Who Is Culture's Keeper?

Kennedy, Richard S.

doi:10.2307/3183568

Cited by 4 publications

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“…Jawabannya adalah negaralah yang bertanggung jawab. Selama abad ke-20 negara memainkan peranan besar dalam mendukung lembaga kebudayaan, seperti halnya museum serta gedung-gedung pertunjukan (Kennedy, 2002).…”

Section: Pendahuluanunclassified

Hegemoni Kekuasaan Terhadap Seni Pedalangan

Sutiyono

2015

Jurnal Seni dan Pendidikan Seni

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Tulisan ini akan menguraikan pokok bahasan relasi antara kekuasaan dan kesenian. Permahaman ini menyangkut bentuk afiliasi antara dalang wayang kulit (seniman) dengan pihak penguasa dalam hal ini adalah pemerintah atau negara (state). Aspek sub-bidang kajian ini adalah pertunjukan wayang kulit Jawa yang cukup mengental dengan kehidupan budaya masyarakat Jawa. Kajian hegemoni kekuasaan terhadap seni pedalangan akan terarah jika harus melihat secara lurus pada tawaran Gramsci yang menyebutkan bahwa hegemoni memberikan definisi terhadap konsep politik dan konsekwensi pada tugas yang harus diemban oleh partai politik. Dalam hal ini partai politik harus mampu mengelola instrumen hegemoni untuk mengelabuhi masyarakat luas agar menjadi patuh dan mau dikuasai oleh partai politik tersebut. Seperti langkah-langkah yang diambil oleh partai Golkar sebagai kendaraan politik rezim penguasa Orde Baru yakni dengan mengelola pertunjukan wayang sebagai wadah ekspresi sosial dan interaksi antara penguasa dan rakyat. Sebelum wadah ini efektif dan memadai, maka instrumen yang seni pedalangan harus dihegemoni terlebih dahulu. Bentuk kesenian beserta dalang dan komunitasnya harus ditaklukkan, agar semua pesan dan doktrin penguasa terhadap kesenian dapat tercapai. Kesenian benar-benar dapat menjadi kuda emas, yakni kendaraan politik yang manis dan jitu untuk memperoleh dan mempertahankan kekuasaan. Kata kunci: wayang, seni pedalangan, dan hegemoni

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Section: Pendahuluanunclassified

Hegemoni Kekuasaan Terhadap Seni Pedalangan

Sutiyono

2015

Jurnal Seni dan Pendidikan Seni

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“…Wisely, World Trade Organization (WTO) regulations recognize cultural exemptions to free trade, allowing for “protectionist” measures for cultural products (Figenbaum 2001). Cultural sensitivity in the sphere of world trade originates in a provision of the General Agreement on Tariffs and Trade “to protect national cultural treasures, of artistic, historical, or archaeological value”; this sensitivity towards culture was bolstered by the cultural exemption, established in part due to French concerns during WTO negotiations in the 1990s (Kennedy 2002).…”

Section: Other Considerationsmentioning

confidence: 99%

A Global, Community Building Language?

Etzioni

2008

Int Studies Perspectives

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Although long championed, a global language has not come to fruition despite considerable efforts. Many fear that such a language would undermine the particularistic, identity-constituting primary languages of local and national communities. These concerns can be addressed at least in part by utilizing a two-tiered approach in which efforts to protect primary languages are intensified at the same time that a global language is adopted as an additional language and not as a substitutive one. Although the U.N. or some other such global organization could, theoretically, choose a language to serve as the global language, English is already (and increasingly) occupying this position as a result of the colonial period and post-colonial developments. In this respect, English is compared to the development of the railroad system in the United States, which although introduced at considerable human costs by overpowering corporations, later became an integral part of the economy and society. Whether English should be adopted as a second language, or as a third or fourth one, is heavily influenced by the level of difficulty involved-the labor to fluency ratio-in acquiring a new language.

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“…também viu nascer instituições como a ONU e a UNESCO (ambasde 1945). Muito embora o GATT contivesse, em seu documento original, uma cláusula que visava "proteger tesouros nacionais de valor artísitco, histórico ou arqueológico"(Kennedy, 2002), sua visão se conformava com a dinâmica norte-americana e se baseava no livre comércio(Braman, 2003: 283).Com a nova ordem internacional, os debates sobre a indústria audiovisual e os interesses nacionais, embora liderados ainda por Estados Unidos e França, ganham uma nova arena e novos atores. Insatisfeitos com as regras do GATT, que restringiam sua capacidade de proteção de um mercado cultural insipiente, abrindo-o a um livre fluxo de informação, países em desenvolvimento ainda na década de 1950 levavam suas reclamações para o recém fundado sistema ONU, em especial a suas agências UNESCO e UNCTAD(Braman, 2003: 283).Contudo, é na década de 1980, justamente quando a globalização representa uma reorganização da ordem mundial, que os debates se acirram e novos elementos são introduzidos.…”

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Who Is Culture's Keeper?

Cited by 4 publications

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Hegemoni Kekuasaan Terhadap Seni Pedalangan

Hegemoni Kekuasaan Terhadap Seni Pedalangan

A Global, Community Building Language?

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