ACCULTURATION OF BETAWI DANCE AS A FORM OF SPREAD OF CHINESE CULTURE (SIPATMO DANCE STUDY)

Aryati Dewi Kusumaningtyas; RM. Pramutomo

doi:10.22146/jksks.86539

ACCULTURATION OF BETAWI DANCE AS A FORM OF SPREAD OF CHINESE CULTURE (SIPATMO DANCE STUDY)

https://doi.org/10.22146/jksks.86539

Aryati Dewi Kusumaningtyas^(1*), RM. Pramutomo⁽²⁾

(1) Indonesia Institute of the Arts Surakarta
(2) Indonesia Institute of the Arts Surakarta
(*) Corresponding Author

Abstract

The cultural component of the group itself is gradually assimilated into other cultures. The openness of a community will cause its culture to be influenced by the cultures of other communities, which can lead to cultural acculturation. Chinese culture is one of the cultural blends in the Jakarta area. The Sipatmo dance first appeared in the 17th century and advanced in the 18th century under the leadership of Memeh Karawang (originally Tan Gwat Niao). The purpose of this study is to determine the existence of the Sipatmo Betawi dance and the acculturation of the Betawi dance with Chinese culture. Therefore, descriptive research methods are used because this research aims to obtain answers related to people's responses, opinions, and perceptions. The results of these findings state that many residents do not know that the Sipatmo dance is a traditional Betawi dance that originates from there. Many of them do not know that the Sipatmo dance, which is also known as the Cokek dance, was originally a complementary dance performed during rituals at a temple. Even if this ownership is to be registered to clarify the category of regional culture, this depends on the art holders who are domiciled as citizens spread across the various administrative areas concerned.

Keywords

Acculturation, Chinese Culture, Betawi Dance, Sipatmo Dance

Full Text:

PDF

References

Alwasilah, A. C. (2006). Pokoknya Sunda, Interpretasi Untuk Aksi. Bandung: Kiblat buku Utama.

Arrofatul, I. (2021). EKSISTENSI TARI SIPATMO DALAM KEBUDAYAAN TIONGHOA. (Doctoral Dissertation, Universitas Darma Persada).

Desain, J., Visual, K., Komunikasi, F., & Nusantara, U. B. (n.d.). INDAHNYA BETAWI. 9, 1–10.

E Sedyawati, H Santiko, H Djafar, R Maulana, Wiwin Djuwita Sudjana Ramelan, C. A. (2013). Candi Indonesia: Seri Jawa: Indonesian-English.

Erwantoro, H. (2014). Etnis betawi: kajian historis.

Hasan, A. (2008). Kamus Besar Bahasa Indonesia. Jakarta: Balai Pustaka.

Jazuli, M. (1994). Telaah Teoritas Seni Tari. Semarang: IKIP Semarang.

Julianti Parani, P. . (2014). TELISIK BETAWI: DARI REKONTRUKSI HINGGA PENGEMBANGAN TARI TRADISIONAL. Jakarta:Dewan Kesenian Jakarta.

Kajian, B., & Dan, H. (2018). MODEL KERUKUNAN SOSIAL PADA MASYARAKAT MULTIKULTURAL CINA MODEL KERUKUNAN SOSIAL PADA MASYARAKAT MULTIKULTURAL CINA BENTENG ( KAJIAN HISTORIS DAN SOSIOLOGIS ). June 2014. https://doi.org/10.15408/sd.v1i1.1212

Kaseno, I. (2014). Telisik Tari DKI Jakarta Tari Betawi Topeng & Cokek. In Jakarta: Dewan Kesenian Jakarta.

Koentjaraningrat. (1990). Pengantar Ilmu Antropologi. Jakarta: Rineka Cipta.

Kromong, G. (2022). Kesenian gambang kromong, identitas orang cina benteng di tangerang gambang kromong, chinese benteng’s identity in tangerang. 4(1), 41–55.

Minarti, H. (2014). Telisik Tari DKI Tari Betawi: Topeng & Cokek. Jakarta: Komite Tari – Dewan Kesenian Jakarta.

Oktaria, S. (2018). Lagu Tari Sipatmo Disabilitas Keberlangsungan Seni Budaya Betawi Oleh Balai Kesenian jakarta. Jakarta: Fakultas Bahasa Dan Seni Universitas Negeri Jakarta.

Parani, J. (2017). Bunga Rampai Seni Pertunjukan Kebetawian (R. S. Gandung Bondowos (ed.)). Jakarta: IKJ PRESS.

Rachmat Ruchiat. (2014). TARI SIPATMO YANG PERNAH JAYA. Jakarta: Dewan Kesenian Jakarta.

Rohmawati, N. (2016). Fenomena Tari Cokek di Jakarta. Pantun : Jurnal Ilmiah Seni Budaya,1(2),97–108. https://jurnal.isbi.ac.id/index.php/pantun/article/view/758

Ruchiat, R. (1998). Tari Tradisional Sipatmoh. Jakarta: Dinas Kebudayaan DKI Jakarta.

Sawah, S., & Rodzik, A. A. (2008). AKULTURASI BUDAYA BETAWI DENGAN TIONGHOA (Studi Komunikasi Antarbudaya pada Kesenian Gambang Kromong di Perkampungan Budaya Betawi, Kelurahan Srengseng Sawah).

Seymour-Smith, C. (1992). Dizionario di antropologia. Sansoni.

Soewardjo, B. K., Wardhani, R., Sari, K. M., Tari, S. P., Pendidikan, S., & Mandarin, B. (2022). COKEK BERJUDUL NYAI CUKIN ERA JAKARTA TEMPO DOELOE. 2(2), 25–51.

Sosiologi, P. S., Sosiologi, J., Sosial, F. I., & Jakarta, U. N. (2014). Ketupat cap go meh dan identitas budaya cina peranakan di jakarta.

Studi, P., Sosiologi, P., Sosial, F. I., & Jakarta, U. N. (2017). ( Studi Pada Sanggar Putra Kacrit Bekasi ).

Sudarmika, D., & Arifin, M. T. (2022). REPRESENTASI FEMINISME PADA TARI SIPATMO (SEMIOTIKA PERSPEKTIF ROLAND BARTHES). Oratio Directa (Prodi Ilmu Komunikasi).

Suparyono. (1990). Diskripsi Tari Sipatmo. Jakarta: Proyek Pembinaan Kesenian DKI Jakarta.

Wirawan, C. H., & Sutami, H. (2022). Kebaya Encim Betawi : Ikon Busana Perempuan Betawi. 01(02), 21–38.

Wisudayanti, K. A. (2022). Pendidikan Moral Sebagai Wadah Pembentuk Calon Pendidik Yang Berkarakter. Edukasi: Jurnal Pendidikan Dasar, 3(1), 91. https://doi.org/10.55115/edukasi.v3i1.2312

INFORMANT

Kartini Kisam (age 63) Maestro of the Betawi Mask dance, Cibubur, East Jakarta

Wiwiek HW (age 56) Dance maestro, choreographer, and researcher, Utan Kayu, East Jakarta

DOI: https://doi.org/10.22146/jksks.86539