Robert Draws – Wayang Potehi’s First Lady, Syarifa Syifaa Urrahmah, has become a prominent figure in preserving this unique traditional art form. Rich in history and cultural values, Wayang Potehi is becoming increasingly rare in Indonesia. However, Syarifa, a graduate in Javanese Literature from the University of Indonesia, has chosen to embrace the role of a Wayang Potehi puppeteer, dedicating herself to revitalizing and maintaining this fascinating art.
Syarifa explains that Wayang Potehi originated in China and translates to “pouch puppets.” Initially, this art form was only performed in temples, but over time, Wayang Potehi has expanded to other public venues, including malls and schools.
Syarifa’s fascination with Wayang Potehi began during her time at Rumah Cinta Wayang (Rumah Cinwa). An arts community in Depok, West Java, founded by her lecturer, Dwi Woro Retno Mastuti. It was here that she was introduced to Wayang Potehi as a result of Chinese and Javanese cultural assimilation.
“I was introduced to Wayang Potehi and learned that it’s an art born out of Chinese-Javanese acculturation. We were taught how to perform it and even had the chance to perform with friends starting in 2021,” Syarifa recalls.
What captivated her most about Wayang Potehi was the diversity of its characters and the life lessons embedded in its stories, such as the tales of Sun Go Kong or Si Jin-kui.
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Becoming a Wayang Potehi puppeteer was no easy feat for Syarifa. One of the biggest challenges was mastering Hokkien. A traditional Chinese dialect used in the suluk (opening chant) of Wayang Potehi performances.
“When I first started learning, I was mentored by a senior. The suluk is like an opening chant for each character. It’s performed in Hokkien, not Mandarin, and it’s much more traditional. It was very difficult for me at first. But after studying and practicing, Alhamdulillah, I managed to do it,” said Syarifa.
As a hijab-wearing Muslim woman of non-Chinese descent, Syarifa often faces skepticism and negative comments when performing as a Wayang Potehi puppeteer.
“People would say things like, ‘Why is the puppeteer wearing a hijab?’ There are also rituals like lighting incense during performances, which sometimes draw criticism. But for me, the focus is on preserving this art,” Syarifa explained.
To reach a wider audience, Syarifa and Rumah Cinwa have developed strategies to introduce Wayang Potehi to the younger generation. They use social media to share insights about Wayang Potehi and host a weekly event called “Minggu Semata Wayang,” which introduces Wayang Potehi to children.
Rumah Cinwa incorporates modern elements into Wayang Potehi to make it more relatable to Indonesian audiences. For instance, they occasionally stage stories about Indonesia’s independence struggle, featuring figures like Soekarno and Achmad Soebardjo. This adaptation is known as “Potehi Urban.”
“We are blending Wayang Potehi with urban elements because this art form is nearing extinction, especially in areas like Depok and Greater Jakarta,” said Syarifa.
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For Syarifa, preserving Wayang Potehi is a monumental responsibility. She hopes that the government and the public will join hands in safeguarding this endangered cultural treasure.
“I hope the government recognizes our efforts to preserve this rare art. And I urge the public to become more aware and participate in protecting this tradition together,” Syarifa concluded.
