Articles
<![CDATA[REPRESENTASI KELAS SOSIAL DALAM RUANG TEKS JALANAN ]]>
<![CDATA[Rosa, Dien Vidia]]>
<![CDATA[ LAYAR: Jurnal Ilmiah Seni Media Rekam Vol 4, No 2 (2017): Struktur Visual ]]>
Publisher : <![CDATA[Institut Seni Budaya Indonesia Bandung ]]>
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<![CDATA[The streets could be read as space all at once medium which full of social class representation. Through representation, text were not only seen as signs that had polisemic meaning but it was more as power contestation space where signs dominated each other. Media and text representation could appeared everywhere even in the hidden or careless rooms as toilets. This article which was a literature study discussed text that attached on vehicles such as cars and trucks. Each text showed the signs relation game in different social class and space which however met in the streets. In the space of streets, power context refered to subject that disseminated text and formed representation discourse.]]>
<![CDATA[Two Versions of Lah Bako Dance: Representing Agricultural Working Class and Identity Creation ]]>
<![CDATA[Prasetyo, Hery]]>;
<![CDATA[Rosa, Dien Vidia]]>;
<![CDATA[Astuti, Restu Puji]]>;
<![CDATA[Satria, Ramadana Tahta]]>;
<![CDATA[Ramadani, Rifki Dwi]]>;
<![CDATA[Permata, Ayu Dinda]]>;
<![CDATA[Ambarwati, Sagita Dwi]]>
<![CDATA[ KARSA: Journal of Social and Islamic Culture Vol 27, No 2 (2019) ]]>
Publisher : <![CDATA[Institut Agama Islam Negeri Madura ]]>
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DOI: 10.19105/karsa.v27i2.2133
<![CDATA[This article discusses the politics of identity in dance representations. Lah Bako dance is one of the Jember icons that was created to build an image of the tobacco farmers' culture. This dance is performed by women who represent the tobacco production process. However, the practical needs that are framed through aesthetic motions present a new form of how women are positioned in agricultural societies. In this context, the Lah Bako dance becomes an instrument to create new meanings for women and also becomes an imaginary space for tobacco farming. The article discusses two main points: first, the Lah Bako dance became an integral part of government’s project to construct mass memories in the relations of production in the tobacco sector, and the second is women as subjects representing a farmer’s spirit which is formed as a new figuration that fluid and changeable as political image that transcended existing experimental conditions. An addition point highlighted in this article was the emergence of Islamic values in a dance version which is accomodated the elite interest of Jember’s identity slogan formation. Reseachers use Stuart Hall’s cultural representation and ethnography method to narrate the identity. This research found that the Lah Bako dance is constructed in dominant cultural formations that are legitimized by the structure of the regional government bureaucracy. Furthermore, it is crucial to criticize the space for voicing farmers’ subjectivity and class politics, which has been muddled from the elite network. The problem appears as a paradox for creating aesthetic reality through art, where the symbolic form can be enjoyed without touching inequality that continually arises.]]>
<![CDATA[PANCASILA DAN POLITIK TOLERANSI ORDE BARU ]]>
<![CDATA[Rosa, Dien Vidia]]>
<![CDATA[ Jurnal Mediasosian : Jurnal Ilmu Sosial dan Administrasi Negara Vol 6, No 1 (2022): April 2022 ]]>
Publisher : <![CDATA[Universitas Kadiri ]]>
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DOI: 10.30737/mediasosian.v6i1.2330
<![CDATA[Artikel ini merepresentasikan narasi dibalik proyek idelogi negara yang dijalankan secara sistematis melalui program Pedoman Penghayatan dan Pengamalan Pancasila atau yang disingkat dengan istilah P4. Dengan mengunakan pendekatan post-kolonialisme, negara yang mendapatkan kemerdekaanya pasca perang dunia kedua berhadapan dengan wacana kedaulatan yang berjalan melalui penolakan sejarah. Istilah Penolakan dimaksukan oleh penulis sebagai formasi kesadaran dalam mengartikulasikan ideology Negara. Lebih jauh lagi, dengan menggunakan analisis diskursif, penelitian ini berargumentasi bahwa Negara orde baru telah menciptakan wacana teloransi yang disesuiakan dengan konsepsi politik. Selain itu, sakralisasi Pancasila yang menjadi mantra pembangunan merupakan strategi untuk meletakan Negara berdasarkan sentiment promodial kesukuan. Dengan demikian, penelitian ini melihat adanya kompleksitas yang melekat pada cara pandang Negara atas Pancasila sekaligus bagaimana masa depan proses berbangsa dan bernegara tidak dapat sepenuhnya melupakan telorasi dan multlipisitas kebudayaan di Indonesia.]]>
<![CDATA[KEBERANIAN MENYISIR SEJARAH DAN KEBUDAYAAN INDONESIA DALAM BENTANG TIMUR-BARAT ]]>
<![CDATA[Dien Vidia Rosa]]>
<![CDATA[ LITERASI: Indonesian Journal of Humanities Vol 2 No 2 (2012) ]]>
Publisher : <![CDATA[Faculty of Humanities, Jember University ]]>
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<![CDATA[Resensi Buku Judul buku : Saling Silang Indonesia-Eropa: Dari Diktator, Musik, hingga BahasaPenulis : Joss Wibisono Penerbit : Marjin Kiri Tahun Terbit/Hlm : Cetakan Pertama, 2012; i-xiv + 228 halaman]]>
<![CDATA[Two Versions of Lah Bako Dance: Representing Agricultural Working Class and Identity Creation ]]>
<![CDATA[Hery Prasetyo]]>;
<![CDATA[Dien Vidia Rosa]]>;
<![CDATA[Restu Puji Astuti]]>;
<![CDATA[Ramadana Tahta Satria]]>;
<![CDATA[Rifki Dwi Ramadani]]>;
<![CDATA[Ayu Dinda Permata]]>;
<![CDATA[Sagita Dwi Ambarwati]]>
<![CDATA[ Karsa: Journal of Social and Islamic Culture Vol. 27 No. 2 (2019) ]]>
Publisher : <![CDATA[Institut Agama Islam Negeri Madura ]]>
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DOI: 10.19105/karsa.v27i2.2133
<![CDATA[This article discusses the politics of identity in dance representations. Lah Bako dance is one of the Jember icons that was created to build an image of the tobacco farmers' culture. This dance is performed by women who represent the tobacco production process. However, the practical needs that are framed through aesthetic motions present a new form of how women are positioned in agricultural societies. In this context, the Lah Bako dance becomes an instrument to create new meanings for women and also becomes an imaginary space for tobacco farming. The article discusses two main points: first, the Lah Bako dance became an integral part of government’s project to construct mass memories in the relations of production in the tobacco sector, and the second is women as subjects representing a farmer’s spirit which is formed as a new figuration that fluid and changeable as political image that transcended existing experimental conditions. An addition point highlighted in this article was the emergence of Islamic values in a dance version which is accomodated the elite interest of Jember’s identity slogan formation. Reseachers use Stuart Hall’s cultural representation and ethnography method to narrate the identity. This research found that the Lah Bako dance is constructed in dominant cultural formations that are legitimized by the structure of the regional government bureaucracy. Furthermore, it is crucial to criticize the space for voicing farmers’ subjectivity and class politics, which has been muddled from the elite network. The problem appears as a paradox for creating aesthetic reality through art, where the symbolic form can be enjoyed without touching inequality that continually arises.]]>
<![CDATA[Kultur Resiko dan Taktik Pemuda Tani ]]>
<![CDATA[Dien Vidia Rosa]]>
<![CDATA[ DIMENSI - Jurnal Sosiologi Vol 10, No 1 (2017): Juni ]]>
Publisher : <![CDATA[DIMENSI - Journal of Sociology ]]>
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<![CDATA[Peasant today in neo-liberalism time is facing with land strengtening and agriculture labour sustainability. This article saw Sriharjo in agriculture area setting which is consider poor and observe significant transformation related to peasant values for their own land and opportunity shifting also labour problem. Young peasant in this context built narration of his susceptible, risk and position sustainability that saw state active role to encourage rural development in the sense of globalization and market openness which supply occupation opportunity in off-farm sector. Ethnography method is used as a frame to understand young peasant condition in struggling his ideas to sustain occupation scope especially due to cultural values changes of peasant society.]]>
<![CDATA[RUANG NEGOSIASI PEREMPUAN DI BALIK REVOLUSI KOPI USING ]]>
<![CDATA[Dien Vidia Rosa]]>
<![CDATA[ Jurnal Sosiologi Pendidikan Humanis Vol 2, No 2 (2017): Jurnal Sosiologi Pendidikan Humanis ]]>
Publisher : <![CDATA[Universitas Negeri Malang ]]>
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<![CDATA[Masyarakat adat sedang menghadapi praktik transformasi teknologi kebudayaan. Globalisasi menempatkan identitas subjek kosmopolitan yang turut serta berpikir secara global dan bertindak secara lokal. Komunitas adat menghadirkan diri melalui negosiasi praktik kebudayaannya yang seringkali berkontestasi dalam pasar yang dibentuk oleh elit adat dan elit lokal. Kopi Using menjadi komoditas revolusioner yang menerjemahkan kebudayaan Using sebagai salah satu garda depan pembangunan etnisitas Banyuwangi dalam gerak mode ekonomi kreatif. Wajah kopi Using ditampilkan secara multi dimensi dan diruangkan dalam penikmatan serta selera. Praktik produksi dan konsumsi kopi tidak bisa dipisahkan dari ruang negosiasi perempuan yang membentuk kopi Using sebagai identitas budaya. Artikel ini mendiskusikan perempuan Using yang menampilkan subjektivitasnya dalam diskursus kopi Using dengan menggunakan perspektif postkolonial. Berbasis pada penelitian etnografi visual, negosiasi perempuan Using muncul dalam ruang antara domestic publik dan tradisional-modern.DOI: http://dx.doi.org/10.17977/um021v2i22017p063]]>
<![CDATA[On Air: Representing Osing Identity in Community Radio ]]>
<![CDATA[Windu Bramantio Wisnu]]>;
<![CDATA[Dien Vidia Rosa]]>
<![CDATA[ Journal of Contemporary Sociological Issues Vol 1 No 1 (2021): Journal of Contemporary Sociological Issues ]]>
Publisher : <![CDATA[Advanced Studies on Socio-Economy Development ]]>
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DOI: 10.19184/csi.v1i1.17712
<![CDATA[This research aims to describe the articulation of Osing’s culture on three community radios in Banyuwangi. Understanding language as an identity medium is essential to analyzing underlying cultural dynamics and the crucial vital they play. The Government policy reshaped Osing's identity as an added value to drive regional economic growth. This impacted local cultural practices. The government created the Osing culture as the primary character to differentiate them from other cultural practices. Notwithstanding, this research argues that culture is not an entity that can be organized and represented in a monolithic form. Using qualitative methods, this study found that the Osing culture, especially the practice of its language, became a medium of discourse that intertwined with various other cultures. Furthermore, radio has become a space for cultural encounters and a site for cultural submissions continually changing and discovering social contexts. Keywords: Osing Languages, Osing Community Radio, Osing Representations]]>
<![CDATA[Editor’s Introduction: Sustaining Global Development ]]>
<![CDATA[Dien Vidia Rosa]]>
<![CDATA[ Journal of Contemporary Sociological Issues Vol 2 No 2 (2022): Journal of Contemporary Sociological Issues ]]>
Publisher : <![CDATA[Advanced Studies on Socio-Economy Development ]]>
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DOI: 10.19184/csi.v2i2.33804
