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"This article examines how the people of Sumba construct their cultural identity associated with their religiosity in the face of discriminatory processed around them. The Sumbanese with their Marapu religion are discriminated againts because of the cultural identity attached to it, but due to their negative image. Discriminatory categories with all the attributes and roles attached to ithemare not natural constructs, but a history and representation.The cultural identity of the Sumbanese is the result of the interaction between the forces from the "outside" and the practices of their daily life. Marapu is a religion that serve as is the cultural identity of the Sumbanese, and becomes the basis of guidelines or values that organize their lives. Even for the people who do not following the Marapu religion. For them the Marapu is limited to the customs of ancestors only, and not as a faith they profess. For some of the Sumbanese, switching religion are a compromise, which is one form of "cultural protection strategy" that can reduce fear and aggression that arise between the individuals and society. The nature of this compromise culture is activated through the traditional institutions that always put through deliberation and uphold the concepts of togetherness and solidarity."

"ABSTRAKTulisan ini membahas identitas budaya dan makna lsquo;rumah rsquo; bagi kelompok diaspora Maluku di Belanda yang direpresentasikan melalui potret kehidupan sebuah keluarga mantan KNIL, keluarga Kainama. Kisah ini diceritakan oleh Sylvia Pessireron dalam roman De Verzwegen Soldaat. Dalam tulisan ini digunakan konsep identitas budaya dari Stuart Hall. Orang Maluku merekonstruksikan lsquo;ruang rsquo; di Belanda sebagai lsquo;rumah rsquo; mereka dan berusaha membawa instrumen-instrumen budaya Maluku.

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ABSTRACTThis paper analyzed cultural identity of the Moluccan diaspora group and meaning of lsquo home rsquo to them through the potrait of an ex KNIL family life, the Kainama rsquo s. The story written by Sylvia Pessireron in a roman titled De Verzwegen Soldaat. This paper also used the cultural identity theory from Stuart Hall. The Moluccans reconstruct lsquo space rsquo in the Netherlands as their lsquo home rsquo and try to bring cultural instruments of the Moluccans within it. "

"Identitas mutlak merupakan suatu pilihan personal yang tidak bisa diganggu gugat oleh siapapun bahkan oleh negara di mana personal itu tinggal dan menjadi warga suatu negara. Pilihan tersebut bukanlah hal yang mudah karena masing-masing memiliki ingatan-ingatan personal masa lalu yang tidak bisa dibuang begitu saja. Bahwa suatu tradisi bisa membuat seseorang untuk tetap bertahan di wilayah sejarah masa lampau mungkin tidak merupakan pilihannya sendiri. Demikian pula halnya terjadi pada mayoritas senior kelompok etnis Cina di mana mereka menjadi guard atau penjaga tradisi yang telah diwariskan secara turun-temurun. Pada masa modern seperti saat ini ketika globalisasi masuk ke seluruh sendi-sendi kehidupan manusia tentunya memberi kemudahan bagi aktor atau pelaku yang aktif untuk menentukan atau merepresentasi dirinya seperti apa yang mereka inginkan. Seperti yang dikatakan Stuart Hall bahwa identitas merupakan sebuah produk sosial dan Iayaknya sebuah produk maka identitas dapat dibentuk sesuai dengan dinamika sosial yang terjadi. Bahkan sangat mungkin aktor dapat menjadi inovator bagi identitasnya sendiri. Dalam penelitian saya mengenai kelompok etnis Cina Pasar Baru, saya ingin menemukan sesuatu yang baru yaitu seseorang dapat menentukan pilihan identitas tanpa terbelenggu oleh sejarah masa lampau maupun tradisi yang terus mengikatnya. Seperti Wang Gungwu jelaskan bahwa orang Cina dapat meramu sejarahnya sendiri yaitu menggunakan masa lalu untuk memahami dengan lebih baik masa kini dan menentukan masa depan mereka sendiri.MasaIah identitas seringkali melihat pelaku hanya sebagai obyek penelitian, peneliti cenderung menempatkan dirinya sebagai seseorang yang mempunyai ?otoritas penuh? untuk menterjemahkan fenomena sosial. Sementara jika kita berbicara mengenai identitas maka yang paling tersentuh adalah sesuatu yang hakiki dalam diri manusia dalam menterjemahkan ?Siapakah Aku? yang mana dilihat sebagai ?Subyek Lagi? pula identitas memberinya rasa ?belonging?. Adalah suatu kenyataan bahwa isu identitas komunitas Cina telah diabaikan dan disudutkan pada masa pemerintahan Orde Baru. Terjadinya peristiwa tragis Mei 1998 adalah karena masalah ke-identitas-an yang selalu menjadi kambing hitam dan tidak adanya usaha yang keras dari pemerintah untuk menyelesaikan masalah tersebut, membuat adanya persepsi yang salah dari warganya. Bahwa identitas suatu kelompok etnis apapun tidak mungkin terus tetap atau statis seperti yang mereka bayangkan sendiri. Tanpa wawasan dan pengetahuan yang benar maka masalah ke-identitas-an tidak pemah akan berakhir. Dalam tesis ini saya menggunakan sudut pandang Stuart Hall di mana dalam konsep Cultural identity-nya menghasilkan analisis yang berhubungan dengan dinamika identitas orang Cina Pasar Baru. Bahwa munculnya pembentukan identitas kultural masyarakat dalam sebuah konteks dunia yang terus berubah. Selain itu Hall juga menjelaskan identitas kultural suatu masyarakat tidak dapat ditampilkan secara murni karena terjadinya tidak mungkin tanpa pengaruh dari kebudayaan lain. ldentitas akan selalu bergerak atau dinamis dan terus berlangsung tanpa henti. Dalam penelitian ini saya mencoba untuk tidak terjebak ke dalam wilayah politik dan bentuk-bentuk konflik yang selalu ada jika kita berbicara mengenai suatu kelompok etnis tertentu. Saya berusaha untuk melihat identitas kelompok etnis Cina Pasar Baru sebagai dinamika dan konstruksi sosial sesuai perkembangan dan fenomena sosial yang terjadi dewasa ini."

"Skripsi ini membahas kemunculan musik Indorock yang dikaitkan dengan peristiwa repatriasi orang-orang Indo ke Belanda akibat peristiwa dekolonisasi. Penelitian ini akan memakai metode kualitatif deksriptif yang bertumpu pada teori identitas budaya Stuart Hall. Dalam proses penyesuaian terhadap kondisi kebudayaan yang baru, orang Indo menciptakan sebuah jenis musik baru yang dinamakan musik Indorock. Musik Indorock akan dikaitkan dengan proses pencarian identitas orang Indo sebagai pendatang baru di tengah masyarakat multikultural Belanda.

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This undergraduate thesis examines the emergence of Indorock music pertaining to the Indo’ repatriation to the Netherlands due to decolonisation. It will use a descriptive qualitative research method based on Stuart Hall’s identity theory. During the process of adaptation with a new culture, the Indo created a new genre of music called Indorock. This music will be associated with the quest of identity by the Indo as newcomers within the multicultural society of the Dutch."

"Dewasa ini banyak media massa cetak diterbitkan oleh dan untuk perempuan. Majalah yang demikian lazim disebut majalah wanita. Sebagian besar majalah wanita diterbitkan oleh orang Indonesia (majalah wanita Indonesia); sebagian yang lain merupakan majalah asing yang diterbitkan di Indonesia (edisi Indonesia). Dalam tulisan ini dimuat perbanfingan isi kedua kelompok majalah wanita tersebut, yang dikaitkan dengan isu tentang perempuan. dari perbandingan, tampak bahwa isu modernitas, yang terutama diusung majalah wanita asing edisi Indonesia, mempengaruhi tampilan isi majalah wanita Indonesia. "

"ABSTRAKIdentitas terdapat dalam konteks yang berbeda-beda, seperti psikologi, sosial, dan budaya, dengan artinya masing-masing. Dalam konteks sosiokultural, pembentukan identitas meliputi masyarakat maupun individu. Masyarakat memiliki peran yang penting dalam membentuk identitas di mana masyarakat memposisikan individu berdasarkan konteks sosial. Namun, individu juga memiliki peranan penting dalam pembentukan identitas di mana pilihan mereka dalam hidup mempengaruhi identitas mereka. Film-film dystopia seperti Trilogi Divergent seringkali menampilkan gagasan identitas dalam hubungannya dengan konteks sosiokultural. Trilogi tersebut menggambarkan latar belakang historis individu dalam konteks sosiokultural, yang meliputi pilihan hidup, hilangnya nilai-nilai tradisional, dan keunikan, yang mempengaruhi perubahan identitas individu. Di dalam trilogi tersebut ditampilkan bagaimana individu dibedakan dengan individu lainnya tetapi tetap ada hubungan di antara identitas individu yang satu dengan yang lainnya. Jurnal ini menyampaikan representasi dari identitas dalam konteks sosiokultural sebagai proses yang terus berkelanjutan, yang memfokuskan pada perjalanan hidup pemeran utama dalam trilogi tersebut, Divergent 2014 , Insurgent 2015 , dan Allegiant 2016 .

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ABSTRACTAbstractIdentity exists in many different contexts, such as psychological, social, and cultural, with each of different meaning. In sociocultural context, the formation of identity involves both the societies and individuals. Societies play a signifiant role in shaping identity in which they position the individuals regarding the social context. Individuals, though, also play a role in shaping identity in which their personal choices influence their identities. Dystopian films like The Divergent Trilogy often presents the idea of identity in relationship with sociocultural context. It depicts the historical backgrounds of the individual in the sociocultural context, including one rsquo s choice, loss of traditional values, and uniqueness, that influence the changes of individual identity. In the trilogy, it presents how the individual is distinguished from others, but there is also a relationship between the individual identity with others. This paper addresses the representation of identity in sociocultural cotext as an ongoing process, which focuses on the lead character rsquo s life journey throughout the trilogy, Divergent 2014 , Insurgent 2015 , and Allegiant 2016 . "

"Dalam era globalisasi ini, identitas menjadi sesuatu yang penting. West Is West 2010 oleh Ayub Khan-Din sebagai corpus penelitian ini menawarkan cara unik dalam merepresentasikan isu identitas dalam film ini. Dengan memusatkan penelitian pada karakter Sajid sebagai remaja Inggris-Pakistan yang selalu merasa tidak cocok dengan budaya Pakistan datang ke negara itu untuk pertama kalinya, studi ini pertama membahas konsep Positioning dan Being Positioned serta Being and Becoming oleh Stuart Hall dalam teori Identitas Budaya yang dikaitkan dengan film.Dengan menganalisa elemen film seperti dialog, adegan, dan kostum, disimpulkan bahwa karakter mengalami perubahan identitas. Tulisan ini menunjukkan bahwa West Is West memperlihatkan identitas budaya sebagai sebuah proses berkelanjutan dari relasi satu budaya dengan budaya lainnya.

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In this globalization era, identity becomes something important. West is West 2010 by Ayub Khan Din as the corpus of this study offers unique ways in representing the issue of identity in this movie. By focusing on the character of Sajid as a British Pakistani boy who is unaccustomed to Pakistani culture comes to the county for the first time, this study first discusses the concepts 'Positioning and Being Positioned' as well as 'Being and Becoming' by Stuart Hall in relation to the issue of cultural identity in the movie.By analyzing the elements of movie, such as dialogue, scene, and costume, this article concludes that the character experiences changes in identity. It shows that West is West exemplifies cultural identity as an ongoing process of the relation between one culture and other cultures."

"Tulisan ini bertujuan untuk mengungkap representasi wanita Muslim sebagai influencer gaya hidup Instagram dalam studi kasus tokoh Malaysia, Vivy Yusof; tokoh Indonesia, Raline Shah; dan tokoh Kuwait, Ascia, dan bagaimana identitas online mereka membentuk identitas wanita Muslim. Subjek penelitian ini adalah akun Instagram Vivy, Raline, dan Ascia @vivyyusof, @ralineshah, dan @ascia. Hasil penelitian menunjukkan bahwa media sosial merupakan platform untuk mempraktikkan perbedaan dan persamaan budaya yang menentukan identitas wanita muslim. Instagram menunjukkan perbedaan budaya melalui signifikansi penutup kepala dalam representasi ketiga influencer wanita Muslim. Namun, Instagram juga memberikan kemiripan yang terungkap melalui konten terkait pekerjaan mereka yang mengarah pada citra atau wanita super yang ideal. Representasi ini berkontribusi pada pemahaman tentang masalah bagaimana wanita Muslim menantang representasi berprasangka dan anggapan umum tentang iman dan gender yang disajikan dalam representasi penelitian akademis wanita Muslim. Oleh karena itu, penelitian kualitatif ini memberikan representasi yang seimbang.

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This paper aims to reveal the representation of Muslim women as an Instagram lifestle influencer in a case study of Malaysian figure, Vivy Yusof; Indonesian figure, Raline Shah; and Kuwaiti figure, Ascia and how their online identity construct Muslim women identity. The subject of this research is Vivy, Raline, and Ascia’s Instagram account @vivyyusof, @ralineshah, and @ascia. The results indicate that social media is a platform to practice cultural differences and similarities that determine Muslim women's identity. Instagram shows cultural differences through the significance of head-covering in the representation of the three Muslim women influencers. However, Instagram also provides similarities that revealed through their work-related content that leads to an ideal image or superwoman. These representations contribute to an understanding of the issue of how Muslim women are challenging prejudiced representations and common presumption about faith and gender presented in representations of Muslim women's academic research. Therefore, this qualitative research provides a balanced representation."

"Tesis ini akan menyajikan representasi atau gambaran jati diri perempuan dunia ketiga, khususnya perempuan kulit hitam Afrika, dari sudut pandang perempuan dunia ketiga itu sendiri dalam novel Second Class Citizen (1974) karya Buchi Emecheta, seorang pengarang perempuan Nigeria. Sebelum kaum perempuan dunia ketiga mulai berani menulis pada tahun 1970-an, karya-karya sastra didominasi oleh pengarang kolonial kulit putih dan pengarang laki-laki kulit berwarna. Perempuan Afrika sering direpresentasikan dari sudut pandang orang kulit putih atau kaum laki-laki Afrika sebagai sosok yang belum beradab, lemah dan bergantung pada laki-laki, menyerah terhadap ketertindasan, atau hanya terkait dengan urusan domestik.Ketika gelombang feminisme mulai menyebar ke seluruh penjuru dunia dan gerakan nasionalisme dunia ketiga dengan gencar memberikan perlawanan terhadap dominasi Barat, para perempuan Afrika mulai berani berbicara mengenai siapa dirinya, apa yang mereka alami, rasakan, dan inginkan, serta bagaimana mereka menyikapi dominasi kaum laki-laki serta penindasan yang dilakukan oleh kaum kolonial. Semua hal di atas dapat digali melalui seorang perempuan yang bernama Adah, tokoh utama perempuan dalam novel Second Class Citizen. Dalam novel ini Buchi Emecheta mendekonstruksi representasi perempuan Afrika yang selama ini diberikan oleh kaum laki-laki Afrika maupun orang kulit putih.Untuk menunjukkan adanya perbedaan dalam merepresentasikan perempuan Afrika, dalam tesis ini pula disajikan representasi perempuan Afrika yang dilakukan oleh pengarang kulit putih dan laki-laki Afrika. Karya-karya yang diambil adalah "No Witchcraft for Sale" (1960) karya novelis Inggris, Dorris Lessing, "Girls at War" (1972) karya sastrawan Nigeria, Chinua Achebe, dan "Song of Ocol" (1967) karya penyair Uganda Okot p'Bitek. Di sini perempuan Afrika direpresentasikan sebagai "the other" atau sosok lain yang berlawanan dengan orang kulit putih yang beradab dan "the marginal" atau kaum yang dipinggirkan oleh masyarakatnya karena konstruksi gender.Dalam karya-karya di atas, para pengarang memang memberikan simpati kepada kaum perempuan. Namun demikian, simpati yang ditunjukkan tidak disertai dengan ditampilkannya kaum perempuan Afrika sebagai kaum yang memberikan perlawanan terhadap dominasi kaum laki-laki dan kaum kolonial.Dalam novel Second Class Citizen, perempuan Afrika direpresentasikan sebagai perempuan yang memang berada dalam ketertindasan ganda atau "doubly colonized", baik oleh orang kulit putih dari segi ras maupun kaum laki-laki Afrika dari segi gender. Namun demikian, kaum perempuan Afrika gigih dalam memberikan perlawanannya terhadap dominasi laki-laki Afrika serta diskriminasi orang kulit putih. Perempuan Afrika direpresentasikan sebagai "the feminist" karena mereka benar-benar melawan setiap usaha kaum laki-laki Afrika untuk menempatkan perempuan pads posisi inferior dan marginal. Dalam novel ini pula Emecheta merepresntasikan perempuan Afrika sebagai sosok yang memiliki posisi tawar yang tinggi dalam melakukan negosiasi identitas dalam himpitan diskriminasi ras yang dilakukan oleh orang kulit putih inggris. Di samping itu, perempuan Afrika direpresentasikan sebagai "the diasporic", yaitu sosok yang sadar dan memiliki kekuatan dalam menentukan identitas budayanya."

"Since antiquity, representation (henceforth: RPT) has been a fundamental concept in aesthetics and semiotics. It has also been a crucial concept in political theory, forming the basics of representational theories of sovereignty, legislative authority and relations of individuals to the state (Lenthriccia, 1990, 11-13).In contemporary theories of RPT, both definitions have intersected. Relationship between language & politics is crucial to much contemporary works on RPT. Recent criticism also focuses on the links between texts and power. All RPTs have, either explicitly or implicitly, a political content. (Childers, 1995: 260-261).RPT has also been an issue of importance for post colonialists and feminists. RPT is an area of contestation between the dominant and the dominated (Ascroft, 1995: 85-87). Hall (1990: 222-237) problematises the concept and relates it to (cultural) identity and speaking position. According to Hall. (cultural) identity is a process, always constituted within RPT, which in turn, produced from a particular speaking position-a particular time and place. van Toorn (1995:1-12) distinguishes two kinds of speaking-position, those are fixed unitary-speaking position and postmodern speaking-position.RPT is a relevant issue in a multicultural and a settlers' community like Australia. The fact that Australia has over a hundred ethnic groups as its population and that since 1973, multiculturalism has been launched to manage migrants' population, does not automatically increase the participation of non-Anglo-Celtic (women) immigrants in political, economic or even in social and cultural arenas. Non-Anglo-Celtic women (henceforth: NAC women) immigrants are still doubly-marginalized. They are invisible and hardly represented in the dominant Anglo-Celtic discourse. They are marginalized in the dominant women's anthologies or also in their own ethnic's (male's) anthologies. When represented, they are -represented stereotypically as the Other, problem, victim or as a threat. And yet, they had contributed quite significantly in the development of (public) services and in manufacturing industry. They also have their own share in promoting Australia as a multicultural society through their cuisine, costume, dancing and other cultural artifacts.However, since the 1970s, the situation has changed gradually with the increasing quantity and quality of multicultural women writers articulating their own (migrant) experiences. In this study, I use the term 'multicultural women-texts' for all kinds of cultural expressions produce} by the NAC women. those are writers or cultural producers coming from outside British, Irish and indigenous backgrounds. The term `multicultural texts' has more positive connotation than migrants' atau ethnic (minority) writings. The term 'ethnic' or 'migrant' is problematic as it has always been associated with socio-historical writings which has no cultural capital and thus, classified as popular or marginal writings. Sneja Gunew is highly critical and suggests that the term should be deconstructed. Therefore, this study uses the term 'multicultural women-texts'.This study on "the politics of representations in multicultural women's discourse in Australia" is therefore based on the following reasons: (i) study about RPT has not iniated in Indonesia and yet, it is an important topic which has gained currency in Australia, (ii) the study on gender and ethnicity is relevant for our national context as Indonesia is multi-ethnic and is still in the process of developing gender-awareness across sectors.The questions formulated in my study are: (i) how are the stereotipic-RPTs on NAG women immigrants constructed through the dominant texts, popular novel They're a Weird Mob (henceforth:TWM), images from Immigrants in Focus (henceforth: IMF) and from For Love or Money (henceforth:FLM), Pauline Hanson's Maiden Speech(henceforth: PI-I) and through the multicultural women-texts, confession Give Me Strength(henceforth: GMS) and film Silver-City (henceforth: SC), (ii) how both experimental and transgressive multicultural women-texts Oh Lucky Country (henceforth:OLC) and Red Roses (henceforth: RR) re-construct alternative RPT which in turn, interrogate the previous stereotypic RPT of NAC women immigrants, constructed through the above six texts.Therefore, the purposes of the study are (i) to identify and to formulate the stereotypic RPTs of NAC women immigrants through the dominant Anglo-Celtic texts, TWM, IMF, FLM, PH and through multicultural women-texts, GMS and SC, (ii) to elaborate how transgressive multicultural women-texts, OLC and RR deconstruct the stereotipic RPT of NAC women and thus, re-construct the alternative RPTof an independent, assertive and sexually-liberated persona in OLC and of a feminin and cosmopolitan persona in RR.The fact that multicultural women-texts is still considered as marginal and the fact that this study uses different kinds of cultural products-popular novel, parliamentary speech, images, confession, film and highly experimental novels, it inevitably makes Cultural Studies (henceforth: CS) as the most-appropriate approach. Because (I) CS does not distinguish high culture from low culture, (ii) CS has developed interests in marginal groups; women, ethnic-minorities, black and so forth (During:1994, 2-20), which fits in with the topic of the study, (iii) CS regards all texts or discourses as politically and ideologically, rather than aesthetically, positioned (Storey, 1996:2) and hence, it would be instrumental for exposing the hegemonic practices of the Anglo-Celtic, discourse and consequently, for empowering the multicultural women-texts.Assuming that there are stereotipic RPT on NAC women immigrants, this study is designed as the following:(i) to identify and formulate the stereotipic RPT of NAC women through the dominant texts-TWM, Pt-I, IF - from which they are excluded and not represented and through FLM, in which they are represented as the Other, problem and victim. In short, they are either, silenced or represented stereotipically as a collective, anonimous, unskilled, domestic and proved to be victimised, in the dominant texts. Multicultural women-texts, GMS and SC, give them voices to `speak up' in the first-person account about their own migrant-experience. ironically both texts (re) represent NAC women immigrants as the Other, problem, victim and threat of their own (ethnic) patriarchy.The NAC women are represented as being doublymarginalisedlopressed. They are opressed by their own patriarchy which position them as as dependent (mother, wife, daughter, fiancee) and caught up in the domestic-sphere (cooking, washing, sewing, chlild-rearing). They are also represented as controlled and conditioned by the institutions of womanhood (virginity, respectability, innocence), marriage and motherhood (reproduction, child-birth, child-rearing).At the workplace, they are marginalized and work as domestic, seamstress, factory-worker, dress-maker, hairdresser. They are proned to be victimized and sexually abused as occurred to the leading character in SC. However, the NAC women in GMS and SC is finally represented as gaining material-success and stepping up the social-ladder and therefore, they express their gratitude?s for having migrated to Australia. The NAC woman in SC is even represented as having adopted the Australian :".'ay. In short, both texts reinforce the dominant Anglo-Celtic discourse.(ii) to deconstruct the stereotypic RPT and to re-construct the alternative RPT of the NAC women immigrants in both experimental and transgressive multicultural women-texts, OLC dan RR. This study uses two perspectives from CS- gender and ethnicity- to address the problems of stereotypic RPT and to empower the multicultural women-texts.To deconstruct the stereotypic RPT and to re-construct the alternative RPT, this study uses the intersection between feminists' discourse on the body and sexual politics and the discourse on loving ethnicity, adapted from bell hooks' loving blackness (1992: 2-20) to polities the private issues- womanhood, virginity, marriage, motherhood including the `myth' about the passivity of female sexuality-in the public sphere in order to deconstruct the male-chauvinistic Anglo-Celtic discourse and to reconstruct the NAG women in OLC as an independent, assertive, radical, sexually-liberated persona. The NAC women are not domesticated but represented as leading a public life and rejecting the concept of womanhood, virginity, marriage and motherhood.To deconstruct the stereotipic RPT in the previous texts and to reconstruct an alternative RPT on NAC women in RR, this study uses the feminists' discourse on female desire (Coward, 1984). This study examines how RR deconstructs the RPTs of NAC women as the Other, problem, victim, threat or as the authentic ethnic other (TWM, PH, 1F, FLM, GMS, SC) and also as a radical and sexually-liberated persona (OLC) in order to reconstruct the NAG woman subject as a feminin and cosmopolitan persona.Using female desire, this study analyses that the NAC woman subject in RR uses consumer culture to sustain themselves- with cosmetics, perfume, fashion, food, exercises and other consumer-products of lifestyles-and to reconstruct a multiple identities- as a pilot, doctor, cabaret-singer, ballerina and so forth. The NAC woman moves in both private and public spheres and celebrates `womanhood', 'motherhood', cooking, fashion and other activities previously condemned by feminists. The NAC woman subject is also not caught up in conflict with the dominant Anglo-Celtics.Summarizing the findings, this study identifies a couple of points to be raised. First, RPT is an important concept which could be politised for controlling/marginalizing or for empowering the represented object. Second, NAC women experiences are diverse, not unified. Third. 'gender and ethnicity' are instrumental for dismantling both the Angle and non-Anglo-celtic patriarchy and hence, for promoting the diversity of women-experiences.This study on gender and ethnicity is relevant for our national context as Indonesia is a multi-ethnic society which is in the process of developing gender-awareness across the board. Double-marginalization faced by the NAC women in Australia is parallel with the othering of ethnic-minority women in Indonesia from Arab, Chinese, Indo-Dutch descents and others). The mass rape of Indonesian-Chinese women in May 1998 and the sexual violence suffered by Acehnese women are all double-oppression against these ethnic-minority women.Monitoring the current public debate on gender (perspective) in our national context, this study wants to share perceptions and conclusion. First, difference amongst women's constituencies is as important as difference between women and men. It is a primary challenge for Indonesian feminists to manage and to capitalize on the diversity of its constituencies so as not to repeat the hegemonic practices of Western feminism and patriarchy which had homogenized or eliminated the Other. Second, RPT of Indonesian women (and its constituencies) are important to be empowered. Intervention should be made to reconstruct a new alternative RPT of Indonesian women. However, it is crucial to have media with gender-awareness to promote the new empowering RPT of Indonesian women."