Indonesiana Vol. 9 The Charms of Indonesian Culture

9

VOLUME

2020

THE CHARMS OF INDONESIAN CULTURE

FROM BANDA TO THE WORLD CONTROL OVER LADA, “BLACK GOLD” FROM BANTEN PANDEMIC, INDONESIAN SPICE’S MOMENTOUS AWAKENING ISSN 2406-8063

9

772406

ENCHANTING REMNANTS OF THE SAMBAS SULTANATE

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2020, VOL. 9 INDONESIANA 1

Photo: Lili Aini https://www.shutterstock.com/g/aini

Alu Katentong, the art of hitting a pestle to produce a certain sound performed in Tanah Datar, West Sumatra, when the rice harvest has arrived.

2 INDONESIANA VOL. 9, 2020

P REF AC E Restu Gunawan Director of Cultural Development and Utilization Directorate General of Culture

Maintaining the Flame of Culture along the Indragiri River in Riau. They

ceremonies, performing arts, traditional

Indonesiana magazine Volume 9 2020 can

Praise be and alhamdullilah that

have traditionally planted and cultivated

knowledge, and celebrations all have

be presented to our esteemed readers.

around 100 types of plants that can be

practical functions and contain good

In spite of the Covid 19 pandemic, the

mixed into traditional medicines so that

values ​​and advice, both related to the

Indonesiana magazine editorial team has

people always feel safe and are always

human life cycle, protecting nature to

been working hard to get this magazine

ready when an outbreak occurs. The

those related to human relationship

published. Of course, with its obstacles

people of Meratus have even kept a

with the creator. Various cultural stories

and challenges that must be faced.

sufficient amount of staple food reserves

in the archipelago have been recorded

for the next seven years so that they

and illustrated in Indonesiana magazine,

is written in several languages, is

The Indonesiana magazine, which

don’t worry about being hungry during a

which has now reached Volume 9.

expected to be a medium for cultural

pandemic like this. There are still many

This effort is a form of commitment of

diplomacy to introduce Indonesia’s

stories from our own country, which are

the Directorate General of Culture of

diverse cultural wealth. We should

examples of how humans are always

the Ministry of Education and Culture,

be grateful that Indonesia is home to

smart at adapting to harsh conditions,

through a program managed by the

thousands of ethnic groups with various

even though many others still suffer.

Directorate of Cultural Development

traditions and customs that contain

Hopefully, we all can continue to work

and Utilization to continue carrying out

local wisdom to maintain the balance

together, help each other.

cultural missions, referring to Law on

of nature and harmony in the social

If associated with the Object of

Cultural Advancement Number 5 of

order. Take the example of the Talang

Cultural Advancement, then from various

2017. This is an effort to continue to

Mamak indigenous people who live

kinds of traditions, rituals, traditional

maintain the flame of culture.

2020, VOL. 9 INDONESIANA 1

VOLUME

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 PRIMA ARDIANI WAHYU WARSITA ANNY VERADIANI HERY P. MANURUNG NI KETUT WARDANI

Ministry of Education and Culture Directorate General of Culture 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 for the promotion of Indonesian culture.

Comments on articles, photos and others are addressed to: indonesiana.diversity@gmail.com

Front cover: Nutmeg is a well-known plant that was first found on Banda and has a long history, in its subsequent developments, nutmeg spread to almost all islands in Maluku (Hasiholan Siahaan https://www.shutterstock.com/g/ HASIHOLAN+SIAHAAN).

Back cover: Indonesian jamu is a traditional system of inner and outer health and beauty treatment developed over many century. Indonesian jamu has a 1,200-year-old history, yet very little is known about it outside of Indonesia (w1snu.com https://www.shutterstock.com/g/w1snucom).

2 INDONESIANA VOL. 9, 2020

Greetings In the foreword for the book “Kretek, The Culture and Heritage of Indonesia’s Clove Cigarettes” by Mark Hanusz (2011, third edition) Pramoedya Ananta Toer wrote this story: “About 50 years ago, at a diplomatic reception in London, a man stood up, European-looking, wiry and wearing a black hat resembling a skullcap. From his mouth, emanated the potent scent that epitomised the curious smell of cigarette smoke that filled the room. This man was Agus Salim, the first Indonesian Ambassador to Great Britain who was nicknamed The Grand Old Man ……. Not surprisingly, Salim’s appearance – not to mention the strange smell of his cigarette – made him suddenly became the centre of attention. A man asked, representing the question many people in the room had that evening, “What are we smoking, Sir?” “This, Sir, is the reason for the West to conquer the world,” replied Salim.

Agus Salim was smoking kretek, a cigarette from Indonesia containing chopped tobacco and cloves, which for centuries had been one of the most sought-after commodities besides spice.”

Apart from the pros and cons of tobacco, cloves have created one distinctive ingredient called kretek. Cloves, along with cinnamon, for example, also produce a unique and delicious blend of flavours, even when mixed with various spices in Indonesia. These spices sparked a roar since the nations of the world discovered them and realised they were growing in the Indonesian archipelago. “The island could be smelled even before it was seen. From more than ten nautical miles, a scent hung in the air,” wrote Giles Milton in “Run Island: The Indonesian Archipelago’s Spice Magnet Swapped for Manhattan” (2015), illustrating how Captain Nathaniel Courthope didn’t need a compass or astrolabe to know that the ship, Swan, had (almost) made it to the mainland. It was December 23, 1616, and the smell in the air was the smell of nutmeg.

It is therefore not an exaggeration if Volume 9 of Indonesiana magazine presents the spice story as the main topic and special topic. Apart from having never explicitly been discussed in volumes 1-8, spices are always apt and context-accurate to be discussed, because they are used for a great number of needs, ranging from historical tracing as part of the effort to “refuse to forget” to maintaining position, value, and quality so that spices stay on top. What’s more, during the Covid-19 pandemic, spices are back in power, because they are beneficial for the health of the body and they have aroused the enthusiasm of small entrepreneurs to mix spices creatively and sell them as health drinks to make ends meet.

Still related to the Corona pandemic, the directorates at the Directorate General of Culture, Ministry of Education and Culture, have also been trying to come up with various programmes that can replace those that now cannot be done faceto-face or those that involve physical crowd activities. Reports on several activities during the pandemic, as well as other activities before the pandemic broke out, are presented on the Events section.

Other articles related to the advancement of culture are presented in colourful stories and reportages that are fresh, but still have weight and generate positive energy for us. Everything can be read together on various sections too such as art, museums, oral traditions, customs, cultural heritage, architecture, traditional knowledge, to women’s sections and interviews with artist Remy Sylado. Hopefully, Indonesiana Volume 9 is useful for all readers.

Greetings!

Editor-in-Chief

F O REWORD Hilmar Farid Director General of Culture Ministry of Education and Culture, Republic of Indonesia

T

oday we live in a society

a logic of economic accumulation that

there is no other way than to seek the

shaped by an obsession with

sweeps off all considerations of socio-

awakening of body and soul, awareness

anticipating risk. All forms of

ecological harmony. The collapse of the

of heart and mind. It is the cultural

potential risk, especially in the form of

environment and the scattering of social

path that we must take in today’s

financial loss, are externalised out of the

solidarity have made the pandemic an

pandemic situation.

economic process by being imposed on

inevitable fate.

society and the environment. Instead of

These pandemic days are an essential

One of the cultural paths known for generations by the people of the

calculating the socio-ecological costs of

moment to formulate a common

archipelago is the treasure trove of

development by placing them as a leash

strategy in restoring our social relations

spices. The various ethnic groups that

for the flow of accumulated profits, we

and our relations with nature. We must

inhabit the archipelago have long used

impose the socio-ecological costs on the

learn from experience, which means that

spices as part of their daily lifestyle. It is

social life cycle and our environmental

it must first be interpreted as “learning

through traditional knowledge that our

support capacity. The result is a model of

from nature”. During this pandemic,

nation has survived its thousands of years

economic growth at the expense of social

nature has forced us to return to nature:

of existence. Therefore, in the current

integration and human harmony with the

back to farming, back to contemplating

pandemic atmosphere, we need to re-

natural environment.

the continuity of life, again realising that

explore the rich treasures of our spices.

Society is increasingly stuck into social hierarchies and is locked in

we share our bodies with the earth.

Restoring our relationship with

I welcome the publication of Volume 9 of the Indonesiana Magazine, which

prejudice against the diversity of life

nature means fixing the cultural ties

explores the rich treasures of the

expressions. The degradation of the

of modern humans: returning the

archipelago’s spices. Various articles

natural environment also goes hand

rhythm of our life to a rhythm that

have been compiled here in the spirit of

in hand with the degradation of social

is in harmony with the natural life

revitalising traditional knowledge that is

life. The COVID-19 pandemic is the

cycle around us, only on the basis of

still relevant for body and soul resilience

result of a completely unsustainable

awareness of body and soul as the

during a pandemic. Hopefully, through

development model.

homeland that we will be happy as

this reading, people will get inspiration to

a nation. Our economy must be an

continue to advance culture, dig back the

comes by itself. A pandemic is the fruit

economy of life, namely a life whose

roots of our spice knowledge, to overcome

of the Old Reasoning, which is led by

foundation is life. To achieve that goal,

all the challenges of life in this dark time.

A pandemic is not a bad fate that just

2020, VOL. 9 INDONESIANA 3

CONTENTS FOREWORD

EVENTS

1

Director of Cultural Development and Utilization

44

When Artists Adapt

3

Director General of Culture

46

Doomsday for National Cinema and Film

48

The Sounds of Drama and Literature

50

The Tuk Sikopyah Ritual

52

Rice Mandate from Sinar Resmi

MAIN TOPIC 6

From Banda to the World

10

Jang Amba Tong pe Pala: The Nutmeg Story of North Maluku

14

Nutmeg and the Back of Freedom

16

Control Over Lada, “Black Gold” from Banten

20

When Balinese Spices Unite in Usadha

23

Comic Strip • Corona Pandemic and Jungle People

24

Archiving the Wealth of Imagination

CULTURAL SECTION TRADITIONAL NAVIGATION 54

TRADITIONAL CEREMONIES 58

SPECIAL TOPIC 28

Andaliman's Thrilling Bitter Sensation

32

Magical Oen Ranup from the Northern Edge of Sumatra

36

Cooking Suro Porridge, Inviting Alms

38

Pandemic, Indonesian Spice's Momentous Awakening

40

The Benefits of Cloves and Javanese Ginger since 1918

4 INDONESIANA VOL. 9, 2020

Reading Cardinal Directions, Deciphering Signs

Erau Festival, Boisterous and Full of Joy

RITES 62

Prayers and Gratitude in Bokor Island’s Larungan Ritual

ART 64

Topeng Dalang Klaten: Vanishing in A New Era

CULTURAL SECTION CULTURAL SITE

CULTURAL SECTION ORAL TRADITION 68

Basicuang, Melayu Kampar's Rhythmical Proverbs

84

CULTURAL HERITAGE 70

Enchanting Remnants of the Sambas Sultanate

FOLK GAME 86

INDONESIAN TEXTILE 74

Du'a-Du'a Helps Sikka Ikat Weaving Flourish

Basilang Kayu, Minang Kitchen Philosophy

88

Lively Unbreakable Mentawai Women

92

Traces of Cheng Ho in the Aceh Museum

The Exotic Traditional House of Sumba

FIGURE 96

MUSEUM 80

Abit Godang, Ulos from Angkola

ARCHITECTURE

WOMEN 78

Playing Congklak, Learning Not to Be Arrogant

INDONESIAN TEXTILE

CULINARY 76

Kumitir, The East Side of Majapahit City

Remy Sylado

PORTRAITS GALLERY 100

Portraits of Kota Tua During a Pandemic

2020, VOL. 9 INDONESIANA 5

M AI N T OP I C

“The Malay traders told me that God created Timor for sandalwood, Banda for nutmeg, and Maluku for cloves.” (Tomé Pires in Suma Oriental, 1512)

Banda

From

6 INDONESIANA VOL. 9, 2020

to the World

Drying salted fish at a market in the village in Banda Naira.

Nutmeg from Banda (before 1880), Woodbury & Page (Batavia). (Leiden University Library, KITLV 3348)

H

(above) Illustration of collection of nutmeg plantation products in colonial Banda by Henri Zodervan & J.B. Wolters. (Leiden University Library, KITLV 52A10), (below) Drying nutmeg in front of the house in a village in Banda Naira. istorical romance is overwhelming when talking about the Banda Islands.

The rich archaeological artefacts from those heydays are still around and have survived to this day. On Banda Neira Island, there are about 24 archaeological sites, seven of which have been designated as cultural heritage. On the island of Lonthor, there are 11 archaeological sites. These sites exist on other islands nearby but not so many.

Among the historical remnants, there are Fort Belgica, Hollandia, Mini Palace, Hollandische Kerk Church which is said to be the oldest church in Southeast Asia, and several others. On top of that, Banda Neira also houses exile houses of figures from the Indonesian

Photo: Janelle Lugge https://www.shutterstock.com/g/janellelugge.

independence movement such as Mohammad Hatta, Sutan Sjahrir, and Dr Cipto Mangunkusumo. Even Rosengain Island’s name was changed to Hatta Island in honour of his services in becoming a great teacher for Banda Neira residents while the Indonesian independence fighter was undergoing exile on the island.

But how about Banda’s future? With such a colossal profile, with massive cultural wealth, Banda should be able to become a world cultural heritage city.

Isn’t there an assessment of Outstanding Universal Value? Wasn’t that the primary purpose of the ​​ Convention Concerning the Protection of the World Cultural and Natural Heritage in 1972?

Then, what is the relationship between Intangible Cultural Heritage (WBTb) and Banda nutmeg and mace? In addition, at the end of the 20th century, it was generally agreed that the cultural values ​​ that form WBTb (Intangible Cultural Heritage) played an important role in supporting the narrative of “tangible heritage” and their natural environment.

In 1999, UNESCO stated that the scope of material values (buildings ​​ and sites), the environment and natural heritage, then adopted the Safeguarding of the Intangible Cultural Heritage convention (UNESCO, 2003).

WBTb is inherited from generation to generation, is continuously created and developed by people in response to their surrounding environment, their interaction with history and nature, Photo: Luca Vaime, https://www.shutterstock.com/g/Luca+Vaime

2020, VOL. 9 INDONESIANA 7

giving them a sense of identity and

more so, around the 14th century, the

the Banda Islands for the same purpose

continuity, and promoting respect for

Negarakertagama book mentioned

of obtaining nutmeg and mace to be

cultural diversity and human creativity.

Wandan (Banda) as one of the spice-

brought to the European market. Despite

producing islands of eastern Indonesia.

being fellow Europeans, the Dutch viewed

As a matter of fact, various relics of Banda’s past glory can be used

A talk on the Banda Islands always

Britain as both an enemy and a rival for their trade in the Banda Islands.

as inspiration for the reconstruction

includes the discussion of spices and

of cultural values to ​​ uplift Banda

historical traces of the presence of foreign

and empower its people. Regional

nations in the archipelago. The fragrance

the second Dutch fleet. J.P. Coen led the

management can be done through

of nutmeg and mace (myristica fragrans)

fleet. Pires wrote him down as a ruthless

the existence of a conservation

stimulated the arrival of adventurers and

leader. He noted that J.P. Coen captured

area, which regulates and protects

traders from all over the world to sail and

44 wealthy people brought from Lonthoir

natural resources as attractions and

conquer the vast oceans.

Island. The prisoners’ hands were bound

competitiveness for developing the

Tome Pires noted that the Gujarati

In 1602, Banda welcomed the arrival of

tightly, and they were put into bamboo

economic and cultural development of

and the Indians were already present

cages. In Banda, J.P. Coen mutilated their

the people of the Banda Islands.

in the Banda Islands long before the

body parts such as hands, feet and even

arrival of European traders such as the

heads. This cruel and decisive expedition

local institution and wisdom, community

Portuguese, Spanish, Dutch and British.

for the subjugation of the indigenous

empowerment in managing cultural

It is also said that the people of Banda

inhabitants of the Banda Islands took

heritage and WBTb, as well as preserving

had a strong trading fleet that was able to

place in April 1621.

the charm of its natural beauty and its

trade nutmeg and mace to as far as the

underwater world, empowerment to

land of Malacca.

Call it the importance of strengthening

improve the standard of living of its

However, eventually, the European

Behind this dark history, there is also an important and unique history: Run Island, one of the Banda Islands

people and the community’s economy.

nations arrived. They took turns

cluster, was exchanged between England

We are also aware that Banda’s nutmeg

colonialising the spice islands. Its people

and the Netherlands with the island

is a promising superior commodity with

didn’t receive high commodity prices and

of Manhattan, the United States in

the potential to meet the high demand

profits, but centuries of deprivation and

1667. The exchange of Run Island and

of the international markets. In the

oppression. In 1599, the Dutch Fleet I

Manhattan was contained in the Breda

10th century alone, Banda’s nutmeg

led by Van Hemskerk arrived at Orantata

Agreement (Treaty of Breda) which was

was listed on the main trading list in

Harbor, Banda Besar, Banda Islands.

signed between England, Holland, France

the port of Alexandria, Egypt. Even

Then, in 1601, the British fleet came to

and Denmark-Norway. In the agreement,

One of the villages on Run Island, located at the tip of the Banda Neira archipelago. Last page of the 1667 Breda Treaty (Treaty of Breda), source Nationaal Archief, Staten-Generaal Archiefinventaris 1.01.02 Inventarisnummer 12589.127.

Photo: farhankudosan https://www.shutterstock.com/g/farhankudosan

8 INDONESIANA VOL. 9, 2020

A small town in Banda Neira with a pentagonalshaped building known as Belgica Fortress, the city's icon.

Photo: J. Croese https://www.shutterstock.com/g/J.Croese

the Dutch were willing to relinquish their

the spice route ideology. And Banda is

territory in Nieuw Netherland, America,

an essential locus in proclaiming the

or currently known as Manhattan Island,

glory of the archipelago’s spice route.

in exchange for Run Island. It’s all nutmeg

Aren’t the stories behind the artefacts

and mace. It was all in order to maintain

very important intangible cultural

a monopoly on the world’s spice trade in

relics? Conservation, which regulates

the 17th century.

and protects natural resources as an

Likewise, Banda Neira, one of the

attraction and competitiveness for

islands in the Banda Islands, is so

developing the socio-economic and

important that it became the first city

cultural aspects of the Banda Neira

built by Europeans in the archipelago.

Islands community. There needs to be a

Banda Neira was built for the sake of the

model for stakeholders to be involved to

nutmeg trade run by Europeans. Colonial

manage and develop the high potential of

office buildings and dozens of forts were

the natural and cultural resources in the

built in this new city.

Banda Neira Islands. (Mohamad Atqa -

Indonesia was the legal holder of the spice route. Indonesia’s spice trail had

Directorate of Cultural Development and Utilization)

become a global cultural icon and a route for international diplomacy in the cultural sector. We need to reinforce

2020, VOL. 9 INDONESIANA 9

M AI N T OP I C

The Nutmeg Story of North Maluku When we talk about Ternate and also Tidore, there will be stories about nutmeg.

Nutmeg, at first glance, looks like duku, but bigger. Young nutmeg is clad in greencoloured skin, and becomes yellowish when ripe, a beautiful colour that is pleasing to the eye. When peeled, the nutmegs are a little pale but looks mouth-watering to taste.

However, don’t try to eat it right away. It is sour.

Behind the sour taste, nutmeg hides a precious treasure. In fact, nutmeg was sought and hunted by European nations for centuries. Nutmeg is even considered to be one of the main markers of an important period in world history, the age of discoveries or centuries of discovery and exploration.

Almost all parts of the nutmeg have economic value. The contents are processed into sweets or syrup and then marketed. The nutmeg is clad in a “flower” called mace which looks pretty and shiny, red when it’s ripe and when the fruit is split open. The mace or the flower that wraps around the seed, and is red, is the most expensive part. The nutmeg seed turns shiny black when dried in the sun. It is commonly found in Indonesia as a food ingredient. Nutmeg is also called black pearl.

Dong Ambe Tong pe Pala

10 INDONESIANA VOL. 9, 2020

Nutmeg selection process. (clockwise) Nutmeg that is still on the tree, dried nutmeg, nutmeg and mace that are starting to come off the seeds, nutmeg fruit and nutmeg seed.

Nutmeg and mace have survived for centuries as the most expensive commercial products in the world trading market. Nutmeg and mace can indeed be turned into various processed products such as pharmaceutical ingredients, cosmetics, food seasonings and even perfume mixtures. In fact, nutmeg is believed to have properties that are so potent that it can cure many kinds of ailments. There are rumours that the deadly black death pandemic that attacked Europe at the end of the 14th century died down because of the healing properties of nutmeg.

Nutmeg in Ternate and Tidore Although nutmeg is a well-known

Photo: Directorate of Cultural Development and Utilization

plant that was first found on Banda and has a long history, in its subsequent

sought after by the Europeans. Its seeds

founded the first multicultural colony in

developments, nutmeg spread to almost

and mace are the most sought-after

Banda. A cosmopolitan area. Long before

all islands in Maluku. Ternate and Tidore

spices. Cloves grow in the northern

there was Jakarta in Batavia.

are also part of the distribution area of ​​

part of Maluku. Meanwhile, nutmeg

nutmeg in Maluku. Although nutmeg in

develops in its southern soils. So valuable

European powers to go to war with each

Ternate and Tidore is not as popular as

was nutmeg, the Dutch and the British

other. The Netherlands (VOC) had a

it is in Banda, it still grows and develops

exchanged Manhattan Island, which was

strong desire to monopolise the nutmeg

until now. The Europeans nations also

then called Nieuw Amsterdam, with Run

trade. The Dutch sent troops in large

fought for the control of the nutmeg

Island. We all know that modern-day

numbers to attack the Portuguese on the

supply in Ternate and Tidore.

Manhattan Island is known as New York,

island of Banda. Then they fought against

the centre of the world’ economy.

the British. Then one of the darkest

In his writings, Gufran Ibrahim “found linguistic evidence about the authenticity

Photo: DjunaPix https://www.shutterstock.com/g/DjunaPix

of nutmeg and cloves, saying that the

Nutmeg could even convince the

incidents in the archipelago, but perhaps

Nutmeg and History

also one of the least told, the massacre

Perhaps, if there was no nutmeg,

of the native Banda people, took place.

of Ternate and Tidore is gosora”. The

people would not know Banda Island,

A genocide occurred. The incident was

nutmeg variety that lives at the foot of

the best nutmeg producing island in the

immortalised as a Banda Eli’s legend in

the Gamalama mountains (in Ternate)

world. European nations alone were

the form of an oral tradition of South

and Kie Matubu (in Tidore) is a native of

willing to sail thousands of nautical miles

Maluku. It is known as one of the saddest

the land of Maluku which is also similarly

for the sake of the black pearl. They even

songs ever.

name nutmeg in the regional languages ​​

2020, VOL. 9 INDONESIANA 11

Bird-eye view of Tidore Islands, one of the places where spices originated.

The atmosphere of a traditional market in Ternate today, with sellers of vegetables, fruits and local spices.

12 INDONESIANA VOL. 9, 2020

Engraving of Van Warwijk's arrival to the capital city of Ternate (Gamalama) in 1599 by Johann Theodor de Bry (15601623) and Johann Israel de Bry (1565-1609). (Orientalische Indien (“Little Voyages”)) Photo: ilhamrach https://www.shutterstock.com/g/ilhamarch

Behind the nutmeg trade lies centuries

25, 1570, at Fort Nostra Senhora Del

of history of the archipelago. Like pepper

Rosario (now better known as Fort

and cloves, nutmeg is like a beautiful

Kastela), Sultan Khairun was killed by

angel who attracted many men to fight

Portuguese soldiers on the orders of

for it. The Portuguese, just like a knight

Governor Lopez de Mesquita.

who came to win the claim to a beautiful

News of Sultan Khairun being assassinated spread and sparked rioting,

come specifically to trade nutmeg with

anger and even courage among the

Banda’s local residents. But their arrival

Ternate people. Sultan Baabullah, the

was followed by many other rivals. The

son of Sultan Khairun, who succeeded

Spaniards, the British and the Dutch also

his father, was angry with the Portuguese

wanted to take part. The British, and later

for killing his father. He was also angry

the Dutch, were the nations with the

that the Portuguese had a monopoly on

strongest desire to take over the control

their spice trade. Sultan Baabullah had a

of nutmeg in the Banda Islands from the

strong desire to drive the Portuguese out

Portuguese.

of Maluku.

Before the Portuguese and the

Portuguese in Ternate and Spain to Tidore

Spaniards arrived in Ternate and Tidore,

doc.babpublishing

maiden, were the first foreigners to

spice trade. Their only choice was to go to war with the Portuguese and Tidore.

Nutmeg had set a long history not

there had been a war between these

only for Ternate and Tidore but also

Our parents often talk about the

two sultanates. This war also pushed

for Indonesia. This fruit was not only

origins of the Portuguese entering

the Portuguese and the Spaniards to

popular with European nations, but

Ternate. Ternate historians, such as

become their allies. The Portuguese

also with other countries from Asia

Adnan Amal, Des Alwi and others, said

chose Ternate as an ally. Meanwhile, the

such as India, Arabia and China. Various

that when the Portuguese first arrived in

Spaniards align themselves with Tidore

countries came to the Indonesian

Ternate, its Sultan (king) welcomed them

to confront Ternate and the Portuguese.

archipelago, including in North Maluku

with open arms believing the foreigners

Just like the Portuguese, the Spaniards

just because of its spice. There is a

could become a good ally and would

came to Maluku to control the spice

saying among the Ternate people that

be willing to help them to attack the

trade of nutmeg and cloves. However,

say, “Jang Ambe Tong pe Pala” which

Sultanate of Tidore.

the Spaniards had some trouble because

means “Don’t take our nutmeg”. (Sukran

when they arrived, the Portuguese

Ichsan: Researcher at Rumah Sinergi

already had a monopoly on the region’s

Research and Consulting)

As time went by, they found out that the real reason for the Portuguese to come to Ternate was to control the spice trade. The ruler at the time, Sultan Tabariji, later became a victim: he was exiled to Goa (India). Sultan Tabariji was later replaced by the young Sultan Khairun. The Portuguese underestimated Sultan Khairun and intervened in all Khairun did not want to cut off cooperation with the Portuguese who settled in Ternate so that an atmosphere of stability and peace was maintained.

However, the Portuguese took advantage of this by inviting the Sultan to visit their fort. Sultan Khairun, without suspicion, immediately came to the Portuguese’s fort with only a few guards. On February

Photo: iamjoray https://www.shutterstock.com/g/iamjoray

affairs of the Sultanate of Ternate.

2020, VOL. 9 INDONESIANA 13

M AI N T OP I C

N

ut me ga nd

The Statue of Liberty in the United States, if we do a quick digital search by typing its name on a search engine, we will find various photos displaying the artwork, all showing its front side. It offers a uniformised point of view. The similarities are certainly not without a reason. Statues tend to be made to be seen from the front. The 93-metre-high statue is a symbol of independence, as well as freedom, from all forms of oppressions. Of course, if one is to refer to the statue’s owners, Americans, the symbolism which it portrays is, in the purest sense, liberalism. The torch, the crown, the book and its other main elements used to convey its message are, for the most part, presented to us through what are seen on the front.

Making a statue to be seen from the front presupposes a viewpoint where the

14 INDONESIANA VOL. 9, 2020

om d e e r F t h e Back of

audience and the object are facing each other. However, when two objects are facing each other, it doesn’t necessarily mean they are in the same position.

The Statue of Liberty, the symbol of that freedom, is simply too high up in front of us. Also, too far for us to approach.

We, the viewers, are facing something that has previously assumed itself to be monumental. To face it is to witness a figure that is imposing, intimidating, distant and yet, at the same time, full of charm. The Statue of Liberty is the best example when a statue has successfully become the main expression of human ambition for immortality. We do not only observe the statue, but we also emphasise our separation from it.

Different from this common viewpoint, there is a Hanafi painting that shows the back of the Statue of Liberty. We can still

feel the power of the statue. However, unlike when looking at it from the front, where all the symbols are clearly shown, we cannot fully find these symbols when looking at the statue from behind. We can’t see the book that the statue is holding. But we can still see the torch.

Similarly, we should still be able see the back of the crown too. However, Hanafi chose not to include it in his painting.

Depicting the back of the Statue of Liberty is like presenting a world that is not fully prioritised by the statue or what the statue symbolises: freedom.

The world behind indeed tends to be unpredictable and sometimes dark, covering areas that are often wider than various front appearances, an area that extends from what appears in the statue to different corners of space and time. If the back world is a cross between politics,

Exhibition Title: The Maritime Spice Road: 350th Anniversary of the Breda Treaty/Hanafi Solo Exhibition, 2017 Location: Indonesian Consulate General, New York, United States Patrons: Ministry of Education and Culture of the Republic of Indonesia and Studiohanafi

history, and civilisation, then the statue also has a back world that contains slices of history and politics that stretch so broadly and are no less complex.

By depicting the back of the Statue of Liberty, Hanafi pays attention to the rear area which, in one way or another, is part of the meaning of the greatness of the famous statue that is often re-displayed in that front-facing position. His attention was aimed at one point, namely the knots that brought this magnificent statue located in Manhattan together with the history of spices in Indonesia. Precisely, those found on the island of Run. The painting is not displayed on the exhibition wall as a stand-alone painting.

It is actually part of an installation work. This two-metre-high painting is displayed parallel to the viewers’ points of view. The painting does not only show the back of the statue but also presents a kind of close-up view. What the painting presents is a kind of reverse projection of the position of the Statue of Liberty in Manhattan that appears so far from its viewers.

From under the painting, nutmeg seeds appear in droves forming a large pile. The nutmegs are not imitations, but real nutmegs. They are brought directly from Run Island, Maluku. The island, in the past, was considered as one of the rare spice islands in the world, which became the reason colonialists came to conquer Indonesia. On top of that, there is another story about using original nutmeg for the artwork instead of making fake imitations. The original nutmegs are brought over from the home island to be used for the artwork to symbolise a visit to their ancestors. The artist believes the nutmegs that were taken from Run Island to Europe or anywhere else in the world during the European colonialism era in the archipelago left oppression where it originally grew. Suppose the 46-metretall Statue of Liberty is supported by the

foundation of a 47-meter-high statue (93 meters in total). In that case, the twometre-tall statue can proportionally be figuratively supported by a pile of nutmeg less than half a metre high. Hanafi wants to present an irony between something beautiful (sculpture and painting) and something real (nutmeg).

One side of the backyard that Hanafi wants to show from the Statue of Liberty is the history of Manhattan’s exchange with Run Island in 1667 in the Breda Agreement between the Dutch and British colonial governments. The Dutch won the Island of Run while the British won Manhattan. Of course, it was not an exchange that was equal in value. Manhattan then was not what it is today. However, it didn’t mean that Britain did not get anything out of the Breda Agreement. Despite their seemingly incompatible island swap, the British continued to be able to mine in Indonesia. What was clear was that whoever got to control Run Island, Indonesians, just like an old saying, was like “a dead ant between two elephants fighting”.

There is no direct connection between the Breda Agreement and the Statue of Liberty. However, the glory of today’s Manhattan, one of which is symbolised by the Statue of Liberty, and the underdevelopment of Run Island today – compared with its time as a source of spices sought after by traders from the world over back then – is a result of a series of fights between colonialising states during the last centuries. The two may seem unrelated in a narrow context.

But in a broader context, both the Statue of Liberty and the Island of Run are linked by a history of colonial glory on the one hand and a history of colonial oppression and greed on the other. The wars between colonial nations, whoever the victor, was still a glory that came to fruition from the suffering of the many

countries they invaded where the wars took place and claimed many victims.

The Statue of Liberty was a gift from France in 1886 to the United States. It was a prize that symbolised the idea of ​​independence and freedom from oppression. But, as mentioned earlier, that idea is merely a representation of the front facet of the statue. Meanwhile, at the back, in one of the “unseen” corners of independence, as depicted in Hanafi’s installation, lies the much less savoury, but no less real history of bloody and inhumane wars over the monopoly of nutmeg, which benefited the colonialists while sacrificing the people of the native nation.

On Run Island and other islands, the colonialists took turns firing rifles and drawing swords. The triumph of these colonial nations is now, in one way or another, a result of a long history of oppression and forced-appropriation of the freedom of the spice-producing nations. They came when the land of spices was still rich and then left it in a state of poverty and suffering.

As shown in the Hanafi installation, today we are given the backside treatment by the Statue of Liberty which, one way or another, is supported by this pile of real nutmegs. (Heru Joni Putra)

2020, VOL. 9 INDONESIANA 15

M AI N T OP I C

“Black Gold”

Control Over Lada,

The International Pepper Community (2015) noted that the productivity of Indonesian pepper is only 663.79 kg/ha. This figure is much lower than Vietnam’s, which reached 2,280 kg/ha. Indonesia has a pepper plantation area of ​​around 116,000 ha, second only to India which has a pepper

plantation area of approximately ​​ 200,000 ha. Until now, the two countries are still the countries with the most extensive pepper plantations in the world. Meanwhile, Vietnam only has a pepper plantation area of about ​​ 57,000 ha, but it is so productive. In the ebb and flow of pepper control, now the world pepper market is in Vietnam’s hand to defeat India, the country of origin of pepper, and Vietnam has also long taken over from Indonesia, the past ruler of world pepper.

In the past, the Dutch had to force themselves to sail for months from Europe to the archipelago just for pepper. At that time, when talking about the Spice Route, we had to turn to Maluku. However, when it comes to pepper (Paper ningrum L), we must turn our attention westward. In fact, black and white “gold” or pepper comes from the west part of the archipelago, precisely Banten.

Unfortunately, it is difficult to find a large pepper plantation in Banten Province. Old historical sources do state that Banten pepper was imported from Lampung and Bangka. The old reference states that the pepperproducing plantations in the western part of Indonesia were located in Lampung, Bengkulu, Aceh, Palembang, then Kalimantan, Riau, Bangka,

16 INDONESIANA VOL. 9, 2020

from Banten

doc.babpublishing

and Belitung. Banten was almost never

Mount Pulosari. This was in line with

and Cikande.” Also, Rui de Brito Patalim

mentioned. But wasn’t Banten once the

the discovery of a Hindu bell along with

in his letter (6/01/1514; quoted by Guillot

champion of the pepper trade monopoly?

the remains of a pepper plantation in a

in his article entitled “The Portuguese

hilly area in the village of Pandat Village,

and the Bantenese” (1511-1682) stated

Mandalawangi, Pandeglang.

“Chinese people take a lot of pepper from

Fortunately, the National Archaeological Research Center finally concluded that Banten was once indeed

The tendrils of the pepper plant at the

Sunda.” The Sundanese in this case are

an international trading port as well as

foot of Mount Pulosari in the village of

the largest exporter of pepper in the

Pandat village can still be found climbing

archipelago. Banten was also a pepper

and coiling the towering dadap trees with

Jayadewata (1521) sent Ratu Samiam

growing area. An old Dutch document

shady leaves. Some of them seemed

or Prabu Surawisesa (notes from Nina

(from around the 1800s) stated that at

scattered on the ground. From the large

Lubis) to meet the Portuguese leader in

least 180 villages in the interior of Banten

stubble that encircles the trunk more

Malacca, Jorge d’Albuquerque. From the

were pepper-producing plantations.

than 5 centimetres, the pepper growing

meeting which was followed by a return

The area included Mount Pulosari,

in the forest is thought to be quite old.

visit, there was an agreement between

Mount Karang, and Mount Aseupan in

Maybe it had been planted there since

the Sundanese and the Portuguese which

Pandeglang Regency. In Pandeglang,

the time of the Sultanate of Banten or

resulted in the following four points of

there were even areas called Teluk Lada

even long before, namely during the

agreement (stored in the Torre de Tombo

and Labuan which were believed to be

Kingdom of Sunda.

or the Portuguese National Archives

the entry points for foreign merchant

Returning to the historical literature,

the people of the Banten region today.

The King of Sunda, Sang Ratu

Lissabon); (1) The Portuguese could build

ships looking for pepper during the

we come across the records of Tome

a fort around Banten; (2) The King of

Sultanate of Banten, maybe even long

Pires, a Portuguese who recorded his

Sunda would provide as much pepper as

before that.

testimony in “Summa Oriental” (1513-

needed by the Portuguese as a medium

1515) “... Banten pepper is better than

of exchange for goods needed by the

that Banten had established trade

Cochin (India), (production) is more than

Kingdom of Sunda that were brought

relations with India and China. Allegedly,

1000 bahar every year. Long and sour

by the Portuguese; (3) The Portuguese

this included vines with spicy seeds

pepper were in abundance, enough to

was willing to assist the Kingdom of

originating from India. The black gold

load a thousand vessels. Pepper ports,

Sunda if attacked by the Islamic Kingdom

was brought by Indian traders along

among others, include Banten, Pontang,

of Demak or other kingdoms; and (4)

Previously, various sources said

with the entry of Hinduism to the archipelago (in the 1st century). On the manuscript of Pangeran Wangsakerta, it is stated that there was once a kingdom called the Salakanagara Kingdom. The

Photo: Ermak Oksana https://www.shutterstock.com/g/Ermak+Oksana

kingdom had a king who had the title Dewawarman. The king came from India and his kingdom was centred around

An engraving on paper of the atmosphere of a large market in Banten which shows vegetables and spices trade, circa 1598, by Cornelis Claesz (Koninklijke Bibliotheek/ Dutch National Library, Accession number 1700 C 2 voor p. 42). Black and white pepper seeds have health benefits.

Illustration of the remains of the ruins of the Kaibon Palace (Sultanate of Banten), by Velde, C.W.M. van de & Lauters, P. sekitar 1846. (Leiden University Library, KITLV 50P4)

2020, VOL. 9 INDONESIANA 17

doc.babpublishing

As a sign of friendship between the

for the Tulang Bawang retainer, which

Sundanese and the Portuguese, the King

contains: (1) Stipulations on the retainer

of Sunda would award 1000 sacks or 160

of Tulang Bawang regarding criminal

bahar (approximately 350 quintals) of

acts and their sanctions; (2) The order to

pepper annually to the King of Portugal

plant 1000 pepper trees (sawiji sawuwit)

since the construction of the fort began.

per person; (3) Whoever sells pepper to

To strengthen the legitimacy and

Palembang people must be arrested; (4)

legalisation of control over pepper,

The legality of buying and selling pepper

several Sultans of Banten issued

must be done through a king’s stamp of

inscriptions relating to planting and

approval, and it is prohibited to trade

buying and selling of pepper complete

cloves and nutmeg.

with sanctions for civil and criminal

Based on the inscription, it can be

offenses against the people and rulers in

seen that the control of Banten over

the Sumatra region, especially Lampung

other areas was only a projection in

and Selebar. The inscription (1662

order to meet the needs or demands of

AD) was for the rulers and people of

the international market. Control which

Lampung. It stated: “all the regulations

was accompanied by acts of violence,

of the Sultan of Banten must be obeyed,

obligations, sanctions and so on.

especially concerning tax on pepper”.

The inscription (1746 AD) is intended

18 INDONESIANA VOL. 9, 2020

In actuality, a bundle of Dutch reports during their visits to villages in the

Engraving from the old Banten city, circa 1599 by Johann Theodor de Bry, showing several buildings such as the royal palace, market (paseban), gates, floodgates, minarets, mosques, prince's palace, houses, rivers that cross the city, the court of Sabandar, the harbor master, the prince's house, ammunition and weapons storage. (Orientalische Indien (“Little Voyages”)) (above) Ruins of the Kaibon Palace, Banten, and Karangantu Harbor at present (below)

southern region of Banten and the east coast of the bay of Banten, contained a document in the form of instructions from the Batavia military ruler, G.C. Johan Rohenschul, on 3 September 1803 to the Sultan of Banten to cultivate pepper. The report contains the names of the villages, the pepper sorter, the foreman, and the harvest result of each village under the sorter’s control. Also mentioned are the number of buyers, planters, young and

Photo: Syefri Luwis

old pepper plants, old and young dadap plants, and the crop of each village in a count of zak (sacks). The names of these villages, in today’s identification, are included in the administrative areas of Tangerang Regency, Pandeglang Regency, Serang Regency and Bogor Regency.

A piece of advice from a pepper trader in Lampung to his son who was found by Nachoda Mangkuto (P. Swantoro in XVII Century Pepper Trade; Fighting for White and Black Gold in the Archipelago. 2019., says: “Do not let your children sail far. Just sail from Lampung Piabung to Banten with pepper. Even though it is only once in a season, there is still a little profit to make, because if you are not sailing, you can still farm and make friends. As for the price of pepper in Piabung, if you are given real first, and you promise to deliver in one year, it means a year and six months, and the price can be six real per bara. That is the “custom” in Lampung according to the Sultan of Banten. If you safely arrive in Banten, you can sell the pepper to the Sultan, the pepper can be sold

Photo: Syefri Luwis

for twelve real per bara. No matter how many peppers come, the Sultan will buy it. Syahdan, the Sultan will sell twenty real per bara to the VOC (the Dutch traders).

That is the custom in Banten forever.”

Perhaps, one question from Swantoro deserves to be contemplated: “Is it true that the VOC was imposing its monopoly rights (on the trade in pepper and other spices) on the territory of other nations?

(Niduparas Erlang)

2020, VOL. 9 INDONESIANA 19

M AI N T OP I C

Photo: I.B.Putra Adnyana

When Balinese Spices Unite in

Usadha

Although the origin of the tradition of using spices in Bali is uncertain, it’s mentioned on several ancient records, which are

written on some inscriptions. One of them is the Batur Pura Abang A inscription, around the 9th century. The inscription mentions that several types of spices were cultivated during the reign of the ancient Balinese kings of the 9th century as medicinal and food

plants. The people of Bali have undoubtedly used spices for cooking, medicine, and ritual tools for a long time, even though natural conditions and traces of inter-island trade suggest that most of these spices are not endemic to Bali.

20 INDONESIANA VOL. 9, 2020

A priest writes sacred characters on the tongue of a disciple using the betel stem. (above) Usadha as traditional Balinese medicine. Usadha is also written on lontar scripts which is still practiced today (below).

Apart from the above, Balinese spices based on their types can be divided into three, namely: 1.

Spices in the form of fruit/seeds Photo: I Putu Putra Kusuma Yudha

or flowers, for example cloves. jebugarum (nutmeg). mica/sahang (black pepper), mica gundil (white pepper), cardamom, buah (areca nut), tabia bun (long pepper), asem (tamarind), juuk lengis (lime), juuk purut (tangerine), bilimbi, star fruit, pomegranate, beligo, kelembak kasturi (fragrant rhubarb), bidara, tingkih (candlenut), sarilungid, and so on.

2.

Spices in the form of tubers or roots such as ginger, cekuh (galangal), isen (also galangal), gamongan, temu-temuan/see (lemongrass), cinnamon, turmeric, kesuna (garlic), onions, fennel, grass puzzles, lemongrass, sente (rodent tuber), and others.

3.

Spices from bark, stems, roots and leaves such as cenana (sandalwood), majegau, genje Photo: I.B.Putra Adnyana

(marijuana), wong (mushroom), see (lemongrass), jangu (ringtoneo), cinnamon, mesui, cloves, weed roots, amethyst, and others.

Balinese spices are plants that are used in everyday life, especially for medicine and rituals. Balinese traditional medicine

intended for humans, but also animals

usadha dalem, usadha dalem jawi,

is the organic knowledge of the Balinese

and plants. These usadhas are contained

usadha sasah bebai, kalimosada

people about their organic plants. Before

on lontars and they number in the

kalimosadi, usadha buda kecapi

modern medicine entered Bali, traditional

hundreds, including:

sari, usadha buda kecapi cemeng,

knowledge was the vanguard of health for its people. Even today, traditional

usadha tantri, usadha manak, 1.

medicine has the advantage that it can survive the onslaught of modern medicine

2.

that offers healing speed, convenience, product availability and so on.

Traditional medicine in Bali is called usadha. This medicine is not only

3.

Usadha for plants: usadha for rice

usadha upas, usadha cangkrim,

fields

usadha rare, usadha kuranta

Usadha for animals: usadha sato,

bolong , usadha insane, usadha

ushada for horses, usada paksi

buduh, taru premana, usadha

Usadha for humans: usadha tiwas

jinyana sandhi, usadha ketek

back, usadha ila, usadha shard

meleng, and many others

health, usadha tetenger shard,

2020, VOL. 9 INDONESIANA 21

Chewing betel has been introduced since early childhood through the Metruna Nyoman ritual in the village of Tenganan Pegringsingan.

people, some are every day, every five days, every month, or every six months of the Balinese calendar, every one Balinese calendar year or even once a hundred years (eka dasa rudra). The use of spices in every Balinese ritual is big and common.

Several Balinese spices have important ritual functions. Candlenut (Aleurites moluccana) is a plant whose seeds are used as a source of oil and

Photo: I.B.Putra Adnyana

spices. In Bali, we often encounter candlenut when making tools to complete a religious ceremony, especially for Banten Pejati.

Candlenut is placed together with eggs, coconut, rice, and so on.

Candlenut is a symbol of purusa (spirit), psyche, or man. Apart from Banten

to ceraken or ceraken usadha. Ceraken

Pejati, the use of candlenut or tingkih

can be treated with Balinese spices are

itself means collection. In ceraken there

in Hindu religious processions is also

diseases caused by two things; namely

is the cultivation of medicinal plants such

found in the Tabuh Rah ceremony

sekala (real) and niskala (not real). When

as jebugarum (nutmeg), ginger, cekuh

(blood drop offering). Tabuh Rah is a

viewed from the type of treatments,

(galangal), isen (galangal), temu-temuan

sprinkling of animal blood that is used

diseases in Balinese medicial knowledge

(turmeric), see (lemongrass), cenana

for yadnya (holy sacrifice), usually using

consist of three types of pain, namely

(sandalwood), majegau (aloes), wong

chicken as an offering by making them

nyem (cold), panes (hot) and sebaha/

(mushroom), jangu (Cincino), cinnamon,

fight until one of them bleeds. Before

dumedala (moderate), and the medicines

mesui, cloves, and others.

the chicken that will be made into

Based on the types, diseases that

given are adjusted to the disease.

1.

2.

3.

As for the method of treatment using

offerings are pitted against each other,

spices in Bali, there are five known

the candlenut or tingkih which is the

Gelem Nyem (cold) medicine are

ways, namely loloh (drunk/herbal), boreh

symbol of the star will be pitted first.

warm spices like ginger, cloves and

(scrub), simbuh (spray), tutuh (drops) and

so on.

tampel (paste). In the past, if someone

still exists today and will still exist in

Gelem Panes (hot) medicine are

was sick, the first aid before taking the

the future, because spices are not

spices that are cold or ones that

sickly to the mantri was reaching for

only used for medicinal purposes and

cool the body down by sweating the

the contents of the ceraken and taking

as raw material for culinary spices.

heat out such as shallots and dadap

traditional medicinal ingredients for

Balinese spices also have another

leaves.

further use as needed; boreh, loloh,

function, namely as a means of

Sebaha/dumelada (medium)

simbuh and so on.

supporting ritual activities. That’s why it will still continue as long as Balinese

medicine is of a neutral nature like turmeric and other types of temutemuan plants.

Talking about usadha, types of sickness, and healing, of course, is closely related

22 INDONESIANA VOL. 9, 2020

The tradition of using spices in Bali

Ceremony / Ritual Rituals or ceremonies are the breath of

culture and society persist, as long as the spices continue to be used for

the Balinese life. Ceremonies and rituals

medicine and rituals. (I Putu Putra

are religiously carried out by the Balinese

Kusuma Yudha)

The news about a pandemic among the jungle people of Bukit 12 in Jambi spread out rapidly.

Those sick were isolated and treated with traditional remedies.

They all went into isolation immediately.

Elders and the head of the village order their people to quarantine at home for 2 weeks. Night curfew was imposed.

Quarantine and self-isolation are two things that have existed in their tribal society for generation. They call it bebesandingan. When they have recovered, the patient is believed to have “risen� again and is allowed to socialise again.

The jungle people are used to dealing with contagion. They plant herbs and spices on their garden for medicine.

2020, VOL. 9 INDONESIANA 23

M AI N T OP I C

Archiving the Wealth of Imagination

24 INDONESIANA VOL. 9, 2020

T

he Ministry of Education and Culture of the Republic of Indonesia and the National Archives of the

Republic of Indonesia (ANRI) have signed a collaboration on the submission of the spice route as a world memory (4/8/2020).

This partnership is an affirmation that Photo: Directorate of Cultural Development and Utilization

archives do not only handle office administration but also deal with something related to cultural dimensions.

Suppose we trace archives of historical value, especially from the colonial era, which is so abundantly preserved in ANRI. In that case, we will find various evidence of how magical the spices of the archipelago were at that time. This magic is reflected in the archive dated October 8, 1720 concerning the account of a bill from van Lamberti to Director General Frans

Archive of purchasing spices from Banda and Ambon. (ANRI - HR 2495 - 2066)

Castelijn regarding spices and seeds).

Please visit www.sejarah-nusantara.anri.

of spices at that time. Our archipelago,

go.id for more information.

to be precise Maluku, was the only

Therefore, this account offers two

location for European traders to find

Drying cloves and nutmeg.

Variety of Spices, Imagination and Behaviour It is not unusual for the people of the

arguments, first, that spices are not just

cloves and nutmeg. Cloves are an

archipelago to combine various types of

a matter of commodities but also about

important commodity because they

spices as seasonings which then produce

the rich imagination of the Indonesian

were used as raw material to preserve

various flavours; spicy, hot, strong, sweet,

people in terms of cooking and medicinal

meat, especially during winter in

sour, or mixed. In the field of medicine,

herbs; second, because this imagination

Europe. Therefore, it was no wonder

too, it is common for Indonesians

can point towards people’s behaviours

that the price of our spices exceeded

to use spices to treat diseases. The

(Leeuwen 2011: 76), therefore preserving

the price of gold at that time.

process of finding the combination of

Before the Europeans were able to

measurements and the types of spices

various traditions of Indonesian people in

land their feet in the archipelago, their

that are blended to find the right taste

terms of food preparation and medicine.

access to spices was quite tortuous.

in a dish, of course, requires imagination

The journey of spices to Europe was

that is not simple. The “efficacy test� of

reached from the route of Javanese,

certain types of spices against certain

Chinese and Middle Eastern traders

diseases also requires imagination which

who then brought them as a commodity

is no less complicated.

spices is also the preservation of the

Spices, Commodities and the Footprints of Colonialism The archipelago was once the centre of the most important spice trade node

to Damascus than to Constantinople,

in the 16th-19th century to the early

before finally arriving in Europe. Ease of

Khairunnisyah, although there is a kind

20th century. Our archipelago was

access and higher profit margin were the

of generic spice that is often used in

indeed a kind of legend, especially for

two main reasons for Europeans to flock

various regions in the archipelago, there

Europeans, because of our rich supply

to the archipelago in droves.

are spices that are unique and are not

According to Anindita, Asbur and

2020, VOL. 9 INDONESIANA 25

Photo: Directorate of Cultural Development and Utilization

Photo: Directorate of Cultural Development and Utilization

to be enriched with information about the

Photo: doc.babpublishing

Photo: Directorate of Cultural Development and Utilization

dynamics of contemporary spices.

If plant conservation organisations focus on preserving spices, information institutions such as archival institutions can focus on preserving community knowledge and practices in utilising spices, especially on undocumented knowledge, such as those of indigenous peoples. Knowledge about spices is important because it is part of traditional knowledge which is one of the objects of cultural advancement that must be protected (Article 5 of

used by other regions in the archipelago,

One of the ways that have been

Law Number 5 of 2017 concerning the Advancement of Culture).

one of which is andaliman (Zanthoxylum

pursued, as stated in the policy, is

acanthopodium DC) in North Sumatra.

through conducting research on

However, these andalimans are also

traditional medicine so that traditional

has recognised the role of archival

found in India, China and Tibet. Usually,

medicine can be scientifically verified

institutions in preserving traditional

andaliman is used as a spice in dishes

and systematised so that it can become

knowledge through the emergence of

such as arsik goldfish, natinombur (grilled

a companion in modern medicine. The

the concept of indigenous/tribal archives.

fish) and sangsang (cooked meat).

abundance and variety of spices available

Internationally, there is The Association

The international archiving community

in the archipelago have enabled the

of Tribal Archives, Libraries, and

called herbs. According to the Indonesia

Indonesian people to use their creative

Museums (ATALM). It is an international

Window 2020, our country has around

imagination to develop various smart

association of information institutions,

33 thousand herbal medicinal plants.

ways to process spices, both for food

archives, libraries and museums

Temulawak (Curcuma xanthorrhiza) is the

preparation and for medicinal purposes.

dedicated to the preservation and use

The spices used in medicine are

of the language, history, culture and way

most popular and the most widely used because it has the power to maintain stamina. Information regarding the use of this herb is recorded in “Serat Kawruh”

Community Archives and Spice Preservation Concerns about the extinction of public

of life of indigenous peoples (for details, see www.atalm.org). Although in the Indonesian context, this concept is not

and “Serat Centhini” texts stored in the

knowledge about the processing of

well known, but the practice of preserving

Solo Palace Library. In “Serat Kawruh”,

spices and spice plant variety itself have

public knowledge, including traditional

there is information about 1,734 ways of

been recognised by various parties, both

knowledge through documentation or

making traditional medicine. In regard

researchers and the government. The

archiving, is relatively well established.

to the development of traditional herbal

promotion of the spice route as a world

Given the geographic reach and

medicine according to WHO standards,

memory can become a momentum for a

the complexity of cultural diversity in

the Indonesian government has already

wider effort in the preservation of spices.

Indonesia, it is essential to open up

issued a comprehensive policy for the

Efforts that have been done by ANRI

various spaces to facilitate broader

development of traditional medicines

through preserving information about the

public participation easily. Participation

since 2007.

dynamics of colonial spices also needed

in enriching knowledge or information is

26 INDONESIANA VOL. 9, 2020

Some spices from the islands of Banda, Ternate & Tidore, pepper seeds, cloves, a hope, drying nutmeg mace, and Andaliman from North Sumatra. (clockwise)

VOC archives on the spice trade in the archipelago. (ANRI - HR 2495 - 0404 dan 0012)

also the use of information that has been

With the saving of knowledge or

collected. In this portion, the connection

information about spices, the wealth of

between the system that has been

imagination, and various traditions of

developed by this community archive

using spices by the community will also

and the system developed by the state-

be saved. So that later on, the diversity

owned information agency, especially the

of imagination and practices of the

archival institution, is very important. So

people of the archipelago in processing

that historical information on spices that

spices can continue to be transmitted,

have been collected by state institutions

across time, across generations. (Harry

can be enriched with the current

Bawono: Researcher - National Archives

information collected by the public (read:

of the Republic of Indonesia)

community archives).

2020, VOL. 9 INDONESIANA 27

SP ECI AL T O P I C

Andaliman's Thrilling Bitter Sensation It turns out, there are also herbs that are utilised in local culinary only such as andaliman or sinyar-nyar (also sinyarnyar – ed). But what is it? The andaliman in Toba Sinyarnyar in Sipirok is referred to as the Batak pepper. Andaliman has a special distinctive taste because this spice only exists in Tapanuli. It is the skin of a flowering plant from the citrus family (Rutaceae).

Andaliman boasts an extensive ability to spread. This upright bush averages between 2-4 metres in height and known to the world as the Sichuan pepper, sancho in Japan and sanchonamu in Korea. As a seasoning, this contentless fruit gives a thrilling bitter taste, which can stiffen your tongue in shock for a moment, but what is most interesting about andaliman is its scent that is very similar to citrus. Here are several Batak Angkola signature dishes that are prepared with andaliman or sinyar-nyar.

Andaliman seeds are used as a cooking spice in Batak cuisine. The use of Andaliman as a cooking spice is also known in East Asian and South Asian cuisines.

Photo: Ariyani Tedjo https://www.shutterstock.com/g/AriyaniTedjo 2020, VOL. 9 INDONESIANA 29

people of Sipirok describe the art of

Dried Andaliman seeds: apart from the skin, which is used as a cooking spice, Andaliman fruit is also often used by the pharmaceutical industry.

eating andaliman, the spice they know as sinyar-nyar.

Arsik The experience of enjoying the Batak spices doesn’t just stop with andaliman.

It continues with arsik in Angkola. A Batak speciality, arsik is one of the area’s most favoured dishes. I’m saying that it is one of Batak Angkola’s original food creations that are not influenced by the Minang way of cooking. Why is this so? One of the reasons is because this dish doesn’t use complex ingredients, and its preparation also doesn’t use coconut milk. The main Photo: Elen Marlen https://www.shutterstock.com/g/Elen+Marlen

ingredient of arsik is goldfish, one of the most common species of fish found in the waters of Sipirok mountains.

In principle, the only ingredient that must be used when one is cooking an arsik dish is sinyar-nyar or andaliman.

Other than that, one of the habits of the people of Sipirok when cooking arsik is using the fruit of kecombrang (torch ginger) or also known as asam siala. Dried fruit of kecombrang, not its flower, is a refreshing variant of natural tamarind.

The taste sensation created by

Sinyar-nyar Grilled Fish

Truth be told, andaliman grilled

species originating from tempatan,

fish is not a complicated dish to cook.

such as andaliman and asam siala, is an

of andaliman or sinyar-nyar as something

Its preparation is not different from

unforgettable experience of mesmerising

that is sensationally bitter. When you

preparing any other grilled fish dish.

flavours. In a nutshell, the usage of

have the opportunity to pay a visit to the

You place the fresh fish on the grill and

tempatan’s spices such as andaliman

Sinyarnyar restaurant in Purbatua Bagas

heat it over medium fire until the fish is

and asam siala is the manifestation

Godang Sipirok, make sure to make time

properly cooked. What special about it

of Merdeka Kuliner (The Culinary

to savour their andaliman grilled fish; it is

is that among the ubiquitous red- and

of Independence). The sensation of

Sipirok’s sinyar-nyar speciality. Its generous

purple-coloured sliced spices adorning

flavours is the jewel of taste, just like late

application of this Batak spice gives the

the surface of the fish (red from chilli and

President Soekarno said.

already-delicious grilled freshwater fish

purple from shallots) are shiny yellow,

a bitter sensation that awakens your

green spots made up of finely sliced

adrenaline and increases your appetite.

andaliman skin.

The sipirok people describe the taste

Rahung Nasution (@Kokigadungan)

It has been said that when you savour

Sambal Tuk-tuk and Holat Goldfish Batak’s culinary sensation continues.

wrote on his blog: “Someday, I would

an andaliman grilled fish, it only takes

Truth be told, the most original dish from

like to be a fish, grilled with andaliman

one first bite to make you satisfyingly

Angkola is sambal tuk-tuk. It is unique

so that you can savour me with reckless

speechless. The fish is crispy, the spicy

because it uses a generous amount of

enjoyment.” Rahung Nasution even took

combination of shallot, chilli and the

andaliman. This of the sizzling hotness

the time to chase the origin of andaliman

sour and bitter taste of finely sliced

of a mixture of curly chillies, tomatoes,

grilled fish to its very source: the Sipirok

andaliman will make your tongue dance

shallots, garlic and the torch ginger (bunga

Godang District of Sipirok.

in ecstasy. That is more-or-less how the

kecombrang) produced by local farmers

30 INDONESIANA VOL. 9, 2020

Photo: Maulana Image https://www.shutterstock.com/g/maulanaimage

(above) Arsik fish, a typical dish of Batak Toba and Mandailing, North Sumatra – a distinctive element of Batak cuisine is the use of asam cikala (torch ginger frui)t and Andaliman. (below) You can find Andaliman in traditional markets in North Sumatra in its entirety or in the form of ground spices ready to be processed or in paste form. that’s already been given taste enhancer in the form of aso-aso fish (a type of salted fish – ed), then add a touch of citrus scent and a lot of sinyar-nyar bitter sensation, imagine all of that incredible mixture is served on a small plate right in front of you. It’s simply impossible for anyone to disagree with its undeniable deliciousness.

It is this undeniably delicious sambal tuk-tuk that is then served to accompany other Batak’s original culinary offerings.

One of which is the holat goldfish dish.

“Holat” in Batak Ankola’s language means “kelat” or “sepat” in Indonesian or astringent to the taste in English. It is a taste sensation that leaves numbs the tongue and constrict the throat. Where does this taste sensation come from? It comes from the skin of the Balakka tree (Malaka tree in Indonesian or Indian Gooseberry in English or Pyllanthus Emblica).

It needs to be emphasised that the astringent sensation comes from the skin that is peeled from the straightest and

Photo: doc.babpublishing

the thickest branch of a Balakka tree.

This piece of skin is then finely grounded and made into a soup to accompany the grilled fish. How to make it? Finely ground the Balakka tree skin, mix with slices of shallots and ginger. Take a pinch of Silatihan rice, stir fry it dry (without

Don’t forget that the Balakka tree skin’s stringent taste sensation and andaliman’s bitter

oil) until tender, pound it to submission

sensation can still be upped by adding some more bitter flavour sensation from the

and mash it with the Balakka tree skin

pakkat or rattan shoots.

mixture. Sprinkle ample salt and then

We are not planning to stop our exploration for the jewels of the spices of the

pour enough hot water. After that, your

Indonesian archipelago. Alas, we have limited magazine pages. The depth of

holat soup is ready. To serve, put the

flavours and the rich variety of taste in our rare and yet simple culinary offerings are

grilled fish into the soup.

undeniable. It turns out that the travels of andaliman that also reach as far as Japan

It can be said that this dish is the

and Korea are tastier when savoured with the simplicity of a grilled fish, arsik, holat and

original Angkola Batak culinary offering.

naniura. I hope that those culinary explores who have ventured far to the shores of

This dish is even more special when

France and Italy can be lucky enough to drop their anchor in the Sipirok highlands to

served with sambal tuk-tuk sinyar-nyar.

experience the undeniable warmth of andaliman and sinyar-nyar. (Alfian S. Siagian)

2020, VOL. 9 INDONESIANA 31

SP ECI AL T O P I C

“Oen Ranup”

M ag ica l

32 INDONESIANA VOL. 9, 2020

Photo: Irfan M Nur https://www.shutterstock.com/g/Irfanmnu

from th atra e Northern Edge of Sum

“Honour your guests by serving ranub, just like you respect your guests with kind and polite words.” make this speciality dish be seen as a symbol of closeness. Also, the high level Proverb of the Acehnese people of consumption of ranup among young people has allowed many to open small shops that sells it too. In fact, ranup is Mulia wareh ranup lampuan, mulia

Muhammad’s birthday. Ranup is a symbol

one of their leading sales commodities.

rakan mameh suara…goes an Acehnese

of the opening of a friendship between

proverb. We start our discussion with

two parties brought together by custom

indirectly provides positive benefits for

honour. We will talk about the honour

and religion. Therefore, this particular

the health of young people in West Aceh.

of oen ranup or betel leaf amid the

plan has a vital role in social relations in

Ranup contains vitamin C, thiamine,

advancement of science and technology

Acehnese society.

niacin, riboflavin, and carotene, as well as

in the medical and pharmaceutical

However, if you look more closely,

This habit of consuming ranup

high calcium content which is useful for

fields because oen ranup is a traditional

ranup is not only a traditional object

medicine that has been passed down

that has become a symbol of the social

from generation to generation and is

relations of the Acehnese people, but

believed to provide many benefits. So it is

also a consumption object that is enjoyed

not uncommon for people, especially the

in various ways and for various purposes.

in West Aceh society. The 44-day ritual

Acehnese, to combine the traditional oen

Oen Ranup is of course, useful.

is a postpartum ritual. The people of

ranup with modern medical treatment as part of their healing efforts.

We both understand that the people

Cooked Ranup: Daily Snacks In West Aceh, ranup is a regular daily

strengthening teeth and bones.

Potion for 44 Days Postpartum Next, we will look at the 44-day ritual

West Aceh view postpartum mothers and children as dirty and have not been accepted by the earth. Therefore, for 44

of Aceh possess a lot of local wisdom

consumption, like a snack, for all ages.

days, the mother is obliged to consume

including health practices using medicinal

Ranup is liked not only by parents but

the potion they call madeung. Ma’blien

plants, one of which is ranup or betel

also by teenagers. Ranup is enjoyed in

prepared madeung.

(mixed with betel lime, pieces of gambier

the form of rolls after first being smeared

and areca nut). Betel is a herbaceous

with whiting, areca nut and roasted

oen maneh, oen pungki boh pineng nyen

plant that can be found in almost all

ground peanuts. The people of West Aceh

(young areca nut), oen kandeh (kandis),

regions of the archipelago. Betel is always

call this the cooked ranup.

kunyet (turmeric), majakani, and young

treated with respect in accordance with

In this area, ranup is usually consumed

The potion consists of oen ranup,

bamboo shoots. All these ingredients

a variety of local cultures. Betel is a

as to accompany a joyful conversation

are boiled in water, and the water is

traditional plant that is widely utilised in

with friends in the afternoon. The people

drunk by the postpartum mother to

traditional rites and ceremonies, such as

of West Aceh say, there is something

provide a warm feeling to the body and

the wedding ceremony for ethnic Malays

missing if they do not mamoh ranup

speed up recovery, as well as to induce

in East Sumatra. It is used in almost all

(chew ranup) when enjoying their

the discharge of dirty blood from the

traditional Batak ethnic ceremonies, and

relaxation time in the afternoon. West

postpartum residue.

of course in many ceremonial activities

Aceh teenagers also consider ranup as a

in Aceh.

symbol of friendship.

For the people of Aceh, ranup has an

There are no special rituals when

Apart from stewed ranup, dried ranup is also used – pounded together with several other ingredients – by rubbing

important function in ceremonies and

consuming ranup in social contexts. Still,

the potion on the mother’s stomach. The

celebrations such as weddings, marriage

their values and ​​ views on acknowledging

content in the betel leaf is believed to

proposals, lifecycle rituals such as turun

the ubiquitous existence of ranup in

provide warmth to mothers who are in

tanah, and the celebration of the Prophet

their social spaces and interactions

the puerperium.

2020, VOL. 9 INDONESIANA 33

Chewing Ranup to Heal Baby’s Umbilical Cord Apart from consuming ranup as a

to accelerate the healing process of the

people view ranup as something close

baby’s navel.

to sacral, this ritual continues. Evidently,

The ma’blien would rub ranup water

on top of believing that ranup has

snack, the people of West Aceh region,

on the baby’s midsection while reciting

the potency to speed up the healing

also use ranup as medicine to dry the

prayers to the creator to ask for health.

process of a baby’s umbilical cord, the

umbilical cord for new-born babies.

Modern medicine has warned against

chewed ranup water is also believed

The gampong midwife (traditional birth

doing this ritual because the content of

to have the power to guard the baby

attendant) also known as ma’blien –

the chewed ranub water that is smeared

against evil spirits. What’s more,

while chewing ranup complete with a

on the navel of the baby by the contains

ranup is also used as a substitute for

mixture of gambier and whiting – would

ma’blien a lot of harmful bacteria that can

eucalyptus oil, because it feels warmer

perform healing rituals every morning

infect the baby. But because the Acehnese

for babies and children.

Photo: Panuphong J https://www.shutterstock.com/g/Panuphong+J

34 INDONESIANA VOL. 9, 2020

Photo: Ampont El David https://www.shutterstock.com/g/AmpontElDavid

Photo: Widya Amrin https://www.shutterstock.com/g/widyaamrin

Even so, assistance is still carried out by health workers. This is done so that there is no infection in the baby’s umbilical cord which is still open. Medics cannot ask people to leave the traditions they have carried out from generation to generation. Therefore, assistance efforts alongside these rituals are considered more effective so that both cultural values can ​​ continue to run, and health practices can also be maintained.

Peucicap Ceremony The peucipap ceremony is a ceremony

parents of the baby are also required

to introduce taste to a baby (to awaken

to chew the spices together. Then the

the baby’s palate). This ceremony also

baby’s mouth will be smeared with sugar

cannot be separated from the use of

and salt, with the hope that baby will

the transfer of knowledge is never

the ranup in it; the ranup is served on

forever be able to be grateful even for the

interrupted or lost. Ranup is both an

a tray along with sugar and salt which

bitterness of life.

honour and medicinal tradition that

will be rubbed on the baby’s tongue

The tradition of consuming ranup

will always be maintained. (Mufida

brings many benefits, including

Afreni B. Bara - Aceh Health Research

in terms of health. Also, efforts to

and Development Agency, Research

tengku and community and adat leaders

preserve cultural values for ​​ the younger

Development Agency of the Indonesian

eat the ranup that is served. Usually, the

generation are also ongoing, so that

Ministry of Health)

symbolically.

Before starting this ritual, guests,

Betel leaves that have been tied together neatly for sale in the traditional market.

Ranup Mameh, a type of snack from Aceh.

Equipment for menyirih. Ranub is one of the mandatory items on a traditional menu served in the traditions of the Acehnese people.

2020, VOL. 9 INDONESIANA 35

SP ECI AL T O P I C

Cooking

Suro Porridge, Inviting Alms

Photo: Farisata Maula

Muharram is the first month in the

took Prophet Yunus out of the belly of

communally, which means it involves

Hijjah calendar or Islamic calendar, one of

the fish. With such privileges, Muslims

many members of the community from a

the months that is considered important

celebrate Ashura with various rituals,

village or other social unit.

for Muslims, apart from Rajab, Zulkaidah,

such as fasting.

The tradition of bubur suro is inspired

and Zulhijah. There are two things that

Muslims in Indonesia have their own

make the month of Muharram sacred:

way of commemorating Ashura Day, one

Noah and his people that occurred on

it is the start of an Islamic New Year

of which is the tradition of bubur suro

Ashura Day, in order to remember and

and the Day of Ashura. The Islamic New

(the Acehnese refers to it by another

take away the meaning of his blessings.

Year falls on the 1st of Muharram, while

name: acura kanji). The word “suro” is

the Day of Ashura is the 10th day of the

the pronunciation of the word “Ashura”

Prophet Noah ordered his people to

month of Muharram.

by some Indonesians, especially the

gather various kinds of leftover foodstuffs

Javanese. This tradition is common in

and then collected several types of nuts.

historical events for Muslims occurred

many parts of Indonesia, especially in

Then Prophet Noah ordered that the food

on the 10th of Muharram. Some of these

the regions of Java, Sumatra, Kalimantan

ingredients be made into porridge so that

incidents, for example, are when Allah

and Sulawesi.

everyone could enjoy the food that was

Ashura Day is special because several

accepted the repentance of Prophet

In its implementation, the tradition

by an event in the life of the Prophet

It is said, after surviving the great flood,

left behind.

Adam; when Prophet Noah’s ship landed

of suro porridge (bubur suro) involves

after the great flood; when Allah saved

cooking, serving and praying for a special

the bubur suro tradition from different

Prophet Ibrahim from the fire; when Allah

porridge known as suro porridge – it

regions. The differences, for example,

saved Prophet Musa so that he could

is rice porridge combined with certain

are in terms of the spices and ingredients

pass through the ocean; and when Allah

spices and nuts. The tradition is held

used, as well as the implementation time

36 INDONESIANA VOL. 9, 2020

There are variations in the details of

The spices for the suro porridge, the suro porridge starting to cook, the process of making suro porridge, which is done together by both men and women, the spices for the suro porridge ingredients.

(1st Muharam or 10th Muharam). One

shallots, ginger, bay leaves, lemongrass,

taklim assemblies in and around the

area in Java Island that has a tradition

hazelnut, and salt. These spices are

village. Before being enjoyed by various

of bubur suro is Banten, especially in

one of the two important elements that

members of the community, suro

rural areas. The interesting thing is that

distinguish bubur suro from other rice-

porridge is first presented in gathering

there is a change in the organising of the

based porridge dishes.

places — such as mosques, prayer

suro porridge tradition from communal

Another element is the usage of

rooms and taklim assemblies — to be

to individual. In a village not far from

various nut-based ingredients: peanuts,

prayed upon. People gather and pray in

the heart of the capital city of Banten

green beans, soybeans, and cowpeas.

these places after the completion of the

Province, there was a housewife who

The usage of beans itself is a tradition

evening (maghrib) prayer.

kept the tradition of bubur suro when the

inspired by the story of the Prophet

community began to abandon it.

Noah. Apart from nuts, of course, rice

porridge tradition was still held

is needed as the main ingredient for

communally — bubur suro was made

tradition from her great-grandfather,

making porridge together with coconut,

communally by many people, both

more than 40 years ago. Her great-

coconut milk, and corn.

in terms of providing spices and

This mother inherited the bubur suro

grandfather passed on the cooking

The process of making bubur suro

In the past — or when the suro

ingredients as well as in the cooking

procedures and other knowledge related

begins with grounding the spices. After

process. It is also told that in the past,

to the suro porridge tradition to her so

that, the spices are sautéed until their

suro porridge was served and prayed

she could continue with the tradition,

distinctive aroma comes out. The rice is

for in an open space, usually near the

which she has done so until now that she

boiled until it becomes puree; the beans

intersection of the village entrance.

is a grandmother of 14 grandchildren.

are boiled until cooked;, and the coconut

Apart from praying in the usual

She admits to keeping this tradition

is sliced into ​​ small pieces and roasted.

manner, there is also a tradition of

because she likes and truly believes in

When the sauteed spices are fragrant,

reading the manaqib (biography)

the meaning of the tradition of bubur

coconut milk and salt are added to the

of Sheikh Abdul Qodir Al-Jaelani, a

suro. According to her, the core meaning

mixture. The spices that have been mixed

prominent sufi figure from Baghdad

of the suro porridge tradition is alms.

with coconut milk and salt are then put

who lived in the 11th century AD whose

She believes in the goodness that is

into the rice porridge. Following that,

teaching influence is still being felt

born of alms. According to the teachings

boiled beans are also put in the spiced

today in Indonesia when serving bubur

of her great-grandfather, which she

rice porridge. The last step is to add

suro. This manaqib reading can last

also believes, the bubur suro tradition

roasted coconut slices, fried garlic and

until midnight, which implies that suro

is intended as a tolak bala ritual. It is a

crackers as toppings.

porridge is enjoyed at midnight as well.

ritual that is meant to repel bad luck. This

The process of cooking suro porridge

Over time, many things have changed,

is deemed necessary considering that

can take all day, depending on the

including the traditions of the people. The

after the month of Muharram, comes the

number of ingredients being cooked.

tradition of bubur suro has also changed,

month of Safar —a month considered to

Sometimes, the preparation is spread

especially in terms of how it is organised,

be a month of disaster and bad luck by

into two days. The first day is to prepare

the accompanying ritual, the presentation

some Muslims.

and puree the spices, while the second

method. However, the values inherent ​​ in

day is to cook it. What is certain is that

the bubur suro tradition seem to persist.

the porridge must be served on the 10th

It is still interpreted as a moment to

of Muharram.

give alms, or to share, as the Prophet

Application of Spices The suro porridge tradition is an example of the use of spices to support

Bubur suro is cooked in the

Noah gave an example by processing

the continuity of a tradition. In preparing

afternoon, around the time of the

the remaining food ingredients from his

suro porridge, several kinds of spices are

Asar prayer, and is then distributed to

ark into porridge so that everyone could

needed, namely pepper, coriander, garlic,

various mosques, prayer rooms, and

enjoy it. (Herman Hendrik)

2020, VOL. 9 INDONESIANA 37

SP ECI AL T O P I C

Pandemic,

H

istory records that Mother Earth and all countries in the world must struggle to face

a pandemic caused by the Covid-19 or coronavirus in 2020. The world’s battle against Covid-19 began at the end of 2019 when the Bamboo Curtain

Indonesian Spice’s Momentous Awakening

country, China, detected deadly virus infections among its citizens. The virus was thought to have originated from animals consumed by people in Wuhan, Hubei Province, China. In Indonesia, the fight against the deadly virus began since the first case of Corona infection was recorded in the country in early March 2020, which was announced by the President of the Republic of Indonesia, Joko Widodo. However, some researchers believe that the virus had entered Indonesia earlier.

Since it was first detected, the spread of Covid-19 in the country has continued to increase. Not only in terms of the number of positive cases but also the death rate. In fact, Indonesia has become a country with a quite high percentage of death among its coronavirus infection cases. Obviously, the coronavirus problem is not trivial.

This plague has had a tremendous impact on almost all corners of human life. The impact is not only felt in the health and social sectors but, more broadly, it has also a negative impact on the economic sector. Some countries have even slumped to crisis level.

Various countermeasures to prevention attempts have been carried out on a massive scale by the government to protect Indonesia and its citizens from the worst possible consequences of the Covid-19 outbreak.

Restrictions on community activities are the most dominant effect felt by us as a society. However, life must go on. Public Photo: Odua Images https://www.shutterstock.com/g/oduaimages

38 INDONESIANA VOL. 9, 2020

health must be maintained, and the wheels of the economy must continue to run. Thus, the term “new normal” came about. We are expected to live side by side with the plague that is invisible to the human eyes.

However, the existence of a pandemic can also become a momentum, a

Photo: Odua Images https://www.shutterstock.com/g/oduaimages

Jamu beras kencur (which combines dried K. galanga powder with rice flour), turmeric-tamarind, two of the most popular jamus in the country. momentum for the revival of local Indonesian spices. Before a vaccine for the Covid-19 virus is discovered, the ideal way to ward off this virus is the application of health protocols and immune system safeguards. The best advice is to use herbs to preserve a strong immune system.

The Role of Spices Amid a Pandemic The charm of Nusantara’s spices – as an integral part of the Indonesian identity – is very strong. From ancient times until Photo: Diade Riva Nugrahani https://www.shutterstock.com/g/Diade_Riva

now, spices have continued to exist in its dynamic, both in terms of utilisation, production, quality, as well as the ebb and flow of export figures. Spices are currently still on demand, processed and consumed by people in various circles.

Spices are not drugs, but rather a trigger to increase the immune system.

According to herbal practitioners, there are several types of spices that are believed to be used as traditional ingredients to trigger the immune system. One example is ginger. People use this spice plant for various purposes, as a traditional medicinal ingredient, a beverage ingredient, and a cooking spice. This rhizome plant is known to have many benefits. Not surprisingly, ginger is mostly used by people as herbal medicine or traditional medicine.

Masteria Yunovilsa, who heads the research group at Center for Drug Discovery and Development of the Indonesian Institute of Sciences (LIPI) Biotechnology Research Center, through his recent book on Covid-19, “Religious and Health Perspectives” (2020) argues that ginger – in this case, is red ginger – is an immunomodulator or an immune enhancer. On top of that, red ginger also has anti-inflammatory and antioxidant benefits. According to Yunovilsa, in general, the coronavirus causes inflammation symptoms in the lungs so that the anti-inflammatory effect can be relieved by consuming red ginger.

(above) Jamu sellers waiting for customers to arrive in the pandemic era. Wedang empon that has risen in popularity during this pandemic. (below) We can explore the benefits of other

spices can be used as a promising export

spices, such as turmeric and Javanese

commodity. The Indonesian Ministry of

ginger (temulawak). Each rhizome plant

Trade reported that the positive trend of

has its own advantages. Optimally

Indonesian spice exports to Taiwan in the

utilising spices as traditional herbal

last two years had increased rapidly.

medicine is the right choice to maintain

In fact, Indonesia is a major supplier

a healthy body; of course, it must be

of spices to Taiwan. Based on Taiwan

accompanied with the application of a

Customs data for January – March 2020,

healthy lifestyle.

Indonesia has exported spices amounting

This is not just a matter of pride

to USD 1.58 million, an increase of

in domestic products. It is a fact that

25.57 per cent over the same period

Indonesian spices have great benefits.

the previous year. This pandemic will

As additional information, the trade in

undoubtedly be a momentum to fix

Chinese herbal medicines has actually

several sectors for the smooth running

increased during this pandemic. If

of the upstream-downstream process

Indonesia has spices that have proven

of using spices. Thus, the image and

efficacy and can then be planted in your

Indonesia’s identity as a spice-producing

own yard, why not use them as part of a

country has also strengthened in the eyes

body supplement that can ward off the

of the world. (Taufiq Fadhilah, writing at

plague. In fact, more broadly, Indonesian

www.rubrikpena.com and online media)

2020, VOL. 9 INDONESIANA 39

SP ECI AL T O P I C

The Benefits of

Clovesand

Javanese Gingersince 1918

40 INDONESIANA VOL. 9, 2020

Photo: Directorate of Cultural Development and Utilization

Evidently, when the influenza pandemic hit the Dutch East Indies in 1918, spices emerged as alternative medicine. And it turned out that during the Covid-19 pandemic in 2020, spices, a local treasure from the Indonesian archipelago, appeared again as an alternative medicine to fight against the pandemic.

It’s true that history repeats itself.

This pandemic began with a

at that time our country was still known

The clove flower buds are harvested at maturity before flowering. Then the clove buds are dried in the sun until they turn dark brown.

Apart from its flower buds, other parts of the clove tree that have high selling value are clove stem oil, clove leaf oil and clove fruit which have many healing properties.

pneumonia outbreak in the city of

the Dutch East Indies, the number of

Wuhan, China, in December 2019. In a

victims reportedly reached 1.5 million.

short time, the virus spread to almost all

However, recent research by a professor

over the world. WHO, on March 11, 2020,

from Michigan State University states that

announced that the world is being hit

the number of victims on the islands of

by a pandemic and 188 countries have

Java and Madura alone was much more

been affected by this virus, one of them is

significant, reaching a staggering number

develop, and there was a vast knowledge

Indonesia.

between 4.26-4.37 million. Even so, it’s

gap between Asia and Europe.

Before we talk further about spices,

important to note that the exact number

The problem of the influenza pandemic

let’s have a look at the history of

of victims in the Dutch East Indies

in the Dutch East Indies at that time was

pandemics, which is by no means a new

cannot yet be known because no proper

also related to the poor relationship

occurrence. One pandemic that infected

population census was ever carried out.

between doctors, especially European

Indonesia (and the world as well) was

The total number of victims worldwide

doctors, and the native people. The

influenza or the Spanish flu. This global

was also debatable. Why? Because at

reluctance of these European doctors

epidemic broke out in 1918 and hit

that time, the First World War was raging

caused people to have to rethink if they

approximately three billion people in

in Europe, which resulted in efforts to

wanted to get themselves properly

the world at that time, either directly

manipulate the number of victims and

checked by a doctor. Even if they went to

(causing someone to become sick or even

even the existence of the pandemic itself.

see a doctor when they were sick, most

die) or indirectly (affected by social and

Because it was feared that the news

of the European doctors did not directly

economic impacts).

of the pandemic would undermine the

treat them.

According to several studies, the

morale of soldiers who were fighting at

The dire situation at the time can

worldwide death toll at that time was

the war. Not to mention that modern

be illustrated this way: when native

at least 100 million. In Indonesia alone,

medicine at that time was just starting to

Indonesians were sick, they came to a

2020, VOL. 9 INDONESIANA 41

The death rate of the population in Java and Madura due to the 1918 influenza pandemic, the darker the colour, the higher the number of casualties (Annual Report of The MBGD 1920 Appendix)

European doctor and waited outside

had malaria or a common fever. The

context of the 1918 influenza pandemic,

the doctor’s house, usually under a tree

drugs given were usually malaria drugs.

the high number of deaths was in part

in the doctor’s yard. The doctor then

This poor process of a patient’s

also caused by the high cost of medical

ordered his assistant to meet these

diagnosis and administering medicine

treatment and the misdiagnosis from

native patients. The assistant then asked

without meeting the patient face to face,

doctors. Moreover, native Indonesians,

about the condition of the sick, about the

of course, could result in a lot of wrong

especially in Java, also preferred to see

complaints they felt at that time. There

diagnoses. However, this was a common

their traditional healers to help with their

were usually complaints that included

thing. Moreover, the problem was

ailments.

fever, dizziness, the feeling of weakness,

compounded by the inability of native

shortness of breath and so on.

Indonesians to pay for the medicine

brought modern medicine into the Dutch

But what was the doctor busy doing

that could treat their illness. They simply

East Indies when the locals were still

when their assistants were handling the

couldn’t afford it because both the cost of

relying on traditional healers. Because

native Indonesian patients? The doctor

the examination and the medicine would

the shamans approached their patients’

would usually be serving European,

usually add up to their total income for

health problems (and death) from a

foreign Eastern or wealthy aristocratic

one whole month.

supernatural perspective, where these

patients who could afford the expensive

It’s undeniable that the Dutch doctors

This highly non-ideal condition, of

ailments were caused by black magic-

medical expenses. Then the assistant

course, created new problems for the

related acts such as teluh or santet

came to the doctor with a report. After

patients, regardless of the disease. In the

(magical curses involving supernatural

listening to the assistant’s report, the

beings). Of course, this type of diagnosis

doctor usually concluded that the patient

only worsened their patients’ condition and thus increased the spread of the Spanish flu disease.

Photo: Fairuzaid99 https://www.shutterstock.com/g/fairuzaid

42 INDONESIANA VOL. 9, 2020

Thankfully, people’s ignorance of the disease they were suffering from eventually led them to a more positive alternative, namely jamu (herbal medicine). The inhabitants of the Dutch East Indies, especially the inhabitants of the island of Java, hoped that they could maintain their health and fitness level, and some even hoped to recover from the deadly flu, by consuming jamu.

One ingredient that was widely used by the community to concoct their jamu at that time was Javanese ginger (temulawak). This ginger-based herbal drink was expected to prevent the patient from getting cold and also be able to restore the patient’s physical freshness.

Photo: Sriyana https://www.shutterstock.com/g/Sriyana

In addition, it was also to keep the healthy from getting infected with the Spanish flu disease.

Burgerlijke Geneeskundigen Diesnt (BGD) or the Dutch East Indies Public Health Service issued a recommendation for the use of traditional medicines made by the bumiputra. The recommendation was written and published in the local newspaper, Bromartani on November 3, 1918 No. 7, which contained how to deal with some symptoms of influenza such as fever and cough.

The article described how to treat symptoms of fever, which was through drinking pumpkin boiled water mixed also an instruction on how to treat a fever attack, which advised people with influenza to consume a concoction made of a mixture of lime, finely ground onion and vinegar. The third herbal concoction that was recommended was water boiled in clove extract, with a dose adjusted according to the patient’s age.

BGD also encouraged patients with cough symptoms to consume a mixture of egg white and honey. In addition, it was advisable to consume a mixture of sweet soy sauce and lime juice. The last recommendation was to drink boiled tamarind water and rock sugar. All of which were believed to be able to cure the cough of the flu patient.

If we pay attention, the various concoctions recommended above are still being consumed in Indonesian society now. It should be noted that medically, the virus that caused the Spanish flu was classified as type A H1N1. Recent research has shown that this virus is

currently happening. The World Health Organization (WHO) has named Covid-19 Severe Acute Respiratory Syndrome coronavirus 2 or SARS-CoV-2.

Indeed, we still need to conduct further observation and research to find out whether the various ingredients mentioned above, which are all parts of Indonesia’s local herbal wonders, are suitable for consumption during the Covid-19 pandemic. Our society believes that these ingredients can increase the body’s immune system to help Covid-19 patients today.

Hopefully! (Syefri Luwis)

On top of having chemical contents that can increase immunity, temulawak has other benefits for health too. Jamu temulawak is currently widely consumed by people during the pandemic.

Photo: Maharani afifah https://www.shutterstock.com/g/Maharani+afifah

with a little salt. Furthermore, there was

different from the Covid-19 that is

PE RFO RM I NG ART S

March 2, 2020, marked the beginning of a famine for the performing arts ecosystem in Indonesia. After President Joko Widodo announced the first Covid-19 case, the spread of the virus continued to increase. Large-scale Social Restrictions (PSBB) was implemented on March 31, 2020. One effect of

collaborating with private parties, and even facilitated by the state through the Ministry of Education and Culture. Not all choose to react, but quite a few choose to adapt.

this restriction policy is the cancellation and postponement of art events, all being put on hold indefinitely. The performing arts movement is paralysed, not just for a period of one or two days, but for months.

Adapting to A New Medium Since Covid-19 hit Indonesia until June this year, the migration of the arts community from physical encounters

The performing arts ecosystem is

to bring their crafts to the online medium

directly affected on all fronts, such

because they doubt it will have the same

as dance, music, theatre, including

impact as when their arts are shown

even puppet theatre. Not only artists,

and performed live in real life. Some

the event production line from event

believed that online performance would

organisers, stage lighting providers,

even erase the performative spirit of

to sound system providers were also

their shows. These artists then chose the

affected. Covid-19 is shaking the stability

pandemic period as a time of hibernation

of the welfare of artists and people

and reflection. But the problem is, what if

behind the scenes in a big way.

Covid-19 doesn’t end until the end of the

Even though the pandemic seemed timeless, in the sense that it wasn’t clear when it would be over, the creativity

year while they still have to keep making ends meet every day?

Several artists across the arts fields

of our artists was unstoppable. One by

negotiated and began to consider

one, the artists began to consider online

various online platforms as a space for

forms as the most promising medium

the presentation of their work. Efforts

to continue to share their arts with

to stage online performances have

their audience and stay in existence.

also been proven to be quite diverse,

However, some artists are still reluctant

and some were initiated by artists,

44 INDONESIANA VOL. 9, 2020

to mediated encounters has increased.

The exciting thing is that they use the online space not only for one function, but for several, namely as a speaking room, a solidarity room, and also as a performing stage.

First, the talking room is usually used by artists to discuss various art themes to self-reflection on the pandemic, such as dance choreography masterclasses

by Eko Supriyanto (choreographer) and “Creations in Times of Difficulty” by Ria Papermoon (puppet theatre artist), all were broadcasted on the YouTube account @budayasaya which belongs to the Directorate General of Culture.

Second, space/medium for solidarity to mutually strengthen fellow artists and society. This is done by groups of artists, groups of teachers or art lecturers, or

Photo: @budayasaya

When Artists Adapt

the wider community. They make calls

But can all genres of music make it

Meanwhile, in theatre, some modern

for #dirumahaja in the form of collective

through online performances? What

theatre groups hold more discussions

singing, poetry, dance, and various

about dangdut music, which is intertwined

online than shows. It is the traditional

other forms. Some of them are dangdut

due to performativity and relies on

theatre that is more actively involved in

legends such as Rhoma Irama and

interaction with the live audience? In

online staging. Several groups involved

PAMMI (Association of Indonesian Malay

the first two months of the pandemic,

in @budayasaya included Wayang Orang

Music Artists) who made a video singing

dangdut musicians in Java chose to stop

Bharata and South Kalimantan traditional

together in March 2020. The impact of this

all their stage activities. But in May, one

theatre Japin Carita. Meanwhile, similar

solidarity movement shows that those

by one, the musicians started trying out

efforts were initiated by several groups,

who are affected are not like imagined

online shows — either independently

such as the contemporary puppet

communities, but real communities and

or by invitation from sponsors. Starting

theatre performance Papermoon Puppet

must strengthen each other.

with the young dangdut singer Denny

Theater which was held independently.

Third, a performance room or

Caknan, who was involved in a show for

work presentation through online

the late Campursari artist, Didi Kempot

performances. The function of this

at the end of May and a young dangdut

virtual space is an interesting discussion

singer, Ndarboy Genk, who made an

accommodated on the YouTube channel

considering the tug-of-war regarding

independent online concert on June 22,

@budayasaya, there are already 420

online performances has not yet been

2020. In short, the dangdut music genre

shows that will continue to grow until the

agreed upon in the artists’ sphere.

also took into account the show online as

end of the year. Nearly half of the above

For the music field, the issue of online

their presentation space.

are performing arts shows, whether

performances is not too complicated,

Not only music, but dance also takes

From Citizens for Citizens If you’re curious about how culture is

in the forms of discussions or online

especially in some genres. Several music

online performances into account.

performances. Of course, it needs to

groups or musicians performing world

Apart from being filled with discussions

be realised that not all art forms can be

music have even performed online

from dance actors, several initiatives in

accommodated, such as performances or

performances at @budayasaya, including

the form of virtual performances were

discussions of experimental music, noise

a music group performing contemporary

also carried out, one of which was the

music, or dangdut, contemporary dance

Malay music, Riau Rhythm, which had an

Distance Parade, which featured 40

or modern and contemporary theatre

online concert on March 30, 2020, and a

selected contemporary dance works and

performances.

contemporary music group, Suarasama

staged on April 27 to May 1, 2020, at @

whose online concert was on April 20,

budayasaya. Not only contemporary,

still many untouched facets of Indonesia

2020.

several other types of dances were also

arts. In short, there are still some types

staged on @budayasaya, such as the folk

of arts and regions that are not yet

art of the Kethek Ogleng monkey dance

represented. Although this is not an easy

from Wonogiri, Central Java and the

task, through the Directorate General of

Bonet dance from East Nusa Tenggara. In

Culture, this can be realised immediately.

addition, several dance challenges were

Apart from that, these shows have not

also carried out, such as Rianto and the

only accommodated artists to work

Lengger Challenge. The exciting thing is

and channel their creativity but have

that online space has been used more by

also provided entertainment to the

traditional dance groups.

broader community. This was proven

Apart from the issue of type, there are

when their first broadcast during the pandemic started precisely a day before the establishment of the first PSBB in Indonesia, on March 31, 2020, and is still consistent to this day. Art and cultural shows can be used as entertainment viewing for residents during a pandemic. In this case, art has fulfilled one of its functions, namely not only to provide entertainment but also empowering the community.

(Michael HB Raditya) Denny Caknan was involved on an online show.

Distributing performance information via social media @budayasaya during the pandemic.

2020, VOL. 9 INDONESIANA 45

F I LM

for National Cinema and Film

Simulation of purchasing cinema tickets for the Minister of Tourism & Creative Economy and General Chairman of GPBSI Djonny Syafrudin during the pandemic.

Indonesian cinemas would resume

in Jakarta, ordered all types of

Syafrudin looked happy when he

The face of GPBSI’s chairman Djonny

operations on July 29, 2020. Menparekraf

entertainment to be closed, including

participated in the simulation of the

Wishnutama in his statement,

cinemas, the life of cinemas and their

opening a cinema in a cinema in Jakarta.

Wednesday (26/8 / 2020), supported the

supporting activities were put to a

His breathing was regular, like an

plans of the COVID-19 Handling Task

complete stop. Since the cinema is a

asthmatic patient who had just sprayed

Force Team and the DKI Jakarta Provincial

downstream part of the film industry,

his mouth with respiratory medicine.

Government to reopen cinemas in the

the effect has also been strongly felt

DKI Jakarta area shortly.

upstream. Film productions everywhere

“Hopefully everything will run smoothly, and that the film industry will

Wishnutama said the reopening

have stopped, rental of shooting

start moving again. It’s still not like what it

of cinemas could revive the creative

equipment is not running, artists and film

was when we had normal conditions, but

economy sector, which had been

workers are unemployed.

that’s okay,” said the white-haired man,

slumped by the COVID-19 pandemic.

who is also a cinema entrepreneur, at the

“With cinemas back in operation, this will

the losses have been released, but

end of August 2020.

have a major impact on the development

because they still have to pay employees,

of the creative economy, particularly the

maintenance costs for equipment and

film sub-sector,” he said.

building cleaning, the number of losses

On July 7, 2020, the Association of Indonesian Cinema Managers (GPBSI) representing Cinema XXI, CGV Cinemas, Cinepolis, and others announced that

46 INDONESIANA VOL. 9, 2020

Pak Djonny should be happy. Since the regional government, especially

So far, no exact figures that calculate

is quite high. Outside the cinema, a producer who has been known to be

Photo: Herman Wijaya

productive in making films admitted

only accommodate 50 per cent of the

commercially appealing takes precedence

a loss of up to Rp 50 billion. It was not

audience of their existing capacity.

even though it was originally scheduled

specified what the exact causes of the

Concerning this rule, cinemas

to be played later. In that case, it will

loss were, but in general term, the causes

understand it and accept it. However,

cause dissatisfaction from film owners

include office operations that had to stay

according to film producer Firman

who have been told their films were

running, actors and crew contracts that

Bintang in a webinar held by the Ministry

going to be shown earlier. It is indeed not

had been paid even though not in full,

of Education and Culture, there must be a

an easy puzzle to solve.

and missing income from sponsors.

producer who would be willing to become

The film crew felt the most challenging

However, those aforementioned

a martyr. Firman meant, not all film lovers

subjects of debates seem to have to be

impact of the discontinuation of

would feel confident enough to go to the

put back in the drawer again for now. The

production—especially those who have

cinema at this early stage. Because of this,

Provincial Government (Pemprov) of DKI

been working in soap operas (sinetron).

the potential for films to reach audiences

Jakarta cancelled the permit for cinemas

Even under normal conditions, the crew

like in normal times would be very

to be able to operate during the PSBB

at the lower levels are the most poorly

difficult, in addition to the limited capacity

(Large-Scale Social Restrictions) transition

treated. The honorarium is miserly, and

due to following protocols.

period from August 14-27, 2020. The

the producer often delays the payment.

“Now, who wants to be a martyr now. A

provincial government had gone back

So, you can only imagine what they are

producer who pays a lot of money for his

on their previous stance in giving

feeling and going through throughout

film should think about it first especially

permissions for cinemas to reopen.

this dry season.

if the policy of capacity control at the

“Fortunately, there is social assistance

The revocation of the permit was

cinema doesn’t change. If the number

stated in the revised Office of the

from the government, so we can still eat.

of the audience isn’t enough, the film

Disparekraf Decree Number 2976 of

If not, we don’t know what our fate is,”

will immediately be taken down, and the

2020 concerning the Extension of the

said Anwar, a lighting assistant.

producer won’t think about it,” he said.

Transitional Period PSBB in Handling the

The sinetron industry, which is one

The second problem that is no

Prevention of Covid-19 Transmission in

of the main channels that employ the

less complicated in the operations of

the Tourism Business Sector. This is not

highest number of film workers, is also

reopening cinemas is regarding which

the first time the cinema business has

in a pinch. Many production plans have

films will be shown at the cinema first. In

been allowed to reopen and then told

been postponed or even cancelled

2020, of the 150 film titles produced, only

not to reopen. Previously, the plan to

because television stations have also

28 Indonesian films have been screened

open cinemas on July 29, 2020, was also

stopped purchasing cinema products to

in Indonesian cinemas so far. There are

cancelled, as were the plans made for the

get around cutting their own expenses.

still more than 120 film titles that are still

PSBB period July 31-August 13, 2020.

Especially in this era of social media,

in the queue.

their share of advertising income has

Are the incoming films still going to be

It is not certain when cinemas will open. The opening of cinemas and

decreased significantly because many

shown according to the schedule or will

entertainment venues, especially in

advertisers have fled to social media,

they be shown according to some sort of

Jakarta, is still awaiting the development

especially YouTube.

priority scale? Say, to lure movie audience

of the control of the spread of Covid-19.

to the cinema, it is impossible to screen a

It is uncertain how long the Corona

in a circular made on behalf of the

film considered mediocre in artistic and

pandemic will end. This dry season seems

chairman of GPBSI, Djonny Sjafruddin,

commercial appeal.

to be the “third small apocalypse” for the

The plan to reopen cinemas as stated

was warmly welcomed by producers,

It is feared that the films considered

national film industry. The first was the

crews, players, producers and even

as only “averagely appealing” will

deterioration of national cinema due to

happy cinema entrepreneurs. However,

become victims. Not only did the film not

the emergence of private television in

it stressed that cinema operations

attract the audience, but instead it was

the ’90s. The second was an economic

must follow health protocols. One of

counterproductive to attract the audience

recession as a result of the riots of SARA

the most influential is the rule of social

to the cinema. But suppose a movie

in several regions in Indonesia. (Herman

distancing, which means cinemas can

that is considered both artistically and

Wijaya, journalist and film observer)

2020, VOL. 9 INDONESIANA 47

MEDI UM EXC HANGE

The Sound of

m a a r D

and

Lit erature produced by film and theatre actor

at a press conference for the launch of

(Kemendikbud) through the Directorate

The Ministry of Education and Culture

Happy Salma and film producer Yulia

“Sandiwara Sastra” podcast in Jakarta,

General of Culture in collaboration with

Evina Bhara, “Sandiwara Sastra” is

Monday (06/07). Furthermore, the

Titimangsa Foundation and Kawan Kawan

equipped with music and sound systems

Minister of Education and Culture said,

Media launched the “Sandiwara Sastra”

that have been specifically designed and

“Sandiwara Sastra is not only a work of

podcast as an innovation and a part of the

produced to enable the smooth inter-

art and an innovation. More than that,

Learning from Home programme during

medium transition from the written

this is a way to raise literacy.”

the Covid-19 pandemic. Transferring

words of literary works onto an audio

The Director-General of Culture of

Indonesian literary works into the audio

medium. The list of voice actors also

the Ministry of Education and Culture,

medium is aimed at introducing and

consists of many well-known actors and

Hilmar Farid, explained the future

reviving Indonesian literary works. The

other celebrities including Najwa Shihab,

direction in literary development: “The

podcast, which started broadcasting

Nicholas Saputra, Lulu Tobing, Happy

Ministry of Education and Culture is

on July 8, 2020, at 17.00 WIB via audio

Salma, Chicco Jericho, Iqbaal Ramadhan,

making efforts to preserve literature

podcast @budayakita, has 30-minute

Chelsea Islan, Pevita Pearce, Aryo Bayu,

through ‘Sandiwara Sastra’. The more

episodes and was also broadcasted on

Jefri Nichols, Tara Basro, Rio Dewanto,

people read and listen to literary works,

Radio Republik Indonesia (RRI) to reach

Marsha Timothy, Vino G Bastioan, and

the more people will discover the values ​​

a wider audience. The Sandiwara Sastra

many others.

of life and the influence of literature on

podcast was trending on several podcast platforms for some time.

Directed by Gunawan Maryanto (theatre director and film actor) and

48 INDONESIANA VOL. 9, 2020

“Literature occupies an important

life. In addition, we’d also like to ignite

position in the promotion of culture and

interest in writing literature in order

the formation of national character,” said

to create new quality literary works,

the Minister of Education and Culture

especially among young people.”

Hilmar also conveyed the reason for the Ministry of Education and Culture to transfer literary works into audio and broadcast audio format. “‘Sandiwara

Photo: Directorate of Film, Music and New Media

Sastra’ is a step to bring our literary treasures closer to the public. In the past, radio plays were very popular. As audiovisual and social media emerged, radio plays began to wane in popularity. But lately there has been a revival of the audio media such as through podcasts,” he said.

He hopes that “Sandiwara Sastra” can also add new exciting colours the new media space and also revive the triumph of Indonesian literature.

Najwa Shihab, the voice actor in episode 6 of “News from Kebayoran” which is based on a short story by Pramoedya Ananta Toer, appreciates “Sandiwara Sastra” as an effort to increase the millennial generation’s interest in literary works.

In line with Najwa, Iqbaal Ramadhan considers the “Sandiwara Sastra” programme to be accurately relevant to current conditions. “You can listen to them while doing other things, you don’t have to set a special time to enjoy it. The new audio form (podcast) can create new interest, new people being curious about Indonesian literature,” said the Perkutut actor in Putu Wijaya’s “Independence” episode.

For the first season of the “Sandiwara Sastra” podcast series, 10 excellent Indonesian literary works have been adapted so that they all can be enjoyed by the public in its new glorious audio form.

Among them are from Ahmad Tohari’s novel “Ronggeng Dukuh Paruk (Dancer from Dukuh Paruk)”; Pidi Baiq’s novel “Helen and Sukanta”; Putu Wijaya’s short story “Independence”; Dee Lestari’s short story “Menunggu Herman (Waiting for Herman)”; Pramoedya Ananta Toer’s short story “Berita from Kebayoran (News from Kebayoran)”; Ayu Utami’s novel “Lalita”; Umar Kayam’s short story “Thousand Fireflies in Manhattan”; Eka Kurniawan’s short story “Persekot”; Sutan Takdir Alisjahbana’s novel “With Sails Unfurled”; and Felix K Nesi’s novel “Orang-orang Oetimu (Oetimu People)”. (MY,

Voice actors for the “Sandiwara Sastra” podcast include Najwa Shihab, Nino Kayam, Adinia Wirasti, Ario Bayu, Arswendy Bening Swara, Asmara Abigail, Atiqah Hasiholan, Chelsea Islan, Chicco Jerikho, Christine Hakim, Eva Celia, Happy Salma, Nicholas Saputra, Iqbaal Ramadhan, Jefri Nichol, Kevin Ardilova, Lukman Sardi, Lulu Tobing, Marsha Timothy, Mathias Muchus, Maudy Koesnaedi, Oka Antara, Pevita Pearce, Reza Rahadian, Rio Dewanto, Tara Basro, Vino G Bastian, and Widi Mulia.

Directorate of Film, Music and New Media)

2020, VOL. 9 INDONESIANA 49

CUSTOMS

the

TUK SIKOPYAH Ritual

50 INDONESIANA VOL. 9, 2020

Photo: Sadariyah Ariningrum

The Tuk Sikopyah traditional ritual is

Photo: Sadariyah Ariningrum

Residents trace the path to Tuk Sikopyah. (clockwise) Residents who carry lodhong are queuing to pour Tuk Sikopyah water, Adat elders lead the prayer procession, Kirab residents who carry gunungan, Residents take Tuk Sikopyah water from its container.

The water taking procession began with

fish. After the lodhong was stored in the

a procession of taking water from the

the Dhandanggula Kumandang song. The

village hall to stay for two nights, the

Sikopyah tuk (spring) in Kaliurip Hamlet,

village elders led a group prayer in the

residents ate trigi rice together.

Serang Village, Karangreja District,

courtyard of the mosque. After that, the

Purbalingga Regency which is held for

residents walked towards the Sikopyah

the lodhong to the tourist Rest Area

three days and is attended by residents

spring, through the footpath barefoot.

of Serang Village, Karangreja District,

of Serang Village. The Tuk Sikopyah ritual

The women wore a kebaya and a hat,

Purbalingga Regency, along with a

is routinely carried out every year. Since

while the men wore black clothes with

mountainous range of agricultural

2015, this ritual has been carried out en

a headband and blangkon (traditional

products. When the group entered

masse, being part of the Mount Slamet

Javanese hat). In addition, several others

the area, the dalang (puppet master)

Festival.

were carrying offerings, brooms and jugs.

immediately played the puppets.

We closely followed this ritual last year

Two days later, the residents brought

Along the way, a tambourine wasp

Residents who carried the lodhong

before the Covid-19 pandemic took place.

could be heard. Access to the Sikopyah

poured Tuk Sikopyah water into a large

On the first day the ritual started, you

spring is a narrow path in the middle of a

container used as water storage. The

could see a group of people in Javanese

vegetable plantation. More than half the

village elder also led the prayer. After

traditional clothes carrying lodhong

way is uphill as Tuk Sikopyah is located

that, Purbalingga residents and tourists

(water containers made of bamboo).

on a hill.

alike scrambled to take Tuk Sikopyah

There were 777 of them. The number

Each ritual participant took water

water which is believed to be able to bring

777 has a special meaning in Javanese

from Tuk Sikopyah until the lodhong

blessings and health to those who drink it.

culture. In Javanese language, 777 is

(bamboo water carrier) was full. The

pitungatus pitungpuluh pitu,which shows

water collection procession took about

three largest springs on the eastern slope

a phonetic play on the Javanese word

two hours. After all the lodhongs were

of Mount Slamet. The other two are Guci

for help: pitulungan. Therefore, for the

filled with water, the group gradually

hot springs and Baturaden hot springs.

Javanese, 777 can also be considered

descended to the village hall, followed

The traditional Tuk Sikopyah ritual is also

a form of prayer for the help of God

by thousands of other residents who

carried out so that the people on the

Almighty so that the leaders and people

brought penggel rice – corn rice or trigi rice

slopes of Mount Slamet will increasingly

of Purbalingga are given the strength to

with three types of side dishes, namely

realise the importance of water for life.

build Purbalingga.

sauteed papaya, fried tempeh, and salted

(Sadariyah Ariningrum, Directorate of KMA)

Sikopyah cold-water spring is one of the

2020, VOL. 9 INDONESIANA 51

T RADI TI ON A L F AR M I NG

Rice Mandate from

Sinar Resmi

Photo: Darus Hadi

Resmi, a kasepuhan (desat adat or cultural

signal strength here. That is when you

cold against the skin. A thin mist

village) that has been around since the

can enjoy the beauty and hospitality of

covers the turquoise mountains. The

16th century located in Mount ​​ Halimun

Kasepuhan Sinar Resmi. The remote

panoramic view of expansive rice

Salak National Park area, Cisolok District,

location of this village cultivates its

terraces is like a vitamin for the eyes.

Sukabumi Regency, West Java Province.

beauty as well as its rich traditions and

Not far from the rice fields, you can see

Kasepuhan Sinar Resmi is part of the

guards it against the outside influences

modest houses with walls made of wood

Banten Kidul Adat Community Union

of modernism. Most of the population

and woven bamboo and roofs made of

which inhabits the western tip of the

works as farmers in rice fields, while

palm fibre. As if welcoming the rising

island of Java from the centre to the

others work as flute craftsmen, sap

sun, the sound of the mortar being

south, which administratively lies on the

tappers, and carvers of bedogs (traditional

pounded begins to shout, accompanied

border of West Java and Banten Province.

machetes) or blacksmiths. Observing the

The morning breeze feels so fresh,

by a loud rooster crowing. It is a perfect morning symphony.

On the slopes of Mount Halimun, far from urban noise, is Kasepuhan Sinar

Don’t complain if the roads are not as

remote location of Kasepuhan, which is

smooth and clear as the streets in the

far away from other villages, a question

city. Moreover, you’ll only get no more

arises: how do its residents meet their

than two bars worth of mobile phone

daily needs, especially food?

It turns out that Kasepuhan Sinar Photo: Darus Hadi

Resmi’s people have been implementing a heritage farming concept from their ancestors to meet their food needs.

From generation to generation for hundreds of years, the people of Sinar Resmi have made agriculture a cultural axis. “As the descendants of Kasepuhan (traditional village), we together protect local wisdom, especially in the field of agriculture, in this case, our local rice seed which is a cultural heritage,” said Abah Asep Nugraha, the chief village elder Kasepuhan Sinar Resmi. In farming, residents never use chemical fertilizers or pesticides (pesticides). They use organic

Photo: Darus Hadi

materials produced from livestock manure as fertilizers. Likewise, the entire planting cycle (from ploughing, planting, maintenance to harvesting) is carried out with, solely, traditional tools.

The consequence of this agricultural model is that the rice planting season can

From the agricultural process to the rice processing, everything is all done in the traditional way.

The process of drying rice before storing it in Leuit.

only last for six months, which means the farmers can only have one harvest a

usually built under trees to protect their

level of coarseness, not too sticky and

year. However, by doing so, the rice will

contents from rainwater and placed close

not too dry.

last longer. The harvested rice is tied and

to other leuits.

dried in the sun, then put in a barn or

For the people of Kasepuhan Sinar

In addition to the knowledge of planting and cultivating rice, the

leuit, which can last a long time without

Resmi, rice is like humans, because rice

ancestors of the people of Sinar Resmi

rotting for up to 40 years.

is synonymous with the name Dewi Sri.

also inherited the science of astronomy,

The meaning of “Sri” here is “the same”,

which is called Pranata Mangsa. It is a

to individuals, families, or groups. The

therefore in Kasepuhan Sinar Resmi,

method for the residents to determine

building is square and on average taller

rice is not traded. Buying and selling

the best time to start planting and

than an adult person, the higher the

rice is considered similar to buying and

cultivating rice by referring to the

leuit wall, the wider it gets. This shape

selling our own lives. Rice production is

constellations. As a result, Kasepuhan

symbolises the prosperity of the leuit

entirely allocated to the food needs of

Sinar Resmi has received awards for food

owner’s family. This structure is built on

the villagers. Guests who visit are allowed

sovereignty and security in 2015 and

a stone foundation called an umpak that

to eat as much as they want to enjoy

2016. Local and international researchers

generally uses rocks or bricks. Apart from

the rice harvested by Sinar Resmi, but

have also enthusiastic about exploring

serving as a foundation, the umpak also

they are not allowed to take it outside of

the uniqueness of Kasepuhan Adat Sinar

functions to prevent groundwater from

Kasepuhan Sinar Resmi.

Resmi. What happens in Kasepuhan

Leuit is a place to store rice belonging

seeping directly into the wooden poles.

There are 68 superior varieties of

Sinar Resmi has proven that ancestral

The roof of the leuit is called “hateup”,

rice in Kasepuhan Sinar Resmi, which

heritage is still relevant today. Chemical

made from tile or tree fibre. To prevent

are unique. Among them is a purple

introduction to farming does not

rodents from entering, a leuit can be

rice variety which they call Pari Gadog

guarantee continually better results. The

fitted with round wooden planks (gelebek)

or Pari Gantang Hideung. This type of

soil in Sinar Resmi continues to give life

on top of the support posts so that the

rice has a herbal aroma similar to black

to those who care for it with love. (Darus

pests cannot climb the poles. Leuits are

cumin, vanilla, and pandan with the right

Hadi, Directorate of KMA)

2020, VOL. 9 INDONESIANA 53

54 INDONESIANA VOL. 9, 2020

Reading Cardinal Directions, Deciphering Signs

Photo: Muhammad Ridwan Alimuddin

TRA DITI ONAL NAVI GA T I ON

Photo: Muhammad Ridwan Alimuddin

O

Traditional Navigation Knowing how to read the cardinal directions is the primary knowledge possessed by all sailors and fishers,

Photo: Muhammad Ridwan Alimuddin

n Sunday, December 8, 2019, a Padewakang ship named Nur Al Marege, boasting a length of 14.5 metres and a width of 4.2 meters sailed to Darwin, Australia, on an expedition called “Before 1770”. The voyage traced the route that the sailors of South Sulawesi took to catch sea cucumbers in the sea north of Australia in the 17th to 19th centuries.

Padewakang is a ship that gave birth to the pinisi boat in South Sulawesi. Ridwan Alimuddin, Nur Al Marege’s crew, said that the Padewakang they operated on the “Before 1770” expedition did not use a diesel engine and was still using the same construction as 250 years ago. This included using a tanjag screen (rectangular) made of organic material (gebang leaf fibre) woven and sewn by Mandar sailors.

Padewakang Nur Al Marege started its journey from Makassar to Galesong (Bulukumba), Tana Beru, Pamatata, then to Kalao Island, Honey Island, Larantuka, Wai Wuring, Wai Lalong, Baranusa, then continued to Mali (Alor Island), Ilwaki (Wetar Island), Masela Island, Saumlaki, until on January 28, 2020, they arrived at Cullen Bay Marina, Darwin, Australia.

According to Charles Campbell Macknight, author of the book “The Voyage to Marege’: Sea Cucumber Hunters from Makassar in Australia”, during every west wind season during the 1750-1780 period, no less than a thousand sailors from Makassar and Bugis stopped by the coast of Darwin.

The arrival of the Sulawesi sailors influenced the culture of the indigenous Australian tribes, the Aboriginal people, which are still felt today. An example of this is the Islam teachings adhered to by local residents.

A bird-eye view of the padewakang boat, which gave birth to the phinisi boat in Sulawesi. (above) Nur Al Marege padewakang boat with the flag of the kingdom of Gowa Tallo. The main sail of the boat was torn while sailing in the Flores Sea (below). including the Bugis-Makassar sailors in South Sulawesi. They read the signs that nature has sent them.

Perhaps future seafarers at the Makassar Maritime Science Polytechnic have studied modern navigation knowledge, such as the Gyro Compass to find the correct direction and position of ships, radar to detect the ship’s distance from land, floating objects, and avoid collisions with other ships, magnetic compass for ship directions and many other advanced navigation tools. However, in ancient times, South Sulawesi sailors relied on nature as a guide for their navigation, and it became a knowledge passed down from one generation to another so that they were able to cross the vast sea. What kind of navigation knowledge makes the sea easy to cross? Baharuddin Lopa’s book

“Law of the Sea, Voyages and Commerce” and Gene Ammarell’s “Bugis Navigation” book recorded this traditional navigation knowledge.

For Bugis sailors, the cardinal points have two particular functions, namely identifying the wind direction at sea and clarifying the ship’s directions (piloting).

There are sixteen cardinal points for the Bugis tribe, just like the international cardinal points. However, it was sufficient that Bugis sailors used only the east and west directions to distinguish and name the two seasons: the east season and the west season. The east wind season falls from April to September, while the west monsoon season is from January to March and October to December.

There are other clues to identify the changes of the seasons, such as “the crescent moon” and “changes in wind

2020, VOL. 9 INDONESIANA 55

Photo: Muhammad Ridwan Alimuddin

56 INDONESIANA VOL. 9, 2020

Photo: Muhammad Ridwan Alimuddin

gusts”. If the crescent is slightly tilted north, it is the western season. If the crescent is slightly tilted to the south, it is the eastern season. If the wind blows continuously, and sometimes it is followed by heavy rains, then we are entering the western season. We enter the east monsoon when the wind blows from the southeast. South Sulawesi seafarers also use the guideline of “tides and ebbs”, which they do during the western season when the tide reaches its peak in the afternoon.

During the day, the sun has become a clear marker of the cardinal directions, which is west and east. Meanwhile, at night, sailors and fishers rely on the stars. Bintoéng lambarué (bintang pari or the Southern Cross) and bintoéng balé mangngiweng (the shark star) are two constellations that rise and fall in the north and are closely positioned in the southern sky. Bintoéng kappalaé (bintang biduk or Ursae Majoris) is located in the northern sky, rises in the northeast and sinks in the northwest. This constellation is adjacent to the bintoéng pitu (bintang tujuh or The Pleiades) which served as a guide for voyages to the north.

Bugis sailors also took advantage of the bintoéng timoro or “star of the east” (Alpha Aquilae) which was used to sail east and west. This star is adjacent to the bintoéng rakkalaé or “the plough star” (Alpha Orionis) which is also used when sailing eastward. Apart from the sun, wind, and stars, there are other markers, such as waves and ocean currents.

Mastery of this navigation made it easier for sailors to know the position of their ship and control the direction of the ship’s bow or so-called

piloting. Also, identifying the natural surroundings provided clues to South Sulawesi seafarers which area they were in, such as from identifying bird species, floating debris, types of corals, flying fish, and dolphins.

South Sulawesi sailors can identify the position of the land through the presence of a jagong bird (the bird’s name in Mandar) that is looking for food. If the wind that is blowing is the southeast wind, then the position of the land is in the northwest or at least its position is in the west. The jagong is a stork-like bird, black in colour, with a long neck that has spots of white. At night, the bird often perches on the tree on the mainland, then during the day, the bird goes out to find food over the sea. Another bird species that indicates that land is near in the Bugis language is called the béllé bird

(small cikalang bird or fregata ariel). Bugis seafarers believe that the béllé bird is a sign that it is about four hours to arrive on land or island.

Nature has provided enough clues for South Sulawesi sailors and fishers to explore the archipelago’s seas, even the oceans, long before there was advanced technology. However, as a result of modernisation in marine and maritime science, organic screens and traditional navigation knowledge are almost extinct. Therefore, the expedition voyage “Before 1770” by Padewakang Nur Al Marege commemorated not only the naval knowledge superiority of the BugisMakassar ancestors, but also a reminder that navigation knowledge from South Sulawesi must be preserved. (Safar Nurhan, an essayist who was born in Paisubebe Island, Banggai Laut, Central Sulawesi)

Photo: Muhammad Ridwan Alimuddin

Small sails of the Nur Al Marege padewakang boat.

The Nur Al Marege padewakang boat on Bulukumba waters.

The Nur Al Marege padewakang boat and its crew.

2020, VOL. 9 INDONESIANA 57

TRADITIONAL CEREMONIES

Erau Festival Boisterous and Full of Joy

58 INDONESIANA VOL. 9, 2020

E

Initially, this event lasted for 40 days

Photo: Syefri Luwis

Photo: Dony79 https://www.shutterstock.com/g/Doni79

rau is a traditional ceremony which is held every year. The implementation time is determined by the Kutai Kartanegara Ing Martadipura Sultanate and the Kutai Kartanegara Regency Government. This ceremony is an effort to preserve the tradition of the Kutai Kartanegara Ing Martadipura Sultanate which has become one of the icons of cultural activities in the country as well as to elevate regional cultural festivals to the international arena by involving participants from abroad. Erau comes from the word eroh, which means lively, boisterous and full of joy.

the sultanate’s political situation. Even

(Tangga Arung). Through the decree of

and 40 nights and was attended by all

though the sultanate was considered

the Regent of Kutai Number THP.276

levels of society. Referring to the folklore,

non-existent (it had turned into a modern

/ E-1 / PEM- 134/1972, September 28,

as told by the descendants and relatives

form of government under the state), the

1972 was determined as the birthday

(of the third and fourth generations) of

crown prince was still considered by the

of Tenggarong City (the capital of Kutai

Sultan Kutai Kartanegara, it is illustrated

extended family of “Kutai Kartanegara Ing

Kartanegara Regency). At this time, there

that the Kutai Kartanegara Sultanate

Martadipura Sultanate” as the incarnation

had already been a process of inventing

was born as the incarnation of Aji Batara

of the sultan. The crown prince is still

a tradition which is a form of recreated

Agung Dewa Sakti. Aji Batara Agung Dewa

symbolised as the next generation of

tradition, namely traditions created

Sakti “descended from the sky” riding

throne holders. In 1960, when Sultan

from old ways but given new functions

an ox which was named the Swana Ox

Aji Muhammad Parikesit was still “in

according to the demands of the times.

and landed on the Jahitan Layar area.

power”, an Erau ceremony was held for

He was later cared for and raised by the

the appointment of Aji Pangeran Adipati

adjusting to the interests of the local

aristocrats of Jahitan Layar until he was

Prabu Anom Surya Adiningrat as the crown

government, as well as an effort to

an adult. As an adult, he married Putri

prince. This ceremony was carried out just

increase visits from domestic and foreign

Karang Melenu (also known as Putri

like when Sultan Aji Muhammad Sulaiman

tourists. When Erau became a cultural

Junjung Buih, because she was born from

appointed Sultan Aji Muhammad Parikesit

festival to commemorate the anniversary

the bubbles (buih) of the Mahakam River).

as the crown prince.

of Tenggarong City, there were several

Around the beginning of the 14th century,

The Erau ceremony at the time of

Erau’s series of events were modified,

changes to the main ceremonies. The

Aji Batara Agung Dewa Sakti founded a

Sultan Aji Muhammad Parikesit was

sacred traditional ceremony of tijak

kingdom called Kutai Kartanegara, and he

the last ceremony held. The sultanate

tanah, one of Erau’s main activities,

became the first king.

functioned Erua as a traditional ritual in

was eliminated. The other traditional

the power stage of the Kutai Kartanegara

ceremonies are still being carried out,

Ing Martadipura sultanate was supposed

The throne of the Kutai Kartanegara

Ing Martadipura Sultanate. Erau was

which later became the Erau series. They

to be continued by crown prince Aji

never done again until 1972, when the

include:

Pangeran Adipati Prabu Anom Surya

Regent of Kutai, Drs. H. Achmad Dahlan

Adiningrat. However, the crown prince’s

began holding Erau again as a cultural

hopes to continue the sultan’s throne

festival in commemoration of the

could not be realised due to changes in

anniversary of the City of Tenggarong

Mengulur Naga as one of the main rituals.

Lembuswana, an animal in the mythology of the people of Kutai and the symbol of the Kutai Kertanegara Sultanate.

2020, VOL. 9 INDONESIANA 59

Photo: Hermansyah28 https://www.shutterstock.com/g/Hermansyah28

Hudoq dance and Dayak people participate in the Erau Festival.

• Beluluh ceremony Self-purification of the sultan/crown prince before carrying out Erau. Intended for the sultan/crown prince to be holy and purify his heart.

• Menjamu Benua A ceremony to inform the god of the universe, that the sultanate wants to carry out Erau’s activities. Asking the ruler of the universe to give permission and bless Erau. This is done by giving offerings at the Head of the Continent (Kampung Mangkurawang), the Centre of

Photo: Fahnur Jingga https://www.shutterstock.com/g/fahnurjingga

the Continent (Kampung Panji), and the Tail of the Continent (Kampung Timbau)

• Building Tiang Ayu The ceremony of establishing a “spear” (Tiang Ayu). Tiang Ayu or commonly referred to as Sangkoh Pintu is a spear made of ironwood which is used at each implementation of Erau as a symbol that when the sultan has erected the Tiang Ayu, it means the sultanate is ready to carry out Erau. Tiang Ayu is an heirloom spear covered in a yellow cloth bag. The heirloom spear is called the sangkok piatu, the spear belonging to the first king of Kutai, Aji Batara Agung Dewa Sakti. After,

on the top as a symbol of the prosperity

was then done in Erau (post-1960) by

the ritual proceeds with the opening

of the Kutai Kartanegara Ing Martadipura

replicating two dragons: male (naga laki)

ceremony which has a performance of

Sultanate. In this ceremony, the entire

and female (naga bini). The dragon is then

the Malay Kutai chanting dance.

family of the sultan is invited to rejoice,

drowned (body only) by first cutting off

and everyone is prohibited from grieving.

its head and tail for safekeeping by the

• Seluang Mudik The sultan’s family performs this ritual by starting to dance the Ganjar-Ganjur

sultan’s family for reuse in the next Erau.

• Mengulur Naga The mengulur naga activity is to

• Belimbur

(beganjur) dance. While dancing, the

symbolise when the Jahitan Layar

sultan’s family welcomes him by bringing

aristocrat escorted the dragon back to

other among the sultan’s family members

rice in a container which is then sprinkled

the edge of aji (now Kutai Lama). This

and all levels of the people of Kutai

60 INDONESIANA VOL. 9, 2020

Belimbur is an activity of watering each

Photo: Dony79 https://www.shutterstock.com/g/Doni79

Kartanegara. Before residents can carry out the belimbur activities, the sultan does it first.

rituals and a sign that Erau has finished.

The opening of the Erau Festival 2017.

During the reign of Regent H. Achmad Maulana Sulaiman, September 28 was declared as the anniversary of the birth

• Knocking Down Tiang Ayu

of Tenggarong City (Kutai Regional

The next activity is knocking down the

Regulation No.2 of 1997 concerning

Tiang Ayu that is erected at the beginning

the Anniversary of Tenggarong City).

of Erau. The four sultan families then pull

Therefore, on every September 28, the

the rope and shake the Tiang Ayu until it

Erau Festival is held to celebrate the

is in a collapsed position (sleeping). This

anniversary of Tenggarong City. (Edy

ceremony is the end of Erau’s series of

Gunawan)

2020, VOL. 9 INDONESIANA 61

RI T UA L

Prayers and Gratitude in

Bokor Island’s Larungan Ritual

F

or the fishing community of Suryabahari, Pakuhaji District, Tangerang

container shaped like a house. The

Regency, Banten, the essence of the larungan ritual is that it serves as an

change occurred in 1982 or 1983 when

expression of gratitude to God for the fish they have caught during the past

fishing boats began to use engines and

year. It is also an effort to tolak bala (repel bad luck) that they believe to be able to

no longer rely on sails and oars. The

prevent them from accidents at sea when fishing. Larungan also has several other

change may be due to the changing

functions, including strengthening kinship among fishers, restoring the spirit of going

of time. This means that there was a

to sea after a famine, and regaining motivation to continue with daily life.

social context the fishing community of

That morning, at around 10AM West Indonesia Time, a piece of buffalo head was cleaned behind Pak Dalban’s house (a kuncen or caretaker). The fishing community of Suryabahari calls it “bathing”, not “washing” as cooks treat meat. There was

Suryabahari responded to, which enabled them to adapt.

Then, the panganten was purified

flower water in a large barrel, bath soap, shampoo, toothpaste and toothbrush, just

through a wayang purwa performance

like our toiletries. The head of the buffalo was washed with flower water, soaped,

that played the “Budug Basu” play on

and all parts of it were thoroughly cleaned. This process was repeated until the

the first night, after all the offerings

animal head was immaculate. Finally, its teeth were brushed with toothpaste just

were complete. The performance

like we, humans, brush our teeth. According to Mr. Dalban, the process of “bathing”

was held at the Cituis Fish Auction

was carried out to ensure that the head of the buffalo that was going to sacrificed

Place (TPI), facing the ocean which

was truly worth offering.

directly faces Bokor Island. In every

The buffalo head was then dried with a towel, placed on top of a flower-strewn

larungan in Suryabahari Village, the

basket, and dressed in such a way. Its cheeks were dusted with powder, its eyebrows

play performed by the shadow puppet

shaped with an eyebrow pencil, eyelids dyed, and lips covered in red lipstick. He

show is always the same, “Budug Basu”.

scrubbed the horns with hazelnut oil until they were shiny. The hairs on the buffalo

The play, according to the belief of

head were combed. After that, the back of the buffalo’s head was covered with a

the Suryabahari fishing community, is

red-and-white cloth and wreathed with a jasmine flower. The children of Suryabahari

about Budug Basu, the “king of the fish”

fishers, who were required to call the buffalo head panganten, were watching the

and tells the story of the origin of the

sacred process of the buffalo head. This was because the sacrificial animal would be

existence of fish in the ocean.

“wedded” by the ruler of Bokor Island.

According to Pak Wario (maker of ancak boats), long ago, the place to put offerings and panganten was not a specially made, boat-shaped ancak as it is now, but a

62 INDONESIANA VOL. 9, 2020

Apart from being a play that is staged in wayang kulit performances, oral literature about Budug Busu

Photo: Susi Ivvaty Photo: Niduparas Erlang

Larungan participants scramble for offerings.

Children peeking at the contents of the offerings for the larung. is also found circulating among the

barrel, then sprinkled it on the boat or

lit up some incense sticks and recited

coastal communities of Cirebon and is

washed it on their faces. They believe this

prayers (or maybe mantras) slowly.

also written in six versions of ancient

water that has been blessed can bring

Smoke and smell of incense blew out.

scripts. In Ridwan and Abdulgani’s

blessings to their lives. The next day, the

research regarding the “Budug Basu”

offerings that had been ransacked at the

offering boats circled Bokor Island once

(2012) manuscript, the context for the

TPI were carried to Cituis Pier. There, the

while waiting for other fishing boats

emergence of the Budug Basu story

Pakuhaji sub-district head performed a

to gather around together. After that,

cannot be separated from the larungan

simple ribbon-cutting ceremony.

the offerings were released from the

offering ritual conducted through

Approaching Bokor Island, the

“Before I cut this (ribbon), let’s read

boat carrying them with a single flick,

wayang kulit performances carried out

Basmalah together. Bismilahi rohmani

by tilting it slightly to the right, letting

by fishing communities on the north

rohim. This is a form of our gratitude

glide smoothly into the sea. Fishing

coast of Java, especially in Cirebon and

to the Almighty. We pray that Allah

boats started to approach, swarmed

Indramayu. In fact, the committee for

SWT always gives our fishermen

the offering boat, and hit them

the ritual often invites puppet masters

(from Suryabahari) blessings. Amen.”

dramatically from various sides. The

from Cirebon or Indramayu.

Symbolically, the head of the sub-

offering boat was completed damaged,

district also handed over baskets of

leaked, and destroyed so that the

(puppet master) performed ruwatan

white rice, chicken stock, shallots and

offerings fell apart, and some floated,

(cleansing or purifying). A large barrel filled

red chillies to Pak Dalban as the key

some sank. The panganten could not

with flower water was placed beside the

committee member who led the running

be spotted anymore. According to

seat of the dalang who recited a number

procession. The boat-offerings were

residents, no one has ever seen exactly

of mantras in the form of tembang. This

immediately loaded onto the ship which

how the panganten sink into the sea.

ruwatan is closely related to the belief of

took them out to sea, near Bokor Island.

They believe, after the boat-offering

One by one, other decorated fishing

was crushed by the other boats, the

very much influenced by Sang Kala, who

boats moved out of the river towards the

panganten was immediately taken by

in the world of wayang is represented by

estuary. Congestion at the river mouth

Ratu Nyimas Kandita’s mother.

Bhatara Kala. Bhatara Kala is a god who

occurred due to the large number of

is believed to be the bearer of death,

fishing boats moving at the same time.

will bring abundant fish and blessings

the bearer of bad luck, or the bearer of

However, once the boat carrying the

to accompany their daily activities. If

maladies in human life in the janaloka

offerings left the estuary, other fishing

it turns out that the fish are rare, they

realm. Furthermore, ruwat in Javanese

boats did not overtake. On the way to

believe that it might have happened

society is divided into three major groups,

the offering point, the boat that carried

because of negligence or errors during

namely (1) ruwat ritual for oneself, (2)

the offerings stopped briefly seven

the larungan. If expectations are not

ruwat ritual for the environment, and (3)

times. According to Mr. Dalban, only he

met, they return all the “mistakes”

ruwat ritual for the region.

knew the exact locations of the seven

to themselves. This is a form of self-

stops. They were the places where spirits

introspection so as not to blame others.

reside. At each stop point, Pak Dalban

(Niduparas Erlang)

At the end of the play, the dalang

the Javanese people that their lives are

After the ritual, the fishing community scrambled for the flower water in the

The fishermen believe that the ritual

2020, VOL. 9 INDONESIANA 63

Vanishing in A New Eraa

ART

M

asked performing art is mentioned on the Jaha inscription (840 AD) during

the Hindu Mataram era. This inscription mentions the term atapukan to name a dance performance that used a mask or guise in Central Java, as written by Sal Murgiyanto and A.M Munardi in the book “Topeng Malang” [Malang Masks] (1979/1980). At the same time – according to Sumandiyo Hadi in his paper “Perjalanan Fungsi Topeng” [The Development of the Functions of Masks]

64 INDONESIANA VOL. 9, 2020

masked performances named hatapukan which means dancer, or matapukan and manapalan which means masked dancedrama show. The performance was styled in the form of mbarang (ambarang, walking around, busking), although it is not clear what story was being told, either the “Ramayana” or “Mahabharata”.

During the Islamic period of Central Java (16-18 centuries: Demak, Pajang, and Mataram), a mask dance-drama theatrical performance was developing which featured the “Panji Tales”. Wayang masks are the personification of wayang gedhog, shadow puppets featuring the “Panji Tales”, as mentioned by R.M. Soedarsono in “Wayang Wong: Drama Tari Ritual Kenegaraan di Keraton Yogyakarta” [Wayang Wong: State Ritual Dance-Drama of the Yogyakarta Palace] (1997). The Javanese masked drama-dance is also identified in the monumental book by the Dutch scholar Th. Pigeaud published in 1938 under the title “Javaanse Volksvertoningen” (Pigeaud, 1938: 214-224).

The art of wayang topeng in Central Java cannot be separated from the role of Sunan Kalijaga, who is believed to have created nine masked characters for him to perform while spreading Islam. Two

Photo: Much Cholid

Topeng Dalang Klaten

(1989) – the Kuti inscription mentions

puppet masters who are believed to be demonstrators of masked performing art are Widiguna and Widiyana from Selayang Village and later settled in Palar Village, Klaten, Central Java in 1586.

Sunan Kalijaga used the services of the two puppet masters to gain sympathy and trust to perform wayang topeng around, according to Toto Sudarto in his thesis, “Topeng Babakan Cirebon 19001990” (Gadjah Mada University, 2001).

Until now, the puppet masters and their descendants still believe that they are descendants of Ki Panjangmas who lived during the Mataram Plered era under the Panembahan Krapyak government (1601-1613). Wayang topeng master Klaten Ki Mlayadimeja (Mlayakusuma) is believed to be a descendant of a puppet master who lived during the Paku Buwana IX era, who instigated the birth wayang topeng in Klaten. Topeng dalang Klaten is an ancient art that is older than the city (Klaten) itself.

Delivery In a topeng dalang Klaten show, the performers wear masks according to the characters played in the story. Under their mask, the performers deliver their dialogues. The show is similar to a wayang show, but the actors wear masks, except for the character of Regol, the servant of Gunungsari, and the Emban characters

Photo: Much Cholid

(maids) who are not wearing masks.

Topeng dalang generally perform plays

ande Lumut”, “Cindelaras Adu Jago”,

from the “Panji Tales” which are folklore

“Timun Mas”, “Wohing Ketos” (“Sekartaji

or oral traditions obtained from the

Nyidam”), and “Angreni”.

tales of ancestors passed down from

Various scenes from a topeng dalang Klaten show where the performers deliver their dialogues wearing masks.

The purwa shadow puppet show

generation to generation such as “Jaka

strongly influenced the performance of

Kembang Kuning”, “Jaka Bluwa”, “Jaka

topeng dalang. The scenes in the story

Penjaring” (“Gajah Sena Sayembara”),

are divided into three pathet; starting

“Penthul Maling” (“Jati Pitutur Pitutur Jati”),

from pathetnem, sanga, and manyura.

“Bancak Doyok Mbarang Jantur”, “Ande-

Topeng dalang uses slendro tunes

2020, VOL. 9 INDONESIANA 65

Photo: Much Cholid

repertoire, which refers to the type of

of topeng dalang. We can observe this

cymbals for the puppet master to stage

pakeliran wayang purwa repertoire. The

through the vocabulary of the dance,

their performace at crossroads, near

dancers admit that there is a process of

especially in the character Klana.

markets, residential yards, or locations

interpreting the traits of the characters,

Klana’s vocabulary include sekaran-

that are easily accessible to the masses.

such as the character Gunungsari in the

sekaran jogetan inspired by the daily

In this barangan performance, each

“Panji Tales� which is similar to Samba,

life of the Klaten people, such as nutu

dancer also acted as a gamelan musician.

the son of Krishna in wayang purwa.

(pounding rice), nunda layangan (playing

Nimbly, each danced alternately, carved

Patih Kudanawarsa is aligned with the

kites), trajon/traju (scales), main kertu

themselves into each other, then quickly

Werkudara (Bima) character.

(gambling), inter-inter, napeni, nepleki,

changed roles as a gamelan player. The

and adus (shower). All of these are

dancer would play the gamelan when

the facial features on the tatah sungging

This can be seen in the depiction of

descriptions of the socio-cultural life of

the scene for the character he played

(design), the use of jarot tamarind potion

the Klaten people which are adapted in

was not to appear yet. When such time

powder on the forehead, and the clothes

the techniques and creative expressions

came, the dancer who was playing the

worn, namely the kampuhpoleng cloth

of the topeng dalang artists.

gamelan would immediately enter the

and bang bintulu. This is highly possibly

At first, topeng dalang was performed

because the topeng dalang performers

by busking around in the Klaten Regency

that he left would immediately be

are also puppet masters of wayang

by male dancers (generally 10 people)

replaced by another crew who finished

purwa. They use their ability to perform

who were also puppet masters. From

acting/dancing.

wayang purwa shows to build beauty

morning, they were walking through the

The technique of rotating roles (lukir)

when performing topeng dalang plays,

village, from house to house, carrying a

from dancer to musician, and vice versa,

which in the end can enliven its aesthetic

set of gamelan ensemble to support the

continued until the barangan mask

characteristics.

performance, such as several pangkon

puppet show was over. This kind of

(gender, saron, and kenong), gong siyem,

performance technique is certainly not

kempul, ciblon drums, plus keprak or

easy. The topeng dalang artist must be

The traits of agrarian culture also strongly influenced the performance

66 INDONESIANA VOL. 9, 2020

stage arena. The position of the gamelan

armed with a lot of skills. It is not enough

communication. Without it, there will

just to be skilled in mask dancing and

be no communication, appreciation,

is not just an artistic legacy, but also

acting, but they also must be good at

dialogues, and identification processes

an example of a social and communal

playing the gamelan.

that are essential in art communication.

history of community that is vanishing

Mbarang was done along with their

The communality of the topeng

Wayang topeng for the people of Klaten

between the dynamics of time. With it, art

primary job as shadow puppet masters

dalang Klaten which seems “exclusive”,

becomes a means of cultural education

to earn extra income. They did it for

especially for their own families and

for the community, both as a reflection,

practical purposes and as a laku tirakat

the traditional art management, is a

contextuality and as an important lesson

(prayer). This art has been passed down

problem for the dissemination of this

for their future. (Purnawan Andra)

from generation to generation. Until

art. It requires a variety of choices and

now, it has been passed down to five

a more fluid attitude towards an art

generations. Starting from Sukimo or Ki

form for this unique performing art to

Cermoharjo, or better known as Mbah

continue to exist while catching up with

Mbeku, Ki Gondotukasno, to the current

the pace of time. This is the complexity

generation, such as Joko Santosa, Giyah

of the problems faced by topeng dalang

Supanggah, Suronodi of Mbeku Village,

Klaten today.

The performers wear masks according to the characters portrayed in the story in the topeng dalang Klaten performance, except for the characters of Regol, Gunungsari servants, and the Emban characters (maids).

Kuwiran, Manjungan to Somokaton from Klaten Regency.

Left Behind by the New Era This high-value art was then displaced by the currents of time. The political conflict in 1965 made various folk arts be branded to be identical to LEKRA – an art organisation under the Indonesian Communist Party. Inevitably, the mask puppet show was banned at the start of President Soeharto’s administration. With it, this unique performing art was only left among the trah (descendant) of the dalang’s family.

As the puppet masters died, the absence of patrons and the process of regeneration that did not run smoothly within the Klaten dalang family, became compounding problems that must be faced to keep the art alive. Especially with the dynamics of time that requires contextualisation of its expression, the art of course needs essential elements for its survival, namely the artists, the audience, and the correct era for its application.

Performing artists are required who can present and articulate the meaning of the topeng dalang Klaten art to the audience in the form of aesthetic

Photo: Much Cholid

2020, VOL. 9 INDONESIANA 67

ORA L T RA DI T I O N

Basiacuang Melayu Kampar’s Rhythmical Proverbs

what was stated by Pudentia (2005: 2) who said that this oral tradition is sometimes quite aesthetic. Basiacuang boasts a strong and regular rhythm by composing sentences, repeating things with various parables with the same meaning. Often, a basicuang speaker uses the same sentences to open, but these sentences have been adorned with hidden additional inflexions, tones and turn of phrases that make them livelier. Basicuang words are created to convey parables, comparisons and idioms perfectly with flawless rhythm and harmony, awakening the audience’s heads and minds in the most beautiful way.

This is where the old Malay language, thanks to its rhetoric style, is at its peak: as the language of art. Basiacuang is like a rhythmical language that uses words and sentences to convey hidden messages and meanings.

Basiacuang is an old poetic language consisting of such as thimbles, proverbs, Photo: http://alzikrii.blogspot.com

idioms, parables, similes, metaphors

Kampar community. Basiacuang contains

and pameo which are literary works

belongs to the local culture in the Malay

expressions, proverbs and poems. The

originating from centuries ago. This is

Kampar-Riau community, which is

basiacuang tradition is also used during

evidenced by the existence of a Sriwijaya-

increasingly disappearing. Basiacuang

the social gatherings of ninik mamak

era inscription written in basiacuang style

consists of expressions, proverbs, as well

with ninik mamak and ninik mamak with

– it contains similes and parables. On the

as poems which play an essential role in

their nieces. Basiacuang comes from

inscription A (679 S), it is stated: the poor

Kampar customs. In a basiacuang show,

the word basiacuang which means it is

gets protection from him like elephants

the speaker’s discourse will never be

the language of instruction in the social

who take shelter under a shady tree ………

identical. This is because the discourse

interactions between ninik mamak and

(Mulyana, 2006:164). The most important

is delivered spontaneously, based on

ninik mamak, and the social interactions

legal basis for basiacuang is the basic law

the situation and context. The creation

of ninik mamak with her nephews

of the Andiko 44 government, namely:

is also determined by the audience’s

(Disbudpar, 2010: 1). Basiacuang means

the Hontak Soko Pisoko (Customary Basic

engagement and the speaker’s

to communicate with flowing words.

Law). In the Hontak Soko Pisoko, there

Basiacuang is an oral tradition that

counterparts.

Basiacuang is an oral tradition found in every traditional ceremony of the

68 INDONESIANA VOL. 9, 2020

The values in ​​ this oral tradition are

are regulations on Adat, Soko, Pisoko and

woven in beautiful language and are full of

Limbago. The four parts are the basic

meanings and parables. This is in line with

customs for humans in living their life.

Apart from that, another legal basis is the

are context and spontaneity. The second

to the story. Therefore, a basiacuang

adat law and regulations that clarify the

basicuang speaker, using his or her

discourse will be different if the audience

provisions of the Hontak Soko Pisoko.

knowledge and skills, adds to the spoken

is a bit bored. The speaker adds a rhyme

literary art that has been created by the

in the middle of the discourse to beautify

first and main speaker. The result is a

his words. This means that the audience

wholesome and dynamic spoken literary

has a significant influence on the speaker

art that resembles jazz music, whereby

to determine whether the discourse is

from the community of its

the musicians are responding to the

excellent and beautiful.

speakers. Basiacuang speakers need

brilliance of each other by adding even

communication with fellow ninik mamak

more brilliance.

The Basiacuang Creation Process Basiacuang cannot be separated

and adat leaders who are also fluent in

The basiacuang tradition is usually

The basiacuang oral tradition is the most important thing to study because this tradition is a legacy from our

basiacuang. The speaker communicates

performed during a proposal ceremony,

ancestors. However, this oral tradition

with the other speakers. It is during this

starting with the speaker who comes

is now not in demand by the younger

dialogue that sometimes they come up

to propose (the male party). This mean

generation. The passing down process

with basiacuang proverbs and idioms.

those who come must be smart in

is very slow because very few are willing

The basiacuang speakers sometimes

speaking basiacuang, otherwise the

to learn it. Even though basiacuang has

take inspirations from the flora and

application can be rejected. Meanwhile,

started to be used in many events, the

fauna, forests, beaches and experiences

the basiacuang speaker who accepts

public’s desire to learn is still very low.

that have been experienced by the

the proposal for the women’s side

This is because the basiacuang tradition

basiacuang speakers. It is evident that

must be observant and able to answer

cannot be used as a career to support the

the oral tradition cannot be separated

the proposal discourse that has just

family or as a guarantee for the future.

from the community as the owner of the

been delivered. Based on this, this oral

basiacuang tradition.

tradition is also a type of performing art.

According to Tuloli (1990: 6) the

Audience attendance at the

An 81-year-old basiacuang speaker named Imam Datuk Rajo Malano is the oldest speaker. When researchers asked

materials for the creation of oral

performance of the basiacuang oral

him to perform his art, at first, he was

traditions include: (1) real events that

tradition is very important. Tuloli (1994:

reluctant, saying he could not. But after

contain historical and heroic values ​​

13) shows that stories are tailored to

the show started, he was fluent, and

as well as interesting and important

the type of audience so that they can

he didn’t stop until the end. (Zulfa Mpd

events, (2) fairy tales, myths and legends,

cause reactions from the audience. That

MHum, Lecturer at STKIP PGRI West

(3) based on the storyteller’s fictional

reaction in turn led to an adjustment

Sumatra).

creations. Based on this, the basiacuang

The Tourism Office held a basiacuang competition to celebrate the 70th Anniversary of Kampar Regency.

the seond and third methods. Their spoken literary art is heavily influenced by myth and legends, and they are also developed from the imagination of its speakers who combine it with known parables.

Photo: Kampar Tourism Office

speakers create their spoken art using

The delivery of basiacuang usually follows some general patterns. The second speaker can be and is usually influenced by rhymes and poems by the first and main speaker. Similarly, the first and main speaker can also be influenced by his or her sparring partner.

Thus, the creation of a basicuang doesn’t just depend on a parable that the fist speaker wants to convey, but it is also affected by rhymes and poems conveyed by the second speaker. The keys here

2020, VOL. 9 INDONESIANA 69

CULTURA L HER I T AG E

Enchanting Remnants of

the Sambas Sultanate The Sambas Sultanate is a heritage of the Indonesian archipelago’s glorious past in West Kalimantan. The centre of its government was located in the confluence area of ​​the Sambas, Sambas Kecil and Teberau rivers, in a place the residents call Muare Ullakan (in Dalam Kaum Village). The Sambas Sultanate Palace stands handsomely on this location, which is also known as the Alwatzikoebillah Palace. This kingdom was founded in 1662 and reached its peak in 1757.

Photo: Abdullah Haq https://www.shutterstock.com/g/Abdullah+Haq

70 INDONESIANA VOL. 9, 2020

The Sambas Sultanate grew and developed in two periods: the Hindu period and the Islamic period. During

Sambas Sultanate did not have a direct

the reign of Sultan Muhammad Mulia

relationship.

Ibrahim Tsafiuddin (1931-1943), the 15th

Internal conflicts and divisions that

sultan of the Sambas Sultanate during

the Hindu period, the Sambas Sultanate

occurred within the government of the

the colonial period. The construction of

was better known as the Kingdom of

Hindu Kingdom of Sambas led to the

the palace was relatively short, from 1933

Sambas Hindu Ratu Sepudak. Gradually

formation of a new Sultanate. Raden

to 1935.

this sultanate was controlled by Islam

Sulaiman who embraced Islam brought

that entered the kingdom from the

changes in values and cultures in the

vital position because this area became a

Sultanate of Brunei Darussalam, led by

Sambas Sultanate. Islamic values that ​​

cultural and tradition knot that connected

Sultan Muhammad Hasan. One of Sultan

were conveyed into their architecture

the kingdoms in the upstream and the

Muhammad Hasan’s sons, Pangeran Raja

influenced the overall development of

coastal regions. The palace is located on

Tengah (Raden Sulaiman), was the sultan

every aspect of the sultanate. Also, the

Jl. Istana, Dalam Kaum, Sambas District,

who defeated the ruler of the Sambas

development of the Sambas Sultanate

Sambas Regency, West Kalimantan,

Sultanate (Fahmi, 2003). However, in

could not be separated from the great

79462. Road access to the palace area

terms of government administration, the

influence of the Dutch. The existing

can be navigated easily either by vehicle

Hindu Sambas Kingdom and the Islamic

Alwatzikoebillah Palace was built during

or on foot. This access is supported by

In its history, this palace occupied a

Masjid Jami Keraton Sambas, this mosque was built in a typical Malay architecture using mainly kayu ulin or iron wood.

2020, VOL. 9 INDONESIANA 71

two bridges: a suspension bridge for pedestrians and two-wheeled vehicles,

Sultan Bima in 1632 (now it has been

and a larger bridge that can be accessed

destroyed), while the palace which is

by bigger vehicles.

still standing today was built in 1886 AD

The position of Alwatzikoebillah

during the time of Sultan Muhammad

Palace is at the mouth of three rivers,

Tsafiuddin II. Sultan Tsafiudin II was the

the Tebarau river, the Sambas Kecil river

VIII sultan and ruled for approximately

and the Subah river. This area is known

56 years between 1866 and 1922.

as Muare Ulakan. It is surrounded by

Sambas Palace was built in an area of ​​

tributaries that empties into the Sambas

16,781 square metres with European and

River. Residents still use these tributaries

Chinese style architecture. The overall

for bathing and washing activities as well

building area is 511.76 square metre.

as for transportation by boat. Its location

(above) The atmosphere of the Sultan Sambas Palace around 1900. (Leiden University Library, KITLV 91749) (below) Sultan Muhammad Tsafiuddin, founder of the Jami Agung Sambas Mosque, which still stands today and was built around 1900. (Leiden University Library, KITLV 7251)

The palace building was first built by

Because it is on the riverbank, this

on the banks of the Sambas river makes

palace has a pier where the sultan’s boat/

the scenery around this palace beautiful.

ship docked, which is located in front of

After passing through a gate, visitors will

the palace and is known as the Seteher

be greeted with various historical relics

bridge. The palace building consists of

of the Sambas Sultanate located in the

the main building that functions as the

palace courtyard. Before reaching the

hall and the sultan’s room, as well as two

second gate, on the right side, visitors can

supporting structures located on the right

find the Jami’ Sultan Syafiuddin Mosque,

and left wings of the main building. The

which stands handsomely to welcome

semi-permanent palace building is made

anyone who intends to worship in it.

of belian wood. The walls and floors are also made of belian wood.

72 INDONESIANA VOL. 9, 2020

Photo: Erwit Manggara https://www.shutterstock.com/g/Erwit+Manggara

On the southwest side of the palace complex, there are other historical buildings, namely the Jami Sultanate of Sambas Mosque (Jami Sultan Shafiuddin II Sambas Grand Mosque). The Jami Masjid Sultanate of Sambas was built by Sultan Abubakar Tajuddin (1848-1853). The Sambas Kraton Palace faces west facing the Sambas River T-junction, while the Sambas Sultanate Mosque is located in the south of the palace courtyard.

The concept of the mosque, which positioned its entrance from the right side of the square, was chosen to suit the conditions of the river in front of

Photo: Abdullah Haq https://www.shutterstock.com/g/Abdullah+Haq

the palace, where people come and go through the waterway. This mosque can be seen strategically from two directions, namely from the river and the Kraton. From the direction of the river, this mosque stands on the bank of the Sambas River.

The development of Islam in West Kalimantan is marked by the existence of several old and historic mosques that were built in the 17-18th century.

Among others is the Jami Sultan Nata Sintang Mosque that was built by Pangeran Tunggal Sultan Nata in 1672, and the Sambas Sultanate Jami Mosque which was initially built by Sultan Umar Aqomuddin who ruled Negeri Sambas in 17021727. The Sambas Sultanate Jami Mosque itself was initially the Sultan’s house which was later turned into a prayer room. Built by Sultan Umar Aqomuddin who ruled Negeri Sambas in 1702-1727,

Photo: nineimage https://www.shutterstock.com/g/nineimage

the then small mosque was renovated by his son, Sultan Muhammad Saifuddin, and developed into a mosque and was inaugurated on October 10, 1885.

During the time of Sultan Umar Akamudin I (1702-1727), a new mosque was built to replace the central position of the old mosque in Muara Ulakan. The mosque was given the name “Kamasallaita” mosque. The location is on the riverbank, which is approximately 100 meters from the Sambas Palace Mosque and is outside the palace fence. It is currently utilised as a canteen or shop for visitors or tourists. Furthermore, during the time of the 8th or 13th Sultan, namely Sultan Muhammad Tsafiuddin II (1866-1992) the great mosque of Jami Sambas was built where the mosque is now. This mosque initially only had two gunungan, the main building and the mihrab section. This mosque is in the form of a house on stilts, with a wooden shingle roof.

(top) The symbol on the gate of the palace reads "Alwatzikhoebillah" (keep your faith for Allah), flanked by two seabirds and the number nine above which means the palace building was built by the ninth sultan. (middle) The three main buildings of the palace. (bottom) Sultan's bedroom, where some of the treasures of the Sambas Sultanate are stored.

2020, VOL. 9 INDONESIANA 73

INDONE SI AN T EXT I LE

Du’a-du’a help

Ikat Weaving Flourish

Photo: Fakhri Anindita https://www.shutterstock.com/g/Fakhri+Anindita

E

The advancement of time and

ast Nusa Tenggara is a paradise

colours match as a palette, and they

for lovers of the archipelago’s

match the patterns of the chosen motifs

civilisation, as well as the changing flow

ikat weaving. Until now, almost

to produce high-quality fabrics with a

of trade between islands around Flores,

strong ethnic feel.

have changed some of the traditional

every corner in this province has been an environment for the weaving tradition

Sometimes we come across intricate

aspects of the work to produce Sikka

to survive and sustain. One of them is

and lively motifs and colouring in the

ikat weaving. Of course, this is not only

a woven cloth that comes from Sikka

form of symmetrical flower arrangement.

the case in Sikka but also in other places

Regency known as Sikka ikat weaving.

On another occasion, we also find

that are production centres for woven

minimalist motifs in the form of vertical

clothes. The reasons are practicality and

distinctive features in terms of motifs and

lines where animal motifs are inserted in

how present-day demands goods to be

colours. Just like in other ikat-producing

some parts.

produced at speed. This has forced the

Sikka Ikat Weaving has its own

Du’a in Sikka to adapt to the time.

places, the motifs for Sikka ikat weaving

In the past, all the work to create

take inspiration from natural elements

one piece of cloth was done through a

that are close to human life. Some of the

purely traditional process. The colouring

time and one that the market demands

typical Sikka motifs include the peacock

process, for example, utilises natural

include the use of synthetic dyes or

motif (Utang Merak), the horseman motif

colouring elements contained in plants.

wantex. Also, with the availability of

(Utang Jarang Atabi’ang), and the Morning

The ingredients used for colouring

factory-made ready-made yarns, the

Star motif (Utang Mawarani).

include noni root, mango peel, turmeric,

activity of manually spinning yarn from

The colouring pattern of the Sikka

and other natural ingredients that are

local cotton is now less massive than it

ikat is dominated by a beautiful blend

easy to find. Spinning yarn from cotton

used to be. This is fine. The increasing

of primary colours such as black, white,

was done manually with a simple

demand for Sikka ikat weaving from both

brown, brick red, yellow, and blue. These

technique.

domestic and foreign tourists requires

74 INDONESIANA VOL. 9, 2020

Some aspects that have changed over

production to scale up with faster processing times significantly. Of course, all this must be done without forgetting the most fundamental aspects of Sikka ikat weaving as a cultural product.

The good news is that traditional methods such as dyeing with natural materials and manually spinning the yarn do not mean that they are completely abandoned. Many workshops are still retaining traditional techniques and using natural materials which, despite the complicated and time-consuming craftsmanship, produce a premium quality fabric with high value.

Although some aspects have changed according to the times and market tastes that sometimes want to be fast-paced, basically the weaving technique performed by Sikka women remains as original as taught by their previous ancestors. Weaving activities still use simple equipment. It is still demanding the persistence, thoroughness, and patience of Sikka women as the successors of this invaluable legacy.

Living Traditions Talking about Sikka’s ikat weaving brings me to a nostalgic moment a dozen years ago when I was in junior high school. At the time, following my parents, who worked in the trade sector, I got acquainted with the cultural aspects of the Sikka people, including their woven cloth.

The daily lives of Sikka women are closely related to their woven cloth which has become a pride for a long time. It is not difficult to find Du’a-Du’a (the name for mamas in Sikka) wearing an utang or cloth in their daily activities. The utang can be worn when depending on the occasion.

When I was a child, the sight of Du’a-Du’a spinning threads in their spare time was a common sight I encountered every day. Often when crossing the market or selling stalls, the Du’a spent their time spinning yarn from tools and materials brought from home. The equipment used for spinning was reasonably straightforward. It was a small piece of bamboo about 20cm long which was weighted at the bottom. The spun

Women's sarong from Sikka, Flores. The intricate motifs of large squares, known as korosang, originated from Portuguese embroidery. Jakarta Textile Museum Collection, 20th century.

A Sikka woman is weaving ikat cloth using a traditional tool. There are eleven preparation processes to go through until it becomes a woven ikat cloth.

threads were then brought home as the raw material for making the ikat.

An exciting fact at this time is, we can easily find Sikka ikat weaving in all markets and shopping corners in Sikka Regency. The goods offered have various motifs and colours, as well as various qualities and prices, giving freedom for anyone to choose and have the fabric of his or her choice based on what they like and their budget.

It seems that this factor is what makes Sikka ikat weaving sustainable and continues to be produced. The local demand for this woven fabric is relatively high. With easier access to communication and transportation, it is hoped that the scale of demand for Sikka ikat weaving will increase in the future.

Increased appreciation for Sikka ikat weaving is a good opportunity for the sustainability of Sikka ikat weaving itself as well as to support the welfare of the weavers. The future attractiveness of Sikka ikat weaving is expected to be able to become a magnet for attracting tourists to come so that it will have a multi-dimensional positive impact. (Samsul Maarif)

Photo: Bastian AS https://www.shutterstock.com/g/BastianAS

2020, VOL. 9 INDONESIANA 75

doc.babpublishing

selling at the market or attending weddings. Of course, styles and accessories differ

CU LI NARY

Minang Kitchen Philosophy

I

n 1969, when Neil Armstrong set

the world – is at least influenced by the

activities had previously become the

foot on the moon, the astronaut

spread of these Padang restaurants. And

background for the various teachings of

was taken aback. It turned out that

as a “food leader” – the Minangkabau

life for the Minangkabau people.

the earth is not the only place where

metaphor for rendang – it is impossible

Talking about the teachings of life, the

humans live. On that earth’s satellite,

for a Padang restaurant not to include

Minangkabau people cannot be separated

unexpectedly, there was already a

this delicious dish on its menu.

from Mamangan. This term is used to refer

civilisation. Not far from where he was,

The story about the popularity of

to various forms of Minangkabau literary

as clearly seen by his eyes, a Padang

rendang and the spread of Padang

works (proverbs, parables, rhymes, etc.)

restaurant was standing there, right

restaurants is, of course only the façade

which specifically contain their philosophy

before him.

of Minangkabau culture. We also need

of life. In fact, Mamangan was taken

to occasionally turn our heads to the

from kitchen activities that symbolise

to describe Minang people’s absolute

part that is often placed at the back of a

many things and contain various

fondness for trade, one of which is shown

house, namely the kitchen. However, the

messages. Among these messages are

by the existence of the Padang restaurant

existence of the kitchen at the back is not

the need to balance personal needs and

almost everywhere. The popularity of

just a location. Before Padang restaurants

communal responsibility, the importance

rendang – which is now considered as one

were everywhere and rendang became

of validation, to the inevitability of

of the most delicious culinary delights in

so popular, the kitchen and its various

“democracy” in our lives.

This story is one of the popular jokes

76 INDONESIANA VOL. 9, 2020

Photo: Mas Jono https://www.shutterstock.com/g/Mas+Jono

For example, sadang manyalam minum

importance of balancing personal needs

will forever be strong to withstand the weight of the rice pot.

aia (drinking water while driving) sadang

(berdiang or warming yourself up) and

badiang nasi masak (warming yourself up

communal obligations (cooking rice)

The next parable is basilang kayu di

while the rice is cooking) is taken from

without destroying each other. Like

tungku (crossing logs in the stove), di situ

a short chronology of the daily activities

when you are berdiang near the stove,

api mangko ka iduik (that’s where the

of the Minang people. Even though in

it certainly will not interfere with the

fire will lit). We’re still talking about the

a chronology of activities, for example,

process of cooking rice because when

stove. This is the most frequently used

it does not emphasise the compatible

you are cooking rice, you need someone

parable when talking about “democracy”

values, but rather a comparison between

in the kitchen to keep tending to the fire,

in Minangkabau culture. For example,

a value that is considered flawed and a

the water for the rice and so on.

this implies the importance of crossing

value that is considered acceptable.

In their daily lives, the traditional Minangkabau people, especially those

If the word berdiang is used torefer to

views in a discussion to make a joint

the act of warming the body, then to refer

decision. The crossing of ideas is likened

to heating food, the word is basangai,

to “crossing logs in a stove”.

who live in mountainous areas that have

just like in a mamangan which reads bak

rivers of clear freshwater, usually bathe

basangai di abu dingin (like roasting on

the stove to be big and burning, the

in the river. By the local community, the

cold ashes) ) bak batanak di tungku tuo

firewood logs must be placed in a

river would be divided according to its

(like cooking rice in an old stove). Usually,

crossed position. If the logs are placed in

function; there is a bath area, there is

to menyangai (heat up) food, for example,

a row position, the fire that is produced

a place to get drinking water, there is a

rice that is cold, you don’t lit the fire back

is tiny and faint. We need a burning

place to farm fish, and others, according

on as it is when cooking rice, but only by

fire to cook in the stove, especially

to mutual agreement. Usually, bathing

placing a pot of rice on the stove where

when cooking a type of food such as

in the river creates behaviour that is

the heat is still alive. In the mamangan,

rendang and curry. Likewise, to produce

considered bad, namely “drinking water

the opposite is described, namely heating

a decision to be implemented and for

while driving”.

(basangai) food in cold ashes, which of

mutual benefit (rendang and curry), it

course does not have any heat left.

must start from the crossing of logs in

Why is that? Because when you finish bathing, your body will get cold,

Logically, for the fire to be lit in

It is in this way that this parable is

the stove (crossing of views), and that

especially at dawn. So to warm the body,

used to express a futile activity. This

is what produces a big-burning fire (a

usually, you go near a burning stove.

parable suggests that we always check

collection crossing ideas).

But the stove doesn’t get fired up unless

and re-check: even though the stove is

someone is cooking. The typical schedule

always synonymous with fire, it does

is only arranged in a straight line is

for bathing and cooking rice is usually not

not mean that the stove always contains

like differing views that are left alone

far apart. So, after every bath in the river,

heat. Therefore we need always to check

without ever being compared or linked

the stove in the kitchen is fired up.

it as carefully as possible, so that what

to one another. In the end, besides not

is likened, “to basangai in cold ashes”,

being able to produce bigger ideas, it will

doesn’t happen.

also not produce an agreement that can

For the Minang people, the phrase “drinking water while diving” actually expresses an inappropriate behaviour.

Meanwhile, batanak di tungku tuo is

Logs that are not crossed or which

benefit many people.

Because according to the agreement,

generally interpreted as a job that is full

the river has been divided into functions

of risks. The tungku tuo (old stove) refers

the kitchen, the mamangan’s pearls

and roles. It has been determined where

not to just a stove that has not been

of wisdom talk about matters related

to take drinking water and where to

used for a long time. An old stove may

to matters outside of the kitchen,

bathe. Drinking should be in the place

also be out of position, brittle, tilted and

namely how to live together with one

that has been selected and not in the

so on. Or in a nutshell, worn out. Putting

another. Of course, the daily lives of the

same location as the place to bathe and

a pot on an old stove is undoubtedly

traditional Minangkabau people and

vice versa.

a risk. The pot is at risk of falling and

their accompanying cultural objects are

spilling its contents. Inevitably, this

also recorded in this mamangan. At the

diving) shows bad behaviour, namely

second example also emphasises the

very least, these mamangan become

breaking the commonly agreed rule

importance of checking and re-checking:

one of the good cultural memories

(making the bath as a place to drink or

even though a stove has been used

amid a situation where a return to the

vice versa) for personal needs (drinking

many times for cooking and is still strong

traditional era is increasingly impossible.

water), the second phrase shows the

when it is last used, it does not mean

(Heru Joni Putra)

recommended behaviour, namely the

that after a long period of non-use, it

If the first phrase (drinking water while

Even though they were born from

2020, VOL. 9 INDONESIANA 77

Photo: KiwiGraphy Studio https://www.shutterstock.com/g/rkiwisudarso

WO M EN

Lively Unbreakable

MENTAWAI

Women

Photo: https://www.shutterstock.com/g/GUDKOV+ANDREY

According to a song, women are the most beautiful creations. They say a woman is gentle, emotional, and motherly. According to gender studies, the categorisation of men and women is a social construction that forms identity. Women have full and individual freedom, which is rooted in rationality and the separation between the private and public world. But that’s women in the modern world. What about women in traditional or adat societies? What about women in Mentawai? How are they described?

How do they carry out their daily life? To be sure, the image of a tough and strong woman is real.

Mentawai women play a dual role in the household, being mothers as well as the backbone of the family even though they are married. If the husband has other jobs such as being a sikerei, the wife automatically does the housework and looks for sago and taro as a staple food. When Mentawai women are deemed fit for marriage, they

78 INDONESIANA VOL. 9, 2020

will be matched and married by their parents to a man who already owns a house and a farm. Homes built by Mentawai men are called rusuk (ribs) or small one-room dwellings to be occupied after marriage.

In Mentawai, women are no longer allowed to live with their parents after marriage. Mentawai men have to provide for their family’s daily needs in the ribs.

However, women sometimes row their own boats or pompong when they go to the fields to fulfil their daily needs as well as their family needs.

When a Mentawai woman is married, she must leave her parents’ house because of the patrilineal system, which means her lineage is based on her husband’s, including her inheritance when she dies. After it is confirmed that

Photo: GUDKOV ANDREY https://www.shutterstock.com/g/GUDKOV+ANDREY

Mentawai men and women prepare iba siobbuk, fish cooked in bamboo. (above) Mentawai women are preparing a special costume for catching fish – a banana leaf skirt tied around her waist. Mentawai women are preparing kapurut and obbuk, a meal made from sago flour that can be served anytime and served with fish or meat soup (bottom).

a man is to be matched with a Mentawai woman, the woman’s family will pay a visit to the man’s family to perform a

sikerei usually becomes the backbone of

the husband can find another woman

pasigaba ala’ or to take a dowry. The

the family. She fulfils their daily needs,

because producing offspring is the

man must pay a dowry to the wife’s

such as making sago for their meals

most important thing in the household.

immediate family, such as the biological

and feeding livestock, raising pigs, and

Even though more women are now

father, younger brother, brother of the

cultivating taro.

attending school, they still have to be

father, and other close relatives. Sigaba

A month before the ritual ceremony,

in the kitchen, make banana taro, and

ala’ requires a minimum of five types

a sikerei cannot be close to his wife,

make sago flour. Women must be able to

of goods and plants, including a plot of

and they must not have sex until the

cook food such as subbet, kapurut sago,

sago, pork, chicken, machetes, cooking

ritual is carried out. This is one reason

mago’ for daily meals, as well as catch

utensils, kitchen utensils, and taro pond.

why the younger Mentawai generations

fish. Women who are not married and

However, there have been changes in

are reluctant to become sikerei. If you

live with parents must obey all the rules,

the Siberut area, especially in Matotonan

have entered the phase of abstinence

including having to want to sharpen their

Village, since the issuance of a village

for sikerei, your wife has a dual role in

teeth because it is easier to bite food and

regulation regarding toga tools, which

your household, including providing

add to their beauty.

limits the dowry to only three people.

for the whole family. Other restrictions

A sikerei’s wife, who becomes a widow

include eating eels, eating white

after a divorce, or the death of her

who is a sikerei (healer/tribal chief), then

monkeys (simakobu), catching fish, and

husband will lose everything because the

automatically she will become a sikerei’s

having contact with women/wives. If all

Mentawai laws stipulate that she cannot

wife, who will accompany her husband.

these taboos are violated, it is believed

inherit her husband’s possessions. How

Sikerei, as a liaison between humans and

that the sikerei and his wife will die.

strong and tough Mentawai women must

ancestral spirits, performs many healing

Also, the wife must always accompany

be, especially those who are married to

rituals. Before performing them, he

her husband anywhere when he is

a sikerei. Here’s a salute to the Mentawai

usually goes on a fast and enters a period

performing the rituals.

women who are always strong in facing

If a Mentawai woman marries a man

of abstinence before starting a ritual. A

A Mentawai husband can divorce his

month before the ritual, the wife of the

wife, and if she does not have children,

challenges. Stay committed and robust, masura bagata. (Zulfa)

2020, VOL. 9 INDONESIANA 79

M US EUM

Traces of

Cheng Ho

in the Aceh Museum

80 INDONESIANA VOL. 9, 2020

Photo: Mufida Afreni B.Bara

The Aceh Museum Complex (seen on the photo) includes Building D (Rumoh Aceh), Building B Auditorium and Cakra Donya Bell (Admiral Cheng Ho's Ship Bell)

After being devastated by a tsunami disaster in 2006, Aceh tourism has risen again. Foreign and domestic tourists flocked to Aceh to see tsunami memorial buildings and go on beach trips to virgin beaches that had never been exposed before the disaster. Some good examples are Lampuuk beach, Lhoknga beach, and various beaches in Sabang that have now become popular tourist destinations. This is also supported by better telecommunication and information infrastructure. Social media platforms such as Instagram, Facebook, Twitter and YouTube have also become catalysts in tourism promotion in Aceh. In line with that, Aceh’s cultural values have Photo: Mufida Afreni B.Bara

also become the public’s attention. These values survive, develop, and, in fact, some that have become extinct are revitalised.

Stammeshaus became the curator of

Apart from the Tsunami Museum, a

the museum until 1931. At that time what

knowledge. Generally, the collection of

floating ship, a mass grave for tsunami

we now know as the museum was only

the Aceh Museum is classified into 10

victims, and the Baiturrahman Grand

the Aceh Rumoh building which is still

classifications of scientific disciplines

Mosque don’t forget the Aceh Museum,

standing in the Aceh Museum complex.

including Geology, Biology, Ethnography,

which was founded on July 31, 1915,

After Indonesia’s independence, there

Archaeology, History, Numismatics &

under the name Atjeh Museum and was

were several changes of management.

Heraldic, Philology, Ceramology, Fine Arts

inaugurated by the Governor of the Dutch

In the present day, the Aceh Museum is

and Technology.

Civil and Military General H.H.A. Swart

under the authority of the Aceh Provincial

and headed by FW Stammeshaus. He is

Government under the Culture and

collections that are no less important

a health worker in the Dutch army who

Tourism Office.

for history and culture in Aceh: Donya

loved to collect artefacts.

If you visit the Aceh Museum, we can

12,445 books containing a variety of

On the museum grounds, there are

Chakra Bell. One adult cannot hug this

enter the Aceh Rumoh building in its

giant bell. History records that this bell

famous even to Sumatra during the

entirety. Inside the traditional Acehnese

was once hung on a sailing ship owned

colonial era. Thanks to his private

house, there are various indatu relics on

by the famous admiral Cheng Ho. The

collection that was jointly exhibited, the

display. As if we were briefly time travel,

admiral presented this bell to the Pasai

Aceh Museum (at that time the Aceh

we can learn how the Acehnese lived in

Kingdom (the first Islamic kingdom in the

Pavilion) won 4 gold medals. It was named

the past.

archipelago) when he visited Aceh in the

The Stammeshaus collection is very

the best and most complete pavilion

There are 5,328 collections of cultural

15th century. One century later, the Pasai

at the Colonial Exhibition (De Koloniale

objects of various types, and there

Kingdom was under the control of the

Tentoonsteling) in 1914 in Semarang.

is also a library with a collection of

Kingdom of Aceh Darussalam.

2020, VOL. 9 INDONESIANA 81

Photo: Mufida Afreni B.Bara

This bell was once placed at the

The Aceh Museum (and other

Baiturrahman Grand Mosque to call

museums) have had to cope with rapid

people to prayer and to mark the time to

changes. It cannot avoid, let alone deny

break the fast in the month of Ramadan.

the development of digital technology,

Since December 1915 until now, the

especially with massive information flow

bell has decorated the Aceh Museum

like today. The strategy that needs to

building complex as a sign and lesson for

be done is not to go against the waves

future generations that Aceh once had a

but to surf on them. Museums need to

brilliant triumph. The bell also signified

overtake or at least go hand in hand

the harmonious relationship between the

with Instagramable destinations. The

Pasai Sultanate and the Ming Dynasty.

indatu relics can be shown in such a way that they don’t just become an obsolete

The Challenge When you mention the word museum, generally what comes to your mind are words like old, history, obsolete, ancient

Photo: Mufida Afreni B.Bara

display in the Aceh Museum, but can again tell stories about their role and function in the past.

Value is the main factor for all things.

Various collections from the Museum including Krong Pade, a place to store dry rice weighing up to 3.5 tons, Jeungki, a traditional rice pounder in Aceh.

It can also be used for grinding coffee, sago, rice chips, flour and cooking spices as well as coconut.

The tomb complex of the kings of the Bugis dynasty at the Aceh Museum.

and boring. Many postmodern studies

Value is a message that needs to be

on Generation Z and their relationship

preserved. Objects can be lost or

with technology describe them as very

damaged, but the added value can last

enthusiastic about appearance (image)

a long time if it is continuously recorded

rather than content (content), so that

and passed on to the next generation.

the meaning of a trip is not so significant

Therefore, the museum should be the

compared to photos to be published on

primary destination, one that is preferred

come to the Aceh Museum. It is the most

social media. Well, in this matter, the

by our young generations compared to

strategic and representative location and

Aceh Museum can very well compete with

the beautiful destinations that spoil the

place that keeps Aceh’s cultural heritage

other tourist destinations whose image

eye and look photogenic. Ideally, the

safe from the destructive power of time.

has been packaged to induce the word

museum is the first place we visit when

(Mufida Afreni B.Bara, Aceh Research and

“wow” and become Instagramable.

visiting any new area. If you go to Aceh,

Development Center)

82 INDONESIANA VOL. 9, 2020

Photo: Mufida Afreni B.Bara

2020, VOL. 9 INDONESIANA 83

CU LT URA L S I T E

Kumitir

The East Side of Majapahit City Photo: Shofa Nurhidayati

During the golden age of the HinduBuddhist era, the Indonesian archipelago was an area where large kingdoms were born. East Java is an area where a great empire was once located. Remnants of past glory that we can see today are evident on the Trowulan Cultural Heritage Area. Its style as a complex containing various historical relics is the reason the National Cultural Heritage Expert Team (TACBN) designated Trowulan as a national-ranked Cultural Heritage Area in 2013.

Until now, the remains of the great kingdoms that once existed in East Java are still being found. In June 2019 in Bendo Hamlet, Kumitir Village, Jatirejo District, Mojokerto Regency, East Java, a talud (retaining wall) was found in an area that functions as a sugar cane and rice field, a brick-making area, and a public cemetery. The place where the talud was found was named Kumitir Site. Kumitir Site is the eastern side of the city of the kingdom of Majapahit in Trowulan. In the Song of Wargasari, the Nagarakrtagama and Pararaton books, it is stated that there is a shrine for Mahisa Campaka (or Narasinghamurti) in Kumitir. Mahisa Campaka is the grandfather of Raden Wijaya, the founder of Majapahit Kingdom.

The talud found in 2019 was buried by volcanic ash material and cold lava sedimentation. This talud is composed of large bricks, typical of the Majapahit era. As a follow-up to these findings, a rescue excavation activity was carried

84 INDONESIANA VOL. 9, 2020

Talud structure (retaining wall) of the Kumitir site, which is composed of large bricks.

Photo: Shofa Nurhidayati

The part of the building structure that has been dug (top) and the process of digging the gate structure of the Kumitir site.

out. The excavation activity to save the Kumitir Site is an activity carried out by the Directorate of Cultural Protection and the East Java Cultural Heritage Conservation Center in collaboration with the Arsari Djojohadikusumo Foundation and PATI IV. The first excavation was carried out in October 2019 and succeeded in uncovering a 187 metre-long talud structure extending from south to north on the east side. The excavation continued in August 2020 to expose all parts of the talud that used to Photo: Shofa Nurhidayati

border an area estimated to be as large as 6 hectares.

Based on the results of excavations that began in August 2020, The archaeologists found several artefacts that were still in situ apart from talud, namely round andesite rocks/boulders, the structure of the building floor, the construction of the gate, wells made of bricks and wells made of jobong arrangements. Also, other findings included jaladuara, stones for making kala, stones for making makara, stones for making antefik and stones for making seams.

Excavations to rescue the Kumitir Site are continuing and are even expected to continue until 2021. Findings are continuously being made and complement each other, making various questions on the Kumitr Site increasingly answered. The interpretation obtained

interpreted as a building located on an elevated land, considering that the original

so far is that the Kumitir Site was a

land surface conditions during the Majapahit era were at a lower layer than the

cluster of buildings in the city of the

existing land surface. The concept of elevated land is very familiar in a Javanese

kingdom of Majapahit. The cluster is

concept called siti inggil. (Shofa Nurhidayati)

2020, VOL. 9 INDONESIANA 85

F O LK G A M E

Playing Congklak, Learning Not to Be Arrogant Many traditional games have ended up being swallowed up by the roar of modernity. For example, in Betawi culture, there are tokadal, cici putri, pongpong balloon, engrang, galaksin, which are now almost no longer played. On the other hand, there are still games that have been played by children from the past until now, one of which is congklak.

One proof that there are still enthusiasts of this game is the supercilious sale in various marketplaces in Indonesia. In the past, congklak used boards made of wood. Now congklak boards are made of plastic.

Interestingly, both of them underwent modifications: planks made of plastic were even modified so that they can be disassembled and reassembled, while those made of wood can be folded. Just try typing the word “congklak” in the search field on any marketplace, and there will be many models and forms of this game on offer for sale.

Congklak is a game that can only be played by 2 (two) people and cannot be played alone. Congklak boards usually have 14 small holes and 2 large holes (store-house holes), although there

86 INDONESIANA VOL. 9, 2020

are also boards consisting of 10 small holes and 2 large holes. This game uses small clamshells as seeds. You can also use seeds from fruits such as sapodilla or longan fruit, as well as plastic shells. It’s okay because the game can still run as long as there are boards and seeds. Each small hole on the congklak board is to be filled with 7 seeds.

Just empty the big holes (store-house holes). The rules are that anyone can take seeds from a small hole to share or fill them into another hole, while each player owns the big hole, so only that player can fill it.

The game begins with a player taking a seed from one of the small holes. Then they fill another hole in front of them clockwise including the big hole on their right. The other big hole doesn’t need to be filled because it’s the opponent’s big hole to store their seeds. The player’s move stops if the seeds that are distributed run out and fall

into a small hole without seeds. Then

large holes in the congklak boards are

the game switches to another player.

analogous to barns, while small holes

Congklak games can last for hours if the

are considered as rice fields. Therefore,

players have a strategy.

there is the term bera for unworked rice

Photo: DARMAWAN https://www.shutterstock.com/g/DARMAWAN

fields and the term ngacang or nandur

Congklak in the Past This game began to spread widely in

kacang for low yielding fields. These terms are used in a game of congklak,

Asia and Africa since the 17th century

which means this game teaches you how

and was influenced by Islamic culture, as

to manage a good household.

stated by James Danandjaja. However,

Meanwhile in Sundanese culture, the

archaeological evidence was only

big holes on either side of the congklak

discovered in 1983 in Banten as an

boards are called indung. According to

artefact from the past in the form of

Rusmana in “Congkak Game: Values ​​

terracotta pawns made of clay.

and Potential for Children’s Cognitive

The name for congklak varies from

Development”, in the context of

country to country. In Sri Lanka it is called

traditional Sundanese children’s games,

canka, on the Malay Peninsula it is called

the concept of indung (parent) and anak

conkak, in the Philippines, it is cunkayon,

(child) exist. This is closely related to the

and in Africa, it is called mankala. Even

concept of Sunan Ambu. The concept of

in Indonesia, congklak has several

child, in this case, can mean an only son.

names, among others: congklak, dakon,

Sundanese cosmology defines that an

dhakon or dhakonan in Java; congklak

only child or youngest child is a mother’s

in several areas of Sumatra; mokaotan,

child so that their bond is firm. Because

maggaleceng, aggalacang and nogarata in

of this, many stories in this culture tell

Sulawesi; dentuman lamban in Lampung.

of an only child who fell in love with

Congklak, which is known as a game

his mother like Sangkuriang to Dayang

in Javanese culture, was played by

Sumbi in the tale of Tangkuban Perahu as

aristocrats in the palace. However, in the

well as Guruminda to Sunan Ambu in the

Photo: Rini Widayati https://www.shutterstock.com/g/Rini+Widayati

“Jarahnitra Research Report” (1999/2000),

story of “Lutung Kasarung”.

Congklak is one of the many traditional games favoured by children since long before the pandemic and also now during the pandemic.

it is stated that the soldiers of Sultan

Congklak attracted the hearts of

Agung played congklak in Mataram during

researchers. Today many studies link

a break from rifle training. At that time,

congklak with children’s psychological

congklak seeds were only made of gravel

and cognitive development. According

while holes were dug on the ground. It

to these studies, there are many good

was only after it was known among the

aspects of this game for children,

court that the board was created so that

including; improving social skills,

it could be decorated more beautifully.

practising patience and thoroughness,

Photo showing two Javanese women playing congklak, circa 1900. (Leiden University Library, KITLV 4978)

increasing a sense of sportsmanship,

The Congklak Philosophy According to Dennys Lombard,

learning to deal with conflicts that occur, as well as improving numeracy skills. This

congklak or dakon comes from the word

traditional game which is rooted in local

daku or saya (I), meaning that this game

wisdom contains positive values. From

emphasises personal pleasure. It’s a

congklak, children can learn not to be

competitive form of play, but a game

arrogant because in this game they have

to just kill leisure time. According to

to be patient in waiting for their turn and

Dharmamulya in his book “Javanese

have to manage their emotions to remain

Traditional Games”, congklak is present

stable. After all, the game may take a long

as part of the life of farmers. The

time. (Dyah Kusuma Wardani)

2020, VOL. 9 INDONESIANA 87

Ulos from Angkola

ABIT GODANG

INDONE SI AN T EXT I LE

88 INDONESIANA VOL. 9, 2020

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A twill weave technique that is rare in Indonesia is used by Angkola weavers to give Abit Godang a texture on the agung (godang) background. Only two types of fabrics are produced by Angkola weavers, the large Abit Godang, which usually consists of two panels, and the Parompa Sadum with one narrower panel. Early 20th century, the collection of Torang Sitorus, Inv. No. 5/V/AM/TS.

H

ave you ever watched “The

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One of the few quality ulos weavers left in Sipirok, who uses a gedokan loom, sits on the floor with her legs straight forward and the rope on her back that ties her to the loom. 1971. (Nationaal Museum van Wereldculturen. Coll.no. TM-20025992)

Batak ulos are generally woven from

Padang Lawas, which is 50 KM away.

Tragedy of Othello: The Moor

cotton yarn, while the dyes are made

You can also land at FL Lumban Tobing

of Venice” by the world’s

from natural dyes. Similarly, abit godang

Sibolga Airport which can be reached in

greatest poet William Shakespeare? We

is woven manually and dyed in natural

3.5 hours. Arriving at the Sipirok Market,

will focus on the loving handkerchief

dyes. The thick red colour of ulos is

you are welcome to call the Becak Kawin

Othello gives Desdemona as a token

obtained from a secang plant known as

Lari driver – the name for the motorised

of loyalty. A handkerchief, for Othello,

Caesalpinia sappan. A saying goes: “There

pedicabs that hang around the Sipirok

is not just a beautiful piece of cloth

is no ulos without the colour black.” The

Market – to ask to be taken to Hutasuhut

made by his grandmother, but a

colour in an abit godang is obtained from

Village, Sipirok District.

symbol of faithfulness. Not surprisingly,

a mixture of noni (Morinda citrifolia) and

There you can find girls and young

when Othello finds out that his love

green henna (indigo). The yellow colour

mothers who are craftswomen of ulos

handkerchief is in someone else’s hand,

comes from the turmeric plant. The green

weaving. It is said that the abit godang

he becomes furious. So furious that he

colour is obtained by mixing green henna

work of the craftswomen from the village

kills Desdemona.

with turmeric.

is the best in all of South Tapanuli. Young

And so are we, the Angkola Batak

Until now, abit godang is still produced

girls or mothers do this masterful crat

people. For us, abit godang or ulos

manually, especially by traditional

while they are busy doing domestic

kebesaran is not just a piece of

weaving craftswomen in Sipirok. This

work. However, seeing the public interest

cloth made by the soft hands of our

cool mountain city can be reached in

these days, the ulos weaving craft can

grandmothers, but an identity that is

8-9 hours by road from Medan (it is

no longer be done on a part-time basis,

inherent in our self that is used from

356 KM from Medan). As an alternative,

but it should be considered as a primary

birth to death ceremonies. I don’t

you can reach the city on the slopes

profession.

want to compare ulos with Othello’s

of Mount Sibual-buali through Silangit

handkerchief for that matter. I just

Airport, North Tapanuli. Then you will

want to invite the reader to take a little

arrive at this coffee-producing city after

adventure into the way of thinking of the

travelling overland for 3-4 hours or

are two elements in them that they must

Angkola Batak people behind the making

about 106 KM. Another alternative is

keep warm to stay las. Being in a state of

of this woven craft.

through Aek Godang Airport in North

las and being warm is not similar. It takes

Ulos, Warming Tondi and Body For the Angkola Batak people, there

2020, VOL. 9 INDONESIANA 89

its own cosmological understanding to understand it further. In the cosmology of the Batak people, including the Angkola

Aesthetics and Ethics of Giving Abit Godang

2.

The writings of Horas Tondi Madingin Pir Tondi Matogu: The giving of ulos is also a prayer

Ulos, including the abit godang ones,

Batak, three things can keep the tondi

can only be given according to the adat

and hope from the giver to the

(soul) and badan (body) warm. These

rules. Ulos can only be given by a party

recipient that their soul will be in

three are sun, fire, and ulos.

or someone with a higher position to

Actually, a Batak Angkola person

the party or someone whose customary

peace and stay strong.

In addition to the symbol of the giver,

already has their tondi and badan

position is lower. Hula-hula/mora gives

on ulos abit godang, there are also motifs

warmed since they are a baby. His or

ulos to their anakboru. Parents give ulos

that can be read as advice to the general

her maternal grandmother gives her

to their children.

public.

grandchild an ulos called parompa (sling)

Therefore, on any abit godang, there

1.

Luslus: Don’t live alone. Live life

sadum to warm their soul and body. In

are three black stripes bordered by a

terms of size, the ulos parompa sadum are

small white line. It turns out that, indeed,

smaller and lighter in colour than the ulos

the number three (3) is significant in the

be buried; good things must not

abit godang.

Batak Angkola custom. The three lines

be paraded around.

Ulos abit godang is the greatest gift

can be interpreted as three elements in

given by a woman’s family to her when

the Dalihan Natolu kinship system. They

she marries. Ulos is given in the ritual of

convey the adat rule aforementioned that

mangulosi, mangulosi tondi and badan,

hula-hula or mora gives abit godang to

to children and in-laws so that they are

anakboru.

among the society.

2.

3.

Tutup Mumbang: Bad things must

Iran-iran: Wherever you go, leave a trail of kindness.

4.

Singap: Try even if you have to withstand the hot of the sun and heavy rain.

ready to sail the sea of life ​​ on their new

Can it be done in reverse? Yes, but

household ark. The ulos given is an ulos

the type of ulos given must be different.

ragi hidup whose dominant colour is

In Toba, the ulos is given the name ulos

blood red. A colour that symbolises life.

Hela. The three black lines can also be

Apart from that, other motifs can be

A woman will be given an ulosi ritual

interpreted as tugu, which symbolises

interpreted as the thinking philosophy of

when her husband dies. This mangulosi

that the Angkola Batak people value their

the Angkola Batak community. The motifs

ritual is carried out to warm the tondi

siblings (kahanggi) as friends where they

are Yok-yok Mata Pune, Ruang, Bunga, Suri-

and badan, so that the soul returns to the

share all the bad and good stuff and

suri, Jojak mata, Jarak, Sirat, Manik-manik

body after losing half of itself. Ulos given

share stories.

Simata rambu, and Si Rambu.

at the event of death is ulos ragi hotang.

The ulos motif, which is a permanent

5.

Pusuk Robung: Live and give benefits to many people.

Ulos sadum Angkola or abit godang is

This type of ulos is closer to the colour of

pattern on any abit godang is read as a

the highest gift from a mora to their boro.

the soil. Usually it consists only of black,

tool to remind the bride and groom of

Regardless of the difference with those

blood red and white.

the advice given to them as a newlywed.

in Toba, abit dodang is believed to give

In practice, ulos is used not only to

We have discussed one of the guidance

good advice and bring good luck for the

fulfil the aesthetic function of the Batak

previously. Also, there are other motifs,

recipient. (Alfian S. Siagian)

customs, but it is also used to fulfil

such as:

other functions. Ulos is used in rituals or

1.

Sijobang: The mora does the

traditional ceremonies related to their life

ritual of giving ulos abit godang

cycle. As mentioned above, ulos is present

to their boru. This is a sense of

in welcoming a new life, in marriage and

responsibility on the part of the

death rituals. It is present during the

mora to their anakboru. This

feast of happiness (siriaon) and the feast

sijobang motif symbolises the

of grief (silu luton).

sense of responsibility of the mora.

90 INDONESIANA VOL. 9, 2020

Some details and characteristic examples of Abit Godang and Parompa Sadum from Angkola. Each Abit Godang is individual enough that the meaning of “reading” (interpreting) its motifs and the way they are arranged differs from one cloth to another. Meanwhile, Parompa Sadum is generally used as a baby carrier, as indicated by the term parompa, but in today's society this cloth is used freely as a shawl. Early 20th century, Torang Sitorus collection.

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2020, VOL. 9 INDONESIANA 91

AR CHI T ECT U RE

The Exotic Traditional House of Sumba Indonesia has a variety of vernacular architectures, a wealth of architectural forms from local brilliance. One of which is the Sumba adat house.

This traditional house is not only architecturally unique but also mirrors a cosmological and cultural picture of its people.

92 INDONESIANA VOL. 9, 2020

Photo: Lukman Solihin Photo: Lukman Solihin

O

n the island of Sumba, East

example, is not treated as slaves, but

Nusa Tenggara, our senses are

as maramba servants who take care of

not only treated to the vastness

gardens and look after animals. Their

of savanna and songs of horse’s whinny

life needs are also borne by their master

but also views of traditional houses

(the maramba).

oh which roofs soar as if pointing at

Marapu religion also influenced

Pork fangs from a traditional ceremony in Ratenggaro are part of the ornament in a traditional house.

The Ratenggaro traditional village in Southwest Sumba is located on a cliff overlooking the Indian Ocean with a row of stone graves of the founders of the village located in the centre and surrounded by traditional houses.

the sky. The roof that rises like a tower

settlement patterns. Each traditional

symbolises respect for the ancestors,

village or paraingu is characterised

namely the spirits of the Marapu.

by the existence of a stone graveyard

In this place, there is a museum with

which marks the presence of a village’s

various collections depicting the

the ancestors who are also the name for

ancestors, as well as a large house

history and culture of Sumba, from the

local religion on this island. The Marapu

(Uma Bokulu) which is the centre for

famous Sumba woven fabric because

belief affects many aspects of the life

holding traditional ceremonies. In these

of its unique and meaningful motifs,

of the people of Sumba, starting from

traditional villages, houses are built with

heirlooms, mamuli and lulu amah which

customs, social status, to architecture

towering roofs. The tall ridge symbolises

are commonly used as belis (dowry),

and settlement patterns. For example,

the place where Marapu resides.

photos of the implementation of the

Marapu is the name for the spirits of

the stone grave ceremony, which is

In ancient times, paraingu was built on

stone grave from the past, as well as

often done colossally by sacrificing many

a hill and surrounded by stone fences

various tombstone ornaments. If we are

animals, is intended as a ceremony to

or thorns. This was intended as a fort

lucky, we can also chat with Father Robert

deliver the spirits of the deceased to

to protect the settlements from enemy

Ramone, a Catholic priest who is also

the parai Marapu (ancestral realm). The

attacks. During its development, many

a cultural observer and founder of the

graves of these families and ancestors

paraingu were built in the lowlands, which

Sumba Cultural House.

are marked by large square stone

indicates that the war between clans has

buildings that still retain the stone culture

long been left behind.

of the past.

To know the uniqueness of traditional

From the Sumba Cultural House, I continued my journey to the Ratenggaro Traditional Village, about 56 kilometres

house buildings and their meaning

southwest of Tambolaka. This village

four social strata: queens (religious

in Sumba culture, I visited Southwest

is in the Kodi area, which is famous for

leaders), maramba (aristocrats), kabihu

Sumba, East Nusa Tenggara. Located

its Pasola tradition, a wargame where

(free people), and ata (servants). This

about 6 kilometres from Tambolaka

horse riders throw a spear at each other.

classification of social strata is still

Airport, lies the Sumba Cultural House

This adat party attracts plenty of tourist

valid today, although it is not as strict

which was built with a towering roof,

interest and is usually held between

as it was in the past. The ata group, for

adopting traditional Sumba architecture.

February and March.

The people of Sumba recognise

2020, VOL. 9 INDONESIANA 93

Photo: Lukman Solihin

Uma Mbatangu in Kampung Ratenggaro Ratenggaro is a traditional village in Southwest Sumba which is known to

the second is located in the outer area

starting from preparation, searching

which is the stone grave of the residents

for materials, building construction, to

of this village.

the final stage. This traditional feast

Passing the arrangement of stone

must be accompanied by the slaughter

have beautiful beaches and beautiful

fences that mark the boundaries of

of many sacrificial animals aimed at

traditional villages. This village is located

the village, my eyes were immediately

asking Marapu’s blessing, as well as

on a cliff overlooking the Indian Ocean.

attracted by the rows of houses with

for entertaining residents who are also

Below it is the confluence of the Waiha

towering roofs, called Uma Mbatangu,

working together in the construction of

River and the Indian Ocean, forming a

or houses with tower roofs. Before,

traditional houses.

charming white sand basin.

there were 28 traditional houses in this

Sumba traditional house building is

village. After three severe fires, now only

supported by four solid logs which are

my eyes were greeted by rows of stone

12 traditional houses are left, some of

the main pillars. For the four pillars to

graves that were built outside the

which were built with the help of the Tirto

support the roof firmly, a strong roof

village. The stone graves in this village

Utomo Foundation and the Directorate

structure is needed. The roof structure

are divided into two parts: first is the

General of Culture, Ministry of Education

of traditional houses in Ratenggaro is

stone grave of the founders of the

and Culture.

reinforced by roof bracing, which is made

Before entering Kampung Ratenggaro,

village which is located in the middle and surrounded by traditional houses,

94 INDONESIANA VOL. 9, 2020

An adat party always accompanies the stages of building a traditional house,

vertically and horizontally so that it can be towering and tough to withstand loads

Photo: Lukman Solihin

and severe winds. The roof construction is then covered with thatch arrangement to protect the house from heat and rain.

The traditional Sumba house was built not using nails to hold each part of the building together but using wooden pegs and rattan ropes.

Uma Mbatangu’s design is based on the cosmology of the Sumba people who believe that the universe is divided into three parts. The upper part is the place for ancestors and gods, the middle Photo: Lukman Solihin

part is the place for humans, and the lower part is the habitat for animals and spirits. This cosmology manifests itself in the building of traditional houses. The attic of the tower is used to place sacred objects representing Marapu’s existence, then the halls become a place for human activity, and the lower part of the building is for pet cages.

This traditional house also shows the social division of space. In the middle, just below the tower, there is a fireplace for cooking with parcels on top for storing cooking utensils and ingredients. On the left and right, some booths are separated into men’s and women’s areas, the front

Photo: Lukman Solihin

is an area for receiving guests, and the back is for various other activities, including weaving which is usually done during the day.

From the Ratenggaro Traditional Village, we can see the close relationship between the building and the culture that supports it. The traditional house was established not only as a place to shelter

(top) Sumba Cultural House in Weetabula, Southwest Sumba. (middle) A man from Southwest Sumba. Sacrifice of animals during a funeral ceremony in Southwest Sumba (bottom).

from the hot sun and rain, but also as an effort to honour the ancestors and honour Marapu. (Lukman Solihin)

A child is playing in the Ratenggaro traditional village.

2020, VOL. 9 INDONESIANA 95

Remy Sylado Advancing Culture Needs No Guesswork “Women are the same everywhere, the difference is the brand of the fragrance”, writes Remy Sylado in the novel “Gali Lobang Gila Lobang” [Digging Holes, Liking Holes] (1977). Is this for real? That controversial line references two celebrities: Rima Melati and Vivi Sumanti, the foremost female artists of that era. Both of them came from Manado, from the same area as Remy, who was born Yapie Tambajong. Was that the image of women in Remy’s mind? That was…. fiction, you see. The novel was reprinted in 2013.

96 INDONESIANA VOL. 9, 2020

Photo: Jessica Nadya Ogesveltry

F I G U RE

It was a bright morning in early

the “the history of words”, a meditation

During the pandemic, you remain

September 2020. Remy Sylado was

on where or how words originated. For

productive and helped edit a poetry book

relaxing when Indonesiana arrived at his

example, he wrote: “The real meaning

about the virus, written by journalists and

home in Cikarawang, Dramaga, Bogor.

of the mata keranjang (basket eyes)

writers. Why have you put journalists and

It is the house he has lived in since

which should be spelt mata ke ranjang

writers together?

2003 and where he has produced many

(eyes towards the bed), because it refers

works, including the five-volume novel

to a man who, as soon as he sees a

“Pangeran Diponegoro: Mengagas Ratu

woman, his mind is thinking about bed.”

Adil” [Prince Diponegoro: The Making the

Regarding this, a scholar from Rembang,

Just King]. We talked about the Corona

Ahmad Mustofa Bisri or Gus Mus, once

pandemic, Chinese people and Chinese

said that he learned about the origin of

history, literature, human, as well as the

the word mata keranjang from Remy, “I

advancement of culture.

was confused, what exactly was mata

“Our (Indonesian) writers are still

keranjang, the eyes have holes in them

‘inferior’ to Western writers. If I’m

like a basket? It turned out that according

not allowed to say ‘all’, then it’s on

to Remy Sylado, mata keranjang should

average. Though not in the context of a

be mata ke ranjang.”

competition or a desire to be better,” said Remy.

Recently, during the Covid-19

“Journalists and writers, or news and poetry are something mufrad (unified).

I see from the historical perspective of the Indonesian press that the first news story was first written in poetry in De Locomotief newspaper, the single most influential newspaper in the Dutch East Indies published in Semarang. Chandra Nainggolan then bought the newspaper and changed it to Harian Tempo in 1954.

I know because I started working as a journalist for at Harian Tempo.”

pandemic, Remy launched a book in the form of an e-book: “Kamus Sejarahnya

Inferior in what terms?

“Inferior in terms of thinking about humanity, and that is related to philosophy. Like it or not, the ability to use imagination is extracted from philosophy. No, not only from Western philosophy either. Indonesian authors have yet to be able to use philosophy as part of their work. For example, Jean-Paul Sartre uses literature as his dissertation on existentialism. We’re not there yet.

We are still making up stories, we’re not using those stories for a purpose yet.

Western writers have been doing this for a long time.”

The discussion on philosophy is reminiscent of Remy’s book, “Perempuan Bernama Arjuna: Filsafat Dalam Fiksi” [A Woman Named Arjuna: Philosophy in Fiction] (2013), which consists of six volumes. In the book, Remy also wrote

Kata-kata: I: Berisi Kata-kata Berawalan huruf” [The Word History Dictionary: I: Words Starting with the Letter A], which can be purchased through Google Play.

“Only one volume has been published. In the future, it will reach the letter Z, I have collected everything,” said Remy.

Discussing Remy Sylado as an artist, we can’t just talk about his literary works.

There are also his paintings – he studied art formally. He is also a playwright (also studied theatre formally), a journalist, and a munsyi (poet). “Remy is a rare creature whose stock is running low. I feel indebted. In the ’70s my poetry was published in Aktuil magazine which he managed, without knowing that it was my poem because I used another name,” said Gus Mus at an exhibition as well as a celebration of Remy Sylado’s birthday at the Jakarta Cultural Center on July 12, 2019.

2020, VOL. 9 INDONESIANA 97

Indeed, the tradition of making news in the form of poetry was started since the days of the Dutch East Indies, and was used as an ethical political tool. It used to be Kartini’s regular reading, one of which was the writing of Mas Marco (Marco Kartodikromo, journalist, died in 1932).

When the Malay language was divided into High Malay and Low Malay, Low Malay was used by Chinese newspapers.

These newspaper also continued the tradition of making news in poetry form. For example, the news about the Photo: Jessica Nadya Ogesveltry

eruption of Mount Krakatau or the arrival of the Maharaja of Thailand. Both were written in a poetic form. Journalists must be able to write too. Apart from news, what the newspaper sells is also work of fiction, written in a series.”

What are your wishes that you have not done and want to realise?

“Desire always materialises suddenly.

If or when it comes before my eyes, yes, I would pursue it with all my will and ability. But it’s just that. I am an artist or a journalist. If I was asked to be an expert in a certain field, and I could do it, then yes I would be an expert there. That is all. I’m not planning to make it to the top. If you get to the top, the measure of success the becomes business. For example, in the press world, Jakob Oetama, Dahlan Iskan, Goenawan Mohamad, all of them are the very best. If

Photo: Susi Ivvaty

(above) Remy Sylado and his paintings, Remy and his friends at his painting exhibition (below).

98 INDONESIANA VOL. 9, 2020

a media is not commercialised, it is a sin.”

How should we advance culture?

“Going back to 1928, one of them is upholding the language of unity. It was the young man from Madura, M

Tabrani, who was courageous enough to

So how should the Law on Cultural

to the influence of the bald Arabic letters

declare that we must speak Indonesian.

Advancement (Number 5 of 2017) be

or pegon. The point is, don’t make it up,

If it wasn’t for him, there would be no

implemented?

don’t create what doesn’t exist.”

Indonesian. These days, people speak Indonesian mixed with English words. ‘So, by the way, oh my god’. Even though in English itself in 1611 there was already a text that advised English speakers to be careful in using ‘oh my god’, that’s why it’s often modified into ‘oh my gosh’, so you don’t just mention God’s name just to express your surprises. It contains culture. If you want to see what culture is like today, take a look at the decision makers who are crazy about mixed languages that aren’t quite right.

While on the other hand, the language centre people think they have to improve the language with correct and proper language usages. That’s just one thing.

“Do not make a lot of guesswork in matters of advancing culture—for example, manuscript questions. Mostly

What’s interesting in life?

“Clashes in life that life can’t handle

the manuscripts in Indonesia are

by itself. Clashes must always exist,

from Batak, Java and Makassar, where

indicating that we must live. Dynamic,

literature exists and is alive. Other

unexpected. That way, humans become

areas, for example, Aceh, Riau, Padang,

right.” (Susi Ivvaty and Jessika Nadya

influence bald Arabic (Malay

Ogesveltry)

language written in Arabic characters without vowels), which make them not original. That’s the cause for many errors occurring in the spelling of Indonesian today, one of which is due

Highlights of Remy Sylado Works Digging Holes, Liking Holes – Gali Lobang Gila Lobang (1977) The Courtesan – Ca-Bau-Kan: Hanya Sebuah Dosa (1999), difilmkan tahun 2002.

Kirmizi’s Red Veil – Kerudung Merah Kirmizi (2002): memenangi Kathulistiwa Literary Award 2002 Ling – Ling (2003) The Geisha – Kembang Jepun (2003) The Paris of Java – Parijs van Java (2003) Waiting for Melbourne’s Sun – Menunggu Matahari Melbourne (2004) Sam Po Kong – Sam Po Kong (2004) Rebellious Poetry – Puisi Mbeling (2005) Chinese Massacre in Batavia – 9 OKTOBER 1740 (Drama Pembantaian Etnik Cina di Batavia: 2005) Language Mirrors Nation – Bahasa Menunjukkan Bangsa (2005) Boulevard de Clichy: The Agony of Young Love (2006) Prince Diponegoro Novel – Novel Pangeran Diponegoro (2007) True Love – Mimi lan Mintuna, (2007), Naskah Drama We Only Live Once – Kita Hidup Hanya Sekali (2007) Tamblong Street – Jalan Tamblong (2010) Prodeo Hotel – Hotel Prodeo (2010) My Name Is Matahari – Namaku Mata Hari (2010), dimuat dalam cerbung Kompas No One’s Afraid to be A Writer – Jadi Penulis Siapa Takut (2012) 1832: A Historical Drama – Drama Sejarah 1832 (2012) A Woman Named Arjuna – Perempuan Bernama Arjuna (1-6, 2013–2017)

2020, VOL. 9 INDONESIANA 99

PORTRA I T S GA LLER Y

Portraits of Kota Tua During a Pandemic

Photo by Syefri Luwis, Princesca Wylsonarita dan Jeffry.

“When Fatahillah Park was renovated in 1974, it felt like the dream of building culture was buried. Then there was the idea of making ​​ Kota Tua (Old Town) as a World Heritage. Hopefully, this dream will come true,” said Toeti Heraty on one occasion in 2015. However, this dream has not come true yet, because, for a number of reasons, Kota Tua Jakarta can’t yet be considered to be eligible to become a World Heritage.

Even though it has failed in its effort to become a World Heritage, since it was first proposed to UNESCO in 2014, Kota Tua Jakarta area remains charming for tourists, both domestic and foreign.

The Jakarta History Museum courtyard or better known as the Fatahillah Museum was quiet during the Large-Scale Social Restrictions during the Covid-19 Pandemic era.

The Fatahillah Museum room is also empty of visitors. Another corner of the Fatahillah Museum courtyard is devoid of visitors.

100 INDONESIANA VOL. 9, 2020

Especially around Fatahillah Park, several museums occupy old buildings, as well as cafés with varied menu offerings.

The Covid-19 or Corona pandemic has caused the pulse of tourism to weaken, and it has even made it to be in a critical condition, dying, including Jakarta’s Kota Tua. The area is not completely closed though, several cafés remain open, but with Covid-19 health protocols and restrictions in place such as providing hand soap, hand sanitizer, social restrictions by stretching out distances between seats, and mandating the wearing of face masks.

On the morning of October 23, 2020, the area around Fatahillah Park, which was quiet at first, began to roar, although it was not noisy. The Wayang Museum was opened with limited capacity, as was the Fatahillah Museum.

It felt great to be able to visit the museum in a serene atmosphere, almost like you’re in solitude, and not full of people running around.

Some visitors could still hang out while keeping their distance and wearing masks. Thank God. Because I am not yet prepared to see Jakarta’s Old Town languishing because of the Corona pandemic.

(Indonesiana Team)

PSBB and the empty space left behind.

The facade of pandemic-era Puppet Museum.

Quiet at the Museum Wayang.

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The empty facade of the Jakarta History Museum Building, something that would not have happened without the PSBB.

Sunlight well at the Bank Indonesia Museum. It would have been almost impossible to take this photo because the location is always full of visitors when there is no PSBB. The Bank Indonesia Museum was deserted due to the pandemic.

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39

ACEH

Intangible Cultural Heritage for Every Province

31 NORTH SUMATRA

RIAU

40

49

51

WEST SUMATRA

24

RIAU ISLANDS

49

NORTH KALIMANTAN

41

24

WEST KALIMANTAN

JAMBI SOUTH SUMATRA

34 31 64

BENGKULU

DKI JAKARTA

52

LAMPUNG

45 CENTRAL JAVA

7

SOUTH KALIMANTAN

62

33

EAST JAVA

51

BANTEN

21

Structures Buildings

Sites

25 346

DOMAIN

64

30

PAPUA

SHARED HERITAGE

15

1340 300 Ethnic Groups

168

Performing Arts

380

Community customs, rituals and celebrations

350

Knowledge and habits about nature and the universe

16

Culture in Numbers

Oral Traditions and Expressions

Traditional craft and skills

23

WEST NUSA TENGGARA

1052

Areas

MALUKU

24 BALI

104

78 124

Objects

13

JAWA D.I BARAT YOGYAKARTA

64

CATEGORY

EAST NUSA TENGGARA

WEST PAPUA

15

SULAWESI TENGGARA

SOUTH SULAWESI

14

NORTH MALUKU

CENTRAL SULAWESI

WEST SULAWESI

CENTRAL KALIMANTAN

13

19

28

NORTH SULAWESI

GORONTALO

EAST KALIMANTAN

BABEL ISLANDS

18

31

60 281

Tribes

1239 Number of ICH Indonesia

CULTURAL HERITAGE "Cultural Heritage is a material cultural heritage in the form of Objects Cultural Heritage, Buildings Cultural Heritage, Structures Cultural Heritage, Sites Cultural Heritage and Cultural Heritage that are areas on land and/or in water whereby their existence needs to be preserved because they have important value for history, science. education, religion and/or culture through a process of determination."

Definition of Cultural Heritage in Law No. RI. 11 of 2010

Source: Directorate Cultural Development and Utilization, summarized by Hery P. Manurung.

2020, VOL. 9 INDONESIANA 103

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

104 INDONESIANA VOL. 9, 2020

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