[ABSTRAK
Tesis ini menyelidiki proses berlangsungnya kontestasi dan negosiasi antar-aktorkampanye pariwisata Wonderful Indonesia dan Pesona Indonesia (WIPI) di mediasosial Instagram dalam dinamika konstruksi dan pemaknaan identitaskeindonesiaan. Data yang dikumpulkan dikategorisasi menjadi tiga narasi, yaitu?resmi,? ?pemicu,? dan ?akar rumput?. Ada tiga aktor di Instagram yangdiidentifikasi melalui peran dan keterlibatan, serta relasi kuasa di antara mereka,yaitu @indtravel, akun Instagram duta media sosial dan pengguna lima tagar.Untuk melihat dinamika konstruksi dan pemaknaan identitas keindonesiaan lebihlanjut digunakan konsep dan teori identitas nasional, country branding, aparatusideologis negara dan interpelasi, Instagram sebagai media sosial, budayapartisipatoris dan heteroglosia dalam media sosial, serta cultural intermediaries.Penelitian ini menemukan bahwa WIPI sebagai perwujudan country brandingmerefleksikan upaya Kementerian Pariwisata untuk mengkonstruksi danmenarasikan keindonesiaan sebagai identitas kompetitif. Pada level akar rumput,duta media sosial mengkontestasi Narasi Resmi tersebut dengan menyorotidentitas-identitas keindonesiaan lain yang berada di periferi. Namun, kontestasitersebut berubah menjadi negosiasi ketika Kementerian Pariwisatamemprioritaskan penggunaan media sosial dalam kampanye WIPI. Hal inimengubah peran duta media sosial dari perantara budaya yang memproduksinarasi akar rumput menjadi aktor yang memproduksi narasi pemicu. Tesis inimenemukan para aktor memanfaatkan karakteristik dan fitur Instagram untukmemproduksi teks heteroglosik, baik sengaja maupun tidak, yang mengkontestasidan menegosiasi satu sama lain. Instagram, yang menitikberatkan postingan visual,juga berkontribusi dalam proses visualisasi imajinasi keindonesiaan. Media sosial,dalam hal ini Instagram, memainkan peranan penting dalam proses konstruksi danpemaknaan keindonesiaan karena menyediakan ruang bagi para aktor untukberkolaborasi dalam proyek sinambung yang merumuskan keindonesiaan.

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ABSTRACT
This thesis investigates the contestation and negotiation in Wonderful Indonesiaand Pesona Indonesia tourism campaign (WIPI), which happen between actors insocial media, Instagram, in a way to construct their Indonesianess. The collecteddata is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?.There are 3 actors in Instagram, @indtravel, Instagram accounts of social mediaambassadors and of those five hashtags users, which are identified by their roles,engagements and power relations. To look further into the dynamics ofconstructing and signifying Indonesianess concepts and theories of nationalidentity, country branding, ideological state apparatuses and interpellation,Instagram as social media, participatory culture and heteroglossia in social media,and cultural intermediaries are used. Research findings reveal that WIPI is a formof country branding reflecting Tourism Ministry?s efforts to construct and narrateIndonesianess as a competitive identity. At a grassroots level, social mediaambassadors contest that narrative by highlighting other identities that lie in theperiphery. Later, the contestation turns into negotiation once the Tourism Ministryprioritises the use of social media in their campaign. This changes social mediaambassadors? role as cultural intermediaries producing grassroots narrative intoones who produce the triggering narrative. This thesis finds all actors utilizeInstagram characteristics and features to produce intended or unintendedheteroglossic texts that contest against-, interpellate and negotiate with each other.Instagram, whose strong feature lies in visual posts, also contributes in visualizingthe imagination of Indonesianess. Social media, in this case Instagram, playsimportant roles in the process of constructing and signifying Indonesianess,because it provides space for actors to collaborate in a continuous project offormulating Indonesianess.;This thesis investigates the contestation and negotiation in Wonderful Indonesiaand Pesona Indonesia tourism campaign (WIPI), which happen between actors insocial media, Instagram, in a way to construct their Indonesianess. The collecteddata is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?.There are 3 actors in Instagram, @indtravel, Instagram accounts of social mediaambassadors and of those five hashtags users, which are identified by their roles,engagements and power relations. To look further into the dynamics ofconstructing and signifying Indonesianess concepts and theories of nationalidentity, country branding, ideological state apparatuses and interpellation,Instagram as social media, participatory culture and heteroglossia in social media,and cultural intermediaries are used. Research findings reveal that WIPI is a formof country branding reflecting Tourism Ministry?s efforts to construct and narrateIndonesianess as a competitive identity. At a grassroots level, social mediaambassadors contest that narrative by highlighting other identities that lie in theperiphery. Later, the contestation turns into negotiation once the Tourism Ministryprioritises the use of social media in their campaign. This changes social mediaambassadors? role as cultural intermediaries producing grassroots narrative intoones who produce the triggering narrative. This thesis finds all actors utilizeInstagram characteristics and features to produce intended or unintendedheteroglossic texts that contest against-, interpellate and negotiate with each other.Instagram, whose strong feature lies in visual posts, also contributes in visualizingthe imagination of Indonesianess. Social media, in this case Instagram, playsimportant roles in the process of constructing and signifying Indonesianess,because it provides space for actors to collaborate in a continuous project offormulating Indonesianess., This thesis investigates the contestation and negotiation in Wonderful Indonesiaand Pesona Indonesia tourism campaign (WIPI), which happen between actors insocial media, Instagram, in a way to construct their Indonesianess. The collecteddata is categorised into 3 narratives: “official,” “triggering,” and “grassroots”.There are 3 actors in Instagram, @indtravel, Instagram accounts of social mediaambassadors and of those five hashtags users, which are identified by their roles,engagements and power relations. To look further into the dynamics ofconstructing and signifying Indonesianess concepts and theories of nationalidentity, country branding, ideological state apparatuses and interpellation,Instagram as social media, participatory culture and heteroglossia in social media,and cultural intermediaries are used. Research findings reveal that WIPI is a formof country branding reflecting Tourism Ministry’s efforts to construct and narrateIndonesianess as a competitive identity. At a grassroots level, social mediaambassadors contest that narrative by highlighting other identities that lie in theperiphery. Later, the contestation turns into negotiation once the Tourism Ministryprioritises the use of social media in their campaign. This changes social mediaambassadors’ role as cultural intermediaries producing grassroots narrative intoones who produce the triggering narrative. This thesis finds all actors utilizeInstagram characteristics and features to produce intended or unintendedheteroglossic texts that contest against-, interpellate and negotiate with each other.Instagram, whose strong feature lies in visual posts, also contributes in visualizingthe imagination of Indonesianess. Social media, in this case Instagram, playsimportant roles in the process of constructing and signifying Indonesianess,because it provides space for actors to collaborate in a continuous project offormulating Indonesianess.]