DOCSLIB.ORG

Downloaded from Brill.Com09/24/2021 07:07:24PM Via Free Access 460 Christina Sunardi Performs Gender

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Downloaded from Brill.Com09/24/2021 07:07:24PM Via Free Access 460 Christina Sunardi Performs Gender Bijdragen tot de Taal-, Land- en Volkenkunde Vol. 165, no. 4 (2009), pp. 459-492 URL: http://www.kitlv-journals.nl/index.php/btlv URN:NBN:NL:UI:10-1-100119 Copyright: content is licensed under a Creative Commons Attribution 3.0 License ISSN: 0006-2294 CHRISTINA SUNARDI Pushing at the boundaries of the body Cultural politics and cross-gender dance in East Java One of the most fruitful activities of my field research on dance and gamelan music in the East Javanese regency of Malang1 from 2005 to 2007 was attend- ing live performances with my teachers.2 Those occasions were key learning experiences: my teachers explained playing techniques of the various instru- ments, expounded upon conventions of dance movement, and, to my delight, sometimes took me to sit and play with the musicians who were accompany- ing the dancers. During performances they also shook their heads, clicked their teeth, or chuckled with dissatisfaction. Particularly disturbing to them were recent transformations in the performance of Ngremo Tayub, a male-style dance performed by women, and Ngremo Putri, a female-style dance most often performed by men. Strikingly, my teachers were not bothered by the transvestism, but by what they saw as dancers’ technical and artistic short- comings. Unlike dancers and musicians ‘in times past’ (dulu), they said, per- formers ‘nowadays’ (sekarang) are departing too far from ‘tradition’ (tradisi), are not as competent technically, and are less concerned about artistic content than about making money from spectacle. As they talked about ‘tradition’ and ‘times past’, performers of older gen- erations expressed their discomfort with the ways the younger generation 1 Malang is also the name of a city, but unless I specify ‘the city of Malang’, I am referring to the regency. 2 My research was funded at various stages by a Fulbright-Hays Doctoral Dissertation Re- search Abroad Program Fellowship; a University of California Office of the President Pacific Rim Mini Grant; University of California, Berkeley Center for Southeast Asia Studies Grant-In-Aid Scholarships; and a University of California, Berkeley Graduate Division Travel Award. I thank Didik Nini Thowok, M. Soleh Adi Pramono and Lembaga Ilmu Pengetahuan Indonesia (LIPI) for sponsoring my fieldwork. I am grateful to Benjamin Brinner, Patricia Shehan Campbell, Sonja Downing, Jeffrey Hadler, Midiyanto, Lois Roland, Laurie J. Sears, Sunardi, Bonnie C. Wade, and two anonymous reviewers for careful readings, productive comments, and help with transla- tions. I take full responsibility for any flaws that remain. CHRISTINA SUNARDI is Assistant Professor in the School of Music, at the University of Wash- ington, Seattle. She holds a PhD from the University of California, Berkeley. Her main field of aca- demic interest is ethnomusicology. She is the author of ‘Making sense and senses of locale through perceptions of music and dance in Malang, East Java’, Asian Music, forthcoming. Dr Sunardi can be reached at [email protected]. Bijdragen tot de Taal-, Land- en Volkenkunde (BKI) 165-4 (2009):459-492 © 2009 Koninklijk Instituut voor Taal-, Land- en Volkenkunde Downloaded from Brill.com09/24/2021 07:07:24PM via free access 460 Christina Sunardi performs gender. Older performers indicated that the performance of male- ness in Ngremo Tayub is too ‘feminine’, commenting that dancers (who are women) execute their head movements like women instead of like men, and perform the knightly character too coquettishly. Similarly, older performers criticized the performance of femaleness in Ngremo Putri for being too ‘mas- culine’: the dancers’ legs are too far apart, the tempo is too fast, and accents in the music are too harsh. These criticisms reveal that many older performers expect cross-gender dance to reinforce constructions of gender that they have come to consider normal, suggesting generational differences in the percep- tion of cross-gender representation. These complex contemporary attitudes on cross-gender performance have been informed by an equally complicated history in which local, national, and international discourses and practices have converged. From earlier writings and his own observations, Theodore Pigeaud (1938:277, 301, 321- 3, 328) provides evidence of cross-gender performance in masked dance, social dance, and popular theatre traditions in East Java from the 1820s to the early twentieth century. Paul Wolbers (1989, 1993) and R. Anderson Sutton (1993) link transvestism, in which boys have performed female-style dance for ritual ceremonies in Banyuwangi, to centuries-old Hindu and indigenous Javanese imagery in which androgyny represents cosmic power and fertility. Nineteenth- and twentieth-century Dutch colonial and Islamic discourses have also strongly affected constructions of gender in East Java, and in Indonesia more generally. As Evelyn Blackwood (2005:866, 869-71) emphasizes, a separation of maleness and femaleness and a mapping of male- ness to men’s bodies and femaleness to women’s bodies characterize these discourses, shaping the gender ideologies that the Indonesian government has promoted since independence in 1945. Blackwood, Benedict Anderson (1996), Dédé Oetomo (1996), Tom Boellstorff (2004a, 2004b), and Jan Mrázek (2005) show that by embodying the gendered characteristics associated with the opposite sex, individuals in many parts of Indonesia have resisted such state-sanctioned constructions. In short, ‘cross-genderedness’ has been both an accepted practice integral to local worldviews in East Java and also a sub- version of official constructions of manhood and womanhood. Performers in Malang selectively contend with these different logics and meanings of cross- gender performance in order to articulate their own senses of their maleness and femaleness. To understand performers’ attitudes, I analyse their comments about several East Javanese dances: Ngremo, Beskalan, and masked dance.3 These 3 Ngremo and Beskalan, similar to each other in terms of music, movement, and costume, fre- quently open other performances and events. Masked dances may be performed as part of a drama or as individual dances to open other performances and events. Downloaded from Brill.com09/24/2021 07:07:24PM via free access Pushing at the boundaries of the body 461 dances include male and female styles, which, for the most part, either men or women may perform.4 Because performers’ senses of gender are particu- larly visible in their discussions about how men’s bodies ‘become’ female and women’s bodies ‘become’ male, I focus on discussions about the performance of these dances as cross-gender dances. Although musicians and dancers did not consistently refer to a category of ‘cross-gender dance’, for analyti- cal purposes I have chosen to use this term to refer to an individual dancing in a gendered style that is the opposite of his or her biological sex. Heeding Judith Butler’s argument (1999:10) that biological sex, like gender, is a cultural construction, my reference to two sexes – man and woman – is based on the categories that I heard generally used in Malang. I have several aims in writing this article, one of which is to develop approaches to the study of the body. My attention to the cultural and ideo- logical implications of the body builds on Susan Leigh Foster’s view (1986) that the body is a signifier of historically specific meaning, and Deborah Wong’s argument (2004:161-93) that individuals use their bodies to align themselves with particular histories and cultural practices. I foreground per- formers’ perspectives about bodies in order to understand their insights into the meanings of their practices, the cultural impact they have as artists by performing or talking about performance in specific ways, and the reasons behind multiple and sometimes conflicting perceptions. No less central are my intentions to underline the strategies performers employ to negotiate ten- sions between official ideologies and social realities, expectations about their onstage personas and offstage lives, and differences of opinion between their personal aesthetic sensibilities and those of others. While attitudes towards the performance of gender vary by individual, a degree of consistency exists among performers of the same generation. I use ‘generation’ as an analytical framework to refer to the time an individual begins to actively perform as an independent musician or dancer.5 However, I am careful to recognize that the attitudes of a particular individual in a par- ticular generation might not necessarily represent the attitudes of the whole generation. Furthermore, an individual’s attitudes might be characteristic of one generation in one way and of a different generation in another way. Some inconsistencies are not surprising, as generations overlap and individu- als often learn from and perform with musicians and dancers from different generations. Despite the multiple factors that contribute to an individual’s perspective, using generation as a framework facilitates my examination of relationships 4 The performance context (including the historical moment) usually affects whether men or women perform a particular style of a particular dance (Sunardi 2007). 5 I thank Andrew Weintraub for a conversation that led me to think further about generation. Downloaded from Brill.com09/24/2021 07:07:24PM via free access 462 Christina Sunardi between larger cultural forces and performers’ views. I have used my teach- ers’ references to ‘old people’ (orang tua), their ‘friends’
Load more

Recommended publications
  • Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok
    Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok Madoka Fukuoka Graduate School of Human Sciences, Osaka University, Japan [email protected] ABSTRACT This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia. In addition, it discusses his endeavours of crossing gender boundaries by focusing on his use of costumes and masks, and analysing two significant works: Dwimuka Jepindo as an example of comedic cross-gender expression and Dewi Sarak Jodag as an example of serious cross-gender expression. The findings indicate three overall approaches to crossing gender boundaries: (1) surpassing femininity naturally expressed by female dancers; (2) mastering and presenting female characters by female impersonators and cross-gender dancers; and (3) breaking down the framework of gender itself. Keywords: Didik Nini Thowok, cross-gender, dance, Java, Indonesia © Penerbit Universiti Sains Malaysia, 2014 58 Wacana Seni Journal of Arts Discourse. Jil./Vol.13. 2014 INTRODUCTION This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia.1 In addition, it discusses his endeavours of crossing gender boundaries by focusing on the human body's role and Didik's concept of cross-gender dance, which he has advocated since his intensive study of the subject in 2000. For the female impersonator dancer, the term "cross-gender" represents males who primarily perform female roles and explore the expression of stereotypical femininity. Through his artistic activity and unique approach, Didik has continued to express various types of femininity to deviate from stereotypical gender imagery.
    [Show full text]
  • 1 11103100105681 Irwadi Batubara, MM. Universitas Ibnu Chaldun M 2 11103100106543 Leonardus Subagyo, M.Sc
    Hasil Laporan No. Nomor Sertifikat Nama Tempat Tugas Keterangan BKD BKD 1 11103100105681 Irwadi Batubara, MM. Universitas Ibnu Chaldun M 2 11103100106543 Leonardus Subagyo, M.Sc. Universitas Ibnu Chaldun M 3 11103100112471 Urhen Lukman, MA. Universitas Ibnu Chaldun M 4 08156103357 Ir. Mulki Siregar, MT. Universitas Islam Jakarta M 5 08156109369 Ir. Achmad Sutrisna, MT. Universitas Islam Jakarta M 6 08156110926 Muhammad Ali Yusuf, SE., M.Pd. Universitas Islam Jakarta M 7 08156110927 Farhana, SH., MH. Universitas Islam Jakarta M 8 091156100635 Edi Suhara, SE, MM. Universitas Islam Jakarta M 9 091156101331 Hamdan Azhar Siregar, SH, MH. Universitas Islam Jakarta M 10 091156102156 Ir. Untung Setiyo Purwanto, MT. Universitas Islam Jakarta M 11 091156105753 Endang Saefuddin Mubarok, SE, MM. Universitas Islam Jakarta M 12 101156100184 Siti Miskiah, SH., MH. Universitas Islam Jakarta M 13 101156100185 Mimin Mintarsih, SH,. MH. Universitas Islam Jakarta M 14 101156100186 Otom Mustomi, SH,. MH. Universitas Islam Jakarta M 15 11103100303161 Eka Sutisna, SE., MM. Universitas Islam Jakarta M 16 11103100306739 H. Lukman Achmad, SE., MM. Universitas Islam Jakarta M 17 11103100308546 Nur Aida, SH., M.Si. Universitas Islam Jakarta M 18 11103100309779 Ritawati, SH., MH. Universitas Islam Jakarta M 19 11103100315557 Bambang Sukamto, SH., MH. Universitas Islam Jakarta M 20 11103100316046 Fatimah, SH., MH. Universitas Islam Jakarta M 21 11103100318366 Yusri Ilyas, SE., MM. Universitas Islam Jakarta M 22 12103100313055 Untoro, SH., MH. Universitas Islam Jakarta M 23 08156211262 Tri Rumayanto, S.Si., M.Si. Universitas Jakarta M 24 08156210928 Jamalullail, S.IP, MM Universitas Jakarta M 25 091156200718 Dra. Dwi Murdiati, M.Hum. Universitas Jakarta M 26 091156202158 Dra.
    [Show full text]
  • The Sinophone Roots of Javanese Nini Towong
    Singapore Management University Institutional Knowledge at Singapore Management University Research Collection School of Social Sciences School of Social Sciences 1-2017 The inophoneS roots of Javanese Nini Towong Margaret CHAN Singapore Management University, [email protected] Follow this and additional works at: https://ink.library.smu.edu.sg/soss_research Part of the Asian Studies Commons, and the Quantitative, Qualitative, Comparative, and Historical Methodologies Commons Citation CHAN, Margaret.(2017). The inopS hone roots of Javanese Nini Towong. Asian Ethnology, 76(1), 95-115. Available at: https://ink.library.smu.edu.sg/soss_research/2253 This Journal Article is brought to you for free and open access by the School of Social Sciences at Institutional Knowledge at Singapore Management University. It has been accepted for inclusion in Research Collection School of Social Sciences by an authorized administrator of Institutional Knowledge at Singapore Management University. For more information, please email [email protected]. Margaret Chan Singapore Management University The Sinophone Roots of Javanese Nini Towong This article proposes that Nini Towong, a Javanese game involving a pos- sessed doll, is an involution of fifth-century Chinese spirit-basket divination. The investigation is less concerned with originist theories than it is a discus- sion of the Chinese in Indonesia. The Chinese have been in Southeast Asia from at least as early as the Ming era, yet Chinese contributions to Indonesian culture is an understudied area. The problem begins with the asymmetrical privileging of Indic over Sinic influences in early European scholarship, a sit- uation which in turn reveals the prejudices that the Europeans brought to bear in their dealings with the Chinese of Southeast Asia in the seventeenth to nineteenth century.
    [Show full text]
  • Bedhayan Ardhanaresvara Cross Gender Karya Didik Nini Thowok
    BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK TESIS PENGKAJIAN SENI Untuk memenuhi persyaratan mencapai derajat magister dalam bidang Seni, Minat Utama Pengkajian Seni Tari Dani Candra Puspita 1520917412 PROGRAM PENCIPTAAN DAN PENGKAJIAN PASCASARJANA INSTITUT SENI INDONESIA YOGYAKARTA 2019 UPT PERPUSTAKAAN ISI YOGYAKARTA UPT PERPUSTAKAAN ISI YOGYAKARTA BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK TESIS PENGKAJIAN SENI Untuk memenuhi persyaratan mencapai derajat magister dalam bidang Seni, Minat Utama Pengkajian Seni Tari Dani Candra Puspita 1520917412 PROGRAM PENCIPTAAN DAN PENGKAJIAN PASCASARJANA INSTITUT SENI INDONESIA YOGYAKARTA 2019 i UPT PERPUSTAKAAN ISI YOGYAKARTA TESIS PENGKAJIAN SENI BEDHAYAN ARDHANARESVARA CROSS GENDER KARYA DIDIK NINI THOWOK Oleh Dani Candra Puspita 1520917412 Telah dipertahankan pada tanggal 27 Juni 2019 di depan Dewan Penguji yang terdiri dari Pembimbing Utama, Penguji Ahli, Prof. Dr. I Wayan Dana, SST., M.Hum. Dr. Bambang Pudjasworo, M.Hum Ketua, Dr. Fortunata Tyasrinestu, M.Si. Yogyakarta, ..................................... Direktur, Prof. Dr. Djohan, M.Si NIP. 196112171994031001 ii UPT PERPUSTAKAAN ISI YOGYAKARTA HALAMAN PERSEMBAHAN Tulisan ini saya persembahkan untuk: 1. Kedua orangtua, Slamet Hariyadi dan Laili Purwanti 2. Mertua, Asal Sugiarto dan Almarhumah Witun 3. Almarhum eyang kakung, R. Asih Djoko Soeyono, dan Almarhumah eyang putri Warsiyati 4. Istri, Ayodya Budayanti, dan anak Aksata Javier Art Arundaya, Bexxa Dayu Saraswati 5. Saudara kembar serta adik-adikku. iii UPT PERPUSTAKAAN ISI YOGYAKARTA PERNYATAAN Saya menyatakan bahwa tesis yang saya tulis ini belum pernah diajukan untuk memperoleh gelar akademik di suatu perguruan tinggi manapun.Tesis ini merupakan hasil pengkajian atau penelitian yang didukung berbagai referensi, dan sepengetahuan saya belum pernah ditulis dan dipublikasikan kecuali yang secara tertulis diacu dan disebutkan dalam kepustakaan.
    [Show full text]
  • 2020; Tanggal 18 Agustus 2020 Tentang Penetapan Peserta Lulus Seleksi Jalur Mandiri Tumou Tou (T2) Tahun 2020 Pada Universitas Sam Ratulangi
    LAMPIRAN: KEPUTUSAN REKTOR UNIVERSITAS SAM RATULANGI NOMOR: 879/UN 12/PD/2020; TANGGAL 18 AGUSTUS 2020 TENTANG PENETAPAN PESERTA LULUS SELEKSI JALUR MANDIRI TUMOU TOU (T2) TAHUN 2020 PADA UNIVERSITAS SAM RATULANGI NOMOR TES NAMA PROGRAM STUDI PENDIDIKAN DOKTER (KBK) 120101070209 ABRAHAM DOTULUNG 120101160056 AMANDA NATASHA RORING 120101210406 ANANDA PRICILIA SAMBULELE 120101130051 BELLANTY COSTANTY TOGAS 120101020171 BRENDA WONGKAREN 120101100202 BYRGITA YOHANA PANGEMANAN 120101120229 CHINDY FERNANDA MONGDONG 120101120018 CLEVER CHRISTOVE LEARNT LONTAAN 120101050177 DWIPANIA GLORY SETIAWAN PUTRI 120101190248 ELSHADAI TAMPI 120101020045 ESTELINA IRENE BENJAMIN 120101070070 ESTER RIBCHANIA SERAN 120101080194 ESTERIN FELICIA ANAADA TATAWI 120101110088 EUPHEMIA LARASTIKA MANUMPIL 120101030115 FEIBY CIUAILEEN TOLIU 120101090173 FEYSIRA CRISTI EKA PUTRI KOWEL 120101040224 FIORENZA ANGELIKA KINDANGEN 120101080101 FRANSISKUS VALENTINO LANGI 120101100181 GISELA SONIA MONICA PITOY 120101060087 GLORIA PINLY REY 120101170025 GRIFFITH CHRISTIANE IMANUELA RUMAGIT 120101190087 GUINEVERE MIKHA VICTORIA PAENDONG 120101040147 HAHOLONGAN EVLYN REZKY PASARIBU 120101140141 HANA NASRANI ERKHOMAI NATALIA NGANTUNG 120101070109 IMANUELA MARETHA JULIA SEMBEL 120101150024 IMANUELA PUTRI TIWOUW 120101080183 ISHAK ALVITO ASSA 120101210566 JENIFER MAGDALENA BOLANG 120101100155 JOHANA ELISSA MAWIKERE 120101020069 JOHANES JUAN FERNANDO NGONGOLOY 120101140033 JOSEPH SIMKA GINTING 120101190132 KALISTA LUMENTE 120101060152 MARCHELLA RACHEL NANANGKONG 120101020163 MARDHITA
    [Show full text]
  • The Sinophone Roots of Javanese Nini Towong
    Margaret Chan Singapore Management University The Sinophone Roots of Javanese Nini Towong This article proposes that Nini Towong, a Javanese game involving a pos- sessed doll, is an involution of fifth-century Chinese spirit-basket divination. The investigation is less concerned with originist theories than it is a discus- sion of the Chinese in Indonesia. The Chinese have been in Southeast Asia from at least as early as the Ming era, yet Chinese contributions to Indonesian culture is an understudied area. The problem begins with the asymmetrical privileging of Indic over Sinic influences in early European scholarship, a sit- uation which in turn reveals the prejudices that the Europeans brought to bear in their dealings with the Chinese of Southeast Asia in the seventeenth to nineteenth century. Europeans introduced the Chinese-Jew analogy to the region. Their disdain contributed to indigenous hostility toward the Chinese. Racialism is a sensitive topic but a reminder of past injustices provides a timely warning in this moment of tense world geopolitics. keywords: Nini Towong—jelangkung—spirit-basket divination— Sinophone—Sinophobia Asian Ethnology Volume 76, Number 1 • 2017, 95–115 © Nanzan University Anthropological Institute ini Towong is a Javanese rain ritual that involves a female effigy made with Na coconut-shell ladle head mounted upon a basket body.* The soul of a dead person possesses the doll when it self-animates to answer questions put to it by rapping, nodding, and pointing. There is a second Indonesian spirit-basket game, jelangkung, from the Chinese cai lan gong (菜篮公), meaning “vegetable basket deity.” Two people hold onto a basket which moves to write using a pen stuck into its reeds.
    [Show full text]
  • Persepsi Masyarakat Terhadap Karakter Taman Kota Studi Kasus : Taman Menteri Supeno Di Semarang
    4th International Symposium of NUSANTARA URBAN RESEARCH INSTITUTE (NURI) “CHANGE + HERITAGE IN ARCHITECTURE + URBAN DEVELOPMENT” November 7th, 2009, Architecture Department of Engineering Faculty, Diponegoro University, Tembalang Campuss Jl.Prof.H.Sudharto, SH, Semarang, Central Java, Indonesia Persepsi Masyarakat Terhadap Karakter Taman Kota Studi Kasus : Taman Menteri Supeno di Semarang Arief Aryo Adinata, ST1), Ir. Titien Woro Murtini, MSA2) ; Ir. Wijayanti, M.Eng3) Kota adalah merupakan wujud fisik yang Abstrak— Taman kota sebagai bagian dari ruang publik, dihasilkan oleh manusia dari waktu ke waktu yang sering tidak disadari oleh masyarakat kota akan bertungsi untuk mewadahi aktifitas hidup masyarakat kota peranannya di dalam menyelaraskan pola kehidupan kota yang kompleks dan luas. Oleh karena itu pertumbuhan yang sehat. Pemanfaatan ruang taman kota cenderung fisik kota sering menimbulkan permasalan bagi lingkungan rnenyimpang dari fungsinya, adanya perubahan aktifitas di perkotaan maupun sosial masyarakat kota. dalam taman menunjukan kekurang-pahaman masyarakat Salah satu kebutuhan kota adalah tersedianya kota di dalam memanfaatkan taman kota terhadap ruang-ruang terbuka untuk mewadahi kebutuhanan keseimbangan kehidupan lingkungan kota. masyarakat dalam melakukan aktifitas sekaligus untuk Makna yang sangat dalam mengenai kota yang mengendalikan kenyamanan iklim mikro dan keserasian berwawasan lingkungan adalah selalu menghadirkan estetikanya. taman yang hijau menjadi elemen utama yang tidak dapat Pada kenyataannya ruang terbuka di dalam kota ditinggalkan begitu saja. Bahkan karakter masyarakat sering terdesak oleh pertumbuhan massa dari gedung- sebuah kota dapat tercermin pada perilaku masyarakat kota gedung bangunan yang cenderung untuk menutup di dalam memanfaatkan taman kota. Begitu berperanya permukaan tanah sehingga dikhawatirkan terhadap taman kota terhadap pemenuhan kebutuhan masyarakat pengurangan infiltrasi air ke dalam tanah dan juga kota akan fasilitas ruang publik, sehingga memerlukan menimbulkan potensi iklim mikro menjadi panas.
    [Show full text]
  • The Contestation of Social Memory in the New Media: a Case Study of the 1965 Killings in Indonesia
    Aktuelle Südostasienforschung Current Research on Southeast Asia The Contestation of Social Memory in the New Media: A Case Study of the 1965 Killings in Indonesia Hakimul Ikhwan, Vissia Ita Yulianto & Gilang Desti Parahita ► Ikhwan, H., Yulianto, V. I., & Parahita, G. D. (2019). The contestation of social memory in the new media: A case study of the 1965 killings in Indonesia. Austrian Journal of South-East Asian Studies, 12(1), 3-16. While today’s Indonesian democratic government remains committed to the New Order orthodoxy about the mass killings of 1965, new counter-narratives challenging official history are emerging in the new media. Applying mixed-methods and multi-sited ethnography, this study aims to extend our collaborative understanding of the most re- cent developments in this situation by identifying multiple online interpersonal stories, deliberations, and debates related to the case as well as offline field studies in Java and Bali. Practically and theoretically, we ask how the tragedy of the 1965 killings is contest- ed in the new media and how social memory plays out in this contestation. The study finds that new media potentially act as emancipatory sites channeling and liberating the voices of those that the nation has stigmatized as ‘objectively guilty’. We argue that the arena of contestation is threefold: individual, public vs. state narrative, and theoretical. As such, the transborder space of the new media strongly mediates corrective new voices to fill missing gaps in the convoluted history of this central event of modern Indonesian history. Keywords: 1965 Killings; Master vs. Counter Narratives; Memory Studies; New Media; Southeast Asia INTRODUCTION Indonesia experienced one of the 20th century’s worst mass killings.
    [Show full text]
  • SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY in the NEW ORDER a Thesis Presented to the Faculty of the Center for Inte
    SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY IN THE NEW ORDER A thesis presented to the faculty of the Center for International Studies of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sony Karsono August 2005 This thesis entitled SETTING HISTORY STRAIGHT? INDONESIAN HISTORIOGRAPHY IN THE NEW ORDER by Sony Karsono has been approved for the Department of Southeast Asian Studies and the Center for International Studies by William H. Frederick Associate Professor of History Josep Rota Director of International Studies KARSONO, SONY. M.A. August 2005. International Studies Setting History Straight? Indonesian Historiography in the New Order (274 pp.) Director of Thesis: William H. Frederick This thesis discusses one central problem: What happened to Indonesian historiography in the New Order (1966-98)? To analyze the problem, the author studies the connections between the major themes in his intellectual autobiography and those in the metahistory of the regime. Proceeding in chronological and thematic manner, the thesis comes in three parts. Part One presents the author’s intellectual autobiography, which illustrates how, as a member of the generation of people who grew up in the New Order, he came into contact with history. Part Two examines the genealogy of and the major issues at stake in the post-New Order controversy over the rectification of history. Part Three ends with several concluding observations. First, the historiographical engineering that the New Order committed was not effective. Second, the regime created the tools for people to criticize itself, which shows that it misunderstood its own society. Third, Indonesian contemporary culture is such that people abhor the idea that there is no single truth.
    [Show full text]
  • Agen Allianz Life Yang Berlisensi Syariah Aktif Per 31 Mei 2021.Pdf
    DAFTAR AGEN YANG BERLISENSI SYARIAH AKTIF - AS OF 31 MEI 2021 NO AGENT_NAME LICENSE_NUMBER 1 A A AYU MANIK AW 3321012036482020 2 A ARI KARUNIAWAN 3321012006150020 3 A SALAM MUHAMMADONG 3321011025615319 4 A. A PUTU EKA PARYANTI 3321012008479521 5 A. BAROIL 3321012052451719 6 A. HARIS 3321012076460320 7 A. INDRA JAYA 14902553S 8 A. M. GANDA MARPAUNG 3321012010214720 9 A. M. YUDHISTIRA SEKUNDHITA 3321012010295421 10 A. RETNO KUSWARDHANI 3321012074445020 11 A. ROBITH SYA'BANI 3321012097213820 12 A. TIKA WIDYAWARDHANI 3321012044831519 13 A.D. KUSUMA WARDHANA 3321012002801320 14 AAN CHAERANI 3321011025616819 15 AAN DARMAWAN 3321012020846021 16 AAN DIANA 3321012064398519 17 AAN HANDOKO ANG 14443135S 18 AAN JUNAIDI 3321012027911420 19 AAN SAHIDA 3321012019837621 20 AANG YONDA ANGELA 11021161S 21 AARON ABIA JUNIAS 3321012051539419 22 AARON ADHIPUTRA WIJAYA 3321012028297020 23 AB ROHMAN 3321012016588221 24 ABANG IBNU SYAMSURIZAL 10063318S 25 ABBIET SUBIYAKTO 11075737S 26 ABD FAISAL HULA 14073438S 27 ABD HALIM 14897951S 28 ABD RHAKHMAN RAMLI 3321012001302720 29 ABDI ALAMSYAH HARAHAP 11328895S 30 ABDI SOMAD 3321012014853221 31 ABDILLAH PAHRESI 3321012031421720 32 ABDIUSTIAWAN 3321012097978220 33 ABDUL AZIS 3321012004080821 34 ABDUL AZIZ 3321012098577620 35 ABDUL FATAH 3321012091888520 36 ABDUL FIKRI GUNAWAN 3321012010309021 37 ABDUL HAKIM GALIB BELFAS 3321012016206421 38 ABDUL HARIS 14473674S 39 ABDUL HARIST GANI 3321012028298420 40 ABDUL JALIL 3321012001457020 41 ABDUL RACHMAN 14888820S 42 ABDUL RACHMAN N 3321012066747519 43 ABDUL RAHMAN 3321012038907219
    [Show full text]
  • Plagiat Merupakan Tindakan Tidak Terpuji
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERANAN SUDIRO DALAM PERJUANGAN KEMERDEKAAN INDONESIA TAHUN 1945 SKRIPSI Diajukan Untuk Memenuhi Salah Satu Syarat Memperoleh Gelar Sarjana Pendidikan Program Studi Pendidikan Sejarah Oleh: Fransiska Ernawati NIM: 031314006 PROGRAM STUDI PENDIDIKAN SEJARAH JURUSAN PENDIDIKAN ILMU PENGETAHUAN SOSIAL FAKULTAS KEGURUAN DAN ILMU PENDIDIKAN UNIVERSITAS SANATA DHARMA YOGYAKARTA 2008 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI iii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI MOTTO “Biarlah tanganmu menjadi penolongku, sebab aku memilih titah-titahmu” (MAZMUR 119 : 173) “Serahkanlah perbuatanmu kepada TUHAN, maka terlaksanalah segala perbuatanmu” (AMSAL 16 : 3) “Jangan ingatkan ketakutan anda, tetaplah ingat harapan dan impian anda. Jangan fikirkan frustasi anda, tetapi fikirkan potensi yang belum anda penuhi. Jangan khwatirkan diri anda sendiri dengan apa yang telah anda coba tapi gagal, tapi dengan apa yang masih mungkin anda lakukan ” (Paus Yohanes XXIII) iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSEMBAHAN Karya kecil ini kupersembahkan teruntuk : Tuhan Yesus Kristus yang senantiasa mendampingi, melindungi dan selalu memberikan segala hal yang terbaik dalam setiap langkah hidupku Bunda Maria yang sungguh baik hati Kedua orang tuaku yang tercinta, (Bapak Sugito Markus dan Ibu Senti Sihombing) Dan adik-adikku yang tersayang, (Sisilia Yuni Diliana dan Yulius Tri Setianto) v PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI vi PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRAK Fransiska Ernawati : Peranan Sudiro Dalam Perjuangan Kemerdekaan Indonesia Tahun 1945. Penulisan skripsi ini bertujuan untuk mendeskripsikan dan menganalisis: (1) latar belakang pendidikan dan pengalaman politik (partai) dari Sudiro, (2) usaha-usaha Sudiro dalam suatu pergerakan kebangsaan sebelum perjuangan kemerdekaan Indonesia 17 Agustus 1945, (3) peranan dari Sudiro dalam pelaksanaan perjuangan kemerdekaan Indonesia tahun 1945.
    [Show full text]
  • History, Memory, and the "1965 Incident" in Indonesia
    HISTORY, MEMORY, AND THE “1965 INCIDENT” IN INDONESIA Mary S. Zurbuchen With the events of 1998 that climaxed in the stunning moment of President Suharto’s resignation, Indonesia embarked on a transi- tion from a tenacious authoritarianism. These changes have prompted re- examination of assumptions and tenets that have shaped the state, its laws and institutions, and the experience of being a citizen. They have also spurred calls for justice and retribution for persistent patterns of violence. Suharto’s New Order is the only government that most Indonesians alive today have ever known, and its passing has sparked notable interest in reviewing and assessing earlier chapters in the national story. This retrospective moment has not been systematic, and there are indications that it may not be sustained under the administration of President Megawati Sukarnoputri. 1 Nonetheless, public discourse continues to spotlight key actors and events from the past, including some that have long been hidden, suppressed, or unmentionable. Among these topics, the killings of 1965–66 are a particularly difficult and dark subject. In this essay, I will discuss some of the recent representations of this particular element of the collective past and offer some thoughts on how “1965” figures in contemporary public discourse, in social and private Mary S. Zurbuchen is Visiting Professor and Acting Director of the Center for Southeast Asian Studies at the University of California, Los Angeles. Asian Survey , 42:4, pp. 564–582. ISSN: 0004–4687 Ó 2002 by The Regents of the University of California. All rights reserved. Send Requests for Permission to Reprint to: Rights and Permissions, University of California Press, Journals Division, 2000 Center St., Ste.
    [Show full text]