The Portrayal of Women in the Works of Sugiarti Siswadi (Setiadi et al., 2023)

=== [PDF page 1] === Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) SOCIAL SCIENCES & HUMANITIES Journal homepage: http://www.pertanika.upm.edu.my/ The Portrayal of Women in the Works of Sugiarti Siswadi as the Manifestation of Lekra and Gerwani Ideology David Setiadi*, Aquarini Priyatna and Lina Meilinawati Rahayu Department of Literature and Cultural Studies, Universitas Padjadjaran, 45363 Jatinangor, Indonesia ABSTRACT Sugiarti Siswadi was regarded as one of the most influential writers in Indonesia during the 1950s and 1960s. She was also known as an activist in the Lembaga Kebudayaan Rakyat (People’s Cultural Institute-Lekra) and Gerakan Wanita Indonesia (Indonesian Women’s Movement-Gerwani), both of which were closely associated with the nowdefunct Indonesian Communist Party (PKI). This study analyzes three of Sugiarti’s short stories: “Jang Kesepian” (The Lonely One; 1960), “Anak2 Muda” (Young People; 1961), and “Si Udin Ketua Klas” (Udin, Class Captain; 1961). The three stories, published in Api Kartini magazine, address issues about the family as a social institution. Through the plot and characterization of these stories, Sugiarti dismantles and reverses gender roles to express her views as an activist and a woman. This study shows that these stories do not put male and female characters into binary opposition. We argue that the three stories reflect Sugiarti’s agency in extending her feminist ideas seen through the perspective of a Lekra/Gerwani activist. As such, she enriched gender discourse in Indonesia during the 1950s and 1960s, a recurring theme in her works. Keywords: Activist, gender, Indonesian women writers, Lekra, Sugiarti Siswadi, women INTRODUCTION During Guided Democracy (1959–1966), ARTICLE INFO Soekarno was a single leader who determined Article history: Received: 26 November 2021 Indonesia’s political inclinations. As Accepted: 16 December 2022 Ricklefs (2010) underlines that since 1960, Published: 20 April 2023 DOI: https://doi.org/10.47836/pjssh.31.2.04 the Manipol-USDEK (abbreviation of the 1945 Constitution, Socialism, Democracy, E-mail addresses: david18007@mail.unpad.ac.id (David Setiadi) Economy, and National Identity Political aquarini@unpad.ac.id (c) lina.meilinawati@unpad.ac.id (Lina Meilinawati Rahayu) Manifesto) served as the main principle that *Corresponding author guided the socio-political life in Indonesia. ISSN: 0128-7702 e-ISSN: 2231-8534 © Universiti Putra Malaysia Press === [PDF page 2] === David Setiadi, Aquarini Priyatna and Lina Meilinawati Rahayu Furthermore, as Caldwell and Utrecht Chisaan (2008) argued that the way the (2011) stated, Soekarno incorporated wing organization structured Indonesian the pre-existing Nasakom (Nationalist, identity indicated the extent they exploited Religious, and Communist) ideology into arts and culture as a means of political the concept of Manipol-USDEK and used action. The art and cultural institute were it as a basis to implement a national work used not only by the ruling party but, as program. Furthermore, Abdulgani (1961) Lindsay (2011) stated, also by artists and described Manipol-USDEK as a guiding culture enthusiasts seeking people with a principle based on which the government common ideology and a creative space to was run under guided democracy. express their art. Similarly, Foulcher (2011) During the period, the Communist Party, noted that in the period (the 1950s-1960s), which obtained the most popular votes in the the confrontation concerning Indonesian 1955 General Elections, deployed its wing culture was taken up as a strategy to respond organizations to support the concept of to the prevailing national and international Manipol-USDEK that Soekarno promoted. political situation. The strategy was widely A wing organization frequently used by the adopted by the Indonesian Communist Party Communist Party to run the mission was an (PKI) through Lekra (People’s Cultural arts and culture institute whose operation Institute), which was established as a and work followed the party’s ideology. mouthpiece to channel the party’s interest Engaging the art and cultural institute in art and culture. was a strategic avenue to create a socialist PKI used Lekra to win its constituents Indonesian society that conformed to the over during the political contestation leading Indonesian identity envisioned by the ruling to the 1955 elections. PKI capitalized on government. According to Adryamarthanino Lekra to raise issues on arts and culture. (2011), Indonesian socialism was adopted to Lekra was initiated by D. N. Aidit, M. S. create a culturally characterized, politically Ashar, A. S. Dharta, and Njoto on August 17, and economically sovereign society. The 1959, during an event that was considered envisioned Indonesian identity had to its first congress in Solo, Central Java, and conform to the values of Pancasila, which brought a resolution concerning arts and manifested the Indonesian culture. All these culture to pass. The resolution was based ideals formed the skeleton of the Indonesian on the particular formulation labeled as the political structure during the era of guided 1-5-1 principle that pinpointed the tenet democracy. However, as Anderson (1996) “the people as the only creators of Culture” noted, Indonesia was heavily influenced through which precept Lekra members by Javanese political culture, which shaped produced their work (Aria & Dahlan, the political structure and culture during 2008b). Sugiarti Siswadi was among the Soekarno’s administration in the guided high-profile Lekra writers. democracy period (1959-1966). 528 Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) === [PDF page 3] === The Portrayal of Women in the Works of Sugiarti Siswadi In this article, we look into the works “Si Udin Ketua Klas” (Udin, Class Captain; of Sugiarti Siswadi, taking into account 1961). We chose the three short stories her status as a member of Lekra/Gerwani because they were written between 1960 and and as a woman. Sugiarti Siswadi was an 1961 during the guided democracy era. The important Lekra figure. Setiawan (2004) situation presented in the stories illustrates conceded in his memoir how profoundly the socio-political context prevalent during he admired Sugiarti. In his view, Sugiarti the Guided Democracy era, in which was another prominent leftist writer besides administration was based on the Manipol- Rukiah Kertapati. Sugiarti and Rukiah were USDEK ideology. We consider the selection prominent figures in Lekra and initiated Api representative of Sugiarti’s ideology as an Kartini magazine, which was later officially activist and a woman during the period. established by Gerwani’s leadership. Gerwani (Gerakan Wanita Indonesia) Sugiarti Siswadi: Woman (Writer) of was established as Gerwis (Gerakan Wanita Lekra/Gerwani/PKI Sedar), which, according to Wieringa, Few have been documented about the life conformed to PKI’s policy following a of Sugiarti Siswadi. Still, several writers of Gerwani congress in 1954 (Wieringa, her generation penned insufficient stories 2003). Gerwani focused on education, implied in her writings and personal notes and Api Kartini magazine was a women’s about her. Rosidi (2013) accounted for periodical issued as part of Gerwani’s Sugiarti, a woman writer who mostly wrote mission. Wieringa said Api Kartini magazine short stories in 1961 for Lekra’s publication. addressed Gerwani’s middle-class and Some of her aliases were Sis., S.S., and S. Indonesian women in general. Its focus Wati. Sugiarti actively contributed to and was to educate its readers on women’s edited for several PKI-associated print rights (Wieringa, 1999). According to media, such as Api Kartini, Harian Rakjat, McRobbie (1994), Api Kartini delivered Zaman Baru, and Lentera, and was a ideas on the construction of femininity, member of Lekra’s central board. of which subcodes included Roman code, According to Aria and Dahlan (2008a), personal lives, fashion, and music. Sugiarti Sugiarti played a significant role in founding used the magazine as her vehicle to employ the publishing houses of Jajasan Pembaruan the agency to defend women’s rights in and Lekra. She was among the writers in Indonesia during the 1950s and 1960s. Jajasan Pembaruan who translated the The two issues of Api Kartini (1959- works of left-leaning writers. Sugiarti 1961) had 15 of Sugiarti’s writings, which adapted a short story by Ivan Osirikov comprised 11 stories, one poem, and three entitled Indonesian “Musim Panas Budak”, essays. This study examines the short stories translated Nu Nam’s short story “Tjinta “Jang Kesepian” (The Lonely One; 1960), Pertama” (1961) and Nguyen Cong Hoan’s “Anak2 Muda” (Young People; 1961), and “Madjikan” (1965), showing her prowess Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) 529 === [PDF page 4] === David Setiadi, Aquarini Priyatna and Lina Meilinawati Rahayu in languages. One of her works, a short (2018) analyze Rukiah Kertapati’s novel fiction collection Sorga Dibumi (1964), was Kedjatuhan dan Hati and explore how published by Lekra. However, Sugiarti also the women characters contribute to their wrote stories for children aiming at imbuing country after its independence. Shackforda lesson that kids are the future of a nation, Bradley (2000) categorizes works by these in addition to paying attention to stories of women as autobiographical fiction, a literary political themes. Consequently, (women) genre which, in her view, is well suited for mothers have significant roles in Sugiarti’s conveying feminist ideas with local color. works. Her statement emphasizes purposes, Mumtaz’s (2014) study analyzes works “Our children’s literature must call attention by Sugiarti Siswati, who, like Rukiah, was to these passions for the motherland, also involved in Lekra/Gerwani movement. humans’ work, peace, and parents, all Mumtaz argues that the works of the two of which crystallize into the passion for women writers are inseparable from their socialism” (Siswadi, 1963, p. 3). organizational background and that their One of the “passions” is concerned with feminist views emerge in their works as part “parents,” which signifies a critical point of their representation. Meanwhile, Isabella to uphold the five desires (“pantja tjinta”). (2022) discusses Sugiarti’s poem “Kepada Thus, it is relevant to examine how the Sahabat Asia-Afrika” (1961), in which she stories represented parents’ capacities and sees how Sugiarti’s activism reflects the the construction of gender roles in Indonesia spirit of the Asian-African Conference and in the 1950s and 1960s. Given her weighty the forum’s idea to foster solidarity among status in Lekra/Gerwani, Sugiarti lays bare writers and to encourage the people of ideas relevant to feminism in her works. Asian and African nations to fight against colonialism. LITERATURE REVIEW In her two studies, Priyatna discusses Several studies have been written on Suwarsih Djojopustito’s works from the works by Indonesian women writers in the 1950s, focusing on the issues of gender post-Independence (1950-1960) period. roles, sexuality, and autobiographical Shackford-Bradley (2000), Lawrence narrative (Priyatna, 2016, 2018a). As (2012), Mumtaz (2014), Priyatna (2016, Priyatna shows, Suwarsih’s works feature 2018a), Wirawan (2018), and Isabella social documentation of how women are (2022), for example, focus on the dynamics depicted as subjects who play various of interactions among women in private roles in constructing post-Independence and public spheres, this research delves Indonesia. In analyzing Suwarsih’s works, into the impacts of feminist ideas on the Priyatna frames women’s problems and development of women’s subjectivity and transgression within an approach that views their social environment. Shackford-Bradley the works as belonging to a genre that (2000), Lawrence (2012), and Wirawan Priyatna calls autobiographical narratives. 530 Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) === [PDF page 5] === The Portrayal of Women in the Works of Sugiarti Siswadi Research on women writers from from the magazine archives and rare books the 1950s and 1960s mainly discusses at the Indonesian National Library, and other works by Rukiah Kertapati and Suwarsih supporting sources. The spelling used in the Djojopustito. More research, however, needs decade in which the works studied were to be conducted to study Sugiarti Siswadi published and the damage found on some and her works. In our view, Sugiarti Siswadi pages make reading the stories interestingly challenging. and her works are worthy of critical review, The literary texts studied were all considering her ideas as both a writer and written within a feminist framework. Their woman activist. It is in this context that our analysis must be accompanied by a method study offers its critical significance. that accommodates the reading of what Sugiarti had an important role in Cixous terms écriture feminine (Cixous Lekra as a woman writer and member et al., 1976). The overall analysis aims to of the organization’s central leadership describe how Sugiarti Siswadi’s works (Aria & Dahlan, 2008b). Her insights on textually and narratively convey her views women’s issues aligned with Gerwani’s on political issues in general and women’s mission to heighten awareness of women’s issues in particular. rights (Wieringa, 1999), making her works important to examine. In this article, we RESULTS AND DISCUSSION discuss how Sugiarti presents her feminist Sugiarti’s Feminism: From the Private ideas by depicting women’s subjectivity to the Public in domestic and public spheres as wives, Sugiarti Siswadi is regarded as one of the mothers, and Lekra/Gerwani activists. most influential writers of her generation. Considering her position in Lekra’s central METHODS body, she was guided by the principles and Theories of feminist literary criticism, methods Lekra promoted in composing feminist narratology, and feminist politics her works. As such, her works amalgamate inform the method used in this study. A close the political and the personal, the traces of reading of the texts is needed to identify which can be recognized in the short stories and unveil their layers of covert and overt “Jang Kesepian” (The Lonely One; 1960), meanings, motifs, and ideology (Barry, “Si Udin ketua klas” (Udin, Class Captain; 2002). Rigorous attention to parts of the 1961), “Anak2 Muda” (Young People; texts which, from a feminist perspective, 1961). The three stories discuss issues on show symptomatic textual and narratological economic conditions, the middle class, characteristics contributing to conveying the gender, and motherhood. themes typically conveyed by Lekra writers. The short story “Jang Kesepian” is This study refers to the initial editions of the stories published in Api Kartini magazine unusual in terms of ideas and the application (1959-1961 issues), anthologies accessed of an external narrator through a character Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) 531 === [PDF page 6] === David Setiadi, Aquarini Priyatna and Lina Meilinawati Rahayu named Sudjono. “Jang Kesepian” evokes Johny (Sudjono) is both proud and ashamed the feeling of loneliness that Sudjono, of his mother and gradually loses hope in his the protagonist, must grapple with. The father due to the absent masculinity. character lives in a family where the mother The father is characterized as becoming earns the livelihood, and the father can stressed about not his inability to provide no longer bring home the groceries. As a for his family. Despite engaging in the result, the protagonist loses his attitude of more fluid gender role that her wife plays, reverence toward the passively apathetic the character’s father still adheres to the The situation thus posits him in a dilemma. On the one hand, he applauds locking himself in the workroom. He the mother for doing what she does. looked older, and his hair turned grey. Nevertheless, he feels disconcerted by He rarely smiled and barely had a people’s view of his mother’s profession as conversation with anyone…His face a model and an artist who, at that time, was grew colder over time, and he was never largely denounced. Here is the narrator’s curious about where his wife left for, and never cared for the children. Johny His mother, a woman he wanted to thought of her father as gutless: he was respect highly, lived a life he had never a weak man. (Siswadi, 1960, p. 24) imagined approving. She did fashion shows in expensive hotels, cut her hair Like his father, Sudjono still holds short, painted her nails, wore blouses dear the normative standpoint on gender. or dresses to show off her cleavage, He lacks reference on how to look up swayed her hips when walking, did any to his father. The father readily gives in kind of dances from the regular ones to his circumspection and makes Johny to rock ‘n roll, took part in a myriad uninspired. Sudjono sees the father as a of beauty pageants. She indeed made failure in normative society. He does not find it big by doing such “stints.” (Siswadi, the image of a masculine figure in his father 1960, p. 24). as a man and a patriarch. He has a parallel view of his mother, a woman he understands The excerpt shows Sudjono’s reflection as having to play a domestic role. Sudjono on his friend’s deriding his mother as a says that he “couldn’t do anything. He “worker” who earns a living by doing couldn’t respect his mother as he should, socio-culturally unacceptable jobs. The and he couldn’t be proud of his father as he story depicts her mother through the child’s should be. He withdrew from loneliness, perspective, which seems quite strategic as it from hopelessness, and lapsed into Tommy’s allows dual viewpoints toward his parents: company...” (Siswadi, 1960, p. 24). 532 Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) === [PDF page 7] === The Portrayal of Women in the Works of Sugiarti Siswadi He refers to roles that he accepts as fun for me. I took the key to his new “common” or “natural” in a “normal” Mercedes and started driving. It was a picture of a family in a frame of normative cool machine.” Pratomo told that story gender roles. Sudjono does not possess any in a flat tone. It was hard to figure out reference as to how a mother should be as a whether it implied inner suffering or matriarch: a domestic mother who stays at peace of mind. (pp. 22-23) home, one who provides him with affection, and one who bears all constructed features The above passage introduces two of a mother that Sudjono understands. Such points in question. First, it signifies disorientation inflicts on his joining a group Tommy’s social background as a wealthy of delinquents led by Tommy. We argue that family member whose newest car collection the decision emphasizes the referred gender includes a Mercedes. Here, the luxurious roles in normative gender relations. sedan symbolizes wealth, for owning a Sudjono slips into irresponsible car in that period was a privilege. It also companionship with four lads in a group of overtly signifies Sugiarti’s effort to display delinquents dominating his hometown. The class distinction to accentuate the practice “mob” is portrayed as “five lonely bandits of socialism. It also reflects the feeling who alarmed the city with brainless acts of anxiety, desolation, or alienation in and nasty gang brawls.” His joining the Tommy (as well as Sudjono). Tommy feels delinquents compensates for the absence discomfort at home for having a polygamous of a male role model he has been looking father. In the 1950s and 1960s, women’s for in the socio-culturally acceptable father fiction and movement, particularly Gerwani, figure. It can also be perceived as his effort commonly raised and problematized the to assert his masculinity, distinguishing him issues of marriage and polygamy. Wieringa from his father. (2003) wrote that the Gerwani stood for The group of delinquents is led by a three fronts of struggle during the first and “son of a businessman with three wives” second congress: political, women’s, and named Pratomo/Tommy (Siswadi, 1960, p. regional. On the women’s front, the Gerwani 22). Johny and Tommy are equally lonely was actively against Government Regulation and unhappy, which Tommy explicates in a No.19, initiated a democratically drafted dialogue with another character: marriage bill, and avoided confrontation with President Sukarno. Oh, okay. Similarly, Martyn (2004) asserts that “Yesterday, my dad was up in arms in 1958 the PKI initiated a draft of an again. He and my mom had a quarrel. anti-polygamy law to counter Government He spends too much time with his other Regulation No. 19, which explicitly wife in Cianjur. And, mom just showed encouraged polygamy. Together, PKI and up crying. Rather than feeling pity, Gerwani attempted to resist polygamy in he freaked out. It could not be more any way possible. As depicted in the story, Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) 533 === [PDF page 8] === David Setiadi, Aquarini Priyatna and Lina Meilinawati Rahayu rather than punishing the polygamous male behind the Manipol-USDEK policy was to character, Sugiarti shows a crystal-clear shape and maintain an Indonesian identity, example of the impact of polygamy on a which was required to create a prosperous family’s unity and harmony. Sugiarti’s craft socialist Indonesian society. That was a was strategic, considering the patriarchal point where Sugiarti’s interest in articulating political culture strongly prevalent then. her feminist idea intersects to serve as a Instead of launching direct criticism, Sugiarti counterpoint within the patriarchal system chose an implicit way of éthok-éthok strongly prevalent in Indonesian society at (dissimulation)—obviously Javanese— her time. to address her criticism. According to The image of a harmonious family plays Magnis-Suseno (2003), éthok-éthok is an important role in the story because it fits a commonly used strategy by Javanese the period’s social context. Between 1950 people to express their opinion without and 1960, “the family” was institutional overtly showing what they have in mind. that was fundamental to the creation of a Thus, the story contains instances of sanepa socialist Indonesian society characterized by (symbolism) not explicitly to criticize the the so-called Indonesian identity. Harmony long-established mainstream culture. Such was indispensable in the Indonesian political a textual strategy is important given the culture at the time, based on the Javanese context in which the family is a basic yet political culture. Magnis-Suseno (2003) important institution to create a socialist points out that harmony is a basic principle Indonesian society, as prescribed in the in the life of the Javanese people. Through USDEK Political Manifesto. the conflict among the characters in the Sugiarti depicted the combination story, Sugiarti underlines that what happens between feminist ideas and Lekra’s activities in Sudjono’s family transgresses the basic incorporated in the principle of “Tradisi norms of the Javanese people. According Baik dan Kekinian Revolusioner” (“Good to Geertz (2017), to actualize the ideal, Tradition and Revolutionary Modernity”), harmonious (Javanese) society, one’s on which basis every Lekra artist must work conduct must follow social norms and to be both creative and respectable. Lekra values. Since Sugiarti’s story is set against nurtured the decency of its members by the social situation of her time, it reflects enunciating “Tiga Baik” (Three Propreities): the norms and values promoted by Manipolproper work, proper learning, and proper USDEK under the guided democracy ethics (Aria & Dahlan, 2008b). The story system. The story reflects how Sugiarti, of a marriage in the narrative may not be an artist, conformed to and supported the restricted to familial relationships but also Indonesian revolution. social values concerning women in such issues as polygamy and gender roles. Putra The relevant story about family also (2011) also noted that one of the core ideas reverberates in “Anak2 Muda” (1961), 534 Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) === [PDF page 9] === The Portrayal of Women in the Works of Sugiarti Siswadi which opens with the description of a family Junus is described as hard-nosed yet tying up with the children’s bothersome perseverant,, as portrays in “Of course, busy attitudes. Junus, one of the children, is taking care of delinquent boys and bailing portrayed as a progressive university them out of jail…” (Siswadi, 1961, p. 22). student. His parents have been preoccupied His nature and attitudes are set against his with legal matters concerning Junus, as opportunistic father. The story portrays the father-son relationship as conflicting— shown at the beginning of the story, “Within Junus rebels against the father due to his the last three months, he had to take care rivaling stance in displaying his masculinity. of his son. And what kind of affair he As a son, he embraces a progressive attitude had been into? Irritating, infuriating, and despite making compromises as his father embarrassing ones” (Siswadi, 1961, p. 22). does. Both embrace the normative gender The kind of juvenile delinquency is role that is socio-culturally acceptable in employed as a strategic motive to build the that era. However, by placing each character story so that the parents can be utilized to in different political orientations, Sugiarti solve Junus’s problems. Despite being a presents both characters resisting each other. brat, Junus is born into a family of official/ The father figure is central in the short military personnel. He can avoid prison story because Sugiarti presents a common again because of his father’s extensive stock character of a government official network. The conversation between Junus who, during those days, was typically and his father after the arrest illustrates engaged in corrupt practices, cahoots, and nepotism. Sugiarti may have employed the Junus’s characteristics. strategy to rebuke the so-called capitalist “Well, Junus, can’t stop worrying your bureaucrats who were not in line with the quite busy dad, can you?” Political Manifesto of guided democracy. Juus’s father apathetically demonstrates “Of course, busy taking care of reactions that he points out as empty heroism, delinquent boys and bailing them out bombastry, and sensationalism. Meanwhile, of jail…” said Junus. Junus is endowed with militancy upon which most fictional characters of proletarian “I don’t ask much. Know what you literature in that era are built. As Toer (2003) are and where you are now. You’re reiterated, the commonly called socialista university student. You must study realist works, which function as a front of instead of joining the protest march struggle, must incorporate distinct features, and throwing stones at buildings... including militancy: uncompromising it was pleasing indeed, sensational; it and aggressive toward rivals and ready to was as if it were heroic in nature, but present a tough defense among comrades. empty heroism, rhetorical heroism. Therefore, the conflict between the father Bombastic. Sensational. No more, no and Junus is made to signify a bigger matter less”. (Siswadi, 1961, pp. 22, 24) than merely family issues. Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) 535 === [PDF page 10] === David Setiadi, Aquarini Priyatna and Lina Meilinawati Rahayu The conflict, as mentioned earlier, Meanwhile, the female character does not overtly indicate domestic issues in the story is portrayed as a wife and but can be taken figuratively as a political mother who takes care of all household problem concerning the PKI and the chores. She is gender-conscious about ABRI (Indonesian Military). The story her role in managing the family. Such a politically captures the conflict between normative gender role was common when the Armed Forces and the PKI, which the Indonesian political culture was still escalated to a bitter political contestation. heavily characterized by patriarchy. The Robinson (2008) affirms that the US wife/mother plays her role as a Javanese played a significant role in supporting anti- woman, who, as Koentjaraningrat (1994) Communist components, including the describes, must act as the “authority” in highest military command (especially domestic affairs. However, as a government the Armed Forces), and eradicating the official’s wife, the wife/mother figure in the PKI from Indonesia’s political scene. The story is presented as being well-informed father’s military position represents the in taking notice of the current affairs, as association that Junus criticizes: this can be can be seen in the dialogue between her interpreted as representative of Sugiarti’s and the husband: “You’ve been too busy act in making critical remarks as a member at the office. Why the fuss with Junus’s of the Lekra/Gerwani/PKI in the narrative. hanging out with his friends? I’m sure he’ll However, the short story “Anak2 be fine. He’s not roaming around with those Muda” portrays the life of the upper- delinquents” (Siswadi, 1961, p. 22). middle class, personified in the father—a busy “Commissioner”—as the narrator Capturing the view of the genteel depicts, “The father, who lingered in the (priyayi) view, the passage voices resistance office, did not typically have enough time towards the patriarchal Javanese political to manage his own children” (Siswadi, culture. The attitude is depicted in the 1961, p. 22). Sugiarti, both politically and wife’s/mother’s “complaint” (resistance) domestically, assesses the role of the father against her husband/father. By resisting her or husband in the division of roles. As a husband, the wife stands as the Other since husband, the character plays a role that fits the higher a woman’s aristocratic status, socially as the breadwinner. Nonetheless, the more she is tied to patriarchal norms. the characters fail as a father: he does not Koentjaraningrat (1994) describes that a function suitably as a domestic partner in male aristocrat’s wife must accompany her parental responsibility. This fragment shows husband. What the wife/mother character how the husband forces his spouse to carry does in the story is visionary, considering out the dual roles of mother and wife while that it was written at a time when the withdrawing from doing otherwise, that is, patriarchal culture was very strong. Sugiarti being the head of the family. does not explicitly resist patriarchy in 536 Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) === [PDF page 11] === The Portrayal of Women in the Works of Sugiarti Siswadi her work by presenting her feminist ideas we can hear the writer’s voice, who was in suggestive ways. The story reflects a promoter of socialism through Lekra/ a Javanese philosophy, namely “mikul Gerwani/PKI. However, the character’s dhuwur, mendhem jero,” which means that mother/wife is presented as a homemaker. to create social harmony, Javanese people Sugiarti uses the character wife/mother must show goodness and hide whatever cum family manager to hint at feminine is considered bad (Geertz, 2017; Magnis- leadership. The cited description: “when Suseno, 2003). she looked over her husband’s grey hair and The mother/wife figure is positioned in drained dilapidated face, she took a deep the thick of the conflict between Junus and breath”, signifies her patience (Siswadi, his father. As a wife, she is portrayed as 1961, p. 22). Her caring demeanor calms composed yet adaptable, even though the her heated husband, indicating the soomniscient narrator tends to include morals called transformational and transactional through the wife/mother figure. Here is an leadership (Lopez-Zafra et al., 2012). The example of the ideals: theory suggests that female leadership differs from male leadership, which aligns But when she looked over her husband’s with Visser (2002), who said that feminine grey hair and drained old face, she leadership is ascribed to family. The took a deep breath. His husband story is based on a family issue. Through forsook the principle that he had the character ’s wife/mother, Sugiarti held dear… something decent, noble, demonstrates effective female leadership in and utopian as a socialist individual, solving the story’s problems. The portrayal socialist society, world peace, global of woman leadership in the story suggests solidarity, peoplehood, antirealism, that the kind of feminism adopted in the and individuality held in high esteem. movements is still suffused with traces of (Siswadi, 1961, p. 22) patriarchy, with which the Javanese culture has been associated. Thus, the woman’s The above passage portrays the leadership in the story is not authoritative mother as understanding the problem with and power-centered. Rather, it is leadership nothing to do with her domestic role as that embraces and empowers. Sugiarti a homemaker. Accordingly, this can be offers this concept of woman leadership perceived as an autobiographical narrative throughout the story. She builds upon the whose status of the author as an activist argument that female leadership may resolve of the Lekra/Gerwani/PKI and a woman/ the family issue. mother is impossible to disentangle. When Sugiarti also characterizes the mother the character’s wife/mother brings up such figure as compassionate toward her son. terms as the socialist individual, socialist The character’s mother extends her trust and society, global solidarity, and peoplehood, tenderness to Junus and intercedes for her Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) 537 === [PDF page 12] === David Setiadi, Aquarini Priyatna and Lina Meilinawati Rahayu father figure’s absolute legitimacy and her accentuate the role of mother/wife/woman son’s teenage turmoil. However, as it gets in reinforcing the programs of the postideological, Sugiarti tends to refrain from Independence Indonesian government presenting the mother/wife/woman character regarding education. It echoes the strategic as a superwoman because it was evident role in the education sector that the Gerwani during the era that the socially-constructed played, plus the idea of “good tradition” gender role between men (public) and in the works of Lekra’s artists. Hence, women (domestic) fell in the rigid division. didacticism and morality appear both In the story, women are not portrayed as covertly and overtly. central characters because, as Priyatna “Si Udin ketua klas” is a simple story suggested, it was equally oppressive to about the interaction between a mother insist on becoming matchless and bringing and her son, Udin, who is restless about them down into insignificance as a mother the coming school enrollment test. The and a wife (Priyatna, 2018b). What is story begins with the narrator describing revolutionary in the story is that Sugiarti the mother’s concern about Udin’s unusual presents a woman’s character and the daily attitude: conflicts she faces. The story also provides “Udin had returned home at one o’clock. illustrations of the numerous implications But, contrary to his habit, he didn’t the woman character has to undergo, change nor ate after school. Now he preventing her from resisting frontally. In a looked busy on the table leafing through strongly Javanese national political culture, a book while mentioning the names of frontal opposition must be avoided. Magnishis friends.” Suseno (2003) points out that respect and harmony constitute a basic norm in the Udin is anxious of preparing for the social life of Javanese people. Sugiarti coming enrollment test to “secondary strategically places the mother character as a school”. (Wati, 1961, p. 10) mediator in the conflict between her husband and children in the story. Thus, the mother/ Meanwhile, as “ketua klas” or a “class wife (Sugiarti)’s believes that “I prefer Junus captain”, the teacher asks Udin to encourage going to meetings to hanging out with the his friends to have more perusal on the delinquents” (Siswadi, 1961, p. 24). Again, subjects that will be tested and urges him it emphasizes that the gender role in the “as a class captain to set up a study group” narrative may be an attempt to affirm any (Wati, 1961, p. 10). Sugiarti presents the socio-cultural construction. mother as comforting and supportive of her While the two previous stories are son, providing the character with a central about juvenile misbehavior in a family, “Si role, which implies gender normativity. For Udin Ketua Klas” (1961) is another story. example, “Well, that will be excellent, Din. The narrative seems to allow Sugiarti to I’m all with you if you want to take the study 538 Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) === [PDF page 13] === The Portrayal of Women in the Works of Sugiarti Siswadi group here. I’ll provide you all with water Thus, it is strategic to display the portrait and cookies” (p. 10). of a harmonious family insofar as the intended readers may grasp that supporting Udin is, in turn, excited upon hearing family results in a better learning process. his mother’s approval for the study group Meanwhile, the statement “childhood was to be held at his home. It is strategic the period to learn…and may contribute as yet ideological to install the mother in much for the development of the country the interaction. Sugiarti emphasizes the and nation” implies the narrative’s pursuit importance of a mother in child development of promoting the “five passions,” (Siswadi, with such an approach. Sugiarti introduces 1963, p. 3), which adopt Lekra’s principles a gender-conscious character who can be in education and literature. The narrative considered a friend, a teacher, and a mother brings out the idea of diligent learning to for a nervous child. represent the motherland’s passion, parental Meanwhile, the father figure is care, and respect to representing the passion somewhat overlooked in the story. The for parents, and exuberance to represent the character is only slightly mentioned during passion for socialism. “Si Udin Ketua Klas” a short exchange: “Dad said that if I pass was Sugiarti’s contribution to the literature the test with a good grade, he will buy me of socialist realism for children. a roadster bicycle. I’d be very happy. My The story also instills ideas of how dream would come true” (Wati, 1961, p. children may learn to value friendship, hard 10). The cited lines above show that the work, and gender consciousness. The effort character’s father supports Udin’s learning to educate on gender issues may be seen in activity in the house. Udin’s parents’ Mainah, a female character put forth as the support makes the story representative of leader of the study group: the typical harmonious family due to the agreeable gender role of the father and “Why don’t we elect Mainah as our mother. Despite the more prominent role of leader, Manan interrupted. Although the mother, Sugiarti eschews the justification she’s a woman, she’s capable enough that a mother is more substantial than a to lead us. On the plus side, she’s father. The key idea of the story is that patient and has a helping hand.” As the parents have a critical role in motivating group leader, Mainah was in charge of their children to learn at home, as narrated the group members and meeting their in the story: “Childhood was the period to needs. She felt especially responsible learn. It shouldn’t be wasted. Be virtuous for helping the study group in her and contribute as much as you can to the neighborhood to improve... She was development of your country and nation. still seen talking with Udin to discuss Keep the Republic of Indonesia safe, matters that needed to be done. (Wati, prosperous, and peaceful” (p. 10). “Si Udin 1961, p. 10) ketua klas” is specially written for children. Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) 539 === [PDF page 14] === David Setiadi, Aquarini Priyatna and Lina Meilinawati Rahayu The appointment of Mainah as the The passage signifies a fluid gender group leader is crucial in raising issues on role. Sugiarti radically presents the female gender roles. Sugiarti, through Mainah, characters in the story with valuable shows that women are able as leaders. competence and performance without calling She offers leadership that embraces such each gender role into question, implying the normative features of women as “patient assumption that the story was written with and have helping hands” (Wati, 1961, p. 10). strong gender consciousness. Readers may According to Eagly and Johnson (1990), also follow ideologies interwoven into the the democratic nature of women and their narrative by Sugiarti as a woman writer and deep concern for specific issues are suited activist. for leadership essentials. For this reason, The depiction of female characters Sugiarti may be regarded as a visionary in the three aforementioned short stories because the story offers the concept of underscores the importance of a woman feminine leadership through which the as an individual, wife, and mother without significance of gender equality becomes having to degrade the role of a man, father, apparent. The nature/attributes of women and husband in the family’s private structure. in the story are required to delegitimize the Normative family portrayal does not always formalized form/attributes of masculine refer solely to the role of the mother and leadership. Such is the concept of woman parenting styles. Considering the presented leadership that Sugiarti offers in the story. issues and solutions, it is perceptible that Mainah does not show or exercise power. Sugiarti suggests that a parenting style Rather, she ensures that everyone can requires both a father and a mother. She work and learn together to reach what leans not toward the idea that parenting they wish to achieve. Magnis-Suseno simply depends on mothering in a culture (2003) explains that a Javanese woman of the sexual division of labor. Furthermore, and man must respect each other. Social the three stories offer feminist ideas that relations are structured hierarchically so were revolutionary at the time when the that each individual (woman/man) shows patriarchal Javanese political culture still good conduct in accordance with their dominated the political culture. In the three respective roles. Mainah is kept within stories, Sugiarti implicitly and explicitly her role as a (proper) woman to educate presents important feminist ideas of gender on the interweave of gender roles between equality that were ahead of when they were the public and the private, as seen in the written in the 1950s and 1960s. following: “a profound silence fell upon the group. Udin’s mother brought out tea CONCLUSION and fried cassavas. Mainah approached her, helped her with the refreshments, and put The three examined stories show the them down before everyone” (Wati, 1961, interweave of ideologies of Sugiarti as a p. 10). (woman) activist and feminist. The Lekra/ 540 Pertanika J. Soc. Sci. & Hum. 31 (2): 527 - 543 (2023) === [PDF page 15] === The Portrayal of Women in the Works of Sugiarti Siswadi Gerwani/PKI to which Sugiarti belonged Adryamarthanino, V. (2011, November 8). was her vehicle to express certain notions Manipol USDEK: Latar belakang dan isinya [Manipol USDEK: Background and content], during the 1950s and 1960s. Not only did Kompas. https://www.kompas.com/stori/ Sugiarti raise political issues in terms of read/2021/11/08/110000979/manipol-usdekjargon of “politik sebagai panglima” or latar-belakang-dan-isinya?page=all literally “politics as the commander” (the Anderson, B. R. O. G. (1996). Language, fantasy, supremacy of politics above other aspects) revolution: Java 1900-1950. In D. S. Lev & R. that the PKI propagated, she also raised McVey (Eds.), Making Indonesia: Studies on Southeast Asia (pp. 32-58). Cornell University. feminist issues to contribute to nationalist consciousness. However, the stories Aria, R. D., & Dahlan, M. M. (Eds.). (2008a). Laporan incorporate the intertwining of women’s dari bawah: Sehimpunan cerita pendek LEKRAharian rakjat 1950-1965 [The report from roles in the private and public and propose bottom: A set of LEKRA short story-daily people an Indonesian feminist discourse during 1950-1965]. Merakesumba. the 1950s and 1960s. This study shows that Aria, R. D., & Dahlan, M. M. (Eds.). (2008b). Lekra the selected works of literature published tak membakar buku: Suara senyap lembar by Sugiarti Siswadi, an Indonesian woman kebudayaan harian rakyat 1950-1965 [Lekra writer between the 1950s and 1960s, doesn’t burn book: Silent sound of cultural sheet indicate a feminist ideology and the spirit of people daily 1950-1965]. Merakesumba. gender equality. In addition to epitomizing Barry, P. (2002). Beginning theory, an introduction her generation, Sugiarti deserves to be to literary and cultural theory. Manchester University Press. considered an important exponent in the feminist agenda and gender equality Caldwell, M., & Utrecht, E. (2011). Sejarah alternatif Indonesia [Indonesia: An alternative history]. struggle. She envisions women’s roles Djaman Baroe. transgressing the culturally assigned public Chisaan, C. (2008). Lesbumi: Strategi politik domains and significantly contributing to kebudayaan [Lesbumi: Strategy of political establishing Indonesia as a young nation. culture]. LKiS. Cixous, H., Cohen, K., & Cohen, P. (1976). The ACKNOWLEDGEMENT laugh of the Medusa. Signs: Journal of Women The authors would like to thank Universitas in Culture and Society, 1(4), 875-893. https://doi. org/10.1086/493306 Padjadjaran, Indonesia for its support in funding the article processing charges of Eagly, A. H., & Johnson, B. T. (1990). Gender and leadership style: A meta analysis. Psychological the article publication and the reviewers Bulletin, 108(2), 233-256. https://doi. for their insightful feedback and comments. org/10.1037/0033-2909.108.2.233 Foulcher, K. (2011). Bringing the world back home REFERENCES cultural traffic in Konfrontasi, 1954-1960. In J. Abdulgani, H. R. (1961). Pendjelasan: Manipol Lindsay & M. H. T. Liem (Eds.), Heirs to world dan USDEK [Manipol-USDEK Explanation]. culture; Being Indonesian 1950-1965 (pp. 31- Garuda. 56). KITLV. Pertanika J. Soc. 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