Betawi in the Continuity of Ondel-ondel’s Existence through Changes

in the Costume Elements

Mita Purbasari

, Martinus Dwi Marianto

and Muhammad Agus Burhan

New Media Program, Visual Communication Department, School of Design, Bina Nusantara University, Jakarta,

Indonesia

Department 2Fine Arts Department, Indonesia Institute of the Arts, Jl. Parangtritis KM 6.5 Yogyakarta 5518

Keywords: Ondel-ondel, Costume Elements, Semiotic, Roland Barthes.

Abstract: Ondel-ondel is a signature giant like Betawi puppet, created by cultural acculturation since decades ago.

This piece of art has been through many stages of change from time to time, especially since nationally

announce as the icon of the city of Jakarta. The study aims to understand the concepts and ideologies behind

the changes of the costume elements of ondel-ondel. Roland Barthes semiotic approach applied to read the

visual signs and study the concepts or ideologies behind the changes of form and function. The changing

process impacted the continuity and enrichment of ondel-ondel’s meaning related to social, politic,

economic and cultural context. The study observed the changing of symbol on ondel-ondel’s costume

elements from time to time, which definitely carry certain meaning in a subtle way. Examining the form,

function and format of ondel-ondel lead to four periods, which resulted in three concepts or ideologies of

rulers behind the changes and usage of ondel-ondel.

1 INTRODUCTION

As a culture, Betawi is an intense melting pot, open

to acculturation, allowing possibility on creating a

negotiation room for dialogue with other cultures,

which brought changes and development. Local

cultures such as Sunda, Java, Bali Minang, Bugis

and foreign ones such as Arabic, Chinese Hindi

(India), Netherlands, Portueges were the part of the

dialogue (Gunawijaya, 2001). Interestingly, Betawi

society expresses a tradition through various rituals,

but none of them represent merely just a single

culture. There are always multiple culture combined

and adjusted according to their culture’s character

(Purbasari, 2010). Betawi ethnic and culture

diversity created ondel-ondel as a piece of art

influenced by other local and foreign cultures. The

human like figure in tall and huge form of ondel-

ondel is influenced by Balinese Hinduism, Chinese,

and Islamic cultures.

Ondel-ondel is a giant doll in 80 by 250 cm sized

that exist since 17 century in Banten and called

Barongan. It can be traced through W. Fruin Mess’s

writing (Mees, 1920), who reported about crowd in

procession ushering Jayakarta Wijaya Krama princes

to celebrate the circumcision of Abdul Mafakhir, 10

years old Banten king. The procession consisted of

300 palace guards and 300 women carrying bulks of

valuable gifts such as gold, money and silk, also

accompanied by a pair of giant dolls. These giant

dolls were assumed as the ondel-ondel, which in

ancient time were customarily considered as

embodiment danyang village, repellent of evil.

Allegedly, barongan was created to function as a

repellent when a plaque of infectious diseases

affected Betawi society at a Dutch period (Yuwono,

2012). Since Ali Sadikin, former Jakarta Governor’s

declared ondel-ondel as an icon of Jakarta in 70’s

(Samantha, 2013), ondel-ondel underwent

significant changes in form and function.

Istiqomah (2013) presented a study about the

visual structure of ondel-ondel, such as coconut

flower, stangan (crown), cukin sarong, shawl,

kebaya encim, sadaria dan kain jamblang generally,

without the meaning and detail of its costume

elements. Lissandhi (2010) carried out a study on

ondel-ondel based on Betawi culture changes and

society movement (dominated by Muslim), which

bring ondel-ondel to became one of the conserved

cultural identity. As an ancient artefact and sacred

object, which derived from Betawi Pinggir’s culture,

it was an art object considered unfit to Islamic value

Purbasari, M., Marianto, M. and Burhan, M.

Betawi in the Continuity of Ondel-ondel’s Existence through Changes in the Costume Elements.

DOI: 10.5220/0010008300002917

In Proceedings of the 3rd International Conference on Social Sciences, Laws, Arts and Humanities (BINUS-JIC 2018), pages 375-378

ISBN: 978-989-758-515-9

375

(Betawi Kota). ondel-ondel went through a long

process in culture, social, economic, and politic to be

accepted by the whole Betawi. This struggle showed

its position as one of the important cultural art in

Betawi community development. The social

phenomenon occurring within the community were

described to explain the culture changes and

understand ondel-ondel position of the time but did

not directly explain the changes on ondel-ondel

itself, especially the costume elements.

Today, Betawi society can enjoy the traditional

art performance in modern presentation. The simple

yet attractive form is packaged with festive musical

accompaniment; the dense atmosphere then able to

attract people’s attention. Ondel-ondel appearance

not only attracts the surrounding community

attention, but its revelation can provoke pros and

cons. Taking refuge behind the statement of Betawi

tradition preservation, to today ondel-ondel is

increasingly seen as a street art performance collect

money by busking. This fact makes Jakarta citizen

underestimate ondel-ondel because what was once

sacred and position as Jakarta’s icon then imposed

by some community to beg on the street. Ondel-

ondel went through significant changes in form and

function. At a glance, its basic form has not

changed, but the costume elements have been

through some changes subtly.

This research was conducted by applying

semiotic approach to read the phenomenon signs that

occurred in Betawi society and the concepts of

ondel-ondel usage behind the changes of its form

and function from time to time. Semiotic came to be

the basic reference in mapping ondel-ondel costume

elements development and changes according to

each time periods as generally happened in historical

approach, limited from year 1970 to 2015. The

research had been done because the ondel-ondel

function is numerous, also in various forms and

events as well. Hopefully this study can give further

insight of ondel-ondel and Betawi community will

be wiser and more thoughtful in treating their

traditional culture.

2 METHOD

We strongly encourage authors to use this document

for the preparation of the camera-ready. Please

follow the instructions closely in order to make the

volume look as uniform as possible (Moore and

Lopes, 1999).

The research used qualitative methods through

interview and documentation to get actual

experience into Betawi life, with historical approach

to create the timeline of ondel-ondel changes. Then

continued to be analyzed using Roland Barthes’s

semiotic to find the meaning of Betawi’s lifestyle

and the concept or ideology in ondel-ondel by the

rulers. System and social relation which build social,

behavior, aesthetic and association of ondel-ondel’s

building elements would be described to uncovered

structure present in it and find out the relation.

While the ondel-ondel become the main object of

the research, but social studies on its society is

needed to as support to observe the situation and

social cultural interaction as an effort to understand

the value and symbol system at the time. Ondel-

ondel is a Betawi traditional art medium that is

perceptible by society convention on symbol that

had been going on. Culture background of the user

influences the context of ondel-ondel. Cultural

change is dynamic, it happened because of the

conflicts between different culture elements.

The research stages as follows:

1. The collecting data connected with the

object (ondel-ondel) and the subject (ideas

and Betawi social-cultural activities).

2. Conducting direct observation, interview,

and documentation of Betawi society

during 2011-2015. The data source was

obtained from Betawi historians and

humanists (Sarnadi Adam, Yahya Andi

Saputra), ondel-ondel craftsmen, visiting

Betawi cultural and performance centers

(Setu Babakan, Betawi Culture Festival,

and Betawi Cultural Organization).

Attending folk traditional rituals such as

wedding ceremony and sunatan

(circumcision). Attending folk art

performances such as lenong (theatre

performance) and ondel-ondel’s

performance. And the society itself.

Observing behavior, working process, and

other natural phenomena around Betawi

neighborhood and people.

3. Every changes or transformation of ondel-

ondel analyzed and structured by using

semiotic analysis to see the relation

between element, culture, and society.

The relation of metaphor process and semiotic in

the above context is used to gather the representation

concept of Betawi culture in ondel-ondel.

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3 RESULTS AND DISCUSSIONS

In order to be Jakarta’s icon, which must be

accepted by the entire Betawi people, ondel-ondel

underwent many changes. Frightening and horror

form must be humanized. Magical and sacred

elements must be removed. As a result, ondel-ondel

becomes more enjoyable as a street performing art

and decoration. There were 3 periods, which was

based on the ondel-ondel costume elements change

through time. Post Animism and Dynamism period,

ondel-ondel’s no longer function as barrier

reinforcement, but a greeter and entertainer in

popular party events. This time branded as the

Personification period (Purbasari, 2015).

The ondel-ondel development did not just stop at

the personification period. When Azhari Bendlawi

(Head of Coordination of Da’wah Islam) served as

the head of Jakarta Culture Department in the 80’s,

he proclaimed the use of cukin (sarong in the neck)

as an alternate decoration to substitute sling for

ondel -ondel male and matching sarong tied at the

waist, under the shirt. The combination of cukin and

belt buckle resembles a demang suit, Pitung outfit

and pesantren (student boarding) clothing. The

changes lead to interpretation that ondel-ondel had

been Islamized, religious and soleh. This period

named as Religion period (Purbasari, 2015).

Next, ondel-ondel enjoys an era of freedom, free

to be creative in form, free for expression in public

and parade. Ondel-ondel no longer appears in a pair

but in a horde. They were not longer had the same

size and form, but become varied. Ondel-ondel is

not only in 3 dimensions form but also 2, printed

into fabric media as clothes, scarf, and hanging wall,

etc. Their appearance is more humanly, with friendly

smile, eye shadow, lipstick, dimples, earing and so

forth. The ondel-ondel life was full of commissions

for many interests, unlimited to culture but also

politics, economic and social. This period is called

the Commercial period (Purbasari, 2015).

According to Sarnadi Adam and Yahya Andi

Saputra (historians and artists from Betawi Culture

Organization), Betawi has its own colors (red, green,

yellow, blue, orange, white and black) that appeared

in every traditional ceremony or festivals, which

give performing stage for ondel-ondel (Saputra,

2013).

The structure of its building elements in

Personification period had its own appearance. At

that time, Jakarta was in development and searching

for identity of DKI Jakarta as capitol city through

local government policy. This policy created Betawi

human icon through ondel-ondel that express

simplicity, populist and authoritative human.

Development in manufacturing technology also

touches ondel-ondel, replacing old and heavier wood

with alternative material: fiber. Beside lightness, its

superior qualities are easier and faster to formed. In

female costume, major changes happened. From

formerly wearing Kurung dress, ondel-ondel’s

costume switched to adaptation of Kebaya similar to

the one worn by contestant of Abang None Jakarte

beauty pageant, which had bright colors

combination. Contrasted color shawl and Betawi

Batik

Jamblang sarong bottom in analogous color

tone with the Kebaya become a staple part of the

costume. The color combination provided traditional

ethnic aesthetics, in line with fashion trend and

textile industry technology of the era. The color

combination presented impression of earthy colors.

Ondel-ondel was in the Development ideology

cycle.

Later on the central and local government

intervene in constructing ondel-ondel to seize power

over the religious stand. Bloody incidents occurred

at the time, which involved the authority and the

religious group regarding the topic, led to the release

of local government policies on cultural sector.

Through this policy, ondel-ondel is presented as the

icon of Jakarta. The government initiated the

application of Cukin accessory derived from Muslim

daily attire. The provision of Cukin associated as

Islamic symbol and ondel-ondel circumcision, gave

birth to populer impression: Betawi people is soleh

(god-fearing) and islami. The islamization of ondel-

ondel shifted the meaning of its costume elements,

including on color which tend towards islamic.

Ondel-ondel lost track of its origin and created

different interpretation from previously, then it was

claimed as a original and traditional culture product

of Betawi. The ondel-ondel colors combination in

Religion Ideology displays the harmonic aesthetics,

using calm colors and tendency to align colors

pattern. The concept of ondel-ondel in

personification through islamic model was called

Religion Ideology.

During Islamic through Commercial period,

Ondel-ondel’s costume elements dominated by

economic motive. Craftmen are on commissioned

thus making them strongly control by the consumer.

The ondel -ondel custome elements lost its sanctity,

breaking the relationship between Betawi human

and the meaning of their life. It became very festive

in various shapes, sizes and colors in high contrast

combination, lacking the spirit, making way for the

emergence of modern and cosmopolitan Betawi

Betawi in the Continuity of Ondel-ondel’s Existence through Changes in the Costume Elements

377

human. The concept of using ondel-ondel and its

custome elements in that time is the concept of

Market (commercial) ideology cycle.

The ondel-ondel function has changed, once as a

cultural instrument, and today as a tourism

insturment, such as ceremony entertainer (wedding

and circumcision), greeters, building decoration,

souvenir or cake decoration, and often also used to

busking. Today, ondel-ondel has been excepted by

the whole Betawi communities.

4 CONCLUSIONS

The ondel-ondel costume elements (form and

colors), function and meaning transformation were

changes brought by authoritative power which was

absorbed in modernity, and tends to abandonee,

what have become a tradition in culture. Modernity

in relation to development changed the Betawi

“face” from traditional to modern, characterized by

the changes of forms and colors in the ondel-ondel

costume elements. The shifting, adding, changing,

and eliminating the ondel-ondel costume elements is

a reflection on how loose Betawi culture medium,

both physical (place) and non-physical (knowledge

about ondel-ondel).

The shifting and changing in ondel-ondel

costume elements and function from time to time,

illustrated the dynamic (flexibility) and blending of

Betawi community in defining their culture. The

dynamics of Betawi society shown from their

tolerance and consistency in taking care of their own

culture. Based on the ondel-ondel development

stages, it can be said that the Betawi community

with all the high culture acculturation in social,

economic, politics and technology are changing too

fast and as s community is still trying to grow to

show its identity.

Up to present, the existence of ondel-ondel has

been through a lot of tragedy and drama. The

changes of costume elements through times, is a

prove of its long existence, by preserving significant

classic part and adapting other communities

influences for its sustainability. The sustainability of

ondel-ondel means the sustainability of Betawi

community; therefore the preservation of ondel-

ondel is imperative, for it is a part of identity and life

of Betawi. It is not only a traditional Betawi piece of

art but also a medium or arena of culture constructed

by the authority.

ACKNOWLEDGEMENTS

The authors gratefully acknowledge that the present

research is based on dissertation to fulfil requirement

for doctorate program conducted at Indonesia Art

Institute, Yogyakarta. It is an honour to have Prof.

M. Dwi Marianto, Ph.D, Prof. Agus Burhan, M.Hum

as promotor and co-promotor. The author wishes to

convey deep thanks and gratitude to Dr. ST. Sunardi

for the encouragement and being the inspiration.

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