Betawi

Title: Creole Identity and Postcolonial Nation-Building. Examples from Indonesia
and Sierra Leone
Abstract:
This paper deals with some of the social and political dynamics of creoleness, focusing on its role in processes of nation-building and on its influence on the
construction of nationhood in postcolonial settings. The author analyzes the
interrelatedness of identitarian and political processes in the context of the given social settings within which they are taking place. To highlight how different conditions and contextualizations of creole culture and identity determine its potentials and limitations with regard to such processes, she deals with two examples, namely with Betawi identity in Jakarta, Indonesia and – mainly for comparative reasons – with Krio identity in Freetown, Sierra Leone.

Keywords: Creole Identity, Indonesia, Sierra Leone, Krio, Betawi

Título: Identidade Crioula e a Construção da Nação Pós-colonial. Exemplos da
Indonésia e Serra Leoa
Resumo:
Este trabalho lida com algumas das dinâmicas sociais e políticas da crioulidade,
focalizando seu papel no processo de construção da nação e sua influência sobre a
formação da nacionalidade em contextos pós-coloniais. A autora analisa o
interrelacionamento dos processos políticos e identitários nas situações sociais em que eles têm lugar. Buscando iluminar como diferentes condições e contextualizações da cultura e identidade crioula determinam seu potencial e suas limitações com relação a tais processos políticos e identitários, a autora examina os exemplos da identidade Betawi em Jacarta, Indonésia e, por razões comparativas, com a identidade dos Krio em Freetown, Serra Leoa.

Palavras-chave: Identidade Crioula, Indonésia, Serra Leoa, Krio, Betawi

Tujuan dari penelitian ini ialah untuk menjelaskan pandangan masyarakat Betawi terkait
pengalihfungsian ondel-ondel. Untuk metode pengumpulan data, menggunakan metode studi pustaka,
dengan menghimpun informasi yang dapat diperoleh dari karya ilmiah, tesis, jurnal, internet, dan
sumber-sumber lain yang relevan dengan topik atau masalah yang menjadi objek penelitian. Pada
penelitian ini juga menggunakan metode wawancara untuk mendapatkan informasi dan mengetahui
pendapat narasumber mengenai topik permasalahan dari penelitian ini. Pendekatan yang dilakukan
ialah pendekatan melalui bidang Ilmu Sosial dan Budaya. Hasil penelitian menjelaskan bahwa dengan
terjadinya pengalihfungsian ondel-ondel ini, banyak pihak yang menyayangkan dan tidak setuju apabila
aset kebudayaan sekaligus ikon dari masyarakat Betawi ini harus turun langsung ke jalan, karna
dampak dari fenomena ini pun sangatlah berpengaruh terhadap nilai budaya Betawi itu sendiri.

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.

Tanjidor (from Potruguese tangedor – musician, instrument player) is a terms used for the brass bands typical for the musical folklore of Jakarta, almost entirely composed of Western instruments. These ensembles derive from the former slave orchestras (slavenorkesten) held in the wealthy households by the Europeans and by so called Mardijkers. Since the ban of slavery in the Dutch East Indies in 1860 until today tanjidor has become performed by pengamen (street musicians).

Betawi is a local ethnic group in Jakarta that is labelled with inferior stereotypes. In the process of Jakarta's modernization, the Betawi people are increasingly marginalized due to development and are "not the owner of their own land". However, in the middle of the blurred portrait of the Betawi, a distribution outlet (distro) has emerged that carries the symbols of the Betawi Culture. In their hands, the symbols of Betawi culture are expressed through creative ways as a mode of expression of cultural identity in a multiethnic social space. The question that arises later is, what is the purpose of the BetawiDistro establishment? Through a qualitative approach, this paper aims to uncover the phenomenon of the emergence of this Betawi creative industry. This paper uses a qualitative approach by conducting in-depth interviews, observations, and documentation studies as a method of collecting data to obtain an in-depth description of the phenomenon under study. This paper found that the presence of the current Betawi creative industry is a form of covert resistance to inferior stereotypes attached to them. This is also their effort to build a sense of collectivism and a manifestation of the existence of Betawi culture in the middle of a multicultural Jakarta community. Abstrak Betawi adalah kelompok etnik lokal di Jakarta yang lekat dengan stereotip inferior. Di tengah modernisasi Jakarta, Orang Betawi semakin termarginalkan akibat pembangunan dan tidak menjadi tuan rumah di wilayahnya sendiri. Namun, di tengah-tengah potret buram tentang Betawitersebut, kini bermunculan distribution outlet (distro) yang mengusung simbol-simbol Budaya Betawi. Di tangan mereka, simbol-simbol budaya Betawi diekspresikan melalui cara-cara yang kreatif sebagai mode ekspresi identitas budaya di ruang sosial yang multietnik. Pertanyaan yang muncul kemudian adalah, untuk kepentingan apa Distro Betawi didirikan? Melalui pendekatan kualitatif, tulisan ini bertujuan untuk mengungkap fenomena kemunculan industri kreatif Betawitersebut. Tulisan ini menggunakan pendekatan kualitatif dengan melakukan wawancara mendalam, observasi, dan studi dokumentasi sebagai metode pengumpulan data untuk mendapatkan deskripsi yang mendalam mengenai fenomena yang dikaji. Tulisan ini menemukan bahwa hadirnya industri kreatif Betawi saat ini adalah sebagai bentuk perlawanan terselubung terhadap stereotip inferior yang dilekatkan pada mereka. Hal ini juga merupakan upaya mereka untuk membangun sense of collectivism dan wujud eksistensi Budaya Betawi di tengah masyarakat Jakarta yang multikultural.

Topeng Blantek merupakan teater rakyat Betawi yang kini hampir tidak dikenal masyarakat luas. Hanya sebagian masyarakat Betawi yang mengetahui teater rakyat Topeng Blantek. Banyak pula artikel dan pendapat-pendapat yang berbeda tentang Topeng Blantek, bahkan berbeda pendapat tentang definisi dan sejarah singkat Topeng Blantek. Asal-usul nama kesenian ini berasal dari dua kata, yaitu Topeng dan Blantek. Istilah Topeng berasal dari bahasa Cina di zaman Dinasti Ming. Topeng asal kata dari To dan Peng. To artinya sandi dan Peng artinya wara. Maka Topeng itu bila dijabarkan berarti sandiwara. Sedangkan untuk kata Blantek ada beberapa pendapat. Ada yang mengatakan berasal dari bunyi-bunyian musik yang mengiringinya. Yaitu satu rebana biang, dua rebana anak dan satu kecrek yang menghasilkan bunyi, ‘blang-blang tek-tek’. Namun, karena lidah lokal ingin enaknya saja dalam penyebutan, maka muncullah istilah Blantek.

The Betawi people, who have been considered the original ethnic groups in Jakarta, are felt to be decreasing and even marginalized. In fact, with the development of DKI Jakarta as the capital city, it is felt that it is increasing from year to year. With their proximity to the central government, they should be able to become the most advanced tribes and have a better life and be famous compared to other tribes in Indonesia. This study aims to provide an overview and understanding of the causes of the retreat of the Betawi people in Jakarta. This study uses a critical methodology (critical inquiry) with a qualitative approach. The results of this study indicate the importance of the government's role in preserving and maintaining the increasingly marginalized Betawi culture. The young Betawi generation is one important aspect to develop their awareness in financial management to preserve the Betawi people in the land of Jakarta and foster a sense of being active in advancing the Jakarta administration.

JAKARTA – wartaexpress.com - Sudah kedua kalinya Jakarta International Expo (JIExpo) memberikan ruang bebas bagi Lembaga Kebudayaan Betawi (LKB) untuk mempromosikan budaya Betawi di Jakarta Fair Kemayoran. Tahun 2015 ini JIExpo memberikan lahan secara cuma-cuma seluas 2.000 meter persegi di area Gambir Expo. Luasan tersebut jauh lebih luas dibanding tahun sebelumnya.

Sudah kedua kalinya Jakarta International Expo (JIExpo) memberikan ruang bebas bagi Lembaga Kebudayaan Betawi (LKB) untuk mempromosikan budaya betawi di Jakarta Fair Kemayoran. Tahun 2015 ini JIExpo memberikan lahan secara cuma-cuma seluas 2.000 meter persegi di area Gambir Expo. Luasan tersebut jauh lebih luas dibanding tahun sebelumnya.

Educational games are a play-while-learning approach for children today, especially in big cities like Jakarta. As an icon of Jakarta, Ondel-Ondel can be found in various corners of Jakarta daily. His familiar figure makes it a suitable subject for learning to color while getting to know about the Betawi culture for children. The Ondel-Ondel coloring application is a multimedia-based educational game designed for children aged 3-7 years, in which information about the elements that make up the attributes of Ondel-Ondel can be inserted. This study combines the educational game implementation method with a user-centered approach, where this method connects the let's draw game with a brief knowledge of Ondel-Ondel as a traditional Betawi art. Analysis of Ondel-Ondel supporting elements or attributes uses Morris Semiotics which focuses on syntax, semantics, and pragmatics by categorizing form, content, and context. This game helps children to get a lot of information about Ondel-Ondel and stimulate their imagination.

Bp. Sahlan biasa dipanggil Mandor Japlun saat ditemui dikediamannya RT. 002/06 Kel. Perigi Baru, Kec. Pondok Aren, Kota Tangerang Selatan, Provinsi Banten pada hari Jum'at tanggal 24 bulan Juli tahun 2015 Pkl. 17.00 WIB, menjelaskan bahwa modal awal dari penyelenggaraan "pesta rakyat" di Kp. Perigi didanai oleh uang pribadinya sebesar 10 Juta sejak beliau menjadi koordinator pada tahun 1975. Penyelenggarannya pun selama 1 bulan penuh setelah lebaran, dengan diisi oleh berbagai macam hiburan lainnya seperti kemidi putar, atraksi pencak silat, hingga motor cross.
"Dan malamnya ditambah dengan pemutaran layar tancap, orkes dangdut, dan pertunjukan Wayang Kulit Betawi," jelasnya.

Selain beragam kuliner khas daerah, Kampung Betawi juga menyajikan hiburan khas Betawi seperti Lenong, Topeng Blantek, Samrah, Keroncong Betawi dan pertunjukan lainnya di panggung Kampung Betawi. Pertunjukan hiburan tersebut diselenggarakan setiap hari Jumat, Sabtu dan Minggu.