K. van Dijk The magnetism of songs
In: Bijdragen tot de Taal-, Land- en Volkenkunde 159 (2003), no: 1, Leiden, 31-64
This PDF-file was downloaded from http://www.kitlv-journals.nl
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One striking feature of the student demonstrations in Indonesia in the months before and after President Soeharto's fall from power was the choice of patriotic symbols.1 No protest rally seemed complete without students singing nationalist songs. Another indispensable feature of many of the demonstrations was a long march. Both the patriotic lyrics and the long marches are signs of the success of Indonesia's New Order indoctrination and the special brand of nationalism the military tried to inculcate. The long marches, invariably referred to as such in English, are reminiscent of the heroic march of soldiers of the Siliwangi army division returning from Central Java to their home base in West Java in 1948. Forced to withdraw to Indonesian Republican territory after the Renville Agreement of 17 January 1948, the troops, accompanied by their families, began their wearying return journey to West Java after the launching of the Second Dutch Military Action on 18 December 1948. Of course, the students' long marches were much shorter than this, often no more than a walk around the periphery of a campus or a hotel, or through one part of a town. Some of the nationalist songs, known in Indonesian as lagu perjuangan, 'struggle songs' (or occasionally as lagu pahlawan, 'heroes' songs'), glorify the Indonesian Revolution and the struggle for independence from the Dutch. That protesting students sang nationalist songs with such enthusiasm requires some explanation. Another term for one group of such songs is lagu wajib, 'compulsory songs', referring to the fact that schoolchildren are obliged to sing them (and a lot of other songs which glorify the nation or voice official ideology and as such form part of a larger indoctrination campaign)
1 This article represents an initial attempt at a survey of the hitherto unexplored field of political songs.
KEES VAN DIJK is researcher at KITLV and professor at the Department of Languages and Cultures of Southeast Asia and Oceania at Leiden University. He has published Rebellion under the banner of Islam; The Darul Islam in Indonesia, The Hague: Nijhoff, 1981, and A country in despair; Indonesia between 1997 and 2000, Leiden: KITLV Press, 2001. Professor Van Dijk may be contacted at KITLV, P.O. Box 9515, 2300 RA Leiden, The Netherlands.
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Cover of audio cassette tape Lagu-lagu wajib & perjuangan at primary and secondary school. The Ministry of Education and Culture decides which songs are compulsory. The use of the word 'compulsory' suggests that such songs were not, at least at some time in the past, particularly popular. Someone wanting to buy audio cassettes of these songs in the 1970s and 1980s needed physical agility: music shops stock-ed only a few, and those which were available were kept somewhere on a bottom shelf. Nowadays, however, there is a great quantity of them in a variety of styles: vocal, instrumental, keroncong, nostalgic, and karaoke. To retrieve one from the shelf, one no longer needs to kneel or bend over. The cassettes are stored at (Indonesian) chest and eye level. Compulsory songs have made the grade and become acceptable, even popular. New cassettes are brought out regularly, and some CDs and even VCDs have appeared. The celebration of the fiftieth anniversary of Indonesian independence in 1995 triggered a modest boom in new cassette releases. Even so - though it is too early for a definitive judgement - the reformasi climate of the post-Soeharto period and the increasingly negative image the army has been acquiring may
Downloaded from Brill.com10/03/2021 06:51:54PM via free access The magnetism of songs 33 detract from the popularity of these songs, and consequently the cassettes may again be relegated to the bottom shelf. Similar songs are also sung and sold in Malaysia and Singapore. In Malaysia they are called 'patriotic songs', or lagu patriotic, a term some- times also used in Indonesia. In Singapore they are popularly referred to as 'National Day songs', a telling name. Struggle, patriotic, and National Day songs all form part of a larger effort to forge national unity and to create a sense of national identity in relatively new states which are multi-racial and multi-ethnic. In Malaysia, Singapore, and Indonesia, national unity is fostered in official state campaigns aimed at preventing secession and com- munal violence. In part, the government uses repressive means, linked with wide-ranging anti-subversion legislation and the detection of illegal activi- ties. In Indonesia the latter are encapsulated in the term SARA, an acronym made popular by Admiral Sudomo when he was head of the security force, the Kopkamtib, between 1974 and 1983.2 In part the government uses persua- sion, such as video clips on TV and staged documentations and celebrations. Yet one should add that, at least on certain occasions, people appear happy to participate. Centre stage in Indonesia's efforts to avoid violent political strife is taken by the Pancasila, the sacrosanct ideology of the nation which so far seems to have survived the changes in Indonesia's political atmosphere. Pancasila stresses the primacy of the unitary structure of the Indonesian state. Another important ideological term is kerukunan, referring to the harmonious coexistence of the great variety of groups that fall under the SARA definition, until recently often coupled with the word agama, religion. The link is not without reason, as racial differences largely run parallel to religious ones. Only a few Chinese are Muslim. In Malaysia, after the racial riots of 1969, the national government set in motion an ideological campaign to promote national unity. A new phase in nation building dawned. Rukun negara, the harmonious coexistence of the various segments of Malaysian society, was proclaimed the national ideology. Though not propagated as intensely as the Pancasila, the text of the rukun negara is recited at most schools every Monday and is painted on school walls. It also occasionally features in Malaysian patriotic songs. One cassette, Cita-citaku (My ideals), with songs by Andy Yunus, features a children's choir shouting out the message. Besides belief in God, which is also one of the pillars of the Pancasila, rukun negara includes polite and decent behaviour (kesopanan dan kesusilaan). Its avowal of the supremacy of the constitution (keluhuran perlembagaan) simultaneously underscores the preferential constitutional
2 Mahendra 1998:122. SARA stands for Suku, Agama, Ras, Antar Golongan (ethnic group, religion, race, and inter-group relations).
Downloaded from Brill.com10/03/2021 06:51:54PM via free access 34 Kees van Dijk position enjoyed by Malays, the Malay language, and Islam. Yet this aspect hovers discreetly in the background. Malaysia-ness (and not Malay-ness) is fostered, even though Malays participating in demonstrations of the ruling Malay party, the United Malays National Organization (UMNO), at times appear to forget this and relapse into fierce Malay nationalism.3 In spite of this, there is a drive by the federal government in Kuala Lumpur to promote feelings of all-Malaysian nationalism. Malaysian citizenship is emphasized, turning allegiance to the national flag and the national anthem into demon- strations of loyalty to the multi-racial society. Independence Day and other political celebrations, such as the date of the founding of the Barisan Nasio- nal, in which the main political vehicles of the'Malay, Chinese, and Indian communities cooperate, have emerged as moments to express such feelings of intercommunal solidarity. In Singapore, predominantly Chinese but located at the centre of the Malay world, the equivalent of Malaysia-ness is Singapore-ness. At the end of the 1980s Singapore started to develop a national ideology, defining positive values - such as belief in the family as the cornerstone of society, mutual consultation instead of conflict, and religious tolerance - to be shared by all population groups in the city-state. Singapore is well known for its campaign to instil discipline in its citizens. Using posters with slogans like 'Courtesy is our way of life' and 'Drop it into a litter bin' propagating the ideal of a harmonious and clean society, it is claimed that people have stopped urinating in lifts and chewing chewing-gum. Events such as a Kindness Week intended to create a 'more caring and gracious society' and a Total Defence Campaign are designed to produce better citizens.4 Some of the songs included in the National Day repertoire reflect such campaigns.
3 A similar observation can be made about 'ordinary' pop songs. An example is provided by the Bumiputra Rockers, the 'Native Rockers'. One of their songs, 'Semangat Melayu' (Malay spirit), relates of Hang Tuah and Hang Jebat, heroes from the Hikayat Hang Tuah:
Tuah tidak lagi megah berdiri Langkah si Jebat menyepi Bersemangat juang kita dengdangkan Jangan biarkan budaya kita hilang Tuah no longer proudly stand The deeds of Jebat have become rare About the possession of a fighting spirit we sing Don't let our culture disappear
4 A Courtesy Campaign (see Nirmala 1999) was launched in Singapore in 1979. July became Courtesy Month. In Singapore a Kindness Movement was started in 1997. The slogan of the Courtesy Campaign of that year was 'Try a little kindness'. During Kindness Week in 2000, Singaporeans were assured in an interview with a psychologist that most of them belong to the type of people 'who are intrinsically kind' (The Straits Times 19-4-2000).
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The 'Road safety for you (for pedestrians)' song stresses the necessity of obeying the rules of the road:
Dear pedestrian, when you step off the kerb And set out to cross the road Keep in mind Road crossing signs Follow the highway code Consider all those miseries You'll cause to your families Through accidents of pedestrians.
Other songs highlight the successes of nation building and economic devel- opment. In 'We are Singapore' it is pointed out that this was no mean achieve- ment:
There was a time when people said that Singapore won't make it, but we did. There was a time when trouble seemed too Much for us to take, but we did. We built a nation strong and free Reaching out together for peace and harmony.
Another recurring theme is that one should be proud to be a Singaporean and that irrespective of ethnic or racial background all citizens of the city-state are Singaporeans. This is expressed most clearly in the song 'One people, one nation, one Singapore':
One people, one nation, one Singapore That's the way that we will be forevermore. Every creed and every race Has its role and has its place. One people, one nation, one Singapore.
To return to nationalist songs, Malaysia and Singapore each have their own repertoire. In Malaysia some of these songs were composed in the years before the country gained independence on 31 August 1957. Others are of a later date. They glorify independence - one example is the song 'Tanggal 31 Ogos' (August 31st) - and are intended to foster a feeling of belonging to the Malaysian nation. One special category is formed by songs that aim to cement racial harmony. The song 'Muhibbah' (Friendship) was especially created with that purpose in mind after the racial riots of May 1969. More recently composed patriotic songs express the achievements Malaysians should be proud of: the economic development achieved, the high standard of education, the sophisticated and widespread use of information technol-
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ogy, and also their national car, the Proton. One song that serves as back- ground music on a patriotic video clip aired on TV (one should not forget that the Malaysian government makes ample use of such clips to propagate patriotism and to stigmatize its domestic critics) is a typical example:
Buruh nelayan dan juga petani Gaya hidup kini dah berubah Anak-anak terasuh mindanya Lahir generasi bijak pandai Pakar I.T. pakar ekonomi Jaguh sukan dan juga jutawan Berkereta berjenama negara Megah menyusur di jalan raya Alam cyber teknologi terkini Kejayaan semakin hampiri Biar di kota ataupun desa Kita semua pasti merasa bangga5 Labourers, fishermen, and also farmers Their way of life has changed. The intellect of our children is trained Creating a smart and clever generation. IT experts, economic experts Sport champions and also millionaires Drive in luxurious national cars Along the highways. With the most advanced cyber-technology climate Our objectives come increasingly closer. Whether we live in the city and the countryside We all certainly feel proud.
Nevertheless, it does not take long to realize that at present in Malaysia and Singapore the content, popularity, and availability of patriotic songs differ from what is on offer in Indonesia. To start with the most striking difference: such music does not seem to be very popular in Malaysia and Singapore. The governments in Kuala Lumpur and Singapore do their utmost to instil nationalism in their citizens, but these efforts do not boost the production or sale of cassettes and CDs of nationalist songs. Malaysian TV programmes are interspersed with songs singing the praises of the country, portraying the results of economic development and the beauty of the landscape (not without reason is one of the cassettes called Malaysiaku indah (My beautiful Malaysia)), and stressing the importance of national unity and interracial harmony. During music programmes patriotic songs are sung, and to bring
5 Verses from 'Kerana mu Malaysia' (Because of you, Malaysia)
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the message home, waving the national flag and marching around in military fashion may be important parts of the choreography. The Malaysian government has not abandoned its efforts to promote national songs; leading Malay politicians express their concern that the spirit of patriotism is waning among the younger generation A national contest for patriotic songs was held in Kuala Lumpur by the International College of Music (ICOM) on 25 August 2001. The ICOM Millennium Malaysian Patriotic Song Competition, or Pertandingan Lagu Patriotik Malaysia Alaf Baru (Contest of New-Style Malaysian Patriotic Songs) took place within the framework of a new programme launched by the Malaysian government, Patriotisme Alaf Baru (New-Style Patriotism).6 The contest was aimed especially at young singers and young songwriters. It formed part of the effort to make patriotic songs more popular, first and foremost for a younger audience. Or, as the organizers phrased it, 'to encourage Malaysian youth to express their sense of patriotism and loyalty to the country through song- writing and music performance'. In view of the stress laid on 'Malaysian', it does not come as a surprise that Chinese and Indians also participated. The winner, a journalist who had written the song 'Kisahmu belum berakhir' (Your story has not yet ended), received an award of RM 50,000. The song contest was televised live on the TV1 channel. The Malaysian president, Dr Mahathir Mohammad, his wife, and a number of cabinet ministers were present to underscore the importance of the contest. At the end of the contest ICOM students performed a dikir rap, and thus not a dikir barat (a popular jesting chorus performance first introduced in Kelantan in the 1940s), partly in Malay and partly in English. The Malay section mentioned the rukun negara:
Ingatkah ini: Kepercayaan kepada Tuhan Kesetiaan kepada Raja dan Negara Keluhuran Perlembagaan Kedualatan Undang-undang Kesopanan dan Kesusilaan Rukun negara harus diingatkan Remember: Belief in God Loyalty to King and Country The supremacy of the Constitution
6 The Patriotisme Alaf Baru organization has its own logo. Significantly, the logo is explained as consisting of two images. One is that of a human being. The other that of a kris, a typical Malay weapon. The kris in turn is said to symbolize the patriotic spirit of the Malaysian people (http://myc2000.tripod.com/ppab/logo.htm).
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The rule of law Mutual respect and good social behaviour The rukun negara must be remembered.
The message in the English part is also clear:
Dignity, loyalty, perseverance, humanity This is the Malaysian Glory, yeah, yeah No segregation of race, religion, and tradition, One nation living in peace and harmony. Everybody, thank the Almighty for blessing our country Malaysia's moving up for the world to see We are working for our vision 2020.7
Yet, cassettes with music of this kind are rare, and when available, often are meant for children. The message transmitted leaves no doubt. Love of coun- try and harmony are the main themes. The cassette Lagu patriotik Malaysia
Bumi Malaysia tanah bertuah Menarik dan juga indah Berbagai bangsa di dalamnya Hidup harmoni dan bahagia Rajanya adil dan bijaksana Saling sepakat sekata Semua rakyat menjunjung setia Taat hanya untuk Baginda Maju Malaysia maju negara Harum namamu di dunia Marilah semua kita berdoa Untuk Malaysia tercinta Gagah Malaysia ke hadapan Sahut segala rintangan Membuat segala perubahan Demi untuk kemajuan
7 Vision 2020 or Wawasan 2020 was formulated by Mahathir in 1991. References to it are more frequent in the streets than to the rukun negara. 2020 is the year that Malaysia is targeted to become a developed country, not only economically, but also culturally, politically, and socially.
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Malaysia, fortunate land, Impelling and beautiful, Home to various peoples Living in harmony and happiness. The King is just and wise, One in mind and one in word All the people are loyal and Faithful to him. Move forward, Malaysia, move forward; Your name is famous throughout the world; Let us all pray For our beloved Malaysia. Courageous Malaysia, advance, Take on all obstacles, Bring about all necessary changes For progress.
In Singapore patriotic songs were embraced by the authorities even before the city became an independent state. Lee Kuan Yew (2000:301) writes in his memoirs that he 'believed music was a necessary part of nation building. It uplifted the spirit of a people.' He had written these words in the course of a 'music war' between him and the federal government in Kuala Lumpur. The federal government had forbidden the police band to perform on Singapore State Day in June 1964. Lee Kuan Yew hit back a few months later, after visiting Brussels to attend a meeting of the Socialist International. Impressed by the 'great array of bands' which marched along during a parade organized by the Socialist International, Lee Kuan Yew (2000:300) decided 'to form them in our schools and the People's Association'.8 Consequently, a 'crash programme for brass bands in secondary schools' was started (Lee Kuan Yew 2000:301). The drive was successful. In June 1965 school bands and a People's Association band marched though town on Singapore State Day. Singapore has a 'Sing Singapore' event, held every two years since 1988, to promote Singaporean music and enhance national unity and patriotic feeling. Sing Singapore is part of a larger Total Defence campaign (Shzr Ee Tan 2001). Recently it was realized that 'the patriotic overtones and propaganda of previous attempts' had fallen short of their aim. The chairman of the Sing Singapore 2000 committee expressed the hope that Singaporeans would start to sing 'because they want to sing, not because they think it's their duty to'.9
8 The People's Association had been founded by Lee Kuan Yew in July 1960 as an umbrella for all kinds of social organizations in his effort to mobilize citizens of Singapore to counter communist agitation. 9 The Straits Times 24-3-200. The theme song (and that of the National Day Parade) was 'Shine on me', composed by Jim Lim, who used words from an essay he had written at primary school, 'Stars and crescent shine on me' (The Straits Times 25-3-2000).
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Previous occasions had failed to stimulate Singaporeans to rush to the shops to buy patriotic songs. The supply of such songs in music shops in Singapore is even more limited than in Malaysia. Apart from the fact that Singapore is too prosperous to offer a market for cheap music cassettes, which have been driven out by CDs, National Day songs, just as in Malaysia, are seen as being for children. One often has to go to the children's section of music shops to find patriotic songs. But, though the harvest is small, the rewards are great. The album Sing-along Singapore presents us with songs mostly in English, along with a few in Chinese, Malay, and Tamil, performed by a children's choir, with titles like 'This is my land', 'Singapore negara-kita', 'I love Singapore', 'One people, one nation, one Singapore', 'Stand up for Singapore', and 'Count on me, Singapore'. The Singapore cheer - Say it loud, Make it clear/ Shout the Singapore cheer - is included, as is the popular Malay song 'Rasa sayang'. And on the inside cover one can find the national pledge and an explanation of the Singapore flag To promote Singapore's patriotic songs, the Ministry of Information and the Arts recently launched the VCD Singapore one voice; The complete collection of national songs. In the songs presented, patriotism and harmony are coupled with the vision of a great future. As expressed in the chorus of the song 'In Singapore':
'Cause in this land we will be strong We will be one united people Hand in hand we will be one In Singapore 'Cause in this land we will be strong We will go where no one has gone You and I We will achieve In Singapore
Not everybody in Singapore is impressed. Alternative versions of patriotic songs circulate; for instance, here is the original and an alternative version of 'Count on me, Singapore':
We have a vision for tomorrow We have a revision of pay tomorrow Just believe, just believe Just release, just release We have a goal for Singapore We have a poorer Singapore We can achieve, we can achieve We won't receive, we won't receive
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Count on me Singapore Count money Singapore Count on me Singapore Count money Singapore Count on me to give my best and more Count on me to give my salary and more Count on me Singapore Count money Singapore10
In Indonesia, by contrast, nationalist songs are taken very seriously. They are sung with gusto at national events to which great patriotic importance is attached or which need a boost in morale. When one of Soeharto's daughters, Siti Hadijanti Rukmana, usually referred to as Tutut, launched the 'Aku cinta Rupiah', I love the Rupiah, campaign on 12 January 1998, just after the Asian financial crisis had hit Indonesia with full force, the event was interspersed with the singing of patriotic songs and the shouting of Allahu Akbar, God is Great. The 'I love the Rupiah' campaign was a failure. Popular support failed to materialize. The singing of patriotic songs formed part of the culture of the New Order, characterized by impressive pre-staged, well- organized nationalist ceremonies. Nevertheless, real emotions can also be at stake. When Megawati Sukarnoputri was elected vice-president of Indonesia during the General Session of the People's Congress in October 1999, her supporters in the People's Congress and in the public gallery at once struck up 'Bagimu neg'ri' (To you my country, or to you The Indonesian Republic), a highly emotionally charged song:11
Padamu neg'ri kami berjanji Padamu neg'ri kami berbakti Padamu neg'ri kami mengabdi Bagimu neg'ri jiwaraga kami To you my country we pledge To you my country we are loyal To you my country we devote ourselves To you my country we give our body and soul The songs may also be sung to express solidarity. When Tutut's brother, Hutomo Mandala Putra, better known as Tommy, had to stand trial for cor- ruption after Soeharto's fall, his supporters tried to put new heart into him by singing 'Maju tak gentar' (Advance without fear). Besides heartening
10 Shzr Ee Tan 2001:17. 11 According to the booklet enclosed in the music cassette Simfoni negeriku by the Victorian Philharmonic Orchestra, the composer of this song, R. Kusbini, intentionally wrote neg'ri, which can stand for negeri as well as for Negara Republik Indonesia.
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KUSBINI
51-6 5 30 / 5 . 5 1.2 3 . / J • ' # *-=r—^
Pa - da - mu Nc-' gri , ka - mi berjan- ji•• 4 7^5 i l~0 / I]*!, 2~J, 2 .. / fc g' ^ ^
Pa - da - mu Ne- ,gri , ka-nii herbak- li
,.51-6; 30/ 5.5 !i^|, '3 . /
Ha - da - mu Ne - gri , ka - mi mcngab-' di
4 //
Ba-gi - mu Ne- gri , jiwa ra- ga ka-mi
The patriotic song 'Bagimu neg'ri' (source: Lagu wajib n.d.:4)
Downloaded from Brill.com10/03/2021 06:51:54PM via free access The magnetism of songs 43 him, their ulterior motive was to present a show of defiance toward the new political atmosphere which had formed and toward the bashing of Soeharto, his family, and his associates which seemed an ineluctable part of the new political circumstances.
Maju tak gentar membela yang benar Maju tak gentar hak kita diserang Maju serentak mengusir penyerang Maju serentak tentu kita menang Advance without fear to defend what is true Advance without fear, our rights are under attack Advance all together to expel the aggressor Advance all together, victory will certainly be ours A more recent event testifying to the emotional and symbolic function of some of the struggle songs took place in March 2002 in a completely dif- ferent setting. The scene was the 'Kuis Siapa Berani' (Who dares) TV quiz show broadcasted by Indosiar. This time members of two soccer supporters' clubs, the Viking Club (supporters of Persib) and the Jakmania (supporters of Persija), were among the participants. The two clubs had clashed with each other in the past. Full of good intentions, the supporters had asked for the singing of 'Bagimu Neg'ri' at the end of the programme 'as a sign of togetherness'. There was, however, not much togetherness afterward. In the Indosiar canteen, soccer fans came to blows again. Stones were thrown. The fight lasted for fifteen minutes till the police arrived. It had started 'when Feri, a supporter of the Jakmania, was about to congratulate AH of the Viking Club on winning the Rp 10 million (US$ 1,000) grand prize. But, instead of shaking Ali's hand, Feri punched his face.' (The Jakarta Post 13-3-2002; Pos Kota 13-3-2002; Republika 13-3-2002.) As these examples indicate, in Indonesia patriotic songs are much more a preserve of adults than of children. Cassettes for children have appeared, but only recently. Struggle songs are very serious affairs. Their performers are solemn orchestras and choirs: Harmoni Orkes Indonesia, choirs of regional military commands, male and female singers who have been elected best keroncong singer of the year, and so on. At times religion plays a role. For the fiftieth anniversary of Indonesia's independence Yayasan Musik Gereja, or Foundation of Church Music, published a songbook especially meant to highlight the contribution of Christian composers to the repertoire of patriotic songs (Suburlah 1995). On at least one cassette, Gita perjuangan (Struggle songs), the songs come complete with the reading of the Proclamation of Independence by Soekarno. In another respect this cassette is also exceptional. It begins by recapitulating the highpoints of Indonesia's history in the twentieth century, starting with the
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founding of the Boedi Oetomo. This is presented in the familiar Indonesian exalted fashion of recitation, interspersed with fragments of martial music. The sounds of gunfire and warplanes mark the coming of the Japanese and herald the Indonesian Revolution. Fully in accordance with the prevailing ideology under the New Order, the tape continues by pointing out the political errors of the 'liberal democracy' between 1950 and 1959, claiming that period to have been characterized by political horse trading and the pursuit of private ambitions and narrow group interests. To highlight the evil of communism and the blessings of the New Order, this is followed by re- calling the events surrounding the coup d'etat of 1965, the Cover of audio cassette tape Gita perjuangan student protests in early 1966, and the transfer by Soekarno of many of his powers to Soeharto on 11 March 1966. The cassette finishes up by emphasizing that the New Order is firmly based upon the Pancasila and the Constitution of 1945, and by presenting Soeharto as the leader of Indonesia's economic development. Some of the lyrics recorded on the cassettes are clearly patriotic and are intended to instil nationalism and the prevailing ideology. It is these songs in particular which fall into the category of 'compulsory'. A prime example is the Tvlars Pancasila' (Pancasila march), also called 'Garuda Pancasila':
Garuda Pancasila akulah pendukungmu Patriot Proklamasi sedia untuk berkorban untukmu Pancasila dasar Negara, rakyat adil makmur sentosa Pribadi Bangsaku Ayo maju, maju, ayo maju, maju Ayo maju, maju!
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Garuda Pancasila I support you A loyal Proclamation patriot is ready to make sacrifices for you Pancasila the basis of the state, the people just, prosperous, and peaceful The identity of my nation Let us advance, let us advance, advance Let us advance, advance!
For those Indonesians who might tend to forget what the five pillars of the Pancasila are, there is the 'Hymne Pancasila'.
Pancasila dasar yang lima: Ketuhanan yang Maha Esa Prikemanusiaan adil beradab Persatuan Bangsa Indonesia Kerakyatan berhikmat musyawarah Keadilan sosial bagi rakyat Pancasila dasar Negara, Jiwa kehidupan bangsa, Pemersatu se-Indonesia The Pancasila has five bases The belief in the One and Only God Just and civilized humanitarianism The unity of the Indonesian nation Democracy based on wise consultation Social justice for the people Pancasila the basis of the state, The spirit of the nation, The unifying force of Indonesia
Other lyrics glorify independence, Independence Day, and the Indonesian flag: IVIars 17 Agustus' or 'Hari Merdeka' (Independence Day), TVIerdeka' (Freedom), 'Indonesia tetap merdeka' (Indonesia ever independent), 'Berkibarlah benderaku' (Hoist my flag), 'Bendera merah putih' (The red and white flag), 'Bendera kita' (Our flag), Dwi warna' (The bicolour), and calling to mind the actual flag raised after the proclamation of independence, 'Dibawah naungan bendera pusaka' (Under the protection of the heirloom flag). Still others stress the commitment to Indonesian unity and the uni- tarian state: 'Indonesia bersatulah' (Indonesia unite!), 'Dari Sabang sampai Merauke' (From Sabang to Merauke), 'Satu nusa satu bangsa' (One land, one nation), and 'Bhineka tunggal ika' (Unity in diversity), the Indonesian nation- al motto. A special song in this category is 'Sumpah Pemuda' (Youth Pledge). It was written to commemorate the Second Indonesian Youth Conference in 1928, where participants pledged that an independent Indonesian state would form one indivisible country with one language.
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Menjadi kewajiban pemuda pada masa sekarang Menanti untuk nusa dan bangsa memenuhi sumpahnya Karena suasana baru menggembleng semangatmu Agar selalu bersiap maju serta teguh bersatu It is the duty of the young generation at the moment To look forward to the country fulfilling its oath Because the new atmosphere hardens your spirit To be ready at all times to advance and to strengthen unity Refrain:
Wahai pemuda apa artinya hidupmu ini Jika kamu tak berjasa kepada Ibu Pertiwi Pemuda di atas pundakmu letak nasib Negrimu Hindarkan itu dari musuhmu rela Dengan Jasamu. Youngsters, what is the meaning of your life If you do not serve your motherland Younger generation, on your shoulders Rests the fate of your nation Protect it against your enemy, Be ready To serve
The date of the Youth Pledge, 28 October, is still a national holiday. Under the New Order, this was a day when grand spectacles were enacted in the presence of Soeharto and other members of the political elite to underline the unity of Indonesia. As a matter of course, the Youth Pledge is included on Gita perjuangan. It gives both a recited and a sung rendering of the text.12 Besides these unequivocally patriotic songs, many others deal with the Indonesian war of independence between 1945 and 1950, relating heroic moments during the struggle for independence. One of the most popular ones is 'Halo halo Bandung'. It commemorates the historic event when part of Bandung was set alight before Republican forces evacuated from the city at the end of March 1946:
12 Pertama: Kami putra dan putri Indonesia mengaku bertumpah darah yang satu, tanah Indonesia. Kedua: Kami putra dan putri Indonesia mengaku berbangsa yang satu, bangsa Indonesia. Ketiga: Kami putra dan putri Indonesia menjunjung bahasa persatuan, bahasa Indonesia.
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Halo halo Bandung Ibukota Periangan Halo halo Bandung Kota kenang-kenangan Sudah lama beta tidak berjumpa dengan kau Sekarang telah menjadi lautan api Mari Bung, rebut kembali! Hello, Bandung Capital of the Periangan Hello, Bandung City of reminiscence For a long time I have not met you Now you are a sea of fire Come on, comrade, retake it!
The battle in Surabaya on 10 November 1945, fought against British troops and still remembered as Heroes' Day, also has a song written about it, simply called 'Surabaya':
Surabaya, Surabaya, oh, Surabaya Kota kenangan, kota kenangan, tak'kan kulupa Disanalah, disanalah di Surabaya Tuk pertama 'tuk pertama kami berjumpa 'Ku teringat masa yang telah lalu B'ribu insan b'ribu hati bersatu padu Surabaya di tahun Empat Lima Kami berjuang, kami berjuang bertaruh nyawa Surabaya, Surabaya, oh, Surabaya City of reminiscence, city of remembrance, I will not forget In Surabaya, in Surabaya We met for the first time, for the first time I remember the days gone by When thousands of people and thousands of minds united firmly In Surabaya in the year forty-five We fought, we fought and risked our lives
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Medley Mars Perfuangan Dan Lagu Wajib
Cover of audio cassette tape Bambu runcing
Other events deemed worthy to be immortalized in 'struggle songs' are the launching of the Second Dutch Military Action (in the Netherlands usually called 'police action', and in Indonesia 'Dutch aggression') on 19 December 1948, and the battle of Ambarawa of December 1945. Dutch and Indonesians have diametrically opposed perceptions of the latter event. The Dutch see it as a treacherous attack on a women's and children's camp, while Indonesians stress the heroic fighting of the Indonesian soldiers, as seen in the lyrics to 'Palagan Ambarawa' (Battle of Ambarawa):
Laga patriotik tebusan Merdeka Pekik gempita 'tuk hancurkan angkara murka Mustangpun menerang, meriam menghantam Tiap jengkal tanah disapu merata musnah Bumi Ambarawa December 'mpat Saksi abadi 'kan sejarah perjuangan nyata
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Tekad nan membara: jaya atau musnah Para pejoang menyerbu kubu penjajah Dan putra Pertiwi tak gentar menerjang Imp'rialis mundur dan tinggalkan palagan Diatas kekuatan sendiri Merdeka Dengan lindungan Rachmat Tuhan Maha Esa The patriotic struggle, the sacrifice to attain freedom The clamour to destroy greed and evil Mustangs attack, artillery carry death and destruction Every inch of land is flattened Ambarawa December forty-five Everlasting witness to the history of our struggle Aflame with determination: glory or annihilation The fighters attack the fortifications of the enemy Fearless the sons of the motherland attack The imperialists retreat and abandon the battlefield By our own strength we shall attain freedom Protected by the mercy of the one and only God
Speaking of the Indonesian Revolution, one song which cannot be omit- ted is the 'Bambu runcing' march, referring to the sharpened bamboo, the weapon which has become the symbol of the revolutionary struggle by the Indonesian people:
Bambu runcing besarlah jasamu Semangatmu menyala selalu Bambu runcing kamupun berjasa Dalam pembangunan Indonesia Raya. Bambu runcing, your merits are great Your spirit is all-inspiring Bambu runcing, you contributed To the development of a Greater Indonesia
Special mention should be made of the occupation of Yogyakarta on 1 March 1949, an event heavily emphasized under the New Order, for example by the custom of beginning the General Session of the People's Congress on this date. The reason for the emphasis is that the occupation of Yogyakarta was a Soeharto-commanded military operation, although since Soeharto's fall from power some have begun to downplay his role in the event. There are at least two songs, 'Yogya kembali' (Yogya again in our hands) and 'Enam jam di Yogya' (Six hours in Yogya):
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Maju terus maju terus Pantang mundur pantang mundur Sampai titik sampai titik penghabisan Walau hanya enam jam Yogyakarta lepas cengkraman Belanda Tapi satu saat nanti penjajah pasti sirna di atas bumi Pasti lenyap dari bumi Indonesia Forward, ever forward Never retreat, never retreat Till the end, till the end Though for six hours only
Yogyakarta was free from the Dutch grip. There will come a time that The colonizer will certainly be wiped off the face of the earth Certainly will vanish from Indonesian soil13
D SOSO i = . L PETU8lflll6CinTR 2. BBPBH PEOlBBBUnfln 3. HER0DEQ06 HEDBB6B8 q. PILffl VRnG OlflOfl S. BHUPUniMUHmil
D SOSD 11 i cinTBDBn PBBSflnEHB 2. Dh_.KBSIH 3. nUBUBIPBDI q. unniHmu PRBBBtnUUB S. HILfinG
Dilerang mengcopy lekatran cassette ini. tanpo iztn tertulis: J>T. IIAMA TMA JAKARTA Izin Perincfastnan No.: 0133/WIND A1AW24O-B 1993 Rp. 7.000,
Cover of audio cassette tape Bapak pembangunan
13 Verses from 'Six hours in Yogya'.
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The popularity of this song is only one example of musical praise for Soeharto. In the 1980s 'Golkar Artist' sang the praises of Bapak Kami Soeharto (Our leader Soeharto), while in the 1990s a Black Brothers cassette appeared enti- tled Bapak Pembangunan (Mister Development), composed by Hengky MS. Soeharto figures in it only in passing. Centre stage in the song is occupied by the achievements of development. Shortly after Mrs Soeharto died, a cassette was published with the song Ibu Bangsa (Ibu Tien Soeharto)' (Mother of the nation, Mrs Tien Soeharto), and other sober hymns such as 'Selamat jalan ibu' (Goodbye, mother) and 'Gugur bunga' (A flower has fallen). The proceeds went to the Ibu Tien Foundation. In Malaysia, praise for the nation's leader Mahathir in one case goes even further. The song 'Cita-citaku', rendered on a cassette of the same name, has as one of its verses:
Cita-citaku nakjadi dokter Cita-citaku nakjadi pemimpin Cita-citaku nakjadi seperti Dokter Mahathir My ideal is to become a doctor My ideal is to become a leader My ideal is to become like Doctor Mahathir
Cover of audio cassette tape Ibu bangsa
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A striking characteristic of Indonesian patriotic songs is that, in many of the most popular ones, the revolutionary struggle is alluded to indirectly. It is not the physical confrontation of the years between 1945 and 1950 which is stressed. Essential to these hymns is the romantic allure of the sacrifices made. One example is 'Selendang sutra' (Silk scarf):
Selendang sutra tanda mata darimu Telah kut'rima sebulan yang lalu Selendang sutra mulai di saat itu turut serta di dalam baktimu Ketika lenganku terluka parah Selendang sutramu turut berjasa Selendang sutra kini pembalut luka Cabik semata tercapai tujuannya A silk scarf, a memento which I received a month ago from you From that moment the silk scarf Is part of my devotion to you When I was wounded in the arm Your silk scarf was of service The silk scarf dressed the wound Torn, it served its purpose
^t^mt Sopu Tangan dari ggg' Bandung Selatan 5 Sl^-sC? Melati di IP g § Topa! Batas
«j£§S NJ ills llai
Cover of audio cassette tape Keroncong patriot Indonesia, which contains the song 'Selendang sutera'
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Another song falling into this category is 'Sepasang mata bola' (A pair of round eyes):
Hampir malam di Jogja ketika keretaku tiba Remang-remang cuaca terkejut aku tiba-tiba Dua mata memandang seakan-akan dia berkata: Lindungi aku pahlawan dari pada si angkara murka Sepasang mata bola dari balik jendela Sepasang mata bola gemilang murni mesra Datang dari Jakarta 'nuju medan perwira Telah memandang beta di setasiun Jogja Kagum'ku melihatnya sinar nan perwira rela Sepasang mata bola seolah-olah berkata: Hati telah terpikat se-moga kelak kita Berjumpa pula Pergilah pahlawanku jangan bimbang ragu Bersama doaku It was almost evening in Yogya when my train arrived The dark clouds startled me Two eyes looked at me as if they wanted to say: Protect me, my hero, from those who are greedy and evil A pair of round eyes behind the window A pair of radiant, innocent, intimate, round eyes When I arrived from Jakarta on my way to the field of courage Stared at me at Yogya station Amazed, I saw their brave, determined glow A pair of round eyes that seemed to say: My heart longs for you, may we meet In future Go, my hero, do not hesitate, go with My prayer
Indonesian nationalist songs and compulsory songs form part of a whole collection of songs intended to promote good citizenship. Some of these are denoted in Indonesian by the term lagu resmi, official songs. Leaving aside Islamic songs, heralding the praise of religious duties and holidays, which, of course, can be bought in Malaysia too, songs have been composed to promote savings ('Mars Tabanas-Taska'), to urge that children go to school, to reward teachers and raise their prestige ('Hymne guru', Teachers' hymn), to celebrate the 'Hero without any decoration', to stress 'Work democracy', to highlight campaigns for simple living and national cleanliness, and to propagate family planning (one example is the cassette Keroncong keluarga berencana by the Imara Bama Keroncong Orchestra), the Five-Year Plans, and
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the general elections, that of 1955 as well as those under the New Order.14 In actual practice, the distinction between the three categories - the campaign songs just mentioned, struggle songs, and compulsory songs - is blurred. Usually songbooks and music cassettes present a combinati- on of struggle songs and compulsory songs. Occasionally campaign songs are also included. This is even reflected in the title. In 1990 the booklet 17 lagu perjuangan patriotik pembangunan nasional was published, containing songs by Sancaya-HR. These included 'Himne asas Pancasila' (propagating the government policy that all political parties and organizations must recognize the Pancasila as their single ideological foundation), 'Palagan Ambarawa', and 'Mars Golkar pelopor pembaharuan' (Golkar the pioneer of modernization march). The title of this songbook highlights three key concepts of New Order ideology: (self-sacrificing) struggle, patriotism, and national (that is, economic) development. The publisher speaks of songs that promote 'nation building and character building' (Sancaya-HR 1990). The use of songs to convey a national message is not a New Order invention. 'Sumpah Pemuda' was composed in 1940, 'Bagimu neg'ri' in 1942. Some of the most popular struggle songs - 'Sepasang mata bola', 'Halo halo Bandung', 'Gugur bunga', and 'Selendang sutera' - were composed by Ismail Marzuki during the battle for independence between 1945 and 1950. From the same period date 'Maju tak gentar' and 'Indonesia tetap merdeka', composed by Cornel Simandjuntak. They were among the songs sung by schoolchildren on the occasion of the Afro-Asian Conference in 1955. The 'Pancasila march' is from 1956, a time when the Indonesian Republic had to cope with an Islamic rebellion and strong regional sentiments. A booklet published in 1961 containing seven compulsory songs mentions one of them as 'Bebaskan Irian!' (Liberate Irian!), which has as its first line Irian, Irian, Irian, daerah wilajah Indonesia (Irian, Irian, Irian, part of the Indonesian territory) (Tudjuh 1961). The fact that many of the songs predate 1965 is no coincidence. Word choice and illustrations in songbooks and on cassette covers show that a revolutionary spirit is still being conveyed that was officially banned from most spheres of public life at the beginning of the New Order. In 1982, for instance a press law replacing the one dating from 1967 carefully avoided all words which sounded revolutionary. The press no longer was 'a tool of the revolution' or 'a means to mobilize the masses' but had become 'a tool of the
14 Such music can be used for almost every occasion or campaign. In 1994 a picture was published in Suara Pembaruan (20-10-1994) of the commander of the Marine Corps, who together with male and female members of the Navy performed the dangdut dance 'Back to basics' (the English phrase used to denote the stated intention that the Armed Forces should give priority to their military tasks and refrain from interfering in government policy making).
Downloaded from Brill.com10/03/2021 06:51:54PM via free access The magnetism of songs 55 national struggle' and a means to mobilize 'the development of the nation'. And, of course, Pancasila Socialist Press became simply Pancasila Press. The struggle songs, it seems, remained immune to such polishing up. The counterpart of patriotic songs, protest songs were not very abundant in Indonesia between 1965 and 1998. Still, in contrast to Malaysia and Singapore, where cassettes and CDs in this category seem to be completely absent, Indonesia has its famous protest singers, whose music has sold particularly well. The best-known example is Iwan Fals. One particular song by him, taken up by protesting students in May 1998 because it reflected their rejection of representative bodies under the New Order, deals with the compliance of people's representatives and the nepotism underlying the composition of this body: 'Surat buat wakil rakyat' (A letter for the representatives of the people).
Wakil Rakyat kumpulan orang hebat Bukan kumpulan teman-teman dekat Apalagi sanak famili [...] Saudara dipilih bukan dilotre Meski kami tak kenal siapa saudara Kami tak sudi memilih para juara Juara diam, juara he'eh, juara ha ha ha Wakil rakyat seharusnya merakyat jangan tidur waktu sidang Wakil rakyat bukan paduan suara Hanya tahu nyanyian lagu setuju. People's representatives are an important assembly Not an assembly of close friends Let alone of relatives [.-] You are elected, not drawn by lots Though we do not know who you are We do not want to elect champions Champions who remain mum, champions in sighing, champions in laughter People's representatives have to appeal to the people And not sleep during sessions People's representatives do not speak with one voice Only able to dance to the tune of yes-men
Another popular protest singer is Harry Roesli. His recent cassette, Si Cantik (A nice bit of skirt), released in 1997, is full of lyrics deploring corruption and moral decay. It even contains one song, 'Si gitar satu senar' (The guitar with one string), which is critical of the government's asas tunggal policy:
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Aku ingin membuat lagu Tapi tidak punya alat musik Hanya ada sebuah gitar tua Milik kantor P dan K
Jadi hanya dengan gitar satu senar Aku coba untuk berkarya
Anggap saja dengan gitar satu senar Seperti hidup dengan asas tunggal Jadi enggak boleh ada perbedaan. Padahal dengan gitar satu senar Aku bisa mainkan banyak sekali nada [.-] Semua orang tak ada yang sama Jadi kenapa sekarang harus semua Seragam I want to compose a song But do not have a musical instrument Apart from an old guitar Owned by the D of E and C [.-] So equipped with only a guitar with one string I will try to sing it [•••] Try to liken using a guitar with one string To living with a single ideological basis No differences are allowed Whereas with just one string I can play many tunes [...] No person is the same So why does everything have to be uniform Nowadays
Even the group Bimbo deserve mention. Though best known for their reli- giously inspired music, they were the performers of 'Tante Sun' (Auntie Kiss), a 1977 song. The song was briefly banned, because it depicted a kind of woman emerging under the New Order of whom Mrs Soeharto was the prime example:
Tante Sun oh Tante Sun tante yang manis tiap pagi pergi berolah raga pergi bermain golf hingga datang siang
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terus ke salon untuk mandi susu Tante Sun oh Tante Sun tante yang giat segala rapat dan berbagai arisan pagi, siang dan malam tak pernah terlewatkan oh Tante Sun oh tante teladan Batu zamrud, berlian dan kerikil emas hingga besi beton bisnisnya cukong-cukong dan toke direktur dan makelar tekuk lutut karena Tante Sun
Auntie Kiss, oh Auntie Kiss, sweet auntie Exercising every morning Playing golf Till the afternoon Then on to the beauty parlour to have a bath in milk Auntie Kiss, oh Auntie Kiss, busy, busy auntie All those meetings and arisan15 Morning, noon and night Not one does she miss Oh Auntie Kiss, oh paragon of aunts From emeralds, diamonds and gold nuggets To concrete, all are part of her business Chinese financiers and bosses Managing directors and brokers Have to bow to Auntie Kis
More than protest songs, patriotic and struggle songs became a vehicle to express discontent with a political establishment which in the eyes of protest- ers had betrayed the ideals of the revolution and did not have the interests of the nation at heart. Moreover, for demonstrators 'Maju tak gentar' (Advance without fear) is an appropriate song to sing. It was sung by protesters dur- ing the riots following the attack on Megawati's headquarters. At the same time, a new repertoire was in the making. Though during the demonstrations before and after the fall of Soeharto students and other protesters continued to sing songs like 'Halo halo Bandung', they began to replace struggle songs and compulsory songs by songs of their own. Such alternative songs have always been around. At the time of the pro-Megawati demonstrations in 1996 one of the worries of the authorities was that songs sung at the demonstra- tions were subversive. One of the army officers who was destined to play a key role in supervising political life by virtue of his function as chief of staff
15 An arisan is a special kind of club or group popular among Indonesian women where they come together regularly and hold a lottery.
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Angkatan Bersenjata Republik Tidak berguna Bubarkan saja Ya sama saja Lebih baik diganti pramuka The Armed Forces of the Indonesian Republic Are useless Just disband them Yes, what does it matter They can just as well be replaced by the boy scouts (Kompas 7-6-1999)
To give one more example: the disdain of bankers and super-rich business- men, who were held responsible for the economic collapse of the Indonesian economy and its banking sector in 1997, was portrayed in the following text:
Padamu negeri kami tak berjanji Padamu negeri kami tak berbakti Padamu negeri kami ogah mengabdi Padamu negeri kami ke luar negeri To you my country we do not pledge To you my country we are not loyal To you my country we do not want to devote ourselves From you my country we flee (Kolom Kompas 1999:44)
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In Malaysia, with its short-lived and failed reformasi, a similar mechanism was at work. In his diary about this period, Sabri Zain (2000:16) speaks of an 'anthem of the Reformers', 'Barisan kita', whose lyrics had been altered:
Semboyan telah berbunyi Menuju Reformasi The alarm has been sounded Toward Reform
It can be said without any exaggeration that protest songs swelled in number after the start of the massive student protests in 1998. An important element contributing to this is the street-singers, whose numbers proliferated enor- mously after the start of the economic crisis. Among the newcomers were the recently unemployed, students trying to earn some extra money, and schoolchildren and students whose parents were no longer able to finance their education. Many of the street-singers - including the very young ones - joined the reform movement started by the students, backing it from the very beginning with their protest songs. Later, they also supported, with their songs, the widely voiced demand that Soeharto should stand trial. The cassette Dialog Amien Rais & misici jalanan records some of their texts. One song, 'Tragedi', composed by Herlan, includes the following lines:
Bagaimana tanah Indonesia mau subur kalau Soeharto belum dikubur How can the Indonesian soil be fertile When Soeharto is not yet in his grave
Professional performers also made a contribution. They published new songs and at last had the opportunity to record songs which in the past could not have been released. The group Slank, for instance, included the song 'Salah siapa' (Whose fault), critical of the government party Golkar, on their album Mata hati reformasi (Reform feelings). In the months after Soeharto's fall, the reform movement gave rise to a fair number of reform-minded cassettes and songs. Some of the cassettes have little to do with the substance of the reform spirit. Reformasi is a word that sells. Especially in the months follow- ing Soeharto's fall, the word was used in advertisements and titles of books and cassettes to boost the sale of a great variety of products from apartments to music cassettes. In view of the performers and the audiences they cater for, the music of lagu reformasi, reform songs, differs from that of compulsory and struggle
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Kami dari Partei Sembako Mencari manusia-manusia Yang bisa menurun Harga-harga sembilan bahan pokok Kudengar sembako sulit didapatkan di jaman ORLA Kinipun sembako Sangat dimahalkan di jaman ORBA
Produls? : CoIUio 2000 Cover Doiign; Do Tri Em DiMtibulor; PT VIRGO RAMAYANA SiCOBD Izin tndutlrt No. OO* 1 /PRIND/IK/OO37/B/1990 Anggoto ASIRf No: 007/Aiiri/l978
Cover of audio cassette tape Partei sembako
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We from the Sembako Party Are looking for people Who can lower The prices of the nine basic commodities I heard that the sembako Were difficult to get under the Old Order Again at present the sembako Prices have gone up steeply under the New Order
Other songs reject KKN, another acronym which gained popularity in the months before and after the fall of Soeharto, standing for korupsi, kolusi and nepotisme. Or they emphasize the need for people's representatives who really have the interests of the people at heart, the plight of street children and the urban poor, the fate of students and activists who went missing in the final two years of the New Order, and so on. Concern about the communal violence which has been so brutal and so persistent in the last couple of years is yet another source of inspiration for song writers and singers. An example is the song 'Trauma 14 Mei', composed and sung by Deddy Dores:
Kepulan asap hitam menari di udara Gemuruh suara yang mencekam jiwa Tertegun kumelihat kekalutan manusia Kobaran api dimana mana Derita seorang gadis hilang harga dirinya Mahkotanya yang suci dijarah orang Hancur luluh hatinya Putus asa jadinya Kemana lagi harus mengadu? Dense black smoke dances in the air An eerie thundering sound of voices Bewildered I watch the chaos Fires rage everywhere The grief of a girl who lost her self-esteem Robbed of her purity Shattered Desperate Where can she turn to?
In spite of all this, nationalist songs have not disappeared. Apparently a few people still value them and are convinced that listening to these songs and singing them can instil a patriotic spirit at a time that such a spirit is very much lacking. A children's cassette by the Trio Kwek Kwek still carries a full repertoire of struggle songs, including the 'Mars Angkatan Bersenjata' (Armed Forces march), though it was sold in a period in which bashing
Downloaded from Brill.com10/03/2021 06:51:54PM via free access 62 Kees van Dijk of the Army had become more popular that praising it. Another example of continuing popularity is that Bapak Pembangunan was still widely avail- able after Soeharto's fall from power. Patriotic songs also played a role in the 1999 election campaign of the Partai Kebangkitan Bangsa (PKB, Party of the Awakening of the Nation), of which Abdurrahman Wahid was one of the founding fathers. Reflecting the latter's 'nationalist' position that the Indonesian Republic should remain a unitary state, a video clip was shown during campaign gatherings entitled Indonesiaku menyanyi (My Indonesia sings), with songs like 'Satu nusa satu bangsa' and 'Maju tak gentar'. The political turmoil of the reform era has given even nationalist songs a new meaning. They are sung to stress devotion to the nation, and the need for national unity and harmony at a time of anguish about what Indonesia's future will be.16 New songs conveying the same message were also released when the original euphoria of reform was replaced by a deep concern about Indonesia's future, plagued as the country was by massive communal violence, strong separatist sentiments in a number of provinces, and bitter conflicts among the political elite. Artists staged performances to give expression to these feelings of concern. Songs stressing national unity and reconciliation were released, such as 'Indonesia satu' composed by Endit, and 'Satu Indonesiaku' written by Mamo Agil and sung by a children's choir. Another example is the cassette Satulah Indonesia (Unite Indonesia) by Ully Sigar and Paramitha Rusady. The cover leaves no doubt as to the intention of the two sisters. They are portrayed clad in red-and-white dresses, their fists clenched. Their foreheads are decked with a red-and-white headband. At present, cassettes of reformasi songs are hardly being produced. Only Iwan Fals's albums are still widely available, but this has less to do with the continuation of the reform era than with Iwan Fals's popularity. What remains are occasional protest songs. Artists sing about the fate of the recently unemployed or about Marsinah, the heroine of the Indonesian labour struggle, who was murdered during the New Order.17 Authorities have also started to take action against singers who have changed the words of nationalist songs. The first to experience this was Harry Roesli. Harry Roesli sang his own version of 'Garuda Pancasila' during an Independence Day celebration at the home of Abdurrahman Wahid (who had just been deposed as president) on 17 August 2001:
16 Expressing the opposite aim a referendum song which gained popularity in Aceh. 17 One example is PHK, created by Alfast Manan and sung by Siti Aisyah in a Qasidah Gambus Modern (Islamic) style. PHK is an abbreviation of pemutusan hubungan kerja, 'termination of employment', or 'to be made redundant'. Marsinah was created by Mas Gat and sung by Mus Mulyadi in a keroncong dangdut style.
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Cover of audio cassette tape Satulah Indonesia
Garuda Pancasila: Aku lelah mendukungmu Patriot sudah habis Pancasila dasarnya apa Rakyat adil makmurnya kapan Pribadi bangsaku Tidak maju maju Garuda Pancasila I am tired of supporting you There are no patriots anymore Pancasila, what is its meaning When will the people experience justice and prosperity The character of my people Is not advanced
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Harry Roesli had sung this version in public before, but this time the police decided that action should be taken against him. A police spokesman said that Harry Roesli's rendering of 'Garuda Pancasila' was an insult to the sym- bols of the state Qawa Pos 22-8-2001; New Straits Times 24-8-2001). This is one of many indications that reformasi has become a thing of the past.
REFERENCES
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