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Jakarta‘s Iconic Ondel-Ondel at a Cultural Crossroads: Dignity vs. Daily Bread

Jakarta,Indonesia – The vibrant,towering figures of ondel-ondel,a cherished symbol of Jakarta’s indigenous Betawi heritage,are at the heart of a growing debate. While traditionally gracing festive occasions with live music and celebratory dances, these large, colorful puppets have increasingly become a fixture in the city’s bustling streetscape, used by performers to earn a living. Now, the Jakarta administration is moving towards a ban on this street performance practise, sparking a complex discussion about cultural preservation, economic hardship, and the evolving life of a beloved tradition.

For many, like 26-year-old Adi Sutisna, the ondel-ondel are more then just cultural artifacts; they are a vital source of income. Adi, who has no formal education beyond elementary school, has spent seven years as an ondel-ondel busker, a demanding job that involves maneuvering the heavy, sweltering puppets to music amplified by loudspeakers. on a good day, he can earn up to $7, money essential for supporting his wife and young daughter. “I need money to eat,” Adi stated simply in an interview with AFP, highlighting the stark reality faced by many like him.

The use of ondel-ondel by street performers has been a growing concern for city officials who argue that this widespread practice dilutes the cultural importance and dignity of these iconic figures.They believe that roadside begging, even when accompanied by performance, tarnishes the image of an art form that onc enhanced weddings, ceremonies, and official welcomes.This proposed ban comes at a challenging time for many Jakartans. Government data reveals a concerning rise in poverty within the sprawling metropolis of 11 million. The number of individuals living below the poverty line has climbed from 362,000 in 2019 to 449,000 by September 2024. The national poverty line, set by the central Statistics Bureau, hovers just above a dollar a day for 2025, underscoring the desperate circumstances that drive people to street performances like ondel-ondel busking. “The ondel-ondel is heavy; it is very hot inside,” Adi explained, his words painting a vivid picture of the physical toll. “But I do it anyway because if I don’t, my wife and my kid won’t be able to eat.”

The Jakarta governor’s office, thru spokesman Cyril Raoul Hakim, has indicated that the draft ban is being formulated with “the preservation of Betawi culture” as its primary aim and is expected to be presented to legislators soon. The administration hopes for a swift passage of the legislation.

Though, the move has created a rift within the ondel-ondel community itself. some, like Fadillah Akbar, a 33-year-old ondel-ondel artist, believe the cultural symbol deserves a higher form of respect, arguing that its use for begging is undignified. “The problem is that they beg on the street – that’s a disturbance, and it bothers my soul,” Fadillah expressed.He envisions ondel-ondel as pairs, male and female, accompanied by live customary music, not blaring loudspeakers. While acknowledging the hardship faced by buskers, he asserts, “it is a cultural icon whose dignity must be upheld.”

Satriadi Gunawan, head of Jakarta’s public order agency, echoed these sentiments, citing disturbances to road users from amplified music and direct appeals for money. He emphasized the importance of upholding the dignity of ondel-ondel within Betawi culture, noting its current frequent association with begging.

Conversely, some historians express concern that restricting ondel-ondel street performances could inadvertently harm efforts to keep this fading tradition alive. Jakarta-based historian JJ Rizal argues that such a ban demonstrates a basic misunderstanding of cultural evolution. “Banning ondel-ondel busking in the name of culture signifies their lack of understanding for tradition,” Rizal stated, adding that it not only highlights the city government’s cultural deficit but also jeopardizes the very art form it claims to protect.

As Jakarta grapples with this complex issue,the fate of the ondel-ondel,and the livelihoods of those who bring them to life on its streets,hangs in a delicate balance between cultural reverence and the undeniable need for survival.

How does the Jakarta puppet ban possibly contribute to cultural erosion, notably among younger generations?

Jakarta’s Puppet Ban: A Threat to Street Performers

the Recent Restrictions on wayang Kulit and Onced Performances

In a move sparking widespread controversy, the Jakarta provincial government recently implemented stricter regulations impacting street performances, specifically targeting conventional puppet shows like Wayang kulit (shadow puppetry) and Onced (a Betawi traditional art form combining music, dance, and storytelling). While authorities cite concerns over public order and traffic congestion as justification, performers and cultural advocates argue the ban represents a significant threat to Jakarta’s vibrant street art scene and the livelihoods of countless artists. This crackdown on Jakarta street performers raises questions about cultural preservation and the balance between urban progress and artistic expression.

Understanding Wayang Kulit and Onced: More Than Just Entertainment

These aren’t simply shows; they are integral parts of Indonesian cultural heritage.

Wayang Kulit: this ancient art form utilizes intricately carved leather puppets, projected onto a translucent screen with a light source. A dalang (puppeteer) narrates stories, often drawn from Hindu epics like the Ramayana and Mahabharata, accompanied by a gamelan orchestra. It’s a complex art requiring years of training.

onced: Originating from the Betawi community of Jakarta, Onced is a dynamic performance featuring vibrant costumes, energetic dances, and satirical storytelling.it often reflects social commentary and local life.Onced performances are deeply rooted in Betawi identity.

Both forms traditionally thrived in public spaces, offering accessible entertainment and serving as vital platforms for cultural transmission. The traditional indonesian art forms are now facing an uncertain future.

The Official Rationale vs. Performer Perspectives

The Jakarta government maintains the restrictions are necessary to manage traffic flow and maintain public order, particularly in densely populated areas. Reports indicate complaints from residents regarding noise levels and obstruction of pedestrian walkways contributed to the decision. However, street performers paint a different picture.

loss of Income: For many, these performances are their primary source of income. The ban effectively eliminates their ability to earn a living.

Limited Alternatives: Finding affordable venues for performances is a significant challenge. Most established performance spaces are inaccessible to autonomous artists.

Cultural Erosion: Performers fear the ban will lead to a decline in interest and participation in these traditional art forms, particularly among younger generations. The impact on Indonesian culture is a major concern.

Inconsistent Enforcement: Reports suggest enforcement is uneven, with some areas strictly adhering to the ban while others remain more lenient, creating confusion and frustration.

The Legal Framework and advocacy Efforts

The legal basis for the ban stems from local regulations concerning public space usage and permits. However,critics argue these regulations are being applied too broadly and without sufficient consideration for the cultural significance of these performances. Several organizations are actively advocating for a more nuanced approach.

Cultural Advocacy Groups: Groups like komunitas Seni Jakarta (Jakarta Arts Community) are lobbying the government to reconsider the ban and engage in dialog with performers.

Legal Challenges: Some performers are exploring legal options to challenge the regulations, arguing they violate their right to cultural expression.

Online Petitions: Several online petitions have gained traction, calling on the Jakarta government to protect street art and support local artists. The Jakarta puppet ban protest is gaining momentum online.

Case Study: The Story of Pak Budi, a Wayang Kulit Performer

Pak Budi, a third-generation Wayang Kulit* performer, has been performing on the streets of Jakarta for over 40 years.He recounts how his grandfather and father also relied on street performances to support their families. “This isn’t just a job for me,” he explains.”It’s a family tradition, a way to keep our culture alive. Now,I don’t know how I will feed my family.” Pak Budi’s story is representative of the struggles faced by many Indonesian shadow puppet artists impacted by the ban. He has attempted to secure a permit for a small indoor venue, but the costs are prohibitive.

The Broader Implications for Jakarta’s Arts Scene

this ban isn’t