Poem by Sitor Situmorang

The Lost Child/Si Anak Yang Hilang

by Sitor Situmorang

In the midday heat a speck appears on the lake. The anxious mother runs down to the beach to welcome her long-awaited child. The boat takes shape. As she stares her tears flow - the child has come back from his journeying. The moment he sets foot, mother embraces him. Father sits at the centre of the house as if he couldn't care less. The child is crestfallen at his mother's side - but men know to restrain their feelings. The child sits down, is told to talk, a chicken is slaughtered, rice cooks. The whole village is asking, 'Are you married, any children?' The lost child has come back but now he knows no-one. How many harvests have been and gone? What has happened? The whole village is asking, 'Any children, how many?' The lost child is silent - He has questions of his own. At dusk after the meal his mother moves closer, she wants him to speak. The child stares, the mother asks if it is cold in Europe. The child is silent, remembering forgotten things - the cold of Europe, the seasons of its cities. His mother is quiet, has ceased talking - no resentment, only joy. Night has come, mother is asleep, father has been snoring some time. The waves swish on the beach. They know the child has not returned.

Pada terik tengah hari Titik perahu timbul di danau Ibu cemas ke pantai berlari Menyambut anak lama ditunggu Perahu titik menjadi nyata Pandang berlinang air mata Anak tiba dari rantau Sebaik turun dipeluk ibu Bapak duduk di pusat rumah Seakan tak acuh menanti Anak di sisi ibu gundah - laki-laki layak menahan hati - Anak disuruh duduk bercerita Ayam disembelih nasi dimasak Seluruh desa bertanya-tanya Sudah beristri sudah beranak? Si anak hilang kini kembali Tak seorang dikenalnya lagi Berapa kali panen sudah Apa saja telah terjadi? Seluruh desa bertanya-tanya Sudah beranak sudah berapa? Si anak hilang berdiam saja Ia lebih hendak bertanya Selesai makan ketika senja Ibu menghampiri ingin disapa Anak memandang ibu bertanya Ingin tahu dingin Eropa Anak diam mengenang lupa Dingin Eropa musim kotanya Ibu diam berhenti berkata Tiada sesal hanya gembira Malam tiba ibu tertidur Bapak lama sudah mendengkur Di pantai pasir berdesir gelombang Tahu si anak tiada pulang The literal translation of this poem was made by Ulrich Kratz The final translated version of the poem is by The Poetry Translation Workshop

Poem

Praise You

(just for you)

When I closed my eyes

It just You in my dream

When I open my eyes ,,,, in the morning

You always in my mind

I raised my hand in the sky

And I started to pray to You

You had never left in my brain

You always here with me

Your name was so beautiful

It made cool for anyone to remember You

Your name would be carved beautifully in my heart

And in my memory ,,,

Even in my loneliness

I believe in You would not leave me alone

When trouble came and went

You could become best friend and even friendship

You heard, answered all of things

You were able to help me

And it would never for you to give the wrong guidance

Note from Angie Kilbane-the Rainbow Troops Translator

I first heard the name “Laskar Pelangi” in September 2008. All of a sudden it was everywhere: the book, the song, the movie. The first book of Andrea Hirata’s life-inspired quartet, Laskar Pelangi has taken Indonesia by storm since its release in 2005, selling a record number of copies. Its popularity remains unsurpassed. In 2008, it was adapted to film, and in that medium it has earned awards and gained recognition worldwide.
As both a story and a literary work, Laskar Pelangi is priceless — so admired that men have proposed to women using this book in place of a ring. It contains a unique, new way of telling a story. Set on the Indonesian island of Belitong, Laskar Pelangi conveys a sad tale with laughter and lightheartedness. It tells of oppressed people protesting in admirably good humor, without swearing, without violence, without a divisive political movement, and without anyone to take up their cause. The vicissitudes of growing up are depicted brilliantly; the reader will be touched by an absurd yet pure first love, and one can’t help but smile at the innocence of the children as they earnestly plan their futures. Above all, Laskar Pelangi tackles serious issues, such as the right to education and corporate exploitation, while framing them within the tale of a beautiful childhood journey and friendship.
Having been deeply affected by the Belitong I encountered in the book, I had to go there. So my friend Kate and I planned a Christmas trip to Belitong—and by planned, I mean bought tickets and left the rest up to fate. We happened to stay with Andrea Hirata’s brother, Pak Diding, and his family while we were there. We fell in love with Belitong: the people, the landscape, the culture. It felt like a home away from home. A few months later, Andrea asked me to review two drafts of translations for the book. I gave him my opinion, and he eventually asked me if I would translate it. As a student of literature at Universitas Indonesia at the time, I was both delighted and intimidated by this offer. I accepted, and we began the translation at the end of March 2008.
Translating this masterpiece was no easy task. It took seven months. I worked on it at home, in taxis, at cafés, on airplanes, in airports and during lunch at school. I worked on it on Java, Bali, Sumatera and Belitong; in Singapore, America, Malaysia and South Korea. This translation has seen its fair share of places. Some parts were easier than others, and I had a lot of help along the way.
One thing that was very important and difficult to master was conveying the correct emotion in English in the same way Andrea conveyed it in the Indonesian version. Along with trying to tap into universal emotions, the overall construction of irony in the book was one of the biggest challenges in taking on this translation, as was trying to figure out how we wanted to translate the words “Laskar Pelangi.” The film has had a number of international debuts, and in those debuts they used “Rainbow Troops,” we decided to stick with that for consistency. I am not crazy about the phrase in English and have already heard many criticisms of it, and for those reasons, after the phrase Laskar Pelangi is used in the book and defined in English, the Indonesian phrase is used for the duration.
Cultural translation and its attendant quandaries—knowing when to explain something and when to just leave it as is—were our constant concern. One of our goals in translating Laskar Pelangi into English is to share it with the world—not just Southeast Asian Studies libraries and classes. In the hope that Laskar Pelangi will appeal to a wider audience, we decided to stay away from glossaries and footnotes.
Another goal in translating Laskar Pelangi was to provide Indonesian students of English with a study reference written by someone from their own country. Indonesian students are often given assignments with English novels—what better inspiration and motivation for them than a book by one of their countrymen about their country.
The epic journey that is Laskar Pelangi, the character of the book itself and the central theme of education (from any angle: the way people value their existence, in the community, amongst each other) all contribute to making this book a universally touching experience. Education is a basic human right, and all over the world there are children and teachers who are still struggling to secure this right. I recently had a discussion with a teacher in Central Java who sometimes loses junior high students due to their need to work. Not unlike Bu Mus and Pak Harfan, he makes less than $25 USD/month, and often goes above and beyond his teaching duties, making house calls to check up on students who have been absent more than three days in a row. For reasons of poverty, marriage, lack of teachers, lack of students, not to mention natural and social disasters, many children do not have access to education. Laskar Pelangi is a product of and a medium for the inspiration to overcome these circumstances. This is one of the reasons the book has been so popular in Indonesia.
I am honored to have had the opportunity to translate this book. Many people have helped me, and this is part where I write my elongated Thank Yous. I would like to thank Andrea Hirata for entrusting me with translating his masterpiece. Andrea himself has had a very active role in the translation. We have had many ups and downs while working on this project, and it would not be anywhere near as good as it is without him. I recruited some very intelligent friends to help with the project. My editors, Emily Hanna Mayock and John Colombo, have spent countless hours reviewing the work. Their input and corrections have been invaluable. Jewel Aldea has been kind enough to be the final proofreader (aside from Andrea), and her contributions have really given the translation a polished finish.
I hope everyone loves this story as much as I do. Selamat membaca.
Angie Kilbane – Jakarta, October 4^th, 2009

http://andrea-hirata.com/
 

Dances

Java Classical Dance

Besides the classical Javanese dance-dramas and sendratari, Surakarta style and Yogyakarta style, there are other independent dances which have always been popular with Indonesians especially the Javanese. These dances rake the form of war-dances and love-dances.

Among the Most popular are tile Beksan Lawung (Yogyakarta style), Klana Topeng (Yogyakarta style), Beksan Wayang Golek (Yogyakarta style), Gambir Anoni (Surakarta style), Bondan (Surakarta style), Gatutkaca Gandrung (Surakarta style), Golek (Yogyakarta style) and war-dances such as Srikandi fighting Cakil, Prahasta fighting Hanila, Ontoreja fighting Hanggada and so on.

The dances used to be called beksan, wireng or petilan, but they are now called only by their names.

is ridiculed by Sent and Kumitir, but damarwulan persists in his plan and asks Patih Logender's leave to go and kill Menakjingga. His request is granted and he soon appears before Prabu Kenya to ask permission to go to Blambangan to destroy menakjingga, At first Prabu Kenya hesitates doubting whether only a stableboy will be able to beat him. She grants him his request, however, and lie soon prepares himself to go to Blambangan.

Arriving at Blambangan, Damarwulan appears before Menakjingga and conveys Prabu Kenya's order to surrender. But Menakjingga bursts into laughter and say that it is Prabu Kenya who has better surrender and become his wife, Damarwulan insists until Menakjingga becomes very angry and strikes him. A violent fight follows. Menakjingga, who is known as the cruel and limping vassal, has a magic weapon called the gada wesi kuning (a brass club) and cannot be beaten. This weapon is never used except at critical moments, menakjingga's wives, Waita and Punyengan who are watching the battle, rake pity on Damarwulan, because they know he will surely die if the gada wesi kuning hits him. They decide to steal the gada and give it to Damarwulan.

Again and again Damarwulan falls to the ground because of tile violent blows of Menakjingga. At at moment when the latter is not looking, Waita and Puyengan hand the gada wesi kuning to Damarwulan. Menakjingga is greatly startied to see that his weapon is in his enemy's hand. All of a sudden his limbs weaken and Damarwulan kills him with one blow. After thanking Waita and Puyengan, Damarwulan asks leave to set out for Majapahit to hand over Menakjingga's head to Prabu Kenya.

When Seta and Kumitir, both ignoble men beard about Damarwulan's success in bringing home Menakjingga's head, they plan to take it away from him and say to Prabu Kenya that it was they who succeeded in killing Menakjingga.
Damarwulan is intercepted on his way by Seta and Kumitir, who take Menakjingga's head away from him. They return to Majapahit to report their victory, but Damarwulan soon comes to report it was he and not they who killed Menakiingga.
Thus Damarwulan has saved Majapahit, and at the same time wins two beautiful wives, Anjasmara and Prabu Kenya.

BEKSAN LAWUNG

The Beksan Lawung is a dance for men depicting the knighthood of the Period of feudal society. it represents contests between knights in the skill of using their lances, similar to the tournaments in Western Europe during the Middle Ages.

Beksan Lawung has been cultivated in the palaces of both Surakarta and Yogyakarta. Kusumakesawa, a dance expert of Surakarta belonging to the older generation, says that Beksan Luwung already exsisted in the mataram (17th century). A Plete Beksan Luwung is danced by 16 dancers; however, the number can be reduced to 10, 8, 6 or even 4, in Yogyakarta the Beksan Luwung is also called Beksan Trunajaya because it, was danced by the Trunajaya army troop.

KLANA TOPENG

The Klana Topeng dance Yogyakarta style Of the strong type describes King Klana Sewandana from the kingdom Of Bantarangin who is in love with Dewi Candrakirana of the panji story. In the dance Klana Sewandana is dressing himself up. he combs his hair, Powders his face, arranges his eye-brows and his moustache, tidies up his Clothes, and finally looks in the mirror. The dance also describes how klana, who seems to see Dewi Candrakirana in front of him, Moves to and fro to got hold of her. There are many surakarta Style elements in the dance.

BEKSAN WAYANG GOLEX

The Beksan, wayang Golek was created by Sultan Hamengku Buwono IX about 1944. It is different from the Other Yogyakarta style dances in that the dance movements imitate the stiff movements of wayang golek (wooden puppet play) though the movement are short and broken the dance is none the less of a high aesthetic quality; both male and female dancers wear jackets. The important charaters portrayed in the Beksan wayang Golek are those of the Menak stories, for instance, marmaya fighting King Jayengpati. GAMBIR ANOM

Gambir Anom is a solo dance surakarta style of the refined type danced either by a man or a woman but usually by a woman.

The Gambir Anom dance depicts lrawan, Arjuna's son, in love he is dressing himself up; he combs his hair, Powders his face, arranges his eye-brows and Puts his clothes in order, His toilet complete, he bends forward in several directions as if the girl of his dreams is in front of him.

GAMBYONG
The gambyong is a female dance, surakarta style, usually danced by one' three or dancers. The gambyong dance describes a Young woman dressing herself up to look more beautiful. BONDAN

The bondan is a solo female dance, Surakarta style, describing a young girl taking care of and cuddling her little sister.

GATOTKACA GANDRUNG

The Gatotkaca gandrung is a very popular solo-dance surakarta style of the strong type, describing Gatotkaca dresses himself up, moving here and there as though Pregiwa is close to him.

GOLEK
The golek is a Solo female dance, Yogyakarta style (which can 6180 be danced by more dancers) describing a young girl dressing herself up.

PETILAN ONTOREJA FIGHTING HANGGADA

This Yogyakarta Style dance describes the fight between onto-raja, Bima,s son and Hanggada, Subali,s son, from the lakon Rama Nitis (Incarnation of Rama). The fight is won by ontoreja.The lakon Rama Nitis is a mixture of the epics Ramayana and Mahabharata, in which Rama incarnates in, Kresna and Laksmana in Arjuna.

INDONESIAN CLOTHING

Traditional Clothing Central Java

kebaya 

Type of clothing and accessories worn by the women of Java, particularly in the cultural environment of Yogyakarta and Surakarta, Central Java is kebaya shirts, tank top with Stagen pinjung dan kain taping. kebaya worn by the duchess as well as among ordinary people as both a dress everyday and ceremonial clothing. At the ceremony, such as clothing worn by a garwo delem for example, using a pin joint kebaya outfit combined with a cloth or jarik sinjang style batik, the head of the hair bun (bun), and is equipped with a worn jewelry such as earrings, rings, necklaces and bracelets as well as fan usually does not miss. For everyday clothing is generally sufficient to use kemben or stagen. Javanese woman who combined with Stagen and fabric jarik. Kemben used to cover the breasts, underarms and back, since a cloth tank top is quite wide and long. While Stagen wrapped around the abdomen to bind tapihan pinjung to be strong and not easily separated.

Today, kebaya dress is generally only used on certain days only, as in the traditional ceremonies for example. Baju kebaya here is a long-sleeved blouse worn out long-patterned cloth or gloves that cover the lower part of the body (from ankle to waist). Kebaya length varies, ranging from the size around the hips on up to sizes above the knee. Therefore, a Javanese woman knows two kinds of kebaya, kebaya short of measuring up to the hips and long kebaya measuring up to the knee.

Short Kebaya can be made from various kinds of cotton, either plain with one color such as red, white, yellow, green, blue and so forth as well as cotton or embroidered flowers. Currently, short kebaya can be made from silk material, fabric sunduri (Brocade), nylon, striated or synthetic ingredients. Meanwhile, long kebaya more use of velvet, brocade, silk or nylon embroidered flowers. Among women in Java, usually they are given additional kebaya dress material rectangular in. The front that serves as a connector.

Baju kebaya worn with cloth sinjang jarik / tapih where at the front of the left made wiron (folds) that wrapped around from left to right. To cover Stagen used ikat scarves rainbow of brightly colored dye. Scarves are worn they should be made of batik, striated cloth or fabric matching tie dye. In addition to striated fabric, gabardine fabric can also wear a subtle plaid patterned with a combination of the following colors: dark green with black, purple with black, medium blue with a black, dark yellow with black and red brick with black. Completeness of jewelry can be worn as simple a small corm with a matching necklace and pendant, ring, bracelet and a pair of sticks on a bun bun.

Baju kebaya is usually long use velvet, brocade, silk and embroidered nylon. Today, long kebaya dress is a dress for the wedding ceremony. And generally used by the bride Sunda, Bali and Madura. The length of this kebaya dress to the knee, can also use the additional material on the face but not curved neck (collar). In general, long kebaya made of black velvet or dark red, decorated with gold ribbon at the edge of the edge of clothes. Jarik batik cloth folded (wiron) still needed for this outfit, but usually without wearing scarves. Knot decorated with garlands of jasmine flowers and a gold pin prick. Meanwhile, the jewelry used is also simple, that is an almost semi-circular shaped comb that is used on the front center of the head. Baju kebaya worn long as usual ceremonial dress, the hair cosmetology without a string of jasmine flowers and the puncture pin.

On techniques and how to make kebaya dress is very simple. Cuts and Javanese kebaya, which is also used in South Sumatra, the coast of Borneo, Sumbawa Islands, and Timor in fact similar to the blouse. This outfit consists of two pieces of pieces, namely a front section and a longer piece of the back, and two sleeves. The model can be coupled with a rectangular piece of material that is used as a connector between two pieces of the face.

In the body kebaya cut in such a way so as not to require krup. This is intended to really make up the body at the waist and breasts and a bit wide in the hips. Meanwhile, fold down the rear and sides should be equal in width and headed to the front with a slightly tapered. Collar become one with the front of the kebaya. This arch should be wide enough so that it can be folded inward to vuring then folded back out to form a curved neck. All pieces are dapatdikerjakan with sewing machine or sewn by hand.

While the fashion among men, especially relatives of the palace is wearing clothes beskap flowers or other floral, on the head wearing headband (BlankOn), side cloth jarik, Stagen to tie the fabric side, a dagger and footwear (cemila). Clothing is called Jawi jangkep, namely the complete Java menswear with a dagger.

Although the art of fashion developed both within the palace, does not mean fashion in an environment of ordinary people there is nothing typical. Traditional clothing of ordinary people is widely used by farmers in the village. Clothing that is used is a black drawstring pants, long sleeves, big belts, headbands and when evening wear gloves. But at the time of the marriage ceremony, the bride usually their parents using cloth and belt jarik sindur. His clothes beskap or sikepan and on the head wear headband.