Betawi: a Picture of Global Culti-culturalist

Betawi is an integrated multi-culturist and pluralism; both through assimilation or acculturation process. In my opinion, Betawi is the outcome of a nationalizing process. Seen from various aspects, Betawi is not an ethnic, moreover a civilization based on multi-culturist characteristic.

In Betawi we find the mix and match harmony of Arabian, Chinese, European, Malayan, and other ethnics. Such was made possible by the openness of the Betawians in placing themselves in the middle of civilization flow. The matter is reflected from the varieties of growing and progressing arts, all the way to cultural products such as: customs, apparels, culinary, and inter-relations amongst men. From the religious aspect, Islam is considered as the strongest influential religious teachings, asides from Buddha, to others. Even so, the entirety of Betawian art and cultural products are still dominant to the Malayan culture.

At the city-central or metro-centrum, grows rapidly; the mix and match or harmony of Arab culture brought in by the Baalwi community (Alaydrus, Alatas, Assegaff, Shahab and others) and the Sheiks those propagated with the local communities (ahwal). It is in this zone that the samrah, zapin, rebana biang, marawis, and other arts of the same kind grew. The influence of the Baalwi community is so dominant, for the smooth civilization penetration-transformation; especially in spreading the religious traditions.

In this zone also, the strong interaction and transformation of Western culture and civilization grows, making various Western musical instruments to be so dominant. Keroncong Tugu is one of which that is still constantly preserved. On the formation variety of Europe-China, we can see from the Tanjidor. As also the domination of Chinese culture, which started off from Sepatan and Dadap, we get the Gambang Kromong.

The rest are products of local (domestic) acculturation and assimilation, which are demonstrated on the Masks – from the Banjet Mask to the Nyai Mask and Blantek Mask -, the Betawian Puppet, Lenong, and others. As for the other influences of Malayan cultures are the Pantun and other of the same sort. Arabian, European and Indian influences also visible on the Malayan Orchestra, which with time evolves to dangdut music.

From the apparel aspect we find similarity of the multi-ethnics; that besides being dominated by the arrangements of colors, also by the pattern and decorative varieties. And as in the various accessories, as can be seen on the ‘kembang goyang’. The same things are found on the Ondel-Ondel artform that is influenced by the Balinese tradition (Ogoh-ogoh).

From the combination of dancing art and sports we see silat that is so rich, visible from the beksi steps those are often performed in the palang-pintu sessions of a wedding ceremony. The richness of steps in beksi, are also formed from the combination between the Malayan style Kumango martial arts with those from – Minang, Cimande – Sunda, Tari Kolot – Banten.

Thus, Betawi can be called the miniature of Indonesia and the “Indonesianity”; the picture of pluralism and multi-culture. Ahead, it is clear that Betawi shall grow with millions of more global arts and culture variety.