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Oyos Saroso H.N.

Tulangbawang

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Cassava farmers in Lampung — one of the poorest provinces in Indonesia — are reaping the benefits of bioethanol factories springing up in the area.

Bioethanol refineries, including PT Medco Energy, PT Acida Tama, PT Madusari Lampung Indah and PT Sungai Budi, have flourished in the area, lifting production capacity to between 180,000 liters and 60 million liters annually.

Thanks to their presence, the production of cassava has surged significantly. In June, the price of cassava at the farmer level reached Rp 500 (US$0.5 per kilogram), compared to between Rp 150 to Rp 200 per kilogram previously.

The only company obtaining its supplies of cassava from farmers earlier was PT Sungai Budi, the biggest tapioca flour mill in Lampung.

A farmer in Tulangbawang, Ferdi Gunsan, 45, is enthusiastic about the presence of the bioethanol factories in Lampung and is looking forward to growing cassava on his 50-hectare farm.

“Growing cassava now is more lucrative than coffee or oil palm. A number of oil palm farmers have replaced their crops with cassava now. Besides the available bioethanol factories, technology to increase our output is also available now,” Ferdi, referring to the joined stem seedling method, said.

The joined stem seedling technique includes attaching the lower stem of the regular cassava with the upper stem of the entres variety cassava, better known as the singkong karet.

Usually, the lower stem is selected from the stem of a plant which is 11 months old with a stem around 2 centimeters in diameter.

The lower stem is generally taken from the Kasetsart variety from Thailand, while the upper stem is the local variety, with a diameter of around 1 centimeter and 15 to 30 centimeters long. Farmers can yield 60 to 100 tons of cassava from a one-hectare plot by applying the method.

Farmers with limited capital usually work with bioethanol producers, such as in East Lampung, where Suparlan, 40, works with other farmers in collaboration with PT Madusari Lampung Indah (MLI).

MLI collaboration manager Susilo Sugiarto said in cooperation agreements farmers were only required to provide land, while MLI provided the working capital and guaranteed the market price.

“The working capital package consists of seedlings, compost, pesticides and dolomite lime worth Rp 5.5 million for each hectare of cassava farm. We are working together with around 1,400 farmers from 46 villages in East Lampung,” Sugiarto said.

With a production capacity of 50 million liters of ethanol annually, MLI is currently operating around 1,600 hectares of cassava farms. It aims to manage 4,000 hectares of cassava farms by extending the partnership system to farmers in East and South Lampung.

To meet supply needs, MLI needs at least 4,000 hectares of cassava farms yielding between 60 to 100 tons per hectare, Susilo said.

“The partnerships have only reached 1,600 hectares. The current contract price of cassava has been mutually agreed on at Rp 280 per kilogram. However, we will increase the price because it hovers between Rp 350 to Rp 400 per kilogram on the market now.”

Farmers are able to reap more than Rp 8 million even if the price is set at Rp 300 per kilogram, because harvests from joined stem seedlings yield 60 tons per hectare, a gross profit of Rp 18 million.

In Indonesia, investors generally use land which has been grown with cassava traditionally to meet supplies for their raw material.

While the main cassava farming area in Lampung spans an area of 3,000 hectares, other farms are spread throughout Southeast Sulawesi and Java, while farms cover under 1,000 hectares.

Nitti Soedigdo is the leader of the Makmur village cooperatives unit in Pugung Raharjo village in Sekampung Udik district, East Lampung. He said the presence of bioethanol factories in Lampung was expected to revive farmers’ revenues.

“Cassava farmers in Lampung have so far lived a miserable life because of the low price of the commodity due to monopoly practices,” he said.

Bioethanol factories will act as a cassava price buffer because they need the commodity in huge volumes to meet their supplies of raw material, he said.

“Farmers are also in a strong bargaining position because they have so many choices over where to sell their harvests.”

Lampung Governor Syamsurya Ryacudu said the province had been targeted to become one of the largest bioethanol producers over the next five years.

Source: The Jakarta Post, Wed, July 2, 2008

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Oyos Saroso H.N.

Bandarlampung, Lampung

The endangered Sumatran elephant population is dwindling, as their natural habitat in protected forests in Lampung province have been diminished by both illegal logging and poaching.

Poaching of rare animals in South Bukit Barisan National Park (TNBBS) and Way Kambas National Park is increasing in frequency due to loose supervision by forestry officials and park rangers.

Poachers do not hunt for meat, but rather for the elephants’ valuable tusks. Elephant tusks, as well as tiger pelts and rhinoceros horns, are exorbitantly priced: Poachers reap a few hundred thousand rupiah per kilogram from middlemen for elephant tusks, while middlemen get about Rp 1.5 million (US$170.00) a kilogram from dealers. Tiger pelt fetches between Rp 10 million to Rp 15 million for skin measuring 1.8 by 2 meters. The price of rhino horn, fabled for its aphrodisiacal properties, goes for Rp 8 million to Rp 10 million per ounce.

“If poaching is not immediately stopped, rhinos, elephants and tigers in Lampung will be extinct in 10 years’ time. Moreover, they have a very long reproductive cycle,” said executive director of non-governmental organization (NGO) Watala nature lovers organization, Joko Santoso.

TNBBS data shows that from 1993 to 2003, more than 200 elephants were poached and more than three tons of elephant tusks were traded. In addition, hundreds of Sumatran tigers (Panthera tigris sumatrae) and dozens of rhinoceroses have been poached, their pelts and horns traded both domestically and internationally.

Investigative reports from the Wildlife Conservation Society (WCS) indicate that as many as 20 elephants have been killed, 33 tigers skinned and six rhinoceroses decimated each year in the park by poachers.

The rate of poaching is extremely high compared to the small population of elephants, tigers and rhinoceroses: South Bukit Barisan contains less than 500 elephants, 300 tigers and 60 rhinos now.

The park, designated a protected nature reserve since Oct. 14, 1982, is situated at the southern tip of Sumatra and covers about 360,000 hectares. Almost 300,000 hectares of the park is located in Lampung province, which stretches from West Lampung and Tanggamus regencies, while the remaining 60,000 hectares is in Bengkulu province.

Dwi Nugroho, a WCS activist, gave two motives for the rampant poaching in the protected forest: one, for sport or prestige; two, the lax supervision from park authorities, which provided an opportunity to poach freely.

The loose patrol and monitoring is evident in the scarcity of forest rangers and ranger stations. The park spans a geographical expanse containing mangrove, lowland and montane forests, and is protected by only 67 forest rangers based at two stations — at Kotaagung, Tanggamus regency, and Bengkunat, West Lampung.

Six unguarded roads lead to the protected forest, three of which are asphalted and are known to be used by poachers. Under such conditions, poachers are easily able to enter the forest, make their kill and get away unseen.

To compound matters, awareness of environmental protection and conservation issues is low among local villagers, who still consider elephants and tigers to be pests that must be exterminated.

Dwi also believes the light sanctions in place for violators — amounting to no more than a mere slap on the wrist — was one of the major obstacles to eradicating poaching of animals and trees both.

He cited Law No. 5/1990 on conservation of natural resources and ecosystems, which stipulates that anyone found poaching animals or wood in protected forests could face a maximum of five years’ imprisonment or a maximum Rp 100 million fine.

In practice, however, many violators are jailed only five months.

The poachers’ methods are inhumane: Poachers generally use guns or blowpipes loaded with tranquilizer darts to bring an elephant down, then hack off their tusks and saw off their feet or pry off their nails, leaving the elephant to bleed to death and rot in the jungle.

However, efforts to curb poaching are being made, and the South Bukit Barisan park, along with the West Lampung Police and several environmental NGOs have formed a Harimau-Gajah-Badak (tiger, elephant and rhinoceros), or HGB, anti-poaching team.

In addition, the WCS, the local Nature Resources Conservation Center, the Alas Foundation, Watala and the Lampung Alliance of Independent Journalists have established the Wildlife Crime Unit (WCU) to monitor poaching in the national forest. The WCU will be accompanied by Lampung Police on each inspection tour.

The endeavors of the NGO network has already resulted in a number of arrests of poachers, of whom several have been tried and convicted and are serving prison sentences at the Liwa Correctional Facility, West Lampung.

Source: The Jakarta Post, July 10, 2004

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Oyos Saroso H.N.
In the 32 years of the New Order regime in Indonesia, hardly any literary works written by Chinese-Indonesians saw the light of day.
The New Order regime did not give any room for the development of the ethnic Chinese culture.
Presidential Instruction No. 14/1967 prevented Chinese-Indonesian writers from developing their talent as it prohibited them from expressing themselves through Chinese cultural themes.
As a result, the ethnic Chinese culture became alienated in Indonesia and thus Chinese-Indonesian writers lost their place in Indonesia’s contemporary world of literature.

When the reform era was ushered in following the collapse of the New Order regime, Indonesia’s literary world was suddenly caught by surprise with the emergence of the prolific Chinese-Indonesian writer Wilson Tjandinegara.

A poet and a translator of Chinese literary works, he suddenly emerged as a spokesman for ethnic Chinese literature.

Wilson Tjandinegara, though no longer young, is indeed a newcomer to Indonesia’s literary world. He became known only in 1997 when he began to actively take part in the Indonesian Literary Community (KSI), an organization that brings together Indonesian writers. Wilson joined the KSI in 1996, the year it was founded.
Although he was the oldest among KSI members, he learned how to write poetry from younger poets who had made a name for themselves earlier. After deciding to quit his business, Wilson took part in various discussions in cultural pockets in Jakarta, Tangerang and Bogor.
Wilson was born to a poor ethnic Chinese family in Makassar on Dec. 20, 1946. As his father was just a tailor, Wilson had to work hard. At age 12, he had to work after school to help augment the family income. In his youth, he started a bookstore and a book rental shop in Makassar. Books by Chairil Anwar made the greatest impression on him.

“I’m really impressed by Chairil Anwar’s line — ‘Once meaningful, then dead’,” said Wilson, whose Chinese name is Chen Tung Long.

This particular line by Chairil Anwar, a poet of the 1945 Generation, has spurred him to continue writing although he is no longer young. Obviously he had to make a very difficult decision in abandoning his successful business to devote himself fully to literature.

Many of his relatives were cynical about his decision. “I devoted myself to my business for decades. I have the material wealth that I have dreamed of acquiring since childhood. I must do something else. This something else is to be a writer and a translator,” said Wilson, who now lives in Cimone, Tangerang.
Link between Chinese and Indonesians

Wilson said although the material benefit from the literary world was not big, the proceeds from the sales of his books were good enough. “If I do not make a profit, I will certainly stop being a translator and a writer,” said Wilson, who enjoys traveling and photography.

Although he started rather late in life as a writer, Wilson is considered a pioneer of cultural exchange as he has played a substantial role as a bridge between ethnic Chinese and Indonesians.
Poet Abdul Hadi W.M. once said in his writings that Wilson’s decision to be a writer and a translator of Chinese literature into Indonesian was important and valuable.

At least he has disseminated literary works by ethnic Chinese and introduced Chinese literary works to the public from the classical to the modern periods.

Meanwhile, based on his observation of the books that Wilson has published, poet Taufiq Ismail has called him an activist poet of three directions”, meaning that besides being a poet, Wilson also plays a role as a promoter of intercultural relations, and translator of Indonesian-Chinese literary works.

Wilson has dozens of titles to his credit including collections of his poems Puisi Untukmu (Poems for You, CV Gitakara, 1995), Lelaki Adalah Sebingkai Lukisan (A Man is a Painting in its Frame, KSI, 2001), and Rumah Panggung di Kampung Halaman (House on Stilts in My Home Village), KSI, 1999.

Wilson said that he paid serious attention to the translation of Chinese literary works into Indonesia as he wanted to bring the two cultures closer so that they could know each other better.
If Chinese-Indonesians get acquainted with other ethnic groups in Indonesia, he said, their relations would certainly be good.

“At least, friendship will be fostered. Social turmoil will be slightly reduced if this process continues for long enough.

“This reminds me of what Prof. Zhou Nanjing of Peking University once said in a letter to me. One of the reasons for the anti-Chinese campaign in Indonesia is a lack of communication.

“Therefore, I must introduce Chinese culture to the Indonesian community by translating Chinese literary works,” he noted.

Pioneer of cultural exchange

As a KSI member, Wilson has taken the initiative to organize collaborative activities between the KSI and the Association of Yin Hua Writers (PPYH), an organization of Chinese-Indonesian writers, the board members of which include Jeanne Yap and Cecillia, an editor of a bilingual Chinese-Indonesian newspaper.
Through this collaboration, the two organizations have published translated works and organized several art events such as a demonstration of Chinese painting by Madam Chian Yu Tie and Chinese calligraphy as well as a musical performance of Guzhen, a Chinese musical instrument played by Ibu Chen Suen Cui from Bandung at HB Yassin Literary Documentation Center, Taman Ismail Marzuki (TIM) on October 30, 1999, coinciding with the third anniversary of KSI.

As he serves as a mediator for cultural exchanges through his translations, Wilson is now considered by writers as one of the pioneers of cultural exchange in Indonesia.
In that vein, Wilson recollects an experience during the launch of his 101 Puisi Mandarin (101 Chinese Poems) in Makassar several years back. During the launch four Makassar songs were sung in their Chinese translation.

“I found it funny because in Jakarta and in Makassar, writers on both sides live in the same city but do not have any relationship with each other. After I tried to bridge the gap between them and helped them get to know one another, I felt the need to establish cooperation among writers so that our national literary world would flourish,” he said.

Apart from being active in literary activities, Wilson has also actively paid attention to the life of Chinese-Indonesians in various regions across the country through photography.

He visited poor Chinese villages in Kalimantan and Banten. Through his photographs, he would like to tell people that not all Chinese-Indonesians are privileged and wealthy.”There are quite a lot of poor Chinese-Indonesians. They earn a living as farmers and fruit vendors. Some of them are even jobless,” he said.

It is Wilson’s hope that Indonesian-Chinese cultural exchange can dispel the unfavorable view about Chinese-Indonesians so that they will no longer be considered “money-making animals”.

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Isbedy Stiawan (paling kanan) bersama Acep Zamzam Noor, Hamsad Rangkuti, dan istri Pak Hamsad

No discussion about modern Indonesian literature in Lampung would be complete without touching upon Isbedy Stiawan ZS. The father of five, with two grandchildren, is now undeniably Lampung’s literary icon.

He is the driving force for literary activities carried out by the new generation of Lampung writers. It is only apt, therefore, that noted Indonesian literary critic, the late HB Jassin, once called him “the literary pope of Lampung”.

Unlike other regions in Sumatra, like West Sumatra province, for example, where modern literary activities began in the 1920s, such activities in Lampung generally did not begin until the 1970s following the emergence of young writers like Isbedy Stiawan, Asrori Malik Zulqornain, Iwan Nurdaya Djafar and Syaiful Irba Tanpa.

Of these four literary pioneers in Lampung, only Isbedy is still productive as a writer today. The other three, Asrori, Iwan and Syaiful, are now working as civil servants, Isbedy is a full- time writer. He spent only a short time working as a civil servant in the province’s animal husbandry service.

Aged 47 now, Isbedy’s strength as a writer is growing. In the past three years, for example, he has produced a great number of short stories and poems and published them in many different mass media.

“When my two grandchildren were born and I stopped working as a journalist, my enthusiasm to write surged uncontrollably. I do not wait for inspiration to hit me. Instead, I actively look for inspiration and create poetic moments,” he said.

Throughout 2004, for example, four of his books were published. These included, Bulan Rebah di Meja Diggers (The Moon Lies Down on Diggers Table), an anthology of short stories published by Beranda in August, and Dawai Kembali Berdenting (Musical Instrument Strings Give the Twang Again), another anthology of short stories, published in November by Logung Pustaka.

Perempuan Sunyi (Women in Silence), another anthology of short stories, was published by Gama Media in December, and Dongeng Sebelum Tidur (Bedside Tales), stories for children, was published by Beranda in September.

The year 2005 has so far seen the publication of two of his collection of short stories, namely Selembut Angin Setajam Ranting (As Gentle as the Wind, As Sharp as the Twig, LP Publishing House, April) and Seandainya Kau Jadi Ikan (If You Turned into a Fish, Gramedia PustakaUtama, May), an anthology of short stories.

His new collection of short stories, Hanya untuk Satu Nama (Only for One Name, Bentang, Yogyakarta) will see the light of day in June.

As of now there are about 300 poems and 100 short stories to his credit. Aside from being published in nearly all print media publications in Indonesia, his stories and poems have been published in five anthologies of his poetic work and dozens of anthologies together with other poets’ work.

Some of his poems have been broadcast on German radio station Deutsche Welle, performed as musically oriented poems by poet Geoff Fox of Australia and performed on the theatrical stage in Lampung.

“I will continue writing until my hand can no longer write and my mouth can no longer utter literary works. This will happen when the cultural editors in the mass media and the publishers reject my work.

“As long as my work is acceptable, I will continue to write. I live on writing. With my poems and short stories I feed my family,” he said.

In the last four years, following his resignation as a journalist, he has relied completely on writing as a means of living to feed his family. He is very disciplined over how he manages his time.

“As a writer, I stick to a clear work schedule. Each day I write between 7:30 a.m. and noon and between 7:30 p.m. and 1 a.m. the next morning. Once I’m at my computer, ideas come freely to me. I don’t plan the ending of my stories,” he said.

Although he spends most days writing, Isbedy still sets aside some time to meet his fellow writers and fans. Sometimes he presents a paper at a seminar or gives a cultural address. At other times he does poetry readings and takes part in protest rallies at the provincial legislative assembly in an effort to persuade provincial legislators to pay more attention to budgetary allocations for the poor.

When the tsunami hit Aceh, he and a number of non-governmental organizations pioneered the establishment of Lampung Ikhlas (Sincerity of Lampung), an association made up of various non-governmental organizations and individuals, with the common purpose of distributing relief aid and sending volunteers to Aceh and North Sumatra.

“I live in the community. The characters in my stories are taken from the community. It is impossible for me to avoid social problems and live in an ivory tower,” he said, explaining why he was involved in nonliterary activities.

Christian Heru Saputro, his friend and also a loyal reader of his works, has said that Isbedy is not choosy about the mass media he sends his stories to. “He sends them to literary journals and women’s tabloids and radio stations. That’s why his works are popular not only among the literati but also housewives and high-school students,” he said.

Saputro also said that Isbedy’s early poems contained a strong sufic element. In the years following reform, however, his works have centered more on social problems. The problems in his stories are derived from daily social problems, too.

“If you are to find his weaknesses, perhaps they are his stubbornness and his refusal to compromise. Besides, sometimes he is too strong when he lashes out at the regional administration. As a fellow member of the executive board of Lampung Arts Council, I’m often worried that the provincial budget is the source of finance for our council,” said Saputro.

Isbedy began his work as a writer with hard work. In the late 1970s Isbedy tended his parent’s cake stall and spent a lot of time reading there. Later, he recorded the experience in a story and sent it to RRI Tanjungkarang (the local radio station), to be broadcast on the station’s youth program.

Although he was only a senior technical school graduate, young Isbedy never stopped learning. He learned how to write poems and short stories by himself. After a drama rehearsal, for example, he would discuss literary matters with his friend. That way he improved his creativity as a writer.

Although none of his five children followed in his footsteps as a writer, they nevertheless appreciate works of literature.

They often take things to read from his bookshelves.

–references; The Jakarta Post, 30 May 2005

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Oyos Saroso H.N.

“Berbilah-bilah rencong/dengan sarung dan tangkai berkilap/tak lupa kami selipkan/pertanda /martabat/dan keagungan/betapa pedih hati kami/dari Jakarta/kalian hujamkan mata rencong itu/tepat di jantung kami*” (Blades of rencong/with their shiny sheaths and handles/we do not forget to put on/as a sign/of dignity and greatness/how our hearts bleed/from Jakarta/you stab the rencong/right into our hearts.)

The poem is among Acehnese poet Fikar W. Eda’s favorites and he regularly reads it at events across the country.

Aside from “Rencong”, Fikar is noted for other works like “Seperti Belanda” (Like the Dutch, 1996), which dwells on the “greed” of Jakarta.

Both “Seperti Belanda” and “Rencong” point out the sadness felt by many Acehenese for what they see as the unjust and arbitrary treatment of the Indonesian government.

Aceh experienced almost three decades of bloody conflict which ended only when the government signed a peace deal with the Free Aceh Movement rebels.

Fikar, like many other Acehnese artists, always associates Jakarta with Indonesia and points out that the rencong, which looks like a kris but is a traditional Acehnese dagger with a curved handle, is not merely a weapon but also signifies dignity.

Fikar’s excellent stage act captivates his audience and he usually enjoys a big applause after reading these two poems.

The 42-year-old is part of an art movement waged by the Acehnese against the arbitrariness of the perceived ruler.

With his poems, Fikar serves as the “spokesman” of the Acehenese, who for many years suffered while the province’s natural wealth continued to be extracted and taken out of the region while only a small portion was enjoyed by the Acehenese.

“When people were afraid of writing about human rights violations in Aceh during the New Order times, I wrote about Soeharto’s policies in my poems,” he said. “I aroused the awareness of people through poetry.”

“Even when Soeharto no longer exists, people’s awareness must continue to be aroused so that human rights violations will never be simply forgotten,” said the native of Takengon in Aceh.

Aceh can boast a long history of literature and resistance.

Between the 17th century, when Europeans began to occupy the region, dubbed as the Veranda of Mecca, up to the 19th century, the Acehnese put up resistance.

The resistance by the Acehnese against the colonial powers can be seen in Acehnese poems of the past. The most famous verse in this respect is “Hikayat Prang Sabil” (Chronicles of the Holy War) written by Teungku Chik Pantee Kulu during his voyage from Jeddah to Pinang Island after completing his haj pilgrimage. The verse was later given to Teungku Chik Di Tiro in Sigli, Aceh.

In the 14th century, when the Portuguese attacked Aceh, “Hikayat Prang Paringgi” (Tale of Paringgi War) was written. The piece is a very touching poetic work arousing the spirit to go to war; it says that dying in battle is to die as a martyr and this is the dowry to get an angel in heaven.

Now, many modern Acehnese poets write things related to political and security problems resulting from the long conflict with Jakarta, as can be seen in poetry collections like Aceh Mendesah dalam Nafasku (Aceh Murmuring in My Breath) and Kitab Mimpi (Book of Dreams).

Fikar, a father of three, is one of the most prominent modern Acehnese poets and is known for the aesthetic excellence of his work and his active role in various campaigns to defend the rights of Acehnese.

Noted poet Rendra praised Fikar as highly eloquent in selecting his poetic expressions and also as very selective in describing details.

“His skill in creating rhymes characteristically shows the Takengon oral tradition in his blood. This is a collection of poems written by a romantic poet swept by sorrow and concern when witnessing how his home village has been destroyed as a result of the politics of power without ethics,” Rendra writes in the introduction to Fikar’s poetry collection Rencong.

Aside from getting his works published in many national media, Fikar’s poems have also been included in numerous anthologies, including Indonesian Poetry Anthology (Jakarta Arts Council, 1987), Seulawah Acehnese Literary Anthology (Nusantara Foundation – Aceh provincial administration, 1996) and Indonesian Poetry Anthology Volume 1 (Indonesian Literary Community, 1997).

Having completed his studies at the School of Agriculture at Syiah Kuala University in Banda Aceh, Fikar decided to make his career as a journalist.

Now working as a journalist for Serambi Indonesia daily, Fikar highlights the sorrows experienced by Aceh and its people.

Even long before the tsunami devastated Aceh back in 2004, Fikar was chairman of the Literary Commission of the Aceh Arts Council and also chairman of the Institute of Acehnese Writers (Lempa), before eventually moving to Jakarta.

Later he also led art campaigns in defense of the human rights of the Acehnese on various campuses and entertainment places in Jakarta. These campaigns involved many Indonesian poets.

Fikar also read his poems for a recording titled Puisi untuk Aceh (Poems for Aceh, Kasuha Publisher, 1999) along with Rendra, Taufiq Ismail, H. Danarto, Leon Agusta, Sanggar Deavies and Sanggar Matahari.

“We read poems in cafes along with some Indonesia’s noted poets. The money raised was donated for the Acehnese,” Fikar said.

Post-tsunami rebuilding of art and culture in Aceh, Fikar said, is not easy as many traditional and modern artists from the province lost their lives in the disaster.

“Luckily Aceh is not rich only in oil. Aceh is also rich in the young generation of artists, who continue their creative process. They are the cultural assets of Aceh. They are the future of Aceh’s art and culture,” said Fikar.

Fikar, also the chairman of the Forum of Indonesian Authors, said his activities as a poet and as a human rights activists had never disturbed his profession as a journalist.

“A poet who is also an activist and a journalist is actually richer than a poet whose activities are confined to the literary world only. As a journalist and an activist, I can get more information. Then I process all these experiences into poems that will later become public property.”

Regarding his activities in the human rights movement for Aceh, Fikar said that as an Acehnese now living in Jakarta, he could not just sit idly by witnessing the destruction of his home.

“I continue to establish contact with my friends in Aceh and in other regions in Indonesia. The point is that we would like to see the re-awakening of Aceh,” he said.

Source:  The Jakarta Post ,  Marc 25, 2008

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