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E-Journal Of Cultural Studies
Published by Universitas Udayana
ISSN : 23382449     EISSN : -     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Cultural studies constitutes an interdisciplinary area critically discussing socio-political contexts of various cultural practices in society. Its focus is on the relation among such cultural practices and the power controlling them. Cultural studies was pioneered by the Centre for Contemporary Cultural Studies (CCCS) of the University of Birmingham, England, in 1960s. Unlike what has been a tradition in the modern epistemology, cultural studies is concerned with what human emancipation aims at. Therefore, cultural studies does not only refer to a theoretical-conceptual matter but also to the location and critical action in which it manifests itself.
Arjuna Subject : -
Articles 5 Documents
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Search results for , issue "Vol 8 No 3 (2015): Volume 8, Number 3, August 2015" : 5 Documents clear
RESISTANCE OF KATOBENGKE ETHNIC PEOPLE TO HEGEMONY OF TRADITIONAL ELITES IN BAUBAU CITY SOUTH EAST SULAWESI Dirman, La Ode; Kumbara, A.A. Ngurah Anom; Mbete, Aron Meko; Mudanu, I Gede Mudana
E-Journal of Cultural Studies Vol 8 No 3 (2015): Volume 8, Number 3, August 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

The Katobengke ethnic group is one of the sub Buton ethnic groups which has been marginalized since the new order. When the reformation era started, they resisted the system of the knowledge which the traditional elites had. This present study was intended to understand the practice of resistance shown by the Katobengke people to the hegemony of the traditional elites based on the historical history and its implication on themselves and the traditional elites. It can be theoretically used as a model and a new concept and method of the development of the cultural studies. It can practically give input to the government as to the empowerment of the marginalized people using their local genius and maintenance of their cultural identity. The result of the present study shows that the resistance shown by the Katobengke people to the traditional elites through the mythological discourse of identity; symbolic resistance and physical violence; the factors contributing to the resistance were discrimination of identity, stigmatization of the Indonesian Communist Party ‘Partai Komunis Indonesia (PKI), the slave stereotype, the traditional taboo; the implication of the resistance is that the sultanate ideology was ineffective any longer to the Katobengke people’s interest, the appearance of new stratification, resistance to the traditional stereotype and taboo, the change in traditional costume, La Ode was used as the title, change in profession from becoming farmers into working as providers of services, and spirituality were used for political communication.
CENK BLONK LEATHER PUPPET PERFORMANCE WITHIN POPULAR CULTURAL CONTEXT Marajaya, I Made Marajaya; Suastika, I Made Suastika; Dibia, I Wayan Dibia; Ratna, I Nyoman Kutha
E-Journal of Cultural Studies Vol 8 No 3 (2015): Volume 8, Number 3, August 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This present study is intended to discuss the Cenk Blonk leather puppet performance “Wayang Kulit Cenk Blonk (abbreviated to WKCB) within the popular cultural context. If viewed from the perspective of cultural studies, this present study is concerned with a new reality and phenomenon in the Balinese puppetry art. The Balinese leather puppet performance, which does not refer to the source book of the shadow play story “pakem pewayangan” and the puppetry norm “Dharma Pewayangan”, is preferred by many people. This present study analyzes the form, factor, and meaning of the WKCB performance with the popular cultural context using the theory of popular culture, the theory of deconstruction, and theory of discourse. The qualitative interpretative method was used. The data were obtained through observation, in-depth interview, and documentary study. The data were analyzed using the descriptive, qualitative and interpretative method of analysis. The data were presented starting from the basic data, data presentation, data analysis and conclusion. The result of the study shows (1) the WKCB was performed as part of the promotional activity; (2) the WKCB was performed as part of the socialization activity; (3) the WKCB was performed as part of the commemoration of anniversaries. Second, the factors contributing to the WKCB performance within the popular cultural context included: creativity, art sustainability, the practice for the supporting artists, the modern cultural impact, the advance in technology, and the market demand. The meanings of the WKCB performance within the popular cultural context included: the aesthetic meaning, the social meaning, the welfare meaning, the amusing meaning, the political meaning, the conservation meaning, and the image meaning. The novelty shows that the WKCB performance within the popular cultural context presents the elements of popular works, popular discourses, the change in presentation, the change in the performing apparatus, and the freedom in receiving messages from those who have it performed to be transmitted to viewers.
TRANSFORMATION OF KAMASAN PUPPET PAINTING ART IN POSTMODERN ERA Mudana, I Wayan Mudana; Kumbara, A.A. Ngurah Anom; Rai, I Wayan Rai; Dhana, I Nyoman Dhana
E-Journal of Cultural Studies Vol 8 No 3 (2015): Volume 8, Number 3, August 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

The Kamasan Puppet Painting Art “Seni Lukis Wayang Kamasan (abbreviated to SLWK)” is a traditional art which grows and develops at Kamasana Village, Klungkung, Bali. Traditionally, it is used as the worshipping media; it is bound to the native puppetry story and is painted collectively and communally. In the modern era SLWK is commercialized by the painters as a profession in order to earn money to support their families. The postmodern era SLWK has been transformed, causing it to change. The data in the present study were taken from in-depth interview, observation, library research, and documentary study. The theory of practice, the theory of commodification, and the theory of postmodern aesthetics were used in the present study. The result of the study shows; first, the things which have caused SLWK to be transformed are (1) economic motivation, (2) self identity, (3) painting creativity, (4) globalization, and (5) tourism. Second, the forms of the transformation of SLWK in the postmodern era are (1) change in production, (2) change in distribution, (3) change in consumption. Third, the implication of the transformation of SLWK in the postmodern era includes (1) the fact that the local traditional values are becoming degraded; (2) improvement in prosperity; (3) the fact that the freedom in painting is becoming shackled; (4) the social consumption and distribution are becoming wider; (5) the fact that female painters have appeared; and (6) the fact that the creative industry is becoming developed.
PRACTICE OF FOREST AREA CLEARANCE IN KUBU DISTRICT, KARANGASEM, BALI Monda, Ida Gemawati; Merta, I Made Merta; Sulistyawati, Sulistyawati Sulistyawati; Wiasti, Ni Made Wiasti
E-Journal of Cultural Studies Vol 8 No 3 (2015): Volume 8, Number 3, August 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

The phenomenon of forest clearance is a holistic problem which has caused a forest not to function optimally. The first consequence of forest clearance is felt by the people living around the forest. It can lead to fire, landslide and the disappearance of water source. It can also cause the micro climate to decrease. The theories used in the present study are the theory of power discourse and knowledge proposed by Foucault, the theory of hegemony proposed by Antonio Gramci, and the theory of communication action, proposed by Habermas. It was found that; first, those who cleared the trees growing in the forest area away come from the surrounding villages. The culture of such a forest clearance had been done from generation to generation. The closer they lived to the forest area, the more cattle they raised. They raised more or less four cattle without being supported with how to prepare the food they need. Second, the government had made many attempts to overcome the forest clearance at the Kubu Forest Management Resort “Resor Pengelolaan Hutan (RPH) Kubu”; however, the attempts which it had made was not well communicated. Third, the view of the people involved in the forest area clearance was different from the government’s policy. Fourth, if related to Tulamben Village as a tourist destination, the areas within and outside the forest had the potentials which could be developed as the solution to the forest area clearance.
POWER RELATION IN MANAGEMENT OF NUSA DUA TOURIST RESORT, BALI Purnaya, I Gusti Ketut; Ardika, I Wayan Ardika; Mudana, I Gede Mudana
E-Journal of Cultural Studies Vol 8 No 3 (2015): Volume 8, Number 3, August 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Nusa Dua Tourist Resort has been an important part of the development and growth of tourism industry in Bali. Therefore, the presents study was intended to analyze and answer the following questions: (1) what was the form of the power relation among the three stakeholders such as the government, the investors, and the local people in the management of the Nusa Dua Tourist Resort like after reformation from 1998 to 2013? (2) What ideologies contributing to the power relation in the management of the resort? (3) What was the meaning of the power relation among the three stakeholders such as the government, the investors and the local people, in such a management? It was found that the power relation in the management of the Nusa Dua Tourist Resort was affected by the hegemonic power, the negotiation power, and the oppositional power. The ideologies which contributed to the power relation in the management of the resort included the ideology of global tourism, the ideology of green tourism in the management of the resort and the ideology of the Local Culture in Culture Tourism. The struggle for the meaning of the power relation in the management of the resort among the three pillars (the government/BTDC, the investors, and the local people) would take place continuously. The three pillars gave different meanings, depending on their respective positions and interests.

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