| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 125-140 |
| Abstraksi Narasi | : | There is a tradiition of scepticism about the historical value of Javanese chrocicles (babad), which has led to a privileging of European sources in the study of Javanese history. This scepticism may rest upon doubt whether the Javanese even have a sense of history. This paper argues that there is ample evidence in Javanese chronicles of a vibrant sense of the past. It analyses particularly Babad sangkakala. The original version of this work (Leiden cod. or. 4097) seems to hae completed c. 1750 and is shown here to be very accurate in its account of the reign of Pakubuwanan II (1726-49). This babad demonstrates that tin the mid-eighteenth century there was a Javanese chronicle tradition which assumed that events occurred in a sequence, that they had causes and consequences, that they could be judged and that the past was worth both knowing and recording accurately. This demonstration that Javanese chronicle wrters could be concerned to record the pat with precisions is essential to showing that the Javanese were indubitably people with a sense of history and a capacity to record it. Clearly therefore historians of pre-colonial Java are as much abliged to take Javanese sources seriously as historians of France or Germany are obliged to use French or Germany sources. The author expresses regret that this seems not yet to be accepted by all scholars of Javanese history. |
| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 29-42 |
| Abstraksi Narasi | : | It was the object of this article to discover possible historical traces of the basic structure of the novel-cycle Ciclo dei Piranti della Malesia by Emilio Salgari, in particular the historical existence of its chief protagonist Sandokan. Since historical facts corresponding to the setting of the cycle can in fact be found, it is clear that Salgari`s novel shoul not be read as mere fictional literature but rather as literature with an historical background. Besides some rather general historical facts and circumstances, even some of the details turn out to be historical. The names of persons, places and constellations that were well-known in Europe such as ``James Brooke``, ``Sarawak``, and ``Labuan`` figure, but so do ``Sandokan`` and the ``flag of the tiger`` which were known at the time to a rather small group of people in Sabah. Salgari`s dates are correct, too: Le Tigri di Mompracem starts at the end of 1849, and the original version La tigre della Malesia in 1847; the battle of Malludu in fact took place in 1845. In the Yanez-passage we are informed that Sandokan was resident on the north coast of Borneo for a few years before he settled down in Mompracem. Perhaps the fundamental massages of the cycle correspond more to historical reality than some reports by European contemporaries or historians do. The Sandokan`s fight for freedom against the European colonizers reflects historical reality. Salgari portrayed history from the perspective of the ``losers`` and not from that of the ``winners``, unlike what one finds in most European literature of the last century. His protagonist, who belongs to the weaker party, is positively valued, whereas in afficial British historiography Malludu is obviously viewed negatively. However, it should be realized tha tonly the basic structure of the novel coincides in part with historical events and persons, whereas vast parts-especially the immanent actions-belong to fiction. The cycle shows a form of virtual historical reality: Salgari worked his story out upon a historical frame, the polarity between `` Sandokan`` and ``the British``. The tension between this poles is essentially determined through the efforts of the colonizers. A detailed examination of historical analogies in the immanent parts of the cycle, or concerning Salgari`s descriptions on Bornean customs, social relations and other aspects could bring forth further interesting results. The introductory question concerning the place of historicity in salgari`s Ciclo dei Piranti della Malesia can however be answered positively even on the basis of our preliminary examination. The three symbols ``Mompracem``, and the ``flag of the tiger`` and `` sandokan `` did exist and were handed down orally and in writing. But more relevant perhaps is the connection between ``Sandokan`` and the ``flag of the tiger`` through Sandokan`s native country Malludu. He lived there and was indeed very probably in a position of authority. The emblem of Malludu was the flag of the tiger. Malludu was mentioned by salgari in what may be seen as a basically correct historical context. His fundamental historical message privileges the ``Malay`` and not the ``European`` side. salgari`s anti-colonial interpretation thus finds interesting echoes in the modern discussion of nineteenth-century colonial expansion in southeast Asia. |
| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 43-60 |
| Abstraksi Narasi | : | This is a review of Pramoedya A. Toer`s Arus Balik. In 751 pages the novel traces the period between the declining years of the Hindu-Buddhist kingdom Majapahit, represented here by the coastal kingdom of Tuban (whose king Wilatikta had only recently been converted to Islam), and the rise in importance of the Muslim maritime coastal kingdoms represented by Demak, and Japara. The novel opens with an unannounced attack by Demak on Japara which was originally a dependency of Tuban. Soon after that, the ruler of Japara, Adipati Unus, sends a military campaign against Portuguese Malacca, which fails. Unus himself is killed. The novel ends after the king of Demak, Trenggana, a brother of Unus, dies during his campaign to subjugate another non-Islamic kingdom Panarukan. The novel elaborates on the divisive and destructive condition of these weakened Javanese coastal kingdoms. In real historical time, Tuban was an important and prosperous independent port kingdom until it was finally defeated by Mataram in 1619. In the novel Tuban is already depicted as being in its downward cycle, one century before the real historical attack from Mataram, the strong agricultural based Javanese kingdom against which the dutch traders had to fight before they established their colonial administration on the island. In writing this historical novel, its author (pramoedya) takes a view as to who was to blame for the bad situation in the weakened coastal kingdoms, as depicted in the work, a situation which contributed to the increasing penetration of foreign traders in the archipelago, (and eventually to the Dutch colonisation of the area). The reviw analyses the novel by comparing its internal logic with the historical reality of 16th cetury Java. It alsoremarks on the timing of publication, which coincided with the 50th anniversary of the independence of Indonesia from the Dutch. In that context, the review argues that the author glamorises the gradeur of Majapahit and disapproves of the trading activities conducted by the Muslim coastal kingdoms, because they contributed to the increasing foreign penetration of Java and its fatal destructive impact. One of the foci of the novel is the king Wilatikta of Tuban. This king is depicted as trade-crazy and wishy-washy, and is argued in the novel as a contributor to the destruction of his own kingdom. Paramoedya`s literary choices as depicted in Arus Balik may explain why even 50 years after Indonesia`s independence, aggressive, authoritarian and warring historical rulers like Pati Unus, continue to be tolerable, while a liberal figure like king Wilatikta has difficulties increasing his popular rating even amongst the indonesian intelligentsia. |
| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 141-190 |
| Abstraksi Narasi | : | Gambuh is said to be classical Balinese theatre par excellence, the source of al the dramatic genres that are now seen on the island. Evoking gambuh conjures up the image of a bygone era of exquisite magnificence, of an art that has declined together with the princely courts due to the colonial conquest of Bali, but which, thanks to the interest of a few dedicated artists and scholars associated with the Indonesian government, has recently experienced a revival of sorts. such is the commonly held opinion that I question in this article, which is not to be read as a study in ethno-musicology, but rather as a reflection on the evolution of theatre in Bali. |
| Nama Pengarang | : | Bougas, Wayne A., Picard, Michel, Savitri Scherer, Bianca Maria Gerlich, Ricklefs, Merle C., Cote, Joost |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 83-124 |
| Abstraksi Narasi | : | This article describes the development of Bantayan (Bantaeng), a pre-Islamic, Makassare kingdom, on the south coast of South sulawesi. The Nagara Kertagama, a count poem written in Majapahit Java in 1365 A. D. , indicates that Bantayan was one of the three most important centers in South Sulawesi at that time. The author uses four sources to explain Bantaeng`s rise: (1) an archaeological fields survey of Bantaeng (2) accounts of grave robers who looted Bantaeng`s major sites (3) myths describing the development of kingship in Bantaeng and (4) pre-Islamic, religious beliefs and rites. The author concludes that one of Bantaeng`s oldest kingdoms emerged along the Biangkeke River at Gantarang Keke in eastern Bantaeng. This kingdom may have traded with Majapahit. The expansion of wet rice agriculture and increased trade in the 14th and 15th centuries A.D. saw the rise of another powerful kingdom at Bissampole/Lembang cina along the Calendu River in central Bantaeng. A third center rose at Kaili in west Bantaeng. Lembang Cina in Central Bantaeng grew so powerful that it ultimately dominated the two other centers to the east and west. The article also explains how tomanurung veneration provided the religious and ideological basis for kingship in Bantaeng. Dynasties there and elsewhere in South Sulawesi were thought to have been founded by heavenly descended beings known as tomanurung. Finally, the paper concludes by providing some suggestions for Bantaeng`s subsequent decline in the 16th century. |
| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 177-188 |
| Abstraksi Narasi | : | Tan Hoe Lo was a Peranakan merchant born in Batavia (about whom we know very little). He came to paris in the company of a dutch family (Mr. and Mrs. Zadelhof) to visit the Universal Exposition of 1889. He wrote several reportages in Malay, which were published in the local press of the Dutch Indies (both in Batavia and Surabaya). We provide here an annotated translation of his reportages, which are among some of the first of the kind to appear n southeast Asia about Europe. They reveal an undeniable fascination for the topic of and the author specifically listst a series of > that neede to be transvered to Java. Tan Hoe Lo describes in detail several of the Exposition`s pavillons, the Annamese theatre and rickshaws (which he took for ...), as well as his climb up the Eiffel Tower. In addition, he tells of his visit to Napoleon`s tomb at the Invalides, as well as a trip to the Folies Bergere. |
| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 63-80 |
| Abstraksi Narasi | : | this article results from an investigation about the origins of the first book ever published in the West in the last quarter of the XVIIth century about South sulawesi, then a place quite out-of-the way except for a handful of Dutch traders and perhaps a few Portuguese smugglers as well as for veryoccasional stranded travellers. In any case, none of these could possibly have provided the wealth of detailed and accurate details which the book is teeming with and which can only have been reported by somebody well acquainted with the Makassar language and society (although with a shallow historical knowledge). From reseach about the author, Nicolas Gervaise, a French priest of the Company of the , whose family background, individual character, and life story might provide fantastic materials for a talented biographer, it appears that, although he did travel to the East, this was in quality of prospective pupil at the French Catholic Seminary of Ayuthia, and that he never travelled beyond the Kingdom of Siam from where he was sent back home in 1685 by his superiors. On his return he set to write a Natural and Political History of the Kingdom of siam, in which he displays the usual prejudice over, and no particular knowledge of, the cultures of the Muslim peoples suach as the Malays, the cham and the Makassar then living in Ayuthia. Probably at the time the latter book was sent to press, Nicolas Gervaise was appointed the private tutor of two young Makassar princes called Daeng Ruru and daeng Tuloo (aged 14 and 13 years) who had arrived in Paris in September 1687. They appear to have been to the sole survivors of a rebellion which their father Karaeng Mangalle had led the previous year against the Siamese King Phra Narai. Taken on the battlefield with their arms in hand they were however, due to their young age, not put t death but confided to the reprentative of the French East India Company who sent them to the French King Louis XIV for their education. As Gervaise published his historical description of the Makassar kingdom a few months only after having been put in charge of the two youths, they seem to have been his main informants, although there is some evidence that some supplementary information may have had another origin. Of the subsequent life story of these so-called princes with French-Makassar names (Louis-Pierre Daen Rourou de Macassar and Louis-Dauphin Daen Toutolo de Macassar), much still remains to be brought to light. From what is already known, one can poiint tothe fact that they were raised in he best college of their time in Paris together with the flower of the French society, that they received all their life long an alowance directly taken from the French King`s civil list, and that they were later admitted in the most prestigious French Naval Academy with the best titled French nibility, thus showing heir full acceptance as aristocrats among others aristocrates, without apparently suffering the slightest trace of any racial prejudice. |
| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 269-286 |
| Abstraksi Narasi | : | This short article relates the career of Mr. Jim Adhi Limas, a French naturalized Indonesian actor who has settled in France since the sixties. Jim had successfully made his name as a man of the stage in Indonesia, managed a threatrical company Studiklub Teater bandung that he founded with some friends in 1959, and headed a dramatic art school. He was futhermore an actor, who generally played leading roles, and engaged in the production and adaptation of Indonesian and Western plays, notably Hamlet. He continued his theatrical career in FRance, but this time only as an actor (see, for example, his role as Slimane in Slimane oul l`homme-caillou, ), and began a new experience of film actor that subsequently became his main occupation. whereas he generally always plays minor roles of evil Asian man doing the catering or connected with the mafia, he happens sometimes to be entrusted with major roles of noble character (a police inspector in La fee carabine, ). Being an actor is a real vocation for him and the inconveniences inherent in this profession have never weakened his passion for it. |
| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 173-176 |
| Abstraksi Narasi | : | It is only after complex negotiation, sometimes marked by sordid dealings, that museum objects arrive at their final destinations. Even donations are rarely without an ulterior motive. They are often capable of masking a hidden agenda designed to obtain a decorative award or to see ones`s name engraved on a plaque of prestigious contributors to a museum. In the late 19 th century, the Musee Ethnographique du Trocadero (The Ethnographic Museum of Trocadero), the forebearer of the Musee de l`Homme (Museum of Man), obtained its initial collections from three major sources: older French museums which were getting rid of their exotic collection; European bureaucrats posted in the colonies, in particular the British and the Dutch for the indonesian archipelago; and the representatives of the French government who undertook studies not so much o an ethnographical nature at the outset, but rather minereal, botanical and other such projects that were designed for commercial purposes. Servings as the prestigious window displays of the European colonial empires, the Universal and Colonial Expositions of the fin du siecle and during the 1930s reveal a double view of distant lands: on the one hand, the empire considered these faraway places as coveted objects in terms of their potential wealth; on the other hand, the empire viewed them as objects of curiosity and sometimes of admiration for the peoples living there. The Europeans would bring back to their countries all that they culd and by all the means possible that which was the others produced: at first the strange and spectacular and then, during a more thoughtful stage, the objeacts representing the eeveryday life of these peoples. The europeans would compete with each other to obtain the richest collections. This article seeks to reconstitute a few of these underground dealings. It is a delightfully humorous collection of letters that John Erriginton de la Croix has left us f his mission to London one hundred and ten years ago. But, since then, man has not changed that much. |
| Nama Pengarang | : | - |
| Nama Majalah/Jurnal | : | Archipel |
| Volume / Nomor Edisi | : | - |
| Nomor Halaman | : | 253-268 |
| Abstraksi Narasi | : | Ratna Cartier-Bresson was born in Batavia in 1904 and spent her formative years on Java. She changed her name several times when she trained as a dancer in both traditional Javanese and modern contemporary dance forms while still in the Netherlands East Indies. Ratna was not only attractive, but also endowed with a quicksilver temperament and lively intelligence, accentuated by a great sense of humour. It was thus she appeared on the scene in the Paris of the 1930s where artist, writers and painters congregated in the cafes of Montparnasse. She was destined to make Paris her home far the rest of her life when she married the now famous photographer Henri Cartier-Bresson in 1937. Ratna was to die in 1988 far away from those islands bathed in sunlight where she had spent her youth. Her travels had taken her all over the globe during the struggle for independance of many new nations in asia and Africa. A surprising and unusual life for a woma in the days when Indonesian women were very rarely seen outside of the former Dutch colony. |
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