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Seren Taun between hegemony and culture industry; Reading a Sundanese ritual of harvest in Cigugur, West Java Kurnia, Lilawati
Wacana, Journal of the Humanities of Indonesia Vol. 15, No. 2
Publisher : UI Scholars Hub

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Seren Taun is a ritual ceremony and celebration, which is practiced in West Java by the Sundanese. It is similar to Thanksgiving in many countries. The village Cigugur, located 3 km west of Kuningan, is the focus of the paper, because the Seren Taun celebration there has been a major event and received a lot of attention from the media, government, and scholars. Many non-Javanese traditional celebrations were repressed during the Suharto era and traditional beliefs were either also repressed or co-opted into one of the five official religions. During the post-Suharto era, the spirit of reformation has brought diversity of more than 300 ethnic groups onto the surface. With the aim to preserve and maintain the tradition of Seren Taun, but as well as to preserve the identity and collective memory of the community, Djatikusumah, chairman of PACKU, has in these recent years developed several policies, concerning traditional art performances, buildings/sites used for ceremonies, and the batik motives that were taken from woodcarvings in the Paseban hall. This paper will explore the intersection between the role of Djatikusumah as an agency and the culture industry he invented.

Transisi Budaya di Bali dalam Novel Jerman: Wayan zwischen Drogen und D monen Kurnia, Lilawati
Wacana, Journal of the Humanities of Indonesia Vol. 8, No. 1
Publisher : UI Scholars Hub

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Europe has been interested in Indonesia for many centuries ago. The Dutch Government and the East-Indies Company (VOC), for example, already established the connection between Indonesian and German along with the colonization when the VOC brought the German Regiment to the islands of Indonesia. Nevertheless, this relationship was not in a friendly way but was the power one. German also adopted the domination of the colony by the Dutch. Bali as the foremost attraction for the Europe since the 19th century has become a place of destination to the western tourists in the 20th century. The transition of Balinese culture and people can be seen in every aspect. The novel Wayan zwischen Drogen und D monen shows how the Balinese in mid 20th century is influenced by the western culture and how they survive during the transition from tradition to modernity.

Seni Kulinari, Kekuasaan, dan Multikulturalisme dalam Master Cooking Boy/ The Real Master Cooking Boy Karya Etsushi Ogawa Kurnia, Lilawati
Wacana, Journal of the Humanities of Indonesia Vol. 8, No. 2
Publisher : UI Scholars Hub

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This essay examines manga, the japanese comic Master Cooking Boy" and inquires what the manga offers to the reader beside being a popular reading. This essay reviews the history of manga and its function in the Japanese culture. The paper unravels the theories of cultural studies such as hegemony and multiculturalism in the analyse of this manga. This paper discusses the wider horizon of manga as a field of hegemony discourse and multiculturalism. It opens the possibilities to analyse manga in a different perspective and shows how ideology can operates in the popular literature.

RE-IMMIGRATION OF EX-LAOTIAN REFUGEES IN INDONESIA: THE MEANING OF IDENTITY THROUGH NOSTALGIA FOR THE NEXT GENERATION Armandaru, Rio; Kurnia, Lilawati
International Review of Humanities Studies Vol. 7, No. 2
Publisher : UI Scholars Hub

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In 1975, the communist revolution in Laos forced approximately 400,000 Lao citizens into exile. They had no other choice besides leaving their home country. These refugees are scattered in western countries and neighboring countries in Southeast Asia, including Indonesia. The detachment of the ex-refugees next generation to their home country (Laos) becomes a problem in determining their identity when they return to Laos. This research focuses on narrating the identity of the next generation of ex-Laotian refugees in Indonesia. The next generation of ex-Laotian refugees in Indonesia interprets their identity as Indonesians rather than Laotians. This study will provide an overview of how identity is interpreted as a structure of feeling for a space in the form of nostalgia. Considering the phenomenon of forced migration will form a sentimental sense that forms self-determination to define the next generation of ex-Laotian refugees' identity. Through Cultural Studies especially using ethnography, this research will examine how the identity of the next generation of ex-refugees is constructed through a series of nostalgia for their refugee places in Indonesia.

Representation of Muslim Women in Manga Satoko & Nada Drajat, Aldrie Alman; Kurnia, Lilawati
Urban: Jurnal Seni Urban Vol 2, No.1: April 2018
Publisher : Sekolah Pascasarjana Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52969/jsu.v2i1.1

Since the beginning of the 21st century, the mass media has been inclined towards constructing a negative image of Islam, which is internalized by the societies in countries where Moslems are in the minority, including Japan. Modern Japanese society is very dependent on the mass media for quick and concise information. The image of Islam internalized by the Japanese society is the one associated with terrorism and backwardness. This paper presents a different representation of Islam as reflected in a Japanese manga Satoko & Nada which focuses on the friendship between a Japanese girl Satoko and an Arab girl Nada in the United States. Visual and verbal analysis on the manga reveals an uncommon image of Moslem women which is not inclined towards excessive self-limitation. The manga shows that Moslem women really have a degree of freedom to express themselves, albeit with some limitation. Besides that, it also features open-minded Moslem women who are not hesitant to welcome modernization. Those characteristics are very different from the popular beliefs about Moslem women as constructed by mainstream mass media. As one of Japanese popular media, manga Satoko & Nada serves as a counter narrative by offering a different image of Moslem women as never shown in common mass media. Mulai dari dekade 2000-an, Media massa mengonstruksi citra Islam yang cenderung negatif dan telah terinternalisasi pada masyarakat di negara-negara non-mayoritas Islam, termasuk Jepang. Masyarakat Jepang modern sangat tergantung pada media massa untuk mendapatkan informasi dengan ringkas dan cepat. Imaji Islam yang terinternalisasi di dalam masyarakat Jepang pun terasosiasi pada terorisme dan keterbelakangan. Dalam makalah ini akan dipaparkan representasi muslim yang berbeda dalam manga Jepang berjudul Satoko&Nada yang menceritakan persahabatan Satoko, gadis yang berasal dari Jepang dan Nada, gadis yang berasal dari Arab di Amerika Serikat. Dari analisis visual dan verbal terlihat konstruksi identitas wanita muslim yang tidak sepenuhnya tertutup. Diperlihatkan bahwa wanita muslim di dalam Satoko&Nada memiliki kebebasan untuk mengekspresikan dirinya walaupun terbatas. Selain itu diperlihatkan pula wanita muslim yang memiliki pemikiran terbuka dan mengikuti arus modernisasi. Karakteristik-karakteristik tersebut sangat berlawanan dengan popular belief mengenai wanita muslim yang telah dikonstruksi dalam media massa. Manga Satoko&Nada sebagai salah satu dari media populer Jepang menyampaikan wacana tandingan mengenai wanita muslim yang tidak pernah terlihat di dalam media massa.

CHINESE-NESS AS A SPACE OF CONTESTATION: REREADING TWO INDONESIAN PERANAKAN MUSEUMS IN TANGERANG Kurnia, Lilawati
International Review of Humanities Studies Vol. 8, No. 2
Publisher : UI Scholars Hub

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This paper discusses two museums that deliberately adopt the concept of “Peranakan” as part of their identities, namely the Museum Pustaka Peranakan Tionghoa, or the Peranakan Chinese Literature Museum (2012), and the Museum Benteng Heritage (November 11, 2011). Both are located in South Tangerang (ca.10 km from Jakarta). The term “Peranakan” indicates a mélange of identities for the Indonesian and Chinese. A closer examination of the Chinese in Indonesia reveals that during the New Order regime, the Indonesian Peranakan Chinese underwent a “repression” taking the form of various political policies and laws limiting their public roles, even attaching negative stigmas to the Chinese identity. The void space in state museums could be filled by these museums, which would demonstrate the endeavor to develop a fairer concept of nationhood. This paper is not intended to provide any solution to the current problem underlying the establishment of the museums. Rather, it is meant to explain the process that takes place when the identity of an ethnic group is questioned and politicized.

Criticism of Javacentrism from the Historical Parody of the Film Nagabonar (1986) Satrio, Satrio Pamungkas; Kurnia, Lilawati; Tjahyandari, Lily; Rusdiarti, Suma Riella
The Journal of Society and Media Vol. 8 No. 1 (2024): Perspective on Digital Transformation in Public Service
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jsm.v8n1.p82-103

This paper examines the construction of a dominant discourse criticized by parody in film. The construction of Javanese cultural discourse has been the dominant discourse since the beginning of the Indonesian state; even the meanings born from the construction of the discourse remain to this day. Javanese cultural discourse refers to all forms of discussion related to cultural aspects in Java, including values, norms, traditions, art, language, and local wisdom of the Javanese people. Nagabonar's film deconstructs Javanese discourse with historical parody in its story. This research is expected to open up another way of thinking from the dominance of Javacentric thinking. Two approaches are used to recite and criticize Nagabonar's film as text: cinematographic theory and deconstruction. First is the mise-en-scene approach and staging in cinematographic theory, while the second is the theory of deconstruction to see what history hides or forbids and recasts a discourse construction of thinking that was previously marginalized or even alienated. This study aims to show the meaning of criticism in Nagabonar films against Javacentric dominant discourse through the deconstruction of film texts. Critics of this film tend to open questions about the concept of Indonesian nationalism

Afro-Asian Film Festival III: Women’s Knowledge and Imagination in Film Sovereignity Siagian, Bunga Pratiwi; Kurnia, Lilawati
Capture : Jurnal Seni Media Rekam Vol. 14 No. 3 (2023)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v14i3.5014

This article examines the third edition of the Afro-Asian Film Festival (AAF), held in Jakarta in 1964. A series of film festivals that serve as a container of meetings between newly independent and still colonized nations to articulate the political expressions of the third world. The festival was studied with a qualitative-descriptive approach. Analysis of his research data through textual and contextual reading of available archival material, such as film plays, delegation speeches, communiques, and newspaper coverage, involving theoretical ideas of Peripheral Marxism. There are two findings, firstly, showing the ideological contribution of the left that makes FFAA III more radical than the previous two editions of the FFAA. Secondly, a textual analysis of the two winning films shows the role of FFAA III in giving space to issues and knowledge generated by women. FFAA III articulates anti-colonial third-world political expressions as well as anti-imperialist leftist thinking based on the objective everyday realities of third-world people, which in this paper appear in the percolation of women living in feudal cultures. The findings of this research are useful in enriching knowledge of the history of film in the era of independence and adding to the spirit of nationalism. Keywords: Afro-Asia Film Festival; Indonesian; women studies; leftist ideology

Afro-Asian Film Festival III: Women’s Knowledge and Imagination in Film Sovereignity Siagian, Bunga Pratiwi; Kurnia, Lilawati
Capture : Jurnal Seni Media Rekam Vol. 14 No. 3 (2023)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v14i3.5014

This article examines the third edition of the Afro-Asian Film Festival (AAF), held in Jakarta in 1964. A series of film festivals that serve as a container of meetings between newly independent and still colonized nations to articulate the political expressions of the third world. The festival was studied with a qualitative-descriptive approach. Analysis of his research data through textual and contextual reading of available archival material, such as film plays, delegation speeches, communiques, and newspaper coverage, involving theoretical ideas of Peripheral Marxism. There are two findings, firstly, showing the ideological contribution of the left that makes FFAA III more radical than the previous two editions of the FFAA. Secondly, a textual analysis of the two winning films shows the role of FFAA III in giving space to issues and knowledge generated by women. FFAA III articulates anti-colonial third-world political expressions as well as anti-imperialist leftist thinking based on the objective everyday realities of third-world people, which in this paper appear in the percolation of women living in feudal cultures. The findings of this research are useful in enriching knowledge of the history of film in the era of independence and adding to the spirit of nationalism. Keywords: Afro-Asia Film Festival; Indonesian; women studies; leftist ideology

THE MIDDLE CLASS, THE YOUTH, THE HIGHWAYS: PRODUCTION OF SPACE AND URBAN MEMORY IN BLOK M, JAKARTA Novantara, Bimana; Bachrioktora, Yudi; Kurnia, Lilawati
International Review of Humanities Studies Vol. 10, No. 2
Publisher : UI Scholars Hub

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This paper examines the historical and contemporary dynamics of the Blok M area in Jakarta as a public space undergoing a process of spatial, cultural, and symbolic transformation. Using Henri Lefebvre’s theory of the production of space and then relating it to the discourse of urban memory according to Abidin Kusno, this study traces how Blok M developed from the modernist urban planning of Kebayoran Baru after independence to be the epicenter of youth festivity, then declined until it rose again through a place that utilized the memory of this area in the past. This study highlights how the politics of marginalization, cultural practices, and power discourses through infrastructure shape the meaning of an urban area in Jakarta. By analyzing historical narratives, visual artefacts, and urban planning policies, this article argues that changes in Blok M represent physical transformation and struggle over collective memory, middle-class identity, and power relations in the production of the contemporary urban space of Jakarta.

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