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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
 1 
Search results for , issue "Vol 9, No 2 (2016): May 2016" : 5 Documents clear
REPRODUCTION OF KAKEBYARAN ART IN MATARAM CITY, WEST NUSA TENGGARA YUDARTA, I GEDE; Kusuma, Nyoman Weda; Dibia, I Wayan; Parimartha, I Gde
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Kakebyaran art is a performing art with the Balinese identity; it is not only popular in Bali but also in the other provinces in Indonesia and different parts of the world. In Indonesia, such a performing art is also performed in Mataram City, West Nusa Tenggara. The policy with the jargon “Maju, Religious and Berbudaya” (Being Developed, Religious, and Cultured),  which was issued by the ruler of Mataram City, affirms that the development in Mataram City is oriented toward the Islamic religious values, meaning that the other religious and cultural symbols are reduced. Such a situation has motivated the Balinese ethnic community to develop its art, tradition, and culture in general and the kekebyaran art in particular. Such a phenomenon is a domain of cultural studies which is very interesting to be explored in depth. There are three problems related to such a phenomenon. They are 1) the form and function of the reproduction of the kekebyaran art, 2) the factors contributing to the reproduction of the kekebyaran , 3) the impact of the reproduction of the kekebyaran art on and its meaning to the society of Mataram City, West Nusa Tenggara. The present study was conducted using the qualitative method, in accordance with the scientific norm and paradigm of cultural studies. Three theories were used to analyze such problems; they are the theory of cultural reproduction, the theory of identity, and the theory of semiotics. They were eclectically used to discuss the substance of the topic of discussion. The results of analysis were formulated as follows: first, the form of the reproduction of the kekebyaran art is made up of musicality, the instrumental form, the way of presenting it, its function as part of a ritual and a performing art, and its function to strengthen the local culture. Second, the factors contributing to the reproduction of the kakebyaran art are as follows:  the culture, economy and cultural communication. Third, the impact and meaning of the reproduction of the kakebyaran art are as follows:  the spiritual impact, the socio-cultural impact, the economic impact, the aesthetic meaning, and the cultural meaning.
POLITICS OF POWER IN MARGINALIZATION OF SASAK GANDRUNG PERFORMING ART IN LOMBOK Trisnawati, Ida Ayu; Suarka, I Nyoman; Parimartha, I Gde; Sugiartha, I Gede Arya
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

A change is occurring to the Sasak gandrung performing art performed at Dasan Tereng Village, Narmada District, West Lombok District, West Nuasa Tenggara. The development of the understanding of Islam among the Sasak ethnic people has widely affected the development of such a performing art. The marginalization of the Sasak gandrung performing art cannot be separated from the limited protection given by the government, the strengthening of the religious fundamentalism, and the decrease in the supporting community’s self-confidence.  This present study is intended to identify one of the three phenomena of the marginalization of the gandrung Sasak performing art, especially the strengthening of the religious fundamentalism of the waktu lima Islam. The data were collected through observation, interview, and documents which are related to the gandrung Sasak. The data were analyzed qualitatively using the Theory of Social Practice proposed by Pierre Bourdieu. The results of the study show that the strengthening of the religious fundamentalism of waktu lima Islam caused the wetu telu Muslims to convert into waktu lima Muslims. The consequence is that the gandrung Sasak performing art, inherited from generation to generation, has gradually become marginalized. It has not been included in the list of the performing art in West Lombok Regency. The strengthening of the religious fundalism cannot be separated from the wetu telu Islamic teaching which is not in accordance with the waktu lima Islamic teaching, which is based on Al-Quran and Hadist.  Such a gandrung performing art is believed to be not in accordance with Al-Quran and Hadist which are believed by the waktu lima Muslims.
TRACES OF MUSICAL INSTRUMENTS IN KAKAWIN BHARATAYUDHA Santosa, Hendra; Kustiyanti, Dyah; Sudirga, I Komang
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This article is part of the research entitled "Melacak Jejakdari Karawitan dalam Naskah JawaKuno: Kajian Bentuk, Fungsi, dan Makna" based on 22 early Old Javanese literature manuscripts.This article is specifically talking about the form and function of musical instruments that are written in the Kakawin Bratayudha only to clarify the form and function of musical instruments during the reign of Jayabaya in Kediri, East Java. This study uses historical method, namely, through the stages of heuristics, criticism, interpretation, and historiography. The results showed that at the stage of heuristics three kakawin are found including Bharatayudha by I WayanWarna in 1990, works of R.M. SutjiptoWirjosuparto 1968 entitled Kakawin BharataYudha, and a translation book Kakawin BharataYudha by I Gusti Bagus Sugriva, 2012. Criticism is done internally through translation and also by comparing the three works from the text, followed by interpretation of the translation of three Kakawin BharataYudha, and the last is the stage of historiography. The function of musical instruments in the kakawinof BharataYudhacan not be separated from the function of musical instruments at the time of the Ancient Javanese namely as a means of ceremonies and to accompany secular activities. Secular activity in question is entertainment, communication, respect, war, economy, dowry, and symbol (Fernandus, 2003: 381-415). Musical instruments contained in kakawin BharataYudha, is still found, but there also have been renamed as Mredangga (drum) and rawanahasta (a type of fiddle). Harps only thrive in Sundanese, and Rawanahasta grow and spread in different parts of the archipelago.
COMMODIFICATION OF TEKTEKAN CALONGARANG AT BATURITI, KERAMBITAN, TABANAN Sariada, I Ketut; Wirawan, AA Bagus; Kumbara, Anak Agung Ngurah Anom; Ruastiti, Ni Made
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Tektekan Calonarang is a Calonarang drama dance which is performed for a new model of tourism, and is accompanied with what is referred to gamelan tektekan. In general, the Balinese people disagree that a sacred cultural element is performed for tourism. However, those living at Baturiti Village support the commodified Tektekan Calongarang in which what are referred to as sacred barong and rangda are performed. This has led to many questions as such a performing art contrasts with the Balinese people’s attitude in general. The problems of the present study are formulated as follows: why the people living at Baturiti Village, Kerambitan, Tabanan,  support the commodified Tektekan Calongarang using the sacred rangda and barong; what was such a commodification like; what was its implication on those who were involved in it, society, and such a performance itself. This present study is a qualitative one in which a number of related critical theories were used such as the theory of deconstruction proposed Jacques Derrida, the theory of social practice proposed by Pierre Bourdieu, and the theory of power/knowledge proposed by Michael Foucault. The result of the study showed that the commodified Tektekan Calonarang in which the sacred barong and rangda were used was performed in the forms of a procession and the Tektekan Calonarang performance. The market ideology, the developmental ideology, the religious ideology, and the conservation ideology inspired the commodified Tektekan Calonarang which involved the sacred barong and rangda performed for tourism. Such a commodification increased the income of those involving in such a performance and the local people (multiplier effects), the perpetuity of the magical strength of such barong and rangda, the market/tourism interest, and strengthened the local people’s social solidarity. The novelty of the present study was that there was no degradation of sacredness although the sacred rangda and barong were commodified for tourism. The reason is that every time such a performance was performed, a ritual was performed to purify such barong and rangda contextually.
SOCIAL PRACTICE OF PEDAGANG ACUNG (VENDORS) AT KINTAMANI TOURIST AREA, BANGLI, BALI Widiastini, Ni Made Ary; Ardika, I Wayan; Astawa, Nengah Dasi; Mudana, I Gede
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This present study is intended to explain the social practice performed by the pedagang acung (vendors) at Kintamani Tourist Area, Bangli Regency, Bali Province. In selling their commodities, the vendors cannot be separated from those who are involved in the development of tourism. In this present study the data were collected through observation, interview and library research. The data were eclectically analyzed using the theory of social practice and some other supporting theories. Such theories were used to identify various forms of the social practice performed by the vendors. The result of the study showed that in practice the vendors interacted with various parties involved in the development of tourism at Kintamani, Bangli. The consequence was that they fought for the capital as they had different interests. Having a limited amount of capital caused them to be marginalized by those who had bigger amounts of capital. The economic, social and cultural capitals they had caused them to be suspected of the sources of the problems in the development of tourism at Kintamani. They should not have been negatively viewed but should also have been positively viewed. In other words, they should have been viewed as those who ran entrepreneurship with limited amounts of capital who could also reduce the rate of unemployment and contribute to the economic development in Bangli Regency in particular and Bali Province in general.

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