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.
This collection book consists of twelve short stories by twelve Indonesian young writers. Unlike the usual publications of fiction book in Indonesia by Indonesian writers, this book was written originally in English. The reason behind this is simple; all of us, the writers and I as the editor of this book, want to offer this book to a wider readership. However, we also want Indonesian readers to be included in our reach. Therefore, this collection book of short stories is also accompanied with its Bahasa Indonesia version. The stories collected here comprise various themes and styles written brilliantly by each writer. For example, the stories titled “A disaster day”, “Walking in the wind”, “A glimmer of light”, and “Struggle, love, and dream” were written to express personal experiences. They express sadness and misery from the past but at same time they also show a glimpse of hope towards the future. In “Struggle, love, and dream”, the writer tells a story about a girl from East Java who struggles to have a better future despite difficulties she has. Monetary crisis that hit Indonesia in 1998 is used as a historical context of how the character gets her first difficulty in the story. In spite of many problems that the character has, at the end of the story, the writer gives a glimpse of brighter days for her main character. The stories in this collection are all different in theme and style but they all have one similarity. The similarity is all of them express personal experiences and thoughts. Therefore, all of the stories here are personal expression. I hope that you will enjoy reading all of the stories in this collection. Happy reading!
In accounts of ethnographic fieldwork and textbooks on ethnography, we often find the notion of rapport used to describe social relationships in the field. Frequently, rapport between researcher and researched is invoked as a prerequisite to be achieved before fieldwork can start, or used as evidence to judge the value and robustness of an ethnography. With few exceptions, and despite regular pleas to do so, ethnographers continue to avoid presenting any discursive evidence of what rapport might look like from an interactional perspective. In a sense, the uncritical acceptance of rapport as a fieldwork goal and measure has helped hide the discursive work that goes on in the field. In turn, this has privileged ideas about identity as portable rather than “portable and emergent”, and reports of social life as more important than how such reports emerge. Written for all those who engage or plan to engage in ethnographic fieldwork, this collection examines how social relationships dialogically emerge in fieldwork settings.
A harrowing account of the Armenian Genocide documented through the stories of those who managed to survive and descendants who refuse to forget The grandchild of Armenians who escaped widespread massacres during the Ottoman Empire a century ago, Varujan Vosganian grew up in Romania hearing firsthand accounts of those who had witnessed horrific killings, burned villages, and massive deportations. In this moving chronicle of the Armenian people's almost unimaginable tragedy, the author transforms true events into a work of fiction firmly grounded in survivor testimonies and historical documentation. Across Syrian desert refugee camps, Russian tundra, and Romanian villages, the book chronicles individual lives destroyed by ideological and authoritarian oppression. But this novel tells an even wider human story. Evocative of all the great sufferings that afflicted the twentieth century--world wars, concentration camps, common graves, statelessness, and others--this book belongs to all peoples whose voices have been lost. Hailed for its documentary value and sensitive authenticity, Vosganian's work has become an international phenomenon.
Di Serambi: On the Verandah, first published in 1995, brings together the work of twelve contemporary Indonesian poets. Over forty poems are presented in both Indonesian and English, together with notes on linguistic and cultural references, and a brief biography of each contributor. The poems have been selected to offer a range of chronological, thematic, and stylistic perspectives on Indonesian poetry. Iem Brown and Joan Davis travelled to Indonesia to interview the writers, providing the reader with a social context for the poetry. In their translations, they have kept faith with the oral tradition of Indonesian poetry, maintaining the rhythm and flow of the works, rather than presenting a purely literal interpretation. As a bilingual collection, this book serves those with general interest in Asian Studies as well as language students. Di Serambi: On the Verandah will prove invaluable to students and teachers of Indonesian language and culture.
Indonesia, with its mix of ethnic cultures, cosmopolitan ethos, and strong national ideology, offers a useful lens for examining the intertwining of tradition and modernity in globalized Asia. In Inventing the Performing Arts, Matthew Isaac Cohen explores the profound change in diverse arts practices from the nineteenth century until 1949. He demonstrates that modern modes of transportation and communication not only brought the Dutch colony of Indonesia into the world economy, but also stimulated the emergence of new art forms and modern attitudes to art, disembedded and remoored traditions, and hybridized foreign and local. In the nineteenth century, access to novel forms of entertainment, such as the circus, and newspapers, which offered a new language of representation and criticism, wrought fundamental changes in theatrical, musical, and choreographic practices. Musical drama disseminated print literature to largely illiterate audiences starting in the 1870s, and spoken drama in the 1920s became a vehicle for exploring social issues. Twentieth-century institutions—including night fairs, the recording industry, schools, itinerant theatre, churches, cabarets, round-the-world cruises, and amusement parks—generated new ways of making, consuming, and comprehending the performing arts. Concerned over the loss of tradition and "Eastern" values, elites codified folk arts, established cultural preservation associations, and experimented in modern stagings of ancient stories. Urban nationalists excavated the past and amalgamated ethnic cultures in dramatic productions that imagined the Indonesian nation. The Japanese occupation (1942–1945) was brief but significant in cultural impact: plays, songs, and dances promoting anti-imperialism, Asian values, and war-time austerity measures were created by Indonesian intellectuals and artists in collaboration with Japanese and Korean civilian and military personnel. Artists were registered, playscripts censored, training programs developed, and a Cultural Center established. Based on more than two decades of archival study in Indonesia, Europe, and the United States, this richly detailed, meticulously researched book demonstrates that traditional and modern artistic forms were created and conceived, that is "invented," in tandem. Intended as a general historical introduction to the performing arts in Indonesia, it will be of great interest to students and scholars of Indonesian performance, Asian traditions and modernities, global arts and culture, and local heritage.
The oldest and most extensive written language of Southeast Asia is Old Javanese, or Kawi. It is the oldest language in terms of written records, and the most extensive in the number and variety of its texts. Javanese literature has taken many forms. At various times, prose stories, sung poetry or other metrical types, chronicles, scientific, legal, and philosophical treatises, prayers, chants, songs, and folklore were all written down. Yet relatively few texts are available in English. The unstudied texts remaining are an unexplored record of Javanese culture as well as a language still alive as a literary medium in Bali. Introduction to Old Javanese Language and Literature represents a first step toward remedying the dearth of Old Javanese texts available to English-speaking students. The ideal teaching companion, this anthology offers transliterated original texts with facing-page English translations. Theanthology focuses on prose selections, since their straightforward style and syntax offer the beginning student the most rewarding experience. Four sections make up the collection. Part I offers several short readings as the most accessible entry point into Old Javanese. Part II contains two moralistic fables from an Old Javanese retelling of the Hindu Pañcatantra cycle. Part III takes up the epic, providing excerpts from one of the books of the Old Javanese retelling of the Mahābhārata. Part IV offers excerpts from two chronicles, the generic conventions of which challenge received notions of history writing because of their supernaturalism and folkloric elements. Includes introduction, glossary, and notes.
*The most unusual novel you will read all year, where you create your own story* 'An ingenious choose-your-own-adventure challenge' Lauren Elkin, Guardian Longlisted for the 2021 Stella Prize You've grown roots, you're gathering moss. You're desperate to escape your boring life teaching English in Jakarta, to go out and see the world. So you make a Faustian pact with a devil, who gives you a gift, and a warning. A pair of red shoes to take you wherever you want to go. Turn the page and make your choice. You may become a tourist or an undocumented migrant, a mother or a murderer, and you will meet other travellers with their own stories to tell. Freedom awaits but borders are real. And no story is ever new. 'Sets you free to roam the Earth... an incisive commentary on the cosmopolitan condition' Tiffany Tsao 'An electrifying novel about cosmopolitanism and global nomadism that keeps readers on their toes' Book Riot Winner of an English PEN Translates Award, and a Heim Translation Fund Grant from PEN America
This anthology of literary and dramatic works introduces writers from across Asia and the Asian diaspora. The landscapes and time periods it describes are rich and varied: a fishing village on the Padma River in Bangladesh in the early twentieth century, the slums of prewar Tokyo, Indonesia during the anti-leftist purge of the 1960s, and contemporary Tibet. Even more varied are the voices these works bring to life, which serve as testimony to the lives of those adversely impacted by poverty, rapid social change, political suppression, and armed conflict. In the end, the works in this anthology convey an attitude of spiritual and communal survival and even of hope. This anthology presents the complex dynamic between a diversity of Asian lives and the universalized concept of the individual “human” entitled to clearly specified “rights.” It also asks us to think about what standards of analysis we should employ when considering a historical period in which universal human rights and civil liberties are considered secondary to the collective good, as has so often been the case when nation states are undergoing revolutionary change, waging war, or championing so-called Asian values. This book’s use of the term Global Asia reflects an interest in rethinking “Asia” as more than an area determined by national borders and geography. Rather, this book portrays it as a space of movement and fluidity, where societies and individuals respond not only to their local frames of reference, but also to broader ideas and ideals.
