SEMI-DETAILED LESSON PLAN

21st Century Literature in the Philippines and Around the World

Grade 12
I. Objectives
At the end of this lesson, the students should be able to:
 Identify and what is Indonesian Literature: Its history and genres
 Familiarize themselves with foreign Indonesian authors
 Gain insight on Indonesian context using Indonesian
Literature texts.
 Use contexts clues to identify meaning of unfamiliar words.

II. Subject Matter

Explain the Indonesian Literature in terms of its history, genres, authors
and literary texts.

III. Materials

 Powerpoint Presentation
 Soft Copy of Indonesian Literature texts (short story and poem)
 Reflective Writing Worksheet

IV. Procedure

A. Preparation
1. The teacher will start the class with a prayer to be led by
the the class president followed by a greeting.
2. The teacher will fix the powerpoint presentation.
3. The teacher will prepare the video presentation.
4. The teacher will give the students the motive questions.

B. Motivation
 1. The teacher will let students listen to the Indonesian Folk
song: Burung Kakak Tua (The Cockatoo
2. The teacher will then get the students reactions an opinions of the
folk song they have listened to.
3. The teacher will ask the students on their level of familiarity on
Indonesian Literature.
C. Motive Questions
1. Who among you here is familiar with Indonesian Literature?
2. What do you know about Indonesian literature?
3. What’s do you think is the similarities and/or the differences
between Indonesian Literature and Philippine literature?
4. What makes Indonesian Literature Unique/
5. What is the benefit of learning other literature beside your own
country’s literature?

D. Lesson Proper / Presentation

Discussion

Indonesian Literature
Located off the coast of mainland Southeast Asia Indian and and
Pacific by archipelago, comprised of 17,500 islands. The world’s fourth
largest and populous country, Indonesia. With over 300 different Native
Languages and ethnic groups, Indonesian Literature is so diverse

The Beginning of Indonesian Literature

Indonesia’s literary legacy includes centuries old palm bamboo and other
fiber manuscripts , but just like other literature the literature of Indonesia
started with stories transmitted orally. Annabelle Gallop the head of the South
East Asian section at the British Library in charge of the Indonesian in Bali
collection. Together with Fabian Indirani an Indonesian author and journalist
proved in their interview with Georgina Goodwind during the 2019 London
Bootfare the importance of oral tradition in Indonesian Literature.
 Georgina described Indoensia as an enormous and complex country. With
thousands of islands, hundreds of different ethnic groups and languages. But
she noted that interesting enough only about 15 of these languages have
ever been written, so they have manuscripts written in the British Library with
those main languages which are Malay, Javanese, Balinese, Burgess, and
Buttock. But what these tell you is how important orality is in Indonesia
Literature traditions. So stories were told and listened to. And even there
manuscripts going back hundreds of years were not designed to be read
individually by one person, they were designed to be read aloud to an
audience,often at night. They’re very evocative. Sometimes in the
manuscripts they say please take care of this precious book, don’t let any
beetles fall on it, or any lamps blacken it. So you can just imagine the situation
at night where all the villagers are gathered together and these manuscripts
are read out by lamplight while people are eating and chewing and having
social occasion. So that’s the kind of backdrop to which stores were received.
Many of the Indonesian songs, or poems, that were orally transmitted by
professional priest-singers embody traditions that have a religious function.
Improvisation played a great part in this kind of poetry, and there is reason to
believe that in its present form much of it is of no great age. Indonesian orally
transmitted prose forms are highly varied and include myths, animal stories
and “beast fables,” fairy tales, legends, puzzles and riddles,
and anecdotes and adventure stories. The divine heroes and epic animals of
these tales show the influence of Indian literature and the written literatures of
other neighbouring cultures.
Written literature in Indonesia has been preserved in the various
languages of Sumatra (Acehnese, Batak, Rejang, Lampong, and Malay), in
the languages of Java (Sundanese and Madurese as well as Javanese), in
Bali and Lombok, and in the more important languages of South Celebes
(Makassarese and Buginese). By far the most important in both quantity and
quality are the literatures in Javanese and Malay.

Brief History of Indonesian Literature

The earliest extant examples of Javanese literature date from the 9th or
10th century CE. An important position in this early literature is occupied by
Javanese prose and poetic versions of the two great Hindu epics,
the Mahabharata and the Ramayana. The Javanese also borrowed
from India’s sophisticated court poetry in Sanskrit, in the process making it
Javanese in expression, form, and feeling.

When Islam reached Java in the 15th century, the mystical tendencies in it

were incorporated by the Javanese into their own markedly mystical religious
literature. Muslim influence was especially fertile during the early 17th
century in Aceh, where Malay for the first time became an important written
literary language. In Java, Muslim legends of saints were combined
with Hindu-derived mythologies and cosmologies to produce imaginative
works of historical narrative in which magico-mystical elements play a
prominent role.

The Javanese and Malay literatures declined under the impact of Dutch
colonial domination in the 18th and 19th centuries. Only in the 20th century
did a modern Indonesian literature arise, closely linked as it was to the
nationalist movement and to the new ideal of a national language, Bahasa
Indonesia. After 1920 a modern Indonesian literature rapidly came into
existence. Muhammad Yamin and other prominent poets at this time were
influenced by the forms and expressive modes of Romantic, Parnassian,
and Symbolist verse from Europe. The first Indonesian novels also appeared
in the 1920s and ’30s; these were typical regional works by Abdul Muis and
others in which the central theme is the struggle between the generations,
between the stifling burden of traditionalism and the impulse for modern
progress.

In 1933, with the appearance of the review Pudjangga Baru (“The New

Writer”), a new generation of intellectuals began to assess whether to
maintain traditional values or to consciously accept Western norms in the
effort to establish a modern but genuinely Indonesian culture. This discussion
was interrupted by the Japanese occupation of Indonesia in 1942, which
eventually broke up a generation that was still closely bound to Indonesia’s
colonial situation. With the Indonesian nationalist revolution of 1945, a new
generation of fervently nationalistic and idealistic young writers who
professed a universal humanism came to the forefront. Their inspiration and
leader was the great poet Chairil Anwar, who died in 1949 at age 27. The most
prominent writer to emerge at this time was Pramoedya Ananta Toer, whose
support for the revolution led to his arrest in 1947 by Dutch colonial
authorities. He wrote his first published novel, Perburuan (1950; The
Fugitive), while imprisoned.

The political climate changed radically after the violent events that
surrounded Suharto’s assumption of power in 1965–66. Strict
government censorship was introduced, and many writers were either
imprisoned or silenced. Continued restrictions on freedom of expression
limited literary activity during the following decades, although these
restrictions were eased somewhat after Suharto’s resignation from the
presidency, in 1998.

Indonesian Literary Genres

• A literary genre is a category of literary composition. Genres may be
determined by literary technique, tone, content, or even (as in the case of
fiction) length.
 In poetry and prose, a number of literary genres dominate the Indonesian
literature. These are mainly:

1. Syair (traditional narrative poetry)

 Syair is a form of traditional Malay poetry that made up of four-line
stanzas or quatrains. The syair can be a narrative poem, a didactic
poem, or a poem used to convey ideas on religionor philosophy, or
even one to describe historical event. Some popular examples are
Syair Bidasari, Syair Ken Tambuhan, Syair Raja Mambang Jauhariand
Syair Raja Siak

2. Pantun (quatrains made up of two seemingly disconnected couplets)

 The elements of the Pantun are most often a poem in a single quatrain
made up of two complete couplets. Syllabic, all lines are of the same
length, lines are written in 8 to 12 syllables each. Rhymed, rhyme
scheme abab.

3. Gurindam (brief aphorisms)

 Is a type of irregular verse forms of traditional Indonesian and Malay
poetry. It is a combination of two clauses where the relative clause
forms a line and is thus linked to the second line, or the main clause.
Each pair of lines (stanza) provides complete ideas within the pair and
has the same rhyme in its end. There is no limit on the number words
per line and neither the rhythm per line is fixed.

4. Hikayat (stories, fairy tales, animal fables, chronicles)

 Romances, called hikayat, both in verse and in prose, also appeared—
having as their source native myth and legend. Soon Malay, Balinese,
Sundanese, and Madurese vernacular literatures emerged, all dealing
with the same themes.

5. Babad (histories or chronicles).

 The babad, or historical chronicle, is widely known as a genre of
traditional Javanese literature. ... Writing about the very similar
Balinese genre, Worsley (1972:4-5) observes that the author of a
babad inserts various narratives into particular segments at critical
points in the dynastic linkages.
Activity Before discussion:

Who Do You Think Am I?

Andrea Hirata Ayu Utami

Dewi “Dee” Lestari Goenawan Mohammad

Mochtar Lubis
Famous Indonesian Authors

Andrea Hirata

The success of Andrea Hirata’s debut novel

Laskar Pelangi (The Rainbow Troops) opened a new
world of influence, literacy, even tourism in Indonesia.
The 2005 novel, which was set in the now-famed
tropical paradise of Belitung Island, was followed by
other bestselling books that fascinate readers even
beyond Indonesia. His best works have inspired a
movie and serial TV, as well as a literary museum
built in Belitung to celebrate the local pride. The
Rainbow Troops is loved for the heartwarming stories
about children from humble origins chasing their
dreams, with all their innocence, passion, and
peculiar ways of life.

Ayu Utami

Ayu Utami’s unconventional thoughts and ways

of living have given her a bold and unique voice that
she expresses with remarkable wit. The journalist-
turned-author is a big player in the sastra wangi
movement in Indonesia’s literature, where young
women take on unconventional and controversial
issues like sex, politics, and history. Her debut novel,
Saman, has been reprinted 34 times and is still one
of Indonesia’s most acclaimed literary works. Since
then, Ayu Utami has published more bestselling,
mostly politically charged novels, essays, and even
screenplays.

Dewi “Dee” Lestari

A singer-turned-author, Dewi Lestari’s fame began

long before her first self-published book was even
out. Now she walks around international book fairs
with nine excellent books under her belt, four of
which have made it into the big screen. Even
though Dewi Lestari is a renowned contemporary
author, her award-winning Supernova series is
often regarded as Indonesia’s classic fiction.
Through her well-written literary works and
consistency, Dewi has frequented the bestseller list
more time than most.
Goenawan Mohammad

This senior author and poet from

Indonesia has been gracing the literary
scene for decades, with legacies
ranging from must-read essays to his
own publication (Tempo) and theater
(Komunitas Salihara). After retiring from
journalism, Goenawan has maintained
remained quite prolific, creating literary
works such as plays, poetry, books,
and more. Some of his anthologies,
such as Parikesit (1969) and Interlude (1971), have been translated into
several languages while his series of columns, Sidelines (Catatan Pinggir), is
still widely read and referenced by the younger generation. For many,
Goenawan Mohammad is not only a patron of art and literature, he’s also an
intellectual with noteworthy ideas and notions that his publication banned
during Indonesia’s New Order era.

Mochtar Lubis

This renowned novelist/journalist bears the

hallmark of a brilliant author and thinker during post-
independence Indonesia. He was jailed for almost
nine years by the first president, Soekarno, as his
Twilight in Jakarta novel gained acclaims and
popularity out of the country before even being
published in Indonesia. The novel, which in 1963
was one of the first Indonesian books to be
translated into English, was ‘exported’ to his home
country years later and continues to be one of the
most prized of Indonesian pieces of literature.
Subversive Notes (1980) conveys Lubis’ thoughts
and musings during his prison years.
 Story and Poem in Indonesian Literature

1. Story
"Siti Nurbaya"
Siti Nurbaya is the son of a wealthy nobleman, namely Sultan Mahmud
Syah-Sulaiman. Siti Nurbaya is known to be intelligent and has strong life
principles.

Different thoughts from her cousins about marriage and various customs
that are thick with patriarchy make Siti Nurbaya's special attraction.

This charm also makes Datuk Maringgih a rich old man who has many
wives and wants to make Siti Nurbaya his young wife.

However, good luck sided with Siti Nurbaya. He already has a mate,
namely Syamsul Bahri who is his own neighbor. They both fell in love and
made love.

Their story went well, until the news that Syamsul Bahri was accepted to
continue his medical education in Batavia (Jakarta) made the two people who
were intoxicated with love have to undergo a long distance relationship.

Siti Nurbaya cried when she released Syamsul Bahri in Teluk Bayur,
Padang, West Sumatra.

Datuk Maringgih, who from the first meeting had been interested and had
ambitions to make Siti Nurbaya his young wife, did many ways, from asking
her nicely to scheming.

Driven by jealousy towards Sulaiman's business, Siti Nurbaya's father,

Datuk Maringgih, does a business trick that makes Sulaiman go bankrupt.
 Datuk Maringgih then offered a loan to Siti Nurbaya's father with an
interest-bearing loan. Sulaiman who was pressed by the situation finally
agreed to the terms.

But Datuk Maringgih has a cunning tactic. It was time for the debt
collection schedule, Sulaiman was unable to pay off the money he had
borrowed until finally Siti Nurbaya offered to be Datuk Maringgih's wife on the
condition that her father's debt had been paid off. Datuak Maringgih agreed.

This is the beginning of Siti Nurbaya's misery. Datuk Maringgih who has
many citric and has a rough character.

Unable to stand this, Siti Nurbaya fled to Batavia to meet Syamsul Bahri.
Unfortunately, Sit Nurbaya could not linger in Batavia because she received
news of her father's death.

He finally returned to Padang. Seeing Siti Nurbaya running away, Datuk

Maringgih hated his young wife, so the idea came up to destroy Siti Nurbaya.

He ordered his men to offer lemang which had been poisoned to Siti
Nurbaya, who died.

Hearing the news that his lover died, Syamsul Bahri intends to take
revenge. 10 years later, Syamsul Bahri disguised himself as a Dutch soldier.

During the expedition, Datuk Meringgih led a revolution against the Dutch
East Indies government in protest at the increase in taxes.

Lieutenant Mas, the pseudonym of Syamsul Bahri, participated in the war

as a subordinate of the Dutch government. Finally, they found Datuk
Maringgih and there was a great fight and resistance from the two of them
until finally Datuk Maringgih died in the melee and Syamsul Bahri was
seriously injured.

At the end of the story, he met his father to apologize, which he eventually
died following Datuak Maringgih and Siti Nurbaya.
Guide question
1.Describe the charavters in the story?
2. What was your initial reaction as you begin to read the poem?
3. What is your reaction after reading the story?
4. What Genre does the story fit into?
5. What do you think the story is portraying?
6. What unfamiliar words did you encounter?
7. What do you think of Indonesian literature based on this texts?

E. Generalization/ Application
1. The teacher will ask the students if they have questions and queries on
the topic which needed clarifications.
2. The teacher will ask the students to share their understanding of
Indonesian Literature to the class.
F. Evaluation
1. The teacher will distribute reflectve journal worksheet for the students
to reflect on what they have learned, realized, discovered and found
interesting during the whole duration of the class.
G. Assignment
1. The teacher will distribute the copy of an indinesian poem to the
students for them to study and learn more about Indonesian Literature.

Poem
"Letter"
By Pramoedya Ananta Toer

O letters,
I have studied you for years
I seek your benefit and meaning,
I approach you every day,
Every time I watch,
Look at you with hope,
Hope is not far away
From wanting to be able and knowing.

But; disappointed in my heart.

I use you
Become a weapon in the realm of the right,
I don't think it's useful either
As I wanted.
I always arrange it neatly
On the paper of the most high hope,

But...
When I'm covered in the smoke of frankincense,
I can not arrange you
Until the arrangement can be felt too
By all the world
As I thought at the time.

How high will speech be

Thank you, when you are
Be an open book for humans who read it.

If I am immersed in the lake of fire,

You should stifle your readers,
When I'm saddened,
You should languish in his heart.

Letters, letters...
What's the reason then you
Don't know what I mean?

Translation in Indonesian Language

"Huruf"
Karya Pramoedya Ananta Toer

Wahai huruf,
Bertahun kupelajari kau,
Kucari faedah dan artimu,
Kudekati kau saban hari,
Saban aku jaga,
Kutatap dikau dengan pengharapan,
Pengharapan yang tidak jauh
Dari hendak ingin dapat dan tahu.

Tetapi; kecewa hatiku.

Kupergunakan kamu
Menjadi senjata di alam kanan,
Agaknya belum juga berfaedah
Seperti yang kuhendakkan.
Selalu dikau kususun rapi
Di atas kertas pengharapan yang maha tinggi,

Tetapi...
Bilalah aku diliputi asap kemenyan sari,
Tak kuasa aku menyusun kamu
Hingga susunan itu dapat dirasakan pula
Oleh segenap dunia
Sebagai yang kurasa pada waktu itu.
Alangkah akan tinggi ucapan
Terima kasihku, bilalah kamu
Menjadi buku terbuka bagi manusia yang membacanya.

Kalaulah aku direndam lautan api,

Hendaklah kamu meredam pembacamu,
Bilalah aku disedu pilu,
Hendaklah kamu merana dalam hatinya.

Huruf, huruf...
Apalah nian sebab maka kamu
Belum tahu akan maksudku?