Sesobek Buku Harian Indonesia by Emha Ainun Nadjib

A Shred From the Diary of Indonesia: A Collection of Poetry

Foreword

In the 1970s, I was learning how to carry a burden. In the 1980s I carried the burden bravely and proudly. In the 1990s I began to be overwhelmed by carrying the burden. In the 2000s I almost gave up because of the burden. By the 2010s I was questioning why I should be carrying the burden and who was actually the official responsible for carrying the burden.

What you are reading is my expression and impression about, in, from and towards Indonesia, from the 1980s to the 1990s. Anyone reading it is free to decide what the emphasis is: the poetry, the Indonesia, the me, or the shred.

If the reader focuses their reading on the poems in the book, I will be very embarrassed. Because if this book were entered into a competition for poetry books, and I were one of the judges, there is no way I would select it as a possibility for winner.

I really want to write poetry. And in my old age, I have been very diligent writing poetry, but almost not even one would I acknowledge as poetry. My work doesn’t get beyond “intending to write poetry”, “there are elements which are intended to be poetry” or “officially this is poetry, but whether it deserves the name of and passes as poetry, would need a long discussion and complicated considerations.”

Katak

In fact, poetry has come to a halt in the present era, is no longer a part of the mainstream values ​that operate in the civilization of contemporary Indonesian people. It is not even remembered by the leaders of the age and the values they espouse. Poetry has been driven into a cave, and those who deal with poetry have become cave dwelling creatures with shadowy outlines, invisible to the community.

Indonesia, the national ideology Pancasila, the Youth Pledge, the 1945 Constitution, development, progress, government, parliamentarians, government regulations, the president and ministry, all the way down to village regulations, not one of them know poetry. They do not look for poetry. They do not find poetry. They do not remember poetry. There might be the trace of the word “poem” in the far recesses of their brain, but what they understand is not really poetry. Possibly poetry is tucked away somewhere under a pile of garbage, buried under a muddy patch of earth soaked by torrential rain, or hidden behind the gloom, weakly crying out the sound of silence in midst of darkness.

Is poetry really this hopeless in the midst of today’s civilization of hyper materialism? Is it really so pessimistic for poetry in the middle of the stream of robots and bodies that regard themselves as humans? Has hope completely vanished for poetry in the midst of the life of the human family and Indonesian people who desperately pursue the world and things, but who complain incessantly of the world and things? In the midst of the arrogance of breath-taking advancement and while killing themselves to make it into the emergency response unit of the times in the pursuit of wealth, position, opportunity, access, and assets and arguing day in and day out of not achieving worldly desires?

No. Absolutely not. Poetry is not marginal, not marginalized. It’s not sidelined or disappeared. Poetry is indeed not food on the plate, a vehicle that is gassed and braked, a house with decor or shopping malls designed by architects to be like paradise. Poetry is not something achieved, but something journeyed towards. Poetry is not something which is held, but a trip to be traveled. Poetry is not something to be grasped or stored in a wallet, but something to be cherished and ached for.

Poetry – like the horizon in nature, the sky in the universe, justice in the sight of the soul, trueness in the recesses of the heart, eternity at the edge of time’s mystery, and God himself who seems to hide behind a secret without ever meeting – is the tenderest point far beyond the spirit, traveled with yearning, which inside a speck of the dust of that tenderness is encompassed all of nature and thousands and thousands of universes.

I myself, earlier, when that current of energy and magnetism passed right through me whose outpouring is a flow of writings or poems, was captured by the instinct to foster and allow poetry to be a mystery, one which must not lose its essence today. So everyday I concentrate on the Indonesia side of it. I am concerned about it, am anxious for it, take care of it. Maybe ever since God inscribed in the Preserved Tablet for me to love, probably for that reason too I called the book A Shred from the Diary of Indonesia.

Even right up to now when it was re-published, I turned the pages, still is my heart and my mind fixed on Indonesia. But if you go into the “shred” deeply, it feels too broken. Indonesia today is no longer a shred: it is like an old book lying forgotten in the cupboard, gnawed away at by rats every night, its pages torn to pieces, ripped up, shredded, almost not a single page left in tact. Half-soaked, reeking of the mixture of mouse piss.

A Shred From the Diary of Indonesia holds out a mirror before my own face. I stare back at my own eyes. I behold growth in decay, a baby in poverty, a young man in old age, a future for all those who are benighted. The wrinkles of an old face in the mirror, unimaginably weakness and helplessness, but there is a refreshing breeze which springs from the depths of the soul: I will take Indonesia into the future.

If you find letters and words in this book, flow with them into tomorrow. At the same time, invite the letters and words to flow over you, without any limit as to time. One day you will be snatched by death, but that is only a crossing bridge…

Emha Ainun Nadjib
11 November 2016

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Giant Turtle, Kartini Beach Jepara

The Sufi Teacher Passed By…

By Seno Gumira Ajidarma

One ordinary sleepy day a sufi teacher landed in Jakarta on his magic carpet at the gates of the toll road leading from Jakarta to Cengkareng International Airport. He hopped down and strolled into Jakarta as his magic carpet flew off again back up into the heavens.

It happened to be a Friday and at midday the sufi teacher went looking for the nearest place to perform his Friday prayers. He went into the office block he was passing and on the ground floor found a small prayer room. The usual plastic prayer mats were laid out ready for Friday prayers but the room was still empty. A man who seemed to be the prayer room attendant was getting ready to perform his prayers, so the sufi teacher asked, “Prayer room attendant, isn’t it Friday today and shouldn’t everyone be here performing their prayers?”

kebenaran

“True. Usually there are lots of people here on Fridays to pray. The office workers in this building prefer to pray here on the ground floor rather than go out and look for a mosque.”

“But prayer room attendant, why isn’t anyone at all here today even though it’s time for prayer?”

“Ah, they’re all praying on the ninth floor.”

“And why is that?”

“Because.., it’s air conditioned. They say the atmosphere there is more conducive to prayer, and it’s nice and cool on the ninth floor, while down here it’s hot and sticky.”

“Ah, I see,” replied the sufi teacher in English, nodding.

And so he and the attendant performed their prayers together by themselves with the attendant leading the devotions.

When they had finished, the sufi teacher continued on his way looking for Gus Dur, the director of the Islamic community organization called Nahdlatul Ulama. He wanted to ask whether Americans could use the English phrase ‘good morning’ instead of the Arabic greeting ‘Assalamu alaikum’.

A month later the sufi teacher was again going past the same building and as it happened to be right on time for midday prayer he once again entered the building.

It turned out that this time there were dozens of people preparing to pray in the small prayer room. There were so many in fact that they were spilling out of the prayer room into the lobby as the fiery sermon lambasted the spread of worldly greed.

The sufi teacher again asked the attendant, “Prayer room attendant, why are there now so many people praying here, so many that they are overflowing into the lobby? What has become of the air conditioned prayer room on the ninth floor?”

“Sojourner, the office workers have come back here to pray because the air conditioning is out of order, and the room which used to be so nice and cool is now unbearably hot. Because of the humidity on the ninth floor, they now want to pray here; if they are lucky they might catch a passing breeze.”

The sufi teacher again nodded, saying in English, “I see. I see.” Then he continued, “Well then, take note prayer room attendant. Reflect on this question: Is there any difference between those who pray in an air conditioned room and those who do not?”

The prayer room attendant was silent, and, after midday prayers were over, forever more followed the sufi teacher wherever he went.

One day on their travels they arrived at the edge of a river somewhere in Central Java where there was no bridge. To cross to the other side it was necessary to use a small bamboo raft. The raft landing on the other side was not directly opposite and had to be reached by using a punt some way along the bank before crossing over.

Punting along the edge of the river the sufi teacher noticed a man fishing at the edge of the river who didn’t seem to be using any bait. But even though the fisherman wasn’t using any bait, the fish were just jumping from the water by themselves and landing in the man’s basket, filling it to overflowing. As the basket filled, the local people emptied fish into their own baskets and carried them away to their homes. The villagers flocked to the fisherman’s basket.

Amazed at this sight, the sufi teacher asked the raft keeper, “Raft keeper, who is that man by the river fishing without any bait?”

“That’s Saint Jagakali.”

“Who’s he?”

And so the raft keeper told the sufi teacher the story of the fisherman. It was said that long ago in that village there had lived a fisherman who lived solely from the fish he caught. Every day he would take his catch, return home and cook and eat it. One day one of the fish he caught was flapping gasping on the ground near him when it had begun speaking to him.

Mesjid Cikini Raden Saleh Jakarta 1947

Mesjid Cikini Raden Saleh Jakarta 1947

“Fisherman, please let me go. Grant me a great blessing and throw me back into the river. What good can I be to you? The small amount of flesh on my tiny bones will hardly fill you.”

The fisherman was astonished, but replied, “Talking fish, why do you speak to me this way? Does a fisherman not have the right to eat a fish he catches? This is the way it has always been, and the way it always shall be.”

“But life is like a wheel,” replied the fish. “What would happen if you should die and be reborn as a fish?”

The fisherman laughed aloud and threw the speaking fish into his basket.

Finally after the fisherman had died he was indeed reborn as a fish. On the other hand, after passing away the talking fish was also reborn, but as a fisherman.

One day the fisherman who had once been a fish caught the fish who had at one time been a fisherman. The fish who had been a fisherman was also able to speak.

“Good fisherman, I beg you to let me go because I am just a small fish and life means so much to me. My small body will hardly provide you with enough. Please throw me back into the river and set me free.”

The fisherman who had once been a fish happened to recognize that the fish he had caught was the fisherman who had once caught him.

The fisherman said, “Talking fish, do you not remember that once you were a fisherman and that once you refused to grant the request of a small fish. I am that very fish, and now you must experience what I felt that day.”

“No! Please! Haven’t you thought that one day you might be reborn yet again as a fish and I as a fisherman who might catch you? Remember that life is like a wheel, spinning around and around and around.”

“I don’t care; I desire vengeance. Aha ha ha ha ha!” responded the fisherman as he threw the fish into his basket. The fish flip-flopped backwards and forwards with slowly weakening flicks until it was finished.

In its next life, the fish did return as a man and the fisherman too returned, this time as a fish. The man who had once been a fish who had once been a fisherman did indeed become a fisherman who loved fishing more than anything in the world. But he did not forget that once he had killed a fish and had finally as a fish himself been killed by a fisherman despite his pleas for mercy. Full of reverence, he resolved to return the fish he had caught to the river.

Hence forth the fisherman fished without using any bait. The strange thing was that ever since he had decided not to use bait the fish had just leaped from the water by themselves into his basket. Even then he couldn’t bring himself to eat the fish so he allowed the local villagers to take them. As there were more fish than a fish factory the local villagers took them gratefully.

The fisherman would sit by the river day and night fishing, refusing to use any bait. He did not want to eat any of the fish and he lived solely from the dew that formed on his lips in the morning, chanting the mantras of the poet Sutardji Calzoum Bachri:

How many centuries must pass,
How many watches must stop,
How many signs must appear,
How many steps must I take,
Before I am able to reach You?

Over time, the fisherman had been given the name Saint Jagakali after the great Muslim mystic of Central Java, even though the fisherman himself had acknowledged no creed.

When the sufi teacher and the prayer room attendant arrived at the other side of the river, the sufi teacher thanked the raft keeper and together he and the prayer room attendant continued on their journey to East Java.

The sufi teacher wanted to meet the chairman of Nahdlatul Ulama, Kiai Ahmad Shiddiq, to ask the venerable teacher what he would think if Michael Jackson and Jean-Michel Jarre were to record Arabic devotional songs.

After that, the sufi teacher wanted to summon his flying carpet and return to Isfahan. He was planning to drop into Qom and let Khomeini know that wisdom had spread to every corner of the earth. But then he remembered, the Great Teacher was already dead, so he changed his mind.

The sufi teacher next planned to fly from East Java to Japan, but first he wanted to take the prayer room attendant to the modern Islamic boarding school at Gontor in East Java so he could learn English. After all, a prayer room attendant in an office block in Jakarta’s ‘golden triangle’ central business district crowded with the offices of foreign investors needs to know English.

When he arrived in Japan the sufi teacher planned to go straight to Kyoto, find a Buddhist priest, and find out how he practiced Zen.

(Jakarta, February 1990)


The Sufi Teacher Passed By… (Guru Sufi Lewat…) was published in Kompas Daily in May 1990. It also appears in Ajidarma, Seno G. Dilarang Menyanyi Di Kamar Mandi: Kumpulan Cerita Pendek. Jakarta: Subentra Citra Pustaka, 1995. Print.  Kesadaran Mitis Seno by Aprinus Salam, Humaniora No. 10 Jan-Apr 1999, p. 91.

Dilarang Menyanyi Di Kamar Mandi

Dilarang Menyanyi Di Kamar Mandi

Langston Hughes

AKU, JUGA

Oleh Langston Hughes

Aku, juga, menyanyikan Amerika.

Aku saudaranya yang lebih gelap.
Aku disuruh mereka makan di dapur
Ketika tamu datang menjenguk.
Tetapi aku tertawa,
Dan makan dengan lahap,
Dan tumbuh semakin kuat.

Besok,
Aku akan makan di meja
Ketika tamu datang menjenguk.
Maka
Tak akan ada yang berani
Bilang kepadaku
“Makan di dapur.”

Tambah lagi,
Mereka akan melihat betapa tampannya aku
Dan merasa malu –

Aku, juga, Amerika.


Featured image from We Are the American Heartbreak: Langston Hughes on Race in a Rare Recording

Manuscript

The Syair Tabut of Encik Ali, Indonesia and the Malay World

“This is an annotated transcription and translation of the Syair Tabut (Poem of the Tomb Effigies) of Encik Ali, a Malay-language, Jawi-script syair account of the Muharram commemorations of 1864 at Singapore. The only known part lithograph and part manuscript of this text, on which this edition is based, is held in the library of Leiden University, shelfmark Kl. 191. For a full discussion of this Syair, see the accompanying article by Lunn and Byl (2017).”

Julia Byl, Raja Iskandar bin Raja Halid, David Lunn & Jenny McCallum (2017) The Syair Tabut of Encik Ali, Indonesia and the Malay World, 45:133, 421-438, DOI: 10.1080/13639811.2017.1374012 from https://www.tandfonline.com/toc/cimw20/current

Source: Twitter account of David Lunn

Julia Byl, Raja Iskandar bin Raja Halid, David Lunn & Jenny McCallum (2017) The Syair Tabut of Encik Ali, Indonesia and the Malay World, 45:133, 421-438, DOI: 10.1080/13639811.2017.1374012

View of Lake Maninjau in Sumatra

Language, Nation

By Muhammad Yamin, 1921

“What you have inherited from your fathers, earn over again for yourselves or it will not be yours.” Goethe

While still small and young in years
The little child nestles in her mother’s lap,
Singing soft songs and lullabies her mother
Beams over her child, overflowing with joy;
She rocks lovingly night and day,
Cradle hanging in the land of her ancestors.

Born to a nation with its own language
Surrounded by family to the right and the left,
Raised in the customs of the land of the Malays
In grief and joy and in sorrow too
Feelings of togetherness and unity flow
From her language with its sweet sound.

Whether with wailing tears, or in rejoicing
Whether in times of joy or in adversity and danger;
We breathe to maintain our lives
In the language that embodies our soul,
Wherever Sumatra is, there is the nation,
Wherever Pertja is, there is our language.

My beloved Andalas, my birth country,
From the time I was young,
Till the time I die and am laid in the earth
I shall never forget our language,
Remember, young people, unhappy Sumatra,
Lose your language, and your nation is lost too.

February 1921


First published in Indonesian in the Dutch language journal Jong Sumatra : organ van den Jong Sumatranen Bond, Batavia, February 1921 via Sandjak-sandjak Muda Mr. Muhammad Yamin [The Young Poems of Mr. Muhammad Yamin]  Firma Rada, Djakarta 1954, p. 9 and republished in Jassin, H. B.  Pujangga baru : prosa dan puisi / dikumpulkan dengan disertai kata pengantar oleh H.B. Jassin  [Pujangga Baru : prose and poetry / collected and accompanied by an introduction by H.B. Jassin] Haji Masagung, Jakarta,  1987, p. 322.

Zuidoost-Azië: Insulair / Indonesië / Jawa / Jawa Tengah (provincie) / Pekalongan (regentschap)

Pretty

By Murya Artha

We met in plenary session the other day and our leader’s plan
was the decision of the meeting in 1945
on the seventeenth of August four years of bloody history ago
the day we thrashed out the real reason, down to the basic problem
right to the root cause of the tyranny
let us decide, one by one; we have to be boldly democratic

Get past these ugly and disgusting incidents
put aside the dark memories and signs of failure to build
otherwise: one color and the determination of 70 million will have been wasted
under pressure we were the ones who thundered before
who extinguished every trace of the spirit of Deandels and Janfiter Soon Coen…

 


Source: Siasat Magazine, Number 171 Year IV, 18 June 1950.

Murya Artha was born in Parincahan Village, Kandangan, Hulu Sungai Selatan District, South Kalimantan August 20, 1920 as M. Husrien. He used pseudonyms including Bujang Far, Emhart, HR Bandahara, M.Ch. Artum, M.Chayrin Artha, and Artha Artha. He passed away at Banjarmasin October 28, 2002.


Source: (Siasat, 1950) Puisi Murya Artha: Juita

On Governor-General Jan Pieterszoon Coen see Loth, V. C. (1995). Pioneers and Perkeniers: The Banda Islands in the 18th Century. Cakalele, 6, 13-35.

Featured image: Zuidoost-Azië: Insulair / Indonesië / Jawa / Jawa Tengah (provincie) / Pekalongan (regentschap)

 

Detachement op Borneo Hoeloe Soengai, 28 Februari 1949

The Meeting

By Murya Artha

Among those who have roles at meetings,
in the midst of our revolution’s ongoing battle of dexterity
a lot of dead meat heaps up cracked earth
as if this world doesn’t have enough of God’s grace
and never has enough tools to fill the holes.


Source: Siasat Magazine, Number 171 Year IV, 18 June 1950.

Murya Artha was born in Parincahan Village, Kandangan, Hulu Sungai Selatan District, South Kalimantan August 20, 1920 as M. Husrien. He used pseudonyms including Bujang Far, Emhart, HR Bandahara, M.Ch. Artum, M.Chayrin Artha, and Artha Artha. He passed away at Banjarmasin October 28, 2002.


Source: (Siasat, 1950) Puisi Murya Artha: Rapat

Featured image: Slechts weinig is bekend over het leven van de militairen in de Hulu Sungei op Borneo

New display of Southeast Asian manuscripts from the Sloane collection – Asian and African studies blog, The British Library

In 1753 the British Museum was founded through the bequest of the vast collections of Sir Hans Sloane (1660-1673), including over four thousand manuscripts, which are now held in the British Library. …  (Read more here.)

Arabic text with interlinear translation in Javanese

Arabic text with interlinear translation in Javanese


Source: A new display of Southeast Asian manuscripts from the Sloane collection

Featured image: 16th century-mid 18th century, Arjunavijaya A broken piece of palm-leaf, with text in Old Javanese written in Balinese script, containing parts of stanzas 12, 14, 15, 16, 17, 18, 19, and 20 (but not of stanza 13) from canto 10 of the Arjunavijaya (or Arjunwijaya), a court poem (kakavin or kakawin) authored by Mpu Tantular in the second half of the 14th century, describing a scene of confrontation between Śiva’s attendant Nandīśvara and the demon Rāvaṇa. This fragment corresponds with the critical edition published by Supomo (1977 I: 109), with English transation (1977 II: 203-204). Identified by Ida Bagus Komang Sudarma, Wayan Jarrah Sastrawan and Arlo Griffiths, June 2018. http://www.bl.uk/manuscripts/Viewer.aspx?ref=sloane_ms_3480_f001r

 

Lower image: Sloane MS 2645, 1623, Dated Hadha ashkala (i.e. sengkala) al-jawi min faraghihi 1545 (AD 1623/4). Arabic text with interlinear translation in Javanese in Arabic (pegon) script. http://www.bl.uk/manuscripts/Viewer.aspx?ref=sloane_ms_2645_f005r

Javanese manuscripts in the Sloane collection

Javanese manuscripts in the Sloane collection – Asian and African studies blog, The British Library

… In addition to two manuscripts in Malay, Sloane owned five items from Java, which though fragmentary in nature encompass a wide variety of languages and scripts (Javanese, Old Javanese, Lampung and Chinese) and writing materials (palm leaf, bamboo and paper), and range from commercial documents to a primer of religious law. Sloane’s Javanese manuscripts, which are of interest not only for their diversity but also for their relatively early date, have now all been digitised and can be read on the Digitised Manuscripts website…

(Read more here.)


Source: Javanese manuscripts in the Sloane collection

Asimetris

Poem for a Bottle of Beer

By W.S. Rendra

Downing a whole bottle of beer,
I stare at the world,
and what I see is people starving.
I light some incense,
breath in the earth,
and listen to the thunder of the rioters.

The cost of hitting the town for one night,
is equivalent to the cost of developing ten villages!
What the hell kind of civilization have we created?

Why do we build huge cities,
and ignore the culture of the villages?
Why does development lead to hoarding,
rather than distribution?

Huge cities here don’t grow from industry.
They grow from the needs of foreign industrial countries
for markets and their need to buy natural resources.
Large cities here
are a means for Europe, Japan, China, America,
Australia and other industrial countries to accumulate.

Where are the old back roads?
The ones which connected villages with other villages?
They’re now abandoned.
They’re now ditches or potholes.

The roads today
represent the colonizer’s planning of years ago.
They’re just a means of distributing foreign goods from
the ports to regional centers, and natural resources from regional centers to the ports. Roads are created specifically for,
not the farmers,
but the middlemen and the Chinese businessmen.

Now we’re swept away in a stream of civilization that we don’t control.
Where we can’t do anything except shit and eat,
without the power to create anything.
Are we going to just stop here like this?

Do all countries that want to advance have to become industrial countries?
Do we dream of having endless factories,
which ceaselessly produce –
have to forever just produce things –
and finally force other countries
to become markets for our products?

Is the only option apart from industry just tourism?
Does our economic thinking
suck only on the breast milk of communism and capitalism?
Why is our own environment not considered?
Will we just be swept away
in the power of accumulating things
which spread pollution and degradation
of nature both without and nature within people themselves?

We have been taken over by one dream
to become someone else.
We have become foreign
in the land of our own ancestors.
Villagers are skittish, chasing the dream,
and enslaving themselves to Jakarta.
The people of Jakarta are skittish, chasing the dream
and enslaving themselves to Japan, Europe or America.

Pejambon, June 23, 1977

 


Poem for a Bottle of Beer (Sajak Sebotol Bir) was published in State of Emergency, W.S. Rendra, Wild & Woolley, Glebe, 1978, p. 62.

Featured image: ASIMETRIS (full movie)

Waterval met roofvogel

Poem for the Condors

By W.S. Rendra

A mountain breeze sweeps down, creeps through the forest
then blows across the surface of a vast river,
coming to rest finally among the tobacco leaves.

Then its heart is filled with compassion
On seeing the sad fate of the peasant workers
Planted in soil that is so rich, so fertile,
But which provides no prosperity for its people.

The peasant workers,
Living in windowless shacks,
Plant seedlings in the fertile soil,
Reap abundant rich harvests
While their own lives are full of misery.

They harvest for rich landlords
Who own beautiful palaces.

Their sweat turns into gold
That is collected by the fat owners of cigar
factories in Europe.
And when they demand income equality,
The economists adjust their ties nervously,
and respond by dispatching condoms.
Suffering overflows
from the trenches lining the faces of my people.

From dawn till dusk,
the bedraggled people of my country trudge, striving,
turning to the left, turning to right,
in an effort that is uncertain.

At sundown they turn into a pile of garbage,
and at night they are sprawled across the floor,
and their souls are transformed into condors.

Thousands of condors,
millions of condors,
flocking toward the high mountains,
and there gain respite from the loneliness.

Because only the loneliness
Is able to suck out the revenge and the pain.
The condors screech.
In anger they scream out,
Sound out in places that are lonely.

The condors scream
On the mountain crags they call out
Sound out in places that are lonely
By the millions the condors scratch at the rocks,
Snap at the stones, peck at the air,
and in the cities there are those who prepare to
shoot them.


Poem for the Condors (Sajak Burung-Burung Kondor) was published in State of Emergency, W.S. Rendra, Wild & Woolley, Glebe, 1978, p. 58.

Featured image: [De Rivier] Waterval met roofvogel

Dancers With Kris

Comrade

By Murya Artha

I have served up enough gunpowder and saltpeter
a mortal combat, and we have survived:

Only today we write a new page, a page of victory
the accounting of the cost to our country, as high as flying to the stars
and soaring to the seventh heaven
another level and the unity of every nationalist action will be real
one higher even than the teaching of the goal of sovereignty

Banjarmasin, ’50.


Source: Siasat Magazine, Number 171 Year IV, 18 June 1950.

Murya Artha was born in Parincahan Village, Kandangan, Hulu Sungai Selatan District, South Kalimantan August 20, 1920 as M. Husrien. He used pseudonyms including Bujang Far, Emhart, HR Bandahara, M.Ch. Artum, M.Chayrin Artha, and Artha Artha. He passed away at Banjarmasin October 28, 2002.


Source: Kumpulan Fiksi Blog, (Siasat, 1950) Puisi Murya Artha: Kawan

Featured image: Dancers With Kris, J.F.E. (Johan Frederik Engelbert) ten Klooster (Vervaardiging) Inscripties : Serie Wajang Wong 3 / – / Ten Klooster Serie Wajang Wong 3 [Dansers met kris]