REFLEKSI REVITALISASI BUDAYA BETAWI DALAM PENCIPTAAN KARYA SENI PATUNG KONTEMPORER

ADRIEL HILMI, . (2026) REFLEKSI REVITALISASI BUDAYA BETAWI DALAM PENCIPTAAN KARYA SENI PATUNG KONTEMPORER. Sarjana thesis, UNIVERSITAS NEGERI JAKARTA.

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Abstract

2026, Adriel Hilmi “Refleksi Revitalisasi Budaya Betawi dalam Penciptaan Karya Seni Patung Kontemporer”. Skripsi Penciptaan Karya Seni Rupa, Program Studi Pendidikan Seni Rupa, Fakultas Bahasa dan Seni, Universitas Negeri Jakarta. Penciptaan karya seni patung kontemporer ini berangkat dari refleksi personal perupa terhadap dinamika revitalisasi budaya Betawi di tengah perubahan sosial masyarakat urban Jakarta. Refleksi dipahami sebagai proses kesadaran kritis yang muncul ketika individu menghadapi ketegangan antara pengalaman masa lalu dan realitas baru, sebagaimana dijelaskan dalam teori refleksi transformatif oleh Mezirow (1991), yang meliputi tahap disorienting dilemma, critical reflection, dan transformative action. Proses reflektif tersebut mendorong perupa untuk meninjau ulang sikap apatis terhadap budaya asal, yang kemudian berkembang menjadi kesadaran akan pentingnya identitas budaya dalam kehidupan kontemporer. Perubahan sikap terhadap budaya Betawi tidak terjadi secara tunggal, melainkan berkelindan dengan kondisi sosial masyarakat yang semakin kompleks. Modernisasi dan perkembangan teknologi memunculkan fragmentasi sosial, yaitu kondisi ketika masyarakat terkelompok ke dalam sikap dan pemahaman yang berbeda terhadap budaya. Fragmentasi ini dipahami melalui perspektif perubahan sosial Émile Durkheim (1984), yang menjelaskan pergeseran dari solidaritas mekanik menuju solidaritas organik dalam masyarakat modern, di mana perbedaan fungsi dan kepentingan menjadi semakin dominan. Dalam konteks ini, fragmentasi sosial masyarakat Betawi dipetakan ke dalam tiga kelompok utama, yaitu pro, kontra, dan hibrida. Kelompok pro dipahami sebagai bentuk revitalization movement, yakni upaya sadar untuk mempertahankan dan menghidupkan kembali sistem budaya yang dianggap terancam, sebagaimana dikemukakan oleh Wallace (1956). Sementara itu, kelompok kontra merepresentasikan sikap adaptif yang cenderung menggeser praktik budaya tradisional demi menyesuaikan diri dengan modernitas, sejalan dengan pemikiran Bauman (2000) tentang liquid modernity dan Hobsbawm (1983) mengenai invented traditions. Adapun kelompok hibrida dipahami melalui konsep cultural hybridity oleh Bhabha (1994), yang menekankan adanya ruang antara (third space) sebagai arena negosiasi identitas antara tradisi dan modernitas. Proses penciptaan karya dilakukan melalui pendekatan artistic research berbasis praktik, dengan tahapan observasi sosial, kajian teori, refleksi personal, eksplorasi material, dan perwujudan karya final. Karya diwujudkan dalam bentuk patung kontemporer berjudul Rift, Not a Rupture, yang menghadirkan tiga figur manusia berbahan akrilik transparan berwarna merah, biru, dan ungu. Penggunaan warna, transparansi material, serta elemen kinetik dimaknai sebagai metafora visual atas dinamika fragmentasi sosial, proses refleksi, dan negosiasi identitas budaya Betawi di era kontemporer. Melalui karya ini, revitalisasi budaya tidak dipahami sebagai upaya mengembalikan budaya ke bentuk masa lalu secara utuh, melainkan sebagai proses reflektif, adaptif, dan berkelanjutan. Fragmentasi sosial tidak dilihat sebagai kegagalan revitalisasi, melainkan sebagai ruang dialog yang memungkinkan budaya Betawi terus hidup, bertransformasi, dan relevan dengan perkembangan zaman. Kata kunci: refleksi, revitalisasi budaya, fragmentasi sosial, budaya Betawi, seni patung kontemporer ***** 2026, Adriel Hilmi. ”Reflections on the Revitalization of Betawi Culture in the Creation of Contemporary Sculpture”. Thesis on the Creation of Fine Artworks, Fine Arts Education Study Program, Faculty of Languages and Arts, Jakarta State University. This contemporary sculpture project originates from the artist’s personal reflection on the revitalization of Betawi culture within the rapidly changing social landscape of urban Jakarta. Reflection is understood as a process of critical awareness that emerges when individuals confront tensions between past experiences and new realities, as articulated in Mezirow’s theory of transformative reflection (1991), which consists of disorienting dilemma, critical reflection, and transformative action. Through this reflective process, the artist reconsiders a previously detached attitude toward cultural origins and gradually develops a renewed awareness of cultural identity in contemporary life. The shift in cultural awareness does not occur in isolation, but is intertwined with broader social conditions shaped by modernization and technological development. These changes have contributed to social fragmentation, a condition in which society becomes divided into differing attitudes and interpretations of culture. This phenomenon is examined through Durkheim’s theory of social change (1984), which explains the transition from mechanical to organic solidarity in modern societies, where differentiation of roles and interests becomes increasingly dominant. Within this context, the social fragmentation of Betawi society is mapped into three primary groups: pro, contra, and hybrid. The pro group represents a revitalization movement, defined as a conscious effort to preserve and reactivate cultural systems perceived to be under threat, as proposed by Wallace (1956). Conversely, the contra group reflects adaptive attitudes that tend to marginalize traditional cultural practices in favor of modern lifestyles, aligning with Bauman’s concept of liquid modernity (2000) and Hobsbawm’s notion of invented traditions (1983). The hybrid group is understood through Bhabha’s concept of cultural hybridity (1994), which emphasizes the “third space” as a site of negotiation where traditional and modern values intersect and generate new cultural meanings. The creation process employs an artistic research approach based on practice, encompassing stages of social observation, theoretical study, personal reflection, material exploration, and the realization of the final artwork. The work is embodied in a contemporary sculpture entitled Rift, Not a Rupture, featuring three human figures constructed from transparent acrylic panels in red, blue, and purple. The use of color, material transparency, and kinetic elements functions as a visual metaphor for social fragmentation, reflective processes, and the ongoing negotiation of Betawi cultural identity in the contemporary era. Through this work, cultural revitalization is not understood as an attempt to restore culture to a fixed or original form, but rather as a reflective, adaptive, and continuous process. Social fragmentation is therefore not perceived as a sign of cultural deterioration, but as a dialogical space that enables Betawi culture to remain alive, transform, and sustain its relevance in the face of ongoing social change. Keywords: reflection, cultural revitalization, social fragmentation, Betawi culture, contemporary sculpture

Item Type:	Thesis (Sarjana)
Additional Information:	1). Agam Akbar Pahala, S.Pd., M.Sn. 2). Dr. Indro Moerdisuroso, M.Sn.
Subjects:	Ilmu Sejarah > Aneka Ragam Sejarah dan Teori Sejarah Ilmu Sosial > Sosiologi Kesenian > Seni Patung dan Pahat
Divisions:	FBS > S1 Pendidikan Seni Rupa
Depositing User:	Adriel Hilmi .
Date Deposited:	03 Mar 2026 03:05
Last Modified:	03 Mar 2026 03:05
URI:	http://repository.unj.ac.id/id/eprint/65918

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