Indonesiana Vol.14 The Charms of Indonesian Culture

14 VOLUME

2022

THE CHARMS OF INDONESIAN CULTURE

Is Batik a Value or a Material Culture?

Knitting Noken, Knitting Life Be proud of Pencak Silat, Live the Value ISSN 2406-8063

Do not Doubt the Authority of Panrita Lopi 9

772406

806005

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Arts and traditions are part of Indonesia Zul Lubis

2 INDONESIANA VOL. 14, 2022

FOREWORD

RESTU GUNAWAN Director for Culture Development and Ultilization, Directorate, General of Culture

Foreword P

raise be to God Almighty so that

rubric which this time presents the

and Technology, through programs that

Indonesiana Magazine Volume 14

figure of Navy Major, Sugeng Hariyanto

are supervised by the Directorate of

2022 can be issued again for the

who is currently entrusted as the

Culture Development and Utilization in

readers. We are grateful because this

Commander of KRI Dewaruci. Muhibah

carrying out cultural missions that refer

year, Indonesia’s condition can rise and

Jalur Rempah itself is one of the efforts

to Law for the Advancement of Culture

begin to recover to return to normal life,

of the Directorate General of Culture in

Number 5 of 2017 and Law Number 11

slowly but surely. Indonesiana Magazine

submitting the Spice Route as a World

of 2010 concerning Cultural Properties

still continues to faithfully summarize

Heritage UNESCO. The implementation

Preservation. Hopefully this reading will

various cultural stories from all over

of various cultural activities under the

become an inspiration for every reader,

Indonesia which increasingly show the

Directorate General of Culture becomes

especially the Indonesian people, to

cultural richness of the Archipelago.

evidence that all Indonesian people have

continuously contribute in advancing

This is also inseparable from society’s

a strong spirit and belief to continue to

culture, appreciating works from various

appreciation and enthusiasm to broaden

preserve and appreciate the diversity

regions in Indonesia, and continuously

their insight about Indonesian culture.

of Indonesian culture that comes back

trying to recover faster, rise stronger.

Coming back in two languages, namely

offline and can be enjoyed by the public

Indonesian and English, Indonesiana

directly. In implementing its programs,

volume 14 is expected to be a medium

the Directorate General of Culture always

of cultural diplomacy that continues to

involves the society as the main partner.

introduce and disseminate information

This is done so that the sense of love and

on cultural wealth from various regions in

belonging to Indonesian culture is getting

Indonesia.

higher and continuously maintained.

Various interesting stories are presented

Various cultural stories in the Archipelago

in this volume, starting from the main

that have been recorded and illustrated

topic of the Intangible Cultural Heritage

in Indonesiana Magazine volume 14,

that has been recognized by UNESCO,

become evidence of the commitment

the implementation of Muhibah Budaya

of the Directorate General of Culture,

Jalur Rempah activity, to the profile

Ministry of Education, Culture, Research

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VOL. 14, 2022 INDONESIANA 1

14 VOLUME

2021 2022

THE CHARMS OF INDONESIAN CULTURE

KILAU BUDAYA INDONESIA

Advisor HILMAR FARID

Pengarah

Greetings from Editors

Project Director HILMAR FARID RESTU GUNAWAN

Direktur Jenderal Kebudayaan Managing Director YAYUK SRI BUDI RAHAYU

Penanggung Jawab RESTU GUNAWA N Editor in Chief SUSI IVVATY Direktur Pengembangan dan Pemanfaatan n ExecutiveKebudayaa Editor SINATRIYO DANUHADININGRAT

Koordinator Umum & Content Editor ALFIAN SIAGIAN Pemimpin Redaks i BINSAR SIMANULLANG Language Editor MARTIN SURYAJAYA

Redaktur Photo Pelaksana Editor SYEFRI LUWIS SUSI IVVATY Secretary Redaktur Naska h JESSIKA NADYA OGESVELTRY

MARTIN SURYAJAYA Design and Layout ALFIAN SIAGIAN ZULS. LUBIS

W

arm regards… Dear Indonesian readers, various post-Covid 19 cultural activities seem to be getting more and more enthusiastic, not only being organized by the government, especially the Directorate General

of Culture, but also being held offline by cultural communities. The cultural celebration is starting to get stronger and we all hope that this good ecosystem can be maintained.

The main topics in Volume 14 still continue the previous volume, namely looking back at the intangible cultural heritages that have been inscribed at UNESCO. In

Proofreaders Redaktur Fot o PRIMA ARDIANI ANNISA SYEFRIMAYASARI LUWIS

the previous edition, we reviewed wayang, gamelan, angklung, and three genres

Translator DONTY TataWIDAGDO Letak

Heritage (ICH) Lists that have also been recorded in UNESCO as Intangible Cultural

Contributors RENNY AMELIA SUSANTI PRITA WIKANTYASNING Fotografer ANGGORO CAHYADI THAMRIN JUNAIDI NADAPDAP JESSIKA NADYA OGESVELTRY

Heritage of Humanity, namely the art of batik (including batik education and

YUDHI Administration WISNU ARYAND I AHMAD ZUNITA E. CHRISTISIA MELATI PUTRI Sekretariat SORAYA AIDID

POKJA PENGEMBANGAN DIREKTORAT PPK Distribution RACHMAT GUNAWAN HERY MANURUNG BAYU HARDIAN YUDHI WISNU ARYANDI

of Balinese dance. In this edition, we review four Indonesia Intangible Cultural

training), noken, pinisi, and pencak silat.

As we know, Noken Papua, for example, is a cultural work that urgently needs to be preserved and even saved because it is almost extinct. Noken, which should be made from natural materials such as forest pandanus, bark, and gnemon or melinjo tree fibers, is increasingly rare because it is difficult for people to find raw materials. Now there are many noken made of factory thread embroidery.

In fact, it is precisely the noken philosophy that becomes the strong basis for the determination of noken to become the UNESCO ICH List. Noken is interpreted as a mother’s womb, which is a symbol of fertility and the inheritance of life values.

Ministry of Education, Culture, Research, Kementerian Pendidikan, Kebudayaan, Riset, and Technology Republic of Indonesia dan TeknologiGeneral Republik Directorate ofIndonesi Culture a Direktorat Pengembangan dan Pemanfaatan Kebudayaan Directorate of Culture Development and Ultilization Gedung E. Lt. 9, Building E. Lt. 9, Jl. Jl. Jenderal Jenderal Sudirman Sudirman Kav. Kav. 4-5 4-5 Senayan, Senayan, Jakarta Jakarta 10270 10270 (021) 5725534 (021) 5725534 indonesiana.diversity@gmail.com http://kebudayaan.kemdikbud.go.i d http://kebudayaan.kemdikbud.go.id

Indonesiana Magazine at promoting Indonesian Culture Majalah aims Indonesiana bertujuan and is not forbudaya sale Comments of dan articles, etc, untuk promosi Indonesia, tidakPhotographs diperjualbelikan.

Komentar atas artikel,can fotobe dan lain-lain send to: ditujukan kepada: indonesiana.diversity@gmail.co m indonesiana.diversity@gmail.com Front Cover: Story: Maritime Odepabrik for Indonesia SampulSpice depan: Gaya A bertenaga buruh genteng Jatisura .

– Editorial Jalur Rempah (foto:Team Panduof Rahadian ) Back Cover: Sampul belakang: Penari Caci dan kain Songke.

Dance from Tidore, which was performed in (foto: Dodi Sandradi)

Horu-horu the release ceremony of ‘Laskar Rempah’ from Tidore toward Banda Naira - Naval Public Affair Fleet Command II, Surabaya

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INDONESIANAVOL. VOL.14 14,2022 2022 222 INDONESIANA INDONESIANA VOL. 10, 2021

Noken is not only used as a medium of exchange but also a symbol of dispute resolution and peace and payment of fines. That’s it, the challenge is right before us.

The Muhibah Budaya Jalur Rempah activity attracted tremendous attention and received widespread public appreciation. Therefore, it is inevitable that notes about it will also be published in Indonesiana Vol 14, including an in-depth interview with the Commander of KRI Dewaruci, Major (P) Sugeng Hariyanto. A review of Gita Bahana Nusantara is present in this edition, as an example of an activity that has a strong foundation so that it can be held continuously.

The rubrics for the advancement of culture are very interesting to be explored.

Sinrilik performing arts in South Sulawesi, menumbai ritual in Riau, Bumiayu sites and cultural properties, and many more. And don’t forget, the G20 Presidency has made us more aware that the cultural sector can be the key to global economic recovery. Happy reading….

Editor in chief

FOREWORD

HILMAR FARID Director General of Culture Ministry of Education, Culture, Research, and Technology Repulic of Indonesia

Acknowledgement from the Director General of Culture C

ultural values are ​​ the fruit of so-

Indonesia exist, but also a reflection of a

nation is: “Indonesia is Happy”. The fourth

ciety practices that are produced

collective will to think about and advance

paragraph of the Preamble to the 1945

through various trials and adap-

the nation as well as efforts to realize col-

Constitution then outlines the mission to

tations to the surrounding environment

lective goals. The thoughts of the found-

achieve this vision, namely “to protect the

and various cultures that come from

ers of the nation in the past were not

entire Indonesian nation and the entire

other places. Therefore, the cultural val-

something that appeared suddenly, but

homeland of Indonesia, promote public

ues of ​​ a society always have an inclusive

were born from a long process involving

welfare, educate the nation’s life, and par-

character, always accept and adapt the

dialogues with various different cultural

ticipate in carrying out world order based

cultural wealth of every community that

groups in the Archipelago to achieve the

on independence, eternal peace and

contacts with that society. Cultural values ​​

same goal, namely independence and

social justice.” This is a collective agenda

are very important as a reference for

progress.

that unites every citizen of the nation as

society’s actions in dealing with changing eras and life contexts.

The Indonesian nationality was not

an Indonesian nation.

formed on the basis of the same race

In that spirit that the Indonesian nation-

A cultural value becomes noble because

or religion. A person does not become

ality must be seen as a nationality bound

it is proven to survive in social life from

an Indonesian because they come from

by the recognition of diversity, namely

generation to generation. These noble

the same ethnicity or the same religion.

the diversity of elements united by the

values are ​​ a ‘barn’ of social imagination

A person becomes Indonesia because he

collective goal of realizing an indepen-

and local knowledge that can guide us

has a collective imagination of an inde-

dent society. Nationality and unity in

through the challenges of the eras. This

pendent society. This unifying collective

diversity are two sides of the same

is reflected in various aspects of people’s

imagination and hope are formulated in

historical coin.

lives, such as traditional ceremonies,

the vision and mission of the Republic

ruwatan bumi, prohibitions and taboos

which is clearly stated in the Preamble to

that have sacred and mystical values.

the 1945 Constitution.

All these local practices and values are ​​ intertwined and form the identity of the Indonesian nation.

Therefore, I welcome the publication of Indonesiana Magazine Volume 14 which was published in conjunction with the

The first paragraph of the Preamble to

anniversary of the independence of the

the 1945 Constitution clearly states our

Republic of Indonesia and raises the na-

vision as a nation, namely “an inde-

tion’s cultural diversity. Hopefully through

Indonesia is the result of a society’s

pendent, united, sovereign, just and

this reading, we can all get inspiration

collective agreement to bind themselves

prosperous Indonesia.” Or if you want

to foster a sense of brotherhood that

into a single nation in the midst of ethnic,

to formulate it more briefly by referring

views cultural differences as a collective

religious, or group diversity. The agree-

to the second stanza of the national

strength.

ment is not only to make the state of

anthem Indonesia Raya, our vision as a

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VOL. 14, 2022 INDONESIANA 3

CO N T E N T S MESSAGE 1

Director for Culture Development and Ultilization, Directorate, General of Culture

2

Editors

3

Director General of Culture Ministry of Education, Culture, Research, and Technology Repulic of Indonesia

CULTURAL NEWS 24

GITA BAHANA NUSANTARA Gita Bahana Nusantara, Guardians of Unity in Diversity

28

MUHIBAH BUDAYA JALUR REMPAH Trace the Road of the Past, Explore the Spices of the Future

34

DEVELOPMENT G20 Cultural Sector, Key to Global Economic Recovery

MAIN TOPIC

I

6

BATIK Is Batik a Value or a Material Culture?

12

NOKEN Knitting Noken, Knitting Life

16

PENCAK SILAT Be proud of Pencak Silat, Live the Value

20

PINISI Do not Doubt the Authority of Panrita Lopi

4 INDONESIANA VOL. 14, 2022

COMICSTRIP 38

Comic Tradition (Belief and Customary Law Communities) Directorate of Belief in the God Almighty and Customary Law Communities

INFOGRAPHIC 40

Map of Distribution of Customary Law Communities

PERFORMING ARTS 42

Sinrilik: A Stage of Makassar Society’s Collective Memory

ORAL TRADITION

MANUSCRIP 46

Exploring Hikayat Seribu Masalah

66

COMMUNITY

CULTURAL PROPERTY 50

Bumiayu Sites that Continue to Beat

70

TRADITIONAL KNOWLEDGE 54

Manumbai, Seducing Bees Seducing Nature

Learn Gotong Royong from Poto Village

74

From Maritime to Contemporary at Museum BI

Be Guling Bali, Offerings to God

FIGURE: (Mayor Sugeng) 78

MUSEUM 62

Panggungharjo Residents’ Innovation of Paper Batik Stamp

CULINARY

CULTURAL VILLAGE 58

Women and Kampong Feasts in Seram

Commander of KRI Dewaruci Serving with heart

PHOTO GALLERY: 82

Passionate about Muhibah Jalur Rempah

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VOL. 14, 2022 INDONESIANA 5

MAIN TOPIC

Is a Value or a Material Culture ?

N

o wonder batik was initially contested by many nations in the world. Concerns about the claim to the science of batik in a country will continue being a threat. It is not easy to prevent let alone stop. Batik as the subject of discussion in the study has been widely developed abroad. In the meantime, we are more interested in the

creation of batik cloth, but neglect and do not care about the value and meaning contained in decoration variety, color, and function of batik cloth.

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6 INDONESIANA VOL. 14, 2022

Is batik a value or an object? We start to

for traditional ceremonies and sacred

form of batik as a piece of cloth. In fact,

find many similar questions. The shift to

rituals. In its development, batik becomes

intangible aspects should always be

changes in the aspects of making and

sarongs, clothing materials, to household

attached to tangible cultural objects,

using batik cloth continues. The process

utensils such as bed sheets and

namely those that can be touched, in

of making batik begins with Applying

tablecloths. Ironically, all variants of these

the form of concrete objects that are

the wax with Canting Tulis on the fabric

products are still called batik although

man-made and made to meet certain

using a canting tulis (a copper pen-like

their manufacturing process as well as

needs, as said by Edi Sedyawati in

instrument) or canting cap (stamp).

their decoration, colors, and functions are

Warisan Budaya Takbenda Intangible yang

The next is the process of dyeing and

much different.

Tersisa dalam Tangible (the Intangible

removing the wax by boiling. The stages of the process change to dyeing directly on the fabric using a silk screen (screen printing) to make batik motifs called printed textile with batik motif.

Intrinsically, batik is

The high quality of batik art and culture has become very low, eroding its noble value. The destruction of batik is indeed real. The strength of the intangible value is weakened, what remains is only the

Cultural Heritage which Remains in Tangibles (Archeological Academic Lecture, University of Indonesia, December 18, 2003) The intangible cultural heritage is exploited for purely economic purposes.

a long piece of cloth

Tjanting, wax, cloth and batik makers are one unit Syefri Luwis

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VOL. 14, 2022 INDONESIANA 7

It is as if we no longer care about the

Intangible Cultural Heritage in Abu Dhabi,

traditional knowledge and handicrafts

United Arab Emirates on September

stored in batik and deliberately let the

28-October 2, 2009 has decided that

symbolic meaning of batik be buried in

Indonesian Batik is inscribed on the

myth. We are trapped in developments

Representative List of the Intangible

that do not preserve, innovations in

Cultural Heritage of Humanity. The

decoration and colors that do not protect

agreement among countries is based

batik. Do not be surprised if you suddenly

on the Convention for the Safeguarding

hear arguments about wooden batik or

of the Intangible Cultural Heritage. It is

bamboo batik. Many people demand that

stated that Indonesian Batik represents

what they make is recognized as batik

three of the five domains of intangible

such as printing, night screen printing,

cultural heritage, namely oral traditions

as well as a combination of printing and

and expressions, including language as

written batik.

a vehicle of the intangible cultural

The meeting of the Intergovernmental Committee for the Safeguarding of the

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INDONESIANA VOL. VOL. 14, 14, 2022 2022 88 INDONESIANA

heritage (oral traditions), social practices, rituals and festive events (social habits), and traditional craftsmanship (traditional

Canting Tulis (a copper pen-like instrument) and Canting Cap (Stamp)

handicrafts). (Nomination for inscription on the Representative List Reference No. 00170, 2009). The establishment should be able to make us aware that batik contains a value of intangible cultural heritage ​​ left by our ancestors.

The intangible cultural domains of tradition and oral expression are the results of interviews with batik craftsmen communities in several regions. It turns out that many batik craftsmen’s have been involved with the batik making tradition from generation to

generation until 3 or 4 generations for

habits is batik cloth that is used for

400 years. Batik craftsmen are making

society’s customary activities, rites, and

the batik pattern on the paper, ngeblat

celebrations as a social habit in society.

(tracing/copying the pattern on paper

The domain of traditional craft skills is a

to cloth using a pencil), ngelowongi

collective skill starting from making tools

(applying the hot-melt wax over the

and equipment, raw materials, and batik-

pencil-in outline of the pattern), ngelir

making techniques by using hand skills.

(the whole colouring process), nyelup (a

This collection of skills are skills since

dye technique to give base colour on

the beginning when batik was being

cloth by dipping the cloth in dye bath), and ngelorod (removing the wax on the cloth by dipping in boiling water) by seeing and hearing

discovered until now.

The domain of traditional handicraft skills is described in the following table.

Table of Batik Traditional Craft Skills

from other people, not studying at school or formal courses.The domain of social

Skills in Making Tools and Equipment

Skills in Making Raw Material

Skills in Batik Making Techniques

1

Making a Canting

Making candle

Making batik patterns

2

Making Stamps

Making Natural Dyeing Materials

Sticking candles on the cloth

3

Making an open jigger

Making Synthetic Dyeing Recipe

Dyeing cloth

4

Making a Stamp Table

No

Removing the wax

Residents use batik during the ritual of planting tobacco in Legoksari Village, Temanggung Susi Ivvaty

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VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 99 VOL.

We know that the two domains of

A motif is the overall form of the

One of the batik motifs for wedding

intangible cultural heritage, viz. the oral

elements of decoration, colours, and its

ceremonies is the Sido Mukti motif, worn

traditions and social customs contain

function. The motif determines who the

by the bride and groom at the wedding

historical, cultural, and economic values.

maker is, how it is made, how the ritual

ceremony. Sido means continuous

Traditional handcrafts skill contains an

process is done (meditation or fasting),

and mukti means life in sufficiency and

intellectual value which is realized in the

and also when the decoration will be

happiness. This decoration symbolizes

expertise in making tools, making raw

made into batik. Then, how it is dyed,

the hope of a good future, full of eternal

materials, and batik making techniques.

where the plant of the material is taken

happiness for the bride and groom (Nian

Thus, batik is not just a piece of cloth

from, and where the springs for the water

S Djoemena, Ungkapan sehelai Batik: Its

(batik as an object) but it is rich with

come from are the process of making

Mystery and Meaning, Djambatan, 1990)

values which materialized through

batik. In addition, it is also determined

symbols in the form of decoration, colour, and use called a batik motif.

who wears the motif of long cloth batik, when, where, and how it is worn.

Traditional batik originating from Solo and Yogyakarta has certain rules: how to use it, when to use it, and who wears it.

The intangible cultural heritage domain of Indonesian Batik can be used as the basis for making policies, strategies, and programs in an effort to preserve, protect, and develop Indonesian Batik. The clear boundaries for the development of batik decoration and technology are necessary. Not all decorations can be used in batik. Not

Abdi dalem wear batik in their daily life - Kurniawan Rizqi Kurniawan Rizqi - https://www.shutterstock.com/g/kurniawanrizqi

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10 INDONESIANA VOL. 14, 2022

all technological developments could

heritage of 400 to 500 years ago. Natural

for sogan (reddish brown, yellowish), and

replace batik-making techniques. The

and environmental condition are very

indigofera (Indigofera tinctoria) leaves for

public’s understanding of batik as an

much different from now. The need

deep blue.

intangible cultural heritage is still not

for clothes and how to wear them has

enough so that there is less appreciation

been different. There are shifts up to

for the inscription of Indonesian Batik

changes in the aspects of making and

on UNESCO Intangible Cultural Heritage

using batik cloth are unavoidable, as

List.Even determining which is batik and

well as the development of technology

not is still difficult. Long cloth batik worn

that we are not able to stop. Variants of

in traditional ceremonies and rituals

batik and nonbatik products continue

is called batik, while the clothes we

to emerge, competing in seizing the

(Zahir Widadi, S.S., M.Hum/Lecturer at the

wear everyday are also batik. However,

market, competing each other in

Batik Technology Study Program, University

there is a difference between batik and

reducing production costs, and having

of Pekalongan and Management of the

batik cloth. Batik cloth is a cloth with

an orientation for economic value. That

Association of Indonesian Batik Craftsmen

batik motif which is only for clothes, a

is one of the biggest impacts of changing

and Entrepreneurs).

commodity that everyone can make and

the use of natural dyes with synthetic

can wear.

It is not easy to accept the fact that the meaning of “heritage” is the ancestral

Now, almost every batik centre is always identical to the impression of dye waste.

We all hope that the narrative about batik is getting better and the making of batik cloth today does not trigger environmental damage.

dyes. In fact, traditional batik uses mangrove bark extract, jambal (YellowFlamboyant/Peltophorum pterocarpum), and tegeran (Cudrania javanensis) wood

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VOL. 14, 2022 INDONESIANA 11

MAIN TOPIC

Knitting Noken Knitting life

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12 INDONESIANA INDONESIANAVOL. VOL.14, 14,2022 2022 12

Various adaptations of motifs in noken Saberia

W

When visiting Jayapura Papua,

personal items, food, farm products, to

in Depapre, Jayapura Regency, call noken

we will be spoiled by beautiful

baby and toddler carriers. Other ethnic

by the name tangke moro which means

nature and vendors on the side

groups in Papua process Tikar leaves

noken bag.

of the street. One of the merchandises

(the term for the type of forest pandanus

that catches our eye is the traditional

plant), bark, genemo or melinjo tree fibers

Papuan bag, noken. Yes, noken is not

(Gnetum gnemon), forest orchid skin, and

only a Papuan cultural identity and a

swamp grass to make noken.

tool for keeping goods, but now also a souvenir that many mama-mama Papua/the Mamas of Papua (the term for married Papuan women) sell on the roadside. They make their own noken, and if we are lucky, we can see them making it right on the side of the road.

Although not as famous as batik, noken is an ancestor heritage of ethnic groups in Papua which had been inscribed by UNESCO on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding on December 4, 2012. Needless to say, this becomes a distinctive pride, although

Khangge is a small bag that is used by hanging or as a sling bag. Hoboi is a large bag that is quite helpful for people in placing or carrying large items or a

Each ethnic group has its own

considerable number of items. Khangge

characteristics in knitting and weaving

and hoboi are made from materials that

techniques so that each noken in Papua

grow around the villages of the Central

becomes a kind of ethnic identity. Most

Sentani people, namely bark (huisaa/bark

of the Papua ethnics has their own

fiber) and genemo. The making of hoboi

term for traditional bag based on their

and khangge takes about 1-2 weeks.

mother tongue, even some ethnic groups

Hoboi size is usually 1 x 1 meter, while

identify different words for noken based

khangge is 30 x 50 cm.

on several categories. For example, the Sentani community in Ifar Besar Village, Sentani District, Jayapura Regency, calls noken with the term khangge (small bag) and hoboi (big bag). The Tepera society

not everyone in Papua knows it.

Tangke moro, if interpreted in Indonesian, is a bag. Tangke moro is a traditional craft which is a masterpiece of Tepara people’s knowledge in weaving moro bark into something useful. Tangke moro has been made and used by the people of Depapre since a long time ago and

In general, noken is known

continues to this day as well as becomes

as a traditional Papuan bag,

a distinctive pride for the people of

but actually there are various

Tepera. Tangke moro is made from the

different terms to call it. Noken

kanya tree or maro tree or maro bark.

which is commonly known

For the making of tangke moro, first

as unique to Papua is the

the bark of the maro is cleaned,

“noken Wamena” although this

then soaked in salted water

noken does not come from

in order to produce a more

Wamena, the capital of Jayawijaya

durable tangke moro. After

Regency. This noken becomes a

that, the bark is formed, it can

distinctive characteristic of the

be woven or folded. To make it

Mepago ethnic groups in the

look more beautiful, the outside

Central Mountains of Papua. The

of the bag is made into tassels. If

sizes also vary, from the small size

the material is ready, it only takes two

to the large ones. The “mama-mama”

days to make it.

in the Mepago customary territory drape it on their head and let it dangle behind their back. The contents are varied, from

One of the noken motifs Bortolomeus Abdi W. - https://www.shutterstock.com/g/abdiwidyatama

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VOL.14, 14,2022 2022INDONESIANA INDONESIANA 13 13 VOL.

It seems simple, but it’s actually

time. This process keeps repeating into

laughing out loud, sharing stories and

complicated. Each of ethnic groups

a pattern that is inherent in Papuan

life experiences between the old and the

has different materials and production

culture. When someone is going to

young. The moment of gathering while

techniques. Some plants for raw material

make a bag, then the material is spun

making noken indirectly becomes a place

are still easy to find at forest edge area

again into cords, then woven. The typical

for internalizing cultural values because

and gardens, but some are hard to find

knitting technique results in crochet

the process of inheritance often occurs.

and in the middle of forest.

which intertwined one another with a

Not only the inheritance of forms, but

the raw materials (branches or stems or

looser distance but stronger. This crochet

also the process of meanings and values ​​

bark of certain small trees or shrubs) are

pattern allows noken to be elastic.

of life that should be appreciated.

Noken Craftswomen

In the socio-cultural life of the ethnics in

Noken craftsmen are generally women,

Papua, noken becomes a cultural symbol

who use their spare time after doing

that is multifunctional, full of meaning

household chores and taking care of the

and philosophy that is always carried

farm. Usually, the women make noken by

everywhere. Noken is interpreted as a

sitting in groups while taking care of the

mother’s womb, which is a symbol of

children, although there are also those

fertility and the inheritance of life values.

who do it alone. Noken craftswomen are

The ability to make noken is a symbol of

called “mama-mama” noken, although

a woman who is mature and ready to get

some of them are still single. In certain

married. Noken is used as a medium of

ethnics, noken is also done by men.

exchange, a symbol of dispute resolution

In general,

cut, skinned, and soaked in water to be cleaned of all dirt including tree sap. The sheets of material (wood fibre) are then dried in the sun until dry, then separated or torn into small sheets following the direction of the fibres.Sheets of genemo tree bark, forest orchid skins, forest pandan leaf sheets, and swamp grass that have been previously processed are then twisted into one long strand like thread.

The twisting technique is still traditional; take several materials, spun them with the palm of the hand on the thighs until the strands of the material are tightly joined together like thread or small cord. After twisting process is finished, all material become cords, roll it up and store it so that it can be used at any

When women gather and make noken, that is their quality time with children and other women, it can even become a kind of me time. At that moment, they can relax while joking and

A Papuan man carries a Khangge or small bag Saberia

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14 14 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022

and peace, payment of fines, a symbol of social status among the socio-cultural layers of society, and so on. With a complicated process and full of life values, a natural fiber noken has “plus value”.

Factory Threads

cultural activists, craftsmen, SME (Small

conduct a collaborative effort in nursery

Currently, noken made from factory

and Medium Enterprises) activists, the

and cultivation of plants for raw materials

threads with Papuan characteristics

private sector, and the government to

between the society, government, and

are widely available on the market.

maintain the existence of noken, not only

other parties. Another effort is to include

Initially, it was done by immigrants, but

as an object but also as an intangible

noken as teaching material in local

gradually now noken craftsmen are also

culture. One step that has been

content curriculum so that knowledge of

starting to work on noken variants with

implemented is the recommendation to

noken and its values can continue.

factory threads. These two types of

use noken for student and employees,

noken compete in price in the market,

both government employees and private

with the cheaper selling price for the

employees. Despite the fact, there are

factory thread noken. For example, one

also those who wear factory thread

natural fiber noken with the size of a

noken. In Jayapura City, there are already

small notebook is sold for around IDR

considerable spaces provided by the local

200,000, while factory thread noken is

government and private sector for mama-

sold cheaper. The more difficult the raw

mama noken to sell their merchandise, for

materials, the more expensive the price.

example at the Danau Sentani Festival,

Noken made from orchids, also known as

Humbolt Bay Festival, PON XX, and

orchid noken or yellow noken, is the most

PEPARNAS XX. Noken has also been sold

(Windy Hapsari, S.Sos., M. Si/ A Senior

expensive noken in its class. Orchid noken

online.

Cultural Administrator at the Regional

with the size of a notebook is sold for around IDR 1,000,000. This type of Noken is more complicated to process and the raw material in the form of yellow forest orchids is increasingly difficult to obtain.

The cooperation of all party indispensable for maintaining the status of noken as a UNESCO’s intangible cultural heritage, by

Actually, there has been a Noken Museum which was inaugurated on April 10, 2013 in Jayapura City. However, the museum has not functioned optimally as a means of information and education, as well as the protection and utilization of this Papuan icon. In fact, a museum can also be a pleasant tourist destination for tourists from outside Papua.

Office for Cultural Values Preservation in Papua Province, Ministry of Education, Culture, Research, and Technology )

providing the availability of raw materials for noken. Natural raw materials are

Although it is sold more expensive than

starting to decrease, partly because of

factory thread noken, natural fiber noken

forest clearing and land expansion for

is still interesting and has its own fans.

settlements and other land use interests.

Various efforts continue to be done by

To overcome this, it is necessary to

A Mama makes noken Bortolomeus Abdi W. - https://www.shutterstock.com/g/abdiwidyatama

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VOL. VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 15 15

MAIN TOPIC

Be proud of

PENCAK SiLAT

Live the Value I

ndonesia should be proud after

the Representative List of the Intangible

moves and style that are

some of its natural and cultural

Cultural Heritage of Humanity. These

passed down from generation

property was recognized as a

two important moments have become

to generation. West Sumatra

world heritage by UNESCO, including

a source of pride for the people of

with its Minangkabau ethnicity has a

the Ombilin Coal Mining Heritage

West Sumatra in particular, because

historical record as a source of inspiration

of Sawahlunto (OCMHS) which was

the cultural heritages are located and

for the Indonesian people. Minangkabau

inscribed on World Heritage List

originate from West Sumatra.

Silat or silek has also become an

(Culture Category) on June 6, 2019 in Azervaijan. Six months later, in Bogota, Colombia, on December 12, 2019, UNESCO inscribed one of element of Indonesia intangible cultural Heritage, namely Traditions of Pencak Silat on

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16 INDONESIANA VOL. 14, 2022 16 INDONESIANA VOL. 14, 2022

This West Sumatra’s pride is reasonable.

As we know, pencak silat is a tradition of Indonesian that originated from West Sumatra and West Java, then it has grown to spread all across Indonesia with each region having its own characteristic of

Indonesian Intangible Cultural Heritage List (ICH List) and is registered in the Ministry of Education, Culture, Research and Technology with registration number 201400096. After growing nationally, pencak silat as a form of martial art has

From Indonesia, pencak silat is now one of the world’s types of martial arts Taufik Imran - https://www.shutterstock. com/g/taufik-imran

The Minangkabau society knows silat/

birth, aqeeqa (the Islamic sharia of the

silek in various activities. If silat is

sacrifice of one or two sacrificial animal

to dozens of

associated with the various movements

on the occasion of a child’s birth), khatna

countries in the

with their various moves are performed

(circumcision), marriage, and death. All

in the arena, then silat in this context is

of them use the skills of bersilat lidah in

called pancak/pencak, or bapancak which

doing them.

even spread

world. UNESCO recognizes that pencak silat has

means doing pencak silat movements.

become

an identity and

Meanwhile, bersilat in the context of

nation unifier

that contain the

speaking skills or bersilat lidah, the

values of ​​ friendship, mutual respect, and

Minangkabau people apply it in the form

social cohesion campaigns. Not only does

of basurah adaik (writing traditional

pencak silat teaches us techniques to deal

cases) and pasambahan speeches

with attacks, but it also teaches us to hold

(traditional speeches) which are used

back.

in various activities and life cycles of the Minangkabau society starting from

Silat as an activity of various movements and games, whether it is a martial art or a folk sparring that grows and lives and develops in Minangkabau society is used in order to maintain sovereignty and dignity. If in a silat game a person cannot fend off and dodge his opponent’s attack, then in the Minangkabau language it is

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VOL. 14, 2022 INDONESIANA 17 VOL. 14, 2022 INDONESIANA 17

known as buluih (who lost in silek match)

Cultural Heritage of Humanity, what can

Sumatra in order to preserve traditional

which causes those who are buluih not to

we do afterward? Is it just a matter of

silat in the midst of society’s lives. Before

dare to go back to the arena in the sense

pride that will be told to the children and

being named GSB, the activity related to

that they have lost in everything. Usually

grandchildren in the future? We need to

appreciation of Minangkabau traditional

the surau (a place to pray) becomes their

think about those questions and reflect

silat was called the Minangkabau

place for self-introspection and correcting

on them because they happen and can

Traditional Silat Festival (FSTM) which

their mistakes.

be seen with the naked eye. Buildings

was held in Padang in 1981. In 1984

marked with cultural heritage signs are

and onwards, the name was replace

protected by law are just a label. The

by Gelanggang Silih Berganti through a

follow-up to world heritage labelling is

decision issued by Indonesian Pencak

very less, if it can’t be said that there is

Silat Association (IPSI) of West Sumatra

none. It also happens to pencak silat, to

Number 074-BX / PENGDA /1984 until

what extent the values of intangibles

now.

In addition, the silat maestros have also a view that the performance, done by silat as a form of martial arts game, is a series of movements that are displayed with the patterns they set in which there is a charge of society’s cultural values, meaning that in every silat movement, the cultural values have a relationship between the physical readiness (silat movement) and the inner (spirituality) of a cultural community group in keeping and maintaining self-respect and honor.

After being listed in UNESCO, then….

When pencak silat has been inscribed on the Representative List of the Intangible

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18 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022 18

internalize and they can be preserved.

Several efforts have been made by the government through various activities, but it should be remembered that the values ​​in it should not be neglected.

Silek Art Festival (SAF) is a program that is held under the Indonesiana Platform initiated by Directorate General of Culture, Ministry of Education and Culture of the Republic of Indonesia. This

Gelanggang Silih Berganti or GSB (The

program aims to elevate self-identity and

arena of taking turns) is an activity

explore existing values that are ​​ stored

initiated by the local government of West

and used as a formulation of knowledge

Sumatra and carried out alternately

and understanding of Minangkabau

in various cities and districts in West

ancestors. This SAF activity has been

started since 2018 involving 8 Regencies-

Jambak Ba Tujuh in Kuranji, Caniago

because Kubu Gadang has become a

Cities in West Sumatra Province. The

Korong Gadang, the Koto Ba Tujuh Tribe

popular tourist village with many visitors,

first SAF was opened in Padang City

in Pasa Ambacang, and the Tapian for

silek lanyah is currently performed not

by presenting a series of activities and

the Sikumbang Tribe in Anduriang, and

only during the harvest season, but

culture related to silek. During the series

then, the tapian for Malayu tribe in Lubuk

also during a special moment which is

of SAF activities, seminars related to

Lintah, Tanjuang tribes in Ampang, Koto

provided by activists of tourist village.

silek and screening of art films related

Baduo in Kalumbuk, Jambak Baduo in

to silek were also held. The event was

Gunung Sarik and Guci in Sapih River. It is

closed in Bukittinggi City by performing a

also the same in Pauh V which consists of

silek-based dance by Nan Jombang Dance

five tribes and five tapian.

Company.

With the existence of several programs and activities pioneered and initiated by the government and the society, it is hoped that pencak silat as UNSCO ICH List

Silek lanyah appearance in the tourist

which originated from the West Sumatra

Maurak Balabek in Pauh V and Pauh IX,

village of Kubu Gadang is usually held

silek can become a cultural heritage

Padang City is a cultural event carried

after rice-harvesting season. Every

that is not only for romanticization but

out by the Pauh society in raising Tuo

movement that is demonstrated in silek

more than that, as a sustainable cultural

Tapian (Silat Elders) on 14 tapians or

lanyah is derived from the silat movement

practice. Many efforts have been done as

silek colleges around Pauh V and Pauh

in Minangkabau. Silek lanyah usually

a form of commitment to development

IX. This activity is routinely held by the

begins when plowing the fields after the

and preservation, so that concerns

Pauh society in order to maintain the

harvest is over. This silek lanyah action is

about the loss of values and ​​ messages

silek existence and pencak silat. Tuo

performed by young people in the local

contained in pencak silat may be avoided.

Tapian is the leader of the tapian whose

village who care about local wisdom.

job is to lead the tapian as a support for

Although it looks simply, the challenge

Ninik Mamak Bajinih’s duties in each of

of bersilat in the puddle field is certainly

the tapian tribes. Those tapian are the

very difficult and heavy. However,

(Bahren, S.S., M.A/Lecturer of Minangkabau Literature, Andalas University)

One of the silat performances performed in Bukittinggi Taufik Imran - https://www.shutterstock.com/g/taufik-imran

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VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 19 19 VOL.

MAIN TOPIC

do not Doubt Authority of Panrita Lopi

B

e careful when you return to

of a boat is like the process of human

of the hope that expects the boat will be

your hometown, our ancestors

creation. The series of boat materials

as strong as steel, while the palului that

were sailors, not racers.” This

are closely attached to the anatomical

has been wrapped in cloth is symbolized

joke inserts a historical narrative that

system of the human body. Starting

as sperm. Palului seeds are planted on

our ancestors lived in maritime culture.

from the initial process of boatbuilding

the connection of boat keels, following

The sea became a place to to make a

until it is launched into the sea. The

the footsteps of the process of human

living and a place to build their identity.

keel is identical to the main skeleton of

creation. The process of building the boat

They knew very well how to adapt to

the human body as a strong spine that

is done under the command of panrita

climate changes at sea, and would not

supports the body. The length of the keel

Lopi.

get lost by relying on the navigation

is based on the size of the hand span

of constellations. To conquer the sea

or the foot span of the panrita lopi (ship

requires guts, courage, perseverance,

builder maestro). Calculating the length

tenacity, and patience because the wide

of the keel uses a special method to

sea is full of threats such as hurricanes,

determine the strong ‘chemistry’ between

storms, waves, sea animals, and sea

a boat and its owner, including in terms

corals that can destabilize the boat’s

of luck in sailing.

steering wheel.

and dexterity in forming the material, but also traditional knowledge and sense in building it. This knowledge is knowledge that is inherited from generation to generation in the boat builder communities in Lemo-Lemo

The keel piece is divided into 3, 4, or 5

(Tanah Beru), Ara, and Bira, South

Sailing boats are not simply formed

parts which are called tatta. The front part

Sulawesi. The transmitted knowledge is

by putting together wooden planks

of the keel piece

not just knowledge learned at school,

like a puzzle. It takes local knowledge

as a man

inherited by ancestors from generation

While

is symbolized (husband). the keel on

to generation. The production of local

the back is

knowledge is very philosophical, full of

symbolized as a

meaning, and is wrapped with rituals

woman (wife). At the

as a reinforcement of community

meeting of the front and

belief in the process of

rear keel pieces, a palului is

boatbuilding. Building

inserted which contains kapasa’ rurung-rurung (stranded cotton),

20 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022 20

but there is an intake of the science of sufism related to human self-knowledge.

It uses not only logical mathematical calculations in measuring boat materials, but also measurements which are attached to human. For example, one segment, a span, one elbow, and six feet. All these processes are carried out traditionally, using local knowledge

needles/steel, coconut slices, brown

without modern measuring tools.

sugar slices, and rice crust. All of these

The calculation of the architectural

materials are wrapped in white cloth

framework of the boat carried out by

and tied with threads. These materials

panrita lopi is very balanced. The way

contained in the palului become the hope

of measuring the balance refers to the

and motivation for the sustainability of

framework of the human body that is

the boat when sailing at sea. The piece of

very balanced between the left and right.

steel (needle), for example, is a symbol

The boat’s architectural design which is

The science of making boats is a science inherited from generation to generation Husnul Fahimah Ilyas

I

In building a boat, it takes not only skills

philosophically depicted in panrita lopi’s mind is not depicted in detail on paper.

This is the great skills of the boat builders’ knowledge, so UNESCO recognized it

Pinisi making in Bulukumba Bastian AS - https://www.shutterstock. com/id/g/BastianAS

as an Intangible Cultural Heritage in 2017 “Pinisi, Art of Boatbuilding in South Sulawesi.”

Pinisi Preservation After Pinisi is inscribed at UNESCO, what is the next step? The Bulukumba Regency Government issued a Regional Regulation on the Preservation of the Pinisi Boat Number: 2 of 2019. The regulation is intended to safeguard, to preserve, and to conserve the pinisi boat; as well as the preservation and development of the Pinisi boat which is a culture and identity as a symbol of pride for the local community.The objectives of the regional regulation are to 1) increase public awareness of the conservation of pinisi boats; 2) increase concern, awareness, and role of the community towards the preservation of pinisi boats; 3) awaken motivation, enrich inspiration, and expanding the repertoire for the community in preserving pinisi boats; and 4) develop pinisi boats to strengthen national cultural identity and regional characteristics of the province of South Sulawesi.

Since 2018, Bulukumba has been accelerating actions towards the development of the pinisi business, including the pinisi festival activities.

The government and the community collaborate in the activities of songkabala ri bantilang and anyyorong lopi as a sequence of building pinisi boats.

Songkabala ri bantilang is a ritual

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VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 21 21 VOL.

A pinisi maker and a pinisi he is working on Ichmunandar - https://www.shutterstock.com/id/g/ichmunandar

performed in a location where the boat

The people’s attention is focused on the

between the central government,

is made (bantilang), and it is believed

building of pinisi that returns to nature,

provincial governments, local

that the ritual will resist disasters and all

namely pinisi with traditional concepts,

governments, society, communities, and

forms of tragedy. Meanwhile, anyyorong

starting from the pre-production process

non-governmental institutions related

lopi is a ritual of pushing a boat to be

called songkabala ri bantilang then wood

to the sustainability of pinisi boats. The

drifted into the sea.

selection, logging, and traditional boat

existence and fate of the pinisi now

ing. This is different from conventional

and in the future become a communal

pinisi which uses engine as the main

responsibility. There are a number

source of power. The traditional pinisi is

of programs that urgently need to be

made by using sails as the main source

carried out together.

Another effort is dissemination of implementation of character education learning which internalizes the local cultural values of the pinisi boat since 2018, referring to character education learning at the elementary school level. However, this has not been done optimally in all schools. Next, advancement efforts through the development and protection of regional culture are a strategy to maintain people’s culture in today’s globalization.

II

of power which will be launched in the anyyorong lopi process. The traditional process of building this boat becomes a unique means of tourism and is expected to become a distinctive attraction for tourists. This on-going program is driven by the Endangered Material Knowledge Program (EMKP).

The first is realizing the creation of a living museum around the construction site of traditional boats in Tanah Beru or Ara. The concept of the museum, first is as a gathering point to obtain information about traditional boat building, digital documentation, and a place to store collections of equipment and examples

The activity is a dialogue about pinisi and

Pinisi conservation efforts must be

of materials used in boat building. The

maritime culture.

carried out collaboratively and in synergy

second concept is that the museum is

22 22 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022

as a place of education, and visitors can

and the trees that are cut down as

of boat craftsmen is also constrained

see directly the building of boats in the

material are trees that grow naturally.

by administrative matters, such as the

batilang (shipyards) around the museum.

At some point in the future, there will

obligation to make a grand plan of boat

be a period of scarcity or extinction of

drawings that will be used for processing

trees that are used as boat materials,

ship documents. Even though building a

such as sappanwood (Biancaea sappan

traditional boat does not have a pattern

L.Tod.) which was formerly used as boat

or image that is drawn into paper. The

pegs. Sappanwood is now replaced

concept of the boat image is recorded in

The second program is making the place of traditional boat building a safe, comfortable, and attractive tourist destination so that it can increase regional income and develop the people’s economy. To achieve this goal, spatial planning and cleanliness of the tourist environment is needed. So far, visitors have made bad record regarding

with kandole wood (Diploknema

the memory of the panrita lopi, including

oligomera). Therefore, the society and

the concept of safety and balance of

the government need to carry out

the boat which is analogous to human

reforestation.

organs. Do not doubt the scientific capacity and authority of the panrita lopi

cleanliness, garbage is scattered on the

Fourth, reviewing the harbour master

seaside around bantilang. This is very

rules after getting a pacak (a letter of

important considering that the bantilang

recommendation for ship ownership

tourist destination which is mainly in

from the district). The continuity of

Bontobahari District is one of the highest

building pinisi boats until now is still

sources of Original Local Government

going on, and the knowledge on how to

(Husnul Fahimah Ilyas/Center for Research

Revenue. Naturally, this district receives

build boats is also is also inherited with

on Manuscripts, Literature, and Oral

special attention on waste management.

traditional and oral inheritance patterns.

Traditions, BRIN)

Third, planting trees as the main material in boat building. The production of boat building is still ongoing until now

who use pakkasia’ (sense) and logic in creating boats that are ready to sail into the ocean wilderness. Let’s respect the panrita lopi.

The flow of modern technological development (the use of machines) that accelerates the production of building pinisi boats is inevitable. The society

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VOL. VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 23 23

CULTURAL NEWS

Nathania Karina, the first female conductor at the Gita Bahana Nusantara 2022 performance who performed twice and orchestrated 17 songs Working Group for Development

Gita Bahana Nusantara

Guardians of Unity in Diversity

E

very celebration of the independence of the Republic of Indonesia at the State Palace,

all eyes are on the appearance of the

Your presence is always awaited, Blaring your melodious voice, Presenting various songs, That is my country’s Gita Bahana Nusantara.

Looking brave and cheerful, Representatives of selected children throughout the archipelago Wearing costumes in Unity in Diversity, Protecting the dignity of Indonesia.

Every seventeenth of August, Your appearance is remarkably excellent, All eyes fixed and focused, Gita Bahana Nusantara always appears anesthetizing.

nation’s best sons and daughters who also colour the course of the ceremony.

All television stations as well as social media compete to raise the event which takes place solemnly led by the Head of State, the President of the Republic of Indonesia. The seconds of

Similar to Paskibraka (heirloom flagraising troops), All eyes are on it, Carrying the heirloom flag, Nothing compares to Gita Bahana Nusantara.

raising the flag become the awaited focus; selected young people from 34 provinces appeared valiant. In addition, there is a presidential speech that contains the direction of national policy for the next year. After that, young people in colourful costumes from all over the country perform songs of encouragement, expressions of love for

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24 INDONESIANA VOL. 14, 2022

Appear to entertain the country Working Group for Development

the country, nationalism, and a medley

meaning, Gita Bahana Nusantara consists

and oneness within the framework of

of the archipelago, which is arranged and

of three words rooted in Indonesian

Unity in Diversity. This directive was then

sung in a neat, compact, and enthusiastic

culture. Gita comes from Sanskrit which

carried out by the Minister of Culture

manner. That is Gita Bahana Nusantara

means a chant or a song. Bahana is an

and Tourism I Gde Ardika and Prof.

(GBN), the orchestra and choir prepared

echo, sound, boisterous voice, while

Dr. Sri Hastanto as Director General

by the Directorate General of Culture,

Nusantara is the term for the Indonesian

of Cultural Values, Arts and Film. In

Ministry of Education, Culture, Research

archipelago. Gita Bahana Nusantara can

2002, President Megawati’s ideas were

and Technology.

literally be interpreted as a blaring song

finalized and the typical Indonesian

from all over Indonesia.

Choir and Orchestra was formed and the

History of GBN

technical implementation of the GBN was

Gita Bahana Nusantara (GBN) is a joint

The formation of the GBN started from

performance of an orchestra and vocalist

the ideas of the 5th president of the

consisting of the best young musicians

Republic of Indonesia (serving 2001-

The Directorate of Arts, which was

and vocalists selected through rigorous

2004), Megawati Soekarnoputri who

then led by Surya Yuga, became the

auditions from all provinces in Indonesia.

wanted the appearance of a national

technical executor of the activity. With his

They are the best Indonesian children

choir and orchestra, a combination of

coordination, the GBN implementation

who have academic abilities, musicality

the young generation of the country so

began, starting with auditions for

techniques above average and the

that a sense of nationalism, patriotism,

participants in both the choir and

ability to read notation (prima vista) from

love for the homeland grew and this

orchestra, training camps, inaugural

all provinces in Indonesia. In terms of

formation could foster a sense of unity

titles, and performances in the State

formulated.

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VOL. 14, 2022 INDONESIANA 25

Gita Bahana Nusantara takes a group photo after the Flag-Raising Ceremony is over Working Group for Development

Archipelago before the commemoration of Indonesia’s Independence Day Jessika Nadya Ogesveltry Just before the Gita Bahana Nusantara 2022 performance Jessika Nadya Ogesveltry

of the Republic of Indonesia speech

Amplifier for National Identity

basis for guidance and

at the Plenary Session of the DPR/

The vision that underlies the birth of GBN

requirements for GBN

MPR. At its peak, they appeared on the

is to strengthen national identity and

participants.

commemoration of the independence

character, the ideals to grow a sense of

of the Republic of Indonesia. From 2003

nationality, respecting differences, and

to 2011, GBN was facilitated by the

fostering a sense of togetherness among

Ministry of Culture and Tourism and

the younger generation through a high-

received full support from President

quality national choir and orchestra.

Megawati and her successor, Susilo

This is all based on the high enthusiasm

Bambang Yudhoyono. The change in the

and motivation of selected children

nomenclature of the ministry in charge

from 34 provinces who have high ability

of culture made the 2011-2014 GBN

and creativity in the fields of music

be handled by the Ministry of Tourism

and art, especially vocal. Since 2005, in

and Creative Economy, specifically the

line with the vision and mission of the

Directorate General of Cultural Arts-

Ministry of Education and Culture of the

Based Creative Economy. In 2015, the

Republic of Indonesia, the strengthening

implementation of GBN was handed

of character and identity among the

over to the Ministry of Education and

younger generation has continued to

culture and supervised by the Directorate

be intensified. The values of ​​ character

General of Culture. This determination

education which include religiosity,

applies until now.

nationalism, independence, mutual cooperation, and integrity become the

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26 INDONESIANA VOL. 14, 2022

Training Center, Candradimuka Crater An excellent, compact, confident and enthusiastic appearance is determined by thorough preparation, strong motivation to perform best, and maximum trust given to GBN participants. The training camp becomes Candradimuka Crater or a training center which is quite heavy and fun for the participants. During the two weeks leading up to August 17, participants are brought to Jakarta, together with trainers and resource persons, to practice per section or a combination of choir and orchestra. They also learn about the importance of discipline, tolerance, and

and Development” and a briefing on

the development of national awareness

“Tolerance and National Insight”. The

in Indonesia. The GBN alumni’s network

committee of the Directorate General

can also act as a vehicle to motivate

of Culture and Music Corps of the

young people to develop their vocal and

Indonesian National Police guide them to

musical abilities to the fullest in their

make optimal preparations. Meanwhile,

respective regions.

the trainers consist of teachers from well-known music schools in this country and practitioners. One of them is a wellknown music teacher, Purwacaraka, who is also involved in composing songs and as a resource person.

Looks different The appearance of GBN in 2022 is a special gift. After two years of appearing online due to the outbreak of the Covid-19 pandemic, now they will perform live on the field. There is

Equivalent to Paskibraka

a passion and a sense of nostalgia to

The existence of the GBN is like

gather, share stories and mingle together

the heirloom flag-raising troops

for one purpose: to perform an heirloom

(PASKIBRAKA); they are the best children

song at the State Palace.

in this country who are recruited through stages starting from the selection at the school level at the districts, regencies, provinces and the best two represent 34 provinces. Their training period is longer. Usually one month before August 17, a centralization is held under the command of the Garrison, KOGARTAP and the Presidential Security Forces (PASPAMPRES) at the PPPON Cibubur Field, East Jakarta. Their kinship bond is very strong during the training camp. living together for the same goal, which is

They feel that they share the same fate

to perform perfectly in the palace.

in carrying out the task of the state which is not easy. Therefore, Paskibra alumni

Gathering young people aged 16-23

bond is very strong and compact; their

years with high musicality technique,

network has a positive impact on the

Gita Bahana Nusantara consists of two

future of the ex-PASKIBRAKA participants.

teams, namely the choir team and the

GBN participants in 2022 are the results of auditions in 2019 (before the pandemic). They were tested in joy and sorrow when they performed at the August 17, 2020 and 2021 ceremonies when COVID-19 hit this country. With all their limitations, they performed online from their respective homes by being recorded so that they appeared to be separated in boxes as a result of the editing of the recording. It may be less interesting and seem monotonous, but actually it is the result of creativity in responding to all obstacles in order to present extraordinary works. A total of 206 young people perform together in GBN with the same spirit and motivation, voicing songs with nuances of struggle,

orchestra team. The choir team consists

The same expectation also happens to

nationalism and patriotism within the

of 136 boys/girls auditioned from 34

former Gita Bahana Nusantara alumni.

framework of Unity in Diversity. That is

provinces, while the orchestra team

Even though their alumni bond is not

GITA BAHANA NUSANTARA.

consists of 66 teenagers/students from

very strong at this time, in the future

all over Indonesia. In addition to the

the bond will be even stronger thanks

preparation of musical performances,

to the joint activities carried out after

during the practice in Cibubur, they are

undergoing GBN training. The solidity of

also given a briefing on “Self-Motivation

GBN alumni will have a positive impact on

(Yayuk Sri Budi R./ Coordinator for Cultural Development Working Group of Directorate of Cultural Development and Utilization)

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VOL. 14, 2022 INDONESIANA 27

CULTURAL NEWS

Muhibah Budaya Jalur Rempah

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28 28 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022

Trace the Road of the Past, Explore the Spices of the Future

Dewa Ruci moves across Banda Naira Editorial Team of Jalur Rempah

T

The activity, entitled Muhibah Budaya

This Spice Route trail activity was carried

enthusiasm are radiated from

Jalur Rempah, is an activity initiated by

out at six knot points of Spice Route ,

the faces of the Laskar Rempah

the Directorate of Development and

namely Surabaya, Makassar, Baubau and

which number 147 people and come

Utilization, Directorate General of Culture,

Buton, Ternate and Tidore, Banda Naira,

from 34 provinces. That happiness never

Ministry of Education, Culture, Research,

Kupang, and ends back in Surabaya.

fades

and Technology in collaboration with the

Participants were divided into four

Indonesian Navy, local governments, and

routes, namely the Surabaya – Makassar

local communities located at every knot

route which was successfully traversed

point of the archipelago’s Spice Route

by the Lada batch, the Makassar –

. This activity will originally be held last

Baubau and Buton – Ternate and Tidore

using the legendary ship, KRI Dewaruci,

year, but due to the pandemic conditions

route which had been explored by the

from the point of departure to the time of

at that time, this activity can only be

Clove batch, the Ternate and Tidore –

landing at the destination.

carried out in 2022.

Banda Naira – Kupang route which was

he expressions of joy and

from the faces of the participants of the activity of Muhibah Budaya Jalur Rempah who have sailed for

32 days from June 1 to July 1, 2022

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VOL. VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 29 29

KRI Dewaruci is anchoring in the Madura Strait Editorial Team of Jalur Rempah

Jejer Gandrung dance in the release of KRI Dewaruci Editorial Team of Jalur Rempah

Acknowledgement from the Minister of Education, Culture, Research, and Technology during the release of KRI Dewaruci at the Madura Pier Koarmada II, Surabaya Editorial Team of Jalur Rempah

Gandrang Bulo dance, a unique dance from South Sulawesi which is a form of the artists’ struggle during the colonial era Editorial Team of Jalur Rempah

explored by the Nutmeg batch, and the last route, namely Kupang – Surabaya and Mojokerto, which was tested by the Sandalwood batch. The naming of the batch refered to the uniqueness of the spice type at each knot point that was passed by and the uniqueness of the spice type from each point was marked by the planting of spice tree seeds at each point as a symbol of the presence of the Laskar Rempah as well as in harmony with the concept of sustainable living.

Knot Points of Spice Route The first and last knot points in the series of Muhibah Budaya Jalur Rempah activity in 2022 were Surabaya and Mojokerto. Apart from being the base of KRI Dewaruci, Surabaya in the past had a role as an economic supporter, especially during the Majapahit era. Therefore, this knot point was attached directly to the City of Mojokerto as an interesting unitary knot for the Laskar Rempah to explore. The trail started from Kalimas Harbor, Syahbandar Tower, and Customs

Market, exploration of spice trading centers in the Surabaya area continued to the center of the Majapahit kingdom in Trowulan District, Mojokerto as one of the largest archaeological site areas and to the school of the first president of Indonesia, Soekarno.

In the city of Makassar, there are sites and museums for storing Archipelago’s cultural works, such as the Phinisi ship and the La Galigo manuscript which are designated by UNESCO as intangible cultural heritages and

The knot points of Baubau city and

as a memory of the world. In addition,

Buton regency on Buton Island become

the Laskar Rempah visited the site and

significant because they are mentioned in

museum of the Sumba Opu Fort, Karaeng

Mpu Prapanca’s Negarakertagama book

Pattingaloang Museum, Rotterdam

(1365 AD), namely; Butuni. This island is

Fort, La Galigo Museum, Makassar City

a ‘Zone of Connector’ and as a ‘Trader

Museum, and the Raja Tallo Dining

of Agency’ between the spice center in

Complex. Next, the Troops visited and

Eastern Indonesia and the center of the

discussed at the Balla Lompoa Museum

spice processing industry in western

in Gowa Regency, which was suspected

Indonesia. The Laskar Rempah then

to be the former palace of the Gowa

visited Wolio Fort in the former Buton

Kingdom as an important point for Karaeng Pattingaloang’s character.

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30 INDONESIANA VOL. 14, 2022

Reog in the release of KRI Dewaruci Editorial Team of Jalur Rempah

Sultanate. In addition, the Laskar Rempah

village. While in Tidore, Laskar

also visited Bung Hatta’s house, Tjipto

Rempah visited Kedaton Kie

Mangoenkoesoemo’s house, and Iwa

(the palace of the Sultan of

Kusumo Sumantri’s house, the former

Tidore), Fort Torre, and Fort

residence of several national figures who

Tahula.

had been exiled to Banda.

The easternmost point is

The Muhibah Budaya Jalur Rempah is

Banda Naira which is located in

also a moment of realizing a historic

the Banda islands. The Banda

visit through the Baku Dapa Basudara

Islands were known as the only

Wandan event (the Meeting of Wandan

nutmeg and mace producing

Brothers) which for the first time in

area until the 18th century.

401 years, since their ancestors were

This island is referred to in

expelled from Banda by the VOC, return

the Negarakertagama book as

to Banda land. Basudara Wandan is the

Wandan and is considered to

descendant of Banda who now live in the

be included in the territory of

Kei Islands called Banda Eli/Ely and Banda

were also invited to get to know more

the Majapahit Kingdom and during the

Elat. During the colonial period, their

about the life of the Bajo tribe in Wabula

colonial period it had become a prima

ancestors survived the VOC massacre

district.

donna among European nations so that

because they refused the monopoly of

in 1667, the British exchanged Run island

nutmeg and spice trade there.

The knot points of Ternate and Tidore

with Manhattan island, New York.

are reminiscent of the four old Moluccan

The last point, namely Kupang, is an area

sultanates, namely, Ternate, Tidore,

Traces of spices on the island of Banda

famous for sandalwood, an endemic

Bacan, and Jailolo called Moluku Kie Raha.

were traced by Laskar Rempah in

plant in East Nusa Tenggara and its

In Ternate, Laskar Rempah visited Kastella

several locations such as Belgica Fort,

quality smells good to India, China, Saudi

Fort, Oranje Fort, Ternate Sultan’s

Kampung Baru Old Mosque, Nassau

Arabia, and Europe. At this point, the

Kedaton, and Clove Plantation in Tubo

Fort, and Mini Palace. In addition, they

troops stopped by in Kupang and had

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VOL. 14, 2022 INDONESIANA 31

the opportunity to visit and see directly

about sail roles which included how

and discuss at the sandalwood garden

to billow and use a sail became

in Nitneo village. In addition to getting to

relevant to be given to participants. In

know the sandalwood plant more closely,

addition, participants were also given

Laskar Rempah were also given education

an introduction to navigation, namely

about weaving.

two ways in determining the navigation

Learning Maritime Culture on the Dewaruci Ship “My ancestors are sailors” That is roughly the spirit in the Muhibah Budaya Jalur Rempah activity which in each batch sails on average for 2-5

a way to determine the position of ships inherited from their ancestors. The other material was the knowledge of reading a star chart (a map of constellations) to determine a position of a ship.

days. While sailing, participants were

What is interesting was that when the

given maritime material and basic

ship crossed the equator, namely on the

safety training provided by the crew

Baubau - Ternate route and the Tidore

of KRI Dewaruci, a ship owned by the

- Banda route, KRI Dewaruci carried

Indonesian Navy which is still actively

out the Equatorial Bathing Tradition.

using sails during the voyage. The use of

This equatorial bathing tradition was

the sails is similar to the experience of

mandatory for all ship occupants,

earlier sailors who used traditional ships

including the Laskar Rempah. By the time

whose pushing power relied on wind

KRI Dewaruci crossed the equator, all the

power.

crew and the Laskar Rempah gathered

Therefore, the material

I

position through GPS or constellations,

32 INDONESIANA VOL. 14, 2022

on the deck. Some of the ship’s crew played the role of Neptune (god of the seas), Amfirite (wife of Neptune), Davy

Jones (religious messenger of Neptune), and retainers (loyal follower of Davy Jones). Next, one of the ship’s crew guided the participants to contemplate and proceed to face Neptune one by one. Neptune then watered each participant with flower water which was given a Dewaruci’s special mixture.

After bathing, participants were given a specially formulated herbal concoction.

At the end of the event, the participants took a group photo and were given a certificate which marked them having taken an equatorial bath. According to Sugeng Hariyanto, this equatorial bathing tradition is also still carried out when crossing the equator in foreign territories.

Another important moment experienced by the participants while sailing was the flower-sowing procession in the Bali Sea in memory of KRI Nanggala 402 which sank a year ago. This procession lasted about 30 minutes. All the crew and Laskar Rempah one by one sowed flowers into

Soya-soya dance that is watched by school children Editorial Team of Jalur Rempah

the waters of Bali. When the procession took place, all crew members wore white Indonesian Navy uniforms, while the Laskar Rempah wore the typical clothes of their respective regions. Nabila Putri Delinda, a Laskar Rempah of East Java Province, felt very lucky to be able to join the procession. According to Nabila, although they did not know the victims one by one, at least they could represent the Indonesian Laskar Rempah and paid their last respects and wished the best for KRI Nanggala 402.

Spice Route as Part of World Civilization The Muhibah Budaya Jalur Rempah activity is just one of the efforts of the Ministry of Education, Culture, Research, and Technology to propose the Spice Route to UNESCO as one of the cultural heritages. The Spice Route is not just a spice trade road from the archipelago to the world trade market. The road that was created in the past has left various

cultural traces such as the creation of forts, various kinds of food, medicine, cosmetics, up to works of art. Traces

Acknowledgement from the Director General of Culture of the Ministry of Education, Culture, Research, and Technology, Hilmar Farid - Editorial Team of Jalur Rempah

of this spice artefact are also found in classical world civilizations, such as Mesopotamia, Ancient Egypt, India, and China. The Director General of Culture, Hilmar Farid, stated that the spices of the archipelago had an important role and became the main commodity that was able to influence political, economic, and socio-cultural conditions on a global scale.

Director General of Culture of the Ministry of Education, Culture, Research, and Technology Hilmar Farid said, “The Spice Route is not only a spice trade, but also a cultural exchange. We hope that the Laskar Rempah can revive cultural exchanges and associations as happened thousands of years ago through the Spice Route ”.

(Anny Veradiani/ A Senior Cultural Administrator of Directorate of Cultural Development and Utilization)

Sekar Mojo Dance by Students of Mojokerto State Junior High School – Editorial Team of Jalur Rempah

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VOL. 14, 2022 INDONESIANA 33

KABAR BUDAYA

Hilmar Farid, Director General of Culture and Coordinator of the G20 Culture Ministers Meeting through a talk “Kebudayaan untuk Bumi Lestari” with Maudy Ayunda Documentation of the Directorate General of Culture

Cultural Sector, Key to Global Economic Recovery I

34 INDONESIANA VOL. 14, 2022

Five Major Issues There are five main issues raised in the G20 Culture Ministers Meeting.

First, regarding the role of culture as an enabler and driver of sustainable living.

What is the role of art and culture in the transition from the Old Normal to the New Normal that can encourage more sustainable lifestyles? Questions about the best reasons to invest in the culture and arts sector will also be discussed.

Second, regarding the economic, environmental and social impacts of culture-based policies. What can encourage heads of state and government, ministers of finance, economy, education and culture, as well as business leaders and financial investors, and local authorities to pursue policies directed towards more

Sira tracer, Karo Documentation of the Directorate General of Culture

sustainable lifestyles based on cultural resources? In addition, what economic, environmental and social benefits can lead them to apply new and more innovative approaches and invest more in the arts and culture sector?

Third, about cultural commoning or joint management of cultural resources that promote sustainable lifestyles at the local level. Cultural communication or collective participation in the management of cultural resources is

Wor Fannaggi, Biak Documentation of the Directorate General of Culture

increasingly being seen as the key to promote endogenously sustainable lifestyles. What can be learned from

T

countries and/or regions that have he Indonesian government is

(1) to build global consensus for a more

provided breakthroughs in this practice?

the host of the G20 Culture

sustainable new normal and (2) to initiate

What can be learned from the best

Ministers Meeting or the Culture

a global recovery agenda through the

practices in countries with different levels

Ministry Forum which will be held in the

establishment of the Global Arts and

of development?

Borobudur Temple area, Central Java,

Culture Recovery Fund. The purpose is an

on 12-13 September 2022. This forum

agreement among G20 countries on an

is designed with the aim of promoting a

integrated strategy to restore the global

global recovery agenda based on cultural

economy through recovery priorities for

potentials. Its two main objectives are

the cultural sector.

Fourth, regarding the challenge of realizing a fair access to cultural economic benefits. What is the best alternative for deepening future

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VOL. 14, 2022 INDONESIANA 35

Appapole Ritual, Makassar Documentation of the Directorate General of Culture

to the economies of every country in 2020 (a drop of more than 12% during the 2008 Financial Crisis).

This impact is felt in every cultural subsector: 13% of museums worldwide are permanently closed due to the pandemic in 2020 (27% in Asia), revenues from the music sector in Germany fell by 75% in 2020, the average lost income experienced by every artist in the US reached USD 21,500 in 2020, as well as for other cultural subsectors.

The existence of a global funding scheme for culture has proven to be effective in encouraging an appreciation

collaboration between member countries

pioneer global gotong royong (working

and the global community to achieve a

together) to restore the cultural sector

fair and balanced distribution of cultural

that can play a role as a driver of a more

economy through effective support for

sustainable world’s economic recovery.

the production and distribution of local

This gotong royong is realized through

content and talent? How can technology,

the establishment of the Global Arts

and the benefits of modernization, be

and Culture Recovery Fund.

used to open up equal opportunities for

This proposal is based on

the growth of the cultural economy and

consideration of the severity of

ensure fair appreciation for creators and

the impact of the pandemic on

artists affected by the pandemic?

the cultural sector.

Finally, about the form of international

The COVID-19 pandemic has had

resource mobilization needed to

a severe impact on the cultural

mainstream sustainable recovery. What

economy sector. According to

challenges must be overcome in the

a recent UNESCO report, 750

mobilization and allocation of domestic

billion USD of the economic

and international resources to achieve a

contribution of the global culture

more sustainable lifestyle? What forms

industry sector disappeared in

and mechanisms should be taken in the

2020 (equivalent to Thailand’s

resource mobilization strategy in order

total GDP in 2019), more than 10

to accelerate the recovery of the cultural

million jobs in the global culture

sector affected by the pandemic?

industry sector disappeared in

Global Recovery Fund for the Cultural Sector To be able to answer these five issues, the G20 Culture Ministers Meeting will

of cultural diversity and the cultural economy that grows on this foundation.

One of the examples is the International

2020 (approximately 80 % of the jobs lost were in big cities), and there was a 21% decline in the economic contribution of the global culture industry sector Seba’ Baduy, Banten - Documentation of the Directorate General of Culture

I

36 INDONESIANA VOL. 14, 2022

Fund for Cultural Diversity (IFCD) which is managed by UNESCO. Since 2010, this funding platform has successfully funded 105 projects in 54 developing countries with a value of US$7.5 million enabling structural change in the cultural and creative sectors by investing in projects that strengthen governance and public policy, vocational and entrepreneurship training, market access, and participation and inclusion.

The Nyobeng Sebujit Ritual by the Dayak Bidayuh Tribe Documentation of the Directorate General of Culture

The Indonesian Presidency commits to initiating the development of the Global Arts and Culture Recovery Fund (GACRF) by providing an initial funding of USD 1 million. This funding platform is expected to be a platform for restoring the cultural economy

sector, especially in developing and less

support not only for actors in developed

developed countries, which have been

countries, but also and especially for

severely affected by the pandemic, with

actors in developing countries. There

a focus on the community of artists and

will be no recovery of the global cultural

cultural workers working on projects to

economy if developed countries only

promote sustainable life. This platform

focus on restoring the cultural economy

is practices to create a

sector in their own countries. This is

sustainable New Normal.

where the global community can really

With GACRF, the global

benefit the gotong royong philosophy

arts and culture sector can

because the global cultural economy

recover more quickly and

forms an ecosystem in which each

again play a major role in

country plays an important role in the

encouraging the realization

movement of the entire supply chain of

of the ideals of sustainable

cultural products.

development. With the support of G20 member countries and UNESCO, it is expected that the GACRF can be launched on September 13, 2022, on the occasion of the G20 Culture Ministers Meeting.

Global Recovery Agenda The restoration of the arts and culture sector can

For this reason, GACRF is needed as a means to accelerate the process of recovering the cultural economy sector, especially in developing countries that have been severely affected by the pandemic. With this GACRF, the global arts and culture sector can recover more quickly and play a major role again in encouraging the realization of the ideals of sustainable development.

(Martin Suryajaya, Indonesiana).

only be done if there is

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VOL. 14, 2022 INDONESIANA 37

COMICSTRIP

PANCA AND SILA WATCH THE DOCUMENTARY PROGRAM ABOUT THE FUN OF NGAKOB IKAN ACTIVITY PERFORMED BY ORANG RIMBA IN JAMBI PROVINCE

KOB IKAN NGA SCRIPT BY

Debby Lukito

Ngakop Ikan is a tradition of catching fish by using both palms during the dry season, which is usually done by the Anak Dalam Tribe, Jambi Province

AHA! WE CAN NGAKOB IKAN!

HURRAAAAY I GET FISH

HMMMM ....

THE TASTE OF THE STEAMED FISH IS VERY TASTY

WHAT DO YOU THINK ?

THE POOL IN THE BACKYARD LOOKS LIKE A RIVER AND FOREST IN JAMBI PROVINCE LIKE THE DOCUMENTARY PROGRAM THEY WATCHED.

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38 INDONESIANA VOL. 14, 2022

PANCA AND SILA DO NGAKOB IKAN ACTIVITY LIKE ORANG RIMBA USUALLY DO IN THEIR POOL AT THE BACKYARD

HAH? HOW? THERE IS NO RIVER AROUND HERE

DAD IS SHOCKED AND SHOUTS TO PANCA AND SILA FOR PLAYING AND CATCHING THE FISH THAT ARE KEPT IN THE POOL AT THE BACKYARD.

PANCAA ..

SILAA ..!

TODAY, THE SCHOOL HOLDS A TOUR PROGRAM TO A VILLAGE IN THE COUNTRYSIDE TO CONDUCT ROUTINE ACTIVITIES OF ‘BERSIH-BERSIH LADANG‛ (FIELD CLEANING)

ICINAL PLANT D E S M AROUND US SCRIPT BY

Debby Lukito The Rae Tafi indigenous people in West Papua Province have a tradition of Wuon Initiation. In this tradition, boys who enter the adult phase will be specially forged and educated for six months until a year to become responsible and independent men.

WOW THERE'S A LOT OF WASTE AROUND THE VILLAGE. PANCA AND FRIENDS CLEAN THE GARBAGE ENTHUSIASTICALLY

SUDDENLY, A GIRL FALLS DOWN! PANCA, THE TEACHER AND FRIENDS ARE TRYING TO HELP HER.

PANCA, PLEASE GO GET SOME ALOE VERA PLANTS TO TREAT HER WOUND.

WELL! I FOUND IT PAK! THERE‛S AN ALOE VERA

YOU KNOW WHAT? THE RAE TAFI INDIGENOUS PEOPLE HAVE UNIQUE TRADITIONS!. ALOE VERA GEL CAN BE USED TO TREAT WOUNDS.

OUCH..

IT HURTS HEY, ARE YOU OK?

WE CAN LEARN FROM THE WUON INITIATION, THAT MANY PLANTS AROUND US THAT CAN BE USEFUL FOR MEDICATION.

FROM RAE RAFI, WE LEARN MEDICINAL PLANTS, PAK.

THEY LIVE IN WEST PAPUA PROVINCE. A 14-YEAR-OLD BOY HAS TO FOLLOW THE TRADITION OF WUON INITIATION.

THANK YOU PAK! THANKS TO THE RAE TAFI INDIGENOUS PEOPLE!

THE BOYS LEARNED TO HUNT, MAKE A HOME, RESPECT THE UNIVERSE, LEARN HERBAL PLANTS, AND CURE PAIN.

CINTATRADISI

COOOOOOL!

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VOL.1414, 2022 INDONESIANA 39 VOL. 2022W

INFOGRAPHIC

MAP OF THE DISTRIBUTION OF CUSTOMARY LAW COMMUNITIES 3 Central

107 Aceh

Kalimantan

19 West

48 North Sumatra

Kalimantan

66 12 Riau Riau Island 50 Jambi

1 D.K.I Jakarta

6 South

Kalimantan

13 Bengkulu

18 West Java

20 East Java

1 Banten,

West Java

49 West Sumatra I

40 INDONESIANA VOL. 14, 2022

33 Banten

2 D.I. Yogyakarta

5 Bali

2 East

2 North

Kalimantan

Maluku

1 West

4 North

Sulawesi

11 Maluku

Sulawesi

60 West Papua

247 Papua

28 South Sulawesi

1 Nusa Tenggara Timur 16 Nusa Tenggara Barat

Map of the Distribution of Customary Law Communities (Recorded at Directorate of Belief in the God Almighty and Customary Law Communities since June 2022) that can be accessed through webpage http://sidakerta. com

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VOL. 14, 2022 INDONESIANA 41

performing arts

Pasinrilik Daeng Aco (75 years) Muhammad Mughiits

I

t turns out that people in rural South

adequate lighting in the style of modern

long-awaited full moon. The moment of

Sulawesi are secretly longing for the

performances.

its arrival is called pannyaleori or solace.

kesok-kesok rhythm. The proof is,

when the people of Labbakkang listen to the chanting of Sinrilik I Manakku Caddi-caddi by Arif Daeng Rate, various

framed in the memory of both the individual and the collective of Makassar

In some areas visited by the author, active pasinrilik are barely found (sinrilik artists).

society. Therefore, the sinrilik’s organic

According to the Makassar-Indonesian

stage has practically become a “recalling”

dictionary, sinrilik means prose-lyric.

space or as a stage for Makassar human

Meanwhile, according to Syarifuddin

memory. Indeed, the people of the

Daeng Tutu, sinrilik is a performance

society have not watched the sinrilik

that combines the art of speech and

performances for a long time, but

instruments called kesok-kesok. Akkesok

That occurrence recalls the memory of

once they are presented again, various

in Makassar language literally means

(late) Syarifuddin Daeng Tutu, the Sinrilik

memories of their past slowly emerge

swiping one object’s surface against

maestro from Gowa. Daeng Tutu once

and fill their minds.

another. In this context, kesok-kesok is

expressions suddenly appear. Some are solemnly silent; occasionally wiping away tears; some even hit the floor and cheer while listening to fragments of their flagship story.

said that the sinrilik stage is a medium of interaction between the pasinrilik (actors) and the audience so as to create a warm sense of togetherness. This stage is called an organic stage, namely is a stage that does not require loudspeakers or

I

In fact, sinrilik is a tradition that is neatly

42 INDONESIANA VOL. 14, 2022

Sinrilik and Makassar Human Sinrilik is a speech accompanied by kerek-

a musical instrument that is played by swiping.

kerek gallang or kesok-kesok which is one

In the daily context, sinrilik is known by

type of oral tradition of the Makassar

the Makassar society as a type of marine

society. Its existence is like a rare and

fish with the Latin name Caesionidae Sp.

Sinrilik:

A Stage of Makassar Soclety’s Collective Memory

It is suspected that there is a relationship

indicates that sinrilik has become part of

goat/teenage goat skin, buffalo tripe, or

between the sinrilik fish and the sinrilik

the local identity of the Makassar family.

monitor lizard skin. Components for the

oral tradition, namely the structure of the sinrilik fish which is analogous to kesokkesok instrument.

Sinrilik Organology Organologically, the kesok-kesok instrument is classified as a musical

bow use a horse’s tail to swipe strings that are stretched on curved wood which looks like a bow.

Pa’rasanganna tu Mangkasaraka

instrument with cordophone type, in

According to Yusuf, a traditional musical

(Makassar society) has a unique type

which the sound source comes from the

instrument craftsman in Gowa, the

of sinrilik according to their respective

strings. Then, in terms of the structure

strings which are used in kesok-kesok

regions in Makassar, Gowa, Maros,

of the shape, kesok-kesok has similarities

used to come from animal intestines, and

Pangkep, Takalar, Jeneponto, Bulukumba,

with the rebab instrument, which has two

later they are switched to copper wire.

and Selayar. No wonder if some sinrilik

strings and a skin membrane as a cover

As time goes by, there is an innovation

use the character names as a title,

for the tube resonator. How to play it is

in the kesok-kesok instrument. The use of

such as, I Maddi Daeng ri Makka, from

by swiping the bow on the strings that

strings from animal intestines and copper

Jeneponto; I Manakku Caddi-caddi, a

are tensed.

is replaced by the use of guitar strings as

nobleman with a bloodline of Luwu and Bone whose background story developed in Labbakkang-Pangkep; Tuanta Salamaka Sheikh Yusuf, from Gowa; Datu Museng and Maipa Deapati, lovers from Gowa and Sumbawa, and several others. This

The materials which build kesok-kesok instrument consist of selected wood.

For the body, champac wood, jackfruit wood, and white teak wood are generally used, while the membrane uses young

it is often found today. The head part of kesok-kesok or headstock functions as a peg holder, consisting of two tuning holes and two string turners on the right and left side of the headstock.

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VOL. 14, 2022 INDONESIANA 43

Sinrilik caretakers Muhammad Mughiits

Kesok-kesok Muhammad Fadhly Kurniawan

Sinrilik’s Treasures

contain lamentations or advice. This type

Basically, sinrilik is divided

of sinrilik does not require a responder or

into two types, namely This kind of

sinrilik pakkesok-

thing seems to

kesok and sinrilik bosi timurung.

have been found again. Currently, if

Sinrilik performances can be found

someone wants to invite pasinrilik, it is

when the Makassar society carries

enough to visit him or even by telephone.

out a celebration such as weddings,

The sinrilik performance takes place after

circumcision, inauguration events,

the Isha prayer until before the call of

housewarming, harvest parties, and so

Subuh prayer, which causes pasinrilik

on.

or pakesok-kesok to have excellent stamina in order to create an attractive

In the past, the conduct that needs to

performance.

be considered before inviting pasinrilik

I

(sinrilik artists) is to bring a package of

Meanwhile, sinrilik bosi timurung (heavy

betel nut by the owner of the celebration.

rain sinrilik) is a performance that is

If the package is accepted, it means that

carried out without the use of kesok-kesok

pasinrilik is willing to attend the invitation.

instruments, and the content tends to

44 INDONESIANA VOL. 14, 2022

an audience.

Daeng Tutu said that being pasinrilik is not a profession but a part-time activity for a pakoko—a gardener or farmer.

But in this era, pasinrilik is a popular performing artist who has become a profession that has economic value.

Daeng Tutu also said that the sinrilik performance was previously performed by sitting in a circle. This, if examined, contains the aspect of sipakatau—respect each other, sipakalabiri—appreciate each other, in order to sipakainga namely remind each other. These three aspects are the basic values that ​​ bind Makassar people’s morals in society.

Sinrilik and the Stage of Memory

Makassar society. Many past memories

when he had succeeded in his business,

are brought back to the stage. The proof

he would invite pasinrilik as a form of

In an observation for the last few years,

is, occasionally they tease each other

gratitude for the spirit—the fruit of the

organic sinrilik performances are no

and argue during the performance. This

work ethos—of the sinrilik. The event can

longer created on popular stages,

is what sinrilik says as pannyaleorina tu

be said as appalappasa tinjak or letting

especially in the city of Makassar. It can

Mangkasara, which means the solace of

go of one’s desire as well as releasing

be said that currently the packaging of

Makassar people.

the longing to listen to sinrilik again after

sinrilik performances focuses on the aesthetic aspect of the stage and is only seen from a mono-visual point of view where the concentration of the performance is only focused on the pasinrilik, whereas, ideally, the unity of the sinrilik performance lies in the interaction between pasinrilik and the audience. Fortunately, on 10/04/2021 sinrilik lovers had the opportunity to

The story of I Manakku Caddi-caddi, for example, recalls the story related to the

Sinrilik is an inseparable part of the

working ethos experienced by Daeng

life of Makassar society and is not just

Rate when he received an invitation to

a complementary entertainment for

perform sinrilik at Labbakkang-Pangkep

the event. The sinrilik stage is a space

(22/01/2021). The performance was

for cultural knowledge and memory of

carried out as the celebration for the host

Makassar people which are high-quality,

who had succeeded in living overseas and

and do not let this stage be tarnished by

entered a new home in Labbakkang.

merely using it as an “identity formality”,

watch an organic sinrilik performance at

It is said that before leaving overseas,

Labbakkang—Pangkep.

the host was inspired by the work ethos

Here is a sinrilik organic performance; a space for recalling the memory of the

decades.

or even making it as a “sticker” for popular performances.

contained in the sinrilik I Manakku Caddi-

(Muhammad Fadhly Kurniawan/ Alumni

caddi. The host vowed that one day

Program Magister Kajian Tradisi Lisan Universitas Indonesia)

Daeng Aco the caretaker of the collective memory stage Muhammad Mughiits

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VOL. 14, 2022 INDONESIANA 45

MANUSCRIPTS

Exploring Hikayat Seribu Masalah ikayat Seribu Masalah or also

H

known as Kitab Seribu Mas’alah or Kitab Seribu Mesail is a literary

work with the genre of the holy book literature. This book is about a Jewish priest named Abdullah Ibnu Salam who comes from the continent of Khaibar and he asks and answers questions with the Prophet Muhammad. If all the questions can be answered by the Prophet Muhammad, then Abdullah and his people will embrace Islam. The questions asked are so many. This is in accordance with the title “Seribu Masalah (A thousand problems)” although the problems raised are not up to a thousand. This book was first mentioned in Al-Tabari’s summary in Persian in 963. In the book, it is mentioned about a book with a title Mesail written by Abu Ali Muhammad in Arabic.

This story was quite popular in its era.

This is proven from the many languages ​​ and writings that record it through the process of translation, copying, and adaptation. Winsteadt (1969), an English

The Book of a Hikayat Seribu Masalah - Syefri Luwis

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46 INDONESIANA VOL. 14, 2022

orientalist and colonial administrator,

In 1994, Edwar Djamaris made a

The themes of questions proposed are

argues that the story of Seribu Masalah

summary of the story of Hikayat Seribu

divided into four, namely:

was not only recorded in Arabic and

Masalah. The story began with the arrival

Persian, but also recorded in translations

of the Prophet Muhammad from Mecca

into Latin, Turkish, and Malay in the 16th

to Medina. The Angel Gabriel sent a

century. Next, in the 18th century, this

message to the Prophet Muhammad to

story was translated into Portuguese,

send a letter to a Jewish priest named

Dutch and Javanese.

Abdullah Ibnu Salam (sometimes in the

The popularity of Seribu Masalah story invites researchers to study the story.

In 1924, G.F. Pijper used Hikayat Seribu Masalah as a subject matter for his doctorate. In his writings, Pijper (1924) found that Hikayat Seribu Masalah

a.

Cosmogonic

questions, namely about the earth, sky, moon, sun, and stars. b.

Eschatological

questions, namely about

text referred to as Samud Ibnu Salam).

things that are unseen,

After Abdullah received the letter, he realized that the Prophet of the last days had been born because of his prophetic signs as stated in the Torah, Zabur, and

such as heaven, hell, doomsday, angels, and demons. c.

the Bible.

Riddle questions, such

as “What kind of child is

was an adaptation of a Persian text

Abdullah immediately gathered his

tougher than their father?”,

written in India. According to a report

people to explain the contents of the

“What is harder than

written in his book entitled Het Boek

Prophet’s letter regarding the invitation

fire?”, “What is noble but

der Duizen Vragen, Pijper said that there

to embrace Islam. The Jews responded to

useless”.

were 15 manuscripts entitled Hikayat

the contents of the letter with skepticism.

d.

Seribu Masalah stored in Indonesia and

Abdullah and 700 of his people came

meaning of numbers, such

Netherlands. Meanwhile, Edwar Djamaris

to meet the Prophet and would ask “a

as “What is one and does

(1994) who has transliterated this saga

thousand problems” contained in the

not become two, what is

stated that the current existence of

Torah, Zabur, Bible, and Furqan. The

two and does not become

the manuscript could be found in the

Prophet agreed and was willing to answer

three”, and so on up to the

National Library of the Republic of

all questions. Beside the Prophet, there

hundredth number.

Indonesia and the Leiden University

were the Angel Gabriel on the right

Library, Netherlands.

and the Angel Michael on the left of the

Then, Ronit Ricci also made the story of Seribu Masalah as an object of study for his doctorate (2006) and published the

Questions about the

Prophet to help answer questions.

Manuscripts studied frequently by researchers Syefri Luwis

results of his research in a book entitled Islam Translated: Literature, Conversation, and the Arabic Cosmopolis of South and Southeast Asia (2011). In his writings, he uses the story of Seribu Masalah as the basis for proving the process of spreading Islam in South Asia and Southeast Asia (Nusantara) not only through trade and da’wah, but also through textual channels (literary network). This literary network takes the form of translation of Arabic texts (in this case the story of Seribu Masalah) into local scripts and languages, such as Tamil, Malay, and Javanese.

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VOL. 14, 2022 INDONESIANA 47

Books recorded in various languages Syefri Luwis

In the summary made by Liaw Yock Fang

Regarding the questions about numbers,

and the stars. While the answers to the

(2011), for questions concerning faith

it is said that one cannot be made into

questions about the riddle are “The child

(including eschatological topics), the

two because Allah Taala is the only God

who is tougher than their father is iron

Prophet Muhammad answers that he

and has no partners. Two does not

that comes from stone”; “The one which

is a prophet and apostle, that religion is

become three because Prophet Adam

is harder than fire is the wind”; “The one

many and varies according to its people,

and Eve are two. Similarly, substance and

which always flies into the air is a Paksa

Islam is the religion of Allah, and the

Allah, moon and sun, day and night, high

bird”; “the woman who gave birth without

one who enters Paradise is the one who

and low, far and near, are all two. Why

husband is Siti Mariam”; “The woman

recites the two sentences of testimony

three does not become four, four does

who comes out of the man is Siti Hawa”;

and confession. Regarding Gabriel’s

not become five and so on until 30 are

“The person who lives in the grave is the

appearance, it is said that Gabriel is

questions that are already available with

Prophet Yunus”;, and “A child who is born

neither male nor female, Gabriel’s face

suitable answers.

will be like his mother, if their mother is

is like the full moon for fourteen days whose light is brilliant, and the wings are many and large.

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48 INDONESIANA VOL. 14, 2022

The cosmogonic questions are a discussion about the creation of nature, the sky, the earth, the sun, the moon,

turned on first. If the father is turned on first, then the child will be like his father.”

The next story is about the creation of the

After hearing the Prophet Muhammad’s

Prophet Adam, his banishment into the

answers to his questions, Abdullah Ibnu

world, and his sons Kabil and Habil. This

Salam also admits that “the substance of

story is followed by the story of Prophet

Allah is one, without partners, without

Moses who struck his stick on the sea,

mothers and without fathers, and does

Noah and his long ship. After that, there

not beget and is not begotten, and has no

are the answers regarding the creation

form, and has no example.” Abdullah with

of the earth, the hill of Saud which is the

his people then embraced Islam. Then

place where the disbelievers go to hell,

the Prophet Muhammad entertained

the state in heaven, the creation of Nur,

Abdullah and his people while giving

hell and its nature, and the Judgment

thanks to Allah swt.

Day. This book ends with the topic of the age of the Prophet Adam.

Books that help the spread of Islam in South Asia and Southeast Asia Syefri Luwis

(Iik Idayanti, Lecturer of Regional/Malay Literature Study Program at Lancang Kuning University)

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VOL. 14, 2022 INDONESIANA 49

CULTURAL PROPERTY

BUMIAYU SITES THAT CONTINUE TO BEAT P

I

aleontological data show that

been studied by several researchers

The results of this biostratigraphic

the occupancy of Java Island is

such as H.G Stehlin (1925), F.H van der

formulation were then reactualized

estimated to have taken place

Maarel (1932), and G.H.R Koenigswald

by P.Y Sondaar and John de Vos in the

at the end of the Pliocene, about 2

(1935). The oldest fauna is marked by the

1980s. Both of them presented the

million years ago, based on evidence of

discovery of ancient elephants Mastodon

concept of the oldest to the youngest

the discovery of the ancient elephant

sp and Tetralophodon bumiayuensis, aged

fauna as Satir Fauna (1.5 million years

Archidiskodon at Bumiayu sites. Bumiayu

about 1.5 million years. Other species

ago), Cisaat Fauna (1.2 million years

is a special place, because it can show

include the water horse Hexaprotodon

ago), Trinil HK Fauna (1 million years),

the oldest traces of the presence of

simplex, the Cervidae deer, and the giant

Kedungbrubus Fauna (0.8 million years),

mammals on the island of Java. The first

tortoise, Geochelon. This fauna shows

Punung Fauna, and Wadjak Fauna.

fossils have been found since 1920s

a species-poor fauna because the

In addition, research on Bumiayu in

in the Kaliglagah Formation, and have

environment is isolated, insular.

the past was an absolute dating study

50 INDONESIANA VOL. 14, 2022

Bumiayu Landscape Aditya Indro Waskito - https:// www.shutterstock.com/id/g/ Aditya+Indro+Waskito

presence of the oldest faunas on the

Another important finding from this latest

border of West Java and Central Java,

research is the discovery of paleolithic

which at that time was interpreted as

stone tools consisting of rectangular adze

an insular environment commensurate

and also flake tools, which is the first

with the conditions of the east coast of

data on the discovery of early human

West Java at the beginning of the Lower

tools in Bumiayu, framed in the tradition

Pleistocene, about 1.8 million years ago.

of rectangular adze (chopping-chopper

The latest Research in Bumiayu Research updates were also carried out in 2019 and 2021 by Harry Widianto and his team (at that time affiliated with Regional Agency for Archaeological Research in D.I. Yogyakarta Province, in order to understand the presence of

Kaliglagah and Kali Biuk, which yielded an ancientness between 2.15 and 1.67 million years.

The results of this dating have “given soul” for previous biostratigraphic research so that it can be related to its chronological succession. These discoveries in Bumiayu prove the

common to mention that the presence of paleolithic stone artifacts is considered the result of Homo erectus culture, and is an indicator of the presence of Homo erectus in an area.

island of Java. The latest data are soon

piece in this study are coming soon, the

revealed from the bowels of the earth. A

findings of the local people, in the form

number of new faunas can be placed on

of 2 (two) pieces of the upper femur

the succession chronology of Javanese

(caput femoralis) which are included in the

fauna representing the Satir Zone (lower

Homo erectus variation, originating from

Kaliglagah Formation) and Cisaat (upper

the bottom of Kali Bodas. This finding has

Kaliglagah Formation).

identified its stratigraphic position based

swamp crocodile (Crocodylus siamensis)

carried out mainly on ancient deposits in

of the human who created it. It is very

Sure enough, the findings of the master

species (deer and Muntiacus sp), Bovidae,

François Sémah in the decade of 1980s,

artifact gives new hope for the discovery

the oldest humans and faunas on the

The in situ discovery of Cervidae fauna

through the paleomagnetism method by

tool complex). The discovery of this stone

in the lower Kaliglagah Formation during excavations has complemented the

on the correlation of various measured stratigraphic columns, which refer to the stratigraphic position of the lower Kaliglagah Formation in the lithological succession of Kali Bodas.

lack of fauna at the beginning of land

The discovery of the two upper human

formation in this area. Therefore, the

femur is the first evidence of the

discovery of this new fauna species has

discovery of a human fossil component

been able to change the understanding

in Bumiayu, and is the first indicator of

of the oldest fauna on the island of Java

human arrival in the area.

so that the bio-stratigraphy and biochronology of the presence of the oldest fauna must be revised, by adding them to the Satir Fauna scope, becoming: elephant, deer, water horse, giant tortoises, Bovidae, and swamp crocodiles.

Therefore, this finding is very important for efforts to understand human migration because it has emerged from an area that is quite separate from the distribution of early humans which so far

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VOL. 14, 2022 INDONESIANA 51

Homo Erectus from Bumiayu - Harry Widianto

has only been known in eastern Central

foraminifera in the Biuk and Kaliglagah

Thus, the identification of the ancientness

Java and also East Java. Bumiayu is a

deposits, it is known that the change from

of these two hominid fossils has placed

new window. These two components

the marine environment to the terrestrial

them in a very old period, at about 1.8-1.7

of the femur -- Bumiayu 303, Bumiayu

environment occurred at the boundary

million years ago, far beyond the oldest

310 --, based on the interpretation of

between Kali Biuk and Kaliglagah, namely

Homo erectus from Sangiran which so

the stratigraphic position and their

in the Late Pliocene, the upper part of

far has been placed in the middle Lower

morphological and biometric characters,

N20-N21 (Sudijono, 2005).

Pleistocene chronology, around 1.5

are hominid remains of the Homo erectus taxon. One thing that can be

Meanwhile, still related to ancient

million years.

formations in Bumiayu, Prasetyo et al.

If the result of determining the age of

(2012) stated that N22 was equivalent

these two upper femur is confirmed, it

to the beginning of the Pleistocene. The

will have extraordinary implications for

statements from geologists who have

the arrival and distribution of humans

Geo-lithological and geo-stratigraphic

dated the Kali Biuk and Kali Glagah

in the Bumiayu and Java islands: it is the

analysis of the slopes of Kali Bodas shows

Formation have come to the same

oldest Homo erectus, which has never

that the two upper femurs originate from

conclusion that the Kali Biuk Formation is

been known. This situation provides two

the carbonate layer, namely from the

the result of deposit of marine facies, and

new understandings, namely the wider

bottom of the Kali Glagah Formation.

the Kaliglagah Formation is the first land

lateral distribution in western Central Java

Experts note, among others, Sémah

deposit in Bumiayu, shortly after being

and also a significant vertical chronology:

(1986), that the ancient deposits at this

lifted from sea level. The boundaries

older than the oldest Homo erectus from

location are old deposits related to the

of these two formations are tied at the

Sangiran.

genesis of Java Island during the Plio-

end of the Pliocene, and the age of the

Pleistocene, aged, for example in Kali

Kali Glagah Formation itself is at the

Biuk, between 2.1 to 1.7 million years.

beginning of the Pleistocene.

stated here is that Homo erectus had been present in Bumiayu. However, when did they come to Bumiayu?

Based on research on the existence of

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The richness of Bumiayu’s - Harry Widianto

52 INDONESIANA VOL. 14, 2022

With the presence of Homo erectus in Semedo (Tegal) and Rancah (Ciamis, West Java), the results of this study have

The formation that produces ancient creatures between 2.15 to 1.67 million years - Harry Widianto

widened the lateral distribution of Homo erectus on the island of Java, up to West Java. From Bumiayu, the heartbeat of the humans and faunas migration is still echoed. The new data further enrich the spectacular history of human in this area.

Important Role in the Path of Time This is the novelty achieved by this research, Homo erectus has explored further west and arrived earlier on the island of Java. This new understanding will provide a new “migration map”. The first phase of the presence of humans and faunas on the island of Java has

of human migration took turns in the

The situation has been increasingly

been able to describe the origin of the

Archipelago, with the presence of Early

diverse due to the arrival of other

diversity of the Archipelago today, which

Modern Humans since 100,000-20,000

ethnicities and races since the beginning

at that time was still running linearly with

years ago, followed by waves of migration

of AD, which eventually form the genetic

a simple and clear migration line, at least

from the Australomelanesid Race in the

diversity of the Archipelago people who

up to a period of 150,000 years ago.

period of 20,000-5,000 years ago, and

are currently united in a political unity,

ended with the presence of the Mongolid

the Indonesian Nation.

When compared with the period after 70,000 years until now, the migration and diversity are described as more complex and complicated because migration and retro-migration happen continuously along with local micro-evolution due to ecological and cultural factors. Waves

Race -- the Austronesians from Taiwan -- who entered Indonesia 4,000 years ago. They then spread to the western part of Indonesia and reduce the actual

(Harry Widianto/ Researcher Specialist and Research Professor, National Research and Innovation Agency)

population in Sulawesi, Kalimantan, Java, and Sumatra today.

Excavation for evidence - Harry Widianto

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VOL. 14, 2022 INDONESIANA 53

TRADITIONAL KNOWLEDGE

SEDUCING BEES SEDUCING Nature O

ral tradition in the archipelago

The process is mainly a ritual carried out

has a close relationship with

so that the bees do not injure people who

Menumbai as an Oral Tradition of the Petalangan Society

the environment where the

take honey from the hive. The Menumbai

Menumbai is a ceremony that consists

oral tradition exists and it can be said

ritual uses a set of language that is sung

of mantras and poems which are sung.

that the environment (ecology) is a

and spoken voicelessly, accompanied by

Mantras are a form of requesting

determinant of the preservation, change,

certain actions and equipment.

permission to God as the ruler of the

or death of the oral tradition. One of the oral traditions that are closely related to the physical, biological, social, and composite environments is the Menumbai in the pebatinan Petalangan society, the Malay ‘original tribe’ who live in parts of Pelalawan Regency and in Siak Regency, Riau Province.

Menumbai is done in a dark, moonless night, started with the voiceless recitation of mantras by Juagan lobah (the owner of the bees), who is the leader of a small group of bee honey takers. The ritual then continues with the process of climbing the Sialang tree while singing rhyming words in the form of poems

universe. Mantras are also used as a tribute to the ancestor spirits, guardian spirits and all the spirits found around the Sialang Tree. Mantras are believed to be able to maintain and provide safety to the juagan while undergoing the ritual process. While the poems sung have a theme of persuasion and seduction between lovers, namely the juagan as a

The Menumbai tradition, according to

in alternating rhythmic patterns. The

observations done in the pebatinan

poem sung by Juagan contains a series of

Petalangan, is the whole process of an

seduction words that personify the bee

The role of the juagan in the menumbai

activity to take honey from the beehives

as a beautiful girl and Juan who climbs as

ritual is as a speaker who recites the

found in the branches of the Sialang tree.

a guest or lover of the beautiful girl.

mantras and poems that are sung, while

man and the bee as a beautiful girl.

Menuo Sialang Adrian Eary Lovian

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54 INDONESIANA VOL. 14, 2022

the audience is the Petalangan society as

tuo is in charge of reciting the mantras

By using the concept of the life of the

the owner of the tradition or outsiders

throughout the ritual, while the juagan

Petalangan society which is divided into

which means that anyone can be the

mudo acts as the bee’s honey collector.

two, namely alam golap and alam toang,

audience in the menumbai ritual. In

In addition, the juagan is also assisted by

the mantra is specifically addressed to

traditional performances, it is possible

a welcomer who acts as a recipient of a

the ancestor spirits and other creatures.

to interact between speakers and

timbo containing honey wax and juru ubo

Mantras are also believed to come from

audiences, speakers with speakers, and

who acts as a beeswax squeezer to get

ancestor spirits which are also considered

participant speakers who help speakers

honey.

to be words that come from God which

in the performance, for example, musicians or accompanists.

In practice, juagan uses equipment for menumbai: tunam, timbo and ubo. Tunam

The menumbai ritual is not always done by

is a beehive sweeper made of bark.

Timbo is a container that is used to drop

are passed on to ancestors. Mantra is a means of communication to connect with supernatural beings and then connected with the highest power, namely God.

the beehive then to be received by the

The manumbai ritual uses two mantras,

one juagan, but

welcomers. While Ubo is a container for

namely the Pelangkahan (stepping)

can be done

squeezing beeswax to get bee honey.

mantra and the menuo sialang mantra.

by two or more juagan.

Therefore, it is necessary to determine who is the juagan tuo who is determined not because of age and experience but rather the task of reciting the mantras.

The juagan

Mantras As a Permission Request Menumbai is a ritual full of belief in the existence of spirits or supernatural beings who become guardians of life and are always respected by the Petalangan society. It is not surprising that mantras are often used as a form of respect among God’s creatures. The Petalangan people believe that these spirits are in the unseen world (alam golap) and must

Both have in common, namely the influence of Islam. Islam, which is the official religion of the Petalangan society, is actually able to reduce the thoughts of the Petalangan people who initially adhered to the beliefs of their ancestors, namely animism and dynamism, into a view of believing in the highest authority in life, namely God the owner of the universe. Islam is then used as a source of culture.

be respected. Respect for these spirits is

Old beliefs that have been firmly rooted

recited through mantras before and after

in the living space of the Petalangan

the ritual.

people do not necessarily disappear, just as the mantra that was born from resam or the habits of the ancestors actually

Tunam, a beehive sweeper made of wood Adrian Eary Lovian

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VOL. 14, 2022 INDONESIANA 55

Menumbai and Ecological Wisdom

allowed to be cut down until the bees

of Islam enters as a form of cultural expression of the Petalangan people. The

The process of harvesting Petalangan

tree can be uprooted for the purpose

influence of Islam makes the function of

honey must be preceded by a

of housing for children and nephews.

the mantra which was originally used to

menumbai ritual that takes place at

get magical powers from the ancestor

night. But now, harvesting honey by

spirits turn into a prayer addressed to

other residents is done during the day.

Allah.

This behavior certainly has a negative

undergoes a change where the colour

The Pelangkahan Mantra is recited by the juagan before leaving for the Sialang Tree.

After the spell is recited, then juagan can see the Sialang tree that will be addressed through the eyes of the heart. After the sialang tree is visible, it becomes a sign

impact on the continuity of the menumbai tradition, because according to the Petalangan society, harvesting honey during the day causes the bees to no longer want to nest in the Silang tree.

The relationship between menumbai and four types of environmental classification, among others, is that menumbai is always carried out in a forest environment where there are many sialang trees, which in Petalangan custom is called kepungan sialang forest. A sialang tree is a tree that has a height of 40 to 50 meters.

The relationship and association

that juagan is allowed to continue the

In the customary rules and the

of menumbai with the biological

ceremony held in the evening.

knowledge system of the Petalangan

environment refer to the presence

people, each tree is called silang if the

of the sialang tree, bees, and other

bees nest in the tree. If the bees have

plants that produce flowers for bees to

nested in a previous tree, but due to

extract, which is an important factor in

various reasons the bees no longer

the tradition of Menumbai and the taste

nest in that tree, then the tree is no

and type of honey obtained.

This menuo sialang mantra is recited right under the Sialang tree that will be climbed. Apart from being a request for permission to all supernatural beings around the tree, this mantra is also recited with the aim of being safe while climbing and not being disturbed by supernatural beings.

longer called a Sialang tree, but an ordinary tree, and the name of the tree returns to its original name, for example Kempas. According to the Petalangan custom, a sialang is not

Menumbai is a part of life from the Petalangan society Adrian Eary Lovian

I

are no longer nesting there so that the

56 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022 56

In relation to the social environment, Menumbai can be related to the belief system of the Petalangan society which uses sialang trees as a ritual

medium. These trees are considered

call Okuan (Kang. 2002:10). Therefore,

is explored, studied, absorbed, and

sacred because they are guarded

as a tribute to the guardian spirit of

then positioned as a subject in sharing

by the spirit of forest guards. In the

the forest, it is necessary to recite a

knowledge or cognition, emotions and

Petalangan society’s knowledge

magical mantra as a sign of asking for

necessities in fulfilling needs.

system, every creature in the world

permission and praying for safety.

has a guardian spirit or what they

Thus it can be concluded that the life

The menumbai ritual and ecology has

of the Petalangan society does not

2 relations, namely: (1) a referential

make humans but nature as the center

compliance relation in which the

of life. Their custom which respects

culture moves following a given or

with nature, nature being a teacher,

pre-existing ecological movement.

nature being oneself further confirms

(2) Interactive-reciprocal relations,

that the Petalangan society rejects the

which means that the environment

understanding of anthropocentrism

of the Petalangan society’s life spaces

which only makes the environment as an object to fulfill humans’ pragmatic necessities in life.

(Adrian Eary Lovian: Lecturer at Lancang Kuning University, Riau)

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VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 57 57 VOL.

CULTURAL VILLAGE

Learn Gotong Royong

from Poto Village Desa Poto ta sia e Adat budaya samantan Nonda tumpan pang gili len (An excerpt of lawas Sumbawa)

A

n excerpt of lawas or the Sumbawa poem above illustrates how Poto Village upholds customs and culture

that have independent and mutually supportive characteristics. The village, which is located at eastern part of the Sumbawa city with a travel time of 15 minutes from the city center, still has traditions and culture that are preserved and maintained from generation to generation so that they are not eroded

Cultural Talk Samsun Amri

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58 INDONESIANA VOL. 11, 14, 2021 2022

by the times, in the midst of increasingly

main event from each village which is

rapid technological advances.

held in one of the villages in turns. Art

Practicing Gotong Royong One of the traditions and culture that is preserved to this day is Pasaji Ponan, an activity that expresses the people’s gratitude for the success of last year’s harvest as well as a prayer for the success of this year’s harvest. A long time ago, Pasaji Ponan was held by praying and doing zikr in a ceremony attended by villagers. As time goes by, the ponan tradition has become one of the tourism events.

Pasaji Ponan is organized by three villages, namely Poto, Lengas, and Malili villages with an art performance as a

performances are performed in the form of dances, music, and rabalas lawas or Sumbawa poetry reciprocations at night, before the Pasaji Ponan is held the next day. During Ponan, usually started at dawn, zikr and prayers are said by the residents from the three villages who come together to come to a hill in the middle of the rice fields. On this hill, residents gather and bring food in the form of snacks and fruits to be presented to visitors.

Along with the times, not only are residents from the three villages present to enliven the event, but the Sumbawa

people from various placess also attend

many more. Usually this process lasts

unique and in-depth philosophy. Using

to enliven Ponan. They all get buras,

in a whole day; if there are guests who

traditional looms on their houses or on

petikal, and tepung dange which are

have just arrived at Poto Village in the

bale panggung, the women of Poto Village

typical snacks from Pasaji Ponan. What

afternoon, food will still be served by the

finish their weaving during their spare

is unique is that the food or cake served

owner of the house. The raw materials

time.

to visitors must be cooked by boiling.

for food or cakes served in this Ponan

Cakes fried in oil or foods bought from

come from their agricultural or plantation

stores are not allowed. It is believed that

products.

each steam from the food/cake stew

Pasaji Ponan and Kre Alang prove that Poto Village is the guardian of cultural values ​​in Sumbawa Regency. The cultural

Cultural Expression, Expression of Citizen’s Life

ecosystem in this village is still well

Poto Village is also enriched with

daily lives of the people who still use

Not only that, after the ceremony ends

Sumbawa’s typical cloth craft, namely Kre

traditional patterns in carrying out their

at the Ponan hill, the visitors are directed

Alang. Poto Village has been the weaving

daily lives. We can see the examples in

to stop by or ‘ngesar’ (the Sumbawa

center of Sumbawa for quite a long

the habits of the people in Poto village to

people call it) at the residents’houses

time. The process of making Kre Alang

preserve folk games such as horseback

of of the three villages, one of which is

which takes quite a long time and high

riding or ‘tungang jaran’ and the folk game

Poto Village. Every resident from outside

accuracy that must be possessed by the

of buffalo racing or ‘barapan kebo’.

the village who is ‘ngesar’ will be treated

craftsmen makes the price of this cloth

to various foods, such as Ayam Sirasang,

quite expensive. Kre Alang has typical

Singang Udang, Singang Jangan, Sepat

Sumbawa patterns such as Kemang

Jangan, Siong Sira, Jangan Sira Bage, and

Satange and Lonto Engal which contain a

will evaporate into the sky and turn into rainwater that fertilizes their farm.

maintained, as it can be seen from the

The games are often played by various age groups, from children to adults.

Horseback riding is usually done by

The making of Kre Alang Samsun Amri

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VOL. 11, 14, 2021 2022 INDONESIANA 59

the villagers of Poto Village as a mode of transportation to travel around the village or to the garden or ‘gempang’.

While the barapan kebo is usually used as a competition event when the planting season comes, when the rice fields are still in a hard condition and are about to be plowed. At that time, this game is usually held, namely with the intention of softening the rice fields while cultivating brotherly ties.

In addition, Poto Village also keeps

as part of medo desa (village medicine)

talents in terms of literary and musical

which the people of Poto Village believe

arts, including ratib rabana kebo and

that through the art of ratib, there will be

sakeco. Ratib Rabana Rea or known

a feeling of calm and peace.

as Ratib Rabana Kebo is one of the attractions of arts from Sumbawa region which is often performed in various traditional ceremonies or folk entertainment performances. In the past, ratib was a means of delivering Islamic religion teachings and as a ritual to reject catastrophes for the Sumbawa people.

Poto Village today interprets this ratib

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60 60 INDONESIANA INDONESIANAVOL. VOL.14, 14,2022 11, 2022 2021

Kemang Sange and Lonto Engal are the motifs of Kre Alang Samsun Amri

Ratib contains three values at ​​ once, namely spiritual, social, and entertainment values. The three elements contained in this ratib can unite the society with an entertainment that is performed and calm the hearts of the people through chanting verses of praise to Allah and His Messenger. While

Sakeco is an art form that comes from

The heritage of the ancestors is still

the lawas (poem). Sakeco is played by

maintained in the midst of the eras that

two men and each holds a similar rabana

always change. Children to adults work

(tambourine) to be beaten using a typical

together to maintain and preserve the

Sumbawa temung (musical tones). Sakeco

culture that exists in the land of Samawa

is sung like a song containing advice on

(Sumbawa) through this culture-centered

life, education, and youths and children.

village.

Sakeco has a racik part or is like a chorus part in Western music.

The activeness of the youths in preserving the existing customs is the

The various customs and arts that have

main reason why these customs are still

been entrenched in the land of Poto

maintained. Through youth organizations

seem to be inherent for the local society.

and art studios, the youths of Poto Village

are routinely active in every traditional event. Therefore, Poto Village is still able to provide an example to other villages that when new things are incessant in cyberspace, there is still a cultural heritage that is no less interesting to be deeply learned, maintained, and preserved.

(Samsun Amri/Chairman of the Tourism Awareness Group in Poto Sumbawa Village)

Barapan kebo welcomes the planting season, loosens the rice fields while cultivating brotherly ties. CatwalkPhotos - https://www.shutterstock.com/id/g/ martinkay

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VOL. VOL.14, 14,2022 2022INDONESIANA INDONESIANA 61 61

MUSEUM

From Maritime to Contemporary at

Museum BI

Collection management is the heart of

Museum Bank Indonesia (MuBI) is one of

The oldest collection of currencies owned

museum life. It becomes an attraction

the special museums in Indonesia. The

by MuBI is ma money. This money comes

and even the main choice for people

museum which was officially opened on

from the ancient Mataram Kingdom

to come to the museum. Based on its

July 21, 2009 displays the long history of

which stood around the 8th century until

collections, a museum is divided into two,

the economy, banking and numismatics

the 11th century AD. Ma money also has

namely the general museum and the

in Indonesia. Its numismatic collections

a small size. Having a shape like a dice

special museum. Public museums are

include rare coins that are hard to find

and having a size like a corn seed, ma

museums whose collections consist of a

anywhere else in the world.

money is divided into two groups. The

collection of material evidence of humans or their environment related to various branches of arts, scientific disciplines and technology. Meanwhile, special museums are museums whose collections consist of a collection of material evidence of humans or their environment related to one branch of art, one branch of science and or one branch of technology.

This second type of museum runs a very specific collection management by involving specialist experts.

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62 62 INDONESIANA INDONESIANAVOL. VOL.14, 14,2022 2022

Precolonial Money In Indonesian language, the word ‘bahari’ does not only mean the sea, but also long time ago, ancient, sacred, and beautiful or very beautiful. The numismatic collection in MuBI is related to all of these things. Apart from originating from the maritime heyday of the Archipelago, the collection also has a very high value in the present era.

first group has a picture of a sandalwood flower with the words ma, while the second group has a picture of sesame seeds and the word ta is written there.

Ma means masa, while ta means tahil (weight measurement unit); both refer to the weight unit of the precious metals.

One ma or masa weighs 2.4 grams, while tahil is equivalent to 16 masa. Ma money became a marker of the era when society in Archipelago had used their own money at that time.

Ma money continued to be used by later

brought by Islamic traders. Dirham

Colonial Money

kingdoms such as the Kingdom of Kediri,

coins, which were originally made of

After the Islamic kingdoms had achieved

Jenggala and Majapahit. However, since

silver, in several Islamic kingdoms in the

dominance over the archipelago,

the era of the Majapahit Kingdom from

Archipelago were made of gold. Likewise,

Europeans then found their way to the

the 13th to the 16th century, the use

dinar coins, which were usually made of

region. Those who came to trade, and

of foreign money in society began

later controlled, brought their own

to occur. The use of gobog money or

money. As mentioned earlier, there

also known as picis or Chinese kepeng

were Spain’s reals, United Kingdom’s

had been carried out by the royal

shillings and Portugal’s crussades. In

community. From here, we can see

addition, the Dutch trading company,

how close the relationship between

VOC, also came with their own money

Majapahit and China was. Later, this

such as doit, rijksdaalder, and so on.

Chinese gobog money was adapted

Nonetheless, the European currency

into a local form under the name picis

that became usable in various regions

Majapahit. There are decorations with

in the Archipelago at that time was the

pictures of weapons, animals, banyan

Spain’s real, which had a silver base

trees, writings, human reliefs in the

weighing 25.2605 grams.

form of wayangs, and so forth. The

The heyday of the Spain’s real in

decorations depict the daily life or work of the Majapahit people, such

Spain’s Real - MuBI Collection

monetary consolidation of Archipelago

as cowherds, hermits, fishermen, bull hunters, breeders, nobles, and so on.

gold, in several Islamic kingdoms in the

After Majapahit had collapsed, this picis

Archipelago were made of silver.

money changed its function as a lucky

Archipelago ended in 1826 with the under The Dutch control. In 1828, the first bank of circulation, De Javasche Bank, was established in the Dutch East Indies,

One of the MuBI collections related to

which was also the first bank in Asia.

these Islamic coins is a coin belonging

De Javasche Bank then issued its own

to the Samudra Pasai Kingdom. They

money, the gulden De Javasche Bank. On

printed their own dirhams. This dirham

the other hand, the Department of Van

coin is made of gold with a grade of 70%,

Financien or the Financial Department of

22 carat. The money that was made for

the Dutch East Indies also issued its own

the first time during the era of Sultan

money and this money was called the

Muhammad Malik Az-Zahir (1297-1326)

Colonial Government money. There was

also applied to international trade at

a dualism in the circulation of money.

that time. In international commerce,

However, the party that regulated the

Each of them

16 dirhams are equal to 1 Spain’s real, 5

circulation of money to keep it organized

had their own

dirhams are equal to 4 United Kingdom’s

was De Javasche Bank. This gulden could

money. Because

shillings, and 1 dirham is equal to 9

also be a sign that the spread of The

the Archipelago

Portugal’s crussades. This of course shows

Dutch power in the Dutch East Indies was

became the center

how many nations have come to trade

getting stronger.

of the global trade of

in the Aceh region in particular, and the

charm used by people who believed in the occult. Nevertheless, Chinese picis were still produced and used in various regions of the Archipelago.

When the Hindu-Buddhist kingdoms collapsed, Islamic kingdoms rose and began to dominate various regions in Indonesia.

spices, they adapted

Archipelago in general.

Islamic royal coins such as dinars and dirhams

Picis or gobok of Majapahit MuBI Collection

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VOL. VOL.14, 14,2022 2022INDONESIANA INDONESIANA 63 63

The Money of Republic of Indonesia Government - MuBI Collection

When the Japanese came and took

use ORI. During the Revolutionary era,

ORI and ORIDA from circulation and

control of the Dutch East Indies, they

there was so much money circulating in

replaced them with RIS currency which

banned the circulation of money from

Indonesia. Not only ORI and NICA money,

had been in effect since January 1, 1950.

the De Javasche Bank and the Colonial

but also De Javasche Bank money,

However, in August 1950, Indonesia

Government. Japan also issued and

Colonial Government money and

returned to the form of the Unitary State

circulated its own money, namely

Japanese money, that

Japanese money. They also closed De

had existed before,

Javasche Bank and replaced it with Nanpo

were circulating.

Kaihatsu Ginko. At this time, the use of

The reopened

the word rupiah was first appeared,

De Javasche

along with the prohibition on the use

Bank also

of the Republic of Indonesia, and the RIS money was declared inapplicable.

In 1951, the Government of Indonesia issued

of the Dutch language. However, the money from the Dutch East Indies era in fact remained in circulation because the

its first publication,

VOC’s Doit Coin MuBI Collection

namely, the paper money with

process of currency transfer took a very long time and was uneven.

Money during Independence Era After independence on August 17, 1945, the newly born Republic of Indonesia succeeded in printing and circulating its money in October 1946. The birth of Oeang Republik Indonesia or ORI became a monetary marker of the birth of the Indonesian nation. Even though NICA as

Landscape series

circulated its

I. Then, in 1953,

own money,

immediately after De

namely the Federal

Javasche Bank had been

Series De Javasche Bank Money. This was still complicated by the fact that because NICA hindered the circulation of ORI, many regions in Indonesia then circulated their own money called Oeang Republik Indonesia Daerah or ORIDA.

officially nationalized to become Bank Indonesia, this bank issued its first paper money, namely the Culture Series publication. However, it should also be noted that during this period, there was a dualism in the circulation of money.

On the one hand, the Government of

a military force that wanted to carry out

The Round Table Conference in

the Republic of Indonesia through the

recolonization brought its own money,

December 1949 agreed to form the

Ministry of Finance issued rupiah money

namely NICA money, the people were

United States of Indonesia (RIS). On May

in five rupiah denominations and below,

reluctant to use it and preferred to

1, 1950, the RIS government withdrew

Bank Indonesia’s bimetal Coins MuBI Collection

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64 INDONESIANA VOL. 14, 2022

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64 INDONESIANA VOL. 14, 2022

frame series of De Javasche Bank’s money - MuBI Collection

issued rupiah money in five rupiah

From Maritime for Contemporary

denominations and above.

Money that comes from the maritime

while on the other hand, Bank Indonesia

This dualism ended in 1968. Through the Constitution No. 13/1968, Bank Indonesia was confirmed as the sole right holder in circulating money. As a sign of this, Bank Indonesia then circulated money with Soedirman series in various denominations. It should be noted that since the beginning of the printing of Bank Indonesia money, this money was always signed by the Governor and the Director, but later signed by the Board of Governors, Bank Indonesia.

Since 2016, the NKRI denomination has been introduced to the public, starting with the Rp. 100,000. The NKRI money is no longer signed by the Governor and the

era, both the era of the ocean glory in the Archipelago and also the era of the past, until the contemporary era is almost all collected and exhibited at MuBI. These numismatic collections become important markers of various changes taking place in Indonesian society. Understanding the history of numismatics also helps us understand how people in the maritime era until the contemporary interpret the money they

Stone Real money of Sumenep Kingdom MuBI Collection

have.

From maritime for contemporary, numismatic stories in Indonesia are summarized and presented in MuBI

Board of Governors of Bank Indonesia,

(Syefri Luwis,

but by the Governor of Bank Indonesia

Indonesiana)

and the Minister of Finance of the Republic of Indonesia. This Rp. 100,000 denomination becomes a sign in which Bank Indonesia money changes into NKRI money.

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VOL. 14, 2022 INDONESIANA 65

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VOL. 14, 2022 INDONESIANA 65

ORAL TRADITION

Women and Kampoeng Feasts in seram

A resident of Seram on her boat Christina Desitriviantie - https://www.shutterstock.com/ id/g/Christina+Desitriviantie

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66 INDONESIANA VOL. 14, 2022

Wedding party in Parigi, Seram Geger Riyanto

T

time the prayer for salvation is recited,

the house after the prayer, with the aim

is similar to the feasts in many other

they are in the kitchen preparing drinks

that the jinns who cause miscarriages will

kampongs in Indonesia. The event is

and snacks. When the prayer is over, they

also leave the house. Those who prepare

hosted by officials or village elders. They

will swiftly serve the dish. The host, khatib

the snacks the day before the recital of

are usually grown men. If the event is the

or imam, and guests then chat casually

the prayer are of course the women at

recital of a prayer for salvation, which in

and pleasantly while enjoying the dish.

home or their female relatives.

Java is called a slametan, the participants

The women will come out after the men

are only adult men.

have gone home and cleaned up the

he feast in Parigi, North Seram,

So is wedding. This event is of course

utensils and leftovers.

The importance of women’s work is even more evident at big events such as weddings and tahlilan. With so

attended by women, but from the

There are prayers for salvation that

many guests who attend, these events

process of negotiating the dowry to the

require snacks with more elaborate

require a dish in a large number. Female

day of the wedding, it is the fathers who

preparations such as a prayer for those

neighbours and relatives will be invited or

are at the front and lead the procession.

who have had a miscarriage. These

come themselves to help the feast owner

However, the role of women is

snacks—usually cucur, wajik, and karas—

to prepare the dish. The preparation of

will be prayed for and placed in front of

this dish can take several days.

irreplaceable in kampong feasts. By the

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VOL. 14, 2022 INDONESIANA 67

When kampong residents attend a

for someone else’s feast becomes

being stated explicitly, this tendency

big feast in another kampong, the

something strange for them.

is carried out more. However, there is

first thing the women do is go to a crowd of local women who are preparing a dish. They will then help those who are still working, even if the two parties do not know each other personally.

Once upon a time, when the kampong residents went to another kampong to attend a relative’s wedding and the owner of the feast insisted that he did not want to be helped, the mothers of Parigi were confused.

“Katong [kita] lalu bikin apa di sini?

(What are we doing here then?)” said a mother to the other mothers. The helping instinct for the kitchen work has been implanted in the minds of mothers, so not doing anything

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68 INDONESIANA VOL. 14, 2022

Where are the fathers on such visits to other kampongs? They will chat usually with a man from the host’s side while looking for a way to pass the time.

Marking the Moment of Life A feast are a core activity in kampong life. It marks life’s key moments,

one occasion when it is expressed in such a clear way: when a young man affirms to his younger sister that his work is tougher. This affirmation pops up when the older brother is lazy to help his sister who is cooking dinner.

“Why don’t we exchange jobs,” he said.

“You do the fishing.”

strengthens during difficult times,

The younger sister finally gave up and

and provides existential security

the debate was not continued.

when needed. Men lead the activities.

However, it is the invisible work of women that makes it possible.

Faced with all these situations, I think it is important for culture and tradition observers to examine carefully the role

In the daily situation in Parigi, as it

of women in the beat of kampong life

is also in the case of women’s work,

that they observe. Observers are often

“earning” or working like men and its

focused on what is performed in a

scope outside the house, whether it is

feast or ritual and ignore the activities

fishing, gardening, or something else

that support it. In a landscape like in

is recognized as working. Instead of

Seram Fisherman Riana Ambarsari - https:// www.shutterstock.com/id/g/ p3nnylan3

One of the mosques in Parigi, Seram Geger Riyanto

Parigi, this situation will lead to a narrow perception of tradition as something that only revolves around men.

Also, we need to consider the activity of helping and caring for each other among mothers as a tradition. In Java, for example, there is a careful sight which was made into a film with the same title. Why has this activity, like the tendency of gotong royong among mothers in Parigi, not been treated so far as a tradition which is worth being noted and paid attention to?

These thoughts may help us navigate the other cultures in Indonesia.

(Geger Riyanto/ a PhD candidate of Heidelberg University)

Women prepare kasuami Geger Riyanto

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VOL. 14, 2022 INDONESIANA 69

COMMUNITY

Panggungharjo Residents’

Innovation of

C

an paper be used as a batik print?

That morning, Friday (6/18/2022) we had

accustomed to being encouraged to seek

What paper? The question arises

a fun conversation about the world of

authentic ideas. However, the trigger for

spontaneously because so far

Indonesian batik with the crew of the

the emergence of the idea is actually the

we only know copper as a means of

Sanggar Inovasi Desa at Omah Kreatif

need to survive in an urgent condition. At

stamping batik. Nur Rohmat, the pioneer

Dongaji in Panggungharjo Village, Sewon,

that time he and his community received

of paper batik stamps, apparently has

Bantul, DIY. We were welcomed by

orders for batik but they did not have

conducted several trials to determine

Nur Rohmat and Joko Hadi Purnomo,

enough money for production costs.

the most suitable paper for batik prints,

the leaders of the Sanggar Inovasi

Then, Nur Rohmat explored paper,

paper that is quite stiff but easy to shape

Desa. Hot coffee and chicken lemper

from cigarette packs, paper cups,

into motifs. Nur Rohmat also creates the

accompanied the conversation. One by

to cardboard.

weton batik motif, which is a motif that

one the community members came to

depicts the weton or someone’s birthday

the headquarters, bringing their batik

in the Javanese calendar. These ideas

creations.

emerge during the Covid-19 pandemic.

How abundant the creativity is when our steps are really limited. The body may be restrained, but the imagination is unstoppable.

I

is much cheaper than copper stamps.

The price for renting a copper stamp is

The innovation of paper batik stamps is

already expensive, let alone ordering or

actually not too surprising considering

buying it. Some motifs may be capable,

that Nur Rohmat is a graduate of the

but many motifs make the pocket empty.

Craft Department at the Institute of

The rental price for a stamp is Rp. 2,500

Indonesian Arts Yogyakarta who is

per sheet, whereas on average it takes

certainly

70 70 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022

The production cost of paper stamps

two or three stamps for one cloth. If 10

process of becoming thick and stiff is also

synthetic or with natural dyes whose

pieces of cloth? Just multiplied it.

not instant. Therefore, it is not any type

raw materials were still available in the

of paper that can be used for stamps.

environment but were increasingly rare,

It is true that the paper after being

Newsprint, for example, is very difficult.

such as mangrove bark, jambal, tegeran,

dipped in paraffin or batik candles will

Thick, stiff cardboard is possible, but

and mahogany, as well as mango leaves,

become stiff, not soft, so that when

it is less elastic. “Well, this is the most

longan leaves, kenikir, and water henna.

pressed on the

appropriate,” said Rohmat, while showing

However, because the natural dyeing

a paper stamp made of playing cards.

process required more time and the

does not get

cloth it bent.

However, the

I held the paper print. Indeed, the paper was stiff because it had been dipped

batik was more expensive, the majority of participants chose synthetic dyes.

in batik wax dozens of times. However,

The manager of Sinau Batik Program at

what made me suddenly happy was that

Sanggar Inovasi Desa, Joko Hadi Purnomo

the pictures of jacks, kings, and queens

or popularly known as Koko, said that the

were still visible, as well as some pictures

potential for the batik as a home industry

of spades, hearts, diamonds, and clubs

had already existed in Panggungharjo

in the upper half of the print. Playing

and a gathering place had also existed,

cards that are usually used to play trump,

namely at Omah Kreatif Dongaji. In the

poker, casino, solitaire, and the most

midst of concerns during the pandemic,

serious to be contested to the world level, bridge, are now “stepped down” in a meaningful way: cut into batik prints.

Sinau Batik (Learning Batik) When Nur Rohmat was ready

food security must be realized.

A participant of Sinau Batik, Dewi Lestari, created the sekar gadung motif, which was inspired by the tunggul wulung traditional ceremony in her village. “In the past, this ceremony was carried out by Majapahit guards, then now it is held every year

to share his experience, the

on Friday Pon in August or September in

studio then held an activity

Dukuhan Village, Sendang Agung Village,

entitled Sinau Batik (Learning

Minggir. Sleman. During the ceremony

Batik) by inviting various

there is a carnival and the Sekar Gadung

participants, including

dance, so I make the kembang gadung

people with disabilities. They

motif, then combine it with the Parijoto

were already familiar with

motif. The color is purplish according to

the process of making batik. It

the color of tunggul wulung ceremony,”

was through this program that the

said Dewi, explaining the philosophy of

manufacture and use of paper stamps

the batik motif she developed.

were introduced. The dyeing could be

Indonesian motifs in stamped batik Zul Lubis

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VOL. VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 71 71

For Koko and Nur Rohmat, making a

which later poured water (the cloud

Among the 100 participants at Sinau

batik motif must be accompanied by

shape is different from the cloud in the

Batik, there are 25 people with disabilities

a background and reason, not just

Cirebon’s mega mendung motif). Then

who are, on average, physically disabled,

drawing flowers, for example. This is also

there was the kitiran toy, this was related

due to accidents or polio. Among them,

emphasized by Dwi Hening, a retired

to the elders who made children’s toys

there are also people who are deaf.

teacher at the Textile Department of the

every day in Panggungharjo so that

Especially for people with disabilities, the

Yogyakarta Fine Arts High School (SMSR),

the village was popularly known as the

practice of making batik is done in groups

who created the Panggungharjo and

dolanan village. Then there were pictures

so that they can help each other even

Karangkitri motifs. How to translate the

of kawung which were very useful and

though each participant is allowed to

name of the village into a form of batik

pictures of deer cages on the Krapyak

produce their own batik, such as Sutrismi

motif? Dwi explained, “Panggungharjo

Stage. The fabric seemeed to be full of

with the flower motif of randa tapak or

village is included in the DIY imaginary

various motifs, but it turned out to be just

dandelion and Sri Lestari with the motif of

line, from Parangtritis, Panggung Krapyak, Kraton, Tugu, to Merapi. Well on the Krapyak Stage, there is Karangkitri, a large area where crops are grown.

Merapi as the highest place implies that there is the highest one, namely God. Panggungharjo itself means a prosperous stage.”

the stamp was not too close.

frangipani leaves.

Weton Motif Recently, Nur Rohmat has made and developed the weton motif. It started from the anxiety of the increasing loss of knowledge about local wisdom that became identity due to latah of using properties from other cultures such as

Then how to describe it? We’re

the zodiac. He said, “I am actually against

getting curious. Dwi then showed

it. That does not mean you cannot use

his batik work. There was a

the zodiac, but do not forget those who

combination of tamarind leaves, symbol of adem (cold) ayem (comfortable) mesam-mesem (smiles), then there was water depicted as a cloud

Creating new motifs Zul Lubis

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right because

72 72 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022

are close. Our culture must be down to earth so that it becomes a product that can bring up social institutions.”

weton, for example, the person born on

human life. The life cycle from birth

Thursday Wage has elements of wind,

to death will always be spelled and

lightning, and earth with elephant and

translated so that humans can live in

grain rice. Next there is the translation

peace and have support. Every ethnic

of the linga-yoni, characters, and power

and nation actually has an equal footing

domination. “After reading the books, my

in interpreting the life cycle, translating

job is to convert them into batik motifs,”

human character, up to scanning the

Nur Rohmat said, who then showed the

body’s energy, namely by connecting

remaining collection of weton batik.

three elements: God, humans, nature.

Thus, a narrative of four elements emerges, namely water, fire, wood, and stone, or there are those who use the

aji -

will never be completed throughout

Dong

there have been translations of human

if Kreat

From various readings in the past,

and macro cosmos and the circle of life

ah

by Om Batik is b Zul Lu

The discussion about the micro cosmos

“Well, I don’t have a weton motif,” I said.

“Indent, ok,” Nur Rohmat said. Alright…

(Susi Ivvaty/Indonesiana)

elements of water, air, and fire. That is how it is.

Sri Lestari is holding batik with weton Jumat Kliwon motif

by Nur Rohmat Zul Lubis

Nur Rohmat Zul Lubis

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VOL. VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 73 73

CULINARY

Be

Guling Bali Offering to God

Preparing be guling Syefri Luwis

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74 74 INDONESIANA INDONESIANAVOL. VOL.14, 14,2022 2022

I

n addition to having natural beauty,

At first, be guling is a typical dish served

Sanghyang Sangkara or the god who

the island of Bali also stores cultural

in a ceremony; both traditional and

controls the fertility of all plants and

creativity that has been created from

religious ceremonies. Along with the

trees. This worshipping ceremony uses be

the ancestors of the Balinese people.

development of eras and current food

guling (spit-roasted pig) as a complement

The combination of Hinduism and local

consumption patterns, be guling has

which is interpreted as a request for

customs produces cultural works that

become a common food for the general

safety for plants so that they can flower,

are unique, lively, and full of cultural

public which is sold as a dish in stalls,

bear fruit, and have thick leaves as a

values. This integration of customs and

restaurants, and even restaurants in

source of life.

culture can be easily found in every

certain hotels in Bali.

district, sub-district and village. Among the cultural products resulting from the combination of the custom-culture are traditional foods that are still found in the community. Not only that, the traditional cuisine also appears with its own characteristics in each district.

One of the traditional foods that is typical of the Balinese people that has been passed down from generation to generation is be guling (spit-roasted pig) which has now become one of the culinary icons of Bali province.

In the Lontar of the King Purana (Ancient

There is no definite record of when this

Script of Raja Purana), it is also stated that

spit-roasted pig culinary was created.

the spit-roasted pig is used as a means in

However, a note about the existence

the Usabha Posya ceremony (a sacrificial

of this be guling has been published in

reversal of the oath) in the Bhatara

the Lontar Sundarigama (Ancient Script

Turun Kabeh ritual at Besakih Temple

of Sundarigama) which states that the

in December. In the ancient script, it

spit-roasted pig is a complement in the

is explained that Bhatara Turun Kabeh

offering to Ida Sang Hyang Widhi Wasa.

uses ceremonial means; two pinudhukan

Balinese people, who are predominantly Hindu, perform yajna on days that are seen as holy days. One of them according to the pawukon count is Tumpek Penguduh which falls on Saturday Kliwon Wariga.

This day is a holy day for worshiping

pigs chopped, one pajuwit, one be guling (spit-roasted pig), one black buffalo. Thus it can be concluded that the use of spitroasted pig as a means of offering to Ida Sang Hyang Widhi Wasa has been going on since ancient times.

Pande Egi, the maker of spit-roasted pig who has been in the spit-roasted pig business for generations and for decades, stated that the culinary

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VOL. VOL.14, 14,2022 2022INDONESIANA INDONESIANA 75 75

term be guling comes from the way it

Ida Bhatara, the god who gives protection

ceremony of dewa yadnya, pitra yadnya,

is cooked, namely by rotating or rolling

to mankind, as a request so as not to

manusa yadnya. Be guling as an offering

it continuously over hot coals until well

experience tragedies in daily life.

is often used as a package with banten

done.

The tradition of making be guling for

Next, Pande Egi said that in ancient

consumption is called nguling. The

As a means of the dewa yadnya

times there was a myth which stated

ceremony of making be guling in a

ceremony, be guling is also used as an

that making spit-roasted pig and eating

particular way is usually carried out in

offering at the practice of Usabha Pura

it immediately was believed to bring bad

a ceremony called ninggungin. Indeed,

Dalem which takes place once a year on

luck and misfortune to the family who

ninggungin is a tradition of slaughtering

Tilem Kaulu day (January-February) in

made and ate it. Therefore, in the making

piglets which is usually done by members

Timbrah Village, Karangasem District,

of spit-roasted pig for consumption,

of the pig farming community. When the

Karangasem Regency. At this ceremony,

when the spit-roasted pig is well done

pet pig gives birth, at the age of about

there is a tradition of making be guling as

and ready to be eaten, the body parts

three to four months, one of the piglets is

an offering to Ida Sang Hyang Widhi Wasa

such as a small portion of the fingernails,

spit-roasted and the meat will be divided

with all its manifestations by each family

a small portion of the tail, a small portion

and eaten with neighbors and close

head of the indigenous people.

of the nose, a small portion of the mouth,

relatives.

and a small portion of the ears must still be offered in offerings to the creator first.

This tradition is known as kuku rambut.

As a means of ceremony for manusa

Functions of Be Guling

yadnya, especially at the three-monthly

The be guling culinary preparation has

ceremony or one otonan, be guling is

several functions in the community,

adapted to the village of kala patra and

Balinese people believe that, before being

one of which is as a complement to

the ability of the baby’s parents. The

enjoyed, be guling must first be offered to

the yadnya ceremony, especially at the

Nelubulanin ceremony (a three-monthly

Spit-roasted pig in the procession of the threemonthly human yadnya Dwika Decka

I

bebangkit.

76 INDONESIANA INDONESIANA VOL. VOL. 14, 14, 2022 2022 76

ceremony) is performed by the Hindu

bebangkit, the spit-roasted pig must be

to cooking. This must be done together

community in Bali to celebrate the 105th

presented as a means. Even, in ngaben

and in cooperation with each other. In

day or three months of a baby’s birth

that takes place in the Duda Wates

the end, be guling, after performing a

according to the Balinese calendar.

Tengah Traditional Village, be guling is

ceremony or ritual, is of course also eaten

Balinese people believe that at that

danced in a procession of taking bade or

together by the whole big family.

age every part of the baby’s five senses

corpse to the grave.

has started to be active, including the

The economic value of be guling is seen

Cultural Values of Be Guling

in the development of the spit-roasted

In the context of culture, food is not only

pig business which of course requires

as a supply of nutrients and nutrition

manpower, supplies of spices, pork

but also as a tradition that contains

ingredients and so on. Of course, this

religious values, togetherness values and ​​

culinary business opens up economic

economic values. Religious value appears

space for the surrounding society. The

Be Guling is also used as a means of

in its use as a means or complement to

culinary companies of spit-roasted pig

ceremony for pitra yadnya, especially at

the yadnya ceremony. In this case, be

have the potential to bring in profits and

the ngaben ceremony. As it is known,

guling is a form of gratitude offered to

economic opportunities which are very

the Ngaben ceremony itself is actually

God who has given blessings in the form

tempting because there are more and

a procession of burning corpses or

of safety, welfare, success, health and so

more fans of spit-roasted pig in Bali. This

cremation for Balinese Hindus. The ritual

on.

type of business has now become one of

digestion. Their gratitude is expressed by presenting be guling as a means of the ceremony. Then, after the ceremony is over, the be guling can be eaten together by the whole family member.

of burning the corpse is a symbol for the purification of the spirit of the dead person. If the ngaben ceremony uses a

The value of togetherness is reflected in the process of taking pigs from the cage, slaughtering, preparing spices, up

the most promising because the benefits are worth taking into account.

(Kadek Dwikayana: BPNB Bali Province)

Be guling is taken to the restaurant Syefri Luwis

As a prayer and offering Dwika Decka

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VOL. 14, 14, 2022 2022 INDONESIANA INDONESIANA 77 77 VOL.

FIGURE

Commanander

of KRI Dewaruci

Serving with hearth A glimpse of Sugeng Hariyanto Full Name : Sugeng Hariyanto, M.Tr.OPSLA Rank : Major Corps : Sailor Religion : Moslem Born : Surabaya, October 5, 1981 Ethnicity : Java Position : Commander

Military Educational Background 1. Naval Academy 50 : 2004 2. Dikpasis : 2005 3. International Seminar Group Refresh : 2014 4. SUS Principle Warfare Officer TNI AL 2014 : 2014 5. SUS dan KRI : 2014 6. DIKLAPA KOUM Batch 24 : 2015 7. DIK REG SESKOAL Batch 57 : 2019

Military Awards: SATYA LANCANA KESETIAAN VIII TAHUN (Armed Forces Long Service Medal for 8 years of service) SATYA LANCANA KESETIAAN XVI TAHUN (Armed Forces Long Service Medal for 16 years of service) SATYA LANCANA DWIDYA SISTHA (Medal for Service as A Military Educator) TANDA PENGHARGAAN TNI AL KELILING DUNIA (Mark of Commendation for completing the Indonesian Navy mission of voyage around the world) PIAGAM PENGHARGAAN KASAL (Certificate of Merit as The Chief of Staff of the Indonesian Navy)

II

78 INDONESIANA INDONESIANAVOL. VOL.14, 14,2022 2022 78

G

etting the opportunity to be on

the condition of the troops at that time

“This ship changes everything. Our

board on the last sailing route of

looked weak and less enthusiastic. He

journey into the dimensions of distance

the Muhibah Budaya Jalur Rempah

tried to provide supplies in a different

and time has made them and me go

from Kupang to Surabaya made me so

style. Pak Sugeng started to tell who

through an extraordinary process,” said

lucky. Not only because of my rare sailing

Dewaruci was, why the ship was called

the Commander. He was proud of the

experience, I also had the opportunity to

Dewaruci and why being on KRI Dewaruci

spirit of loyalty that grew as the journey

talk with the legendary Commander, KRI

was a matter of pride. This ship was a

went on. They wanted to take care of

Dewaruci, Sugeng

legend for the Indonesian Navy because

sick friends, help drunk friends, and feed

Hariyanto, M.Tr.

it had produced many reliable sailors

them.

OPSLA or as read

for the Navy. From there, he saw the

by Sailor Sea Major.

Laskar Rempah started to get excited. “I

He has served in the Indonesian Navy for more than 18 years. He has been on various kinds of ships, ranging from battleships, patrol boats to sailing ships. He started his service on sailing ships such as KRI Dewaruci in January 2011. In 2012, he had the opportunity to sail around the world using the historic KRI Dewaruci.

He and his entire crews have sailed from Indonesia across the Pacific Ocean for 10 months. That afternoon on the deck we talked.

said, I want to see these sparkling eyes tomorrow when you guys are on board the ship.” said Commander Sugeng.

A sense of ownership of this ship was instilled by the Commander by giving a pin that had the KRI Dewaruci logo and inscription. The pin had a meaning and it was an honor that when they receive

He admitted that the contrast

the pin, they were already part of us,

between the enthusiasm of the wave

the crew of KRI Dewaruci. “My hope is

of participants who had disembarked

to take care of this ship the same way

from the ship and the new wave of

we take care of this ship. Don’t dirty

those who were still on land was very

this ship, don’t fool around with this

strong. The solidarity and loud voice

ship. This is where we sleep, where we

of the troops who had sailed felt even

rest, and where we eat together.” said

more intense. This was a small proof

the commander. Apart from instilling

that the Muhibah Budaya Jalur Rempah

a sense of ownership, he also relied

had become a medium for the troops

on a combination of coordination and

to find their identity. During the process

communication to strengthen personal

Building a Sense of Loyalty

they learned to accept others, dared

closeness with the participants of the

Laskar Rempah are the proudest people

to express themselves and discovered

Intangible Cultural Treasure. If he found

from 34 provinces in Indonesia who

their hidden talents. Pak Sugeng was

a violation that was quite serious, he

also pleased with the closeness that

would take action, such as when one of

existed between the Laskar Rempah and

the troops tried to climb without using

the crew of KRI Dewaruci until they held

a safety rope. “When I came down, I

were chosen to sail using the KRI Dewaruci in order to participate in Muhibah Budaya Jalur Rempah. When they

a vote to give awards to several crew

scolded. I gave the choice of wearing a

first met, Commander

members such as the most handsome,

safety rope or not going up at all!” he said

Sugeng Hariyanto saw

the most caring, and the friendliest.

firmly. This was very important, because

Major Sugeng in various activities on the Muhibah Budaya Jalur Rempah – Editorial Team of Jalur Rempah and Naval Public Affair Fleet Command II, Surabaya

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VOL.14, 14,2022 2022INDONESIANA INDONESIANA 79 79 VOL.

Sugeng Hariyanto together with the Director for Cultural Human Resource and Cultural Institutions Empowerment, Yudi Wahyudin, and Laskar Rempah dance together at the Gala Dinner – Editorial Team of Jalur Rempah

in the end the safety of everyone who got

For thousands of years, the spices of

The effects of this intangible cultural

on this ship was under the Commander’s

the archipelago have influenced world

treasure journey began to be seen

responsibility.

civilization. Even one kilogram of nutmeg

from the Laskar Rempah’ effort to

was once equivalent to one kilogram of

speak about the Spice Route in their

gold.

respective provinces. They talked about

Spirit of Spice Diplomacy The journey of the Muhibah Budaya

Commander Sugeng views that one

undertaken by KRI Dewaruci. Different

day we will develop spice diplomacy,

from the naval education missions

disseminate knowledge about Indonesian

that are usually carried out by this

culture and other values. This of course

ship, this trip is full of various cultural

cannot be carried out by the ministry

performances. The commander himself

alone, but is strengthened through

learned a lot from various performances

synergies with the society, communities

and cultural activities in each city. His

and Laskar Rempah which are now

knowledge of the local wisdom of each

representatives of each province. What

The meeting between the four Sultans

region increases, because when he

was carried out for 32 days at the

of Ternate-Tidore is one of the authentic

arrives in a new city, he and his crews

Muhibah Budaya Jalur Rempah was a

proofs of this journey. The Sultans only

must adapt to the prevailing local

stepping stone, a starting point, to gain

want to meet if the meeting is carried out

wisdom.

world recognition of the Spice Route

on a ship. KRI Dewaruci played a major

as the Archipelago’s cultural heritage.

role as a neutral party when the meeting

Despite many challenges, Commander

took place. They were able to let go of

Sugeng really appreciates the courage

their egos, meet, chat and hug each other

of the Ministry of Education, Culture,

on the KRI Dewaruci. When the meeting

Research and Technology to take that

took place, they did not talk about politics

Eager to learn more about the Spice Route , the Commander bought a book about an island in the archipelago which was exchanged with Manhattan, which was very interesting for him.

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what the Spice Route was, that spices

Jalur Rempah is the first cultural mission

80 INDONESIANA VOL. 14, 2022

first step.

were not just nutmeg, clove pepper and sandalwood, that this trail was not just about spices, but how cultural acculturation took place in each region.

This activity also builds concrete awareness about how big is Indonesia and its cultural diversity.

Dewaruci’s commander, Marine Major (P) Sugeng Hariyanto, hands over a souvenir in the form of a miniature of Dewaruci ship to the Secretary of Directorate General of Culture, Drs. Fitra Arda, M. Hum at the closing ceremony of MBJR – Editorial Team of Jalur Rempah

as they had done before, but about the

worked with the Ministry of Education,

refeel a link between them and history.

progress of Indonesian culture. The

Culture, Research, and Technology to

Through this intangible cultural treasure,

sailing of intangible cultural treasure and

fight for this recognition. “This is an honor

we understand that history is not a

the KRI Dewaruci ship proved to change

for me and of course with the permission

foreign land hidden in the past. History

everything. This is the place where Unity

of The Only One God,” he said.

is the present, sitting on this deck, sailing

in Diversity is realized.

When the sky was getting dark and

across our ancestors’ seas, creating the future together. Softly heard the old

The Importance of History

the wind was blowing from the stern,

Commander Sugeng was impressed

Commander Sugeng conveyed his

with the series of Muhibah Budaya Jalur

message to the younger generation.

Rempah. He realized that, at his age, he

“Don’t make this just as a passing

had to learn more about spices and the

moment. The completion of this journey

history of the Spice Route itself, which

is the first point, the first step for the

“Don’t let the incitement that happened

turned out to be more than just a colonial

Laskar Rempah to spread the Spice Route

in the past happen again in the present.

trade road. He began to recognize the

that belongs to Indonesia.” Just like

The unity and integrity of Indonesia

influence of Archipelago’s spices for

when we graduate from a university, we

must be upheld. The Unitary State of the

many regions of the world, thousands

have to think about what contribution

Republic of Indonesia is absolute!” That

of years before colonialism entered the

we can make to the surrounding

was what Sugeng Hariyanto, Commander

archipelago. He sincerely hoped that the

environment. That is what Mr. Sugeng

of KRI Dewaruci, concluded when it was

Spice Route would become a cultural

said. This Intangible Cultural Treasure

night.

heritage that was recognized by UNESCO.

has provided an important lesson for all

The commander felt very lucky if that

participants. By sailing across the same

dream came true, because he took part

archipelago waters like ancient sailors

as the Commander of KRI Dewaruci who

from thousands of years ago, they can

message: a great country will not forget its history. Because we are the ones who will shape history in the present that will be remembered in the future.

(Jessika Nadya Ogesveltry, Directorate of Culture Development and Utilization)

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VOL. 14, 2022 INDONESIANA 81

PHOTO GALLERY

PHOTO GALLERY

Passionate about Muhibah Jalur Rempah

Back to exploring the ocean – Editorial Team of Jalur Rempah

Belang Adat Competition in Banda Naira during the release of Laskar Rempah Editorial Team of Jalur Rempah

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82 INDONESIANA VOL. 14, 2022

Cloves that always accompany the people of the Archipelago Editorial Team of Jalur Rempah

Laskar Rempah is performing a role of the sails with KRI Dewaruci’s crews Naval Public Affair Fleet Command II, Surabaya

T

he trail of Spice Route at the six knots, namely Surabaya, Makassar, Baubau and Buton,

Ternate and Tidore, Banda Naira, and Kupang is truly nostalgic. Feelings of emotion, excitement, happiness, and joy collide into one. Of course. Sailing for 32 days (1 June - 1 July 2022) with KRI Dewaruci, then tracing historical places and meeting many friendly people made us feel a nostalgic atmosphere that penetrated our pores. We explored the once famous spice trade centers, revisited the temples of the Majapahit era, visited the pinisi boat and museums such as La Galigo and Karaeng Pattingaloang, then tasted a variety of local culinary delights. The forts that stand proudly are truly amazing, such as Fort Wolio (Buton), Fort Kastella (Ternate), and Fort Belgica (Neira). It is impossible to say that This inner experience could not leave a deep impression, including visiting a sandalwood garden and touching the beautiful hand-woven fabrics in Kupang. See you again in the next Muhibah Jalur Rempah. Long live the spice!

(Editorial Team of Jalur Rempah, Directorate of Culture Development and Utilization)

Ja’i dance, a dance that reflects togetherness among members of the Ngada society, NTT Editorial Team of Jalur Rempah

Pedoa dance, a dance from the Sabu ethnic group which is a social dance Editorial Team of Jalur Rempah

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VOL. 14, 2022 INDONESIANA 83

The Verbond Mortar Confederation which is an alliance between Ternate, Tidore, Jailolo and Bacan that happened 700 years ago is repeated on the deck of KRI Dewaruci – Editorial Team of Jalur Rempah

The placard of the Inauguration of the Mini Pati Kiat Museum by the Director for Cultural Development and Utilization – Editorial Team of Jalur Rempah

Mancak Dance, Buton – Editorial Team of Jalur Rempah

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84 INDONESIANA VOL. 14, 2022

Cakalele Dance – Editorial Team of Jalur Rempah

Spice Route ’s Excursion in Mojokerto – Editorial Team of Jalur Rempah

The routines of KRI Dewaruci’s crews – Editorial Team of Jalur Rempah

Hand in hand becomes the routine at KRI Dewaruci Editorial Team of Jalur Rempah

Woven fabrics are part of wastra which is one of Indonesia’s identities Editorial Team of Jalur Rempah

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VOL. 14, 2022 INDONESIANA 85

NOT FOR SALE

Ministry of Education, Culture, Research, and Technology Republic of Indonesia Directorate General of Culture Directorate of Culture Development and Ultilization Building E. Lt. 9, Jl. Jenderal Sudirman Kav. 4-5 Senayan, Jakarta 10270

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(021) 5725534 (021) 5725534 indonesiana.diversity@gmail.com http://kebudayaan.kemdikbud.go.id