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E-Journal Of Cultural Studies
Published by Universitas Udayana
ISSN : 23382449     EISSN : -     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Cultural studies constitutes an interdisciplinary area critically discussing socio-political contexts of various cultural practices in society. Its focus is on the relation among such cultural practices and the power controlling them. Cultural studies was pioneered by the Centre for Contemporary Cultural Studies (CCCS) of the University of Birmingham, England, in 1960s. Unlike what has been a tradition in the modern epistemology, cultural studies is concerned with what human emancipation aims at. Therefore, cultural studies does not only refer to a theoretical-conceptual matter but also to the location and critical action in which it manifests itself.
Arjuna Subject : -
Articles 5 Documents
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Search results for , issue "Volume 6, Number 3, November 2013" : 5 Documents clear
MARGINALIZATION OF PARWA LEATHER PUPPET IN GIANYAR REGENCY IN GLOBALIZATION ERA Yudabakti, I Made
E-Journal of Cultural Studies Volume 6, Number 3, November 2013
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This present study discussed the marginalization of the Parwa Leather Puppet in Gianyar Regency in the globalization era. It discussed the form, the causing factors, and the impact of marginalization. The qualitative interpretative method was used to analyze the problems of the study. The data were collected using the techniques of observation, in-depth interview, documentary study, and library research. The data were qualitatively analyzed. The results of the study showed that there were several forms of marginalization occurring to the Parwa Leather Puppet ‘Wayang Kulit Parwa’ (WKP) in Gianyar Regency. This was indicated by the change in the context of performance and indication of marginalization. The forms of the context of performance were made up of the facts that (a) the viewers shifted from the young generation to the old generation; (b) it used to be performed as an offering but now it was performed as a commodity or comodification; (c) technology played more important roles (the lighting, sound system, and the material for making the puppet), and d) the accompanying gamelan orchestra changed. Marginalization was indicated by (a) the fall in the frequency of performance, (b) WKP was getting less popular in the community; (c) fewer people were getting interested in WKP performance; and (e) WKP was getting less respected. The factors responsible for the marginalization of WKP in Gianyar Regency were the facts that less people were interested in WKP, the decrease in the WKP puppeteer’s activities, the policy issued by the traditional institution was weak, and the supervision made by the local government of Gianyar was weak. In addition, WKP was less prospective; the current community needed more amusement than guidance, the rise in the impact of foreign cultural art, more and more sources of modern amusements were made available, and the impact of telecommunication technology. The marginalization of WKP in Gianyar Regency led to impacts and meanings. One of the impacts was that the puppeteers showed their resistances through creative, defensive, creative, innovative and transformative movements.
IMPLEMENTATION OF FREE EDUCATION IN RELATION TO SCHOOL MANAGEMENT AT PUBLIC JUNIOR HIGH SCHOOL 5 DENPASAR Gede Putra Wijaya, I Made
E-Journal of Cultural Studies Volume 6, Number 3, November 2013
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

The present study was intended to understand and deconstruct the ideology and reality hidden in the implementation of free education especially at Public Junior High School (SMPN) 5 Denpasar. The ideology appeared from the capitalistic world where a decision was made by the government to make education free of charge. Further, such a decision was issued when the general elections for the legislators and president were about to be held in 2009. It was this which inspired the writer to deconstruct the ideology and reality hidden in the decision made by the government to make education free of charge. The approach of cultural studies was employed in the present study. The informants were chosen using snow-ball technique, meaning that the longer the informants were determined, the more were involved. The data were collected using three techniques; they were observation, in-depth interview, and documentary study. Then the data collected were descriptively and qualitatively analyzed. The result of the study showed that there was an ideology hidden in the policy made to make education free, that is, an attempt to attract people in such a way that they, through the elections for legislators and president held in 2009, would support those who were in the political superstructure. Consequently, their state of being established could be maintained. In addition, such a policy was made as part of the politics of image as an attempt to maintain the status quo.
POSTREALITY REPRESENTATION OF DESIGN OF THE BUILDING OF THE GOVERNMENT CENTER OF BADUNG REGENCY, BALI Mugi Raharja, I Gede
E-Journal of Cultural Studies Volume 6, Number 3, November 2013
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

ABSTRACT Postreality representation of design of the Building of the Government Center of Badung Regency is interesting to explore as it is designed using the most recent simulation. This study is intended to understand the form of representation, the process of the deconstruction of representation, and the meaning of the postreality representation of design of the Building of the Government Center of Badung Regency. As part of cultural studies, this study is a qualitative one. The theory of virtual space design, the theory of simulation, and the theory of deconstruction were eclectically used in the present study. The data were collected through observation, interview, and library research. The results of the study showed that the postreality representation of the design of the Building of the Government Center of Badung Regency represented the image of chronoscope, the image of the Government of Badung Regency, the appreciation of traditional architecture, hybrid of design, semiotization of design. The deconstruction process of the postreality representation of the design of the Building of the Government Center of Badung Regency represented the deconstruction of space and power. The postreality representation of design of the Building of the Government Center of Badung Regency implied the scientific and technological meaning. The meaning of the postreality representation of the Building of the Government Center of Badung Regency is implied from the integration of the computer technology and the field of fine arts and design.
ECOLOGICAL AND IDEOLOGICAL REPRESENTATION OF KABHANTI PERFORMED BY MUNA COMMUNITY IN MUNA REGENCY, SOUTH EAST SULAWESI -, Hadirman
E-Journal of Cultural Studies Volume 6, Number 3, November 2013
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Kabhanti is one of the oral traditions performed by Muna community. It is performed as part of the traditional ceremony adhered to by Muna community as an amusement and a means of presenting ideas and ideologies, and bequeathing the values which are useful to human life. Specifically, this present study was intended to describe the forms of ecological representation of Kabhanti performed by Muna community, to reveal the ideology it contains, and to interpret the ecological meanings it contains. The theory of ecolingistics, the theory of ideology, and the theory of semiotics were eclectically used in the present study. Qualitative method was used and the data were descriptively and interpretatively analyzed.  The present study was conducted at Watumela Village and Latugho Village, Lawa District, Muna Regency. The data were collected through participatory observation, in-depth interview, the informants’ personal experience, and documentary study. The results of the study showed that ecologically the kabhanti performed by Muna community represented natural environment and human environment. All the ecological lexical items and the human ecological lexical items in such a performance reflected the existence of Muna people in their lives. It contained environmental, educational, social and developmental ideologies. The meanings of ecological representation in this present study included the meaning of environment, the meaning of cultural endurance, the meaning of identity, and the meaning of solidarity.
IDEOLOGICAL CHANGE OF ULU AMBEK DANCE IN PARIAMAN COMMUNITY, WEST SUMATRA -, Yulinis
E-Journal of Cultural Studies Volume 6, Number 3, November 2013
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

ABSTRACT This present study discussed the ideological change of ulum ambek (UA) dance resulting from the impact of globalization. This is indicated by the fact that the young generation is getting less interested in performing UA dance in Pariaman. This study, in which qualitative, critical, holistic, and emancipatoric approaches were used, analyzed the form of, the factor contributing to, the meaning and the impact of the ideological change of UA dance in Pariaman community. The relevant theories used are the theory of ideology, the theory of hegemony, and the theory of semiotics. The data were collected using observation, interview, and documentary techniques, and were qualitatively and interpretatively analyzed. The results of the study showed that the form of the ideological change of UA dance performed in Pariaman was related to the ideology of what is referred to as penghulu (Muslim leader). The values of life such as the learning of good manners or better known as batarik (regulations for conduct) were expressed through UA dance. The meanings of UA dance included knowledge, values, and the belief adhered to in the Pariaman culture. The impact of the ideological change of UA dance was related to the people’s welfare, solidarity, and the balance between human and the nature. The value of tageh constituted the aesthetic meaning of UA dance and the value of creativity constituted the value of creative development and the value of ideological development. Theoretically, this present study revealed that the ideological meaning of UA dance in Pariaman West Sumatra included the aesthetic value referred to as tageh which was related to the aesthetics of UA dance performance and the bataratik value was related to the ideology of the Pariaman community, apart from the appearance of creativity related to the development of UA dance.

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