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All Journal E-Jurnal Kajian Budaya IPTEKMA E-Journal Of Cultural Studies Linguistika Jurnal Kajian Bali ATAVISME JURNAL ILMIAH KAJIAN SASTRA Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies Proceeding of International Conference on Art, Language, and Culture Jurnal Ilmiah Sinus International Journal for Educational and Vocational Studies Pangkaja: Jurnal Agama Hindu Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Jurnal Penelitian Agama Hindu International Journal of Social Science Soshum: Jurnal Sosial dan Humaniora International Journal of Education and Literature (IJEL) Suluh Pendidikan: Jurnal Ilmu-ilmu Pendidikan Sphatika: Jurnal Teologi Kalangwan Jurnal Pendidikan Agama, Bahasa dan Sastra International Journal of Multidisciplinary Sciences International Review of Humanities Studies Subasita: Jurnal Pendidikan, Bahasa, Aksara dan Sastra Daerah Purbawidya: Jurnal Penelitian dan Pengembangan Arkeologi International Journal of Multilingual Education and Applied Linguistics Open Access DRIVERset e-Journal of Linguistics

I Nyoman Suarka

Universitas Udayana, Denpasar, Indonesia

Author-ID : 386632

Religion Agriculture, Biological Sciences & Forestry Arts Humanities Biochemistry, Genetics & Molecular Biology Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Immunology & microbiology Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Medicine & Pharmacology Public Health Social Sciences Other

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RECONSTRUCTION OF WAYANG ORANG DARMA KERTI AT BATU PANDANG: A STRUGGLE FOR IDENTITY IN MATARAM, LOMBOK Seramasara, I Gusti Ngurah; Ardhana, I Ketut; Suarka, I Nyoman; Ruastiti, I Made
E-Journal of Cultural Studies Vol 9, No 3 (2016): August 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Wayang Orang (the stage show usually with the wayang theme) is a performing art of which the characters are played by people. As a specific Sasak performing art, the wayang orang which is performed in Mataram Lombok, used to use what is referred to as Serat Menak as the story source. However, such a performing art was marginalized and was almost getting extinct. Therefore, the Sasak artists and cultural observers, whom were facilitated by UPTD Taman Budaya Lombok, did their best to save such a performing art by reconstructing it. The performing art which was constructed by IPTD Taman Budaya Lombok was the Wayang Orang Darma Kerti, Dusun Batu Pandang. Such a reconstruction was made in the middle of the struggle for an identity of those living in Mataram, Lombok, who belong to different ethnic groups and religions. This present study was intended to understand the matter pertaining to the reconstruction of Wayang Orang Darma Kerti as part of the struggle for the identity of the people living in Mataram, Lombok. The qualitative method and the theories of deconstruction, multiculturalism, and hegemony were used to analyze the problems of the study. The result of the study showed that 1) there was a desire to preserve Wayang Orang as a local identity, meaning that the desire to reconstruct it was inspired by the Islamic religious value and the Wetu Telu Islamic value; 2) it was reconstructed through several stages; they are observation, inventory, and classification; finally, it was decided to reconstruct Wayang Orang performed at Dusun Batu Pandang, East Lombok in which the puppeteers and dancers from Mataram, West Lombok, were involved; the puppeteers were gathered, the themes were composed, the performance was practiced, and the Wayang Orang was performed; 3) the implication of the reconstruction of the Wayang Orang was that the Sasak ethnic group had an art identity, and religion and culture adapted to each other as the implementation of what is referred to as adatluwirgama, and the local people’s prosperity became better.

POLITICS OF POWER IN MARGINALIZATION OF SASAK GANDRUNG PERFORMING ART IN LOMBOK Trisnawati, Ida Ayu; Suarka, I Nyoman; Parimartha, I Gde; Sugiartha, I Gede Arya
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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A change is occurring to the Sasak gandrung performing art performed at Dasan Tereng Village, Narmada District, West Lombok District, West Nuasa Tenggara. The development of the understanding of Islam among the Sasak ethnic people has widely affected the development of such a performing art. The marginalization of the Sasak gandrung performing art cannot be separated from the limited protection given by the government, the strengthening of the religious fundamentalism, and the decrease in the supporting community’s self-confidence. This present study is intended to identify one of the three phenomena of the marginalization of the gandrung Sasak performing art, especially the strengthening of the religious fundamentalism of the waktu lima Islam. The data were collected through observation, interview, and documents which are related to the gandrung Sasak. The data were analyzed qualitatively using the Theory of Social Practice proposed by Pierre Bourdieu. The results of the study show that the strengthening of the religious fundamentalism of waktu lima Islam caused the wetu telu Muslims to convert into waktu lima Muslims. The consequence is that the gandrung Sasak performing art, inherited from generation to generation, has gradually become marginalized. It has not been included in the list of the performing art in West Lombok Regency. The strengthening of the religious fundalism cannot be separated from the wetu telu Islamic teaching which is not in accordance with the waktu lima Islamic teaching, which is based on Al-Quran and Hadist. Such a gandrung performing art is believed to be not in accordance with Al-Quran and Hadist which are believed by the waktu lima Muslims.

RELIGIOUS IDEOLOGY OF THE TRADITION OF MAKOTEK IN THE ERA OF GLOBALIZATION Pradana, Gede Yoga Kharisma; Suarka, I Nyoman; Wirawan, A.A. Bagus; Dhana, I Nyoman
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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Makotek is a cultural tradition which is performed as a ritual to ward off misfortune by the people living at Munggu Village, Badung Regency. It is performed once in six months, namely, every Kuningan Feast Day. It has been inherited from generation to generation as an oral tradition. In the era of globalization, many parties and cultural components are involved in its performance. It is still performed until now. However, the people living at Munggu Village do not close themselves to modernity. The data were collected through observation, interview, library research and documentary techniques. The informants were determined using the purposive and snowball technique. All the data were analyzed in order to draw conclusions. The result of the study shows that the religious ideology which has inspired the people living at Munggu Traditional Village to perform the tradition of Makotek. Ideologically, they believe that by performing the tradition of Makotek, they can protect their resources and the human unity in the middle of the social dynamics in the era of globalization. It is performed in stages, in accordance with the tradition they have adhered to since a long time ago. The performance of the tradition of Makotek at Munggu Village has been able to strengthen their belief in the existence of Ida Sang Hyang Widhi, Almighty God. In addition, such a religious practice is the supernatural source of happiness and health as it is believed to be able ward off misfortune.

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

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

MARGINALIZATION OF BEDEKEH RITUAL PERFORMED BY AKIT ETHNIC GROUP IN RUPAT ISLAND, BENGKALIS REGENCY, RIAU PROVINCE IN THE ERA OF GLOBALIZATON Suroyo, Suroyo; Kumbara, Anak Agung Ngurah Anom; Suarka, I Nyoman; MPSS, Pudentia
E-Journal of Cultural Studies Volume 10, Number 2, May 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

This present study is intended to explore, identify, comprehend and describe the phenomenon of the bedekeh ritual performed by the Akit ethnic group in Riau Island, Bengkalis Regency, Riau Province in the era of globalization. The Oang Akit (those who belong to the Akit ethnic group) believe that all diseases are believed to result from the interference of invisible spirits or what is locally referred to as Antu (Hantu=Ghost), their ancestors, the treatment of other people or what is referred to as disantet (black magic practice), and curses. The bedekeh ritual is a cultural important element; it is not only performed to stimulate emotion but it is also performed to make the relationship among people and between people and the cosmos in harmony. Globalization has developed human life and changed the people’s way of life, including the Akit ethnic group. The data in the present study were collected using the techniques of observation, in-depth interview, library research, and documentation. Based on what was explored and the method used to analyze the data, it was found that the bedekeh tradition is still performed by the Akit ethnic group; however, its existence is getting marginalized by the internal and external factors. The modern epistemology (Modern-Western) in which rationality is considered more important than other things has caused the therapy performed by the Akit ethnic group to shift. Hegemony resulting from the penetration of the culture belonging to the non Akit ethnic groups has also caused the bedekeh ritual to be marginalized.

INNOVATION OF THE TRADITIONAL SANDSTONE CRAFT PRODUCTS IN THE GLOBALIZATION ERA AT NORTH SINGAPADU VILLAGE GIANYAR Pendet, I Ketut Muka; Ardhana, I Ketut; Suarka, I Nyoman; Sugiartha, I Gede Arya
E-Journal of Cultural Studies Volume 10, Number 1, February 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Nowadays the process through which the sandstone craft products are produced at North Singapadu Village has changed. The appearance of different types of popular sandstone craft products reflecting the local identity produced by the young craftsmen at North Singapadu Village shows this. Such products are different from the traditional sandstone craft ones in terms of form and aesthetic style. Globalization, ideology and technology have basically led to the change. The sandstone industry has become highly innovative. This present study uses the qualitative and interpretative method and the theories used are the theory of acculturation, the theory of deconstruction, and the theory of postmodern aesthetics. The conclusion of the present study is that the form and process of innovation initially resulted from new ideas and concepts and the craftsmen’s paradigm. The main things which have been responsible for changing the traditional way of life into the modern way of life are formal education, tourism and modern technologies. Those who are positively and negatively affected by globalization are not only the capital owners and craftsmen but the villagers and consumers as well. The sandstone craft products at North Singapadu Village contain the meaning of creativity, the economic meaning, the commodificative meaning and the meaning of cultural change. The finding of the study shows that the craftsmen at North Singapadu Village have ignored the traditional concepts, the technique of producing the products, and the materials used. However, the sandstone craft products at North Singapadu Village do not get extinct but remain to exist and both domestic and foreign consumers are interested in them.

THE BARONG LANDUNG PERFORMING ART FROM THE PERSPECTIVE OF CULTURAL ACCULTURATION Cerita, I Nyoman; Wirawan, AA Bagus; Suarka, I Nyoman
E-Journal of Cultural Studies Volume 10, Number 2, May 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

The Barong Landung performing art, as the acculturation of the Balinese culture and Chinese culture, has opened the new history of the relationship between the Balinese culture and Chinese culture. The acculturation has also become the peak of the Chinese cultural impact on the Balinese culture in general and the Balinese performing art in particular. Moreover, Balong Landung has also been considered the symbolic appearance of the Balinese King, Sri Aji Jaya Pangus, and his wife, Kang Cing Wie, who governed from 1099 to 1103 Caka Year. The qualitative method was used in the present study and the data were collected through library research. The data were collected through the secondary data source. The primary data were collected through interview, observation, and documentation techniques. The result of the study shows that the barong landung performing art is a traditional Balinese performing art which has been affected by the Chinese culture. It has been strongly integrated into the elements of the people’s performing art and culture in every region of Bali. In Bali it reflects the humanity-oriented culture. It can be classified as the sacred, magical, and religious performing art and is performed as part of the traditional and religious rituals in Bali.

LIFESTYLE IN KUTUH VILLAGE, SOUTH KUTA, BADUNG, BALI AS IMPLICATION OF LAND SALE Farhaeni, Mutria; Suarka, I Nyoman; Dhana, I Nyoman; Ardjani, Ni Luh
E-Journal of Cultural Studies Volume 10, Number 4, November 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

The purpose of this research is to find out the life style in the post-land sale in Kutuh Village, South Kuta District, Badung Regency, Bali. This research begins with an inventory of the people who sell the land and then classified into several lifestyles. The data and information reviewed the lifestyle implications of post-land sales people. This research was conducted by survey and observation method toward the lifestyle of the community after the land sale. Data collection techniques used are in the form of interviews. From the results of the study, it can be concluded that the lifestyle implications of society have been found to describe the existence of lifestyle changes: consumptive society, creative economy society, gender equality in the distribution of land sales and modern household pretext, in addition the people are unable to maintain their ancestral heritage.

THE BACKGROUND OF MARKET IDEOLOGY IN THE DEVELOPMENT OF BELADIRI AIKIDO IN BALI Nurita, Wayan; Suarka, I Nyoman; Wirawan, AA Bagus; Dhana, I Nyoman
E-Journal of Cultural Studies Volume 10, Number 2, May 2017
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Quite a lot of Balinese people nowadays are pursuing different martial arts coming from other nations, among others is Aikido. Aikido as one of the martial arts of Japan can be accepted and is growing well in Bali which has the background of market ideology as one of the impacts of globalization. The development process of Aikidoin Bali both in addition to the number of training venues (Dojo) and improving the quality of the participants’ techniques (Aikidoka) under the supervisionof Bali Aikido Master Organization (Bari Aikikai) which has been established since 1997. By questioning what kind of ideology is working in the development of Aikido Martial Arts in Bali, this research is a qualitative research which applies the Hypereality theory of Jean Baudrillard. Result of the research shows that the development of aikido martial arts in Bali both in the development of the dojo and the aikidokaare in the process to reach certain levels. In order to reach both, the allocation of time and funds are required. Bari aikikai is a Japan subordinate of aikidomartial arts organization (Nihon Aikikai). Everything related to the development of aikido martial art in Bali is done through Bari Aikikai. The Japanese as the cultural owner and discourse producer play an important role in relation to the market ideology in it. This condition and realitycan be seen in the development process of aikido martial art in Bali. Both the dojo and aikidoka managers spend a lot of money in terms of training in the form of compulsory dues and other dues payment. This research also found a new paradigm that behind the acceptance and development of aikidomartial artsas the globalization of culture, there is market ideology behind the discourse.

POWER OF MEDIA IN INDUSTRIALIZATION OF BALINESE POP MUSIC Ardini, Ni Wayan; Wirawan, A.A Bagus; Suarka, I Nyoman; Sugiartha, I Gede Arya
E-Journal of Cultural Studies Vol 8 No 4 (2015): Volume 8, Number 4, November 2015
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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The development of technology, the economic system, and the culture of new music, has caused the Balinese pop music to be industrialized since 1990s. The existence of many recording studios and musicians (composers, singers, and music players) and many other related products all over Bali has also contributed to this. Through the recording products, various types of direct performances and so forth have caused the Balinese pop music to be the commodity of the capitalistic pop culture which is preferred by society. Such industrialization is formed by the power of media (musicians), capitalistic power (the capital owner such as the producer/recording studio owner), and the power of media. This present study was conducted in order to identify the phenomenon of one of three powers in such industrialization, namely, the power of media, especially television. The result of the study shows that the power of television media in the industrialization of the Balinese pop music is the resource which contributes to the distribution of products which are produced for the market or the prospective market in Bali. The television studio which plays the greatest role is the Bali TV. It was established in 2002, namely, the year when the political decentralization in Indonesia started, following the reformation era which started in 1998. Through the regional autonomy, the ethnical local cultures in Indonesia, including the Balinese pop music, were empowered. The Bali TV with “Ajeg Bali” as its ideology has what is called “Klip Bali”, “Tembang Bali” (100% local)”, and “Samatra Artis Bali” programs. The viewers from all over Bali like such programs very much. The more often they are presented (viewed and listened to), the more the Balinese pop music products obtain the promotional and marketing value. A great number of products, including the Balinese pop music, are continuously introduced to the society. The power of media has developed into capitalism and the Balinese community has become the object of its consumption.

Co-Authors A.A. Gde Alit Geria Alit Geria A.A. Gede Bawa A.A. Kade Sri Yudari A.A. Ketut Agung Cahyawan W A.A. Ngurah Anom Kumbara AA. Gede Bawa Admin OJSIkip Anak Agung Bagus Wirawan Anak Agung Ngurah Anom Kumbara Anak Agung Raka Asmariani Ardjani, Ni Luh Artayani, Ida Ayu Gede Bagus Wahyu Sudhyatmika Bawa, Anak Agung Gde Cerita, I Nyoman Desak Putu Andi Suarmini Dewa Gede Bambang Erawan Diah Savitri, Putu Dian Saputra, I Made Dr Pudentia Dra Dafirah Duija, I Nengah Dwi Mahendra Putra Erna Supriathi, Ni Kadek Farhaeni, Mutria Fauzan Al Jundi Fransiscus Bustan Gde Artawan Gede Indrawan Gede Yoga Kharisma Pradana George Mentansan Gitananda, W.A. Sindhu Gusti Ayu Novaeni Hamiruddin Udu, Hamiruddin I Gde Parimartha I Gede Arya Sugiartha, I Gede Arya I Gede Mudana I Gede Oeinada I Gusti Ayu Agung Mas Triadnyani I Gusti Ayu Andani Pertiwi I Gusti Ayu Sri Widiantari I Gusti Ngurah Seramasara, I Gusti Ngurah I Gusti Ngurah Sudiana I Gusti Ngurah Sudiana I Ketut Ardhana Ardhana, I Ketut Ardhana I Ketut Darmana I Ketut Jirnaya I Ketut Muka I Ketut Setiawan I Ketut Sudewa I Made Agus Oka Gunawan I Made Arik Wira Putra I Made Arik Wira Putra I Made Dian Saputra I Made Dian Saputra I Made Gede Anadhi I Made Suastika I Made Sukma Manggala I Made Suyasa I Made Wijana . I Nengah Duija I Nengah Duija, I Nengah I Nengah Sudipa I Nyoman Darma Putra I Nyoman Dhana I Nyoman Kutha Ratna I Nyoman sukiada I Nyoman Suwana I Nyoman Weda Kesuma I Nyoman Weda Kusuma I Nyoman Weda Kusuma I NYOMAN WIJAYA I Nyoman Winyana, I Nyoman I Nyoman, Rema I Putu Gede Sridana I Putu Gede Suyoga I Wayan Ardika I Wayan Cika I Wayan Mulyawan I Wayan Nuriarta I Wayan P. Windia I Wayan Suardiana I Wayan Suharta, I Wayan I Wayan Suka Yasa I Wayan Suwena I Wayan Suwena I Wayan Tagel Eddy Ida Ayu Gede Artayani Ida Ayu Istri Agung Dharmayanti Ida Ayu Kade Sri Sukmadewi, Ida Ayu Kade Ida Ayu Laksmita Sari Ida Ayu Trisnawati, Ida Ayu Ida Bagus Gde Putra Ida Bagus Jelantik Ida Bagus Kade Gunayasa Ida Bagus Made Wisnu Parta Ida Bagus Nyoman Mantra Ida Bagus Oka Wedasantara Ida Bagus Rai Putra Igaa Mas Triadnyani Jro Made Gede Aryadi Putra Juliana, I Wayan Kamidjan Kamidjan Ketut Widya Purnawati Komang Adi Sastra Wijaya Komang Paramartha Kumiko Shishido Kurniawan, Putu Widhi Kusuma Wardana, Kadek Lilik Rita Lindayani Made Dian Saputra Made Narawati Made Paramasuta Wijaya Maliudin, Maliudin Maria Matildis Banda MPSS, Pudentia Muh Alifuddin Muhammad Badaruddin Ni Ketut Ratna Erawati Ni Luh Gede Meilantari Ni Luh Nyoman Kebayantini Ni Luh Sutjiati Beratha Ni Made Ari Dwijayanthi Ni Made Indiani Ni Made Ruastiti Ni Made Wiasti Ni Nyoman Karmini Ni Nyoman Kartini Ni Nyoman Seri Astini Ni Putu Diah Astriningsih Ni Putu Diah Astriningsih Ni Wayan Ardini, Ni Wayan Ni Wayan Sumitri Ni'mah, Mamluatun Novena Ade Fredyarini Soedjiwo Nyoman Adiputra Nyoman Kutha Ratna OJSIkip, Admin Parahita Nugraha, Gemara Adhiyasa Paramita, Ida Bagus Gede Pradnyawati, Ni Ketut Sukma Pujaastawa, Ida Bagus Gde Pujana, Ida Bagus Anom Wisnu Putra, Ansor Putu Ari Suprapta Pratama Putu Eka Maharani Putu Gede Sridana Putu Sanjaya Putu Titah Kawitri Resen Rahmat Sewa Suraya Raka Asmariani, Anak Agung Rema I Nyoman Rianti Simbolon Rudi Irawanto Rustiani, Komang Wahyu S, Aswandikari Sachiko Takasaki Samsul Samsul Sanjaya, Putu Savitri, Putu Diah Setya Yuawana Setya Yuwana Silvia Damayanti Sri Marheni, Komang Sri Martini Subrahmaniam Saitya, Ida Bagus Sugiarta, I Gde Arya Suka Yasa, I Wayan Suroyo Suroyo Suryadi Suryadi Suryadi Syamsul Arifin Tadjudin Maknun TATI NURHAYATI Tjokorda Rai Sudharta Wayan Nurita

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