sastra sebagai identitas naratif dan upaya sastra dalam menghadapi masalah masyarakat dan

348 Pages·2012·3.4 MB·English

Konferensi Internasional
Konferensi PPRROOSSIIDDIINNGG
Internasional
P
r XXII The 22nd International Conference
o on Literature
s
i
d
i Konferensi Internasional Kesusastraan XXII UNY - HISKI
n
g
“The Role of Literature in Enhancing Humanity
and National Identity”
“Kontribusi Sastra dalam Menumbuhkembangkan Nilai-nilai
S
a
s
t
Kemanusiaan dan Identitas Nasional” ra
s
e
b Buku 1
a
g
a
XXII The 22nd International Conference i Id
e
n
t
it
a
s
on Literature N SSAASSTTRRAA SSEEBBAAGGAAII IIDDEENNTTIITTAASS NNAARRAATTIIFF
a
r
a
t
if
d
a
n
U
Kontribusi Sastra dalam Menumbuhkembangkan pa DDAANN UUPPAAYYAA SSAASSTTRRAA DDAALLAAMM MMEENNGGHHAADDAAPPII
y
a
S
a
s
Nilai-nilai kemanusiaan dan Identitas Nasional tr
a
d
a MASALAH MASYARAKAT DAN BANGSA
la MASALAH MASYARAKAT DAN BANGSA
m
M
e
n
“The Role of Literature in Enhancing Humanity g
h
a
d
a
and National Identity” p
i M
a
sa Editor:
la
h
M Nurhadi, Wiyatmi, Sugi Iswalono, Maman Suryaman, Yeni Artanti
a
s
y
a
r
a
k
a
t
d
a
n
B
a
n
g
s
a
9 786021 921517
FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA
FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA
FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA
B
Himpunan Sarjana Kesusastraan Indonesia (HISKI) u
Himpunan Sarjana Kesusastraan Indonesia (HISKI) Himpunan Sarjana Kesusastraan Indonesia (HISKI)
k Himpunan Sarjana Kesusastraan Indonesia (HISKI)
u

1
Prosiding
Konferensi Internasional Kesusastraan XXII UNY-HISKI

“The Role of Literature in Enhancing Humanity
and National Identity”

BUKU 1
SASTRA SEBAGAI IDENTITAS NARATIF
DAN UPAYA SASTRA DALAM
MENGHADAPI MASALAH MASYARAKAT
DAN BANGSA

Editor:
Nurhadi, Wiyatmi, Sugi Iswalono, Maman Suryaman, Yeni Artanti
(Rumpun Sastra FBS UNY)

Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta
Himpunan Sarjana Kesusastraan Indonesia (HISKI)
Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta

Prosiding

Konferensi Internasional Kesusastraan XXII UNY-HISKI: “The Role of Literature in
Enhancing Humanity and National Identity”

SASTRA SEBAGAI IDENTITAS NARATIF
DAN UPAYA SASTRA DALAM MENGHADAPI
MASALAH MASYARAKAT DAN BANGSA

vi + 241 hlm; 21 x 29 cm

ISBN :

Hak Cipta Dilindungi Undang-Undang Memfoto copy atau memperbanyak
dengan cara apapun, sebagian atau seluruh isi buku ini tanpa seizin penerbit
adalah tindakan tidak bermoral dan melawan hokum

Judul Buku : Sastra sebagai Identitas Naratif dan Upaya Sastra
dalam Menghadapi Masalah Masyarakat dan Bangsa
Penyunting : Nurhadi
Wiyatmi
Sugi Iswalono
Maman Suryaman
Yeni Artanti
Cetakan Pertama : November 2012
Penerbit : Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta
Alamat : Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta
(Karangmalang – Yogyakarta)
KATA PENGANTAR

Puji syukur kami panjatkan kepada Tuhan Yang Maha Esa karena prosiding
Konferensi Internasional HISKI XXII ini akhirnya dapat kami selesaikan sehingga dapat
diapresiasi oleh pemerhati sastra dan budaya Indonesia, khususnya bagi para peserta
konferensi ini.Tema utama konferensi kali ini yaitu “The Role of Literature in Enhancing
Humanity and National Identity” sebuah usaha mempertinggi nilai kemanusiaan dan
identitas nasional melalui peran sastra. Tentu saja hal tersebut merupakan suatu kajian
yang relatif cair karena apa yang ditampilkan dalam konferensi ini tidak hanya difokuskan
pada kajian tentang tema tersebut, tetapi juga menyangkut hal-hal lain yang seringkali
mengkaji sesuatu yang lebih luas dari sekedar nilai kemanusiaan ataupun identitas
nasional. Meski demikian, hal tersebut tidak terlepas dari kajian yang berkaitan dengan
sastra ataupun karya sastra sebagai bidang kajian yang digeluti oleh sejumlah pemerhati
yang terkait dengan HISKI (Himpunan Sarjana Kesusastraan Indonesia).
Dalam konferensi kali ini, tema utama tersebut dipilah menjadi lima subtema yang
terdiri atas: (1) “Sastra sebagai Identitas Naratif dan Upaya Sastra dalam Menghadapi
Masalah Masyarakat dan Bangsa”, (2) “Sastra dan Masalah Lingkungan serta Masyarakat”,
(3) “Peran Sastra dalam Pendidikan Moral dan Karakter”, (4) “Sastra Anak dan Kesadaran
Feminis dalam Sastra”, dan (5) “Sastra, Kultur, dan Subkultur”. Kelima subtema tersebut
kemudian dijadikan sebagai prosiding.Subtema keempat karena terlalu tebal kemudian
dipecah menjadi dua prosiding sehingga semua berjumlah enam buah prosiding.
Pemilahan dan pengelompokkan masing-masing makalah ke dalam lima subtema
tersebut bukanlah perkara yang mudah mengingat seringkali sebuah makalah
menyinggung sejumlah aspek sub-subtema secara bersamaan. Dengan demikian,
seringkali ada sejumlah pengelompokan yang terasa tumpang tindih atau ada
ketidaktepatan penempatannya.Awalnya, abstrak yang diterima panitia untuk
dipresentasikan dalam konferensi ini sebanyak 180-an. Dalam perkembangannya hanya
sekitar 150-an artikel yang memenuhi kriteria untuk dijadikan prosiding.
Prosiding yang berjudul Sastra sebagai Identitas Naratif dan Upaya Sastra dalam
Menghadapi Masalah Masyarakat dan Bangsaini merupakan satu dari serangkaian enam
prosiding yang kami bukukan. Judul prosiding ini merupakan judul pertama dari judul-
judul lainnya yang secara lengkap meliputi: (1) Sastra sebagai Identitas Naratif dan
Upaya Sastra dalam Menghadapi Masalah Masyarakat dan Bangsa, (2) Sastra dan
Masalah Lingkungan serta Masyarakat, (3) Peran Sastra dalam Pendidikan Moral dan
Karakter,(4) Sastra Anak dan Kesadaran Feminis dalam Sastra[Bagian 1],(5) Sastra Anak
dan Kesadaran Feminis dalam Sastra [Bagian 2], dan (6) Sastra, Kultur, dan Subkultur.
Penyusunan prosiding kali ini yang dipecah menjadi 6 buku tersebut dilandaskan pada
alasan teknis belaka, yakni guna menghindari kesan buku tebal sekiranya makalah-
makalah ini dijilid dalam satu buku.Selain mudah dibawa, buku-buku prosiding ini
diharapkan lebih nyaman untuk dibaca.
Sebenarnya makalah-makalah yang terdapat dalam prosiding ini belumlah diedit
secara menyeluruh. Panitia, khususnya seksi makalah, mengalami keterbatasan guna
melakukan penyuntingan terhadap 150-an artikel dalam waktu yang relatif
mendesak.Pada waktu mendatang hal ini bisa dilakukan sebagai bentuk revisi atas
kekurangan tersebut.Meski demikian, sebagai sebuah kumpulan tulisan, prosiding-
prosiding ini diharapkan dapat menjadi ajang tukar pemikiran mengenai sastra secara
umum.Konferensi internasional semacam ini selain sebagai bentuk silaturahmi secara
fisik, sebagai wahana pertemuan pemerhati sastra dari Indonesia dan luar negeri, juga
pada hakikatnya adalah wahana silaturahmi pemikiran.
Akhir kata, atas nama panitia, kami mengucapkan terima kasih yang sebesar-
besarnya atas partisipasi pemakalah, baik dari dalam maupun luar negeri, yang turut
menyukseskan konferensi internasional HISKI XXII kali ini. Sebagaimana diharapkan oleh
panitia pelaksana konferensi sebelumnya di Surabaya tahun 2010, kami selaku panitia
konferensi kali ini yang berlangsung di Fakultas Bahasa dan Seni, Universitas Negeri
Yogyakarta, juga berharap agar penerbitan prosiding-prosiding ini menjadi tradisi yang
terus dikembangkan dalam setiap konferensi HISKI di masa yang akan datang.

Selamat membaca. Salam budaya!

Yogyakarta, Awal November 2012
Ketua Konferensi HISKI XXII,

Dr. Suwardi Endraswara, M.Hum.
DAFTAR ISI

 HALAMAN JUDUL ..................................................................................... i
 KATA PENGANTAR ................................................................................... iii
 DAFTAR ISI .............................................................................................. iv
 Achibe and Ngugi: Literature of Decolonization (Lutfi Hamadi) .................... 1
 Borneo in the Eyes of Joseph Conrad (Suhana binti Sarkawi, Datu Sanib
bin Said) .................................................................................................. 10
 Looking at India Through “Yhe Perforated Sheet” in Rushdie’ Midnight’s
Children (Nita Novianti) ........................................................................... 21
 Negotiation in Diasporic Identity in Jhumpa Lahiri’s The Third and Final
Continent and This Blessed House (Retno Wulandari) ................................ 27
 Religious Identity in Chapter Ten of Narrative of the Life of Frederick Douglass
American Slave (I.M. Hendrarti, M.A., Ph.D.) ........................................... 34
 Preparation and Validation of Literature and Multi- Intelligence based Lessons
in Reading for Children with Hearing Impairment (Joel J. Pineda) ............... 40
 Pewacanaan Identiti Bangsa dalam Sastera Seepas Meredeka: Pengalaman
Malaysia (Mohamad Saleeh Rahamad, Ph.D.) ......................................... 51
 Nasionalisme dalam Dua Novel Emigran Malaysia (Suharmono K.) ............... 73
 Menelusuri Pemikiran Mantan Perdana Menteri Malaysia Melalui Karya Puisi:
Ke Arah Model Pemerintahan Negara (Tuan Nordin Tuan Kechik)............... 79
 Malay Identity in Malaysian and Indonesian Literature (Mugijatna) .............. 87
 Cerminan Masyarakat Jajahan Melalui La Colline Oubiee Karya Moulaud
Mammeri (Iwan Khisnanto, M.Hum.) ...................................................... 99
 Social Ills in the Short Stories of Filipino Natonal Artist for Literature F. Sionil
Jose (Jayson E. Parba) ............................................................................ 105
 Revitalisasi Film Sastra dalam Pembangunan Budaya Bangsa (Ali Imron Al-
Ma’ruf) .................................................................................................... 113
 Pengajaran Sastra Frankofoni dalam Rangka Peningkatan Kesadaran
Berbangsa (Tania Intan, S.S., M.Pd.) ....................................................... 124
 Subjek Matter “Liyan/The Others” dalam Novel Sastra Indonesia Kontemporer
(Arif Budi Wurianto) ............................................................................... 132
 Literature, Revealing Personality Identity (Mamik Tri Wedawati) ............... 139
 Krisis Identitas Manusia Indonesia dalam Fiksi Posmodernis (Dr. Pujiharto,
M.Hum) .................................................................................................... 147
 Sastra Indonesia dan Persoalan Bangsa: Mempertimbangkan Penulisan Ulang
Sejarah Sastra (Yoseph Yapi Taum) ......................................................... 158
 Kuasa Bahasa terhadap Sastra, Sejarah, dan Wacana Kekuasaan (Nurhadi) .. 172
 Peranan Sastra dalam Pembelajaran Sejarah Untuk Membentuk Karakter
Siswa (Supardi) ........................................................................................ 180
 Tafsir Atas Pasar, Pengakuan Pariyem, dan Gadis Pantai untuk Meredefinisikan
Konsep Pembangunan Bangsa (Ratun Untoro) ......................................... 187
 Karya Sastra sebagai Media Pembangunan Budaya Bangsa (Umi Faizah,
M.Pd.) ..................................................................................................... 195
 Refleksi dan Prediksi Nilai-nilai Kemanusiaan dalam Novel gadis Pantai dan
Nyanyi Sunyi Seorang Bisu Karya Pramudya Ananta Toer: Menuju Masyarakat
yang Humanis (I.B. Putera Manuaba) ...................................................... 205
 Identitas dan Resistensi Budak pada masa Kolonial dalam Novel Surapati dan
Robert Anak Suropati Karya Abdul Moeis (I Nyoman Yasa, S.Pd., M.A.) ..... 214
 Peran Pendidikan Moral dalam Sastra Jawa (Afendy Widayat) .................... 222
 Logika Hati dalam Sastra “Kiri” Indonesia (1950-1965) (Rhoma Dwi Aria
Yuliantri, M. Pd) ..................................................................................... 232
 The Archeology of Football Fans: Footballl, Media and Identity (A Paper on
Siwi Mars Wijayanti’s Novel Koloni Milanisti) (Muhammad Taufiqurrohman,
S.S., M.Hum.) .......................................................................................... 243
 Konstruksi Identitas Hibrid Pascakolonial dalam Lagu-lagu Populer Makulu
(Falantino Eryk Latupapua) ................................................................... 254
 The Dare Game: Space and Identity Consruction (Irna Febianti Evi
Eliyanah) ................................................................................................. 266
 Antara Jenderal Kayu dan Jenderal Kopi dalam Hikayat Mareskalek Karya
Abdullah Bin Muhammad Al-Misri (Djoko Marihandono) ............................ 275
 Njoo Cheong Seng dan Pemikirannya tentang Nasionalisme dan Bangsa (Dwi
Susanto) .................................................................................................. 287
 Membebaskan Fetish “Babu” dalam Sastra Indonesia? – Cerpen “Bukan Yem”
oleh Etik Juwita (Shiho Sawai) ................................................................. 295
 Peran Kompeni dalam Percaturan Politik Dinasti Mataram: Studi Kasus dalam
Babad Tanah Jawi (Dr. Kundharu Saddhono, M.Hum.) ................................. 306
 Peningkatan Ketrampilan Apresiasi Sastra Dalam Pembelajaran Bahasa Jawa
Dengan Media Campursari Pada Siswa Kelas XI IPA 1 SMAN 2 Banguntapan
(Venny Indria Ekowati) .......................................................................... 315
 Mencari Sumber Rujukan Pendidikan Karakter Dalam Karya Sastra Jawa (Sri
Harti Widyastuti, M. Hum.) .................................................................... 333
Achebe and Ngugi: Literature of
Decolonization

Lutfi Hamadi
Beirut Arab University, Beirut, Libanon
<[email protected]>;

Abstract
The purpose of this paper is to shed light on the role postcolonial literature plays in European ex-
colonies in rewriting history and establishing an identity by comparing and contrasting two of the most
eminent contemporary African writers, the Nigerian Chinua Achebe and the Kenyan James Ngugi, known later
as Ngugi wa Thiong’o. For this purpose, the paper traces the most common and different features in these
writers’ works, which explore the histories of Nigeria and Kenya in pre-colonial, colonial, and postcolonial
times. Like their characters, both writers were at crossroads of traditional culture and Christian influence,
where they faced the dilemma of growing up in two different worlds as Africans and as Westerners. Their
suffering from the corruption and violence practiced by post-colonial dictatorships and their incessant
attempts to establish an independent personality and identity found their vent in remarkable creative writings
of opposition and decolonization. Despite a few differences, Achebe’s and Ngugi’s works reveal the
unspeakable effects of colonization on the natives and its persistence in the form of chaos, coups, corruption,
civil wars, and bloodshed. Emphasizing on Achebe’s Things Fall Apart, Arrow of God, and Anthills of the
Savannah and Ngugi’s Weep Not, Child, The River Between, and Petals of Blood, the paper demonstrates how
the conflicts between the powerful colonizers and the defenseless colonized end up with the destruction of
local cultures, histories, values, and languages, and the distortion of the image of the colonized subjects in
the Western discourse, all done in the name of enlightening and civilizing them. It also highlights the
corruption and oppression of the post-colonial regimes, reflecting the writers' disbelief in the independence
African countries are supposed to have gained. Believing in the important role of literature and narratives in
writing history and uncovering the truth, Achebe and Ngugi attempt to raise awareness to the horrible
psychological, social, and political repercussions of the oppression and humiliation the Africans long suffered
from by the white colonizers and, perhaps, help restore a lost identity.

Achebe and Ngugi: Literature of Decolonization
Chinua Achebe and Ngugi wa Thiong’o not only witnessed but also were highly
involved in and influenced by the critical political events their countries have been
undergoing since the arrival of the white Europeans by the end of the Nineteenth century.
Both of them were at crossroads of traditional culture and Christian influence, where they
faced the dilemma of growing up in two different worlds as Africans and as Westerners.
As young boys, both Achebe and Ngugi went to missionary schools where students were
not allowed to speak their indigenous languages. On this matter, Ezenwa-Ohaeto, in his
Chinua Achebe: A Biography quotes him saying that the children had to "put away their
different mother tongues and communicate in the language of their colonizers" (30)
Similarly, Lynne Duke wrote in the Washington Post how Ngugi was 12 when he
"witnessed the beating. Teachers at his British colonial school in the 'white highlands' of
Kenya caught one of the school chums speaking Gikuyu,"(1) the native language and how
the child was humiliated and harshly whipped.
Born in a Christian family in 1930, Achebe grew up in the Igbo village of Ogidi in
South Nigeria and witnessed the horrors of colonization, Nigerian dictatorship, and civil
1
2

wars. When Biafra’s movement to break away and form an independent republic in 1967
was brutally crushed by the central government supported by the British, Achebe and his
family narrowly escaped, but their houses had been destroyed. The loss and later
harassment against Achebe's family such as banning him from traveling were so heavy on
him. Such incident-packed life, however, found its vent in remarkable creative writings,
where the characters in Achebe's novels reflect to a far extent the miserable conditions
the Nigerians have been passing through for more than a century.
Ngugi's personal experience in Kenya is not much different from Achebe's. Born in
1938 of Kikuyu descent in a Christian family, Ngugi saw his father losing his land after the
British Imperial Act of 1915. During the Mau Mau armed rebellion of the Kenyans against
the British, Ngugi's family suffered a lot as his stepbrother was killed, and his mother was
arrested and tortured. While at mission school, he became a devout Christian, but
renounced Christianity and English in 1967, changing his name, James, which he
considered a colonial name. He was 24 years old when Kenya became independent, but
his criticism of the Kenyan dictatorship led him to spend a whole year in prison, where he
wrote Devil on the Cross, the first modern novel in Gikuyu on prison-issued toilet paper.
After that, he lost his job and his family was harassed so he left on self-exile for London.
Achebe’s and Ngugi’s painful experiences, together with the instability their countries
have been long suffering from, are evident in their works. Like Edward Said's discourse in
Orientalism, Achebe and Ngugi believe that the consequences of colonialism are still
persisting in the form of chaos, coups, corruption, civil wars, bloodshed, and dictatorship.
This has, in fact, been the situation in colonial and postcolonial Africa, of which Nigeria
and Kenya are striking examples. Such conditions are common themes in Achebe's and
Ngugi's works. Like other postcolonial writers, they try to show how cultures, histories,
and languages of the natives have been not only ignored but also distorted by the
colonialists in their pursuit to dominate these peoples and exploit their wealth in the name
of enlightening, civilizing, and even humanizing them.
For Achebe and Ngugi, as for other African writers, it was high time that they write
their own history and reflect their own culture; it was time, as Bill Ashcroft entitles his
remarkable book, that the empire writes back; it was time, to use Gayatri Spivak’s words,
that the “subaltern speak”. Distorting Africa and stereotyping Africans in Western texts
such as Joyce Cary's Mr. Johnson and Joseph Conrad's Heart of Darkness have provoked
Achebe to say that "the story we had to tell could not be told for us by anyone else, no
matter how gifted or well-intentioned" (qtd in Tonkin 1). In his essay "An Image of
Africa", he reasons that "Heart of Darkness projects the image of Africa as 'the other
world', the antithesis of Europe and, therefore, of civilization" (1043). After criticizing how
Conrad describes Africans as 'rudimentary souls', he furiously attacks what he calls
Conrad's "dehumanization of Africa and Africans" (1048). Likewise, in Postcolonial
literatures, Michael Parker and Roger Starkey quote Ngugi criticizing the African figure in
the Western discourse, saying that “great tradition of European literature [which] had
invented and even defined the world view of the Calibans and the Fridays of the new
literature were telling their story which was also my story” (9).
Konferensi Internasional Kesusastraan XXII UNY-HISKI, 2012
3

Despite all these strikingly common points in Achebe's and Ngugi's views and
themes, reflected in their literary works, still one important difference should be
mentioned, namely their view towards the use of English by postcolonial writers. While
Achebe's works are all written in English, Ngugi has quit it and moved to write in Gikuyu,
his indigenous tongue. Ngugi argues that writing in African languages is a necessary step
toward cultural identity and independence from centuries of European exploitation. In his
Article, “The Language of African Literature”, he asserts that language has always been a
tool of colonization, where the lives of Africans were more firmly put in the control of the
colonists, thus his assurance that African literatures could only survive if they were written
in native African languages. He says, “The bullet was the means of the physical
subjugation. Language was the means of spiritual subjugation” (519). Achebe, on the
other hand, disagrees, saying in a talk at West Chester University published in Global
Literacy Project "It doesn't matter what language you write in, as long as what you write
is good." He adds that "language is a weapon, and we use it… There's no point in fighting
a language” (2).
Nevertheless, believing in the importance of the role of literature and of the narratives in
uncovering the truth, both present the tribal African societies from within, with their own
strengths and weaknesses, agreements and disagreements, and positive and negative
values, just like other society, unlike the stereotypical image given to Africans in the
Western discourse. Besides, in their attempt to raise awareness of the oppression and
humiliation that the Africans suffered from on the hands of the white man, Achebe and
Ngugi describe the clash between African and the European traditions, values and
religions. In addition, their works depict the corruption of oppressive post-colonial
regimes, which reflects the writers' belief that the independence African countries are
supposed to have won is totally devoid of any content, and that the white colonialists are
still in power through a few black representatives.
In Things Fall Apart, Achebe depicts the culture of the Umuofian society before
colonialism, showing that the Ibos had their own system where, according to Jago
Morrison in The Fiction of Chinua Achebe, "decision making centers around the
democratic consultation of elders, and power is exercised with detailed regard for the
peace and equilibrium of the community as a whole" (20). In other words, the Igbos had
their moral and ethical principles on which their society was based. When a member of
the clan violates these principles, he is punished no matter how powerful he is. The
protagonist, Okonkwo, for example, is penalized when he beats his wife on the sacred
Week of Peace, and he has to make some sacrifices to show repentance. And when he
accidentally kills a young man, he is deprived of his property and exiled for seven years.
Again Achebe's point here is that African societies weren't those primitive cannibals as
they appear in Western texts. In her "The Tragic Conflict in Achebe's novels", Abiola Irele
asserts that "Achebe presents the society as one that has positive qualities of its own. The
coherence and order that make social life one long ceremonial, the intense warmth of
personal relationships and the passionate energy of the religious life, all these reveal the
other side of the coin" (171). Inclusion of ceremonial dancing, folk songs, story telling,
Konferensi Internasional Kesusastraan XXII UNY-HISKI, 2012