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"Bajonese is a malay culture based community which lives in group and spread on many costal and rural areas in Indonesia and Southeast Asia. They are known as sea people or Sea ethnic in West Malaysia and Bajaunese in East Malaysia, Brunei Darussalam and Philippine. Despite the naming difference; depending on where they live geographically, they have a common culture particularly concerning knowledge inheritance process, values, and skill to preserve the community through perpetuating oral tradition iko-iko, nauya, and pantun. Some studies found that the bajonese is originally from Melaka strait and then scattered in various Malay archipelago (Malaysia, Indonesia, Brunai Darussalam and Philippine) as a result of the arrival of the Portuguese imperialism in the year of the seizing of Malacca 151 1. As one the core communitiesin Melaka Kingdom, the Bajonese fought against the Portuguese Imperialism. Even after the kingdom were surrounded, they canied on fighting around the coastal areas. Settlement patterns that are semi nomadic as traditional fishermen, resulting in a development of original learning system. One of the teaching media used is iko-iko (heroism story). It is an endangered tradition as only elderly who are over 50 years old who can tell the stories. Iko-iko­ literature tradition plays an important role to convey messages of moral and spirit of fighting which is narrated orally for generations. The story is about heroism which is sung during voyage and as lullaby. The characteristic of iko iko is its systematic lyrics which reflects Malay literature. Therefore along with the spreading of bajonese in South East Asia, the Malay culture is also spread and become the unifier between Indonesia and Southeast Asia. The young generation is lack of interest in inheriting iko-iko with its various versions and stories. Thus, in order to preserve it, it is necessary to documented and transliterated it in the form of books and scientific articles"

"The Puppeter Mask Klaten is a form of ancient folk arts which the existence cannot be separated £rom the history of the kingdoms in Central Java. Klaten is becoming a place for creative community who are able to create many artistic expressions and one of them called as Dalang Mask. Agrarian culture, communality, family and togethemess are becoming the value of life which represented through Dalang Mask Klaten. However, because of the era change, Dalang Mask Klaten is isolating by modem culture. Also the passed away of the Puppeter, the absence of regeneration process are often occured in the family becomes the reason why this art is difficult to be preserved. This study uses a performance studies approach based on analysis system of performance studies to observe the layen of this arts including the story background, movement, actors, fashion, accompaniment, mask property and contextualization which apply to fmd out the purpose and the idea behind it.. The results showed Puppeter Mask Klaten is not just an object of artistic expression, but also a livehood and communal bonding power. This idea is essential to define Puppeter Mask Klaten in the context of artistic expression as an ideology, something that can be represent the pride of their owners. Art becomes a means of education for the community, both as history review, reflection and also as the provision of visionary towards its future."

"Balinese pop music has undergone industrialization since the decade of 1990's when the technological progress, economical system, and new musical culture massively drove to the born of recording studios, musicians, and and the products. In the hands of capital owners, Balinese pop music capitalism occurs. Behind the discourse of the preservation of Balinese culture through Balinese pop music, ideology and interests work for the purpose of capitalization. The result of the study shows that during the two and a half decades, the industrialization of Balinese pop music goes in the form of production, distribution, and consumption in the province of Bali due to the linked cultural power, the power of capital, and media power. Industrialization is influenced by a number of ideologies, capitalism, popisme, local political culture, and multiculturalism, in which capitalism became the dominant ideology. Bali pop music industrialization causes a certain impact. The economical impact related to exchange rates; social impact (use value) related to the value / benefits; cultural impact associated with the value of identity / authenticity; and political impacts associated with the value of developmentalism 1 developmentalism."

"Penelitian tentang nilai-nilai seni pertunjukan teater rakyat sandiwara Cirebon, Jawa Barat, sebagai penge¬tahuan lokal pembentuk karakter bangsa, bertujuan untuk mengkonservasi, merevitalisasi, dan mengkon- struksi nilai-nilai pengetahuan lokal dan karakter bangsa dalam seni pertunjukan teater rakyat Jawa Barat. Metode yang digunakan dalam penelitian ini adalah paradigma kualitatif, melalui metode arsip-kreatif terhadap pertunjukan teater rakyat sandiwara Cirebon. Metode arsip kreatif mengutamakan dokumen pertunjukan sandiwara, yang disetiap adegan dipilih gambar dan dialognya. Melalui metodetersebut, peneli¬tian ini berhasil mendapatkan nilai-nilai pengetahuan lokal dan karakter bangsa sebagai identitas budaya melalui pertunjukan sandiwara. Nilai-nilai tersebut terdapat pada lakon/cerita dalam pertunjukan teater rakyat Jawa Barat, seperti nilai moral, etika, jujur, tanggung jawab, dan cinta damai."

"Hindus in Bali carry out various yadnya almost every day. One of the yadnya is cremation ceremony. The ceremony was held as a tribute to the deceased family. The tribute is conducted based on the belief that the souls of those who have passed away never die, but are still alive in the other unreal world. In addition, it is believed that if his ancestors are in happiness, they will also try to help and make their offspring who are still alive happy. Cremation ceremony especially in Munggu Pakraman Village Tabanan can not be separated from various equipment of ceremony. One among the unique equipments, namely the performance of Barong Kadengkleng. This Barong is always performed in this Pakraman village when there is a cremation ceremony at intermediate levels and above. The form of Barong Kadengkleng dance in the cremation ritual is accompanied by Daeng from the family at the late. The show was held the day before the cremation ceremony started from the fron entrance of the house of the late and then proceed to the border road of Munggu Pakraman Village and ended up in front of the bale adat where the body is laid. Judging from its function, the dance of Barong Kadengkleng has two functions, namely the religious function and escorting functions. In a religious function, ie every performance of Barong Kadengkleng uses offerings and performed only with regard to cremation ritual, while in its escorting function namely helping deter and escort the return of elements of pancamahabhuta and the soul to its origin."

"Tulisan ini mengkaji proses penyampaian propaganda khususnya Jawa Tengah pada tahun 1986-198. Pendekatan yang dipergunakan adalah teori komunikasi massa pada pergelaran wayang kulit. Melalui penelitian terungkap adanya kooptasi terhadap dalang dalam melakukan penyampaian pesan-pesan pemerintah Orde Baru kepada masyarakat luas. Usaha pemerintah untuk melakukan propaganda melalui dalang begitu kentara pasca Gerakan 30 September. Akibatnya, terjadi perubahan konsep pertunjukan wayag kulit. Seringkali dalam menyisipkan pesan-pesan pemerintah, baik secara implisit maupun terang-terangan. Pesan-pesan ini disampaikan melalui janturan, ginem, gending, termasuk dalam adegan limbukan dan gara-gara. Namun pementasan wayang kulit pada Orde Baru juga mendorong kreativitas para dalang dalam menciptakan lakon baru, mengubah lakon, hingga menciptakan gending-gending bernuansa pembangunan"

"Kebaya merupakan busana yang dikenakan kaum perempuan dalam setiap kegiatan upacara di Bali. Kebaya mulai mengalami perubahan dalam hal desain maupun bahan yang digunakan akibat dari perkembangan zaman, teknologi, informasi dan industri pariwisata, mengakibatkan masyarakat Bali tidak lepas dari pengaruh kebudayaan luar, yang membawa perubahan dalam berbagai kehidupan masyarakat Bali. Kanin kapitalis memanfaatkan momen ini dengan menciptakan atau membuat desain kebaya diluar dari ciri khas kebaya Bali. Hal ini dapat dilihat dari munculnya desain kebaya modifikasi yang banyak di tawarkan di pasaran dan menjadi tren. Desain kebaya modifikasi banyak dijual di pasaran, sehingga menyebabkan kaum perempuan ingin tampil trendi dengan busana yang di tawarkan tersebut. Kaum perempuan kontemporer dengan bangga mengenakan kebaya yang trendi di pasaran, pada kegiatan persembahyangan ke pura. Hal ini mengakibatkan seolah-olah kaum perempuan sudah mulai melupakan etika berbusana untuk ke pura. Hal ini tentunya dapat membuat generasi mendatang tidak akan mengetahui dan melupakan ciri khas dari kebaya Bali. Permasalahan dari penelitian ini adalah bagaimana kebaya dijadikan sebagai representasi oleh kaum perempuan di Kota Denpasar. Penelitian ini bertujuan untuk memahami perkembangan kebaya ke pura, dapat mengubah cara berbusana dan gaya hidun nerempuan kontemporer. Paradigma representasi dengan pendekatan fenomenologis dan metode kualitatif digunakan pada penelitian ini. Analisis data dilakukan secara deskriptif kualitatif dan mterpretatif mempergunakan analisis representasi dan konsumerisme."

"Pada tahun 2015, Met Gala, penggalangan dana yang digelar oleh Institut Kostum Museum Seni Metropolitan, kembali digelar dengan mengusung tema China Through a Looking Glass. Pemilihan tema ini dilatarbelakangi dari dampak estetika dan budaya Cina terhadap inspirasi mode Barat. Atas tema tersebut, maka para tamu undangan yang hadir serta desainer diimbau untuk mengenakan atau membuat busana yang mengandung unsur budaya Cina. Penelitian ini bertujuan untuk memaparkan bagaimana budaya Cina direpresentasikan dalam gaun-gaun yang dikenakan oleh para tamu undangan di ajang Met Gala 2015. Metode penelitian yang digunakan adalah metode kualitatif melalui studi pustaka dengan pendekatan ilmu budaya sebagai sumber primer, dan sumber lainnya sebagai sumber sekunder. Hasil dari penelitian ini ditemukan bahwa beberapa gaun yang didesain oleh desainer Barat tidak sesuai dalam merepresentasikan budaya Cina ke dalam gaun buatannya sedangkan gaun karya desainer Cina lebih sesuai dalam merepresentasikan budaya Cina ke dalam gaun buatannya.

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In 2015, the Met Gala, a fundraiser organized by the Costume Institute of the Metropolitan Museum of Art, was held again with the theme China Through a Looking Glass. The choice of this theme was motivated by the impact of Chinese aesthetics and culture on Western fashion inspiration. Based on this theme, invited guests and designers are encouraged to wear or make clothes that contain elements of Chinese culture. This study aims to describe how Chinese culture is represented in the dresses worn by invited guests at the 2015 Met Gala. The research method used is a qualitative method through literature study with a cultural science approach as a primary source, and other sources as secondary sources. The results of this study found that some dresses designed by Western designers were not suitable for representing Chinese culture in their dresses, while dresses made by Chinese designers were more suitable for representing Chinese culture in their dresses."

"Tari Gandrung merupakan kekayaan budaya lokal banyuwangi dan dijadikan maskot daerah Banyuwangi. Tari gandrung banyak dipentaskan diberbagai acara publik termasuk di dalam tradisi petik laut. Pementasan Tari Gandrung dalam tradisi petik laut memiliki makna tersendiri karena tradisi ini diyakini sebagai bentuk persembahan kepada Dewa Laut agar nelayan dianugrahkan ikan yang berlimpah. Penelitian ini bertujuan untuk mengetahui bentuk Tari Gandrung dan makna filosofi Tari gandrung yang terkandung dalam tradisi Petik laut di pantai Muncar Banyuwangi. Metode yang digunakan adalah metode kualitatif, dengan analisis deskriftip kualitatif Data dikumpulkan melalui wawancara, observasi, dan dokumentasi (data-data sekunder) Adapun hasil penelitian menunjukkan bahwa Setiap peragaan Gandrung Banyuwangi selalu berpola jejer paju dan seblang-seblang. Dalam pementasannya memasuki tiga babak yakni pertama jejer, gending terdiri dari lagu Padha Nonton yang terdiri dari delapan bait 32 baris setiap baitnya terbagi menjadi empat baris baru kemudian dilanjutkan dengan gending Padha Nonton pada bait-bait berikutnya dengan gerak tari yang sesuai warna lagu yang dibawakan. Kemudian babak kedua disebut Paju gending yang dibawakan bebas sesuai permintaan yang akan ikut menari (maju gandrung) dan ketiga Seblang-seblang yang selalu diawali dengan gending atau lagu yang berjudul Sebiang Lukito dan gending-gending lainnya. Pementasan tari gandrung dalam tradisi petik laut secara filosofis bila diamati dan lagu Padha nonton dengan svaimva berbentuk bebas dan pola yang berkembang ini merupakan gambaran filosofis hidup tentang manusia Filosofis yang diekspresikan dalam bentuk tari dan nyanyi sebagai simbol pesan tentang hidup dan kehidupan Terutama dalam adegan seblang-seblang memvisualisasikan perpaduan bentuk gerak dan nvanvian vang indah untuk menyampaikan pesan-pesan tentang hidup dan kehidupan segala suka dukanva sebagai manusia. Demikian juga ucapan rasa syukur kepada Tuhan atas kehidupan ini. Kemudian akhir dari manusia itu sendiri diaktualisasikan tentang keberadaan manusia secara hitam dan putih. Perjuangan dan nereulatan akhirnya dengan hentakan atau kelembutan dalam menjawab semua pertanyaan yang muncul, suatu pertanyaan yang tak pernah habis-habisnya, seperti memasuki dunia pengalaman sekaligus dunia kenyataan dalam satu rangkaian."

"This research aims at the revealing of of kabbhanti kantola tradition rol e in character education that can be utilized integratedly in cultural art lesson (the local lesson) at high schools at Muna Regency. Kabbhanti kantola is a tradition that bas a function as a media of communication and consolation in Muna society with the song pattern of mutual traditional poetry (folksong) that bequeathed from generation to generation. The location of this research are three sub-districts at Muna Regency, namely Katobu sub-district, Watuputih sub-district, and Tongkuno sub-district. The data were collected through staging observation technique, recording technique, transcription, translation, and interpretation. The data then were analyzed qualitatively-interpretatively. The result of the research showithat the meaning and value that appear in the texts of kabbhanti kantola provides the varieties of precept, advice, and constructive criticism, guidance, and the building of society character who support them. Among of those values are to grow togetherness sense, precept about ethics in social intercourse, loyalty to the parents, the importance of economical ability before being married, and prohibition of gambling. Such criticism, precept, and message are aimed to create the harmony, and libration in the social life, and maintaining the morality values that Muna society trust. The character education that integrated in cultural art education in the local culture is very important to be applied at high schools at Muna Regency."