Undangan Bahasa Jawa Pengetan 1000 Hari Kematian Sese Orang
RUSTOPO, Menjadi Jawa: Orang-orang Tionghoa dan Kebudayaan Jawa di Surakarta, 1895-1998 (Yogyakarta/ Jakarta: Ombak-Yayasan Nabil, 2007), with foreword by Bambang Purwanto. Xxii, 416 p., ills, index, ISBN 979-3472-75-8. One remarkable thing after the passing of Soeharto’s New Order is the inflow of literature on the Sino-Indonesians published in Bahasa Indonesia. Major bookstores provide various titles on Chineseness, which range from Admiral Zheng He’s visits, to peranakan recipes to Chinese popular sayings.
Interestingly, a part of these works has been written by non-Chinese Indonesians in a sympathetic tone. The work under review by Rustopo, originally presented as a PhD thesis, is a good example. The author is a Javanese, a traditional dancer cum lecturer from Surakarta, who was upset to see that the Chinese community of his town was victimized during the transition of power in 1998. One way to overcome the racial tension between the Javanese and Chinese, according to Rustopo, is to highlight the contribution of theperanakan Chinese to the cultural life of the Surakarta kingdom (1895-1998). This book is not the first study on the topic.
Undangan Bahasa Jawa Pengetan 1000 Hari Kematian Sese Orang Islam
Hersapandi’s lesser-known article, which is incorporated in his latest book, and studies by Brakel-Papenhuyzen, and Sumarsam are several works that preceded Menjadi Jawa. 1 However, it is different from its predecessors, since Rustopo brings together a collective biography of ten prominent peranakan.
Seven figures deal with the Javanese dance theater (Wayang Wong): Gan Kam (?-1928), claimed to be “ the inventor of commercial wayang wong” (pp. 112, 133) and six male and female peranakan dancers from Perkumpulan Masyarakat Surakarta (PMS), an association for the promotion of Javanese culture among the local peranakans. The rest are: one figure connected to popular comedy: Kho Djien Tiong aka Teguh Srimulat (1926-1996), known as “ the professor of comedy” because of his highly successful urban troupe, Srimulat; a scholar in Javanology: Prof. Tjan Tjoe Sim (1909-1978) and one maecenas: Go Tik Swan (1931-2008), who is better known by his Javanese royal title as Kanjeng Pangeran Aryo (K. A) Hardjonagoro.
The title shows that Go is one of the high ranking princes at the Surakarta Palace. Hersapandi, “ Etnis Cina dan Wayang Orang Panggung Komersial”. (Jurnal) Seni Pertunjukan Indonesia. Jakarta: MSPI (V) 1994, pp. 41-56; also his Wayang Wong Sriwedari: Dari Seni Istana Menjadi Seni Komersial (Yogyakarta: Yayasan Untuk Indonesia, 1999); Clara Brakel-Papenhuyzen, “ Javanese Taledhek and Chinese Tayuban”, BKI, vol.
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151, issue 4, 1995, pp. 545-569; Sumarsam, Gamelan: Cultural Interaction and Musical Development in Central Java (Chicago: University of Chicago Press, 1995).2. Rustopo has a large quantity of material on Go Tik Swan, recently published as Jawa Sejati: Otobiografi Go Tik Swan Hardjonagoro, Seperti yang Dituturkan kepada Rustopo(Yogyakarta/ Jakarta: Ombak/ Yayasan Nabil, 2008).Comptes rendus 219Archipel 77, Paris, 2009.