Writing the past, inscribing the future: history as prophecy in colonial Java 9780822316053, 9780822316220

Table of contents :
Frontmatter
List of Maps and Figures (page ix)
Acknowledgments (page xi)
A Note on Manuscripts, Spelling, Pronunciation, and Translation (page xv)
Titles in the Kraton Surakarta (page xvii)
Abbreviations (page xix)
Introduction: On the Possibilities of Reading in Java (page 1)
Chapter 1. The Writing of a History (page 52)
Chapter 2. Babad Jaka Tingkir in Translation (page 81)
Chapter 3. Invoking the Future in Writing a Past (page 246)
Chapter 4. A Question of Visibility: Writing History in Java (page 279)
Chapter 5. The Demak Mosque: A Construction of Authority (page 319)
Chapter 6. Three Javanese Gurus: On the Generation of Marginal Powers (page 352)
Conclusion: History and Prophecy (page 392)
Appendix I. Descriptive Table of Contents for Kupiya Iber Warni-warni Sampéyan-dalem kaping VI (page 407)
Appendix II. Genealogy of Sarifi Ibrahim Madyakusuma (page 415)
Appendix III. Meters of Babad Jaka Tingkir (page 417)
Appendix IV. Opening Lines of Cantos: Babad Jaka Tingkir (page 420)
Glossary of Selected Terms and Titles (page 423)
Bibliography (page 427)
Index (page 441)

Citation preview

WRITING THE PAST, INSCRIBING THE FUTURE

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WRITING THE PAST, INSCRIBING THE FUTURE History as Prophecy in Colonial Java

Nancy Florida

Duke University Press Durham & London 1995

© 1995 Duke University Press All rights reserved Printed in the United States of America on acid-free paper © Typeset in Aldus by Keystone Typesetting, Inc.

Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book.

Portions of the Introduction were previously published as “Reading the Unread in Traditional Javanese Literature,” Indonesia 44 (October 1987).

for Joshua Nurhadi Suryolelono

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CONTENTS

List of Maps and Figures ix

Acknowledgments xi . A Note on Manuscripts, Spelling, Pronunciation, and Translation xv Titles in the Kraton Surakarta_ xvii

Abbreviations xix Introduction: On the Possibilities of Reading in Java 1

Chapter 1. The Writing of a History 52

Chapter 2. Babad Jaka Tingkirin Translation 81 : Chapter 3. Invoking the Future in Writing a Past 246 Chapter 4. A Question of Visibility: Writing History in Java 279 Chapter 5. The Demak Mosque: A Construction of Authority 319 Chapter 6. Three Javanese Gurus: On the Generation of Marginal

Powers 352 Conclusion: History and Prophecy 392 Appendix I. Descriptive Table of Contents for Kupiya Iber Warni-warni

Sampéyan-dalem kaping VI 407 Appendix II. Genealogy of Sarifi Ibrahim Madyakusuma 415 Appendix III. Meters of Babad Jaka Tingkir 417 Appendix IV. Opening Lines of Cantos: Babad Jaka Tingkir 420

Glossary of Selected Terms and Titles 423

Bibliography 427

Index 441 |

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LIST OF MAPS AND FIGURES

Maps

1. The Indonesian Archipelago 4

2.Javaand Madura circat500 82 3. Central Java 82 Figures

1. The Sasana Séwaka throne pavilion of the Kraton Surakarta 13

manuscript 16

2. A scene of reading depicted in an early-nineteenth-century

3. Reading by oil lamp in Java depicted in an early-nineteenth-century

manuscript 18 4. Opening page of Babad Jaka Tingkir 58 5. Final page of Babad Jaka Tingkir 67 6. Interpolation in Babad Jaka Tingkir: bearded figure with turban and

medal 72 7. Interpolation in Babad Jaka Tingkir: three royal Javanese figures 73 8. Interpolation in Babad Jaka Tingkir: behind the inscription is the

ghostly figure of a Javanese king 76 g. Interpolation in Babad Jaka Tingkir: migrating royal figures 77 10. Plan of the Kraton Surakarta 88

11. Plan of the Kedhaton: Kraton Surakarta 89 12. Tajug Lambangsari Pendhapa: the Demak Mosque 159

13. Babad Jaka Tingkir: a schematic overview 285

14. Wall of the Kraton Surakarta, viewed from the outside 303

15. Guarding a portal to the Kraton Surakarta 304 16. The Inner Sanctum of the Kraton Surakarta: Dalem Ageng

Prabasuyasa 305 17. The Handrawina banquet hall of the Kraton Surakarta 307 18. Women of the court moving in procession through a portal in the

Kraton Surakarta 309 19. The Demak Mosque 323 20. Roof of the Demak Mosque 331

X LIST OF MAPS AND FIGURES

ACKNOWLEDGMENTS

This work has grown out of experiences and friendships that have spanned many years and many miles. For those experiences and for those friendships I am grateful to a number of individuals and institutions. When did this work begin? Was it some twenty-five years ago with my first experiences of Javanese culture through the study of gamelan music at Wesleyan University? Or was it in California and then in Java where I continued my study of the Javanese performing arts under the auspices of the American

Society for Eastern Arts in the 1970s? It was during these early trips to Java, in 1971 and 1975-77, that I began my study of narrative traditions in Java, working under shadow puppet masters and beginning my studies in the manuscript archives of Surakarta, Central Java. I remember those many long nights, sitting motionless, enthralled by what seemed to me the near magical performances of the puppet masters as they spun their tales. To these Javanese storytellers, especially to Ki Anom Suroto and to

the late Ki Suratno Gunowiharjo and the late Ki Sutrisno, | owe my fascination with Javanese narrative, with Javanese language and literature. My first encounters with Javanese manuscripts were in the library of the Mangkunagaran Palace and were encouraged by the late K.R.M.T.H. Sanjoto Sutopo Kusumohatmodjo, for whose many years of support and friendship I am deeply grateful. Others who influenced and shaped my early experiences in Java were K.R.T. Wasitodiningrat, the late R.L. Martopangrawit, the late Embah Jarwopangrawit, and the late Suranto Atmosaputro. In 1978 I returned to America to begin graduate studies in Southeast Asian history at Cornell University. To my teachers at Cornell, especially to Oliver Wolters, David Wyatt, Benedict Anderson, and James Siegel, I owe a deep debt of gratitude. The opportunity to read with them both

their own works and the works of others contributed to shaping my perspectives on writing and my approaches to reading. I am particularly indebted to Oliver Wolters; the inspiration that his work has provided me and the fellowship that his friendship has afforded me have been guiding forces in my scholarly life over the last seventeen years. When I returned to Java in 1980 it was as field director of the Surakarta Manuscript Project, a project to microfilm manuscripts in the three royal manuscript repositories that are located in the ancient court city of Surakarta. Through this project, which was generously funded by the National Endowment for the Humanities and the Cornell University Southeast

Asia Program, I had the opportunity to go over almost three-quarter million pages of writing in Javanese script as I prepared the manuscripts for filming. My work on the manuscripts was made possible by the gracious permission of their Royal Highnesses I.S.K.S. Pakubuwana XII and the late

K.G.P.A.A. Mangkunagara VIII, as well as by the support of the late K.R.M.T.H. Sanjoto Sutopo Kusumohatmodjo, the late K.G.P.H. Prabu_ wijaya, K.R.T. Hardjonagoro, and the National Archives of the Republic of Indonesia. Others whose efforts were indispensable to this project were:

David Wyatt, Haryati Soebadio, the late K.R.T. Mohammad Hoesodo Pringgokoesoemo, the late M.Ng. Kirnosayono, R. Pranadi Hartawiryana, Alan Feinstein, Mulyoto, M. Husni Djasara, and Bambang Hening Tjipto. Then in 1982, through a project that was funded by the Ford Foundation and was housed in the Sasana Pustaka Library of the Kraton Surakarta, this work was extended to preserve the original manuscripts as works of art on paper. I am very grateful to friends and colleagues who worked with me on that archival project at the Surakarta Palace, especially to G.P.H. Puger, G.R.A. Koes Moertiyah, Endang Tri Winarni, and Kasmir Efendi. Meanwhile, in 1982, with the generous funding of the Social Science Research Council and a Fulbright-Hays fellowship and with the sponsorship of the Lembaga Ilmu Pengetahuan Indonesia in Jakarta, I began the field work on Javanese historiographical traditions that would eventually culminate in this book. A number of friends and colleagues influenced the course of that field work. At the Kraton Surakarta I am grateful to G.K. Ratu Alit, G.P.H. Poespohadikoesoemo, G.R.A. Koes Indriyah, the late K.R.T. Sastradiningrat, and Ibu R.T. Pamardi Srimpi for their assistance and advice. I am also deeply indebted to John Pemberton, B. J. Rianto, Thoriq Addibani, Tinuk Rosalia Yampolsky, and Halim H.D.; their in-

Xll_ ACKNOWLEDGMENTS

sights, energies, and fellowship enriched my understanding and informed my perspectives during those years in Surakarta.

I began writing this book at Cornell in 1986 and wrote substantial portions of it there and at the University of Michigan over the next four years. During this period I learned from conversations with and comments and criticisms from Benedict Anderson, Judith Becker, Suzanne Brenner, Audrey Kahin, Victor Lieberman, John Pemberton, Takashi Shiraishi, Ann Stoler, Amrih Widodo, Thomas Williamson, Oliver Wolters,

and David Wyatt. |

In 1993-94, with generous support from the National Endowment for the Humanities and the Rackham Graduate School of the University of Michigan, I was provided the opportunity to reconceive and rework this project. A number of friends and colleagues commented on portions (and in some cases entire drafts) of the work as I was rethinking and rewriting

it. Thanks here are due to Alton Becker, Katherine Bergeron, Joseph Errington, Valentine Daniel, Robert Hefner, Marilyn Ivy, Daniel Lev, Hendrik Maier, Adela Pinch, Vicente Rafael, Laurie Sears, Mary Steedly, and Amrih Widodo. I am also grateful for the editorial encouragement of Ken Wissoker of Duke University Press, and for assistance with maps and

figures from Robert Cowherd, Ron Fraker, Annabel Gallop, and Adhi Moersid. The publication of this volume is supported with a grant from the Office of the Vice President for Research of the University of Michigan. Iam especially grateful to John Pemberton for his many and significant contributions to the writing of this book. Were it not for his insights and friendship I would, I am quite sure, have written a very different work. I have him to thank not only for encouraging my early interest in Java but also for, many years later, challenging me to take a critical stance on that same interest. Through his own writings as well as his criticisms of mine, he has enriched my understandings of Java in countless ways. And for his

many and detailed comments on nearly every draft that this book has been through, I am truly grateful. Finally a note of special thanks to my son, Joshua Nurhadi Suryolelono Florida, to whom I dedicate this book, with much love, in the hope that when, many years from now, he comes to read it, he will understand why I wrote it.

Xlll_ ACKNOWLEDGMENTS

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A NOTE ON MANUSCRIPTS, SPELLING, PRONUNCIATION,

AND TRANSLATION |

Most of the original Javanese manuscripts referred to in this book are from three repositories in Surakarta, Central Java: the Sasana Pustaka in the Kraton Surakarta, the Reksa Pustaka in the Mangkunagaran Palace, and the Museum Radyapustaka. Citations of these manuscripts include two reference systems. The initial “MS.” reference refers to the catalog entry of the local repository (with “SP” for the Sasana Pustaka, “RP” for the Reksa Pustaka, and “Rp” for the Radyapustaka). The “SMP” reference is based on the cataloging system of the Surakarta Manuscript Project. In this system, “KS” refers to the Kraton Surakarta, “MN” to the Mangkunagaran, and “Rp” to the Radyapustaka. A complete bibliographic entry

with author, title, place and date of composition and inscription, and double references appears as follows:

Ronggasasmita, Mas. Suluk Acih. Composed Aceh, 1815; inscribed . Surakarta, 1867. MS. SP 15 Ca; SMP KS 502.

In many cases the provenance and dating of the manuscripts cannot be established. The abbreviation “s.a.” (sine anno) indicates that the date is unknown; “s.1.” (sine loco), that the place is unknown. Attributions are in brackets.

Microfilm copies of the Surakarta manuscripts are available for reading at the originating repositories and at the Indonesian National Archives in Jakarta as well as at Cornell University Library’s Echols Collection and at the University of Michigan. The first of a four-volume annotated catalog _ for these manuscripts, my Javanese Literature in Surakarta Manuscript, vol. I: Introduction and Manuscripts of the Karaton Surakarta, was published by the Southeast Asia Program, Cornell University in 1993. In addition to the Surakarta manuscripts, I also refer to several manu-

scripts from the Oriental Collection of the Leiden University Library and from the Oriental and India Office Collection of the British Library. The . abbreviation “LOr” indicates Leiden Oriental manuscripts; “IOL’ indicates India Office Library manuscripts. My spelling of Javanese words follows, with some exceptions, the sys-

| tem standard in Indonesia today. The exceptions are as follows: 1. I distinguish the taling (é or é) from the pepet (e). 2. I spell and transliterate Javanese proper names as their owners do or did. I do not, for example, follow the standard academic Javanological

spelling of “Ranggawarsita” for the poet Ronggawarsita. | The spelling of Javanese words, on the whole, reflects pronunciation. The following list gives the nearest English equivalents to the sounds represented by the letters:

Letter Approximation in English Example /a/ in open syllables, similar to the aw in law Jaka

in closed syllables, as in father babad /c/ as in an unaspirated English ch Centhini /dh/ —_aveolar d, similar to the English day Pandhanarang /d/ dental d, produced with tip of tongue touching Kudus inside of upper teeth

/e/ similar to the u in cut semu

/é/ similar to the English ay Déwaraja

/e/ similar to the e in set Karéwed

/i/ in open syllables, as the ee in the English weep Jawi

in most closed syllables, as in bit Majapahit in some closed syllables, as in sing Tingkir

| /ng/ asin sing ngéblat /o/ in open syllables, similar to the o in hope ngoko

in closed syllables, similar to the aw in law _ kraton

/r/ trilled or tapped r (no English equivalent) rasa /th/ _ aveolar t, similar to the English later Centhini

/t/ dental t (see d above) Tingkir /u/ in open syllables, similar to the oo in moon suluk in closed syllables, similar to the u in put suluk

All translations are my own. A glossary of selected terms and titles follows the appendixes.

XV1 NOTE ON MANUSCRIPTS

TITLES IN THE KRATON SURAKARTA @

B.R.Aj. Bendara Raden Ajeng; granddaughter of a king B.R.M. Bendara Radén Mas; grandson of a king B.R.M.G. Bendara Radén Mas Gusti; junior prince (young son of a king)

B.R.T. Bendara Radén Tumenggung; a high courtier (bupati) of noble blood

G.K. Gusti Kangjeng; usually, a queen G.K.R. Gusti Kangjeng Ratu; a queen G.P.H. Gusti Pangéran Harya; a senior prince (mature son of a king, twentieth century)

G.R.A. See G.R.Aj. and G.R.Ay. G.R.Aj. Gusti Radén Ajeng; a princess (in the twentieth century, an unmarried daughter of a king) G.R.Ay. Gusti Radén Ayu; a princess (in the twentieth century, married daughter of a king)

H. Harya; a prince | G.R.M. Gusti Radén Mas; a junior prince (young son of a king)

I.S.K.S. Ingkang Sinuhun Kangjeng Susuhunan; ruler of the Kraton Surakarta

K.G.P. Kangjeng Gusti Pangéran; a prince (son of a king) K.G.P.A.A. Kangjeng Gusti Pangéran Adipati Anom: the crown prince of the Kraton Surakarta (Kangjeng Gusti Pangéran Arya Adipati; the ruler of the Mangkunagaran Palace) K.G.P.H. Kangjeng Gusti Pangéran Harya; a high senior prince (mature son of a king)

K.P.H. Kangjeng Pangéran Harya; a senior prince (mature son of a king; nineteenth century)

K.R.A. Kangjeng Radén Adipati; the vizier (patih) K.R.M.T.H. Kangjeng Raden Mas Tumenggung Harya; a high courtier (bupati) of royal blood

K.R.T. Kangjeng Radén Tumenggung; a high courtier (bupati)

M.Ng. Mas Ngabéhi; a middle-level courtier P.H. Pangéran Harya; a prince (usually the son of a king)

P. Pangéran or Panji : R. Radén; a noble or prince

R.A. Radén Adipati; the vizier (patih) Radén Ayu or Radén Ajeng; a noble woman

R.L. Radeén Lurah; a lower-level courtier R.M. Radén Mas; a noble (fourth-grade royalty or lower) R.M.H. Radén Mas Harya; the mature grandson of a king R.M.Ng. Radén Mas Ngabéhi; a middle-level courtier of noble blood R.M.T. Raden Mas Tumenggung; a high courtier (bupati) of noble blood

R.Ng. Radén Ngabéhi; a middle-level courtier of noble blood R.P. Raden Panji; a noble (third-grade royalty or lower)

R.T. Radén Tumenggung; a high courtier (bupati)

XVlll NOTE ON TITLES

ABBREVIATIONS

ARA Algemeen Rijksarchief (The Hague) BJT — Babad Jaka Tingkir BKI _ Bijdragen tot de Taal-, Land-, en Volkenkunde

GR J. E.C. Gericke and T. Roorda, Javaansch-Nederlandsch Handwoordenboek (Amsterdam: Muller, 1901)

IOL India Office Library manuscripts, British Library KS __ Kraton Surakarta

MN Mangkunagaran LOr Leiden Oriental manuscripts, Leiden University Library

Oj Old Javanese RP —_—‘ Reksa Pustaka manuscripts, Istana Mangkunagaran

Rp § Museum Radyapustaka manuscripts SMP Surakarta Manuscript Project SP Sasana Pustaka manuscripts, Kraton Surakarta TBG _ Tijdschrift voor Taal-, Land-, en Volkenkunde

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INTRODUCTION: ON THE POSSIBILITIES OF READING IN JAVA

By day and night, read with care and diligence All the venerable laid-by works That they may be exemplars Of the language of the heart, be not deceived

If you lack the time, read then every night If by night alone Study with utmost loving care Feel their meaning and their intent Bring out their sense, dare to try to comprehend If confused Or if they seem too simple — Mas Ronggasasmita, 18151

Almost two centuries ago Ronggasasmita, a little-known writer from a well-known family of Javanese court poets, composed these lines calling his readers to active and careful readings of exemplary works no longer read.? He urges readers to approach the old texts with a kind of loving care, or quiet passion, that would provoke contemporary understandings 1. Mas Ronggasasmita, “Suluk Martabat Sanga,” in Suluk Acih (compiled Aceh, 1815; inscribed Surakarta, 1867), MS. Sasana Pustaka Karaton Surakarta (henceforth SP), cat. no. 15 Ca; Cornell University Surakarta Manuscript Project (henceforth SMP), cat. no. KS 502, p. 55.

2. Mas Ronggasasmita was the son of R.T. Sastranagara (R.Ng. Yasadipura II, 17561844) and the grandson of R.Ng. Yasadipura I (1729-1803). Ronggasasmita’s elder brother, R.Ng. Ronggawarsita II (“Sepuh”), who held the office of Mantri Lurah Carik Kadipatén, was the father of the renowned court poet R.Ng. Ronggawarsita III (18021873). Implicated in revolutionary activities, the elder Ronggawarsita was exiled along with his younger brother “Mas Kaji” (Ronggasasmita?) in 1828 (Babad Sengkala kang kaurut saking kagungan-dalem serat Babad [composed and inscribed Surakarta, circa 1831, 1847|, MS. SP 6 Ta; SMP KS 1C.7, I:127).

of their meaning and intent. The poet challenges readers to work toward comprehension, to learn that textual meaning is not a self-evident given served up for their passive consumption. And so he dares them to read in ways that will involve them in the active production of meaning—to enter into dialogue with the half-forgotten texts of the past.5 “Try to comprehend,” Ronggasasmita writes in words that also mean “take up and extend

the language” of the texts, thereby subtly reminding readers to work toward meanings that will be partially of their own, that is, our own, making.‘ These lines appear in Ronggasasmita’s Suluk Acih (Songs of Aceh), a compilation of Islamic mystic songs, or suluk, written by the poet as he languished on foreign shores. Having made the holy pilgrimage to Mecca, Ronggasasmita was on his way home to the Central Javanese court-city of

Surakarta where illustrious members of his family served the Pakubuwana (“Axis of the Universe”) kings as professional literati. He was traveling with his uncle. When the two men reached the Sumatran port city . of Aceh, the older man fell ill. It was then that Ronggasasmita took up his

pen to reinscribe in Javanese verse the mystical teachings of his Sufi masters.° And in that text, written during a Sumatran interruption in his journey home to Java, the poet recalls prior texts expressly to call for their reactualization in present and future readings. In the same poem Ronggasasmita goes on to remember one very spe3. The Javanese lepiyan (“venerable laid-by works”) designates a written text which is

no longer read, but has been laid aside (folded up) to be preserved—perhaps as a prototype for further copies. Old Javanese lepih means “to fold; double the sum, twice the amount” (P. J. Zoetmulder, Old Javanese—English Dictionary, 2 vols. [The Hague: Nijhoff, 1982] [henceforth Zoetmulder], 1:1014). Modern Javanese lepih means “to spit

s.t. out” and by extension “to reject s.t. one had previously accepted or taken into consideration” (J. F. C. Gericke and T. Roorda, Javaansch-Nederlandsch Handwoordenboek, 2 vols. [Amsterdam: Muller, 1901] [henceforth GR], 2:134). For an imaginative

reading, teasing from the word lepiyan the connotation of “an ornate protest,” see J. Anthony Day, “Meanings of Change in the Poetry of Nineteenth-Century Java” (Ph.D. dissertation, Cornell University, 1981), pp. 275-76, 279, and 302.

4. The Javanese nyambut-nyambut, which I render as “try to comprehend,” is the reduplicated form of the verb sambut (“to take up, to grasp; to borrow; to take up [s.o.’s] words, to reply, to continue [s.0.’s] language”). 5. Ronggasasmita was a member of the Shattariyyah tariq with an educational genealogy (silsilah) extending back to ‘Abdallalh ash-Shattar (and ultimately to the Prophet Mohammad). That genealogy included Séh Abdul Rauf of Singkel and Séh Kaji Muhyi

of Karang (Mas Ronggasasmita, Suluk Acih, pp. 52-55). . 2 INTRODUCTION

cial reader. The poet reports of his late grandfather, the renowned Kraton Surakarta (Surakarta Palace) writer Yasadipura I (1729-1803): And though already famed a master of knowledge Yet would he have with him The wali’s venerable laid-by works And those of the perfect masters I saw him on those nights When he had no guests Once resting from his writing Nothing else was seen by him Save suluk and Sufi texts.°

Recalling his famous grandfather surrounded at night by Sufi texts, Ronggasasmita is in effect admonishing his own readers to be mindful that successful writing is the fruit of thoughtful readings. For although the preeminent writer of his day, Yasadipura never ceased his readings of the “venerable laid-by works” that others had written. And what he read, according to Ronggasasmita, were the works of the Islamic saints credited with the conversion of Java—the wali—and “the perfect masters,” their spiritual and intellectual heirs. “But nowadays,” Ronggasasmita goes on to complain, there are many who neglect these texts and yet

presume to teach, offering misleading thoughts on matters that they themselves little understand. Ronggasasmita’s imagined punishment for these false and arrogant teachers: stuff their mouths with rocks, seven fistfuls each.’

This book responds to Ronggasasmita’s call to return to works of the past by undertaking a close reading of one such work—Babad Jaka Tingkir,

or “The History of Jaka Tingkir”—a singular and hitherto overlooked nineteenth-century Javanese writing of history that I came across in the library of the Surakarta Palace in early 1981 as I was cataloging all the manuscripts in that royal archive.® The text, written in the nineteenth 6. Ronggasasmita, Suluk Acih, p. 56. For biographical notes on Yasadipura I, see S. Soebardi, The Book of Cabolék (The Hague: Nijhoff, 1975), and Sasrasumarta et al., Tus Pajang (Surakarta: Budi Utomo, 1939). 7. Ronggasasmita, Suluk Acih, p. 57. 8. Babad Jaka Tingkir (composed Surakarta, 1829) in Kupiya Iber Warni-warni, Sampéyan-dalem kaping VI (inscribed [Ambon], ca. 1849). MS. SP 214 Ca; SMP KS 78.2, pp.

3 ON THE POSSIBILITIES OF READING IN JAVA

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