MALINDO - Journal of Malaysian and Indonesian Studies

SCRIPT AND IDENTITY OF INDONESIA

2020-01-01T16:11:12+08:00

Writing about civilization in Indonesia began with the Yupa inscriptions from the 4^th-5^th century AD in East Borneo. The beginning of the writing about tradition opened a new era in human life; out of prehistory into the era of history. Writing became a tool to express the thoughts of man about the many aspects of life, such as politics, economics, literature, customs, law and the likes of his time, which afterward became the object of study for future generations and the source of supplying information about the civilization of people. Pallava script, Arabic script and Latin script were the foreign scripts which were developed in Indonesia. With the passage of time as thepolitical power, geographic and socio-cultural changes came, the Pallava script underwent a development and changed in shape, style and name. Since the middle of the 8^th century there developed a variety of scripts, which in principle remained the same but had their own styles, and were used for the writing of inscriptions in the Old Javanese language: it was called Old-Javanese script. On the island of Sumatra since the 10^th century there was known the Ancient Sumatra Script, used to write inscriptions in Ancient Malay, its script did not show much difference from Old-Javanese script, but possessed a number of characteristics only found in Sumatra inscriptions. The same can be said of Ancient Bali inscriptions. The three different systems of writing which entered Indonesia, further developed and accommodated themselves to the language, culture and society of the different regions, adopting their identity in the context of Indonesia as a united whole.

Keywords: epigraphy, philology, identity, palaeography

MENJEJAKI BUDAYA SERUMPUN MELALUI WARISAN LUKISAN GUA

2019-12-24T12:56:44+08:00

Background: The cultural heritage in the form of cave paintings (rock arts) is the legacy of humans from prehistoric times (paleolithic-neolithic), which is universal. There are cave paintings all over the world across continents; Europe, Africa, America, Australia, and Asia. In each continent, the cave paintings have specific unique shapes and styles. The objects described are generally in the form of palm print (hand stencil), animals (zoomorphis), humans (anthropomorphis), geometric, and others. In Asia, especially Southeast Asia, cave paintings are found in Indonesia and Malaysia, in addition to Thailand, Myanmar, Vietnam and the Philippines. The cave paintings generally depict religious activities and traditions to fulfill the needs of human life at that time. In this paper, we examine the characteristics of cave paintings in Indonesia and Malaysia.
Methodology: This research has a descriptive-qualitative method. Data collection is carried out through field surveys and literature studies. Data processing mainly uses formal comparative analysis between cave paintings in Indonesia and Malaysia to find out the forms of paintings, as well as their similarities and differences so that the cultural characteristics of the cognate cave paintings are known.
Results: Most of the cave paintings in Indonesia are in the regions of East Kalimantan, South Sulawesi, Southeast Sulawesi, West Papua, Papua and the Maluku Islands. Meanwhile, cave sites in Malaysia are in Perak, Kedah, Pahang, Kelantan, and Sabah and Sarawak. The most common cave painting objects found in Indonesia and Malaysia are hand, human, animal, and geometric images. Hand stencil objects in Indonesia and Malaysia generally has the same form and technique. Meanwhile, the objects of human, animal, and geometrical paintings are found to have almost the same technique but differed in type, shape, and style. Many similarities are found in cave painting objects in Indonesia and Malaysia which shows that both countries came from allied ancestors.
Conclusion: Cultural heritage in the form of cave paintings in Indonesia and Malaysia have similarities and diversity due to the creative and dynamic nature of the cognate ancestors. The similarity and diversity of the cave painting objects is a great foundation to foster bilateral relations between Indonesia and Malaysia, and to support harmonious cultural tourism between the two countries.

Keywords: cave paintings, prehistory, Indonesia, Malaysia, cognate culture

INNOVATION DEVELOPMENT IN THE CONTEXT OF LOCAL COMPETITIVENESS AND GLOBAL MARKET COMPETITION: STUDIES OF MOJOKERTO REGENCY, INDONESIA

2019-12-24T09:23:51+08:00

The implementation of local development required to provide more focused and integrated guidance development, and innovation that can be used to enhance the local development progress. The local government should be able to draw up a master plan to develop local competitiveness. The development plan based on local resources become a strategic way to achieve the local development objectives that is the welfare improvement of the local community. The direction of regional development will be clearer with a suitable local development planning. The purpose of this study is to analyse to the implementation of local innovation development strategy which served as an effort to increase local competitiveness in Mojokerto regency. The second purpose is to analyse the innovation development that capable to encourage the local competitiveness in the regional and global market era. This study employed a qualitative method by using the questionnaires and interviews data collection method. The informants of this research consist of bureaucrats, community leaders, politicians and academics. The result of this research is that the development of local innovation strategies has been effectively implemented. However, it is unable to raise the optimisation of local competitiveness in the regional and global market arena. Therefore, the strategies to encourage the improvement of local competitiveness to compete regionally and globally are still necessary that includes awareness, an improvement, and maintenance.

Keywords: Innovation, Local Competitiveness, Global market.

LOCAL ENTREPRENEURS OF MAKASSAR FISHERMEN

2019-12-24T09:23:52+08:00

Background: This study discusses the cultural values â€‹â€‹of local fishermen in Makassar. In general, fishermen are poor and cannot compete with others. However, this assumption needs to be reviewed. In fact, with the rapid growth of the city, several groups of fishermen still survive, exist, and even look forward to more economic prospects than fishermen in other regions.

Methodology: This study uses the historical method with a qualitative approach. Data is collected through interviews of successful punggawa (group leader) with mustard greens entrepreneurship. In addition to it aspect of preparedness by tracing the structure and working system of Makassar fishermen are also studied. The data obtained is processed using historical methods, namely heuristics, criticism, interpretation, and historiography.

Results: In the historical perspective, the 1950s is when a local elite dominated by aristocrats and businessmen who moved from rural to urban areas. The elite built their business in the field of fisheries. Started from creating a group of fishermen, this elite became the punggawa (group leader) who provided cultural socialisation to the fisherman sawi (laborers). It must be emphasised here that there are no indications of violence as expressed by experts. The mustard fishermen (laborers) feel helped by the system implemented by the group leaders.

Conclusion: The system used by the punggawa is known by the term "assiajinggeng" (brotherhood) with its structural value is very strong which considers that within the fraternity system all are same. From this culture, the spirit of kinship and belief system grows and takes root in the lives of Makassar fishing communities. With a system like this, although fishermen lose their money but laborers are still loyal to their employees.

Keywords: Local entrepreneurs, assiajinggeng culture, Makassar fishermen.

THE DYNAMIC DEVELOPMENT OF BATIK INDUSTRY IN INDONESIA: A STUDY OF INCUNG BATIK IN KERINCI, JAMBI, INDONESIA, 1995-2017

2020-01-03T17:39:54+08:00

Background: The history of batik in Indonesia has been around for a long time. This batik art has spanned almost all provinces in Indonesia and gave rise to various types of batik. In Kerinci it is known as Batik Incung, which is developed from the beauty of the Incung script, a typical ancient character 'Kerinci. This research seeks to reveal the dynamic development of the Indonesian batik industry with a focus on incung batik in Kerinci-Jambi, Indonesia (1995-2017).

Method: The method used in this study is a historical research method which consists of four stages to collect, select and critically examine historical sources to produce historical facts in accordance with what happened in the field. First, data collection (heuristics), which is looking for documents about the batik motif of the entrepreneur's collection, books on batik, Kompas newspaper, and Singgalang related to the batik industry. Second, critically testing the accuracy and validity of historical sources based on the sharp analysis. Third, interpretation, to establish the meaning and interrelationship of the facts that have been obtained. Fourth, historiography.

Results: The Incung batik industry began in Kerinci since 1995, after two craftsmen from Kerinci studied and worked making batik in Jambi. After three years, they went home and developed batik in Sungai Penuh with their own motives. Incung batik, initially did not get a good response from the community, but since a circular was issued by the mayor of Sungai Penuh to develop the Kerinci distinctive motif, namely the incung script, the community began to welcome enthusiastically. The development of incung batik as batik gauze from the Kerinci-Jambi region has added the new value to the community. It became a culture that illustrates a new identity for the Kerinci community. The embodiment of identity is seen from the creativity of the community in developing the incung script into batik motifs.

Conclusion: The development of the incung batik industry in Kerinci is based on two factors, namely the existence of government policies and the potential for entrepreneurs. The last achievement obtained by the incung batik in Kerinci is the overall development of the batik industry, the addition of community knowledge, birth of a new identity for the Kerinci community, and has economic value for the people who has developed it to meet their daily needs.

Keywords: Industry, script, batik, incung, Kerinci.

MINANGKABAU AND MALAY PROVERBS: CULTURAL HERITAGE OF MALAY WORLD

2020-01-02T21:11:27+08:00

Minangkabau and Malay are two allied nations having much in common besides their differences. One of the way to trace the similarities and differences between Minangkabau and Malay can be through proverbs they have in their culture. This study is an attempt to explore and observe Minangkabau and Malay proverbs as cultural heritage in order to see the similarities and differences between them. The data for this study are taken from Minangkabau and Malay proverbs both from written and spoken language. The study is focused on lexical configuration, syntactic structure, their meanings, and cultural values of the proverbs in the two cultures. The analysis of meanings, cultural values, dictions and variation will be done from the perspective of both anthropological linguistics (Duranti 1997; Foley, 1997) and from the concept of the relationship between language and culture as proposed by Kramsch (1998) stating that language reflects the culture. The results of the research indicate that in terms of lexical configuration, proverbs in Minangkabau and Malay language are constructed using synonymy. Syntactic structures of the proverbs in the two languages are categorised as frozen style. The meaning of the proverbs in the two languages are configurated literally and metaphorically. Minangkabau and Malay proverbs contained cultural values that are very essential for character building.

Keywords: Minangkabau, Malay, proverbs, meaning, culture, values

PRAMONO, KHAZANAH NASKAH MINANGKABAU. PADANG: PENERBIT ERKA, 2018, XX + 196 PP. ISBN: 978-602-6506-82-5 (PAPERBACK)

2020-01-03T17:30:14+08:00

Khazanah pernaskahan Minangkabau sudah lama menarik perhatian dunia akademik. Ketertarikan kepadanya dimulai oleh sarjana Eropa, khususnya Belanda, sejak akhir abad ke-19. Beberapa nama dapat disebutkan di sini, seperti J.L. van der Toorn, Arnold Snackey, C.A. van Ophuijsen, A.L. van Hasselt, L.K. Harmsen, Ph.S. van Ronkel, Gerth van Wijk, dan H.N. van der Tuuk.

Kiranya tidaklah berlebihan bila dikatakan bahwa ‘generasi Van der Toorn’ merupakan pionir dan peletak dasar kajian pernaskahan Minangkabau. Mereka telah berjasa memperkenalkan dunia pernaskahan Minangkabau ke forum akademik Eropa, khususnya Belanda, yang tentu saja juga dapat menjangkau komunitas akademik yang lebih luas. Di samping menghasilkan artikel-artikel akademik, para sarjana Belanda yang nama mereka disebutkan di atas juga telah menerbitkan beberapa naskah Minangkabau terpilih dan menerjemahkannya ke dalam Bahasa Belanda. Untuk sekadar contoh, sebutlah misalnya De geschiedenis van Prinses Balkis (Hikajat Poeti Baloekih) oleh Van Wijk (1881), Mandjau Ari: Minangkabausche vertelling (1885) dan Tjindoer Mato: Eeen Minangkabausch-Maleische legende (1886) karya Van der Toorn. Van Ophuijsen pula, melalui Penerbit P.W.M. Trap di Leiden, sedikitnya telah menerbitkan dan menerjemahkan ke dalam Bahasa Belanda empat kaba Minangkabau: Chabar Mama’ si Hetong: Een Minangkabausche vertelling (1892), Kabar Si Ali Amat: Een Minangkabausche vertelling (1895), Tjaritå Si Palalo’: Een Minangkabausche vertelling (1895), dan Kabar Si Omboet Moeda: Een Minangkabausche vertelling (1896). Sementara Van Ronkel telah berjasa menyusun Suplement Catalogue der Maleische en Minangkabausche Handschriften in de Leidse Universiteit Bibliotheek (1921).