In search of the indigenous in Betawi arts

In search of the indigenous in Betawi arts

By Ida Indawati Khouw

Most residents of the capital are familiar with Lenong
theater, ondel-ondel puppets and the Gambang Kromong musical
orchestra. But not many people are aware of their histories or
whether they are indeed the original arts of Jakarta. This is the
31st story in a special series on Jakarta appearing in the
Saturday edition of The Jakarta Post.

JAKARTA (JP): Most people may not know that the Betawi (native
Jakartans) have a wealth of traditional arts and culture.

Those who are worried by this lack of awareness have voiced
concern about the "unpopularity" of Betawi culture. However, this
perceived unpopularity should come as no surprise, considering
that these arts have always been performed and passed down only
within those Betawi communities living in suburban areas.

Unlike art created in noble palaces by court artists, the art
of the Betawi grew among the native Jakartans themselves, with
all their well-known modesty. The Betawi arts also were
influenced by the native Jakartans' folklore.

That is the reason why the Betawi do not have a tradition of
painting and sculpting, rather their artistic endeavors come in
the form of the performing arts.

"This was also influenced by Islam, which forbids its
followers from depicting living creatures," said an observer of
Betawi culture, S.M. Ardan.

Ardan said there were at one point about 40 different types of
Betawi performing arts, "but I think just half of them still
exist at present".

However, Ardan said the Betawi had almost no original arts of
their own because -- like the ethnic group itself -- most of the
arts emerged through the intermingling of various arts from other
ethnic groups, including the Sundanese, Javanese, Chinese and
Arabians.

If one of those elements in the mixture did not exist, it
could not be called Betawi culture, he said.

"A very clear example is seen in the bridal couple -- the
bride wears a Chinese wedding gown and the bridegroom wears
Arabian cloth. It would not be called a Betawi couple if one of
these two elements was not used," he said.

Known as an ethnic group with a strong faith in Islam,
particularly the Betawi Kota, who lived near the walled city of
Kota in West Jakarta, it is not surprising to find clear Arabian
influences in their musical traditions. This includes the Rebana
(tambourine) music of Ketimpring, Hadra, Dor, Maulid
and Biang.

Rebana music is played during different ceremonies in the
Betawi community, including at weddings, circumcisions and
births. Rebana also is used during religious ceremonies,
accompanying the prayers of the Betawi.

The music also is performed to accompany the Zapin dance,
Topeng Blantek folk theater and martial arts performances.

Betawi music, dance and theater also were greatly influenced
by Chinese culture. The harmonious combination of Betawi and
Chinese instruments is seen in Gambang Kromong orchestras.

Local instruments such as the gambang and kromong percussion
instruments, gendang and kempul drums, kecrek and gong, are
played in harmonious combination with Chinese kongahyan, tehyan
and shukong stringed instruments.

Such musical performances often accompany performances of the
popular Lenong theater and Cokek "erotic" dances.

An expert on Betawi traditional arts from the National
Institute of Sciences, Ninuk Kleden Probonegoro, said Chinese
landlords played a great role in influencing Betawi arts.

"Chinese landlords at that time owned music groups to please
themselves. That was how Chinese culture influenced Betawi
music," she said.

The Malay Samrah orchestra and the Javanese Wayang Kulit and
Wayang Wong also influenced the art of the Betawi.

Meanwhile, the influence of the Sundanese Gamelan Topeng can
be seen in the Topeng Betawi.

Although the Betawi were famous for their noncooperation with
colonial governments, its Tanjidor and Keroncong Tugu musical
performances were influenced by the Portuguese, who colonized the
country before the Dutch.

Tanjidor, which is similar to a drum band, first appeared in
the 18th century, according to The Jakarta Profile of Arts
leaflet released by the city cultural agency.

The art form had some influence from Dutch governor-general
Valckenier, who had a group of 15 brass musicians who played with
local gamelan musicians, with a Chinese flute and Turkish drum
included as well.

Tanjidor was once known as slaven orkest (slave orchestra)
because it was originally played by slaves.

Ardan said there was a joke that the slaves once stomped on
the musical instruments, "which is why the instruments' voices
are cracked".

"Once we had the music played by professional musicians, but
it was not like Tanjidor because the musicians played the
instruments the 'right way'.

"Tanjidor players have a certain way of playing the
instruments which differs from everyone else," he said.

The Betawi also have "original" arts, the Ondel-Ondel, for
example, which are large male and female puppets. These existed
long before the arrival of Islam on Java. The puppets represent
the ancestors of the Betawi, and guard their offspring or the
community.

Formerly, the puppet dance was aimed at scaring off evil
spirits. Now the performance is simply aimed at adding color and
excitement to folk festivals or welcoming distinguished guests,
according to the leaflet.

It is, of course, difficult to find Betawi art groups in the
city center because most players live in suburban areas.

"For me, it's not surprising that people say Betawi arts are
now marginalized, similar to the situation during the Dutch
colonial era," Ardan said.

He said Betawi folk arts were mainly performed for the Betawi
communities in suburban areas. "People perform them only as a
hobby. That's why they are not aware that community members no
longer pay attention to the performances."

He added that this led to the arts nearly disappearing in the
1960s. They were "saved" when the city administration, under then
governor Ali Sadikin, promoted Betawi arts as part of the effort
to find an identity for Jakarta.

But Ninuk said traditional Betawi arts did not belong solely
to Jakarta.

"The arts not only belong to Betawi people who live in
Jakarta, but also in the neighboring West Java areas of Bogor,
Tangerang and Bekasi. Jakarta is still in the process of
searching for its art identity," she said.