Betawi Culture Research Articles

LOCAL WISDOM-BASED STRATEGY OF TRANSFERRING KNOWLEDGEAMONG EDUCATORS AT EARLY CHILDHOOD EDUCATION PROGRAMS IN SRENGSENG SAWAH SUB-DISTRICT, JAGAKARSA DISTRICT, SOUTH JAKARTA

In every educational institution, knowledge is regarded as the principal asset to achieve its goals. Educators are thus required to improve and broaden their knowledge through the transfer of knowledge and information. This paper seeks to answer the following research questions: 1) how knowledge transfer is constructed, through the SECI process, based on local wisdom by educators at Early Childhood Education Programs (PAUD) in Srengseng Sawah Sub-District, Jagakarsa District, South Jakarta? 2) what kinds of local wisdom do they apply? The aim of this research is to identify the social construction that takes place in the process of local wisdom-based knowledge transfer among educators. By applying a qualitative approach and a case study method, this research found that the educators, all of whom are women, construct education based on collective consciousness of their role as mothers and their common predicament working as PAUD educators. Their role as mothers teaches them how to deal with children (as role models and motivators). Being aware of their similar condition—PAUD educators have not been given equal status as educators at formal kindergartens—they take the initiative to build a social relationship based on egalitarian values (trust and respect among each other), as well as cosmopolitan values (openness, honesty, and orientation towards information and technology). Egalitarian and cosmopolitan values are part of the Betawi culture. The significance of this research is to raise a cultural understanding of the process of local wisdom-based knowledge transfer.

Transforming Shell and Society Elements in Human Settlements for Sustainable Tourism Development: Setu Babakan, South Jakarta, Indonesia

The government has established the settlements around Setu Babakan as Betawi Cultural Village (PBB). The goal of PBB Setu Babakan is to preserve Betawi culture which is fading, and realized by making the location as a tourism destination in South Jakarta. This paper discusses the transformation on the two ekistics elements in human settlements around Setu Babakan; shell and society in the development of tourism. Shell as a physical element is reflected in the citizen’s houses which are adapted into traditional Betawi houses. While the society refers to Setu Babakan’s citizen who participated as economic actors by selling traditional Betawi food and beverages, as well as a performers at the Betawi traditional art performances. In its application, the adaptation of citizen’s houses into traditional Betawi house cannot be done completely. The adaptation that can be done to the residents’ houses is by beautification in the appearance of the building. The application of typical Betawi ornaments makes the settlement feels like Betawi traditional village. This is one of the attractions for tourists. They can enjoy the atmosphere of Betawi village, enjoy Betawi food and beverages, watch Betawi art performance, and enjoy the lake tour at PBB Setu Babakan.

Betawi Cultural Village, The Last Asylum

SB Betawi Cultural Village is a region defined by the Jakarta administration as cultural preservation area. This research will discuss the link between this village with politics, history of Betawi ethnic origin, as well as field visits. This research will conduct a view from two perspectives, one is the perspective of an architect and the other is of a commoner. This research tries to understand the meaning of the presence of this cultural village and how it was presented as a preservation and reservation area, not only the nature but also the Betawi culture and ethnic. In addition, this research also describes an understanding of the participation of politic, architecture and space in building the image of the region and at the same time creating a development boundary. Because of the sensitive topic of this research then the subject has to be abbreviated into ‘SB’.
 Keywords: Betawi people, cultural village, heritage, power

ANALYSIS OF TOURISM ATTRACTION, ACCESSIBILITY, AMENITIES, AND ANCILLARY SERVICES TOWARDS LOYALTY WITH CUSTOMER SATISFACTION AS INTERVENING VARIABLE IN BETAWI SETU BABAKAN JAKARTA

The satisfaction of tourists is a desirable achievement in the tourism sector, especially in one tourist destination. Satisfaction also has an influence on the emergence of loyalty. This study was conducted from February – June 2015 to examine the effect of factors affecting the sake of the visitors of Setu Babakan and its impact on loyalty. These factors consist of Tourism Attraction, Amenities, Accessibility and Ancillary Services. Primary data were collected through observation of questionnaires distributed to tourists visiting and were enjoying tourism products at Betawi Cultural Village Setu Babakan, Jakarta. Questionnaire collected 120 respondents who then analyzed using the method of Multiple Linear regression analysis. The test result of Attraction Attractions is 0.570 with beta coefficient value of 0.117. Accessibility of 0.370 with beta coefficient value of -0.160. Amenities of 0.001 with the value of beta coefficient of -0.633. and Ancillary Services of 0.336 with the value of beta coefficient of -0.107. thus the whole factor is declared no effect on visitor satisfaction. Test Result of Satisfaction Factor of 0.000 with beta coefficient value of 0.955. thus Satisfaction has a positive and significant influence on Travelers Loyalty

THE DIGITAL COMIC DEVELOPMENT IN INDONESIA (A CASE STUDY ABOUT THE STORY OF “SI PITUNG”)

Indonesia is an archipelago. It is one of the biggest archipelagos in the world. Indonesia it is 14th. Indonesia is devided by territories and each territory has its own culture. Indonesia has 245. 000.000 people as the inhabitant. The capital city of Indonesia is Jakarta and the original culture of Jakarta is Betawi. Betawi as the original culture of Jakarta has a lot of stories and one of the popular stories is “Si Pitung”. The story of “Si Pitung” is being told very often by Indonesian community and becomes a legend and an inheritance from Betawi or Indonesia. Si Pitung” sometimes is beingtold as a ballad, a poem or a folk thetare. Koesasi(1992), “Si Pitung” is identified as a prominent figure from Betawi who is very humble. He is a Muslim. He is very patient and he likes to help people. He is also a person who works very hard. He is a model of social justice. Based on the folktale from Betawi culture, the authors would like to introduce the story of “Si Pitung” to be well known by people from other cities in Indonesia. The authors also hope that children and teenagers from Indonesia know the story of “Si Pitung” as he is one of the hero in Indonesia. The digital comic of “Si Pitung” can be downloaded through electronic media such as mobile phone, PC Tablet or other gadgets easily.

PARTISIPASI MASYARAKAT DALAM PENYELENGGARAAN FESTIVAL PALANG PINTU SEBAGAI ATRAKSI WISATA BUDAYA DI KAWASAN KEMANG JAKARTA SELATAN

Palang Pintu Festival is an annual program organized by Forkabi (Betawi Children's Communication Forum) DPRT Bangka Kemang and Betawi Cultural Center namely Padepokan Manggar Kelape featuring Betawi culture and performing arts and community participation. The purpose of the festival is to preserve and introduce Betawi culture in Kemang area. This study discusses the elements of cultural tourism and the form of community participation in the Palang Pintu Festival. Data collection methods used were observations, surveys using questionnaires, interviews, and documentation then analyzed and presented in quanititative manner and supported by qualitative data, where the results will be presented in the percentage number. Technique of data analysis used in this research is with validity test, reliability test and also use rank spearman analysis method. The result of this research shows that the characteristic of society is seen from the age type dominated by the age of 15-25 years as much as 39 % and the sexes, both men and women are the same size because this research uses roscoe theory in determining the number of respondents, if the sample is divided into 2 then Per sub sample to 30 respondents respectively. The level of community participation in the Palang Pintu Festival is at a moderate level, this is because the community participating in the Kemang area is more interested if the activities are rewarded. For a community characteristic relationship with participation does not have a strong relationship or it can be said has nothing to do in participation with the characteristics of society in any category. Because of all the people who participated in the Palang Pintu Festival plays an important role in preserving and introducing Betawi Culture to the wider community.

Incorporating Beliefs, Values and Local Wisdom of Betawi Culture in a Character-Based Education through a Design-Based Research

This design-based research is part of three-year national projects examining the incorporation of local wisdom in a character-based education in primary school contexts. Specifically, the present study addresses two research questions: 1) what are local wisdoms of Betawi ethnic feasible to be incorporated in character based curriculum in primary school contexts, 2) what are potential classroom instruction methods for such a local wisdom integrated curriculum. To this end, I worked with historian, educational experts and practitioners. Multiple data collection methods were employed, including documents study, interview, survey, focus group discussion and observation. The collected data were analysed both qualitatively and quantitatively. This study has highlighted several beliefs, values and local wisdom from Betawi culture feasible for integration within classroom instruction. More importantly, the study has discussed an alternative instructional method that facilitated the incorporation of the beliefs, values and local wisdom from Betawi culture in classroom context.

Film Dokumenter Budaya Betawi Ondel-Ondel di Negeri Silancang Kuning Berdasarkan Sinematografi Teknik Pengambilan Gambar

The Betawi culture is increasingly marginalized because Jakarta is experiencing rapid urbanization, excessive so that the onset of competition in the world of work and many people Were going to leave his hometown to which many have worked such as Batam city. Batam city is one of the cities with high economic growth rates so that Betawi people come to Batam for getting job. Based on an initial survey, it shows that Betawi culture is not really famous among the citizens in Batam. This research aims to make a documentary film to provide information that is more apparent in dissemination to the public of the Betawi and Batam City Community. The film is a cinematographic technique which provides information used in the filming of documentaries. The film is packed into a CD that will be submitted to the Chairman of the Betawi forum in Batam and society Betawi of Batam City Community. Based on the try out, this film is well received and successfully gives information about the culture of the Betawi non Betawi and Betawi that exist in Batam city.

The Dynamic of Betawi in Colors

Color is no longer a small issue; it is one of the very important for artistic Workers. In daily life, using color is very common and rarely to be observed or pursued deeply, because color as a one ofthe design element was more digested and processed by feeling, not of thought, so often considered something unimportant. Color is a lot and often used for aesthetic and communication. Without realizing it, color gives special identity to certain things in time, place, and situation ofits own. Although widely used in daily life practically, color has symbolic and decorative characteristic in Indonesia, especially in Jakarta. These colors become characteristic in every performance ofculture and art in Jakarta (Betawi). Betawi have a unique typical codification color that reflects the characteristic ofBetawi‘s life, however by the presence ofmassive urbanization in Jakarta, then changed Betawi culture including codification of colors. This research find out how Betawi gives the typical color naming and its relationship with the social cultural circumstance of the moment. And the result also expected to introduction of Betawi color in particular, and also to build a Betawi atmosphere for purposing related to interior, products, and environment.Key words: color naming, Betawi, culture

Pendokumentasian Aplikasi Ragam Hias Budaya Betawi pada Desain Interior Ruang Publik Café Betawi

Various ornaments of Indonesia come from the ethnic groups from all over the archipelago. Ornament is a tangible culture which has specific meaning and purposes. Its meaning does not change throughout the ages. Betawi culture has become cultural roots for most people in Jakarta which also as the capital city of Indonesia. Betawi culture is seen in a wide variety of dance, batik, decorative ornaments, and culinary. Betawi ornament can also be seen in the architecture and public areas since the geometrical shape is very easy to apply as interior element. The application of Betawi ornaments in a restaurant interior represents the idea of dining area in Betawi house. The study of Betawi ornaments was conducted by documentation of decorative elements in a restaurant as a public space. Objective of this research is to preserve various ornaments of Betawi culture. So that, the data can be valuable as an inspiration for designing restaurant interior with Betawi style. Generally, value of the ornaments has specific purposes related to Betawi’s cultural and social customs. Therefore, the application needs to consider more about the purpose of the symbol of the ornament.

Memaknai Arsitektur dan Ragam Hias pada Rumah Khas Betawi di Jakarta sebagai Upaya Pelestarian Budaya Bangsa

Indonesia is an archipelago country with various ethnics which have specific culture. One of the most popular cultures is Betawi culture in which people grew and spreaded in a city used to be called as Batavia. Nowadays, the variety of Betawi culture can be obviously seen by language, art, dance, ceremony, tradisional clothes, architecture, and ornaments. In order to preserve the culture, discussing and analyzing Betawi tradisional house with its ornaments and architecture is very important. The architecture which shows symbols and ornaments in all over the design can be found at the ethnic house. Betawi ethnic house consists of many symbols that represent meaning of the art and delivers some messages for people. This study was carried with comparative analysis and descriptive method. Research results show all Betawi architectural and ornaments could bring benefits and support preservation. The preservation included protecting and developing, and at the same time, making use of it as the cultural inheritance that has high values.

Political Economy of Religious and Cultural Symbols in the Soap Opera of Tukang Bubur Naik Haji At RCTI

Television is a very influential media and important tool in capital accumulation. This study aims to reveal the use of Islamic and Betawi ethnic symbols, workers, and also the audiences of Tukang Bubur Naik Haji (TBNH) soap opera at RCTI. This research used a political economy of communication perspective. The data were collected by using interview, observation, documentation, and literature study. The result shows that the religious symbols of Islam and Betawi culture have been exploited as comodity to be traded. Those symbols have been commercialized dan manipulated through the use of sensational, provocative, and hyperbole words or sentences to entertain audiences and to attract the advertisers. The hyper-comercialization and politicization of symbols caused the soap opera workers and Moslem audiences have been exploited.

Alih Fungsi Seni dalam Masyarakat Kompleks: Kasus Liang-Liong dan Barongsai

Betawi culture is filled with traditions rooted in the myriad ethnic groups that came together to form that culture in the past. Some of these traditions have on occasion been the subject of debate as to their proper origin. While some traditions have disappeared, those that are of Chinese origin have been repressed or outlawed during the past several decades. However, the author notes that since the fall of the New Order in Indonesia, performances of the Liangliong and Barongsai have been staged ever more frequently. She discussed the problem within the framework of Hobsbawm's 'invention of tradition', and goes to show how there invention of these performances is marked by a change in their functions, and is linked to a previously unacknowledged Betawi elite.

Perancangan Komunikasi Visual Gerakan Sosial di Sungai Ciliwung Jakarta dengan Pendekatan Ambient Media

Social movement in Ciliwung river area is an informal group activity specifically focuses on environmental issues about Ciliwung river, Jakarta, by implementing or rejecting and campaigning the movement. Visual communication design of social movement is very important because good visual communication design will acquire proper visual communication and specific message to support the success of social movement. Exploration of visual communication for environmental social movement campaign to the point of finding the right communication media will train the sense of environmental problems, enrich knowledge and insight, strengthen the theory and expert opinion, as well as a reference in visual communication design. Appropriate message of visual communication will make it easier to apply the message on the media. The number of visual communications media requires careful thought to decide the use of media in social movement. Ambient mascot creation and election of new media as the media are important in the selection of environmental social movement media. Ethnography was used as method in the study and design then through library research. Field work for approximately one and a half years in the Ciliwung river environmental activist and community Betawi culture become a fundamental tool for understanding the issues arise in the environment. Research is based on participant observation that strengthens the results which can be applied in the design of visual communication. Mascot is an important finding in this design. Figure which can be a spokesperson or spokespersons for social movement in the Ciliwung river is the central figure applied in any visual message in the visual communication design. Mascot also strengthens ambient media as new media in social movement of visual communication. This visual communication design contributes to Visual Communication Design in its patterns of thinking design phase from starting stages of concept, idea, and reference data exploration, ethnography to visualization stage.

DESCRIPTION OF HAPPINESS ON THE BETAWI PEOPLE IN PERKAMPUNGAN BUDAYA BETAWI SETU BABAKAN

Abstract Happiness is an important thing in human life, so it’s not surprisingly that people tend to do anything they could to be happy in their life. So do the Betawi people which is known as the indigenous people in Jakarta. Betawi people now facing the unpleasant reality in spite of their inability to compete with the migrants community who come and dominate the economy growth in Jakarta. This inability to compete, forces the Betawi people to move from downtown to the suburbs of Jakarta. Another impact of this inability to compete is the low level of welfare among the Betawi people, which is in turn, affects their feeling of happy. This study aimed to describe the happiness among Betawi People who lived in Perkampungan Budaya Betawi Setu Babakan, South Jakarta.Happiness questionaire was used to collect the data from 55 Betawi People. This questionaire consist of some open question and some question with alternative choices. Open questions describe the definition and sources of happiness, while question with alternative choices describe the level of happiness. The result showed that the subject of this study is quitely happy. The definition of happiness answered by the subject was categorized then, and finally revealed 7 themes: relationship within the family member, something correlated with material, having a peacefull life, something really important, achieving for what they want, physical health and to share with other people. Meanwhile, categorization on the sources of happiness found 8 sources: relationship within the family, materials, giving happiness to their beloved ones, relationship with spouses, physical health, having children, success and developing Betawi culture. Keywords: happiness, level, meaning, sources, Betawi

GURU MUGHNI KUNINGAN (1860-1935)

There has been a strong linkage between the dissemination of Betawi culture and Islam in Jakarta. The prominent figures of Betawi are generally known as "kyai" or religious leaders. The Indonesian history recorded that Betawi people were strictly fanatic Muslims and, to some extent, during the Dutch colonization era they were strongly well-known as anti-Western. They tended to identify Western people as infidels. Nevertheless, the portrait of Islam and the social history of Muslim intellectuals among Betawi have not been much scrutinized. The researchers just gave more attention dealing with the social­ history, politics, arts and culture, and archeology of Betawi. This article tries to give contribution to the development of what Azra called biographical dictionary as a part of the tarajim ulama literature.
 Key Words: Abdul Mughni, Ulama, Betawi, Islam, Bibliographical Dictionary

Indonesia. Banditry in West Java, 1869–1942. By Margreet van Till. Trans. by David McKay and Beverley Jackson. Singapore: NUS Press, 2011. Pp. 282. Plates, Maps, Bibliography, Index.

Indonesia. Banditry in West Java, 1869–1942. By Margreet van Till. Trans. by David McKay and Beverley Jackson. Singapore: NUS Press, 2011. Pp. 282. Plates, Maps, Bibliography, Index. - Volume 43 Issue 2

Indahnya Betawi

Frequently the uniqueness of Betawi with its superiority and shortage performance attracts many people. This article clarifies beauty in Betawi’s modest ethnic which concerns on history, artefact, culture, art, cloth and clothes’ motif, food, and ceremony relates to people’s life, by using cultural study method and structuralism theory. It is concluded that Betawi culture has been created through a long process, even though in fact they have been removed now, but the assimilation process with various ethnics in Indonesia makes Betawi ethnic is exist and recognized. Various arts together with cultural acculturation, language, and people arise multiple perceptions toward Betawi ethnic. The modesty factor causes Betawi ethnic can be accepted by all social levels in Indonesia. With cultural richness of Betawi, so that preservation on this culture is needed, considering on the Betawi’s characteristic which is less aware of their existence.

Topeng Betawi: The Sounds of Bodies Moving

Henry Spiller takes us to northern West Java, Indonesia, to explain a local form of theatre called topeng Betawi. Focusing on a transitional comic segment in the performance that comes between its dance-oriented opening and its dialogue-oriented end, he contends that this segment contains stylistic conventions that effect a modulation from movement to word and back again "by representing movement in words--by speaking the sounds of bodies moving." Henry Spiller is a Ph.D. candidate at the University of California, Berkeley. His paper was selected as one of the three winners in the annual debut panel competition of the Association for Asian Performance and was presented at the Association for Theatre in Higher Education Conference in San Antonio, Texas, in the summer of 1998. The other papers chosen were by Kei Hibino, a Ph.D. candidate at the CUNY Graduate School, and Mai Naito, a Ph.D. candidate at New York University. (Their papers were not submitted for publication.) Topeng Betawi is a theatre genre performed in the outlying areas around Jakarta, in northern West Java, Indonesia. The word "topeng" usually describes theatre and dance forms in Java and Bali involving the wearing of masks; in northern West Java, however, topeng is a particular type of theatre that does not necessarily involve masks. A topeng performance consists of several distinct segments, each of which comprises a different mix of dialogue, song, comedy, drama, dance, and music. In general, the opening segments emphasize dance, with almost no spoken words, while the later segments emphasize dialogue, with little dance. This essay focuses on a transitional section between the dance-oriented segments at the performance's beginning and the dialogue-oriented [End Page 260] sections at its end. This transitional segment features comedy performed by a female singer-dancer and a male clown. I argue that the stylistic conventions of this segment effect a modulation from movement to word (and then back to movement again) by representing movement in words--by speaking the sounds of bodies moving. Various Malay immigrants to northern West Java have become, over the years, homogenized into a unified hybrid culture called Betawi. The name "Betawi" comes from "Batavia," the old Dutch name for the city of Jakarta. Betawi people speak a dialect of Malay called Betawi, are usually Islamic, and live at the bottom of the economic scale. Until recently, topeng was performed at markets and other gathering places by wandering extended-family troupes of actors and musicians. Spectators could offer money if they enjoyed the performance; otherwise, the performers would move elsewhere. This style of performance was called ngamen (Muhadjir 1986, 167; Probonegoro 1987, 22; Yampolsky 1994). More recently, people have hired troupes to perform at family celebrations and community festivals. Although originally an entertainment for the lower class in urban centers, topeng (with a self-conscious emphasis on its identity as "authentic" Jakarta/ Betawi culture) is becoming popular as a middle-class entertainment as well (Probonegoro 1987, 28). Topeng performances include music provided by a small ensemble of bronze idiophones, drums called gendang, and a two-string spike fiddle called a rebab. 1 (See Color Plate 8.) Performances typically begin with an overture called tetalu (or tetalok). After the tetalu, a young female dancer called the kembang topeng performs one or more dances, which may be masked dances. (See Color Plate 9.) Following her set dances, she sings a special song while she dances; she is soon joined by a male clown (bodor), and the two engage in amusing repartee. Next the kembang topeng might dance with men from the audience or perform a prepared couple dance with one of the men in the troupe. Following this, plays (lakon) begin--one or more short dramas, usually about contemporary situations. The actors work from a plot outline, which they flesh out with formulaic dialogue and action. The final lakon often is about Bapak Jantuk, a father figure who wears a half-mask. This performance overview, along with an indication of...