Margaret Chan: Indonesia, a Treasure Chest for Research

Margaret Chan

Margaret Chan, PhD.  is a pioneer of English Language Theatre in Singapore and was a journalist. She is Practice Asst Professor of Theatre/Performance Studies in the School of Social Sciences, and also teaches Creative Thinking for the Lee Kong Chian School of Business at SMU where Creative Thinking is a core module in the SMU curriculum. At SMU, Margaret also teaches Ethnography, Cultural Identities and the Art and Theatre.

Her  research interest is in the field of Chinese spirit medium worship and Chinese Popular Religion. Her book, Ritual is Theatre, Theatre is Ritual: Chinese Spirit Medium Worship published by the Wee Kim Wee Centre, SMU and SNP Research represents a seminal investigation into the practice of tang-ki spirit medium worship, a signifying cultural practice of the Hokkien people. Although the worship is widespread in the major communities of the Chinese diaspora in Taiwan and South East Asia, the subject has received scant scholarly attention, so that Margaret’s research has contributed to world knowledge in this field. Her investigation covers Singapore, Fujian in China, Taiwan, Malaysia, Thailand and in particular, over the past two years, she has researched in Indonesia. It is my interview with her.

Agung PW: Why are you interested in ritual theatre? What is ritual definiton
in your perspective?

Margaret Chan: I have been a theatre practitioner for 50 years. So perhaps, as an anthropologist I am naturally inclined to research performances/theatre in the field. I am particularly interested in ritual theatre. The term ritual is a subject of much scholarly discourse, but perhaps a simple definition with regard to my personal research might be performances that have meanings and purposes (often sacred or spiritual) beyond entertainment.

Agung PW: Does Indonesia have ritual theatre? Would mind giving me some examples?

Margaret Chan: All Asian theatres have ritual roots. Indonesian theatre such as wayang kulit, wayang topeng: The dalang prays before he begins his show. It is sometimes, held that the dalang is Semar. In wayang topeng, there is the belief that there is a spirit in the mask which moves the actor. It is also believed that there are spirits in musical instruments, and of course there are trance dances such as kuda lumping.

Agung PW:   How many times have you researched ritual theatre in Indonesia?
What have you got? And what is the output for human being?

Margaret Chan: I have researched the Capgomeh (fifteenth day of Imlek) parade in Singkawang West Kalimantan, Nini Towok in Yogjakarta, jailangkung, and am now research trance possession performance of kepercayaan groups worshipping Semar.

Agung PW:     Singapore is a hybrid culture. How do you define identity of
Singaporean culture?

Margaret Chan: Perhaps hybrid is not the best adjective, perhaps multicultural is a better choice. The salad metaphor might be applied. Different cultures coming together to make a whole.

Agung PW:      There is no native culture in Singapore? How do you define native
culture in the context of Singaporean cultural heritage?

Margaret Chan: What is native? We know that Hinduism, Buddhism, Islam has come to Indonesia and greatly influenced Indonesian culture, is there an ur-ancestor? For example, is there an essential "Javanism", and would this be argued as an essential "Indonesianism" since Java is the centre of government? The Balinese, Sumatrans and others would not agree. I think multiculturalism is a major attribute of being Singaporean.

Agung PW:       You teach social studies at Singapore Management University.  What
does the social problem arise in Singapore due to multicultural people?

Margaret Chan: Ethnic and religious beliefs and value systems are strongly held and serve as boundary markers of being "inside" and "outside" groups. Differences too often lead to conflict. In Singapore, this reality is not taken for granted; we have laws that ensure racial and religious harmony.

Agung PW:      Why do you like wayang beber?  And what is the most interesting of
wayang beber?

Margaret Chan: Wayang beber is proposed as the oldest of Indonesian theatre, though of course this is arguable. But certainly wayang beber should be the subject of scholarship for it is under-researched.

Agung PW.      You have frequently visited Indonesia. What do you think about

Indonesian culture and people?

Margaret Chan: I feel that Indonesia is like a treasure chest. Researching in Indonesia is like constantly uncovering fascinating gems.

Agung PW:      What is Indonesian heritage do you like the most?

Margaret Chan: I am Peranakan, my ancestors came to Southeast Asia hundreds of years ago. A lot of the cultural traditions practised in my family have Javanist roots, for example, we call our aunties mbuk. And in our kitchen the lesong and batu are always kept together because my mother told me that if you separate the mortar and pestle, the pestle will cry for its mother. So researching in Indonesia almost feels like a coming home to family.

Agung PW:     How does Singapore government to manage heritage currently? What
is your suggestion to Indonesian heritage communities?

Margaret Chan: Singapore is an urban hub. As a node in a network, we have to bring to our metropolis, the cultural traditions of the world. Indonesia, on the other hand is a vast country, every island, every region, every place and space has its own communities, each with their special traditions. Your country is, like I have said, a treasure chest. It would be a pity if the individual gems are all thrown away for a single bland whole such as Western pop culture.(apw)