Vol. 34, No.

1 (2022)
HUMANIORA page 23—35
https://jurnal.ugm.ac.id/jurnal-humaniora https://doi.org/10.22146/jh.64495

Semiotic Analysis of the Changes of Ondel-ondel Costume

Elements as a Betawi Cultural Negotiation

Mita Purbasari Wahidiyat1, M. Dwi Marianto2, M. Agus Burhan2

1
Visual Communication Design Department, Bina Nusantara University, Indonesia
2
Department of Fine Art, Indonesian Institute of Arts, Yogyakarta, Indonesia
Corresponding Author: [email protected]

ABSTRACT
Recognized as one of Jakarta’s icons, the large pair of puppets known as ondel-ondel has undergone significant
transformation since its origin centuries ago. Classically built in a fairly simple form, ondel-ondel presents
itself in various ways at every performance. Now, ondel-ondel is increasingly found throughout Jakarta,
having gone through numerous changes in its costume elements. Whereas it is usually meant to be shown
as a couple, nowadays a single ondel-ondel can be found cruising alleys with a mere digital sound system as
musical accompaniment. Once respected and feared for its looks, today it is belittled by its own people. Due
to this phenomenon, this research aimed to answer the questions of who influenced this ideological change,
which ruling elite encouraged their ideology, and what the ideology is. Interviews and direct observations
produced stories and photographs, while literature and media studies provided a historical background. Roland
Barthes’ semiotic connotations with a historical perspective were used to read the hidden concepts behind
these signs, which connect the changes of the costume elements through the important events in Betawi
society during the period of 1970–2020. The different interests of each party brought more conflict in their
relations, which created a dynamic cultural negotiation. Based on the results, the terms for the ondel-ondel
models were identified, specifically a personification model, Islamic model, and commercial model, each
named after the historical events and ideology brought about by Jakarta’s ruling elites.

Keywords: ondel-ondel, semiotic costume elements, cultural negotiation, Betawi; ideology

INTRODUCTION
A pair of large puppets known as ondel-ondel is an ancient and long fangs. It was large and tall, approximately 80 x
Betawi performing art. Ondel-ondel was presumed to 250 x 80 cm, structurally made of rattan or bamboo with
have existed in Jakarta under the name barongan (group, a mask from high-quality wood (Purbasari et al., 2016).
together, meaning to turn something on together) and used Besides its quality, easiness to form, and fragrance, this
by the Betawi people in 1605 (Purbasari et al., 2019) as a wood was chosen because barongan or ondel-ondel is a
disaster deterrent and protector for the community against work of art that is honored by the people.
a bad omen. Ondel-ondel possessed traditional wisdom Barongan was created in Betawi Pinggir or
to uphold a clean, safe, and peaceful life (Rizal, 2019). suburbia and also culturally influenced by Chinese and
Following its function, the barongan appeared horrific Sundanese (Shahab, 2001) when they were struggling in
and terrifying with an angry red face, round bulging eyes, the agricultural sector and believed that something big
Humaniora, Vol. 34, No. 1 (2022)

and huge had unlimited power (Sugiyarto, 2010). Betawi religion. It marked the birth of the second model. The
Kota was influenced by Arab culture (Shahab, 2001). third model was in line with economic development, as
Barongan became part of a ritual in the Betawi Pinggir Jakarta fast became a metropolitan city. Ondel-ondel is
community and considered sacred and separated from no longer just a part of the culture but has also become
daily life. Betawi Pinggir and Kota were differentiated an economic asset, such as in tourism.
geographically by city limits and dialect (Betawi Pinggir Barthes’s semiotic approach was used to read the
ended the word with “a” while Betawi Kota used “e”, for changes in ondel-ondel costume elements from time to
example: ngapa vs. ngape) (Erwantoro, 2014). Before a time to interpret the meaning and ideology of the ruling
procession in the village, there was an ukup (smoking) elite. The relationship between the ideology and culture
ritual using burning incense along with offerings to pave lays in the fact that to interpret a language, people depend
the way for the emergence of magical energy (Saputra, on ideology. Culture is about negotiation to generate
2009). It means barongan was not part of the popular various speeches through a cultural text and ideology
culture for both the Betawi Pinggir and Betawi Kota (Sunardi, 2013). A cultural analysis will culminate in
communities (Wahidiyat, 2019), because barongan was an ideology (Barthes, 1983). It shows that a cultural
used by Betawi Pinggir for sacred rituals only, while negotiation indeed is an ideology negotiation between
barongan was forbidden by Betawi Kota. the ruling elite and an influential person with close ties
Based on an interview with Saputra, Barongan’s to power. The changes of ondel-ondel costume elements
simple form was due to the urgency to deal with the show the presence of negotiation between the society
malaria epidemic. Barongan was used as the embodiment and the ruling elite, in which the ruling elite spread their
of the ancestral village protector (Supriyanto & Dharsono, ideology. The result of this analysis is the ondel-ondel
2017). model.
Since 1605, its performance was considered as This study explored the continuity and changes
somewhat serious and sacred, because of its place in in the ondel-ondel appearance to know the meanings
the sacred rituals in the Betawi community such as and concepts or ideologies from each model. It focused
exorcizing evil spirits, which was believed as the source on ondel-ondel costume elements from 1970-2020. The
of outbreaks, earth alms. The ondel-ondel parading in author interviewed cultural practitioners, ondel-ondel
the village was a performance awaited by the people artists, and the audiences. Incidents, interests, and
because its presence was associated with joyfulness and ideologies led to what ondel-ondel looks like today.
celebration (Wahidiyat, 2019), which is connected with
funds and food. In this case, ondel-ondel has become a
cultural medium. CONNOTATIVE SEMIOTICS IN ONDEL-
Today, ondel-ondel are easily found all around ONDEL
Jakarta, especially in suburban areas. Despite the evil Data from 1970 to 2020 was collected through
looks, they still present a magnificent atmosphere. observations, interviews, and literary research. Direct
Unfortunately, their sacredness diminished – asking interviews were conducted on three groups: cultural
for money. With its new function as a medium of practitioners, ondel-ondel makers and performers, and
entertainment and breadwinner, it is as if this large puppet the audiences. With cultural practitioners, discussions
can be treated at will by users as long as it can generate were held and attended. Betawi cultural activities were
coffers of money (Samhudi, 2020). Many ondel-ondel attended, which resulted in storytelling about Betawi
elements are missing like the standard music companion. culture and ondel-ondel. In a meeting with the makers,
Ondel-ondel walks solo while simultaneously pushing a knowledge was gained about making ondel-ondel,
musical cart. and the ritual process for the preparation of the show.
In the 1970s, ondel-ondel was announced as one Together with the performers, the experience was gained
of the Jakarta icons by Governor Ali Sadikin (Samantha, in parading the ondel-ondel around the village. Interviews
2013). Barongan underwent distinctive changes, and with the audiences received responses about the presence
transformed into ondel-ondel today. This marked the of ondel-ondel.
beginning of the first model. Jakarta began to shape Besides observations and interviews, data was
itself as a city, inviting immigrants from other parts sourced from publications such as journals, books, the
of Indonesia, thus creating a need for identity for the Internet, newspapers, magazines, and other records.
Betawi. Over time, acculturation between immigrants Ondel-ondel is the result of the mental construction
and Betawi residents created a strong bond united by of the Betawi community, influenced by the local

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 Wahidiyat - Semiotic Analysis of the Changes of Ondel-ondel Costume Elements ...

context according to the conditions of the concerned elements into a visual table. Second-level semiotics
community. A mental construction involves negotiation (connotations) is called signified. Other meanings are
until the ondel-ondel model is established. Negotiation further interpreted through the following stages: 1) the
is a dialectical form, and the dialectical process is most relationship of symbolic, paradigmatic, and syntagmatic
rapidly manifested through the development of artistic signs; and 2) connotations and the interactions that occur
styles (Hauser, 1982). Hence, ondel-ondel development when the visual signs meet the emotions and values of
has produced several models. This study used Roland the culture; meaning that comes from experience and is
Barthes’ semiotic approach (connotative semiotics) personal. The connotation of ondel-ondel is beyond what
that contains a synchronic and diachronic historical is visually noticeable such as faces, costume elements,
perspective, which used to see the continuity and colors, decorative patterns, and others. 3) The meaning
changes of it from time to time. The connotative semiotic of connotation creates myths to distort the first level of
approach was used to interpret the meaning of ondel- meaning that no longer refers to the reality. 4) Myth is
ondel through several subjects, which are denotation; actualized through ideology and naturalized to society
symbolic, paradigmatic, and syntagmatic sign relations; through socialization. At the end, the myth is considered
connotations; stolen language; naturalization; myth; and normal, valid, and true. The established myth eventually
ideology. Stolen language is a process where a certain becomes ideology, in which various ideologies are related
part from a previous object is taken and then developed to the ondel-ondel model discourse.
into a new object with particular goals. The researcher went through several stages in the
Referring to the term used in Barthes’ book, the analysis process. First, I conducted a literature review to
term ‘model’ is used to divide ondel-ondel based on the see the changes in the costume elements of the ondel-
changes and developments of the costume elements. ondel and recorded them into a schematic analysis of
The word ‘model’ is also related to Roland Barthes’ the structure and the costume elements. Interviews with
clothing system This word means something general or historians and cultural practitioners were conducted to
an example or type used for imitation or comparison find out who influenced the changes. The next part was
(Flexner & Hauck, 1987). The costume elements on tracing the important events and conditions that caused
ondel-ondel became important as the subject analyzed changes to the ondel-ondel costume elements. This was
in the first stage. Costume elements are decorations the beginning of the ondel-ondel models. I also recorded
or accessories in ondel-ondel both in shape and color. important activities and the people involved with ondel-
Color is one of the elements of the costume discussed, ondel and connected the changes in the costume elements
for Betawi has a distinctive color combination that is also of each ondel-ondel model to read the message or
applied in ondel-ondel (Purbasari et al., 2016). ideology.
Roland Barthes’ semiotic approach was chosen not Cultural negotiation started from the ruling elite,
only because of its appropriateness to explore the various which stole the previous model’s form, combined with
meanings of ondel-ondel, but it also contains a historical other forms to create the new model and used extensively
perspective that is certainly suitable for long-lived ondel- in the society to justify it. In order for the new model to
ondel. Barthes’ semiotic approach views the importance be accepted, the change process is carried out gradually
of the analysis of myth and ideology; his theory of myths and continuously until it is deemed reasonable and
and/or ideology allows the study of ideology in both natural. The myth to naturalize history for acceptance
diachronic and synchronic (Sunardi, 2013) means. This and perceived natural through negotiation became a
ideological study contains a historical perspective. To true or natural ideology. Then the ruling elite could run
understand the meanings of objects, we need to review the policies without resistance. A synchronic process
their history (Goebel, 2020). In checking their history, happened when ondel-ondel was viewed from the relation
we need to have a diachronic and synchronic view of and tension of its costume elements, which created
the continuity and changes of the ondel-ondel costume cultural negotiation. A diachronic process is about the
elements. development of all the models linearly and gradually.
There are two levels in Barthes semiotic approach. By elaborating between the theories, contexts,
The first level is called a signifier: the meaning in the concepts, events, and signs related to Barthes’ semiotics
form of a description of what is seen by the eyes, in and ondel-ondel, and then composed into a temporary
this case the visual signs of ondel-ondel are costume unit, the researcher explained various aspects of the
elements, body shapes, cloth decorative motives, and research problem.
others. In the first level, I documented the costume

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Humaniora, Vol. 34, No. 1 (2022)

THE ONDEL-ONDEL MODEL DYNAMICS

Structure and Costume Elements of
Ondel-ondel
Reading the continuity and changes of costume elements
in ondel-ondel means seeing community dynamics
(contextual) through several models. This discussion
also shows important events in Betawi society that led
to continuity and changes in costume elements. This
denotative analysis leads to the division of several ondel-
ondel models. A pair of ondel-ondel consists of a male
and female who have similar structures and shapes, but
the costume elements have changed from time to time
(Purbasari et al., 2019). Based on an interview with Yahya
Andi Saputra, a Betawi cultural expert and head of the Figure 1. Structure and Costume Elements of the Ondel-ondel
Betawi Cultural Institute’s Research and Development
Division, he mentioned that the ondel-ondel must be male
and female, like day and night, good and bad. For its are typical shirts of a Betawi male and female. The fabric
people, ondel-ondel is also a medium of communication belt is wrapped around the waist to bind the bottom cloth.
between humans and the Creator, and a symbol of life Jamblang fabric is used to cover the legs.
balance. During the performance, the ondel-ondel is
A full set of ondel-ondel consists of the pair accompanied by a special team of musicians, consisting
accompanied with a music team. The ondel-ondel of 6-8 percussions: 1-2 tepak, 1 kecrek, 2 ningnong, 1-2
structure resembles two upright triangles. Its big and small gongs, 1 large gong, and 1 tekyan (Purbasari et al.,
tall size gives the impression of being sturdy, strong, 2019) (Figure 2).
and sacred. The ondel-ondel structure is divided into 3 In this formation, Yasin, the leader of the Beringin
parts, the top (head), middle (body), and bottom (legs). Sakti studio, mentioned that all the participating members
The head contains the costume elements: coconut flower, can switch instruments, except the tehyan, which has no
handlebar (crown), hair from natural fibers, and a mask substitute, because of its high level of difficulty (Purbasari
(face) made from wood or fiber. As for the body, the et al., 2019). Currently, ondel-ondel street performances
elements of the male ondel-ondel costume have a cukin use a mobile sound system cart to replace the tehyan. The
or sash, and the female has a toka-toka (chest cover). The cart can also play Betawi and pop songs.
male ondel-ondel wears a sadariah shirt (Muslim Betawi
dress) and a belt, while the female ondel-ondel wears a
kurung or kebaya top and a brightly colored belt. The ONDEL-ONDEL MODELS AND
last one is the lower part (legs); there is a sarong called IDEOLOGIES
a jamblang that covers the legs (Figure 1). According to Barthes, a myth is a type of speech using
Based on an interview with Saputra, a coconut stolen language taken from history but only its form is
flower head accessory means that the Betawi people are stolen, while its content is determined by the ruling elite
ready to work based on their respective strengths and group. The changes in the ondel-ondel costume elements
competencies for community benefits and welfare. The and its accompaniments from time to time were tailored
crown is a symbol of power and honor. The coconut fibers to the requests and desires of the ruling elite group to
are planted as hair to cover the back of the head where provide new and different values in Betawi society. The
the coconut flowers are embedded. The male ondel-ondel values have stood for a long time and continued to blend
mask is painted red (giving a firm and scary impression), naturally, to be believed and become common. A myth has
while on the female it is white to symbolize softness the ability to manipulate the reader toward an ideology.
and purity. Toka-toka is a triangular shaped fabric with Myths are formed through generalized assumptions and
red ornaments as a breastplate for a woman, a symbol societal experiences.
of fertility and prosperity. The male ondel-ondel has a The continuity and changes in costume elements,
neck and chest ornament, as a symbol of cleverness and meanings, and functions of ondel-ondel are in line with
defender of truth. A sadariah shirt and kurung or kebaya the Betawi community’s social dynamics, especially

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 Wahidiyat - Semiotic Analysis of the Changes of Ondel-ondel Costume Elements ...

Figure 2. Ondel-ondel Accompaniment Instruments

amongst the ruling elites. It creates certain characteristics

in costume elements. It not only brought the information
or the messages, but also a structured sign system that
reflected certain societal assumptions at any given time.
Furthermore, it was interpreted differently from before
by the Betawi people.

Barongan Pre Ondel-ondel Model

Barongan became the early model and background of
the other ondel-ondel models. Barongan appeared along
with the belief that something big was considered to
have the power to protect and fight evil. The earliest
written record of barongan’s presence could be found in
Geschiedenis Van Java Dell 2 by W. Fruin Mees, as it had
Figure 3. Structure and Costume Elements of Barongan Model
been around since before 1605. Based on the barongan
visual on a Twitter account from potretlawas in 2017 and
digitalcollection.universiteitleiden.nl, barongan is twice
the size of regular people. result of adjustments to the current conditions. The details
The head had hair decorated with a crown of the barongan structure and costume elements can be
surrounded by coconut flowers. Its face looked creepy described as follows (Figure 3).
with huge round and bulging eyes, long curved fangs, and Based on previous documentation (Figure 4), it
broad ears, used to ward off evil creatures that disturbed is quite impossible to distinguish between the male and
the villagers. Barongan had the same form of structure female. Looking at the picture, the two puppets appear
and costume elements as ondel-ondel. The difference almost identical in structure and costume elements. In
between them in the shape, size, and materials was the rituals, true to its original function as a repellent, for

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Humaniora, Vol. 34, No. 1 (2022)

of the ruling elite group, made policies by himself to

make ondel-ondel as an icon of DKI Jakarta. The
Governor of DKI Jakarta had to reach a consensus with
the following parties who also had power in the Betawi
tradition recreation process: the DKI Local Government
(Pemerintah Daerah or PemDa), the Betawi Cultural
Institute (LKB) and other Betawi organizations, as well
as practitioners and artistic professionals (Shahab, 2001).
The process of creating the Betawi tradition was initiated
by the ruling elite group in the local government, which
Ali Sadikin led. It lifted up Betawiness (kebetawian)
in order to color Jakarta with local traditions but
experienced many obstacles and conflicts. The second
group is the Betawi Cultural Institute (LKB), which
represents the community and acts as a liaison between
Figure 4. Barongan Museum Tropen - Nederland Collection in the Local Government and the Betawi people (Betawi
1923, photograph by Rushdy Hoesein Kota or Tengah as the political and religious elite). LKB
is fully funded by the local government, making it reliant
on donors. The third group is practitioners or artists,
reinforcements, earth offering rituals, village spiritual dominated by the Betawi Pinggir.
cleaning, and offering preceding a building construction Betawi organizations and LKB always had to
for safety, the face of the male ondel-ondel was created accept the creations made by the local government.
to be horrific, frightening to dispel everything bad, which Ondel-ondel was included in one of the traditional arts
is undesirable (Purbasari et al., 2019). in a Betawi tradition recreation project. To be accepted
The changes in appearance of ondel-ondel started by all Betawi including religious and government elite
in the beginning of the 20th century parallel with the groups, ondel-ondel had to change its appearance from
shifting from an agrarian to an industrial urban culture. a horrific and frightening giant to be a more humanistic
The ancient and sacred ondel-ondel that was once believed and friendlier looking. The sacred ritual was simply set
to be able to repel reinforcements or disturbances from aside. The result of all this was an increase in Betawi art
the spirits, began to change function and take part in the inventions, both in terms of quantity and quality (Shahab,
celebration of folk parties and welcome distinguished 2001). This was a cultural negotiation, and one of the
guests at the inaugurations of buildings, entertainers results of this bargaining was the birth of the ondel-ondel
for circumcision brides, or as part of the Palang Pintu personification mode, which was a consensus involving
procession in a Betawi traditional wedding. The changes all Betawi groups.
of Barongan reached a climax in Governor Ali Sadikin’s From an interview with Yahya (2017), nobody
reign in the 1970s, where the barongan was revived was certain what the word ondel-ondel means, but
through a Betawi Tradition Recreation in 1970 (Shahab, the word was popularized by legendary Betawi artists
2001). It was a process of nationalizing local traditions Benyamin Sueb and Ida Royani who sang Ngarak Ondel-
through new faces and functions. Ondel written by Joko Subagio circa 1970. After that,
the word ondel-ondel took over the word barongan
Personification Model (Yuwono, 2012). Since the declaration of ondel-ondel
Jakarta experienced a transition from the traditional to as a Jakarta icon, it is mandatory for government offices
the modern era, both physically and mentally. Jakarta had in DKI Jakarta to display a pair of ondel-ondel near
to improve itself to be able to compete with other capital the main entrance. From then on, ondel-ondel became
cities. The determination of Jakarta’s identity during the state property. To become an icon of the city of Jakarta,
period of Ali Sadikin in April 1966 - July 1977 (R. A. K. ondel-ondel went through many changes, especially in its
Pratama et al., 2017) was a form of tug-of-war between appearance and elements of costumes. Its appearance is
the community, and political as well as personal interests more civilized and looks more like a human (personified).
for the declaration of this identity could run well and be The ondel-ondel resembled a large doll with a
accepted by all levels of society. human-like body and a face representing a humanized
The Governor of DKI Jakarta, as a representative barongan face. However, sometimes there are still fanged

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 Wahidiyat - Semiotic Analysis of the Changes of Ondel-ondel Costume Elements ...

and horrific looking ondel-ondel. This indicates that this dresses changed into baju kurung with a simple motif.
model is still stealing from the previous model. The stolen 7) Belts: from iron with a big buckle turned into a plain
part was combined with new elements in some changes. cloth with bright and contrasting colors to the dress. 9)
The adoption of several elements from barongan Musical accompaniment: it started playing Betawi songs
showed the art style that has flourished in the vortex of such as kicir-kicir, jali-jali, centek manis, and others.
development ideology was still rooted in the past. The A paradigmatic relationship is the relationship
ondel-ondel was formed to become a symbol of the city between signs in the same class or system. The elements
of Jakarta when Jakarta was looking for an identity in a which create the personification model were also a
development program that had been intensively carried combination of some of the elements from the past
out since the 1970s. This model was a symbol of the (fibers as hair, coconut flowers, stangan/crowns, toka-
birth of the Betawi human icon through ondel-ondel. toka, and fabric belt), and the additional elements such
Ondel-ondel was no longer horrific and terrifying as as a human face, baju sadariah clothes, and kurung. A
barongan, but it is not as beautiful as the ondel-ondel paradigmatic relationship allows people to associate the
today (Figure 5). presence of just one of these elements with ondel-ondel.
A syntagmatic relationship directs the relationship of a
sign to other signs, either preceding or following it. The
existence of a sign in a syntax is mutually exclusive
(Sunardi, 2013). The syntagmatic relationship here also
concerns the ondel-ondel relationship of the personified
model with the musical accompaniment, the audience,
and every element of the costume elements in each
ondel-ondel model. The connotation of all of this is that
the position of the personification model as a means to
encourage the development in Jakarta is so strong and
not only for the Betawi community, but the immigrant
communities also support the existence of the ondel-
ondel personified model. This model was believed to be
a unifying symbol for the people of Jakarta in carrying
out the capital city’s development post-independence.
Figure 5. Structure and Costume Elements of the Ondel-ondel This model was not as scary as barongan, yet still
Personification Model
not as beautiful as today. In Jakarta, a Vespa community,
via their blogspot account @scooterframe in 2013,
Regarding the research results, the important showed an ondel-ondel in the 1970s. A photograph of
costume elements that were stolen from the history were: a couple of ondel-ondel, with a large body portion of
1) Coconut flowers and kemuning leaves, a symbol of
repellent against reinforcements, are now made from
colorful paper to depict tolerance of diversity in Jakarta.
2) Stangan: the elongated shape, pointed and rough,
was simplified with the flora and fauna motives, which
were influenced by Chinese and Hindu elements. Then
came typical Betawi motives such as gigi balang, tigers,
and tapak dara flowers. 3) Mask: the horrific face was
humanized even though it still has fangs. The masks
were made of wood and fiber using various colors. 4)
Toka-toka: the pentagon and triangle shape from fabric
were replaced with a triangle decorated with pomegranate
seeds, which means prosperity. 5) Sash: the placement of
sash from left to right to match the woman is interpreted
as a change in behavior from bad to good. Earlier, the sash
was not worn by men but was later used as a promotional
medium during political campaigns. 6) Dress: simple Figure 6. Ondel-ondel in the 1970s by @scooterframe

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Humaniora, Vol. 34, No. 1 (2022)

almost two and half times the height of an adult human

complete with large costume elements and rough looks,
fierce but more humanlike (Figure 6).
This ondel-ondel model was popularized through
myth as part of the naturalization process. The effect of
myths naturalizing history into an ideology that can be
accepted by society was also possible because ideological
actualization takes place actively as seen from the tireless
efforts of the local government in using the ondel-ondel
personification model as a medium for development
campaigns. Over time, Betawi people considered the
presence of the ondel-ondel personification model as
something normal, legitimate, and right. Ondel-ondel
continues to take a position as an independent sign, so
that it occupies the status as a symbol of Betawi society Figure 7. Structure and Costume Elements of the Islamic
or culture, even though it keeps changing in color and Ondel-ondel Model
shape. As a sign, ondel-ondel has deep roots in Betawi
society and culture. as the Head of the DKI Jakarta Culture and Tourism
Office and a public figure as the Coordinator of the
Islamic Model Jakarta Islamic Dakhwah Islamiyah Coordination
In the development of Jakarta, several important bloody (KODI) (Wahidiyat, 2019), is authorized by the central
tragedies happened in the 1980s related to Islam. In 1981, government to resolve events related to Betawi Muslims.
a fatwa of the Indonesian Ulama Council (MUI) was Based on his instruction, the Islamic model of ondel-
issued on behalf of a respectable cleric, Buya Hamka ondel wearing cukin appeared in Betawi arts and culture
(Islamic figure and chairman of the MUI at that time) activities with an Islamic flavor, one of which was Betawi
to prohibit wishing Merry Christmas and joining its Lebaran. Sash was replaced by cukin, reminding us of
celebration for Muslims (A. B. Pratama, 2014). These the pious youths of the pesantren or the famous Betawi
incidents triggered many pros and cons from Jakarta warrior, Pitung. Both accessories give the impression that
Muslims. Buya Hamka placed himself higher than the male ondel-ondel looks pious and Islamic.
the government by issuing a fatwa unsupported by the The Islamic ondel-ondel model had served to
government. This fatwa caused the radical Muslims to reconcile the relationship between the rulers and Muslims
conduct sweeping during a Christmas celebration, which in the tragic violence. This model was formed to maintain
brought disunity and riot between them. The radical unity with the authorities. The female ondel-ondel got
Muslim movement grew stronger and more aggressive to an additional kebaya dress, which added flavor to the
the dislike of the government, marked by harsh actions by appearance of None (= miss) Betawi. The syntagmatic
the army, known as the Tanjung Priok incident in 1984. relationship in the Islamic ondel-ondel model was the
Then, the New Order regime wanted to use the function of the ondel-ondel personification model in
single state principle of Pancasila for all communities different ideologies and forms adapted to its function.
and organizations, but it was opposed by a mosques in The relationship between the Islamic ondel-ondel
Tanjung Priok (a strong Islamic base area with a dense model and the musical accompaniment, the audience, and
population and a slum environment), which was followed every element of the costume elements in each ondel-
by mass attacks on the apparatus (Danang, 2021). The ondel model is shown in Figure 7.
situation heated up and certain people in the government According to the research, the changes in the
were provoked to be hostile to Islam, resulting in clashes costume elements of the personification to the Islamic
between the people of Tanjung Priok and the authorities model were found in 1) Stangan: the shape was shifted
which ended with arson and shooting incidents. Since from an ornamented crown to a Muslim cap, also the
there were many tragic incidents in Jakarta involving decorative motifs of flora and fauna into geometric
religion, the DKI Jakarta government needed to take shapes. 2) Sash: meant as the bad behavior turned good,
action using a religious approach through culture to re- replaced by cukin that resembles pesantren youths and
embrace the trust of the Betawi people. Betawi warriors si Pitung. 3) Dress: the kurung dress was
Azhari Baedlawie, a figure who has dual influence replaced by a kebaya just like none Jakarta’s costume

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 Wahidiyat - Semiotic Analysis of the Changes of Ondel-ondel Costume Elements ...

with a combination of bright and contrasting colors. 4) from Jakarta’s bloody incidents. Using the same structure
Belt: bright colored fabric replaced with a plaid sarong as the two previous models, the Islamic model transforms
and wrapped around the waist inside the sadariah shirt. the sash costume elements into a cukin and the stangan
It is reminiscent of the suit of an abang Jakarta costume. into a peci or kopiah. It hoped to be the ondel-ondel model
5) Music accompaniment: tanjidor music in nuances of which looks more civilized, pious, and religious. They
desert (Arabic) music is enlivened in white sadariah could neutralize the situation and conditions by giving the
uniforms. impression that the local government seemed to protect
The Islamic ondel-ondel model with a symbolic and favor Muslims at that time. This representation of
relationship explained the function and origin of the Islamic image was especially visible in the costume
this model. The depiction of a Betawi young man elements, which refer to the Islamic clothing elements
and woman couple who are firm, brave, gentle, and commonly used, such as peci and cukin. The ondel-ondel
friendly in the personification model of ondel-ondel had a more human-like appearance (Betawi young people)
is considered insufficient. In addition, religious and with elements of costumes that look more well-ordered,
faithful characteristics are included in this model. The polite, and neat. Its better shape with more proportional
ondel-ondel was made to describe the ideal young man body size than the barongan and personification models
according to the Betawi community at that time. Shapes provides a picture of politeness, wisdom, devotion like
and colors were combined to reflect the characteristics a santri as a harmonious and virtuous Betawi human.
of the Betawi people who are pious and religious. The All stolen costume elements from the previous
Islamic ondel-ondel model was a sign that represents model were combined into one form, the Islamic ondel-
the face of the ondel-ondel personification model that ondel model, through a distortion process. In an effort to
has been “Islamized”. present an Islamic impression, ondel-ondel was forced
The paradigmatic relationship of the Islamic ondel- out of the previous model through the attributes of santri,
ondel mode, from one sign to other signs are one class or so that it was not rooted in Betawi culture. The artists
one system. The Islamic model was a one-class model represented by LKB opposed this because it gave the
with the barongan model and also the personification impression of exclusivity as if the ondel-ondel belonged
model, although the elements of the costumes come to Islam. The negotiation was not easy and took some
from the barongan model and the personification model time to overcome. After a while, the Betawi people
applied to the Islamic model, which had experienced considered the Islamic model as something common,
continuity and change. The syntagmatic relationship legitimate, and even true. The Islamic model was part
looks at the relationship between the Islamic model of a myth that became a religious ideology, which was
with the musical accompaniment, the audience, and actualized in society.
every costume element in each ondel-ondel model. Through ondel-ondel and cukin, the Betawi rulers
The syntagmatic sign relationship encourages people were communicated symbolically with their people to
to understand the ondel-ondel of the barongan model convey the same identity and gain a positive response
and the personification model and to imagine other to the legitimization of their power. The addition of
models that developed in the next period as continuity cukin as a decoration in the male ondel-ondel to appear
and change in preserving tradition. Preservation implies like a Betawi Muslim was born through ondel-ondel.
continuity and change and even in the case of the Islamic In controlling society, the ruling elite needed to spread
model, change was significant because the characteristics myths that contained certain ideologies to support their
that were considered to be Islamic were forced to be ideology (Storey, 1993). Likewise, to unite the Betawi
present predominantly in ondel-ondel, although what community, the local government needed to spread the
was considered to be Islamic characteristics needs to be myth of the need for unity by upholding the Islamic
questioned. position in Jakarta, which experienced political instability.
The Islamic model carried the message of the Through ondel-ondel, the message delivered to the young
improvement of the spiritual quality among the people. generation is that they are the nation’s hope and have
The connotation of all of this was the ondel-ondel, which good morality to reflect Islam. Broadly speaking, it seems
has long since been a symbol of the Betawi people seems to follow the saying “Don’t say you are Betawi, if you
to have been “circumcised or Islamized”. are not Muslim”.
The Islamic model was created by stealing the The Islamic model was introduced to the Betawi
form of the personification model, which was then community. After quite some time, enduring various
adapted to the needs of the time to decrease the tension criticisms and suggestions, an Islamic model was created,

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Humaniora, Vol. 34, No. 1 (2022)

which could be accepted as a symbol of the glorious elements of a costume in the commercial model and the
morals owned by the Betawi people. These negotiations previous model. The elements used and with experienced
also did not take place drastically although the Betawi continuity as well as changes are the coconut flower,
people tended to be tolerant, so they did not oppose the handlebar/crown, mask, cukin, toka-toka, sash, clothing,
“Islamization” of ondel-ondel. The authorities provided belt, and jamblang fabric. Meanwhile, the spirit of
a rational interpretation to justify this policy because it freedom in making ondel-ondel commercial models has
was to maintain the unity of the people and the immigrant led to anomalies in the emergence of the ondel-ondel child
communities living in Jakarta. Based on Barthes’ form. The ondel-ondel commercial model’s syntagmatic
viewpoint, this case occurred deliberately different from relationship came into being because of the need to
the interpretation of the existing markers. Referring to functionalize the Islamic model in different ideologies
Barthes, this interpretation included a stolen language, and forms that experience continuity and change.
which the local government utilized ondel-ondel as an The commercial model was born derived from
icon of “Islamizing”. a longing for a new meaning that represents the hope
of prosperity for the Betawi, which was based on the
Commercial Model commercialization of all aspects of life. In the syntagmatic
As part of national development, the tourism sector has relationship, it is realized that the commercial model
played an important role as one of the driving powers carries a message of increasing business and income
of national economic growth since 1975 (Yakup, 2019). for the people. The connotation was the ondel-ondel
Therefore, ondel-ondel has started to be used as a looked “commercialized”. The myth seems natural and
tourist attraction (Khoiri, 2016). Its appearances and contains the ideology of improving people’s welfare
performances often attract attention and invite people by commercializing ondel-ondel without abandoning
to enjoy it. Sometimes the audience gives money to tradition (Figure 8).
ondel-ondel as an appreciation of their hard work,
while dynamically dancing during the festival such as
Jakarta’s birthday, Kirab Budaya, With these advantages,
institutions are willing to hire a complete ondel-ondel for
a certain purpose.
To meet the demands from the tourism sector,
ondel-ondel was utilized to intensify the excitement and
income of the community. To attract the audience more,
the costume elements were made to be more sellable.
The male ondel-ondel, originally horrifying, became
friendlier and more humane with a big smile. The makers
gave the female blush and eyeshadow, dimples, curled
lashes, and earrings. Due to commercialization, ondel-
ondel was given the freedom to exist in an unlimited
number of forms. There is a possibility that ondel-ondel Figure 8. Structure and Costume Elements of the Ondel-ondel
can be used as a portrait of a beautiful and handsome Commercial Model
Betawi that is pious, polite, gentle, clever in reciting,
proficient in martial arts, modern, and contemporary.
The commissioned ondel-ondel often broke the The costume elements that had changed from
rules of the existing costume elements so that the forms, the Islamic to the commercial model were: 1) Coconut
colors, and placements in the ondel-ondel lose their flower: different colors with the pair, not uniform and
meaning. The mass ondel-ondel in the parade appear as metallic colors appearing with additional decorations
beautiful as possible with various shapes (sizes, elements at the ends in the form of flowers or paper balls. 2)
of costumes, and colors). Ondel-ondel was shown Stangan: various decorative motives, traditional and
diversely, without any rules. The relationship between pop with current trendy themes and also with bright
symbolic signs in the commercial model has a role in the and contrasting colors. 3) Mask: looked increasingly
successful commercialization of all sectors in Jakarta. human-like. The male is given a smile with a mustache
The ondel-ondel commercial model’s paradigmatic and neatly lined white teeth—the smiling woman has
relationship relates the continuity and changes to the dimples, full make up, and earrings. Fiber masks are

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 Wahidiyat - Semiotic Analysis of the Changes of Ondel-ondel Costume Elements ...

more popular due to the price and time saving. 4) Toka- the Betawi people considered the commercial model’s
toka: very vast shapes with and without pomegranate ondel-ondel as normal, legitimate, and right. The local
seed decorations, used as a promotional means for studio government used the market ideology in ondel-ondel,
owners. Toka-toka was treated as a mere meaningless fulfilling commercialization and trade needs, which can
neck ornament. 5). The sash or scarf was used out of the be felt through the “freedom” of appearance given to
improperly (the correct way is from the left shoulder to ondel-ondel. The negotiation happened in ondel-ondel
the right hip). There were several variations of motifs, in market ideology involving the local government
plaid and Javanese batik, weaving, and plain colors. 6) as policymakers (rulers), actors of the ondel-ondel
Clothing: the color depends on the order. Street ondel- art (producers), the Betawi people themselves as art
ondel pairs often wear the same color of clothing to save connoisseurs, and consumers.
costs. 7) Belts on the male ondel-ondel are sometimes The market ideology was full of “commissions”,
used, sometimes not. 8) Jamblang fabric no longer uses which means that the market’s desire or commission
Betawi batik because it is difficult and expensive, often determines the artistic decisions. The meanings and
replaced by plain or other Javanese batik fabric. 9) classical standards or norms previously found in
Music accompaniment: a combination of music playing ondel-ondel were ignored to satisfy market desires and
Betawi and pop songs. The music accompaniment wears economic demands for the craftsmen and artists. Along
a bright color depending on the commission, while the with the disappearance of these norms, the ideal standards
street music accompaniment wears ordinary clothes. 10) of artists and craftsmen also faded. Thus, creating was
Amount: ondel-ondel consisted of more than a pair both no longer a daily pulse. The creative process happened
in the form of performing arts and decorations. 11) Size: a lot when there were donors.
very diverse, tailored to consumer demand. 12) Media The commercial model conveys the message
transfer: ondel-ondel images are applied to other media of increased commerce and revenue through the
such as scarves, wall hangings, souvenirs, cloth motives, commercialization of ondel-ondel. The connotation is
birthday cakes, and so on. 13) Anomaly: ondel-ondel it appeared “commercialized”. This myth seems natural
have children and can appear incomplete without a body and contains the ideology of increasing people’s welfare
(only the head). by commercializing ondel-ondel without leaving the
To meet the market needs, the commercial model tradition. In reality, the ondel-ondel tradition is mostly
was made more sophisticated. This ondel-ondel was used violated in the commercial ondel-ondel model. The
to gather crowds in Betawi cultural events as promotional continuity and changes in the costume elements in the
commodities, decorations of entrances, stages, and the commercial model that were packaged following this
local identity. After the economic crisis in 1998, the order created a market ideology. A market ideology
local government changed the interpretation from the is a vortex of freedom of creation or high community
previous ondel-ondel as a pious and religious Muslim creativity to produce various ondel-ondel colors and
figure. According to Barthes’ stolen language, the local shapes. When the costume elements and colors in ondel-
government stole ondel-ondel to be used as a new marker ondel are only used for fun, aesthetics, and emphasis,
as a secular figure to shape it according to market tastes the traditional meanings and values of it will disappear
or commissions. Ondel-ondel has become an icon of by themselves. Market forces control the craftsmen in
modernity, a cosmopolitan Betawi icon that is modern creating ondel-ondel forms. The ondel-ondel, originally
and commercial. Through this naturalization, the Islamic a pair, now appears in more than a pair, even in large
ondel-ondel model’s face was transformed into the free- numbers in parade formats. Ondel-ondel in the market
form face of the ondel-ondel commercial model. Since ideology provides a humorous, modern, and cheerful
the commercial model was very free to manufacture, association.
it can be said that the stolen elements come from all The discussion results and findings above can be
the previously developed ondel-ondel models plus new illustrated with a scheme as below (Figure 9).
creations. Ondel-ondel resulted from art and culture that can
All costume elements were combined into one be analyzed with the synchronic theory and diachronic
form: the commercial model through a distortion process. changes in history. The three ondel-ondel models
This ondel-ondel myth was then popularized through were analyzed by using Roland Barthes’ myth theory,
ideological actualization in Betawi public events, such naturalization, and ideology, while the barongan model
as Indonesia’s Independence Day on August 17, the was only used as a research background. An important
Indonesian People’s Culture Kirab, and so on. Over time, finding related to the ideology was that changes in the

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Humaniora, Vol. 34, No. 1 (2022)

Figure 9. Schematic Findings in Ondel-ondel

ideology vortex (ideology of development, religion, and an icon of modernity and cosmopolitan living, which is
market) were controlled by the main ideology, called the result of market ideology.
the authority ideology. This Betawi ruling elite group Ondel-ondel was used as a campaign medium for
consists of several rulers who can work together to create success in presenting an ideology. Once established, the
a political, economic, social, and religious consensus to ideology became a cultural construction by the rulers to
maintain the integrity of the Betawi community. ensure their existence through identity, politics, religion,
economy, and culture. The changes of the costume
elements in ondel-ondel were influenced by the fact that
CONCLUSION there has been a change in culture or traditions, both
Through the continuity of and changes to costume physically (in place) and non-physically (knowledge of
elements of ondel-ondel, I identified three ondel-ondel ondel-ondel). Ondel-ondel, which was originally part
models based on the “original” barongan model used of the Betawi culture, has now turned into a cultural
as background research: the personification model, the platform for the rulers’ existence.
Islamic model, and the commercial model, wherein each
model brought their own ideology.
In the personification model, ondel-ondel was ACKNOWLEDGEMENTS
reborn as a Betawi icon through the power of Jakarta’s Thank you very much to M. Dwi Marianto and M. Agus
ruling elite, as part of Jakarta’s identity creation in the Burhan who guided me with great patience and love in
development phase. Ondel-ondel has become a unifying completing this research. This study would not have been
symbol in the development ideology. The Islamic ondel- completed without the sharp criticism and constructive
ondel model presents an image of religious Betawi in suggestions from ST. Sunardi, G. R. Lono L. Simatupang,
reflection of the ruling elite’s efforts to reharmonize with Kurniawan A. Saputro, Suastiwi, and alm. Sumartono.
the Betawi Muslim people through influential Muslim There are no words that are appropriate to express my
figures. The image of polite and religious Betawi people gratitude for knowing these wonderful supervisors.
is part of the religious ideology. In the commercial model,
the economic elite have significant influence because of
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