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"Art presents a discursive space for thought and affect that is part of the cultural configuration of a society. Thus defined, an assumption is made that Indonesia possesses no discursive space for the 200 million people that make up its pluralistic society, if traditional art presents space only for the bearers of that tradition. There are many who say that 'Indonesian' art has already emerged, and provide examples from various art forms. Furthermore, there is the notion that traditional art is generally static, inferior, unbefitting and unable to fulfill the needs of 'modern' Indonesians-especially going into the 21st century. In fact, traditional art continues to undergo shifts and changes, or to disappear as a discursive space with any significance. While holding to the assumption mentioned above, this article seeks an understanding of traditional art extant in the ethnic groups that comprise Indonesia's pluralistic society. The question is whether the Indonesian people see themselves as heirs to the various traditional art forms, or whether such art can serve as a vehicle for social integration in Indonesia."

"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."

"During the new order era local adat was subjected to a process of cultural erosion due to the priorities accorded national integrations, as well as economic, social and development by the Indonesian government. However, the '90s have witnessed a resurgence of concern with adat as a vehicle for the local peoples' identity and as a mechanism for local government and dispute resolution, trends intensified since the beginning of the reformasi era with its relegitimation of discourse of regional autonomy. This essay presents a case study of these processes among Lindu people of Central Sulawesi, focusing upon how they have managed to reinvigorate their adat as a response to two forms of governmental imposition: 1) the encompassment of their land within a national park (i.e. Taman National Lore Lindu); and 2) the plan to construct a hydroelectric project, which would have forced the loss of land to rising water level and resettlement of the local population. The Lindu people have sought there empowerment of their adat by recasting it as a community resource management system that they argue can lead to greater sustainability of local natural resource than any imposed regimen of national park regulations. With assistance of NGOs such as Yayasan Tanah Merdeka, they have also adopted the discourse of 'indigenous people' to defend their continuing right of inhabitation in their homeland in the face of threatened resettlement. This essay explores the cultural politics of masyarakat adat as 'indigenous people' and the invocation of ecologically sound 'indigenous wisdom' as a warrant for resistance to development programs."

"This paper points out that the state defense doctrine based on the military historical experience which is dominated by the Hobbesian paradigm is one of the roots of military violence in Indonesia. The ius ad bellum doctrine principle is not applied in the Indonesian state defense doctrine. Although the application of the ius ad bellum doctrine created a chance to develop a state defense strategy that considers morality as an important aspect, there is nevertheless no military actor in Indonesia paying attention to this matter. Consequently, there is a high tendency to use war instruments immorally. This reality is categorized as military violence. Undoubtedly, military violence can lead to a rise in human rights violations. The author argues that military violence in Indonesia can be minimized by developing a state defense strategy which 1) considers morality as an important aspect; 2) gives priority to exploring all conflict resolution alternatives before using military instruments; and 3) civil society is no longer included in the application of the Indonesian defense strategy."

"This paper illustrates the significance of underground comics in Indonesia in the absence of a national comics industry. Underground comics means that its selling is independent of common marketing channels, and the comics usually have non-conventional graphics and narrative style. The author focuses on the life and works of Athonk, an Indonesian independent comics' artist, bypasses conventional modes of marketing and strengthens the global network of independent comics' artists and fans through internet. Fed up with the absurdity of Indonesian cultural and political life, Athonk is consistently creating stories of contestation between the powerful and powerless with cynicism through his amusing characters and language. The author places Athonk in the context of Indonesia art history, and debate between 'high art' and 'low art' that dominates discussion of art in Indonesia. The situation discredits comics as a 'low art' form which makes it still very far from establishing its position. Ironically, public welcome his art and this motivates him to keep working. This article hopefully will give broader picture about Indonesian comics as a potential art form and expression in the future."

"Tulisan ini ingin menunjukkan bahwa upaya membangun Indonesia yang multikultural hanya mungkin terwujud bila (1) konsep multikulturalisme menyebar luas dan dipahami pentingnya bagi bangsa Indonesia, serta adanya keinginan bangsa Indonesia pada tingkat nasional maupun lokal untuk mengadopsi dan menjadi pedoman hidupnya; (2) kesamaan pemahaman di antarapara ahli mengenai makna multikulturalisme dan bangunan konsep-konsep yang mendukungnya, dan (3) upaya-upaya yang dapat dilakukan untuk dapat mewujudkan cita-cita ini."

"This article was written in response to a challenge put forth by two non-anthropologists over the role of anthropologists in Indonesian national development. The challenge was made by the late Dr. Y.B. Mangunwijaya (Kompas 24 January 1996) and Dr. Benjamin Lumenta (Kompas 29 January 1996). In fact, a response was given by Prof. Parsudi Suparlan (Kompas3 February 1996) and the author (Republika 2 May 1996). Also related to the matter is an article by Prof. S. Budhisantoso (Republika 24 May 1996).This article is an extension of the author's own article that appeared in Republika of May2, 1996. He finds that his ideas on the role of anthropologists in national development could not be covered adequately in the brief newspaper article, and requires an extended and serious discussion-even more so since the present articles touches upon the anthropological education system in Indonesia, specifically at the Department of Anthropology at the University of Indonesia. Thus, the article brings forth three main points, that is the role of anthropologists in Indonesia, the development of the anthropological education system in Indonesia, and Indonesian development."

"This article illustrates the process of reformulating Indonesian identities in the new "Si Unyil" program, decisions made, their background and consequences. The new Unyil appears for an ideal: parents miss an educational children television program. Production team seemed to believe that this ideal is not blocking their needs for profit. The question is 'who is the real audience?', 'Children or their parents?'. When reproduced, "Si Unyil" series is problematic. In one hand, the old Unyil is no longer fit the new television industry. Countryside setting is not interesting for the advertisement, so in the new series Unyil lives in a suburb area, place for middle class, the most potential market. Sarong and Malay's hat, wore by old Unyil, now are being replaced by unbuttoned shirt and backpack. The old Unyil played hide and seek and ate traditional cake, now Unyil plays videogame and eats ice cream. But this is an old legendary program for Indonesian children, how do they put the Indonesian context?"

"Tulisan ini menyajikan sebuah perspektif bersifat komparatif mengenai kajian kawasan perbatasan di dunia, khususnya di Afrika dan Amerika bagian barat-laut. Dalam konteks, perbandingan yang lebih luas itulah, kajian tentang kawasan perbatasan di Kalimantan ini diulas. Tulisan ini mengetengahkan definisi mengenai perbatasan; fungsinya secara sosial, ekonomis, dan politik; serta dampaknya bagi masyarakat-masyarakat yang mengalami pemisahan oleh batas negara. Tulisan ini juga mengupas konteks pengkajian masalah perbatasan dan cara 'perbatasan' diklasifikasi dengan fokus pada aspek interaksi internasional, konflik, akomodasi, dan keterpisahan perbatasan dengan komuniti-komuniti penghuninya."

"There are more similarities than differences in the development of folklore as a separated discipline in Indonesia and Japan. Folklore studies in Japan were started in 1930 while in Indonesia since 1972. As a result the Japanese has already developed their own theories and methods, while in Indonesia is still depending on the ones developed in Europe and United States. The similarities are both developed in order to look for their respected national identity. And it is interesting to note that there are many tale types and tale motifs that is similar in both countries."