After the Dragon is Free to Dance
Ahead of the Chinese New Year some weeks ago, Chinese culture suddenly became an attractive and saleable commodity. Television stations competed with each other for ratings by featuring programs with Chinese themes. Quality was of secondary concern. But more important, was the realization of a true Chinese New Year celebration. A new film, Ca Bau Kan, adapted from Remy Sylado's novel, which discusses aspects of Chinese culture, was also part of this momentum. A festive atmosphere was to be found in every shopping center, where Gong Xi Fa Cai (Happy Chinese New Year) banners and lion dance performances were prominently on display. The climate of exhilerating openness initiated by Abdurrahman Wahid's presidency can be considered a chief contributing factor to this development. Unfortunately, after 30 years in the shackles, artistic expression amongst ethnic Chinese Indonesians may have been stunted. The wayang potehi, or Chinese hand-puppetry, seems to be facing extinction. Join us in a TEMPO special on the arts and culture of China that are once again shining in Indonesia.
February 26, 2002
The Snake writhed its way out of an era. There were murmured prayers amid thin smoke trailing from joss sticks spread throughout the prayer hall of the Dharma Bhakti Temple, as people welcomed the arrival of the Horse. The flames from hundreds of candles and red paper lanterns illuminated the golden hues of the altar, sending flickers of light across the monastery pillars. The atmosphere was genuinely bright in this 500-year-old ritual house
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