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This was followed by the publication of his novels Ni Rawit ceti penjual orang Ni Rawit, matchmaker and slavetrader, , originally published in , Sukreni gadis Bali Sukreni, a Balinese girl, , originally published in , and I Swasta setahun di Bedahulu I Swasta, a year in Bedahulu, His national publications and his writing skill paved the way for him to assume the position of editor-in-chief of Djatajoe.
Djatajoe was a monthly magazine published by Bali Darma Laksana Righteous action in Bali , an organization of Balinese intellectuals based in Singaraja, founded in The main goal of Bali Darma Laksana was to develop Balinese culture and provide basic education to the Balinese people Agung Its activities focused on education and culture rather than on politics and nationalism.
Members of Bali Darma Laksana and Putri Bali Sadar used Djatajoe as a medium for spreading messages such as their objections to polygamy and the use of images of bare-breasted Balinese women on postcards and for promoting tourism Putra When the first edition of Djatajoe appeared in February , Poedjangga Baroe welcomed the new magazine by way of a brief review.
An obvious and significant difference between the two magazines is that the great concern of Poedjangga Baroe was the ideal national culture for Indonesia, while Djatajoe focused more on local issues. Djatajoe reprinted some articles and a short story from Poedjangga Baroe — an exchange that gave Balinese writers an opportunity to follow the development of national literature, gave Balinese literature a greater prominence in Indonesian literature as a whole.
They decided that the magazine should focus more on local issues, especially those of concern to the publisher, Bali Darma Laksana.
The development of Indonesian literature from Bali 39 Djatajoe published poems and short stories in the Indonesian language, and one novel in Balinese, entitled Mlancaran ka Sasak Travelling to Lombok, by Gde Srawana, a pen-name of I Wayan Bhadra. It also published many gaguritan, traditional Balinese poems consisting of a fixed number of lines in one verse with a particular syllabic ending to every line, which suggests a strong commitment to Balinese culture.
Among contributors who submitted literary works in Indonesian to the magazine were members of Bali Darma Laksana with both lower and upper-caste backgrounds, including M. Oke, K. Kandia, I Gusti P. The themes of the poems varied, but most were concerned with regional issues, such as poverty, inequality, tourism, and the importance of education and of Balinese culture. However, when the caste issue reappeared, the approach was different.
Short-story themes included gender issues, education, modernity and Balinese identity, an example being the story Kurban see Chapter VI by Bhadrapada, another pen-name of I Wayan Bhadra. During the colonial period, Surya Kanta and Djatajoe published a substantial number of Indonesian literary works. Indonesian literature originating from Bali closely followed the development of national literature in terms of form, as evidenced by the shift from syair to modern poetry; but in terms of themes, Balinese literature during the colonial period generally dealt with local issues, modernity and ethnic identity.
Encompassing the Japanese occupation, the declaration of Indonesian independence, the arrival of the Netherlands Indies Civil Administration NICA to restore Dutch colonial rule, the anti-colonial war and the national revolution, and its associated political and ideological conflicts, these decades formed an important chapter in the history of Indonesian literature and saw the publication of many significant works. Among the writers who flourished at this time were the well- known poet Chairil Anwar, the acclaimed short-story writer Idrus and the prominent prose writer Pramoedya Ananta Toer.
Together with many other artists residing in Jakarta, they were given the name Angkatan 45 The 45 generation and their works focused on the themes of revolutionary spirit, nationalism and anti-colonialism.
A distinguishing feature was reflecting the social conditions of the time. Cultural clashes between left and right-wing artists at this time were an extension of wider political and ideological conflicts.
The national revolution period became the most dynamic in Indonesian literature at the national level. The development of Indonesian literature in Bali, particularly during the s, was somewhat different from the national level. Literary life throughout the s was very quiet and marked by the writing and publication of few works, not all of them still available. It failed to win a prize in the competition and, probably for that reason, never appeared as a book.
He was imprisoned by the Japanese for some years, and after his release chose to be active in education rather than writing. He subsequently joined the revolutionary movement Sukada ; Caldwell All of these works are currently unavailable. There are at least two reasons for this period of stagnation in Balinese literary life. Many Balinese intellectuals, including Panji Tisna, Nengah Metra, a former writer and Surya Kanta activist, and I Gusti Bagus Sugriwa, a pre-war writer interested in traditional literature, became involved in the national revolution Bagus ; Vickers , and consequently had no time for writing.
The only publication allowed during the Japanese occupation was the Japanese-controlled newspaper Bali Shimbun, printed in Indonesian, which also published poetry. The first Balinese publication to appear after independence was Suara Indonesia. Making its debut on 16 August , it eventually became the Bali Post, after first changing its name to Suluh Indonesia and then to Suluh Marhaen. Ketut Nadha, who had worked for Bali 10 There is no information available to explain why these works were published in Medan, rather than Jakarta or somewhere else closer to Bali.
Pendit, interview, Jakarta, Pendit stated that he published several poems in Bali Shimbun. The archive of this newspaper is not available. During the struggle to maintain Indonesian independence against the NICA, Ketut Nadha joined the nationalist movement and used Suara Indonesia to encourage revolutionary feelings. The two name changes to Suluh Indonesia and Suluh Marhaen complied with mid- s Old Order political policy, which declared that all newspapers must be affiliated with a political party.
The New Order government instituted a new policy in the early s which fused the existing multiple parties into three parties, and ended the affiliation of newspapers to political parties.
Under the new policy, the paper wanted to change its name back to its old name Suara Indonesia, but was unable to do so because it was already the name of a newspaper in the East Javanese town of Malang. The newspaper then changed its name to Bali Post, a new name that has reflected a gradual shift from national to regional identity.
As archives from the earliest years of this newspaper are unavailable, it is difficult to assess its contribution to the development of Balinese literature at that time. Since the s, however, it has played an important role. Balinese publications that emerged during the s and the early s show that significant developments in Balinese literature were taking place. The first, Bhakti, appeared in Bhakti was published three times a month, edited by Putu Shanty with the initial support of a staff that included Nyoman S.
Pendit, Ketut Surawan and Nyoman Wisade an illustrator , although the personnel changed over time. Most of them were Balinese students who had continued their studies in those places. Their contributions were not limited to news about the Balinese diaspora, but also included details about political, economic, social and cultural changes at the national level.
In this way, the 14 K. Nadha, interview, Denpasar, The development of Indonesian literature from Bali 43 magazine became a two-way bridge between Bali and the nation. In response to this accusation, the editorial of 15 June stated that the magazine was for all groups. The magazine published many pieces upholding the Hindu religion, and even traditional literature such as Gaguritan megantaka, accompanied by a translation into Indonesian.
Wisade as chairman. No documentary evidence is available about its activi- ties. In an interview in , Putu Aswin, who contributed to and also distributed Bhakti, revealed that left-wing activists established this group and invited young artists who did not know much about politics to become members as well as leaders of the organization. These writers were already national literary figures. This suggests that Bhakti succeeded in making itself one of the national Angkatan 45 and Angkatan 66 literary journals by incorporating the work of prominent non- Balinese writers.
Bhakti also published translations of the poems of Ralph Waldo Emerson and the fiction of O. Damai first appeared on 17 March , a year after Bhakti began publication. The principal backer and general manager of Damai was I Gusti Bagus Sugriwa, a teacher and writer best known for his work on classical Balinese literature, who was also an important figure in Balinese religious reform. Bhakti was published in Singaraja, and Damai in Denpasar.
Damai encouraged the younger generation to write, and in particular to write literary works. Selasih, and I Gusti Ngurah Oka. In general, the poetry and fiction in Damai were set against the background of the revolutionary struggle and the need to protect the masses. The development of Indonesian literature from Bali 45 stories connected with the struggle or with social changes that were affecting the younger generation.
Although it carried many modern poems and short stories, Damai also published traditional Balinese literature such as the kakawin Old Javanese poem Dharma sunya, translated into Indonesian by I Gusti Bagus Sugriwa. During the brief time they appeared, Bhakti and Damai printed over one hundred short stories, many more poems, and some plays. The writing in these magazines covered issues such as poverty, frustration with the political leadership, inflation, problems of finding employment, and the need to maintain the revolutionary spirit.
In Damai, gender issues, particularly as they related to teenagers experiencing adolescence in an environment of modernity, and the emerging influence of Western values, formed the dominant theme for short stories. The frequent appearance of these themes in Damai is probably attributable to the fact that contributors to the magazine were often high school students who were excited about freedom and modern values.
Bhakti focused much less on these adolescent concerns, and instead dealt with the more serious issues of poverty and the hardships of life.
An important feature of the literature published in Damai and Bhakti is that it demonstrates the strong social commitment that Indonesian literature from Bali has always possessed. Besides stimulating literary life and providing a showcase for writing, Bhakti and Damai also served as forums for literary debates. The attitudes that Balinese writers adopted in formulating their critical responses can be seen in a number of debates and reviews of artistic activities.
In , Bhakti published a poem by Suchica Danty entitled Sebuah dongengan tentang dewa-dewa A legend concerning the gods with the subtitle untuk menyambut Nyepi.
Oka 18 Bhakti was published three times a month and Damai twice a month. These magazines published at least one short story, sometimes two or three, in every issue. Nyepi is the Balinese New Year, which falls between March and April and is usually celebrated with several days of religious festivities and parades. An interesting aspect of P. Gusti Ngurah Bagus also took part in the argument.
In an article published in Damai, he praised Chairil effusively, both as a man and as a poet, and strongly asserted that Chairil was not a plagiarist Ngurah Bagus Chairil has always commanded great respect in Bali and elsewhere in Indonesia. On 28 April , Balinese writers commemorated the anniversary of his death in Singaraja with the staging of plays, literary discussions and competitions in reading his poetry Shanty This upsurge in literary publications, debates and other activities is indicative of the dynamic development that national literature underwent in Bali in the s.
After the closure of Bhakti in , and Damai in , Imbangan and Harapan took over their role as literary sites. The archive of Imbangan is not available, but it is known that this newspaper published literature, including poetry.
The essay was published in Bhakti The development of Indonesian literature from Bali 47 standing and his works. Harapan was published during the late s in Singaraja, managed by M. Rasjid and Wayan Dangin, with Panji Tisna later joining them as a general adviser. This newspaper was intended to cover the whole Nusa Tenggara region. Aimed at this wider readership, Harapan carried news from Lombok, Sumbawa and other areas of eastern Indonesia.
This had N. Ridha as its editor, and mainly published poetry. Gereh, Jaim R. Aziz, Ara, L. Suwarni, Tan Ay Mm. The last two authors were apparently of Chinese ethnicity. Since most of these writers were young at this time, their works were dominated by love stories and expressions of self-discovery and therefore differ from works published in Bhakti and some of those in Damai, which are more concerned with social issues. Social issues increased in importance in the s, when the ideological conflict between left and right wing politicians and artists reached a peak in Indonesia.
In the first half of the s, the politicization of arts and culture throughout Indonesia resulted in the increasing integration of literary life in Bali with that at the national level, which involved the sometimes violent opposition of left and right-wing cultural groups Foulcher , a; Mohamad The reasons why Lekra and the LKN — allies at the national level, both strongly supported by Sukarno and sharing the same revolutionary spirit — should become enemies in Bali are outlined in the following brief discussion of the emergence of Lekra Bali and other cultural organizations there.
Lekra Bali rapidly came to dominate cultural and literary activities in Bali. In February , Lekra Bali hosted the well-attended Lekra National Conference in Denpasar, which attracted left wing writers from all over Indonesia. This meeting took place in Denpasar, attended by writers and artists from a variety of African and Asian countries.
Pramoedya Ananta Toer and Sitor Situmorang were co-chairmen of the national committee for this meeting. These two meetings provided unprecedented opportunities for Balinese writers to develop national and international contacts and after this Putu Shanty and Putu Oka Sukanta became involved in the national organization of Lekra. Competition for supremacy among cultural institutions in Bali had its own history, form and contenders. HPS began as a politically unaffiliated, independent group, but in order to gain political support for its members, it eventually joined LKN, the cultural arm of the PNI.
Although the cultural movement supporting Manikebu had been widely publicized, Kirdjomuljo was the Yogyakarta-based writer who brought it to the attention of Balinese artists. I would like to thank Jenny Lindsay for lending me a copy of the congress documentation which included the text of a speech by President Sukarno, a speech by the PNI chief of the Central Java province, papers discussed in the congress and a list of the committee members.
The names of the Balinese representatives can be found under the committee list. In , Kirdjomuljo spent some months in Bali travelling from one district to another watching his play entitled Teratai berajun The swaying lotus being performed by local theatre groups.
During his trip, he either stayed with or was accompanied by LKN members. In addition, Raka Santeri in interviews in Denpasar, 18 December and 4 January , confirmed his support for the Cultural Manifesto, although he cast doubt on whether he signed the actual document. They had believed the meeting was a forum in support of Manikebu, but Lekra had in fact convened the forum to attack it.
This intense opposition eventually forced Raka Santeri, Judha Paniek and Gde Mangku to withdraw their support — an action they took not simply to distance themselves from it but also as a criticism of its anti-revolutionary aspects.
The suppression of open support for Manikebu in Bali, however, did not alleviate the underlying conflict between left and right wing cultural institutions. Instead, it contributed to growing resentment and conflict between Lekra and LKN. The conflict arose primarily as a local dispute between members of the two organizations but was also an extension of escalating political polarization between the Partai Komunis Indonesia PKI, Indonesian Communist Party and Partai Nasionalis Indonesia PNI, Indonesian Nationalist Party — the two main political factions in Bali which had emerged in the mid- s.
Gde Mangku was an interesting figure because it was understood that he was later killed for allegedly being a member of Lekra. The development of Indonesian literature from Bali 51 The tension between the PKI and PNI arose due to the poor implementation of Nasakom Nasionalis, Agama dan Komunis; Nationalism, Religion and Communism , the political strategy designed by Sukarno to reconcile the interests of the three main polit- ical factions at that time.
Social and political structures and activities at all levels had to comprise elements of Nasakom through a politi- cal strategy known as Nasakomisasi. In reality, both Sukarno and the governor of Bali, Anak Agung Bagus Sutedja, favoured the com- munists over the nationalists, thus upsetting an already precarious political balance Robinson Meanwhile the Nationalist wing, supposedly one element of Nasakom, was completely excluded from this international meeting.
Unfortunately, very little evidence of the writing and other literary activity from and survives, as much of the work from this period was burned during the later eradication of left-wing groups.
The events following the alleged coup attempt in handed victory to former Manikebu artists and their supporters in Jakarta and led to the elimination of Lekra, but in Bali this triumph extended to right-wing LKN members. Many of the key figures in Lekra, such as Putu Shanty and Oka Derty, were killed and others such as Putu Oka Sukanta were imprisoned from to They promoted sastra Marhaenis Marhaenist literature instead.
In a seminar on the theme held on July , LKN activists discussed ways of implementing Marhaenism in cultural practice Warna a, b. This seminar was an important one because it occurred just after the termination of the conflict between Lekra and LKN. Works of left wing writers promoted communist ideology and were generally found in local left wing newspapers such as Bali Dwipa and Mingguan Fajar,34 as well as the national newspaper Harian Rakjat or the magazine Zaman Baru.
By contrast, right-wing writers expressed anti-communist sentiments and promoted a form of national unity based on Pancasila, the Indonesian state ideology.
The Armed Forces established the latter in mid to provide more space for artists to promote anti-communist sentiment. The short story entitled Matinya seorang merah The death of a red by Sunartoprajitno, a Javanese writer, in Harian Angkatan Bersendjata, tells of a left-wing political activist who was optimistic about becoming a bupati district head but died after a public attack. A number of poets even still dedicated their poems to President Sukarno as the leader of the Indonesian revolution.
Suara Indonesia, which changed its name to Suluh Indonesia Bali edition in , was the newspaper most willing to publish their work. Having a PNI affiliation, it was therefore not simply an intermediary but rather an active supporter of the 34 Archives of these newspapers are not available; they were probably burnt during the purge of communists in , but they did publish news and articles on culture, see Widminarko The development of Indonesian literature from Bali 53 revolution and of Marhaenist ideology Sutedja-Liem Unlike writers from the colonial period, with their concerns about local issues and strong Balinese identities, writers from this period discussed political and national issues in their works and identified themselves as Indonesian rather than Balinese.
As soon as Suharto took power, he prohibited the affiliation of cultural institutions to political parties and in addition, they had to be formed under government supervision and control. The Suharto government imposed heavy- handed regulations to establish its influence over literature and other creative art forms. Literary publications, although not directly censored, were subject to close surveillance. To some degree, this quasi-censorship was not just a political tool but also represented a psychological reaction to the chaos of the s and early s — and there was a perception that literature had contributed to this more than any other sector of the creative arts.
Right-wing writers, former supporters of Manikebu, re-emerged and established the magazine Horison in July This was the first literary magazine to take an anti-communist stance and therefore to gain the support of the New Order government Hill The new national political situation had a major impact on Balinese artistic and literary life.
Its establishment and progress is a good illustration of the method by which the regional arms of the New Order government began by engaging with the arts, and then took over full control of the development and activities of arts and culture organizations.
Listibiya focused on traditional arts and culture and showed little interest in the field of modern literature, which had previously been the dominant cultural area.
It is worthy of note that Listibiya is still in existence under government control, and because of its authority is still the main cultural organization in Bali. Although members of Listibiya Bali were predominantly former members of LKN, this new organization was not an LKN replacement, since LKN continued to be an active cultural organization until the s. Some other organizations also underwent depoliticization in the early New Order years. Before its remodelling, Himpi Bali had published Penyair Bali Balinese Poets, , a collection of poetry written entirely in Indonesian, which deserves mention because it was the first such anthology by Balinese writers in Balinese literary history.
These themes also predominated in the Himpi poems that appeared in Suara Indonesia and Angkatan Bersendjata. Many Himpi members tried to publish their works nationally in order to get broader recognition, but only a small number, notably Rasta Sindhu, Faisal Baraas and Putu Wijaya, were successful.
Their works appeared in national newspapers and magazines such as Kompas, Sinar Harapan, Selecta and Horison. The early novel by Putu Wijaya, Bila malam bertambah malam As the night grows darker, , shares this theme, which will be dealt with in detail in Chapter V, while his Tiba-tiba malam Night falls suddenly, covers another regional issue, conflict between Balinese and Western values arising from tourism, dealt with in Chapter VII.
The representation of regional and cultural issues, instead of national and revolutionary ones, reflects a shift in the thematic and aesthetic approach from the socialist realism so heavily promoted by Lekra and LKN members in the s and s. The New Order regime preferred universal humanism, a newly formulated mainstream aesthetic approach that conformed to its cultural and artistic policies.
Members of Lesiba published their work in the Bali Post and in Nusa Tenggara — the new version of Angkatan Bersendjata — in the s and s. In addition to former Himpi members who were by now middle-aged, many members of Lesiba were students in the Faculty of Letters and were encouraged by I Made Sukada to write literature and criticism for the Bali Post Suarsa These two institutions — the faculty and the newspaper — played, and continue to play, important roles in the development of Balinese literature.
The participants in this poetry reading were mainly members of Lesiba. During the same period, Lesiba also frequently held literary discussions at the Bali Arts Centre. Sometimes members met with nationally recognized writers including Sutan Takdir Alisjahbana, who often spent time in his villa on the shores of Lake Batur in Bali in the late s and s, and Nh.
Dini, who occasionally came to Bali and met with Balinese writers. Reports of events like these often featured in the local press.
Both these events provided Balinese writers with opportunities to contact and introduce their work to writers from the rest of Indonesia and from overseas. Lesiba published a number of poetry collections up to the early s, generally featuring two or three poets in each one. The anthology contains 15 poems, each written by an active member of Lesiba, and was designed as a special contribution from the group to highlight its role as an artistic and cultural institution.
Although Lesiba still formally exists, by the late s it was practically defunct. Its leader, I Made Sukada, unfortunately suffered a stroke in the early s and died in Balai Pustaka published his short story collection Anak Children , and a local publisher printed his novel Sembilu dalam taman Grief in the park Parsua a, b. Despite this, and the inclusion of works by Lesiba members in national collections such as Cerpen Indonesia mutakhir Latest Indonesian short stories [four volumes], by Satyagraha Hoerip and Tonggak, antologi puisi Indonesia Milestones, Indonesian poetry anthology [four volumes] , edited by Linus Suryadi, the contribution of Balinese writers to the development of Indonesian literature at the national level in the s was scarcely acknowledged.
By the early s a new generation of young writers had appeared, signifying a positive shift in the progress of Balinese literature.
This would not have happened without the pivotal role played by Umbu Landu Paranggi and the Bali Post, where he has been literary editor since He initially studied law at Gajah Mada University and later worked as literary editor of Pelopor Pioneer , a Yogyakarta newspaper. The role that Umbu Landu Paranggi played during his time in Yogyakarta has been widely acknowledged by poets such as Emha Ainun Nadjib despite the fact that he left the city a long time ago.
It was open to contributions by fledgling writers of poetry, literary analysis, commentary and even personal reflections. Seen in hierarchical terms, the youth section clearly ranked lower than the culture section, and young contributors had to undergo a strict selection process before their work could appear in the culture section Putra Editors of the Bali Post earlier in the s and of Bhakti and Damai in the s had used similar editorial strategies to try to provoke competition among young writers.
The difference is that Umbu Landu Paranggi proved to be more successful at producing serious and committed writers than previous editors. It would take a minimum of five years for writers to gain promotion to the culture section, depending on their level of talent and rate of progress.
In the early s, he added a student section to encourage more high school students to write. In doing this, he was repeating to some degree what he had done in Yogyakarta. All this has reinforced the sastra koran nature of Balinese literature. During his editorship, Bali has seen the emergence of young poets with a strong commitment to the promotion of Balinese literature, such as Alit S. They have dominated national poetry-writing contests, and are frequently invited to national, regional ASEAN and international literary forums.
These groups have conducted literary activities with both local and national range, such as national poetry writing contests, poetry reading contests, literary forums and theatre performances Hunter Teh gingseng was designed as a wedding present for two members of Sanggar Minum Kopi, which changed its name to Yayasan Cak The Cak foundation in It put out Cak, its own literary magazine, which was significant even though it only ran for five editions , because it coincided with the emergence of the regional literary movement gerakan sastra pedalaman in Indonesia Derks Thus, Cak and Balinese writers in general contributed to strengthening the regional literary movement, although later developments suggest that their most desired outcome is still national publication.
While some older Balinese writers benefit from Jakarta-based national publication, the majority of arts and literary activities remain in the hands of members of the literary club, Yayasan Cak. This new environment created an atmosphere that encouraged regular literary activities and arts performances.
Poets, writers and academics from Bali and elsewhere received invitations to come and talk about literary and cultural matters — a scene reminiscent of the one centred around Lesiba a decade earlier. Several contemporary performances, which received wide public attention and press coverage, took place — for example, one by the prominent Balinese artist and painter Nyoman Erawan. New subject matter and aesthetic approaches have also marked recent Balinese literature, as well as the emergence of new poets.
Unlike their predecessors in the s, with their themes of universal humanism, in the late s poets began to discuss the social changes that Bali was undergoing. Writing about social issues became possible because a civil society that demanded greater levels of democracy in government had emerged. In Bali, the beginnings of a new civil society appeared when strong protests against a mega-project proposing a tourism precinct that incorporated the Bali Nirwana Resort and the Garuda Wisnu Kencana Golden Garuda Monument took place between and The poems also reflect the widespread radical social and political changes in Indonesia that led to the fall of the New Order regime in May Although set in a local context, many of the poets articulate disappointment with the development policies of the central and provincial governments.
While these poets are engaging in social protest, they do it in a lyrical and poetic manner, using symbols and metaphors that prevent the works from becoming crude propaganda similar to that written in the s.
Prose writing also developed significantly in the early s. The themes of caste conflict and the clash between traditional values and modernity, which have been popular since the s, continue to appear. These local issues, in fact, attract national audiences. They will be discussed in Chapter V.
Given that the caste system and the impact of tourism remain central to Balinese life and the discourse about Balinese identity, these themes will probably continue to be prominent in Balinese literature for the foreseeable future.
A striking feature of Indonesian literature of the late s is the emergence of a number of women writers such as Ayu Utami and Dee Lestari. This phenomenon also took place in Bali with important Balinese women writers such as Alit S. The first three were graduates of the Faculty of Letters at Udayana University and now work as journalists at the Bali Post. Cok Sawitri studied economics at a private university in Bali, and she too worked at the Bali Post before taking a job in local government in Their contributions have marked a significant shift in theme and the representation of women in Balinese literature.
In the past women were depicted as lacking a voice, but in the work of contemporary women writers they are shown as characters who both question and challenge some of the socially mandated gender roles for women. Currently, the most active Balinese female writer is Oka Rusmini who has published dozens of poems, short stories and novels. Her major works are the novel Tarian bumi The dance of the earth, and an anthology of short stories, Sagra In , she published her poetry collection titled Patiwangi.
Prasetyo and Wayan Arthawa Rampan Although not part of any permanent organization, Balinese writers collectively have continued to contribute to the development of Indonesian literature at the national level.
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Jika perempuan itu cukup soleh, takut mukanya yang cantik itu akan menimbulkan fitnah, maka berpurdahlah kamu, jika itu lebih baik untuk kamu. Lagipon dia lelaki dalam jelmaan wanita. Tujuh Anak Lelaki.
Meski tetap ingin jadi lelaki, tapi penampilan dan sikapnya yang agak feminin, membuat orang langsung mencap Bobby ke-wanita2-an. Sebelum ni bersemangat nak buat kerja rumah. Gairah Keluarga Istriku. Ia turut dipanggil adat potong jambul. Doktor pelatih lelaki 3 orang kot. Selalunya perempuan je kan buat masker untuk putihkan muka. Aku duduk di meja makan membaca koran setelah menyantap makan siangku. Inilah cerita seks antara majikan dengan pembantunya yang montok.
Semasa dia tercegat di tengah halaman rumah Nenek Aji, lantas ditabur kepalanya dengan beras kunyit. Haa kali ni lelaki pulakk, ingat lelaki tak perlu muka bersih dan putih ke. Gadis kecil yang matanya bercahaya, lengkap dengan rekaman di kepalanya. Terima kasih Mak Tok. Suara manusia meninggi menjerit dan berteriak di masjid-masjid Tumbuk bahan bertanda sampai lumat,kemudian tumbuk serai sekali. Kalau ada orang yang benci pada dirinya sendiri, barangkali aku adalah orangnya. Ketika masih kecil, mereka dibuang oleh kedua orangtua mereka ke tengah hutan jauh dari perkampungan.
Brand Icons. Malam tu aku minum, pukul 3 pagi pun tak ngantuk lagi. Kampung tersebut terletak di daerah Kecamatan Kemtuk Gresi sekarang, yaitu daerah di sebelah selatan dan barat daya kota Jayapura.
August 20, Aku tinggal di sebuah kawasan perumahan di Yogyakarta. Product Added. Malam ini ia menjaga rumah sendirian. Open navigation menu. Produk Tempatan. Terasa service yang Aggie berikan itu sungguh tak ternilai nikmatnya.
Namun begitu, sikap amarah seharusnya dikawal agar tidak menyesal di kemudian hari. Walau, seringkali pula, kebijaksanaan itu akan menguji setiap kesetiaan yang diberikan kepada suami, agar tetap berdiri, sejajar, saling melengkapi, dan saling menyayangi.
Dan, akhirnya, Kuberikan ia air mata agar dapat mencurahkan perasaannya. Inilah yang khusus Kuberikan kepada wanita, agar dapat digunakan kapanpun ia inginkan. Hanya inilah kelemahan yang dimiliki wanita, walaupun sebenarnya, air mata ini adalah air mata kehidupan". Maka, dekatkanlah diri kita pada sang Ibu kalau beliau masih hidup, karena di kakinyalah kita menemukan surga. Padahal kan aku sudah besar sekarang Dudung : Aku juga Hari ini bunda ku memelukku didepan umum, sangat memalukan Dedeng : Tak ada bedanya dengan ibuku!
Dia tidak segan-segan menciumku di depan teman-teman dan ibu guru. Dodong : Bunda ku pun begitu Dia selalu menyuapi ku saat teman-temanku belajar kelompok di rumah. Dadang : AAAku.. Ibuku selalu tertidur di lantai, ia tidak mau bangun walaupun aku merengek. Diding : Enak sekali! Aku ingin ibuku seperti itu sehingga ia tidak selalu mempermalukanku!
Dadang : ibu.. Bolehkah aku pinjam waktumu di surga sebentar? Bisakah engkau melakukan yg dilakukan ibu teman-temanku? Joe mengatakan, burung kertas itu menandakan ketulusan hatinya. Tapi pd suatu saat, Anna mulai menjauhi Joe. Sewaktu Anna akan mutuskan Joe, Anna mengatakan ke Joe bahwa, "Kita hrs melihat dunia ini dgn pandangan yg dewasa.
Menikah bagi wanita adl kehidupan kedua kalinya!! Aku hrs bs memegang kesempatan ini dgn baik. Kamu terlalu miskin, sungguh aku tdk berani membayangkan bagaimana kehidupan kita setelah menikah!! Dia sdh kaya, tp hatinya masih tertuju pd Anna, dia masih tdk dpt melupakannya.
Pd suatu hari, waktu itu hujan, Joe dr mobilnya melihat sepasang orangtua berjalan sangat pelan didepan. Dia mengenalinya, mereka adl orangtua Anna. Ingin mereka tahu kalau dia bkn seorang yg miskin lagi, dia skrg adl seorang Bos. Joe mengendarai mobilnya sangat pelan sambil mengikuti kedua orangtua trsbt. Hujan terus turun, tanpa henti, biarpun kedua orgtua itu memakai payung, tp badan mereka tetap basah karena hujan. Sewaktu mereka sampai tempat tujuan, Joe tercengang oleh apa yg ada didepan matanya, itu adl tempat pemakaman.
Dia melihat diatas papan nisan Anna tersenyum sangat manis terhadapnya. Di samping makamnya yg kecil, tergantung burung-burung kertas yang dibuatkan Joe, dlm hujan burung-burung kertas itu terlihat begitu hidup. Anna ingin Joe menjadi orang, mempunyai keluarga yg harmonis, maka dgn terpaksa berbuat demikian terhadap Joe dulu. Anna bilang dia sangat mengerti Joe, dia percaya kalau Joe pasti akan berhasil. Joe lgsg berlutut, berlutut didepan makam Anna, menangis dgn begitu sedihnya.
Hujan pd hari itu terasa tdk akan berhenti, membasahi sekujur tubuh Joe. Sewaktu keluar pemakaman, orangtua Anna melihat Joe telah mmbuka pintu mobil utk mereka. Lagu sedih terdengar dari dlm mobil Joe.
Tangannya terdiri dari dua ratus bagian yang bisa digerakkan dan berfungsi baik untuk segala jenis makanan. Mampu menjaga banyak anak di saat yang bersamaan.. Ia punya pelukan yang dapat menyembuhkan sakit hati dan keterpurukan. Atas izin-Nya, ia juga bisa menyembuhkan dirinya sendiri.
Ia mampu bekerja 18 jam per-hari. Allah SWT menciptakannya dengan lembut. Dan di balik kelembutannya itu tersimpan kekuatan besar yang dapat mengatasi banyak hal luar biasa. Meski terkadang ia terlihat rapuh, namun sejatinya itu bukanlah kerapuhan, melainkan air mata..
Air mata menjadi salah satu caranya untuk mengeskpresikan kegembiraan, kegalauan, cinta, kesepian, dan kebanggaan. Ia dapat mengatasi beban, bahkan melebihi laki-laki. Ia mampu menyimpan kebahagiaan dan pendapatnya sendiri. Ia mampu tersenyum bahkan saat hatinya menjerit. Ia mampu bernyanyi saat menangis, menangis saat terharu, bahkan tertawa saat ketakutan. Ia berkorban demi orang yang dicintainya. Mampu berdiri melawan ketidak adilan. Ia menerjunkan dirinya untuk keluarganya.
Cintanya tanpa syarat. Ia menangis saat melihat anaknya menjadi pemenang. Ia girang dan bersorak saat kawannya tertawa. Ia begitu bahagia mendengar kelahiran. Hatinya begitu sedih mendengar berita sakit dan kematian.. Hai guys, nggak cuma rasanya yang lezat, mengonsumsi alpukat antara ,5 buah setiap hari mampu menurunkan total kolesterol secara signifikan loh.
F akta yang dipublikasikan dalam Journal of Clinical Lipidology ini muncul setelah para ilmuwan medis menganalisis 10 studi kecil tentang manfaat alpukat. Para peneliti menemukan ketika partisipan mengonsumsi makanan berlemak, kemudian mengonsumsi alpukat bisa menurunkan kolesterol di dalamnya. Sayangnya peneliti tidak mengetahui secara persis hal yang menyebabkan kebaikan tersebut.
Tapi yang pasti buah yang satu ini kaya serat dan mengandung lemak baik bagi tubuh. Jika kekayaan bisa membuat orang bahagia, tentunya Adolf Merckle, orang terkaya dari Jerman, tidak akan menabrakkan badannya ke kereta api. Jika ketenaran bisa membuat orang bahagia, tentunya Michael Jackson, penyanyi terkenal di USA, tidak akan meminum obat tidur hingga overdosis.
Jika kekuasaan bisa membuat orang bahagia, tentunya G. Vargas, presiden Brazil, tidak akan menembak jantungnya sendiri. Jika kecantikan bisa membuat orang bahagia, tentunya Marilyn Monroe, artis cantik dari USA, tidak akan meminum alkohol dan obat depresi hingga overdosis.
Jika kesehatan bisa membuat orang bahagia, tentunya Thierry Costa, dokter terkenal dari Perancis, tidak akan bunuh diri, akibat sebuah acara di televisi. Ternyata, bahagia atau tidaknya hidup seseorang itu, bukan ditentukan oleh seberapa kayanya, tenarnya, cantiknya, kuasanya, sehatnya atau sesukses apapun hidupnya.
Tapi yang bisa membuat seseorang itu bahagia adalah dirinya sendiri Mampukah ia mau mensyukuri semua yang sudah dimilikinya dalam segala hal…. Kalau kebahagiaan bisa dibeli, pasti orang-orang kaya akan membeli kebahagiaan itu. Kalau kebahagiaan itu ada di suatu tempat, pasti di belahan lain di bumi ini akan kosong karena semua orang akan ke sana berkumpul di mana kebahagiaan itu berada.
Untungnya kebahagiaan itu berada di dalam hati setiap manusia. Jadi kita tidak perlu membeli atau pergi mencari kebahagiaan itu. Lingkungan di sektiar kita sangat menentukan masa depan kita karena kita membutuhkan sumber daya alam yang disediakan oleh bumi untuk mencukupi kebutuhan hidup. Kekayaan alam memang melimpah, tetapi tetap terbatas. Kita harus berusaha untuk menggunakan sumber daya alam sebijak mungkin tanpa merusaknya.
Jika bumi tidak bisa lagi menyediakan kekayaan alamnya yang begitu melimpah, manusia tidak akan bisa bertahan hidup untuk waktu yang lama.
Sayangnya, kesadaran manusia untuk menjaga lingkungan hidup masih kurang. Mereka merusak keseimbangan lingkungan dengan menebang pohon secara liar tanpa memperhatikan dampak negatif dari tindakan yang mereka lakukan.
Maraknya penebangan hutan liar sudah sering kita saksikan di layar kaca atau media massa lain. Demi mendapatkan keuntungan materi yang tidak seberapa, keseimbangan lingkungan hidup dirusak. Untuk menyelamatkan bumi kita, marilah menanam setidaknya satu pohon.
Indonesia adalah negara dengan kekayaan alam yang begitu melimpah. Ribuan pulau tersebar sepanjang nusantara dan ratusan juta manusia hidup dari kekayaan alam pulau tersebut. Namun, sumber daya alam yang begitu melimpah mulai dibabat habis untuk kepentingan kaum kapitalis yang memang orientasi utamanya adalah keuntungan materi uang.
Sejak banyak pabrik didirikan, keseimbangan alam mulai terganggu. Asap pabrik menyebarkan polusi udara dan proses produksinya memakan kekayaan alam yang begitu banyak, termasuk pohon. Labuhan Batu adalah salah satu contoh yang membuktikan betapa parahnya kerusakan lingkungan hidup di negeri ini. Degradasi lingkungan tidak hanya merugikan manusia di tempat tersebut, tetapi efek berantai dari kerusakan tersebut juga akan cepat menyebar.
Menaman pohon adalah salah satu tindakan yang tepat untuk menyelamatkan lingkungan dari kerusakan yang ditimbulkan oleh tingkah laku manusia. Manfaat apakah yang bisa kita dapatkan dari gerakan menanam pohon ini? Meskipun pohon baru membutuhkan waktu bertahun-tahun untuk tumbuh, tindakan ini setidaknya bisa menjadi pencegahan bagi perusakan lingkungan lebih lanjut. Setidaknya, generasi selanjutnya masih bisa menggunakannya.
Pohon baru dibutuhkan untuk meregenerasi lingkungan hidup yang sumber dayanya sudah dihabiskan oleh manusia. Jika semua pohon ditebang habis untuk kepentingan industri atau kapitalis, tidak akan ada lagi udara segar yang bisa dinikmati manusia. Keseimbangan alam juga akan terganggu. Satu pohon memang tidak membawa perubahan besar, tetapi perubahan bisa terjadi jika banyak orang mau melakukannya untuk menyelamatkan lingkungan hidup. Pohon adalah salah satu elemen paling penting dalam ekosistem.
Tumbuhanlah yang memegang peranan penting untuk mengubah karbondioksida beracun menjadi oksigen yang dibutuhkan makhluk hidup untuk bernafas. Lingkungan tanpa pepohonan akan menjadi tempat yang panas dan tidak nyaman.
Pohon menyediakan udara segar secara gratis dengan jumlah yang tidak terbatas. Tidak pantas bagi kita untuk menebang pohon secara sembarangan karena pohonlah yang menyokong kehidupan kita.
Gerakan menaman pohon memang perlu digalakkan untuk menjaga keberlangsungan lingkungan hidup. Bagaimana cara yang tepat untuk meyakinkan orang lain sehingga mereka mau melakukannya? Pertama, mulailah dari diri sendiri dan ajaklah anggota keluarga untuk melakukannya.
Hasilnya memang tidak bisa dilihat dalam waktu dekat karena pohon membutuhkan waktu yang sangat lama untuk tumbuh. Setelah itu, gunakanlah teknologi internet untuk mengajak banyak orang melakukan hal yang sama. Situs jejaring sosial adalah cara yang ampuh dan efektif untuk berkomunikasi dan mengkampanyekan gerakan menanam pohon ini.
Dengan jangkauan teknologi komunikasi yang begitu luas, ribuan orang bisa melihat pesan kita di waktu yang sama dan mereka bisa termotivasi untuk melakukan hal yang sama. Assalamualaikum kamu yang kini belum dipertemukan Allah denganku. Aku masih sabar menunggumu datang dan bersama-sama menuju ridho Allah. Sampai saat ini aku sering bertanya siapakah dirimu?
Terkadang aku takut dan khawatir. Betapa aku memiliki banyak kekurangan. Apakah nanti kau bisa menerima segala cacat yang ku miliki dari masalaluku? Apakah nanti kau dan keluargamu dapat menerimaku? Tapi aku percaya jodoh telah ditakdirkan dan dipilihkan sebaik-baiknya. Aku memang jauh dari sempurna, untuk itu sebelum aku bertemu denganmu, aku berusaha keras memperbaiki diriku.
Berusaha memantaskan diri agar dapat bersanding denganmu dan membuatmu bangga telah memilihku. Meskipun aku tidak seindah yang kau bayangkan, aku ingin aku menjadi jodoh yang terbaik untukmu. Kepada calon istriku kelak, aku berharap siapapun dirimu, kau adalah pilihan Allah yang mampu menemaniku hingga akhir waktu nanti. Tanpa mengenal kata pisah, tanpa mengenal kata perceraian. Aku ingin menua bersamamu.
Menghabiskan waktu yang Allah berikan bersama sosok yang Allah pilihkan. Semoga doa-doaku yang tak pernah putus akan diijabah oleh Allah dan kita segera bertemu diwaktu yang tepat dan cara yang indah. Aamiin yaa robbal alamiin. Wkwk Nahh, Jika Elo - Elo menderita insomnia, ada baiknya dicoba mendengarkan lagu favorit di bawah ini, siapa tahu dapat membantu Elo agar cepat tertidur pules.
Quote of the day. Mari kita lestarikan seni sastra! Bukan s eperti iklan oli yg di tv itu loh, Atau Bukan jg seperti Mie rebus dicampur telor cicak yg bentuknya love2 gtuu, wkwkwk Tapi,, Special itu, ya Kamu Di basah itu memori tersangkut Menyanyut ingat membara bayang Terlihat warna di pucuk mata Kurasa memori menari bernyanyi berputar Masih teringat olehku Kenyataan yang menggenggam Hangat menguar melawan dingin Terbawa sampai ke hulu hati Aku tak ingin melupa Rasa di bidang merah masih menyenja Di bayang barat rasa itu kugantung Bersama hujan ia melebur Hujannya deras terasa Merangkak mencari celah Batu keras memukulku Tergiang ingin mengapak Aku belum larut menjadi abu Aku masih menjadi ingatan yang takkan raib Menjadi sepertiga kenangan yang hidup di hujan malam Aku masih menjadi cerita untuk hari ini dan selamanya.
Selama ini jomblo sering diartikan sebagai suatu keadaan yang memalukan. Padahal, jomblo itu bukan berarti tidak laku lho! Bisa jadi si jomblo ini ternyata banyak yang mengejar, tetapi dia memiliki alasan-alasan tertentu yang membuatnya masih sendiri hingga saat ini.
- Download lagu debu jalanan bapakku kawin lagi
diperluas lagi dengan dua Proyek Penelitian Bahasa dan Sastra yang kawin;. -- sore lelaki yang setiap petang kelihatan di jalan. 15 'Tidak ada pilihan lain / Kita harus / Berjalan terus / Karena berhenti a literary group that held a 'street poetry reading' every night in Jalan. lagi oh lebih pada debu menculik barusan sekelompok kutemukan tentunya lirik tarzan
