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All Journal Jurna lAntropologi Indonesia Susastra : Jurnal Ilmu Sastra dan Budaya
Pamela Allen
University of Tasmania
Humanities Education Social Sciences

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Sastra Diasporik?: Suara-Suara Tionghoa Baru di Indonesia Pamela Allen
Antropologi Indonesia No 71 (2003): Jurnal Antropologi Indonesia
Publisher : Department of Anthropology

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Abstract

Since the 'beginning' of modern Indonesian literature in the early twentieth century, Indonesian writers have engaged with the project of defining Indonesian identity. Most serious writers engaged both with the mission of creating a new literature and with the project of interrogating and investigating issues of national identity. It is a mission which continues to inform Indonesian literature in the twenty first century. Literature written by peranakan Chinese flourished at the end of the nineteenth century and the early twentieth century. But because the first language of these peranakan writers was low or 'market' Malay, much of it received scant attention from Indonesian critics, who reserved their praise for writing in the court-derived high Malay favored by the recognized publishing houses. Peranakan literature reached its zenith in the 1920s and 1930s-whichwas also a time of heightened Chinese nationalism in Java. Thanks to the meticulous work of two scholars in particular-Claudine Salmon and Leo Suryadinata-much of this early writing has now been documented and critically analyzed. However, Salmon and Suryadinata's commentary effectively ends at 1965. Chinese-Indonesians who did continue to write during the New Order on the whole projected themselves and were constructed by others as 'Indonesian'. They thus assimilated as writers as they did as citizens, and their ethnicity never featured as part of their work. The category 'Chinese-Indonesian literature' for all intents and purposes ceased to exist. It was subjected to the same process of erasure as Chinese ethnicity. Since the fall of Soeharto Chinese-Indonesian writers have begun to write as Chinese-Indonesians, some using their Chinese names, some writing in Mandarin. This paper begins to fill a significant gap in documenting the ways in which recent literary works by Chinese-Indonesians give expression to their understanding of themselves and their place in the Indonesian nation-state.
Penghayatan Lintas Budaya Pribumi Menyoroti Tionghoa dalam Sastra Indonesia Pamela Allen
SUSASTRA: Jurnal Ilmu Susastra dan Budaya Vol 4, No 1 (2008): Susastra: Jurnal Ilmu Susastra dan Budaya
Publisher : HISKI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.51817/susastra.v4i1.28

Abstract

Talking about literary works written by Chinese-lndonesians, we can mention three kinds of works. First, as once discussed by writers like Leo Suryadinata and Claudine Salmon, are the works written since the 1870s until 1965, either mixed literature (tusheng huaren wenxue), written in the Malay language, or Chinese literature written in Chinese language. In general, the works reflect the life of the Chinese in Indonesia. Second are the works written in the New Order era, when Chinese culture was almost eliminated in Indonesia. Writers like Marga Tjoa Liang Tjoe and Mira Widjaja, who wrote under the names of Marga T. dan Mira W. (which hide their Chinese origin) identified themselves with Indonesian national culture Chinese culture or problems were not a priority in their works. Third are the works written in post-Suharto era The life and problems of the Chinese in Indonesia were brought up by some Indonesian writers, who are not Chinese or whose ethnicity is not important or not clear. Examples of such works include the short story "Clara by Seno Gumira Ajidama, the romance Ca Bau Kan by Remy Sylado, and the compilation of short stories Panggil aku Pheng Hwa by Veven Sp. Wardhana. In this paper, I will analize the "Chineseness of Veven Sp. Wardhana, a writer who claimed to speak for the Chinese people in his short stories.
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