Jurnal Kajian Bali
The Jurnal Kajian Bali (Journal of Bali Studies) is an area study journal that specializes in publishing research-based articles about Bali. The topics of articles about Bali that can be published are very diverse including Balinese culture, politics, music, language, architecture, literature, history, mass media, popular culture, tourism, economy, environment, health, law, management, religion, and Balinese customs. The journal would also like to publish articles on Bali with comparative approaches. The Jurnal Kajian Bali (Journal of Bali Studies) is published twice a year, every April and October. Published articles are reviewed in a single blinded manner. The Jurnal Kajian Bali (Journal of Bali Studies) was first published in April 2011 by the Center for Balinese Studies, University of Udayana. Starting from April 2019, the journal is published jointly by the Center for Balinese Studies and the Center of Excellence in Tourism, University of Udayana. However, starting April 2020, the Jurnal Kajian Bali (Journal of Bali Studies) was published by the Center for Cultural Research and the Center of Excellence in Tourism, University of Udayana. This change occurred because of the reorganization of research centers at Udayana University from the end of 2019.
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<![CDATA[Citra dan Hak Anak Menurut Kakawin Nitisastra ]]>
<![CDATA[I Nyoman Suarka]]>;
<![CDATA[A.A. Gede Bawa]]>;
<![CDATA[Komang Paramartha]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[This article analyses children’s images and rights described in Kakawin Niti??stra, Old Javanese poem about politics and moral didactics). The issue of children’s images and rights have become serious challenges and problems for all components of Indonesian society. Various cases of violence still facing children in Indonesia, including cases of sexual harassment, illegal adoptions, children without birth certificates, drug addicts, to human trafficking. Therefore, fulfillment and protection of the rights of children is a shared responsibility. The issue of children’s images and rights as stipulated in the text Kakawin Niti??stra assess through a critical hermeneutic approach by integrating interpretation and philosophical reflection. Imagery and children’s rights in Kakawin Niti??stra interpreted textual or contextual. Meaning of the text thought out and sought its reflection in relation to the meaning of life. Text Kakawin Niti??stra explain the issue of positive image (suputra) and negative (kuputra). Similarly, the rights of children described in the text Kakawin Niti??stra includes their right to grow and develop, the right to education, the right to receive attention, affection, and protection of various acts of violence]]>
<![CDATA[Dampak Pariwisata terhadap Kemiskinan di Kawasan Pariwisata di Bali ]]>
<![CDATA[I Nyoman Sudiarta]]>;
<![CDATA[I Wayan Suardana]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[This study aims to determine the typology of poverty, it causes and its impact on the poor in the tourism area of Tulamben Tourism and Candidasa in Karangasem regency. Research using purposive sampling method with a sample size 94 coastal residents. Data analyzed by using descriptive statistics. The research results are as follows: (i) Typology of poverty of coastal communities, among others: the age of majority is 60 years old and above, low education (graduated primary school), the average income of 300,000/ month, (ii) Causes of poverty included natural factors, cultural factors, and the lack of poor people to work in the tourism sector, and (iii) the impact of tourism on coastal communities positively impact the chances of opening new jobs like being a tour guide of diving, porter, and souvenir sellers.]]>
<![CDATA[Pengaruh Sistem Catur Wangsa terhadap Perwujudan Tata Spasial Kota Peninggalan Kerajaan Hindu di Bali: Kasus Kota Karangasem ]]>
<![CDATA[I Gusti Ngurah Wiras Hardy]]>;
<![CDATA[Bakti Setiawan]]>;
<![CDATA[Budi Prayitno]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[Karangasem City is one of the heritage cities of Karangasem Kingdom in Bali which has a typical spatial layout and society life. The society of Karangasem City is divided into several classes based on the catur wangsa (social group) which is presumed affecting the realization of spatial layout of Karangasem City physically. It is interesting to conduct a deeper investigation on it to identify the effect of the system, so that it can be used as an input to manage and develop Karangasem City in the future. In investigating the effect, the method used in this study is qualitative method with inductive-qualitative technique and three data collection techniques, they are field observation, in-depth interview with purposive sampling, and literature study. Based on the results of the study, it is understood that the catur wangsa system took part in affecting the spatial layout of Karangasem City in which divided the city area into three layers of concentric circles according to the level of social classes that inhibits each of the layers. It also shows the suitability of Karangasem City spatial layout with the tri mandala (three spaces) concept which divides the area of Karangasem City into three layers.]]>
<![CDATA[Kisah Brayut dalam Lukisan Kamasan dari Abad ke-19 dan ke-20 ]]>
<![CDATA[Peter Worsley]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[In this article I discuss a Kamasan painting in the Charlie Sayer’s collection in the Tropenmuseum in Amsterdam. I begin by explaining the way in which the painter has organised the design of his painting to tell the story of the Brayuts, a commoner Balinese family, and to draw attention to important aspects of family life in the nineteenth and early twentieth centuries. In the lower part of the painting we see the Brayut family celebrating the festivals of Galungan and Kuningan and in the topmost sequence of scenes the circumstances in which the head of the family, Pan Brayut, abdicates his religious and customary duties on behalf of the family in favour of his youngest son Ketut Subaya. I argue further that the painter draws attention to a radical distiction between the roles of men and women in family life in this period and to his manifest interest in illustrating the virtue of Pan Brayut, the male head of the family.]]>
<![CDATA[Faktor-kaktor Penyebab Kemiskinan Kultural dan Model Pengentasan Berbasis Kearifan Lokal: Studi pada Masyarakat Miskin di Pegunungan Kintamani, Bali ]]>
<![CDATA[Made Kerta Adhi]]>;
<![CDATA[I Ketut Ardana]]>;
<![CDATA[I Made Maduriana]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[This study aims to determine the main factors leading causes of cultural poverty and developing poverty aleviation model based on local wisdom, such as Hindu based-philosophy Tat Twam Asi (if I were you) in the community of Kintamani tourist area. The objectives acomplishment of the study were carried out by using the paradigm prototypical studies, combined with reflective analysis method. It was found that the main factors causing poverty in certain parts of Kintamani community were cultural values ??that lead them difficult to reduce the poverty, such as the cultural habit of begging, laziness, pessimistic, easy to quit, lack of motivation, resigned to fate family situation that been poor hereditary, and low education level. Poverty alleviation model was proposed by elaborating Tat Twam Asi values in the community of Kintamani tourist area through functionalization of social and culture institutions.]]>
<![CDATA[Paradigma Kepariwisataan Bali Tahun 1930-An: Studi Genealogi Kepariwisataan Budaya ]]>
<![CDATA[I Made Sendra]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[This article analyses the connection between Baliseering discourse and the practice of Bali`s cultural tourism by applying the theory of hegemony from Gramsci and genealogy from Micheal Foucault as tools of analysis. It is very interesting topic to analyses especially in relation to the reconstruction of Baliseering discourse, the power knowledge emerged from Baliseering discourse, the articulation of it to open the space of Bali as historical cultural. Research shows that Baliseering is colonial discourse constructed by the Dutch government having purpose, such as: (a) to stem the influence of nationalism and moslem radicalism movement from Jawa; (b) to utilize the unique conservative tradition and historical cultural landscape as tourist attraction. On the other hand, there were modern elites who had ideology called anti colonial discourse. They consisted of Balinese youth who had finished their study in Java brought modern thought. They applied soft struggle by establishing social, cultural and religious organization called Bali Darma Laksana (BDL). They criticized the Baliseering discourse as deceptive instrument by glorifying the conservative unique tradition and culture in order to create dissension among Balinese people.]]>
<![CDATA[Kontestasi Penjor Galungan – Kuningan di Bali Visualisasi Doa Petisi secara Demonstratif untuk Kemakmuran pada Era Masyarakat Tontonan ]]>
<![CDATA[Anantawikrama Tungga Atmadja]]>;
<![CDATA[Nengah Bawa Atmadja]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[This article is part of the fundamental research carried out for two years (2013-2015). The research method is qualitative which refers to the critical paradigm. The research location is villages representing various districts in Bali and Denpasar city. The results showed that the use of Penjor on Galunga and Kuningan holy day is common in Bali. Penjor is a ritual objects made from a piece of bamboo which its end is intentionally left curved, decorated with various ornaments of young coconut leaves or palm leaves and other supplies. Penjor is installed on the roadside in front of the Balinese family compound’s entrance. Penjor does not only have an artistic value, but it is also rich in symbolic meaning such as visualization of petition prayer addressed to the Hindu deities and dewa pitara (ancestor). The goal is to achieve prosperity for the entire family in the Balinese community. This article is expected to provide a broader understanding to Hindus about Penjor. Penjor is not only a cultural object with artistic values, but it also contains a hidden meaning, namely the prayer of petition in the sociology of religion.]]>
<![CDATA[Berwisata Budaya di Pura Desa Batuan: Menggugah Kesadaran Multikulturalisme ]]>
<![CDATA[Ni Wayan Karmini]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[Temple has been one of the popular tourist attractions in Bali. This article is intended to discuss the development of Village Temple at Batuan, Sukawati, Gianyar as one of the cultural tourist attractions and the tourists’ response to it. This present study is a qualitative one. The data were collected through observation, library research and in depth interview in which 12 informants were interviewed. They were the management of Village Temple at Batuan and the tourists visiting the temple. The data were analyzed descriptively, qualitatively and interpretatively using the theory of commodification. The result of the study shows that the temple, which has been developed as a tourist attraction since 1980s, turns out to have improved the local people’s economy and cultural tradition. Therefore, it is suggested that the temple should be perpetually maintained and developed as a tourist attraction. The result of the study also shows that the tourists visiting the temple can acquire the knowledge of the Balinese culture. They become familiar with the religious tradition and cultural art of the Balinese people. Such recognition of the existence of the Bali Hindu has been one of the forms of the attitude that religious pluralism is appreciated.]]>
<![CDATA[Balinese Suffixes -an and -in and Their Morphological Process ]]>
<![CDATA[Ida Ayu Made Puspani]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[This article aims at describing the Balinese suffix -an and -in and their morphological processes. In general, an affix can function as an inflection or derivation. But, it is not the case with the Balinese suffixes -an and -in; they can function, either as inflectional or derivational suffixes. As derivational suffixes - an and -in have various meanings and functions, depending on the types of root the suffix is being attached to. Suffixes –an and -in if they are attached to root which ends in consonant, the form does not change, and if it is being attached to root ends in vocal it as an allomorph -nan and -nin as in the words: gedé (big) + -an becomes gedénan (bigger than) an jumu (start again) + -in becomes jumunin /being started again (Warna, et.al, 1983). The data of this article were gathered from three Balinese short stories` in Katemu ring Tampaksiring` (Sanggra, 2004). The research applied the qualitative-descriptive approach. The theory of Understanding Morphology (Haspelmath and Sims, 2010) is applied to give clear description of the word formation of suffixes -an and –in and the meanings occurred after the suffix is being attached to the root.]]>
<![CDATA[Hibridisasi Seni Kerajinan Patung di Desa Kedisan, Bali ]]>
<![CDATA[Ni Luh Sutjiati Beratha]]>;
<![CDATA[Ni Wayan Sukarini]]>;
<![CDATA[I Made Rajeg]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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<![CDATA[This article discusses Balinese handicraft especially statue handicraft produced by craftsmen at Kedisan Village, Tegal-lalang District, Gianyar Residence. The competitiveness of the product is very high in tourism market and has the process of hybridization. The specific target that will be achieved related to the identity maintenance of Balinese culture. Thus the main discussion of this article is the caused of hybridization on statue handicraft in Bali. In the era of globalization the fusion between local and global cultures has already happened and this is a phenomenon of postmodernism because there is relationship of cultural influences. This condition can be comprehended from hybridization phenomenon on statue handicraft in Bali. Theories of globalization and glocalization are applied to analyse the data in this article. Qualitative method is used to achieve the objective and target through the implementation of participated observation technique and in-depth interview. The whole data is analysed descriptively, holisticly, and interpretatively. The Balinese artists on statue have done the changes in the form of statue through hybridization against the statue as the effect of made to order because of internal and external factors.]]>
