Dimanche 7 décembre 2008
Troisième édition de la biennale des Dix heures pour la littérature indonésienne
De la sphère privée à l'espace public : autofiction ou image de soi revisitée ?
La part autobiographique dans l’œuvre littéraire.
Conférence, table ronde, interview, film, foire de livres, buffet franco-indonésien
Rencontre du public avec des auteurs, des éditeurs, des chercheurs français et indonésiens
Dimanche 7 décembre 2008, de 13h00 à 23h00,
A la Maison des Cultures du Monde
101 boulevard Raspail, 75006 Paris
Métro Notre Dame des Champs, Rennes, St Placide
Renseignements et inscription : email@example.com, Tél. : 01 56 24 94 53
Réservez dès maintenant.
Participation aux frais (comprenant la journée entière avec un buffet indonésien) :
17 euros membres (30 euros/couple),
15 euros étudiants et chercheurs d’emploi,
22 euros non membres,
par chèque à l’ordre de "Pasar Malam", à envoyer à :
Association franco-indonésienne Pasar Malam, 14 rue du Cardinal Lemoine, 75005 Paris
Programme présenté par Anda Djoehana Wiradikarta
13h00 – Accueil
Ouverture de la journée des dix heures pour la littérature indonésienne et rencontre franco-indonésienne par Mme Arwad Esber, directrice de la Maison des Cultures du Monde et M. Maruli Tua Sagala, Ministre plénipotentiaire, Chargé d'affaires a.i. près l'Ambassade d'Indonésie en France.
14h00 - La réalité intime et l’invention littéraire : entre le Je et l’Autre
Conférence d’inauguration par Bernard Chambaz, écrivain
15h00 – pause, danse indonésienne, Ilse Peralta
15h30 - table ronde Parler de soi, parler aux autres ?
Modérée par Jean-Marc de Grave, enseignant-chercheur, spécialiste de la culture javanaise.
Christine Jordis, écrivain, éditrice Gallimard
Etienne Naveau, Maître de conférences, INALCO, littérature indonésienne
Laksmi Pamuntjak, poète, écrivain
Sitor Situmorang, poète. Sitor lira aussi un poème écrit en hommage à son ami le peintre Salim, décédé à l’âge de 100 ans à Paris, le 14 octobre dernier.
(Interprètes Hélène Blanchard et Puri Intan Hapsari)
17h00 - Interview de Sitor Situmorang par Vincent Bardet, éditeur Le Seuil.
17h30 - pause
18h00 - Mereka Bilang Saya Monyet ! (ils disent que je suis un singe), 2007, film indonésien, 93 min., v.o., sous-titré anglais, de Djenar Maesa Ayu, film présenté parJacqueline Camus, indonésianiste, littérature féministe et littérature politique.
20h00 – Foire de livres (avec notamment, la présentation de la réédition par les Editions du Sonneur de Borobudur de Roger Vailland et une collection d’ouvrages édités par le KITLV, Université de Leiden, présentée par le Professeur Harry Poeze), etbuffet indonésien
23h00 – Clôture de la troisième édition de la journée des dix heures pour la littérature indonésienne et rencontre franco-indonésienne et remerciements par l’association franco-indonésienne Pasar Malam.La troisième édition de la biennale des Dix heures pour la littérature indonésienne est organisée par l’Association franco-indonésienne Pasar Malam avec le soutien de :
Ambassade de la Ambassade du Royaume des Pays-Bas DRAC Ile-de-France
Centre national du livre Conseil régional d'Ile-de-France Maison des cultures du Monde
Les Éditions du Pacifique et Willem
A propos de la journée 2008
Pasar Malam Paris a celebration of RI literary
Kunang Helmi-Picard, Contributor, Paris
Sun, 01/04/2009 | Arts & Design
On a crisp December weekend in Paris, the French-Indonesian association, Pasar Malam, held its third bi-annual Indonesian-French literary exchange event.
Featured writers from both countries and held at the Maison des Cultures du Monde and emceed by Arwad Esber, the theme of the weekend was complex: From the private sphere to the public place: autofiction or self-image? Autobiography in literary oeuvre.
Pak Maruli Tua Sagala, from the Indonesian Embassy, officially opened the proceedings and Johanna Lederer, in her written introduction to the program, said that: "...writing about others often leads to unwelcome autobiographical elements, but writing about others without involving a self-centered approach has nourished works by Dickens, Proust, Salman Rushdie and Alexander Soljenitsyne, for example."
French writer and teacher at the prestigious Lycee Louis-le-Grand, Bernard Chambaz, was the first to talk about his work. Chambaz reminded the audience that the great richness of the modern French language is due in part to words or expressions taken from other cultures and languages. Chambaz talked about his own geographical and literary journeys and an extract of his poem, Le livre blanc de toutes les couleurs, which touches on the theme of French's enrichment by outside influences, was then read by French born Indonesian social scientist Anda Djoehana Wiradikarta.
Makassar-born writer Lily Yulianti Farida, 37, and Luna Widya (trained as an anthropologist) were next, and explained their Makkunrai project, which involved feminist themes. Both had flown from Sulawesi just to attend the literary gathering.
Luna convinced onlookers of her skills as an actress and activist when she later performed at the Restaurant Indonesia's 26th anniversary ten days later. Luna born in Jakarta in 1966 of Makassar parents read two poems and acted out the latter with great bravado. The latter was a long poem about the daughter of someone very unimportant who got caught up in the anti-communist wave in Indonesia and who as a consequence never had the proper papers and left to work as a servant-girl in Saudia Arabia.
She then murdered her employer there. What was unusual was that representatives of the Indonesian Embassy were there as well because additionally a photo exhibition by Patrick Blanche of his Indonesia series was also on display at the restaurant.
Luna, an actress-cum-poet who transforms ideas from short stories and excerpts of novels into recorded theater monologues, explored photo-essays.
Welcome entertainment came in the form of vivacious Mexican dancer Ilse Peralta. Having studied dance with I Made Djimat and Agung Oka Partiniin Bali, Peralta presented a contemporary version of Keban Tanjung with such authenticity that she confounded some in the audience, who thought the brunette dancer was Indonesian.
At the following round-table discussion, expertly led by anthropologist Jean-Marc de Grave, philosopher Etienne Naveau began by giving his interpretation of the day's literary theme with references to Sundanese writer Ajip Rosidi. Naveau explained when and why Rosidi chooses to express himself either in Sundanese or in modern Indonesian. He then discussed how, under the guise of writing about others, many writers actually express more about their own point of view and history.
Interpretations and translations of oral traditions is usually required in research on Indonesia and this, Naveau said, can be a major pitfall for young academics, who do not always fathom the peculiarities of local languages, including Bahasa Indonesia.
Naveau cited the difficulties involved in translating a large selection of Sitor Situmorang's poems, edited by Henri Chambert-Loir, in 2002. The compilation, Paris la Nuit, was the fruit of cooperation between French and Indonesian students, poets and academics alike, and was overseen by Indonesia's Farida Soemargono-Labrousse, the now retired former lecturer of the National Institute of Languages and Oriental Civilizations (INALCO).
French writer, critic and editor, Christine Jordis, then expounded on her travels in Asia and the "afterwards" -- or the insights gained during the trip that enabled her to talk about the Other, thereby revealing her own intimate self.
Jordis reminded the audience of deceased Palestinian philosopher Edward Said's idea of the Other or the West's exoticization of the East and its need to create differnces between the two. Jordis told the audience that she had enjoyed reading Nicolas Bouvier's account of his travels in Indonesia just as much as Chambaz.
Despite general disappointment at Djenar Maesa Ayu's -- who famously explores female sexuality in her writing -- last minute cancellation, another well-known Indonesian writer, poet and translator, Laksmi Pamuntjak, stepped up to the plate and presented a brilliant paper.
Remarkable for its clarity and precision and adhering to the day's theme in elegant Indonesian prose, Pamuntjak's speech was translated into French by Helene Blanchard, who could barely keep up with the break-neck speed with which it was delivered.
Pamuntjak opened her discourse with a quote from Columbia University's (U.S) John Ashberry, translated into Indonesian:"Ada saatnya kita sadar bahwa tak ada satupun laku manusia yang lebih dramatis dan meyakinkan ketimbang laku kita sendiri" (Which approximately re-translated means: There comes a point when we become conscious of the fact that there is no other human behavior that is more dramatic and more convincing than our own).
Her following speech centered around the work of Pramoedya Ananta Toer and Nurhayati Sri Hardini (also known as Nh Dini). Pamuntjak told The Jakarta Post afterwards that what was more important to her than her own personal approach to writing was the analysis Ananta Toer and Nh Hardini offer, which reminds the younger generation about a largely ignored period in Indonesian history.
Laksmi focused more on the autobiographical elements in Pramoedya's early stories of Blora, his hometown. She argued that there was "a warmth and intimacy and vulnerability in those Blora stories that distinguish them from most of Pramoedya's prose in which man's thoughts, emotions and actions invariably dominate the store, relegate nature to the sidelines and do away with the abstract."
According to Laksmi, it is clear that Nh Dini includes auto-biographical elements in her writing. Married to a French diplomat, Dini traveled to Japan, the Philippines, Cambodia, America, the Netherlands and France. Recognition finally came with her novels La Barka (1973) and Pada Sebuah Kapal (1985).
After the discussion, doyen poet Sitor Situmorang read his poem Lagu Jembatan Kota Paris, about the bridges spanning the river Seine. He dedicated it to the memory of his close friend, painter and long time resident of Paris, Salim (1908-2008).
An interview of Situmorang by Vincent Bardet, editor at Le Seuil publishing house, was rather awkward for Bardet. Despite the excellent translation by Blanchard, cultural differences came in to play, as Situmorang understands French only passively and is more fluent in Indonesian and Dutch.
Eighty four-year-old Situmorang was reluctant to explain his spirituality and his relationship with women, questions Bardet formulated form reading his poetry.
Later, the audience were invited to view the Parisian première of Mereka Bilang Saya Monyet! (They call me monkey), a film based on the novel by Djenar Maesa Ayu. The film touches on themes that have never been directly tackled by a female Indonesian director: life in the Indonesian capital (which could have be any modern Asian metropolis), with its share of trendy young women trying to come to grips with their sexuality and professional life, while resolving problems with their mothers and lovers, including sexual abuse as a child.
As the event drew to a close, the audience was left with much to discuss and cogitate about on the metro ride home in wintery Paris.