Pub Date : 2023-05-04DOI: 10.1080/13639811.2023.2221927
Ronit Ricci
ABSTRACT The article explores five Maulid Syaraf al-Anām (‘The birth of the best of mankind’) manuscripts produced in the Indonesian-Malay world. The five manuscripts all include the Arabic text of this well known and highly popular panegyric recited on the anniversary of the Prophet’s birthday as well as on other auspicious occasions, with the Arabic translation into either Malay or Javanese written between the lines. Each manuscript was inscribed at a different site between the late 18th and late 19th centuries: one is from Aceh, another from the so-called ‘Malay’ diaspora in colonial Ceylon (present-day Sri Lanka), a third from Patani, in today’s southern Thailand, while a fourth was copied in Mecca. These four include interlinear translations of the Arabic into Malay. The fifth manuscript, from Java, has a Javanese translation. Through a close reading of one narrative section of the Arabic Maulid and its translations, and their comparison with a vernacular telling, the article engages in a preliminary manner with questions of standardisation, creativity and cultural particularity within the wide, yet little-studied realm of interlinear translations from the region.
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Pub Date : 2023-05-04DOI: 10.1080/13639811.2023.2221926
Muhammad Yuanda, Ajat Zara Miftahuddin, Danar Sudrajat, Widayanta Hana fi, B. Hussin, Kata Kunci
ABSTRACT Most studies of Indonesia-Malaysia relations focus on conflict. This study analyses the depictions of Malaya in a renowned bi-weekly Islamic magazine in Indonesia in 1960, Pandji Masjarakat. The findings indicate that the magazine constructed positive perceptions of Malaya and encouraged its readers to adopt them. It promoted an understanding that Indonesia and Malaya had a long common history, and in the past were tied by religious, kinship and cultural bonds. It emphasised that Islam played an important role as a unifying factor among regions in the Malay world before the colonial era. It saw Malay culture, especially the Malay language, as a shared legacy of both countries that had been marginalised by European colonialism. The magazine motivated linguists and people from both countries to rejuvenate the language for modern use. Of no less importance was the key actor in the magazine’s constructive approach to Malaya, its chief editor, Hamka, who was personally connected to the Malay world. This research sheds light on the Indonesian press’ attempts to promote similarities and cooperation rather than differences and dispute between the two countries in the context of postcolonial Southeast Asia.
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Pub Date : 2023-05-04DOI: 10.1080/13639811.2023.2213588
Ervan Nurtawab
ABSTRACT This article examines three Qur’ans that probably hail from 18th-century Banten. The first two, A.51 and W.277, are held in the National Library of the Republic of Indonesia, and the third of which, RAS Arabic 4, is part of the collection at the Royal Asiatic Society in the United Kingdom. It undertakes an analysis of the Qur’anic reading and verse numbering systems applied in these manuscripts, using selected samples from Sūrat al-Kahf to identify the textual relationships between these three Qur’ans. Examination of these three Qur’ans reveals variations in the ways in which each copy treats verse numbering and locates verse endings. On the basis of the textual analysis undertaken here, the author argues that the copyists of Qur’ans A.51, W.277 and RAS Arabic 4 appear to have applied to the respective text a combination of different methods that determined their approach to the reading and verse numbering systems. The Qur’anic textual transmission process is one in which the copyists referred to older copies but also relied on their own knowledge of qirāʾāt literature.
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Pub Date : 2023-05-04DOI: 10.1080/13639811.2023.2199643
C. W. Watson
ABSTRACT Darman Moenir’s autobiographical novel, Bako, relates the experience of the protagonist – the ‘I’ of the narrative – residing with his mother in the community of his father’s relatives, the bako of the title. According to the principles of Minangkabau matriliny, neither he nor his mother are members of the father’s kin group and there is a tension in the relationship between mother and son on one side and the bako on the other. Through successive chapters, each concerning a significant individual in the protagonist’s boyhood and adolescence, the novel explores this tension and its effects on his mother. A close reading of key passages that employ a narrative device of shifting voices – the boy’s, the narrator’s, the author’s – reveals how the writing works to persuade the reader of the dramatic intensity of the boy’s quest for self-knowledge. A comparison with novels of Minangkabau society of an earlier period shows both continuity and change. The undisguised use of autobiographical experience on which the novel draws is explored through an illuminating comparison with Pramoedya Ananta Toer’s stories and through a glance at the genre of Japanese autobiographical novels and its conventions.
{"title":"Minangkabau male angst and the autobiographical mode","authors":"C. W. Watson","doi":"10.1080/13639811.2023.2199643","DOIUrl":"https://doi.org/10.1080/13639811.2023.2199643","url":null,"abstract":"ABSTRACT Darman Moenir’s autobiographical novel, Bako, relates the experience of the protagonist – the ‘I’ of the narrative – residing with his mother in the community of his father’s relatives, the bako of the title. According to the principles of Minangkabau matriliny, neither he nor his mother are members of the father’s kin group and there is a tension in the relationship between mother and son on one side and the bako on the other. Through successive chapters, each concerning a significant individual in the protagonist’s boyhood and adolescence, the novel explores this tension and its effects on his mother. A close reading of key passages that employ a narrative device of shifting voices – the boy’s, the narrator’s, the author’s – reveals how the writing works to persuade the reader of the dramatic intensity of the boy’s quest for self-knowledge. A comparison with novels of Minangkabau society of an earlier period shows both continuity and change. The undisguised use of autobiographical experience on which the novel draws is explored through an illuminating comparison with Pramoedya Ananta Toer’s stories and through a glance at the genre of Japanese autobiographical novels and its conventions.","PeriodicalId":44721,"journal":{"name":"Indonesia and the Malay World","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48133699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/13639811.2023.2172874
Stefan Danerek
ABSTRACT This article explores the Palu’e legend Pio pikariwu and how the main character Pio is contested by two traditionally rival politico-ceremonial domains on Palu’e island. The stateless clan-structured societies of eastern Indonesia, such as the Palu’e, are not known to have stranger-king myths, the weight of the analysis therefore lies on whether Pio pikariwu fits this category. The relevant themes are compared with the established stranger-king tropes, while basic conceptual tools of comparative Austronesian ethnology, such as that origin establishes precedence, are used to explain the significance of the legend in contemporary society. The legend concurs with several themes of the stranger-king myth, despite that Pio neither becomes a sovereign or has a genealogy. The stranger theme concurs more with a divine kingship related to the South Sulawesi origin histories of founding rulers and a horizontal cultural transfer is plausible due to geographic adjacency and historical connections. A local character projection is also considered. The real-life contestation for Pio involves spiritually potent material heritage and exemplifies how tradition creates new events based on an original event believed to have happened, and that precedence issues extend beyond the domain and its alliances. The demonstrated inherent ambiguity reveals an arrested (divine) stranger-king myth, representing the rejection of kingship.
{"title":"Interpreting the Palu’e Legend Pio Pikariwu","authors":"Stefan Danerek","doi":"10.1080/13639811.2023.2172874","DOIUrl":"https://doi.org/10.1080/13639811.2023.2172874","url":null,"abstract":"ABSTRACT This article explores the Palu’e legend Pio pikariwu and how the main character Pio is contested by two traditionally rival politico-ceremonial domains on Palu’e island. The stateless clan-structured societies of eastern Indonesia, such as the Palu’e, are not known to have stranger-king myths, the weight of the analysis therefore lies on whether Pio pikariwu fits this category. The relevant themes are compared with the established stranger-king tropes, while basic conceptual tools of comparative Austronesian ethnology, such as that origin establishes precedence, are used to explain the significance of the legend in contemporary society. The legend concurs with several themes of the stranger-king myth, despite that Pio neither becomes a sovereign or has a genealogy. The stranger theme concurs more with a divine kingship related to the South Sulawesi origin histories of founding rulers and a horizontal cultural transfer is plausible due to geographic adjacency and historical connections. A local character projection is also considered. The real-life contestation for Pio involves spiritually potent material heritage and exemplifies how tradition creates new events based on an original event believed to have happened, and that precedence issues extend beyond the domain and its alliances. The demonstrated inherent ambiguity reveals an arrested (divine) stranger-king myth, representing the rejection of kingship.","PeriodicalId":44721,"journal":{"name":"Indonesia and the Malay World","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43366484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/13639811.2023.2182562
Leon Woltermann
ABSTRACT This article examines the discourse surrounding the possible issue of a fatwa haram (legal advice) to ban the online game PlayerUnknown’s battlegrounds (PUBG), which occurred in the Indonesian public sphere between March and July 2019. The article firstly scrutinises the framework and preconditions facilitating the formation of the discourse, after which it will try to disentangle the layers of public discourse to investigate underlying tensions, complications, and interactions between gaming and Islam. I find it problematic to argue that Indonesia’s Muslim community is for or against gaming. Instead, I propose to consider the discourse as a negotiation between different voices within Indonesia’s Muslim community, and in the multifarious currents of thought and practice in developing its own model of popular consumption in connection with religious ideals.
{"title":"A Fatwa Against Gaming?","authors":"Leon Woltermann","doi":"10.1080/13639811.2023.2182562","DOIUrl":"https://doi.org/10.1080/13639811.2023.2182562","url":null,"abstract":"ABSTRACT This article examines the discourse surrounding the possible issue of a fatwa haram (legal advice) to ban the online game PlayerUnknown’s battlegrounds (PUBG), which occurred in the Indonesian public sphere between March and July 2019. The article firstly scrutinises the framework and preconditions facilitating the formation of the discourse, after which it will try to disentangle the layers of public discourse to investigate underlying tensions, complications, and interactions between gaming and Islam. I find it problematic to argue that Indonesia’s Muslim community is for or against gaming. Instead, I propose to consider the discourse as a negotiation between different voices within Indonesia’s Muslim community, and in the multifarious currents of thought and practice in developing its own model of popular consumption in connection with religious ideals.","PeriodicalId":44721,"journal":{"name":"Indonesia and the Malay World","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44961504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/13639811.2023.2168403
Mohd Erman Maharam
ABSTRACT This article examines three films by Malaysian Dain Said; Bunohan: return to murder (2012), Interchange (2016) and Dukun (2018). Particular attention is paid to the use of land and water (tanah air) imagery, cinematic qualities, and the richness of the cultural practices of Nusantara from which the films arise. Dain’s films explore arguments around national identity in the areas of the dramatic and the semantic. Additionally, the cinematic style of these films denotes a struggle between transnational identities and the logics of rigid national cultural boundaries. I argue that the films bring to fore a way of thinking that sees the people of Nusantara living in the interspace and moving smoothly across the archipelago. By perceiving films as ‘a liminal site of modern society’ and reflecting on ‘inbetweenness’ as the premise for everything that drives the narratives of Bunohan, Interchange, and Dukun, I maintain that the three films represent a Malaysian interstitial future that emerges between the claims of the past and the demands of the present. These films challenge and explicitly expose the conservative notion of a Malaysian monoculture, and they highlight the complexities of associative relationships through the subjects’ fractured sense of belonging. Dain creates images of Nusantara life, characterised by elements of mise en scène with which regional populations can relate. These transnational non-state-centred representations show that the land and the water have defined societies living in the in-between region of Nusantara, and focus on features that reveal the connection between peoples rather than the cultural biases and discrimination that are so often part of national discourses in the region.
摘要本文考察了马来西亚导演戴恩·赛义德的三部电影；布诺汉：《重返谋杀》（2012）、《立交桥》（2016）和《杜昆》（2018）。特别关注土地和水（tanah air）图像的使用、电影品质以及电影产生的努桑塔拉丰富的文化实践。戴恩的电影在戏剧性和语义方面探讨了围绕民族身份的争论。此外，这些电影的电影风格表明了跨国身份与僵化的国家文化边界逻辑之间的斗争。我认为，这些电影突出了一种思维方式，即努桑塔拉人生活在这片空地上，并在群岛上顺利前行。通过将电影视为“现代社会的边缘地带”，并反思“中间性”是推动布诺汉、互换和杜昆叙事的一切的前提，我坚持认为，这三部电影代表了马来西亚在过去的主张和现在的要求之间出现的间隙性未来。这些电影挑战并明确揭露了马来西亚单一文化的保守观念，并通过主体破碎的归属感突出了联想关系的复杂性。戴恩创作了努桑塔拉生活的图像，其特征是与地区人口相关的mise en scène元素。这些跨国的、以国家为中心的表述表明，土地和水定义了生活在努桑塔拉中间地区的社会，并关注揭示民族之间联系的特征，而不是经常成为该地区国家话语一部分的文化偏见和歧视。
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Pub Date : 2023-01-02DOI: 10.1080/13639811.2023.2168390
H. Haroon
ABSTRACT A.W. Hamilton (1887–1967) was a colonial police officer who demonstrated a keen interest in the Malay language. He was a regular contributor to various magazines and journals during the colonial period. His writings, which encompass various aspects of the Malay language, Malay sayings and love charms, flora, fauna, feasts, and festivals, reflect his diverse interest in his surroundings. Also known as Haji Hamilton, he was a translator as well. He is perhaps best known for his translations of English nursery rhymes into Malay, which were published six times over a period of 70 years. Upon his retirement from the police force, Hamilton settled down in Australia. He is often credited for having made among the earliest effort to introduce the Malay language in Australia, although it did not prove to be very successful. In spite of this, very little is publicly documented about Hamilton. This article aims to explore some aspects of Hamilton’s life and discuss his language indigenisation in his translation of nursery rhymes into Malay, with the aim of providing some insights into the life of a colonial officer who was unwavering in his interest in and devotion to the Malay language.
{"title":"A.W. Hamilton and the translation of English nursery rhymes into Malay","authors":"H. Haroon","doi":"10.1080/13639811.2023.2168390","DOIUrl":"https://doi.org/10.1080/13639811.2023.2168390","url":null,"abstract":"ABSTRACT A.W. Hamilton (1887–1967) was a colonial police officer who demonstrated a keen interest in the Malay language. He was a regular contributor to various magazines and journals during the colonial period. His writings, which encompass various aspects of the Malay language, Malay sayings and love charms, flora, fauna, feasts, and festivals, reflect his diverse interest in his surroundings. Also known as Haji Hamilton, he was a translator as well. He is perhaps best known for his translations of English nursery rhymes into Malay, which were published six times over a period of 70 years. Upon his retirement from the police force, Hamilton settled down in Australia. He is often credited for having made among the earliest effort to introduce the Malay language in Australia, although it did not prove to be very successful. In spite of this, very little is publicly documented about Hamilton. This article aims to explore some aspects of Hamilton’s life and discuss his language indigenisation in his translation of nursery rhymes into Malay, with the aim of providing some insights into the life of a colonial officer who was unwavering in his interest in and devotion to the Malay language.","PeriodicalId":44721,"journal":{"name":"Indonesia and the Malay World","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48423905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/13639811.2023.2170085
E. Ellisa, Estu Putri Wilujeng, H. F. Wasnadi, R. D. Dwianto, Jenni Anggita, N. Helen, E. Asyera, Putri Ayu Iramaya
ABSTRACT This article aims to reveal the appropriation of communal sanitation facilities in an urban kampung area of Kampung Cikini, Jakarta. In Indonesia, MCK (mandi, cuci, kakus) refers to a communal facility for bathing, washing, and urinating/defecating. We argue that the urban kampung dwellers’ behaviour in using communal sanitation facilities is a form of appropriation and reappropriation of space which began with the establishment of the urban kampung area. Having conducted observations, interviews, and focus group discussions, we discovered that communal sanitation facilities have undergone continuous appropriation and reappropriation from colonial times until today in a dialectical process. Appropriation and reappropriation can be seen from the physical change of those facilities and their usages in everyday life. Standards of communal sanitation set by the government are negotiated and appropriated by different actors, while reappropriation depends on gender and labour division within the household.
{"title":"Community appropriation of communal sanitation","authors":"E. Ellisa, Estu Putri Wilujeng, H. F. Wasnadi, R. D. Dwianto, Jenni Anggita, N. Helen, E. Asyera, Putri Ayu Iramaya","doi":"10.1080/13639811.2023.2170085","DOIUrl":"https://doi.org/10.1080/13639811.2023.2170085","url":null,"abstract":"ABSTRACT This article aims to reveal the appropriation of communal sanitation facilities in an urban kampung area of Kampung Cikini, Jakarta. In Indonesia, MCK (mandi, cuci, kakus) refers to a communal facility for bathing, washing, and urinating/defecating. We argue that the urban kampung dwellers’ behaviour in using communal sanitation facilities is a form of appropriation and reappropriation of space which began with the establishment of the urban kampung area. Having conducted observations, interviews, and focus group discussions, we discovered that communal sanitation facilities have undergone continuous appropriation and reappropriation from colonial times until today in a dialectical process. Appropriation and reappropriation can be seen from the physical change of those facilities and their usages in everyday life. Standards of communal sanitation set by the government are negotiated and appropriated by different actors, while reappropriation depends on gender and labour division within the household.","PeriodicalId":44721,"journal":{"name":"Indonesia and the Malay World","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41681815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/13639811.2022.2123155
Aditya Bayu Perdana
ABSTRACT The Malay archipelago has a rich numismatic legacy. However, identification of many native coins is still a challenge to this day, especially for those found in Indonesia. This study aims to re-examine a particular coin type made of tin-lead alloy with suspected copper content, reported to be found in the Musi river in south Sumatra. Available literature presumed the coin as a Siak issue, based on rather unsatisfactory reading of its inscription. While native Malay coins typically used Arabic Jawi for their inscription, the coin is unusual in using Indic script that can be described as a transitional form between late Kawi and early Modern Javanese, somewhat inclined towards the former. Through letterform comparison with artefacts such as Nītisārasamuccaya, this author proposes a revised reading of pangéran ratu hing jambi, making this coin attributable to Jambi. The commercial success of the early 17th century Jambi sultanate and the propensity of its court to emulate Javanese-ness seemingly support this attribution. A narrower date range, however, could not be drawn as the inscription provides little orthographic or linguistic indications. Analogy with contemporaneous Banten copper coins suggests that the Jambi coin may have been used as a prestige item rather than common currency.
摘要马来群岛有着丰富的钱币遗产。然而，时至今日，许多本土硬币的识别仍然是一个挑战，尤其是对那些在印度尼西亚发现的硬币来说。这项研究旨在重新检查一种由锡铅合金制成的特定硬币，据报道，该硬币在苏门答腊南部的穆西河发现，疑似含铜。根据对铭文的不满意解读，现有文献推测这枚硬币是暹罗发行的。虽然马来本地货币通常使用阿拉伯爪哇文作为铭文，但该货币使用印度文是不寻常的，印度文可以被描述为晚期卡韦文和早期现代爪哇文之间的过渡形式，有点倾向于前者。通过与Nītisārasamuccaya等手工艺品的字母形式比较，作者提出了对pangéran ratu hing jambi的修订解读，使这枚硬币归属于jambi。17世纪初占碑苏丹国在商业上的成功及其宫廷效仿爪哇人的倾向似乎支持了这一归因。然而，由于铭文几乎没有提供拼写或语言指示，因此无法绘制出更窄的日期范围。与同时代的万丹铜钱类似，表明占碑币可能被用作声望物品，而不是普通货币。
{"title":"A Jambi Coin with Kawi Inscription from Indonesia","authors":"Aditya Bayu Perdana","doi":"10.1080/13639811.2022.2123155","DOIUrl":"https://doi.org/10.1080/13639811.2022.2123155","url":null,"abstract":"ABSTRACT The Malay archipelago has a rich numismatic legacy. However, identification of many native coins is still a challenge to this day, especially for those found in Indonesia. This study aims to re-examine a particular coin type made of tin-lead alloy with suspected copper content, reported to be found in the Musi river in south Sumatra. Available literature presumed the coin as a Siak issue, based on rather unsatisfactory reading of its inscription. While native Malay coins typically used Arabic Jawi for their inscription, the coin is unusual in using Indic script that can be described as a transitional form between late Kawi and early Modern Javanese, somewhat inclined towards the former. Through letterform comparison with artefacts such as Nītisārasamuccaya, this author proposes a revised reading of pangéran ratu hing jambi, making this coin attributable to Jambi. The commercial success of the early 17th century Jambi sultanate and the propensity of its court to emulate Javanese-ness seemingly support this attribution. A narrower date range, however, could not be drawn as the inscription provides little orthographic or linguistic indications. Analogy with contemporaneous Banten copper coins suggests that the Jambi coin may have been used as a prestige item rather than common currency.","PeriodicalId":44721,"journal":{"name":"Indonesia and the Malay World","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49505513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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