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Entries tagged as ‘culture’

Mal Ciputra goes Korean with cultural exhibit

March 5, 2006 · Leave a Comment

The Jakarta Post, Sunday, March 5, 2006

Ever wonder what lies underneath the layers of the Korean hanbok? Well, now you can find out at the weekend exhibition on Korean culture and manhwa Korean comics at Mal Ciputra, West Jakarta.

A display on the details of the traditional dress, a demonstration on how to make gimbap (rice rolls), a kimchi-eating contest, and an introduction to traditional toys are some of the highlights of the From Korea with Love exhibition. The exhibit is being held by the Embassy of the Republic of Korea in Jakarta in conjunction with the first anniversary of Korean comic magazine Champ, published here in Bahasa Indonesia by PT Elex Media Computindo.

“This program aims at introducing Korean culture, arts, sports and food, as well as images of Korea to the Indonesian people, especially young Indonesians,” the embassy said in a statement.

Champ, a comic magazine for teenagers first published here in December 2005, quickly gained a following similar to the popularity of Japanese manga.

“Korean comics has not yet reached the same popularity as manga, but more people are taking interest in them, particularly since many Korean TV dramas have gained popularity here,” Champ Bahasa Indonesia comic editor Ivana told The Jakarta Post on Saturday.

The 416-page magazine presents some 12 different titles each month with topics related to teen life, and is sold for Rp 20,000 (US$2) in bookstores.

Other Korean comics published by Elex Media Computindo will also be on sale during the exhibit at reduced prices.

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Gestures spoke volumes for Betawi couples

February 13, 2006 · Leave a Comment

The Jakarta Post, Monday, February 13, 2006

Modern-day couples may say it with flowers, chocolates or teddy bears, but in the olden days, Betawi youths sent handkerchiefs perfumed with Air Mata Duyung (“mermaid’s tears”, a popular brand of perfume) to their loved ones.

“That mean there was no turning back afterwards,” Betawi historian Ridwan Saidi told The Jakarta Post on Friday.

Traditional Betawi culture dictates that relationships between men and women are kept separate. Interaction between the two are kept to a minimum and under strict supervision from family members, usually mothers.

But young people have changed little over the decades, and rules and propriety are no match for their guile when they are in love.

Social events such as wedding feasts, the year-round night fair at Princen Park (now in modern-day Lokasari, West Jakarta), and the annual Pasar Gambir fair in commemoration of Queen Wilhelmina’s birthday every August were utilized to full advantage by young folks enjoying a night out and surveying their prospects.

“Young men would come with their friends, while females were always accompanied by their mothers or older female relatives. There was no question of going up to a girl and introducing yourself,” Ridwan said.

So while the orkes Melayu (Malay orchestra) or gambang kromong (a music troupe combining local, Chinese and Western musical instruments) were playing, young men made eyes at the girls.

“Often the men would request songs for the women, for example the Seroja song for the woman in the red kebaya,” Ridwan said.

The young women might then respond with their handkerchiefs. A neatly folded handkerchief pressed to the mouth indicated disapproval, or an open handkerchief gently fluttered for a more positive response.

“An open ‘I like you’ would be the height of indiscretion for women in those days, so even a simple response as the fluttering of a handkerchief is enough of an indication,” Ridwan explained.

In the manner of the great detective on the trail of a suspect, the man would then follow the girl home at a distance. And after finding out where she lived, he would then wrack his brains remembering friends and slight acquaintances who happened to live nearby, and who might know the girl.

“Through this mutual acquaintance, the young man would send letters and receive replies,” Ridwan said.

He explained that the ritual was simpler after the 1960s, when the man could make visits to the woman’s home to indicate his interest.

“This was during my time, I could go and visit a girl’s home. But then the girl wouldn’t come out, and I had to entertain her father instead!” Ridwan said laughing in remembrance.

After all these elaborate games of love, the man then needs to ask his mother to approach the girl’s family and ask for her hand in marriage.

More activity would then ensue, this time from the girl’s family who would discreetly obtain information from various sources — including from serep-serepan or sleuths — about the man’s job, family background and friends.

“It would take months, more than six months in some cases, to finally get to the wedding preparation,” Ridwan said.

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Chinese ‘gods’ parade streets

February 12, 2006 · Leave a Comment

The Jakarta Post, Sunday, February 12, 2006

The Lantern Festival, or Cap Go Meh, is celebrated on the 15th day of the first lunar month of the Chinese new year.

Believed to be a time when the gods descend from the heavens to grant wishes and good luck, this year, Cap Go Meh falls on Feb. 12.

Jakarta residents who want to learn more about Chinese culture can enjoy the city’s annual Cap Go Meh cultural parade.

The parade is in its third consecutive year since the government declared Chinese new year a national holiday in 2002.

Starting at 1:30 p.m. with a toapekong (likeness of traditional gods) performance, the parade will depart from Vihara Dharma Jaya temple — locally known as Toa Se Bio — on Jl. Kemenangan III in Glodok, West Jakarta, heading toward Fatahillah Museum Park.

“We will carry eight toapekong in the procession, and will be accompanied by barongsai (lion dance) and liong (dragon dance),” the organizer, Dharma Jaya Foundation chairman Husen Buntara Sjarifudin, told The Jakarta Post on Saturday.

“The procession marks the end of a range of religious rituals that began with the new year on Jan. 29, so it’s been a very hectic two weeks,” Husen said.

The procession will pass through Jl. Toko Tiga, Jl. Pintu Kecil Raya, and Jl. Kali Besar Timur.

Waiting at Fatahillah Museum Park to enliven the parade will be various Indonesian arts troupes such as tanjidor (traditional Betawi band), lenong (Betawi comedy), ondel-ondel (giant dolls), and reog (traditional East Javanese dance from Ponorogo).

The parade will be officially opened by Governor Sutiyoso, after which it will proceed to Jl. Pintu Besar Selatan, Jl. Hayam Wuruk, and turn around at Mangga Besar toward Jl. Gajah Mada.

It will then turn off at Jl. Pancoran and through to Jl. Toko Tiga and Vihara Toa Se Bio.

“Once at Toa Se Bio, the toapekong procession will come to a halt, while the rest of the parade continues on, back toward Fatahillah,” Husen said, explaining that he expected to arrive back at the temple some time between 5 and 6 p.m.

In previous years, the parade attracted more than 2,000 people from Jakarta and surrounding areas. It also caused massive traffic jams.

Learning from this, the West Jakarta administration and police will deploy some 1,000 personnel to help direct traffic, nevertheless motorists are advised to avoid the area.

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New identity for ethnic Chinese youth

January 28, 2006 · Leave a Comment

The Jakarta Post, Saturday, 28 January 2006

“Why did you decide to go to Taiwan to study Chinese?” Suwendry Paidiso, or Beben to his friends, paused to consider his answer.

He could not put his finger on it. The fact was, there was no reason.

Both his Indonesian-born parents live in Taipei, and his older sister is married to a man from the island. And although his heart is in Jakarta — where he spent his formative years, and where his girlfriend lives — it was simply easier for the young man from Palembang, South Sumatra, to follow in the footsteps of his family.

Living near Fujien province, mainland China, where his father’s family is from, Beben nevertheless has no interest in rooting out his family tree.

“There may be people there who are related to me, but I don’t know them; I don’t see the point of going there,” the 24-year-old Chinese-Indonesian told The Jakarta Post recently.

As for the Chinese language, Beben said it was no different from English, German or any other foreign language he studied in school.

“Bahasa Indonesia is my native language, Chinese is nothing but another foreign language to me. But, who knows, my learning Chinese could be beneficial in business later on,” he said.

Chinese cultural expert Eddy Prabowo Witanto said Beben’s view of his ancestral land and culture was a common one among the younger generation of Chinese-Indonesians.

“The older generation wants their children to explore what they consider to be their cultural identity, which is why they send their children to study Chinese on mainland China, in Taiwan and other places.”

“But the younger generation see it as just another chore; one that was imposed upon them, and not of their own doing,” said the lecturer at Beijing Foreign Studies University.

This generation gap widened when president Soeharto used laws, regulations, presidential decrees and other instruments to force Chinese assimilation from the late 1960s to his resignation in 1998.

“Slowly but surely the restrictions ate away at the Chinese culture, and in some areas, especially on Java, the assimilation was total,” Eddy said.

But what about other parts of Indonesia? Why has Chinese culture in Pontianak, West Kalimantan, for example, persevered?

The answer, Eddy says, lies in the nature of immigration from mainland China — mainly from the southern parts of China such as Fujien, Hainan and Guangdong provinces.

On Java, immigration began in the 1400s, spurred by trading activities. The immigrants settled mainly on the northern coast of Java, and over time, and through intermarriage, influenced local cultures. They became known as the peranakan.

On the other hand, Chinese immigration in other parts of Indonesia — such as in Bangka-Belitung, Riau and West Kalimantan — began in the early 1700s when the Dutch opened up vast areas of land for plantations and mining.

“The Dutch transported whole villages to work in these plantations and mines, and so the people stuck together and rarely mixed with the locals,” Eddy said.

The absence of a dominant culture in those areas explains how these more recent Chinese immigrants, or totok, retained their culture, he said.

The cultural identity of the totok was stronger than the iron fist of Soeharto. While Chinese-Indonesians on Java adapted to local cultures, the totok resisted, he said.

When the decades of restrictions on language and culture ended, the Chinese-Indonesian community has struggled to forge a single cultural identity.

“Unlike the peranakan culture in Singapore or Malaysia, where there’s never been a gap, Chinese-Indonesians don’t know which elements of Chinese culture to adopt,” Eddy said.

“So what happened was an introduction to an alien culture, which many Chinese-Indonesians had never experienced. For the younger generation, this revival had no meaning,” Eddy said.

“Can you imagine a girl wearing a qibao (Shanghai-style dress), looking like a real Chinese girl but not understanding any Chinese, who speaks with a thick arek Suroboyo (Surabayan) accent? It’s laughable, and saddening,” he said.

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