Indonesia is one of the foremost examples of nationalism being crafted by intellectuals in short order to create a state. As a result, historians and theorists about the rise of nationalism can find rich material in its (relatively recent) independence struggle and post-colonial history. Particularly the efforts of anti-Imperialist activists and intellectuals to craft a single Indonesian nation out of an extremely diverse archipelago - for which the principle unifier was that it had been conquered by the Dutch. The theorist of nationalism, Benedict Anderson, used the Indonesian example of a national literature coming into existence in a relatively short period of time in his study of how nations create themselves. Indonesia in this sense is not a unique case of how nations are formed - but it shows how nationalism seeks the reconciliation of diversity within a common identity. All nations are constructed - with Indonesia you can still see the plans and the scaffolding.
Indonesia’s national motto is ‘Bhinneka Tunggal Ika’ - ‘Unity in Diversity’ or ‘Out of many, one’. I learnt from Adrian Vickers useful and accessible ‘A History of Modern Indonesia’ that Indonesian nationalists such as Sukarno were greatly influenced by Theosophy - a movement established in the US in 1875 to connect the spirituality of the East with the development of a modern society. Theosophy emphasised the synthesis of apparently divergent points of view into a cosmopolitan outlook. Thus Sukarno tried to combine Marxism and Islam into a national governing philosophy he called Nasakom: nasionalisme ('nationalism'), agama ('religion'), and komunisme ('communism’). This ambitious political and intellectual effort ended in blood-soaked failure with the massacre of the Indonesian Communist Party in 1965, and the coup in which General Suharto set up his conservative ‘New Order’ dictatorship which lasted until the late 1990s.
However, though Suharto tried to eliminate Sukarno’s political legacy, he couldn’t deny Sukarno’s intellectual legacy of a creatively crafted national ideology - the Five Principles, or ‘Pancasila’ philosophy. They are: Belief in the One and Only God (monotheism); humanitarianism; national unity; democracy; and social justice for all Indonesians. It’s hard to see what you couldn’t fit in under Pancasila, however earlier versions did include elements such as ‘internationalism’, and an explicit commitment to socialism - which were ditched by the New Order government. Indeed for all the pleasing sounding elements of tolerance and accomodating diverse viewpoints, independent Indonesia was not democratic for most of its history. Sukarno himself advocated ‘Guided Democracy’ - in which the national leadership (meaning him, and increasingly the armed forces) would ‘manage’ politics to ensure it did not get too divisive.
Pancasila did not prevent the massacre of 1965, nor did it spare the people of Timor Leste from being invaded by the Indonesian military in 1975. Both West Papua and Ambon have experienced the ‘national unity’ of Indonesia as oppressive and exploitative. Vickers describes Indonesian nationalists of the late 1940s, on the eve of independence, debated among themselves about whether Papua should be considered part of new Indonesia - given that ‘Indonesians’ appeared to be primarily Javanese. Sukarno was insistent that Papua was Indonesia by virtue of having been colonised by the Dutch. This argument didn’t apply to the Portuguese colony of East Timor - but Suharto decided it was Indonesia anyway. By the logic of Pancasila it is hard to know what couldn’t be part of Indonesia - given its extremely broad mandate of ‘unity’.
Vickers incorporates into his history the biography of Pramoedya Ananta Toer - a writer of short stories, essays, and novels whose career spans the colonial period, the independence struggle, the Japanese occupation during the Second World War, and the post-colonial era. He was imprisoned by both the Dutch, and the Suharto regime. Pramoedya shared Sukarno’s project (although he was a critic as well) of crafting a distinctive Indonesian national identity. For a writer that meant creating a literature that tried to reflect, and to an extent create, a national story. His epic Buru Quartet spans the modern history of Indonesia - from colonialism to nation statehood. In a sense, he writes the creation of the nation, as well as about it.