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Abstrak :
These days there are many who believe that the Betawi will become mere legends of an ethnic group that once lived in Jakarta. Even as they are aware of the existence of Jakarta's indigenous people, they are swept by the myth that this ethnic group has been marginalized, and gradually losing its identity as a result of development. However, the voice of the Betawi is now being heard-including their demand that the office of Governor of Jakarta be held by a Betawi-leading many to ask: 'Who are they?' What the Betawi are doing is in contrast to the myths surrounding them. The author sees the matter as a contradicting viewpoint of Betawi. Although many believe that this ethnic group is becoming marginalized and in the process of disappearing, the author believes the opposite is true. The Betawi are becoming more noticeable; and they are playing a larger role in Jakarta's history. They are not in the process of disappearing, but are re-appearing. They are not losing their identity; instead, they are creating, and in fact have found and are actively expressing Betawi identity as a means of representing their existence. This has been going on since the 1970's in many aspects of life. This article focuses on art as one aspect. The author believes has been given much attention by actors in the invention of tradition. The outcome has been a qualitative and quantitative improvement in the existence of the Betawi ethnic group, which has in turn raised the attention of those any deal with the Betawi people. Several issues are discussed here: when did all these begin among the Betawi? What triggered the process? Who are involved, and who, especially, are the active players? If art is reinvented, are the effects limited to art and matters of identity and self-representation; or are there wider ranging consequences? If the latter is the case, then the author expects the use of cultural aspects for non-cultural ends. How will this take place? With a focus on the actors of reinvention, the question to be addressed is who holds authority in the reinvention of tradition in efforts to achieve non-cultural goals through a cultural approach, and how does this come about?

Abstrak :
Dari adanya adaptasi budaya modern foto prewedding tentu akan memiliki kaitan dengan fenomena lain, terutama dari rangkaian acara pranikah yang sudah ada sebelumnya, seperti tradisi pingitan atau masa dipiare dalam adat kebudayaan masyarakat Betawi. Terdapat modifikasi pada masa piare demi melakukan foto prewedding yang dinilai memiliki nilai yang lebih substansial. Penelitian ini bertujuan untuk melihat dampak munculnya tren foto prewedding di kalangan generasi milenial dan keterkaitannya dengan praktik masa piare dalam kebudayaan orang Betawi. Penelitian ini juga menggali lebih dalam tentang bagaimana masa piare masa kini direproduksi menjadi aktivitas yang tetap ada namun tidak dijadikan aktivitas wajib yang perlu dilakukan, karena adanya produksi budaya baru yang modern dan dinilai lebih substansial, yakni tren budaya foto prewedding. Dalam penelitian ini, digunakan pendekatan teori subjectivity, practice, dan cultural value. Hasil penelitian menunjukkan bahwa praktik piare saat ini dinilai tidak lagi relevan dengan perkembangan zaman. Ini karena di masa sekarang calon pengantin milenial harus melakukan beragam aktivitas pranikah seperti technical meeting dengan para vendor, fitting gaun, testing food, bridal shower, dan yang utama yaitu foto prewedding. Hal-hal tersebut dinilai lebih substansial sehingga menjadi alasan para calon pengantin milenial Betawi melakukan negosiasi pada pelaksanaan praktik masa piare dari sebulan menjadi hanya beberapa hari saja. ......From the adaptation of modern culture, prewedding photos are related to other phenomena, especially from a series of prewedding events, such as the tradition of the dipiare period among the Betawi people.There was a modification during the piare period due to the practice of prewedding photos which were considered to have substantial value. This study aims to examine the impact of the emergence of the prewedding photo trend among the millennial generation and its relation to the practice of piare in Betawi culture. This research also digs deeper into how the current piare period is reproduced into an activity that still exists but is not mandatory, due to the existence of a new, modern cultural production, known as the prewedding photo trend. In this research, the theory of subjectivity, practice, and cultural values is used. The results of the study show that the current practice of piare is considered no longer relevant to the times. This is because nowadays millennial brides-to-be have to carry out various prewedding activities such as technical meetings with vendors, dress fittings, food testing, bridal showers, and most importantly, prewedding photos. These things are considered to be more substantial, so they are the reason for Betawi millennial brides to negotiate the implementation of the piare period from a month to just a few days.