, and is not traded. Comments on articles, photos and others are addressed to: indonesiana.diversity@gmail.com

Front cover: Labor-powered style of Jatisura tile factory. (Photo: Pandu Rahadian) Back cover: Caci dancer and Songke weaving. (Photo: Dodi Sandradi)

2 INDONESIANA VOL. 10, 2021

Greetings In Indonesia, talking about the village means talking about all of us: me, you, us, him, them. Some of us may have never been to a village, let alone lived in one, but our parents come from a village for sure. Maybe our parents never lived in a village, but our grandparents, or our great-grandparents, were definitely villagers. The urban area was formed along with the decrease of agricultural land in rural areas. Then the term village-city emerged (Terry McGee, “The Mega-Urban Regions of Southeast Asia”, 1995), to refer to villages that are increasingly “urbanised”, villages that support cities, villages on the outskirts of cities, villages with an economy that grows along with the decrease of agricultural land and developing transportation technology. Can an area like Batu, in Malang, for example, be called a city, or a village-town? Many describe the village in a romantic way, that the village equals harmony, a source of peace. “My beautiful village ....”. However, life in the village was not always the case. Santet, gendam, tenung and other forms of witchcraft and black magic also come from the village. Not long ago, there was news about a witchcraft festival. Poverty has also torn villages apart, as described by Odesa.id, as can be seen in several areas in West Java. Many villages are still culturally poor because they lack moral, economic, artistic and scientific values. We already have the Village Law Number 6 of 2014. The purpose of this regulation is to give recognition and respect to existing villages (villages and custom villages) with their diversity before and after the formation of the Republic of Indonesia and to preserve and promote customs, traditions, and the culture of the village community. Therefore, the Directorate General of Culture of the Ministry of Education, Culture, Research and Technology is obliged to participate in advancing village culture, building villages according to residents’ ideals of their villages, to discover and recognise the potential of the village from the perspective of its citizens. Community empowerment involves the active role of the member of the community as a subject or agent of development, not just an object or beneficiary. For this reason, Indonesiana Volume 10 is here, which is to appreciate and promote villages that have been, are, and will advance their villages, including those that have been facilitated by the Ministry of Education, Culture, Research and Technology. The village of cultural advancement is present as the main topic of this edition that you are reading, presenting portraits of several villages such as the Village of Cambai in Bangka Belitung, Piji Wetan Kudus in Central Java, and Jatisura Majalengka in West Java. This fine culture magazine of the directorate is here to socialise and promote the programmes and policies of the various directorates of the Directorate General of Culture. The cultural columns are present to discuss about of the advancement of culture in accordance with the Advancement of Culture Law Number 5 of 2017. You will be able to read a variety of cultural articles that are insightfully profound but presented lightly on subjects such as traditional games, traditional technology, oral traditions, art, rituals, customs, wastra, culinary delights, and many more. Make sure that you do not miss our discourse on the spice route which is currently the flagship programme. We hope that your reading experience will be even richer with Indonesiana. Happy reading. Editor-in-chief

M ESS A G E Hilmar Farid Director General of Culture Ministry of Education, Culture, Research and Technology Republic of Indonesia

he village is the granary of

level. Without serious attention to the

may or may not produce a broadening

Indonesian culture. Almost all

village cultural ecosystem, we will lose the

of impact. Such work for the promotion

forms of cultural expressions that

raw materials of our national culture.

of village-level culture should be

exist today take their raw materials from

An important step to encourage the

consolidated into a joint action platform

rural life. Almost all of our traditional

promotion of culture at the village level

that allows mutual assistance and mutual

wealth comes from village origins, namely

is to review what initiatives have been

care so that good steps taken in one

all the insights and cultural treasures that

taken by villagers throughout Indonesia

village can be welcomed by good steps in

have been practised from generation to

in addressing development challenges. A

other villages.

generation at the village level. It is from

number of villages have sought cultural

this extraordinarily rich cultural raw

approaches to solve these challenges,

publication of Indonesiana Magazine

material that various forms of response

such as exploring the potential of oral

Volume 10, which raises the richness of

to modern culture are formulated. The

traditions, reinterpreting various cultural

initiatives to promote culture from the

city is the site where that response

heritages and intangible cultural heritage

village level. Various articles have been

manifests. But it is from the village that

belonging to the village, or utilising art

compiled here in the spirit of revitalising

the raw materials for our traditional

as a means of inter-village friendship

cultural promotion initiatives at the

culture are produced and reproduced.

that supports socio-cultural resilience.

village level. Hopefully, through this

Without these raw materials, modern

These steps prove that culture can play

reading, we all get inspiration to continue

culture cannot be adapted into our

an important role in the realisation of the

to advance culture and re-empower the

national culture.

ideals of sustainable development.

cultural wealth that is stored like treasure

Reflecting on this reality, it is not wrong

These good initiatives need to be

For this reason, I welcome the

in our villages. The hope is that in this

to say that the village is the course of

echoed to be an inspiration to the public.

way the village as the granary of national

cultural advancement. All efforts to

Because the main challenge of such an

culture can be more advanced and

protect, develop, utilise and foster in the

initiative is to maintain sustainability.

forward to produce the maximum benefit

field of culture will not be sustainable

Without extensive publication and

for the people of Indonesia.

without starting them from the village

systematic networking, these initiatives

2021, VOL. 10 INDONESIANA 3

C O N T E N T S MESSAGE 1

Director of Cultural Development and Utilizationn Directorate General of Culture

Director General of Culture

CULTURAL SECTION TRADITIONAL KNOWLEDGE 48

INDONESIAN TEXTILE

MAIN FEATURE 6

The Village is the Heart of Culture

The Rise of Kawasaran in Minahasa

Cultural Way from Jatisura Village

Caring for Each Other in Piji Wetan Village

Humanitarian Teachings from Five Mountains

Pepper and Cambai Village Identity

Baduy Women Support Their Village

EVENT 34

Pantun Becomes an Intangible Cultural Heritage

Music Day and Its Challenges

Spice Route: Building a New Healthy Civilization

Ka Sa’o Ceremony: Thanking the Ancestors

4 INDONESIANA VOL. 10, 2021

Colonial Traces in a Cup of Bajawa Coffee

The High Demands for Songke Motifs

MANUSCRIPT 60

Asmarandana Kangsa Adu-adu

FOOD TOURISM 64

Gorontalo’s Unique Taste and Panoramic Scenery

PERFORMING ARTS 68

Pakarena: A Non-Harmonious Synchronization

FILM 72

After 46 Years: Film and Film Criticism

CULTURAL SECTION ARCHITECTURE

CULTURAL SECTION CULTURAL HERITAGE 76

Crafting Pantun Is Not Merely Matching Sounds

CULTURAL HERITAGE 80

100

ORAL TRADITION 106

Examining the Shipwreck at Enggano

The Fading Popularity of Manten Kucing Ritual

TRADITIONAL GAMES

HISTORY

Playing Engklek, Looking for Fun

110

TRADITIONAL TECHNOLOGY 88

Missing Uma Dadoq Dayak Kenyah

Sopi, Palm and Life

Lasem’s Story of Diversity

FIGURE 114

Tisna Sanjaya: Pursuing an Empowering Art

TRADITIONAL FOOD 92

Incomplete Without Dodol

MUSEUM 96

Tracing History at Huta Batak TB Silalahi

2021, VOL. 10 INDONESIANA 5

M A I N F EAT U R E

In the last two to three decades, the lives of Indonesian people have been affected by various global upheavals and changes that have played a major role in the development of today’s culture. Climate change, the economic crisis, and the pandemic that is still going on strong for over a year now are the top three of the many world upheavals that make culture breathless. Climate change that has led to many natural disasters, economic crises that have resulted in a scarcity of raw materials for cultural production, and pandemics that have limited human social activities, all bring about a gloomy view of the future of culture.

THE VILLAGE IS THE HEART OF CULTURE 6 INDONESIANA VOL. 10, 2021

photo: Directorate General of Culture

photo: Desa Camba Creative Community

owever, one big change brought

awakening of the spirit of social

about by the information and

solidarity towards victims of natural

communication technology

disasters has been mobilised in such a

revolution cannot be ignored. A change

way by Twitter microblog users during

that later formed the style of today’s

the Merapi volcanic disaster several

culture. Variety of television stations,

years ago. Likewise, social solidarity as

internet and mobile phone technology,

a result of the pandemic has succeeded

and the last peak was various social

in growing community initiatives and

media applications, all of which make

participation to build independent

people everywhere connected, sharing

health facilities. There is also social

works and expressions. In short, this

solidarity with cultural actors hit by

development has not only opened

the pandemic, which is driven by the

people’s eyes and minds to a variety

biggest online performance at the 2020

of world information but also brought

National Cultural Week. In short, this

people to a new imagination about

technological development movement is

culture, at least a new cultural space,

growing optimism every day.

namely a virtual cultural space. This development of technology

Cambai Village, Namang District, Regency Central Bangka, where the lion's share of the people working as a agriculturist.

Dadak: manual weeding between rice plants, usually done by women with the aim that weeds do not interfere with the growth of rice plants. Two women working within the areas, within the village Penanggungan, Trawas Area, District Mojokerto, East Java Province.

Indonesia as a country with a variety of cultures formed by 1,340 ethnic groups

also accommodates a kind of positive

and 718 regional languages, plus a variety

“impact” of global changes. The

of landscapes and biodiversity, has

2021, VOL. 10 INDONESIANA 7

indeed absorbed and adopted various

strengthening national identity;

members, and village communities are

technological developments. Including

strengthening the unity and integrity of

the parties who best understand the

absorbing the various foreign cultures

the nation; enriching the life of a nation;

needs and challenges of their village in

brought in by technology. For example,

improving the nation’s image; creating a

advancing the village culture. That is,

flash mob dance, Korean dramas, K-Pop,

civil society; improving people’s welfare;

the village is a cultural subject that has

and even the Korean language are

preserving the nation’s cultural heritage;

the authority to regulate and manage

now quite popular among the younger

and influencing the direction of the

village culture. The management of

generations. American hip hop dance

development of world civilization, so that

the promotion of village culture is

style is still in demand.

later culture becomes the main direction

carried out in a participatory manner

of national development.

by strengthening the village community

Then what about Indonesian culture amid these various developments? Article

To achieve this goal, it is necessary to

as the subject of development so

32 of the 1945 Constitution mandates,

build a development paradigm based

that it is not just a cultural object that

“The state advances Indonesian

on culture from the smallest unit,

is continuously regulated and given

national culture amid world civilization

namely the village. Why the village?

instructions.

by guaranteeing the freedom of the

Because the village contains cultural

people to maintain and develop their

interactions and stores values of life. It

culture is Indonesia’s answer to various

cultural values.” Based on this mandate,

is the place where culture itself is born,

global developments that often make

Law Number 5 of 2017 concerning the

grows, and develops. Article 4 of Law

the Indonesian people feel eager to

Advancement of Culture states that

no. 6 of 2014 concerning Villages states

accomplish worldly achievements,

the promotion of culture is an effort

that one of the objectives of village

but do not have strong enough roots.

to increase cultural resilience and the

regulation is to preserve and promote

The promotion of village culture does

contribution of Indonesian culture

the customs, traditions and culture of

not only protect, develop, and utilise

amid world civilization through the

the village community. Consequently,

traditional things, but also dialogues the

protection, development, utilization, and

the development of culture cannot be

present with the traditional. Beksan’s

advancement of culture.

separated from the development of

flash mob in Yogyakarta some time

society.

ago was a form of collaborative display

Furthermore, in Article 4 of Law no. 5 of 2017, it is stated that the

Thus, the promotion of village

The Law on Advancement of Culture

between the modern and the traditional.

advancement of culture aims to

positions the society as the owner and

Likewise with various village festivals

develop the noble values of the nation’s

the driving force of the national culture.

that are managed professionally, with

culture; enriching cultural diversity;

The village head, village officials, BPD

promotions that utilise social media

photo: Directorate General of Culture

“Two women carry a jar filled with water and a bundle of wood menyunggi style” menyunggi: carrying things by placing them on top of the head.

8 INDONESIANA VOL. 10, 2021

photo: Directorate General of Culture

The beauty of rice fields in Tumpeng Mountain’s valley.

platforms. All of this fosters not only the

attribute. Therefore, the village becomes

possibility of increased welfare but also

empowered not because of government

cultural resilience.

assistance, but because of the ancestral

Indeed, the reality of village

heritage that is manifested in the right of

development, unfortunately, is often

origin, along with other cultural treasures

trapped in misguided infrastructure

in the village that have not been recorded

matters such as building roads, buildings,

in village documents but live in the

or procuring tools that can be purchased

memories, knowledge, and experiences

in a short time. This is not the case with

of the villagers.

development through the promotion of

If the young generation of the village

village culture. Just like in the agricultural

understands the history and intricacies

world, the development of village culture

of their village life, they can find a way

must be based on the seeds of culture

to develop their village. Villages should

that must be planted, weeded, and

no longer be sites of backwardness, on

fertilised, so that they can be harvested at

the contrary, villages are the origins of

a later date. Cultural advancement must

all civilizations of the archipelago, and

be included in the paradigm of resilience,

Indonesia is then built, strengthened until

not a defence.

it is time to be empowered. The village is

It is important for every village in Indonesia to see their authority based

the heart of Indonesian culture. (I Gusti Agung Anom Astika)

on the right of origin, not just a formal

2021, VOL. 10 INDONESIANA 9

The Rise of Kawasaran in

Minahasa

At the end of the 20th century, a crisis plagued the Minahasan people. The cultural traditions of their various tribes, which have now been “separated” into seven regencies and cities in North Sulawesi Province, are starting to disappear under globalization. One of them is kawasaran. A vessel that holds a lot of values, the knowledge inherited from the ancestors is increasingly being abandoned. However, in the early 2000s, a glimmer of hope emerged from Warembungan. One wanua (village) located in Pineleng District, Minahasa

10 INDONESIANA VOL. 10, 2021

Regency, North Sulawesi Province, is the hometown of an important figure in the rise of kawasaran in today’s Minahasa: Rinto Taroreh. It is also the birthplace of the Waraney Wuaya Indigenous Community. Kawasaran is a part of a ritual known as mahasasau. A very important ceremony for the Minahasa tou (people). Kawasaran comes from the word kawak which means “to protect” and asaren which means “the same as”. So, kawasaran means to be the same as our ancestors in the past, to be the protector of the land, the protector of the country, the protector

of life. Kawasaran later became a dance movement to imitate the ancestors who became the protectors of the country, the protectors of life. In today’s Minahasa community, the kawasaran dance is usually played in three rounds. The first act is called sakalele. Saka means war or fighting each other, and lele is the people chasing each other, but not in a playful way. Minahasan ancestors used the word mahleleleley to refer to the act chasing each other to kill. When shortened to lele, it means a war movement that chases each other to kill. It is a manifestation of

photo: Jimmy Pontoh. https://www.shutterstock.com/g/Jimmypontoh

M A I N F EAT U R E

the stories of the past about resistance when their rights, dignity and respect were trampled on. The ancient Minahasan ancestors did it to preserve their existence. Not just to fight and kill in vain. The second act is kumoyak. Coming from the word koyak, it refers to the motion of swinging a sword, which is done so with a purpose. This movement is intended to calm the soul of the opponent who has been beheaded. In the past, usually the head of the opponent who came to threaten or attack was beheaded and then collected. After that, the ancestors made a circle and sang “soul songs” so that the deceased would rest in peace. Why were the heads separated? The Minahansan ancestors believed that evil thoughts resided in the head and therefore it must be separated and returned to Sang Khalik (The Creator). They believed that the human balance lied in the head and the heart. To cleanse a soul, the head and the heart, which is inside the body, must be separated. They believed that it would also return the balance of the order of nature. The third act is lalayan. It’s a dance of joy that tells the tales of how ancestors won the war and celebrated the victory, How they gathered friends and a lot of people to relive their victorious stories and share the spoils of war. Tradition of the Guardian of the Country and the Decline of Kawasaran Based on historical records and stories of the elders, Wanua Warembungan was founded by four Dotu (ancestors). Dotu Rori (walian = spiritual leader), Dotu Tinuus (war leader), Dotu Montororing and Dotu Tamandatu who were experts in farming and hunting (mangasuh). This wanua existed on the front line guarding the gateway for foreigners to enter Selebes in the past. In 1820-1830, these four figures moved out from from Lotta, the centre of Walak Kakaskasen government, and opened a

new settelement (tumani). It was because of the battlefield that there was a war expert who participated, namely Dotu Tinuus. As a waraney (warrior), he was awarded the title of mahupupis. He was famous for being able to take the heads of the enemies who were considered as threats to the Warembungan community. The tradition passed down by Dotu Tinuus was the tradition of Kelung um Banua (protector of the country or shield of the country). People like Tinuus are special people, who can help the heart (determine what’s really in the heart). No longer thinking about themselves, they put others first. They become warriors for their community. They are known as Waraney um Banua. The tradition of protecting the country, in the Dutch era, experienced suppression. Since the 19th century, everything was regulated by the colonial government., including the traditions of the local community. One of them was the tradition of mamuis (taking the enemy’s head) which had been practiced for hundreds or even thousands of years.

For the Minahasans, this was a problem, because the mamuis tradition or protecting their land was their life. However, the waraney tradition was eventually banned, because the Dutch government also saw this tradition as a serious threat to them. Over time, more and more restrictions have been made by the government. But the elders in Warembungan, at that time, had their own wisdom about how to maintain and preserve their traditions, knowledge that had been passed down for thousands of years by their ancestors. The elders saw an opportunity to keep that tradition. They kept it in art. Because art is relatively easier to be accepted by many people. So they created an art form that imitates (ba aju) the tradition of protecting the country from the elders.

Kabasaran dancer’s clothes are red in colour which symbolises courage and passion. Kabasaran dancers perform rituals in front of a Waruga before dancing.

photo: Fredy Albert - https://www.shutterstock.com/g/Fredy+Albert

2021, VOL. 10 INDONESIANA 11

photo: Fredy Albert - https://www.shutterstock.com/g/Fredy+Albert

The way to be one with the ancestors, or imitating what the old guardians of the country did, is called maasar. Asaran means to embody. This is the root of the word kawasaran. In Wanua Warembungan, the knowledge of mamuis, Kelung um Banua, Waraney um Banua, is carried by the Tinuus clan (later his descendants are known as Tinus). It is no wonder that the leader of the Kawasaran Warembungan has long been among the Tinus clan. The first leader was Laurens Tuerah (Tete Kilis). He was the leader of the first Kawasaran Warembungan in the late 1800s. Laurens Tuerah was proceeded by Marsela Sumarauw or Papa Tin. The oldest sibling of Oma Rinto Taroreh. Their father, Rulan Sumarauw, married Dina Tinus, grandson of Dotu Tinus. After Papa Tin, the next leader was Fredrik Moningka (Papa Erna) who was followed by Lambertus Koraag

12 INDONESIANA VOL. 10, 2021

(Om Bitu), then Alexander Lontaan, the current leader of Kawasaran Warembungan. To this day, the values passed on by the protectors of the Warembungan country are still preserved. This tradition seems to have been lost almost two decades ago. However, there are figures who saw the problem and have taken actions to tackle it seriously. The Spirit of Continuing Tradition Kawasaran, in fact, is a family tradition. In Minahasa, kawasaran is passed down from one generation to another although only in certain families. Rinto Taroreh himself learned about this tradition from his family. He has been learning about it from his grandfather, Papa Tin (a teterusan (leader) of Kawasaran in Wanua Warembungan at that the time), ever since he was old enough to attend elementary school.

At Warembungan itself, at that time, the kawasaran tradition was still preserved and was still sacred. This dance was only used in traditional ceremonies. In the 1980s, kawasaran in Warembungan experienced a “setback”. In the Sumarauw-Tinus family, the tradition was only performed by family members and most of them were elderly. When kawasaran in Minahasa experienced even more setback in the early 2000s, Rinto was worried about it. The ancestral tradition that is rich in value was in danger of being lost because it was no longer performed by young people. He convinced himself to talk to the leader of Kawasaran Warembungan who was still his father’s brother about how to recruit young people from outside the lineage of kawasaran performers in their wanua. This was an attempt to preserve the Kawasaran tradition. Because after a while, when the children no longer

Kabasaran dancers perform rituals in front of a Waruga before dancing in Minahasa - Pineleng. Kabasaran dancers are celebrating Indonesia’s Independence Day on August 17, 2016.

concerns, the same love for the traditions and culture Minahasa. They then united in a vision to explore, maintain and continue the cultural values inherited from their ancestors. It was this spirit that triggered the uniting of thousands of Minahasa tou in a movement and a forum which became known as the Waraney Wuaya Community. Initially, Rinto and the Waraney Wuaya Community formed cultural groups based on kawasaran. In the course of nearly 20 years, Rinto and the Waraney Wuaya Community have trained hundreds of schools. From kindergarten to elementary schools and even universities. They also train indigenous communities and various community organisations in North Sulawesi. The generations of 2006–2012, who trained and performed kawasaran together in the Waraney Wuaya Community, have now become coaches and leaders of the kawasaran groups

in Minahasa. One of the fruits of their cultural work is the existence of thousands of kawasaran dancers who are currently active in Minahasa. Rinto Taroreh is the awardee of the 2021 Indonesian Cultural Award in the category of conservator. According to him, the kawasaran tradition must be maintained. Why? There is an old Minahasa expression, “Sa re’ mo werun karengan, kaliuran tamo”. This means, “If it is not going to be made new (renewed), it will be forgotten”. In that sense, the flame of the spirit must be kept burning. It must be used continuously so that this ancestral tradition will not be forgotten. Because if we forget, we can get lost (kaleleran). “It’s the wish of the ancestors to continue to maintain traditions and to preserve that spirit. Even though our work is hard, if we are motivated, we can still do it,” said Rinto. (Mayske Rinny Liando and Rikson Childwan Karundeng)

photo: Jimmy Pontoh. https://www.shutterstock.com/g/Jimmypontoh

want to do it, kawasaran will cease to exist. With the blessing of Lambertus Koraag, the leader of Kawasaran Wanua Warembungan at the time, and Alexander Lontaan or Om Sande’ (known as Sarian in the present day), Rinto began to teach this family tradition to others. From 2003-2005, he began to intensively teach this family tradition to many people. Not only limited to Warembungan, but to other villages and to all corners of the Minahasa customary territory. Even outside of Minahasa. He is still doing this activity to this day. Rinto is not alone. When he started the movement, he tried to form a “common house” for people who shared the same

2021, VOL. 10 INDONESIANA 13

M A I N F EAT U R E

photo: Pandu Rahadian

14 INDONESIANA VOL. 10, 2021

Clay tiles factory in Jatisura Village.

2021, VOL. 10 INDONESIANA 15

photo: Pandu Rahadian

A bare-chested middle-aged man swiftly jumped onto the stage to the cheers of the crowd. He raised both his hands and flexed the muscles on his arms. His skinny body glistening under the Fresnel light but its brightness was overshadowed by the perfect white teeth that adorn the smile of this grandfather of two grandchildren. He picked up the twelve tiles piled up on the stage and lifted them aloft with only his left hand. Together with the thick white smoke rising from the fogger machine behind the stage, thousands of spectators cheered to witness the strength of this impromptu bodybuilder from Jatisura Village.

Ngotot, a bodybuilding competition among factory workers for the Jatiwangi Cup.

This is not a professional bodybuilding contest for big-city men who like to work out in the gym and take protein supplements in a gallon-sized bottle of mineral water. This is the 2019 Inter-Jebor Bodybuilding Competition which was held in Jatisura Village, Jatiwangi District, Majalengka Regency. This competition is held every year on August 11 to welcome the celebration of independence and is for the workers of hundreds of tile factories (jebor) in Majalengka Regency. Thirty winners will get prizes varying from 200 thousand rupiah to 1.5 million rupiah and the main winner will take home the Jatiwangi Cup trophy. The originator and organizer of this unique activity is an art community called Jatiwangi art Factory (JaF) which was founded by Jatisura villagers. Art from the Village The Inter-Jebor Bodybuilding Competition is just one of the exciting and unique activities that JaF has held with the residents of Jatisura village and neighbouring villages in the Jatiwangi sub-district. Such an initiative was initiated to anticipate the actual problems that arise in the villages within the Jatiwangi

16 INDONESIANA VOL. 10, 2021

Molding Indonesian roofs, the daily work of Jatiwangi clay roof tiles factory workers.

sub-district and its surroundings. Since decades ago, this area has been known as an area for producing clay tiles that are widely distributed throughout the country. However, hundreds of jebor or tile factories in Jatiwangi that have been operating since the 1970s have begun to experience a decline in demand due to the emergence of many modern tile factories that no longer use clay.

photo: Pandu Rahadian

To anticipate the economic decline of

come to visit each other to view the

villagers in Jatiwangi sub-district, Arief

work. This way, contemporary art is no

succeeded in making the villages in the

Yudi, an artist who has been working in

longer the monopoly of the cultural elite

Jatiwangi sub-district not only the centre

Bandung for a long time, returned to his

and the upper-class society, but becomes

of attention for the national art but also

hometown in Jatisura village and formed

a gathering place for rural communities.

a real example of how cultural power can

the JaF art collective with villagers and several other artists. Since its inception in 2005, JaF was

designed with art activism in mind has

revive the village economy. Culture as a Way of Development In the world development discourse

Through colossal participatory events such as the Tanah Liat Music Festival,

created as a community project for the

that is reflected in the Sustainable

JaF and Jatisura villagers managed to

people of Jatisura village. Different from

Development Goals (SDGs) and

organise the surrounding villages in

the usual art initiatives born in big cities

established through the UN resolution

Jatiwangi sub-district in a joint economic

and incubated in artists’ associations, JaF

in 2015, there is a culture-based

initiative. This initiative manifests

was born and incubated out of village

sustainable development agenda. In this

itself in an economic model based on

community deliberation forums. Even

conception, culture is seen as a driver

community cooperation. An example

so, JaF does not just repeat the village

and enabler for inclusive and sustainable

of a programme that resulted from this

development planning procedures

development. Various forms of cultural-

initiative is the Apamart programme, an

that are commonly held through the

based development planning projects

all-in-one folk bazaar initiative that trades

Musrenbang. JaF utilises contemporary

were held in various parts of the world

on everything, from local crafts, culinary

art methods to initiate various unique

as part of the agenda for the success of

delights, clay-based art, to vegetables

activities that can facilitate village

the SDGs.

grown by villagers. With such a variety of

development. One of the first activities held by

Three years before the SDGs were

creative events, Jatiwangi has emerged as

determined at the UN general session,

an independent village alliance that has

JaF was a residency programme for

JaF held a folk arts event which at the

succeeded in making culture the main

domestic and foreign artists in 2006.

same time rolled out a culture-based

capital in development.

Through this activity entitled the

development agenda. In 2012, the

Jatiwangi International Performing

Tanah Liat Music Festival was held which

and its surroundings have opened is

Art Residency Festival, a travelling art

involved 1,500 elementary, middle school

a cultural path towards sustainable

exhibition was held at the houses of the

students, teachers, police and soldiers

development. They do not work

villagers. Different from the standard

from the Majalengka Kodim as players

with typical development planning

contemporary art exhibitions that are

of clay instruments. Three years later,

procedures that focus on preparing a

usually held in galleries and visited by

the number of precarious musicians

development budget for the next five

actors in the art world, this programme

jumped to 5,000 people. Through this

and ten years. Instead of following

presents contemporary artworks in

grand event, we can see how through

the conventional route, they carry out

the living room of residents’ houses

an artistic approach, a change can

innovation in development, namely

which encourages conversation about

be realised in the social landscape

by holding cultural events that are

contemporary art among villagers who

of Majalengka. This colossal festival

creatively designed to be promoters

What JaF and the villagers of Jatisura

2021, VOL. 10 INDONESIANA 17

photo: Pandu Rahadian

of local development. In this way, it

overcoming development challenges

is evident that culture is the driving

is the JaF project to revitalise various

force and opening of possibilities for

community rituals. Before becoming a

sustainable development.

centre for the production of clay tiles, the Jatiwangi area was originally a

(Top) Workers store roof tiles in warehouse storage; (Bottom) Jatiwangi Cup, a rotating cup contested every year in a bodybuilding competition among jebor factory workers.

(Top) A worker enters the competition arena; (Centre) Workers praying together before appearing in the competition event; (Bottom) A worker showing off his muscles on stage.

18 INDONESIANA VOL. 10, 2021

Cultural Tradition Becomes the Main

productive agricultural area. However,

Capital

today the agricultural practice is starting

Even though JaF and the villagers of

to be eroded due to urbanization and

Jatisura have used a lot of contemporary

the emergence of various other forms

art approaches, this does not mean

of industry that have made young

that they completely ignore traditional

people no longer interested in farming.

culture. On the contrary, they have

Therefore, JaF revives and innovates

succeeded in empowering various

agricultural rituals so that they can again

expressions of traditional culture

attract young people and raise public

to produce solutions to various

awareness of the need for sustainable

development problems.

agriculture.

One proof of how the richness of traditional culture plays a role in

One form of innovation is to hold Tandur Sholawat, a “compassion for

rice” ritual which is held by planting seeds accompanied by prayer songs. This kind of movement has succeeded in bringing together young and old people to return to see the farmer profession as a noble profession because it is close to the source of life. This event is also accompanied by Tanah Tasbih, a prayer ritual for the soil to keep it ready to be harvested, JaF and the residents held Mapag Sri or a “picking up rice” ceremony with a procession of people bringing offerings of agricultural products.

photo: Pandu Rahadian

fertile and loose. After the rice was

These rituals are packaged in the spirit of innovation that is unique to contemporary art practices. This way, a harmonious blend between the two cultural approaches, namely the traditional approach and contemporary art, is created, which leads to the strengthening of social integration. The initiative of JaF and the villagers of Jatisura has proven that traditional culture, through a touch of contemporary art, can be the main capital for development in harmony with the needs of conserving nature and social harmony. This is a cultural road that starts from Jatisura village and connects villages in the Jatiwangi subdistrict, extends to Majalengka district and, it is not impossible, that it can become a platform for the advancement of inter-village culture that can continue to be strengthened to connect all villages in Indonesia. (Martin Suryajaya, lecturer

photo: Pandu Rahadian

at the Jakarta Arts Institute)

2021, VOL. 10 INDONESIANA 19

M A I N F EAT U R E

The mural-style painting that reads “Kampung Budaya Piji Wetan, Asah Asih Asuh” which is dominated by purple and yellow colours is located on the right side of Jalan Raya Dawe, Sunan Muria Kilometer 9. The wall adjacent to the Haji building in Dawe District is the centre of attention for every passing motorist. The mural painting is a sign that you have entered the Piji Wetan Cultural Village (KBPW) area. About 50 metres from the slick mural, there is an alley decorated with bamboo gates, intended to guide visitors who want to come to the KBPW activity centre.

hat afternoon, on Tuesday, March 9, 2021, I visited a popular village in Kudus City. The village, which is located in Lau Village, Dawe District, Kudus Regency, is known as a cultural village. This is because the village has consistently held activities that promote its local culture in the last five years. The name Piji Wetan

20 INDONESIANA VOL. 10, 2021

skyrocketed in Kudus when in 2020 it came no 2 in a national competition organised by the Ministry of Education and Culture (Kemendikbud). Entering the alley of Piji Wetan village gives a different impression, apart from mural paintings on the side of the road, a barrel is installed in front of each house. In addition, this village also looks

beautiful, because every front yard of the house is decorated with lush trees. After walking for 100 metres along the alley, you arrive at the KBPW activity centre. The activity centre is designed like a traditional market. The building that resembles a kiosk is built from bamboo as raw material. There are about 10

photo: Directorate General of Culture

Piji Wetan Cultural Village Community often fill their spare time by playing traditional games.

buildings with a food menu board on the veranda that offers local traditional bites such as "sego aking", "sego liwet", "sego pager mangkok", "wedang squad", "telo squad" and "jagung squad" and other kiosks intended to display traditional games. While on the east side there is a special building called the Ngapringan Stage. This activity centre is called Pasar Ampiran.

That afternoon I was accompanied by Muchammad Zaini (36). He is the founder of the Piji Wetan theatre as well as one of the initiators of the KBPW who compiled the Kemendikbud competition narrative. Wearing casual clothes and glasses, he talked about Pasar Ampiran which was inaugurated on November 15, 2020. This place was built so that all community

activities could be centred in one place. In addition to performances, this place can also be used as both a children’s playground and a place for people to chat casually every day. “This place was made through cooperation, so its function is to be used together. But behind it all, there is a philosophy taken from an oral tradition

2021, VOL. 10 INDONESIANA 21

photo: https://desabudaya.kemdikbud.go.id/

photo: Directorate General of Culture

that was passed down from generation to generation by the residents of Piji Wetan hamlet,” he explained. The man, who has been involved in the theatre world for a long time, talked about how various cultural expressions in the hamlet of Piji Wetan have a correlation with Sunan Muria. Even the name of the hamlet is believed to be a gift from Sunan Muria. While the philosophy of Pasar Ampiran itself is taken from the story of the surrounding community, that in ancient times Piji

22 INDONESIANA VOL. 10, 2021

Wetan became a rest stop as well as the first resting place for people who wanted to make a pilgrimage to Sunan Muria. The culture that is closely related to Sunan Muria is considered to be the main force behind the concept of this cultural village. Zaini, who teaches theatre at SMK Duta Karya Kudus daily, said that the idea of forming a cultural village had crossed his mind since 2015. At that time, the village government of Lau was holding a competition to celebrate Independence

Day. One type of competition is a theatrical performance with a free theme. Dukuh Piji Wetan chose to present a theatrical presentation at the competition. Zaini was finally given a chance to pass on his knowledge and skills in theatre production. He invited the youth of the hamlet to continue working through theatrical arts. From there, the Piji Wetan theatre community was formed which began to receive offers to perform in several activities, such as performing at the Kudus square in commemoration of National Santri Day in 2019. With the help of his sister Ulul Azmi, Zaini kept working to promote the jargon of his cultural village. By utilising the cultural richness of the village, they continue to produce works of theatre performances with the theme of populist culture. The works that they have produced include Weweh, The Legend of Belik Ngecis, Tonilan and Lelangit. “Our village is located on the slopes of Muria, so we take advantage of the folklores owned by the community here, namely the culture taught by Kanjeng Sunan Muria. We’ve created plays with themes such as weweh (the culture of giving food to each other), gotong royong (mutual cooperation) and stories that are closely related to Sunan Muria,” said Zaini. Amid these efforts, he heard that the Ministry of Education and Culture was having a My Village Cultural Story competition in August-September 2020. This competition encourage cultural villages all over the country to submit narrative writings accompanied by photos and videos exploring the cultural potential of each village. Zaini formed a team that worked quickly with a deadline of two weeks. In this very short time, the team agreed to work on a script with the themes Pager Mangkok and Topo Ngeli. These themes are the teachings introduced by Sunan Muria and it is still carried out by the

people of Piji Wetan until today. Pager Mangkok and Topo Ngeli contain deep philosophical values and have become the foundation for the development of the Piji Wetan cultural village. In a literal sense, Topo Ngeli means meditating and going with the flow. While Pager Mangkok contains the teachings of alms and gotong royong (mutual cooperation). Pager Mangkok teaches caring for others, giving alms and cooperation. Meanwhile, Topo Ngelo teaches residents to follow the current of world developments, but not to be carried away by the trends. Equipped with two symbols of Sunan Muria’s teachings, Piji Wetan village won the 2nd place award in the Best Narrative category and was included in the list of the best 30 out of 486 villages in the National My Village Culture Story Competition. Advancement Activities After receiving an award from the Ministry of Education and Culture, the initiators of Piji Wetan village developed various activities other than theatrical

performances. This advancement was based on concerns about traditional values that are being abandoned by the younger generation, such as traditional games, traditional food and oral traditions. Rhy Husaini, one of the initiators working in the field of literature, said that the most important contribution of culture is to make the village a space to hone daily activities. Rhy hopes that the younger generation will learn village culture because the progress of science and technology must be accompanied by a noble mindset and behaviour. The advancement of these activities is in line with the concept of Pasar Ampiran which is held once a month and serves traditional Piji Wetan food. In daily use, the place also functions as a place for children to play and a place for the village’s residents to enjoy relaxed discussions with each other. “The most important thing is that children can be accommodated in this place. We provide traditional game facilities such as egrang, gobak sodor, gadrik, dakon and others,” said Rhy.

He added that once a month the market is designed to accommodate other cultural potentials owned by the village. For example, they organise a bazaar that showcases the culinary products of the locals. To enjoy the food offerings at Pasar Ampiran, visitors must exchange money for coins that have been provided by the committee. The cultural village, which was initiated by four people, has finally received a positive response from the Lau village government. Rawuh Hadiyanto as the Head of Lau Village said that in January 2021, the Lau Village government had budgeted funds to support KBPW activities. The village has greatly benefited from the activities that are driven by these young people. “Although the name is taken from the name of the hamlet, this activity can involve all circles of Lau village. The impact can be felt by all communities. Especially in the MSME sector in Lau village itself,” concluded Rawuh Hadiyanto. (Afthonul Afif and Islakhul Muttaqin, writers from Kudus)

The activities of some residents of the Piji Wetan Cultural Village in the afternoon. They usually sing Javanese and Macapatan gending to pass the time before sunset.

photo: https://desabudaya.kemdikbud.go.id/

(Top) Mudhofar (front) and Sukron (back) carrying the bamboo that will be used to create a cultural stage for Tonilan show. Villagers of Piji Wetan prefer to make use of things around them. They do almost all activities with strong mutual cooperation spirit. (Bottom) Ngapringan Stage, on the east side of Piji Village Wetan which is often used as a place to play traditional games.

2021, VOL. 10 INDONESIANA 23

foto: Andriani Agustina

M A I N F EAT U R E

ndonesia is a nation rich in a diversity

At the foot circle of Mount Merapi,

Like other cultural events during this

of artistic and cultural expressions.

Merbabu, Sumbing, Andong and

pandemic, FLG has also changed the form

This multicultural art grows from the

Menoreh, Magelang Regency, Central

of the event. Usually, the festival is held in

creativity of the community in living their

Java, there is an art community that has

an area for 3 days with various traditional

lives together. As an effort to answer

regularly held cultural events entitled

and contemporary art performances

the concrete challenges of everyday life,

Festival of Five Mountains (FLG) since

from the surrounding area, from outside

art can play a role in establishing closer

2000. The Lima Gunung Community

of Magelang as well as from abroad.

communication between community

is a community of villagers living on

FLG 2020, the 19th festival of the Lima

members and encouraging them to

the slopes of the mountain, farmers of

Gunung Community, was held at various

unite to solve existing problems. That is

vegetables, rice and tobacco as well as

locations spanning six episodes.

why various forms of art grow in every

arts and cultural activists with a passion

community.

for free art and full of vitality.

24 INDONESIANA VOL. 10, 2021

The first episode of FLG XIX was held on the slopes of Mount Sumbing,

performing. The performance schedule was sudden. In Sumbing, for example, art performances were held simultaneously on the roofs of people’s houses and in an onion field. This event became an art party for the people of the mountain. The limitations of the pandemic opened up a wider space for creativity. Java Man As originally conceived, the implementation of FLG was without any grandiose goals, let alone intending to

photo: Andriani Agustina

preserve culture. Its purpose is without

Warok Cilik art from the slopes of Merbabu performed in the XI Five Mountains Festival.

with various expressions of movement, costumes and songs, everyone gathers and expresses themselves together. There is no longer any distance between dancers, gamelan players and the audience. All unite, touch without social

Warok Cilik from the slopes of Merbabu.

number of personnel but can still raise

Kajoran District, Magelang Regency. The

the important values of this festival

second episode took place at the

while continuing to convey messages to

residence of culturalist Emha Ainun

the wider community about the

Najib (Cak Nun) in Kadipiro, Yogyakarta.

importance of implementing health

The third episode was held at Mendut

protocols. So, during a pandemic, FLG was

Regency. The fourth episode was held in

unique: there were no crowds of

Tanjungrejo Village, Margoyoso District,

spectators. There was only the host artist

photo: Andriani Agustina

Warokan art from the slopes of Merbabu.

precisely in Krandegan, Sukomakmur,

Studio, Mungkid District, Magelang

pretence other than to entertain. In FLG,

Pati Regency. The fifth episode took place at Candi Lumbung, Sawangan District and the sixth episode took place at Studio Mendut. For the Lima Gunung Community, the limitations presented during this pandemic have become an inspiration to create new ways that are adaptive to conditions. The festival has become simpler, can be carried out with a limited

2021, VOL. 10 INDONESIANA 25

photo: Andriani Agustina

Warokan art from the slopes of Merbabu.

become people who are “forced” to envy

and symbolic capital. Art ethics foster

city people. The urban lifestyle has taken

aesthetic institutions as a concretisation

over from the rural lifestyle. But is it

of emotional intelligence while social

wise when cultural identity is shifted to

ethics builds solidarity institutions as

the rationale of economic liberalisation

representations of social intelligence.

barriers. Visitors are free to come and go

without seeing the basic structure of local

during the show. There is no demand to

ownership as a cultural treasure that is

including from the shackles of the

understand the message imbued in the

practised daily?

market. They relaxedly celebrate their

show. Through art, they can free

FLG facilitates a relaxed Javanese

This makes them independent,

artistic passion, including disregarding

themselves from all domestic, communal

society, open to other elements and

the number of viewers. Here, people

and national problems, and even laugh at

forms of culture. They believe that culture

who come are guests, not consumers.

themselves.

is not the product of factory production,

Everyone is treated equally, including Vice

According to Mahpur in a study on

nor is it an instrument that supports a

President Boediono (at that time) who

Hybridity and Questioning Local Wisdom

certain power order. They absorb, chew,

was left sitting on the ground mingling

(2008), so far, village identity has been

and mix it into a pithy look. In the “typical”

with other spectators. This is a festival,

pushed by consumerism and lifestyles

kuda lumping of Central Java, elements of

a community party that exists and is

from modern development. Villages

Balinese, Papuan or even African dances

held for the people of its culture. They

are no longer considered as pride and

can appear in the performance. This

are independent of Javanese identity –

development policies kill the village’s

innovation makes it richer in colour and

traditional or contemporary – as well as

potential. In this development paradigm,

more interesting to watch.

independent of the identity of the Lima

the success of the village is seen from its

This is a pearl of community wisdom

infrastructure. Agricultural potential is

based on ethics and local genius which

killed off by high fertilizer prices. Villagers

is accumulated as economic, social

26 INDONESIANA VOL. 10, 2021

Gunung Community itself. They have transcended it.

Cultural Humanism FLG argues that art and culture do not belong to certain groups, such as artists or academics. Everyone, including the mountain community, can do it as long as they are allowed to develop. It is proven that in every FLG implementation from year to year, there are positive changes. The traditional artists are getting more creative by coming up with new ideas and art forms in their respective hamlets, then blending in with contemporary art

After deciding to no longer accept sponsors or donations (since the 9th event in 2010), creative ideas have continued to emerge to enrich the activities. The themes raised seem anti-mainstream and reflect the inner reflections of the activists. Some of them are “Tapa ing Rame” (Silence in Crowd--red) (2014),

Tanen dancers from the slopes of Merbabu. photo: Andriani Agustina

while maintaining the old traditions.

photo: Andriani Agustina

and being able to package them well

“Mari Goblok Bareng" (Let’s Be Stupid

place regularly and periodically.

Together--red) (2017), “Masih Goblok

With it, FLG exists to make performers,

Bareng” (Still Stupid Together--red) (2018),

organisers and viewers happy too;

“Gunung Lumbung Budaya" (Mountain As

that’s the meaning of culture. In FLG,

A Cultural Shed -- red) (2019), and “Donga

culture becomes the spirit, the values

Slamet, Waspada Virus Dunia” (Pray To Be

and the beliefs that shape the

Saved, Beware of World Viruses--red) in

interaction. Citing Fauzan (in Mahpur,

Aryo Danusiri in Filming Indonesia (2004),

2020. All of these themes depart from a

2008), this kind of sustainable effort

the role of art is to provide space to

love for life and culture. For them, the joy

acts as a life force for the process of

interpret and recreate various notions of

born from performing arts will bring love.

civilisation of a multicultural nation.

various cultures that exist in Indonesia.

Including as an effort to transform

This is the rationale of critical

groups get involved to enliven the FLG

values, attitudes, disparities towards

multiculturalism which does not exploit

stage without being paid. Those who

efforts to view modernity and

the meaning of culture but explores it in

come from out of town or abroad even

development.

society so that it becomes relevant to

Because of love, hundreds of art

have to spend their own money on travel

According to Daniel Sparingga in the

In the context of multiculturalism, citing

traditional values and justice. The Lima

expenses. This festival is a testament

article Indonesia’s Multiculturalism:

Gunung Community and Festival is a

to the humanitarian management model

Answers to Diversity (2004), the practice

model of artistic expression, cultural

that is typical of farmers, typical of

of FLG is a real form of multiculturalism,

presentation and representation of life

mountains, typical of rural areas.

namely revisiting and reinventing more

practices with the guidance of reason and

For example, regarding financial

reasonable ideas about how a plural

ethical-aesthetic values that deserve

management. One wonders how they are

society in Indonesia can be managed.

reflection. (Purnawan Andra, staff of the

paying for hundreds of people to

This will ensure the maintenance of

Directorate General of Culture Development and

perform, which of course cost a lot of

pluralism and social integration to

Utilization, Directorate General of Culture, Ministry of

money. But everything continues to take

achieve common goals as a nation.

Education, Culture, Research and Technology)

2021, VOL. 10 INDONESIANA 27

M AI N T OP I C

Long before the Dutch colonial government sniffed out tin in their village, which later became one of the leading commodity mining centres of the Bangka Belitung Islands Province, the citizens of Cambai were sovereign pepper farmers. Now, residents want to celebrate their identity again. Stop growing pepper, means eliminating the identity of 1,536 villagers. One effort that can be done is to re-popularize pepper agrotourism. Its derivatives can be in the form of the cultivation of medicinal plants, such as lotus flower, yellow bamboo roots, yellow coconut, and mangkalek tree roots. Planting pepper is not just planting, but it also has an impact on everyday human behaviours. When planting pepper, we are taught to be patient, diligent, and not greedy. Such behaviour can be contagious in everyday life. It is very different from mining tin which is more practical, and the goal is to make a lot of profit. Residents become easily emotional, greedy, and want only practical things. “That’s why, when tin was at its peak, many people

photo: Doc. Dato Akhmad Elvian

photo: Doc. Rafli L. Sato

28 INDONESIANA VOL. 10, 2021

Cambai, Areca Nut Let’s take a moment to look at the history of Cambai Village. In Kaart van het Eiland Banka 1885 J.W. Stemfoort, Cambai is written as “Djambei”, which is a village in the Pangkalpinang district located after Ajer Messoe (Air Mesu) on the north side and Djeloetong village on the south side. Djambei or Cambai is geographically bordered by Mount Langir (a mountain in the Mangkul mountains) and the Lempoeyang River on the west side. On a 1910 map, in Djambei there are smelt huizen (tin smelting workshops) and uitgewerkte terrein (uncharted areas). In the 1925 map, Djambei was changed to Tjambai. The toponym Cambai comes from Djambei which is another name for areca nut (Areca catechu), which in Chinese is

called pinlang or pinkong (Bangka Chinese dialect). There are one betel nut, areca nut, a thousand betel nut, and two areca nut, indicating the number of areca nut trees planted in the area. Areca nut is deeply integrated to the culture of the people of Bangka it gave birth to known terms such as dipinang (bethroted), pinangan (engagement), opih pinang, bagai pinang dibelah dua (identical), pinang kering, pinang sebatang, mabuk pinang (extremely drunk), and sirih pinang. If you look further back, Bangka Island under the rule of the Sultanate of Palembang Darussalam during the reign of Sultan Susuhunan Muhammad Bahauddin (1776-1803) was attacked by the Lanun pirates and the Lingga pirates. The Lanun

pirates built a base on the north side of the Kepo river, then attacked the coast of Bangka Island to plunder the Paku area in the interior. The pirates continued to invade inwards to Teru, Pangkul, Air Mesu, Djambei or Cambai, Lempoeyang, Aik Moenjang, Selinta, to Pangkalpinang. In 1793, Commander Raman from the Lingga pirates led the robbery and seized areas previously controlled by Lanun. An Arab named Abdullah Djalil succeeded in expelling Panglima Raman and returning Pangkal Pinang and its surroundings to the Sultanate of Palembang Darussalam (Source: Report on the Island of Banka, Journal of the Indian Archipelago by Thomas Horsfield, 1848).

photo: ANRI, 8 September 1951

were involved in murder, drunkenness, husband and wife divorced. After the lead ran out, the crime rate got even higher. People want practical results because economic demands are getting higher,” said Hasan Basri, a resident of Cambai, as written on the cultural village website of the Ministry of Education and Culture’s Directorate General of Culture. According to Hasan, pepper was destined to be planted on Bangka Island, because pepper does not damage the environment. Although cultivated in a narrow area, pepper can still be profitable. Growing pepper is a culture of Cambai Village, and it is proven to shape the character of the local people.

(Top) The Bangka People’s Grand Meeting with Bung Karno at Merdeka Square in Pangkalpinang, the writing “Bangka Pepper for the Prosperity of the People” is shown, September 8, 1951. (Bottom) Pepper harvest on Bangka Island in 1930.

photo: ANRI, KIT 622/076

Climbing the sahang ladder to harvest pepper.

photo: Puji Riswanto - https://www.shutterstock.com/g/PUJI_RISWANTO

photo: Akepong Sichaichana - https://www.shutterstock.com/g/akepong+srichaichana

photo: Hasiholan Siahaan - https://www.shutterstock.com/g/HASIHOLAN+SIAHAAN

Moving Residence The Dutch East Indies government’s policy that had a big impact on the people of Bangka was to build major roads, which are still used today. The policy of building new roads was followed by relocating residential areas from the hinterland to near the highway. The traditional settlement patterns of the Bangka people have also changed, from the concepts of the winds and ridges (settlement consisting of 10-40 houses or ume cottages) to being on the side of the road, left or right of the road. This grouping of residents on the side of the road was an effective way for the colonial government to monitor the movement path and logistics distribution of the people’s resistance. New villages were built along the highway. In 1896 it was recorded that around 2,000 houses were built in villages spread across Bangka.

30 INDONESIANA VOL. 10, 2021

The arrival of the Dutch colonial government in Bangka Island started tin mining in a structured manner. The lands in Cambai Village which used to be forests and plantations, with an area of 471,000 hectares, was transformed into tin barns. At that time, local people were strictly prohibited from mining on their own, and this continued into the New Order era. In the 2000s, exploration of smallholder tin mines began to be carried out, one of which was in Cambai Village. Residents slowly turned to tin mining because it could generate a more lucrative income in comparison to pepper farming. Hasan Basri is one of the Cambai residents who survived and was not tempted to open his garden into a mining area. According to him, tin mining activities were very detrimental to him and his family and many people because of the environmental impact. Until now, Hasan Basri has consistently managed 200 pepper plants in less than one hectare of land. From the results of planting pepper, Hasan has been able to send his two children to college. “The yield from tin is only temporary, the land is damaged. Meanwhile, after harvesting, pepper can still be planted again,” said Hasan, who has experienced the ups and downs of pepper prices and suffered losses due to pepper being attacked by disease.

Freshly harvested peppers are placed in baskets. (Top left) Pepper, the story of the spice king. (Bottom left) White pepper from Bangka. (Top) Farmers weeding pepper or sahang fields assisted by children in 1977, by Mr. Rozali, HS. (Bottom) Pepper harvest on Bangka Island, 1930.

Pepper and Medicinal Plants Agrotourism Since 2016, at the farthest end of Cambai Village, there has been a Pepper Agrotourism of around six hectares, which can also function as an educational medium for young people to know more about pepper which in the end can hopefully grow their interest in growing pepper. Since its inception, many local tourists and researchers from abroad have visited this agrotourism, as said by Holib (59), the administrator of Pepper Agrotourism managed by BP3L. However, in the last three years, agrotourism has begun to quiet down and now looks unkempt, due to a lack of support from the local government. The pepper tree that used to be neatly arranged, is now starting to be overgrown with weeds, whose height has surpassed the pepper tree itself.

photo: Doc. Rozali, HS photo: ANRI, KIT 622/080

In addition to pepper, medicinal plants are also an alternative for village advancement, because herbal medicine is believed to be very effective in curing diseases, as said by Sahrel (59), a herbalist in Cambai Village for about 30 years and has patients from outside the

region such as West Bangka Regency, Bangka, and South Bangka. Sahrel specialises in treating jaundice due to a build-up of bilirubin in the bloodstream or due to abnormalities in the bile/liver. Herbal medicine is preferred by residents because the cost is cheaper, as well as because health workers can no longer afford to treat their ailments. Various types of medicinal plants are still quite easy to find in Cambai Village, such as lotus flowers, yellow bamboo roots, yellow coconuts, and Mangkalek tree roots. However, the reduced forest area in Cambai Village is of course also worrying. The amount of forest is getting smaller because it has been turned into buildings or plantations, thus threatening medicinal plants. (Dato’ Akhmad Elvian, DPMP Historian and Cultural Practitioner of Bangka Belitung, Awardee of the Cultural Award)

photo: Anatoli Styf - https://www.shutterstock.com/g/styf22

However, pepper must still be planted. While waiting for the peppers to grow, Holib developed food crops such as sorghum which can be harvested four to seven times a year. This pattern is expected to rekindle the spirit of the residents because pepper planting period is long enough to harvest. The culture of growing pepper can certainly be stimulated by agrotourism. Moreover, Bangka pepper is already well-known internationally. Pepper Agrotourism is expected to be the spearhead in restoring the culture and identity of the citizens of Cambai Village as pepper farmers.

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Baduy Women Support Their Village Because of the Covid-19 pandemic tourist visits to Rangkasbitung, Ciboleger, Kanekes have decreased. But we are still weaving.

We don't just to sell but we weave for our own use too, for adat ceremonies like seba Baduy, seren taun. It’s still useful.

You still have the contact of those journalists who told us they’d help to promote us on Instagram, right?

There are around 20 different motifs of tenun cloths woven by Baduy women that you can choose from. Apart from tenun, Baduy people also make batik. There are 12 Batik Lebak motifs such as seren taun, sawarna, gula sakojor, pare sapocong, kahuripan baduy, leuit sijimat, rangkasbitung, caruluk saruntuy, lebak bertauhid, angklung buhun, kalimaya and sadulur.

The other day, we still had some people buying our tenun in Ciboleger too.

Today we had quite a lot of honey orders.

32 INDONESIANA VOL. 10, 2021

Someone is coming. Who is that?

That’s Fia, the journalist who wants to write about tenun.

Let’s go to the house of the tenun weavers.

Sampurasun, Kang. How are you?

Fia, the journalist and blogger who wants to write about tenun, walks towards one of the resident’s houses.

Let’s go, Kang!

What type of tenun is this? Why is it only in black and white?

This is a signature tenun from Baduy Dalam tribe. It’s only made in black and white.

Hey guys. These are the tenun cloths made by Baduy women. The quality is top notch! It can complete your collection of Indonesia’s tenun cloths. The quality is great, and the value is high.

2021, VOL. 10 INDONESIANA 33

EVENT

Pantun

Becomes an

Intangible cultural

Heritage

Indonesia and countries in Southeast Asia boast thousands of oral traditions that have been passed down from one generation to the next, in the form of folklores, proverbs, advice, performing arts, chanting, oral expressions, traditional games, traditional medicines, and much more. Malay is an ethnic group known for the strength of its oral tradition of pantun. Malay ethnic groups are those who inhabit the Malay Peninsula, eastern Sumatra, southern Thailand, the southern coast of Burma, the coastal areas of Borneo including Brunei, West Kalimantan, Sarawak and Sabah known as “Alam Melayu”.

photo: Direktorat Warisan dan Diplomasi Budaya

34 INDONESIANA VOL. 10, 2021

The Malay community uses pantun during adat celebrations. Pantun is used in almost all aspects of life, one of them is at the wedding ceremony.

that contains events, history, culture, traditions or customs that are owned by the community that owns the pantun and is able to convey the meaning politely. Malay people usually express something indirectly through expressions in the form of poetry consisting of four lines, patterned ab-ab, lines 1 and 2 are sampiran, lines 3 and 4 are contents. Each line consists of 4 to 5 words, each line consists of 8 to 12 syllables. Pantun is a Malay poem used to convey ideas and intentions and has been a form of oral tradition used in most parts of Southeast Asia for at least 500 years. Berpantun is usually done by 2 (two) or more people, it implies togetherness and warmth that characterises the Malay community. The sampiran in each rhyme is generally sourced from the natural environment (mountains, forests, seas); using rhymes will help preserve the natural place of life.

The Journey of Pantun into the UNESCO ICH List December 17, 2020, through the 15th Intangible Cultural Heritage (ICH) committee meeting held in France and Jamaica, UNESCO determined pantun to be included in the UNESCO Intangible Cultural Heritage list. This determination is the result of a long campaign by the pantun community in proposing it as added to UNESCO ICH List. The e ort to propose pantun to be included in UNESCO ICH list had been initiated by the pantun community since 2016. The Oral Tradition Association (ATL) together with the Malay Traditional Institute (LAM) jointly submitted a pantun proposal to the Ministry of Education and Culture through the Directorate General of Culture. In the same year pencak silat, lariangi and pawukon communities also proposed their cultural heritage to be registered

photo: Directorate of Cultural Heritage and Diplomacy

antun serves as a marker of the identity of the Malay community. The existence of the pantun has been upheld by the people who own it because it blends with the personality of the Malay community. As an oral tradition, pantun is used in daily life, customs and rituals. Berpantun is the most appropriate way to convey intentions, advice and wisdom without having to offend the person who receives it. Pantun can describe local wisdom

2020, VOL. 9 INDONESIANA 35

photo: Directorate of Cultural Heritage and Diplomacy

with UNESCO. After going through the proper process, the Minister of Education and Culture finally decided to discuss pantun at the 2018 ICH session and pencak silat at the 2019 session. The decision to propose pantun was taken after considering the possibility of making it into a joint nomination with other Malay countries. Indonesia tried to explore the possibility of joint proposals with other countries that also have pantun such as Malaysia, Singapore, Brunei Darussalam, and Thailand (southern part). After a period of assessment, it was decided that pantun would be proposed as a joint nomination between Indonesia and Malaysia because other countries were considered not ready for the joint nomination effort.

36 INDONESIANA VOL. 10, 2021

Sampiran in pantun is almost always related to nature and the surrounding environment. In the Malay Community, pantun is taught by elders and traditional leaders to their children and students.

This proposal was the first joint proposal for Indonesia after previously 9 (nine) intangible cultural heritages were registered by Indonesia alone. The initial meeting was held by representatives of the two countries in Tanjung Pinang, Riau Islands at the end of 2016. The meeting discussed the possibility of research collaboration and action plans in the effort to propose pantun. Pantun research was carried out for 2 (two) months in several areas around Riau and Riau Islands. The research was conducted by involving the Malay pantun community, the Indonesian Cultural Arts Institute (ISBI) Bandung, and the research team of Center for Policy Research. the Ministry of Education and Culture

The results of the research were then formulated together, and it was agreed that the distribution area of Malay pantun was not only in Riau Province and Riau Islands, but the oral art form is also widely known in other areas such as kias in Lampung, and rancag/rancak by the Betawi people. Pantun is also known by the Minangkabau community, even to the areas of South Kalimantan, Manado and Ambon. Likewise in Malaysia, Pantun is still used by the Malay, Bajau, Ida’an, Kedayan, Baba Nyonya communities. After going through the process of preparation and public testing of the proposed manuscript, in March 2017, the Pantun manuscript was sent to the UNESCO Secretariat to be discussed at

carried out through joint research academic fields, also through festivals and pantun competitions for the younger generation. Completion of the manuscript of the pantun proposal was carried out through several meetings between the pantun communities and representatives of the two countries. The revised proposal was sent back in March 2019. After re-examining the revision of the proposal, the 15th session of the UNESCO ICH officially agreed to include pantun in the UNESCO ICH list. Pantun is considered to have important meaning for the Malay community, not only as a means of social communication but also rich in values that serve as moral guidance. Messages conveyed through pantun generally emphasise the balance and harmony of human relationships. Until now, Indonesia has 10 Intangible Cultural Heritage that is included in the UNESCO ICH list, namely Keris, Wayang, Batik, Angklung, Saman Dance, Noken, Balinese Dance, Pinisi, Pencak Silat and Pantun; and Batik Education and Training. This long list proves that Indonesia is a superpower in the field of culture.

The inclusion of pantun into the UNESCO ICH list is expected to be a medium of world cultural diplomacy, especially for the Malay communities in Southeast Asia. The process of passing down the values that exist in pantun to the younger generation must continue and it must also take into account the advancement of digital technology. Currently, pantun is developed through the digital world into popular songs and social media posts. It is our collective hope that pantun will live on and not be lost to the time. mendayung sampan ke pulau Bintan sampan berlabuh menjelang malam rasa syukur kami ucapkan dari hati yang paling dalam rowing a canoe to the island of Bintan the canoe docks at night we say our gratitude from the deepest part of our heart Congratulations, Pantun added to UNESCO ICH List! (Hery P. Manurung, Directorate of Cultural Development and Utilization)

photo: Directorate of Cultural Heritage and Diplomacy

the 13th ICH UNESCO session in 2018. However, at the session, UNESCO provided notes on the proposed pantun text and gave it a suspended status (referral). Important notes were conveyed regarding the data collection system for intangible cultural heritage in which the state must be able to update and report the progress of its data collection to UNESCO. Another thing underlined was that Indonesia and Malaysia had not been able to show cooperation and involvement between the pantun communities in the nomination process. Concerning these two matters, UNESCO gave the status of suspension of determination and provided suggestions for the two countries to refine the proposal and send it back to be discussed in the next cycle. Immediately after receiving the notes, representatives of the two countries and the pantun community held a meeting to refine the proposal text. The Oral Tradition Association with the Malay Traditional Institute again strengthened cooperation among the pantun community, not only with Malaysia but also with other Malay countries. Cooperation was

2021, VOL. 10 INDONESIANA 37

EVENT

38 INDONESIANA VOL. 10, 2021

Rhoma Irama’s performance at National Cultural Week 2020

photo: Doc. Directorate General of Culture

“... music is a cultural expression that is both universal and multidimensional, which represents the noble values of humanity and has a strategic role in national development” (Presidential Decree No. 10 of 2013)

2021, VOL. 10 INDONESIANA 39

EVENT

Music Day and

Its Challenges Music is a form of expression through sound, with basic elements in the form of melody (tone arrangement), rhythm, and harmony, with supporting elements in the form of ideas, properties, and sound colours. History records that music has always accompanied the journey of human civilization. In the archipelago, since long before Indonesia’s independence, the use of songs or music as cultural expressions is well recorded in the collective memory of its society through oral traditions and the legacies of old civilisations. The songs accompanying the rituals, the reliefs of sound-producing tools on the walls of the Borobudur temple, for example, are proofs of how music is never separated from the journey of people’s lives.

40 INDONESIANA VOL. 10, 2021

photo: Doc. Directorate General of Culture

e celebrate this musical gift, among others, by setting a reminder milestone. So National Music Day was born which is commemorated every March 9 and has been legalised through Presidential Decree number 10 of 2013 and is commemorated with various activities such as musical performances, discussions, and workshops. The date of March 9 refers to the birth of the creator of the Indonesian national anthem, Wage Rudolf Supratman, although the exact date of his birth is still a subject of debate. Apart from that, some things are more important, namely how the momentum of National Music Day can be a starting point to achieve its goals, namely “... increasing public appreciation of Indonesian music, increasing self-confidence and motivation of Indonesian musicians, as well as to increase achievement able to raise the degree of Indonesian music nationally, regionally and internationally”. So, to what extent has the Indonesian music ecosystem gone, what are the challenges in this digital era and how to respond to them? The word ecosystem is commonly used in biological studies to describe the inevitable interrelationship between the

elements of life and their environment in a certain scope. In the field of music, there is an ecosystem with supporting elements and actors such as songwriters, singers, music producers, sound engineers, music instrument players, and so on. There are at least five processes in a music ecosystem, namely creation, production, distribution, exhibition, appreciation and literacy. These five elements are connected in the music ecosystem as well as a part of the larger cultural ecosystem.

Creation is the result of human thinking and imagination, a process of “creating” ideas or works. This process is the most sacred and fundamental in the music ecosystem. There is always a message from the creator that he or she wants to convey through the work. The production process is processing ideas from the creative process into packages that are ready to be enjoyed and appreciated, in the form of songs, music or tones, with or without accompanying lyrics. The next process is distribution,

Musical performances at the 2020 National Culture Week. The Sigit wears traditional clothes while performing at the 2020 National Culture Week.

photo: Doc. Directorate General of Culture

disseminating musical works to message recipients, which in turn becomes an exhibition or performance process. The exhibition is carried out simultaneously with the appreciation and literacy process. For appreciators, interpreting a work can be done freely and it can be used as a new foothold to produce new creations. Actors who are involved in maintaining the existence of the music ecosystem include artists as subjects; the government as regulator and facilitator; and the community as a collective entity that plays an advocacy role, studies, and matters related to performance management. Present-Day Challenges There are at least two contemporary challenges in the music ecosystem in Indonesia, namely the existence of new distribution media for exhibitions, and the problems that arise afterwards, especially those related to copyright protection. This is because the existence of new distribution media which, in addition to expanding access to appreciation and literacy of musical works, also raises new problems in the music ecosystem. An example is a shift from appreciation to appropriation. The appropriation process occurs when creation and production in the modern context shifts to “It’s not necessary to create new work”. In other words, the creation process can also take the form of repackaging existing works. Appropriation refers to the process of taking some parts or

all of the elements of another person’s artwork to be used as new creations. At this point, it may not be that much of a problem. However, in the context of digital platforms that allow monetisation of appropriated works, this can be problematic, especially when it comes to the exclusive rights of ownership of works, which impact economic rights. The simplest example is a cover or resinging of a song on YouTube. Content creators can easily sing other people’s songs recorded and performed in their own way, then upload and monetise it. When the cover video uploader gets the money, that’s when the intellectual property rights of the original creator of the song are violated. It seems that copyright protection has not been fully implemented, or more precisely, it has not been socialised well. Whereas if you look at existing regulatory statutes, copyright or the right to intellectual property ownership has actually been guaranteed even since the time before independence, with the existence of Auteurswet 1912 Number 600 until the release of Law Number 6 of 1982 concerning Copyright, which has been revised four times. The last one is Law Number 28 of 2014 concerning Copyright which is valid until today. The state actually already has a fairly clear set of regulations, so what remains is to strengthen the advocacy of copyright laws and music literacy education. Advocacy and regulation must side with music creators and facilitate the art workers involved. In this digital era, it is time for regulation for digital music

Creation

service providers. Appreciation Production There must and Literacy be filtering Music Ecosystem of video/audio uploaders, at least it must require the name of the original Distribution Exhibition creator’s work. The distribution of royalties from copyright and broadcasting rights uploaded on digital platforms can also be clarified. Another thing that is no less important is the strengthening of literacy, not limited to the interpretation of musical works, but also respect and moral and material responsibility for other people’s artworks. It can be started by improving the music arts education curriculum at the basic level, from simply playing music (reading numeric notes, musical notes, playing the flute or pianica), it can be converted into the experience of watching a performance (listening, seeing, appreciating musical works). Thus, students are trained to appreciate the work first, before learning musical skills. The current challenge in the Indonesian music ecosystem is the utilisation of digital media followed by copyright protection for Indonesian music creators and strengthening music literacy for the Indonesian people. Happy National Music Day! (Denison Wicaksono, MA, Staff of the Directorate of Film, Music and New Media, Directorate General of Culture, Ministry of Education, Culture, Research and Technology)

2021, VOL. 10 INDONESIANA 41

EVENT

Spice Route: BUILDING A NEW HEALTHY CIVILIZATION As a result of heavy marine traffic from

characteristic of our country is called

East Asia, the Middle East, Europe and

an archipelagic state, which is defined

vice versa, spice routes were formed with

as the main marine state dotted with

have scented the Indonesian

many civilizations interacting. This path

islands, not an island nation surrounded

archipelago. This country

of globalization of the archipelago was

by the sea, as AB Lapian wrote in “Orang

transformed into space for inter-human

Laut, Bajak Laut, Raja Laut: Sejarah

friendship across nations as well as a

Kawasan Laut Sulawesi Abad XIX” (2009).

means of intercultural exchange and

However, our nation’s imagination

History records that the spices

was once an important player and a major supplier in world trade, long before Europeans engaged in trading activities in Southeast Asia. So important spice in human life, it has become a major commodity capable of influencing political, economic, and sociocultural conditions on a global scale for centuries.

42 INDONESIANA VOL. 10, 2021

understanding that brought together

about maritime life has long been empty.

various ideas, concepts, and praxis,

Even though Indonesia has affirmed itself

transcending the context of space and

as the world’s maritime axis, the image

time, brought together by the sea, ocean

of an agrarian state is still stuck firmly,

and river.

due to the agrarian approach of the

Historical and archaeological studies

colonialism of European nations in the

show that the Indonesian archipelago was

17th century. Now we feel, as a result of

once the centre of the world’s maritime

taking too long to “turn our back” on the

civilization. It was a global political and

sea, what happens on land is poverty,

commercial ruler with a large maritime

unemployment, as well as frequent

fleet. Not surprisingly, Indonesia is called

natural disasters due to “disappearing”

a maritime country because it has a very

forests, replaced by productive lands and

long history of maritime civilization. The

“industrial” monoculture crops that are

©whybryann

The poster informs about the savour of Indonesian healthy spices

wasteful of water and land. The loss of

the archipelago in the spice route. In fact,

this forest is even cited as the cause of a

we are the masters of the trade routes

global pandemic.

because most of it is in our marine space.

Indonesia's Spice Route

Additionally, our interest is to control

The Spice Treasures

Blending The Cultures of Land and Sea Indonesia needs to revitalise its marine

the routes, distribution and logistics of goods, regulate goods and trade security

civilization as the basis of national

by strengthening maritime diplomacy, as

culture. It’s not a quick and easy job.

written by a lecturer at IPB Yonvitner on

Even the British Navy Fleet Admiral

kumparan.com, May 2019.

during World War II, Lord Cunningham

Therefore, a significant positive

once stated, “it takes the British navy

impact will be obtained if the spice route

three years to build a new ship, but it will

is recognised as a world heritage by

take 300 years to build a new tradition”.

UNESCO. Apart from making it easier

One way is to proclaim the spice route,

for Indonesia to realise its claim to be

because of its extraordinary relevance

the world’s maritime axis and as a form

to the present time, at the same time creating a bio-cultural perspective, forming traditional knowledge and local wisdom, as well as cultural diversity both in sea and land. The spice route can affirm Indonesia’s vision of our maritime ideology to the

that fully adhere to the movements of the sea waves carried out with our aim as sea rulers with the spirit of the glory of

©Raffi Chalfian

principles, understanding, and actions

©Jaka Eka Sembodo

world, which is characterised by our

2021, VOL. 10 INDONESIANA 43

of soft diplomacy when negotiating

period, fear of losing jobs and future

with other countries, the spice route is

economic prospects, and anxiety about

a foothold as a capital for sustainable

the world’s ability to recover from this

development. With the spirit of this spice

situation. Humans need real strategies

route, the marine sector is a priority

that emphasise healing the tissues of life,

with various efforts to make Indonesia

rebuilding the economy by respecting

the best country in the management

ecological boundaries. Herein, comes the

and utilisation of its marine potential.

role of the spice route as a cultural route,

Exploiting the potential of the sea

in all its dimensions.

©Nanda Putri Andriani

requires serious management based on

Amid ubiquitous fear that continues

the development of science, the latest

to spread during this pandemic, humans

technology and innovation. Marine

are competing to always be in a good

energy (tidal energy, waves, ocean

condition, which gave birth to the term

thermal energy conversion), for example,

“fitness” or “wellness”. Here, fitness is

can be used to overcome the crisis of

understood differently from “health” or

electrical energy, pharmacology, and

healthy. Wellness can be described as a

others. Similarly, the great potential

state in which individuals make choices

for developing marine tourism, marine

and engage in activities by promoting

transportation, industry and maritime

a healthy lifestyle, which in turn has a

services are also great.

positive impact on the individual’s own health (Barre, 2005). People are starting

The Wellness Economy The impact of the Covid-19 pandemic has made so many people suddenly share the same fears: fear for their

to get busy rediscovering the values of a better life based on ancestral traditions or local wisdom. According to the Global Wellness

health, fear of fulfilling the necessities

Institute, the market potential for a

of life during a long and uncertain

wellness economy reaches US$ 4.2

Poster of Indonesia’s Spice Route. The Savour of Indonesian Spices

©Arini Annisa

44 INDONESIANA VOL. 10, 2021

trillion or around Rp.59 billion in 2017. This figure is also predicted to grow by around 6.4 per cent per year. The wellness industry includes healthy eating, personal care and beauty, nutrition, meditation, spas, workplace health and health tourism. Indonesia has great potential in this high market demand. However, it requires very minimal intensive research to map the richness of cultural knowledge and development. If we choose this route, the spice route, then this route will be faster to achieve sustainable development goals. As an illustration, Indonesia has dozens of traditional spas that have the potential to be developed as health and beauty products to foreign countries and as a tourist attraction. Some that have begun to be introduced again are batangeh from Minang, oukup from North Sumatra, tangas from Betawi, bakera spa from Minahasa, tellu sullapa eppa from Bugis, Javanese lulur (scrub) from Java, Bali spa from Bali, batimung from Banjar, South Kalimantan, and soo so from Madura. ©Rahman Labaranjangi

The use of spices and herbs such as rice, coconut, ginger and others for healing and relaxation ingredients that are holistic has been a tradition passed down from generation to generation as the local wisdom of our nation. (Mohamad Atqa, alumnus of Anthropology UI, staff of the Directorate of Cultural

Technology)

Poster of Indonesia’s Spice Route. Spice Route – Nutmeg. Spice Route – Cinnamon.

photo: https://www.shutterstock.com/g/belchonock

of Education, Culture, Research and

photo: https://www.shutterstock.com/g/pilipphoto

Development and Utilization, Ministry

2021, VOL. 10 INDONESIANA 45

EVENT

Ka Sa’o Ceremony:

photo: Bimo Haryo Yudhanto

THANKING THE ANCESTORS

One afternoon, Mount Inerie was seen from a distance, peeking out from behind a grove of trees that bordered the path leading to the entrance to Kampung Tololela. The ja’i dance accompanied by go laba welcomed the arrival of each guest to Kampung Tololea. The village is inhabited by the Ngada community of Flores Island, part of Manubhara Village, Jerebuu District, Ngada Regency, East Nusa Tenggara Province. As the afternoon went on and more guests were present, the lines of the dancing host went back and forth to greet each guest at the entrance, shouting loudly while brandishing machetes into the air. Immediately, the guests joined the ja’i dance when the greeter turned around and started stomping his feet. That day, in early February 2021, the people of Tololela Village were holding an event that might not always happen every year. Shouts and tapping of their feet continued until the line of greeters and guests finished circling the ngadhu and bhaga. Ngadhu is a carved wooden pole with a thatched roof that forms an umbrella, while the bhaga is in the form of a smaller traditional house. These two objects represent male and female

46 INDONESIANA VOL. 10, 2021

ancestors, which are placed in the middle of the court where the people dance ja’i. That day was the peak of the implementation of ka sa’o in Tololela Village. A ritual to express gratitude for the completion of a sa’o construction. In the Ngada community, the development of sa’o must go through ten stages before a sa’o can be inhabited. Each stage of the construction of a house is a manifestation of the human life cycle, and ka sa’o is

the embodiment of maturity. Sa’o is an inseparable part of the life of the Ngada people. Not only as a place to live, sa’o has various functions in their custom. The community believes that in every sa’o lies the ancestor who helps protect the safety of the residents of the house and the environment. Therefore, in every stage of house construction, rituals are always carried out to honour the ancestors. Ka sa’o is the last ritual as a validation that a sa’o is suitable for habitation in accordance with adat provisions. The preparation stage for the ka sa’o began when the owner of the house which had already been built held a ritual to appoint and recite prayers for the people who were in charge of the ka sa’o the next day. With permission of the ancestors, one by one the names were read out, accompanied by the pouring

of moke in coconut shells. The direction of motion of the palm leaves floating in the shell is believed to be a manifestation of the presence of the ancestors. The ancestors agree when the palm leaves move to the left, and vice versa. The next day’s programme began with a recital of sa ngaza by the owner of the house. Then the owner of the house descended to the courtyard of the house to form a welcoming line for guests. A line of men brandishing machetes while moving slowly towards the village entrance. The guests who attended form the same line waiting for the host to let them enter. Sa ngaza was chanted again as an affirmation of the purpose of the arrival of the guests who were present. Each guest brought an animal that they handed over to the host to be slaughtered. In the evening, rituals were carried out to read traditional poems that had historical meaning and explanations of sa’o to remind the residents about the origin of the house. The third day was the peak of the ka’o. In the morning, the officers started

slaughtering the buffalo then the blood was sprinkled on the ngadhu as a form of offering to the ancestors. The animals that the guests brought were also slaughtered to be cooked later and then distributed to all of the attendees. Sa ngaza was chanted more and more by the host, and the guests who attended filled the courtyard more and more. Go laba was played loudly and continuously accompanied by the beat of the audience’s feet. Women and men joyfully danced ja’i around ngadu and bagha, as if feeling the presence of their ancestors participating among them. Three rounds of the ja’i dance seemed to be enough to make you sweat heavily. On the third round, the host escorted the guests to enjoy a meal at the sa’o. This activity would continue until the afternoon was closed with the ritual of throwing rice at the house owner’s wife as a form of gratitude to the ancestors for the completion of the ka’sao. The ka sa’o ended with kela nio, a closing ritual followed by the host and the craftsmen who helped build the sa’o.

With silence and a solemn atmosphere, the owner of the house rotated the coconut while reciting traditional poetry. Coconut is a means of communicating with the ancestors to make sure that all the rituals in the sa’o construction have gone according to the rules. In each step, the ka sa’o reflects how the Ngada people respect the existence of their ancestors by always presenting them in every decision. The house becomes an inseparable part and an entity that connects humans and their ancestors. When the coconut has been rotated, the poetry has been chanted, and the message has been read, it is only then that the ka sa’o ritual is completed. (Bimo Haryo Yudhanto) Information: sa’o: traditional house ja’i: traditional dance from Ngada go laba: gongs and drums sa ngaza: traditional poetry kela nio: a ritual followed by the host and the craftsmen who help build the sa’o. It is carried out after the execution of the ka sa’o is complete.

Tilolela Village

photo: Bimo Haryo Yudhanto

photo: Yakoub

(Left) Welcoming guest ceremony. (Centre) The group of guests at the Ka Sa’o ceremony. The guests present formed a line and waited until the host allowed to enter. (Right) Sa’o in Tololela Village, the line of sa’o that surrounds the courtyard of Tololela Village.

photo: Bimo Haryo Yudhanto

Ja’i dance is a traditional dance of the Ngada people in Flores, East Nusa Tenggara (NTT). This dance is a mass dance performed by the people there as an expression of gratitude and joy.

2021, VOL. 10 INDONESIANA 47

TRADITIONAL KNOWLEDGE

Colonial Traces in

a Cup of Bajawa Coffee

48 INDONESIANA VOL. 10, 2021

photo: Aldi Sanjaya Putra - https://www.shutterstock.com/g/

Coffee from Bajawa

In recent years, coffee consumption in Indonesia has increased significantly. It is shown not just in the number of coffee outlets that has spread in various places including in remote areas of the city, but also the number of searches for various types of coffee in the archipelago. The advantage of our country is its diversity. Geographical and cultural diversity. These two things characterise coffee in Indonesia, as well as Bajawa Coffee. 2021, VOL. 10 INDONESIANA 49

A mama (older woman) from Rakaba Village is picking Bajawa coffee beans. (Top) Housing in Ngada Village, Bajawa, 1927. (KITLV 11109). (Bottom) Bena Village, Bajawa.

photo: KITLV 86480

photo: https://digitalcollections.universiteitleiden.nl

drinking something from a distant land.

Golewa and Bajawa, of which altitude is

develops according to the character

Perhaps this is similar to how Europeans

above 1,000 metres above sea level, in

of the place where it is grown, its

feel when they inhale the aroma of

accordance with the nature of Arabica.

geographical character and its cultural

Indonesian spices, even though they

Since then, Bajawa Arabica coffee has

character. In certain regions, the coffee

have never been to the Dutch East Indies

become increasingly widespread and

produced will have a certain distinctive

in the past centuries.

continues to be cultivated patiently by

We know that the coffee plant

taste, even though the character is the

The age of Bajawa coffee, according

the people of Ngada Regency. From other sources, we get

same as coffee from other regions.

to some sources, is not as old as

Of course, that is the reason for the

colonialism. Not even the age of the

information that Bajawa coffee became

diverse geographical characteristics.

Republic of Indonesia. It was Matheus

famous since the film Ada Apa Dengan

In the context of cultural character,

John Bey, Regent of Ngada Regency for

Cinta 2 [What Is Up with Cinta 2]. In one

naming one type of coffee gives different

the period 1978-1988, who was the most

scene of the film, Rangga, who has just

suggestions to consumers. The name

instrumental figure behind the presence

returned from New York, meets a Jakarta

Bajawa coffee, for example, brings to

of the famous Arabica type Bajawa

woman named Cinta who is on vacation

mind the culture of the Bajawa land.

coffee. In 1977, he brought coffee seeds

in Jogja with her high school gang. At

This even happens to consumers who

from Java to be cultivated in Ngada

a coffee shop, the smitten high school

have never come to Bajawa land at

Regency. This coffee seed was then

couple sips coffee while enjoying each

all. A coffee drinker feels they are

cultivated in two sub-districts namely

other’s company.

50 INDONESIANA VOL. 10, 2021

photo: https://www.shutterstock.com/g/ariningrumss

coffee trade infrastructure, it will all be

about because of the initiative of a civil

in vain. It would only be remembered a

servant who saw its potential, while

few days after people see the film and

the factor that made it so popular was

then forgotten. It was fortunate that the

driven by cultural work, namely a film.

coffee was already available in stores

Of course, it’s not just AADC 2 that has

after the film appeared. So that people’s

made young teenagers in South Jakarta,

memories of it can be maintained and

for example, sipping Bajawa coffee on

even nurtured continuously.

their first date. There are farmers in

The things described above show an

Ngada who are very diligent in working

important phenomenon for us. Cultural

on their coffee plantations and there

development must go hand in hand with

are distributors who can ensure that

the development of other sectors so that

the coffee harvest in Bajawa can be

it can bring benefits to many people.

presented in beautiful packaging at

Or cultural works must also be keen to

coffee outlets in Jakarta.

raise other potentials. Only then will the

If the popularity of Bajawa coffee, due to appearing briefly in the AADC 2 film, is not matched by a good Bajawa

overall wellbeing appear.

photo: Vectorgoods studio - https://www.shutterstock.com/g/vectorgoods

Bajawa Coffee in Ngada Regency came

2021, VOL. 10 INDONESIANA 51

photo: Ariningsrumss - https://www.shutterstock.com/g/ariningrumss

Mamas rest after harvesting Bajawa coffee beans. Bajawa Coffee, coffee from Flores that is known worldwide. Bena Village, Bajawa, Flores.

Talking about coffee and Flores, I

In the same vein as the history of

remember the lines of a poet, Djoko

coffee, when we add Flores’ frills behind

Saryono, which roughly translates

coffee, we actually collide with the same

to something like, “When I drink a

thing. The name Flores itself is not a

sip of coffee, I actually taste traces

real name. It is a name that emerged

of colonialism.” Of course, the this

as a result of colonialism as well. The

paraphrased line from Djoko Saryono

original name of Flores Island itself is

is not verbatim. When writing this I

actually Nusa Nipa or Snake Island. The

had misplaced the book of his poetry

name Flores came from the Portuguese

collection. I’ve tried looking for it but

“cabo de flores” which means “Cape of

can’t find it. Even in the Google search

Flowers”. The name was originally given

engine, I couldn’t find the poem I

by S.M. Cabot to refer to the eastern

referenced. However, this line of poetry

region of the island of Flores. It was used

is so attached to me because of the very

officially since 1636 by the Governor

poetic truth behind the sentence.

General of the Dutch East Indies Hendrik

We may rarely really imagine colonialism when having beautiful cups

Brouwer. In the name of Flores – Bajawa coffee,

of coffee with friends. But what we

we actually exaggerate the legacy of

are proud of with Indonesian coffee is

colonialism. Coffee itself is a colonial

indeed the colonial heritage. The history

heritage and the name of the place of

of coffee in Indonesia accounts that in

origin of the coffee referred to is the

1696, the VOC (Vereenigde Oostindische

name given by the colonial powers

Compagnie) landed in Java. In their abundance of luggage, there is also coffee from Malabar, India, of the Arabica type. The VOC then planted them in Sumatra, Sulawesi, Bali, Timor, and other islands in the Dutch East Indies. In fact, coffee became one of the mainstay commodities for the VOC. At that time, in the 1700s, coffee sales from the Dutch East Indies were so large that they were exported to the Netherlands and monopolised the world coffee market. Java was a famous coffee production centre, giving birth to the world-famous phrase “a cup of Java”.

52 INDONESIANA VOL. 10, 2021

photo: https://www.shutterstock.com/g/vectorgoods

So, while sipping Bajawa coffee from

history, it is our ability that can restore

Flores, let’s be determined to preserve

the colonial heritage for our own needs

our cultural history, to preserve the

and interests. In the case of Bajawa

heritage that we have. We need to

coffee, there are actually attempts to

explore the meaning and use of it in the

get out of the colonialism trap. Bajawa

present for the welfare and life of today.

coffee has now become a commodity

(Berto Tukan)

that gives the name of the snake-shaped island a good name.

photo: Septian Intizom Armedi - https://www.shutterstock.com/g/intizom

as well. However, regardless of that

photo: Tony Prince - https://www.shutterstock.com/g/Tony+Prince

2021, VOL. 10 INDONESIANA 53

photo: Doc. Rafli L. Sato

INDONE SI AN T EXT I LE

54 INDONESIANA VOL. 10, 2021

photo: Dodi Sandradi

The weaving tradition in East Nusa Tenggara, especially in Flores, has been going on for generations. Knowledge of yarn spun from local cotton; colours processed from various types of plants such as noni, flowers, leaves, roots, and certain types of wood; as well as various weaving motifs, explaining their relationship with nature and local culture. In the early ’90s, it was still common to find housewives in the village whose hands were black from spinning threads, dyeing them with natural materials, and weaving them. Now it is rare to see these distinctive hands because of the ease of getting yarn of various artificially made colours in stores. The traditional dyeing and dyeing process has been drastically reduced or simply “no longer exists”.

The Caci dancers in their dance performances wear songke weaving.

2021, VOL. 10 INDONESIANA 55

The Rangku Alu dance is played in groups wearing traditional Manggarai clothes and songke cloth.

Over time, weaving is widely known through various promotional media. The NTT government implements a policy of “compulsory to wear office work clothes with regional motifs”, which automatically boosts weaving production. Weaving is no longer only used by certain classes of society in certain traditional events but has become public consumption. Various weaving festivals in every district in Flores, at the provincial, national, and even international levels, has raised the prestige of songke weaving. Economic growth, educational and health needs, socio-cultural activities, and modern lifestyles directly affect the motivation to weave as economic capital.

photo: Dodi Sandradi

Songke Motifs Are Full of Meaning Tracing the weaving motifs in Flores

The process of weaving – which used

script derived from the Makassar Bugis

to take a long time (three to six months)

lontarak. There is a lontarak script that is

from the eastern tip of the districts

because it involved spinning the yarn,

not found in Ende, and conversely, there

of East Flores, Sikka, Ende, Nagekeo,

colouring, and choosing motifs – has

is a lota script that is not found in Bugis-

Ngada, East Manggarai, Manggarai, and

changed. One sheet of tenun can now

Makassar. Lontarak adapted to the Ende

West Manggarai, one can find a series

be produced in just two to three weeks.

language system to produce lota.

of unbroken pearls. There are various

Commercialisation is difficult to avoid

In Manggarai, the influence of Bugis-

motifs that describe the macrocosm and

as a reflection of the needs of the

Makassar gave birth to a new culture

microcosm’s thoughts about the history

economy, education, and public health,

of traditional clothing. The Bugis

of origin, religiosity, and philosophy

as well as people’s lifestyles. How does

Makassar people call it songket while

of life inherited from ancestors. For

dedang songke face the challenges of the

the Manggarai people call it songke.

example, the ula age motif in East Flores

times?

Referring to history, in 1722 the Sultan

is a symbol of hope born of the farmer-

of Gowa handed over Manggarai to the

field culture. The utan welak motif is

traditional cloth weaving activity in

Sultan of Bima as a dowry, as stated

a symbol of the struggle of women in

Manggarai which is done by adult

by D.N Toda in Manggarai Seeking

the eastern part of Sikka Regency. The

women or housewives. Songke is also

Historiography Enlightenment (1999). The

motifs of jara gaja (for women) and

called towe or lipa. Some research

Bajo, Bugis, and Bima people also gave

semba (a special wide scarf for men) in

results explain that the origin of songke

birth to new arts, including traditional

Ende Lio. The ruit (rhombus) motif in

is closely related to the trade expansion

weaving. In its development, the role of

Mbay Nagekeo and the jara manu (horse

of the Kingdom of Gowa (1613 – 1640)

songke is very potential to be used as

and chicken) motif from Ngada.

to the eastern part of Indonesia and its

a means of preservation, appreciation,

influence on the Ende area in central

education, and a pioneer for village

black base colour and the cloth is also

Flores and the Manggarai area in

economic growth (Regorian, et al in

decorated with various motifs with

western Flores. The proof is that in Ende

Songke in the Economic History Perspective

beautiful, impressive colour variations.

– especially in the southern coastal area

of Lenda Village, West Cibal District,

Its existence must be preserved and

and the island of Ende – there is a lota

Manggarai Regency 2005 – 2017, 2017)

maintained. The study on weaving by

Dedang songke is understood as a

56 INDONESIANA VOL. 10, 2021

Manggarai weaving is famous for its

Patrisius Batarius, et al as outlined in the paper Par Approach to Edge Detection for Manggarai Flores (2012) underlines, that weaving motifs inherited from previous generations need to be maintained so as not to shift the value of cultural significance and characters in songke. This view is based on the idea that not all weavers can maintain the local motifs depicted in the towe songke originating from the mountains in the Manggarai area. Some of the songke motifs, namely wela kawu (kapok flowers) symbolise the relationship between humans and their natural surroundings. The ranggong (spider) motif symbolises honesty and hard work. The ju’i motif (borderlines) signifies that everything has an end. The ntala (star) motif is related to hope which is often echoed in tudak or prayer to achieve high ideals to the stars. The wela runu motif (flower runu) symbolises the Manggarai people which is depicted like small flowers that give the beauty of life amid this mortality (source: angelinafebunmer.blogspot.co.id, accessed March 16, 2021). Markus Makur on the travel.kompas. com page also writes about the songke motif with embroidery techniques in East Manggarai. Some of them are jok, symbolising rumah gendang or traditional house of the East Manggarai people; the small flower wela runus; and the larger wela kaweng flower that grows in East Manggarai. The ruit-shaped mata manuk symbolises the eye of God, titian symbolises a bridge, sui or dividing lines symbolising the life of the East

The songke motif used by Caci dancers has its own meaning. photo: Dodi Sandradi

2021, VOL. 10 INDONESIANA 57

photo: Susy Ivvaty

Steven, a cloth trader at a market in Sumba, Southwest NTT, sells woven fabrics and songket from various regions in NTT, including from Flores.

photo: Syefri Luwis

Beauty in songke motifs.

Manggarai community which is limited

“store-made yarn”, “store-made dye”,

fulfilment of living needs. Therefore,

by adat rules. Natas or punca are always

and “ordered” motifs from a number

commercialisation can be seen as a

in the middle of the front of the songke

of weaving sales agents, according to

challenge as well as an opportunity to

sarong jok lambaleda songke sarong,

market tastes. Motifs are determined by

empower weaving activities. Of course,

symbolising the natas (village yard)

the market which causes the weavers’

at the same time, this potential provides

which is always in the middle of the

understanding of motifs to change. This

room for songke (and other traditional

village and serves as a place for children

situation causes the quality of weaving

weaving from Flores and NTT) to develop

to play.

to decline. This has happened in almost

and meet local, national, and global

all areas in NTT. Commercialisation is

competitions.

They are truly motifs full of symbols and meanings. However, to fulfil the

indeed difficult to avoid in the global

weaving market, craftsmen are looking

era when commodities go hand in

of local identity or the melting of local

for an easy shortcut, namely by buying

hand with changes in lifestyle and the

identity into the global world which

58 INDONESIANA VOL. 10, 2021

The most worrying thing is the loss

tends to ignore unique identity. Stopping the commercialisation of songke is impossible amid a growing market demand. However, it is important to keep the originality of the tradition to maintain the identity and inheritance of the tradition. One of them is to maintain special motifs as a characteristic of traditional weaving culture. The unique songke Manggarai has philosophical values that are sacred to its owner. Similar to lipa and lawo Ende, sapo lu’e and lawo in Ngada, sufficient capital is needed to maintain identity. Traditional weaving motifs are cultural capital that must be mastered. It grows from the pillars of culture such as relationships with oneself, others, the natural environment, ancestors, and the Supreme Being. (Maria Matildis Banda, Lecturer of the Faculty of Cultural

photo: Syefri Luwis

Sciences UNUD Denpasar Bali)

photo: Syefri Luwis

Several types of songke motifs.

2021, VOL. 10 INDONESIANA 59

M A NUS C RI P T

Asma randana

Kangsa Adu-adu

photo: Dandung Adityo

60 INDONESIANA VOL. 10, 2021

Javanese people inherit many cultural relics of the past, namely buildings in the form of former kingdoms and places of worship, arts in the form of dance, as well as traditional theatre, and literature in the form of written classic epic scripts or often called manuscripts. Some of the Javanese manuscripts are stored in the scriptorium. If examined according to the process of its birth, the manuscript is Javanese literature from the New Java period, namely the Surakarta Kasunanan Palace, Pura Surakarta Mangkunegaran, Yogyakarta Sultanate Palace, and Pura Pakualaman Yogyakarta. One of the four scriptoriums that I highlight belongs to the Pura Mangkunegaran Surakarta scriptorium.

by the author so that the literary work is easy to remember, memorise, and understand. One manuscript discussed in the discourse was the Kangsa Adu-Adu script. The 192-page folio manuscript consists of two wayang plays which are detailed in pupuh or chapters. The first pupuh to the second pupuh act as an introduction to the story, pupuh 3 to 27, stanza 12 contains

he establishment of

work of Mangkunegara IV, including his

the play Kangsa Adu-Adu, while pupuh 28

Mangkunegaran coincided

own stories that are still sourced from

to 49 contains the play Wirathaparwa.

with the relocation of the

the Mahabharata or the Ramayana. In the

Javanese people are very familiar

Kartasura palace to Surakarta. Since

field of wayang, the king wanted to teach

with têmbang macapat in their daily life.

then, Mangkunegaran together with

his people as a reflection of the Javanese

Basically, têmbang macapat is a poem that

the Kasunanan Surakarta palace,

way of life. Another breakthrough is the

is tied to a rhyme pattern and contains

Yogyakarta Sultanate, and Yogyakarta

wayang story script written by the king

elements of titi laras (tone), both rhyming

Pakualaman, became an inseparable

using the form of poetry or macapat

patterns and titi laras patterns depending

part of the history of the Javanese

because wayang stories are written in

on the type of rhyme pattern used.

kingdom. Mangkunegaran’s socio-political

archaic words, especially if they are

Thus, the type of rhyme pattern greatly

dynamics, of course, also influenced

arranged in a long story. This became a

determines the guru gatra (the number

the dynamics of Javanese history. Pura

new tradition of Javanese literature; in the

of lines in each stanza), the guru wilangan

Mangkunegaran experienced a heyday

form of poetry, using the new Javanese

(the number of syllables in each line), and

during the reign of Mangkunegara IV.

language and structured with elements of

the guru lagu (the fall of the vowel sound

This success was achieved thanks to

rhyme or meter. It’s a discourse offered

at the end of the line).

the policies and breakthroughs taken by King Mangkunegara IV in various fields. These policies and breakthroughs succeeded in increasing the welfare of the Pura Mangkunegaran because they were carried out in important fields such as governance, agriculture, plantations, economics, arts, and literature. In the field of literature, Mangkunegara IV is famous for works containing teachings or education. At least, there

“Kangsa Adu-adu Radya Pustaka” manuscript. “Kangsa Adu-adu Pura Mangkunegaran Pakem Ringgit”, page 23

photo: Dandung Adityo

are 35 titles that can be identified as the

2021, VOL. 10 INDONESIANA 61

photo: Dandung Adityo

Macapat songs are generally expressed in beautiful language, in

Macapat: Character Description of Text The Asmaradana meter is the

order to create enjoyment for those who

dominant meter that appears in the

listen to the songs and the readers of

text. In general, this meter is always

the poems. Imam Sutardjo, an expert on

described with shades of concern,

têmbang macapat, notes that Javanese

sadness, misery, happiness, wisdom,

people recognise 11 types of tembang,

and love; being good to yourself, the

namely Dhandhanggula, Sinom, Kinanthi,

environment, family, the opposite sex,

Mijil, Pangkur, Durma, Asmaradana,

and the knowledge you possess.

Maskumambang, Megatruh, Pocung, and Gambuh. The macapat song which has various

Sinom describes the nuances that are filled with passionate nature, enthusiasm for new things that will happen, dexterity,

names is a sign that the use of pupuh

the agility of movement, and prioritising

tembang should not be at will but must

the “aji mumpung” situation. Because

be adapted to the nature/character of

what is being told is the youth, then the

the song. Each song also has its own

meter tends to be dynamic as youth

character, one song has a cheerful

absorb whatever knowledge they find

character, usually describing something

so that they can be used as well as

related to the nuances of the song.

possible in dealing with the journey of life. Pangkur describes the nuances that

62 INDONESIANA VOL. 10, 2021

Manuscript of “Kangsa Adu-adu Pura Mangkunegaran Pakem Ringgit”, page 24. Manuscript of “Kangsa Adu-adu Pura Mangkunegaran Pakem Ringgit”, page 25.

In addition to having a character,

peak. If angry, then the anger peaks like

Rara Ireng. If the plan is implemented,

the peak of Pamadi’s anger over the giant

it will be easy for Kangsa to inherit the

têmbang macapat also has a philosophical

Gending Curing, as well as Wasi Birawa,

throne of the Mandura kingdom. It

meaning, namely a picture of the human

Kakrasana, and Narayana’s anger at

also describes the nuances of teaching

life cycle. Humans’ life from birth to death

Suratimantra. If it’s love, then love also

that is told when Begawan Padmanaba

cannot be separated from the existence

peaks like when Pamadi feels the thrill

gives all his knowledge to Narayana.

of a life cycle process, namely metu or

of romance at first sight when he meets

Dhandhanggula meter has a flexible

“born”, manten or “married”, and death.

Wara Sumbadra.

character according to the description of

The description of the human life cycle

any story. The text accounts for happy

which is represented philosophically

relaxed, witty feel, and tends to avoid

and sad events, both of which are written

through têmbang macapat is Mijil (birth),

tension so that the story is not always

in one pupuh.

Sinom and Durma (youth).

Pocung meter is used to create a

serious, its humorous character can

Gambuh meter describes a familiar

After that, enter Asmaradana (in love

diffuse a tense situation. The Durma

nuance, namely when Arya Prabu

or falling in love); Kinanthi (hand in hand,

meter suggests an atmosphere that

Ugrasena asks for the help of a powerful

family, marriage period); Dhandhanggula

describes the nuances of patronising,

hero to go to the land of Ngastina, led by

(starting to be mature, regulates and

such as the delivery of orders: What

King Drestarata, who still has family ties

harmonises life, and is wise); Gambuh

happened when Grandpa Abyasa orders

with King Basudewa, and also when Arya

(mature age, can grow according to the

Pamadi to help Nyai Sagopi who is having

Prabu Rukmaka ask for help from the

needs of the body and mind, society

trouble because she is being chased by

Brahmin Hom, who proposes his student

and God; Pangkur (old age, putting aside

giant soldiers.

Wasi Birawa for the assignment, who still

the worldly, curbing negative desires;

has family ties to King Basudewa. Kinanthi

and Pocung (cutting or dying, death and

the event which also contains advice,

meter describes the feeling of compassion,

the connection with the world is cut

appeals but of the cunning kind. This is

happiness because the character can

off). That’s the description of têmbang

told when Suratimantra tells Kangsa his

finally meet and reconnect with separated

macapat meters in the Kangsa Adu-adu

strategy to eliminate Mandura’s three

families because Kinanthi comes from the

script. (Dandung Adityo, UI Philology

sons, namely Kakrasana, Narayana, and

word kanthi which means “together”.

alumnus)

photo: Dandung Adityo

Mijil meter describes the nuances of

2021, VOL. 10 INDONESIANA 63

FO O D T OU R I SM

Gorontalo's Unique Taste and Panoramic Scenery

64 INDONESIANA VOL. 10, 2021

s Otanaha Gorontalo Fort which was used by the Gorontalo Kingdom against the Portuguese – Gorontalo.

photo: Ricki Prz- https://www.shutterstock.com/g/RickiPrz

The province of Gorontalo, in the northern part of Sulawesi Island, is located in the Wallacea area, a transitional zone between the Eastern Region and Australia. Thus, the area boasts rich biodiversity as well as endemic species that are not found anywhere else. This place is a relatively untouched nirvana, with beautiful marine life, lakes, rivers, beautiful landscapes, forts and interesting history. Travellers recognise that this city has the potential to become a prime destination for foodies who want to travel far and wide to enjoy the food and drinks on offer.

2021, VOL. 10 INDONESIANA 65

photo: Affandi Rahman Halim - https://www.shutterstock.com/g/affandirh

Ilabulo Gorontalo roasting process. Sharks in the sea of Gorontalo

orontalo city can be reached

black beef, chicken or vegetable soup

desserts and drinks. To make 700 ml of

through a three-hour flight from

that is rich in more than 30 traditional

yinulo, coconut milk is squeezed from

Jakarta, via transit in Makassar.

ingredients, including herbs and spices.

10 coconuts. It is then boiled for about

Tomini Bay not far from the city has

This dish is usually served at weddings,

three hours and stirred constantly,

world-class diving sites. A number of

family gatherings, and other special

giving it a distinct and very savoury taste

small islands scattered around the sea

events. The blackish colour in the

and aroma. Homemade coconut oil is

waters of Gorontalo have abundant coral

gravy comes from the coconut which

always sought after for sambal, stir-fried

reefs and marine species, therefore they

is roasted, not burnt and then ground.

and fried dishes.

are also a very diverse source of seafood.

Among the ingredients for Tabu Moitomo

Those raised there can tell the difference

include shallots, garlic, red chillies,

a traditional tool called dudangata. A

between fresh fish and fish that are

cayenne pepper, coriander, cumin,

grate sits on a kind of bench in front

starting to fail by the appearance and

turmeric, galangal, ginger, tamarind,

of which (connected to the bench) is a

taste of the fish meat. Fresh fish always

basil leaves, lime leaves, pandan leaves,

sharp metal grated coconut that is used

tastes great even when it’s cooked

and scallions. Preparing Tabu Moitomo

to scrape the flesh from the coconut

without too much seasoning.

is a comfortable togetherness time

shell. Shredded coconut with dudangata

because it takes a long time and many

has a different texture compared to that

spices, especially chillies, onions and

people to grind the spices and herbs and

using modern tools. There is a saying in

tomatoes. Usually, the fish is fried in

wait for the meat to be tender.

Gorontalo: hiyambola dudangata debo

Bilenthango is a split fish topped with

Grated coconut is produced using

mowarmo, which means “even grated

a little oil on a layer of banana leaves.

No one knows why Gorontalo

To keep the fish intact, the scales are

has this ultimate spiced dish that

coconut demands something in return”

not cleaned completely, and the fish is

shows a mixture of Arabic, Bugis

because there is often grated coconut

only fried on one side without turning,

and Ternate influences. According

left in the dudangata. This is an analogy:

with a splash of hot oil to set the

to the literature, among the reasons

even dudangata can be corrupted, let

seasoning over the fish. Arifasno Napu, a

Gorontalo people use spices in their

alone humans.

nutritionist who conducted his doctoral

food are for taste, aroma, texture,

research on traditional Gorontalo

colourants, preservatives, nutrients,

from grated coconut is binthe biluhuta,

foods, identified at least 15 types of

immune boosters, medicines, slimming

a traditional corn soup, and food loved

staple foods; besides rice, there is also

substances and aphrodisiacs. A bowl

by many in the area. Binthe biluhuta is a

sago, corn, and cassava. Traditionally

of Tabu Moitomo from Gorontalo can

healthy, fresh and versatile dish whose

there are 10 vegetable dishes with

give the atmosphere, aroma, and traces

local ingredients can be customised

local ingredients or vegetable-based

of the richness of the spices of the

according to individual tastes. Chef

ingredients that are common in

archipelago.

Indonesia, namely eggplant, kale, and

Most of Gorontalo’s traditional foods

Gorontalo’s most famous dish made

William Wongso always serves binthe biluhuta at state banquets at home and

ferns. There are also 15 side dishes

are coconut-based, whether cooked

abroad with a charming appearance and

with raw materials from lakes and seas,

with freshly grated coconut, coconut

is always welcomed with enthusiasm by

including freshwater fish and seafood.

milk, or homemade coconut oil, called

those who eat it.

One of the dishes richest with herbs

yinulo. Coconut is used for seasoning,

and spices is Tabu Moitomo. This is a

66 INDONESIANA VOL. 10, 2021

in appetizers, snacks, main dishes,

The main ingredients of binthe biluhuta include shelled corn, grated coconut, red

photo: beginer subhan - https://www.shutterstock.com/g/beginer+subhan

chillies, shallots, basil leaves, scallions,

was unknown and did not affect human

less familiar with local food and snacks.

salt, lime juice, and a little tuna, or small

eating habits.

Locals’ homes are still the best place to

shrimp. This dish can also be made

In making Panggahan, the palm sap

find delicious authentic Gorontalo food. Inviting guests to a home with a dining

vegetarian. By looking at the content of

concentrate is poured into coconut

carbohydrates, protein, fat, and fibre, it

shells that are halved and allowed to

is clear that biluhuta binthe is refreshing,

harden into clumps of palm sugar. The

is considered a way to honour relatives

increases endurance, and is good for

craftsmen then stack two lumps of solid

and friends. In many countries, usually,

digestion. The Indonesian Ministry of

palm sugar and wrap them in dry woka

the host offers a cup of coffee, it is a sign

Education and Culture has designated

leaves. It takes skill to wrap the thigh

that guests are invited to stay longer.

binthe biluhuta as an intangible cultural

which in the final stage is shaped like

But in Gorontalo there is a saying:

heritage. Other Gorontalo foods that

a diamond. The form of Pangganga is

Mamotowuli ju, wanu woluo huduhudu

are recognised as intangible cultural

always present in various decorations

mai kopi lo polondulo, meaning: “I will

heritage, are ilabulo (food made from

and decorations in the life rituals of

leave when the coffee is served.” Lo

sago, like pepes, with chicken offal),

the human life cycle such as birth,

Polondulo coffee is coffee offered with a

tiliaya (food made from coconut milk

circumcision, and marriage.

subtle message that the visit or event is

and palm sugar). According to Arifasno Napu, 35 types

Living in an agricultural area with abundant marine resources, it is

table full of delicious Gorontalo cuisine

coming to an end. So, when travelling to Gorontalo

of Gorontalo snacks are traditionally

very rare for families to go hungry

and being invited to enjoy a meal at a

not made from wheat flour but corn,

in Gorontalo, even though they only

resident’s house, remember that when

cassava, sweet potatoes, bananas, and

have minimal income. Most of the

they serve coffee, it’s time to go home

rice flour. Generally, they use palm

food sold in restaurants is local food.

immediately. (Amanda Katili,

sugar called Pangganga as the main

However, because there are now many

Chairperson of the Omar Niode

sweetener. The use of Pangganga in

restaurant franchises in Gorontalo, this

Foundation)

traditional Gorontalo snacks dates back

has changed the role of local food so

hundreds of years when refined sugar

that young people are starting to be

2021, VOL. 10 INDONESIANA 67

PE RFO RM I NG ART S

photo: Fathul Muin

a non-harmonious synchronization

68 INDONESIANA VOL. 10, 2021

Pakarena fan dance is one of the most popular traditional arts from South Sulawesi.

photo: Fathul Muin

Pakarena fan dance reflects the nature of calm, quiet, and contemplative.

Pakarena dance is unique not only because it is specifically danced by women, but also because there is a difference between the slow rhythm of the dance movement and the fast tempo of the accompanying music. The graceful dance flows smoothly like calm waves. The footwork is only a small shift behind the dancer’s sarong. Also, the eyes are always looking down at the dancer’s feet.

wo drummers beat their drums, along with a flute (puik puik) player and several other musicians. The tunes flow rhythmically and dynamically accompanying the dancer who moves slowly and smoothly. Pakarena is a dance that is like a woman, smooth but strong despite the storms of life. It’s a merging of two components that are not in sync and not syncretic but still produce a harmonious blend that is stunning and touches the heart of

anyone who sees it. It’s a dance creativity that is uncommon, which leads anyone to the realm of contemplation in the depths of the meaning and value of this tradition. Pakarena dance is a traditional dance from South Sulawesi which is a cultural icon of Bugis-Makassar, two ethnic groups that actually have their own cultural variants despite many similarities. This dance developed in the palaces of the Bugis and Makassar kings. Initially,

this dance was sacred. This ritual dance is believed to have been handed down directly by the gods to teach humans to behave properly. The epic Sureq’ Galigo, the famous oral literature, narrates it and relates the ethnic origins of this region. In Sureq ‘Galigo, it is narrated that the bissu performed ritual contact with the gods through dance and spells. During the rule of the Gowa kingdom (Islamic civilization), animistic rituals were transformed into profane ceremonies, palace entertainment and icons of the royal majesty. Sultan Hasanuddin’s mother, I Li’Motakontu, refined the Pakarena dance so that it could be used for various purposes by the Gowa royal court. Islamic civilization brought new developments that could adopt elements of the past or those that had been erased, such as during the separatist

2021, VOL. 10 INDONESIANA 69

rebellion of Kahar Muzakar in the 1950s, after Indonesian Independence. In a tense political atmosphere, the preservation of traditional arts can be done through traditional maestro, including Anrong Guru Coppong Daeng Rannu (Gowa) and Daeng Manda (Sidenreng). Furthermore, in the development of national culture, various structured revitalisation processes carried out by this dance were carried out by the South Sulawesi Arts Institute which was founded in 1962 by three women, Andi Siti Nurhani Sapada, Munasiah Najamuddin, and Ida Joesoef Madjid. Andi Siti Nurhani, who is more senior than the other two, before the establishment of the South Sulawesi Arts Institute, had conducted various studies exploring Pakarena dance since the early 1950s. According to Nurhani Sapada’s notes (Nuansa Pelangi, 1997) the Pakarena dance was introduced to the public in 1951-1952 by the Mangkasara Cultural Arts organisation under the leadership of Fachrudin Daeng Romo and Mappaselang Daeng Magan by performing Anrong Pakarena named Parancing from the Polombangkeng area. After that, Pakarena dance began to be developed, revitalised and reconstructed for the benefit of socialisation to the

public outside the Gowa palace. Pakarena mainly developed through formal education into the elementary-juniorhigh school curriculum in South Sulawesi. This is what makes the development of this regional traditional dance in line with cultural relations in other regions, such as in Southeast Sulawesi. This dance received national recognition, when invited to enliven the 17 August celebration at the State Palace (1952), followed by its participation in various cultural missions abroad. The next generation, Wiwiek Sipala, born in Raha Muna, Southeast Sulawesi, an alumnus of the Jakarta Arts Institute, has created various creations of traditional South Sulawesi dances since 1978 until now, to be developed in upholding the cultural traditions of South Sulawesi in the future. Furthermore, various kinds of Pakarena dance appeared in other areas of South Sulawesi. Researcher and choreographer Halilintar Lathief in the Synopsis of the Heritage of South Sulawesi Traditional Dances (1994) notes that there are twenty-two Pakarena dances spread across various regions in South Sulawesi. One of the most important is Pakarena Gantarang from Selayar. This dance is to be explored from history that this dance

was danced for the first time by women in the 18th century at the coronation of Pangali Patta Raja as king of Gantarang Lalang Bata, Selayar Island. This dance has the same background, namely the belief that the gods came down to earth to give guidance to humans. However, the music for this dance is slightly different, plus Gong and Kannong. Furthermore, Pakarena Ballabulo was also excavated, also from Selayar, Pakarena Bulutana from Gowa, Pakarena Olie from Jeneponto, and so on. The Art Institute of South Sulawesi has created and developed various variants of traditional dances such as the Bosara, Padendang, Paduppa, Pattennung dances, etc. Meanwhile, Wiwiek Sipala, among others, has researched the existence of Pakarena dance in several coastal areas, mountains and the islands of South Sulawesi. Sipala studied under Anrongguru Coppong, Munasiah Najamuddin, Daeng Manda, Daeng Mille, Daeng Serang, and Sirajuddin Bentang. Then she created Akkarena (2010), Pakarena Simombala (2000) and Pakarena Se’reang Bori (2012) and various other new creations of traditional and contemporary dances. Furthermore, Nurlina Sharir, a Makassar State University lecturer, also

This dance tells the relationship between humans and their creators according to the rhythm of life. Bodo clothes are typical Bugis clothes worn by dancers.

photo: Fathul Muin

70 INDONESIANA VOL. 10, 2021

researched Pakarena Sere Jaga Nigandang during her postgraduate study, reconstructing the results of her research with the maestro Daeng Manda, in 2014. The word Sere is attached to Pakarena because it contains a meaningful ritual activity. This word is used to name traditional Makassar dances which contain a ritual meaning. In line with the development of time, when the palaces of the kings used dance as entertainment, it was called the Pakarena dance. The word “Pa” means a performer, and the word “karena” means to play, combined as “Pakarena” it means dancer and at the same time attributed as the name of this dance. Great attention for the arts of South Sulawesi developed, especially for Sureq’ Galigo with Bissu and Pakarena dance, when in the late ’90s Roda Grauer, a well-known world dance TV producer from the United States, conducted research to make a film about Bissu. He, then, together with Restu Imansari Kusumaningrum, a dancer and founder of the Purnati Foundation in Bali, approached Robert Wilson, a celebrity director from the United States (2000), to work on a world performing arts mega project with the topic I La Galigo. I La Galigo, which included the Pakarena dance, toured the world and received many praises and criticisms, including from Margaret Hamilton, a postdramatic theatre specialist from the University of Wollongong –Australia (Performance Review of I La Galigo at Melbourne Festival 2006). Robert Wilson as the director was assisted by dramaturg Rhoda Grauer, musician Rahayu Supanggah, an Indonesian composer from Solo, supported by 50 Indonesian artists, both from South Sulawesi and other regions, and a number of specialists in scenography from the West. I La Galigo’s long journey was considered successful because it was supported by prominent South Sulawesi artists, especially dancers and choreographers of the Pakarena dance, such as Andi Ummu Tunru, Arongguru Pakarena Coppong Daeng Rannu, Bissu Puang Matoa Saidi, traditional dancer Mak Cida, revitaliser Munasiah Najamuddin, with several changes to supporting artists through necessary regeneration within a period of approximately 20 years. (Julianti Parani PhD, choreographer-dancer, researcher-writer, senior lecturer at IKJ) photo: Fathul Muin

2021, VOL. 10 INDONESIANA 71

After 46 Years:

F I LM

72 INDONESIANA VOL. 10, 2021

he problem with film criticism

quality of its object (Said, 1975). According

in the international film festival scene.

that has started decades ago

to him, Indonesian films were like mere

Some of its representations include “The

seems to have been standing

commercial merchandise, they neglected

Photograph” by Nan T. Achnas, “Atambua

still, it keeps revolving around the same

paying attention to the depth of meaning.

39º” by Riri Riza, “Post Cards From The

issues: its questionable quality and low

Now, 46 years after that essay, it turns

weight of criticism.

Zoo” by Edwin, “Marlina the Killer in Four

out that the quality of film criticism in

Scenes” by Mouly Surya, “27 Steps of May

Indonesia is still a problem, even though

by Ravi Bharwani and Rayya Makarim,

Indonesian film critic of his time, in

the quality of the object (film) that can

“Kucumbu Tubuh Indahku” [Loving My

his essay “Film Indonesia dan Kritik”

be criticised is already better. Even so,

Beautiful Body] by Garin Nugroho, “The

[Indonesian Films and Its Criticism]

there are still many films that are treated

Science of Fictions” by Yosep Anggi Noen,

(recorded in a collection of essays “White

as mere commercial merchandise and

and dozens of other films.

Screen”), took issue with film criticism

neglect to explore their depth of meaning.

and its relationship with the quality of

These “merchandise” types of films

essay, can we still assume that the object

Indonesian films. Said claimed that the

still dominate cinemas in this country.

(film), which is an important factor in film

quality of film criticism at that time was

But films with good quality that have

criticism, has not developed? Or now

poor due to several factors. The biggest

depth of meaning have also grown and

that the object (film) that can be properly

factor was the quality of Indonesian

developed, side by side with these types

criticised is available, what is the reason

films themselves, which were of an

of “merchandise” films.

why film criticism is not well developed

In 1975, Salim Said, a famous

alarming quality. The advancement of film criticism depends entirely on the

In recent years, say in the last 15 years, Indonesian films have rarely been absent

If we return to Said’s statement in his

and of good quality? I think one of the many reasons is that film critics get caught

2021, VOL. 10 INDONESIANA 73

up in understanding the definition of film criticism. They think that film criticism is criticising and looking for the weaknesses of a film without solid arguments. Slurs based on likes and dislikes. They get caught up in the word “criticism” in film criticism. The word criticism should be viewed diachronically. The word criticism comes from Greek’s kritikos (which means being able to make a judgment), which was absorbed into the English language as “criticism”, which in the Oxford Dictionary is described as “the analysis and judgment of the merits and faults of a literary or artistic work. And the equivalent of the word study is the word study, “a detailed investigation and analysis of a subject or situation”. So, criticism and study are both acts of analysis, but in the form of Image source: Directorate of Film, Music and New Media

more detailed and more in-depth discourse, it’s not meant as slurs or insults. If we understand the word criticism diachronically, then criticising a film is analysing and assessing the weaknesses and strengths of the film, of course by using solid arguments, based on various kinds of knowledge and film theories. This knowledge can deal with film as a medium (style) or film as a narrative. When these two meet, it will create meaning and understanding that the filmmaker wants to convey. David Brodwell and

Image so

urce: Dire

ctorate of

Film, Mus

ic and N

ew Media

Kristin Thompson call it a formal system.

74 INDONESIANA VOL. 10, 2021

Image source: Directorate of Film, Music and New Media

Many critics, when discussing a film, forget about the style aspect of the film itself. They discuss the story at length but does not even discuss the craft of the film production at all. So it seems that there is no difference between film criticism and literary criticism. Even if they discuss the style, most of them only say, for example, smooth camera motion, neat editing, good lighting and the like. The discussion about the style cannot be separated from the story. Both of these things act as a unit. Style mobilises the meaning in the narrative and vice versa. Of course, with that, then for a good critic, it is necessary to master the film not only in terms of narrative and its depth of meaning but also mastering aspects of the style of the film. The task of a film critic is not only to explain and unravel the strengths and weaknesses of a film but also to be able to “find” films that are not seen as quality films by the general public. This “discovery”, for example, was made by Andre Bazin, the famous film critic and theorist. When the highly acclaimed “Citizen Kane” was shown to the public in 1941, some praised it but many also

criticized it (the film received nine Oscars

“Citizen Kane” so that the film continues

nominations but only won one award:

to be discussed and has become a study

Best Original Screenplay). It was Bazin

material to this day.

who then praised and wrote criticism

It would be nice if we learn from the

about “Citizen Kane” in his essay “The

history of world cinema as well as our

Technique of Citizen Kane”. Bazin explained that this Orson Welles first film was a new achievement for the

history not to repeat the same thing about film criticism, whose conversations only revolve around there. So that we

language of cinema and how cinema

can move on and not return to the

is closer to reality, one of which is by

problem 46 years ago which discussed

using deep focus and blocking for actors

the quality of our film criticism, which

without having to constantly rely on

has not developed well. (Nurman Hakim,

cut-to-cut editing on the subject. Bazin

ilm director)

opens the audience’s understanding of

2021, VOL. 10 INDONESIANA 75

CULTURA L HER I T AG E

76 INDONESIANA VOL. 10, 2021

ne day I was asked to deliberate the strategy for crafting Minangkabau pantun, and from that strategy what

are the basic differences with Malay pantun in general. The first thing I always emphasise

about the Minangkabau pantun is the analogical relationship that must be strong between the sampiran (the first couplet) and the content. Like the following rhyme: Nan kuriak iolah kundi Nan merah iolah sago Nan baiak ialah budi Nan indah iolah baso The spotted one is kundi (sago seed) The red one is sago (saga) What is good is budi (the morality) What’s beautiful is baso (language) Let’s look at the second line at the end of the sampiran, namely the word “saga” which in the content is related to the word “language”. The main message of the content section says that beautiful language (in this case refers to literary language) is eternal. Since the message of the quatrain emphasises the eternality of the “beautiful” “language”, the sampiran must imply its eternality, namely through the use of the word “saga” which is coloured “red”. Why did the traditional rhyme above choose to use the word “sago/saga” instead of other words in the plant world

Rumah Gadang

photo: Zamri Koto -https://www.shutterstock.com/g/zamri+koto

which are also red? Why not use the word “lado/pepper” which is also “red”? The main reason is precisely that the red of sago/saga is more long-lasting than the red of lado/pepper. The sago/ saga will always be red while the red lado/pepper only occurs within a certain period. At irst, the pepper is green, then yellow-orange, red, and then dark brown. Therefore, the word “lado/ pepper” which is “red” cannot be used

2021, VOL. 10 INDONESIANA 77

photo: Friedrich Himawan -https://www.shutterstock.com/g/Friedrich+Himawan

to convey the content of the eternal

very useful so that every word chosen

“beautiful” “language”.

and used in the rhyme must match the

Thus, in the Minangkabau pantun, the

needs of the content and form of the

bond between the sampiran and the

rhyme itself. If we want to write a poem

content is not only from the similarity

that talks about fragility, for example,

of sounds (rhymes) at the end of the

then the choice of words must have

line. Sound is of course important, but

an inherent connection to the logic of

there is something that is no less crucial.

vulnerability itself.

The sampiran and the content must be

To have the ability to understand

connected with the same internal logic

the surrounding environment at such

so that what is conveyed in the content

a philosophical level, a person must

section must be able to be referred to the

not be distant from his environment,

logic in the sampiran.

in the sense that he recognises the

So, to craft a Minangkabau pantun,

environment in such a concrete and

environment that a rhyme writer can weigh and choose exactly what words they should use in the rhyme to match the sampiran and the content. Here is another example of a Minangkabau pantun written using words from life of the sea: Layia putiah alah takambang Kapa di lauik baharullah Kalau ado talabiah-takuruang Sarahkan sajo pado Allah The white sail has been raising The ship is in the sea baharullah If there is something missing Just leave it to Allah

you can’t just have the skills to play

detailed way. For example, if he lives in

with words and match sounds. The

a coastal area, then he must understand

most important thing is the skills to

very well the characteristics of the canoe,

raising” in the sampiran section and “if

write Minangkabau-style rhymes. The

the tides, the condition of the road on

there is something missing” in the

main prerequisite that we need to find

the beach, the character of the sand, the

content section? The white sail has been

is the capacity of the rhyme writer to

sound of the waves, and all of the natural

raising is a sign that the ship is ready to

understand the surrounding environment

phenomena in the coastal area. And it

depart. It shows that there has been a

at the most philosophical level. This is

is from this deep understanding of the

transfer

78 INDONESIANA VOL. 10, 2021

What is the analogical relationship between “the white sail has been

from one business (land) and the next

Allah” because the two lines show how

time the ship will raise its white sails,

business (sea) will begin soon. This

we cannot predict with certainty the fate

why do white sails need to be raised first

is, of course, analogous to the line “if

of a ship with a vast ocean. Or when we

before heading to the wide-open sea and

there is something missing” which is an

will start a new matter, then there is no

so on.

ethical statement that is usually said by

guarantee how we will finish it. What will

someone after completing a job that has

happen in the future is not completely

parables that will be used in a rhyme. If,

been assigned to him by someone else

predictable with certainty. It is in this

for example, we want to convey about

and shortly, he will move on to other

context that this line is analogous to the

the separateness of society, then we

matters. Regarding the transfer from one

line that read “just leave it to Allah” which

must carefully choose what objects we

business to another, it is the internal logic

is a declaration of faith that humans can

will use as parables in the sampiran later.

that binds the sampiran and the content.

only plan and only God can determine

For example, we can use “glass cup”

the fate of that plan. Surrendering

because when glass is broken, it can no

the sea baharullah” in the sampiran is

oneself as a servant to Allah, as implied

longer be put back together, which is in

analogous to the line “just leave it to

in the poem, is analogous to the sailing

accordance with the special properties it

of a ship in a vast sea. Face it as best you

contains as glass. Even if they can be put

can. After that, whatever happens, is His

together, there are still traces from the

business.

break left behind.

On the sampiran, even though it only

The tradition of eating together in Minang culture usually involve Minang pantun.

Unlike, for example, “wax glass”, which,

states that “the white sail has been

no matter how much we destroy it,

raised”, but the creation of that line must

because of its special properties, we can

be made with a good understanding

reconstruct it back to its original form. So,

of the world of sailing, such as an

in turn, we decide to choose the parable

understanding of the meaning of the

of “glass cup” or “glass candle” depending

white sail, what conditions are indicated

on what kind of social division we want to

by the rising of the white sail, at what

convey. (Heru Joni Putra, poet)

photo: Friedrich Himawan -https://www.shutterstock.com/g/Friedrich+Himawan

Meanwhile, the line “the ship is in

The same is true for any selection of

2021, VOL. 10 INDONESIANA 79

photo: Regional Office for Cultural Properties Preservation in Jambi Province Team

CULTURA L HER I T AG E

Examining the Shipwreck at

Enggano 80 INDONESIANA VOL. 10, 2021

Enggano Island is the outermost island on the western side of Indonesia. It is part of the Bengkulu Province. Historical accounts about Enggano examine Cornelis de Houtman’s journey in 1596 when he was looking for spices in the archipelago. The origin of the word “enggano” is thought to come from the Portuguese language which means “disappointed”. At that time, a Portuguese ship stopped at Enggano Island to get clean water and supplies because it had been sailing for weeks. The crew was disappointed because of the aggressive attitude of the residents who attacked and chased them away. The Malays call it Pulo Telangiang which means the island of naked people.

nggano Island is known to have archaeological remains after exploratory research was carried out by the Regional Agency for Archaeological Research (Balar) in South Sumatera Province in 2003, 2018, and 2019. The data collected on the sinking ship in the waters of Enggano Island by the Regional Office for Cultural Properties Preservation (BPCB) in Jambi Province was carried out in November 2020. The data collection on suspected cultural heritage objects (ODCB) on Enggano Island was intended to follow up on information about the existence of a sunken ship made of iron that sank at a depth of about 5-6 metres and to collect data on archaeological remains on land.

Investigation Begins ODCB data collection activities took place in the waters of Pulau Dua. Pulau Dua has an area of 32 hectares of empty island. Pulau Dua itself is part of the Enggano archipelago which is on the east side of the island. The area of Pulau Dua is surrounded by shallow water with a combination of coral cover and sloping sand. The deep sea is on the east side which is directly adjacent to the Indian Ocean. On the east side, the shipwreck was found at a depth of 5-7 metres below sea level. The location of the shipwreck is to the south of Pulau Dua. The ship has a West-East orientation. The bow of the ship is on the east side. The shipwreck is in the form of a basic deck made of

iron. The iron that extends from the bow to the stern is five pieces. The five irons are each 100 cm apart. In the middle, there is a formation that resembles the letter U, which is thought to be the base of the pillar (mast step). The shipwreck measures 4.4 metres wide and 57 metres long. Meanwhile to the north of the bow, there are five anchors that have different shapes and sizes. The process of the sinking of the ship is thought to have happened when the ship sailed from the west and then hit a reef. The ship had a leak that caused water to fill the left side of the ship which caused the ship to tilt to the left side. The slope caused the anchors on the deck to fall to the left. After the water filled the inside of the ship evenly, then the ship sank in an upright position. Because of the location where the ship sank, which is only at a depth of 5-7 metres, it is suspected that not all parts of the ship sank. Maybe some parts of the ship, such as its masts, appeared on the surface of the sea. Based on the condition of the wreck, it can be assumed that the ship had been looted to retrieve the iron. The looting took place so many years ago that today’s society does not know what happened.

The Jambi BPCB team is preparing to dive at the location where the ship sank. Preparation to go to the dive site from the mangrove forest of Enggano Island. photo: Regional Office for Cultural Properties Preservation in Jambi ProvinceTeam

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photo: Regional Office for Cultural Properties Preservation in Jambi Province Team

Interpreting Archaeological Evidence In a research note on Enggano Island,

one European and four black soldiers, apart from

Pieters J. Ter Keurs from the National

the four steps that rowed

Museum of Ethnology of the Netherlands

the boat.”

said the area was first discovered in

Eventually, he met these “barbaric

1500 by Portuguese ship crews. The note

aristocrats” and learned something about

on June 5, 1596, was about Cornelis de

nature, matriarchal structures, atheistic

Houtman being unable to land the boat.

beliefs, and their culture. “They were tall

In 1771, Charles Miller managed to

and rich people; the men were generally

land and met the natives. He noted:

about five feet eight or ten inches tall;

“With great difficulty and danger we

the women were shorter and clumsier.

pounded the entire southwest flank,

The men are completely naked, and

without finding a place where we could

the women are only wearing a piece of

try to land. At last, however, we found a

plantain leaf that was very narrow.”

wide harbour at the southeastern end

Italian explorer Elio Modigliani visited

of the island and I quickly got into it by

Enggano Island between 25 April and

boat and ordered the ship to follow me

13 July 1891. He detailed the seemingly

as quickly as possible, for it was very

dominant role of women in Enggano

calm at that time. We rowed straight

culture in L’Isola delle Donne (Island

into this bay; and as soon as we reached

of Women), first published in 1894.

the vicinity of the island which lay near

The Rijksmuseum has an important

the harbour, we found all the shores

collection of Enggano artefacts. It is

covered with naked savages who were

from the historical accounts of this kind

all armed with spears and clubs; and

of exploration that the wreckage of the

the twelve canoes were all full of those

sunken ship must be placed, namely

who, until we passed them, had been

from a period around the 19th century.

hiding, rushed at me at once, making

The condition of the wreck left only

terrible noises; and because I had only

82 INDONESIANA VOL. 10, 2021

a small part of the bottom deck, and

photo: Regional Office for Cultural Properties Preservation in Jambi Province Team

even then, it was not intact anymore. Several important parts of the ship were also missing, making it difficult for the team to identify the specific shape, type, dimensions and tonnage of the ship. The initial justification was based only on key attributes that could still be identified, namely the ship’s iron material and a “U” shaped protrusion in the middle. These two attributes are usually attached to the first-generation steamboat technology which developed from the late 19th century to the early 20th century. Overall, the remaining parts of the ship are made of iron. To be exact, iron ship technology that had developed since the late 19th century. At the same time, steam engine technology, which was used on ships, also began to develop and was widely applied. The use of wood began to switch to iron in this early period, considering that iron’s ability to withstand vibrations due to the steam engine in the hull was better than wood.

The protrusion in the shape of the letter “U” in the middle is a sign of the use of a mast on the ship (note the red circle in the photo below). Iron ships that still use sails are known to have been in use from the late 19th to early 20th centuries around the world. In this period, there has been a shift in shipping technology from previously using wind, then switching to using steam with fuel from coal. In this transitional period, several ships still used sail masts considering the technological capabilities of steamships were not as advanced as the later period (mid 20th century),

photo: Regional Office for Cultural Properties Preservation in Jambi Province Team

with the mast function being used to maximise the speed of the steam engine which was still relatively slow. This reasoning later became the basis for the BPCB team to identify the shipwreck that sank in the eastern part of Pulau Dua as an iron ship with a steam engine and still had a mast as a speed-boosting aid dating from the 19th to the 20th centuries. As for the origin, owner, and designation of the ship (as a cargo ship or warship), it has not been further identified due to a lack of data and references. More detailed further reference searches are needed to reveal more aspects of information regarding the type, shape, dimensions, owner, shipping route, and including the cause of the shipwreck. (Yanto Manurung, Agus Sudaryadi, Mubarak A Pampang/BPCB Jambi)

Measuring the approximate remaining length of the ship. The remaining Iron Anchor which is about 1.5 metres in size.

photo: Regional Office for Cultural Properties Preservation in Jambi Province Team photo: Regional Office for Cultural Properties Preservation in Jambi Province Team

observations in the shade season and

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TRADI TI ONAL G A M ES

Playing Engklek Looking for Fun

photo: spotters_studio -https://www.shutterstock.com/g/spotters

84 INDONESIANA VOL. 10, 2021

If the afternoon is not too hot, after studying at the madrasa, children would play in the yard. Or if it’s a moonlit night, after learning the Koran at the surau, children would also come out to play in the yard. There are so many folk and traditional games that children can play in the yard or the field. Nowadays, it may be difficult to find children playing in open spaces. However, that doesn’t mean that Indonesia’s traditional children’s games have disappeared altogether.

arious folk and traditional games

bebeledogan (bamboo canon), bandil

that, one traditional game has so many

are usually played in a fairly wide-

(slingshot), and panggal (tops); to games

variants and many ways to play it that

open space. From games for

with simple facilities such as gravel,

are unique to each region.

girls, games for boys, to games that can

tarawengkal (shards of tiles), stone, sand,

be played together between boys and

and clay.

girls. From individual games, individual-

The absence of open space as a place

Engklek and Boiboian The engklek game in my hometown

opposite, in pairs, group, to group-

to play may make many adults feel

Serang, Banten, has at least four types

opposite. From playing without tools and

concerned and worried that traditional

or shapes of boxes as a playing area,

usually accompanied by singing; games

games will become extinct or be replaced

namely: (1) a six-box rectangle with three

with tools that must be purchased, such

by high-tech games. However, as quoted

boxes on the left and three boxes on the

as marbles, rubber bands, gagambaran

by Marc Armitage (2005), it seems that

right; (2) a square of seven in the shape

(picture banners), and bepe-bepean;

children always have extraordinary,

of a cross; (3) a nine-winged box with a

games with facilities that you can

creative and intelligent ways to deal with

mountain peak; and (4) the tablecloth

make yourself, such as pepelokan

or adapt to the environmental situation

shape. Each form has different rules and

(bamboo gun), kuda-kudaan (piggyback),

in which they play. Perhaps because of

ways of playing, although all four of them

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photo: Evri Onefive -https://www.shutterstock.com/g/Evri+yanto

photo: spotters_studio -https://www.shutterstock.com/g/spotters

use tarawengkal (tile fragments) as a

is that playing needs to be interpreted

on a line at a certain distance, and the

gacoan (playing tool).

as a way to enjoy the game itself, to just

“keeper group” will keep watch of the

have fun, and end with fun together. Not

ball near the tarawengkal pile. One

up the engklek game. However, the

for purposes that have been determined

member of the “throwing group” throws

game has been known in many areas

by an adult perspective.

the ball at the target: the tarawengkal

It is not clear when we first picked

Besides engklek, I remember the boi-

pile. If their throw hits the tarawengkal

different names and of course the way of

boian game which also uses tarawengkal

pile and shatters it, leaving it scattered

playing is not always the same. It is said

as a gacoan. In playing boi-boian, a stack

and random, the members of the

that in the Netherlands, a game similar

of tarawengkal will be guarded by the

“guard group” will immediately run after

to engklek exists and is called zondaag

“opponent group” (guard), and the stack

the ball that is usually thrown quite

mandaag. And that game was later

is the target of a baseball thrown by the

far. Meanwhile, the “throwing group”

borrowed into the Sundanese language

“ally group” (thrower). There are no

will immediately try to rebuild and

to become manda.

definite rules regarding the number of

rearrange the tarawengkal piles as they were before.

in Indonesia since decades ago, with

For this reason, there is a theory

tarawengkal that can be stacked up in a

that stipulates that the engklek game

boi-boian game. Likewise, the ball used

originated in the Netherlands and

for the game doesn’t always have to be a

the ball, then throws it and hits the

entered the archipelago during the

baseball, but more often it’s just a lump

body of one of the members of the

colonial period. There is also an

of plastic, paper, dried banana leaves,

“thrower group” who is reconstructing

assumption that a game similar to

and coconut fibre which are tied and

the tarawengkal pile, then the two

engklek called hopscotch existed in Great

bundled with rubber bands the size of

groups switch roles. The “thrower

Britain, which has been around since

a fist.

group” becomes the “guard group”,

ancient Roman times. Not sure which theory is correct. What is certain, for me,

86 INDONESIANA VOL. 10, 2021

Each group will be in their respective positions. The “thrower group” stands

If the “guard group” manages to find

and vice versa, the “guard group” becomes the “thrower group”. The game

it, “A game will thrive and spread only if it

continues and returns to the initial

a competition, for example. We merely

stage.

destroyed tarawengkal pile and rearrange

is fun. Children don’t have the feeling of

it again for fun. We threw the ball. We

wanting to defend a game for the sake of

a throw and throws the ball farther from

dodged the ball. We stood guard and ran.

its historical aspect.” For this reason,

the playing area, the group must continue

We ended the game cheerfully. That was

both folk games and traditional games

to catch up and get the ball back to then

all for us.

However, if the “guard group” misses

be directed again to the body of the

need to be returned to the creativity of the children themselves in adjusting to

Indeed, there are so many theories

“thrower group” who is reconstructing the

about playing and so many studies that

the playground. Adults are nurturing

tarawengkal pile. The game will be won

show the importance of playing for

enough to satisfy children’s needs, for

by the “thrower group” if they manage to

children, that children’s games, both

children’s fun and enjoyment, and for

rearrange the tarawengkal pile as before,

folk and traditional games, are proven

play itself. Let’s play! (Niduparas Erlang,

while also successfully avoiding the ball

to be needed by children to release

novelist)

being thrown at them. And the game will

excess energy, to hone their affective

continue with the “thrower group” and

and psychomotor abilities, and so on. A

“guard group” still in the same position.

historian and cultural theorist from the Netherlands, Johan Huizinga, in his book

intention to win the game. We, the boi-

in Culture (1938), states that “play is

boian players, never thought about what

older than culture”. Despite Huizinga’s

the boi-boian game would give us if we

controversial statement, the book later

won the game. In addition, we also did

made the term homo ludens so popular

not consider what we could learn from

to refer to humans as “man the player”.

playing boi-boian. We never expected

For me, playing folk games is for the

to get a certificate of victory if we won

sake of fun. I believe, as Webb (1984) put

Children are playing engklek. Throwing and chasing - boi-boian. Tidying up the genting arrangement - boi-boian.

photo: Dhodi Syailendra -https://www.shutterstock.com/g/

Homo Ludens: A Study of Play Elements

photo: Dhodi Syailendra -https://www.shutterstock.com/g/

When I was a child, boi-boian was a fun game. We just really played, with no

2021, VOL. 10 INDONESIANA 87

foto: Dok. Antara Foto

TRADITIONAL TECHNOLOGY

88 INDONESIANA VOL. 10, 2021

he day ends when the toeak is

thousands of years ago. Likewise in the

to serve several dishes of grilled fish

poured, Forbes noted centuries ago

archipelago. The types of palms that

complete with chilli colo-colo (North

in his travel report On the Ethnology

grow on the islands of the archipelago

Sulawesi people call it dabu-dabu). An

of Timor-Laut in The Journal of the

such as nipah (Nypa fruticans), siwalan

acquaintance then took out a small

Anthropological Institute of Great Britain

or lontar (Borassus flabellifer), enau or

bottle, “This is coconut soup, from the

and Ireland Vol. 13 (1884). According to

aren or nira (Arengga pinata), gewang

first drop.” She poured a little and then

his testimony about the Ritabel Village

(Corypa utan), are part of the culture of

lit it with a match. An incandescent blue

people on Larat Island, every morning,

the archipelago, witnesses of human

flame lit up, illuminating it. She also told

relations with nature.

the story of the sopi.

“After straightening their hair, they take bamboo filled with saguer or toeak filled

Wood and its fibres are used for

Sopi is familiarly known as a

with drops of mayang at night, and then

clothing and boards. The leaves become

traditional drink processed by palm

trim back the stump so that the mayang

roofs or paper manuscripts that store

taps, both in the Lesser Sunda area

drips all day long…”

divine narratives, myths, or folklore

(also called moke in Flores), Maluku,

These activities always started daily

throughout the archipelago. As for the

and northern Sulawesi with various

life there, such as gardening, fishing or

fruit, mayang and their leads, as briefly

names variants. A friend said the toeak

gathering and so on. All of that ended

reviewed, become processed food or

witnessed by Forbes in the 19th century

with enjoying toeak (read tuak) while

drinks.

is now better known as sopi. It is said

listening to an old man telling a story about a legend or his life experience. Thus, the days passed on Lahat Island in

that the term sopi came from the Dutch From Toeak To Sopi

language, namely zoopje which in

Several years ago, on my last night

popular articles is translated as liquid

on Aru Island, Maluku, an acquaintance

alcohol or soft drinks. It could also be

held a farewell party. An event on the

from the term zopie – a cocktail of rum

cannot be separated from the

coast of East Indonesia held just when

and beer with added spices, a drink that

interrelationships between nature and

the moon is bright. I and the participants

emerged in the 19th century as a winter

humans. Toeak is a term that is generally

sat around the bonfire. A mamah began

warmer, and later developed as koek-en-

the 19th century. The story of toeak in the archipelago

applied to the type of drink that comes from processed palm tree’s mayang. This family of Arecaceae is widely growing in tropical and subtropical climates. Growing in a variety of genus and species, palms have an intimate relationship with human civilization. Humans have used palms as old as their journeys to warmer areas

Coconut water that has been fermented and will soon be distilled.

photo: Doc. Antara Foto

A coconut tapper takes sap from a coconut tree as an ingredient for sopi.

2021, VOL. 10 INDONESIANA 89

photo: Doc. Antara Foto

zopie, or as a tent stall vendor serving

godendrank, the drink of the gods. Sopi is

Distillation has traditionally influenced

snacks and liquor.

a further processing of toeak by cooking

the emergence of ciu in Central Java

the tap water and distilling the steam.

and the development of saguer into Cap

The name change from toeak to sopi presents a picture of the development of

The same technique is also used in the

Tikus in Minahasa, or toeak and saguer

alcoholic beverages in the archipelago.

islands of Rote and Sawu, as recorded in

Colonialism by Europeans was not only a

James J Fox’s ethnographic work (1977)

matter of exploitation, but also brought

entitled Lontar Harvest. After tapping

about cultural acculturation. The use

the lontar mayang, the men then take it

of the term sopi to refer to processed

home to be processed by his wife and

types of alcoholic beverages sourced

palm-tapped drinks also shows influence

daughter. Lontar tap is an ingredient for

from palms in the cultural treasures

of foreign cultural elements, namely the

various preparations, such as vinegar

of the archipelago is essentially a

presence of distillation or distillation

and palm sugar slabs, or can be enjoyed

legacy of the journey of civilization and

technology.

immediately, even if it does not last long.

human relations with the nature of the

For this reason, lontar leads are often

archipelago itself.

Fermented All Night Long Referring back to the ethnographic work of Forbes, toeak is produced by leaving the palm tree mayang drops

re-cooked, either as toeak or using steam

into sopi. Life Inheritance The presence of sopi and various other

To quote Multatuli’s Max Havellar novel

which is distilled into ingredients for

character, Batavus Drystubble, a coffee

moke or sopi.

trader from Amsterdam: “People don’t

The presence of distillation technology

eat on the island of Rote” and tend to

overnight. The next day, the solution

is expected to occur with the arrival of

“drink their food”. The coffee merchant

naturally undergoes fermentation or

colonialism and the Chinese’s practice

quoted from the Scarftman manuscript.

changes in glucose compounds to

of processing alcoholic beverages. This

James J Fox stated that the practice of

ethanol. This is similar to saguer or “sago

can be seen in the research findings of

lontar and its processing which is usually

water,” a Minahasa palm-processed drink

the Center for Anthropology Studies-

harvested from June to November

referred to by Nicolas Graafland as een

University of Indonesia (2017) team.

is a manifestation of the unusual

90 INDONESIANA VOL. 10, 2021

subsistence economic advantage of the island’s people. The ecological characteristics of the

commodity issue. Through sopi and various types of processed drinks, we can learn how diverse the characteristics

island, which are known for its long dry

of nature and human culture are in

season due to tropical cyclones from

the archipelago. Sopi and other drinks

Australia and the contours of margalite

are the embodiment of habits and

soil that are easily eroded by erosion,

knowledge that are commonly found

have made lontar processed drinks

in many regions of the archipelago.

that are durable throughout the year to

This shows how human habits and

have an important role in the process

knowledge, or culture are in harmony

of adaptation to the life of the Rote and

with Indonesia’s natural style. (Irfan

Sawu people. This is also supported by

Nugraha, researcher and lecturer)

the natural fact that lontar or palm is a plant that grows wild, so it does not

of drinks from palm’s mayang in the archipelago represents a more complex picture of the relationship between humans and nature. This is not just a

Drops of sap vapor that has become sopi. Filtering sopi into a glass. The fermented sap is then poured into a drum to be distilled.

photo: Doc. Antara Foto

The presence of sopi and various types

photo: Doc. Antara Foto

require intensive care.

2021, VOL. 10 INDONESIANA 91

INCOMPLETE WITHOUT

DODOL 92 INDONESIANA VOL. 10, 2021

photo: nineimage -https://www.shutterstock.com/g/nineimage

TRADIT I ONAL F OO D

Dodol for Betawi people is a cake made for a special day. How to make it is also special. Dodol is often considered a mere friendship cake. It is called so because since the beginning of its creation, it is necessary to communicate or stay in touch with other people.

photo: Yahya Andi Saputra

odol is usually made in large sizes. In the past, not everyone had a large kawa (frying pan) that could accommodate 25 kilograms of a mixture of rice flour, brown sugar and coconut milk. In the past, such kawa belonged only to rich families. That’s why the people who wanted to make dodol usually borrowed it from the owner of the large frying pans. In addition, if they wanted to start making dodol, they must first perform nyambat, asking a neighbour for help to pound rice, grated coconut, and mix dough. Of course, everything is commanded by an expert dodol artisan. In Betawi culinary history, no one can say for sure when dodol was created or made as a confectionery. This wet cake, which is mainly made from rice (regular or sticky rice), brown sugar, and coconut, is generally a mainstay of Eid cakes (Idul Fitri). For Betawi people, it is incomplete to celebrate Eid without dodol. There are many procedures involved in the process of cooking dodol. Besides being referred to as a friendship cake, dodol is also known as a collective cake. This means that making dodol cannot be done by only two or three people. Since the intention to make dodol is conceived, that person must immediately perform nyambut, namely approaching neighbours to help. During the time before advanced technology existed, the process of making dodol was completely manual and took quite a long time. It could take two days and two nights. The first task is shopping to buy raw materials for the dodol. Next is to find a person willing to help as a stirrer and then to borrow a large kawa or frying pan. Mixers usually understand the procedure for making dodol. The ratio (both glutinous rice and ordinary rice) is around 1:2:4. This means that if the rice is

photo: Yahya Andi Saputra

one kilogram, the sugar is two kilograms, and the coconut is four pieces. On the D Day of making dodol, the people involved perform ngukup or slametan ritual to ask permission and to ask Allah SWT to bless the dodol that is being made. On top of the tumang (a furnace, usually made from the base of a banana tree) a satay filled with chillies, onions, and shrimp paste is inserted. In ancient times (pre-Islamic), this ritual was addressed to Dewi Sri, the goddess of prosperity and fertility. Only then are the activities of pounding rice, grating coconut for coconut milk,

Stirring the potion at the dodol factory. Distributing Dodol Betawi to visitors.

2021, VOL. 10 INDONESIANA 93

performed, the sound of a pestle colliding with a mortar will create a very odd sound. From that sound, people know that there is a family making dodol. It is recommended that a person who grates the coconut is not a menstruating woman. Because if so, it is believed that the coconut milk will turn black. Then, the person in charge of making the coconut oil must be patient, clean, and disciplined.

Otherwise, the coconut oil will be a total failure, it would become a blendo (oil pulp), no matter how much coconut milk they cooked. Not everyone – male or female – is good at making dodol dough. A dodolmaking expert possesses very strong instincts, in addition to having quite a lot of experience. This person has been studying the correct portion

photo: Yahya Andi Saputra

making coconut oil, cooking brown sugar, and making dough, are all done together. The schedule for pounding the rice usually start at ampir siang (early morning) at the same time as sahur. Which family is currently stirring the dodol mixture can be identified from the sound of the rice being pounded in pane (lesung). Because it is relatively quiet when the pounding rice activity is

photo: Oen Michael -https://www.shutterstock.com/g/oenmichael

Dodol ready to serve. Distributing Dodol Betawi to visitors. Boiling dodol.

photo: AriefDjauhar -https://www.shutterstock.com/g/AriefDjauhar

Dodol making.

94 INDONESIANA VOL. 10, 2021

measurement of the amount of rice, coconut, sugar, and so on for decades even though they do not record it. Everything is stored in their memory. After all, making dodol from glutinous rice will need to be handled differently than ordinary rice. In addition, they also understand the spells of exorcising bad spirits. Activities since nampihin rice (cleaning rice using nyiru that is moved up and down), pouring the dough into kawa until it becomes koleh (half-cooked dodol) are still handled by women. Only after that is the work continued by the men until the dodol is cooked, removed and put into the tenong (a round container with a diameter of 20-25 cm and a height of 15 cm made of woven bamboo). The dodol stirrer must be a man with a strong physique because stirring the dodol using gelo (dodol mixer - gelo nginter and gelo stir) in kawa requires a lot of energy. A stirrer is a person who understands types of charcoal. Good charcoal is usually made from rambutan wood. Because if the charcoal used emits smoke, the resulting dodol would smell like it’s burnt, and taste too smoky. He also understands how hot the coals under the kawa are. If the level of heat of the coals is not constant, meaning that it is too hot or not hot enough, or uneven between the right and left sides, the dodol becomes bantet (not cooked properly) and the colour is black and hardened like stone. For his skills, the mixer gets a hefty fee. During visits to relatives or neighbours on Lebaran day, dodol is the mainstay gift. Often dodol only moves houses for a short time, then return to the house that originally gifts them. Why is that? Because in general, dodol gifted from relatives is also used as a gift cake when visiting the house of relatives who gifted the dodol earlier.

Home Industry Currently, dodol is used as a homebased business that is quite profitable. If you visit Kalibata village, line-ups of tables or glass display cases displaying dodol in various sizes and flavours are ubiquitous. Traditionally flavoured dodol may still be limited to vanilla flavour only. But dodol is now available in various fruit flavours (durian, strawberry, grape, orange, and others). There is another dodol centre, namely Bojong. Dodol Bojong is generally sold by hawkers who sell at the terminal or on the Jakarta – Bogor electric train (KRL). According to some people with a penchant for dodol, there is no significant difference between the dodol from Kalibata or Bojong, and yet they can still tell the difference. There is a distinctive taste in each product. Dodol can last a long time. Therefore, long after Eid ends, dodol is still neatly stored in the cupboard. Even though the outside is mouldy and a bit rancid, the inside is guaranteed to still be good, tasty and savoury, especially if it’s made from glutinous rice. Usually, if there is still a lot, the dodol is then “recycled”. But generally, only the outside is cleaned, the mould removed, then cut to size. There are also people who turn old dodol into fried cakes, which are fried in flour, served in the morning with qohwe (kopi tubruk or ground coffee) or hot tea or sahi. (Yahya Andi Saputra, Betawi Cultural Practitioner)

photo: Yahya Andi Saputra

2021, VOL. 10 INDONESIANA 95

M US EUM

Tracing History at

Huta Batak TB Silalahi

foto: Alfian Siagian

“This Karo Traditional House is two hundred and fifty years old and is still well-maintained,” said Ondi Siregar, the officer who guided me into the Huta Batak museum. Interesting indeed, when you are treated to two beauties and two wonders at once. Anyone admits that Lake Toba is both beautiful and magical at the same time. Now, in front of your eyes, there are two beauty and magic combined at once with the Karo traditional house that is hundreds of years old.

to feel thrilled to see the rows of Toba houses or traditional houses displayed in the open-air museum. The second house of the row of Batak houses on the right is the childhood home of TB Silalahi, according to information from the museum guide.

he journey through the TB Silalahi

are mixed into one. That is what happens

Museum, which is located in

As a museum, Huta Batak stores data

when the sight of Lake Toba and the

related to historical subjects that store

Pagarbatu Village, Balige District,

hundreds-year-old Karo Traditional

a large number of stories behind them.

Toba Regency does not start from the

House appears in your eyes all at once.

One of them is Ompung TB Silalahi’s

entrance. The story about the traces

Strolling in the cool Balige air that

of the past that is performed in this

blows from the beautiful Toba valley is

to the museum from the village of

signature museum starts right from the

an unforgettable inner pilgrimage. Look

Pagarbatu. In addition, there are three

middle. It’s like a show, starting from the

at the gate in the North. Huta Batak is

other Batak houses and three walled

top when admiration and understanding

written there. You don’t need to be Batak

sopo. Two buildings located on the far

96 INDONESIANA VOL. 10, 2021

childhood home. The house was moved

left was not used as a residence but

people are exhibited there. Perhaps

as a place for deliberation called sopo

the appearance is a bit unattractive,

partungkoan and the far left was a barn or

however, this old loom is placed in the

sopo eme.

lobby of the museum’s second floor

The Huta Batak open-air museum

directly overlooking the lake. Perhaps,

has a picture of the life of the Batak

based on its placement, this old loom

people in the past. Rows of ruma-ruma,

has its own specialities so that it is placed

sopo partungkoan, and sopo eme are a

separately there.

picture of a village that was laid out as

The results of Batak weaving are

it used to be. Visitors can see how the

special. At the TB Silalahi Museum

Batak people live in small communes

there is an Ulos Batak Toba gallery. The

called huta or villages lined with bamboo.

collection is so diverse and interesting.

According to the author’s understanding,

The speciality of weaving from the cool

bamboo trees are planted so tightly

highlands extends to other areas. The

that the village can be protected from

proof is that the collection of ulos from

harm. Another important village marker

six Batak tribes or sub-ethnics is also

The two Toba Batak houses in the Huta Batak Museum are the original houses owned by the local community that are hundreds of years old. In the past, this house was a shelter for the local community. Tank produced in the 1970s, an armored fighting vehicle used during the struggle for independence in the Batak Land. The BO-105 helicopter is one of the collections of the Indonesian Armed Forces of the Republic of Indonesia in the TB Silalahi Museum.

is a banyan-like tree called the hariara. Visitors can see the existence of the tree there. At least, the requirements for the establishment of a village or forest, protective plants, fertilising plants and medicinal/traditional plants are in the open museum. In addition, in the Huta Batak museum, there is a sarcophagus of ancient Batak kings. The position of the sarcophagi highlights is that on the right side of the sarcophagus, there is a statue of Pangulu Balang. This statue was created by a datu with a special ritual to keep evil spirits

photo: Alfian Siagian

is right next to sopo eme. One of the

and plagues of evil and evil people from attacking the forest or village. Uniquely, the location of the Pangulu Balang statue, before this pandemic, was used by visitors, especially from far eastern countries and Indochina to place their offerings. Presenting adventures at the TB Silalahi Museum is the same as presenting the original life of the ancient floor of the Indoor Batak Museum. There, visitors can witness the daily life of the Batak people in the past. The equipment systems and technology of the old Batak

photo: Alfian Siagian

Batak people. Please go up to the second

2021, VOL. 10 INDONESIANA 97

photo: Alfian Siagian

A statue of Major General (Ret.) Tiophan Bernhard Silalahi, who during his lifetime was known to have a tough character, not easily discouraged, and creative in solving problems.

Godang Gotilan is a ritual carried out by the Toba Batak people at the time of the harvest. Farmers of all levels held gotilan parties and invited pargondang gotilon as an expression of gratitude for the harvest they received. The sarcophagus is a place to store bodies made as a sign of respect for ancestors in the Huta Batak.

leather or those made of buffalo horn.

which is named the Sisingamangaraja

Furthermore, there is a storage area for

Gallery. That’s where the replica of Piso

fertiliser made from forest goat horns.

Gaja Dompak is located. Furthermore,

One more thing that is very interesting

visitors can see the statue of King

about this museum is the extraordinary

Sisingamangaraja in full clothes wearing

collection in the history of the Batak

the auspicious Tungkot Tunggal Panaluan.

people, especially the Toba Batak. The

On the wall of the diorama room a

collection is Tungkot Tunggal Panaluan.

painting of one of the battles of King

The stick, which is believed to have good

Sisingamangaraja XII against the Dutch at

exhibited. There are ulos from Karo

luck and magic, is one of the historical

Tampahan on the shores of Lake Toba,

Batak, Pakpak Batak, Simalungun Batak,

and legendary collections in the Batak

Toba Regency, is hung handsomely. The

Angkola Batak, and Mandailing Batak.

civilization. What’s more, there is also a

painting is the work of a Chinese who is

The daily life of the Batak people is

replica of Piso Gaja Dompak, an heirloom

interested in researching the events of

increasingly reflected in the domestic

weapon that was always carried by King

the Batak war.

equipment they use to make a living and

Sisingamangaraja XII during his war

cultivate it. There are exhibits ranging

against the Dutch.

from fishing gear or traps to chicken

Not only that, in this museum there is

As the name implies, TB Silalahi Museum, this museum also contains the life history and history of the struggle

catching tools. In addition, there is a

a special room provided to honour the

of General Tiopan Bernhard Silalahi,

storage collection of traditional Batak

struggle of King Sisingamangaraja XII.

Former Minister of State Apparatus

medicines such as those made of

The room is in the form of a diorama

Empowerment (1993-1998). Inside

98 INDONESIANA VOL. 10, 2021

this museum, of course, there are Opung Silalahi’s personal collections, such as bicycles, motorbikes, and private cars. In addition, there is also a diorama of Silalahi’s workspace when he was the Minister of State Apparatus Empowerment. As a museum, the TB Silalahi Museum is a source of inspiration as well as a source of life lessons. In the life history section of TB Silalahi, visitors can learn how to turn life struggles and hardships into success. Meanwhile, at the Huta photo: Alfian Siagian

Batak museum and the Batak Museum in the room, visitors can learn lessons from the life journey of the Batak people since time immemorial. Tours and ethnic pilgrimages are In the front yard of the museum, there is a collection that is a donation from the Indonesian Army in the form of tanks, helicopters, and cannons. Welcome. (Al ian Siagian, lecturer and researcher)

Various collections of traditional clothing given by friends of General TB Silalahi while on duty in various regions in Indonesia. One of the most valuable collections at the TB Silalahi Museum is the 250-year-old Karo traditional house. The collection of traditional houses is placed in harmony with the beautiful view of Lake Toba.

photo: Alfian Siagian

closed at the front side of the museum.

2021, VOL. 10 INDONESIANA 99

ARCHITECTURE

photo: Doc. Rafli L. Sato

3 1

2 6

4 5

photo: Doc. Rafli L. Sato

100 INDONESIANA VOL. 10, 2021

photo: Doc. Rafli L. Sato

How is uma dadoq, the “unity” house of Kenyah Dayak extended family? As the times progressed and the mindset changed, fewer and fewer Dayak Kenyah people live in an uma dadoq or a lamin (longhouses) in the villages. The long, cubicle house has not disappeared completely, because the local government has an interest in caring for the ancestral heritage, for example by building a traditional village inhabited by Dayak Kenyah residents. In addition to preservation needs, longhouses in traditional villages are also attractive for cultural tourism purposes. It’s nostalgic.

alking about uma dadoq does

are nine sub-ethnics who have moved

not only refer to its form and

from the centre of the region, namely

function as a dwelling, but also

Bakung, Baka, Bem, Jalan, Kayan, Skin,

to the culture that surrounds it, including

Timai, Tau, and Tukung, as stated by

history, language, social relations, and

several researchers (Edi Sedyawati, EKM.

especially people. From the origin of the

Masinambow, Gunawan Tjahyono, et

word, uma means house or farm, dadoq

al) in the book The Concept of Spatial

means big, long, or tall, so uma dadoq

Planning for the Dayak Kenyah in East

means longhouse. Another word for

Kalimantan (1995).

longhouses commonly spoken by the

The Dayak longhouse is a form of

tribes in Kalimantan is betang and lamin.

Kalimantan vernacular architecture, a

Although each tribe builds its own type

dwelling in an elongated layout with a

of longhouse, the construction method

trough roof and a veranda inhabited

and spatial arrangement are similar. The

by hundreds of people. Kenyah people

Kenyah longhouse is similar to the house

are farmers who can harmoniously live

of their neighbour, the Kayan.

together in one longhouse. In the past,

The Dayak Kenyah, which are

the length of a large uma dadoq building

scattered throughout Borneo, and

could reach 250 metres, supported by

mostly occupy East Kalimantan, were

ironwood pillars driven into the ground.

initially concentrated along the Baram

Ironwood is also used to support

River and Mount Apo Kayan. They then

the roof. The floors and walls use

live a nomadic life because they follow

hardwood. For Dayaks born before the

the rules of swidden farming. There

1970s, longhouses are an inseparable

Wall decoration at Umah Rukun Damai, East Kalimantan. The top of the wall is like the sky, decorated with images of clouds and birds; in the centre are the faces of humans, tigers, and other animals; the bottom contains reptiles and other creeping animals. 1. Amin for commoners, 2. Amin the nobles, 3. Amin for tribe chief (at the centre of the longhouse), 4. Fireplace, 5. Common foyer, 6. Fireplace.

2021, VOL. 10 INDONESIANA 101

photo: Arief Nurdiansyah

of years. In some European travel

the social process is harmonious and

records, such as A.W. Nieuwenhuis who

sweet, from childhood to adulthood.

travelled the interior of Borneo in 1894,

There they play, cook, and discuss adat

mentioned the hospitality and humility

(customary) law.

of the Dayak people and the existence

Nowadays, longhouses like this –

of a longhouse. At several stopover

especially the very long ones – are rare

places, Nieuwenhuis and his entourage

because small families increasingly need

stayed in longhouses, especially

privacy, so one by one they separate

those on the banks of the Kapuas and

themselves from large families and build

Mahakam Rivers, with a pole height of

their own houses. In 1995 there was still

about eight meters. The entrance to the

a 30-metre-long uma dadoq inhabited by

house is using a ladder made of tree

9 families with 64 members; the head

trunks with small notches for footrests,

of the clan named Pak Bayaq and Bu

without handrails (Hartatik in the

Tudong. Now, if you want to see uma

journal Naditira Widya Vol7 No1/2013

dadoq, you can travel to the Pampang

entitled Dayak Long House, Monument of

Traditional Village, the closest traditional

Togetherness Eroded by Time: A Case Study

village from the city centre of Samarinda,

of Dayak Kanayatn in West Kalimantan).

about 23 kilometres away.

Kenyah longhouses stand on wooden posts planted in the ground, space

Life in Uma Dadoq Longhouses have been part of the life of the Dayak people for hundreds

102 INDONESIANA VOL. 10, 2021

photo: Arief Nurdiansyah

part of their lives. In the longhouse,

below for barns and domesticated livestock. The main weight-bearing elements are perforated, while the

(Top) Front look of Uma Dadoq. (Bottom) Dayak man resting in Uma Dadoq.

photo: Doc. Rafli L. Sato

(Left) Access to umah dadoq is via a large, curved staircase with distinctive ornaments. (Right) Sambang lawing, a totem pole that functions as a guardian of the house.

lighter elements are simply tied.

in the fields belonging to the nobility.

The pillars of the house are made of

Slaves could even be sacrificed in a ritual

between members in one uma dadoq

ironwood (Eusideroxylon zwangerii), the

ceremony.

or between uma dadoq. Usei in front

roof shingles are made of the same

The position of the leader in the

pagen, where people sit to communicate

of high-ranking amin is usually a

material. The entrance through the

community is seen in the construction

gathering place for traditional elders.

stairs is made of tree trunks that are

of a new longhouse which always begins

Architecturally, usei is an open space

notched, located at one end of the

with the erection of the main pillar

under the protection of the roof, but

building and other strategic places

that supports the floor of the chamber

the uniqueness of usei is in its versatile

along the building (Gunawan Tjahjono

(amin) belonging to the clan leader,

service activities, not in its physical

in Encyclopedia Indonesian Heritage Vol 6:

followed by the planting of seven amin

structure. Usei is made open to make it

Architecture, 1995).

pillars belonging to the tribal chief. After

easier to supervise children’s activities,

that, successively amin belonging to

for example, a kind of neighbourhood

the sense of a building but refers to the

other families, increasing the length of

watch.

meaning of a community residence led

the house to both sides. Inside the uma

by high-ranking officials from a certain

dadoq, adjoining booths are built,

door hidden in the same wall, the exit of

clan. There was never a desire to sell

connected by a common veranda called

the corpse one last time, for the dead to

the house even though they already

usei.

take another path from the path of the

Uma is actually not just a house in

understood the market economy.

In daily life, usei is a place for the

In addition, there is a second, smaller

living.

Shelter is not a commodity but a

production of ready-to-cook ingredients,

community. Even so, the social hierarchy

as well as a kind of overhang for drying

still exists, from the highest the

grain, corn, ginger, and others. Usei

aristocrats, then the common people or

is also used to receive guests, so it is

families were wider, while the

commoners, to the slaves who worked

equipped with a long bench called a

compartments for ordinary families

Sharing Amin The compartments for aristocratic

2021, VOL. 10 INDONESIANA 103

(Left) Kenyah woman processing fibre, 1931-1932. (KITLV 173848) (Mid) Kenyah women making beads in Apo Kayan, East Kalimantan, 1931-1932. (KITLV 173858). (Right) A Kenyah woman shows the results of her homemade beads on a child’s carrying bag. 1931-1932 (KITLV 173861) photo: https://digitalcollections.universiteitleiden.nl

photo: https://digitalcollections.universiteitleiden.nl

were smaller. The size of the private

of a kitchen in each room so that each

natural and instinctive. The building of

residence is roughly about nine meters

family can cook according to their taste.

amin for the aristocrats is the most

wide and six to nine meters deep, the

In the past, the chamber at the very end

special, the time is longer,

neighbours are quite close, the part of

was occupied by slaves, one function of

and the effort is harder. The clan

the amin dividing wall is less than half

which was to protect the main chamber

leader’s amin roof and ceiling are the

the roof ridge. There are no windows,

in the middle where the head of the

highest. Certain decorative motifs in

but some amin have an outer wall

extended family and the aristocratic

the form of carvings and murals are

opening, others have a back door at the

family would be if enemies from other

only intended for the nobility, while

back.

villages came to attack.

commoners are not allowed to wear

Anthropologist and author of the

them, because the patterns and motifs

in a big house, it can be said that

Even though it is a compartment

book Sian E Jay from Oxford University

of the murals indicate the status of the

the compartment is a small private

in the Encyclopedia Indonesian Heritage

amin owner. The most prominent and

apartment, marked by the presence

describes that social hierarchy is

superior design is the aso or dog, an

104 INDONESIANA VOL. 10, 2021

photo: Arief Nurdiansyah

anthropomorphic ancestor image. The

A Kenyah Man prepares a pole for a sacrificial ritual beside Apo Kayan, 19311932, (KITLV 174566).

his room with detailed and intricate murals. Architect Louis Kahn said architecture

Kenyah Mask dancer in Apo Kajan, 1931-1932. (KITLV 174564).

is the thought-making of places and spaces. Tribes in the interior of Kalimantan since hundreds of years ago have proven this, making works as cool (Susi Ivvaty, founder of alif.id)

photo: https://digitalcollections.universiteitleiden.nl

as uma dadoq, a home for togetherness.

photo: https://digitalcollections.universiteitleiden.nl

Uma Dadoq front view.

clan leader can also paint the walls of

2021, VOL. 10 INDONESIANA 105

The Fading Popularity of

Manten Kucing Ritual

ORA L T RA DI T I O N

106 INDONESIANA VOL. 10, 2021

foto: Luqman Hakim

Yuni’s (60) voice sounded enthusiastic when she talked about the golden age of manten kucing (cat wedding) tradition. As the former Head of the Section for the Study of Beliefs and Traditions of the Tulungagung Disbudpar, the woman fondly called Bu Yun witnessed the rise and fall of manten kucing tradition. She said that manten kucing began to receive the attention of the Tulungagung Regency government since the enactment of regional autonomy in 2001.

his attention continued growing until its peak, in 2005, when manten

kucing appeared at TMII Jakarta as a cultural representative from East Java. A year later, in 2006, manten kucing was performed at the Southern Region Arts Festival (FKKS) which was held at Penataran Temple, Blitar. Furthermore, whenever a cultural festival is held in East Java, manten kucing as the representative of Tulungagung Regency has never been absent. Bu Yun’s enthusiasm suddenly dimmed when she remembered the incident in 2010 when the Tulungagung Indonesian Ulema Council condemned this ritual. At that time, Bu Yun together with Radar Tulungagung, took the initiative to hold a Manten Kucing Festival as a series of activities for the 805th anniversary of photo: Luqman Hakim

the district nicknamed Marble City. “Our goal in holding the festival is to introduce

MUI, which considered the ritual to be an

small children who are not familiar with it

insult to Islamic values. In response to the

yet,” she said.

criticism, Heru Tjahjono, the Regent of

On Thursday, November 25, 2010, the

A simple procession to the location where the cats will have their ceremonial bath.

Tulungagung at the time, apologised and

festival which was attended by 19 sub-

promised not to hold any more rogue

districts in Tulungagung was finally held.

events. Since then, the prestige of manten

The participants, with their creativity, put

kucing ritual fades.

on a very attractive manten kucing show. Spectators crowded the sidewalks of the main road in Tulungagung Regency.

Started by A Long Drought In its original area, Pelem Village,

a key cycle that drives the socio-cultural activities of the village.

Everything went smoothly until there

manten kucing is a ritual carried out by

was one participant who acted outside

bathing a pair of cats in a punden named

gave birth to the ritual of manten kucing.

the provisions. At the time of the

Coban Kromo, then followed by slametan

Nugroho Agus (56), a former village head

performance, instead of bathing the cat

and closed with a tiban. This ritual is

who succeeded in bringing manten kucing

as agreed in the technical meeting, the

carried out during a long dry season. Rain

up to the district level, said that this ritual

participant actually “wed” a pair of cats

is an important part of this agricultural

was rooted in the area’s long drought

with Islamic procedures.

village. Based on 2019 BPS data, 149.40

cycle and the myth of Grandmother

Ha and 108.60 Ha of Desam Pelem area

Sangkrah. He said that in the past, a long

are rainfed rice fields. This makes rain

dry season had hit the area which is now

Inevitably, the incident sparked a strong protest from the Tulungagung

The need for rain was what in turn

2021, VOL. 10 INDONESIANA 107

called Pelem Village. Rice fields failed to

as the easternmost and westernmost

harvest, and famine haunted the village.

hamlets of Pelem Village. This is a symbol

Anxious people try various ways to bring

of the involvement of the entire village

rain. However, none of them came to

community in the ritual. The cats were

fruition. It ended when Grandmother

then met at the village office, and from

Sangkrah, who was still a descendant

there together they were paraded to

of village clearing (Mbah Brahim) was

Coban Kromo to be bathed.

believed to bathe in a water source

The cat carriers for manten kucing is heading to the bathing location.

After bathing the cat, the rain fell

which is now called Coban Kromo. While

again in the village. Since then, whenever

taking a bath, his beloved condromowo

a long drought strikes, this ritual is

cat (jet black cat) suddenly jumped into

carried out. This ritual then continues

the water source and bathed with its

to develop. Slametan and tiban slowly

owner. Not long after, the sky suddenly

became an inseparable part of the

turned black. Dense clouds hung over

ritual. In the era of village head Nugroho

Pelem Village and spewed rain on the

Agus, apart from being a sacred ritual,

barren earth. People rejoiced. They then

manten kucing was also packaged as a

connected the sudden rain with the

performing art. Starting from Agus’s

bathing of Grandmother Sangkrah and

innovation, this unique ritual began to

her condromowo cat in the water source.

appear in various cultural celebrations

Agus added that when Pelem Village

and named manten kucing.

was led by Demang Suto Medjo, the long drought came again. Demang Suto Medjo then received a wisik to return to

photo: Luqman Hakim

108 INDONESIANA VOL. 10, 2021

Start To Extinct In addition to asking for rain, for the

ngedus (bathing) the cat. At that time,

people of Pelem Village, manten kucing

two cats as symbols of Grandmother

acts as a media that bridges the past

Sangkrah and her condromowo cat began

and the present (a mnemonic device).

to be used. The two cats were taken

Memories of ancestors and past events

from Bangak and Sumberejo hamlets

continue to be preserved through rituals.

The current generation can still absorb memories of Grandfather Sangkrah, Demang Suto Medjo, and the experience of famine through rituals. This persistent narrative, in turn, coalesces into cultural memory and, in turn, forms the cultural identity of Pelem Village, as Jan Assman says in Collective Memory and Cultural Identity (1995: 130). It is this identity that creates social cohesion in rural communities, referring to Andy Green and Jan Germen Janmaat in Regimes of Social Cohesion (2011: 6). Every time photo: Luqman Hakim

the ritual is held, people flock to Coban Kromo. Regardless of gender, age or social status, all blend into one in a sacred ritual atmosphere. However, like oral traditions in general, the existence of manten kucing cannot be separated from its context. Rapid social changes make the ritual of manten kucing increasingly squeezed. Padelan (52) Head of Planning in Pelem Village who is also active in the implementation of the manten kucing ritual, said that in addition to classic problems such as friction with religious beliefs that discredit rituals, manten kucing is also dealing with shifts in

photo: Luqman Hakim

agricultural commodities. He said that in recent years tobacco has begun to be loved because of its high economic value. BPS Tulungagung data in 2019 showed that Pelem Village’s tobacco production reached 490.21 Kw, or

(Top) Carrying the cats for manten kucing, (Bottom) a cat bathing procession.

occupies the second position after Wates Village in the same district. This, of course, makes the implementation

issue was even raised from Padelan.

process that does not work makes this

of the manten kucing ritual not as

Apart from the rampant illegal logging,

ritual seem to be on the brink of

easy as before. Tobacco, which does

the mountains in Pelem Village are now

extinction.

not require a lot of water, makes

being secretly targeted by investors to

Indeed, in 2018, this ritual was

the implementation of the ritual of

be used as mines. Mining that tends to

designated as one of the intangible

manten kucing needing to go through a

be destructive not only disturbs water

cultural heritage by the Ministry of

negotiation process first.

sources, but also the ecology of the

Education and Culture. However, amid

area in general. If the water source is

social shifts and the twists and turns of

such as pumping machines, also make

disturbed or lost, it is certain that the

the problems that crush it, a question

water easily available without having to

manten kucing ritual will also become

arises: Can the WBTb award answer the

wait for the rain. On the last occasion I

extinct. In addition to these external

problem that looms over manten kucing?

went to the location of the ritual in the

problems, internal problems also

(Luqman Hakim, Master Student in

2018 PPKD data collection, a surprising

overshadow this ritual. The inheritance

Oral Tradition Studies at FIB UI)

Furthermore, technological advances,

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HI ST O RY

Lasem, which we know through mainstream and social media forums, is synonymous with Chinatown, because the ancient city of Lasem boasts many Chinatowns, which have developed since the settlement of ethnic Chinese in the 15th century. If we go back to the 7th century or further back to thousands of years ago, the coastal area of Lasem and its surroundings, judging by the archaeological evidence found, was inhabited by our Austronesian-speaking ancestors.

Lasem's Story of Diversity

photo: Feri Latief

(Top) Jami Lasem Mosque. (Bottom) Cupola building of Mbah Sambu’s Tomb at Jami Lasem Mosque.

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Historical and archaeological data in Lasem Rembang Subdistrict, North Coast of Central Java, holds many stories about the journey of diverse peoples across many nations. Not many places in Indonesia have archaeological data as comprehensive as Lasem. The archaeological sites at Lasem can tell stories of prehistoric sailors from 4000 years ago. The findings of ancient boat remnants from the 7th to 8th centuries relate to ancient Mataram, Sriwijaya, and the network of ancient Buddhist civilizations. The boat also provides evidence of the existence of the Majapahit port in the 14th century, and the peak of the influence of Hindu civilization, as well as the migration of the Chinese community that formed the area’s Chinatown from the 15th to 20th centuries. From studying Lasem, we can find out about the spread of Islam in the

16 century through trade networks with the Ming dynasty and sultanates on the coasts of South Asia, stories of European colonialism in the 17th century, to Japanese army bases during World War II. The most monumental relics of prehistoric culture are the burial sites in Plawangan Village from around 4000 years ago, in addition to sites in Leran and Kragan Villages, Rembang. Archaeological research on more than 40 skeletons in the ancient cemetery shows that they were genetically related to today’s Javanese, had a habit of chewing betel nut and chewing teeth, which was the culture of the Austronesian-speaking community. The remains of their grave include nekara, pottery, beads, coins, metal objects, etc, show that they were members of a wide-ranging trade network in Southeast Asia. th

Majapahit Reign In the “Negarakertagama” manuscript (1365 AD), it is written that Lasem was the territory of the Majapahit Kingdom and was led by a woman who held the title Bre Lasem. The Lasem community believes that the Bre Lasem Palace was located in the vicinity of the present Jami Lasem Mosque. In the public garden in the west of Pasujudan Sunan Bonang, there are andesite stones carved with stupa images that characterise Buddhist culture. To the east of the Dasun River and Lasem Chinatown, in the Bonang Beach area, there are relics in the form of pasujudan, mosques, tombs, and

settlements associated with the figure of the propagator of Islam in Java, Sunan Bonang. This historical figure in Javanese tradition was the eldest son of Sunan Ampel who was active in the second half of the 15th century. Demak Islamic dynasty originated from China and had a relationship with Palembang. Based on this, it is known that Lasem was one of the important historic areas representing the arrival of Chinese Muslims in Java in the 15th century and the development

(Top) Delineation Map of Old Lasem City. (Bottom) Aerial photo of Soditan Village.

photo: Feri Latief

In the village of Punjulharjo, Rembang, about 5 km east of the Lasem coast, there are remains of ancient boats dating from the 7th and 8th centuries. Based on research on the wooden boats, it is known that these boats were made outside Java, possibly in the regions of Sumatra, Kalimantan, or Peninsular Malaysia. Due to its strong knot structure, the hull of this boat was sturdy and flexible so it could sail on the high seas. The location of the discovery shows that this boat sailed inland through an old river estuary located ± 500 m from the coastline. This boat was probably used by traders for activities in the interior through the estuary.

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photo: Feri Latief

Carved stone stupa near Pasujudan Sunan Bonang. Dolmen in east of Pasujudan Sunan Bonang.

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of Islam in Java in the form of acculturation of Chinese– Javanese Muslim culture. Near the Sunan Bonang pasujudan, there is a dolmen that characterises the megalithic tradition from prehistoric times. Even the Sunan Bonang pasujudan is in the form of a dolmen. The results of archaeological research on the Lasem coast also show that there is a cemetery that has Islamic culture characteristics with the corpse facing west but at the same time also shows a prehistoric tradition, which includes grave provisions in the form of ancient pottery. Most likely it was because during the time of the spread of Islam in the 15th and 16th centuries or perhaps until the sultanate, the general public outside the palace still carried out prehistoric traditions. From the 16th century onwards the wave of immigration from China to Pantura was increasing due to various reasons including expeditions, the search for better living, escaping, and

trading. In the 17th century AD when Islamic Mataram started to dominate, Sultan Agung appointed a peranakan Chinese to become the adipati of Lasem. The Kauman area was the centre of government of the ancient Javanese Kingdom from the Majapahit period in the 14th century to the Islamic Mataram Period in the 17th century in Lasem. The icon of the Kauman area is the Jami Lasem Mosque which was founded in the 16th century. In the northwest of the mosque building, there is a cupola building made of sheeted bricks. The floor plan is round and has three roof domes that house the graves of Mbah Sambu (and his wife), a peranakan Chinese figure who spread Islam in the late 16th century. Lasem, like other regions in the archipelago, is bound in a chain of global trade networks driven by the world’s demand for nutmeg and cloves, which only grows in the Maluku Islands. The aroma of the spices has brought the people of the archipelago into a worldwide dialogue, including prehistoric traditions, Hinduism, Buddhism, and Islam. However, the aroma of the

photo: Feri Latief

spices also brought the cannon of European merchant ships who wanted to monopolise the spice trade right from its origin. Spain, Portugal, England and the Netherlands fought with each other with the rulers of the archipelago in the seas and on islands until the Dutch, through their VOC, succeeded in dominating and establishing colonies in Ambon and Batavia (present-day Jakarta) in the 17th century. In 1740 AD, there was a Chinese rebellion in Batavia against the VOC which was known as the Chinatown Geger incident. The rebellion resulted in the massacre of the Chinese in Batavia; many fled to Lasem and lived in the surrounding villages. The conflict continued in Lasem in 1741 and became known as the Yellow War event. The resistance against the VOC in Lasem was led by Oey Ing Kiat, the adipati of Lasem under Islamic Mataram, Tan Kee Wie, a wealthy businessman, and Raden Panji Margono, the son of Adipati Tejakusuma V of Islamic Mataram. In 1745, the rebellion was thwarted and Lasem was controlled by the Dutch VOC. The Dutch never established their settlement in this city, they only set up military barriers near the river mouth and changed the river flow in front of the Chinese settlement so that the boat dock was not directly in front of the house. In

1750, the Dutch turned the plaza into a market and sold the duke’s palace to the Chinese who then used the land to build shops. Since then the entire Lasem area has been a Chinatown. Lasem is a unique Chinatown compared to other Chinatowns in Indonesia and Southeast Asia. Chinatown in Southeast Asia is generally a small area but dominates the whole city. Lasem’s Chinatown, in contrast, was more integrated into Javanese settlements due to the lack of control of the colonial government. Lasem Chinatown is included in the opium trade network in Asia through Singapore which developed in the 19th century and became a very rich city. This wealth has resulted in a unique form of urban planning with the distinctive architecture of luxurious houses with surrounding walls that we can enjoy today. There is also a wealth of batik and its very famous culinary delights. Returning to the question of where we came from and where we are headed, Lasem offers a point of view that we are among the millions of people who inhabit thousands of islands on the Equator who bind themselves as Indonesians from many places. We may come as traders, fugitives, spreaders of a religion, all of whom hoping to get a better life.

photo: Feri Latief

Punjulharjo Ancient Boat. Senior batik artistan at Nyah Giok Batik House. One of the grave goods at the Plawangan Prehistoric Cemetery.

The prehistoric sailors buried at the Plawangan Site, if they came back to life, might be very happy to find their descendants still chewing betel nut to this day. Mbah Sambu, a peranakan Chinese scholar, might not have expected that one day his descendants would become the 4th President of the Republic of Indonesia. Five thousand years in Lasem illustrate that we have never closed ourselves off and have always been part of the world’s dialogue. Historical and archaeological evidence provides a picture of our origins. (Yosua Adrian Pasaribu and Feri Latief)

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photo: Syefri Luwis

photo: Doc. Tisna Sanjaya

F I G U RE

Pursuing An Empowering Art

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In a rather relaxed but still meaningful conversation with the artist Tisna Sanjaya, Director General of Culture Hilmar Farid said, “Kang Tisna, let’s make useful art”. “All art is useful,” said Kang Tisna. “Let’s create something immediately useful,” said Mr Hilmar. Of course, they both knew. Useful art is an art that has power and moves social life, not just art that is full of metaphors and symbols as a personal expression (although it is also useful in its own way). After that conversation, a waterwheel was built, right behind the Tisna Sanjaya Cultural Centre, in Cigondewah, Bandung.

Empowering Art Waterwheel installation art at Imah Budaya Cigondewah, one of the sources of clean water for the surrounding community. Tisna chuckled as he recounted the conversation to us from Indonesiana on a Saturday in March 2021, in Cigondewah. What a warm conversation starter. Are all artists as warm as Kang Tisna Sanjaya? Although perhaps it was also because the idea of art that is full of power is in line with the thinking and efforts that he has been doing so far. Especially when it comes to the house in Cigondewah. Being there seemed to rekindle Tisna’s memory about when he spent his childhood in his parents’ village. “In the past, when I came here, I was often given money, rice, and other things. Now the locals here are gone, they have moved because they’ve sold their lands,” said Tisna. There used to be a block of rice fields across the Cigondewah river, which produced tutu hawara geulis rice that was flat and very fluffy. The river used to be very clean. The ancestral heritage is now lost. Cigondewah is getting dirty. So, when in 2009 the “landlord” of Cigondewah named Ignatius Sunaryo wanted to exchange his land for nine selected paintings, Tisna immediately agreed. “Nine paintings were exchanged

photo: Syefri Luwis

for 530 square meters of land. In the past, there was still vacant land here, where residents and factories dumped garbage,” said Tisna. The place which was later named Umah Budaya Tisna Sanjaya has also become a multipurpose space for exhibitions, citizen discussions, political discussions, circumcision ceremonies and birthdays. Once upon a time birthday balloons were glued to the painting in the room. Tisna said it was part of the risk. There is another interesting story. In 2014, Tisna and Joko Widodo, who was not yet president at that time, made a painting together on a large canvas. The memento canvas was then stored in the corner of the house and forgotten. One day, Tisna found the missing canvas, and his relatives sold it in kilogrammes as junk for Rp. 125,000. Segara Tisna immediately bought it back for Rp. 300,000. As a result, the painting was eventually purchased by a collector in Melbourne at a very high price. Cigondewah House has provided many benefits. What else will be done in this place, which is more idealistic, in the future?

“In the future, I want to make a school of art that is different from ITB, UPI, ISBI. An organic art school that grows together with the medium available here such as plastic, cloth, and water. To become a kind of creative hub. The gallery or study centre can be in people’s homes. I want to gather mothers too. I’ve been researching for my dissertation for 12 years here. Cigondewah is the home base of NU (Nahdlatul Ulama). Besides having memories here, I also want to make art that pays attention to the community; children can go to school here, with whatever creativity. It won’t be like a formal school. Then, if we look closer at it, the number of applicants to ITB’s Fine Arts department reach six thousand people every year, but only 70 of them will get accepted. What would thousands of these unsuccessful young applicants do then? There must be some sort of artistic breakthrough to help them. For me, art is not only aesthetic, but also pedagogic, ethical, and empathetic. I want to gather people who have vision, idealism, skills, people who can teach, for example, Sardono W Kusumo, Eko

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photo: Syefri Luwis

photo: Jessika Nadya

Tisna Sanjaya’s works in one corner of Imah Budaya. Tisna Sanjaya, artist and practical art.

Supriyanto, and other friends who have the same idea. We can learn online as well and globally.” What else are you doing during the Covid-19 pandemic? “Oh yes, I had a solo exhibition at Dian’s former cinema from December 20, 2020, to January 28, 2021. The cinema was built in 1923 by Wolff Schoemaker. When I was young, I liked watching Indian, Chinese and cowboy movies there, so the memory of that cinema for me is very strong and has inspired me to create a cultural movement. The building until the ’80s was still good, but in modern times, it has collapsed. It was strange, the cultural centre was only ‘an inch away’ from the mayor’s official residence, but they let it collapse. I want to tap to the attention of the government and all other parties so that the former cinema can be returned to being a place of art and culture, so the purpose of the exhibition was not merely aesthetic but also as a medium for advocacy.” Has the pandemic period been even more creative and contemplative for you? “Yes, we are contemplating whether my work is useful or not. The extent to which the work can inspire collaboration with

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other parties. The pandemic also actually originated here, we caused it ourselves, for example by throwing waste into rivers that reach the sea. During this corona time, it’s not easy for us to interact, even though we usually collaborate. And then I found out when I was looking at social media channels, ‘How can some people stay strong and productive?’ Why is it still okay? Mas Warno (curator of Suwarno Wisetrotomo) has written a book, Ucok (sculptor Aminuddin Th Siregar) continues to write. It’s extraordinary. That’s why I donated the four graphic works that were exhibited at Art Jog, they were my homage to the people who inspired them.” Our conversations flowed more and more, like the water from the Cigondewah river that is rotated by the waterwheel behind the house. For Tisna, pure art alone is not enough, and aesthetically it must continue to be explored too. So, he collaborated with a water expert and a professor from ITB, I Gede Wenten. “I wanted to find out how the water from Cigondewah can be repurified so that it is clean and can support the local people. It’s art. So, art is not only

painting, but art is also something that is independent and moving because the market for such art also exists. For the cost of making it, the artist must be diligent.” Tisna believes that the Indonesian art world is getting more advanced. What’s the benchmark according to him? He no longer looks at art for art’s sake, kunst für kunst, l’Art pour l’art. He disagrees with this notion. It can’t be art just for art, religion for religion, politics for politics. Any field has the power to make a difference. The world of art does not only change in discourse but also the form and process of creation, along with changing times and technological advances. Now there are intermedia, new media, collaborating with literature and theatre. Now at ITB, sandal is a study subject in a course called Art of Design and the Environment, so that students can inspire their city. How should we view the power of young artists today? “The current generation has a different medium and challenges compared to the past generations. Many art graduates in their 30s are already circulating everywhere because they can master

the network. Their contemplative and creative process are different from mine. They have their own strength. I often talk to these young people, I think this is crazy, in principle, their choice of medium, but sometimes I’m ignored. When I was a student, my parents also thought the same thing, now [I think] what kind of work is this? My generation, Harsono, Nasirun, Dadang Kristanto, A Rahmayani, Melati (Suryodarmo), the ’80s generation, tried to liberate art so that it has many varieties. It is then taken into consideration by young people today and they are smart. So, all generations complement each other.” Is the future bright for powerful art? “It is extraordinary as long as the leadership of the institution or community has a vision, not only for personal use but [the vision] must be a cultural movement too. From art it has to be something big, it can be a political event, a religious event. I, a nobody, am the chairman of the Prosperity Council of the Nurul Huda Mosque, you know. It’s a mosque behind the Ledeng terminal (Bandung). The Nahdliyyin (NU) mosque, which likes to hold salawatan, celebrates religious events. I used to memorise the sawalat nariyah from that mosque [laughs]. Suddenly there is a religious movement that tends to be radical, there is a caliphate flag. However, the people there are very heterogeneous. Then we had a meeting, and the artistic energy came in. During an election, I was appointed as chairman. It’s okay but to be a special imam for the dzuhur and ashar prayers [we laugh too]. Now the takmir are artists, such as Isa Perkasa, Kholis. And the walls of the mosque are art murals.” Wow, was there any protest against it? “We did it in stages and we were not boastful about it, [it was done] slowly, so no one protested. After a while, we then held exhibitions, read poetry, and then went back to the salawatan.

photo: Doc. Tisna Sanjaya

Takbir - 2018.

The resistance finally went away on its own. So, I mean, artistic energy can go anywhere, even if it’s not easy. I was called DKM liberal by my family. However, I also don’t know whether they (the radicals) are correct.” [we laugh again]

It’s part of the process, maybe? “Exactly.” What about tech-related artist challenges? “With the emergence of various kinds of media and ideologies, the changes

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Self portrait – 2018.

(Above) A mother – 2018 (Bottom) Self-portrait as a hypocrite – 2017 photo: Doc. Tisna Sanjaya

are felt, everyone must “update”. For example, talking about Andy Warhol, people are directly connected to foreign countries. Nowadays, everyone carries a mobile phone. In the past, we were often invited to nature, then told to feel how the tree was, how its roots were, how the air felt, the light that changed every second that affected our gesture, our taste. Now students are different. The tree is photographed, then they go into a café and draw pictures. Why not just go there? They say it’s good to take pictures because you can zoom in. There are advantages to advanced technology, but something is missing. It may be so, but the essence of appreciation of an object must still be taught so that it is not only on the surface. Not which one is the most correct, but it should be realised that there are many methods. We must state a valid argument about sensing objects. It must be conveyed, don’t let them (young artists, art students) assume that there is only one method. They should not be confused, but the lecturer should not be too strict and assume that their way is the most correct. Everyone should learn from each other, the lecturers too, and they should be among the community.” To what extent is the government’s role in promoting culture, especially the arts? “At the local level it is still jargon, not grounded. There has been no movement. For example, we are raising funds, udunan, for a studio in the urban forest of Babakan Siliwangi, which has spawned dozens of artists. The place is collapsing; it’s literary crumbling into pieces. We have already collected 70 million rupiahs but still need 130 million more. I can be pragmatic, for example, whom to call, because the money is not much. But we want a participatory effort, raising awareness among culturalists and various parties in Bandung. When a community is collapsing, someone cares. Something has to move. We cannot

also rely on the government because the government has many things to do. Indeed, the government has an obligation, but the artist must also have a side other than aesthetic events. [An artist] must have a statesman attitude too. And empathy.” This is a personal question: how is life going so far? Life should be lived leisurely, flowing. Indeed, the process requires concepts, visions, networks, energy, and so on, in order to arrive at the goal. Focus on life. [One] must have goals, be consistent, have guts, and socialise. Insyaallah it will be useful for others. It seems that everything [for you] has been achieved, right? Not yet, this is just the beginning. Tomorrow (Sunday) I want to play football, be a striker, you know.

photo: Doc. Tisna Sanjaya

Excellent! (Susi Ivvaty and Jessika Nadya Ogesveltry, Indonesia) Tisna Sanjaya’s Biography Artist, teacher, and humanist who was born in Bandung, January 28, 1958. Graduated from Fine Arts and Design faculty from Bandung Institute of Technology and then continued his studies in Hochschule für Bildende Künste and Meisterschüler, Hochschule für Bildende Künste, Braunschweig, Germany. Has a doctorate in Art Creation from the Indonesian Art Institute, Yogyakarta. He is currently a lecturer at the Graphic Arts Studio, Fine Arts Study Program, Bandung Institute of Technology. He is married to Dra. Molly Agustina, M.Pd with children Muhammad Zico Albaiquni, Etza Meisyara, Nadya Jiwa Sarasvati, and Muhammad Daffa Ananta. Tisna emerged from the contemporary generation of Indonesian and Bandung artists in the ’80s with their wave of experimentation, but with its own attitude, style, and language. Starting from drawings and etchings in graphic arts, Tisna’s works are constantly finding new spaces with the passage of time. His works blend with the world of roles, becoming a form that grows in society, without being separated from the social-actual background. It frames the small and large moral paradoxes all around us.

photo: Doc. Tisna Sanjaya

Multiple Solo Exhibitions 1993 Exhibition of etchings, lithography and performance, at Galerie Brücke, Braunschweig, Germany. 1997 Say It Though Bitter and Pray, Hamburg, Germany. 1998 Art and Football for Peace, Center Culturel Français de Paris, France. 2002 Art and Football for Peace, Hiroshima, Japan. 2011 Cigondewah: An Art Project, National University of Singapore Museum, Singapore. 2018 Self-portrait as A Hypocrite, National Gallery of Indonesia, Jakarta.

Joint Exhibitions 1995 Tiga Uncovers Destiny, Bandung Cultural Center Foundation, with Diyanto & Agus Suwage. 1997 Sapporo International Print Biennale, Sapporo, Japan. 1999 The 3rd Asia-Pacific Triennial of Contemporary Art, Brisbane, Australia. 1999-2002 CAUTION! Recent Art from Indonesia: Australia, Japan, Netherlands, Germany, Indonesia. 2004 Taboo and Transgression in Contemporary Indonesian Art, Cornell University, New York, USA 2008 Indonesian Invasion, Sin Sin Gallery, Hong Kong. 2013 Concept, Context, Contestation, Bangkok Art and Culture Center (BACC), Bangkok, Thailand. 2015 Secret Archipelago, Palais de Tokyo, Paris.

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Ministry of Education, Culture, Research and Technology Republic of Indonesia Directorate General of Culture Directorate of Cultural Development and Utilization Building E. Lt. 9, Jl. General Sudirman Kav. 4-5, Senayan, Jakarta 10270

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

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