scholarly journals Njoo Cheong Seng: An Artist in the Fight between Liberalism and Eastern Traditions

2021 ◽  
Vol 20 ◽  
pp. 15-26
Author(s):  
Dwi Susanto ◽  
◽  
Deny Tri Ardianto ◽  
Keyword(s):  
Cultural Nationalism ◽  
Colonial Discourse ◽  
Cultural Resistance ◽  
Chinese Characteristics ◽  
Film Producer ◽  
Eastern Traditions ◽  
Interpretation Method ◽  
Dutch Colonial

As an artist, Njoo Cheong Seng (writer, playwright, film producer, and director) made efforts to respond to colonial discourse through his works and activities from the mid-1920s to the 1940s. His responses manifested in the forms of resistance and counter discourse. This paper seeks to explore the ideas and forms expressed in the counter discourse by Njoo Cheong Seng, an artist of Chinese Indonesian ethnicity. The perspective applied in this research is the postcolonial approach, particularly with regard to the concepts of hybridity and resistance. The deconstructive reading framework interpretation method was applied to determine the opposing relationship between the colonised and the coloniser discourses. The results show that Njoo Cheong Seng supported the movement to restore Chinese characteristics as a form of cultural resistance to the idea of Dutch colonial liberalism. The strategy that he used seemed to support the colonial discourse while simultaneously masking the hybridity that he promoted through ideas such as cultural nationalism. In addition, Njoo Cheong Seng and other similar collective artists developed a strategy that seemed to be of a puritan nature; however, it was, in fact, a simultaneous hybridity that consistently responded to modernity values. Njoo Cheong Seng actually opposed modernity born of liberalism. Essentially, he opposed the concept of the human as the centre of everything, or anthropocentrism.

scholarly journals Deconstruction of the colonial discourse on the erpangir ku lau ritual in karo society

2019 ◽  
Vol 5 (6) ◽  
pp. 102-107
Author(s):  
Vanesia Amelia Sebayang
Keyword(s):  
Qualitative Research ◽  
Research Method ◽  
Social Reality ◽  
Colonial Discourse ◽  
Colonial Era ◽  
Qualitative Research Method ◽  
Qualitative Descriptive ◽  
Dutch Colonial ◽  
Descriptive Qualitative

Erpangir ku lau is a ritual of cleansing based on Hindu Pemena teachings. This ritual teaches the Karo people to maintain harmonious relations between humans, the forces of nature, and the Creator. However, in the Dutch colonial era, erpangir lau was stopped because it was part of the worship and the practice of magic. The method used in this article is a descriptive qualitative research method that uses theory as a basis. This qualitative descriptive design format embraces phenomenology and post-positivism. This study aims to describe, summarize the various situations or phenomena of social reality in a society that are the object of research, and try to pull that reality to the surface as a description of certain conditions, situations, or phenomena. The findings obtained are that the colonial influence still imprinted on the person of the Karo people even though the occupation had long since ended. Concerning the Dutch colonial discourse, it is necessary to carry out a deconstruction practice to reverse the Karo people's perspective on the erpangir ku lau rites.

‘A Conglomeration of […] often Conflicting Ideas’: Resolving the ‘Native Question’ in Java and the Outer Islands in the Dutch East Indies, 1900-1925

Itinerario ◽  
2003 ◽  
Vol 27 (3-4) ◽  
pp. 160-188 ◽  
Author(s):  
Joost Coté
Keyword(s):  
Twentieth Century ◽  
Colonial Rule ◽  
Colonial Discourse ◽  
Colonial State ◽  
East Indies ◽  
Colonial Policy ◽  
History Of ◽  
Dutch East Indies ◽  
Dutch Colonial

This paper examines Dutch colonial discourse as it was developing at the beginning of the twentieth century. I argue that colonial circumstances were changing at the beginning of the twentieth century in many aspects - economic, political, social - and that these changes required new policy and administrative responses. I take as examples of these changing colonial conditions and responses, two episodes in the history of ‘the late colonial state’, which I argue are both representative of and formative in shaping, colonial policy in the last decades of Dutch colonial rule in Indonesia.

East of the Cape in 1832: The Old Indies World, Empire Families and “Colonial Women” in Nineteenth-century Java

Itinerario ◽  
2012 ◽  
Vol 36 (1) ◽  
pp. 22-48 ◽  
Author(s):  
G. Roger Knight
Keyword(s):  
Nineteenth Century ◽  
Social History ◽  
Colonial Discourse ◽  
Colonial Society ◽  
Netherlands Indies ◽  
Recent Debate ◽  
Dutch Colonial

This paper deals with several themes central to recent debate about Dutch colonial society in Java, the key island of the erstwhile Netherlands Indies. Primarily, these themes relate to the colonial-metropolitan nexus, and my discussion seeks to illuminate these themes with particular reference to the documented experiences of three women who were either on their way to the Indies—or making their way back from there—early in the 1830s. The paper's fundamental argument concerns the importance of the concept of “Empire Families” to an understanding of Dutch colonial communities in the Indies. It is an understanding that serves to correct some misconceptions about the dynamics of those societies in the early to mid-nineteenth-century period. Among other things, building on the work of others and drawing on unpublished documentation, it seeks to locate some aspects of colonial “discourse,” particularly those relating to “colonial women,” in the broader framework of social history.

RELASI ISLAM DAN NASIONALISME DALAM SEJARAH BANGSA INDONESIA

ALQALAM ◽  
2013 ◽  
Vol 30 (3) ◽  
pp. 563
Author(s):  
Suhaimi Suhaimi
Keyword(s):  
Cultural Nationalism ◽  
Early Growth ◽  
Colonial Period ◽  
New Order ◽  
Japanese Colonial ◽  
Muslim Intellectuals ◽  
Colonization Period ◽  
The Times ◽  
The Relationship ◽  
Governance Reforms

In line with the times demand, nationlism changes as a dynamic of dialectics proceeds with changes in social, political, and ekonomic in the country and global levels. Based on a review of historical chronology, this paper analyzed descriptively the relationship between Islam and nationalism in Indonesia. Since the early growth of nationalism and the Dutch colonization period in Indonesia, Islam became the spirit of sacrifice of lives and property of the Indonesian people's fighting to get independence and on the Japanese colonial period and the early days of independence, Islam through the muslim leaders founction as base of departure and developer awareness of nasionalism, patriotism and unity to defend the independence. Despite the authoritarian New Order ruler cope with Islam through the establishment of the Association of Indonesian Muslim Intellectuals (ICMI), but awareness of national Muslim leaders to build Indonesia managed to push governance reforms. And in this era of reform, the spirit of nationalism and the spirit of sacrifice of the Indonesian leaders increasingly eroded by corruption. Key words: proto-nationalism, political nationalism, cultural nationalism.

Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye

2018 ◽  
Author(s):  
Enrique Ajuria Ibarra
Keyword(s):  
Southeast Asian ◽  
Horror Films ◽  
Film Production ◽  
Visual Preference ◽  
Female Protagonists ◽  
Cross Border ◽  
Film Series ◽  
Eastern Traditions

The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.

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