Archives par mot-clé : Indonésie

Sovereign Women in a Muslim Kingdom: The Sultanahs of Aceh, 1641−1699

Sher Banu A.L. Khan, Sovereign Women in a Muslim Kingdom: The Sultanahs of Aceh, 1641−1699, NUS Press, 2017

The Islamic kingdom of Aceh was ruled by queens for half of the 17th century. Was female rule an aberration? Unnatural? A violation of nature, comparable to hens instead of roosters crowing at dawn? Indigenous texts and European sources offer different evaluations. Drawing on both sets of sources, this book shows that female rule was legitimised both by Islam and adat (indigenous customary laws), and provides original insights on the Sultanah’s leadership, their relations with male elites, and their encounters with European envoys who visited their court. The book challenges received views on kingship in the Malay world and the response of indigenous polities to east-west encounters in Southeast Asia’s Age of Commerce.

« We have waited too long for a book such as this. It explores the extraordinary phenomenon of a preference for queens in the golden age of Islamic Aceh. Countering the dominant nationalist, feminist and Islamic scholarship, all of which find uncongenial the striking phenomenon of a preference for queens in early modern Asian Islam, Banu has utilized rich primary sources to reveal a queenship that was truly Islamic, effective and benign. This book is a revelation. Read it. »
Anthony Reid, The Australian National University

« Sher Banu’s superb study based on a host of newly discovered contemporary source materials throws new light on a hotly discussed topic among historians of Southeast Asian statecraft in Early Modern time. »
Leonard Blusse, Leiden University

« The author is to be congratulated on a book that makes a significant contribution both to the history of Southeast Asia and to comparative studies on women in early modern Asia. »
Barbara Watson Andaya and Leonard Y. Andaya, University of Hawai‘i 

Voir : https://nuspress.nus.edu.sg/products/sovereign-women-in-a-muslim-kingdom-the-sultanahs-of-aceh-1641-1699

Inside Indonesia 128, apr – jun 2017

Inside Indonesia 128 : april – june 2017 : New law, new villages ? Written by Ward Berenschot and Jacqueline Vel

The new Village Law could substantially change Indonesia’s villages. Not necessarily for the better.

Table of contents

  • Creating Indonesia’s Village Law by Jacqueline Vel, Yando Zakaria and Adriaan Bedner
  • The myth of the harmonious village by Ben White
  • New law, old bureaucracy by Yando Zakaria and Jacqueline Vel
  • The village head as patron by Ward Berenschot and Prio Sambodho
  • Participation in Ngada by Lily Hoo
  • When village development fails by Yulia Indri Sari
  • Traditional village institutions and the Village Law by Agung Wardana and Darmanto

A lire sur : http://www.insideindonesia.org/

Place, Time and Media in Performance Art in Indonesia

Arahmaiani Feisal (1961- ), No More Shadow Play ;Courtesy of the artist.

Thomas J. Berghuis, Place, Time and Media in Performance Art in Indonesia, 25/05/2017, SOAS

Description

This seminar introduces the development of performance art in Indonesia, from the 1980s until the present day. It considers ways in which performance art in Indonesia has its art historical origins in the conceptual art movement of the 1970s, when artists across Southeast Asia began to consider new social and artistic realities in their artworks. But the the seminar will also draw on the multiple interwoven strands of performance practices and performance traditions that connect the development of contemporary performance art in Indonesia.

The seminar will examine the role of performance art in Indonesia in relation to place, time and media. Artists whose works will be examined include Arahmaiani, Heri Dono, FX Harsono, Mella Jaarsma, Tisna Sanjaya, Melati, Iwan Wijono, W. Christiawan, Mimi Fadmi, Redza Afisina, and Performance Club 69 — a recently established platform for study and practices of performance art initiated by Forum Lenteng in Jakarta, starting in 2016.

About the speaker

Dr. Thomas J. Berghuis is currently a Visiting Fellow at Tate Research Centre: Asia. He is Principal Fellow (Honorary) with the School of Culture and Communication at The University of Melbourne in Australia and is currently based in Leiden, the Netherlands. An art historian and curator of contemporary Asian art, with focus on contemporary art in China and Indonesia, Berghuis previously worked as Lecturer in Asian Art History at the University of Sydney (2008-2013); The Robert H. N. Ho Family Foundation Curator of Chinese Art (2013-2015) at the Solomon R. Guggenheim Museum in New York; and Director of the Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) in Jakarta, Indonesia (2015-2016). Berghuis’ writings have been published in prominent journals and art magazines. He is the author of Performance Art in China (Hong Kong: Timezone 8, 2006).

Voir : https://www.soas.ac.uk/art/events/contemporary-arts-research-seminar/25may2017-place-time-and-media-in-performance-art-in-indonesia.html

Cannes Notices Indonesian Film Resurgence

Cannes Notices Indonesian Film Resurgence by Maggie Lee, 21/05/2017, Variety

Something invigorating and full-bodied is brewing in Indonesia, and it’s not a cup of mocha java. It’s a cinematic resurgence, the biggest since the early 2000s, when Rudy Soedjarwo’s 2002 teen romance Apa ada dengan cinta? (What’s With Love?) rocked the Southeast Asia market while in the same year Riri Riza’s Eliana Eliana stunned the festival circuit with femme-centric social realism.

In September 2016, Warkop DKI Reborn: Jangkrik Boss Part 1, a reboot of a police slapstick comedy by 1980s comic trio Dono, Kasino and Indro (DKI), became the most-viewed Indonesian film in history, with 6.8 million tickets sold. For the first time, the top 10 domestic films enjoyed more than 1 million admissions, with horror Danur taking the top spot in 2017. According to Korean industry giant CJ CGV, exhibition of local films at its theatrical chain in Indonesia rose from 5% to 23% last year.

The arthouse scene is also flourishing, with second-generation directors Edwin, Joko Anwar, Lucky Kuswandi and Teddy Soeriaatmadja turning up at top festivals alongside relative newcomers including Eddie Cahyono (Siti) and Yosep Anggi Noen (Solo Solitude). In fact, there is talk of a new wave, or neo-neorealism, that explores gritty contemporary subjects about politics or gender with stylized, poetic film language.

A new height has been scored by the selection of Marlina, the Murderer in Four Acts in this year’s Directors’ Fortnight, the third Indonesian feature to bow in Cannes. It is also the third feature by Mouly Surya, whose sophomore feature, What They Don’t Talk About When They Talk About Love, premiered at Sundance 2013.

Australia-educated Surya, whose auteur influences are Stanley Kubrick, Michael Haneke and Abbas Kiarostami, cites Garin Nugroho’s Of Love and Eggs and Sjumandjaja’s biopic of women’s rights champion R.A. Kartini as her entry point to national cinema. It was Nugroho, the country’s most distinguished filmmaker, who proposed her to direct Marlina, based on a treatment developed from his visit to Sumba Island, an isolated, arid territory that resembles Texas.

Taking cues from Japanese samurai and Chinese martial arts that fused Western elements, she refashioned the Italo-American genre into a vehicle to examine male violence and patriarchal dominance in Southeast Asian backwaters such as Sumba, while highlighting the indigenous women’s unique air of mystery, sensuality and reliance. The women in Surya’s films bleed in key moments and there will be blood in Marlina, too.

“In my debut Fiksi [written by Joko Anwar], the heroine lost her virginity; in my second film, the blind protagonist had her first period,” Surya says. “Marlina doesn’t spill her own blood, but that of others, symbolizing the strength of women from Sumba. My female characters have grown up. Marlina is a full-grown woman, a widow who finds strength in grief.”

Voir : http://variety.com/2017/film/asia/indonesia-film-industry-recognized-at-cannes-1202437479/

 

Locating the historical Kartini

Locating the historical Kartini by Joost Coté, 22/05/2017, Indonesia at Melbourne

A new feature film has prompted a renewed interest in the life of national hero Kartini.

Dr Joost Coté will speak tomorrow at a panel discussion on “The film ‘Kartini’ and Kartini as a source of historical and contemporary inspiration in Indonesia”, sponsored by the University’s Indonesia Forum. Coté was a researcher and adviser for the film, which was released inIndonesia earlier this year.

Joost Coté is also the editor and translator of Kartini: The Complete Writings 1898-1904.

Like so many iconic figures of history, over the last century, Raden Adjeng Kartini (21 April 1897-17 September 1904) has been much mythologised, misused and misread – or should that be not read?

The creation of Kartini as a national feminist icon all began with a Jacques Abendanon, the former director of colonial education, who selected and published letters Kartini had written to prominent Dutch progressive figures to support his campaign for colonial education reform. The result was Door Duisternis tot Licht (1911). An American feminist, Agnes Louise Symmers, on hearing about this remarkable Javanese woman, produced a (rather loose) English translation. The result was an international “feminist text” in 1920, ever since known by the inappropriate title, Letters of a Javanese Princess.

Two years later, the erudite North Sumatran author Armijn Pane produced the first Indonesian translation, Habis Gelap, Terbitlah Terang, for the colonial government’s “good literature” program, Balai Pustaka, and 16 years on, a definitive version for Indonesian readers. In 1939, the first Javanese translation appeared – which has since effectively disappeared –in 1940, a Japanese translation, later a French translation, followed by others.

Lire la suite sur :

Ahok’s defeats and public debate in Indonesia

Ward Berenschot, Ahok’s defeats and public debate in Indonesia, 18/05/2017, New Mandala

Basuki Thahaja Purnama’s (‘Ahok’) electoral defeat in Jakarta’s gubernatorial election on 19 April was stunning in itself. And then Jakarta’s sitting governor was dealt a further blow on 9 May when he was convicted to a two year jail sentence for blasphemy. Both events are a setback for those campaigning for a tolerant and pluralist Indonesia. As the election campaign focused on Ahok’s Chinese-Christian background and the purported threat he posed to Islam, the election results and the subsequent court ruling suggest that the appeal and the power of hardliner Islamic organisations is growing.

So far the interpretations of these events have focused on the considerations of Indonesian voters. Some attributed Ahok’s electoral defeat to a growing concern about social inequality, pointing to his low vote-share among poor Jakartans. Others focused on the impact that religious identity has on voting behaviour. Compared to other groups, Muslims were much less likely to vote for Ahok. These views suggest that a complex interplay of class and religion brought about Ahok’s defeat.

These analyses all focus on the considerations that individual voters may have. But at least as significant is what Ahok’s defeat says about the character of public debate in Indonesia. The Jakarta elections and Ahok’s conviction throw up a number of puzzles that suggest that we need to take a closer look at how public opinion is shaped, and by whom. The nature of Ahok’s defeat raises concerns about the increasingly closed character of Indonesia’s public sphere, and points to the importance of informal, personal networks in spreading and legitimising ideas.

Lire la suite sur : http://www.newmandala.org/ahoks-defeats-say-public-debate-indonesia/

Indonésie, les fermiers du miel

Exposition : Indonésie, les fermiers du miel, du 20/05/2017 au 27/11/2017, Musée de l’Homme, Balcon des Sciences

Par Nicolas Césard, Muséum National d’Histoire Naturelle

Au détour de la forêt indonésienne, à Bornéo, découvrez comment des hommes se rendent en haut des arbres, en pleine nuit, pour récolter le miel produit par la plus grande des abeilles mellifères, Apis dorsata.

Cette apicollecte évolue vers une apiculture par l’aménagement d’emplacements favorables à l’installation des essaims sauvages. Ainsi, la destruction des abeilles est limitée et la récolte du miel est rendue plus aisée. Ces nouvelles pratiques permettent une gestion plus durable des ressources mellifères.

À travers des objets, des spécimens et des reconstitutions, et grâce à plusieurs dispositifs multimédias – jeux interactifs et vidéos de terrain -, cette exposition présente les diverses techniques et outils utilisé par ces fermiers du miel, et explore les relations entre les sociétés et les abeilles en Indonésie.

Voir : http://www.museedelhomme.fr/fr/visitez/agenda/exposition/indonesie-fermiers-miel

Balthazar, Prince Noir de Timor et de Solor en Chine, en Amérique et en Europe au XVIIIe siècle

 

Exposition : Balthazar, Prince Noir de Timor et de Solor en Chine, en Amérique et en Europe au XVIIIe siècle, du 22/05/2017 au 02/06/2017, INALCO

Par Frédéric Durand, Professeur, Université Toulouse II – Jean Jaurès

Originaire des îles de la Sonde (Indonésie et Timor-Oriental) où il est né en 1737, dans la communauté de métis Timorais/Portugais des Topasses-Larentuqueiros, Balthazar est selon toute vraisemblance le fils de Gaspar da Costa, le chef des métis portugais qui vivaient entre Flores, Solor et Timor-ouest, et avait le statut de « roi ».
Gaspar da Costa est mort en 1749, lors de la bataille de Penfui contre les Hollandais, à la tête d’une armée de 50 000 hommes. Il est considéré comme un des pionniers de la lutte anti-coloniale aux Indes néerlandaises et sa mémoire est commémorée par un monument à Timor-ouest.

Le Prince Balthazar, se rend à Batavia, à Macao et à Canton, avant de prendre un bateau pour la France, où il est abandonné à l’âge de treize ans par son précepteur, un prêtre portugais. Pour survivre, le jeune Prince embarque sur des bateaux, dont des navires corsaires, qui l’emmène notamment aux Pays-Bas, en Angleterre, en Ecosse et au Québec. Il revient ensuite en France, où il écrit à de nombreuses personnalités dont les rois Louis XV et Louis XVI et le philosophe Voltaire. Il n’est alors pas évident pour lui de se faire reconnaître en France, car en concurrence avec d’autres étrangers se disant « princes », dont ceux d’Angola et de Macao. Au cours des années 1760/70, la presse internationale parle de lui, de l’Italie à l’Angleterre et de Paris à Bratislava. Balthazar fréquente de nombreux milieux intellectuels où religieux, dont des académiciens, des alchimistes, des encyclopédistes et des francs-maçons. Il est également l’ami de la communauté des Noirs et des Asiatiques de Paris. Dans les années 1780, Balthazar devient conteur et poète dans la grande société parisienne, mais en 1789, la Révolution française fait s’effondrer le monde dans lequel il s’était intégré. Il est mort en 1791 à l’Hôtel Dieu de Paris.

Oublié au XXe siècle, plusieurs articles à son sujet on été publiés dans des revues scientifiques, et notamment dans Archipel, à propos de mémoires qu’il avait fait publier dans les années 1760. Les historiens qui avaient travaillé sur lui n’avaient cependant pas perçu sa notoriété et pensaient qu’il était mort pauvre et inconnu.

Les vingt-quatre panneaux de l’exposition reproduisent chronologiquement les étapes importantes de la vie du Prince de Timor et de Solor.

Voir : http://www.inalco.fr/evenement/exposition-balthazar-prince-noir-timor-solor-chine-amerique-europe-xviiie-siecle

Feminisms and Contemporary Art in Indonesia : defining experiences

Wulan Dirgantoro, Feminisms and Contemporary Art in Indonesia : defining experiences, Amsterdam University Press, 2017

While Indonesian contemporary art is currently on the rise on the international art scene, there hasn’t yet been an in-depth study of the works of Indonesian women artists and the feminist strategies they employ within the art world. This book fills that gap, presenting the first comprehensive study of feminisms and contemporary arts in Indonesia, using feminist readings to analyze the works of Indonesian women artists historically and today, illuminating the sociocultural contexts in which they have worked and offering a nuanced understanding of local feminisms in the nation.

Table des matières sur : http://en.aup.nl/books/9789089648457-feminisms-and-contemporary-art-in-indonesia.html

Banning Hizbut Tahrir Indonesia: Freedom or Security?

Alexander Raymond Arifianto, Banning Hizbut Tahrir Indonesia: Freedom or Security? 18/05/2017

RSIS / Commentaries / Country and Region Studies / Religion in Contemporary Society / Southeast Asia and ASEAN

Synopsis

The Indonesian government has issued a recommendation for the Islamist group Hizbut Tahrir Indonesia (HTI) to be legally prohibited. While some observers have criticised the proposal on grounds of freedom of expression or assembly, the move may be justifiable for Indonesian security.

Podcast : Archiving Indonesian art

Talking Indonesia podcast : Archiving Indonesian art, 11/05/2017, Indonesia at Melbourne

The past decade has seen increased global interest in Indonesian art and along with it, interest in the long-neglected field of Indonesian art history. Until quite recently, art history resources were limited, particularly those relating to lesser known artists and works produced during tumultuous periods.

Today, institutions like the Indonesian Visual Arts Archive (IVAA) in Yogyakarta are doing their best to fill these gaps by building art archives and making them accessible to the public. But much work still needs to be done in cataloguing Indonesia’s extensive collection of old and new art. What are the main challenges faced by those who are trying to build Indonesia’s art archives? What is the relevance of art history to contemporary Indonesian society?

I [Charlotte Setijadi] discuss these issues with Farah Wardani, art historian, curator, author, and assistant director in charge of archives at the National Gallery of Singapore (NGS). Before joining NGS in 2015, Farah was the executive director of IVAA, the first institution dedicated to archiving contemporary Indonesian art.

In 2017, the Talking Indonesia podcast is co-hosted by Dr Charlotte Setijadi from the ISEAS-Yusof Ishak Institute in Singapore, Dr Dave McRae from the University of Melbourne’s Asia Institute, Dr Jemma Purdey from Monash University, and Dr Dirk Tomsa from La Trobe University.

A écouter sur : http://indonesiaatmelbourne.unimelb.edu.au/talking-indonesia-archiving-indonesian-art/

Early Views of Indonesia: Drawings from the British Library

Annabel Teh Gallop, Early Views of Indonesia: Drawings from the British Library, London : The British Library, Jakarta : Yayasan Lontar, 1995, p. 132.

Annabel Gallop’s bilingual book, Early Views of Indonesia: Drawings from the British Library, is now available free online. This book is the catalogue of an exhibition held in Jakarta in 1995 to mark the presentation to the National Library of Indonesia of a complete set of facsimile reproductions of 510 archaeological drawings of Indonesia in the British Library. The presentation was a gift from the British government to the people of the Republic of Indonesia to commemorate the 50th anniversary of the Declaration of Indonesian independence.

A lire sur : http://library.lontar.org/flipbooks/Early Views Of Indonesia/Early Views Of Indonesia.html#/1/

The Chinese-Indonesian Community documents collection from Java

The Chinese-Indonesian Community documents collection from Java in ResearchWorks Archive of the University of Washington Libraries

The University of Washington Libraries collaborated with Anthropology Ph.D. student, Evi Sutrisno, who was conducting her dissertation field research on Chinese Indonesian Confucianism, to digitize the rare and fragile Sino-Malay literature owned by two temple libraries in Java. The first project was conducted in Boen Bio (Wen Miao) – a Confucian temple of Surabaya, East Java – in 2010-2011. The temple was founded in 1907 and had a collection of religious books and magazines in Chinese and Malay languages in its abandoned library. The second project was conducted in the Hok An Kiong temple, Muntilan, Central Java in 2014-2016. The temple was founded in 1898 and had became the religious, social and learning space for the Chinese in the area. As in the case of Boen Bio, the Hok An Kiong also has an abandoned library, where popular Sino-Malay novels and magazines were collected.

Between 1967 and1998 Confucian practices and Chinese identity were severely repressed under the Indonesian New Order regime, so these materials were hidden away in the corners of dark and humid storage rooms to avoid state confiscation. Due to climate conditions, biological pests, and lack of appropriate storage facilities, the collection was in great danger and in urgent need of preservation. These projects are parts of a larger effort to identify materials in all known collections belonging to temples and private collections in four cities: Jakarta/Tangerang, Bandung, Solo, and Pontianak, where the Confucian communities during the period of 1900s to 1940s were vibrant. The first project consists of about 5,000 pages scanned from the collections of the Boen Bio temple and three other private collections in Surabaya. The second digitizes about 12,500 pages from the collection of the Hok An Kiong temple in Muntilan. Each project has been done in collaboration with other scholars and the temple communities who are interested in preserving the precious documents and history of the Chinese-Indonesians. For the second project, Evi Sutrisno would like to thank Sutrisno Murtiyoso of Tarumanegara University, Jakarta, Endy Saputro of State College for Islamic Studies, Surakarta and Elizabeth Chandra of Keio University, Tokyo for their supports and collaborations. Thanks also to Laurie Sears for her decision to provide funding. For further description of the project and the importance of the materials preserved, see: Evi Sutrisno. Forgotten Confucian Periodicals in Indonesia, CORMOSEA Bulletin, no 34 (Summer 2016): 8-14.

Vous pouvez faire des recherches dans la collection et consulter la liste des deniers documents mis en ligne sur : https://digital.lib.washington.edu/researchworks/handle/1773/21474

Iswadi Pratama, an auteur of Indonesian theatre

Iswadi Pratama, an auteur of Indonesian theatre by Caranissa Djatmiko, 12/04/2017, Inside Indonesia

Indonesia’s foremost theatre director, the internationally acclaimed Iswadi Pratama, staged an extraordinary eight productions in 2016.

There is no simple way of describing Iswadi Pratama. He claims to be a self-taught artist, yet his exceptional talents seem to suggest otherwise. Having spent most of his life bringing realities to the stage he insists that he only has the books he reads (stacked quite untidily at his private library) and the mentors who have guided him in the past to thank. Yet, after staging eight ambitious productions in 2016, it would be hard to dispute the fact that he has revolutionised Indonesian theatre.

The 45-year old poet and theatre director always knew that art was his true calling. He considers it to be the only space where he can express himself unapologetically, while also being a vehicle for helping others. ‘Everything that I do is motivated by an awareness that art must make people find their turning points in life,’ he says. ‘So I always choose projects based on [various] priorities: to what extent do the people involved in a certain program require my ability and capacity, and the relevance of it to my creative work and my vision regarding social transformation.’

Pratama’s plays have been showcased around the globe. His play Nostalgia di Sebuah Kota (Nostalgia in a City) was translated and performed in Germany in 2010. He has worked with some of the best artists in the world including American director Julie Taymor (Frida, The Lion King stage musical) who mentored Pratama when he became the first Indonesian to be a part of the Rolex Mentor and Protégé Arts Initiative.

Lire la suite sur : http://www.insideindonesia.org/iswadi-pratama-an-auteur-of-indonesian-theatre

Contemporary Indonesian Art: Artists, Art Spaces, and Collectors

Yvonne Spielmann, Contemporary Indonesian Art: Artists, Art Spaces, and Collectors, NUS Press, 2017

Indonesian art entered the global contemporary art world of independent curators, art fairs, and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural, and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theater) with the contemporary (comics and manga, graffiti, advertising, pop culture).

Spielmann’s Contemporary Indonesian Art surveys the key artists, curators, institutions, and collectors in the local art scene and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for the global relevance of Indonesian art.

Voir : https://nuspress.nus.edu.sg/collections/frontpage/products/contemporary-indonesian-art-artists-art-spaces-and-collectors