Beyond the Boundaries of Post-Space: Domestic Limitations in Kuntowijoyo’s “Rumah Yang Terbakar”

Abstract

Sara Upstone's study of postcolonial space posits that space is an empty abstraction devoid of rigid boundaries. In the aftermath of colonialism, space becomes an absolute entity, endowed with a name, history, significance, materiality, and defined boundaries. In instances of overwriting, the construction of place becomes chaotic and the forms that limit it become fluid, this is referred to as post-space. This research aims to examine the manner in which Kuntowijoyo constructs postcolonial spaces in his short story entitled Rumah Yang Terbakar. This research is applying qualitative research method with a postcolonial approach, which involves collecting data in the form of words from Kuntowijoyo’s Rumah Yang Terbakar and the subsequent analysis of said data through the lens of Upstone's spatial politics in postcolonial contexts. The findings indicate that the spatial construction in the short story comprises a village divided into northern hamlets (priyayi) and southern hamlets (abangan). Subsequently, the space is delineated by absolute boundaries, as evidenced by the construction of places, including houses, mosques, and houses of ill repute. Moreover, the aforementioned boundaries become chaotic when Ustadz Yulianto overwrites by providing religious discourse and customary values with the intention of destroying and burning the house of sin. Following the burning of the house of sin, it was discovered that a couple, comprising a man from the northern hamlet and a woman from the southern hamlet, were engaged in sexual intercourse. This resulted in a further breakdown in spatial order, with the northern hamlet no longer regarded as priyayi and the southern hamlet no longer considered abangan. The boundaries of these spaces, which had become fluid, were subsequently referred to as post-space.