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
806005
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
doc.babpublishing
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
doc.babpublishing
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.
doc.babpublishing
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.
2020, VOL. 9 INDONESIANA 101
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.
102 INDONESIANA VOL. 9, 2020
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
(021) 5725534 indonesiana.diversity@gmail.com http://kebudayaan.kemdikbud.go.id
Not for Sale