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1 T
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t Indonesianl tierature .
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I ModernI ndonesianl tieraturea sas ocia lproducitonha sbeen
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ir guaget ha tcanun tiet henaiton.I t
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e r u t a r e ti l n a i s e n o d n I , n o it a p u c c o e s e n a p a J e h t g n ir u D . a c n a r f a u g n il e h t e m a c e b
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o t y c il o p t n e r e f fi d t h g u o r b s a h a r e h c a e f o n o it i d n o c l a c it il o p e h
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t author swhowereconsidereddangerousetiheri n
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1Rachma tDjokoPradopo ,KiritkSasrtaI ndonesiaModern,( Yogyakatra :GamaMedia ,2002)3-4;
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e r u t a r e ti l f o e t a r e l a s e h t t a h t d e t a t s , Y I D a i s e n o d n I ti b r e n e P n a t a k I f o y r a t e r c e s
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n i e t a r l a t o t e h t t n e s e r p e r t o n s e o d e t a r e l a s e h t h g u o h t n e v E . e r u t a r e ti l o t t s e r e t n i f o
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t n a l a u n n a d e h s il b u p s a
h hologyoft hebests ho trs to ire sbyI ndonesianwrtiers.8
e h t r o f e t e p m o c o t s r o h t u a n a i s e n o d n I y b d e s u m u r o f e n o s e m o c e b t p m e tt a s i h T
, r e v e w o H .l a r e n e g n i c il b u p d n a s r o h t u a r e h t o m o r f n o it a i c e r p p a d n a l a v o r p p a
7Adhe1 -321 33.
8Annualy ,Kompas ,anaitona ldaliynewspaperi nI ndonesiawhichalsoown sapubilshing
s e h s il b u p , y n a p m o
5 h
t e t a d o m m o c c a o t h g u o n e t o n s i t p m e tt a s i h
t ecreaitvtiyofI ndonesianwrtier s
l l a m o r
f ltieraturegenres .
, e r o f e b d e n o it n e m n e e b s a h t i s
A thel tieraturewo lrdi nI ndonesiaha s
o n r a k e o S e h t e c n i s s s e n k r a d f o e g a n a d e c n e ir e p x
e 9regime.Manybook swere
s ti o t e u d d e n n a
b contentswhichw ereconsidereddangerousf ort hepoilitca l
t a u ti
s ioni nI ndonesiaandmighti nsprierebelilont owardt hegovernment .The
r o d e h s il b u p e h t n o y c il o p n w o s i h s a h o s l a a i s e n o d n I f o t n e d i s e r p d n o c e s
. e r u t a r e ti l d e h s il b u p n
u Ont he ils toft hef orbiddenbooksi n1966 ,therewere59
o s e lt
it fbooksf rom17authors .Therewere16 itlte so fPramoedyaAnantaToer’ s
e w h c i h w s k r o
w rebannedf o rpub ilcaitoni nI ndonesia.10
r o e c ir p y r a r e ti l d e d i v o r p o s l a t n e m n r e v o g e h t ,s k o o b d e n n a b e h t e ti p s e D
r o f d n a s k r o w e h t r o f d r a w
a individua lachievement . tIs eemedt hatt he
e r e h t t u b , e r u t a r e ti l n a i s e n o d n I f o t n e m p o l e v e d e h t n o n r e c n o c a d a h t n e m n r e v o g
c i n o ri e h T . e r u t a r e ti l n a i s e n o d n I d r a w o t p i h s r o s n e c t c ir t s a s a
w a lsidei s tt ha whlie
d n I e h
t onesianpeoplet hemselvesf alitoappreciatet hei rownl tierarywork ,st he
e v a h s k r o
w been rtanslatedandpubilshedi ndfiferentl anguages andbecomea
. k r o w y r a r e ti l f o n o it a l u c ri c l a b o l g n i tr a p
, 5 4 9 1 e c n i
S thereweremaleauthor swhodominatedt hel tieraturewo lrd .
a m e f e r e w e r e h t h g u o h t n e v
E lename sappearedi nt he1950’ ,st heywere
y r a r e ti l n i d e s s u c s i d e r e w l a r e v e s y l n o d n a e r u t a r e ti l r a l u p o p f o s r o h t u a d e r e d i s n o c
m s i c it ir
c .11Since2000,t hereares igni ifcan tnamest ha tappea ront hes u fraceand
9Hei st hef ris tpresiden tofI ndonesiawhohaddeclaredt hei ndependenceofI ndonesiai n1945 .
. 6 6 9 1 n i d e d n e s a w p i h s r e d a e l s i H
0
1 YudionoK.S ,Penganta rSejarahSasrtaI ndonesia(Jakatra :Grasindo ,2007 2)3 - 33 3 . 3
1
6 h
T . s r e ti r w n e m o w d e h s i u g n it s i d s a d e r e d i s n o
c ei rname sares aidt obebapitzed
s a m e h t d e l e b a l e l p o e p d n a , a i d e m e h t y
b SastraWangi.12Beforet heechoo f
s a m e h t d e l e b a l c il b u p d n a d r a e h e b o t d e tr a t s s r o h t u a n a i s e n o d n I e l a m e
f Sastra
, i g n a
W therei sNh .Din iwhosework shavebeenknownnaitonallyand
y l e t a n u tr o f n U . y ll a n o it a n r e t n
i , herl fiei sf arf rommas smediaandi nfotainment
e g a r e v o
c . Onlyf ewpeopleknowabou ther .Andwhentheyknow,i tmeanst ha t
e r u t a r e ti l n i d e t s e r e t n i y ll a e r e r a y e h
t .Severa lo fNh .Dini’ swork shavebeen
b u p d n a d e t a l s n a
rt ilshedi nFrench ,Dutch ,JapaneseandEngilsh .Sheha s
d e t a c i d e
d hersefltol tierature .Shekeep swiritngi nhe roldday sandj oining
g n i v il r e h s y a p e h S . a tr a k a J n i s e u s s i s tr a d n a e r u t a r e ti l h ti w l a e d t a h t s e e tt i m m o c
h t m o r f s n r a e e h s y e n o m e h t h ti w t s o
c er oyatlyoft hebooks ,whichi sno tmuch
v e s e r a e r e h T . y ti v it c u d o r p r e h o t d e r a p m o
c era lbiographie sabou thert hat are
r w y d a e rl
a itten,f romt heb ire fversionuntlithemorecomprehensiveone .
I . h g u o n e t n e i c if f u s t o n s i d e d i v o r p n o it a m r o f n i e h t ,r e v e w o
H tdoe sno tprovidean
. e r u t a r e ti l n i n o i s s a p r e h n o y ll a i c e p s e d n a e fi l r e h f o t h g i s n i
D . h
N in iha saconvenitonals tyleo fw iritng .Shenarrate sh r e storyusinga
a l f o e r u t c u rt s e l p m i
s nguage ,andt her eader scanf eelt heatmosphereoft he
n e v E . s e ir o t
s thoughs hewrtiesi ssue swhichareconsideredcommon ,therei sa
o t m s i c it ir c f o e s n e
s w ardthes ociety ,a swel la sanawarenes so fwomen’ s
d n a , s r e ti r w n a m o w l a i s r e v o rt n o c e h t f o e n o e m o c e b o t t o n s e g a n a m e h S . n o it i s o p
n a i s e n o d n I n i e c a l p n w o r e h s a h e h s t e
y ltierature.
r e ti r w e l a m e f a s a i n i D . h
N whoha scontirbutedhe rworkstot he
l n a i s e n o d n I f o s t n e m p o l e v e
d tieratures ince1960 sha sexpressedherr ebelilonon
2
1 I tmeansf ragrantl tierature ,a bla elt hati sgivent os evera lwomanauthors whoareyoungand
e l y t s t s i n i m e f n i d o o h n a m o w r i e h t g n i s s e r p x e n i s s e c c u s d e r e d i s n o
7 w
o
h Indonesians ocietymarginailzeswomen . tIi sno tonlyhe rciritcismt oward
t a h t y t e i c o
s si expressedt hroughhe rworks ,bu talsohe rvaluei ns eeings ex ,
h c i h
w wa sconsidereduncommoni nI ndonesiaatt ha titme .Teeuwclaims N .h
a i s e n o d n I n r e d o m e h t n i r o h t u a n a m o w s u o m a f a s a i n i
D n ltierature.13He rwork s
s f o s k r o w e h t o t d e r a p m o c g n i e b e r
a ocalledSasrtawang iauthor .Theyareno t
e m a s e h
t sa they ilvei nthedfiferen tera.Wha tmigh tbeconsideredasr ebelilou s
r w o t r o h t u a n e m o w r o f t c e j b u s ti f n u d n a a r e y a d o t n
i tieabout ,ha sbeendoneby
Nh. Dinis ince1960 .s SastraWangi ,whichi sknownfort hei rnewstyleo fw iritng
e s r u o c r e t n i n a m u h f o n o it p ir c s e d d i v i v a e d u l c n i h c i h
w asr egula rpar tont hei r
. y t e i c o s e h t m o r f n o it a i c e r p p a r e t a e r g a d e v i e c e r s a h , n o it a r r a n
d i a s s
A byKorireLayunRampan14inhi saritcleenitlted“K iritkSasrtadan
y r a
K aSasrtaI ndonesia” ,thes lowdevelopmen tofI ndonesianl tieraturei scaused
y b n o it a i c e r p p a f o k c a l e h t y
b thes ocietyi nr ewardoft hei rworks .Hes tatest ha t
i e r e h
t snoI ndonesianautho rwhocandependonhi so rherl fiebybeinga
o N . r o h t u a n a /r e ti r
w tf arf romt her ealtiyt hati smenitonedbyKorireLayun
s g n it ir w y b g n i v il a n r a e d l u o c s m e e s o h w s r e ti r w e r a e r e h t , n a p m a
R tori(es.)I t
n r a e y l n o t o n o d y e h t t a h t s m e e
s a ilvingf romi tbu talsobecomef amous .Oneo f
t a h t s p u o r g e h
t representsthecategorywhich Imen itonedbeforei s theSastra
. i g n a
W Theyareal lwomenwhoaref amous ,young ,andbeautfiu lalso .Though
s a d e l e b a l e b o t e s u f e r m e h t f o e m o
s SastraWang i- o neoft hems ay tii sbettert o
3
1 A .Teeuw ,SasrtaI ndonesiaModernI I(Jakatra :PustakaJ aya,1989)192,194.
4
1 KorireLayunRampan ,“KiritkSasrtadanKaryaSasrtaI ndonesia,”KedaulatanRakya’t s23J ul .
8 s
a n w o n k n a h t r e h t a r t a h t s a d e l e b a l e
b SastraBau- sitnkyl tierature.15O fcourse ,
t o n s i m e l b o r p e h
t int hematte rhowt heyarel abeled ,bu tonhowt hes ocietygive s
it i s o p e b s y a w l a t o n t h g i m e s n o p s e r e h T . e c n e t s i x e r i e h t n o e s n o p s e
r ve,s omewtih
r e tt a m o N . y ti s o m i n
a thes ocietyr eacts ,tis howst hatt here ni sa attenitoni nt he
k e l p o e P . d lr o w e r u t a r e ti
l nowt hatt hereareauthor snamedFriaBasuki ,Ayu
r a n e j D , i m a t
U MaesaAyuandothers .Peoplehea rhowt heyhavedfiferents tyle s
m o c e b y e h t s u h t ,s r o h t u a n a m o w n r e d o m s a d e r e d i s n o c e r a y e h t w o h , g n it ir w f
o e
. s k r o w r i e h t d a e r o t s u o ir u c
h ti w e m a s e h t s i n o it a i c e r p p a s s e l g n i v i e c e r t a h t n a e m t o n s e o d t I
ti r w n a m o w e r a e r e h t h g u o h T . s k r o w d e if il a u q s s e l g n i c u d o r
p er sappearf ollowing
h tr i b e h
t fo SastraWangi ,fewmanaget odedicateherl fieentrielyonl tierature .
n o y t e i c o s e h t m o r f e g d e l w o n k f o k c a l e h t f o t l u s e r e h t s i ti , e r o f e b d e n o it n e m s A
i s e n o d n I n i , n e m o w y ll a i c e p s e , r e ti r w d e if il a u q f o e c n e t s i x e e h
t a .Thus , Ichoose
f o t n e m e v e i h c a e h t n o h c r a e s e r a t c u d n o c o t m u i d e m e h t e b o t i n i D . h N
n a i s e n o d n
I femaleauthori nIndonesia .Shei sa ifguret or epresentt he
e m p o l e v e
d n tofI ndonesianl tierature .A sanI ndonesianf emaleauthori n
a i s e n o d n
I , whoi sconsideredconsisten tandproducitveandha she rowns tyleo f
ir
w itng ,herl fieexpe irencei sconsideredi nteresitngandf ul lofl fieexpe irences .
e c n a r F a h ti w d e ir r a m i n i D . h
N 16man ,adiplomat ,ands pen tmos to fherl fie
t n e r e f fi d n i e v il o t d e c n e ir e p x e e h s ,s u h T . s a e s r e v o g n i v il d n a g n il l e v a
rt cutlures ,
d n a e p o r u E , a i s A ( d lr o w e h t f o s tr a p t n e r e f fi d n
i Ameirca).
5
1MaggieTiojakin ,“Change ,SheWrote,”TheJ akatraPost :Weekende rMagazineApr .2010 :33
-. 5 3
6
9 s
m i A
e r a s k r o w r e h f o t s o
M seent hrought heeye soff eminism ,andonewrtie r
l a r e v e s s e s i a r tI . d lr o w r e h d n a s k r o w r e h n o y l h g u o r o h t r e h e e s o t d e d n e t n i
e d i u g l li w r e t a l d n a s m e l b o r p o w t o t n i d e t a l u m r o f h c i h w , d n i m y m n i s n o it s e u q
e h t o d o t e
m sre earch .Thef ris tquesitonoccuredsincebiographyabou tawrtier,
y ll a i c e p s
e afemalewrtier /authoress, si rarelypubilshedi nI ndonesia .Even
. h N f o y h p a r g o i b e h t h g u o h
t Din iha sbeenpubilshed , Iwantt opu temphasi son
r e
h journeyo flfiea sanIndonesianauthore . ss
.
1 Howdoe sNh .Din iilveherl fiea sanI ndonesianauthore ss?
s s e r o h t u a n a s i i n i D . h
N whoi sconsideredproducitve .Shes tatr sw iritng
d n a y ti v it a e r c , a e d i r e h t a h t s m e e s tI . w o n l it n u d e p p o t s t o n s a h d n a 1 5 9 1 e c n i s
u r r e v e n h t g n e rt
s nout .Usingnarratology,t hisr esearchi si ntendedt oknowhow
r o h t u a n a s a i n i D . h N f o e fi l e h
t e ssis . tIs eeksf o ranadventureo fhe rdaliyl fie,t o
f n u r e h f o l i a t e d e h t w o n
k orgettablel fieexpe irencet hatparltyha sbeens hared
a r g o i b o t u a r e h h g u o r h
t phica lnovels . tIi sexpectedt ha tbyknowingherl fiea san
r o h t u
a ess,t her eade rwouldbeablet oknowt hes weetnes sandbitternes sofbeing
r e ti r w e l a m e f n a i s e n o d n I n
a .Also ,hopefullybyknowingt heproces so fcreaitnga
e ri p s n i ll i w t i ,s k r o w y r a r e ti
l peoplet owrtie.
n a s a i n i D . h N f o e c n e ir e p x e e fi l e h t n o k e e s y l e r e m t o n s e o d h c r a e s e r s i h T
r o h t u a e l a m e f a i s e n o d n
I e .ss Thisr esearchalsoi ntendedt oknowhe rcont irbuiton
o
t Indonesianl tierature.
.
2 Howarehe rworkss igni ifcantt ot hedevelopmen tofI ndonesianl tierature?
e r o m k n i h t o t s r e d a e r n a i s e n o d n I e h t e t a l u m it s o t d e t c e p x e s i h c r a e s e r s i h T
0 1 s
s e n e r a w a e h t d n a g n i d n a t s r e d n
u , hopefu lly, wli lcontirbuteposiitvelyf ort he
n w o r i e h t e t a i c e r p p a t o n n a c a i s e n o d n I f I .s r o h t u a n a i s e n o d n I e h t f o n o it a i c e r p p a
a s e v i g i n i D . h N f o e fi l e h t g n i w o n K . r e h ti e t o n d l u o w d lr o w e h t n e h t , e r u t a r e ti l
o it u b ir t n o c e h t w o h n o e v it c e p s r e p r e tt e
b nandt heappreciaitono fwrtiers in
s t n e d u t s n a i s e n o d n I e h t e k a m l li w y ll u f e p o h y d u t s s i h t f o t l u s e r e h T . e r a a i s e n o d n I
s k r o w e t a i c e r p p a o t e l b a e r u t a r e ti L h s il g n E f
o fromt hei rownbitrhplacet hat
w y ll a u t n e v
e illl eadt ot heestabilshmen tofbette rposiitonofI ndonesianwrtiers.
e c it c a r
P
h c r a e s e r e h
T focuse dont heresponden’tslfieexperiences .Therefore,i t
e v l o v e
r d oneverythingt hats urround she,r e.i . he rworks ,he rpersonall fie
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e nvrionmen twheres he ilve so rusedt o ilve .Thes tudy
d e ti m
il tot herespondent’ saccount sa ndbasedonhowf a rNh .Din iallow sme ,a s
c r a e s e r
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f o n o it i s o p r e tt e b e h t o t s e t u b ir t n o c h c i h w d n a e r u t a r e ti l o t n o it u b ir t n o c s e v i g
t a r e ti l n a i s e n o d n
I u re.
h c r a e s e r e h
T conductedusingnarratologya sanapproach .Narratology
.s n e l l a c it e r o e h t a y b d e d i u g d n a y r o t s e fi l l a u d i v i d n i e h t n o s e s u c o
f The
t r o p e r o t ,s e ir o t s e h t f o n o it c e ll o c e h t h g u o r h t a t a d e h t r e h t a g o t s d e e n r e h c r a e s e r
.s e c n e ir e p x e e s o h t f o g n i n a e m e h t g n ir e d r o y ll a c i g o l o n o r h c d n a
a t a d e h
T wa scollectedf rominterview swtihNh .Dini ,he rwork s
-s e i h p a r g o i b o h t u
a - ,andltieraryr eviewf oundi nal lmean so fmedia .Thedata
d n a s e i h p a r g o i b o t u a d e t c e l e s r e h m o r f d e r e h t a
g work swereusedt os ervea she r
.r e e r a c r e h f o s s e c o r p e h t e b ir c s e d o t d n a t x e t n o
1 1 w
e i v r e t n i e h T . i n i D . h N , fl e s r e
h s w ee r conductedt hroughdriec tconversaitons ,i n
b l li w r e t a l h c i h w , i n i D . h N h ti w n o it a r o b a ll o c e v it c a n a e v a h o t r e d r
o ehelpfult o
e
r -storyherl fie.Thei nterview swtihNh .Din ibecamet hemains ourceoft hedata
h c r a e s e r e v it a ti l a u q e s u a c e
b considersthatt her esearche rneedst of ocu sont he
’t n e d n o p s e r e h t m o r f e u s s i e h t f o g n i n a e
m sperspecitve .I rnteviewi sas ocia l
f o e m o c t u o e h t s i t c u d o r p e h t d n a r e t n u o c n
e acitvtiywhichi ss ociallys tiuated .
e l o r h g u o r h t e s n o p s e r e h t d e s s a p t n e d n o p s e r e h t d n a r e w e i v r e t n i e h
T -playingand
.t n e m e g a n a m n o i s s e r p m
i 17Everyi nterviewi s“ani nterpersona ldramawtiha
. ” t o l p g n i p o l e v e
d 18Thu ,si tmakest heproces sofi nterviewbecomes igni ifcanti n
.f l e s ti y r o t s e h t f o g n i n a e m e h t g n it e r p r e t n
i
p e t s t s ri f e h
T wast odeterminet ha tnarraitver esearchwast heapprop irate
y d u t s e h t t c u d n o c o t h c a o r p p
a forf uflliilngt hepurposeoft hiss tudy .Sincet he
e ir t y d u t
s d tocapturet hel fieexpeirenceo fani ndividua,lt husi twa sapprop irate
. h c a o r p p a h c r a e s e r e v it a r r a n a e v a h o
t Nh.Din iwa schosent obet herespondent
e s u a c e b h c r a e s e r s i h t f
o shei sconsidereda sanauthores swhoi sdiscitncitveand
f r e ti r w e m it l l u f a s a e v it c u d o r
p o rmorethan50year so fhe rcareer . Iwa s
t s ri f e h t d n a , l o o h c s h g i h r o i n u j y m n i ll it s s a w I n e h w s k r o w r e h o t d e c u d o rt n i
s a w d a e r I t a h t k r o
w PadaSebuahKapal ,whicht urne doutt obemyf avortie
g n o m
a he rothe rworks .Oneotherr easonwhy Ihad he ra smyrespondent aw ss he
a
w savaliableands hewa swliilngt obe .Thenexts tepwast ogathe rallt hes to ire s
N t u o b
a h .Dinit hroughal lmediumandi neveryf orm( .ie.i nterview sandt exts) .
a y h p a r g o i b o t u a r e h d e h s il b u p d n a e t o r w y d a e rl a e h s e c n i
S ndt herewa sa
7
1 NormanK .DenzinandYohannaS .Lincoln ,ed .TheSAGEHandbooko fQualtiaitveResearch
. 7 1 7 ) 5 0 0 2 , n o it a c il b u P e g a S : a i n r o fi l a C (
8
1 tIi sdeifnedby tIhie ldeSolaPool( 1957 )a squotedf romTheI nterview :FromFormalt o
n r e d o m t s o
2 1 d
a h t a h t y h p a r g o i
b beenpubilshed,t hedatatha t Ihadweresuf ifcientt os tatr my
a w t I .s i s y l a n
a salsos uppo tredbyallt hearitcles andciritc sonhe rworks .Thus ,
d l u o w w e i v r e t n i e h
t beonlyabou tmatterst ha twereno tmenitonedi nt he
n a y h p a r g o i b o t u
a dbiography .
p e t s t x e n e h t ,r e h t u o b a n o it a m r o f n i ll a g n i d r o c e r d n a g n it c e ll o c r e tf
A w sa
o it a m r o f n i e h t r e h t a g o
t nabou the rcontext .Sinces hewa sanautho ,ri tw sa
e h T . s y a d a w o n d n a e m it r e h n i d lr o w e r u t a r e ti l e h t d n a t s r e d n u o t y r a s s e c e n
i o s l a t x e t n o
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1 JohnW .Creswell ,QualtiaitveI nquriy&ResearchDesign :ChoosingamongFiveApproaches
2nded.( Calfiornia :SagePubilcaiton ,2007 )4 ;7 Alls ubsequentr eferencet ot hi sworkwli lbeused
n o n o it a n i g a p h ti w s i s e h t s i h t n
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) 4 9 9 1 , d t L s n o it a c il b u P e g a
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