“Flores has no written record before the days of the Imperialists,” says Brother Angsel, stuffing his mouth with a spoonful of wet rice and sardines.
“So what do you teach?” I ask, incredulously. It’s a natural question, I think, since it’s Brother Angsel’s responsibility to teach Indonesian History to the 250+ boys at the high school Seminari San Dominggo. The Portugese didn’t arrive in Flores until the mid-late 1500s, and yet the island is home to some of the oldest humans (fossils of the homo floresiensis date back to 700,000 years ago).
“We go off the sources we have,” says Brother Angsel. “Other than that, history teachers in Flores take mostly from the history of Java and other islands where people have a longer history of written archiving.”
I stop eating my peach oatmeal, which has gone stale since I packaged it in Chicago. As I place down my spoon, my mind races toward possibilities for helping local communities revive and immortalize their nebulous history through written archiving; a false call to heroism that, despite coming from a drive to contribute, soils my motives.
I don’t know how to escape it. I’m about to start a PhD program in the Fall, and have no “calling” apart from a profound interest in cultural research that might very well benefit no one.
Within this is a hope that cultural research might be made more accessible through the arts, both for the locals informing my research and for people in the US. My faith stems from a personal history of reading books that have taken me beyond my home in the suburban Midwest to where people thrive on a variety of alternate values, struggle under power dynamics—some factors of myth and religion—that have caused me to loosen up on my definitions of reality.
Is there a possibility that I, like my personal heroes, might channel print or performance media to share a portal between realities on alternate hemispheres, with storytelling both as a muse and a canvas?
Over afternoon tea I speak to Romo Alfons about my interests in, down the road, perhaps enabling oral history projects dictated and run by locals. Wouldn’t it be grand if the rich history of Flores might be written down, fragmented as it might be, for everyone to appreciate?
Romo Alfons smiles at me. I: a child fussing over an empty wallet. Not so simple, he tells me. History is not always meant to be written. “According to our tradition, we value togetherness over reality. Truth isn’t in the facts, but in the solidarity of believing what is and isn’t true.”
History is transmitted orally. Collective decisions define truth, which informs identity. Never static, history moves like a beast with a rubber spine, whipping its head from side to side, sometimes morphing its features entirely depending on what each community finds essential for conservation.
Is it possible that some histories can’t be captured, transcribed, or recorded?
I recall my stint as an after-school teacher for immigrant children in Chicago. I remember the struggle of finding history books touching in equal part on the lives of minorities as well as white Christians. How are historically underserved communities meant to receive the proper attention if they aren’t given adequate representation in what we read, see, and hear? If we fill the canon with media of the minorities, won’t this solve the social imbalance leading to prejudice and its afterbirth?
Eastern Indonesians, overlooked by the Javanese as being primitive in its economic and cultural assets, certainly deserve voice. I was a fool, and am still, in believing that by documenting the Flores landscape for an audience I might stabilize a small platform from which local voices can project themselves.
Maybe this is all because I have no roots of my own.
No one is asking me to transcribe the oral histories of Eastern Flores. No one is asking me to write a children’s history book on ethnic groups pre-Catholic era, or to run around with a tape recorder. History lies with the beast, and it seems that beast would rather die than be contained.
What can I do? I can surrender the hope that my research might be useful to the Indonesians I work with, and resign to the fact that my path of interest might be a solitary one. To the working laborers of Flores, documenting local lifestyle in writing looks like idle play in a rain puddle.
And as I continue to write about culture, I can alert myself to how the act of transcribing cultural narratives can both conserve and kill the spirit of a tale, which acts as another one’s reality, and—in any case—isn’t necessarily mine to touch.
- Sidenote: I’m working as a volunteer English Teacher at Seminari San Dominggo, Hokeng, East Flores, under the coordination of Schoolmaster Father Alfons. This marks the beginning of my 4-month stay.
Romo (Father) Alfons and Suster (Sister) Emma in front of a cave shrine in Hokeng’s convent. Despite being wed to Jesus and His Mother Mary, the Catholic clergy foster the strongest culture of intellectualism I’ve witnessed in Indonesia outside university settings, and actively work alongside local traditions: evidence for why the Catholic religion is alive and well in a landscape still presided over by ancestors and folk spirits.