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All Journal E-Jurnal Kajian Budaya E-Journal Of Cultural Studies Jurnal Pendidikan dan Pengajaran Widya Winayata: Jurnal Pendidikan Sejarah KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Jurnal Kawistara : Jurnal Ilmiah Sosial dan Humaniora Bawi Ayah: Jurnal Pendidikan Agama dan Budaya Hindu Jurnal Wahana Pendidikan Jurnal Pendidikan Sosiologi Undiksha Indonesian Values and Character Education Journal Widya Sandhi: Jurnal Kajian Agama, Sosial dan Budaya

Nengah Bawa Atmadja

Faculty of Economy and Business, Ganesha University of Education, Bali

Author-ID : 236499

Religion Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Public Health Social Sciences Other

Published : 37 Documents Claim Missing Document

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PITAMAHA: MIMICRY IN ARTS AND DESIGN DURING THE COLONIAL ERA Supir, I Ketut; Atmadja, Nengah Bawa; Mudana, I Gede
E-Journal of Cultural Studies Vol 9 No 1 (2016): Volume 9, Number 1, February 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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During the pre-colonial era the Balinese arts and design were dominated by the themes of puppetry which contained the Hindu religious teachings. When the Dutch colonial government controlled Bali, the Balinese arts and design changed. This present study is intended to explore the existence of the Pitamaha association and the attitude of the Pitamaha painters towards the domination of the modern arts and design taught by Spies and Bonnet. The qualitative method and the postcolonial theory combined with various other critical supporting theories were used in the present study. The result of the study shows that Pitamaha is the first modern association of arts in Bali. However, Pitamaha still integrated the pattern of the Balinese traditional association. In this association, the royal elites were involved as the mediators between Spies and Bonnet and the Balinese painters. Spies and Bonnet taught the modern arts which were different from and even contrasted with the Balinese arts and design. However, the Pitamaha painters welcome it. This could not be separated from the practice of teaching through hegemony and domination which contrasted with what had been desired by the Balinese painters who intended to maintain the Balinese arts and design. In such an ambivalent condition, they mimed the modern arts and design. The mimicry made was not intended to mime the modern arts and design; instead, the mimicry made was intended to interpret with reference to the norms of the Balinese arts and design.

IDEOLOGICAL DECONSTRUCTION OF THE PROMOTIONAL MEDIA IN BALI CULTURAL TOURISM Udayana, AA Gde Bagus; Atmadja, Nengah Bawa; Dhana, I Nyoman
E-Journal of Cultural Studies Volume 10, Number 1, February 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

The regional regulation issued by the Provincial Government Number 2 of 2012 defines that Tri Hita Karana is a Hindu philosophy explaining the three things which contribute to prosperity. Therefore, the promotional media of tourism should be ideally based on the ideology of Tri Hita Karana. However, the fact shows that it has been marginalized in the promotional media of the Bali cultural tourism. In relation to this, three main theories are used in the present study. They are the theory of deconstruction, the theory of practice, and the theory of social reality construction. The qualitative, descriptive, and interpretative methods were employed to analyze the data, which were collected through in-depth interview, observation and documentary study. Based on the result of the study, it can be concluded that the capitalistic ideology, the ideology of cultural dualism, the ideology of consumerism, the ideology of commercialism, the ideology of totalitarianism, and the ideology of pseudo-social responsibility have been responsible for the marginalization of the ideology of Tri Hita Karana in the promotional media of the Bali cultural tourism. The system used to deconstruct the promotional media of the Bali cultural tourism involves the government, private companies, and the graphic design consultants. They are oriented towards their respective ideology and interest. The ideology and interest-oriented promotional media of the Bali cultural tourism affect the image of Bali as a tourist destination. The implications are as follows: Bali is an area of the culture of tourism; it is an area where postmodern people live; it is an area where glocalization takes place; it is an area where modern spirituality develops; it is also an area where the identity of the Balinese people and culture is shown not to be in accordance with the fact.

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

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.

THE ROLE PLAYED BY THE STAKEHOLDERS IN THE INDUSTRIALIZATION OF THE ART OF CRAFT AT TEGALLALANG, GIANYAR, BALI Sila, I Nyoman; Ardika, I Wayan; Atmadja, Nengah Bawa; Dhana, I Nyoman
E-Journal of Cultural Studies Volume 10, Number 1, February 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

The industrialization of the art of craft at Tegallalang, Gianyar, Bali results from the technological, economic and cultural development and leads to the production of different types of products of the art of craft. The industrialization of the art of craft cannot be separated from the role played by the stakeholders in order to obtain benefit. The problems of the study are as follows (a) what stakeholders play roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali? (2) How the stakeholders play their roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali? This present study is a qualitative one in which the critical theory of social practice proposed by Bourdieu and the ethnographic approach are used. The result of the study shows that the stakeholders playing roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali include the parents, the traditional village, the administrative village, the local government, the provincial government, craftsmen, the raw material supplier, the formal and informal financial institution, and foreign consumers. The stakeholders play their roles using different capitals such as the cultural capital, social capital, and economical capital. Those who have big capitals will dominate those who have fewer capitals and organize what products should be produced.

POWER BEHIND HARMONY: CRITICAL ETHNOGRAPHY OF RELATION BETWEEN CHINESE ETHNIC GROUP AND BALINESE ETHNIC GROUP AT PUPUAN VILLAGE, TABANAN, BALI Aryana, I Gusti Made; Wirawan, AA Bagus; Atmadja, Nengah Bawa
E-Journal of Cultural Studies Volume 10, Number 3, August 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

The harmonious relation between the ethnic groups living at Pupuan Village can be evidenced by the inter-ethnic marriages. The problems of the present study can be formulated in three questions. They are why the Chinese ethnic people can live harmoniously with the Balinese ethnic people, how is the dynamics of the power behind the harmonious relation between the Chinese ethnic people and Balinese ethnic people at Pupuan Village, and how the educational model implemented by the Chinese ethnic people and Balinese ethnic people is developed to contribute to the harmonious relation between the two ethnic groups from the ethno pedagogic perspective. The descriptive and qualitative method was used in the present study. The data were collected through in-depth interview, observation, and documentary study. The data were analyzed using the interactive analysis method. The theories used include the Theory of Practice proposed by Bourdieu, the Theory of Discourse of Power/Knowledge proposed by Foucault, theory of Habernas Education, and so forth. The result of the study shows that there are several reasons why the relation between the Balinese ethnic people and Chinese ethnic people has become harmonious. They use power and capital. The Balinese ethnic people use the spiritual capital (the capital of cultural power) through the values of the local genius. The Chinese ethnic people use the socio-economic capital they have to make the domination of the Balinese people balanced. The dynamics of the power behind harmony shows that the relation between the two ethnic people at Pupuan Village is made to be diluted resulting from the power of the internal (local) people and the external (national) people which can be seen from the religious aspect, political aspect, socio-cultural aspect, and socio-economic aspect. The ethnopedagogic educational model is developed using different media such as the societal organization, the social activity in the forms of ngayah (doing voluntary religious things) and ngoupin (helping other people living in the neighborhood prepare and perform their traditional and religious activities).

Co-Authors Agistin, Duwi Maulida Anak Agung Bagus Wirawan Anak Agung Gde Bagus Udayana Anantawikarama Tungga Atmadja, Anantawikarama Tungga Anantawikrama Tungga A Atmadja Anantawikrama Tungga Atmadja Arimbawa, I Gede Ariska, Firawati Cahyani, Kadek Gita Dr. Tuty Maryati,M.Pd . Dra. Luh Putu Sendratari,M.Hum . Drs. I Wayan Mudana,M.Si. . Gede Mahardika Hadriani, Ni Luh Gede Hardiman Hardiman I Gede Mudana I Gusti Made Aryana I Ketut Supir I Nyoman Darma Putra I Nyoman Dhana I Nyoman Natajaya I Nyoman Sila I Wayan Ardika I Wayan Rai Kurniawan, Made Ferry Luh Putu Sri Ariyani M.Si Drs. I Ketut Margi . Mariyati, Tuty Muhammad Syafri, Muhammad Ni Nyoman Lisna Handayani Ningsih, Ni Putu Anggarista Sundari Ranti, Kadek Safitri, Andela Sriada, I Putu Gede Sukartini, Ni Putu Suryani, Putu Urosyidah, Atiek Wiarsana, Made Wahyu Ari Widiastuti, Ni Putu Ayu Wirawan, I Gusti Made Arya Sutha yasa, i gede beni aprisma Yelik, Ni Nyoman

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