Xinhua item in Renmin Ribao, 13 Mar 1951 (p. 4), relaying TASS and the Dutch paper De Waarheid: representatives of Indonesian women's organisations met in Yogyakarta, endorsed the World Peace Council's Berlin call for a five-power peace pact, and resolved that Indonesian women's organisations should link with and join
Xinhua item in Renmin Ribao, 13 Mar 1951 (p. 4), relaying TASS and the Dutch paper De Waarheid: representatives of Indonesian women's organisations met in Yogyakarta, endorsed the World Peace Council's Berlin call for a five-power peace pact, and resolved that Indonesian women's organisations should link with and join
Api Kartini (1959) travel-style article by S. Jin on divided Berlin and German women's campaign against atomic armament and remilitarisation. Cites arrests and petitions in West Germany (Renate Kruse, Renate Riemeck, Elisabeth Heimpel, Hamburg and Dortmund women's groups), East German women's views, and WIDF telegrams;
Api Kartini (1961) feature introducing the WIDF's monthly magazine 'Women of the Whole World' (six languages, Berlin), describing its sections on women's rights, peace, children and culture, and its photo covers. Gives subscription details for Indonesian readers (Rp. 12 per year via Jakarta) and notes administrative de
Neues Deutschland p. 5 (28 May 1961), report on the Fifth German Writers' Congress in East Berlin. Among foreign guests' greetings, 'Frau Rukiah Kertapati' opened the third congress day by bringing greetings from Indonesian writers. The rest of the page is speeches by East German writers; the identification with the Le
Neues Deutschland p. 5 (28 May 1961), report on the Fifth German Writers' Congress in East Berlin. Among foreign guests' greetings, 'Frau Rukiah Kertapati' opened the third congress day by bringing greetings from Indonesian writers. The rest of the page is speeches by East German writers; the identification with the Le
Tempo feature (8 June 2015; IPT 1965 repost) on 'Genjermania', a Berlin live-music project by Tomi Simatupang raising funds for the son of Genjer-genjer composer Muhammad Arief, killed after 1965; traces the song's Japanese-occupation origin and its 1965 stigma.