The first four decades of the national art theater in Indonesia (1926-1965) were a period of fascinating experimentation undertaken by elite intellectuals heavily influenced by, and attempting to come to terms with, the forms and styles of Western theater. Volume 2 of The Lontar Anthology of Indonesian Drama contains a selection of dramas representative of this exciting and pivotal era in the construction of Indonesia’s modern national art theater.
As the New Order government became increasingly authoritarian, there was a clear shift in playwriting style from allegorical fairytales of wordplay, humor and oblique reference to a more direct engagement, interrogation, and call to arms. All in all, Indonesian drama during the New Order provides a fascinating window into a society caught between the legacy of tradition, the challenge of repression, and a strong desire for democratization.
Plays for the Popular Stage, the first volume of The Lontar Anthology of Indonesian Drama, offers windows on interethnic cultural obsessions in Indonesia and signs of participation in global trends. Originating with growth of Indonesia’s urban centers in the late 19th century, popular theater addressed a new social constellation: the mass audience. This volume brings together representative plays from the 1890s until the 1960s, including examples of diverse genres that make up Indonesian popular theater: komedi stambul, opera derma, tonil, sandiwara and lenong.
Available in e-book
The Lontar Anthology of Indonesian Poetry presents a wide-ranging selection of twentieth-century poetry, more than 325 poems by more than 180 authors, available for the first time in English translation. In Indonesia poetry enjoys a status far and above all other genres. Popular with the public in a way that’s unimaginable in the West, poetry is accessible through newspapers, magazines, radio, television, films and poetry readings. Major historical issues are articulated and negotiated through poetry, such as decolonization and the emergence of national consciousness, ethnic and gendered identities, and the environmental and social effects of modernization. This anthology offers a vivid portrait of twentieth-century Indonesia as seen through the lens of its poetry. As a complement to the Lontar anthologies of Indonesian drama and short stories, The Lontar Anthology of Indonesian Poetry offers the unique opportunity to explore the trajectories of a nation and its people through its poetry, which continues to act as the barometer of Indonesian literary life.
The Lontar Anthology of Indonesian Short Stories is the first definitive anthology in English of Indonesian short stories from the twentieth century. These two volumes, featuring a selection of 109 of the most popular and influential works of short fiction, span the entire century, from pre-Independence Indonesia to the year 2000, and include many new translations. The editors drew from a wide cross section of Indonesian short story writers with respect to ethnicity, gender, class, and ideology. Volume 2 presents 61 stories dating from the founding of the New Order government that followed a national bloodbath in 1965 to just after its end in 1998 and the dawn of the second millennia. Along with the rise of “newspaper-length short stories” and a dwindling focus on realism, this period was marked by numerous changes in style and form, especially in the last decade of the century when authors, concerned with the militaristic nature of the central government, began to adopt a much more direct approach.
The Lontar Anthology of Indonesian Short Stories is the first definitive anthology in English of Indonesian short stories from the twentieth century. These two volumes, featuring a selection of 109 of the most popular and influential works of short fiction, span the entire century, from pre-Independence Indonesia to the year 2000, and include many new translations. The editors drew from a wide cross section of Indonesian short story writers with respect to ethnicity, gender, class, and ideology. Volume 1 presents 48 stories dating back to the days of rising nationalism in the first part of the century to just before the downfall of Indonesia’s first president, Sukarno, and the rise of a militaristic government following the tragic events of 1965. Stories from the 1920s that drew on oral storytelling traditions and were suffused with nationalistic ideology were gradually replaced by fiction written with realism as a guiding principle. At all times, writers were the unofficial spokespeople for the issues affecting their generation.
Nirwan Dewanto’s poems invite readers to explore a world which, at a glance, might seem familiar yet always conceals something beneath the surface –or vice versa. Objects and items normally encountered in everyday life appear very different in Nirwan’s poems, exhibiting a character and mien not common to them in real life.
A fast-paced, intensely emotional drama of Indonesian life high and low, set against the tumultuous backdrop of the reformasi era after the fall of Suharto in 1999, The Painter of Lost Souls is the story of Sito, a brilliantly gifted artist who leaves his home in a poor village in Central Java to make his name and his fortune in the royal city of Jogjakarta.
This suspenseful tale weaves together a fascinating inside view of the art boom in Indonesia and the nation’s political ferment in the twenty-first century, haunted by ghosts of the nation’s bloody past.
The Pilgrim, first published in 1969, has been hailed as Indonesia’s first real modern novel. The main characters are an artist and a cemetery overseer; the former represents emotion and the latter signifies reason and the conflicting aspects of human nature. Despite the characters’ antagonistic nature and cruelty, they are—in some ways—very similar. Both represents forms of creativity, philosophy, and art. Both exist outside conventional society. Both are searching for genuine human values and are aware of their shortcomings. In The Pilgrim, the chaos of thought and feelings represents life in its chaotic randomness.
Violence, money and melodrama are the volatile ingredients of The Rape of Sukreni. Written in the 1930s by AA Pandji Tisna, the novel was not published until 1947. It is considered an Indonesian classic, portraying Balinese-Hindu notions of karma with the impact of modern commerce on Balinese society as its main theme. Even more compelling today than when it was first published, The Rape of Sukreni offers a unique and dark view of the island’s future that violently challenges the Bali’s conventional image as a paradise full of artists and tourists. Anak Agung Pandji Tisna fulfilled his long-cherished ambition to become a writer by publishing Ni Rawit: Marriage Broker and Human Trafficking in 1935. This was soon followed by The Rape of Sukreni, I Swasta: A Year in Bedahulu, and Dewi Karuna: A Path of the Wanderer.
First published in 1927, Kwee Tek Hoay’s The Rose of Cikembang is an excellent example of the peranakan literature of the Netherlands East Indies that flourished between the 1900s and 1942 when the Japanese occupation in Indonesia began. Highly sentimental, the novel is rich in many of the controversial themes that Kwee was famous for: inter-racial love and the lives of its offspring, fate and karma, mysticism and reincarnation. In pre-war Indonesia, Kwee Tek Hoay’s novels were loved by urban readers. The Rose of Tjikembang, his most popular novel, was filmed twice, first in the early 1930s and again in the 1970s.
The novel details the crushing 19th century Dutch colonial system of “Forced Cultivation”, and the particular cruelty that pretty Javanese peasant women had to endure; they were little more than chattel, sometimes cherished, other times useful tools, to be passed from Dutch barons to Chinese middlemen to local elites. Written in Malay, Mukti’s book is one of the first novels written by an Indonesian in opposition to colonial authority. In 2013, the book’s translator, the late Catherine Manning Muir, received a “Best Translation Award” in Australia.(William Gibson in http://www.popmatters.com/tools/print/189981/)
Arrested as a leftist-activist in 1966, Putu Oka Sukanta was imprisoned until 1976. In The Starling, he speaks of the terrible degradation of humanity and the inner strength and solidarity of comradeship which emerge in the extreme conditions of imprisonment. The poems go on to explore the painful steps in the reconstruction of life and social meaning after the prison gates have opened.
In the early 1910s, Semaoen was sentenced to prison for sedition by the Dutch colonial government. The Story of Kadirun, a semi-autobiographical novel, flashes a spotlight on the unjust treatment towards indigenous people and gives an honest and comprehensive insight into the situation of the country at the time. Kadirun’s tale, with its picture of Javanese life during the colonial era, tells the readers what must be done to make the world a place fit to live in.
A landmark novel, The Weaverbirds is a tale of physical and spiritual struggles. The story spans from the formative days of Indonesia’s independence to Indonesia’s oil crisis in the mid 1970s. Larasati, the precious daughter of Mr. and Mrs. Antana, and Setadewa, the army-brat son of Capt. And Mrs. Brajabasuki, are childhood friends. But when they are older, they find themselves on the opposite sides of the country’s political spectrum. Even with their many differences, their relationship offers guidance to survival in a chaotic world.
Set in a small hotel in Yogyakarta, this play is a tale of thwarted aspirations and the mundane realities of adult life. It is also a commentary on the fluidity of sexual behavior as one female and two male characters try to ascertain the meaning of their relations with one another.