Thugs in Indonesian Short Stories
Harjito Harjito
Universitas PGRI Semarang, Sidodadi Timur 24 – Dr. Cipto Semarang, Semarang, Indonesia
harjitoian@gmail.com
Keywords: Killer, Cannibal, Drunkard, City, Reality.
Abstract: This paper aims to know how the figure of thugs contained in the short story of Indonesia. There are three
short stories that become material objects in this paper, namely "Kebakaran di Koto - Fire in Koto" by Ismet
Fanany, "Kampung Rampok - Robber Village" by Yudhi Heriwibowo, and "Tempurung – Shell" by Beni
Setia. There are five figures of thugs in the three short stories, namely Kim, Amran, Maman, Budiman, and
Lelaki Berasap. A thug is a figure attached to the profession of murderers, drunks, pimps, thieves, burners,
and cannibals. Social relations of thugs as a protector of the similarity and development of a region into a
city. The findings in this study are thugs related to the world of murder or violence precisely beings and
obedient to women. Kim is very obedient and a creature to Mother. Amran and Maman actually utilized by
Nurmi to maintain the security of stalls and interests of Nurmi. Literary texts are not just texts that portray
the other faces of reality, but also record the events and social developments that occur in society.
1 INTRODUCTION
Thugs are a phenomenon that is present in life in
society, whether acknowledged or not existence. In
2015 the story relating to the world of thugs is
present on one television station with the title of
Retired Thugs with the director and screenwriter
Aris Nugraha. Retired thugs revolve around the
world of thugs set in Bandung with figures such as
Kang Bahar, Kang Mus, Jamal (Nova, 2018).
Thugs are not only related to the human figure
but also a place and territory. The emergence of the
whiz and bastard in Jakarta in the 1950s in addition
to the development of a city also concerns the values
of the revolution. For example, in that era, a well-
known and recognized group of residents in
Tangerang, Kebayoran, Kebun Jeruk and Palmerah
areas were Mat Item alias Adjum which had 27
members. In addition to robbing, they also raped and
killed the victims (Fauzi, 2005).
In the Kamus Bahasa Indonesia - Indonesian
Dictionary published by the Language Center of the
Ministry of National Education, the thug means the
private, not the army, not the military (2008). In
addition to those mentioned, the thugs understood in
the society can now be traced in the Kamus Besar
Bahasa Indonesia published in 1996 which is the
seventh print, on page 787 it says "meaning to the
bad people (muggers, robbers, etc.)." Thus, the
dictionary published in 1996 is complete in giving
an interpretation of the meaning of thugs.
In history, in line with the term thugs referring to
the same meaning is fill in benggolan - bumps,
brandal, weri, blater, jago - whiz, gali, or
bromocorah. Jago is more positive than other terms.
Jago is a name for strong local people both
spiritually and physically known as immune. The
strength of a great person depends on the number of
subordinates because they can have followers. Jago
is associated with the absence of a strong central
state with the institutionalization of power (Ham,
2002a; Suhartono, 2014). In Semarang, Central Java,
there is the term kadet to call pickpockets (Hanapi,
2015).
Still, in line with that, there are other terms,
namely jagoan-whiz and bajingan-bastard. A bastard
is a name for community members who commit
crimes and crimes sometimes called cowards.
Bajingan is often called thugs. Jagoan is a term to a
community member who has influence and is
respected in his village, a bouncer, a brave man, or a
strong person. Which belongs to the category of
bajingan, such as pickpockets, robber, painters who
operate in cinemas or railway stations, and rogues
markets (Fauzi, 2005).
Suhartono (2014) mentions that in the old
Javanese literature there was a robber named Ken
Angrok who managed to defeat the local ruler. Ken
Harjito, H.
Thugs in Indonesian Short Stories.
In Proceedings of the Annual Conference on Social Sciences and Humanities (ANCOSH 2018) - Revitalization of Local Wisdom in Global and Competitive Era, pages 439-444
ISBN: 978-989-758-343-8
Copyright © 2018 by SCITEPRESS – Science and Technology Publications, Lda. All r ights reserved
439
Angrok later raised himself as king and was
considered the founder of Singasari kingdom in the
13th century. This paper does not mean to present
the history of thugs but wants to answer the question
of how the figure of thugs contained in Indonesian
Literature, especially in short stories. The studies
related to the topic of this paper are as follows.
Harjito (2002) analyzed the short story of "Enam
Jahanam - Six Hell" by Indra Tranggono using
Peirce's stylistic and semiotic theory. Short Cerite
"Six Hell" is about six people who have managed to
rob money from the bank. How to divide the money
into a complicated issue and ultimately decided
through the game of "pistol road", a game with a gun
filled with a bullet with random rounds while
playing domino cards. Who gets the greatest card, he
is the one who must fire his head with the gun that
has been loaded with the bullet. The "Enam
Jahanam" short story deals with the meaning of
courage for a man. Courage is mentioned explicitly
with the meaning of man, virility, honour or dignity,
symbolized by the type of animal, and is posed with
fear or cowardice. The effect of using the stylistic
means is the depiction of violence with bloody
cruelty and death with phrases of sarcasm and
hyperbolism. The small universe contained in the
short story "Enam Jahanam" corresponds to the
great universe that occurs outside it, namely
Indonesia.
2 RESEARCH METHODS
The formal object or focus of this paper is thugs.
Material object of this paper selected three short
story texts as research samples. One, "Kebakaran di
Koto" by Ismet Fanany, published in Kompas
newspaper in 2002, hereinafter referred to as KK.
Two, "Kampung Rampok" by Yudhi Heriwibowo,
published in Jawa Pos newspaper in 2011,
hereinafter referred to as KR. Three, "Tempurung"
by Beni Setia published in Jawa Pos newspaper in
2014, hereinafter referred to as T.
The three short stories are chosen with some
consideration. First, has the thematic similarities of
thugs or covers the world of thugs. Second, three
short stories published in national newspapers
published in Indonesia. The national understanding
is at least related to the distribution of newspapers
covering the territory of Indonesia. Third, relates to
the time span of a text that exceeds ten years and is
considered to represent the figure of the thugs,
between 2002 and 2014.
Data collection techniques used documentation
study. That is, the research data obtained from a
number of information, articles, or books related to
the focus of research. The data analysis technique
used is text analysis. That is, the text is analyzed in
accordance with the needs of research, in this case,
to answer the purpose of research in revealing how
the figure of thugs in short stories. The data in this
paper is a word or sentence or a paragraph contained
in the three sample texts of the study. The workings
of researchers are to read the text, record and
interpret it in accordance with the approach used.
This paper uses a literary sociology approach
that assumes that there is a link between literary
texts and social or community realities (Damono,
2003; Wellek and Austin, 1990; Swingewood and
Diana, 1972; Escarpit, 2008). The basic assumption
that is important in this paper is the text is a
representation of social reality that occurs in society.
Because the text is in place in Indonesia, the text is a
representation of Indonesian society. On the one
hand, literary texts reflect, describe, and photograph
the things that happen in society. On the other hand
and in its later development, literature is precisely
followed by the reality of society. That is, what is
portrayed in literary texts can actually be a reference
or a prophecy. The literature describes something
that will happen in a society today. Therefore,
literature can precede something that has not
happened in the present. Despite the sociological
approach, the structure in the text remains to be
considered in the analysis especially with regard to
the characters and the place setting (Harjito, 2006).
In this paper, the character is called the subject.
3 RESULTS AND DISCUSSION
3.1 The Figure of a Thug
The figure is not just about the name or physical
condition but mainly relates to the nature, character,
or habits of the subject. There are five figures of
thugs in three short stories studied and all male sex
with the name, namely Kim, Amran, Maman, Bapak
Budiman, and the Lelaki Berasap-Smoking Man.
The figure of the thugs refers to a murderer or strong
man as a keeper of equality. More detailed analysis
as follows. In T, Kim tells himself that he is a thug.
He became a thug after killing and going to jail.
"Right in fifteen years ago I was drop out of
college, went to jail for killing people. Got six
years old, who with only five years and five
ANCOSH 2018 - Annual Conference on Social Sciences and Humanities
440
years remission, went home, but no mother met,
never even greeted and talked to so I went back
to Bandung and became a thug" (Setia, 2014).
Kim's confession becomes important because
then he realizes who he is when he sees himself and
when viewed by others, including being seen by Ibu.
Being a thug, Kim is not considered her presence as
a child by Ibu. Though Kim is the first child who is
expected to bear the responsibility of his father who
has died. Responsibility as a parent eventually fell to
his sister. Kim has two younger siblings. For nine
years not only ignored, Kim is considered a demon
by Ibu.
Besides being portrayed as the man who once
killed, Kim has the pleasure of drunkenness and
prostitution. Kim became a thug in the city of
Bandung, is 2 hours away by car from Ibu's
residence. Kim's relationship with Ibu changed when
Ibu called and asked Kim to help bring Swarin, a
young widow to town. Swarin is a descendant of
Warsita, the forerunner of a hometown who owns all
the land in the village. No one dared to disturb
Swarin. The problem for Ibu is Kim is teasing all the
village men, including the husband of Nur, sister
Kim. Since successfully bring Swarin out of the
village, if coming home Kim greeted Ibur like a
hero. Meanwhile, Kim becomes a kind of "pimp" for
Swarin.
Similar to Kim, in KP is told a village containing
the thugs. There are two figures who are the head of
the village, namely Bapak Budiman and Lelaki
Berasap. Lelaki Berasap became the head of the
village after successfully capturing him from Bapak
Budiman. Bapak Budiman is depicted as a cruel
murderer.
"I often hear some senior robbers die from
falling asleep at a village meeting. His body was
then made an example to the other robbers that
exist in the ranks of officials so that tomorrow
can be more disciplined. But that does not mean
much. Every other day, again there will be
another robber who was executed. But nothing
will change. Death has become our daily diet.
We would be surprised if a few days do not hear
the news of death" (Heribowo, 2011).
Cruelty can be indicated by killing its sleeping
citizens during village meetings. In addition, cruelty
is also present in the atmosphere that death is "our
daily diet". Though cruel, the village head asked to
be called by the name of "Bapak Budiman". Bapak -
father means a call and a name for a respected male.
As the head of the village, Budiman asked to be
respected by his men. In addition, there is a
contradiction between the meaning of wisdom and
cruelty that is often done by Bapak Budiman.
Budiman meaning "a virtuous, intelligent, and wise
man" (Language Center of the Ministry of National
Education, 2008: 226). In general, wise can be
interpreted as a man who is virtuous, intelligent, and
wise. In fact, Bapak Budiman easily kills people for
small mistakes in order to discipline the behaviour
of his subordinates or villagers.
If Bapak Budiman is a cruel murderer, Lelaki
Berasap is far more cruel to be called sadistic. Lelaki
Berasap is more properly called a cannibal, a man
who likes to eat human flesh (Language Center of
the Ministry of National Education: 675) which can
be noticed in the following quotation.
"Our unspeakable village chief is not a human
being! At first, we only saw a little different
because he prefers to soak in a puddle of water.
But just a day later we already knew other habits.
And one of the most frightening is his habit to
eat baby meat. Some toddlers even arrested also
to be breakfast. I've seen her snacking on baby's
thighs a few times as if she were kriuk-kriuk
with chicken thighs!" (Heribowo, 2011).
The sadism is illustrated by the diction of
"snacking" and "kriuk-kriuk". Lelaki Berasap is not
just "love", but has a cannibal habit, especially baby
flesh. In the use of diction "not human" can be
indicated there is another force so that Lelaki
Berasap have different habits. In Ham (2002b: 179)
criminals often use shamans or magical tools to
succeed their operations. Among the people is also
known the concept of magical "immune", meaning
immune to sharp weapons and bullets, immune to
the magic master, or immune to police detection.
In KR, there is no clear mention of the place
setting. Kampung Rampok is only described by "lies
not far from the big road at the end of the city". As
for which city cannot be traced further.
In KK, the attendant figure is not a murderer,
but as protector of one of the citizens. There are two
figures of thugs in KK, Amran and Maman. Maman
is the head of the thugs in the Simpang area. The
meaning of thugs to the figure of Maman is a thief or
thief who can be known through the following
quotation. "The intersection that is open to the flow
of the highway and the people who paced does not
matter to him. Occasionally the place of business
there entered the thief, but Nurmi stalls remain safe"
(Fanany, 2002). Similar to Amran, Maman is also
the chief of thugs Simpang in the next period after
Maman.
The market thugs usually ask for traders money
Thugs in Indonesian Short Stories
441
to keep traders safe and their business unharmed.
Good money or money in common is a term that is
often used which is essentially another form of
illegal levies committed by thugs (Fauzi, 2005).
Nurmi’s shop remains safe and not disturbed by the
thugs because of Nurmi close and take cover with
the head of thug Simpang.
Matters relating to the figure of thugs can be
noted in Table 1 of the Thugs figure.
Table 1: The figure of a Thug.
SHORT STORIES
NAME
FIGURE
Tempurung
Kim
Killers, drunks,
whores, pimps
Kebakaran di Koto
Amran
thieves
Kampung Rampok
Bapak
Budiman
Cruel killer
Lelaki
Berasap
Sadistic killer,
quiet, cannibal
3.2 Relations
In Jakarta in the 1950s, the emergence of the heroes
and in addition to the development of a city also
concerns the heritage and values of revolution such
as the spirit of striving, unyielding, honest,
solidarity, and courage. Nevertheless, not all of the
heroes and bastards have the experience of
struggling against the Dutch and being part of or
members of a guerilla or troops unit during the
revolution (Fauzi, 2005). The world of thugs is not
only present in soap operas or short stories. In about
1997, Ikang Fawzi sang a song called "Preman-
Thugs". Thugs is a song creation and are the second
album with lyrics to the song as follows (Lagu
Indonesia Jadul, 2017)
"Pak cik pak pak / thugs thugs oh oh / Pak cik
pak pak metropolis / Pak pak pak pak / thugs
thug oh oh / pak cik pak metropolis pak // From
the narrow alleys / in the night life / always alert
/ Every time always swift / dangerous / Anyone
facing him // Here thugs, thugs / in action / Face
cold and spooky / ready to pounce / Do not you
try, comrade / search case / True means
disastrous / aaaaa oww! // In a world of recession
/ work is very difficult / also education / In the
street corners / lots of unemployed / So thugs /
'for looking for food / Behind a scary face /
tucked away peace / Behind the life of crave /
crave happiness / Happy happy / happy. / /
The text tells the figure of a thug in a metropolis
adjacent to the nightlife. The presence of thugs is
related to the worldwide recession that results in
unemployment and the difficulty of finding
employment. The text equations of T, KK, KR with
the text of the song are the figures of thugs depicted
through the terms "nightlife", "cold and spooky face
ready to pounce", and "life spoils". From the diction
"anyone faces", thugs are considered not to have
fear. The text also suggests "do not try" or in other
words deal with thugs because it can mean a disaster
and seek a case.
Unlike the lyrics of the song that calls the thug
with a cold face and spooky, a writer just mentions
crime in Jakarta done by criminals who "disguised
with a friendly face" (Yoppy, 2006).
Man is essentially a social being related to
another human being in life. Similarly, what happens
to the figure of a thug who is a social creature.
Thugs also relate to other humans and other
professions. As a member of the community, thugs
are not alone. Thugs relate to other members of
society.
Kim is not only related to her two siblings but
also especially with Mother and Swarin. In society,
Kim is a thug, but inside Kim's household is still a
child for a mother and Kim is aware of it. Therefore,
Kim is very obedient to Ibu. Kim's compliance can
be noticed when Ibu calls and asks for help. Kim
went home to see Ibu who ordered her to handle
Swarin as a source of trouble not only for their
family but also for their village. In keeping with
Ibu's orders, Kim paves the way for Swarin by hiring
her as a prostitute. Kim is subject to Ibu's orders. At
first Kim's relationship with Swarin as a neighbour.
Kim's next relationship with Swarin is hiring. Even
after hiring Swarin, Kim intends and has the idea to
open a self-run brothel house.
The prostitute profession is also called a
commercial sex worker and is considered a fairly old
profession in the world. Based on postcards long
before 1906, the prostitute profession has been
thereby being indicated through the image of a
woman with a broad chest. Photographed in the
studio by leaning on a landscape painting deck
board, the model was recruited from a prostitution
neighbourhood (Raap, 2013).
Table 2: Relation.
Name
Partisipan
Relation
Kim
Ibu
son
Swarin
neighbour
Amran
Nurmi
dating friends
Maman
Nurmi
dating friends
Bapak Budiman
Aku-anggota
Subordinates
Lelaki Berasap
(me-members)
Subordinates
ANCOSH 2018 - Annual Conference on Social Sciences and Humanities
442
Similar to the obedient Kim to Mother, Amran
and Maman also obedient to Nurmi. Amran and
Maman used by Nurmi to keep the existence of her
shop to remain safe and not disturbed by the thugs. It
is possible because of Nurmi clever in choosing a
date. Nurma dating only with the head of the thugs.
In addition to maintaining security, Amran is also
used to burn the Plaza Koto which since opened to
make the cafe owned by Nurmi become empty of
visitors.
Table 3: Social Relation.
Name
Social Relation
Kim
-
Prostitution
Amran
Security guard
Maman
City development
Bapak
Budiman
not protect
Lelaki
Berasap
not protect
KK is not just about the figure of Nurmi and the
role of thugs, but also the development of a village
into a city with changes in behaviour and ethics that
accompany it. Simpang is the pride of Koto people
with the presence of a coffee shop, restaurant,
grocery store, or salon. A coffee shop is a gathering
place, including a coffee shop owned by Nurmi.
"'I heard the coffee shop. But modern. Nothing
like this, 'Maman joined in and looked around
the stall.
...
However, since electricity has entered the village
and more and more people have television, koto
people prefer watching at home, especially
children and elders. Gradually, sitting or
wandering in the intersection has its own
meaning: it is considered bad and useless. This
opportunity is taken by thugs and young Koto.
The pulsing life of Simpang is determined by
them (Fanany, 2002).
The three interrelated words with modern as
mentioned in the KK text are modern, electric, and
television. Regarding the presence of electricity as a
marker of modernity, Harjito (2015) notes that
modernity in Indonesian short stories comes through
the technological divide in agriculture such as
tractors, doctors, and Western education that
continues to this day. Literary texts are able to
distance themselves from modernism by providing
enlightenment and alternatives to something that has
been considered prevalent in modern life in society.
Aside from being a coffee shop owner, Nurmi's
behaviour is considered rude to the size of Koto
people, such as laughing out loud, talking in loud
volume, dressed tightly or dressed with a visible
chest. Thereafter, there came the Plaza Koto built
with ownership by the village chief of Koto and the
wealthy monk. The city is symbolized by a city
plaza that sells all sorts of necessities, including a
coffee shop.
Nurmi’s shop lost many subscriptions. But he is
still profitable. Several shops and stalls at the
intersection were already rolled down. The Koto
people are much tempted by the Koto plaza. The
room is air-conditioned. The waiter is young and
beautiful, unlike Nurmi whose age has started
with the number four (Fanany, 2002).
If examined more deeply, traditional markets
have an important function. Aside from being a
place to buy and sell, it also works with social and
entertainment. In its later development into a mall-
like modern market with various facilities as a
storefront, there are a variety of dishes, including
cinemas incorporated in one complex (Raap, 2015).
In the 16th / 17th century, the Indonesian
archipelago became the most urbanized area
meaningful to have the most populous city dwellers
in the world. Indonesians in that century were city
people, traders, fishermen, sailors, or artisans.
Agriculture is hardly known by the various port
cities of Indonesia or Southeast Asia (Ham, 2002c).
In KG, Bapak Budiman's relationships with Aku-
anggota are leaders with the men with personal
compliance relationships. That is, subordinates or
members are made and conditioned to obey the
leader or group leader. Those who are considered
disobedient or undisciplined are destroyed or killed.
In the meantime, the Lelaki Berasap association with
Aku-anggota is the leader with the men with a
personal relationship of obedience and fear.
Compliance is created by the way community
members are asked to provide babies with food for
the chairman. Fear is created because Lelaki Berasap
is not only cannibals to babies, but also to mature
human beings so that the feared men at any time
preyed by the chairman.
Both Bapak Budiman and Lelaki Berasap make
conditions that are not conducive. They are not
leaders who protect the community or the men. That
is, they are leaders who only profitable himself but
not a protector for his subordinates.
In 19th-century Java, every village head had a
"thief" as an accomplice. This is considered
beneficial because the village will not be disturbed
Thugs in Indonesian Short Stories
443
by other criminals and often the village heads also
get a share of the results (Ham, 2002). Especially if
the head of the village is the head of the robber as
described in KG. Kampung will be safe from a
robber. However, in Suhartono's terms (2014), urban
plotting does not have an impact on society at large.
4 CONCLUSIONS
Based on the analysis as described in the previous
section of the three short stories that have been
published in the national newspapers, the following
conclusions can be drawn. Thugs are a name for
local strong people both spiritually and physically.
The power of a thug depends on the number of
subordinates because they can have followers. A
thug is a figure attached to the profession of murder,
security, drunks, pimps, thieves, burners, and
cannibals. Social relations of thugs as a protector of
the similarity and development of a region into a
city. In the three short stories, the figure of the thugs
refers to the sex of a man. The findings in this study
are thugs related to the world of murder or violence
precisely obey and fear to women. Literary texts are
not just texts that portray the other faces of reality,
but also record the events and social developments
that occur in society
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