SULUK | SULUK PUTU WIJAYA
AMUK AMOK SITUS | SITE
HINDIA KECIL
YANG TERKUCIL
THE SCLUDED LITTLE NETHERLANDS
SENI | ART
PROTES SENI DALAM SOSIAL
SOCIAL PROTEST IN ART
MENGAPA BISA BERINGAS ?
WHY COULD FRIENDLINESS TURN INTO FEROCITY? DWIBAHASA BILINGUAL
HARGA RP 48.500,VOL. II | NO. 17 |15 MEI -15 JUNI 2012
Enha
Daftar Isi Contents
55 BANGSA RAMAH YANG MUDAH MARAH GONG | GONG
THE FRIENDLY, YET EASILY FURIOUS, NATION
Dalam 14 tahun terakhir, terhitung sejak Reformasi tahun 1998 barangkali telah ratusan kali terjadi gejolak sosial, baik berupa ‘amuk’ yang terjadi antarmasyarakat, maupun protes sosial. Bila ditilik ke belakang, bangsa ini memang mudah sekali ‘dikipas’ untuk meluapkan amarah. Meskipun sebenarnya kita punya modal kultural untuk menyelesaikan konflik dengan damai, rupanya kekerasan sosial terus berkecamuk. For the past 14 years, starting from the Reform movement in 1998, there have been probably hundreds of social upheavals either manifested in the form of an ‘amok’ among groups, or a social protest. When we take a look a few steps back, the nation’s emotion was indeed easy to flare up. Despite our cultural supplies to peacefully solve conflicts, apparently social violence continued to be volatile.
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SULUK | ESSENCE PUTU WIJAYA
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TOKOH | FIGURE
Dekan dengan Pencitraan Baru A LECTURER WITH A NEW IMAGE
AMOK
Di tengah gebyar tamatan Seni Rupa Institut Kesenian Jakarta (IKJ) menjadi seniman, Citra Smara Dewi justru memutuskan menjadi pendidik. Meskipun sejak kecil bercita-cita menjadi seniman, saat sedang laris sebagai konsultan interior, ia menerima tugas sebagai Dekan Fakultas Seni Rupa (FSR) IKJ.
IN DAILY life, amok has been known as uncontrolled act. It is beyond sanity. An unstoppable explosion of emotion. Commonly it is a collective act, although one person is sufficient for the act. The result is destruction, a ruin.
Amidst the celebration of graduates of Fine Arts, Jakarta Arts Institute (IKJ) upon becoming artists, Citra Smara Dewi, in fact, decided to become an educator. Even though when small she wanted to be an artist, when she is on demand for interior consultant, she accepted the position of a lecturer at Fine Arts Faculty (FSR) IKJ.
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Ibnu Setiadi
DI DALAM kehidupan sehari-hari, amuk dikenal sebagai tindakan tak terkendali. Sudah melewati perhitungan akal sehat. Letupan emosi yang sudah tak terbendung lagi. Biasa dilakukan oleh banyak orang, tetapi satu orang pun sudah memenuhi persyaratan. Akibatnya hancur, luluh lantak.
Anis Efizudin
Foto Sampul | Cover Picture: A. BUDI ADI SANTOSA
UPACARA ADAT | TRADITIONAL CEREMONY
18 WAISAK
dan Garis Imajiner Mendut, Pawon, Borobudur VESAK AND THE IMAGINARY LINE BETWEEN THREE TEMPLES
DI BALIK SAMPUL | BEHIND THE COVER
Tangan-tangan orang suci yang mengenakan jubah itu tak henti-hentinya mengambil air untuk diberkati. Ada 200 biksu dari berbagai aliran agama Buddha dari dalam dan luar negeri. “Sebanyak 10.000 botol air yang dibawa dari Umbul Jumprit ke Candi Mendut,” The hands of the holy men wearing robes incessantly take the water to be blessed. No less than 200 monks from various schools of Buddha from the country and abroad were present. “As many as 10,000 bottles of water brought from Umbul Jumprit to Mendut Temple,”
SAMPUL Warisan Indonesia edisi kali ini menggunakan foto warga Yogyakarta yang melakukan protes di depan Gedung DPRD Provinsi Daerah Istimewa Yogyakarta dengan mengenakan pakaian adat Jawa. Para pemrotes ini mengecam Rancangan Undang-Undang (RUU) tentang Keistimewaan DI Yogyakarta yang tidak kunjung disahkan oleh pemerintah pusat. Lebih dari itu, mereka menghendaki Gubernur dan Wakil Gubernur DI Yogyakarta ditetapkan, seperti telah berlaku selama ini, bukan lewat pemilihan secara langsung.
KESEHATAN | HEALTH BOREH, Ing Angga ni Ngilu Rubbed on the Pain and into the Stiffness
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PERMAINAN TRADITIONAL | TRADITIONAL GAME GOBAG SODOR Memanfaatkan Delapan Kotak Pleasant Time on Eight Squares
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PROFIL | PROFILE KI SENO DALANG MUDA DARI SEWON the Young Puppet Master of Sewon WAWANCARA | INTERVIEW
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PROF DR MUNDARDJITO
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ARKEOLOG BUKAN PENGHAMBAT PEMBANGUNAN Archeologist is no Hindrance to Development SITUS | SITE HINDIA KECIL YANG TERKUCIL The Isolated “Little Indies”
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KERATON | PALACE ISTANA SIKKA YANG MERANA The Languished Sikka Palace
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TEKSTIL | TEXTILE MENYULAM JEJAK DI BUMI PERTIWI Stitching Imprints on Motherland
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KALAM | WORD TO PONDER
ONS UNTORO
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DULU INGIN MERDEKA, KINI INGIN ADIL It Was Independence Then. Now They Want Justice. SASTRA | LITERATURE RANCAGE DAN AJIP ROSIDI Rancage dan Ajip Rosidi
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PAMERAN | EXHIBITION BETAWI MENCARI YANG ASLI Seeking the Genuine Betawi
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PANORAMA | PANORAMA MENZIARAHI RAJA ALI HAJI A Pilgrimage to Raja Ali Haji’s Tomb
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ZOOM | ZOOM PESTA DI BALIK ULAT SAGU The Party Behind the Sago Worm
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Foto tersebut kami anggap cukup mewakili tema Gong edisi kali ini, yang mengangkat tema protes sosial yang hari-hari ini sering terjadi. Protes sosial punya akar kuat dalam sejarah Nusantara. Pada akhir era Majapahit, banyak kelompok masyarakat kecewa terhadap bangsawan. Mereka melawan dengan berbagai cara hingga timbul keresahan panjang. Akibatnya, muncul banyak daerah perdikan, karyakarya seni perlawanan, seperti Reog Ponorogo atau Kitab Dharmogandul. Demak yang menggantikan peran Majapahit pun tak dapat mewujudkan perdamaian. Demikian pula Panembahan Senopati saat awal Mataram Islam mendapat perlawanan damai dari Ki Ageng Mangir. Saat kolonial mulai mengintegrasikan perekonomian Nusantara dengan kekuatan global, muncul perlawanan di berbagai pelosok. Kendati ada yang pesimistis protes seperti itu akan reda, kita perlu paham karakteristik protes dan konflik sosial agar tahu bagaimana mencegah dan menggunakan kearifan untuk menyelesaikannya. Bangsa ini dianugerahi pranata sosial dan adat untuk mencegah kekecewaan menjelma jadi kekacauan. DONNY ISWANDONO THE COVER of this edition features residents of Yogyakarta protesting in front of the Building of Provincial Regional People’s Representatives Council of Yogyakarta wearing traditional Javanese costume. These protesters condemn the draft legislation on the Special Status of Yogyakarta that has not been approved by the central government. Beyond that, they asked that the Governor and the Deputy Governor of the Special Region of Yogyakarta are appointed directly, instead of being selected through elections. We see the picture as representing the theme of Gong for this edition, which raises the issue of social protests that have been mushrooming recently. Social protests do have strong roots in the Archipelago’s history. In the late periods of Majapahit era, many groups in the society were disappointed with the noblemen. They fought with their own ways hence there was a continuing unrest. This had resulted in the emergence of perdikan lands and protest-themed art creations, such as the Reog Ponorogo or the Great Book of Dharmogandul. The Kingdom of Demak which takeover the role of Majapahit also failed to establish peace. Likewise, during the early periods of Mataram Islamic Kingdom, Panembahan Senopati received peaceful resistence from Ki Ageng Mangir. Then much later, when the invaders started to integrate the Archipelago economy with global powers, resistance emerged in various parts of the region. Despite the pessimists’ view doubting such protests would subside, we need to comprehend the nature of social protests and conflicts to learn how to prevent and to use wisdom to solve it. This nation has been blessed with a social order and traditions to prevent disappointment turn into chaos. DON
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Ing Angga ni Ngilu RUBBED ON THE PAIN AND INTO THE STIFFNESS 14
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Memanfaatkan Delapan Kotak PLEASANT TIME ON EIGHT SQUARES 18
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A. Budi Adi Santosa
Permainan Tradisional Traditional Games
Ibnu Setiadi
Mereka bermain di halaman rumah yang masih berupa tanah, dalam lapangan yang dibuat dengan menarik garis lurus horizontal sepanjang empat meter, sebagai garis pijakan—garis start sekaligus garis finis permainan—yang di Yogyakarta dikenal dengan garis pentasan.
B
ila melihat Muyas, Dewi, Tyas bermain bersama kawan-kawannya di SD Ringinharjo, Bantul, Yogyakarta, sore itu, sebagian besar dari Anda akan mengatakan, “Wah, waktu saya kecil juga memainkannya”. Dua meter di depan garis pijakan itu, biasanya dibuat susunan garis segi empat yang dirangkai menjadi beberapa kotak yang umumnya masing-masing 2 meter x 2 meter. Jumlah kotak-kotak ini disesuaikan dengan jumlah peserta permainan.
They play on a clay yard, where a four-meter straight horizontal lines are drawn on the ground, as foothold— both as starting and finish lines—which in Yogyakarta is known as the pentasan line.
W
hen you see Muyas, Dewi, Tyas play together with their friends in Ringinharjo Elementary School, Bantul, Yogyakarta, that afternoon, most of you would say, “Hey, I also used to play that game in my younger years.” Two meters in front of that starting line, we will usually find a set of rectangular lines formed into several squares measuring generally 2 by 2 meters. The number of squares is adjusted to the number of players.
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Upacara Adat Traditional Ceremony
Garis Imajiner Mendut, Pawon, Borobudur VESAK, THE IMAGINARY LINE BETWEEN THREE TEMPLES OLEH/BY ALI SUBCHI (MAGELANG) 24
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Anis Efizudin
J
I
Tangan-tangan orang suci yang mengenakan jubah itu tak henti-hentinya mengambil air untuk diberkati. Ada 200 biksu dari berbagai aliran agama Buddha dari dalam dan luar negeri. “Sebanyak 10.000 botol air yang dibawa dari Umbul Jumprit ke Candi Mendut,” kata Ketua Panitia Pengambilan Air Suci Andreas kepada Warisan Indonesia.
The hands of the holy men wearing robes incessantly take the water to be blessed. No less than 200 monks from various schools of Buddha from the country and abroad were present. “As many as 10,000 bottles of water brought from Umbul Jumprit to Mendut Temple,” said Andreas, Chairman of the Committee for Holy Water Transport to Warisan Indonesia.
UMAT pagi awal Mei lalu, kabut tipis menyapu kawasan mata air suci Umbul Jumprit, Kecamatan Ngadirejo, Kabupaten Temanggung, Jawa Tengah. Ratusan biksu dan biksuni menapaki altar sumber mata air yang merupakan hulu Kali Progo di kaki Gunung Sindoro itu untuk mengambil air suci Waisak sebelum dibawa ke Candi Mendut, di Magelang.
t was Friday morning, early May. A thin haze swept over the sacred spring Umbul Jumprit, in Ngadirejo District, Temanggung Regency, Central Java. Hundreds of monks and female monks walked up the altar of the spring which is the source of River Progo at the foot of Mount Sindoro, to get holy water of Vesak before being taken to the Temple of Mendut in Magelang.
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Arsitektur Architecture
Jejak Listrik di Gedung Gas TRACES OF ELECTRICITY AT THE GAS BUILDING
Sejak 1897 gedung PLN Area Pelayanan Menteng, Jakarta, itu masih berdiri kokoh. Gedung ini menjadi monumen bisu kejayaan ketenagalistrikan di Pulau Jawa. The PLN Building in Menteng, Central Jakarta has been standing strong since 1897. The building is a silent witness to the power of electricity on the Island of Java. 30
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Repro_Ibnu Setiadi
Arsitektur Architecture
B
ILA Anda melintas dari Tugu Tani menuju Stasiun Gambir, Jakarta Pusat, di sisi kanan jalan tampak sebuah gedung kuno dengan atap yang menyerupai piramida. Memang gedung ini seperti tenggelam oleh bangunan jangkung di sekelilingnya. Meskipun begitu, dari segi arsitektur gedung cagar budaya ini tampak unik dan artistik.
W
hen you take the road from the Peasant Monument in Central Jakarta to Gambir Train Station, on the right side you would see an old building with a pyramid rooftop. The building seems to be drowned in the midst of tall buildings surrounding it. Still, the architecture of the heritage building appears distinct and artistic.
Bangunan ini berada di lingkungan kantor Perusahaan Listrik Negara (PLN) Distribusi Jakarta Raya dan Tangerang, tepatnya di Jalan Muhammad Ichwan Ridwan Nomor 1, Gambir, Jakarta Pusat. Belum lama gedung yang dibangun akhir abad ke-19 ini selesai dipugar dengan tanpa mengubah bentuk aslinya.
The building stands on the complex of the State Electricity Company (PLN) of Jakarta and Tangerang Distribution Area, at Muhammad Ichwan Ridwan Street number 1, Gambir, Central Jakarta. Not so long ago, the building founded in the late 19th century has just been restored without any alteration of its original design.
Sejak 11 Oktober 2011, gedung ini dikukuhkan sebagai cagar budaya dan termasuk bangunan yang dilindungi oleh Gubernur Daerah Khusus Ibu Kota (DKI) Jakarta. Menurut Irwan Darwin, Kepala Hubungan Masyarakat (Humas) PLN Distribusi Jakarta Raya dan Tangerang, bangunan tersebut adalah gedung pertama yang dimiliki perusahan listrik milik negara di Pulau Jawa. Itulah yang mendasari gedung tersebut ditetapkan sebagai bangunan cagar budaya oleh Gubernur DKI Jakarta.
The building has been recognized as a cultural heritage and protected by the Governor of Jakarta since October 11, 2011. According to Irwan Darwin, Head of Public Relations of PLN Jakarta Raya and Tangerang Distribution Area, it is the first building owned by the state electricity company on Java Island. That was one of the reasons the Jakarta Governor established it as a cultural heritage.
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Profil Profile
Dalang Muda dari Sewon THE YOUNG PUPPET MASTER OF SEWON OLEH/BY SINGGIR KARTANA (YOGYAKARTA)
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Saat Ki Timbul Hadiprayitno, satu-satunya dalang pakeliran gagrag Yogyakarta berpulang, akhir tahun lalu, publik gelisah karena tidak ada lagi dalang gagrag Yogyakarta. Kini muncul Ki Seno Nugroho (39), yang “laris manis” menghangatkan jagat pakeliran di kota pusar budaya Jawa itu.
Singgir Kartana
When Ki Timbul Hadiprayitno, the only dalang (puppeteer) pakeliran gagrag of Yogyakarta past away, last year, public grew anxious as there are no more dalang gagrag of Yogyakarta. Now raises Ki Seno Nugroho (39), who is a “block buster” exhilirating the world of pakeliran from the city of Javanese cultural center.
Warisan WarisanIndonesia IndonesiaIIVol. Vol.II IIIINo. No.16 17IIApril May 15 15--June May 15 2012
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Tokoh Figure
Dekan dengan Pencitraan Baru A LECTURER WITH A NEW IMAGE Di tengah gebyar tamatan Seni Rupa Institut Kesenian Jakarta (IKJ) menjadi seniman, Citra Smara Dewi justru memutuskan menjadi pendidik. Meskipun sejak kecil bercita-cita menjadi seniman, saat sedang laris sebagai konsultan interior, ia menerima tugas sebagai Dekan Fakultas Seni Rupa (FSR) IKJ. Amidst the celebration of graduates of Fine Arts, Jakarta Arts Institute (IKJ) upon becoming artists, Citra Smara Dewi, in fact, decided to become an educator. Even though when small she wanted to be an artist, when she is on demand for interior consultant, she accepted the position of a lecturer at Fine Arts Faculty (FSR) IKJ.
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Wawancara Interview
PROF DR MUNDARDJITO
Arkeolog Bukan Penghambat Pembangunan ARCHEOLOGIST IS NO HINDRANCE TO DEVELOPMENT
Perkembangan ilmu pengetahuan membuat pekerjaan arkeolog ternyata amat luas. Semula hanya soal benda, lalu menyoal struktur, bangunan atau situs lalu kawasan. Dalam mengkaji benda pun limbah yang timbul dalam proses pembuatannya perlu dikaji. Kebiasaan memandang benda ada di satu posisi sejak awal dan tak bergerak ke mana-mana perlu ditinggal. The development of science has allowed the work of archeologists to reach vast areas. At first it was just about artifacts, then came structures, buildings or sites, then regions. In studying artifact, any waste from its making needs studying. The habit of viewing artifact as being in a position and not moving needs to be abandoned.
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A Budi Adi Santosa
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A Budi Adi Santosa
Gong Gong
Bangsa Ramah yang Mudah Marah THE FRIENDLY, YET EASILY FURIOUS, NATION
Dalam 14 tahun terakhir, terhitung sejak Reformasi tahun 1998 barangkali telah ratusan kali terjadi gejolak sosial, baik berupa ‘amuk’ yang terjadi antarmasyarakat, maupun protes sosial. Bila ditilik ke belakang, bangsa ini memang mudah sekali ‘dikipas’ untuk meluapkan amarah. Meskipun sebenarnya kita punya modal kultural untuk menyelesaikan konflik dengan damai, rupanya kekerasan sosial terus berkecamuk. For the past 14 years, starting from the Reform movement in 1998, there have been probably hundreds of social upheavals either manifested in the form of an ‘amok’ among groups, or a social protest. When we take a look a few steps back, the nation’s emotion was indeed easy to flare up. Despite our cultural supplies to peacefully solve conflicts, apparently social violence continued to be volatile. Warisan Indonesia I Vol. II I No. 17 I May 15 - June 15 2012
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Gong Gong
dan Martabat Masyarakat ”TOPO PEPE” AND THE COMMUNITY’S PRIDE
Ekspresi protes sosial berkait erat dengan peradaban dan martabat masyarakat. Protes tidak selalu harus heroik, apalagi dengan berbuat makar. Masih banyak modus lain, salah satunya topo pepe, menjemur diri untuk menolak kebijakan publik yang tidak populis. 64
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A Budi Adi Santosa
Protests are a form of social expression which is closely related to the civilization and dignity of a community. Protests aren’t always heroic in nature and neither are they under the intention of treason. There are other modus, one of them being topo pepe, exposing oneself in the sun in order to reject a public policy that is unpopular. Warisan Indonesia I Vol. II I No. 17 I May 15 - June 15 2012
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Gong Gong
PROF. DR. ANHAR GONGGONG, MA
Kekuasaan Otoriter Terlalu Lama A PROLONGED AUTHORITARIAN POWER
T
epat di Hari Buruh Internasional 1 Mei 2012 lalu, Viesta Karwila dari Warisan Indonesia bertandang ke kediaman sejarawan Prof. Dr. Anhar Gonggong di kawasan Pondok Gede, Jakarta Timur. Saat itu, warga Jakarta resah kemungkinan terjadinya demonstrasi yang massif, karena sebelumnya terbetik kabar sekitar 100 ribu buruh akan turun ke jalan. Tema pembicaraan berkisar seputar protes sosial yang tak kunjung henti. Menurut dia, kita terlahir dari dua sistem budaya dan negara otoriter. Sebelum masa penjajahan, ada ratusan kerajaan tradisional yang feodal dan otoriter. Raja bisa bertindak apa pun, termasuk meminta istri dan anak rakyatnya. Saat penjajah Belanda datang kemudian bekerja sama dengan kaum feodal memeras rakyat. Setelah kemerdekaan datang, para penguasa membangun tatanan yang tetap menekan rakyat. Pada awalnya pernah ada kebebasan, tetapi itu berakhir pada tahun 1959 hingga pemerintahan Soeharto tumbang. Demi pembangunan, kita tak boleh berteriak. Sayang, ruang terbuka yang muncul sekarang digunakan secara jor-joran. Mungkin karena kekangan masa otoriter yang amat panjang.
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ight on the day of the International Labor Day, Tuesday, 1 May 2012, Viesta Karwila of Warisan Indonesia visited the house of Prof.Dr.Anhar Gonggong in Pondok Gede Area, East Jakarta. At that time, Jakarta citizens were concerned about possible rowdy demonstrations. The theme of that morning’s discussion was also about the persistent social protests. According to him, we are born from two cultural systems and an authoritarian state. Prior to the colonial period, there were hundreds feudal and authoritarian traditional kingdoms. Kings could do just anything, including demanding the wife and children of his people. When the Dutch colonialists came and in cohort with the feudal families to exploit the people. After independence, the rulers established an order that continued to suppress the people. In the beginning, there was freedom, but it ended in 1959 until the fall of the Soeharto’s rule. For the sake of development, we were not allowed to scream. Regretfully, the open space is now being used for unbridled competition. This is most probably due to the extremely long authoritarian period.
How was the type of social protest in the past? Bagaimana bentuk protes sosial zaman dulu? Seperti Yogyakarta, ada yang disebut “pepe”. Dulu ada orang melakukan protes lalu datang ke Alun-alun Utara, duduk di bawah pohon beringin. Pepe berarti tidak boleh bicara, tidak boleh ngomong. Bisa sendiri saja, bukan kumpul banyak orang. Sultan diberitahu abdi dalem bahwa ada rakyatnya datang. Selama merasa belum digubris, dia tetap diam beberapa jam. Tetapi, sultan tidak keluar, hanya memberikan keputusan melalui abdi dalem. 70
Like in Yogyakarta, there is what is called “pepe”. In the early days, when there was a protest, people go to the northern town square. They sit under the banyan tree. Pepe means you are not allowed to talk, to speak out. Just stand there, not a gathering of many people. The Sultan is informed by the court attendants that people have come. As long as they feel that nobody takes notice, they will stay there immobile for several hours. But the Sultan does not come out, he just takes a decision through his court attendants.
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Viesta Karwila Wingtyas Warisan Indonesia I Vol. II I No. 17 I May 15 - June 15 2012
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Hindia Kecil yang Terkucil THE ISOLATED “LITTLE INDIES” OLEH/BY IYAN DS (SEMARANG) Sekitar 105 bangunan kuno berarsitektur kolonial di kawasan Kota Lama, Semarang, Jawa Tengah, yang pada zaman keemasan berjulukan “Little Netherland” sebagian besar kini kondisinya memprihatinkan dan kian terkucil. Most of about 105 old buildings with colonial style architecture in the Old Town area of Semarang, Central Java, which were once known as the ”Little Netherlands”, have deteriorated and gotten increasingly isolated. 76
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Yanuar Dwi Sarjono
Situs Site
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enginjakkan kaki di sudut Kota Semarang bagian utara, kita akan melihat bangunanbangunan tua yang berdiri mengelompok di Kota Lama (out stadt). Bangunan berarsitektur kolonial, tepatnya karya para arsitektur Belanda yang pernah menguasai kota ini. Namun, sayang, sebagian besar kini nyaris roboh dan melenyapkan sejarah yang terkandung. Beberapa gedung bahkan menjadi sarang pekerja seks komersial (PSK) liar.
S
tanding on one corner at the southern part of Semarang City, clusters of old buildings in the Old Town (oud stad) spread in front of us. They are buildings with the style of colonial era, to be precise the creations of Dutch architects who once ruled the city. Unfortunately, many of the buildings are now almost collapsed and their history will be gone forever. Some of them even become a den for illegal sex workers.
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KOMUNITAS WAYANG BEBER METROPOLITAN | METROPOLITAN BEBER WAYANG COMMUNITY
Spirit Cerita Panji Metropolitan THE SPIRIT OF PANJI METROPOLITAN STORY Wayang beber nyaris tinggal kenangan. Beruntung masih ada sejumlah anak muda yang peduli dan mencoba melestarikannya. Mereka tergabung dalam satu wadah bernama Komunitas Wayang Beber Metropolitan. Wayang beber is almost a thing of the past. Fortunately there are still youth who care about it and try to preserve it. They come together under a group, Metropolitan Beber Wayang Community.
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nd ro Me rdy
yang Merana
THE LANGUISHED SIKKA PALACE Berlokasi persis di bibir pantai Samudra Indonesia, tepatnya di Desa Sikka, Kecamatan Lela, Maumere, Flores, berdiri dengan ringkih sebuah rumah panggung yang berjuluk “Lepo Gete” (rumah besar/istana). Di sinilah konon Raja Sikka pernah tinggal dan memerintah landschaap (kerajaan) Sikka di pengujung abad ke-19. Located at the edge of Indonesian Ocean, precisely at Sikka village, Sub-district Lela, Maumere, Flores, there stand feebly a house on stilts known by the locals as “Lepo Gete” (a great house/palace). It is said that is was here that the King of Sikka once lived and ruled the Sikka Kingdom by the end of 19th century. Warisan Indonesia I Vol. II I No. 17 I May 15 - June 15 2012
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Sakti Simorangkir
Sikka
Ha
Istana
fa
Keraton Palace
Repro (Adikriya Sulam Indonesia)
Menyulam Jejak di Bumi Pertiwi STITCHING IMPRINTS ON MOTHERLAND
Sepanjang 27 tahun terakhir, desainer Samuel Wattimena gemar menjelajahi daerah terpencil untuk meneliti kain tradisional. Salah satu hasil penelitiannya yang berkaitan dengan sulam dibukukan dalam judul Adikriya Sulam Indonesia dan diluncurkan pada 10 April 2012. For the last 27 years, the designer Samuel Wattimena has been fond of trailing remote areas to study traditional fabrics. One of the outcomes which is related embroidery is published with the title Indonesia Embroidery Masterpiece and was launched on 10 April 2012. 92
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KOTEKAN LESUNG
Simbol Masyarakat Agraris THE KOTEKAN OF MORTAR A SYMBOL OF AGRICULTURE SOCIETY
Hardy Mendrofa
OLEH/BY NANING SOEMODIHARJO (SOLO)
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SOCIAL PROTEST IN ART Kritik dan protes sosial dalam seni sudah lama berlangsung sebelum tren demo. Simaklah sajak-sajak Rendra (alm), drama-drama Putu Wijaya, lagu-lagu Iwan Fals, lakon-lakon teater Koma, lukisan-lukisan Hardi, dan lukisan hingga pementasan Heri Dono. In Art, criticism and social protest have long find their place way before demonstration becomes a trend. Just take a look at the poetry of the late Rendra, Putu Wijaya’s dramas, Iwan Fals’ songs, Teater Koma’s plays, Hardi’s paintings, and also the paintings and performances of Heri Dono.
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RANCAGE DAN AJIP ROSIDI RANCAGE AND AJIP ROSIDI
Setelah diumumkan pada 31 Januari lalu, akhirnya Hadiah Sastra Rancage 2012 resmi digelar di Universitas Negeri Semarang (Unnes), Jawa Tengah pada 24 Mei 2012. “Memang begitu, akhir Januari dumumkan, pada ulang tahun saya. Pelaksanaan pemberian hadiahnya beberapa bulan kemudian karena kami mengadakan kerja sama dengan pihak lain, terutama universitas, supaya menarik lingkungan lebih banyak,” tutur Ajip Rosidi.
Ibnu Setiadi
Following the announcement on January 31, the Rancage Literary Award 2012 was finally officially conducted at Semarang State University, Central Java, on May 24, 2012. “That is right, it was announced at the end of January, precisely on my birthday. The award handing ceremony was several months later since we are having collaboration with other parties, particularly universities, to attract more milieus,” said Ajip Rosidi.
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Betawi Mencari yang Asli SEEKING THE GENUINE BETAWI
Ragam budaya Betawi mulai dari tarian, wayang, kuliner, hingga arsitektur Betawi dipamerkan. Bagian dari upaya mencari Betawi yang “asli”. A diverse of Betawi cultural objects were exhibited recently in Jakarta—dance, wayang, culinary, and even architecture. It was part of the efforts to look for the “genuine” Betawi.
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orum Kajian Antropologi Indonesia (FKAI) kembali menyelenggarakan pameran kebudayaan Nusantara. Pameran kali ini adalah tentang kebudayaan Betawi, yang judul lengkapnya “Betawi Punye Gaye: Inspirasi Kebudayaan Jakarta Asli”. Pameran tersebut telah berlangsung 19-29 April 2012, di Bentara Budaya Jakarta. FKAI adalah organisasi berbentuk yayasan. Didirikan pada 2004, sebagai wadah bagi para sarjana antropologi Indonesia untuk melakukan kajian-kajian antropologi di luar lingkungan perguruan tinggi dan lembaga-lembaga pemerintah. Acaranya tergolong unik, diawali upacara palang pintu yang merupakan salah satu adat pernikahan Betawi, yang diikuti sajian keroncong, dan tari Yapong Betawi. Mulyawan Karim, Ketua FKAI,
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nce again, the Indonesian Forum of Anthropological Studies (FKAI) held the a cultural exhibition of the Archipelago. This time, it was on Betawi culture, titled “Betawi’s Own Style: Inspiration of Genuine Jakarta Culture”. The exhibition took place at Bentara Budaya Jakarta between April 19-29, 2012. FKAI is an organization that takes the form of a foundation. It was founded in 2004, as a forum for Indonesian anthropology scholars to conduct anthropological researches outside the scope of universities and government agencies. It was a distinct event, opened with a ceremony of the gate which is part of Betawi’s wedding ceremony custom, followed by keroncong orchestra and Yapong dance. Mulyawan Karim, Chairman of FKAI, said that Betawi is a rich culture compared to other Indonesian
Ibnu Setiadi
Pameran exhibition
mengatakan, “Betawi merupakan salah satu budaya yang sangat kaya jika dibandingkan dengan budaya Indonesia lainnya. Hal ini karena asal muasal masyarakat Betawi,” ungkapnya. “Budaya Indonesia memang beragam, pameran budaya seperti ini sangat diperlukan untuk kembali mengenalkan kepada generasi muda tentang mengingat akar budaya demi mempertahankan jati diri bangsa,” imbuhnya. Berbagai macam makanan dan hasil kreasi budaya Betawi dipamerkan di sini, seperti skoteng, kerak telur, roti buaya, dan kue-kue tradisional. Tidak ketinggalan pula pakaian adat Betawi, hingga rumah bergaya Betawi, termasuk perabotan dapur juga terdapat dalam pameran ini. Lukisan-lukisan Jakarta Tempo Doeloe menghiasi ruang pameran saat itu. Selain itu, pada 25 April 2012 juga diselenggarakan bincangbincang “Betawi Punye Gaye, Inspirasi Warisan Budaya Jakarta Asli”, dengan narasumber, antara lain Prof. Dr. Yasmine Z. Shahab, antropolog Universitas Indonesia dan ahli budaya Betawi. Kemudian David Kwa, peneliti kebudayaan Betawi dan Peranakan Indonesia. Lalu ada juga Harry Palmer, seorang praktisi dan pengembangan kesenian Betawi. Juga Drs. Ukus Kuswara, M.M., Direktur Jenderal Nilai Budaya Seni dan Film, Kementerian Pariwisata dan Ekonomi Kreatif. Dengan dipandu moderator J.J. Rizal, seorang eksponen Generasi Muda Betawi. Kemudian pada hari selanjutnya, tepatnya 27 April 2012, diadakan pula pentas wayang Betawi, dengan dalang Ki Sukar Pulung, yang membawakan lakon “Gatot Kaca Kembar”. Pementasan wayang ini dijadikan sebagai acara penutupan dalam pameran “Betawi Punye Gaye”. BAMBANG TRIYONO
cultures. “This is due to the origins of Betawi people themselves,” he said. “Indonesian culture is indeed diverse. Thus exhibition like this is much needed to remind young people about their cultural roots to preserve national identity,” he added. Culinary treats of various colors and flavors were also being exhibited, such as sekoteng (hot ginger beverage), kerak telur (herbed rice omelette), roti buaya (alligator-formed bread), and traditional cakes. There was also Betawi costumes and houses on display, including traditional kitchen utensils. Paintings of Old Time Jakarta decorated the exhibition hall. Additionally, on April 25, 2012 a discussion was also being held, titled “Betawi’s Own Style, Inspiration of Genuine Jakarta Cultural Heritage”, with speakers including Prof. Dr. Yasmine Z. Shahab, anthropologist from the University of Indonesia and also an expert on Betawi culture. Then there were also David Kwa, researcher of Betawi dan Indonesian Peranakan cultures; Harry Palmer, expert on Betawi art development; and Drs. Ukus Kuswara, M.M., Director General of Culture, Art and Film of the Ministry of Tourism and Creative Economy. The discussion was moderated by J.J. Rizal, an activist of Betawi Young Generation. The next day, on April 27, 2012, they had Betawi wayang performance, with puppetmaster Ki Sukar Pulung, who played the story of “Twin Gatot Kaca”. The wayang show closed the series of “Betawi’s Own Style” exhibition programs. BAM
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Flores Bangkit “Roadshow” ke Bandung ROADSHOW OF FLORES BANGKIT IN BANDUNG
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omunitas Gambara dan Majalah Warisan Indonesia memilih Bandung menjadi kota tujuan kedua setelah Medan untuk mengadakan roadshow. Tema kegiatan di kota kembang ini sama dengan sebelumnya, “Cinta Bhinneka Tunggal Ika”. Budaya dan realitas sosial suku Nias dan Flores sengaja diperkenalkan agar warga kota ini tidak menjadi asing dengan kedua wilayah itu.
”Nias dan Flores merupakan masyarakat yang kurang banyak dikenal. Keduanya seolah terlupakan,” ujar Trisakti Simorangkir, Project Director dan Pemimpin Umum Majalah Warisan Indonesia. Dalam keterbatasan itu, tambah Trisakti, banyak hal yang bisa menjadi pelajaran bagi kita semua. Warga di wilayah itu terbukti amat mencintai negaranya. “Ketidakpedulian masyarakat luas, termasuk media, bukan penghalang untuk berbakti kepada bangsa. Hal itu penting untuk menjadi bahan renungan bagi semua,” kata Trisakti. 118
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he Gambara Community and Warisan Indonesia Magazine selected Bandung as the second city to bring their roadshow after Medan. The theme of the program in this city of flowers was just like the previous title “Love of Unity in Diversity”. The culture and social realities of Nias and Flores tribes were introduced to bring these two regions closer to Bandung’s public. “The general public is mostly not familiar yet with Nias and Flores. It is as if these two have been forgotten,” said Trisakti Simorangkir, the Project Director who is also the Chief Executive of Warisan Indonesia Magazine. With such limitations, Trisakti added, there are many things that we all could take as a lesson. There is no doubt that the natives of these two regions love their country. “The negligence of the general public, including the media, is not an obstacle for them to serve for the country. This is one important matter for us all to reflect on,” Trisakti said.
Dok. gambara.co.id
GAMBARA PHOTO AWARD 2012
Penghargaan untuk Seni Peran APPRECIATION FOR THE ART OF ACTING
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egalauan atas kepopuleran yang instan di dunia hiburan membuat Institut Kesenian Jakarta (IKJ) mengadakan Penghargaan IKJ, yang diserahkan pada 18 April 2012, di Taman Ismail Marzuki, Jakarta. “Pada masa kini yang pandangan hidup kian mengarah pada keseketikaan, seni peran cenderung direduksi hingga ke titik nirjiwa. Proses penjiwaan yang mestinya dilakukan tahap demi tahap, kini ditinggalkan atau tak dianggap penting. Maka tampaklah para pemain tanpa jiwa,” ujar Gandung Bondowoso, pengajar di Program Studi Seni Peran IKJ. Itu sebabnya, dalam rangka ulang tahun ke-42 lembaga yang fokus pada pendidikan seni dan budaya ini, untuk pertama kali mengeluarkan Penghargaan IKJ. “Untuk memberikan apresiasi kepada pihak-pihak di luar IKJ yang menghargai pentingnya seni peran,” ujar Gandung Bondowoso, yang dalam program ini menjadi Ketua Pelaksana.
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he uneasiness that the Jakarta Art Institute (IKJ) felt on instant popularity in the entertainment world has led it to arrange the event of IKJ Awards, held on April 18, 2012, at Taman Ismail Marzuki, Jakarta. “In these current times, where life perspective has increasingly led to instantaneous gratification, the art of acting tends to be reduced to the point of soullessness,” said Gandung Bondowoso, lecturer at the Art of Acting Department, IKJ. “The process of internalizing that supposedly absorbed one step after another, has been left out or considered insignificant. Thus now we have soulless actors,” he went further.
Ibnu Setiadi
It is therefore, to commemorate the 42nd anniversary of the institution that has been focusing on art and cultural education, it is holding the IKJ Awards for the first time. “It is a form of appreciation to the parties outside IKJ, those who respect the importance of the art of acting,” said Gandung, whose role in the program was the Chairman.
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Arief Kopral/ Dok. Disbudpar Jatim
Kesenian THE NORTH COAST ART OLEH/BY HENRI NURCAHYO (GRESIK)
Seperti apakah yang disebut kesenian Pesisir Utara? Pertanyaan itu wajar mengemuka ketika menyaksikan Festival Kesenian Pesisir Utara (FKPU) di Gresik, 8-10 Maret 2012. Sebanyak 14 kota/kabupaten tampil membawakan kesenian yang menjadi identitas kotanya. What is a North Coast Art really like? The thought naturally popped up watching the North Coast Art Festival (FKPU) held in Gresik, between March 8-10, 2012. As many as 14 cities/regencies staged performances of the art that has become the identity of their city.
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Pentas Performance
Hardy Mendrofa
PERLAWANAN
Roro Mendut THE FIGHT OF RORO MENDUT
“Nyai…….,” panggil Tumenggung Wiroguno yang diperankan aktor Ray Sahetapy kepada istrinya. Suara serak, tetapi berwibawa itu membuat Sang Nyai yang diperankan Aylawati Sarwono segera menyahut lewat suaranya yang manja, “Iyaaaa Kang Mas.” “My concubine…” called Tumenggung Wiroguno—played by actor Ray Sahetapy to his wife. The raspy voice, yet authoritative, immediately made the Lady Concubine—played by Aylawati Sarwono—answer with her intimate voice, “Yeees Darling.” Warisan Indonesia I Vol. II I No. 17 I May 15 - June 15 2012
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MALAM CHAIRIL ANWAR 2012 | AN EVENING OF CHAIRIL ANWAR 2012
A. Budi Adi Santosa
Panggung bagi Petinggi dan Politisi
STAGE FOR OFFICIALS AND POLITICIANS OLEH/BY SINGGIR KARTANA (YOGYAKARTA) 128
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Pentas Performance
Yanuar Dwi Sarjono
Ada Puisi di Kebun Medini POEM IN THE MEDINI PLANTATION
OLEH/BY IYAN DWI S (KENDAL) maka pulanglah hai lelaki daun jati, robohkan segala berhala di depanmu dirimu adalah rindu dendam atas dirimu sendiri, berangkatlah, jangan gentar
then return home, hey teakwood man crush any pagan idol before you you are your own longing and vengeance, leave, do not be afraid
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i tengah hamparan kebun teh yang menghijau di kawasan Kebun 2 Afdeling Medini, Babadan, Ngesrep Mbalong, Kecamatan Limbangan, Kendal, Jawa Tengah, sosok lelaki tiba-tiba muncul. Berjaket hitam dan bertopi, ia mendaraskan puisi dengan lantang, penuh ekspresi memecah keheningan alam Medini.
n the middle of the stretch of lush tea plantation, in the area of Plantation 2 Afdeling Medini, Babadan, Ngesrep Mbalong, District of Limbangan, Kendal, Central Java, a figure of man emerged suddenly sosok. Wearing a black jacket and hat, expressively he recited a poem loudly, breaking the silence of Medini nature. Warisan Indonesia I Vol. II I No. 17 I May 15 - June 15 2012
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Panorama Panorama
MENZIARAHI
Raja Ali Haji A PILGRIMAGE TO RAJA ALI HAJI’S TOMB TEKS & FOTO | TEXT & PHOTOS : HARDY MENDROFA
MASIH ingatkah Anda dengan Pahlawan Nasional Raja Ali Haji? Dia adalah pengarang berjuluk “Raja Gurindam Dua Belas” dan sering disebut-sebut sebagai Bapak Bahasa Melayu-Indonesia. Di Pulau Penyengat, bukti-bukti sejarah yang menunjukkan “kebesarannya” itu masih tersimpan. Do you still recall the National Hero Raja Ali Haji? He is the writer with the title of “The King of Twelve Rhymes” who was also dubbed as the Father of Malay-Indonesian Language. On the Island of Penyengat, the historical evidence showing his “glory” are still well kept. 134
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ulau Penyengat merupakan bagian dari Provinsi Kepulauan Riau dan posisinya tidak terlalu jauh dari Singapura. Untuk sampai ke sana, pengunjung bisa menggunakan kapal tradisional yang disebut pompong dari Kota Tanjungpinang yang merupakan ibu kota Provinsi Kepulauan Riau. Jaraknya tidak terlalu jauh, hanya sekitar 15 menit perjalanan menggunakan pompong dari Tanjungpinang.
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he Island of Penyengat is part of Riau Islands Province whose location is quite close to Singapore. To get there, visitors can use the traditional boat called pompong from the city of Tanjungpinang, which is the capital of the province. It is only a short distance, the trip takes about 15 minutes using the pompong from Tanjungpinang.
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Pesta di Balik Ulat Sagu THE PARTY BEHIND THE SAGO WORM
TEKS & FOTO | TEXT & PHOTOS : ANTON BAYU SAMUDRA 138
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ZooM Zoom
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antas saja makanan sehari-hari orang Papua adalah sagu. Di hampir seluruh Papua, baik pesisir maupun pegunungan, ada hutan sagu. Namun, ternyata, untuk mendapatkannya tidak bisa dengan sembarang cara.
Bagi masyarakat Papua, Suku Asmat misalnya, sagu telah menjadi kerangka moral yang dipatuhi. Sagu harus diambil secara baik dalam suatu proses tata krama tersendiri. Sagu harus dikonsumsi secara baik pula, agar kehidupan dan penghidupan selalu berlangsung dengan baik. Yang pertama tentu mencari dengan benar pohon-pohon sagu yang dianggap layak, yaitu yang berusia dua atau tiga tahun, dengan perkiraan di dalamnya sudah terdapat sari sagu.
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t is not surprising that Papuans eat sago everyday. Nearly the entire Papua region, the coastal area as well as the mountains, has sagu forest. However, apparently, there are certain manners to get the sago.
To the Papua people, say the Asmat Tribe, sago has become a moral frame to obey. They should take the Sagu appropriately in certain codes of conduct. The sago is to be consumed in an appropriate way too, to let life and living go well. First thing is to correctly find the right tree, about two to three years, estimated to have sago juice inside.
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