"[
ABSTRAKTesis ini menyelidiki proses berlangsungnya kontestasi dan negosiasi antar-aktor
kampanye pariwisata Wonderful Indonesia dan Pesona Indonesia (WIPI) di media
sosial Instagram dalam dinamika konstruksi dan pemaknaan identitas
keindonesiaan. Data yang dikumpulkan dikategorisasi menjadi tiga narasi, yaitu
?resmi,? ?pemicu,? dan ?akar rumput?. Ada tiga aktor di Instagram yang
diidentifikasi 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 lebih
lanjut digunakan konsep dan teori identitas nasional, country branding, aparatus
ideologis negara dan interpelasi, Instagram sebagai media sosial, budaya
partisipatoris dan heteroglosia dalam media sosial, serta cultural intermediaries.
Penelitian ini menemukan bahwa WIPI sebagai perwujudan country branding
merefleksikan upaya Kementerian Pariwisata untuk mengkonstruksi dan
menarasikan keindonesiaan sebagai identitas kompetitif. Pada level akar rumput,
duta media sosial mengkontestasi Narasi Resmi tersebut dengan menyorot
identitas-identitas keindonesiaan lain yang berada di periferi. Namun, kontestasi
tersebut berubah menjadi negosiasi ketika Kementerian Pariwisata
memprioritaskan penggunaan media sosial dalam kampanye WIPI. Hal ini
mengubah peran duta media sosial dari perantara budaya yang memproduksi
narasi akar rumput menjadi aktor yang memproduksi narasi pemicu. Tesis ini
menemukan para aktor memanfaatkan karakteristik dan fitur Instagram untuk
memproduksi teks heteroglosik, baik sengaja maupun tidak, yang mengkontestasi
dan 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 dan
pemaknaan keindonesiaan karena menyediakan ruang bagi para aktor untuk
berkolaborasi dalam proyek sinambung yang merumuskan keindonesiaan.
ABSTRACTThis thesis investigates the contestation and negotiation in Wonderful Indonesia
and Pesona Indonesia tourism campaign (WIPI), which happen between actors in
social media, Instagram, in a way to construct their Indonesianess. The collected
data is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?.
There are 3 actors in Instagram, @indtravel, Instagram accounts of social media
ambassadors and of those five hashtags users, which are identified by their roles,
engagements and power relations. To look further into the dynamics of
constructing and signifying Indonesianess concepts and theories of national
identity, 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 form
of country branding reflecting Tourism Ministry?s efforts to construct and narrate
Indonesianess as a competitive identity. At a grassroots level, social media
ambassadors contest that narrative by highlighting other identities that lie in the
periphery. Later, the contestation turns into negotiation once the Tourism Ministry
prioritises the use of social media in their campaign. This changes social media
ambassadors? role as cultural intermediaries producing grassroots narrative into
ones who produce the triggering narrative. This thesis finds all actors utilize
Instagram characteristics and features to produce intended or unintended
heteroglossic texts that contest against-, interpellate and negotiate with each other.
Instagram, whose strong feature lies in visual posts, also contributes in visualizing
the imagination of Indonesianess. Social media, in this case Instagram, plays
important roles in the process of constructing and signifying Indonesianess,
because it provides space for actors to collaborate in a continuous project of
formulating Indonesianess.;This thesis investigates the contestation and negotiation in Wonderful Indonesia
and Pesona Indonesia tourism campaign (WIPI), which happen between actors in
social media, Instagram, in a way to construct their Indonesianess. The collected
data is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?.
There are 3 actors in Instagram, @indtravel, Instagram accounts of social media
ambassadors and of those five hashtags users, which are identified by their roles,
engagements and power relations. To look further into the dynamics of
constructing and signifying Indonesianess concepts and theories of national
identity, 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 form
of country branding reflecting Tourism Ministry?s efforts to construct and narrate
Indonesianess as a competitive identity. At a grassroots level, social media
ambassadors contest that narrative by highlighting other identities that lie in the
periphery. Later, the contestation turns into negotiation once the Tourism Ministry
prioritises the use of social media in their campaign. This changes social media
ambassadors? role as cultural intermediaries producing grassroots narrative into
ones who produce the triggering narrative. This thesis finds all actors utilize
Instagram characteristics and features to produce intended or unintended
heteroglossic texts that contest against-, interpellate and negotiate with each other.
Instagram, whose strong feature lies in visual posts, also contributes in visualizing
the imagination of Indonesianess. Social media, in this case Instagram, plays
important roles in the process of constructing and signifying Indonesianess,
because it provides space for actors to collaborate in a continuous project of
formulating Indonesianess., This thesis investigates the contestation and negotiation in Wonderful Indonesia
and Pesona Indonesia tourism campaign (WIPI), which happen between actors in
social media, Instagram, in a way to construct their Indonesianess. The collected
data is categorised into 3 narratives: “official,” “triggering,” and “grassroots”.
There are 3 actors in Instagram, @indtravel, Instagram accounts of social media
ambassadors and of those five hashtags users, which are identified by their roles,
engagements and power relations. To look further into the dynamics of
constructing and signifying Indonesianess concepts and theories of national
identity, 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 form
of country branding reflecting Tourism Ministry’s efforts to construct and narrate
Indonesianess as a competitive identity. At a grassroots level, social media
ambassadors contest that narrative by highlighting other identities that lie in the
periphery. Later, the contestation turns into negotiation once the Tourism Ministry
prioritises the use of social media in their campaign. This changes social media
ambassadors’ role as cultural intermediaries producing grassroots narrative into
ones who produce the triggering narrative. This thesis finds all actors utilize
Instagram characteristics and features to produce intended or unintended
heteroglossic texts that contest against-, interpellate and negotiate with each other.
Instagram, whose strong feature lies in visual posts, also contributes in visualizing
the imagination of Indonesianess. Social media, in this case Instagram, plays
important roles in the process of constructing and signifying Indonesianess,
because it provides space for actors to collaborate in a continuous project of
formulating Indonesianess.]"
