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Another important development has been the emergence of women writers whose works attract wide attention. This poem is quoted in full in Derks c Introduction 25 Hatley ; I. Saman by Ayu Utami is one of the most prominent works by women writers. Women who identify as more assertive, outspoken and independent have replaced the succession of submissive female characters in earlier works.
All these significant changes in the Indonesian literary landscape coincide with radical changes in Indonesian political life and freedom of expression following the fall of President Suharto in The debate about sastra kontekstual as a writing strategy is now outdated since many contextual literary works have been published during the post-Reformation era. Apart from encouraging authors to focus more on social and political changes, the political atmosphere in contemporary Indonesia also provides a situation in which they can explore their creative power with almost unlimited freedom and with little concern about possible censorship.
This poem was written in , when the krisis moneter monetary crisis and political turmoil that forced Suharto to step down was occurring. How the topics of identity construction and identity negotiation are reflected in Indonesian literature written in Bali is discussed in Chapters III to VII, but the next chapter will present an historical sketch of Indonesian literature from Bali in order to provide a general background.
CHAPTER II The development of Indonesian literature from Bali Balinese have been part of the national literary endeavour throughout the twentieth century, but scholarly discussion of their contribution tends to be limited to acknowledging well-known names like Panji Tisna from the s and Putu Wijaya from the s.
In the early s, Balai Pustaka published two of his novels, which are still widely read and studied. His output includes novels, short stories, dramatic work and cultural essays, as well as writing and directing films. He also founded his own theatre and directed plays there, and has been invited to perform and give theatre workshops in countries as varied as Japan, Greece and the United States.
He has always been identified as Balinese, even though he moved to Yogyakarta in the s, and has lived in Jakarta since the late s. Besides these two well-known writers, Bali has produced many other writers whose works and literary activities have played a significant role in the development of Indonesian literature since the s.
They include poets, novelists and short-story writers who have appeared in both the local and national mass media. Some of them have received national recognition or won prestigious national literary awards. There are also many Balinese writers who have remained unknown at the national level, but have nevertheless contributed to the large body of Indonesian literature from Bali.
The significant impact made by Balinese writers on the long- term development of Indonesian literature has been more widely appreciated recently Bachri ; Rampan Korrie Layun Rampan has included a number of young Balinese writers as part of Angkatan or the Generation of Indonesian literature, reminiscent of the inclusion of Panji Tisna in Angkatan Pujangga Baru. What follows is an overview of the progress of Indonesian literature in Bali from the s to , highlighting its distinctive features.
This time span covers four broad periods: the colonial s to , national revolution , New Order s and Reformation s to the present periods. Although these dates are approximate, as activities in some cases overlapped, the literature of each period displays particular characteristics that define it. The significant social and political currents that have influenced the writing of this literature in Bali in important ways also mark each period and are also discussed.
Historical overview As indicated previously, Indonesian-language literature began in Bali in the s through the medium of the periodicals Surya Kanta and Bali Adnjana. Publication in newspapers and magazines therefore started as, and remains, the main medium for literary production. Only a few works have appeared in books, and most of these had been published earlier as sastra koran. So there is no doubt that Indonesian literature originating from Bali should be considered sastra koran.
Table 1 shows an almost unbroken series of significant twentieth- century Balinese publications in which literary works appeared and illustrates how important newspapers and magazines were for Balinese authors.
Table 1. The colonial period saw five periodicals published in Bali by social organizations whose members were mainly educated Balinese, such as teachers and administrative officials in the Dutch bureaucracy. Among these periodicals, Surya Kanta and Djatajoe were the most prominent in promoting modern Indonesian literature in addition to traditional Balinese literature, while Bali Adnjana published only one Indonesian poem and no traditional Balinese literature at all. No archive of Shanti Adnjana is available, so it is impossible to know whether it contained any literary works, and Bhawanegara, published by the Dutch-sponsored Liefrinck-Van der Tuuk Foundation,1 showed no interest in modern Indonesian literature.
Instead, its aim was to present to the general public traditional Balinese literary works and summaries of traditional texts in Indonesian as part of an effort to preserve traditional Balinese literature, which up until then was written on palm leaves. During the first decade of the national revolution, the outlets for national literature from Bali were the daily newspapers Suara Indonesia The voice of Indonesia and Imbangan Balance , the magazines Bhakti Devotion and Damai Peace , and the weekly Harapan Hope.
During the early s, two publications that also published literature appeared in Bali, the daily Bali Dwipa Bali island and the weekly Fajar The sun. While Panji Tisna had published work in periodicals outside Bali in the early s, regular opportunities to publish in national periodicals did not arrive until after independence. Some Balinese writers from the s, such as Nyoman S. Pendit, Putu Shanty and Made Kirtya, began to publish their literary work outside Bali, mainly in Jakarta periodicals that included the weekly Siasat Strategy and the monthly Mimbar Indonesia Indonesian forum , as 1 This foundation was named after two scholars, F.
Liefrinck and H. This foundation established a lontar library, Gedong Kirtya, in in North Bali. Indonesian summaries of texts from this library were published in Bhawanegara with the aim of attracting public attention.
If members of the public were interested, they could borrow a text or read the full version at the library. Gedong Kirtya still exists and maintains its collection as well as possible. Writers took advantage of every available outlet for publication, including popular magazines such as Varia Variant , Sarinah Sarinah , and Femina Femina. These magazines often held prose- writing competitions with qualified judges academic and literary figures , and published short stories and novelettes of considerable quality.
By the s, the work of Balinese writers was appearing ever more frequently in national publications, reinforcing the idea that Balinese literature had become part of the national literature or that national literature was already flourishing in Bali. The background and motivation of Balinese writers from the colonial and the national revolution periods contrasts with those from the New Order and Reformation periods.
Writers from the earlier two periods were members of social or political organizations and their work reflected the goals of those organizations, whereas writers from the New Order and Reformation periods were comparatively independent and wrote as individuals. The main difference in socio- political context was that the earlier times of struggle and revolution gave way to periods of relative stability and order.
This caused a significant shift in the direction of literary life, as literature no longer served or needed to serve the political ends it once did. The colonial period Balinese literature in Indonesian began with the publication of literary works — mainly poetry — in the periodicals Bali Adnjana and Surya Kanta during the s, and in the magazine Djatajoe in the s.
No earlier evidence can be found of modern literary texts written by a Balinese author. These periodicals, particularly Surya Kanta and Bali Adnjana, provided a forum for debates about issues such as religion, caste, education, and modernity.
Surya Kanta was a progressive and modernist publication with a strongly anti-caste standpoint, while Bali Adnjana was its conservative opponent and instead promoted the caste system as an integral and essential part of Balinese culture and tradition. The issues of caste, tradition and modernity became the most hotly debated topic between Surya Kanta and Bali Adnjana Picard a; Putra Agung , The Hindu-based caste system allots Balinese at birth into one of a hierarchy of four groups, namely brahmana, ksatria, wesya, and sudra.
The three higher castes are collectively called triwangsa, while members of the lowest caste group, sudra, who make up the remainder of the population, are called jaba.
With the support of the triwangsa, the Dutch made caste distinctions more rigid and gave them additional privileges. Jaba people, on the other hand, rejected the caste system as the sole determinant of status. Instead, they proposed that education, intellectual achievement and character budi should form the basis for status. During the debates between Surya Kanta and Bali Adnjana from to , new styles of creative writing in the form of poetry, short stories and plays began to appear.
These early publications have very clear intertextual connections between literary and public discourses. As the central social controversy of the time, caste became the dominant theme for writers. The most popular poetic genre published in this early period was the syair. This traditional Malay form consists of four-line stanzas with an a-a-a-a rhyming pattern.
Many Balinese writers were teachers who were familiar with Malay, and it is probably because of this influence that early writers used the syair form. Panji Tisna, for example, began to write poetry and syair when he continued his studies in Batavia now Jakarta , where he had become immersed in the Malay language in the early s Caldwell In addition, there was a linkage between genre and language so that syair was the form in which Malay poetry was written, in the same way that kakawin were always written in Old Javanese and kidung in Middle Javanese.
Kertanadi and published in Bali Adnjana on 1 January It promoted the ideas of the periodical and its aspirations of bringing enlightenment to Balinese society. This, however, is the only poem Bali Adnjana ever published. It is noteworthy that although Bali Adnjana opened a library that contained traditional literature such as the Ramayana and the Mahabharata for the public to borrow, showing that it had an interest in literary works, it did not publish any other original literary works either in Malay Indonesian or Balinese.
While Bali Adnjana printed the first literary work, Surya Kanta had a far more significant role in the development of Balinese literature, as it published many poems, one short story and one play. Many poems also promoted the newspaper itself. The poetry published in Surya Kanta came from contributors who were also members of the organization. Gama, and Soekarsa. Some lived in Bali, others in Lombok. Given that most of the leadership and membership of Surya Kanta — the organization that published Surya Kanta — were teachers, it is quite probable that these contributors were themselves teachers.
They contributed articles as well as literary works, and their themes in the two areas frequently overlapped Sutedja-Liem Readers of Surya Kanta could hardly have avoided the impression that they were often encountering the same ideas in different guises.
Surya Kanta only published one short story, Gagak dan ular sawah The crow and the snake by Nr. As with the poetry, the writer uses this short story to promote the goals of the organization, especially the ideas of progress and equality. This, and the social themes of the syair published in Surya Kanta, suggest strongly that early Balinese literature was highly committed to social issues, which was characteristic of Indonesian literature from the colonial period. Balinese people, especially those who lived in urban areas, were already accustomed to watching the popular Malay theatre form known as stambul, as stambul troupes from Java had been calling into Bali since the late nineteenth century, on their way to eastern parts of Indonesia such as Sulawesi and Maluku Putra The first performance in Singaraja was delivered in Dutch and English for an audience who were mainly foreigners, and included Dutch, Chinese and local intelligentsia who spoke both languages.
The general theme of the play is not clear, but according to newspaper reports from Bali Adnjana and Surya Kanta, it was full of messages encouraging parents to send their children to school and urging young Balinese to pursue further education.
The aims of this performance were twofold — to promote the importance of modern education, and to raise funds for scholarships. Both Surya Kanta and Bali Adnjana published reviews of the overall performance. In fact, the second performance was delivered in Balinese, aimed at the local people, and was free of charge — although the audience was encouraged to give a donation to assist the troupe with travel expenses. This play is the most important work of this period, from both an aesthetic and a thematic point of view.
It deals with caste conflict in the context of inter-caste marriage, an important theme explored by Balinese writers in all periods up to and including the s see Chapter V. The development of Indonesian literature from Bali 37 appears that for Surya Kanta, the content of the play — attacking the caste system and promoting new ideas of Balinese identity based on personal achievement — was more important than the identity of the writer.
There is no information as to whether the play was ever performed. During the inter-war period, however, it was quite common to use plays like this, containing strong messages and social commentary on Indonesia as propaganda tools or as a medium for communicating ideas of modernity and nationalism Bagus ; Bodden After the dissolution of Surya Kanta under pressure from the colonial government in Picard b; Schulte Nordholt , the development of Balinese literature in newspapers experienced a lengthy hiatus until the emergence of the magazine Djatajoe in February It is worth noting here the role that Panji Tisna played in filling the gap between the closure of Surya Kanta and Bali Adnjana and the appearance of Djatajoe.
In this period, he published short stories and poems in magazines outside Bali, such as Terang bulan Surabaya and Poedjangga Baroe Jakarta.
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.
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So, aku buat ratah aje lah. For me pulak aku nak makan yang ringan-ringan je for dinner so aku choose Mojo Chicken Grill ni. Pemimpin suatu kaum adalah keji dan pemimpin suatu suku adalah fasik Akan tetapi golongan lelaki pun jadi mangsa. Tumbuk kunyit dan campurkan dengan asam jawa dan sedikit air.
Air rebusan tumbuhan ini juga digunakan untuk perawatan selepas bersalin. Stok untuk masakan sudah disediakan bagi satu minggu. Cerita lelaki kunyit Senang cerita kunyit suka sejuk maksudnya redup kalau bawah matahari terus tanpa hujan kurang siram tanah kering dia akan kuning.
Ramainya mengadap, malu sangat. Bersembur ice-cream I time tu. Masih terasa rasa masam-masam salad tu. Cerita Hot Terbaik - Malam telah larut dimana jarum jam menunjukkan pukul Tapi sejak akhir ni malas. Kadangkala sebelum memasuki rumah perempuan, upacara berpantun akan dilakukan. Aku makin tidak faham. Dia kemudian berjalan menuju saya dan berkata, "Sstt. Ibnul Qayyim berkata mengenai keterangan dari tokoh-tokoh. Kongsi cerita pasal lelaki, tips dan sebagainya.
Mula-mula perlu buang perasaan negatif ini. Meski tahu lelaki itu masih punya istri,tapi lantaran berani memberikan mbok tempat tinggal,mbok akhirnya menikahi lelaki itu,dan pindah ke rumah dipinggiran kota. Korban Kebiadaban Kakak Kembarku cerita dewasa.
Lagi pun berapa banyak dah depa hadap sehari, takkan depa ingat yang ni macam mana, yang tu macam mana. Ini hasil tuaian kunyit. Puas hati meratah udang galah Sg Timun. Dalam mimpinya, Tuhan menjawab, "Saat Kuciptakan wanita, Aku membuatnya menjadi sangat utama. Kuciptakan bahunya, agar mampu menahan seluruh beban dunia dan isinya, walaupun juga, bahu itu harus cukup nyaman dan lembut untuk menahan kepala bayi yang sedang tertidur.
Kuberikan wanita kekuatan untuk dapat melahirkan, dan mengeluarkan bayi dari rahimnya, walau, seringkali pula, ia kerap berulangkali menerima cerca dari anaknya itu. Kuberikan keperkasaan, yang akan membuatnya tetap bertahan, pantang menyerah, saat semua orang sudah putus asa. Pada wanita, Kuberikan kesabaran, untuk merawat keluarganya, walau letih, walau sakit, walau lelah, tanpa berkeluh kesah. Kuberikan wanita, perasaan peka dan kasih sayang, untuk mencintai semua anaknya, dalam kondisi apapun, dan dalam situasi apapun.
Walau, tak jarang anak-anaknya itu melukai perasaannya, melukai hatinya. Perasaan ini pula yang akan memberikan kehangatan pada bayi-bayi yang terkantuk menahan lelap. Sentuhan inilah yang akan memberikan kenyamanan saat didekap dengan lembut olehnya. Kuberikan wanita kekuatan untuk membimbing suaminya, melalui masa-masa sulit, dan menjadi pelindung baginya.
Sebab, bukankah tulang rusuklah yang melindungi setiap hati dan jantung agar tak terkoyak? Kuberikan kepadanya kebijaksanaan, dan kemampuan untuk memberikan pengertian dan menyadarkan, bahwa suami yang baik adalah yang tak pernah melukai istrinya.
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.
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