Understanding Indonesia through Short Story by A. A Navis
Hiqma Nur Agustina
English Department, State Polytechnic of Malang
E-mail: hiqma@polinema.ac.id
Abstract
Knowing and understanding Indonesia for Indonesian language learners can be done in several
ways. One of them is BIPA learning by applying the short stories of Indonesian writers A.A Navis.
By using several short stories in the short story collection by A.A. Navis, Indonesian language
learners can understand the culture, traditions, language beauty, and moral messages in each story.
The method used in this research is descriptive qualitative and the concept of culture. The results
of this study are Indonesian language learners who are members of BIPA can get to know
Indonesian cultural values through literary works.
Keywords: BIPA, Indonesia culture, literature, short story
INTRODUCTION
A famous phrase proverb "If you do not know, you do not love" is the most appropriate
expression for Indonesian language learners to get to know Indonesia better. What is common in
Indonesian language learners is to learn words, phrases, and sentences in Indonesian. Another way
is known Indonesia through cultural arts, such as dance, traditional music, traditional ceremonies,
enjoy the natural beauty of Indonesia, as well as various specialties that are owned by Indonesia.
Culture is one of the supporting aspects of BIPA learning. Cultural aspects have a
significant role in meeting BIPA learning targets. The purpose of including cultural aspects in
BIPA learning is to instill cultural awareness to foreign speakers in learning Indonesian so that
foreign speakers can easily communicate in the situation of Indonesian culture (Prasetiyo, 2015).
With the high interest of international students in Indonesian, Indonesian is one of the chosen
foreign languages as concentration fields in various disciplines, especially for those interested in
studying Indonesia or Indonesian studies (UPI, 2018).
BIPA learning aims to introduce Indonesian culture through learning Indonesian. Foreign
speakers who learn cultural aspects can take advantage of these cultural insights as provisions in
their lives in Indonesia. The cultural aspect supports foreign speakers in the Indonesian language
by the situation and conditions of Indonesian society. Besides, introducing Indonesian culture to
foreign speakers can also foster positive and appreciative attitudes of foreign speakers towards the
richness of Indonesian culture.
Given the importance of linking Indonesian culture in BIPA learning, including cultural
aspects in this case through literary works that are heavily culturally loaded in an area in Indonesia,
is considered one of the right efforts considering language learning cannot separate from cultural
learning in a country.
LEARNING LANGUAGE THROUGH LITERATURE WORKS
Teaching language, in essence, also teaches culture (Suyitno, 2017). This cultural
specificity then inspired many literary writers to make it a story or setting in their writing. A literary
work was born on the fruit of thought, concern, and concern for various things that occur in society
from a writer. Given that Indonesia is rich in natural and human resources, it is not surprising that
much potential continues to grow and emerge from the past until now.
Nowadays, famous works such as Chiklit and Teenlit are emerging as the work of talented
young writers in Indonesia. Their presence is like fresh air, which gives color to the growth of
popular literature (Agustina, 2017). The presence of these talented young writers deserves to be
appreciated. The idea and concern to continue to develop their talents and interests in writing
trigger them to work actively. Although not infrequently, this famous work also presents a sneering
sneer because it considers only to raise a simple theme such as the romance of teenagers, teenage
problems in big cities, or only raise issues that consider "not qualified."
A literary work born from great writers such as Pramoedya Ananta Tour, Sapardi Djoko
Damono, Ahmad Tohari, Taufiq Ismail, and several other big names certainly cannot be compared
to the writings of teenagers with Chiklit and Teenlit. It takes time and space to continue to explore
improving the quality of the themes are some of the things they must do.
For BIPA students, learning Indonesian can also be done by studying literary works.
Especially literary works that carry the local culture of an area in Indonesia will make the learning
atmosphere more exciting. Studying language through cultural elements will indirectly bring them
closer to the uniqueness of local wisdom that is indeed loved by BIPA students. Through literature,
students can learn the social life, religion, and education contained in these literary works
(Nurhuda, 2017). The injection of literature and culture in this program expects to help
international students realistically understand Indonesian literary texts in the learning class.
Suminto explained the importance of literature and culture in developing the BIPA
program. According to him, attention is not on the development of literary and cultural teaching
materials that are ready to be used in classroom learning but also as material in the context of
language learning (acquisition) in general (Republika, 2017). Literary work can use in BIPA
learning as an additional supplement of learning. That is, literary works are not the main media of
learning or include in the curriculum, but only as additional material (Wirawan, 2019).
By studying a literary work with a theme of local wisdom, students can also learn about
Indonesian cultural science, which is indeed known as a nation with enormous diversity and
cultural uniqueness and amazes the world. This specificity of Indonesian culture will examine in
this paper.
A.A. NAVIS AND HIS WORKS
A. A. Navis' full name is Ali Akbar Navis. The short name A.A. Navis is more popular
than the full name. He was born in Padang Panjang, West Sumatra, on November 17, 1924. He
was the eldest of fifteen siblings. In contrast to most Minangkabau sons who like to migrate, A.A.
Navis had taught himself to remain in his native land. He believes that wandering is only a matter
of moving places and the environment, but what determines success is creativity.
Navis began his career as a writer when he was in his thirties. He has been actively writing
since 1950. However, his authorship was only recognized around 1955 since his short stories
appeared in several magazines, such as Kisah, Mimbar Indonesia, Budaya, and Roman. In addition
to short stories, Navis also wrote plays for several RRI stations, such as RRI Station Bukittinggi,
Padang, Palembang, and Makassar. Furthermore, he also began writing novels. The theme that
appears in the work of A.A. Navis breathes regionality and religion around the Minangkabau
people.
Life as a writer is not easy, especially in economic matters. Life than just expecting a
writing reward is impossible. Navis realized that. Therefore, he said that he became an author only
when he composed. After that, he became another ordinary person who had to work to earn a
living. Outside the authorship field, Navis works as editor in chief at the Semangat daily newspaper
(the Padang edition of the armed forces daily), the Board of Management of the INS Waqf Board,
and the management of the West Sumatra Scholar Group (Padang Club). Besides, Navis also often
attends various seminars on social and cultural issues as speakers or participants.
Some of Navis's works are short stories, poems, novels and non-fiction works. Some short
stories are Cinta Buta: Roman (1957), Man Rabuka (1957), Cerita Tiga Malam: Roman (1958),
Tiada Membawa Nyawa (1961), Perebutan (1961), Jodoh (1976), Robohnya Surau Kami
(Antology of short stories) (Gramedia, 1986), Hujan Panas dan Kabut Musim (Anthology of short
stories) (Jakarta, 1990).
Regarding his presence in Indonesian literature, A. Teeuw commented that Navis was not
a great writer, but an author who voiced Sumatra's voice in the middle of the Javanese concept
(Javanese author) so that he was worthy of being called the author of the "Latest Forces." Another
comment, Abrar Yusra, said that the story of Navis, Robohnya Surau Kami, which got the second
prize from Kisah magazine, was more famous than the short story of Kejantanan di Sumbing by
Subagio Sastrowardoyo.
LEARNING TO LITERATURE FROM ROBOHNYA SURAU KAMI AND DARI MASA KE
MASA
Robohnya Surau Kami is a collection of socio-religious short stories by A.A Navis. This
short story first published in 1956, which tells the dialogue of God and Hajj Saleh, an Indonesian
citizen who, throughout his life, only worship and worship. This short story sees as a monumental
work in the world of Indonesian literature. He was seen as a monumental work because he uses
satire techniques to criticize Indonesian citizens who are only diligent in worshiping but are lazy
to work.
The anthology of Robohnya Surau Kami contains ten short stories: Robohnya Surau Kami,
Anak Kebanggaan, Nasihat-nasihat, Topi Helm, Datangnya dan Perginya, Pada Pembotakan
Terakhir, Angin dari Gunung, Menanti Kelahiran, Penolong, and Dari Masa ke Masa. In each of
his short stories in this book, A.A. Navis displays the face of Indonesia in his day with great
bitterness. Full of satirical words and ridicule of the obscenity of Indonesian human thought at that
time - which is still relevant today.
Satire's work comes from Latin, which means satiric narrative works indirectly through
parodic alteration of celebratory forms, established discourses, and dogmatic pronouncements
(Palmery, 1990: 1). Satire's specialty is in the style of storytelling of writers, which involves
ridiculousness, especially in power. Satire has three characteristics, namely: criticism, satire is
always a criticism of human behavior that is bad or stupid with the aim of inviting the audience to
see it and sneering at it which will lead to social change; irony, satire uses irony, often in a
humorous way, to point out issues of behavior that criticized; finally, implied, satire is not a clear
statement and does not deliver fully, but rather criticism to change behavior through satire's work
by being very absurd, often because it is exaggerated or outside the usual context.
Two short stories were chosen from A.A Navis's work to use as learning material for BIPA
students, namely Robohnya Surau Kami and Dari Masa ke Masa. These two short stories chose
because they both reflect the satire words in the form of the implied things contained in the story's
contents. This feature will reveal in this paper.
The story of Robohnya Surau Kami told the tragic story of the death of a surau guard
grandfather (a small mosque) in the hometown of the short story's main character. He - the
Grandfather, died by slitting his own throat after getting a story from Ajo Sidi-the the Brag about
Hajj Saleh, who went to hell despite his daily work at the mosque, which was what his grandfather
did. Hajj Saleh, in the story of Ajo Sidi, is a person who diligently worshiped, all the worship from
A to Z he carried out all, diligently. Haji Saleh protested against God, and maybe he neglected his
thoughts. However, how could God forget, then explain why he went to hell, "You live in the land
of Indonesia, which is very rich, but you let yourself be destitute until your children and
grandchildren are all persecuted. I give you a rich country, but you're lazy. You prefer to worship
alone, because worship does not produce sweat, does not work hard. " Feeling insinuated and
depressed by Ajo Sidi's story, Grandfather decided to commit suicide. Moreover, Ajo Sidi, who
learned about Grandfather's death, only told his wife to buy a seven-layer shroud for Grandfather,
then went to work.
The tragic story of the death of a grandfather seems to be a satire of writers about the nature
of people who live in remote areas in Indonesia. Most of them only focus on worship but neglect
their primary task as a family head, that is, working diligently to meet the family's needs. The
uniqueness of the short story of Robohnya Surau Kami is the cultural background of the Minang
community, such as Ajo Sidi. The sentence satire shows in the conversation between Grandfather
and God in the following quote.
‘Kalian di dunia tinggal di mana?’ tanya Tuhan.
‘Kami ini adalah umat-Mu yang tinggal di Indonesia, Tuhanku.’
‘O, di negeri yang tanahnya subur itu?’
‘Ya, benarlah itu, Tuhanku.’
‘Tanahnya yang maha kaya raya, penuh oleh logam, minyak, dan berbagai bahan tambang
lainnya bukan?
‘Benar. Benar. Benar. Tuhan kami. Itulah negeri kami.’ (Navis, 2003: 10).
"Where do you live in the world?" Asked God.
"We are Your people who live in Indonesia, my Lord."
‘O, in that fertile land?’
"Yes, that is right, my Lord."
'The land is very rich, full of metals, oil, and various minerals
other is not it?
'Right. Right. Right. Our God. That is our country. '(Navis, 2003: 10).
The quote above shows God's question and answer with a grandfather, one of the main
characters in the story. The mention of Indonesia by God seems to emphasize all positive aspects
possessed by Indonesia. Then proceed with Indonesia's mention, rich in all-natural resources, such
as metals, oil, and various minerals.
Some of the satire sentences in the story also illustrate how the author emphasizes the
nature of men who are more concerned with worshiping God, but ironically, he does not care about
his obligation to try and work diligently to have a prosperous life. God depicted very disliking the
figure of a man who ignores his obligations as a family head who should be diligent in working so
as not to become a poor man. The ethos of working hard is a habit that is often done by most
Indonesians. Using the satire in this story, Navis intends to awaken "some men" who do not
adequately carry out their duties. The following excerpt still shows the questions and answers
between God and Grandfather, who are very rich in implied things.
‘Negeri yang lama diperbudak orang lain?’
‘Ya, Tuhanku. Sungguh laknat penjajah itu, Tuhanku.’
‘Dan hasil tanahmu, mereka yang mengeruknya, dan diangkut ke negerinya, bukan?’
‘Benar, Tuhanku. Hingga kami tak mendapat apa-apa lagi. Sungguh laknat mereka itu.’
‘Di negeri yang selalu kacau itu, hingga kamu dengan kamu selalu berkelahi, sedang hasil
tanahmu orang lain juga yang mengambilnya, bukan?’
‘Benar, Tuhanku. Tapi bagi kami soal harta benda itu kami tak mau tahu. Yang penting
bagi kami ialah menyembah dan memuji Engkau.’
‘Engkau rela tetap melarat, bukan?’
‘Benar. Kami rela sekali, Tuhanku.’
‘Karena kerelaanmu itu, anak cucumu tetap juga melarat, bukan?’
‘Sungguhpun anak cucu kami itu melarat, tapi mereka semua pintar mengaji. Kitab-Mu
mereka hafal di luar kepala.’ (Navis, 2003: 11).
‘A land that has been enslaved by others?’
'Oh, my God. What an invasion of invaders, my Lord. '
‘And the produce of your land, those who dredge it, and transport it to their land, right?’
'That is right, my God. Until we get nothing else. What a curse they are. '
'In a land that is always in turmoil, you are always fighting with you while yielding
your land is someone else who took it too, right?’
'That is right, my God. However, for us about the property, we do not want to know. The
important one for us is to worship and praise you. '
‘You are willing to remain destitute, right?’
'Right. We are very willing, my Lord. '
"Because of your willingness, your children and grandchildren are also destitute, right?"
‘Even though our children and grandchildren are destitute, but they are all good at reciting
Qur'an. Thy book they memorized by heart. '(Navis, 2003: 11).
The quote above shows that God does not like men who only focus on worshiping Him but
neglects their obligation to work diligently and fulfill their family's living needs. This short story
is rich in an implied meaning reminder for men. As a family head, they should work hard so that
the family does not neglect.
The second short story, Dari Masa ke Masa, tells the story of the main character's views
on parents and young people's different attitudes and actions. The main character, a man, compares
the parents' attitudes to himself when he was 20 years old. These parents tend to demand used as
advisors in any case. They always position as essential people, so it is appropriate to advise young
people though the contents of his advice tend to be meaningless lip service and just a waste of
time.
The satire implied in this short story is a reminder for parents, i.e., if they are retired, it
should not be positioned as an essential person again. Suffice it to be a wise parent is behaving and
acting so that young people will like it. The following quote shows Navis's hopes, which displayed
as satire in the story.
Saya termasuk orang yang menangisi keadaan itu. Dan, dalam hati saya, bila saya telah
menjadi orang tua kelak, apa yang tidak saya sukai ketika saya muda, takkan saya lakukan
seperti apa yang yang dilakukan orang tua-tua ketika saya masih muda dulu. Begitu
menyentak datangnya, ektika orang-orang muda secara bergelombang menemui saya minta
restu, minta nasihat, minta pendapat, dan juga minta bantuan uang dan tanda tangan. Saya
menoleh ke sekeliling, terutama pada teman sebaya saya, yang dulu sama giatnya dengan
saya. Saya boleh mengembangkan dada menjadi orang yang dikagumi, dihormati. Memang
menyenangkan bila punya status demikian. Tapi lebih menyenangkan lagi apabila menjadi
tempat hidup orang menggantung, menjadi setiap kata yang dikatakan menjadi hukum
yang tak boleh disanggah (Navis, 2003: 135-136).
I was among those who wept over the situation. Furthermore, in my heart, if I became an
old man later, what I did not like when I was young, I would not do as what the parents did
when I was young. As soon as he arrived, when young people surrendered to meet me, I
asked for a blessing, asked for advice, asked for opinions, and asked for money and
signatures. I looked around, especially at my peers, who were as active as I was. I may
develop breasts to be an admirable, respected person. It is nice to have this status. However,
even more, fun when it becomes a place to hang people, every word is said to be a law that
cannot refute (Navis, 2003: 135-136).
The quote above shows that young people insinuate the old generations who want to be overtreated to cause a feeling of sympathy from young people. The strength of Navis's work is being
able to express social criticism of an attitude or behavior of a group of people at that time by using
the implied satire technique. This story is unique because the satire theme is still relevant today.
CONCLUSION
The two short stories Robohnya Surau Kami and Dari Masa ke Masa, are examples of
literary works by the great writer A.A. Navis that can use as learning material for BIPA students.
These two texts, which are rich in implied things as part of this satire, give the reader a moral
message to become a wiser human being.
BIPA students can learn culture and language at the same time when they read literature.
Through literary works, knowledge, and understanding of Indonesia will be complete because
every work can tell a phenomenon of an era or contains the author's ideas or concerns about
community behavior. This social criticism that Navis wants to express in both of his short stories.
Learning and introduction of cultural material need to do because international students
have cultural knowledge and cultural behavior that is different from the language culture and
language culture that they learn.
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INTERNET SOURCES:
Mengenalkan Budaya Indonesia melalui Pembelajaran BIPA di SOAS University of London.
http://berita.upi.edu/18635/, 28 December 2018.
Sastra
dan
Budaya
Penting
dalam
Pengembangan
BIPA.
https://www.republika.co.id/berita/pendidikan/dunia-kampus/17/09/10/ow243v399-sastradan-budaya-penting-dalam-pengembangan-bipa
Siapakah A.A Navis. https://sites.google.com/site/sastrawanindonesia/home/siapakah-a-a-navis