We are tired with DraSu, all we need is gotong royong!' This statement came from Husin Ghozali, alias Cak Conk, who was the owner of Warung Kopi (coffee shop or warkop) Pitu Likur in Surabaya, Indonesia. His coffee shop went viral in social media in the last week of July 2020, or the beginning of the new school year in Indonesia. The Indonesian government decided to conduct online learning, or School from Home (SFH), in all levels of education, from elementary to high school, owing to the COVID-19 outbreak. However, many students' parents were unhappy with this decision, especially in many households in the kampungs (neighbourhoods) of Surabaya. They felt it brought more difficulties to their families, who were already struggling very hard to cope with the new situation. Then, Cak Conk initiated a plan to help many students in his kampung. He invited students to use the Wi-Fi in his coffee shop during SFH (see Figure 20.1). Not only free access to the internet; he also provided a glass of tea or milk for the students who spent their school day there.Unfortunately, the municipal government of Surabaya complained about Cak Conk's initiative. An official from the Dinas Pendidikan (Education Agency) of Surabaya warned students to avoid public spaces such as his warkop to prevent increasing numbers of COVID-19 cases. In line with this complaint, several members of the Surabaya Parliament also criticised the warkop. They urged the students to stay at home as regulated previously by the government. According to them, Surabaya's municipality would provide free internet in several public spaces in the neighbourhood, such as Balai RW (the neighbourhood hall). However, by mid-August 2020, this plan had remained on paper (Kholisdinuka 2020). Moreover, the students still came to Warkop Pitu How to cite this book chapter:

The first half of the twentieth century in Indonesia is often remembered as the Age of Motion. The term "motion" (pergerakan) is invariably used in history textbooks for students and in the official Indonesian historiography: Sejarah nasional Indonesia (Kartodirdjo, Poesponegoro, and Notosusanto 1975;Poesponegoro and Notosusanto 2008) and in the new edition, Indonesia dalam arus sejarah (Lapian and Abdullah 2012). Political movements in Indonesia always dominated the discourses of pergerakan at the expense of developments in other sectors, including culture. This cultural development, particularly in Java, was intricately intertwined with the upsurge in Javanese and then Indonesian nationalism, an expansion of modernity and Islamic revivalism. Topeng Panji with all of its forms around Java is symptomatic of this development. This paper is an initial investigation into the developments of topeng Panji across Java in the Age of Motion. By tracing the social and cultural histories from the perspective of the bureaucrats, artists, and government officials who wrote in books, journals, and other contemporary sources, this study aims to highlight topeng Panji and its development during that period.

Central Sulawesi is a part of Indonesia with a fascinating history during the revolutionary period (1945–1950), owing to several important events related to Indonesian sovereignty. This study uses historical methods to examine the involvement of the Netherlands Indies Civil Administration and its effort to recolonize the area. The Malino Conference, which led to the formation of the State of East Indonesia, was intended to legitimize the federated state under Dutch control and reduce the territory of the Republic of Indonesia. The Central Sulawesi Indonesian People’s Struggle Party is a unification of political parties that consistently maintained Central Sulawesi as part of the Republic of Indonesia, strengthening its bargaining position with the Dutch. This situation brought strong pressure to bear upon the Netherlands to immediately recognize the sovereignty of the Republic of Indonesia.

This paper is an attempt to converse about urban heritage preservation and its experience. To converse is to colloquially discuss ideas that comes to mind while we are looking back at the 2019 photographs of some parts of Kota Tua Surabaya (The Old Town of Surabaya) and reflect upon our knowledge background, one of architecture, the other of history. This conversation is created through a form of creative writing, creative nonfiction, where we begin with our personal thoughts, one of experiencing ruination and the other of witnessing complexity of urban heritage preservation, one of decay and the other of paint. We involve relevant discourses and the use of visual materials such as collages, diagrams, and drawings as a form of visual inquiry and visual illustration, showing the interpretation, reality, and the imagination of fragments of Kota Tua Surabaya. The process involved in creating this conversation could be one of the ways to creatively build collaborative knowledge and have the writings and the visual materials based on personal voice, expanding the academic form of writings.

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