Indonesian Culture

The anthropological literature on gender relations in Pacific Asia has tended to group ideas of menstrual pollution with sexual antagonism and the use of poisons and witchcraft by women against men in Melanesia, while the apparent absence of menstrual taboos, ...

This article looks at efforts to revitalize “tradition” (in Indonesian, adat) among the Tobelo people in the eastern Indonesian province of North Maluku in theaftermath of the ethnic and religious violence that swept the region in 1999– 2001. It examines how some groups in Tobelo society are attempting to revive previously marginalized adat practices as a way to facilitate reconciliation between Muslim and Christian communities. Those involved in these efforts believe that a revitalization of adat will shift people’s focus of identity from their religion,  the focus of the recent conflict, to their ethnicity. They hope this shift in focus will transcend religious differences. The paper explores theseattempts to articulate Tobelo tradition and Tobelo identity in order to prevent future violence. It also discusses the rationales and historical justifications for  seeing adat as a mechanism for reconciliation and conflict prevention.

This article discussed the origins of the Buginese, customary law, kinship system, Bugis traditional costume, traditional song, traditional house, traditional weapon, religious system of Indonesia, cultural system of Indonesia, and global cultural system.

The author discusses the methods of distribution and marketing that gave 1980's Indonesian exploitation films cult status among both local and Western audiences. He describes how both Indonesian producers and Western distributors selected films to fit Western spectators' tastes, while local audiences watched and collected these films through video cassette discs (VCDs) and alternative film festivals. He also explains how Legend films such as "Devil's Sword" and "The Warrior" positioned their villains as symbols of Suharto's New Order regime.

The phrase “the Chinese problem” is used to describe the fragmentation of the ethnic Chinese group from the Indonesian nation, and their subsequent discrimination . In other words, the failure for ethnic Chinese Indonesians to be accepted as ‘fully’ a part of the Indonesian imagined community- following the definition of a nation as an imagined community, provided by Anderson . Ethnic Chinese Indonesians are a minority group in Indonesia, large in number and strong in the economic and trade industries . Recorded to make up 3% of the population according to the latest 2010 census , they are not a homogenous group, as Chinese in Indonesia have historically come from diverse ethnic backgrounds including Hakka, Hokkein, Teochieu and Cantonese. The minority is also religiously diverse. However, it has become commonplace in the literature for the primary distinction to be made between totok (Chinese migrants) and pernanakan (ethnically ‘mixed’ Indonesian born) Chinese. There has existed an unshakeable tendency for discrimination towards the Chinese minority, that has manifested into violence several times since the beginning of the Suharto era. Although the Chinese have existed in Indonesia since the pre-colonial period and are in many ways another segment of the diversity that Indonesia is characterised by, there remains a distinct attitude from pribumi (indigenous Indonesians) of racialized animosity towards Chinese Indonesian groups. This was demonstrated in 2017, when huge riots occurred which resulted in the arrest of the ethnically Chinese former Jakarta governor Basuki Tjahaja Purnama (known by his Hakka nickname ‘Ahok’). This essay asks the question; What are the fundamental causes of this longstanding discrimination? The problem seems to boil down to a history of tension over several issues. Economic jealousy provides the dominant explanation, coupled with a nationalist suspicion of the peranakan as holding loyalties to China, not Indonesia. Homogenisation of peranakan and totok groups, a lack of cultural assimilation, and religious differences are also factors. All of the aforementioned causes have, at some point, been perpetuated by the actions (or inactions) of Indonesian governments. Ergo, this essay primarily uses a state centred approach, grounding its analysis in Indonesian political eras in order to better understand the history and origins of the discrimination of ethnic Chinese in Indonesia. It begins with an analysis of the colonial era at the end of the 19th century.

NASIHAT-NASIHAT C. SNOUCK HURGRONJE SEMASA KEPEGAWAIANNYA KEPADA PEMERINTAH HINDIA BELANDA 1889-1936 VOLUME IV
E. Gobée & C. Adriaanse

Jakarta: Indonesian-Netherlands Cooperation in Islamic Studies, 1991

Unduh : bit.ly/3NhVzxf

#snouckhurgronje
#kolonial
#nederlandschindie
#penjajahan
#aceh
#penjajahanaceh
#sejarahaceh
#sejarahindonesia
#sejarahnusantara
#catatanindonesia
#catatannusantara

https://www.instagram.com/p/CberOG8Lshk/
https://drive.google.com/file/d/1hMveBGj_Xm8Tojsur69AqNdtf8Ao1Dma/view
https://linktr.ee/CatatanNusantara

Westernization Globalization is often thought as Westernization, a growing influence of Western values in opposition with local values and identity. The values can be in the form of culture like fashion, food, the way we communicate, etc. In a country like Indonesia, westernization happens in many aspects. Today, people adopt western styles in their daily. The simplest example is the product that we are using are mostly imported from other countries. In addition, we also copy the western styles either in fashion or other trends. Indonesia is a country which is rich with cultures. There are a lot of traditional elements which are found in every corner such as traditional houses, foods, songs and clothes. However, now it is getting less and less by the day as modernization invades. People start to love wearing imported fashion, Gucci, Versace, vans and others instead of local ones. Westernization also modifies our taste of food. There are now a lot of western fast food restaurants such as KFC, McD, and other popular food court which people from any social status are familiar with. Other ones are music and trends. Western music and singers are now played everywhere. Either children or adults, they know songs which popular and happening in the world. In trends, what is currently happening is an act called dabbing. It is actually is a dance move which the dancer simultaneously drops the head while raising an arm and the elbow in a gesture that has been noted to resemble sneezing. This is done mostly just to play cool. Western influences us in many ways. Some effect positively and some bring negative effects towards life. Be a smart person to live today.

Ini adalah sekedar tuangan perasaan yang saya rasakan saat saya membuka lembar demi lembar yang terbagi sepanjang 32 bagian di dalam novel "Tamu Kota Seoul" karya Yustri Fajar. Terbit Desember 2019. Yang pasti, ada satu hal yang masih (dan mungkin akan terus) membikin saya terkekeh-kekeh bahkan saat menuangkan ini. Saya akhirnya tersadarkan bahwa nama panggilan saya adalah Musafir, sementara itu saya beristrikan seorang wanita nan fitri bernama Fitriyah. Jadi, jika Anda selama ini memanggil saya dengan sebutan "Pak Suray" maka Anda telah salah alamat, karena nama panggilan saya (mungkin seharusnya) adalah "Pak Musafir"!!! hehehe Bagaimana mungkin? Ouuu mungkin saja! Itulah perasaan (atau pengetahuan?) yang saya rasakan saat menyelami dunia Pak Jagat, seorang dosen tamu dari Indonesia yang ditugaskan mengajar Studies (HUFS) di kota Seoul. Simpelnya, Pak Jagat adalah salah satu tokoh di novel "Tamu Kota Seoul" itu. Lho, HUFS kan kampus saya menempuh kuliah S3 yang maunya 4 tahun tapi molor menjadi 6 tahun. Jadi, latar belakang novel ini saja sudah dari awal membuat saya terlilit dan kepincut untuk membacanya. Lho, ternyata lagi, di dalam novel Pak Jagat dikisahkan bertetanggaan dengan Pak Musafir yang katanya adalah dosen UGM yang sedang S3. Hmm, kog seperti saya dulu, ya?

Indonesia is a country that has an abundance of different cultures. With the abundance of culture possessed, Indonesia should be able to preserve it. However, in reality some Indonesian culture has been claimed by neighboring countries such as Reog Ponorogo is claimed by Malaysia, and others. So must to do an action that can minimize the threat. One solution is by the Rumah Indonesia. Rumah Indonesia is a public facility that concept "Indonesia is a Country of 1000 Culture". The goal is to make the establishment of information centers as well as introducing Indonesian culture to the people at the border. Which in turn can be everlasting to Indonesian culture and not claimed by neighboring countries.

Tulisan pengantar ini bermaksud merangkai konteks-konteks yang mengiringi kemungkinan pembacaan atas pemikiran dan sosok Oei Sian Yok, Pembantu Seni Lukis Kita. Pada bagian Situs saya memaparkan sejarah singkat dan karakter majalah Star Weekly tempat Pembantu Seni Lukis Kita hadir secara reguler. Pada bagian Wacana, saya mencoba menempatkan pandangannya tentang seni, seniman, dan sejarah seni yang berinteraksi dalam medan pergulatan wacana kebudayaan selama periode 1950-an – 1960-an. Terakhir, pada bagian Sosok saya menceritakan kembali momen-momen terhubungnya jaringan keingintahuan-pengetahuan dan potongan narasi ingatan yang memungkinkan kita merekonstruksi sosok Oei Sian Yok dalam ketidakutuhannya.

Oei Sian Yok lahir di Magelang pada 1926. Ia belajar seni di Balai Pendidikan Universiter Guru Gambar di bawah Fakultas Ilmu Pengetahuan Teknik Universitas Indonesia, Bandung (1949- 1953), kemudian melanjutkan studi sejarah seni di Belanda. Sepulangnya ke Jakarta tahun 1956, ia mulai bekerja menulis sebagai “Pembantu
Seni Lukis Kita” untuk majalah Star Weekly sampai majalah ini dibredel pemerintah pada 1961. Setelahnya meninggalkan dunia kritik
seni ia lantas mengerjakan banyak hal, antara lain menjual kerajinan tangan buatannya dan membuka biro periklanan di rumahnya. Pasca tragedi 1965 dan akibat tekanan politik rasial Orde Baru, Oei Sian Yok mengganti namanya menjadi Eugenie Darmawinata. Ia meninggal dunia di Jakarta pada 2002.

Kontak saya untuk mendapatkan versi utuh buku ini.

In tourism studies globalization and localization are often conceived of as a binary opposition. The ethnography of an Indonesian group of tour guides presented here illustrates how the global and the local are intimately intertwined through what has been described as the process of “glocalization”. The guides studied are remarkable front-runners of glocalization. They fully participate in global popular culture and use new technologies in their private lives. While guiding, however, they skillfully represent the glocalized life around them as a distinctive “local”, adapted to the tastes of different groups of international tourists. It is concluded that tourism offers excellent opportunities to study glocalization, but that more grounded research is needed.

The book is dedicated to Elena V. Revunenkova and Alexander K. Ogloblin, University year-mates and life-time friends. Since their graduation in 1961 from the Indonesian philology department, Oriental Faculty of St.Petersburg State University, these two powerful characters have dominated St. Petrsburg Indonesian studies. They have shared with their numerous followers and colleagues their brilliant knowledge of Bahasa Indonesia, deep understanding of traditional and modern life of Nusantara and in the best traditions of hereditary St.Petersburg intelligencia. The present collection of papers resulted from a conference in honor of these, our teachers, mounted by their ex-students and colleagues in 2004. We caught our teachers at surprise, knowing their modest ways and opposition to any kind of celebrations in their honor. This is the reason why there are papers by jubilars in this volume.
After a long preparation period this collection of papers finally appears just before the 70-year birth anniversaries of Elena V. Revunenkova and Alexander K. Ogloblin.
The present book starts the new series of publications named «Maclayevsky Sbornik» for papers and monographs on Insular Southeast Asia, Australia and the Pacific.
The book will be of interest for anthropologists, philologists, linguists, historians and the general reader, interested in traditional and modern culture and languages of Southeast Asia and beyond.
"

Notion of “wani ing tata” basically is manifestation of noble conception to regard women
having dignity in society. Its actualization explained in dual roles which operated in both
areas; domestic and social engangement. The words “wanita” basically has been
encountered in three social realms such as “wanodya” and “putri”. Those three concepts
symbolized multifunctional roles that ascribed women as educator, nurse, and balancer.
Javanese women leadership has proved by prominent famous figure like Queen Shima,
Tribhuana Tungga Dewi, and Suhita. In this case, its conception has ramified into both
others notion; ardhaneswari and prameswari. Prameswari can be understood as main
women; meanwhile ardhananeswari can be explained as tough and strong women. The
emergence of patriarchal system into sociey reduced concept of “wani ing tata”. It puts
women as inferior symbolized by “kasur”, “pupur’, and “sumur”.

2020 manuscript cultures cluster of excellence understanding written artefacts Layout Astrid Kajsa Nylander Photography Karsten Helmholz, Hamburg Cover MARKK, Inv.-Nr. 942:08; Schriftartefakt bestehend aus einer bearbeiteten und geschnitzten halben Kokosnussschale und 17 Bambusstreifen, die mit Baumwollfäden angebunden wurden. Es diente als Divinationsinstrument, um die Zukunft vorherzusagen; Katalog Nr. 22. | MARKK, inv. no. 942:08; a written artefact composed of 17 bamboo slips tied to a carved and reshaped coconut shell by cotton threads. The artefact was used as a divination instrument for predicting the future; catalogue no. 22.

This is the expanded Bahasa Indonesia translation of the article I jointly wrote with Vincent Houben of the Humboldt University (Berlin) in 1985 and which was published in the volume edited by Elsbeth Locher-Scholten and Anke Niehof, 'Indonesian Women in Focus; Past and present notions' (Dordrecht: Foris), pp.12-42. It was published by Kepustakaan Populer Gramedia (KPG) in Jakarta in 2016 under the title 'Perempuan-Perempuan Perkasa di Jawa abad ke-XVIII dan XIX [Women of Power in Java in the 18th and 19th Centuries]', and is now (July 2023) about to be printed in its fifth (5th) revised its edition (23+114 pp. with 25 illustrations, two in full colour, cost IDR60.000). It can be ordered directly from KPG in Jakarta ( https://www.gramedia.com). The present online version has an appendix added taken from Mark Loderichs' forthcoming Leiden University doctoral thesis on the Java War (Chapter 2), which deals with Raden Ayu Serang's role in the Battle of Demak (3 September 1825) when Captain Hendrik Frederik Buschkens's 300-strong military column was cut to pieces. This introduction was updated on 15 July 2023.

Kertas kerja ini akan membincangkan mengenai kritikan terhadap sistem sosial dan stigma yang berlaku dalam adat dan budaya masyarakat Minangkabau di dalam filem Tenggelamnya Kapal Van Der Vijck. Kritikan dilakukan melalui representasi watak Hayati sebagai seorang gadis Minang yang dibesarkan dengan suasana penuh adat dan budaya masyarakat Minangkabau pada tahun 30an di Sumatera, Indonesia. Pergelutan sosial  yang dialami oleh watak Hayati sebagai seorang wanita yang dinafikan hak-haknya di dalam masyarakat Minangkabau yang mengamalkan sistem “matriarchaat” tetapi dalam masa yang sama Hayati juga terperangkap dalam sistem sosial patriaki merupakan kritikan dan persoalan utama yang akan dibincangkan di dalam kertas kerja ini. Selain itu, kertas kerja ini juga akan menggunakan rangka kerja teoritikal feminis sosialis yang menuntut keadilan dan peluang yang sama bagi setiap individu termasuk wanita dalam menjalani kehidupan.

Seni dalam kehidupan beragama tidak lepas dari seni bangunan yang mencerminkan kehidupan masyarakat daerah itu. Suku Toraja yang menetap di pegunungan daerah Sulawesi Selatan, Indonesia memiliki ritual yang khas yaitu makam batu Tana Toraja yang berkaitan dengan upacara pemakaman, rumah adat tongkonan dan ukiran kayunya. Masyarakat Toraja yang memiliki kekerabatan kuat menciptakan keharmonisan kehidupan baik dalam hal keduniawian dan kematian.

Berikut adalah hasil Prosiding Muktamar Pemikiran Santri (MPSN) tahun 2019. MPSN adalah serangkaian kegiatan yang diperuntukkan bagi para santri seluruh Indonesia untuk memaparkan hasil penelitian dan penemuannya terkait nilai-nilai luhur dalam ranah Pesantren.

Dalam Prosiding ini, tulisan kami terdapat pada halaman 1641.

This article describes about the art of Sarafal anam in Bengkulu. This is important because the value of the history of the art. Transcription of the poem of Sarafal anam displayed in Bengkulu community tradition proves that the text of the Sarafal anam different from Sharf al-anam text is in Arabic tradition. Meanwhile, some of the poems indicating closeness between Syi'ah and Sunni Islamic tradition. This article also describes three Sarafal anam meaning of art in Bengkulu society such as: togetherness , beauty, religiousity. The meaning of togetherness with tradition is still upheld in customary of Bengkulu, that is bimbang tradition. While the beauty of this art looks in appearance of the accompaniment of musical instruments like drum when it reached to the stage of a blow " rentak kudo ". As well as the religious value of this art representing Malay Islamic art. Abstraksi: Tulisan ini mengkaji seni Sarafal anam di Bengkulu. Hal ini penting karena nilai sejarah dari kesenian ini. Transkripsi terhadap syair Sarafal anam yang ditampil

Pencak silat is a form of martial arts indigenous to the Malay derived ethnic groups that populate mainland and island Southeast Asia. Far from being merely a form of selfdefense, pencak silat is a pedagogic method that seeks to embody particular cultural and social ideals within the body of the practitioner. The history, culture and practice ofpencak in West Java is the subject of this study.

As a form of traditional education, a performance art, a component of ritual and community celebrations, a practical form of self-defense, a path to spiritual enlightenment, and more recently as a national and international sport, pencak silat is in many respects unique. It is both an integrative and diverse cultural practice that articulates a holistic perspective on the world centering upon the importance of the body as a psychosomatic whole.

Changing socio-cultural conditions in Indonesia have produced new forms of pencak silat. Increasing government intervention in pencak silat throughout the New Order period has led to the development of nationalized versions that seek to inculcate state-approved values within the body of the practitioner. Pencak silat groups have also been mobilized for the purpose of pursuing political aims. Some practitioners have responded by looking inwards, outlining a path to self-realization framed by the powers, flows and desires found within the body itself. Others have developed styles that reflect the demands made upon them by their immediate environment.

Viewed historically these changes in the practice of pencak silat provides insights into the impact of broader processes of social and cultural change at the level of individual bodies and the institutions through which they are constructed; a politics of the body, its potentialities, limits and 'legitimate' use.

A widespread scholarly opinion has sanctioned the view that ‘Hinduism’ in Java and Bali was fundamentally syncretic in character, forming a blend of Śaiva and Bauddha elements. What has been generally termed the ‘religion of Śiva-Buddha’ or ‘Hindu-Buddhist religion’ (in Indonesian ‘Agama Siwa-Buda’ or ‘Agama Hindu-Buda’), and ascribed to the Hindu-Buddhist era (jaman Hindu-Buda) of Javanese history, has been characterized in terms of ‘identity’, ‘syncretism’, ‘parallelism’ or ‘coalition’. The basic idea that my chapter tries to convey is that the nature of the equation of the paramount principles of Śaivism and Buddhism as expressed by a number of Old Javanese sources from the Singhasari-Majapahit period has not always been correctly grasped, and that alleged instances of “Javanese syncretism” should now be challenged.

Not only does tradition of abstract thought called 'philosophy' exist in Indonesia, but it also has taken deep root. Through linguistic-morphological and historical studies, traces of possible existence of the philosophical tradition in Indonesia could be found out. Nevertheless, many still doubt its existence, since popular mass media have not yet popularized the designation of the thought tradition taking place in Indonesia. What is more, today's philosophers have not yet formulated its accurate definition. Consequently, young generation of Indonesia has not consciously recognized, let alone appreciated the indigenous philosophical legacy. Luckily, much effort has been done recently. For instance, the effort that the writer of this article has done, by defining an accurate definition for the tradition and writing some articles on Indonesian philosophy for online encyclopedia 'Wikipedia'.

Popular culture, or pop culture often called as mass culture, a culture that has been made deliberately to become accepted soon in society for the importance of the maker as well as all people who helped to publish the culture. Album of music (be it a tape format or Compact Disk format), is the mass production of objects associated with the culture contained in it, namely the composition of the song’s creation of the musicians who recorded music in the album that made the cover acts as a visualization of the songs recorded into the music album which express the pop culture.
The objective of this research is to explore and observe the use of pop style with cultural elements of Indonesia in Indonesia’s musician cover album.

The present article deals with the political debates about secularism, Islam and Pancasila in Indonesian history. It argues that Pancasila—or Pancasila secularism—constitutes, as Abdurrahman Wahid (2001) has rightly put it, a “mild secularism,” in which relative (not absolute) separation between state and religion is maintained, but allows at the same time the former’s moderate administering of some of the latter’s public affairs, on the one hand, and the latter’s moderate values and norms to inspire the former, on the other hand. If secularism contains three basic theses  (Casanova 1994: 3-6), viz., separation of state and religion, privatization of religion and differentiation between religious and non-religious spheres, they are not fully and strongly implemented, because there has always been some degree of religiousness present, and this could not easily be abandoned. As for the official political debates, they were mostly related to the separation thesis, rather than to privatization and differentiation, but there has also been an association of secularism (also in the sense of separation) with nationalist groups and of anti-secularism with Islamic groups. This study contributes to the knowledge of how secularism has been indigenized creatively as part of Indonesian political culture. This study also shows that secularism and Islam could mix in their milder sense in order to endorse a more democratic form of politics for Muslim society.

Islam is a religion, but it is also a philosophy. An analysis of surveys in the Arab world, Indonesia and Pakistan reveals that the mission and values of journalists in those Muslim-majority regions closely track Islamic obligations to tell the truth, seek justice and work toward the public interest. This article provides empirical data to bolster the argument that the values of Islam are the prism through which journalists in Muslim majority countries approach their profession. Those findings add to the body of research supporting the theory that journalistic norms are contextual, shaped by a hierarchy of influences that include global standards and local values such as culture, political climate and religion. But the findings also indicate that in regions where a professional journalistic culture is in the process of emerging, the influence of personal versus professional values is in reverse proportion to those found in more mature journalistic markets.

Bantengan adalah seni pertunjukan yang mengombinasikan sendratari dengan pencak silat, adu kesaktian, musik, dan mantra. Kesenian ini memiliki persebaran di wilayah Batu, Malang Raya, Mojokerto, dan Kediri. Rumusan masalah dalam penelitian ini adalah tentang bagaimana bentuk pementasan kesenian Bantengan. Penelitian ini menggunakan metode kualitatif. Pengumpulan datanya menggunakan tiga teknik, yaitu observasi, wawancara, dan dokumentasi, sedangkan cara untuk melakukan pengecekan keabsahan data adalah melalui perpanjangan pengamatan dan trianggulasi. Hasil penelitian ini menunjukkan bahwa pementasan kesenian Bantengan selalu diawali dengan dua penyelenggaraan ritual, yaitu ritual pamit ke pundhen dan ritual suguh. Tahapan inti dalam pementasan kesenian Bantengan adalah penampilan berbagai jenis atraksi, yaitu peragaan jurus pencak silat dan solah.

dan karunia-Nya kami dapat menyelesaikan makalah ini. Dimana, makalah ini dibuat untuk memenuhi persyaratan tugas dalam mata kuliah Teori Politik Luar Negeri. Dimana bahan atau sumber-sumber yang kami dapatkan atau diperoleh, berasal dari sumber-sumber yang baik dan terpercaya. Baik dari media massa, jurnal, hingga website. Sehingga kualitas makalah ini sesuai dengan standar penulisan ilmiah. Kami menyadari bahwa dalam makalah ini masih ada kekurangan dan kelemahan, sehingga kami harap mohon kritik dan saran yang membangun terhadap makalah ini. Dan terima kasih kepada Bapak Reuspatyono selaku dosen mata kuliah Teori Politik Luar Negeri. Dan semoga makalah ini bisa bermanfaat dan berguna bagi para pembaca makalah ini. sekian dan terimakasih.