Merdeka is a word in the Indonesian and Malay language meaning independent or free. It is derived from the Sanskrit maharddhika meaning "rich, prosperous and powerful". In the Malay archipelago, this term had acquired the meaning of a freed slave. The term Mardijker is a Dutch corruption of the Portuguese version of the original Sanskrit words and was used to designate former Portuguese and Dutch slaves from India in the East Indies, known as Mardijkers, whence the Malay meaning of "free(dom)" is derived. Mardijker are the former Catholic slaves brought from India and the East Indies that were liberated by the Dutch if they abandoned Catholicism and embraced the Dutch Reformed Church. The term was significant during the anticolonialist and pro-independence movements of the colonies of Indonesia, Malaya, and Singapore, in the history of Indonesia, history of Malaysia, and in the history of Singapore. It became a battle-cry for those demanding independence from the colonial administrations of the Netherlands and United Kingdom. In the southern Philippine island of Mindanao, the Moro people belonging to major ethno-linguistic groups of Meranaw, Maguindanaw and Iranun, use maradeka in the same meaning as freedom or liberation and freedom group there is called Maradeka.
Merdeka 17805 (ムルデカ 17805, Murudeka 17805) is a 2001 Japanese war film by Yukio Fuji which depicts a Japanese soldier who arrives in the Dutch East Indies during the occupation and stays to fight in the Indonesian National Revolution. The film emphasised the Empire of Japan's role in Indonesia's independence, leading several writers to describe it as propaganda. It was also controversial in Indonesia owing to concerns of historical revisionism, because Japan's occupation of the area is depicted as the Empire protecting it from Western aggression. The film was a financial success in Japan.
In early 1942, the army of the Empire of Japan occupies the Dutch East Indies and overthrows its Dutch colonial leaders. During a visit to a Javanese village, Captain Takeo Shimazaki (Jundai Yamada) and his translator Yamana (Naomasa Musaka) are told that their arrival was predicted by King Jayabaya centuries before. Touched by this pronouncement, Shimazaki promises to free the archipelago from colonialism. Later, he is assigned to sneak into the last Dutch stronghold in Bandung and negotiate the unconditional surrender of the Dutch Army, a mission he completes successfully.
Loving the dead
A torso, a hand or a severed head
The cemetery girls don't say no to their fate
When their bodies get too rotten
Their skeletons do great
Lurking in the shadows with you on my mind
I'm engulfed by your beauty
I'm a man who's gone blind
Watching you move so graceful this night
I'm going to catch you, how I long for this fight
Smelling your hair as I'm working my knife
I adore how you scream when I take your life
How I love your pale white skin
And the emptiness in your lifeless eyes
And how I love the warmth within
Like the blood that sprayed
When you stopped your cries
Your naked corpse is as beautiful
As the dawn when it comes with the first sunray
But it was your peeled bleached bones
That really took my breath away
Admiring your beauty my wonderful rose
Oh what pleasures you'll give me
Before you decompose
But the darkness has fallen and the clock strikes ten
Excuse me my darling but the shadows
Are calling again
How I love your pale white skin
And the emptiness in your lifeless eyes
And how I love the warmth within
Like the blood that the sprayed
When you stopped your cries
Your naked corpse is as beautiful
As the dawn when it comes with the first sunray
But it was your peeled bleached bones
That really blew my mind away
How I love your pale white skin
And the emptiness in your lifeless eyes
And how I love the warmth within
Like the blood that sprayed
When you stopped your cries
Your naked corpse is as beautiful
As the dawn when it comes with the first sunray
But it was your peeled bleached bones