Monash Asia Institute (MAI)

Masculinities in Indonesia & East Timor – Monash Asia Institute

Event Time: Tuesday, 9 May 2017, at 2:00-4:00pm

Elizabeth Burchill Seminar Room, E5.61, Level 5 Building 11 (Menzies), Monash University, 20 Chancellors Walk, Wellington Road, Clayton, Victoria 3800

Ariel Heryanto (Monash University) will be discussing multiple masculinities with members of a new generation of scholars who are completing separate research projects on the topic:

• Hani Yulindrasari (The University of Melbourne

• Noor Huda Ismail (Monash University)

• Benjamin Hegarty (The Australian National University)

• Sara Niner (Monash University).

Julian Millie (Monash University) will offer concluding comments

Contacts:

Ariel Heryanto <Ariel.Heryanto@anu.edu.au>

Julian Millie <Julian.Millie@monash.edu>

Hosted by Anthropology/School of Social Sciences

FACULTY OF ARTS, MONASH UNIVERSITY

GUEST SPEAKERS

HANI YULINDRASARI is a lecturer in the Early Childhood Teacher Education Program, Universitas Pendidikan Indonesia in Bandung, Indonesia. She is currently completing her doctoral thesis on “Negotiating masculinities: the lived experience of male teachers in Indonesian early childhood education.” By examining gender narratives among male teachers, the research examines the diversity of masculinities in Indonesia including a range of ‘nurturing masculinities’.

NOOR HUDA ISMAIL focuses his research on the Indonesian foreign fighters, hegemonic masculinity and globalization. His internationally acclaimed documentary film Jihad Selfie (2016) traces the steps of a young man from Aceh as he was about to go to Syria to join ISIS. In his work, Ismail contends that the ‘masculine’ is not only a personal practice but a political decision which requires the struggle for limited resources, the mobilization of power and tactics.

BENJAMIN HEGARTY is completing his doctoral dissertation on the changing possibilities for queer intimacy and the feminine transgender body in authoritarian Indonesia (1966-1998). He will share with us his insights on changing notions of being a complete man (laki-laki komplit) as the New Order ideology of marriage and household is an increasingly difficult path to follow and new sites of pleasure and possibilities for economic success induce a different and more ambiguous future of masculinity in the post-authoritarian period.

DR. SARA NINER is an expert in the field of gender and development with a long-term interest in those issues in the post-conflict environment of Timor-Leste. Her current research explores gender roles in the post-conflict setting of Timor-Leste (East Timor), focusing on the implications for change and continuity in constructions of masculinities over time.

HOSTS

Associate Professor Julian Millie is ARC future fellow in the Anthropology, working on publicness in Indonesia’s regional Islamic spheres. His forthcoming book Laughing, crying, thinking: Islamic oratory and its critics will be published by Cornell University Press.

Ariel Heryanto is the new Herbert Feith Professor for the Study of Indonesia, Faculty of Arts. His latest book is Identity and Pleasure; the politics of Indonesian screen culture (2014).


Source: Monash Asia Institute, Arts, Humanities, Social Sciences and Performing Arts
Monash University, Caulfield Campus, Building H, 900 Dandenong Road, Caulfield East  Vic  3145, Ph: 61 3 9905 2929, MAI-Enquiries@monash.edu

Graffiti

Event: Two films on transgender issues in Indonesia

07 February 2017

Film screening

The first screening of the ‘Framing Asia’ film series will focus on transgender issues in Indonesia. Two short films Renita, Renita and Accross Gender  will be followed by discussion with Intan Paramaditha, Indonesian author and lecturer in media and film studies and one of the filmmakers, Anouk Houtman.

Films

Renita, Renita (15min)

Tony Trimarsanto

Trapped in a male body, Renita wanted to be a doctor and a woman since she was a child but her parents forced her to study at a Islamic school where she was bullied and ostracized. She rebelled by becoming a prostitute in the hope of finding freedom but instead, found that it came at a cost — she experienced brutality and was discriminated against by her family and the Indonesian society in which she lived.

Across Gender (24min)

Anouk Houtman

What is it like being transgender in Yogyakarta? There is no single answer to this question. This film aims to show different ways of negotiating visibility in the Indonesian society when one ‘crosses gender’. The difficulty of this negotiation becomes apparent through the anti-LGBT sentiments and actions in early 2016.

Discussion

Anouk Houtman is a young filmmaker with an MA in Visual Anthropology of Leiden University. She graduated with a film and thesis researching the visibility of transgenders in Yogyakarta, Indonesia. Currently she is pursuing a second MA in Gender Studies and University Utrecht.

Intan Paramaditha is an Indonesian author and lecturer in media and film studies at Macquarie University, Sydney. Focusing on contemporary film practice in Indonesia, her research explores the relation between media, cultural activism, and sexual politics in the convergence and tension between national and cosmopolitan trajectories.

Time 19:30- hrs Venue Faculty of Humanities, Lipsius building, rom 028 Cleveringaplaats 1 Leiden Netherlands Google Maps

Source –http://iias.asia/event/two-films-transgender-issues-indonesia

Event: Women’s Resistance Through Arts and the Media in Indonesia – Intan Paramaditha

image

Praktisch: Free entrance
Doors open: 19:30
Met
Intan Paramaditha
Women’s Resistance Through Arts and the Media in Indonesia

The discourse of sexuality is inseparable from the tension and polarization that characterize politics and culture in Indonesia. Last year, after a series of anti-LGBT statements were publicly expressed by government officials and public figures, “pro-family” groups proposed to outlaw non-marital sex and homosexuality. This is not a sudden turn as debates around sex, bodies, and morality have been a national obsession for the past two decades. Sexuality is a contested sphere that reflects the fractured nature of the post-authoritarian nation.

Growing conservatism in Indonesia, as elsewhere, entails the attempts to regulate and censor women’s bodies. …

Source – http://intanparamaditha.org/event-womens-resistance-through-arts-and-the-media-in-indonesia/

Dartmoor's tors

Tahun Baru Di Dartmoor

Tahun Baru Di Dartmoor

Oleh Sylvia Plath

Ini adalah kebaruan: setiap halangan murahan
Kecil yang terbungkus oleh kaca dan ganjil,
Berkilauan dan berdenting dalam suara falsetto seorang santo. Cuma kamu
Tidak tahu bagaimana memahami kelicinan mendadak itu,
Kemiringan buta, putih, seram yang tidak teraih.
Yang tidak dapat didaki dengan perkataan yang kamu tahu.
Tidak dapat didaki dengan gajah atau roda atau sepatu.
Kita hanya datang untuk melihat. Kamu terlalu muda
Untuk menginginkan dunia di dalam topi kaca.

Biljartzaal van sociëteit De Harmonie te Batavia

Ayah

Ayah

Oleh Sylvia Plath

Kamu tidak lagi pas, kamu tidak lagi pas
sepatu hitam
Di mana aku sudah hidup seperti kaki
Selama tiga puluh tahun, miskin dan putih,
Hampir tidak berani bernafas atau bersin.

Ayah, aku sudah harus membunuhmu.
Kamu meninggal sebelum aku ada waktu–
Berat seperti marmer, sekarung penuh Tuhan,
Patung mengerikan dengan satu jari kaki kelabu
Sebesar anjing laut Frisco

Dan sebuah kepala di dalam Atlantik aneh itu
Di mana hujan deras berwarna hijau kacang di atas biru
Di perairan lepas Nauset yang indah
Aku dulu berdoa untuk mendapatkanmu kembali.
Ach, du.

Dalam bahasa Jerman, di kota Polandia itu
Terkikis datar oleh penggilas
Perang, perang, perang.
Tapi nama kota itu umum.
Sahabatku orang Polak

Katanya ada selusin atau lebih.
Jadi saya tidak pernah bisa tahu di mana kamu
Menginjakkan kakimu, akarmu,
Aku tidak pernah bisa berbicara denganmu.
Lidah terjebak di rahangku.

Lidah terjebak dalam jerat kawat berduri.
Ich, ich, ich, ich,
Aku hampir tidak bisa bicara.
Aku pikir setiap orang Jerman adalah kamu.
Dan bahasanya kasar

Sebuah lokomotif, sebuah lokomotif
Bergemuruh membawaku seperti orang Yahudi.
Seorang Yahudi ke Dachau, Auschwitz, Belsen.
Aku mulai berbicara seperti orang Yahudi.
Aku pikir mungkin aku adalah orang Yahudi.

Salju di Tyrol, bir jernih dari Wina
Tidak begitu murni maupun benar.
Dengan leluhur perempuanku seorang Jipsi dan keberuntunganku yang aneh
Dan pak kartu Tarotku dan pak kartu Tarotku
Mungkin aku sedikit Yahudi.

Aku selalu takut padamu,
Dengan Luftwaffemu, omong kosongmu.
Dan kumis rapimu
Dan mata Aryanmu, biru terang
Manusia Panzer, manusia Panzer, Oh Kamu–

Bukan Tuhan tetapi swastika
Begitu hitam sehingga tiada sedikitpun langit dapat mengintip.
Setiap wanita mencintai seorang Fasis,
Sepatu bot di muka, orang kejam itu
Hati brutal dari orang brutal seperti kamu.

Kamu berdiri di papan tulis, ayah,
Dalam gambar kamu yang aku punya,
Celah dalam dagumu bukan kakimu
Tetapi itu tidak mengurangi kesetananmu, tak juga
Mengurangi sifatmu sebagai orang kulit hitam yang

Menggigit hati merah cantikku menjadi dua.
Usiaku sepuluh ketika mereka menguburmu.
Pada usia dua puluh aku berusaha mati
Dan kembali, kembali, kembali kepadamu.
Aku pikir tulang pun akan cukup.

Tetapi mereka menarikku keluar dari karung,
Dan aku ditempel kembali dengan lem.
Kemudian aku tahu apa yang harus kulakukan.
Aku membuat model kamu,
Seorang pria berpakaian hitam berpenampilan Meinkampf

Dan sayang pada rak dan sekrup.
Dan aku berkata ya, ya.
Jadi ayah, aku akhirnya putus.
Telepon hitam itu mati pada akarnya,
Suara-suara itu tetap tidak mampu merayap keluar.

Jika aku telah membunuh seorang pria, aku sudah membunuh dua–
Vampir yang mengaku sebagai kamu
Dan minum darahku selama setahun,
Tujuh tahun, kalau kamu ingin tahu.
Ayah, kamu dapat berbaring sekarang.

Ada pasak kayu dalam jantung hitam gemukmu
Dan penduduk desa tidak pernah menyukaimu.
Mereka menari dan menginjak-injakmu.
Mereka selalu tahu itu kamu.
Ayah, ayah, bajingan kamu, putuslah aku.


https://www.poetryfoundation.org/poems-and-poets/poems/detail/48999

Sylvia Plath, “Daddy” from Collected Poems. Copyright © 1960, 1965, 1971, 1981 by the Estate of Sylvia Plath. Editorial matter copyright © 1981 by Ted Hughes. Used acknowledging all applicable rights of HarperCollins Publishers.

Source of English: Collected Poems (HarperCollins Publishers Inc, 1992)

Images: http://www.geheugenvannederland.nl/nl

Shackled by Cement

Indonesia’s brutal history brought to global attention — FT.com

“In 1999, as Indonesians were still celebrating the end of 31 years of dictatorial rule by Suharto, their second president, an unemployed philosophy graduate started writing a sprawling novel that blended his fascination for martial arts and horror stories with an acerbic take on his country’s twisted history.”  (Read more)

Source: Financial Times


Image: Rural women from Rembang in Central Java province protest outside the President’s office over the construction of a cement factory in their district.


Source: WatchDoc Films

Acceptance

Acceptance by Sheila on 7

What is wrong with this song?
Why do I remember you again?
It’s as if, I can feel
The beat of your heart and the step of your feet
Where is this going to carry me?

You have to be able, able to accept
You have to be able, able to take the positive
Because nothing, nothing’s the same any more
Although you know, he feels it too
Aaaa aa…

On this quiet narrow road
It’s as if I can hear you sing
You know, you know
My feeling was your feeling too
You have to be able, able to accept
You have to be able, able to take the positive
Because nothing, nothing’s the same any more
Although you know, he feels it too
Where is this going to carry me?
I won’t ever know

You have to be able, able to accept
You have to be able, able to take the positive
Because nothing, nothing’s the same any more
Although you know, he feels it too
Na na na na na na…

Sending rays of light for you