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"During the Javanese historical development since the First Mataram Empire until today, Javanese cultural concepts as cultural syncretism of early Hindu-Buddhism, latter Hindu-Buddhism and Islam tends to be preserved. In its contact with later concepts from the west, such as formal education, modern politics and the entrance of various ideologies such as nationalism, capitalism, socialism, democracy and so on, has not negated those Javanese cultures. The main problem posed in this article is as follow: to what extent Javanese value of political power has been embraced by elites from Surakarta and Yogyakarta palaces. Whether their values are still strong or has it been diminished. Results reached in this research are: (1) Dominant perception of the elite, shows that their understanding of Javanese political power is still strong. They still strongly embraced the palace tradition and fully involved in all palace's rituals; (2) Western cultural penetration has not able to negate the strong rooted Javanese culture from these palace's elites. Their spirits are still bound to the Javanese culture which surrounded their palace; (3) Javanese sense of political power will play important role when it is positioned as spiritual power to those "njawani" rulers."

"This article will clarify political representation of exhibition at Ullèn Sentalu Museum, Monumen Jogja Kembali, and Affandi Museum. These three museums are considered as proponent of Yogyakarta?s identity as the central of Javanese culture, struggle city, and the barometer of Indonesian fine art. The issue then, is it true that in the exhibitions? at the three museums are appropriate with the identity of Yogyakarta, or in the contrary, the exhibitions have no correlation with this city?s identity discourse. There is a possibility that museum precisely bringing self-interest for specific purposes. Therefore, this paper needs to observe how the exhibitions at these museums were implemented. Through interpretive approach, the exhibition at the museum may be analogous similar with language phenomenon, and hence museum is considered as text that can be read and interpreted. Exhibition at the museum was developed within framework of thoughts (ideology), motives, and specific discourses, which all of these are articulated through a set of symbols (collection), that arranged with special layout procedure (display procedure). Thus, museum becomes ?political? since, in this perspective, museum has power over the formation of discourse through their exhibition."

"This paper attempts to examine various aspects of urban space design to be considered for policy making. Based upon his personal experience in conducting research with anthropologists in traditional environment , the author suggest that architects and anthropologists can contribute considerably to overcoming urban problem...[...] urban spaces that are prone to riot and other mass acts of violence indicate problems in urban policy. In the past, the citizens' culture determined urban form; but large cities are marked by cultural diversity. Whereas urban space is a field studied by urban planners and architects, culture is focus of anthropologists, who have largely been excluded from the urban policy making process. As a result, policy makers determined urban form according to their own cultural biases, without considering the cultural tendencies of the citizens."

"In this article I discuss the impact of Village Law No.5, 1979 on the social actions of local elites. Using a case study of a traditional community (marga) located in Lahat, South Sumatera, I argue that Village Law No.5, 1979 did not marginalize tradition or the traditional community. At a practical or behavioral level, actors, in this case local elites used both tradition and Village Law as references for their actions. However, these two structures, tradition and Village Law were subject to selection. The selection was based on the actors understanding about particular context and the goal(s) of their actions. When tradition offered efficient means for achieving their goals, they selected tradition as a reference point for their behavior. In another context, when they saw that the Village Law offered more to suit their interest, they referred to it. It was also possible that, in a particular context, actors used and ignored the existence of some elements of both structures. In conclusion, I suggest that despite the fact that the application of the Village Law should have been understood to replace the traditional system of marga, people still used it as reference for their actions. Therefore, it would be misleading to say that Village Law has marginalized the traditional social organization."

"This article discusses the relevance of applying the concepts of source of origin and system of precedence, that provide legitimacy for the Mosalaki of Lio in their construction and production as well as reproduction of power in everyday life, especially in their traditional political system. The data analyzed in this article is the result of fieldwork undertaken in the villages of Nggela and Tenda, District of Wolojita, the Regency of Ende Lio, Flores, with qualitative methods, specifically through the techniques of in-depth interviews and participant observation. The Mosalakis, as a matter of a fact, dominate the traditional political system as rulers of adat and adat land. Their practices of power are manifested mainly in ritual activities and the management of traditional land rights. The legitimated rights are transmitted through patrilineal descent, and is based upon source of origin and system of precedence, that are embeded in Lio culture."

"This article describes the relationship between power, history and identity in the processof division North Buton of Muna. In this article the presence of North Buton identity is seen asa phenomenon that refers to the identity of reproduction historical narrative where Kulisusuin historical context has a power relationship with the kingdom of Buton which lasted fromthe 17th century. This study found; that the presence of North Buton identity is a product ofdiscourse that legitimized by indigenous groups who identify themselves as descendants ofthe founder of the kingdom Kulisusu. it means that the identity of North Buton formed dueto higher power structures Barata Kulisusu surviving in culture Kulisusu People. This studyalso found that reproductive identity North Buton a political attempt to discover the identityof distinguishing between Kulisusu and People Muna (identity as a weapon of resistance).This distinctive identity in turn managed to attract popular support for the masses who feelconnected to that identity."

"This article analyze model of resistance between the local community and private company withinspired to perspective of power relation. Analysis based on the research about forest tenure by the local community and private company in Praha Village, Jambi. The research inspired qualitative approach with methods of indepth interview and participatory observation. The local community and private company constitute stakeholders that have interest on the forest resources. Complexity of the stakeholders?s interest were expressed through models of the social relation that were conflict, collaboration, and resistance. Dynamics of the social relation are reality of the power relation. Resistance are strategy of power relation with special features that each other stakeholders focus on the strategy to realize the each other goals and indirectly to fail the strategy of others."

"There are two traditions in the anthropology of art: art as abstract cultural representation and art as expression or message of the artists to their audience. This article aims to balance these two traditions as alternative approach in the study of anthropology of art. Alternative approach is needed for most studies in the anthropology of art in Indonesia encounter difficulty to explain contemporary and traditional arts in the context of contemporary society. This alternative approach offers a view that art product is a synthesis of art production and history of political economy of the society. Marshall Sahlins (1976) suggests this approach which leads us to understand that culture is a symbolic order as also popularized by Louis Althusser. Hence, this article tries to understand symbolic order in the art product by discussing relevant theories in the anthropology of art."

"Theoretical shifts in anthropological studies in recent decades has given way to renewed recognition of looking at issues of identity, namely that the sociall life, the arena in which the identity plays in, must be fundamentally understood as negotiating meanings. This is where Clifford Geertz?s interpretative approach becomes important yet problematic. Important because Geertz offers a humanistic approach which examines how meanings and symbols become important in the view of the community itself. Therefore, he argues, cultural interpretation requires a more in-depth analysis, also more intelligent and complex in which its purposes and those complexed cultural forms that can not simply be reduced to the effects on the social engines and organisms as claimed by structuralist and functionalist scholars before him. At the same time, it is also problematic because of Geertz?s position that searches for meaning makes him seem neglective or underestimative of the process of how interaction ? the arena of where meanings work ? is produced. In this case, Geertz?s critics have ?helped? by reminding him of what is power relations and agency. Refering to the conception of Sherry Ortner, the author argues that through the agency there is a way to see this debate from the mid. The side which is not for eliminating the significant influence of Geertz is also not to ignore the significance of the critics? arguments, but to bridge the two (meaning and power relations). Efforts in connecting this theory through the concept of agency consequently will include the significance of one party, at the same time improve its insignificance through the criticism of others and vice versa."

"This article attempts to explain the basic nature of social structure of the Sultanate of Wolio which is divided into four categories, namely Kaomu, Walaka, Papara and Batua. The analysis itself is based on local manuscripts and fieldwork in the Sultanate of Wolio in the course of several years. Through the study of Wolio social structure, the writer also attempts to comprehend the ideology of power in Wolio society. In addition, the discussion shows as well the misinterpretation of the basic nature of Wolio social structure and ideology of power done by several Dutch scholars since 1878"