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Teater Tradisional sebagai Dokumen Komunitas Ninuk Kleden-Probonegoro
Antropologi Indonesia No 62 (2000): Jurnal Antropologi Indonesia
Publisher : Department of Anthropology

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The assumption that theater functions as a document of the community falls under question. Such an assumption emerges, for example, from the ideas of Paul Ricoeur on theories of the text, which takes textual discourse as an inscription of oral discourse. Social reality is seen as oral discourse, allowing for the view that the narrative aspect of theater presents its textual discourse. The classic study of the ludruk theater by James Peacock demonstrates haw the ludruk holds within it the anxieties of members of the ludruk community in East Java over modernization. In Ricoeur's terms, such anxieties are inscribed in ludruk performances. Holding to the assumption of theater as document, one would expect to see performances related to the reformation movement of the present. However, the 'Gaya Baru' Lenong Theater, performed by the 'Sarkim' group at a wedding occasion on March 20, 1999 in the village of Jelabong, East Buaran, Serpong, displays no significant inclinations toward the reformation. During the performance that ran until 3.45 in the early morning, the author recorded only three pertinent words from the panjak's jokes: krisis, sembako and PHK. This leads to following question: should the assumption of the role of traditional theater in documenting the community be revised; or does the community see no importance in there formation that is occurring at the national level?
Teater Mamanda dan Pendefinisian Kembali Identitas Banjar Ninuk Kleden-Probonegoro
Antropologi Indonesia No 69 (2002): Jurnal Antropologi Indonesia
Publisher : Department of Anthropology

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This article examines notions of identity in the context of Mamanda, a traditional theatre in Banjar, South Kalimantan. The author Mamanda as a cultural symbol and describes the formulation of its identity using a semiotic approach whereby identity is conceived as a part of a binary composition fluctuating between the opposing notions of 'us' and 'other'. This is illustrated in the oppositions between the theatre's community and the state, individuals and the state, and the contradictory oppositions between the community members within Mamanda itself. This article demonstrates that identity is continually reformulated and is linked to political interests such as regional autonomy.
Ekspresi Karya (Seni) dan Politik Multikultural Ninuk Kleden-Probonegoro
Antropologi Indonesia No 75 (2004): Jurnal Antropologi Indonesia
Publisher : Department of Anthropology

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"...[...] Berbagai bentuk karya (seni) yang merupakan ekspresi dapat diperlakukan sebagai identitas atau 'identitas' (baca:representasi), karena dua hal. Pertama, para peneliti berhasil memasuki kandungan mental seniman yang melahirkan karya-karya otentik, seperti misalnya penelitian Kenneth George tentang kaligrafi Pirous. Kedua, proses pemaknaan suatu karya (seni) dianggap cukup penting sehingga pada gilirannya karya itu dapat menjadi ajang kontestasi untuk bisa menjadi representasi identitas. Contoh dari proses pemaknaan ekspresi seni itu, sangat jelas pada kajian Jennifer Santos tentang kerajinan tangan masyarakat desa Tegallalang, Bali, juga Juliana Wijaya tentang alih kode dalam tuturan dan Tito Imanda tentang Si Unyil anak Indonesia. Seperti telah dikatakan sebelumnya, makna suatu ekspresi maupun proses pemaknaannya sangat tergantung pada berbagai konteks di mana karya itu diekspresikan. Karya seniman seperti lukisan, teater, tari, seni kerajinan dan berbagai bentuk karya lain seperti film, surat kabar dan narasi, mempunyai makna yang lahir karena pengaruh persentuhan kebudayaan. Persentuhan satu kebudayaan dengan kebudayaan lain, satu kebudayaan lokal dengan kebudayaan nasional atau dengan kebudayaan masyarakat global."
Metode Pemahaman bagi Penelitian Antropologi Ninuk Kleden-Probonegoro
Antropologi Indonesia Vol 30, No 2 (2006): Jurnal Antropologi Indonesia
Publisher : Department of Anthropology

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Amidst the many changes in the approaches taken by anthropologists today, the author reexamines the works produced in the more humanistic tradition of anthropology. She begins with the question of whether anthropological research can be conducted with an idiographic approach. Through a discussion of Verstehen, experience and hermeneutics, and drawing from her own experiences in the field, the author argues that the methods characteristic of amore humanistic anthropology can be applied to anthropological research and remain scientifically sound. Key words: hermeneutic; experience; "thick description".
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