Betawi People Research Articles

ANALISIS KEBUTUHAN STRATEGI KOMUNIKASI VISUAL KAMPANYE PELESTARIAN KESENIAN ONDEL-ONDEL BETAWI

Indonesia is famous for its cultural diversity starting from the diversity of tribes, languages, religions, and others. One of the ethnic groups in Indonesia is the Betawi ethnic group, which is an Indonesian ethnic group whose residents generally live in Jakarta. The Betawi tribe is a descendant tribe of residents who lived in Batavia since the 17th century. One of the cultures owned by the Betawi tribe is ondel-ondel, where ondel-ondel consists of 2 giant dolls in red and white that make one of the cultural icons owned by the Betawi tribe. Ondel-ondel at this time is easy to find around us or in the capital city of Jakarta, we often see ondel-ondel walking around the street accompanied by music that is surrounded by several people as driving music carts and there are also those who hold a container to get a purse coffe rupiah. Given this, some people assume that the cultural value of the Betawi people has decreased, the use of the method used is a qualitative method. The desired results can determine the right media for the ondel-ondel art preservation campaign as well as knowledge to the public about the importance of ondel-ondel art.

Dialek Betawi Jakarta

The native Jakartans call themselves the Betawi people or the Betawi Malay or the Selam people (only after independence was achieved, their names were better known as the people of Jakarta). The language he uses is called Malay or Betawi Malay (also only after independence, his name is better known as the Jakarta language). As for the language spoken on the edge of Jakarta, in areas bordering Sundanese, he calls it the name Betawi Ora '. The Betawi language or Betawi dialect has regional variations, in other words, the Betawi dialect experiences differences between one region and another in Jakarta.

Revitalisasi dan Identifikasi Nilai-Nilai Multikultural Pada Tradisi Lebaran Etnik Betawi di Kelurahan Cakung Barat, Kecamatan Cakung DKI Jakarta

Penelitian ini bertujuan mendeskripsikan nilai-nilai multikultural pada tradisi lebaran masyarakat Betawi dan proses revitalisai nilai-nilai multikultural. Pada saat ini sikap empati, toleransi, solidaritas sosial, kesetaraan dan keadilan mulai mereduksi bersamaan dengan pemenuhan kebutuhan biologis dan sikap egosentris. Masyarakat Betawi memilki tradis lokal untuk dijadikan standar berkehidupan, beragama dan bermasyarakat .Salah satu tradisi lokal yang masih berlangsung hingga saat ini adalah tradisi lebaran” merayakan hari idul fitri”. Istilah lebaran merupakan akulturisasi dari budaya jawa, China dan Islam. Nilai-nilai multikultural pada tradisi lebaran masyarakat Betawi meliputi, pertama sikap menerima perbedaan, adalah mempersilahkan orang untuk bertamu tanpa mempertimbangkan etnik, dan agama serta starata sosial. Kedua sikap dermawan , adalah memberikan makanan dan minuman kepada setiap tamu yang datang. Ketiga sikap empati, adalah saling memaafkan pada keluarga dan tetangga. Pemeliharaan dan pelestarian tradis lebaran menjadi kewajiban masyarakat Betawi dan pemerintah DKI Jakarta.Revitalisasi nilai multikultural pada tradisi lebaran masyarakat Betawi melalui: upacara keagamaan, dan pelaksanaan hari besar keagamaan. Faktor revitalisasi ada dua: motif sebab dan mencapai tujuan.

TINJAUAN HUKUM ISLAM TERHADAP PROSESI SESERAHAN DALAM PERNIKAHAN ADAT BETAWI

This study aims to find out how the procession of surrender in traditional Betawi marriage and how a review of Islamic law against it. Is there a proposition that prohibits / forbids it or is required. This research was conducted in the area of South Kedoya Village, Kebon Jeruk District, City. West Jakarta.This research is a legal research that uses qualitative research methods with an ethnographic approach and is descriptive in nature. In extracting information, researchers use observation and interview techniques. Researchers used the snowball technique so that the information obtained could go as far as possible into Betawi cultural customs. Researchers position themselves as research instruments themselves so that the information obtained can reach its roots. The data analysis used is the Miles and Huberman model data analysis, which is interactive and continues until the data is saturated. In this study, researchers found a philosophical, sociological and ideological foundation that was embedded in the culture of Betawi marriage customary marriage. Researchers also found the arguments underlying the implementation of these surrender activities. The evidence is sourced from the Qur'an, Hadith and Ijma 'and Qiyas of the scholars'. This research concludes that the culture of seserah in Betawi traditional marriage has a philosophical and ideological foundation that has been firmly embedded in the Betawi community in the South Kedoya region. So that this surrender event becomes mandatory for people who want to marry Betawi people. whereas according to Islamic law, basically customary law is mubah (allowed). But it can become mandatory

Adaptation of Migrating Betawi People: Existences, Forms, and Developments

Adaptation of migrating Betawi people as the ethnic migrant in urban areas is an interesting social phenomena related to urbanism. This study aims to analyze the urbanism or the way of life of the Betawi people in Palembang city. This study used the social definition paradigm, an ethnography research method. The data were the Ethnic Betawi group in the Kebon Sirih and the Lorong Jambu areas.The data were obtained from the primary data and the secondary data. The primary data was obtained through participatory field observations, and in-depth interviews, meanwhile the secondary data was obtained from articles or journals. In analyzing the data, codes system and coding were used. Field observations were carried out in Kampung Betawi, Kebon Sirih and Talang Betawi Villages, Lorong Jambu. Interviews were conducted to participants, the Betawi people, used purposive sampling or based on certain characteristics. The results of the study indicated that the urbanism or a way of life of the people in Palembang was to adjust to the environment in terms of work to meet their daily needs. In addition, it adopted the Palembang wedding tradition when the Betawi people are married. The results showed that the people acculturate with the Palembang culture, specifically in wedding tradition.

Development of Palang Pintu As an Edutainment in Venetië van Java (Batavia)

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SEMIOTICS ANALYSIS OF BETAWI VERNACULAR ARCHITECTURE AT SETU BABAKAN, JAKARTA

AbstractIn traditional societies, it is not too difficult to integrate the style and symbols of a house because they have a common language of the same yet mutually understandable style. However, this can not be applied nowadays with the development of pluralistic cultures encountered by Betawi people. Semiotic enables community to reflect on various related issues in the form of architecture and spatial arrangement. This research was conducted to obtain information that will be used to complement semiotics analytical methods. Field data collection methods are done both visually through recording of buildings and orally through interviewing some of the residents. This research uses semiotics analysis model derived from Ferdinand de Saussure which was adapted by Charles Peirce and used by Charles Jencks. Semiotics discussion on the style of Betawi house at Setu Babakan area consists of four major parts: building orientation, zoning, building typology, and building ornament. The result of this study confirms that there are several changes on the four major parts to support the shift of the village into a cultural village. These changes represent the sign of adaptability of the community to support the preservation and maintenance of Betawi house in this cultural village. Keywords: style and symbol, vernacular architecture, Betawi traditional house

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

SEMIOTICS ANALYSIS OF BETAWI VERNACULAR ARCHITECTURE AT SETU BABAKAN, JAKARTA

<p><em>In traditional societies, it is not too difficult to integrate the style and symbols of a house because they have a common language of the same yet mutually understandable style. However, this can not be applied nowadays with the development of pluralistic cultures encountered by Betawi people. Semiotic enables community to reflect on various related issues in the form of architecture and spatial arrangement</em><strong><em>. </em></strong><em>This research was conducted to obtain information that will be used to complement semiotics analytical methods. Field data collection methods are done both visually through recording of buildings and orally through interviewing some of the residents.</em><em> </em><em>This research uses semiotics analysis model derived from Ferdinand de Saussure which was adapted by Charles Peirce and used by Charles Jencks. Semiotics discussion on the style of Betawi house at Setu Babakan area consists of four major parts: building orientation, zoning, building typology, and building ornament. The result of this study confirms that there are several changes on the four major parts to support the shift of the village into a cultural village. These changes represent the sign of adaptability of the community to support the preservation and maintenance of Betawi house in this cultural village.</em></p><em>Keywords: style and symbol, vernacular architecture, Betawi traditional house</em>

POLA SINTAKTIS LAKON JAKA SUKARA

The history of Malay language has been going through a long way. Kridalaksana (1991:5) divided the development period of Malay language into four: the Melayu Kuna era (the 7th-14th century CE), the Melayu Klasik/Tengahan era (the 14th-18th), the Melayu Peralihan era (the 19th), and the Melayu Baru era (the 20th century). The Betawi language is the only Malay language that existed in Java Island. Dullaurier, as quoted by Hollander (1983;1984), said that the Malay language is divided into two groups: Malay language Malaka accent and Betawi accent (Muhadjir, 1999:21). In this research, the script of Lakon Jaka Sukara became the data source to find the characteristic features of Malay Betawi language syntax that is written in the script. Lakon Jaka Sukara is one of the scripts assumed to have been written by the Betawi people. In this case, the script of Lakon Jaka Sukara will be analyzed in its syntactic pattern. The research of the Betawi language writing variety, especially the ancient script has rarely been done. That case became important for this research to be conducted. After seeing the whole script, there is syntactic patterns that became the characteristic features of the writing variety of the Betawi language. That syntactic pattern is that there is construction property or possessive phrase, collocation [kasi], [beri], or [kerja] that is followed by verbs, construction [apa] that is followed by nouns, construction [barang] that is followed by [di mana], construction [pun] that is in front of male pronouns, and construction [pun] that is on the back of female pronouns.

IMPOLITENESS IN INDONESIAN TELEVISON SERIES: A CASE STUDY OF VERBAL ABUSE IN ANAK LANGIT TV SERIES

Anak Langit is an Indonesian sinema elektronik (sinetron) or electronic cinema, a kind of tv series, for teenagers since most of the main characters are teenagers. Young viewers love this tv series as it tells us about the life of a motor gang in a big city which becoming a trend recently in several big cities in Indonesia. Although the main characters show the viewers how to be a good motor gang with positive attitude, we consider the language of this TV series is impolite as the rival of this motor gang often shows verbal abuse in most of their scenes using Bahasa Indonesia dialect Betawi (the language of Betawi people, the people of Betawi Kampong in Jakarta). Those impolite utterances may be used to show the real life, including the colloquial language, of Jakarta/Betawi people which sometimes considered impolite by common people. It may be also done to strengthen the characteristics of the antagonist ones who are impolite and rude. In Pragmatics Study, impoliteness violates the Maxims of Politeness Principles. This violation can be seen as electronic media violence that may influence viewers to imitate the verbal abuse such as using the impolite utterance or doing the violence. In the end, it may leads into violence and less pro-social behaviour

Socio-economic transformation of the local community as gentrification�s implication in DKI Jakarta Province

Jakarta has a rapid development which attracts newcomers to come and live in. Hereinafter, the newcomers look for the house which in accordance to their income and preferences. They chose inner city kampong for residing and their existence displacing the Betawi people as the local community. The newcomers presence led displacement and transformed the neighbourhood. Likewise, they had also influenced in the socio-economic transformation related with education, women worker, community relationship, and lifestyle.

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.

Rekacipta Tradisi Betawi: Sisi Otoritas dalam Proses Nasionalisasi Tradisi Lokal

These days there are many who believe that the Betawi will become mere legends of an ethnic group that once lived in Jakarta. Even as they are aware of the existence of Jakarta's indigenous people, they are swept by the myth that this ethnic group has been marginalized, and gradually losing its identity as a result of development. However, the voice of the Betawi is now being heard-including their demand that the office of Governor of Jakarta be held by a Betawi-leading many to ask: 'Who are they?' What the Betawi are doing is in contrast to the myths surrounding them. The author sees the matter as a contradicting viewpoint of Betawi. Although many believe that this ethnic group is becoming marginalized and in the process of disappearing, the author believes the opposite is true. The Betawi are becoming more noticeable; and they are playing a larger role in Jakarta's history. They are not in the process of disappearing, but are re-appearing. They are not losing their identity; instead, they are creating, and in fact have found and are actively expressing Betawi identity as a means of representing their existence. This has been going on since the 1970's in many aspects of life. This article focuses on art as one aspect. The author believes has been given much attention by actors in the invention of tradition. The outcome has been a qualitative and quantitative improvement in the existence of the Betawi ethnic group, which has in turn raised the attention of those any deal with the Betawi people. Several issues are discussed here: when did all these begin among the Betawi? What triggered the process? Who are involved, and who, especially, are the active players? If art is reinvented, are the effects limited to art and matters of identity and self-representation; or are there wider ranging consequences? If the latter is the case, then the author expects the use of cultural aspects for non-cultural ends. How will this take place? With a focus on the actors of reinvention, the question to be addressed is who holds authority in the reinvention of tradition in efforts to achieve non-cultural goals through a cultural approach, and how does this come about?

Komunikasi dan Pola Asuh Anak Balita - Remaja dalam Keluarga Betawi Jakarta dan Bekasi

This research aims to test the significant differences the use of family communication and the pattern of childcare toddlers and teenagers in families living in the Kampung Tugu in north Jakarta, Kampung Condet in East Jakarta and Ujung Harapan in bekasi. This study using quantitative methods of correlational. The results of research shows that the communication in childcare on the community in Kampung Tugu of north Jakarta, more affected from ways obtained from earlier the generations. The average betawi people in their religious pillar of the nazarenes, some are muslim. For people who follow the Islamic religion, they to develop a pattern of parenting in the family in Islamic way. The Betawi Community of Kampung Condet in East Jakarta, further develop ways a family tradition which are influenced by arab cultures ways. So they develop more into islamic ways. Also betawi people on Kampung Ujung Harapan in Bekasi, almost the entire community on Kampung Ujung Harapan Bekasi are moeslim. So that childcare more patterns dominated by islamic ways which were inherited from earlier generations. A pattern to the consistence of parenting in educating if compared between toddlers and teenagers, the community in Kampung Tugu more dominant educate young teen, while the Kampung Condet and Kampung Ujung Harapan directing consistency educate in toddlers and teenagers.

MUSIK GAMBANG KROMONG DALAM MASYARAKAT BETAWI DI JAKARTA

The existence of Gambang Kromong music among Betawi people is well maintained. The traditional music has its own dynamics in the life of Betawi people. Betawi people expect that the traditional music could develop and be able to satisfy the musical tastes of its people by playing the composition with popular music and dangdut. It stimulates the creativity of the the traditional artists to combine the traditional music instrument of Grambang Kromong ensemble with Western music instruments. The dynamics of the traditional music results in the two categories of the Gambang Kromong, which are the genuine one and combined one. In spite of the dynamics, the supporting people of the traditional music remain to be faithful audience of the traditional ensemble that it is well-preserved up to the present time. Keywords: Gambang Kromong, Use and Function, Aesthetic, Society

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

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...