The Chinese Footprints in Minangkabau

Ilustrasi pernikahan adat Minangkabau Foto: Shutter Stock

According to Vasanty (2004) the arrival of Chinese to Indonesia did not stem from one ethnic groups but comprised several ethnic groups originating from two provinces, Fukien and Kwantung. Furthermore, it is said that the coming of the largest Chinese immigrants to Indonesia started from the 16th century to mid-19th century, which came from the Hokkien ethnic group. They originated from southern Fukien province. This is a very important area in the growth and immigration of Chinese across the ocean.

Meanwhile, other Chinese immigrants who came to Indonesia were Teo-Chio and Hakka people. The Teo-Chio derived from the southern coast of China, a remote area of Shantou (alternately romanized as Swatow) in the eastern part of Guangdong (formerly spelled Kwangtung). They have been known for being hard-working people in mining and plantation in East Sumatra, while Hakka people immigrated due to their barren lands, inducing them to seek new and better areas for living.

Hence, the advent of Chinese tribes to Indonesia is bound to two factors, trading and decent life-searching. In addition, their coming to the archipelago, along with their cultural components, encountered the existing culture in Indonesia. This turned them to be agents of cultural transmission marked by ability to distribute their culture of origin and adjust themselves to Indonesian existing culture (Naim, 1984).

For any ethic groups in the archipelago, such a meeting gave rise to three cultural responses; surviving the original culture, mixing with the immigrants’ culture and banishing either the foreign or the original values and traditions. Frankly speaking, people could not shun the three realities as engagement of diversities always brought with it its own negative and positive values. Disregarding foreign values would make people lag behind this ever-changing world. Prior to synthesizing different cultural values, it is necessary that existing faith and way of life are not under compromise. Ditching the original culture by letting foreign culture in is detrimental as it can extinguish the identity of ethnic groups.

A great synthesis of Minangnese and Chinese culture remains visible this far. It is owing to frequent contact between the two cultures. In practice, the Chinese traces in Minangkabau have been seen in language, art, and clothing. In language, for instance, there is a term called marantau cino (Chinese wander), referring to Minangnese wanderers who rarely return home or even never go home at all. It is presumably linked to the habit of Chinese going abroad to various parts of the world and generally seldom return to their homeland. This is to do with unfavorable economic condition overseas or indecent life back at homeland.

This makes sense as their return to their village or hometown requires much time and money. Some research suggests that the extinction of families in the village contributes to their reluctance to going back home. Longing for the family members is a strong motive for any immigrants to pay their village or hometown a visit. Though this term, marantau cino, is taken from context of Chinese migration, it is very famous among Minangnese. It has even become a byword for people who rarely come home within Minangnese culture.

Meanwhile, the term cino buto (blind Chinese) can be found in various marriages in Minangkabau. The term emerged when a husband issued his wife a talak tiga (final divorce), a situation in which a Muslim husband cannot remarry a former wife before the woman marries another man. Once upon a time, the man wanting to marry the ex-wife or widow was called cino buto. Usually he was a dumb or unintelligent. After marrying the woman, he had to divorce her, paving her the way to remarry her former husband. This cino buto guy would be given reward for this role. This kind of practice is actually prohibited by Islamic law. However, this incident took place among Minangnese community in the past. Now it has gone poof.

Furthermore, the influence of Chinese culture on Minangkabau was viewed on carving. Minangnese call it aka cino (Chinese skill). This carving can still be found in rumah gadang (traditional Minangnese house). The question, why did Minangnese use the term aka cino? Hermeneutically, aka cino describes the foresight of Chinese in search of the brass ring to hold water, implying resourcefulness in making a living. The analogy of carvings is like a plant root, which is small and soft, but can penetrate the ground and find crevices of hard place. The point is one has to be gentle in the face of problems without leaving the reasoning power behind. That’s what render Chinese to be observant in catching up the opportunities, especially in the business sector. Just like Chinese, Minangnese dabble in business in an exceptional fashion.

Clothing models could not be free from Chinese fashion style, particularly often worn by men. At first glance, it is not too exaggerated and showy, but it can also give the impression of neatness. It can even be used in various conditions. It has been a favorite attire when people dress up as for a party and even for worship. This clothing model is named guntiang cino (Chinese fashion style), which is quite popular and still holds on today.