Oral tradition is a culture or spoken tradition that is passed down from one generation to the next. The spoken tradition is usually based on certain stories that contain positive moral messages conveyed through speech, speeches, and songs, and can be in the form of rhymes, folk tales, advice, ballads, or songs. Well, the Betawi oral tradition has historically been influenced by cultural acculturation from Malay, Arabic, and Chinese cultures. Cultural friends, Betawi oral traditions also cannot be separated from performing arts or theater, songs, literature, and poetry. Here are the popular Betawi oral traditions, some still exist and some are rare to find

 

Buleng Literature

Buleng or ngebuleng (fairy tale) is a kind of oral story that is delivered in prose or lyrical prose form. By the content of the story, usually, the language used by Buleng is "High Malay" mixed with Sundanese. As a form of Betawi oral literature, it can be in the form of fairy tales or stories brought by storytellers. The word Buleng comes from the name of a storyteller or storyteller who is in the Betawi area. In the past, there was a habit of the Betawi people naming their type of expertise with the name of the bearer or ending, such as Pak Buleng, whose daily profession is as a storyteller or storyteller, so the type of storytelling skill is called Buleng. Back in Jakarta, there was a storyteller or storyteller named Pak Buleng. Pak Buleng lives in Susukan Village near Pasar Rebo, Jakarta. Over time, the name of the profession that Mr. Buleng was involved in was named by the public as Buleng or the Buleng oral tradition. Another version says that Buleng means story or fairy tale, the person who is telling the story is called ngebuleng.

The Buleng oral tradition is usually displayed at events such as circumcision (circumcision), weddings, nujuh monthly, birthdays, and vows. In the circumcision ceremony, Buleng's oral tradition usually appears on the night of being circumcised or called dead. So his death is the night before his D-day. The next day he was circumcised or circumcised and in the evening there were usually other entertainment programs such as responding to the rhythm of gambus, lenong, and other types of entertainment. This tradition does not require a special place to perform, it can be inside the house while gathering in a circle on carpets and mats or making a bale outside where the audience can sit or stand. The time for oral tradition events is generally night, while the duration is very flexible, it can be all night, one hour or two hours, and so on, it can also be according to the wishes of those who have an intention. The story that will be told can be according to the wishes of the person who has the intention or it is up to the storyteller.

Among the Betawi people, Buleng is distinguished between fairy tales and stories. Called a fairy tale when it tells the kingdoms, kings, and nobles, sometimes also called the Babad story. The Buleng tradition contains positive and moral messages in each story. The titles of stories that are often sung by a foreigner include Gagak Karancag, Telaga Warna, Dalem Bandung, Ciung Wanara, and Raden Gondang. This culture is rare to find in only a few places, such as Ciracas, Cijantung, and Kali Malang.

 

Sahibul Hikayat

This spoken culture is still popular and still exists in the Betawi community. The oral culture of Sahibul Hikayat is influenced by Arab traditions. The speaker is named a saga interpreter. The sahibul saga performance, like other art attractions, is performed by the narrator, in this case, the sahibul saga or storyteller, the narrator must be able to bring the story with expertise in creating stories by remembering, what is remembered, repeated, called upon, and emphasized by the storyteller. , namely, the Betawi tradition which has various forms of knowledge that of course can be accepted by the community. As for the initial quote of the story told by sahibul saga.

Sahibul saga is favored by the community, especially the santri group because it can be used as a medium of da'wah. Thus, the sahibul saga becomes long, because a lot of spices are added. The humor that is inserted here is usually improvised and spontaneous. Sometimes it also satirizes the current situation. In the story, usually also inserted the content of Islamic da'wah. The sources of stories presented by saga interpreters usually come from classic stories in Persia, such as One Thousand and One Nights, Nurul Laila, and Alfu Lail wal Lail. This oral culture developed in a number of areas such as Salemba, Tanah Abang, Kebon Sirih and Kemayoran, Mampang Prapatan to Taman Sari, West Jakarta.

 

Gambang Rancag

Rancag, according to the words of the outskirts of Betawi people, has the same meaning as a rhyme. Rancagan means rhyme. Betawi oral culture is influenced by Chinese culture, especially music. Rancagan means rhyme. Gambang Rancag is a performing literary art accompanied by musical accompaniment, namely Gambang Kromong and Rancag or stories that are presented in the form of rhymes or poems. Gambang Rancag is usually performed by two or more interpreters who tell stories or sing stories. Since the beginning of its development, Gambang Rancag is usually staged to enliven a party or celebration.

Meanwhile, the songs that are usually played in the gambang kromong music as an interlude in the gambang rancag performance, such as the songs Jali-jali, Persi, Surilang, Lenggang Kangkung, Gelatik Nguknguk, Onde-Onde and so on.

 

Palang Pintu

This tradition of speaking comes from central Betawi and urban Betawi, outskirt Betawi usually call the doorstop as rebut Dandang. There is no exact record of when this tradition began, but the Betawi figure Si Pitung is believed to have lived through the culture when he wanted to marry Aisyah, the daughter of Jawara nicknamed the Kemayoran Tiger, Murtadho.

In the past, Palang Pintu was a tradition whose meaning was more in the process of testing the knowledge of the prospective groom, according to Betawi stories from the past, which Jawara often found playing at (silat) in almost every village. In its development, in addition to the attraction of 'playing the beat', the tradition is also inserted poetry or reciprocating rhymes between the male and female parties in the application procession.