How many times did you talk behind somebody's back? And did you ever try to make it unsaid? How many times did you waste your blessings Just like the money for material possessions?
Now can you tell me, How many people really speak their minds? How many people? Say, how many people? Do you really stand for something? Entrez le titre d'une chanson, artiste ou paroles. Paroles How Many People? Aucune traduction disponible.
At this point two things should be noted. Herding the Wind , and its Indonesian original, are works of literature, not of propaganda or proselytising. Sindhunata is a Catholic priest and writer, and while his priestly role and Catholic identity are never disavowed, his literary, cultural and academic writings are allowed to speak for themselves — as a writer of fiction he is in some ways like the English Catholic J.
Tolkien whose stories of sweeping imagination, and the characters who inhabit them, are allowed to develop in their own way. Herding the Wind is an epic wiracarita or hero-story , not an allegory.
Visitors to Java and Bali will be familiar with the classical Javanese and Balinese presentations of these old stories, in wayang puppet and sendra-tari dance-drama performances. So, while he has written novels in Javanese Sindhunata has chosen here to write in the national language, Bahasa Indonesia, to communicate as widely and freely as possible.
That the epic responds to universal human issues, faced by people in many eras and cultures, makes it relevant and thought-provoking in translation, to readers anywhere who are willing to engage with this mode of story-telling. They are kera or ketek in Javanese not the more general but less reputable, monyet monkey , commonly employed as a term of abuse. Although doubtful of their own merit or capacity, their loyalty turns out to be crucial to the victory of the princely heroes who are all too assured of their virtue and worth.
Pride can only be overcome through humility, my children. They are closest to the form of a human person and because of this they are constantly anxious to attain perfection swiftly. Facing a ruler who has overreached himself in pride and arrogance — who has made himself equal to the gods — only the contrary qualities will bring victory.
Here universal themes are in play; the origin of evil is a mystery but it manifests itself in pride and an arrogant assertion of status and power. But perfection, complete humanness, comes only with humility and acceptance of suffering in the task the gods lay on us. Sindhunata avoids any inclination to introduce Christian concepts of fall and original sin as explanations of the origin of evil. Rather he addresses the popular Javanese sense that people come into the world as they are, neither good nor evil but mixed, imperfect beings imbued with a yearning to become better, more complete.
It is a kind of non-dualistic reading of the human condition that extends the epic beyond the events of one era, grim and tragic as they were, or the range of one cultural or religious tradition of explanation, to a wider sphere of humanness, worthy of consideration in all times and places. They are alive and lively, and are able to unite in facing challenges. Hanoman, son of the divine Anjani has the form of a white ape. Left without father, and motherless when Dewi Anjani is taken into the heavens, he is powerful with the godlike abilities of a Javanese superhero and some features also of the Javanese messianic figure, the Just Ruler Ratu Adil.
He also has the heart of nature hati alam that alone can persevere in the face of pride and evil. He is a shapeshifter, and able to pass swiftly from one land to another. While he suffers the sorrow of being parted from his mother he resolutely accepts the mission to which he was summoned — to search for the abducted Sita, and to help rally the forest people to attack the demon-king Rahwana in his kingdom. Hanoman also has very human qualities; an endearing character, some child-like reactions and, significantly, a level of doubt about his own capacity to do what is required, but at the very end he summons the courage to rebuke Rama to his face - Rama whom has served so faithfully.
You cannot endure the truth of this, so you throw the accusations onto your lover who is innocent. It speaks on many levels, to many situations and while in the s it may well have been politically subversive it was always much more than that, speaking at one level to universal issues of society and at another to individuals seeking a foothold pegangan an Indonesian might say on life.
In this story the 16th century Chinese princess, having told her own grim story, becomes a time-travelling putri Cina recounting the violence and tragedy that were the lot of her people, and most appallingly of her sisters, in the centuries that followed. In Putri Cina the writer draws on a wide range of Javanese and Chinese wisdom, poetry, stories and traditions while exploring in this complex novel the tragic fate of Chinese in 16th century Java, and down to our own time.
These two figures played roles in the great changes that came in Java with the waning of the Hindu-Buddhist kingdoms and the advent of the first Islamic rulers. In this world all people bear a shared destiny, because all of us are only dust. Chinese and Javanese, their dust is the same. Why do we continue to ask who are we? After all, born into the world, are we not all brothers and sisters?
It is perhaps helpful to see The Chinese Princess more as a literary embodiment of the Javanese wayang dramas where protagonists have set roles and express attitudes and embody values that are familiar to viewers.
If the classical Ramayana performances stood behind Herding the Wind the narrative technique of The Chinese Princess rests more on popular puppet plays, and performances of ketoprak, a popular 23 modern Javanese dramatic performance depicting historical or pseudo-historical themes, played by actors often on temporary stages set up in public spaces. It is the exchange between protagonists and the clash of characters and values rather than character development that carries the story forward.
But there is plenty of drama, and an intensity that makes some sections emotionally challenging as the reader identifies more and more with the fate of Chinese victims of lust and violence, culminating in the terrible events around the collapse of the Suharto regime in ; historic events presented here in the form of an epic Javanese drama.
In times of harmony the Chinese share happily in many aspects of Javanese social and cultural life, from the popular ketoprak dramas to places of pilgrimage. As the Putri Cina discovers, since pre-colonial times the Javanese have turned on the Chinese among them in times of crisis, and Chinese women, the putri Cina , have become tragic victims of scapegoating, in orgies of hatred and lust.
Examples of these tragically recurring outbursts of violence are cited in both this study and in the novel. Sindhunata also identifies a clear parallel between social and sexual violence, and violation. Also phenomena observed during his time as a village priest on the flanks of Mt Merapi, the active volcano that broods ominously over the Yogyakarta region, are also woven into the fabric of this rich yet brooding story — the yellow butterflies whose mass flight to the north borne on the seasonal winds is a sign to village farmers that the rains will soon come to refresh their parched land, is taken up in the novel to embody the promise for the Putri Cina that life comes through acceptance of death.
Like Y. Mangunwijaya, a priest-writer of the post-Independence generation, 31 Sindhunata reveals a sensitive understanding of the challenges and suffering of women caught up in chaotic social disorder. The choice of female protagonists by both writers and the manner in which they are presented is an effective representation of the exploitation of women in patriarchal societies.
He had been saved the necessity of buying in to the disadvantages of being Chinese in Indonesia. He saw clearly a parallel with the fate of European Jewish people and communities, from the 14th century to our own time, at the hands of Christians seeking scapegoats for the crises they faced. Similarly Chinese and Javanese traditions, values and stories are intermingled. In this process questions of humanity, loyalty, values, happiness, violence, rivalry, deceit, corruption, suspicion, scapegoating, sexuality, and lust are raised in situations set in contexts of Chinese traditional wisdom, Javanese historical tradition and Indonesian history from both the colonial and modern Republican eras.
The manipulation and abuse of women in patriarchal societies, and the link between political and sexual violence — power and lust which are intimately connected — and the connection between arrogance, insult, hatred and vengeance all lurk in the background ready to fuel outbreaks of communal violence.
Here, authentically Javanese drama lakon, ketoprak becomes a metaphor ibarat of life, and tragically life comes to replicate drama. Recalling her joyful and playful personality he tells of his confusion when he learned that she, with all her family, had to go away.
Remembering Sioe Lien I was suddenly reminded that by its own nature humankind does not have a permanent homeland in this world: their eternal home is not in this world. This awareness forces people to have the courage to live alone, and quietly.
This kind of Chinese-ness is really a deep longing of the human heart for an eternal homeland, peaceful and calm and which will never again divide people. Because of our birth into the world we are brothers and sisters, so why must we still ask, who belongs to our family.
Being there writing as a work of the feet , as an observant journalist and as a compassionate pastor, keeps all his work rooted in the realities of human living, while his integrity as a writer precludes propaganda or proselytising. His wide-ranging and very active dialogue with those active in other artistic and cultural media enriches both the range and the depth of what he writes.
Sindhunata is different from any of the other Indonesian writers known internationally. Hopefully more of his writing will become available in the years ahead to those who do not have the opportunity to read Indonesian.
Jakarta: Gramedia, , p. Hamburg: Verlag Dr. Civil Society dan visi Sumpah Pemuda. Analisis CSIS , , , pp. Wibowo and B. Jakarta: Kanisius, Jakarta: Gramedia Pustaka Utama, , p. Anak Bajang Menggiring Angin. Jakarta: Gramedia Pustaka Utama, first edition , 9th printing , p. English translation by Joan Suyenaga: Herding the Wind. Putri Cina. Sindhunata et al. Jakarta: Penerbit Sinar Harapan, , p. Air Penghidupan: Peziarahan Mencari Diri.
Yogyakarta: Kanisius, , p. Sindhunata with Moh. Jakarta: Lembaga Pengkajian Masalah Pembauran, , 46 p. This would then mean that the judiciary as an institution enjoys only constitutional separation and not independence from the other political departments. The separation here does not indicate absolute separation since the appointment and removal of judicial officers is a joint venture between the judiciary, the legislature and the executive. It may however be argued that independence for judges makes consequential independence for the judiciary as a body.
But the problem arises again when it is considered that judicial independence embraces independence of judges from the administrative control of the top echelon of the judiciary, the head of the judiciary; the chief judge or chief justice, as the case may be. An example of this is the genesis of the suspension of Justice Ayo Salami, President of Court of Appeal discussed below.
A more difficult question is independence from whom. Answer to this question may differ from jurisdiction to jurisdiction, depending on many factors; constitutional arrangement of relationship between the judiciary and the political organs, the mode of appointment and removal of judges, level of political awareness by the citizenry, the perception of the judiciary by the people themselves and even the personality of the judges themselves, and even some judges do not seem to appreciate the need for separation of powers; they are judges in the day and politicians at night such that their judgment in the open courts are not just determined by the sacred law, but by the class of persons involved in the case.
Nigerian Constitution, maintains that once a judge is appointed and sworn-in, having subscribed to his oath of office. Section and the seventh schedule of the Constitution indicate that a judicial officer can only assume duty in that wise after he had taken and subscribed to both the oath of allegiance and judicial oath to the effect that he shall give paramount consideration to the Constitution. The constitution thus provides for independence of the judiciary from the government; but it appears the selection and appointment procedure of the heads of respective branches of judiciary suggests otherwise.
The President on the recommendation of the National Judicial Council appoints certain judicial officers subject to confirmation by the Senate. At the state level, in consonance with the principle of federalism, the Governor appoints the Chief Judge of the State High Court, Grand Kadi of the State Shariah Court of Appeal, where established pursuant to section 1 and 2 of the Constitution, on the recommendation of the National Judicial Council subject to confirmation by the State House of Assembly.
Appointed in the same manner is the President of Customary Court of Appeal pursuant to section 1 and 2 of the constitution. It is important to note that while appointments of heads of all the courts mentioned are subject to confirmation by the senate or the state house of assembly, as the case may be, appointments of judges and kadis of the courts are not. The president or the governor, as the case may be, appoints on the recommendation of the National Judicial Council without resort to the legislatures.
The implication of this is that while the appointments of certain judicial officers in the land undergo legislative screening or oversight, the appointment of others needs only the recommendation of the National Judicial Council for the President or the Governor of a state to make such appointment.
That legislative oversight in such appointments ensures that both the National Judicial Council and the President comply with the provisions of the constitution for making such appointments. It is difficult to understand and appreciate need for the different requirements since all the judges are members of the same judiciary established by the constitution. The third and fourth questions on judicial independence as identified by Law are more normative than conceptual as they deal with form and essence of independence.
The question, from what, investigates the type of interference that is capable of inhibiting judicial independence. Law , 4 posits, narrowly though, that not all forms of influence over judicial decision-making constitute threats to judicial independence. Broadly, this may be a wrong assertion because any form of influence has the tendency of affecting the smooth running of the judiciary. Influence is a wide term connoting any form of act from an external person or body or even from within the judiciary capable of, apart from the merits of the case before a judge, operating on the mind of the judge while sitting to make decision in the case before him.
The mere concern for career prospect in term of ambition to become the chief judge may be a great influence on a judge. Also, the mere promise of better condition of service may not be a strong influence, whereas to any other judge the mere fear of public protest and indignation resulting from a judgment and the love for his job may be enough to hinder him from the merits of the case, especially in volatile political situations as in Nigeria. Religion, like any other primordial sentiment in some cases may influence the decision of a judge.
Bribery and other forms of corrupt practices may propel even the most courageous judge to trade-off a decision. Social and political ties are equally very strong when considering sort of influence that may inhibit the proper application of the law to a case by the judge. Unless viewed from a narrower perspective, any influence apart from the factual demeanour of the parties standing before the judge, the evidential value of totality of the facts put before the court weighed on the scale of justice in accordance with the appropriate statutes would one way or the other have impact on the judgment of the court.
The attempt though may ordinarily look like an elevation because Supreme Court is not only the apex court in the land, it is also a constitutional court, and its decision is binding on all courts in the land.
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