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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 251 Documents
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DOLANAN MABARONG-BARONGAN PERFORMING ARTS OF BADUNG REGENCY AT THE BALI ARTS FESTIVAL XXXII (2010) Ayu Srinatih, I Gusti
E-Journal of Cultural Studies Volume 7, Number 2, May 2014
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Dolanan is a childrens game which is done while singing in order to have fun. As one of the cultural heritage, dolanan contains great national values which can be imparted into children as the foundation of character building thus having a platform and a strong identity. Nowadays dolanan is marginalized because children are more fond with various types of imported games which is packaged with sophisticated technology that makes them increasingly kept away from its own cultural roots. This reality is really concerning because we can lose an effective tool in imparting cultural values which is important for character building. Based on that reality, a research is conducted entitled “Dolanan Mabarong- barongan Performing Arts of Badung Regency at the Bali Arts Festival XXXII in 2010”. The problem that is the focus of this research is the factors that led to the creation of representation of Dolanan Mabarong-barongan of Badung Regency in the XXXII Bali Arts Festival in 2010. This research is a qualitative research, viewed from cultural studies prespective. To dissect the problem, the social practices theory of Pierre Bourdieu is used. The result of this research is that the factors that led to the creation of the representation of dolanan mabarong-barongan are the Bali Arts Festival, the ideology of the artist, the creativity of artists, community, arts education institutions, government policies, and globalization.
PATRIARCHAL IDEOLOGY IN WORKS OF VISUAL ART OF BALINESE CONTEMPORARY WOMEN ARTISTS Hardiman, Hardiman; Putra, I Nyoman Darma; Atmadja, Nengah Bawa; Mudana, I Gede
E-Journal of Cultural Studies Volume 11, Number 3, August 2018
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (646.232 KB) | DOI: 10.24843/cs.2018.v11.i03.p01

Abstract

Human problems are faced faced by Indonesian contemporary visual artists. However, the most typical are the problems faced by contemporary women visual artists, including those faced by Balinese contemporary women visual artists. Other than social problems, their personal problems also arise as women visual artists amidst patriarchal cultural construction. Balinese contemporary women visual artists, like Indonesian contemporary visual artists, are facing social problems and their personal problems as women. But, Balinese contemporary women visual artists also face very strong patriarchal (purusa) cultural ideology. This study aimed at revealing and describing the form of the subject matter of woman’s body as an expression of opposition in the works of visual art of the Balinese contemporary women visual artists; revealing and describing ideologies that operate behind the sexual representation of the Balinese contemporary women visual artists and revealing and describing the contestation of meaning in the ideological sexual representation of Balinese contemporary women visual artists. This study using interpretive qualitative method produced, first, works of Balinese contemporary women artists which have traditional visual elements comprising contour, repetition, rythm, dialect. The works of Balinese contemporary women visual artists also have modern visual elements comprising spatial awareness,distortion, stylization, material character, unity, and personal identity. In addition, the works of Balinese contemporary women artists also have post-modern visual elements of trans-aesthetics, dialogism, and disorder. Secondly, the ideologies that operate behind the works of Balinese contemporary visual artists can be classified into three ideologies based on the forms and contents of the works of art. The ideologies are patriarchal ideology that is related to the theme of superiority,phallus symbol, and weak group; feminism ideology that is related to the theme of subordination, equality, and subjectivity construction, and aesthetical ideology concerning with style, which is related to the classification of styles based on time, place, form, technique, and subjject matter. Third, meanings which can be developed from Balinese contemporary women visual artists are the meaning of domestic body and the meaning of open body in the sexual representation of Balinese contemporary women artists. The meaning of domestic body is found in the works of Cok Mas Asiti, Ni Nyoman Sani, and Sutrisni. Sani while the meaning of open body in the works of IGK Murniasih and Nia Kurniati Andika.
COMODIFICATION OF NGABEN GOTONG ROYONG (MUTUALLY PERFORMED CREMATION CEREMONY) AT GERYA TAMAN SARI LINGGA BANYUASRI SUBDISTRICT, BULELENG REGENCY Nyoman Kebayantini, Ni Luh; Ardika, I Wayan; Semadi Astra, I Gde; Mariyah, Emiliana
E-Journal of Cultural Studies Vol. 5, No. 1 Januari 2011
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Cremation ceremony is a ritual performed by Bali-Hindu followers when someone dies. Itis classified as a big ceremony for the reason that it costs much money, labor and time. Ascommunity members, the Bali Hindu followers are faced with so many problems that manycannot perform cremation ceremony conventionally. As a response to this condition, thesulinggih (priest) residing at Gerya Tamansari Lingga (Griya = a particular residence where thepriest resides) has planned to produce the mutually-performed cremation ceremony. Basically, itis a practice of comodified cremation ceremony which is offered to be cheap, practical and to beeasily performed.It is produced to obtain a profit. Therefore, every material and manpower involved arecommodities which have exchange values. As far as its production process is concerned, theconsumers and the object are made not to be related. The habitus, that is, the belief of Bali-Hindufollowers that a cremation ceremony should be performed when someone dies, the cultural andsymbolic capitals in the forms of knowledge, status, and authority and the legitimacy of thepriest residing at Gerya Taman Sari Lingga, and the domain that they are not able to perform theconventional ceremony have led to the performance of the mutually-performed cremationceremony. It has various meanings such as the meaning of intensification of religious values, themeaning of tradition degradation, the meaning of egalitarian, the meaning of efficiency, themeaning of welfare, the aesthetic meaning and the meaning of image.
CARTOON VISUALIZATION AS SOCIAL REPRESENTATION IN BOG-BOG BALI CARTOON MAGAZINE 2011/2012 EDITION Swandi, I Wayan; Wirawan, AA Bagus; Artayasa, I Nyoman; Mudana, I Gede
E-Journal of Cultural Studies Volume 9, Number 4, November 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Bog-Bog cartoon was a mass media production which was rich in strong artistic and Balinese cultural values. Social changes cannot be avoided since Bali became a global tourist destination. On one hand, Bali cannot be avoided from being attracted by the global strength; on the other hand, attempts are perpetually made to maintain its cultural identity. The descriptive method was used in the present study, which was intended to explain how the Bog-Bog cartoon was visualized and what meanings were hidden in it.
PEMBERDAYAAN DAN KESEJAHTERAAN KELUARGA (PKK) DI KOTA MALANG: DALAM PERSPEKTIF KAJIAN BUDAYA Handayani, Trisakti; Parimartha, M.A., Prof. Dr. I Gde; Sukesi, M.S., Prof. Dr. Ir. Hj. Keppi; Ardika, M.A., Prof. Dr. I Wayan
E-Journal of Cultural Studies Vol. 2, No. 1 Mei 2008
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Keputusan pemerintah untuk merevitalisasi dan mengelompokkan organisasi perempuan di bawah departemen dalam federasi mengakibatkan lahirnya Pemberdayaan dan Kesejahteraan Keluarga (PKK), yaitu organisasi yang mewadahi perempuan yang tidak berada di bawah departemen. Kehadiran PKK selain diharapkan mampu membawa keluarga pada kondisi sejahtera dan mandiri, juga mampu membebaskan perempuan dari belenggu budaya patriarkhi. Namun, kenyataannya PKK belum sepenuhnya mampu mengubah kondisi keluarga dan perempuan, sehingga belum terwujud kesetaraan dan keadilan gender. Adanya kesenjangan ini menyebabkan perlunya melakukan penelitian terhadap PKK, khususnya di kota Malang. Penelitian ini bertujuan mengkaji: (1) faktor-faktor yang mempengaruhi munculnya PKK; (2) paradigma kelembagaan yang dikembangkan PKK; dan (3) makna PKK dikaitkan dengan kesetaraan dan keadilan gender.Penelitian ini mengambil lokasi di kota Malang, dengan subjek: PKK kota Malang, kecamatan Lowokwaru dan kelurahan Lowokwaru. Pendekatan kualitatif digunakan dalam penelitian ini. Penentuan informan dilakukan secara purposive. Teknik pengumpulan data melalui: observasi partisipasi, wawancara dan, pemanfaatan dokumen. Analisis data dilakukan secara deskriptif kualitatif dan interpretatif.Hasil penelitian menunjukkan bahwa: (1) faktor-faktor yang mempengaruhi munculnya PKK adalah: politik, ekonomi, sosial dan budaya. Faktor ekonomi merupakan faktor paling berpengaruh pada awal kemunculan PKK, namun dalam perkembangannya faktor politik menjadi dominan karena terjadinya politisasi gerakan perempuan; (2) paradigma kelembagaan yang dikembangkan PKK adalah paradigma dari atas ke bawah (top down) dan bergerak dari konsep pendidikan, pembinaan, dan pemberdayaan; (3) makna PKK dikaitkan dengan kesetaraan dan keadilan gender, yaitu makna keharmonisan, makna solidaritas, makna keadilan, makna keselarasan, dan makna keseimbangan.
DISMANTLING PUBLIC SERVICE PRACTICES IN THE ISSUANCE OF RESIDENT IDENTITY CARD IN TEGAL HARUM VILLAGE, DENPASAR Merta, I Nengah; Anom Kumbara, A.A. Ngurah; Wirawan, A.A. Bagus; Darmana, Ketut
E-Journal of Cultural Studies Volume 12, Number 2, May 2019
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (738.372 KB) | DOI: 10.24843/cs.2019.v12.i02.p05

Abstract

The Bali bombing tragedy of 12 October 2002 has killed hundreds of souls. The event brought about the impact of major changes for Balinese people. Uncontrolled migrants are regarded as one of the causes of the Bali bomb tragedy. The event then took the policy to control the attendance of migrants (TAMIU) through the decree of the mayor of Denpasar No. 610, the year 2002 that is a concern that migrants living in Denpasar must have a resident identity card Entrants (KIPP). The purpose of this research is to understand and analyze the Praaktik of KIPP's publishing services as a control device of expat resident in Denpasar City based on the spirit of prod Dharma. Data collection methods are performed with observations, interviews, and documentation. Technical data is done qualitatively. The research finds that KIPP's publishing has not been successful as a control device for the number of migrants. KIPP's service practices are inefficient, not transparent and unaccountable. The reason is that the existence of dualism of customary village and the village of Dinas, human resources are still weak, facilities and infrastructure that is not refresentative that implicates to the open opportunities of corruption, collusion and nepotism, public service costs High, the number of unsynced population at the village level, sub-districts, or even provincial-level patents and increasing social pathology. This paper suggests the need for the assertiveness of the rules between the authority of indigenous villages and Dinas, need to increase the quality of human resources, especially the lower level, and the strict action to actors who are not disciplined in carrying out their duties. Keywords: public service, excellent service, the identity of the resident, prod Dharma.
STEREOTYPE OF MADURESE ETHNIC PEOPLE MADE BY JAVANESE ETHNIC PEOPLE THROUGH HUMORS Tabrani, Akhmad Tabrani; Mbete, Aron Meko; Suastika, I Made Suastika; Mariyah, Emiliana Mariyah
E-Journal of Cultural Studies Vol 8 No 2 (2015): Volume 8, Number 2, May 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This study was inspired by several things such as (1) there was a negative impression on the Madurese ethnic people’s attitude and behavior, (2) the conflict taking place between the Madurese ethnic people and the other ethnic groups which resulted from the wrong impression on the Madurese ethnic people, (3) there was a close contact between the attitude and behavior of the Madurese ethnic people and the attitude and behavior of the other ethnic peoples outside Madura. This present study was intended to identify the form, factor, and impact of the stereotype of the Madurese ethnic people made by the Javanese ethnic people through humors. The data in the present study were collected through in-depth interview, observation, documentary study, and library research. There were several factors which contributed to the stereotype of the Madurese ethnic people made by the Javanese ethnic people through humors such as (a) education, (b) legitimacy of violence, (c) ideology, (d) the resistance of the Madurese ethnic people to the Javanese ethnic people, and (e) the Madurese people’s attitude and behavior. The stereotype on the Madurese ethnic people was created to give an inaccurate image although to some extent it was true. The ethnical humor leads to ethnical stereotype. The ethnical humor, which, in this case, was created by the dominant ethnic people, which, in this case, the Javanese ethnic people, contained satire, dislike, hatred, insulting, praise, and resistance of the Madurese ethnic people to the Javanese ethnic people.
DECONSTRUCTION OF THE SYMBOLIC MEANING OF THE KERATON SURAKARTA ARCHITECTURE S. Pitana, Titis; Semadi Astra, I Gde; Suastika, I Made; Yudha Triguna, I. B. Gde
E-Journal of Cultural Studies Vol. 4, No. 2 Juli 2010
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This dissertation is the result of a study entitled ”Deconstruction ofthe Symbolic Meaning of the Keraton Surakarta Architecture.” This studyis intended not to understand the Keraton Surakarta architecture as aphysical materialization of architectural planning and design. Rather, inthis study, the Keraton Surakarta is the material object of a study on thedeconstruction of the symbolic meaning which focuses on three mainproblems: (1) the cause of the deconstruction of the symbolic meaningtoward the Keraton Surakarta architecture; (2) the deconstruction processof the symbolic meaning; and (3) the implication of the deconstructiontoward the social-cultural life of the keraton people and Surakarta society.
JOGED DANCE IN YOUTUBE Suartaya, Kadek; Suastika, I Made; Dibia, I Wayan; Agung, Anak Agung Gde Putra
E-Journal of Cultural Studies Vol 9, No 3 (2016): August 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

In Indonesia Joged Bumbung is a dance which was created in Bali; it is known as tari pergaulan, namely, a social dance which is performed to make friends; however, it has   innovated so freely that it becomes a dance with pornographic movements  presented vulgarly.   The recording of such a dance can be easily watched in YouTube; it can also be easily watched in shared video web sites, through which the users can download, watch and share different video clips free of charge. The problems of the present study are (1) what is the negative impact of the pornographic joged dance on the aesthetic values of Joged Bumbung; (2) how negatively people view the dancers and group of such a pornographic joged dance; (3) how negatively people view the Balinese cultural art resulting from the fact that such a pornographic joged dance has been uploaded in YouTube? The main objective of the present study is to identify the negative impact of the pornographic joged dance in YouTube. The data were collected through observation, interview, and library research. The collected data were then analyzed descriptively and qualitatively using the phonological theory; and the qualitative method is used. It can be concluded that the pornographic joged is still watched in different parts of the island; it is watched every night. The government, art observers, and the society’s leaders are anxious about the negative impact of such a joged dance on those who are involved in its performance. Therefore, the Bali government has persuaded the dancers and groups that are involved in the performance of such a joged dance to return to the ethical choreography of the performing art of Joged Bumbung. The government has directly met them for this purpose; however, what has been done has not been successful yet. There were three negative impacts of such a joged dance presented in YouTube. They are (1) the art value of the Joged Bumbung dance has become degraded; (2) the dancers have been immorally justified; and (3) the Balinese art and culture have been distorted.
COMMODIFICATION OF TELAJAKAN AT UBUD VILLAGE, GIANYAR, BALI Brata, Ida Bagus
E-Journal of Cultural Studies Volume 7, Number 1, February 2014
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This study was intended to understand the phenomenon of the commodification of telajakan at Ubud Village, Gianyar Regency, Bali in the era of globalization. It focused on how the commodification of telajakan took place in the era of globalization; what factors causing the commodification of telajakan to take place; and what were the impact and meaning of the commodification of telajakan at Ubud Village. The data were collected through observation, interview, library research and documentation study. The theory of Commodification, the theory of Discourse, the theory of Power and Knowledge, and the theory of Globalization were eclectically used in the present study.   The results of the study were as follows. The commodification of telajakan was defined as how it was produced as economic space, how it was distributed through printed media, announcement board, from mouth to mouth, and through the meetings held by traditional organizations, and then it was consumed by the owners and others undertaking businesses. The factors contributing to the commodification of telajakan were market ideology, business of tourism, technological flow, and mass media as the popular cultural agent, mimicry, and economic libido. For the sake of money, telajakan was not regarded as a local genius any longer; its value as traditional green open space was neglected; as a result, ecological damage could not be avoided; the aesthetics of the Balinese architecture was getting extict; and the Balinese identity was getting  destructed. 

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