RI literature scene in 1995: More arguing, less writing
RI literature scene in 1995: More arguing, less writing
By Johannes Simbolon
JAKARTA (JP): This was a sad year for literature. Amidst the
lack of productivity, the Indonesian literary world quarreled
without conclusion over the bestowal of the Magsaysay award to
novelist Pramoedya Ananta Toer.
Only two works were published this year, which were considered
important. Of the two only one, Arus Balik (Backward Current) by
Pramoedya, is really new stuff. Published in August, it is an
epic about the disintegration of power in the Archipelago around
the 15th century.
Another book, Prahara Budaya (Cultural Calamity), published in
March, is a compilation of essays, speeches and poems written
during the Old Order era. The editors, poet Taufiq Ismail and
archivist D.S. Moelyanto, claimed the book aimed to give true
information to the young generation about the despotic manner of
communist writers in the past. The editors deliberately filled
the compilation with many of Pramoedya's writings which betrayed
his support of communism. This suggests the main purpose of the
book is to attack Pramoedya personally.
Pramoedya was the recipient of a lot of attacks from the
government as well as anti-communist writers he had hurt in the
past. The government banned his book Nyanyi Sunyi Seorang Bisu
(The Silent Song of A Mute), his memoir during his internment as
a political prisoner, as of May. It also limited the distribution
of his collection of short stories Cerita Dari Blora (Stories
from Blora) to Central Java as of February.
Magsaysay
Despite the attacks and the ban, Pramoedya stole the limelight
this year. To the bewilderment of his critics, he received the
Magsaysay award, Asia's version of the Nobel prize. The Magsaysay
award committee judged Pramoedya has succeeded in producing
masterpieces about the historical awakening and modern experience
of the Indonesian people.
Two other Indonesian literary men who have received the award
are Mochtar Lubis and H.B. Jassin.
Attacks on Pramoedya followed the publication of his Prahara
Budaya and culminated after he was named the winner of Magsaysay
award in July.
A group of 24 writers announced a joint protest, saying he was
not worthy of the award. The group included Mochtar Lubis, H.B.
Jassin, W.S. Rendra, Rosihan Anwar, Taufiq Ismail, Asrul Sani,
Danarto, Ikranegara, Syu'bah Asa and Mochtar Pabotinggi
The group still felt grudges against Pramoedya for his witch
hunting activities of the group and other non-Lekra writers
during the era of Guided Democracy from 1959 to 1965 and demanded
that he apologize for that.
Pramoedya was associated with the Lekra, the communist wing
organization of writers and literary critics, which in the 1960s
launched a campaign to oppress those who did not conform with
their views.
He was arrested and interned after the 1965 abortive communist
coup and released in the late 1970s.
The writers who protested Pramoedya's award achievement
charged that he had led the oppression of creativity of non-
communist writers, playwrights, filmmakers, painters and
musicians, endorsing the banning of their books and music records
and hailing the burning of books in several towns in the country.
They demanded that he apologize for his wrongs. Mochtar Lubis
even threatened to return his Magsaysay award.
Pramoedya over and over insisted on his innocence, saying he
was never active at the Lekra.
The protests were followed by a long debate, involving almost
all of the country's prominent writers. Some, including Arief
Budiman, asked that Pramoedya be forgiven. However, Mochtar Lubis
and others insisted Pramoedya must first apologize, something
Pramoedya was never willing to do.
Pramoedya's wife received the award on his behalf in September
in Manila since the writer was still banned from traveling. The
day before, Lubis officially returned to the Magsaysay committee
the award he achieved in 1958.
Good news
Goods news came from novelist Achmad Tohari. He received the
SEA Write Award, the highest literary award in the ASEAN region,
from the Thailand government in July.
Also this year, Tohari's famous book Ronggeng Dukuh Paruk (The
Dancer from Paruk Hamlet) was translated into Arabian and
Chinese, with and without permissions respectively.
The novel as well his other works entitled Bintang Kemukus
(The Morning Star), Jentera Bianglala (The Rainbow Wheel) and
Kubah (The Dome) had previously been translated into German,
Dutch, English and Japanese.
The translation of Indonesian works seemed to intensify this
year. Aside from Achmad, Pramoedya also had his book Arus Balik
translated into Dutch. The Dutch translation was published
simultaneously with the Indonesian edition.
Bulgarian poet Krassin Himmirsky brought some good news. Early
this year he published an anthology of Indonesian poems in
Bulgarian. The work represents Indonesian poets from the first
generation like Amir Hamzah and Chairil Anwar to the younger
generation like Sitok Srengenge.
Himmirsky had earlier published some Indonesian folklore and
plays and has plans to publish the anthology of Indonesian short
stories.
Poetry
Poetry remains popular among the public, yet only several
poetry books which are considered important were published this
year.
One of them is Nanyian Sepi (Silent Song), a collection of
poems of the bold director/playwright Arifin C. Noor. The book,
published by his family and friends, collects his poems spanning
from the 1960s to the day before his death in May this year.
The book only received moderate praise from critics. Critic
Sapardi Djoko Damono commented in the introduction that the poems
are less poetic than the dialogs in Arifin's plays.
Poet Subagio Sastrowardoyo published his last collection of
poems before he died in July. The swansong, entitled Dan Kematian
Makin Akrab (And Death Becomes Friendlier), collects his poems
written since he started his career as a writer in 1957 up to the
1990s.
Many poetry readings were staged throughout the year. Some of
them were international events, like the Indonesian-Dutch poetry
reading held in September. On the occasion, top Dutch and Belgian
poets co-performed with Indonesian poets.
As usual, there weren't any big national events without poetry
readings on the schedule. On these occasions, professional poets
co-performed with amateur readers -- government officials and
business people -- who obviously think poetry reading is the
easiest of all art works.
WS Rendra, the pioneer of modern poetry reading in Indonesia,
unmistakably stole most of the limelight.
This year, the "Peacock", thus he was nicknamed for his
notorious flair for women, staged two solo performances and many
co-performances with others.
His first solo performance was held in June and the second one
in November. No new poems were read during the shows.
If the first performance received acclaim from critics, the
second one, which was held in conjunction with his 60 birthday,
ended up with controversy which stemmed from the fact that Gatra
magazine was the sponsor. Artists and journalists could not
accept that a figure like Rendra, who is well known for his long
struggle against despotism, would cooperate with this magazine.
Gatra, owned by timber tycoon Muhammad "Bob" Hassan, was
published by former Tempo magazine's reporters after the banning
of the magazine last year. Many Tempo journalists dismissed the
magazine as sponsored by the government and decried their fellow
colleagues who worked for the magazine as traitors.
Rendra's performance was marked with protests and poetry
readings, condemning his cooperation with Gatra, outside the
venue at the Taman Ismail Marzuki Arts Center. They accused
Rendra of undermining the people's struggle for democracy.
Rendra's support for Tempo when it was banned is undisputable.
He was among the protesters who was apprehended by the police in
the wake of the banning.
Rendra defended his view, saying there are many ways to
struggle and that Gatra people have also their own way to
struggle.
Like in previous years, this year politics encroached on the
Indonesian literary world as well as other kinds of arts. None
dare to predict that the situation will change next year.