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Female Identity and Sexuality in Contemporary Indonesian Novels

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Female Identity and Sexuality in Contemporary Indonesian Novels University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School June 2020 Female Identity and Sexuality in Contemporary Indonesian Novels Zita Rarastesa University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Arts and Humanities Commons, Asian Studies Commons, and the Other Education Commons Scholar Commons Citation Rarastesa, Zita, "Female Identity and Sexuality in Contemporary Indonesian Novels" (2020). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/8481 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Female Identity and Sexuality Contemporary Indonesian Novels by Zita Rarastesa A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy with a concentration in Literature Department of English College of Arts and Social Sciences University of South Florida Co-Major Professor: Hunt Hawkins, Ph.D. Co-Major Professor: Gurleen Grewal, Ph.D. Ylce Irizarry, Ph.D. Phillip Sipiora, Ph.D. Date of Approval: 21 May, 2020 Keywords: colonialism, politics, female body, spiritual, feudalism, Javacentrism Copyright©2020, Zita Rarastesa ACKNOWLEGMENTS I would like to thank all of the following people for helping with this research project: Hunt Hawkins, Ph.D., my major professor, for his patience and dedication in helping me write this dissertation and for encouraging me not to give up on what turned out to be a very long andlong-distance process. Gurleen Grewal, Ph.D., for the encouragement and fighting spirit to get my proposal approved. If not for you, I don’t think I would have been able to write the dissertation. Thank you for making me believe my topic was worth discussing. Ylce Irizarry, Ph.D., for making me feel confident in my English, for believing in me, and for seeing the potential in me that I failed to see. Phillip Sipiora, Ph.D., for his willingness to be an examiner, for his constructive criticism, and for an A (without a minus) in his class. Laura Runge, Ph.D., for her tremendous support, for taking time to listen to my problems, and for lending a shoulder to cry on. Thank you for having faith in me when I nearly lost mine. Harriet Blymiller, Ph.D., for her time and energy in helping me edit my English. Suzie Siegel, my guardian angel, for her continuing friendship, but especially for making my life bearable while I was in the United States. Thank you for helping me settle down and for driving me anywhere I needed to be. Marissa Klippenstein, Marisa Iglesias, and Lee Davidson for their assistance with administrative matters. Thank you for your patience. Ida Kusuma Dewi, my colleague and best friend, for her tireless support both academically and psychologically. Thank you for finding one of the novelsIneeded for this dissertation. And at Sebelas Maret University, faculty members especially the Dean, Dr. Warto and the Vice Dean for Finance, Dr. Wakit for supporting and helping me to getfinancial aid and the Rector for the generous Financial Support to finish my study. Head of the English Department, Dr. Fitria A.P. for her understanding and support. The whole staff of the Language Center including Yoyok Mugijatna, Ph.D. and Dr. Joko Nurkamto, the former Heads of the institution for giving me teaching opportunity to be able to support myself. Thank you otmy family for their prayers and encouragement. Finally, thank you especially to my mother, whohas fought so hard throughout her children’s lives for their success and education, for her heavy thoughts and tears during my study. Thank you for your prayers. This success is yours. TABLE OF CONTENTS Abstract ....................................................................................................................................... ii Introduction ................................................................................................................................. 1 Statement of Purpose ...................................................................................................... 1 Summaries of the novels under Discussion .................................................................... 5 1. The Girl from the Coast – Pramoedya Ananta Toer ...................................... 5 2. The Dancer – Ahmad Tohari .......................................................................... 5 3. Durga/Umayi – Y.B. Mangunwijaya ............................................................. 8 4. Saman – Ayu Utami ....................................................................................... 10 Methodology ................................................................................................................... 12 Dissertation Structure ...................................................................................................... 16 Chapter I: Socio-Historical Background and Politics in Indonesia ............................................ 17 Gerwani (Gerakan Wanita Indonesia/ Indonesian Women Movement) and The Women’s Movement Indonesia ................................................................................ 18 The 1965 Coup and Transition to the New Order ........................................................... 26 Javacentrism .................................................................................................................... 33 Gender Politics in Indonesia ........................................................................................... 35 Chapter II: Colonized Bodies of Women in Pramoedya Anta Toer’s The Girl from the Coast and Ahmad Tohari’s The Dancer ............................................................................... 49 Chapter III: Sexual Revolution in Y. B. Mangunwijaya’s Durga/Umayi and Ayu Utami’s Saman .................................................................................................................................... 79 Chapter IV: Conclusion ..............................................................................................................122 Bibliography ...............................................................................................................................135 i ABSTRACT This project focuses on female characters’ identity and sexuality in four contemporary Indonesian novels, selected based on historical settings highly significant to the discussion. First, The Girl from the Coast (2002) by Pramoedya Ananta Toer takes place during Dutch colonialization, and the second, The Dancer (1982) by Ahmad Tohari, during the transition of power from President Soekarno to General Suharto, a period when the Indonesian Communist Party was still active. Durga/Umayi (2004) by Y. B. Mangunwijaya and Saman, a Novel (1998) by Ayu Utami both take place during the New Order era when Suharto was president of Indonesia. The project’s discussion focuses on how the four authors present their female characters and how they depict effects of Dutch colonialism, intensified feudalism, and repressive New Order politics on Indonesian women’s oppression. In The Girl from the Coast, Toer interrogates feudalism within Indonesian society. He believes that Dutch colonialism served to cause feudalism within the colonized Indonesian population through discriminatory colonial practices meant to divide and exploit Indonesia. According to Toer, Dutch colonialists took advantage of a certain feudalism already characterizing Javanese traditions and social structure, in order to control the lower classes, thereby intensifying native-Indonesian feudalism and causing internal colonialism. In The Dancer, Ahmad Tohari depicts how the Indonesian tradition of ronggeng (a female figure who becomes a village’s focus of sexuality and fertility) conquers and destroys a woman’s freedom and hope for her life. Next, Soeharto’s New Order politics damage her to the point of insanity. Forcibly extracted from the traditional role her village has assigned her, the ii government imprisons her, mistaking her dance performance at a communist meeting for political affiliation with the Indonesian Communist Party. Having been more or less brainwashed by her village into assuming a traditional identity role that she did not want, being falsely imprisoned, and then released into a possibly free new life—with no direction or support—the ties binding her to human identity are complete severed, and she loses her sanity. In the third novel Durga/Umayi, Y.B. Mangunwijaya calls on traditional Indian epics to explore how Durga the Destroyer and Umayi the goddess are at work in Indonesia, as represented by a female character who repeatedly and purposefully changes her identity, at first to survive during the 1930s and later through prostitution, for the security of financial gain. She seems to know exactly what she wants and uses any means at hand to acquire it. In the novel’s narrative strategy, she is both her divided self and the Indonesia plundered by Suharto, his family, and groups to whom he was indebted. Finally, Ayu Utami’s Saman takes place entirely during the New Order Era, during which young, educated, middle-class Indonesian women go abroad to interact with people and social customs other than Indonesia’s repressive ones. Despite certain challenges inherent to leaving one’s native land, Utami’s
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