Indonesian Short Quotes

It takes both sides to build a bridge.

Apalah gunanya impian bila tidak diwujudkan?

Dua kebaikan yang berbeda tidak mungkin berada pada satu intensitas yang sama. Sesederhana itu.

Gerisik angan dan deru lembut laju harapan. Waktu itu adalah menit-menit akhir menjelang malam di Bukit Angin. Daun-daun berwarna-warni dalam berbagai wujud melayang ke langit dan berkumpul mengelilingi puncak pusaran angin. Di sana, di balik awan, beradalah studio Sang Pelukis.

Segala hal yang dikatakan Komandan mengenai Orde adalah kebenaran yang tidak dilebih-lebihkan. Orde memang bersinonim dengan kebaikan. Orde menghargai kemajuan. Orde mencintai kehidupan. Orde bahkan mengajarkan pertobatan. Semua yang dijabarkan di dalam Kitab pada dasarnya akan berakhir pada kebahagiaan, pun setelah kematian. Akan tetapi Orde dan Kitab adalah takdir. Yang tidak dapat dibantah dan harus diterima semua orang dengan pasrah. Sama seperti penglihatanku, Orde tidak memberikan pilihan.

The time the first Europeans arrived in the New World, farmers there were harvesting more than a hundred kinds of edible plants–potatoes, tomatoes, sunflowers, marrows, aubergines, avocados, a whole slew of beans and squashes, sweet potatoes, peanuts, cashews, pineapples, papaya, guava, yams, manioc (or cassava), pumpkins, vanilla, four types of chilli pepper and chocolate, among rather a lot else–not a bad haul. It has been estimated that 60 per cent of all the crops grown in the world today originated in the Americas. These foods weren’t just incorporated into foreign cuisines. They effectively became the foreign cuisines. Imagine Italian food without tomatoes, Greek food without aubergines, Thai and Indonesian foods without peanut sauce, curries without chillies, hamburgers without French fries or ketchup, African food without cassava. There was scarcely a dinner table in the world in any land to east or west that wasn’t drastically improved by the foods of the Americas.

What a joy this book is! I love recipe books, but it’s short-lived; I enjoy the pictures for several minutes, read a few pages, and then my eyes glaze over. They are basically books to be used in the kitchen for one recipe at a time. This book, however, is in a different class altogether and designed to be read in its entirety. It’s in its own sui generis category; it has recipes at the end of most of the twenty-one chapters, but it’s a book to be read from cover to cover, yet it could easily be read chapter by chapter, in any order, as they are all self-contained. Every bite-sized chapter is a flowing narrative from a well-stocked brain encompassing Balinese culture, geography and history, while not losing its main focus: food. As you would expect from a scholar with a PhD in history from Columbia University, the subject matter has been meticulously researched, not from books and articles and other people’s work, but from actually being on the ground and in the markets and in the kitchens of Balinese families, where the Balinese themselves learn their culinary skills, hands on, passed down orally, manually and practically from generation to generation. Vivienne Kruger has lived in Bali long enough to get it right. That’s no mean feat, as the subject has not been fully studied before. Yes, there are so-called Balinese recipe books, most, if I’m not mistaken, written by foreigners, and heavily adapted. The dishes have not, until now, been systematically placed in their proper cultural context, which is extremely important for the Balinese, nor has there been any examination of the numerous varieties of each type of recipe, nor have they been given their true Balinese names. This groundbreaking book is a pleasure to read, not just for its fascinating content, which I learnt a lot from, but for the exuberance, enthusiasm and originality of the language. There’s not a dull sentence in the book. You just can’t wait to read the next phrase. There are eye-opening and jaw-dropping passages for the general reader as Kruger describes delicacies from the village of Tengkudak in Tabanan district — grasshoppers, dragonflies, eels and live baby bees — and explains how they are caught and cooked. She does not shy away from controversial subjects, such as eating dog and turtle. Parts of it are not for the faint-hearted, but other parts make you want to go out and join the participants, such as the Nusa Lembongan fishermen, who sail their outriggers at 5.30 a.m. The author quotes Miguel Covarrubias, the great Mexican observer of the 1930s, who wrote “The Island of Bali.” It has inspired all writers since, including myself and my co-author, Ni Wayan Murni, in our book “Secrets of Bali, Fresh Light on the Morning of the World.” There is, however, no bibliography, which I found strange at first. I can only imagine it’s a reflection of how original the subject matter is; there simply are no other sources. Throughout the book Kruger mentions Balinese and Indonesian words and sometimes discusses their derivations. It’s a Herculean task. I was intrigued to read that “satay” comes from the Tamil word for flesh ( sathai ) and that South Indians brought satay to Southeast Asia before Indonesia developed its own tradition. The book is full of interesting tidbits like this. The book contains 47 recipes in all, 11 of which came from Murni’s own restaurant, Murni’s Warung, in Ubud. Mr Dolphin of Warung Dolphin in Lovina also contributed a number of recipes. Kruger adds an introduction to each recipe, with a detailed and usually very personal commentary. I think my favorite, though, is from a village priest (pemangku), I Made Arnila of the Ganesha (Siwa) Temple in Lovina. water. I am sure most will enjoy this book enormously; I certainly did.” Review published in The Jakarta Globe, April 17, 2014. Jonathan Copeland is an author and photographer based in Bali. thejakartaglobe/features/spiritual-journey-culinary-world-bali

In for a penny, in for a pound. “You know, short, glasses, Indonesian, drives like a demon from the lowest bowels of hell?” “She isn’t my girlfriend.” “Oh, so she’s still up for grabs? Fair game?” “Putting out the vibe?” Jennifer added. Jim turned and walked away without a word.

My mother made a short cutting motion with her hand. “No!” “Yes. We need to buy the snail.” My mother drew herself to her full height. I stood up and did the same. “No, and that’s final.” “You can’t keep me from doing it.” “I am your mother!” Jim opened his mouth. “Mengapa?” Oh my gods. He spoke Indonesian. My mother’s eyes went wide and for a second she looked like a furious cat. “He speaks Indonesian!” “I know!” “Why didn’t you tell me he speaks Indonesian? This is a thing I need to know!” I waved my arms. “I didn’t know!

His eyes told me he understood. This could be the last time we spoke to each other. “I’m sorry about our fight.” “I forgive you,” I told him, and sliced through the first line. The keris severed it in one short cut. It blinked and vanished. “You just don’t understand what it’s like not to be pretty. It’s because you’ve always been hot.” He coughed. “Hot?” “Mhm.” “Have you ever looked at me?” “I have. I look at you all the time, Jim.” I severed the second line. It disappeared. A shudder ran through Jim’s body. His legs trembled. “About Indonesian,” Jim said. “I learned it so I could talk to you.

In short, what Europeans did to the Indonesians, the Indonesians have done, and were still doing, to the Papuans. To paraphrase the words of Paulo Freire, the oppressed are the greatest oppressors.

contemporary Indonesian cultural/historical memory is in fact quite short.14 Thus the New Order discourse of channeling the “ancient” Javanese artistic past—a realm of tradition claimed to have been barely touched by the long ravages of history—of course fails to “remember” that artistic change has consistently followed the diverse cultural, economic, and religious exchange that Java has always engaged in. The exploiting, colonizing Europeans (whose full-to-bursting museums provide much of the contemporary evidence of historical Indonesian contact with outsiders) were relative latecomers to this process, following millennia of local trade with other parts of Asia as well as the entrance of Hinduism from India, bringing with it, among many other things, the Ramayana and Mahabharata epics that continue to figure hugely into what is now referred to as “traditional Indonesian dance.