RUANG NEGOSIASI PEREMPUAN DI BALIK REVOLUSI KOPI USING

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/um021v2i22017p06

KEBERANIAN MENYISIR SEJARAH DAN KEBUDAYAAN INDONESIA DALAM BENTANG TIMUR-BARAT

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 halama

Balinese Muslim Women’s Cultural Identity in the Context of Ajeg Bali

This research explores the negotiations carried out by Balinese Muslim women in Candikuning and Sinduwati in articulating their religious and cultural identities. The problems that arise in the study are related to stereotypes about being a Balinese Muslim, the origin of the land of birth, and the issue of secularism. Ajeg Bali, as a Balinese regional government regulation, presents a duality of interpretation of religious practices between Islam and Hinduism as social identities; for Balinese Islamic women, religious attributes such as the hijab are limited through the excessive practice of Ajeg Bali. Meanwhile, for those who adhere to Hinduism, religious practices are emphasized as an identity that is demonstrated and integrated into everyday life. Articulating identity through the legitimacy of local authorities strengthens Balinese identity. Yet, it is a challenge that Balinese Muslim women must manage, mainly to minimize cultural conflict. Marvasti’s ethnographic method is used with Fatima Mernissi’s perspective to elaborate on the identity of Islamic women. The research results show Balinese Islamic women’s negotiations are practiced through language and clothing in the Ajeg Bali practice. Then, the authors argue that cultural hybridity is demonstrated through Balinese dance arts and has combined with Islamic and Balinese aesthetics by strengthening the discourse of being Balinese Islamic Women. Hence, Islamic religious practices need to be formulated with the adoption of Balinese culture to enhance and maintain Balinese Islamic identity without neglecting the value of being Muslim

Intimate Language in Traditional Markets: Challenging Public Space Norms through Kristeva’s Intertextuality

The use of intimate language in public spaces is a phenomenon that emerges in the interactions of economic actors in traditional markets. Therefore, language intimacy deconstructs social norms that should not be displayed in public spaces. However, language intimacy has emerged in traditional markets for a long time in the interactions of economic actors, including sellers, buyers, porters, parking attendants, and the social gathering community. This research explores how intimate language is articulated in an economic space closely related to the ethnic identity of economic actors in traditional markets in the Jember region. The ethnic diversity in question includes Javanese, Madurese, Chinese/Chinese, and Arab. This phenomenon was researched qualitatively using a post-structuralist approach and applying Julia Kristeva's theory of intertextuality. Data analysis uses two Kristeva concepts, namely intertextuality and suprasegmental. The data is processed by looking at the text production process originating inside and outside the text. The research results show that the intimacy of language, usually used in the private sphere, has succeeded in breaking down the rigidity of language in the public sphere, besides dissolving social relations between economic actors with various ethnicities and social classes. Thus, the use of greetings in intimate language closely related to ethnic identity is experiencing development and merging with the space of familiarity and closeness built by economic actors in traditional markets

The Undefeated Defeat

This study critically examines the existence of indigenous peoples within the framework of promoting cultural rights in Indonesia. The main reason for this study is that the Indonesian Law on Advancement of Culture enacted in 2017 did not explicitly include indigenous peoples as a crucial aspect of preserving cultural activities. Consequently, there has been no significant policy reform from the Indonesian government to maintain the rights and existence of indigenous peoples, primarily their cultural rights. From a human rights perspective, culture shapes indigenous peoples' collective identity and political force, hence Indonesia is responsible for protecting and fulfilling their collective rights. Based on the discourse analysis, this study examines two questions: First, to what extent does the recognition of indigenous peoples in the Law on the Promotion of Culture ensure the promotion of the cultural rights of indigenous people? Secondly, what government policies are directed to fulfill indigenous peoples' rights? The finding of this study is that the partial recognition of cultural rights for indigenous peoples affected the undisputable conflicts surrounding sacred rites, which affected the promotion of the collective identity of indigenous people. Keywords: Cultural rights, Identity, Indigenous politics, Land, Marginalizatio

SUSTAINABLE TOURISM PADA PENGEMBANGAN SITUS BETENG DI DESA SIDOMEKAR KECAMATAN SEMBORO KABUPATEN JEMBER

Desa Sidomekar merupakan salah satu desa yang berpotensi menjadi desa wisata dimulai dengan aliran sungai Bondoyudo yang dapat digunakan sebagai wisata air, situs peninggalan kebudayaan Majapahit yang terkenal dengan situs Beteng serta wisata edukasi Semboro Sweet Garden. Sustainable tourism diimplementasikan untuk membangun kembali Image Desa Sidomekar sebagai Desa Wisata yang sudah lama hilang. Metode Participatory Rural Appraisal memungkinkan para anggota perangkat desa serta lembaga BUMDES dan pengawas desa di Desa Sidomekar untuk meningkatkan pengetahuan dan keterampilannya dengan tim pelaksana sebagai fasilitator dari luar, berbagi informasi, membuat perencanaan dan tindakan nyata dalam mewujudkan Desa wisata. Hasil kegiatan ini berupa kesepakatan untuk membuat profil desa wisata Beteng di Desa Sidomekar dengan pakar sejarah, bersama dengan Ketua Bumdes dan perangkat desa Sidomekar akan melakukan integrasi obyek wisata situs Beteng dengan beberapa obyek wisata lainnya yang akan disiapkan, pembuatan taman yang sudah tidak terawat dilingkungan situs Beteng, dan perencanaan pembangunan wisata edukasi dan hiburan di sekitar Situs Beteng

Two Versions of Lah Bako Dance: Representing Agricultural Working Class and Identity Creation

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

Two Versions of Lah Bako Dance: Representing Agricultural Working Class and Identity Creation

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

PANCASILA DAN POLITIK TOLERANSI ORDE BARU

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

MEMPERTEMUKAN HIPER-REALITAS DAN REFRACTIONS OF DURÉÉ : Pembacaan Multi-NaratifVisual dalam Film Simone dan Film Inception

Film realities emerged in multifacet.Two interesting concepts that were tried to be presented in the article were hypereality and refraction of duréé. Both were consequences of digitalization that refered to the rose of virtual space and beyond subject's consciousness.Both also effected audiens consciousness positioning to reality which was appeared. The encounter of those concepts was discussed in images power discourse. By using Barthes's semiology method to crack and decode visual narative element of film, reality exploration was seen as signs playing and images ideology. Keywords : Hiper-realitas,refractions of duréé,multi-naratif visual fil