Malay keris in WW II service?

[ganjawulung]

Originally Posted by A. G. Maisey

This is an interesting question, Pak Ganja.

In the broad context of world events, WWII was a milestone. Before WWII the world was in one form, after WWII the form of the world was entirely different. In the eyes of people in the western world, who hold an interest in things historical, collectable and societal, it is probably true to say that WWII marked the turning point between the Old World, and the New World.

When I started collecting, in the 1950's, this marker was different.
Anything more than 100 years old was "antique", and thus a part of the Old World, anything less than 100 years old was just old, or used, or second hand, and really not to be paid much attention to. However, as time has passed I have noted that the broad community of collectors --- not just keris collectors, but collectors in many fields, have adopted WWII as the point that separates old from new.

So, when you see or hear the western based collectors and students of the keris use WWII as a reference point, what you are seeing and hearing is the use by this group of people of a mode of thought that permeates all of Western society.

And it is not only for the various fields of collecting that WWII is a milestone:- technology, medicine, the sciences, administrative practices ---the list continues--- all these things underwent an immense change in the years between 1939 and 1945.

Thank you, Alan for the interesting information on this "WW II" term, although in the narrow context of Javanese events -- including the development of keris making in Java -- maybe one of the most important event is "Gianti Treaty" Februari 13, 1755. Treaty between the Netherlands-Indie Governor of Java, Nicolaas Hartingh and Sultan Hamengku Buwana I of Yogyakarta. To end the civil war, between Paku Buwana III of Surakarta and the king's brother but from different mother, Hamengku Buwana I. (Their father Paku Buwana II was in ill condition, and handed the power to the Netherlands Company, to Nicolaas Hartingh before passed away in 1749)

Why so important? Because, after this treaty of Gianti (a small city between Semarang and Surakarta, Central Java) in 1755, there was a big division of Java. We call it in javanese this very important era, as "palihan nagari" (the division of kingdom). After "palihan nagari", Gianti Treaty, then there were two Javanese kingdoms of Solo or Surakarta, and Yogyakarta. Solo was governed by Sunan, and Yogya was governed by a Sultan as the head of state.

The impact of the division ot this Mataram kingdom was so deep. Sometimes became so different, and so hostile. Something that is good in Solo sense, not always good according to Yogyanese people. Vice versa. Including the keris world, keris collecting, keris making, wayang world, javanese traditional dance, traditional music.

That is why, everytime we talk about keris, we always ask: "Which keris style? Solonese, or Yogyanese (Yogyakartan)?" Not only the style of warangka (keris sheath), but event the style of keris making began to differ since then. If you want to compare, then you may compare the style of kerises from Paku Buwana X era (1930-s) and Hamengku Buwana VII in the same era. But their keris style was so different. Not the same too, the artistic taste of both kingdoms...

World War? I don't think kingdoms in Java periodized their culture from this world milestone point of view. Do we call, the traditional dance Bedaya Ketawang "before world war II" and "after world war II" in Kraton Yogya and Kraton Solo is so different? I don't think so...

The keris making in Java was stopped by Japanese ruler (1945-1948), with formal rule: forbidden to keep weapons -- including keris for citizen in Java..

Once again, this is only a narrow context of a Javanese point of view,
Anyway, thank you Alan for your important information and explanation on this matter...

Regards,

GANJAWULUNG

[A. G. Maisey]

Pak Ganja, it was not my intention to address the entire history of the development of the keris and of Javanese society, but rather to attempt an explanation of the importance of WWII as a watershed in the history of the world, and no less in the history of Jawa and its inclusion within the Indonesian state.

The division of Jawa by the European overlords was indeed another milestone, but throughout the course of Javanese history we can identify a number of milestones when Javanese society altered noticeably following one event or another.

For example, prior to the establishment of Mataram in the 16th century, the nature of the Javanese language was not overtly hierarchical, however, the efforts of the House of Mataram to establish its legitimacy resulted in the language evolving into a hierarchical form, and this development continued in response to the effect upon Javanese society of the Dutch. The end result was that by the early 20th century we had the multiple forms of the Javanese language that functioned as a societal device ensuring harmony. A textbook case of society regulating language, and language regulating society.

In my view it is vital to consider the keris within the context of its society, rather than to consider it in isolation from its society. Regretably, nearly always it is considered and studied subjectively, rather than in a holistic fashion. The result of such an approach is easy to see in that the names of the characteristics of a keris are common knowledge, but understanding of its nature is still veiled in mystery.

To recap:- my focus was to answer only one question, not to address the broader question of the development of cultural variation within Javanese society. Further, we were not discussing the varied aspects of Javanese culture such as dance forms and musical forms, we were discussing an icon of Javanese culture that has become a world-class collectable and an art form recognised across nations.

The keris is no longer the exclusive cultural property of the Javanese people, but has now attracted a following that encompasses the entire world. It may be quite valid for the people in its home culture to classify the periods of keris develpment in one way, a way which is in harmony with their world view, but it is no less valid for those in the broader community to classify the keris according to their own world view. In the context of our world, WWII is a major milestone, it is THE major milestone in the formation of the Indonesian state, and within Jawa it saw the close of the Old World of the colonial period, and the birth of the New World of an Indonesian nation.

I feel that the classification the keris into "pre-WWII" and "post-WWII" is perfectly logical and understandable.This classification is based in the period of creation of the keris, not in its style. As such, it can apply to keris of Surakarta style, Jogjakarta style, or any other style.

[Greybeard]

Hi all,

Many thanks for your comments. A special thank you to Alan Maisey and Ganjawulung for their very interesting and valuable information!

I realize that it is useless to discuss a given keris without providing any pictures. That`s why I put my keris aside for a while and see what can be done regarding photos and then maybe re-introduce it. O.k.?

Best regards,

Greybeard