Tracing women artists in Indonesia (1940-1970)

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About the annotated bibliography

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Initiator

The Indonesian Women's Archives and History Space (RUAS) is a collective space for women's critical thinking, run by historians and activist-scholars. RUAS' work includes archiving that is oriented towards memory, activism practices, women's thoughts and feelings, for justice, social, political and cultural change.

RUAS defines archiving-activism as a social movement which documents movements, thoughts and feelings, as well as presenting women's narratives that are overlooked in Indonesia's mainstream history. We aim to care for and recall women's movements as a way to support social change and bring about justice as well as equality.

How to contribute to this

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Alimah

  • Setiawan, Hersri. 1999. Lekra Yogyakarta. Cultural Records.

Alimah was mentioned in Setiawan’s notes about the member of Lekra and the People’s Painting Studio (Sanggar Pelukis Rakyat) as a female surrealist painter with a modest and sharp style. Alimah and her whole body of work have disappeared after the 30th September Movement in 1965 until today.

Aty Ismangil

  • Suwaryono, Dan. 2015. Fine Arts Appreciation in Indonesia: The Essays and Criticisms of Dan Suwaryono (unpublished draft). The Faculty of Fine Arts, Jakarta Institute of the Arts.

Aty Ismangil’s name appeared on page 56. Her painting Kali Progo was discussed; its style of delicate lines was compared to Ruliyati’s painting style, which was firm, hard, and rigid.

Attika (Atikah

  • Yok, Oei Sian. “The Role of Lines in Painting”, Star Weekly, 18 July 1959.

This article made a comparison between two exhibitions – an exhibition that presented the work of “Yin Hua” painters in Tati Gallery (Prinsenpark, Jakarta) and the exhibition of seven Indonesian painters in Balai Budaya in July 1959. Water and ink, the mediums that were apparent in the “Yin Hua” exhibition, were compared to the acrylic paintings of the second exhibition. The only woman who contributed to the second exhibition was Attika. Oei Sian Yok wrote that Attika often painted flowers, even though her paintings were still not yet fully refined in the terms of technique–especially when she was painting a vase.

  • Yok, Oei Sian. “The Difference Between a Painting and an Illustration”, Star Weekly, 12 March 1960.

In this article, Atikah was mentioned as an artist from Sumedang who, in the middle of 1956, was painting for BMKN (The National Cultural Forum). Technically, in the exhibition in Balai Budaya (Jakarta), she didn’t yet have the painting skills equal to Utarjo or Yassin. Her floral painting looked clumsy and out of proportion. Her chosen colors for “Dewi Sri” also lacked harmony.

Betsy Lucas

  • Yok, Oei Sian. “The Students’ Painting Exhibition”, Star Weekly, 25 April 1959.

This was an article about a B.K.S.K.M.I’s exhibition (Indonesian Art Students Cooperation Agency) in Wisma Nusantara, which included the work of the students of Bandung Institute of Technology’s Fine Art Department and Jogja Academy of Fine Arts. Betsy Lucas’s work was mentioned as having its own style and how her lines were remarkable and subtle. She used soft colors for nature in her painting, and she drew a beautiful landscape of Bali.

Emiria Sunassa (Emiria Soenassa)

  • Unknown yet. “Talking to a Tidorean Princess about Her Hometown: Irian”, Star Weekly, 20 November 1949.

The article about Emiria opened with a telegram message from the chief of UNO (New York) that mentioned the title of the Queen Mother Emiria Soenassa Wama’na Putri Al’Alam. Her background as the princess of Tidore Sultanate was mentioned in this article, along with her journey to become a painter. And her involvement with the PKII (Independence Party of Indonesia Irian) to fight for the people of Irian. In this article, the relationship between the Tidore Sultanate and Irian was also explained.

  • Unknown yet. “Emiria Sunassa: How she came to be a painter”, The Indonesian Affairs, Vol. II No. 2. April-May 1952.

This article about Emiria was quite interesting since it was published by the Department of Information and written right before Emiria disappeared from the public. The article also mentioned a review of her work in the previous issue of the journal in 1951. The article focused on Emiria’s story as an individual and how she self-taught her art. In the article, her early interaction process with paintings with Prof. Pijper was discussed in detail – it showed Emiria’s temperamental and passionate character. Emiria was also someone with high social empathy and awareness; it was apparent from her choice to become a nurse during the revolution era.

  • Yok, Oei Sian. “The Exhibition of Four Indonesian Expressionist Painters: Emiria Sunassa, Trisno Sumardjo, Oesman Effendi, Zaini”, Star Weekly, 6 February 1960.

Emiria Sunassa was one of the Indonesian women expressionist painters that contributed her work to this exhibition. The article mentioned her short biography and that she started painting in her older age, right before WWII. Her solid exhibition in the Bataviasche Kunstkring Art Hall in 1940 garnered a lot of attention and discussion about her work. Her second exhibition was held in 1946. Among the art circles, she was often depicted as having a unique personality and was in a league of her own. She held exhibitions in Europe, the United States, India, and the Malay Peninsula. The colors in her paintings showed creative decisions and combinations that were unique, fresh, and sharp. “Kembang Matahari” (Sunflower) was one of her more cheerful works. “Terdampar” (Stranded) depicted several bodies sprawled on a dead empty ground and, in its bluish green, they looked bleak and sad.

  • Burhan, Agus. 2000. The History of Paintings in Indonesia: From Mooi Indie to Persagi (Association of Indonesian Painters). Yogyakarta: MERAPi

The writer mentioned that Emiria Soenassa got her inspiration from primitive art. She was aloud about her “anti-technique” credo: “Swing your pencil, throw away your technique”. This creative tenet was in line with Sudjojono. The article also mentioned Emiria’s background as the first Indonesian woman who explored the art of painting as a way of expression. “Kampoeng Nelajan di Teloek Roembolt”, her work in the Bataviasche Kunstkring exhibition 1941 garnered attention. As described by Sudjojono, her painting showed primitive patterns to express honest naivety. Afterward, some of her paintings were considered to resemble Van Gogh’s. Later, expressionism became much stronger in Emiria’s work; her style reached its maturity during the Japanese occupation era.

  • Arbuckle, Heidi. 2012. Performing Emiria Sunassa: Reframing the Female Subject in Post Colonial Indonesia. Melbourne: University of Melbourne.

This one was considered comprehensive research about Emiria Soenassa. In the opening of this report, Heidi wrote about Emiria’s background, making clear all of the confusion – including the claim that she was a princess of Tidore Sultanate. Emiria’s life was so colorful in numerous professions that she did. Before she disappeared from Jakarta out of the blue at the beginning of the 60s. Her story became a mystery until the end of the 90s when the public memory of Indonesia no longer remembered her.

Emiria’s disappearance from Jakarta was something you could call an attempt to erase the work of Indonesian women in mainstream art in Indonesia. With details, Heidi traced back all the materials and sources that mentioned Emiria, including people’s memories of her. Emiria was mentioned as getting married several times, even though there was not any strong evidence about it. And Emiria didn’t have any biological children. When she was alive, she adopted two kids.

No one knew why Emiria disappeared. Aside from that, Emiria was a pioneer in several fields. Heidi tried to rearrange materials and records about her and rewrite Emiria Sunassa’s life, combining it with oral narrative history, archive, and visual analysis of her work and photos. An example was a little detail from Mia Bustam about her visit to Emiria’s house at the beginning of the 40s. Heidi also interviewed people around Emiria who knew her personally. Until she finally interviewed Jane Waworuntu, who was a close friend (might also be Emiria’s distant relative) and a person who secured Emiria’s paintings until Jane died in 1998 – and those paintings were passed down to Jane’s nephew, Weir Waworuntu. After that, those paintings were kept in a store room in Tanjung Sari Hotel in Bali. They were on display in an exhibition in 1994.

Heidi tried to discuss Emiria’s positioning of female subjects in the colonial and national discourse. And also how women took their roles, in the context of themselves and spaces for women in the national art scene. Emiria became a dominant figure in the dynamic of the art scene in her early career and also a figure of another. She represented a princess and a “primitive” because of the information she didn’t have access to because she was an other. Heidi explored the discussion regarding Emiria by looking at the trace that Heidi found in Jalan Cendana. She also reinterpreted Emiria through a visual analysis of her paintings. In her conclusion, Heidi put Emiria Sunassa as a female subject and presented her persona, her political commitment, and her daily life inside a discourse of modern Indonesian culture, specifically when the colonial era would soon end. Emiria was a historical vehicle to examine how she shook the dominant narrative and destabilized the rigid truth about the state and its relation to race, class, and gender ideology. Emiria was eccentric – mysterious and unpredictable. The use of a postcolonial feminist approach was urgent to understand and retell Emiria as a whole narrative subject.

  • Low Sze We, Horikawa Lisa, Scott Phoebe (eds). 2016. Reframing Modernism: painting from Southeast Asia, Europe and beyond. Singapore: National Gallery Singapore.

Emiria was mentioned as a pioneer figure in modern Indonesian art. Her painting style showed an ideological position, as seen in her way of presenting female figures from various cultural backgrounds in Indonesia. And this made her style so different from the spirit of nationalism that was apparent in mainstream painting styles at that time.

Emiria presented another idea of nationalism in the diverse figures in her painting. Five of her painting were presented in this book: Pemanah Papua (A Papuan Archer, 1942), Bahaya Belakang Kembang Ternate (The Hidden Danger of a Ternatenese Young Woman, 1941-1946), Panen Padi (Rice Harvest, 1945), Pasar (Market, 1943), and Peniup Seruling dan Purnama (The Flute Player and the Full Moon, 1958).

  • Ika Setia Wati, Jenny. “The Existence and the Problem of Indonesian Nudist Painting According to the Feminist Lens”. Imaginarium, Vol. 1 No. 3, November 2020.

This discussed the debate and problem of nudist painting in Indonesia, which was often produced from the patriarchal perspective. Jenny interpreted Emiria’s “Mutiara Bermain” (Pearls, At Play) with a different kind of feminist approach, considering the creation time of the painting – when the Japanese oppressed Indonesian women during the occupation period, and its aftermath during the beginning era of the republic. Jenny discussed the male gaze perception from male artists that made it as if women alone couldn’t be a subject in a creative process to make a painting.

Magazine

  • Merdeka, Moyang Kasih Dewi. “Finding Emiria Again”, Majalah Tempo, 2 May 2020.
  • Merdeka, Moyang Kasih Dewi. “Finding Emiria Again”, Majalah Tempo, 2 May 2020.

Printed newspaper

  • Arbuckle, Heidi. Kompas, 12 December 2010, Emiria Soenassa Imagining the Homeland.
  • Bianpoen, Carla. Jakarta Post, 9 December 2010, Emiria Soenassa: An auspicious artist.
  • Moeis, Dantje S. Riau Pos, 9 September 2012, Indonesian Female Artists.
  • Bianpoen, Carla. Jakarta Post. 13 April 2016, Reframing Modernism in a Southeast Asian Context.

Online

Ida Hadjar

  • Nadhiputro, Muhajir. Feminine Imageries in the Arts. URNA, A Fine Art Journal Vol. 01 No. 1 (June 2012: 50-62).

The article in this journal discussed the cubistic style in Ida Hadjar’s paintings, which were influenced by Picasso and Diego Riviera, alongside a vision of Social Realism. As a woman painter, Ida Hadjar apparently wanted to fight the stereotype that women were weak human beings. Ida wanted to build an image of women that were vigorous in dealing with their daily struggles. She presented these women as strong, dark, firm, and also having thick outlines-as seen in her painting “Going to the Market”.

Kartika (Kartika Affandi, Kartika Saptohoedojo, Kartika Affandi - Koberl)

  • Yok, Oei Sian. “The Painting Exhibition of Kartika, Widajat, and Otto Djaja”, Star Weekly, 11 March 1961.

The article mentioned that it was not easy for Kartika to live in the shadow of her famous father, Affandi. People might easily compare her artistic style to her father’s or say that it was easy for her to become a painter. Even though her father’s influence was visible in “Mother’s Love”, “Carriage”, and “Bird Market”, in her other paintings like “Woman” and “Falling Asleep” Kartika succeeded in having her earmark – complete with her freshness and tranquility.

  • Kompas, 7 March 1969, pg.1, “Pelukis Wanita Berpameran Tunggal” (A Woman Painter’s Solo Exhibition).

Kartika Saptohoedojo presented 42 of her paintings in Yogyakarta Cultural Hall. Before this, she studied at the Shantiniketan Art School, India. She also studied art at the Polytechnic School of Art in London. She debuted abroad at the Modern Museum, Rio de Janeiro. The news wrote about Kartika’s painting “The Dog and Its Children”. Kartika wasn’t yet to be seen as a woman artist who had her agency, but she was still linked to her father and husband.

  • Kompas, 24 August 1971, pg. 3 “Pertemuan Sepintas: Kartika” (Fleeting Encounter: Kartika).

Kartika admitted that her work had a similar style to the work of her father, Affandi. However, if we look closely, her character and temperament were different. As a woman, the spirit in her painting was different from Affandi’s. Kartika learned her painting technique from her father first, before traveling to Santiniketan, India. Afterward, she traveled with her father to India, Italy, France, and around the world. She visited a lot of museums, and many of her paintings were collected by these museums–like the one in the Modern Museum in Brazil. Meanwhile, at that time, there wasn’t a national museum in Indonesia yet, therefore the work of Indonesian artists wasn't preserved that well. Kartika worried about this depressing situation. She wrote that there weren’t many female artists at that time because there were many things that hindered women from pursuing their careers after they got married and had to take care of the family. She also complained about how the local government officers didn’t care about the culture and the arts.

Kustiyah (Koestiyah, Kustijah, Tjus, Kustiyah Edhi Sunarso, Kustiyah ES)

  • Udy S.H., Mingguan Tjermin, 1956, “Kustijah: a Female Painter and Sculptor, an Art Enthusiast, a student of ASRI, Got Married After Eating Lotek”.

This article introduced the figure of Kustiyah. It mentioned her physical appearance and her sharp gaze, which was beautiful and exciting. As a painter, Kustiyah was lively, friendly, not arrogant, not prideful, chatty, and funny. She was sociable and she held closely the Eastern ethics. A short biography of Kustiyah and her family was presented in the article. She was the only female participant in a painting and sculpture exhibition held by ASRI in Pekalongan and Tegal. Her work there included a self-portrait statue and some of her colorful paintings. It was mentioned that there was another female student there, Ruliyati, but she was busy teaching. The article also mentioned how she got married to Edhi Sunarso and how it surprised her friends in ASRI and her intention to continue to study art abroad.

  • Soedarmaji, Sinar Harapan, 20 August 1969, “An Exhibition from a Husband and Wife in Jogja: Sculptor Edhi Sunarso and Painter Kustiyah”.

This was a review of Kustiyah’s body of work. It was said that Kustiyah processed life phenomena with a cheerful spirit. Hope and contemporary life’s deliciousness were coming from Kustiyah’s eyes. When she painted flowers, vases, papaya trees, and their ripe fruits, she saw these images as a heart-pleasing comfort. She manifested happiness and vivacity by using a lot of colors – yellow, bright green, and orange, together with white color that was splashed directly from the tube. The article mentioned that the color in Kustiyah’s painting, in general, was close to Kartika Affandi’s. Both of them were strongly influenced by Affandi. However, in this review by Soedarmadji, Kustiyah was said to have found her identity. The happiness and cheerfulness in Kustiyah’s painting wouldn’t exist in Affandi’s work which tended to be gloomy.

  • Kedaulatan Rakyat, 1 April 1986, “Three Women Painters from Yogjakarta Held an Exhibition with Success in Jakarta”.

After holding a big exhibition together in the Auditorium of Indonesia-America Friendship Association, three women painters (Kustiyah, Widarusamsi, and Oki Nilakencana) would hold another exhibition in Jakarta Hilton Executive Club. Kustiyah was an alumnus of ASRI (Indonesia Academy of Fine Arts), class of 1957. It was stated that her work had been exhibited in Yogyakarta, Jakarta, Surabaya, Singapore, Kuala Lumpur, and Japan. Widarusamsi was also an alumnus of ASRI, class of 1967. She once won a title as the best sketcher and held a solo exhibition in Yogyakarta in 1985. She also collaborated with his husband in Denpasar, Jakarta Cultural Hall, and the Affandi Museum. Meanwhile, Oki Nilakencana was the youngest among these three women. She started painting in 1974 and she won several awards, including the ones from Jakarta’s Directorate of Art, Goethe Institute, Japan Foundation, France’s Cultural Center, and the late H. Adam Malik.

  • Kedaulatan Rakyat, 5 July 2002, “The Exhibition of Ten Women Painters: the Art Is the Right of Everyone”.

Kustiyah’s name was mentioned in this article, alongside nine other women painters. Painting exhibitions that only included the work of women painters were scarce at that time, and this exhibition was praised by a women’s movement activist Nyi Iman Soedijat, who said that she was proud that women had the courage to express themselves through art. This exhibition was held to celebrate the 80th year of Tamansiswa. This exhibition was so useful to enrich the knowledge and perspective in the arts in Indonesia.

Ny. L. Sie Khwan Djioe

  • Yok, Oei Sian. “Impressionism in the paintings of S. Djupriyany and Ny. L. Sie Khwan Djioe”, Star Weekly, 7 December 1957.

An exhibition of impressionist painting was held in The Woman’s Building. Some floral paintings, “Hondji” and “Golden Trumpet”, showed a masterful technique. Her painting “Florida Beach, Banten” garnered attention for its cheerful color.

Maria Tjui

  • Bustam, Mia. 2006. Sudjojono and I. Jakarta: ISAI.

Maria Tjui was mentioned by Mia Bustam as a student of Sudjojono in 1955. Mia also mentioned the room Maria Tjui once rented a room at her home.

Maryati

Maryati was born in Bogor in 1916. She was the wife of the painter Affandi; she painted by applying an embroidery technique to her work. Maryati often said that she didn’t consider herself an artist. Affandi admired how Maryati could produce paintings with such an innocent spirit, despite her old age. 23 of her paintings were on display in the “Affandi Live!” exhibition in Lippo Mall, Yogyakarta.

Mia Bustam

  • Bustam, Mia. “Haruskah Seniwati Memisahkan Diri dari Seniman? (Surat kepada Kartika Saptohudojo)” (Do Women Artists Have to Seclude Themselves From the Male Artists? A Letter to Kartika Saptohudojo). Harian Rakyat, 27 February 1960.

This was Mia Bustam’s letter to Kartika, which discussed the urgency for female painters to make their own group that was detached from male artists. Mia Bustam argued that this idea needed to be incubated well because she thought that there was no gender in art. She also mentioned what was art for her. And it was to present to us truth, including the truth of daily social reality. Mia also complained how she, as a female artist, was constrained by her domestic duty before she could even pick up her brush. Not to mention the way male artists sneered at them and didn’t take them seriously. Therefore, Mia emphasised how they shouldn’t separate themselves. Instead, they should fearlessly do their arts like what the male artists had done. Mia also mentioned the time Kartika invited other women artists to meet and only four people came. So, Mia felt it wasn’t effective if they made an organization, and it would be more effective if they just worked seriously in creating their art. Being earnest in their creative process would eventually pay off and show their seriousness in doing art.

  • Siswadi, Sugiarti. “Mia Bustam: Ketua Rukun Tetangga-tetangganya Pelukis-pelukis Djokja.” (Mia Bustam: The Village Chief of the Painters in Yogya)Api Kartini, No. 10 Yr. II 1960, pg. 3-5.

Mia Bustam was introduced and written about by Sugiarti Siswadi. She wrote that Mia Bustam was a modest person who sat in the front of the Yogyakarta’s delegation group during the Lekra’s National Congress in Solo. He introduced Mia Bustam as a painter and quoted Suromo who gave a nickname to Mina Bustam: The Village Chief of the Painters in Yogya. Sugiarti also mentioned and shared her admiration of “Self-portrait”, Mia Bustam’s painting that was hung in Lekra’s Art Exhibition in Wisma Nusantara. Sugiarti also wrote about how she was supported to develop her painting talent by Judokusumo, Abdulsalam, Rameli, and Suromo, and also the younger painters of SIM (Indonesian Young Artists). Mia said she wanted to paint so well that people could read her painting like reading a good book, as if they were reading a collection of poems that would move their heart. She wanted to tell the world everything, be it good, bad, dirty, pure, evil, tantalizing, unjust. Mia Bustam believed that only experience could produce something good, and being a woman artist was so different from being a male artist.

She also shared about her inability to paint because she had to take care of her eight children alone. Sugiarti called Mia a father and a head of a family at the same time because she was on her own. Mia mentioned her fascination with Kathe Kolwitz, Diego Rivera, and Van Gogh. Mia said there were a lot of talented female painters, but they couldn’t develop their talent because they were born among Indonesians (which Sugiarti wrote as having a feudal quality and a colonial mind. Mia also sat on the Agency of Cultural Relations between Indonesia and Uni Soviet. Mia apologized for not having enough time to join the feminist movement. At the end of this article, Mia’s wish was mentioned: to have a solo exhibition in Jakarta.

  • Bustam, Mia. “Surat Mia Bustam kepada Pelukis-pelukis SIM” (Mia Bustam’s Open Letter to the Painters in Indonesian Young Painters”. Harian Rakyat, 11 March 1961.

This was Mia Bustam’s open letter to all the members of SIM (Indonesian Young Painters). Mia Bustam, as one of the caretakers of SIM, openly encouraged the members of SIM to keep in touch (after one of SIM’s projects in Kemayoran). She also explained the fund that SIM needed as an art center to maintain SIM’s facility and the continuity of their activities.

Instead of giving space for Mia Bustam to tell the story, this article elaborated on Sudjojono's journey as told by Mia Bustam.

  • Bustam, Mia. 2006. Sudjojono and I. Jakarta: ISAI.

Mia Bustam’s first memoir. It covered from her first meeting with Sudjojono in 1940 to their divorce in 1959. It recorded her life with Sudjojono and everything that she went through, including her first-hand experiences and as a witness/maker of history that was significant in understanding the history of art in Indoensia (especially during the revolution era, through her lens as a female artist). Mia Bustam wrote about her daily life with details that her memoir could be a note that was relevant to understand women’s narrative at that era. Her children’s note at the end of the book also showed another side of their family’s personal history.

  • Bustam, Mia. 2008. From One Camp to Another. Jakarta: Spasi & VHR Book.

This was Mia Bustam’s second memoir. After her divorce with Sudjojono in 1959. This book shared about all of Mia’s involvement in the art world, in SIM and LEKRA, until she got arrested at the end of November 1965 and was separated from her eight children. Her note included all of her journet moving from one prison to another (Sleman, Benteng Vredeburgh, Wirogunan, Plantungan, LP Bulu Semarang). She told how she and other female detainees survived their 14 years of imprisonment without going to any court. Also how she continued doing her art through various mediums available in the prison until she got her freedom. Her account was one of the most complete records about life in a post-1965 women’s prison under the New Order.

  • Bustam, Mia, Astrid Reza, and Yvonne Low. "Chapter 6: I Found Myself." Southeast of Now: Directions in Contemporary and Modern Art in Asia 5, no. 1 (2021): 339-349.

This was an English translation of chapter six from Mia Bustam’s memoir, Sudjojono and I. This chapter was about the ending of Mia Bustam’s relationship with Sudjojono, which was quite dramatic. There was a moment where Mia Bustam decided to be on her own as Mia Bustam, detached from Sudjojono and a point where she decided that she could stand on her own as an artist, painter, and female writer. This chapter showed Mia’s struggle with herself, her kids, and the need to preserve her existence as a woman under the patriarchal atmosphere at that time whose threat actually came from her closest person: Sudjojono.

  • Low, Yvonne. "Mia Bustam and Her Memoirs: Speaking for Herself." Southeast of Now: Directions in Contemporary and Modern Art in Asia 5, no. 1 (2021):

335-338. This was an introduction about Mia Bustam and how her memoir was urgent to understand her better as a female painter and the dynamic and turbulence in the art world at the beginning of the republic. And to understand the political decision that brought her a consequence that the publishing process of her memoir would be slow even after the New Order ended. However, her distinctive perspective about the role and the presence of women artists at her time was priceless for the future generation when they try analyzing the history of fine arts in Indonesia.

  • Reza, Astrid. "Interview with Astrid Reza." Southeast of Now: Directions in Contemporary and Modern Art in Asia 5, no. 1 (2021): 351-356.

This interview with Astrid Reza was conducted when she was translating Mia Bustam’s work into English with Yvonne Low. It discussed the translation process and how important the English translation was to help Mia’s work become more accessible. Some talking points in this interview clarified the situation and background of the lives of women before 1965. The interview also explored how Mia Bustam became a witness and a history maker who got directly persecuted during that era. Another issue that made it into the interview was the challenge to present the voice of women on the discourse map of the art world, which was dominated by the male narrative.

  • Hartiningsih, Maria. “Sejarah: Sebongkah Ingatan di Punggung Gelombang” (The History: A Piece Memory, Riding the Back of an Ocean Wave). Kompas, 10 December 2010.
  • Susanti, Fransisca Ria. “Akhir Perjalanan Mia Bustam” (The End of Mia Bustam’s Journey). Sinar Harapan, 4 January 2011.

Online

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