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Desa Tamanagung merupakan kawasan perintis kerajinan pahat batu di Kabupaten Magelang sejak tahun 1953 yang terus berkembang hingga saat ini. Empat puluh tujuh sanggar pahat dengan 144 orang pengrajin di Desa Tamanagung untuk saat ini tidak terfasilitasi sepenuhnya. Kondisi workshop dan galeri yang tidak dibangun dengan prioritas memadai sebagai wadah kegiatan pahat merupakan alasan utama untuk pengembangan kawasan. Kebutuhan utama pengembangan kawasan yaitu melalui penguatan citra kawasan bertujuan untuk mendukung pemasaran serta intrepetasi aktivitas budaya di lokasi. Zoning kawasan eksisting yang tumbuh organik, tampilan bangunan yang tidak representatif serta peruangan yang tidak dapat teridentifikasi merupakan permasalahan yang perlu diselesaikan. Pengembangan kawasan dengan penguatan citra kawasan tersebut pada akhirnya dicapai dengan (1) perencanaan zoning kawasan; (2) perancangan tampilan bangunan; (3) perancangan. Kriteria perencanaan dan perancangan kawasan menerapkan studi genius loci untuk mendapatkan citra kawasan dan bangunan yang sesuai dengan konteks tempat. Metode penelitian dilakukan dengan studi literatur teori genius loci dan uraian konsep desainnya, observasi lapangan melalui pemetaan serta pengamatan terhadap kondisi fisik bangunan dan aktivitas pahat, wawancara terhadap pelaku industri dari 5 sanggar pahat, tokoh masyarakat serta regulator. Hasil studi genius loci menemukan dua proses utama yaitu proses orientasi dan proses identifikasi. Proses orientasi diterapkan pada pengolahan zoning kawasan sedangkan proses identifikasi diterapkan pada peruangan dan tampilan bangunan. Proses orientasi pada perancangan zoning kawasan mempertimbangkan alur sirkulasi eksisting, jenis user (insider/outsider) serta ketersediaan lahan. Proses identifikasi pada perancangan tampilan bangunan dan peruangan mempertimbangkan karakteristik eksisting dan kebutuhan aktivitas.

This research explores the transformation of the practice of giving "Lin Welin Leto Woter" in Krowe ethnic marriages in Sikka Regency, East Nusa Tenggara, Indonesia, examining the influence of ideological, social, and material factors. Using qualitative methodology, data were collected through observation, interviews, and document analysis. The results reveal ideological shifts driven by modernity and globalization, social tensions triggered by manipulation within the community, and economic impacts driving adaptation. Despite facing challenges, the Krowe community demonstrates resilience by incorporating personal symbols and adjusting practices. Traditional terms persist alongside new practices, reflecting cultural continuity. From a theoretical perspective, these practices reflect the flexibility of cultural symbols, inviting further investigation. In conclusion, the Krowe community's response reaffirms their ability to navigate change while preserving cultural identity, suggesting avenues for further research and recommendations to support cultural preservation. Keywords: cultural transformation, ideological shifts, Krowe ethnic marriages, resilience, social tensions

This research is aimed at examining the potential of Balinese oral literature in strengthening traditional values ??in the context of national development, especially in for Human Resources. The data collection method was carried out by tracking oral texts in several lontar texts and printed texts in the form of books in libraries. Qualitative data about sesapan is 'dissected' using hermeneutic theory. Data were analyzed using descriptive analytical methods assisted by inductive techniques. Data presentation is carried out using informal methods using description techniques. The research shows that the text of Sesapan has religious value for preserving the environment, asking for safety, and taming domestic animals. Maintaining a good environment will ensure the life of creatures on earth. People use sesapan texts when they use things in nature, such as when cutting down trees, carrying out activities in certain places that are considered haunted, when an earthquake occurs, and so on.

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

The king, as the ruler of a region, in the past published inscriptions that functioned as a tool in disputing his power. The inscription contains a discourse about granting rights by the king or high-ranking royal officials to a group of residents in an area. In the X-XIV centuries AD in Bali, a number of inscriptions were published for the Balinese who lived in Tamblingan. This inscription tells about various obligations, taxes, social rules and curses to the people in Tamblingan issued by the kings.This study aims to determine the form of power relations, ideological elements, and implications of power relations contained in the ancient Balinese inscriptions of the X-XIV centuries AD related to the Tamblingan area. The data collection method used in this research is a literature study of the inscriptions published in the X-XIV centuries AD related to the Tamblingan area. In addition, the research also uses interview and observation methods. This research is expected to reveal the forms of power relations of several kings who issued inscriptions for the Tamblingan region. The theories used are deconstruction theory, power relation theory, hermeneutic theory, and discourse theory. In these inscriptions power relations occur in social, economic, religious and social aspects. The ideologies are economic ideology, political ideology and knowledge ideology. Keywords: power relations, Tamblingan inscriptions, ideology

The art of Local culture will be more meaningful because of being able to push the spirit of love with the pluralism toward human's life and universe. Meanwhile, media technology as the physical result of culture that lacks spiritual values ??if compared to custom, religion and art will lose its function to increase human's life quality. Values, norms and ethics contained in customary rules that are reflected in art of culture are indeed useful references in the globalization era. This research used qualitative data that were then analyzed descriptively. According to Alvin Boskoff's thought, it shows that factors becoming challenges for local culture are the change of cultural value systems in society and the death of traditional art forms in several areas in Nusantara caused by technology in the global era. The art of Local culture is one of components that gives Indonesian identity as a special community that exists among nations in this world. Therefore it is necessary to grow awareness particularly in young generations in order to comprehend more about their culture by empowering local wisdom growing in the cultural areas of whole Nusantara. Keywords: Art of Culture, local, the change of value, global

Pandan war is one of the important ceremonies and obligatory ceremonies called Usaba Sambah in the people of Tenganan Pegringsingan to God in manifestation as Dewa Indra. To raise three problems, namely (1) the form of pandan war , (2)axiology of theology social of pandan war, and (3) the implications of pandan war.This study carried out qualitatively, so that data analysis was carried out in a qualitative and interpretative descriptive manner. By using research methods, such as participatory observation, interviews, literature studies, and documentation studies. The results showed that: (1) The process of pandan war was one of the most important and obligatory parts of the religious ceremony in the Usaba Sambah ceremony in Tenganan Pegringsingan Village (2) The axiology of social theology in pandan war is (a) pandan war as a form of worship; (b) pandan war as a life learning process; (c) pandan war as a pattern of social interaction; (d) pandan war as a defense of religious traditions; and (e) the pandan war as a show of the ancient warrior knight. (3) the implication of pandan war in the usaba sambah ceremony is (a) increasing the śraddhā and the devotion of the peregraningan community; (b) fostering a sense of togetherness between low income communities; (c) strengthen in maintaining the local historical genius; (d) the interaction of communication between communities is established; (e) applying the value of ancestral heritage as a living foundation; and (f) pandan war as the development of cultural tourism destinations. The research findings are as follows. From the perspective of religious theory, the symbol system used in pandan war is maintained especially the concept of pingit (secret). The concept of pingit in pandan war is when the pesangkepan is not allowed to pray / spells known by anyone other than pemangku. In this case, it should only be known by the designated party only. From the perspective of the value theory, it was found that the pandanus war is a sacred dance of offerings, which should not be danced by others which is only carried out on pandanus war on the first day at Bale Petemu Kaja and not in any place. Based on symbolic interaction theory, a shift in meaning of pandan war arises from social interaction between local communities, shifting to global community interaction through warfare on the second day as a venue for tourism promotion in modern tourism contractions. There are other people (not the Tenganan people) who also participated in many pandan wars on the stage performance.

The purpose of this research is to uncover the inherent values contained in the marriage of Sutasoma, which focuses on the backdrop of Sutasoma's resistance to his father, the king of Parusadha, and reveals the values contained in the The story. The study used an interpretive approach to cultural studies from the qualitative data sources in the text and translations. The foundation of the theory used to analyze data is the theory of power of knowledge and hegemony. With this approach and theory the study found that the reasons and ways of Prince Sutasoma to fight the attitude and behavior of King Purusadha were very arrogant and authoritarian towards the people and the Ministers and The feeders are (1) straightening and redefining the king to return to the path of righteousness (2) performing obligations and responsibilities as a wise prince who must favor his people, (3) make the King aware of the meaning and Responsibility to be leaders, and (4) to commit partiality towards the weak, (5) The alignment of the meaning and leadership of a King (6) restores the authority of a king. The opponents performed by Sutasoma were not violent or physical, but through ideas and initiatives that were delivered subtly so as to evoke a sense of compassion and consciousness of King Parusadha How to be a king Wise. Keywords: resistance, hegemony, leadership value, roles and responsibilities

This study aims to reveal and understand about the discourse on kafoampe in the traditional marriage of Muna community in Muna Regency, Southeast Sulawesi Province. This is a qualitative research, which is categorized into cultural studies. The result of study shows, kafoampe symbolized by the amount of money given by the family of the bride to the family of the groom to be used to finance the marriage. Kafoampe is a form of appreciation of the groom's family to the family of the bride, which can be given either in the form of money as a whole or by including livestock, and other food items in accordance with the agreement of the two great families. In addition to being regarded as a form of awards, kafoampe also has a meaning to tighten the bond and strengthen the familial relationship between the two big families in a marriage as well as strengthening the familial relationship with the surrounding community.

This present study analyzes the transformation of lulo dance performed by Tolaki people in Konawe Regency, South East Sulawesi. From the perspective of cultural studies, the study analyses an empirical field reality related to the matter pertaining to transformation. The local culture which is transformed into the global culture has caused the lulo dance to change with its new form and meanings. There is one problem which needs to be analyzed in the present study. The problem is formulated in the form of a question, namely what ideologies which have inspired the transformation of the lulo dance performed by Tolaki people in Konawe Regency, South East Sulawesi. The study used the qualitative method and is intended to analyze the transformation of the lulo dance performed by Tolaki people using the critical, interdisciplinary and multidimensional approach of cultural studies. The data were obtained through library research, documentary study, observation, and interview. After being verified, the data were analyzed using several relevant theories; they are the theory of deconstruction, the hermeneutic theory, the theory of discourse of knowledge, and the theory of semiotics. The result of the study shows that the transformation of the lulo dance performed by Tolaki people in Konawe Regency cannot be separated from the ideologies which have inspired it. They include the religiosity ideology, the educational ideology, and the economic ideology. The contact between the global culture and local culture has caused the lulo dance to transform. The global culture indicates that a new era has come; it cannot be stemmed and avoided, meaning that many aspects in the people’s social and cultural life have transformed or changed.

Munanese folksong is chanted by Munanese people in daily life. Munanese community is an indigenous ethnic in South East Sulawesi besides Tolakinese, Butonese, and Moronenese. The folksong is classified into three types, namely (1) kau-kaudara, (2) lagu ngkodau, and (3) kabhanti. They are distincted by rhythm and tempo, text organization, and word choices. Rhythm of kau-kaudara is similar to cha-cha song with a quite fast tempo, lagu ngkodau resembles pop song with a slow tempo, and kabhanti is like country song with a medium tempo. The text of kau-kaudara is organized as a poetry; lagu ngkodau as a lyrical poetry; and kabhanti as a pantun karmina (a two-line traditional verse). The most word choices in kau-kaudara songs are animal, game, and non sense categories, but in lagu ngkodau and kabhanti are marine, environment, and cosmos phenomena. Due to Munaneses community status before the middle of 20th century as a illiterate society, the folksong was treated as a social medium. Members of the community used it to express every thing both individual and collective affairs. Related to the collective one, Munanese ancestor used folksong to convey morality messages that aims at making all members of the community well behaved. This circumstance endorses the existence of folksong as a medium of character building that contains educational values.

In Indonesia Joged Bumbung is a dance which was created in Bali; it is known as tari pergaulan, namely, a social dance which is performed to make friends; however, it has innovated so freely that it becomes a dance with pornographic movements presented vulgarly. The recording of such a dance can be easily watched in YouTube; it can also be easily watched in shared video web sites, through which the users can download, watch and share different video clips free of charge. The problems of the present study are (1) what is the negative impact of the pornographic joged dance on the aesthetic values of Joged Bumbung; (2) how negatively people view the dancers and group of such a pornographic joged dance; (3) how negatively people view the Balinese cultural art resulting from the fact that such a pornographic joged dance has been uploaded in YouTube? The main objective of the present study is to identify the negative impact of the pornographic joged dance in YouTube. The data were collected through observation, interview, and library research. The collected data were then analyzed descriptively and qualitatively using the phonological theory; and the qualitative method is used. It can be concluded that the pornographic joged is still watched in different parts of the island; it is watched every night. The government, art observers, and the society’s leaders are anxious about the negative impact of such a joged dance on those who are involved in its performance. Therefore, the Bali government has persuaded the dancers and groups that are involved in the performance of such a joged dance to return to the ethical choreography of the performing art of Joged Bumbung. The government has directly met them for this purpose; however, what has been done has not been successful yet. There were three negative impacts of such a joged dance presented in YouTube. They are (1) the art value of the Joged Bumbung dance has become degraded; (2) the dancers have been immorally justified; and (3) the Balinese art and culture have been distorted.

Jawa Kuna is one of the oldest documentary languages that has the richest materials as well as fine and noble national cultural values. Jawa Kuna is the key to revealing the history of the cultural life in Indonesia in the past. Therefore, studying Jawa Kuna is like digging up the “hidden pearl” because the scintillating beam or supreme (adiluhung) teachings implied in it can be used as guidance (s?suluh) in everyday life. A very strong desire of the experts of Jawa Kuna to discover the history and the richness of culture in the ancient time has succeeded in changing the image of Jawa Kuna from being “a distant jungle, scary and horrible” into “a virgin forest that is very close, friendly and attractive”. In Bali, the influence of Jawa Kuna has existed since the 10th century until the globalization era nowadays. Jawa Kuna has been greatly cherished by the rakawi in creating a piece of literature (parwa, kakawin) until the beginning of the 21st century. As a media in exploring the Hindu and Buddhist literature, Jawa Kuna language is preserved not merely in the sense that it is read, sung and discussed, but it is also shown with the creation of new Kakawin using Jawa Kuna language by Balinese Rakawi (authors) namely Made Degung, I Wayan Mandra, and I Wayan Pamit. Those three Balinese rakawi have been able to comprehend one similar problem (Siwa-Buddha) by using the same hypogram as well (Siwagama), and then it is packed in their own style into a very beautiful piece of kakawin (langö).

Usada Budha Kacapi (abbreviated to UBK) text, which contains the basic Balinese traditional therapy, is a text which is in the form of narration. The Balinese traditional therapy (usada) texts generally contain collections of names of diseases, medicinal substances, and how to cure such diseases; however, the UBK is in the form of narration, containing characters, setting, themes, and literary language. The UBK text, after being edited, is recorded in a number of palm-leaf manuscripts. The title is the same but the content varies. Budha Kecapi is the main character, which has inspired many other writers; therefore, the works produced still use the same language units as used by Budha Kacapi. Such works are Budha Kacapi Cemeng, Budha Kacapi Putih, and Budha Kacapi Sastrasanga . It is this which has inspired the researcher to explore the UBK in order to know who and what Budha Kacapi is. In order to be able to identify the message transmitted to the reader or the community, and its totality, it is necessary to know, understand, and analyze the signs it contains. Therefore, two theories are used in this study; they are the theory of intertextuality and the theory of semiotics. The results of analysis show that the writers wish to teach and guide those who desire to be professional indigenous medical practitioners ‘dukun’, namely, the ones who are highly knowledgeable of traditional therapy, ethical and not easily defeated by diseases. That, according to Budha Kacapi, can be achieved through ‘yogasastra’. The indigenous medical practitioners should improve their quality through yoga (meditation) and aksara suci (holy scripts) as the means. A set of learning materials related to the basic knowledge needed by the indigenous medical practitioners are systematically organized, starting from how to recruit the prospective learners, the learning method, how to diagnose (nenger), the philosophy of life and death, the philosophy of diseases, the concept of being healthy and sick, the compensation, types of diseases, and how to cure diseases. As a whole, the UBK text contains the basic and advanced levels of learning materials for indigenous medical practitioners. The advanced level means that if they study the UBK text and are able to apply it properly, they will not by all means be defeated by diseases.

The object of the present study is the text of Geguritan Sidha Yoga Krama (hereinafter referred to as GSYK). This text contains narrations narrating priesthood teaching, which is interesting enough to discuss nowadays. The analysis in the present study is intended to answer the question concerning the discourse of the aguron-guron system in the GSYK text. The answer to this question is the specific objective of the present study. As a qualitative study, the data of the present study were collected using observation and interview methods. The data were also obtained through library study and using reading technique. The results of the present study are informally presented, meaning that the results of the present study are described using words which are systematically arranged in accordance with the findings. The analysis of the GSYK discourse includes the theme, plot and prominent characterization. It was found that there were three entities in the GSYK text, as far as the change in status from being walaka into being sadhaka is concerned; they are (1) the ethics of the senior priest ‘nabe’ and the prospective priest ‘sisya’; (2) the ceremony in which someone is informally acknowledged as a priest referred to as pediksan; (3) the implementation of Hinduism. The results of analysis showed that GSYK was a narrative discourse made up of pupuh (strophes), narrating the priesthood teaching ‘ajaran kapanditaan’ with the aguron-guron system, meaning that the priesthood teaching is transmitted through informal learning. It could be concluded that GSYK could be used as a resource of the priesthood teaching which could be transmitted through the aguron-guron system, making the priesthood teaching easier and more interesting. The aguron-guron system could be observed more comprehensively through geguritan (philosophical verse); it is not only an educational medium but also an amusement. The priest ‘pandita’ is responsible for transmitting such a teaching to people.

This research is focused on the newly packaged tourist performing arts; they are anew concept and seem to be different from the general tourist performing arts. They arepackaged from various components of Balinese arts and managed as large scale-touristperforming arts in terms of materials, space, and time of their performances. The researchercalls them new types of Bali tourist performing arts because how they are presented isnew and different from the traditional tourist performing arts which are simply performed.In this research, the newly-packaged performing arts are analyzed in the perspective ofcultural studies.The research was carried out at three palaces in Bali; they are Mengwi Palace inBadung regency, Anyar Palace at Kerambitan, Tabanan regency, and Banyuning Palace atBongkasa, Badung regency. There are three main problems to be discussed: firstly, how dothe tourist performing arts emerge in all the palaces? Secondly, are they related to thetourist industry developed in the palaces?, thirdly, what is the impact and meaning of themfor the sake of the palaces, society, and Balinese culture? The researcher uses a qualitativemethod and an interdisciplinary approach as characteristics of cultural studies. The theoriesused are hegemony, deconstruction, and structuration.The result shows that the tourism development at all the palaces has made the localsociety become more critical. The money-oriented economy based on the spirit of gettingbenefit has made the emergence of comodification in all sectors of life. The emergence oftourist industry at the palaces has led to the idea of showing all of the useful art and culturalpotentials which at the palaces and their surroundings. Theoretically, the palaces can bestated to have deconstructed the concept of presenting the Bali tourist performing arts into anew one, that is, “the newly packaged Bali tourist performing arts”.It has been observed that all the palaces have developed t “Newly packaged Balitourist Performing Arts” but they are different in themes. At Mengwi Palace the theme is‘procession of religious rituals’, at Anyar Palace, Kerambitan, the theme is “ritualprocession of welcoming the kingdom’s guests” and at Banyuning Palace, Bongkasa, thetheme is “ritual procession of wedding”. The differences can be seen in the componentspresented in the performances.

This study discusses the Balinese women’s political participation in thegeneral elections conducted in 1997, 1999 and 2004. During these years, in spiteof being supported by reformation, there was a gap with regard to the Balinesewomen’s participation in politics, which was assumed to result from numerousfactors. Therefore, the problems formulated in this study are (1) how the Balinesewomen politically participated in the general elections conducted in 1997, 1999and 2004; (2) what factors affected their political participation in the generalelections conducted in 1997, 1999 and 2004?; (3) what were the effects andmeanings of their political participation in the general election conducted in 1997,1999 and 2004 viewed from the values of equality in gender? Qualitative methodwith multidisciplinary approach from the perspective of cultural studies wasadopted in this study. Several critical social theories were employed forsharpening the analysis.The results of the study show that the Balinese women’s politicalparticipation in the general election conducted in 1997 was 11.11%; that therecruitment system still referred to the concepts applied in the New Order, that is,through the women’s organizations established by the government with highnepotism. While their political participation in the general election conducted in1999 decreased by 1.62% as a consequence of reformation, in the general electionconducted in 2004 it rose by 7.27%, resulting from the changes in the generalelection regulations. The factors which encouraged the Balinese women toparticipate in politics were that they were influenced by the men who werepoliticians and close to them such as their husbands and fathers, the women’smovements and the general election regulations. As far as the domestic domain isconcerned, their political participation was positive. What is meant is that theywere able to acquire asymmetric relation of power; however, negatively, they hadmultiple responsibilities resulting from the multiple roles they played. In thepolitical domain, they were dominated by men; in addition, their politicalparticipation gave the meanings of equality, being constitutional and beingprestigious.

Penelitian ini membahas “Panggung Bangsawan Studi Politik Kebudayaan di Daerah Riau Lingga: Perspektif Kajian Budaya”. Panggung Bangsawan adalah teater rakyat yang pada masa Orde Lama memiliki kekuatan ritual, lalu zaman Orde Baru hampir punah. Pemerintah Orde Baru merevitalisasi teater tersebut sebagai identitas budaya Melayu tetapi bukannya berkembang, melainkan malah surut. Tujuan penelitian ini: mendeskripsikan proses munculnya Panggung Bangsawan, menjelaskan peran negara terhadap Panggung Bangsawan, dan menganalisis makna politik kebudayaan dalam kaitannya dengan identitas budaya Melayu yang baru.Penelitian ini dilaksanakan dengan metode kualitatif. Peneliti menggali budaya dalam konteksnya dengan dunia nyata dan perspektif pelaku masyarakat seni. Tahap pertama, dilakukan pengumpulan data primer dan sekunder. Tahap kedua, memilih teori untuk mengkaji data. Tahap ketiga, menganalisis dan menginterpretasikan data yang telah diseleksi. Tahap keempat, melakukan penulisan dan konstruksi hasil penelitian. Teori yang digunakan: estetika, hegemoni, semiotika, dan dekonstruksi.Hasil penelitian: Pertama, proses munculnya Panggung Bangsawan, realitasnya meliputi prapentas, peristiwa pentas, dan pascapentas. Pada masa prapentas dan pascapentas ini, muncul pertarungan wacana dengan berbagai kepentingan perorangan atau kelompok. Kedua, peran negara terhadap Panggung Bangsawan, menumbuhkan hegemonisasi. Hegemoni tersebut berdampak pada pergeseran isi cerita tentang kekuasaan. Pada zaman Orde Lama, sistem politik yang berlaku mengikuti pola mechanics of power, sedangkan zaman Orde Baru mengikuti pola poetics of power. Ketiga, makna politik kebudayaan dalam kaitannya dengan identitas budaya Melayu, bahwa setelah dilaksanakan Revitalisasi Budaya Melayu 2004, pemahaman alam Melayu bergeser, mulanya memiliki batasan yang mengeras, sekarang batasan itu mencair. Identitas budaya Melayu yang baru bukan berdasarkan pada konvensi agama tertentu, melainkan lebih pluralistik.

Wayang C?nk Blonk, Joblar, dan Sidia yang termasuk pertunjukan wayang kulit Bali kreasi baru dan diminati oleh masyarakat belakangan ini cukup banyak mengkomunikasikan wacana-wacana kritik sosial.Penelitian ini bertujuan untuk membahas enam permasalahan berkenaan dengan wayang C?nk Blonk, Joblar, dan Sidia yaitu: (1) eksistensi dan pe-minggiran kedudukan wayang kulit Bali, (2) Kemasan wacana kritik sosial, (3) bentuk wacana kritik sosial, (4) fungsi wacana kritik sosial, (5) sasaran dan amanat wacana kritik sosial, dan (6) tanggapan penonton terhadap wacana kritik sosial wayang C?nk Blonk, Joblar, dan Sidia.Landasan teori penelitian ini adalah teori wacana naratif, teori resepsi sastra, dan teori dekonstruksi. Penerapan teori-teori tersebut disertai dengan metode pengumpulan data: (1) observasi, (2) wawancara, (3) studi dokumen; Metode dan teknik analisis datanya, deskriptif kualitatif; dengan metode penyajian hasil penelitian formal dan informal.Analisis bentuk wacana kritik sosial menghasilkan temuan bahwa wacana kritik sosial dapat dikomunikasikan melalui: (1) dialog antarpenasar, (2) dialog penasar dengan ksatria, (3) dialog atman dengan dewa, (4) dialog punakawan dengan raksasa, dan (5) dialog dewa dengan raja. Kajian bentuk kebahasaannya meliputi: (1) alternatif pemilihan tata ungkapan, (2) pemakaian paribasa Bali, (3) pepatah bahasa Indonesia, dan (4) pelesetan lagu pop Bali. Tingkatan bahasa Bali yang digunakan: (1) basa kasar, (2) basa andap, dan (3) basa madia.Analisis fungsi wacana kritik sosial menghasilkan temuan: (1) fungsi hiburan, (2) fungsi pendidikan, (3) fungsi informatif, dan (4) fungsi pelestarian budaya. Kritik sosial para dalang mencapai sasaran: (1) pemimpin, (2) masyarakat pemilih, (3) calon DPR/DPR, (4) seorang anak, (5) hakim/penegak hukum, (6) balian atau dukun, (7) penjudi, (8) seorang suami. dan (9) masyarakat luas lainnya. Amanat yang tersirat di dalamnya meliputi: (1) amanat kepemimpinan; (2) amanat hutang dan yadnya anak; (3) amanat petuah dan nasihat; (4) amanat kepribadian dan (5) amanat seni budaya. Tanggapan penonton terhadap wacana kritik sosial yang dikomunikasikan para dalang sangat positif.

In the era of globalization much spatial alteration has taken place at Ubud TraditionalVillage, Gianyar Regency, Bali as the consequence of fast development of tourism. The aspectswhich have changed, as the result of the shift from agricultural culture to tourism culture since1970, include the spatial relationship between man and God (parhyangan), the spatial relationshipbetween man and his environment (palemahan), and the spatial relationship between man and hisfellow being or the three things which cause physical and spiritual prosperity among human beings.This research in cultural studies was conducted to reveal the spatial alteration which hadtaken place at Ubud Traditional Market in the globalization era especially since 1970 as theconsequence of the fast development in tourism. The data were analyzed by applying qualitativeanalysis technique, eclecticism of the theory of change, the theory of space, the theory ofhegemony, and critical and practical theories. The research was conducted by employing qualitativemethod which features cultural studies.The results of the research show that the increase in population and in what is needed bytourism has led to the spatial alteration in parhyangan in the village and home levels. The spatialalteration in pawongan as a unity of membership (krama) does not take place and the spatialalternation in families does not either. This indicates that Ubud Traditional Village is getting morecomplex in facing modern and global condition with its commercial culture. Its tradition,agricultural culture and nature have contributed to the development of tourism. In regard topalemahan, catus patha has not been the only center of orientation any more. The settlement of thepopulation has followed the development of tourist facilities. Tourism has also altered the landusefulness causing zero-settlement based on groups of banjar (neighborhood under a traditionalvillage) to be irrelevant. In regard to the patterns of space occupied by families, the walls built toseparate one family from another have been demolished; the buildings (bale) have beenrehabilitated, teba (the unoccupied part of a compound where animals raised for sale are usuallykept and rubbish are usually gathered) has been exploited. The change in people’s behavior frombeing non commercial into commercial has blurred the layout and function of the buildings built inthe zones of madya (immediate level) and nista (lower level).

This dissertation is the result of a study entitled ”Deconstruction ofthe Symbolic Meaning of the Keraton Surakarta Architecture.” This studyis intended not to understand the Keraton Surakarta architecture as aphysical materialization of architectural planning and design. Rather, inthis study, the Keraton Surakarta is the material object of a study on thedeconstruction of the symbolic meaning which focuses on three mainproblems: (1) the cause of the deconstruction of the symbolic meaningtoward the Keraton Surakarta architecture; (2) the deconstruction processof the symbolic meaning; and (3) the implication of the deconstructiontoward the social-cultural life of the keraton people and Surakarta society.

The object of the study is Dwijendra Text (hereinafter abbreviated to DT). It containsinteresting narrations and is importantly related to the dharmayatra, the holy religious journeymade by Dang Hyang Nirartha, the charismatic figure, in Bali, Lombok and Sumbawa. Beforethe analysis of reception was conducted, the corpus text of the DT texts completely andstructurally telling the religious journey made by Dang Hyang Nirartha was successfullydetermined. The analysis in this study was made to answer the following questions: what is thenarrative structure of the DT text; what are the enlightenment image entities of the dharmayatraof the DT text; how do people appreciate the dharmayatra of the DT text? The answers to thenarrative structure of the DT text; the image entities and the appreciation provided by people arethe main objectives of this study.The theories adopted in this study are the theory of reception introduced by Jauss, thetheory of semiotics introduced by Pierce and the theory of mythology introduced by Barthes. Asa qualitative study, the data needed were collected by the methods of observation, note taking,documentation and interview supported with a sound recorder and pictures. The results of theanalysis are informally presented, meaning that they are verbally described in the form of wordswhich are systematically composed based on the problems formulated in this study.The analysis of the narrative structure of the DT text contains narrative units which are inthe forms of theme, characters and plots. They all unite to form stories which are mythological,legendary, symbolic, hagiographic and suggestive in nature. Based on the analysis ofenlightenment image entities, it can be concluded that there are three basic entities leading to thecreation of the DT text. They are first enlightenment; second protection of Hinduism; and thirdconstruction of temple institutions. Based on the reception analysis, it can be concluded thatpeople, through their literary works, books, articles and websites, appreciate the discourse of thedharmayatra performed in Bali, Lombok and Sumbawa.The ten essential findings in this study can be described as follows. (1) The corpus text ofthe DT, which is in the form palm-leaf manuscript (lontar) and was obtained from GriyaBaturening Mambal, is kept as a collection at the Perpustakaan Lontar Fakultas SastraUniversitas Udayana (the Library of Palm-leaf Manuscripts of the Faculty of Letters, UdayanaUniversity). It is coded under no. 1514, kropak (box) no. 293. The DT text describes the real journey of Dang Hyang Nirarta, the great holy Hindu teacher, concretely, completely andstructurally. (2) As a literary text of history, the DT text has a highly narrative structure formedby theme, characters and plots which are unified in the forms of mythologies, legends,hagiographies, symbolisms and suggestive. (3) The dharmayatra made by Dang Hyang Nirartha,as described in the DT text, gave enlightenment and welfare to the kingdom and its people. (4)The teacher-learner (guru-sisya) teaching contained in the DT text may inspire a harmonious andethic relationship as far as teaching-learning process and priesthood are concerned. (5) Theconcern about the principle of unity in diversity taught by him may give relevant multiculturalperception of the current and upcoming way of life and Indonesianization. (6) The DT textreveals that those who belong to the Brahmin caste (Brahmana) have been descended from him.However, if viewed from the spiritual and priesthood points of view, he has been the source ofspirituality for Hindus, Buddhists, Moslems and those who do not belong to any religion (kapir).(7) The DT text shows that he is also called Pedanda/Bhatara Sakti Wawu Rawuh as he washighly powerful (sakti) and has symbolized the complete mastery of material and spiritualknowledge. (8) The religious journey (dharmayatra) made by him from Java to Bali, Lombokand Sumbawa aimed at protecting Majapahit Hinduism from being suppressed by Islam whichhad already spread all over the Archipelago. The protection of Hinduism and the construction ofthe temple institutions referred to the religious meaningfulness implemented by him. (9) Thisstudy explains that in Lombok he spread three religious teachings such as Gama Siki GamaThirtha, Gama Kalih Budha Paksa, and Gama Tiga Selame Metu Telu. (10) High appreciation isprovided to the dharmayatra he made in Bali, Lombok and Sumbawa. Such an appreciation orreception highly varies; in other words, it is expressed in the forms of literary works, books,articles and websites.

Penghancuran pusaka budaya berupa bangunan bersejarah di Kota Medan disikapi secara berbeda oleh pemerintah dan masyarakat setempat. Pemerintah Kota Medan menyetujui penghancuran tersebut untuk pembangunan antara lain pusat-pusat perbelanjaan dengan alasan terciptanya lapangan kerja sekaligus peningkatan pendapat asli daerah Kota Medan. Sebaliknya, masyarakat memperjuangkan kelestarian bangunan bersejarah sebagai bukti sejarah masyarakat Medan yang plural dan multikultural. Sebagai modal budaya, pusaka budaya tersebut memiliki potensi besar dalam mengantisipasi kecenderungan pariwisata global dan posmodern.Penelitian ini dilakukan dengan menggunakan metode kualitatif. Format disain, pengumpulan data, dan strategi analisis datanya bersifat deskriptif-kualitatif. Sumber data terdiri atas data primer yang diperoleh dari wawancara mendalam dan observasi partisipasi dan metode penelitian berganda sedangkan data sekunder diperoleh dari dokumentasi. Hasil analisis disajikan secara informal melalui deskripsi induktif-analitik.Hasil penelitian ini menunjukkan bahwa, dalam pembangunan Kota Medan, terdapat kekuatan pemerintah dan pengusaha/pemilik bangunan bersejarah yang mengorbankan pusaka budaya demi pendirian gedung-gedung bisnis modern, seperti pusat-pusat perbelanjaan. Sebagai akibatnya, Kota Medan mengalami komodifikasi yang mengancam pusaka budaya dan pengembangan pariwisata. Puluhan bangunan bersejarah yang sudah dihancurkan termasuk tiga yang dilindungi oleh Perda Nomor 6 Tahun 1988.Melalui diskursus kontra-hegemoniknya, masyarakat yang didukung oleh masyarakat sipil setempat, khususnya LSM seperti Badan Warisan Sumatra (BWS), di samping para intelektual dan media massa, melakukan perjuangan atas pelestarian pusaka budaya dan tuntutan terhadap hak azasi budayanya. Pelestarian pusaka budaya di Kota Medan adalah terkait kepentingan praksis emansipasi masyarakat dan sesuai dengan cita-cita kajian budaya, yaitu praksis dan emansipatoris.

This dissertation contains research findings on the Barong Meeting, a multidimentionalcultural event performed at Pucak Padang Dawa Temple, Baturiti Tabanan Regency. Such ameeting is attended by more than sixty various barongs and rangdas of various types comingfrom various areas in Central Bali, and is the biggest in Bali. The research on such a culturalphenomenon is intended to reveal holistically the existence of the Barong Meeting while theprocess of modernization is taking place in Bali nowadays.Such a cultural phenomenon was investigated based on the problems formulated inseveral research questions. (1) How is the Barong Meeting performed at Pucak Padang DawaTemple, Baturiti, Tabanan Regency?; (2) what ideology is referred to by the Barong Meeting atPucak Padang Dawa Temple, Baturiti, Tabanan Regency?; (3) What does the Barong Meetingmean viewed from the socio cultural system of the Balinese society?By applying qualitative method and regarding the Barong Meeting as a multilayerentity, this study is intended to understand and analyze the ideology and meaning contained inthe Barong Meeting, which is believed to have centralistic strength making the cultures fromvarious areas of Central Bali meet. The problems were solved by applying some relevanttheories such as the theory of power relationship, the theory of religions, the theory of esthetics,and the theory of semiotics.Five important findings of this study are; Firstly, the Barong Meeting at Pucak PadangDawa Temple is a cultural event with religious, social and theatrical dimensions. Secondly, theBarong Meeting is an old religious ritual viewed from what is stated in Purana of the LuhurPucak Padang Dawa Temple. Such a Barong Meeting is still carried out by the society membersat Bangli Village. Thirdly, the Barong Meeting is a cultural event covering the areas of CentralBali such as Tabanan Regency, Negara Regency, Badung Regency, Gianyar Regency and BangliRegency. Fourthly, the Barong Meeting is not an event which is habitually carried out but aritual ceremony which is dynamically repeated by absorbing innovations which still refer to thephilosophy and ethics of Hinduism, making it able to develop collective awareness respectingdiversity featuring the era’s life. Fifthly, the Barong Meeting is a religious event realizingconcrete, real and direct actions based on Hindusm. Such a ritual ceremony densely containingartistic values emphasizes the dynamic relationship and integratedness of performance of artsand art performance in the cultural activities performed in Bali Hindu.What can be concluded in this study shows that the Barong Meeting at Pucak PadangDawa Temple, Baturiti, Tabanan Regency, serves as an inviting and attending processioncovering the initial, the essence, and the end which is both centripetal and centrifugal. Theideology referred to is worshipping, power, and performance. The integration of these three basicideas present ritual ceremony dimension, social activity, and art performance, making the BarongMeeting a multidimensional event. The Barong Meeting contains multilayer senses such asmagic religious, socio unifier, politics of authority, economics and esthetics.

This dissertation discusses the Eagles dance as the identity of dance incultural change in isolated tribal community (SAD), in the village of PematangKabau, Air HItam District, Sarolangun Regency, Jambi Province. CentralGovernment through the Ministry of Social Affairs moved SAD out of the jungleand then settling on a permanent area and this activity has been carried out since1973. Furthermore, the settlement resulted in a fairly fundamental change, notonly in style and environment of SAD, but more important to the identity markersand self-identity of SAD.People of SAD who had been settled, strive to keep eagle dance even bymaking some changes as far as not to break out the essential elements of the Eagledance in order to avoid a total loss of identity and their self-identity in the newneighborhoods, This study aims to see how art, in this case Eagle dance, can be amarker of identity that attaches to the SAD after they settle outside the forest. Toachieve these objectives there are three main problems which will be soughtanswers in this study, namely: (1) What does the Eagles dance of SAD in thevillage of Pematang Kabau looks like?; (2) how is the status of the Eagles dancefor SAD in the village of Pematang Kabau; and (3) how is the impact andmeaning of Eagles dance towards the SAD changes?The study with the perspective of cultural studies designing as thisqualitative research is used to solve the three problems mentioned above by usingseveral concepts, theories and techniques of data collection. Concepts are referredto Eagle dance, cultural identity, change, and isolated tribal community. Thetheory used is the identity theory, the theory of semiotics, hegemony theory, andtheory of deconstruction. Data collection techniques include participantobservation, depth interviews, and study of literature / documentation. The datacollected is processed in a descriptive analytical and subsequently presented in theform of narrative, tables, and visual illustrations.The results indicate that there had been changes towards the Eagles dancein SAD which had settled in Kabau Pematang village, although the use of holy spells as a musical accompaniment and distinctive gestures symbolic of this danceis still maintained. In residential SAD, Eagle dance is treated as a cultural groupidentity, and the regeneration of the dancers began to be conducted. The impact ofthis treatment which is carried out by citizens of SAD making the Eagles dancebecomes sustainable dance despite the new of its socio-cultural functions. ForSAD in residential areas, Eagle dance means as a symbol of cultural expression,equality, and welfare. The main meaning of Eagles dance, who built fromtradition and cultural power of SAD, becomes a representation of communitygroups concerned, in the midst of pressure, domination and influence of themajority culture.

Sidewalk traders, as informal economic sector, have been in existence in almost allthe cities in Indonesia. As an impact of migration of people, they have been recognized as astructural phenomenon which will always exist. They will always exist in Denpasar City. InWest Denpasar Sub District, as part of Denpasar City, their existence has been assumed notonly to cause the city to look disorganized but it has also been assumed to create discomfortand to disturb public order. However, as Indonesian citizens, they have the right to haveoccupation and live properly as stated in Article 27 of the 1945 Constitution. Theempowerment management of the sidewalk traders in West Denpasar Sub District refers tothe Local Rules and Regulations (Perda) of number 3 of Year 2000. However, the fact inthe field shows that what has been expected has not been properly coming true yet.Based on this fact, a research was conducted with the problems formulated asfollows: 1) how the government managed the empowerment of the sidewalk traders; 2)what responses were given by the community to the model of such a management ofempowerment; 3) and what were its effects and meanings. As a consequence, this researchaims at 1) identifying the management of empowerment of the sidewalk traders; 2)identifying the responses given by the community to the model of such a management ofempowerment; 3) identifying its effects and meanings. From the aspect of methodology,this research is classified as a qualitative one. The theory of deconstruction, the theory ofhegemony, the theory of response, the theory of motivation and achievement wereemployed for exploring the problems formulated above. The techniques employed forcollecting the data needed were the technique of observation, the technique of interview,the technique of observation and focus discussion group.The findings show that the Local Rules and Regulations (Perda) of Number 3 of2000, which is derived from the Local Rules and Regulations (Perda) of Number 15 ofYear 1993, which is used as the reference of how such a management of empowerment isconducted, does not accommodate the problems related to the sidewalk traders. In fact, ithas been implemented by the government in the following three ways; (1) through the subdistrict governmental agencies; (2) through direct supervision of the municipal, sub district,administrative village and neighborhood governmental agencies; (3) through traditionalvillages (desa pekraman/adat).The responses given by the community varied. The responses given by thecommunity of consumers were negative resulting from lack of socialization. The responsesgiven by the sidewalk traders were negative as well. However, socially, economically and

Religious transformation of Seni Dodod taking place at Mekar Wangi Village, SaketiDistrict, Pandeglang Regency, South Banten, Banten Province enriches the analysis of thecommunity cultural pattern based on the art characteristics born and developing in thecommunity. In relation to that, this study describes the cultural phenomenon of religioustransformation as the ideological basis of the pre-modern, modern and postmodern communities.Multidisciplinary qualitative method was employed in this study and the data needed werecollected by in-depth interview, participatory observation and documentation techniques. Thefindings show that the Seni Dodod has the belief or the religion adhered to by the people living atMekar Wangi Village as its religious background. Such a belief affects the relation patternbetween the individuals and their community, nature and God. This is used as the reference inwhat is done in the agricultural process, making Seni Dodod a cult and realizatrion. When thecultural transformation process was taking place, it was found that there was a point of contactbetween traditional arts and modern arts outside the domain of Seni Dodod . Nowadays newcompositions of Seni Dodod have been created functioning as instruments of wedding andkhitanan rituals (khitanan = a feast celebrating a circumcision). The process of acculturation wasformally performed at school by using its compositions as the learning material of art andculture. Its application in its original form and composition was informally inherited throughSeni Dodod studios, the youth and villagers. Its religious meaningfulness was reflected from thecountry life performed by the people living at Mekar Wangi village. Such meaningfulness wasbased on that given by the leaders of pondok pesantren (Muslem boarding school) and on theexplanation clarifying, showing, separating and elaborating seven clauses of Al-Qur’an. Themeaningfulness provided resulted in intactness of movements, the costumes worn, the poem oflutung kasarung , the magic formula or the prayers used. In addition, it was also referred to asMuslim art and culture. It seems that nowadays a shift has taken place as far as its function isconcerned. It used to be employed as a means of agricultural ritual but now it has been animportant part of wedding and khitanan rituals; however, it has not been employed as a secularart

Sukawati District, Gianyar Regency is one of the tourist attractions anddestinations. Sukawati has Sukawati art market and Guwang market, art shops,craftsmen, wood carvers, painters, traditional and contemporary artists. They all completethe atmosphere at Sukawati. As a result, more and more people intend to build housesthere for which more and more electric energy is needed. This study was conducted toevaluate the use of electric energy at Sukawati District. The problems are formulated asfollows: how electric energy is used; how comodification takes place; how thegovernment and Perusahaan Listrik Negara, abbreviated to PLN (the Utility Company)dominates people and how the people resist the government’s hegemony, what are theeffects and meanings of the electric energy used at Sukawati District.Qualitative method supported by quantitative data, which characterize CulturalStudies, was adopted in this study. The data were taken from primary resources andsecondary resources. Qualitative method was eclectically employed for analyzing thedata supported by the theory of consumer behavior, the theory of comodification, thetheory of hegemony, the theory of knowledge and power and the theory ofdeconstruction. The results of the study were formally presented using tables, graphs andpictures and were informally narrated.The results of the study show that the increase in the number of population hasresulted in the increase in the number of traditional houses without/with slightmodification and modern houses. The rise in the number of houses has resulted in the risein electricity needed for illumination, mechanical purposes and so forth. The peopleliving at traditional houses use less and simpler electric utilities than those living atmodern houses. The electric utilities used are highly influenced by both internal andexternal factors. The advertisements of electric utilities also contribute to the use ofelectric utilities, meaning that electricity has touched what is required by the people atSukawati District. By referring to the 1945 Constitution, the PLN has dominated thedistribution of electricity. This has been used to comodify electric energy by changing itsstatus into a limited liability company, and to increase the basic rate of electricity (tarifdasar listrik, abbreviated to TDL) with its various scenarios socialized through massmedia. The government and the PLN dominate the community to accelerate their comodification practices. Such a dominance or hegemony is resisted by the traditionalpeople by strengthening their Balinese identity through the preservation of Balitraditional houses. Electricity has covered all the banjar/dusun (neighborhood under avillage) resulting in different effects such as giving up bathing in the public bathingplace, the extinction of informal communication among the people, renegotiation ofsacred values, change in orientation of the sekas (the traditional groups established forparticular purposes) from being orientated their activities to non economic motivationsinto economic ones. The different backgrounds of the people at Sukawati District havecaused the meaningfulness of the availability of electricity to vary.

Religious education was firstly implemented based on the Act of Number 4 year1950, concerning education and teaching. In one of its articles, it is stated that Indonesia is areligion-based country. The govern ment has the right and is obliged to arrange religiouseducation starting from Kindergarten to University and the time allocated for this is 2 (two)hours per week. However, an imbalance has occurred as far as Hindu Religion education isconcerned, that is, the students at particular educational institutions are not provided withHindu Religion education as intended by the Act.In Article 30 of the Act of Number 20 year 2003 concerning national educationsystem, on the other hand, it is stated that: any religious education can be carried out by thegovernment and or a community’s group belonging to a particular religion in accordancewith the applicable regulations. It is also stated that religious education is functioned toprepare the students to be able to comprehend and apply their religious teaching values and orto be experts in religions. In addition, it is also stated that religious education can be formallyand informally conducted in the forms of diniyah, pesantren, pesraman, phabaja, smnera,and the like.How Hindu Religion educa tion is implemented at Elementary School Number 17Dauh Puri and Dwijendra Elementary School Depasar cannot be separated from theinfrastructure, facilities, curri culum and teachers available, and the government’s policy.Therefore, this study is focused on 1) the existence of the components needed forimplementing Hindu Religion education, 2) the factors influencing the implementation ofHindu religion education, and 3) the meaningfulness and attempts done to implement HinduReligion education if related to the inventory of Balinese culture.This study is conducted to explain, describe, criticize, and analyze theimplementation of Hindu Religion education at Elementary School Number 17 Dauh Puri andDwijendra Elementary School Denpasar. The benefit that is intended to be achieved in thisstudy is to contribute to the inventory of Hinduism and to serve as something to be taken intoaccount when any decision related to Hindu Religion education is made.Researches on Hinduism have been conducted by some researchers. However, onlya few have been carried out related to Hindu Religion education. Further matters related toHindu Religion education provided at elementary school need to be done. The concepts madeavailable in this study are very essential. The reason is that such concepts serve as theguidelines in this study. The concepts employed are those related to the implementation ofeducation, general education, Hindu Religion education, Elementary School, and culturalstudies.The theories employed to answer the matters related to the implementation of HinduReligion education at Elementary School Number 17 Dauh Puri and Dwijendra Elementary School Depasar are: 1) the Derida’s theory of deconstruction, 2) Gramsci’s theory ofHegemony, and 3) Piaget’s constructivistic theory. In addition, a research model is alsoemployed in this study. The reason is that it serves as the researcher’s thinking flow indescribing and reporting the research.The methods employed in this study include the research planning, the researchlocation, the types and sources of data, the informant determination, the researchinstruments, the data collecting technique, the data analysis, and how the results arepresented. The purpose is to obtain objective data concerning the implementation of HinduReligion education at elementary school. The objective research method is able to describetotally and objectively how Hindu Religion education is implemented at Elementary SchoolNumber 17 Dauh Puri and Dwijendara Elementary School Denpasar.The novelty in this study is that the learning infrastructure and facilities needed tocarry out Hindu Religion education both at Elementary School Number 17 Dauh Puri andDwijendra Elementary School Depasar have not been in accordance with the minimumstandard of service , that the curriculum has not been totally oriented towards the schools’potentials and students, that the teachers have not been innovated in the learning process, andthat the government’s policy has not been made for multicultural education. In the process oflearning Hindu Religion, the schools have attempted to increase the quality of Hindu Religioneducation, to develop school-based management, and to apply multidisciplinary approach.

This dissertation contains the result of the research in the ideology of thestory or Lakon Cupak Ke Swargan (hereon abbreviated to LCS) by the puppetmaster or Dalang Jangga, in a performance of Wayang Cupak at Dukuh PuluTengah, Mambang Village, East Selemadeg District. This story conveys anumber of life values which are expressed ideologically through various events,including a power struggle, a love story, and a search for God. All the events areexpressed aesthetically so that audience can enjoy the performance.The target of the research is a performance of LCS by Dalang Jangga in arecording by Aneka Record Tabanan, which the writer transcribed in the form of awritten text. The research focuses on the idelogy contained in LCS. The type ofdata used was qualitative data about the ideology that was assumed to be found inthis story. The qualitative data associated with the life of the late Dalang Jangga,in relation to his work in the field of shadow puppet theater, was based on the datacollected in the field through in-depth interviews with a number of informants,using a snowball technique. A post-modern approach was applied through phenomenological,deconstructive, and critical paradigms. The analysis was carried outusing an analytical descriptive technique based on an interpretation of the datacollected. The focus of the analysis was directed by applying three theories,namely theories of ideology, function, and semiotics.Three main topics were obtained from the analysis of the data, namely theform, function, and meaning of the ideology. By studying the ideological form, itwas possible to gain a picture about the conservative, progressive, and pragmatic ideology of Dalang Jangga. From the ideological function, the writer gained anidea of its social dynamic, educational, ritual, and aesthetical. A study of theideological meaning provided an illustration of the symbolic, ethical, andaesthetical meanings.

Identity reproduction and image which actualized by soroh (clan) of Pasekorganized in paguyuban (group) of Mahagotra Pasek Sanak Sapta Rsi (MPSSR)toward Hindu community in Mataram City, West Nusa Tenggara has closelyrelation with social religious movement which has the effort to restructurepermanent Hindu practices. This movement has the effort to represent theirancestor practice contemporarily in term of social religious space in whichmonolithic one it is accumulated to restructure the priest symbols. Thisphenomenon is indicated by the struggle in appointing pandita mpu as priestsymbol from MPSSR. Bhisama (spiritual message) deriving from their ancestorsoroh Pasek is based on operational basis of social religious movement actualizedby MPSSR which is explicitly narrated that the ancestor of soroh Pasek hasprevilese to be religious priests. Bhisama also says that the generation of sorohPasek can unite their family binding in term of indigenous relations. Thisphenomenon implies reunification among soroh Pasek for disposition torestructure permanent sidhikara system since the history of Hindu community inMataram city.This social religious of MPSSR is legitimated through the image for theeffort to establish positive image to be distributed toward Hindu community inMataram city. The image creation is conducted by applying investment strategy ofany capitals such a economy, culture, social and symbolic one in accordance withcapital concept proposed by Pierre Bourdieu to explain power relations. Identityreproduction and image of MPSSR toward Hindu community in Mataram citythough the appointment of pandita mpu and reunification of indigenous basiswhere it is closely related with the struggle in reaching symbolic power in Hindupractices.