From the Temple to Mall: The Transformation of �Potehi� Puppet Theatre Troupe in Indonesia

Juwiantho, Hans and Pudjisuryadi, Pamuda (2024) From the Temple to Mall: The Transformation of �Potehi� Puppet Theatre Troupe in Indonesia. In: Tthe 10th SSEASR Conference, 04-12-2024 - 04-12-2024, Kuala Lumpur - Malaysia.

Abstract

This study aims to describe the transformation of wayang potehi (Fukien pronunciation: potehi, 布袋 performances as part of Chinese religious rituals, to entertainment performances for the general public. In other words, performances usually played as sacred rituals are now shifting into profane and businesslike performances. However, this does not mean that wayang potehi loses its sacredness completely. In Indonesia today, wayang potehi is still played in front of the gods in front of the temple. However, recently, wayang potehi has also begun to be played outside temples (malls, churches, and city halls), even to serve religious celebrations. Researchers see a shift in meaning from sacred to profane. Meanwhile, in terms of function, there is no change, namely entertainment and social functions. The research question to be answered is how this shift occurred. The research method applied is qualitative where the data collection techniques are in-depth interviews and observation. Informants are people who understand wayang potehi performances, including puppeteers, musicians or temple administrators and wayang potehi users. The results of the research show 1. Wayang potehi is played more by Indonesians compared to those of Chinese descent. There is a kind of competition between wayang potehi puppeteers, of whom there are not many in Indonesia. 2. The duration of the wayang potehi show, which is usually played for approximately one month, currently can be played in one or two hours. 3. wayang potehi, which is supposed to contain the noble teachings of Chinese culture, is rarely watched by the younger generation of Chinese descent so the transfer of ancestral cultural teachings to the younger generation is hampered. Compared to the performance of wayang potehi in Malaysia and Singapore, which is still in demand by the younger generation, wayang potehi in Indonesia shows less signs of being popular. 4. Potehi puppetry in Indonesia was previously not popular, so it could not promise an income for the players. However, recently potehi wayang has begun to become known and there are many requests to perform it, which has sparked competition in order to earn income.

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