Ni Luh Nyoman Kebayantini
Study Program Of Sociology, Faculty Of Social And Political Sciences, Udayana University

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Journal : E-Journal Of Cultural Studies

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.
THE DECONSTRUCTIVE SEMIOTICS OF FISHING MANTRA DICTION IN THE BAJO ETHNICS Rita Lindayani, Lilik; Suarka, I Nyoman; Cika, I Wayan; Kebayantini, Ni Luh Nyoman; Putra, Ansor; Samsul, Samsul; Maliudin, Maliudin
E-Journal of Cultural Studies Volume 11, Number 4, November 2018
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (624.316 KB) | DOI: 10.24843/cs.2018.v11.i04.p02

Abstract

Language is a form of human emergency sensitivity to the situation around it. If observed, if the linguistic position is in the semiotic point pattern, then natural signs can be a form of verbal power. Accompanying Nietzsche's thoughts on a strategy he calls "geneology" in historicism, in order to observe the traditions of creativity that exist in society, Nietzsche believes that every creation has a special set of interests for a particular location or context. The Bajo people as a sea tribe in general, including ethnic Bajo who inhabit Katela Island in West Muna Regency, Southeast Sulawesi also establish this creative process in the copyright mantra, which is in the form of sea spells arranged in diction and symbols on signs and codes given by nature. The significant process occurs when spells as something that is believed by the Bajo people in fishing activities have many functions. This study adopts Derrida's Deconstruction theory, in Derrida's view, the core location of deconstruction is deconstruction related to language. If conventional semiotics emphasizes the signification process, namely the functioning of the sign as a reflection of established social codes, then in the poststructuralist semiotics which is emphasized is a significant process, namely a creative creation of signs and codes without and without limited. Keywords: Deconstructive Semiotics, Sea Mantra Dictation, and Bajo Ethnicity
GOCEKAN AS A POWER RELATIONS IN BATUAN VILLAGE, GIANYAR, BALI Dewi Wahyuni, Ni Made; Suka, Industri Ginting; Kebayantini, Ni Luh Nyoman
E-Journal of Cultural Studies Volume 12, Number 3, August 2019
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (782.006 KB) | DOI: 10.24843/cs.2019.v12.i03.p05

Abstract

Gocekan is a series of percussion rituals with brawls that are carried out routinely every year starting on the kajeng kliwon enyitan sasih kalima (mid-November) to Ngembak Geni, the end of the sasih kesanga (mid-March) in the Puseh Temple area in Batuan Village, Gianyar, Bali. In its development shocks have been influenced by various interests due to the power relations that occur in the implementation process. This study aims to address the main problems, namely regarding the forms of power relations, the driving factors for power relations, and the meaning and impact of power relations in shocks. Based on research there are several forms of power relations in shocks, namely the relations of hegemonic ideological power, symbolic power relations, and the power relations of domination practice. The factors that encourage power relations in shocks can be divided into two, namely internal factors consisting of beliefs (religious), cultural sacralization, openness of traditional villages, and lack of understanding of religious and legal norms. External factors consisting of capitalism, tourism and the economy. In this regard, the meaning due to the power relations in shocks is the symbolism of religious ritual and impunity. As a result it will have an impact on the deviation of the implementation of Hinduism, deviations of morality and power, and metajen habits as a subculture of the Balinese. Keywords: shock, clubbing, power relations, interests
SOCIAL PHENOMENON OF PRE WEDDING PHOTO TRENDS AT DENPASAR COMMUNITY WEDDING CEREMONY AA PT Candra Kartika Pratiwi; I Made Suastika; Ni Luh Nyoman Kebayantini
E-Journal of Cultural Studies Vol 14 No 4 (2021): Volume 14, Number 4, November 2021
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/cs.2021.v14.i04.p05

Abstract

The social phenomenon of pre-wedding photos has now begun to be widely discussed by some people who are starting to be sensitive to social changes in the area of Denpasar City. Infact, in Denpasar City at this time almost all bride and groom couples carry out pre-wedding photo sessions before their wedding ceremony takes place. The bride and groom couples even really focus their attention on the results of their pre-wedding photos. This eventually became a conversation that raised pros and cons among parents whose children were going to have a wedding ceremony. Some parents feel that pre-wedding photos cost too much money and costs that they should be able to spend to bail out funds when preparing a series of wedding ceremonies. In contrast to people who feel capable in terms of costs, they will certainly take the pre-wedding costs lightly compared to the satisfaction they will get later after seeing the results of the pre-wedding photos they take. The bride and groom did a pre-wedding photo session with the theme and concept they specified. When going to do a pre-wedding photo session, the bride and groom have to prepare a lot of money. Depending on the theme, concept and place they will use later. In Bali, especially in Denpasar City, the cost for the “pawiwahan”or wedding ceremony is quite high, with the addition of a new tradition, namely pre-wedding photos, it will make people spend even more. The meaning of this pre-wedding photo session is still not much can explain, prospective brides who do pre-wedding photo sessions only say they take pre-wedding photos to follow today's trends. The new trend that is entering Bali is slowly making it a mandatory tradition. Keywords: pre wedding photo, wedding ceremony, trends, traditions
Co-Authors -, Annisa AA PT Candra Kartika Pratiwi Adhitya Wiguna, Anak Agung Gede Adirusman Faran, Gabriel Ari Wiadnyana, Sang Putu Agus Ari Wirati, Ni Made Ariesta Krisna, I Gst. Made Bagus Arizona, Vransiska Fami Arni Darmayanti, Arni Ayu Gatriyani, Ni Komang Baiwu, Fredrik Lepa Candra Kartika Pratiwi, Anak Agung Putu Candra Kusuma, Kadek Mayuki Dwi Cupu Tyasningrum, I Gst. Ayu Agung Darmayoga Kantina, I Komang Agus Dewi Kartika, Dewa Ayu Eden, Antonius Setiarja Emiliana Mariyah Felanza, Merdi Gede Kamajaya Gede Kamajaya, Gede Gusti Bagus Agung Swandhita, Gusti Bagus Agung Halima, Yuliana Sulastri Hartati Dwijayanti, Ni Kadek Wira I Dewa Made Satya Parama, I Dewa Made I Gde Semadi Astra I Gst. Pt. Bagus Suka Arjawa I Gusti Agung Alit Suryawati I Gusti Ngurah Agung Krisna Aditya I Made Suastika I Nengah Punia I Nengah Simpen I Nyoman Suarka I Nyoman Sumerta Miwada I Putu Suadityawan, I Putu I Wayan Ardika I Wayan Cika Ida Bagus Wicaksana Herlambang, Ida Bagus Ikma Citra Ranteallo Industri Ginting Suka Karno, Ody Putra Karno, Ody Putra Ketut Sudhana Astika, Ketut Sudhana Krisnayadi, Made Chandra Kristina Dewi, Ni Kadek Putri Lilik Rita Lindayani M. Suki Dato, Sisilia A. Maliudin, Maliudin Mia Dian Triska, Ni Luh Gde Mirah Diantari, Gusti Ayu Kade Naibaho, Leander F. Nazrina Zuryani Ni Made Anggita Sastri Mahadewi Ni Made Dewi Wahyuni, Ni Made Nyoman Ayu Sukma Pramestisari Pakarti, Dian Pandhito, Selo Pradhananta, Rizki Fajri Pradnyani Pratiwi, Ni Made Fina Primayuli Mahayani, Ni Wayan Ayu Putra, Ansor Putra, Bayu Sandika Putra, Nararya Prasetya Putu Fania Pebriani, Putu Fania Putu Setia Aprillia Dewi, Putu Setia Ratna Dewi, Ni Luh Putu Ropida Ropida, Ropida Safitri, Leni Sagala, Citra Ayu Samsul Samsul Santika Dewi, Luh Ayu Ari Sasi, Ingga Amara Setiawan, Chelsea Rosaline Sharon Khatlean, Bawiling Mawar Sumiyati Sumiyati Surya Wijaya, A.A. Gede Suryawan, Irfa' Ade Trisna Sugiarti, Ni Kadek Vanny, Putriana Septy Wahyu Budi Nugroho Wahyu, Faisal Wahyuwidowati, Nifita Sistin Wirata, I Gede Dharma Wisnu Hidayat, Tri Bagoes Wolu Ate, Elton Laiya Yulia, Elisa Linda Yuliani, Desak Made Yuliarmini, Ni Made Zannah, Yulfa Miftahul