Cross-cultural poet and translator<\/p>\n
Oyos Saroso H.N., The Jakarta Post, Bandarlampung<\/p>\n
In the 32 years of the New Order regime in Indonesia, hardly any
\nliterary works written by Chinese-Indonesians saw the light of
\nday.<\/p>\n
The New Order regime did not give any room for the development
\nof the ethnic Chinese culture.<\/p>\n
Presidential Instruction No. 14\/1967 prevented Chinese-
\nIndonesian writers from developing their talent as it prohibited
\nthem from expressing themselves through Chinese cultural themes.<\/p>\n
As a result, the ethnic Chinese culture became alienated in
\nIndonesia and thus Chinese-Indonesian writers lost their place in
\nIndonesia's contemporary world of literature.<\/p>\n
When the reform era was ushered in following the collapse of
\nthe New Order regime, Indonesia's literary world was suddenly
\ncaught by surprise with the emergence of the prolific Chinese-
\nIndonesian writer Wilson Tjandinegara.<\/p>\n
A poet and a translator of Chinese literary works, he suddenly
\nemerged as a spokesman for ethnic Chinese literature.<\/p>\n
Wilson Tjandinegara, though no longer young, is indeed a
\nnewcomer to Indonesia's literary world. He became known only in
\n1997 when he began to actively take part in the Indonesian
\nLiterary Community (KSI), an organization that brings together
\nIndonesian writers. Wilson joined the KSI in 1996, the year it
\nwas founded.<\/p>\n
Although he was the oldest among KSI members, he learned how
\nto write poetry from younger poets who had made a name for
\nthemselves earlier. After deciding to quit his business, Wilson
\ntook part in various discussions in cultural pockets in Jakarta,
\nTangerang and Bogor.<\/p>\n
Wilson was born to a poor ethnic Chinese family in Makassar on
\nDec. 20, 1946. As his father was just a tailor, Wilson had to
\nwork hard. At age 12, he had to work after school to help augment
\nthe family income. In his youth, he started a bookstore and a
\nbook rental shop in Makassar. Books by Chairil Anwar made the
\ngreatest impression on him.<\/p>\n
\"I'm really impressed by Chairil Anwar's line -- 'Once
\nmeaningful, then dead',\" said Wilson, whose Chinese name is Chen
\nTung Long.<\/p>\n
This particular line by Chairil Anwar, a poet of the 1945
\nGeneration, has spurred him to continue writing although he is no
\nlonger young. Obviously he had to make a very difficult decision
\nin abandoning his successful business to devote himself fully to
\nliterature.<\/p>\n
Many of his relatives were cynical about his decision. \"I
\ndevoted myself to my business for decades. I have the material
\nwealth that I have dreamed of acquiring since childhood. I must
\ndo something else. This something else is to be a writer and a
\ntranslator,\" said Wilson, who now lives in Cimone, Tangerang.<\/p>\n
Link between Chinese and Indonesians<\/p>\n
Wilson said although the material benefit from the literary
\nworld was not big, the proceeds from the sales of his books were
\ngood enough. \"If I do not make a profit, I will certainly stop
\nbeing a translator and a writer,\" said Wilson, who enjoys
\ntraveling and photography.<\/p>\n
Although he started rather late in life as a writer, Wilson is
\nconsidered a pioneer of cultural exchange as he has played a
\nsubstantial role as a bridge between ethnic Chinese and
\nIndonesians.<\/p>\n
Poet Abdul Hadi W.M. once said in his writings that Wilson's
\ndecision to be a writer and a translator of Chinese literature
\ninto Indonesian was important and valuable.<\/p>\n
At least he has disseminated literary works by ethnic Chinese
\nand introduced Chinese literary works to the public from the
\nclassical to the modern periods.<\/p>\n
Meanwhile, based on his observation of the books that Wilson
\nhas published, poet Taufiq Ismail has called him an activist poet
\nof three directions\", meaning that besides being a poet, Wilson
\nalso plays a role as a promoter of intercultural relations, and
\ntranslator of Indonesian-Chinese literary works.<\/p>\n
Wilson has dozens of titles to his credit including
\ncollections of his poems Puisi Untukmu (Poems for You, CV
\nGitakara, 1995), Lelaki Adalah Sebingkai Lukisan (A Man is a
\nPainting in its Frame, KSI, 2001), and Rumah Panggung di Kampung
\nHalaman (House on Stilts in My Home Village), KSI, 1999.<\/p>\n
Wilson said that he paid serious attention to the translation
\nof Chinese literary works into Indonesia as he wanted to bring
\nthe two cultures closer so that they could know each other
\nbetter.<\/p>\n
If Chinese-Indonesians get acquainted with other ethnic groups
\nin Indonesia, he said, their relations would certainly be good.<\/p>\n
\"At least, friendship will be fostered. Social turmoil will be
\nslightly reduced if this process continues for long enough.<\/p>\n
\"This reminds me of what Prof. Zhou Nanjing of Peking
\nUniversity once said in a letter to me. One of the reasons for
\nthe anti-Chinese campaign in Indonesia is a lack of
\ncommunication.<\/p>\n
\"Therefore, I must introduce Chinese culture to the Indonesian
\ncommunity by translating Chinese literary works,\" he noted.<\/p>\n
Pioneer of cultural exchange<\/p>\n
As a KSI member, Wilson has taken the initiative to organize
\ncollaborative activities between the KSI and the Association of
\nYin Hua Writers (PPYH), an organization of Chinese-Indonesian
\nwriters, the board members of which include Jeanne Yap and
\nCecillia, an editor of a bilingual Chinese-Indonesian newspaper.<\/p>\n
Through this collaboration, the two organizations have
\npublished translated works and organized several art events such
\nas a demonstration of Chinese painting by Madam Chian Yu Tie and
\nChinese calligraphy as well as a musical performance of Guzhen, a
\nChinese musical instrument played by Ibu Chen Suen Cui from
\nBandung at HB Yassin Literary Documentation Center, Taman Ismail
\nMarzuki (TIM) on October 30, 1999, coinciding with the third
\nanniversary of KSI.<\/p>\n
As he serves as a mediator for cultural exchanges through his
\ntranslations, Wilson is now considered by writers as one of the
\npioneers of cultural exchange in Indonesia.<\/p>\n
In that vein, Wilson recollects an experience during the
\nlaunch of his 101 Puisi Mandarin (101 Chinese Poems) in Makassar
\nseveral years back. During the launch four Makassar songs were
\nsung in their Chinese translation.<\/p>\n
\"I found it funny because in Jakarta and in Makassar, writers
\non both sides live in the same city but do not have any
\nrelationship with each other. After I tried to bridge the gap
\nbetween them and helped them get to know one another, I felt the
\nneed to establish cooperation among writers so that our national
\nliterary world would flourish,\" he said.<\/p>\n
Apart from being active in literary activities, Wilson has
\nalso actively paid attention to the life of Chinese-Indonesians
\nin various regions across the country through photography.<\/p>\n
He visited poor Chinese villages in Kalimantan and Banten.
\nThrough his photographs, he would like to tell people that not
\nall Chinese-Indonesians are privileged and wealthy.\"There are
\nquite a lot of poor Chinese-Indonesians. They earn a living as
\nfarmers and fruit vendors. Some of them are even jobless,\" he
\nsaid.<\/p>\n
It is Wilson's hope that Indonesian-Chinese cultural exchange
\ncan dispel the unfavorable view about Chinese-Indonesians so that
\nthey will no longer be considered \"money-making animals\".<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/cross-cultural-poet-and-translator-1447893297",
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