Betawi City mengucapkan selamat ulang tahun jakarta yang ke 482, semoga semakin hijau, ga makin gundul……
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Unless you are Wisnu and happen to have the mighty Garuda at your disposal (its modern version can be a Lear Jet or a Gulfstream), chances are you will need the service of airlines to reach Jakarta from your hometown. But don’t worry; Jakarta is an international gateway for Indonesia. Practically all international airlines stop in Jakarta.
From within Indonesia, there are several airlines that serve the domestic markets: Garuda, Merpati, and Bouraq. If you prefer the romance of the ocean, passenger ships connect several cities in Indonesia, including Jakarta. From Medan, for example, you can take the Kambuna; it stops in Jakarta on its way to Surabaya and to Ujung Pandang.
Or if you prefer to reach Jakarta by land, you can easily do it from Sumatera or from Java and Bali. From Medan, North Sumatera, for example, you can take either ALS, Liberty, or other buses, and it’ll take you about three days to reach Jakarta. On the road, you will see a lot of Sumatera. Similarly with Java; you can take a Lorena or Karina bus to travel to Jakarta from Bali, from Surabaya, and from many other cities in Java. From some cities in Java, you can travel to Jakarta by train. You can take the Parahyangan from/to Bandung, the Bima from/to Surabaya, and the Senja from/to Yogyakarta, and all the cities in between.
Getting around Jakarta
TaxisJakarta taxis are more colorful than the bright yellow cabs of Manhattan; they come in such a great variety and can become a source of confusion. You’ll be surprised with all colorful taxis swarming in this city? There are regular taxis and also exclusive ones for those who seek convenience. The stylish and elegant taxis are usually black sedans with 3000 CC engine. This exclusive taxi doesn’t look much like a taxi. Take this taxi and have a very smooth ride.Overslept guaranteed!
LimousineIf your standard of luxury equals to Holywood movie stars, a limousine service is ready for you. The limos feature a range of standard and luxury cars. They are the latest models of Japanese and European luxury cars. Stretch limousines are also available with or without driver. If you have no objection to splurging money, this is the best means of transportation you can use.
Or for the adventurous among you, there is always public transportation like:
BusesBuses are the primary means of public transportation in Jakarta. Big Mercedes Benzes span the metropolitan Jakarta, taking you from one main hub to another way across town, while spewing toxic through their tail pipes. On some, the PATAS, you would actually be able to enjoy the comfort of air-condition and a high probability of getting a seat. On the regular DAMRI, consider yourself lucky if you can get a seat. When you do, remember to get up and inch towards the exit amidst the sea of people at least 5 minutes before your stop. Fare does not depend on distance.
Metro Mini
If you think that this is a smaller version of whatever nice image you have concocted in your head when you hear the word “Metro”, think again. These bright orange beasts roam the streets of Jakarta. Warning: if you are 5′11” or taller, there is exactly one seat in the bus where you can sit - back row, middle seat, facing the isle - and there is no chance for you to be able to stand up straight.
Despite all of these, they are quite effective in getting you from point A to point B, and, whether you like it or not, in getting you to know the warmth of Jakarta and its people along the way as you rub shoulders, backs, and step on other people’s toes or getting stepped on.
MikroletAn even smaller version of public transport. Not as romantic as the bemo of Bali, it is typically a modified van that can carry up to 10-12 passengers. Mikrolet can take you to the remotest corners of Jakarta.
Ojek
The last one in the chain is probably Ojek. Ojeks usually park in front of small alleys (gang) that can have thousands of residencies inside. There is no chance for a taxi or a car to get into these alleys, and the distance maybe to far to walk it. So, Ojek - a motorcycle complete with its driver for hire - comes to the rescue..
Becak
Becaks (or trikshaw) used to be ubiquitous in Jakarta. They are basically bicycle with an attached 2-passanger carriage attached in front of it (or on its side if you are in Medan). Several years back, becaks are banned from the city, and they now have become home to various kinds of fish up north by the Pulau Seribu (Thousand Islands). Oh, the romance of sitting together in a becak with your loved one, maybe with a slight drizzle, is no doubt part of the memory of lots of the thirty-something people of Jakarta. What is left now is a variant of becak called Bajaj, a Vespa (think of it as a fat-bottomed motorcycle, if you don’t know what a Vespa is) derivative with an attached carriage. Their obnoxious bright orange color, and distinctive, ear piercing rattle, will accompany you along your ride in the constantly vibrating vehicle.
So, how would a well-seasoned traveler or a native use the public transport system in Jakarta? Quite romantic, really. Say you start from around Istana Negara, the Presidential Palace, and you want to go way down south to Cinere and beyond. You can take a comfortable, air-conditioned PATAS bus to blok M, hop into a Metro Mini (number 69 if I’m not mistaken) to take you to Pondok Labu, continue with a Mikrolet to Cinere, and for the last hop of your trip, say you are visiting a friend somewhere in the various housing complexes around the area, an Ojek (I wonder if the name is really a derivative of “Oh, Jack” - the kind of reaction that should not be uncommon when you ride these motorcycles on barely-paved roads) will complete your trip. Total time? Two hours would not be too stretching if you count the transfer time. But hey, we are talking romance, not efficiency, right?
Getting away
Despite all the excitement of Jakarta, pretty soon you might have to leave it - maybe just for a short trip to Bogor or to Bandung. You can also catch a train to Semarang,Yogya, Surabya or any other city in Java. To Bogor, you can use the Pakuan and to Bandung, you can take the Argo Gede or the Parahyangan. The Parahyangan, an old reliable train to Bandung, is an old favorite of mine (they have a newer and faster one running right now). Four hours, just perfect to recoil and recap from all your hectic pace in Jakarta, and enjoy the green scenery along the route, sometimes over deep ravines and gorges. Maybe because I tend to travel during hungry hours, I also find the Parahyangan’s “Nasi Goreng Telor Mata Sapi” (Fried rice with a sunny-side up) combined with iced-tea to be such a delicious experience. Give it a try…!
To get away from Java completely, be it north to Sumatera or Kalimantan, or east to Bali, Sulawesi, or even as far as Irian. Within Java, or even as far as Sumatera or Bali, you can easily hop on to a bus. Bus rides to Sumatera can be very comfortable. Island hopping is best done by airplane. Garuda, Merpati, and Bouraq are the four major domestic carriers. Garuda serves the primary cities (and international destinations) as well as Merpati and Bouraq have their own niche. If you want to fly direct from Bandung to Denpasar, for example, you have to use Merpati. Using Garuda, you must have a stop over either in Jakarta or in Surabaya.
Choosing a means of transportation in Jakarta is sometimes quite confusing; just like playing chess. I have done my first move by explaining all means of transportation in Jakarta. Now, what is your move? Experiencing my story yourself?!
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JAKARTA is a city of some ten million inhabitants. Like many other major Asian capitals, Jakarta is a polyglot of ethnic groups that all contribute to making up the city’s collective culture. The history and culture of Jakarta has many elements of India, Arabia, other parts of Asia, and the colonial powers of Europe, interwined with its own.
Jakarta has more than its share of diverse ethnic influences as it is also the capital of a nation with over 17,000 islands and 300 cultural groups, many of which speak their own language as well as the national language, Bahasa Indonesia.
As the prime gateway to Indonesia, Jakarta offers the culture of various regions and groups in the archipelago, in line with the national motto “Bhinneka Tunggal Ika” or Unity in Diversity.
The city’s dominant populations come from the surroundings areas of Java, many parts of Sumatra, Bali, and Sulawesi. Also making themselves known area those hailing from Irian Jaya, Indonesia’s most eastern province, and Kalimantan, home of the Dayak and one of the largest rainforest in the world. Over the centuries, these groups have kept their cultural roots, yet some have also intermixed, including with non-Indonesians, to form a special group in their own known as Orang Betawi.
Above all its mix of races and cultures probably still the most dominant in Jakarta is that of central Java, the source of art, music and dance - albeit Indian influenced - that represents much of what little most outsiders know of Indonesia. An important example is the highly stylized wayang.
Jakarta is the port of entry for many tourists and business people. It is home to a dynamic contrast between Western-style skyscrapers, modern urban life-styles and traditional Indonesian culture. Its rapid growth into a metropolitan city reflects the economic, political, social and industrial development of the nation.
In recent years, Jakarta has expanded its facilities for visitors with luxury hotels, fine restaurants, exciting nightlife and modern shopping centers. It contains many tourist attractions such as Taman Mini Indonesia Indah (Beautiful ‘Indonesia in Miniature’ Park), restored colonial period buildings, island resorts in the Pula Seribu (Thousand Island), and an extensive beach recreation complex called Ancol Dreamland.
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Indonesia’s cultural diversity is celebrated in the national motto, Bhineka Tunggal Ika, meaning “Unity in Diversity.” One manifestation of this tenet of Indonesian national identity is the government’s efforts to give equal precedence to the development of traditional art forms from each ethnic group. In Jakarta, the Orang Betawi - the natives of the city - are considered to be the hosts of these cultures, having emerged from the melting pot of races, ethnic groups and cultures of Indonesia in the 19th century. Today they constitute one of the city’s main ethnic groups along side the Javanese (from Central and Eastern Java), Sundanese (from West Java) and Chinese.
If he chooses the former, his version would be just like five earlier versions of the story. If he opts for the latter, he will be deviating from the standard plot that has prevailed for the last 250 years.
“”I’m confused now. Should I kill Dasima or let her live at the end of the story,”” said Rusdi, now busy preparing for the performance of Nyai Dasima as a musical drama with the very metropolitan title Madam Dasima.
Dozens of EKI dancers and actors, including H. Sujiwo Tejo, Rudi Wowor and Rusdi Rukmarata, will appear in the performance, which will also be highlighted by the presence of famous singers and TV stars like Vicky Burki, Indra Savera and Maharani.
Madame Dasima, rehearsals for which have to date been going on for over a month, will be performed on June 27 and 28 at Graha Bhakti Budaya in the Taman Ismail Marzuki (TIM) arts center in Jakarta.
For the Betawi people — the indigenous residents of Jakarta — Nyai Dasima is a very popular play. A folklore expert at the University of Indonesia, Dr. James Dananjaya, said that this legend, which is about Nyai Dasima as the mistress of a Dutch gentleman, was often performed during the Japanese occupation, which one performance lasting the entire night. Recently, as pop culture sweeps across the country, the play has often appeared on television in condensed form as a lenong performance or a film.
Also, state radio station RRI Jakarta uses the characters of Dasima (appearing in the radio program as Mpok Dasime) and Samiun (as Bang Samiun), as well as the sound made by his two-wheeled buggy, in a program in which the two chat about all things topical in the capital.
Two versions of Nyai Dasima were written during Dutch colonial times. One was written by G. Frances (1896) in Batavia Malay and was set in the year 1800. The second version was written in Dutch by A. Th. Manusama (1926).
Other versions of the legend were written by SM Ardan (1965) in the Betawi language, Chitra Dewi (1970) as a film script and Ali Shahab (1995) as a TV serial.
Generally, these five versions end with the death of Nyai Dasima.
Squeezed in Life
One of Indonesia’s prominent feminists, Julia Suryakusuma, is anxious to see Rusdi’s version of Nyai Dasima. In the meantime, she gave her opinion that Dasima should be allowed to live in this new version.
Any reason for wanting Dasima to live? After two failed marriages to two husbands from two different cultures and with different values, the Dasima of the reform era and the postmodernist age will not opt for suicide. “”She will leave her house to study at the university, graduate as a nuclear physicist who will later gain recognition in her field without having to depend on a man.””
“”As for Nancy, Dasima’s daughter from her marriage with a Dutch husband, she may turn out to be a TV star, or a star for a soap commercial in which a Eurasian face is generally a favorite,”” she said in a discussion on Nyai Dasima at TIM. Also speaking were Firman Ihsan, a photographer, painter and lecturer at the Jakarta Institute of Arts, and James Dananjaya, a professor of anthropology at the University of Indonesia.
Julia was not joking. As a feminist, she was defending Dasima in the present context, in addition to making up for her disappointment over the five earlier versions of Nyai Dasima.
According to Julia, in the two versions of Nyai Dasima written by male authors of the colonial elite, women are victimized to produce a story illustrating colonial relations. The stress is on race, not religion, in defining group identity.
The other three versions were written by indigenous writers: SM Ardan and Ali Shahab, both men, and Citra Dewi, a woman author. They depict the nyai (mistress) as a woman who, despite being victimized, continues to maintain control over her life. “”Because the play is a melodrama, the female figure must die tragically. This, however, happens among the indigenous and any relationship with a Caucasian or a non-Indonesian will be rejected,”” said Julia, who is married to actor Ami Prijono.
A nyai (as a character in the play), she said, is the manifestation of a more extreme figure of a woman in a relationship that favors men. This relationship has, since the earliest of times, been in favor of men even if the men and the women are from the same race. The mistress wishes for a better future, but as circumstances do not allow this to happen she is led to her tragic death.
In all versions, an Indonesian woman who agrees to be the mistress of a Caucasian, she said, is depicted as someone with a noble mind. She is calm, faithful and passive. She is invariably suffering and victimized. She has become an ideal type (a prototype) which emerges repeatedly in a literary tradition beginning with the stories from the Ramayana.
From the viewpoint of a feminist, Julia sees this ideal type repeated in stories about the Javanese palace. It also finds expression in Dharma Wanita and the Family Welfare Movement (PKK), which applied it as the idealization of obedience and dependence. This graceful passivity can be contrasted with Srikandi, a shadow puppet figure, and fighter Cut Nyak Dien.
“”At present, the manifestation of the figure of Nyai Dasima can be seen in the practice of contract-based marriage, a symbol of an Indonesia being squeezed between the forces of globalization and Western values and neoconservative Muslims in their attempt to maintain an indigenous identity,”” said Julia, the daughter of a diplomat who spent her childhood and much of her adult years abroad.
Gray area
Another speaker at the discussion, Firman Ichsan, said as a legend Nyai Dasima is a fiction dwelling on a long journey in search of self-identity. Dasima is the personification of the gray area itself in the sense that this figure represents the search for self-identity, not only as a grand narrative but also as a private person.
Nyai Dasima, as complicated love story, and later fictions in the same vein like Salah Asuhan (Wrong Upbringing), he added, always end with the death of one of the characters. This used to be our characteristic way of finding a solution to the Western-Eastern cultural conflict, he said, adding that this conflict never left room for compromise. “”Or in other words, when you encounter foreign elements, you must take this option (death).””
Obviously, this solution calls for questioning at a time when the nation is undergoing drastic changes, including the process of democratization and globalization, a situation shared by other nations. A solution like this cannot simply be accepted, especially in light of the spirit of emancipation that RA Kartini, a pioneer in the struggle for women emancipation in Indonesia, fought for throughout her life, a spirit now finding momentum.
Aware of all this, Rusdi Rukmarata, a Buddhist priest, appears to be taking care to use a contemporary approach with Madame Dasima. Rusdi, for example, organized the discussion involving Julia, Firman and James Dananjaya to help him find a solution to the problem of whether to “”kill”” Nyai Dasima or “”let her live””.
The martial arts styles found in the area of Jakarta (previously known as Batavia) have played an important role in the development and dynamic of this city since before it became a the modern metropolis it is today. Historically, Jakarta has been the melting pot for various cultures and nationalities from all over Southeast Asia as well as India, China, The Middle East, Portugal, Holland, and others.
In 1527 a general named Fatahillah took control of Sunda Kelapa (Port Sunda in North Jakarta) for the East Java kingdom of Demak and created the city of Jayakarta. The city’s spelling may have changed, but the anniversary of this event is still celebrated every year on the twenty-second of June as the city’s birthday. Jakarta’s long history is still relatively unknown to the masses. According to University of Indoneisa Anthropology Yasmin Zaki Shahab MA, it is estimated that the ethnic group Betawi was formed sometime around 1815-1893. [Betawi is derived from Betavia which was the Dutch name for the city that is now Jakarta] For this reason, the Betawi people are considered relative newcomers to the area.
This new ethnic group was born out of the melting pot of various cultures that had been living in the city of Jakarta such as the Sundanese, Javanese, Arab, Balinese, Sumbanese, Ambonese, and Malaysians.
[Betawi is derived from Batavia, the name given to Jakarta by the Dutch during the period of colonialization]
This fusion of different cultures led to an exchange of art, culture, customs, and fighting techniques. The different fighting techniques developing at this time are now referred to as silat but were previously called “Maen Pukulan” (To play at striking). Silat is thought to have been present in the area of present-day Jakarta, since the 16th century. At this time demonstrations of silat where more artistic in nature and where performed at weddings and circumcisions (sunatan). This strengthened the suggestion that Silat didn’t function only as a method for fighting, but had become a social contruct, a cultural art form rooted in daily life.
Pencak Silat has colored the Betawi people’s life, where practicing silat or “Maen Pukulan” (literally: to play boxing) was considered obligatory. The Betawi silat styles are known for the villages or areas where they developed. According to Professor Dr. Parsudi Suparlan, this is because “the Betawi people in daily social life, referred to themselves in terms of the location where they lived like Kemayoran people, Senen people, or Rawabelong people.” At that time awareness of a new Betawi ethnicity hadn’t yet taken root with the people. Then in 1923 Moh Husni Thamrin and figures in the Betawi society established Perkumpulan Kaum Betawi (The Betawi Social Collective) which made all Betawi people realize that they were a distinctive group (an ethnic group as well as a social and political unit): that they were all Betawi people.
Silat Betawi styles were named after their place of origin like Silat Kemayoran, Silat Tanah Abang, Silat Rawabelong, and many others. The leaders (jago-jago) in each area (kampung) were the progenitors of these fighting systems. When investigating further into the old Betawi urban village (kampung), in almost every place there could be found leaders (jagoan). They were not a simple security force. They were community leaders and were given high status because their actions were praised. The Pesilat (silat practicioner) or jago ‘maen pukulan’ made use of self-defense knowledge for the purposes of ‘amar ma’ruf nahi mungkar’, which means to invite man to the true path and away from tyranny. According to H.Irwan Sjafi’e, elder of the Istitution of Betawi Culture (Lembaga Kebudayaan Betawi), there presence was well respected and their relationship with the alim ulama (muslim scholar) was very firm thus they were the two most respected individuals in Betawi society.
The heroism of the Jago Silat in these early times is quite interesting to observe. For the public, they defended the ‘little people’ and protected their village-area (kampung) where they lived. Just mention Sabeni, the legendary pendekar (warrior) from Tanah Abang who lived before the 2nd World War. Sabeni was born around 1860 in Kebon Pala Tanah Abang. His parents were Hannam and Piyah. According to Bang Izul (one of Sabeni’s grandchildren), “Sabeni became a famous name after Sabeni was able to face another jago from Kemayoran who was nicknamed “The Tiger of Kemayoran.” The challenge came when Sabeni proposed to the daughter of the Kemayoran fighter. Sabeni’s activities training ‘maen pukulan’ to the Betawi people disturbed the colonial government and a Dutch offical named Mr. Danu brought a Kuntao expert from China to Defeat Sabeni. The Chinese fighter was defeated in what is now called “The Battle of Princen Park (an area in Jakarta which is now called Lokasari)”. Sabeni’s most phenomenal success was defeating Judo and Karate experts from Japan who were brought to Indonesia just to challenge Sabeni in Kebon Sirih Park (now the Gedung DKI area). At the time Sabeni was eight-three years old.
Until age eighty-four Sabeni still taught maen Pukulan (he taught almost all corners of Jakarta typically travelling by foot) until he died in peace surrounded by his children and students on Friday August 15, 1945, only two days before Indonesia’s Independence was proclaimed. He was buried at Jalan Kuburan Tanah Abang (Tanah Abang Graveyard Road). Afterwards, the name of this street was changed to Jalan Sabeni (Sabeni Road) by the regional government.
There are other well-known Silat practitioners coming from “Tanah Abang” such as Rahmad, Ma’ruf, Derachman Djeni, Habib AM Akhabsji, Satiri, and others. Silat practitioners from other areas frequently came to the Betawi region from other areas in order to study the local silat techniques. In addition to studying the fighting science, they also often formed fellowship or brotherhood (bersilaturahmi). According to Bapak Oong Maryono (a Pencak Silat researcher)
“Many pendekars from Sunda (West Java) collaborated and exchanged information with those in the Betawi region.”
Pencak Silat personalities from Sunda influenced silat in the Betawi region. For example, Raden H.Ibrahim (1816-1906), a practicioner of the Cikalong style, had studied with bang Kari and bang Madi. These individuals were quite famous in their time for their knowledge of Silat. The Madi style was known for arm breaking with its pulverizing techniques while bang Kari was known as a pendekar fom Benteng Tangerang (near Jakarta) who was also an expert in throwing techniques. To this day these two individuals are considered legends and it’s noted that they both came from the Betawi region. Raden H.Ibrahim, before learning with bang Kari and bang Madi, had studied with another Betawi pendekar named Ma’ruf in the Jakarta neighborhood of Karet.
Another famous pendekar known to the Betawi people is Pitung. Pitung came from kampung Rawabelong Kelurahan Sukabumi Utara in West Jakarta. He studied silat and Islam with H.Naipin. His Silat skills made him quite famous as well as his bravery in defending the ‘little people’ (rakyat kecil). He helped the poor by robbing the elite (merampok) and distributing their money to the poor people who needed assistance. Pitung is so famous that a dissertation was recently been written in Holland called “In Search of Si Pitung, the History of an Indonesian Legend,” (Margreet van Till, 1996). The Dutch colonial administration targeted Pitung because of his activities. He was betrayed by a friend and shot by Schout Van Hinne on October 16, 1893 and died a day later.
There are many famous Betawi Silat teachniques such as Cingkrik, Gie Sau, Beksi, Kelabang Nyebrang, Merak Ngigel, Naga ngerem, and others. Silat Cingkrik is already quite well known. This style has even deviated in several regions so that today it has many different derivations. One of these derivations is Cingkrik Goning, which is named after its founder Engkong Goning, a fighter from Kedoya. His knowledge was passed to Bapak Usup Utay, who then taught Bapak Tb. Bambang who is now teaches it today. There are only 2 versions of the Cingkrik style being taught openly today. These are Cingkrik Goning and Cingkrik Sinan. The difference between the two is that Cingkrik Sinan uses “ilmu kontak” (a kind of telekinetic power that knocks people down without touching them) while Cingkrik Goning only handles the physical body. “The strategy of this style of silat is trying to enter and ‘lock’ the opponent so that a lot of time isn’t spent trading punches or kicks,” said Pak Bambang to the author while training at the
Padepokan (training hall) not long ago.
The variety of Betawi Silat styles were enriched by sources (latarbelakang silat)
from other areas like Syahbandar, Kuntau, and other West Javan styles. During the process of assimilation, a new style might be made. The most unique feature of and tradition in Betawi Silat is that the jurus (movements, forms) still remain strong. Look for instance at Mustika Kwitang which was established in the Kampung Kwitang neighborhood in central Jakarta. One of the proponents of this style is H.Muhammad Djaelani, who was referred to as Mad Djaelani. The style Mustika Kwitang is now entrusted to his grandson and student H. Zakaria. The acculturation of Chinese fighting methods with Betawi wasn’t considered strange at all. Consider silat Beksi, or bek (defending) and Sie (‘four’ in Chinese) which means “Defending in four directions.” Three Beksi masters (H.Gozali, H.Hasbullah, and H.Nali) and a Chinese person named Ceng Ok, developed this style in Jakarta. It’s thought that the Beksi style is the most widely spread in the Jakarta at this time.
There are no remnants of Silat brought from other areas of Southeast Asia like Sahbandar, which was brought by Mamak Sahbandar from West Sumatera. Mamak Sahbandar, whose was also known as H.Mohamad Kosim (1766-1880), came from Pagaruyungan in West Sumatera. Altough the Sahbandar silat style is now established in Cianjur (West Java), it was actually developed further in the Betawi region. H.Mohamad Kosim died at the age of 114 and was buried near Wanayasa, Purwakarta.
The Betawi Silat styles generally focus on attacking with fast empty-hand techniques. Around the year 1896 M.Toha and H.Odo established a school to teach their style called Sin Lam Ba. This style introduced Tenaga Dalam (inner power) and typical Silat jurus (movements) as well. This style is still being taught in Jakarta now. There are in fact many other Silat styles like Serak and Gerak Rasa that are quite well known in Jakarta.
After Indonesian Independence (1945), Jakarta became the destination for immigrants from all over Indonesia. According to census data from 1961, the Betawi ethnic group included more or less 22.9% of the 2.9 million residents of Jakarta at that time. They expanded to the outskirts of the city. It’s not surprising that the Betawi Silat styles had students from other styles that had been pushed out of their village (kampung). This made local people aware of local Silat styles and they made efforts to pass on this knowledge to their family and students locally and abroad.
Preserving Betawi Silat
Pencak Silat represents the artistic and cultural richness and is so valuable that it should be preserved for the promotion of genuine cultural consciousness. In 1972, “The Association of Pecak Silat Betawi” (Persatuan Pencak Silat Putra Betawi) and among the style represented were Sapu Jagat, Sahbandar, Sutera Baja, Mustika Kwitang, Genta, Sikak Mas. This organization was even visited by then President Suharto in 1973.
Entering the new Millenium, there are more than 50 Pencak Silat styles classified as originating from the Betawi region. Not all of these styles were easily accessible at the same time so a process to encourage camaraderie. Despite these efforts, several styles in the organization had begun to disappear from the Jakarta area. The Internal Betawi Silat Championship (Kejuraan Internal Silat Betawi) and Festival Silat Betawi were two events designed to help stimulate interest in the Indonesian martial arts and keep them from disappearing altogether.
In the future, The Putra Betawi organization is planning a Championship for Betawi Silat styles. “We are trying to watch over the uniqueness of this kind of Silat, when compared to Silat championships done by IPSI which have a more national character and focus on athletic performance,” said Deddy Suryadi (General Head of PPS.Putra Betawi). Thus the Putra Betawi organization is trying to elevate Silat as a symbol of pride for the Betawi culture. In August 2006 the Festival Silat Betawi was held and no less than 23 Silat groups participated in this event. One of the goals of the event was to visually document the original Betawi Silat forms so that they could be reintroduced to the younger generation.
Documentation and The Internet
The Internet has proven to be a great asset in helping to preserve Indonesia’s Martial Arts heritage. A group called The Traditional Silat Enthusiasts and Preservers Forum (Forum Pecinta dan Pelestari Silat Tradisional) was formed by Silat enthusiasts using the Internet to exchange information. This group’s agenda is to research, preserve, and promote traditional Silat style through modern media including video and books.
According to the goup’s coordinator Eko Hadi Selaku “the first step was processing all the different schools or Silat styles that are still found in the greater Jakarta area, we chose this region because our groups members live in or around Jakarta. Maybe in the future we can have representatives from other areas,” he said.
As a pilot project, the members of the Forum chose to begin documenting three different Betawi Silat styles: Silat Cingkrik Goning, Silat Pahaman, and Silat Sabeni. These three Silat styles have already been documented and this has led to public classes being opened at the Pencak Silat Training Center in Jakarta.
The goals of the Forum are to introduce encourage participation in traditional Silat through practice. Another important activity is sponsoring monthly discussion meetings that are open to the public so interested parties can find out more information in a more direct manner.
This Forum is open to the public and public participation is encouraged in order to achieve the Forum’s goals. The public can access information about this group on their website www.silatindonesia.com. In addition to information about traditional Silat, information about upcoming events in Indonesia can be found. There is also an email-mailing-list http://silat.4-all.org which can also be useful for the Pencak Silat community in Indonesia in order to share information.
We should be proud that Pencak Silat has already spread to as many as twenty countries on five continents. Still, unfortunately the development and promotion of Pencak Silat outside of Indonesia seems superior to the efforts made in the art’s homeland. With hard work, hopefully enthusiasts of Pencak Silat in Indonesia will be able to bring forth a new image for this precious relic given to us by our ancestors
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