The opening scene of television film Jangan Panggil Aku Cina (Djanas, 2002) shows a childhood flashback in which the film’s protagonist, Pia, attempts to identify with Padang identity and associated customs. Meanwhile, Pia’s non-Chinese Padang friends argue that because she is Chinese she cannot be considered a member of the Padang community. From here, the film depicts the romance that develops between Pia and Yusril, an Minang boy from neighbouring Pariaman, in Padang city. The story centres on the interpersonal conflict between the couple and Yusril’s family’s due to their anti-Chinese prejudice and dismissal of the Pia and Yusril’s relationship. However, the film also explores Pia’s internal conflict as someone who identifies with both Chinese and Indonesian cultures. In particular, the film demonstrates that despite growing up in Padang, being familiar with its customs, and even speaking local Padang language (as shown in the excerpt above), Pia isn’t able to fully claim this identity. Instead, the film suggests that while Pia has only limited knowledge of Chinese language and culture, being born into a family of Chinese descent and having recognizably Chinese physical traits is enough for others to label her as Cina. The Cina label is shown to be not only personally limiting for Pia but also socially limiting. For example, when Yusril attempts to assuage Pia’s fears of his family’s rejection by claiming that interethnic marriages have already gained mainstream acceptance, Pia notes “yang namanya Cina selalu beda (those named Cina are always different)”. The couple’s marriage, celebrated at the film’s end, symbolizes Pia’s eventual success in shedding this label and the social isolation it inflicts, as she and her family are finally accepted as members of the Padang community. While Pia’s story implies that Chinese Indonesians can shed the Cina label (albeit with the approval of the local community), the film nonetheless demonstrates the ongoing discrimination and social division evoked by the use of this label.

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Labelling Chineseness: What’s in a Name?

  • Jessica Kruk

摘要

The opening scene of television film Jangan Panggil Aku Cina (Djanas, 2002) shows a childhood flashback in which the film’s protagonist, Pia, attempts to identify with Padang identity and associated customs. Meanwhile, Pia’s non-Chinese Padang friends argue that because she is Chinese she cannot be considered a member of the Padang community. From here, the film depicts the romance that develops between Pia and Yusril, an Minang boy from neighbouring Pariaman, in Padang city. The story centres on the interpersonal conflict between the couple and Yusril’s family’s due to their anti-Chinese prejudice and dismissal of the Pia and Yusril’s relationship. However, the film also explores Pia’s internal conflict as someone who identifies with both Chinese and Indonesian cultures. In particular, the film demonstrates that despite growing up in Padang, being familiar with its customs, and even speaking local Padang language (as shown in the excerpt above), Pia isn’t able to fully claim this identity. Instead, the film suggests that while Pia has only limited knowledge of Chinese language and culture, being born into a family of Chinese descent and having recognizably Chinese physical traits is enough for others to label her as Cina. The Cina label is shown to be not only personally limiting for Pia but also socially limiting. For example, when Yusril attempts to assuage Pia’s fears of his family’s rejection by claiming that interethnic marriages have already gained mainstream acceptance, Pia notes “yang namanya Cina selalu beda (those named Cina are always different)”. The couple’s marriage, celebrated at the film’s end, symbolizes Pia’s eventual success in shedding this label and the social isolation it inflicts, as she and her family are finally accepted as members of the Padang community. While Pia’s story implies that Chinese Indonesians can shed the Cina label (albeit with the approval of the local community), the film nonetheless demonstrates the ongoing discrimination and social division evoked by the use of this label.