Forty Years of Silence: The Insanity of Society

ISSN: 2104-3655 Publisher Association Archipel Printed version Date of publication: July 15, 2020 Number of pages: 35-40 ISBN: 978-2-910513-83-2 ISSN: 0044-8613 Electronic reference Soe Tjen Marching, “Forty Years of Silence: The Insanity of Society”, Archipel [Online], 99 | 2020, Online since 02 June 2020, connection on 13 July 2026. URL: http://journals.openedition.org/archipel/1657; DOI: https://doi.org/10.4000/archipel.1657 The text only may be used under licence CC BY-ND 4.0. All other elements (illustrations, imported files) may be subject to specific use terms. === [PDF page 2] === Etudes interdisciplinaires sur le monde insulindien ARCHIPEL 99 2020 Revue publiée par l’Association Archipel, hébergée au Centre Asie du Sud-Est, sous le patronage de l’Ecole des Hautes Etudes en Sciences Sociales === [PDF page 3] === Etudes interdisciplinaires sur le monde insulindien Publiées avec le concours de l'Institut des Sciences Humaines et Sociales du CNRS, de l’Ecole francaise d’ Extréme-Orient, de |’Institut National des Langues et Civilisations Orientales et de |’Institut francais d’Indonésie (Ambassade de France en Indonésie) Fondateurs: Pierre LABROUSSE, Denys LOMBARD, Christian PELRAS ARCHIPEL 99 Comité de rédaction Delphine ALLES, Elsa CLAVE, Véronique DEGROOT, Elsa LAFAYE DE MICHEAUX, Rémy MADINIER, Daniel PERRET, Dana RAPPOPORT, Jéréme SAMUEL, Christina WU Comité scientifique Henri CHAMBERT-LOIR, Andrée FEILLARD, Arndt GRAF, Arlo GRIF FITHS, Robert HEFNER, Claude GUILLOT, Claudine SALMON, James SIEGEL, Luis Filipe THOMAZ, Monique ZAINI-LAJOUBERT Directeur de la rédaction Henri CHAMBERT-LOIR Secrétaire de rédaction Sophie HENON La Rédaction exprime ses sincéres remerciements 4 Madame Diah Novitasari (EFEO Jakarta), qui a assuré la mise en page de ce numéro dans les difficiles conditions de la pandémie de Covid 19. Editeur Association Archipel EHESS, bureau 740, 54 boulevard Raspail, 75006 Paris 2020 ISSN 0044-8613 === [PDF page 4] === Sommaire 5–11 Hélène Njoto et Andrée Feillard In Memoriam Merle Calvin Ricklefs (1943-2019) Échos de la recherche 13–18 Charles Coppel Chinese Indonesians: Identities and Histories (Monash University, 1- 3 October 2019) Dossier 1965 and Cinema II 19–21 Elsa Clavé Filmed Memories of 1965 23–27 Saskia Wieringa The Women and the Generals: Unraveling a Myth of Sexual Perversion 29–33 Vannessa Hearman Buru Island: Still Much More to Reveal 35–40 Soe Tjen Marching Forty Years of Silence: The Insanity of Society 41–45 Grace Leksana A Daughter’s Memory: 1965 in Animation 47–73 Gilang Desti Parahita and Vissia Ita Yulianto The Treachery on YouTube: The Politics of Memory on New Media in Indonesia Études 75–105 Robert Wessing The Maiden in the Forest: Reflections on Some Southeast Asian Tales 107–141 Arlo GrifÏths Rediscovering an Old Javanese Inscription: Mpu Mano’s Donation in Favor of a Buddhist Dignitary in 888 Śaka 143–151 Merle C. Ricklefs Music and Dance Go to War in Java 153–188 G. Roger Knight An ‘Indies’ couple: Colonial Communities and Issues Surrounding Identity in the Dutch East Indies, ca. 1890-1930s 189–213 Syamsul Rijal Performing Arab Saints and Marketing the Prophet: Habaib and Islamic Markets in Contemporary Indonesia Lectures Critiques 215–261 Jean-Louis Margolin 1965: L’Heure de l’histoire? 261–264 Kuncoro Hadi, dkk. Catatan Hari Per Hari G30S Sebelum Hingga Setelahnya (1963-1971) Archipel 99, Paris, 2020, p. 1-3 === [PDF page 5] === Comptes rendus Préhistoire et Asie du Sud 265–271 Wolfgang Marschall und Markus Wäfler, Felsmalereien Indonesiens, Borsdof: Winterwork, 4 vol., 2012-2017 (Antonio Guerreiro) 271–276 Michael Feener and Anne Blackburn, Buddhist and Islamic Orders in Southern Asia. Comparative Perspectives. Honolulu: University of Hawai’i Press, 2019 (Andrée Feillard, Bénédicte Brac de la Perrière) Histoire contemporaine et Société 277–278 Taomo Zhou, Migration in the Time of Revolution: China, Indonesia and the Cold War. Singapore: ISEAS, 2019 (Claudine Salmon) 279–282 Suryomenggolo, Jafar (ed.), At a Moment’s Notice: Indonesian Maids Write on Their Lives Abroad. Copenhague: NIAS Press, 2019 (Laurence Husson) 282–286 Edwin Jurriëns & Ross Tapsell (eds.), Digital Indonesia: Connectivity and Divergence. Singapore: ISEAS, 2017 (Deasy R.P. Simandjuntak) 286–289 Alessandra Lopez y Royo, Contemporary Indonesian Fashion: Through the Looking Glass. London and New York: Bloomsbury, 2020 (Clara Jones) Études régionales 289–293 Fanany, Rebecca & Ismet Fanany, The Elderly Must Endure: Ageing in the Minangkabau Community in Indonesia. Singapore: ISEAS, 309 p., 2018 (Suryadi) 293–295 Richard Fox, More Than Words: Transforming Script, Agency, and Collective Life in Bali. Ithaca: Cornell University Press, 2018 (Dick van der Meij) 295–298 Agung Wardana, Contemporary Bali. Contested Space and Governance, Palgrave Macmillan, 2019 (Michel Picard) 298–301 Hans Hägerdal, Held’s History of Sumbawa: An Annotated Translation. Amsterdam University Press, 2017 (Henri Chambert-Loir) 301–303 Geneviève Duggan and Hans Hägerdal, Savu: History and Oral Tradition on an Island of Indonesia. Singapore: NUS, 2018 (Gregory Forth) 304–306 Leontine Visser, Sejarah Pertanian dan Kebudayaan Sahu di Halmahera (History of Sahu Agriculture and Culture in Halmahera). Yogyakarta: Ombak, 2019 (Laksmi Adriani Savitri) 307–310 Christopher J. Shepherd, Haunted Houses and Ghostly Encounters: Ethnography and Animism in East Timor, 1860–1975. NUS, 2019 (Frédéric Durand) 310–312 Oman Fathurahman, Kawashima Midori, and Labi Sarip Riwarung (eds.), The Library of an Islamic Scholar of Mindanao: The Collection of Sheik Muhammad Said bin Imam sa Bayang at the Al-Imam As-Saddiq (A.S.) Library, Marawi City, Philippines: An Annotated Catalogue with Essays. Tokyo: Sophia University, 2019 (Mulaika Hijjas) Archipel 99, Paris, 2020 === [PDF page 6] === Littératures 312–314 Andi Muhammad Akhmar, Islamisasi Bugis; Kajian Sastra atas La Galigo Versi Bottinna I La Dewata Sibawa I Wé Attaweq, Jakarta, Yayasan Pusaka Obor Indonesia, 2018 (Faried Saenong) 314–317 Asahan Alham, Dendam Sejarah. Bandung: Ultimus, 2019 (Nico SchulteNordholt) 317–321 Ajip Rosidi, Surat-Surat ti Jepang. Bandung, Kiblat, 4 jilid, 2017 (Julian Millie) 321–324 Luis Cardoso, L’Année où Pigafetta boucla son tour du monde. Arkuiris, 2019 (LF Thomaz) Résumés – Abstracts © Copyright Association Archipel 2020 En couverture: Photo du studio Kurkdjian de la famille MacNeill ‒ Bezoet De Bie, c. 1905 (voir l’article de G. Roger Knight dans ce volume). Archipel 99, Paris, 2020 === [PDF page 7] === Soe Tjen Marching1 Forty Years of Silence: The Insanity of Society Forty Years of Silence: An Indonesian Tragedy Documentary, 87 min., 2009 Director: Robert Lemelson Producer: Elemental Production Distributed via: http://40yearsofsilence.com/#shop Language: Indonesian and English, with English subtitles1 Millions of people were murdered, imprisoned, tortured and/or raped in 1965-66 in Indonesia. Whereas this tragic episode of Indonesian history has been exposed by scholars for decades, it has been silenced by the majority of the population who has been taught, in the New Order, a one-side narration which left no place for the voice of the victims. With the exception of Gus Dur or Abdurrachman Wahid, every Indonesian President since and including Soeharto have denied that this ever happened. Soeharto stepped down, but he was never brought to justice before his death in 2008; and his cronies, such as Titiek Soeharto and Prabowo Subianto, are still free to hold important political positions. When Jokowi was first elected in 2014, many victims of the 1965 genocide became more optimistic about the prospects for justice. Jokowi promised to deal with past human rights abuses in Indonesia. This promise nevertheless has never been realised. In 2017, he even seemed to support the New Order’s discourse by attending the screening of the New 1. Senior lector, School of Oriental and African Studies, London. Archipel 99, Paris, 2020, p. 35-40 === [PDF page 8] === 36 Soe Tjen Marching Order propaganda film Pengkhianatan G30S/PKI [The Treachery of the G30S/PKI] in Bogor, West Java, and by allowing this film to be screened on national TV. In October 2019, Jokowi became an honorary member of Pemuda Pancasila, the youth group that took part in the genocide of the communists and alleged communists in 1965-1966. Soon after Jokowi’s second inauguration as President in 2019, he appointed Prabowo Subianto, an ex-army general accused of human rights violations, to be Minister of Defence. The new minister instructed school teachers to teach “the truth and nothing but the truth” about the history of the rebellion of the Indonesian Communist Party (PKI) and its brutality.2 It is for this reason that the film 40 Years of Silence remains relevant in today’s Indonesia. The film concentrates on the psychological conditions of the characters, including trauma and PTSD (post-traumatic stress disorder), allowing to see the long-term impact of the violence on the people’s mental health. The director, Robert Lemelson, is a psychological anthropologist as well as a documentary filmmaker. He has worked in Southeast Asia particularly in Indonesia and since early 2000, he has been writing about mental illnesses in Indonesia. Shot between 2002 and 2006, the film 40 Years of Silence focuses on the stories of four families that had been the subject of “ongoing clinical visual ethnographic research on culture and mental illness in Indonesia conducted by Robert Lemelson over a ten-year period”.3 Lemelson interviewed these families and depicted their activities and surroundings including their homes, places of worship, schools and playgrounds. In this film, Lemelson also involved researchers, psychiatrists and counselors both from Indonesia and USA, who gave comments on the historical and political backgrounds of the film and the behaviour of some of the characters. Lemelson juxtaposed the interviews of the characters with black and white documentary excerpts from the 1965-67 genocide, analyses from the experts, as well as short excerpts from the propaganda film Pengkhianatan G30S/PKI. This technique renders the visual images of how the intense terror surrounds the victims and their families for many years, more powerful. The contrasts between the New Order propaganda film with the testimonies of the four families demonstrate how the one-sided and State-sponsored discourse functioned to support and even instigate fear amongst the victims and their families for many years. 2. https://nasional.kompas.com/read/2019/11/23/17112481/menhan-prabowo-mintapemberontakan-pki-diajarkan-di-sekolah, accessed on 1 January 2020. 3. Robert Lemelson, Laurence J. Kirmayer, and Mark Barad, “Trauma in Context: Integrating Biological, Clinical, and Cultural Perspectives”, In L. Kirmayer, R. Lemelson, & M. Barad (Eds.), Understanding Trauma: Integrating Biological, Clinical, and Cultural Perspectives. Cambridge: Cambridge University Press, 2007. p. 451-474; Robert Lemelson, Ninik Supartini, and Emily Ng. Ethnographic Case Study: Anak PKI: A Longitudinal Case Study of the Effects of Social Ostracism, Political Violence, and Bullying on an Adolescent Javanese Boy. Cambridge: Cambridge University Press, 2010, p. 379-389. Archipel 99, Paris, 2020 === [PDF page 9] === Forty Years of Silence: The Insanity of Society 37 40 Years of Silence: An Indonesian Tragedy Degung and Kereta The first part of the film takes place in Bali, focusing on two men whose fathers were murdered during the 1965 genocide: Degung Santikarma and Kereta. Both tell their stories with a certain degree of doubt. For Degung, it was because he was too young and uninformed about what happened at that time. In the case of Kereta, his mental state renders him confused when narrating his story. Degung says that his father was important and well-off. However, he never mentions what his father actually did. If he was important, what made him important? What was his position? Degung also says that his parents often went overseas, probably for conferences. Again, he is not sure what these conferences were about because he was too young then. Degung’s father was arrested and later murdered in 1965. However, Degung also does not know how he was murdered. Degung’s uncertain narrative is not the only one here. It is common for many of these victims and their families not to have clear ideas about what happened to their own families during the 1965-66 incidents. Pak Kereta is another example. He lives in a rural area of Bali. Kereta states that he witnessed the mass murder of many people and the brutal assassination of his own father in the family compound. Some of the perpetrators were his neighbours, and his own cousin also took part in the violence towards his father. His father’s body was eventually buried in a local cemetery, but was never given the proper Balinese cremation ceremony. According to Balinese belief, not being given such a cremation will mean that the person’s soul cannot rest. Archipel 99, Paris, 2020 === [PDF page 10] === 38 Soe Tjen Marching This could be the reason why Kereta has delusions and keeps seeing the ghosts of communist people calling him. But Kereta’s delusions also raise the possibility that his story about his father and the other murdered communists are also delusory. Ironically, Kereta describes the ghosts of the communists as “evil” beings who entice him to join the Indonesian Communist Party, something that he resists. He wears camouflage clothes and a military helmet to keep these communist ghosts away. The film shows how Kereta goes around in this clothing, as he believes that the military symbols can appease and protect him against the dangerous black spirits of the communists. The paradox here is that Kereta, who suffers from the impact of the military brutality, seeks refuge by adopting the perpetrator’s image. Budi and Lanny Besides Degung and Kereta in Bali, the film presents the stories of two families in Central Java, those of Budi and Lanny. Budi lives in an orphanage in Yogyakarta, although his parents are still alive. From this film, we learn that Budi’s parents decided to move him there because Budi had been violently bullied by the children around him. Budi’s father, Mudakir, was accused of being a communist because he fell in love with the same girl as the son of the head of his village. After his release, Mudakir married Sumini, whose father had also been imprisoned as an alleged communist. In their marriage, Mudakir abused Sumini. The victim becomes the perpetrator: he beat up Sumini until her mouth bled and at one point, he nearly killed her. While Kereta adopts the perpetrator’s image, Mudakir adopts the perpetrator’s behaviour. Both of the sons of Mudakir and Sumini have a tendency towards disruptive behaviour. When Budi first entered the orphanage, he had a bad temper, was often restless and out of breath. His elder brother, Kris, also expresses a lack of confidence in his future. Smoking while aimlessly wandering with other street kids, Kris admits that he has often been scolded as “a child of communists” and has been blamed if anything bad happened in his village. For many people, Budi and Kris may be seen merely as trouble-makers or good-for-nothings, but the film makes us ponder and understand that there is a long past behind their present troubles. The fourth family that this film focuses on is that of Lanny. She was born into a very well-off and respected family. One day in 1965, hundreds of people threw stones and axes at their house, while shouting her father’s name. Lanny’s mother told how their house was looted then and as a result, they became very poor. But she asked her children to be tough and to work hard. Interestingly, Lanny’s mother never mentions communism but keeps insisting that her family’s identity is Chinese: “Show them that you are really Chinese, not just fake Chinese.” She opposes the stigma and sufferings in their lives by insisting that as Chinese, the family can persevere and survive, as though by adopting this identity, they can oppose the injustice. Archipel 99, Paris, 2020 === [PDF page 11] === Forty Years of Silence: The Insanity of Society 39 The Central Condition of the Society By combining these four families, the film demonstrates the underlying cause of these disjointed narratives. Having an interest in mental illness and psychological issues in Indonesia, Robert Lemelson notes that in both Java and Bali, people adopt convictions that may contribute to the recovery process.4 In the case of Kereta, his delusion of seeing ghosts can be viewed as a spiritual experience by the local people. And Kereta aligns his delusion with people’s conviction around him, that communists are evil. In the same way, he tries to tackle his delusion with another ideologically accepted convention: the wearing of military attire. In Java, Lemelson notes that the ngemong approach5, “used for children or for someone who appears to be ‘acting like a child’, encompasses tolerance of aggressive and impulsive behavior” and ensures “an absence of criticism, blame, or hostility” towards such behaviour.6 This kind of approach does not only apply in Java, but is adopted widely in Indonesia. Most Indonesians are familiar with the proverb “Sing waras ngalah” (The sane/healthy one has to give in), implying that aggressive and anti-social behaviour should be considered as coming from insane or sick people and therefore treated as such. Nevertheless, in this film, most of the victims have to adopt the role of ngemong in conformity with the society surrounding them. Degung for instance, analyses the brutality of the people around him as part of the propaganda of the government. He even approaches one of the perpetrators who lives next door to his family’s home, and talks about the death of his father. Degung mentions the suspicions that the victims had about this neighbour: that he was one of the decision makers in the 1965 mass-murder in the village. His neighbour, while being friendly, still sounds rather threatening by claiming that if he was truly “that kind of person, I would have finished you all off.” Somehow, with a threatening tone, he implies that Degung has either to be grateful to him or stop suspecting him. Degung’s face registers a bit of a shock, but he remains calm and polite. Here, he acts as the person who understands, the person who does the ngemong. In relation to the treatment of the neighbours to Budi’s family, it is Budi’s mother that shows the attitude of ngemong. She has to tolerate her husband’s 4. 40 Years of Silence: an Indonesian Tragedy. Film Guide. www.der.org, accessed on 22 December 2019. 5. Ngemong is Javanese for ‘empathy’. 6. Several scholars such as Douglas Kammen, John Roosa, Robert Cribb and Saskia Wieringa have emphasized the role of the Indonesian army in this genocide. Brad Simpson and Jeffrey Robinson have pointed to the involvement of several Western countries including the United States, the United Kingdom and Australia in assisting the operations behind the 1965 genocide. Recent findings by Jess Melvin in Aceh demonstrate that this genocide was planned, and that Soeharto’s role in these incidents was crucial. Archipel 99, Paris, 2020 === [PDF page 12] === 40 Soe Tjen Marching abuse as well as the society’s contempt stating: “Maybe I was immune to slander and pain.” While she is victimised in multiple ways, she is the one who is forced to show tolerance and the absence of anger and criticism against the attackers and abusers. It is only after her children are victimised that she feels her sadness and pain. Lanny in the end finds consolation in Buddhism and makes peace with her anger. She even organizes relief for the village where her father had been murdered, after a massive earthquake. She takes on the role of ngemong, of trying to understand her society and the injustice that has been inflicted on her family. While watching the film, one has the impression that the movie aims at conveying a message: the sufferers of the mental disorder inflicted during the 1965 incidents are not only the main characters portrayed, but also the societies surrounding the victims as they show aggressive, malicious and erratic behaviour. The “truth and nothing but the truth” narrative repeated by different Indonesian governments has justified the “insanity” of the people and normalised the mental illness of the society. Importantly, the claim of a single truth prevents the possibility of other discourse(s) ‒ such as the ones portrayed in this film ‒ come to light and reduces the possibility of Indonesia undertaking enlightening debates about its history. Reference Anderson, Benedict. “How Did the General Die.” Indonesia 43, April 1987. Cribb, Robert, ed. The Indonesian Killings of 1965-1966: Studies from Java and Bali. Clayton: Centre for Southeast Asian Studies, Monash University Australia, 1990. Kammen, Douglas and Katharine McGregor (eds.). The Contours of Mass Violence in Indonesia, 1965-1968. Honolulu: University of Hawai’i Press, 2012. Lemelson, Robert and Annie Tucker. AfÒictions: Steps Toward a Visual Psychological Anthropology. London: Palgrave Macmillan, 2017. Lemelson, Robert, Laurence J. Kirmayer, and Mark Barad. “Trauma in Context: Integrating Biological, Clinical, and Cultural Perspectives.” In L. Kirmayer, R. Lemelson, & M. Barad (Eds.), Understanding Trauma: Integrating Biological, Clinical, and Cultural Perspectives. Cambridge: Cambridge University Press, 2007, p. 451-474. Lemelson, Robert, Ninik Supartini, and Emily Ng. Ethnographic Case Study: Anak PKI: A Longitudinal Case Study of the Effects of Social Ostracism, Political Violence, and Bullying on an Adolescent Javanese Boy. Cambridge: Cambridge University Press, 2010. Robinson, Geoffrey B., The Killing Season: A History of the Indonesian Massacres, 1965-66, Princeton: Princeton University Press, 2018. Roosa, John. Pretext for Mass Murder: The September 30 Movement and Suharto’s Coup d’Etat in Indonesia. New Perspectives in SE Asian Studies. Madison: University of Wisconsin Press, 2006. Simpson, Bradley, Economists with Guns: Authoritarian Development and US-Indonesian Relations, 1960–1968, Stanford: Stanford University Press, 2008. Wieringa, Saskia and Nursyahbani Katjasungkana, Propaganda and the Genocide in Indonesia: Imagined Evil, London and New York: Routledge, 2018. Archipel 99, Paris, 2020 === [PDF page 13] === Archipel 99 Héléne Njoto et Andrée Feillard, In Memoriam Merle Calvin Ricklefs — Echos de la Recherche: Charles Coppel, Chinese Indonesians: Identities and Histories (Monash University, 1- 3 October 2019) — 1965 and Cinema II: Elsa Clavé, /ntroduction au dossier — Saskia Wieringa, The Women and the Generals: Unraveling a Myth of Sexual Perversion — Vannessa Hearman, Buru Island: Still Much More to Reveal — Soe Tjen Marching, Forty Years of Silence: The Insanity of Society — Grace Leksana, A Daughter's Memory: 1965 in Animation — Gilang Desti Parahita & Vissia Ita Yulianto, The Treachery on YouTube: The Politics of Memory on New Media in Indonesia — Etudes: Robert Wessing, Maiden in the Forest: Reflections on Some Southeast Asian Tales — Arlo Griffiths, Rediscovering an Old Javanese Inscription: Mpu Mano’ Donation in Favor of a Buddhist Dignitary in 888 Saka — M.C. Ricklefs, Music and Dance Go to War in Java — G. Roger Knight, An ‘Indies’ Couple, Colonial Communities and Issues Surrounding Identity in the Dutch East Indies, ca. 1890-1930s — Syamsul Riyal, Performing Arab Saints and Marketing the Prophet: Habaib and Islamic Markets in Contemporary Indonesia — Lectures Critiques: Jean-Louis Margolin, 1965: L’Heure de l’histoire? — Comptes rendus — Résumés-Abstracts 30,00 € ISBN 978-2-910513-83-2 EFEO imatco inalco des langues et civilisations orientales “HAUTES SCIENCES SOCIALES anu, INST

=== [Page 2] === Interdisciplinary Studies of the Insulindian World ARCHIPEL 99 2020 Journal published by the Archipel Association, hosted at the Southeast Asia Centre, under the patronage of the École des Hautes Études en Sciences Sociales === [Page 3] === Interdisciplinary Studies of the Insulindian World Published with the support of the Institute of Humanities and Social Sciences of the CNRS, the École française d'Extrême-Orient, the Institut National des Langues et Civilisations Orientales and the Institut français d'Indonésie (Embassy of France in Indonesia) Founders: Pierre LABROUSSE, Denys LOMBARD, Christian PELRAS ARCHIPEL 99 Editorial Committee Delphine ALLES, Elsa CLAVE, Véronique DEGROOT, Elsa LAFAYE DE MICHEAUX, Rémy MADINIER, Daniel PERRET, Dana RAPPOPORT, Jérôme SAMUEL, Christina WU Scientific Committee Henri CHAMBERT-LOIR, Andrée FEILLARD, Arndt GRAF, Arlo GRIFFITHS, Robert HEFNER, Claude GUILLOT, Claudine SALMON, James SIEGEL, Luis Filipe THOMAZ, Monique ZAINI-LAJOUBERT Editor-in-Chief Henri CHAMBERT-LOIR Editorial Secretary Sophie HENON The Editorial Board expresses its sincere thanks to Madame Diah Novitasari (EFEO Jakarta), who handled the layout of this issue under the difficult conditions of the Covid-19 pandemic. Publisher Association Archipel EHESS, office 740, 54 boulevard Raspail, 75006 Paris 2020 ISSN 0044-8613 === [Page 6] === 3 Literatures 312–314 Andi Muhammad Akhmar, Islamisasi Bugis; Kajian Sastra atas La Galigo Versi Bottinna I La Dewata Sibawa I Wé Attaweq, Jakarta, Yayasan Pusaka Obor Indonesia, 2018 (Faried Saenong) 314–317 Asahan Alham, Dendam Sejarah. Bandung: Ultimus, 2019 (Nico Schulte-Nordholt) 317–321 Ajip Rosidi, Surat-Surat ti Jepang. Bandung, Kiblat, 4 volumes, 2017 (Julian Millie) 321–324 Luis Cardoso, L'Année où Pigafetta boucla son tour du monde [The Year Pigafetta Completed His Voyage Around the World]. Arkuiris, 2019 (LF Thomaz) Résumés – Abstracts © Copyright Association Archipel 2020 On the cover: Photo from the Kurkdjian studio of the MacNeill – Bezoet De Bie family, c. 1905 (see the article by G. Roger Knight in this volume). Archipel 99, Paris, 2020