Performing reconciliation? An examination of wayang potehi and its struggles in the multicultural society of democratizing Indonesia

Abstract

Wayang potehi, a glove puppetry form that originated in the southern Fujian Province of China, has helped to consolidate the ethnic identity of Chinese sojourner communities in Indonesia through serving as part of ritual observances in Chinese temples and as public entertainment during important Chinese holidays and festivals. In contemporary Indonesia, the cultural significance of this art form has evolved due to a dramatic shift in its practitioners – from Fujian-Chinese immigrants to peranakan (referring to those of mixed Javanese and Chinese ancestry, who may not understand Chinese dialects) and Javanese performers. Noticeable changes have been observed in the aspect of narrative language and musical elements used by these new performers in wayang potehi. Scholars have emphasized the expression of peranakan or Sino-Indonesian identity through the alternative wayang potehi practices, but they have yet to thoroughly explore the impact and significance of these changes in potehi on the Chinese-Indonesian community and its role in contemporary discourse of multiculturalism in Indonesia. This dissertation draws on ethnographic research focused on wayang potehi puppetry and its music. It examines the performative style of four wayang potehi troupes: Lima Merpati, Fu He An, Tjoe Tiek Kiong temple troupe, and Rumah Cinwa, with a particular emphasis on musical expression. By examining their performances across various “stages” – including domestic and international cultural venues, as well as virtual representations in media and cyberspace – I demonstrate how the identity of peranakan, often perceived differently across Indonesia’s diverse society, is reflected in contemporary wayang potehi. This perception is strategically employed to foster a civic-nationalist consciousness within wayang potehi, with the aim of contributing to the reconciliation of past conflicts among the ethnic Chinese and their pribumi (indigenous) counterparts. The complexity of peranakan identity can be attributed to the flourishing maritime trade in Southeast Asia, which was dominated by Europeans starting in the late sixteenth century, which facilitated the ongoing migration of the Fujian population to the south. Additionally, the globalization of Western thought and ideologies in the twentieth century has further complicated this identity. Globalized cultural exhibition formats, such as festivals and media platforms, have sparked creativity in potehi performance, particularly in the aspect of music, and have influenced expressions of self-identity. This innovative approach in performance grants the genre opportunities to negotiate national recognition at international festivals while transforming itself into a platform for promoting and facilitating ethnic reconciliation within a democratized nation-state, though the potential for this level of influence has been disappointedly (but predictably) limited.