Chinese culture embraces Bali

By Putu Wirata

DENPASAR (JP): The famed tourist island of Bali has become a safe haven for Chinese-Indonesians following the riots in Jakarta and Surakarta in mid-May in which ethnic Chinese were a main target.

Hotels have reaped windfalls and property developers formerly dying in the dire crisis are now overwhelmed by orders for new houses that carry price tags of between Rp 100 million (US$9,000) and Rp 200 million each.

Chinese-Indonesians are apparently confident that, unlike in Java, they will not be targeted by rioters and looters in the predominantly Hindu province. So far, they are right. Pro-reform demonstrations both before and after Soeharto's downfall did not lead to violence.

Although Chinese-Indonesians dominate commerce in some major Balinese cities, there has been no visible sign of anti-Chinese resentment on the island.

One simple explanation for it is the rich-poor gap between Chinese-Indonesians and the Balinese is not wide and that the area can withstand the crisis crippling many parts of the country.

The presence of Chinese culture in Bali dates back to the 6th century when the Balinese still embraced Theravada Buddhism. The two peoples maintained close cultural relations, and the Chinese cultural influence persists today.

Among lasting Chinese cultural heritages is the pis bolong, a Chinese coin with a whole in the center, now still a standard item in Balinese Hindu rituals. Rites that use the coin are the adoration of King Subandar at Pura (temple) Dalem Balingkang and Pura Ulun Danu Batur in Kintamani and Pura Silayukti in Karangasem.

At Pura Mertasari in Sanur, there is a sacred dance called Baris Cina considered a Chinese cultural legacy. Pura Dalem Balingkang boasts Baris Tombak and Baris Tombak while Subaya- Bangli has Baris Prasi sacred dances, all of which are believed to be evidence of Chinese cultural influences.

Pis bolong began to circulate in Bali between the 7th century and 8th century. Its presence became more widespread through efforts of the Danish merchant Mads Lange. Living in Kuta from 1839 and 1856, Lange monopolized importation of the coins from China that he exchanged for clothing, opium and Balinese jewelry.

The coin later changed function from legal tender for trade to a ritual item symbolizing livelihood in Hinduism.

Balinese use the coins as one of the offerings in a groundbreaking ceremony for building projects. Other offerings include iron, silver, bronze and gold. The coin symbolizes life given to an object. It is also used as alms and to "pay" for Hindu clerics who take care of sacred places.

So prevalent are the coins in Hindu ceremonies that few Balinese Hindus realize the money is of Chinese cultural origin.

Symbolic assimilation of Balinese-Chinese cultures is even more apparent in the barong landung, a couple of sacred giant puppets found in Temple Dalem Balingkang and Kintamani and several other villages in Bali.

Since they are considered sacred, the puppets are given ceremonial offerings because they are believed to bestow protection on believers.

A folktale says the puppets represent King Jaya Pangus and his ethnic Chinese wife Kang Chi We. The king was devastated by the loss of his wife, who died of sorrow after their son, Mayadenawa, had defected and built his own kingdom in Bedahulu, Gianyar.

Mayadenawa became a tyrant and atheist. He considered himself a god and, unlike his parents, he prohibited his subjects from holding major rituals.

Kang Chi We was introduced to King Jaya Pangus by her guru (Mpu) Liem. According to the folktale, Liem endorsed the king's marriage proposal on the conditions he stopped eating uncooked meat and that he held a teeth-filing ceremony to show his commitment.

While some believe the marriage between King Jaya Pangus and Kang Chi We existed only in the folk legend, it is generally interpreted as more evidence of how Chinese culture has influenced the Balinese.

Others regard the folktale as bearing historical fact, "proven" by the existence of Temple Dalem Balingkang in Kintamani, a worship place for Balinese Hindus.

Another figure often associated with the Kang Chi We story is Ida Ratu Ayu Subandar, who is a symbol of the Chinese domination of business in ancient times.

Subandar's place of worship is at Temple Balingkang and Temple Ulun Danu Batur, both in Bangli, and Temple Silayukti in Karangasem. Worshipers are mostly Chinese-Indonesian Buddhists.

Cultural observer I Made Bandem says the Chinese cultural legacy can also be traced to the famous sacred mask dance, Barong ket, performed only for rituals. The dance, he says, may be a modification of the famous Chinese Barongsai dance given local color and religious philosophy.

Perhaps it is this long-standing cultural assimilation that makes Chinese-Indonesians feel secure in Bali. Unlike in other provinces, they do not live in exclusive communities. It appears likely they will continue streaming to Bali as long as they fear violence in other areas.

Relations are good now, but Bandem warned problems could arise later.

"They may form exclusive communities if cultural communication with indigenous Balinese does not work due to social, economic and political tensions," he said.