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photo courtesy of Kara Katon taken during the annual remembrance day

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Indonesia tanah air beta Pusaka abadi nan jaya

Indonesia sejak dulu kala Tetap di puja-puja bangsa

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Tentang Halaman Depan on the Cover Page !

atas: potret tempo dulu masyarakat Indonesia saat menyambut van Mook di Kemayoran, Jakarta. Arsip Pelita

Rakjat, 5 October 1948. top: a photograph of Indonesians welcoming van Mook’s

arrival in Kemayoran, Jakarta. Courtesy of Pelita Rakjat, 5 October 1948. !bawah: potret tempo dulu kaum Inuit di

depan tupiq, tempat tinggal sementara mereka ketika singgah di Okak, Labrador. Arsip Centre for Newfoundland Studies (Hettasch Collection), Memorial University of Newfoundland

Library, St. John's, Newfoundland, 1896. bottom: a photograph of Inuit people in front of their tent

tupiq while visiting Okak, Labrador. Courtesy of Centre for Newfoundland Studies (Hettasch

Collection), Memorial University of Newfoundland Library, St. John's, Newfoundland, 1896. !!

Tentang Edisi Independence and Identity !Penyusun // Editor

Kara Zahira Anindyawanti Katon !Penanggung Jawab //

PERMIKA Montreal President Anna Victoria Rahardjo !

Desain Halaman dan Foto // Design and Photographs

Kara Zahira Anindyawanti Katon !Kontak // Contact

permikamtlexternal@gmail.com !Printed in collaboration with

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!Kata Pengantar // Preface

Photo Diary

Potret Budaya: Tari Topeng

Artikel: Komitmen di dalam sebuah Kemerdekaan

Tentang Gedung Merdeka

Article: Remnants of Liberty

Five Words Starting with a Keen Eye

Acara Lokal: “Honor Your Word”

Resep//Recipe: Sambal Goreng Tempe

Dialog Kopi Pagi Menjelang Hari Kemerdekaan

Article: Beyond Tradition

Daftar Kontributor

Tentang Permika Montreal

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Daftar Isi // Content

“Janganlah melihat masa depan dengan mata buta Masa yang lampau adalah berguna sekali untuk kaca bengala dari pada masa yang akan datang”

Bung Karno !!

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Kata Pengantar !Kemerdekaan tentu memiliki makna yang berbeda untuk setiap orang. Bagi bangsa Indonesia, Proklamasi Kemerdekaan yang diserukan oleh Bung Karno pada tanggal 17 Agustus 1945 menandai sebuah fase baru; saat ketika kita terbebas dari kekuasaan penjajah, saat ketika kita bersatu dibawah satu identitas yang sama. Untuk memaknai kembali hari tersebut, dengan puji syukur, kami menerbitkan edisi kedua dari trilogi “NAMA.” Rasa bangga sebagai seorang anak bangsa tentu takkan pernah lengkap tanpa sebuah pemikiran kritis; pemikiran yang tidak bermaksud untuk merendahkan bangsanya, namun justru bertujuan untuk membukakan jalan ke arah perubahan yang lebih baik. Karena itu, dengan menyuarakan kembali penggalan masa lalu yang terkandung di masa kini, kami berharap untuk menumbuhkan semangat yang tak patah arang. Sebab, kemerdekaan bukanlah sebuah akhir, namun sebuah awal lembaran perjuangan bangsa Indonesia. Selamat Hari Merdeka! !

Preface !Independence, freedom and identity. For us Indonesians, the Declaration of Independence delivered by President Soekarno on August 17, 1945 marks a new phase; the current phase where we are no longer under the sovereignty of other countries, the phase in which we are united under one identity. To commemorate that historical day, it is with great pleasure that we publish the second edition of our trilogy “NAMA.” The pride we have as the child of nation would never be completed without critical thinking; a thinking that is not meant to devalue our nation, but instead aimed for a change towards a better future. Therefore, by voicing the fragments of the past contained in the present, we hope to lift the endless spirit of our generation. Because, independence is not an end, but the beginning of our history as a nation. Happy Independece Day, Indonesia! !Editor,

Kara Katon

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Photo Diary: A Day In Montrealfeat. Kharinda Zahrah

Hi everyone, welcome to my independent life! Being a college student studying abroad, my family and my loved ones are literally 9,308 miles away from me. In a land far away from home, I finally know what it means to live free, and to be independent. From childish decisions that have fade to grow up, to ignorance that wanes and makes way for awareness, I discover responsibilities and dependence in independence.

Weekday mornings are the times when Montreal is most awake. From the clink of heels and polished shoes to the whiff of ten thousand perfumes and leather briefcases, that is what we call hectic Montreal rush hours. During these times, this beautiful city offers a lot of open doors; a lot of calling, a lot of opportunity, and a lot of freedom to choose which door you want to go into. But even then, it is always a good thing to know your direction. Living far away from the shelter of your parents w i l l make you exper ience ext reme human interconnectedness, but it is then that it is most important to remember your roots, and stick to your conviction.

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We have been warned that consumerism is a bad thing: it’s a social and economic order and ideology that ‘consumes’ and encourages people to buy more and more goods and services. However, consumption is not just a habit; it can also be called a basic need for humans. Ever ything in moderation! Consuming excessively is not healthy, but not consuming at all is not prevention for the latter. You don’t necessarily have to make your own clothes, or build your own house, but you can definitely make your own food. Purchase organic local ingredients and support the trend to go raw and less processed. Be more productive in your positive consumption!

Studying is a student’s first job, and practically the main reason why we are expected to understand our responsibilities and become independent. But an intrinsic quality about education that was never explicitly taught in school is that knowledge is power: A power to do good things, but also to do really bad things. And being in possession of that power brings temptation by the bucket-load. Knowledge was never meant to be used as a destructive weapon, and a degree shouldn’t be a qualification of legitimacy. It is for the heart to understand that the more knowledge you get, the higher responsibilities you have.

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Once in a while, it’s soup kitchen day. One of which is located at Old Mission Brewery, the soup kitchen is the city’s awareness for the growing concern of homelessness, and of physical and mental health problems, alcoholism, drug addiction and prostitution, among the few harsh realities that the homeless face ever yday. According to a certif ied institution, there are currently 12,666 poor souls without a home roaming the streets of Montreal. Just as we live by the help of the community, helping in a soup kitchen is one small way to give back to the community and be an active participant in the war that strives to free the homeless from helplessness. #

To live outside of your home country is to live in diversity. It’s empathetically understanding that not everyone has your hair color, nor come from the same family background, nor come from the same nationality or ethnic background. But despite that, appreciation for differences intertwine with self-respect makes that harmonious blend of diversity. You are free to be your own individual, as other people are free to be their own. #

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drawn by Chyntia Sari

seni topeng adalah bagian dari seni peran dan tari yang tidak pernah jauh dari budaya kehidupan kita sehari-hari. seni budaya ini berkembang pesat di pulau jawa dan bali sejak abad ke 15, namun awal-mulanya berasal dari sejarah prahindu-buddha. berbeda dengan fungsi aslinya sebagai ritual penghormatan alam, perkembangan seni topeng sebagai sebuah pertunjukan tari dan teater

berfungsi untuk menceritakan kisah raja, pahlawan ataupun mitos. dengan demikian, nilai-nilai sosial akan lebih mudah untuk ditanamkan pada masyarakat. didik nini thowok adalah salah satu penari terbaik di indonesia dalam bidang tari topeng. di tiap tampilannya, beliau dapat memerankan lebih dari satu karakter. ketertarikannya pada dunia tari bermula di bangku sekolah karena seringnya menonton pertunjukan wayang orang.

Potret Budaya: Tari Topeng

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Proklamasi Kemerdekaan dibacakan

tanggal 17 Agustus 1945 oleh Soekarno, yang akhirnya menjadi presiden pertama Republik Indonesia. Saat jam menunjukkan pukul 10 pagi WIB, Indonesia resmi dinyatakan merdeka setelah sebelumnya dijajah untuk lebih dari tiga ratus lima puluh tahun. Itulah kali pertamanya 1

negara Indonesia berdiri sendiri tanpa ancaman dari negara asing, pula tanpa perintah dari otoritas yang tidak berkewarga-negaraan Indonesia. Kita akhirnya mengikuti jejak negara-negara lain yang sudah terlebih dahulu merdeka . Tentu k i ta b i sa men ja l ankan kehidupan bebas merdeka ini dengan baik, bukan? Kalau kita bisa hidup dijajah dan merdeka, hidup di dalam kemerdekaan pasti bukanlah sesuatu yang susah…## Namun alih-alih menjadi negara besar dan berkuasa di Asia tenggara, Indonesia mati dan terlahir kembali seperti seorang bayi yang sekarang terpaksa berlari sebelum ia bisa berjalan. Padahal tahun 1945, kita adalah tunas yang berpotensi untuk melakukan hal-hal besar, tetapi kita terbiasa menjadi wayang yang bertumpu pada seorang dalang di dalam pertunjukan; kita terbiasa hidup dituntun dan melakukan apa yang diinginkan sebuah negara asing secara paksa, kita pun kehilangan arah… Bingung dan berambisi, kita pun diam di tempat dan akhi r nya te r j ebak d i da l am pertumbuhan statis. Sekarang, pada tahun 2014, tentu Indonesia sudah lebih berkembang. Di umurnya yang kini enam puluh sembilan tahun, Indonesia bisa dikatakan sebagai sebuah negara remaja yang sudah diberikan waktu untuk lebih matang dan dewasa. #

Peralihan dari Orde Lama ke Orde Baru telah memberikan iklim politik yang dinamis walaupun akhirnya mengarah ke otoriter, dan kehidupan ekonomi yang tadinya kurang menggembirakan pada jaman Orde Lama dikarenakan ketidakstabilan politik, sudah berkembang ke arah yang lebih baik sejak beralih ke masa Orde Baru. Akan tetapi masih 2

banyak masalah yang mengekang Indonesia, seperti halnya masalah pendidikan yang masih terlalu eksklusif, perbedaan jauh antara orang kaya dan orang misk in , kor ups i , s e r ta pertumbuhan populasi yang tidak teratur adalah beberapa hal yang alhasil membuat kubu-kubu radikal mempertanyakan kemerdekaan negara ini. “Indonesia itu sebenarnya sudah merdeka apa belum sih?”#

Sudah banyak orang yang mencoba untuk menemukan alasan mengapa Indonesia masih saja berada di ‘ambang penjajahan’. Salah sa tu a l a san yang mungkin b i sa k i ta pertimbangkan berkaitan dengan Pancasila nomor tiga: “Persatuan Indonesia”; Korea Selatan yang memperoleh kemerdekaannya pada tanggal 15 Agustus 1945, hanya dua hari sebe lum Indones ia memprok lama s ikan kemerdekaannya, sudah bisa terbilang sebagai negara maju yang pasar ekonominya menduduki peringkat ke lima belas berdasarkan Gross D o m e s t i c P r o d u c t nominal dunia . Hal in i dikarenakan perkembangan ekonomi pesat negara itu yang terjadi antara tahun 1960 dan 1990. Sampai hari ini pun ekonomi Korea Selatan masih termasuk salah satu yang pesat berkembang di dunia, padahal perguncangan politik yang disebabkan oleh Perang Korea yang

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Taylor, Jean Gelman. 2003. Indonesia: Peoples and histories. New Haven: Yale University Press. 1

Schwarz, Adam. 1994. A Nation in Waiting: Indonesia's Search for Stability. 2nd Edition. St Leonards, NSW : Allen & Unwin.2

Komitmen di dalam sebuah Kemerdekaan

terjadi pada tahun 1950 dan pemberontakan mahasiswa yang terjadi pada awal tahun 1960 pun telah mempengaruhi perkembangan ekonomi negara i tu . Namun saat kr i s i s 3

ekonomi tahun 1997 terjadi dan negara itu tertimpa krisis likuiditas, pemerintah Korea Se la tan meminta warganya untuk menyumbangkan emas yang mereka miliki. Lebih anehnya lagi, bukannya menolak, para warga Korea Selatan malah bersedia bekerja sama dengan pemerintah dan berlomba-lomba mengantri untuk menyumbangkan emas yang mereka punya, suatu peristiwa yang bisa dibilang jarang sekali terlihat dalam sejarah negara manapun. #4

# Tidak sedikit yang beralasan kalau Korea Selatan bisa berkembang begitu pesat dan cepat karena negaranya bernotabene ‘uni-etnis’; Uni-etnis dalam pengertian bahwa semua warga negaranya mengidentifikasikan dirinya sendiri sebagai ‘orang korea’, tidak kurang dan tidak lebih. Mereka berjuang untuk negaranya sebagai satu kesatuan, dan itu yang dianggap membuat mereka lebih kuat dalam bekerja untuk membangun negara mereka ke arah yang lebih baik. Bisa dilihat kontras perbedaannya dengan Indonesia yang memiliki beraneka-ra gam suku e tn i s ; s e seorang b i sa mengidentifikasikan dirinya sebagai seorang campuran Jawa dan Sunda, sementara yang lainnya bisa berkata bahwa dirinya Orang Batak. Di satu sisi spekulasi ini mungkin ada benarnya juga, toh saat Indonesia masih dalam masa memperjuangkan kemerdekaan, kita tidak kenal suku dan ras. Kita berperang melawan

para penjajah hanya karena kita adalah ‘Orang Indonesia’, bukan karena kita miskin atau kaya, bukan juga karena kita Orang Jawa ataupun Orang Batak. Tetapi jika memang itu yang terjadi, bagaimana dengan negara Singapura? ## S ingapura bar u mendapatkan kemerdekaannya pada tahun 1965 saat mereka memisahkan diri dari Malaysia. Negara itu mempunyai lima juta penduduk, dimana sekitar dua juta dari penduduknya lahir di luar negeri. Ada empat bahasa resmi di Singapura, yaitu Bahasa Ing gr i s , Bahasa Melayu , Bahasa Mandarin dan Bahasa Tamil, dan negara itu mempromosikan multikulturalisme melalui berbagai macam kebijakan resmi. Walaupun begitu, Singapura juga melalui berbagai macam rintangan untuk mencapai keadaannya yang seperti sekarang ini. Banyak perselisihan dan perdebatan yang terjadi selama dua tahun negara itu menjadi bagian dari Malaysia; Malaysia bersikeras mempunyai kebijakan pro-Bumiputera, dimana adat dan suku Melayu diberikan hak khusus, dan akhirnya kerusuhan ras terjadi pada tahun 1964 yang sempat menghentikan perkembangan sosia l dan ekonomi negara Singapura. Namun bila dilihat sekarang, Singapura sanggup menjadi salah satu dari empat pusat perekonomian terbesar, dan menduduki peringkat ketiga untuk pendapatan per kapita tertinggi di dunia. #5# Per tanyaannya sekarang ada lah : “Mengapa Indones ia j auh te r t ing ga l d i belakang?” Tentu setiap negara mempunyai sejarah uniknya masing-masing, dan tidak ada satu negara yang bisa disamakan dengan negara

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KOCIS. "Facts about Korea." Korea.net - Gateway to Korea. Korean Culture and Information Services, n.d. Web. 3 Aug. 2014.3

Kihwan, Kim. "The 1997-98 Korean Financial Crisis: Causes, Policy Response, and Lessons." (n.d.): n. pag. The International Monetary Fund, 4The Government of Singapore, 10 July 2011. Web. 3 Aug. 2014.

“Facts and Ranking.” Future Ready Singapore, Singapore Economic Development Board, n.d. Web. 3 Aug. 2014. 5 "Our History." Future Ready Singapore. Singapore Economic Development Board, n.d. Web. 3 Aug. 2014.

yang lain, tetapi setidaknya pasti ada yang bisa kita pelajari dari tetangga kita, sesama negara Asia. Mungkin pada suatu saat, entah kapan, orang -orang kita lupa untuk meneruskan perjuangan yang sudah mati-matian dibela saat masa penjajahan. Atau mungkin kita tidak lagi berjuang karena beranggapan bahwa musuh yang harus diusir pergi sudah angkat kaki dari negara kita, maka pertempuran usai sudah? Padahal sebenarnya perjuangan kita untuk terus memajukan Indonesia tidak berhenti sampai kemerdekaan saja, malah mungkin itu adalah awal dari segala pekerjaan ‘gotong-royong’ yang seharusnya kita lakukan dengan beriringan. Layaknya seorang ibu yang tidak mungkin hanya me lah i rkan seorang bay i t anpa mengasuhnya, tanggung jawab kita juga tidak hanya sampai membebaskan bangsa kita dari tangan para penjajah. ## Tidakkah menjadi sesuatu yang sangat disayangkan jika kita sebagai negara yang kaya dengan berbagai hal hanya bisa menjadi wayang

yang tidak dapat memerankan karakter dirinya sendiri? Saat kita memiliki semua potensi untuk memajukan dan membela bangsa kita, baik itu dari segi ekonomi, finansial, kekayaan alam atau kekayaan budaya, mengapa kita harus terus terkekang oleh ketergantungan akan entitas lain sementara kita sendiri pun lepas tangan akan masalah yang harusnya diselesaikan bersama? Janganlah lagi kita hanya menjadi sebuah boneka yang bersandar kepada seorang dalang, baik itu penjajah, sesama yang masih terjajah oleh korupsi, keserakahan, dan keinginannya untuk menang sendiri, ataupun sebuah jaringan s i s tem sos ia l yang mengharapkan suatu perubahan tanpa melakukan apapun. ## Kemerdekaan untuk berkarya memang sebuah hak istimewa, namun patut dimengerti bahwa komitmen di dalam kemerdekaan itu adalah sesuatu yang sangat penting. Jangan lah kita terlena dengan hak yang sudah kita miliki, sampai-sampai kita lupa akan tanggung jawab yang kita peroleh karena sudah mendapatkan hak tersebut. Sepertinya kaidah ini berlaku dalam semua hal pada umumnya: Seorang murid yang mendapatkan hak berpendid ikan mempunya i t ang gung j awab te rhadap pendidikannya. Pengurus organisasi yang mendapatkan hak untuk menentukan pilihan bagi organisasinya mempunyai tanggung jawab atas hasil atau akibat yang akan mempengaruhi organisasi tersebut. Warga negara Indonesia pun yang mendapatkan hak kemerdekaan negaranya harus bertanggung jawab untuk mengembangkan dan melestarikan negaranya. Mungkin benar adanya perkataan bahwa tidak ada yang gratis di dunia ini… Segalanya ada timbal baliknya. Perlu adanya hubungan saling memberi dan menerima, karena pada tanggal 17 Agustus 1945, yang d ipero leh Republ ik Indones ia ada lah kemerdekaan , bukan anarkisme.

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Remnants of Liberty! With the recent democratic process of the Indonesian presidential election, the issue of differences has emerged massively within the Indonesian communities spread around the globe. I’m sure many of us are familiar with the slogan Bhinneka Tunggal Ika that refers to the unity in diversity. Yet, in contrast to this noble phrase, these differences, rather than being complementary, have become an opposition to each other. Our nation is divided as everyone—whether willingly or not—is branded with labels which may not in fact reflect what they actually believe or do. ## Though this conflict of divisions may seem like a longstanding issue, the history of the Sarekat Islam (literally, “Islamic Union,” hereafter SI) branch in Semarang from 1917 to 1920 reveals a different reality: that such seemingly contrasting ideologies as Islam and Marxism can unite and act together. Di Bawah Lentera Merah presents this fragment of the 6

past, which the author Soe Hok Gie refers to as

“the most beautiful and greatest thing

that has happened in the history of

Indonesia, the history of Asia and world” (Gie 90).## Di Bawah Lentera Merah is a dissertation that Soe Hok Gie wrote a year before the transition period in 1965, shortly before the massacre of suspected communists took place on several islands of Indonesia. Contrary to the common belief that perceives this socialist mo vement to be l ibera l and thus , by extrapolation non-religious, Gie reveals that the

SI of Semarang was in fact the first to unite the movement against oppression that is globally re fe r red to a s “Mar x i sm” in Indones ia . According to him, the way other national history records say that the growing PKI (Communist Party of Indonesia) was the founder of communism in Indonesia, is like “reading a newspaper from the middle” (3). In fact the people, despite the absence of having a formal name, had already revolted for justice years before the formation of PKI in 1924. Moreover, in his published diary which also recounts his experiences during the transition period, Gie realized that both the followers and the labels are often used merely as political instruments.## Soe Hok Gie traces back the birth of the Indonesian “Marxist” movement to May 6, 1917, when the nineteen-year old Semaoen, whose father was a modest stone worker, became the president of Sarekat Islam (SI) of Semarang. This marks an important shift within the organization where the majority of middle class natives were replaced by members of the working class. In addition to this, he mentions that Semaoen’s str ug gle would not have succeeded unless prior social conditions had not made the native people aware of their deprived rights. He says that “a movement can on l y f lour i sh i f the foundat ion o f that movement is rooted in the land where it grows” (4).## In compil ing this book, Gie took various local newspapers from the early 1900’s a s h i s ma in sources . These ind icate a

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Gie, Soe Hok. Di Bawah Lentera Merah: Riwayat Sarekat Islam Semarang, 1917-1920. Yogyakarta, 6

Indonesia: Yayasan Bentang Budaya, 1999. Print.

contrasting perspective of history from the official narrative of the national movement. He finds that these texts often claim that foreign events inspired the people to rise up against injustices. For example, he mentions how these books associate Japan’s victory over Russia with the birth of the native political society Budi Ut o m o that marked the awakening o f Indonesian Nationalism. Similarly, the Russian Revolution is associated with the native people’s revolutionary shift towards the left. Yet, Gie describes how the reality exposed by the local newspapers appears to be the other way around, whereby not only are these foreign events barely mentioned, but these uprisings simply happen due to the actual injustices that is faced by the Indonesian proletariats in their land.## Gie lays out his observations by first introducing the negat ive impact of the expansion of perkebunan—plantations—mainly of sugar cane, which increases drastically from 1900 and consequently reduces the area of paddy fields. Due to fertile land and tropical warmth, agriculture becomes the main sector through which the natives make their living. Within eighteen months of cultivating their paddy field, they could earn approximately f300- by harvesting their paddy three times. However, as the paddy fields were replaced by sugar plantations, they could only earn f66- , because they were forced to rent out their land to Dutch horticultural entrepreneurs. ## The fact that the Dutch weren’t allowed to own land did not stop them from behaving l ike l and lords . At that t ime , s ince the government received a compensation for renting the land to the Dutch, they easily disregarded the deteriorating living condition of their people. Indeed, after presenting other situations and cases, Gie concludes that “the

government is the agent of capitalism, from which all oppression arises” (33).## Vereenigde Oostindische Compagnie (VOC)—The Dutch East India Company, whose area of operation spanned part of the current Indonesian archipelago, had been the strongest force in Asia since the early 17th century. This company, that many have referred to as the first multinational corporation in the world and the first to issue stock, dissolved in the late 18th century due to corruption. In 1870, the Dutch replaced this earlier mode of colonization with a new liberal system which, according to Gie, rather than bringing a sense of freedom means “a f ree f i ght compet i t ion to exp lo i t Indonesians” (10). Ever since, foreign assets and capital have increasingly penetrated this land we all know of as Zamrud Khatulistiwa—The Emerald of The Equator. Yet again, none of these would have happened without the help of local aristocrats.## In the beginning of his book, Gie mentions how the SI of Semarang was not the only group with a socialist tendency at that time. Semaoen and his friends from SI felt akin to the Samin, also originating from Central Java, since they were both struggling against the oppression resulting from colonialization and capitalism. Unfortunately, according to Mas Marco, a journa l i s t of Si n a r D j a w a that published under SI Semarang, the Samin failed in their struggle because “the leaders weren’t educated and that they d idn’t f i ght actively” (82). Indeed, Semaoen often stressed the idea that the people, rather than depending their lives on the government, should work actively for change; by this, however, he did not mean violence or fighting against those of different ethnic backgrounds and ideology, since, according to him the real enemy to be eliminated was capitalism. #

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# Semaoen accomplished a lot with SI Semarang throughout his period of leadership. He managed various non-violent strikes that helped the native workers get a higher wage. He succeeded in influencing other branches of SI to fight against oppression by transforming its aim from trading centred into populist ’s centred. He also took over the Sinar Hindia—Indies’ Light—newspaper and transformed it into Sinar Djawa—Java’s Light. As Semaoen began to reach the nat iona l l e ve l , he par t ic ipated in the formation of PKI—Indonesian Communist Party—though he left the party after a few years of being its first president.# ## Towards the end of his dissertation, which he simply refers to as “the reader ’s repor t” (7 ) , Gie admits that ending the h i s tor ica l nar ra t i ve in 1920 i s r a ther unsat i s fy ing , s ince i t wa s in f ac t S I of Semarang’s critical point in keeping their struggle going; a struggle which come to an end until 1926. By observing how the work and actions of Semaoen’s successors spread in various islands of Indonesia, Gie is led to wonder whether “it is Marxism that uses Islam as an instrument of uprising or it is the uprise

o f Is l am that uses the l angua ge o f marxism” (81). According to him, only Mas Marco viewed the goals of Islam and socialism as being similar. The others, he says, “no longer use Islam as the ideal source of morality for socialism, at least not in writing” (81) Though the significances of both movements may be similar, they are already shifted, thus leaving the term merely as a label without substance. ## Despite that, Semaoen carved a lasting mark in the history of humanity, that Gie has written unbiasedly for us to experience. Often, it feels bitter to look back at the past, knowing that we’ve all come full circle; not only that their struggle come to no avail, but today we are also surrounded by similar social structures and situations, though masked under different faces, shapes and names. Recalling a historical event, especially a minor one that can easily be neglected, will never lead us to go backward; in fact, it is our only bridge to the future. As a nation, as part of global humanity, we might not progress so far, but because of Gie, there is one thing we’ve learned for sure: democracy, rather than being narrowly equated to liberalism, is always being sacrificed.

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Indonesia

independence [.in-də-ˈpen-dən(t)s]

I (you, we, us)

Interrelationship

identity [ī-ˈden-tə-tē]

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Le Cinema Sous Les Étoiles adalah sebuah komunitas film berbasis di Montreal yang# mengangkat isu-isu sosial, politik dan lingkungan dengan cara memberi ruang#

terbuka untuk menonton film dan bertukar pikiran# #

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# Montreal malam itu, 12 Agustus 2014, memang terlihat mendung; langitnya terhalang awan hitam tebal semenjak siang. Tapi bukan berarti antusiasme penonton, yang meski terbilang lebih sedikit dari biasanya, berkurang. Le Cinema Sous Les Étoiles, yang secara harfiah berarti bioskop di bawah bintang, tetap terlaksana meski tanpa kehadiran bintang-bintang. ## Fi lm yang d i tayangkan d i tengah segenap warga Montreal di taman St. Gabriel kali ini berjudul “Honor Your Word,” oleh pembuat film lokal Martha Stiegman yang juga hadir malam itu. Film dokumenter ini bercerita tentang kaum Algonquin yang berjuang agar pemerintah menghargai persetujuan yang sudah ditandatangani, terutama dalam menjanjikan pembangunan ramah lingkungan berbasis co-existance dan co-management.## Selama lebih dari tiga puluh tahun, komunitas ini terpaksa meninggalkan tradisi nomad mereka dan mendiami reservasi Indian di sekitar Danau Barriere, berjarak dua jam dari Montreal. Disana, kehidupan mereka banyak berubah, bukan hanya karena gaya hidup yang berbeda, tapi juga karena perubahan yang terjadi disekitar lingkungan mereka. Banyaknya generator yang digunakan perusahaan Hydro Quebec, tidak hanya mengganggu kenyamanan mereka, tapi juga mengganggu ekosistem sekelilingnya. Menurut Marilyn Poucachiche, sejak dibangunnya tanggul air di danau Barriere, jumlah ikan terus berkurang. Belum lagi kerusakan alam yang mereka hadapi dari pembangunan jalan tol dan penebangan pohon yang dilakukan oleh perusahaan-perusahaan swasta . Se jak awal , mereka sadar bahwa perjuangan mereka akan berlangsung lama. ## #

# Menurut Norman Matchewan, seorang Algonquin yang aktif memperjuangkan nilai-nilai dan hak kaumnya, budaya perlawanan memang sudah tertanam di t iap anggota komunitas ini sejak usia muda. Banyak dari mereka, baik laki-laki atau perempuan, tua atau muda, yang pernah ditahan dan dianiyaya secara f i s ik hanya karena usaha mereka untuk melindungi tanah leluhurnya; tanah yang bahkan tidak mereka klaim sebagai hak milik mereka.## Ibunda Norman sadar bahwa kaumnya memang tidak memiliki uang, tapi mereka memiliki nilai-nilai yang tersimpan di alam raya. Sangat disesalkan oleh beliau bahwa nilai-nilai ter sebut d i rampa s dan d i j ad ikan untuk memperalat kaum pribumi tersebut. Marilyn juga merasakan hal yang sama dan mengatakan bahwa, seandainya dari awal mereka menerima tawaran pemerintah dan pengusaha-pengusaha pribadi, saat ini mereka pasti sudah kaya. Namun kekayaan uang bukanlah hal yang Marilyn dambakan. Cukup kekayaan budaya, bahasa dan identitas yang dia tuntut untuk dimiliki. Perlu kita ketahui bahwa kaum ini pun tidak menuntut memiliki kekayaan alam. Mereka sadar bahwa tanah dan alam sekeliling mereka bukanlah hak milik mereka, namun juga bukan hak milik siapa-siapa. ## Azas hidup kaum pribumi Kanada ini memang patut kita contoh dalam menghadapi konstruksi-konstruksi sosial hari ini yang hanya memihak sebagian kelompok. Meskipun mereka suka berburu, mereka tetap menghargai lingkungannya dengan menjadi bagian dari ekosistem tersebut tanpa diperantarai uang ataupun kekuasaan. ## ## !

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Acara Lokal: Pemutaran Film “Honor Your Word”

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Resep // Recipe: Sambal Goreng Tempe !tempe is a delicious indonesian traditional food made of fermented soybean through a natural culturing method. sambal goreng tempe is a good side dish for rice or salad

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• 500g tempe, sliced into matchstick

sized pieces • 6 shallots, sliced thinly • 3 cloves garlic, minced • 2-3 red chilli, sliced thinly. • 2-3 kaffir lime leaves • Pinch of salt • Water (about 1/2 to 3/4 cup) • 1 Tbsp Sweet soy sauce (kecap

manis) • 1 to 2 tbsps sugar • Oil to fry

• 500 gram tempe, potong kecil kira kira seukuran korek api

• 100 gram teri • 150 gram kacang tanah goreng • 6 butir bawang merah • 3 siung bawang putih • 3 buah cabai merah besar, iris serong

halus • 2 lembar daun salam • 1 sendok makan kecap manis • 25 gram gula merah • ½ sendok teh garam • Minyak untuk menggoreng

1. Fry tempeh slices in oil till crispy. Set aside.

2. In a skillet, over a small flame, heat a little

bit of oil

3. Fry shallots, garlic and chilli till aromatic,

add the kaffir lime leaves. When shallots

have softened, add some water, sugar and

salt, and continue frying till you get

caramelised syrup.

4. Throw in fried tempeh pieces into the

skillet and toss to coat them evenly. Add

splashes of kecap manis and continue

tossing. Taste and adjust if necessary

5. Once all the tempe have been coated in

the sauce, dish up and serve

1. Goreng semua bahan utama (tempe, teri dan kacang) kemudian tiriskan.

2. Selanjutnya tumis bawang merah, bawang putih, cabai merah, daun salam, hingga wangi.

3. Masukkan kecap, gula merah, garam, air asam jawa dan aduk kembali hingga bumbu mengental

4. Masukkan tempe, teri dan kacang. Aduk sampai benar benar merata dan tercampur. Cicipi

5. Angkat, siap disajikan.

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DIALOG KOPI PAGI MENJELANG

lokasi: ditengah taman kota montreal, disaat jam menunjukkan empat puluh tujuh menit setelah pembacaan proklamasi kemerdekaan enam puluh sembilan tahun yang lalu. catatan berikut adalah sepenggal dari obrolan-obrolan ‘penuh inspirasi’ sehari sebelum hari kemerdekaan

HARI KEMERDEKAAN

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: pagi mbak, ngga kerasa ya bentar lagi

kita nerbitin edisi kedua dari publikasi kita.

lanjut dari dialog edisi kemarin, kalo menurut

mbak apa sih makna dibalik arti dari judul

publikasi kita, “NAMA”?

: menurut aku, nama itu penting, ngga

penting sih..

: hmm kenapa tuh mbak?

: nama itu kan sebuah bagian penting

dalam berkomunikasi, karena

mengindikasikan sesuatu. contoh, nama

dalam bahasa prancis adalah nom, dimana

kalau disejajarkan dengan tata bahasa inggris

merujuk pada noun atau kata benda, baik yang

bersifat abstrak ataupun berwujud. tapi disisi

lain, nama sering kali menjelaskan perbedaan..

memang sih nama itu digunakan untuk

membedakan satu hal dengan hal yang lain.

tapi kalau dianggap terlalu penting,

perbedaan yang tampak justru menjadi

pemisah tiap-tiap entitas. padahal kan dalam

sebuah kalimat, signifikasinya hanya dapat

terbentuk berdasarkan interrelasi antar kata.

: oh iya, aku juga jadi inget sama

summer course deductive logic. dipelajaran itu,

sebuah nama hanya bisa eksklusif

merepresentasikan satu benda, sementara

satu benda itu bisa mempunyai lebih dari satu

nama. Kalau mau dibuat contohnya,

indonesian itu sebuah nama yang eksklusif

mengidentifikasikan orang-orang berlatar

belakang budaya Indonesia. tapi, orang-orang

tersebut bisa mempunyai banyak

nama berdasarkan fungsinya masing-masing.

misalnya, penduduk, masyarakat, pemerintah,

pengusaha, petani, nelayan, pendaki gunung.. you

name it lah..

: oh ya ya ya, menarik juga

: nah aku juga jadi inget pesannya bung

karno!

: pesan yang mana?

: pesan yang beliau sampaikan untuk kita,

penerus bangsa: “perjuanganku lebih mudah

karena mengusir penjajah, tapi perjuanganmu akan

lebih sulit karena melawan bangsamu sendiri”

: hmm iya itu aku inget terus.. berhubungan

dengan itu, ada juga kutipan lain dari bung karno

tentang nama dan sebutan-sebutan lainnya.

: yang mana mbak?

: waktu di konferensi asia-afrika, inget ngga

yang di halaman 17?

: oh, yang tentang gedung merdeka?

: iya, beliau bilang: “what harms is in diversity, if there is unity in desire.”

: jadinya relevan banget ya sama yang kita

omongin sekarang mbak

: iya, jadi sebenernya keragaman itu bukan

sebuah ancaman atau penghalang sebuah kesatuan

: setuju, ngga peduli bentuknya, warna

kulitnya, besar-kecil matanya, ideologi politiknya,

yang penting esensinya sama kan?

: nah iya, jadi kalau hasratnya satu,

keberagaman itu dapat membentuk kesatuan. jadi,

“NAMA” walaupun mengangkat isu-isu ketidak-

selarasan, membuka peluang kearah sebuah persa-

tuan yang utuh, dan itu harapan kita untuk

publikasi ini.

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Beyond Tradition !# I love dancing, but I’m not a dancer. To me, there is always a certain kind of pleasure and contentment in moving my body beyond its daily practical function; making strange shapes, following the rhythm outside the dimension of time, and finding a new way to move from one space to another. In fact, I don’t find dancing to be terribly different from strolling around, they both lead me somewhere undiscovered. ## Even though being away from Indonesia makes it hard for me to find the support that allows me to learn traditional dance, it doesn’t diminish my passion towards it. A choreographed traditional dance has its own uniqueness in the way that it tells a story. It tells us about a society and also the people who comprise it, in all its diversity. I haven’t had a chance to encounter all the indigenous tribes of the Indonesian archipelago, but through dance, I feel as if I have met them. It’s an experience that seems to give me more than what any history text book could teach me.## As I was born and raised in West Java, the very first traditional dance that I performed was a popular dance from Sunda called Jaipong. I don’t quite remember how the performance went since I was so young, but my parents always remind me of how agile and energetic I was in my movement. Indeed, originally, the dance as a form of entertainment was meant to be a replacement of rock ’n’ roll, banned by President Soekarno in 1961. He challenged our nation “to return to and revive the 7

musical tradition of the past.” Though Jaipong and its accompanying music appear to be very 8

different from rock n’ roll, they do in fact retain some of the characteristics of rock n’ roll. And while some of their elements are considered inappropriate and too sensual, Jaipong and rock ’n’ roll deliver what the people want to identify with; they are raw, yet honest. In addition, both are originally inspired by the struggle of the working class. ## Ever since Jaipong’s public debut in 1974, the choreograph has been adapted to evolve in accordance with the social condition. As the evolution continued to develop, the sinden, the accompanying singer, eventually began to sing more politically-oriented lyrics. Not surprisingly, this led to the next government’s attempt to put an end to the tradition itself.8 But this was too late, and the practice had already become deeply engrained in the Indonesian culture. ## Unlike the dances from the southern islands in which each performer has a distinct role, the dances from the northern islands focus on the harmony and uniformity of the troupe. One of the most prominent examples is Sumatra’s Tari Saman which is also known as the dance of thousand hands. Though I have performed this dance at many cultural events, each time it always feels more intense than performing a solo. As the name suggests, the hand coordination is the main challenge of this dance. Rather than moving on our feet, everyone in the troupe sits side by side on the ground and moves their arms according to the rhythm that gets increasingly faster. There are usually nine segments during the performance where each segment has a different variation; the hardest one is when the movement alternate between two or three dancers. Uniformity is not only the

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“Weekly 5: From sitar to ‘jaipong’; Jakarta’s street artists.” Jakarta Post 07 December 2012. Web 2 July 2014.7

Wikipedia: “Jaipongan”8

characteristic, but also the challenge of this dance because if one person does a mistake, the whole group as a unity is affected. ## There are many kinds of folk dances spread throughout the northern islands. One that I have learned is Tari Tortor from Batak. This is one of my favourite dances to perform, not only because it requires less technique, but its movement also generates the spirit of freedom and wilderness that we don’t normally experience in urban life. Some of the other dances from the northern islands, in depicting their organic life, also incorporate the daily tools. For instance, Tari Giring-Giring from Kalimantan and Cakalele from Maluku feature a weapon—either a spear or a sword—and a shield. Nowadays, some people interpret this as their protest and defence against a governmental system that does not favour the grassroots. #9

# I would like to learn more of these folk dances, and obviously have the chance to perform them. One particular dance that I have always wanted to learn is Kalimantan’s Tari Deguq Joa, in which the dancers hold beautiful feathers in their hands. So far, I have only had the chance to wear the black costume that is decorated with gorgeous, handcrafted, colourful beads. Though I am excited to learn it, I have one concern regarding this dance. Knowing the fact that the majority of Orang Utans in Kalimantan have lost their habitat due to the massive growth in palm oil plantation, I’m sure it would be difficult to deliver the spirit of appreciating nature the way the dance is originally meant to be.## Though there might not be any direct causal relationship between the type of dance and lifestyle, I find it intriguing how a similar spirit of collectivity is reflected by the dances from the remote islands and not from the more developed islands. I myself have experienced a significant distinction in performing these two different kinds of dances. The folk dance feels almost like a way of completing myself by connecting with others. It is meant to be experienced, rather than simply being watched as a spectacle. Everyone can join in the dance; it’s easy, you just have to follow the rhythm! Thus, it not only welcomes but also maintains the integrity of various units, namely, the spectators and the performers, and no exclusivity is attached to it.## In contrast, when I perform a choreographed dance from either Java or Bali, there is the need to transform myself into a specific character in order to hypnotize the audience, and it almost feels like a display of the unique tradition. Perhaps this is because the objective has evolved to be more performance-centric. Or perhaps, individuality is more highly valued and given more importance in modern world. There are indeed some collective dances from Java that cannot be disregarded, like Tari Bedhaya that is performed by a group of women for the royal families. However, since the dance has become the symbol of the king’s wealth, many assert that it is no longer performed to honour a ritual but rather it is used to legitimize the authority of the rulers. Thus, 10

instead of conveying the sense of unity, the way the so-called less ‘civilised’ tribal dances do, these performance provide certain narratives that may encourage passivity in the audience. Indeed, traditional dance, like any other form of art, can either express the voice of the people—the way Jaipong and Cakalele do—or constrain them to certain kinds of values.#

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Raminah. “Tari Cakalele Wujud Penghormatan Adat dan Leluhur.” Aktual 14 Juli 2012. Web 2 July 2014. 9

Wikipedia: Bedhaya10

# Arguably, the best-known of our traditional dances come from Bali. I have learned both classical and contemporary forms of Balinese dance throughout my life since Tari Pendet, a Balinese welcoming dance, is the second dance that I learned after Jaipong. In Montreal, Balinese dance and music have found the space to develop and evolve. We have a local group, one that I am part of, that does not only perform annually, but also invents various contemporary Balinese-style performance. Though this is perhaps the most beautiful kind of dance, it is the most technically challenging. Each detail of the bodily movement is part of the choreography; the toes, the tip of the fingers, the neck, the smile, even the eyes. ## Compared to other kinds of gamelan accompanying music, the Balinese style has the greatest dynamic, much in contrast with the calming Javanese gamelan. If there is a moment when the tempo gets slower and the dynamic diminishes, it does not imply a relaxing moment for the dancers; in fact, it points towards greater intensity of feeling. No wonder the audience is easily mesmerized by this performance. After listening to the narration of the community Taman 65, the dances, if juxtaposed with all other tourist attractions that have been developing extensively in Bali, seem to become the spectacle that momentarily take our gaze away from the dark history of this island. ## To conclude, though traditional dance captures elements of the past, it is not static and continues to evolve over time. The story it tells, the cultural signification it contains and the feeling it generates are always more present than what we would have thought. My own fascination with it is not simply motivated by the need to preserve my culture, but more specifically by the desire to better explore it, and become more conscious of the surrounding reality. Indeed, learning from the native people of Algonquin, art—in its various forms—is the only heritage we are allowed to claim as our own. Thus in my opinion, our independence depends on the way we perceive our culture; one, that though distinct from nature, remains fundamentally interrelated.#!!!!!!!!!!!!!!!!!!

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Kara Zahira Anindyawanti Katon adalah mahasiswa tingkat tiga, jurusan English Cultural Studies dan minor German Literature and Culture in trans. di McGill University. Baginya, mungkin zaman paling menarik untuk dijelajahi adalah era paska-modern, karena arah tujuannya masih bergantung pada kita.#!Anna Victoria Rahardjo adalah mahasiswa tingkat tiga, jurusan Linguistics dan East Asian Studies di McGill University. Menurutnya, sampai sekarang, tindakan paling berani yang bisa dilakukan orang adalah untuk berpikir dan berpendirian secara lantang dan tanpa rasa malu.#!Kharinda Zahrah adalah mahasiswa tingkat tiga, jurusan Accounting dan Finance di John Molson Business School of Concordia University. Moto hidupnya adalah do good, feel good, yang artinya melakukan kebaikan, merasa enak.#!Chyntia Sari adalah mahasiswa tingkat tiga, jurusan Industrial Engineering di Concordia University. Kutipan favoritnya adalah don’t worry be happy, yang artinya jangan khawatir, berbahagialah!#!M. Iman Mas adalah mahasiswa tingkat empat, jurusan Food Science and Nutrition di McGill University. Berdasarkan pengamatannya, freedom is a privilege enjoyed by few controlled by even fewer.(

Daftar Kontributor

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Tentang PERMIKA Montreal

PERMIKA Montreal (Perhimpunan Mahasiswa Indonesia di Kananda) adalah sebuah organisasi terdiri oleh mahasiswa-mahasiswa dari berbagai perguruan tinggi di Montreal yang mengenalkan unsur-unsur Indonesia seperti seni, makanan dan budaya di Kanada. Selain itu, tujuan PERMIKA adalah juga untuk menyatukan kembali rekan-rekan mahasiswa Indonesia di negeri asing dan berfungsi sebagai penghubung antara mahasiswa dan Kedutaan Besar Republik Indonesia. Meskipun PERMIKA adalah bagian dari komunitas Indonesia dan Kanada, P E R M I K A M o n t r e a l b e r d i r i s e n d i r i u n t u k menyelenggarakan berbagai acara berorientasi pada mahasiswa seperti Aloen-Aloen, dan Konferensi Nasional Mahasiswa pertama di Kanada.

About PERMIKA Montreal PERMIKA Montreal (Perhimpunan mahasiswa Indonesia di Kananda, Indonesian Students Association in Canada) is a student-run organization from various Montreal universities and college bringing pieces of Indonesia such as art, food and culture in Canada. In addition, PERMIKA’s objective is also to reunite fellow Indonesian students in foreign land and serve as a link between the students and Indonesian Embassy. Although PERMIKA are both a part of Indonesian and Canadian community, PERMIKA Montreal stand independently to organize various student-oriented events such as Aloen-Aloen, and the first ever National Student Conference.

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