Over the past decade, a shift has occurred in the Sedulur Sikep communitys attitude since the increase in its popularity and coverage in the mass media following its involvement in the anti-cement movement in Central Java. However, not all members of Sedulur Sikep participate in or even approve of this movement. This anthropological study attempts to illustrate how this situation has pushed the Sikep community members to (re)recognize their values, the influence of these values on environmental discourse, and how the relations between them are understood and practiced by Sedulur Sikep and the movement fighting in its name. By examining the adaptability of ecological knowledge and the ordering of visible space as a result of complex interactions between nature and nurture, it is possible to examine the shifts in their understanding of environmental dynamics and their cultural identity. The fragmentation that has occurred is rooted in different understandings of the reciprocal bonds between the Sedulur Sikeps tani mligi identity and natural resources. The dynamics and stagnation seen in how Sedulur Sikep positions itself in relation to cement production is also apparent in various methods of (re)interpretation, particularly regarding the relevance of Sedulur Sikeps beliefs to its ecological contestation and struggle for living space.
Tulisan ini mencoba membuka implikasi dan tantangan mengenai beragamnya diskursus konsep budaya pada strategi kebudayaan nasional dan daerah. Penelusuran dilakukan melalui penggalian sejarah konseptualisasi kebudayaan untuk mengenali dan memahami apa yang dianggap relevan dan tidak relevan sebagai dasar pengambilan keputusan dalam penyusunan produk hukum terkait. Penelusuran ulang secara kritis terhadap konseptualisasi kebudayaan dalam sejarah pemikiran di Indonesia diperoleh peta perspektif yang terbagi menjadi dua, yakni: (1) kebudayaan sebagai sistem kognitif berupa konservasi nilai-nilai dan kepribadian, dan (2) kebudayaan sebagai kesenian, dunia kreatif, dan produk pariwisata. Keduanya memiliki implikasi yang cukup jelas terhadap pengelolaan kebudayaan dan redistribusi pengaturan dalam kerangka praktik bernegara di Indonesia.
This study examines the intertwining of the attributive elements of feminine narrative on social movement in relation to the narration of Gegeran (riot) Samin in the context of industrialization in Kendeng, Central Java. Recent studies accentuated the narration of Saminisme as the history of resistance to colonialism becomes a study of the description of an unpretentious culture that is to be relevant for cultural conservation. Meanwhile, during this tumultuous era of industrialization, the reconstruction of the narrative of Saminism as a resistance movement was again in the spotlight, especially why women seemed dominant in this struggle. This research was conducted in April-May 2016 based on a narrative ethnography approach that is to be more sensitive to the emergence of a story, between textual and contextual data. The question was why there are differences in the articulation of narratives between elements of Sedulur Sikep values in responding to the establishment of cement factory reflected in the different attitudes and expressions. The research concludes that this social movement is intertwined with struggle efforts based on awareness of cultural diversity and socio-economic class movements by elaborating narrative elements from the specific historical narrative as the cyclical mobilization and are constituted using the performative elements of the activities or actions they held
This paper aims to discuss the development of institutionalization of Sayyid Genealogy, Hadrami’s diaspora, and its expanding network process in Indonesia contemporary Sufism. During last three decades, the Hadrami has been embarking on occupying the Islamic public by establishing majelis shalawat and organizing “shalawat bersamaâ€. This research was conducted towards Ahbabul Musthofa’s Majelis Shalawat in Solo, Central Java. Shalawat Bersama which is introduced through the recitation of prophetic hagiography and rihlah as the way to express love and, following Bourdieu’s view-as a rite to institutionalize the exclusivity of sayyid genealogy. The establishment of this Sufism religious-esthetic ethos is enabled by the economical-political historical situation of their indigenization in Indonesia. This ethnographic research showed that within the emergence of capitalism and democratic state context, Shalawat Bersama and Majelis Shalawat that thrive in the regions are not only using the media industry (audio-visual), but also—to assume—using modern marketing logic. This logic of majelis development is concepted as a “religious franchise†which means a religious movement which is based on a marketing logic through the branches established in the regions in order to promote and create direct certain religious practices supported by certain standards, especially the reference of sufistic piety and its particular performativity.Â
Tulisan ini dimaksudkan untuk menawarkan cara pandang baru dalam memahami pertautan intrinsik antara agama dan seni yang seringkali tumpang tindih dalam diskursus sosial-budaya di Indonesia. Pertautan keduanya terletak pada “ketergelaran”, yakni wilayah kecenderungan “rasa”, yang disebut “rasa keagamaan” dan “citarasa estetika”. Kedua hal tersebut sebenarnya merupakan hasrat yang dibentuk oleh dan melalui kecenderungan pengalaman-pengalaman ketubuhan dan penginderaan. Hasrat dan selera penting di dalam pembentukan etos tertentu, karena tidak hanya memotivasi orang untuk terus datang ke pergelaran, memilih jenis pergelaran, maupun mempergelarkan praktik seni dan agama tertentu, tetapi juga terus-menerus menciptakan suatu kecenderungan “menikmati”, mengalami, dan mempersepsi. Kecenderungan menikmati inilah yang disebut sebagai praktik konsumsi, yakni sebentuk hasrat akan suatu kebutuhan yang dengan pemenuhannya ia berkaitan dengan pengalaman ketubuhan dan penginderaan. Dalam hal ini, pengalaman-pengalaman inderawi berdasar atas intensionalitas terhadap apa yang dilihat, dirasakan, didengarkan, diraba, disentuh, atau lebih tepatnya apa yang selayaknya dialami dan dipersepsi. Hasrat tersebut berkaitan dengan (re)produksi ingatan-ingatan, sensasi, dan “rasa” tertentu yang (di)hadir(kan) dari dan dalam praktik sehari-hari.
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