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"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."

"Dalam perkembangannya di masa kini, video game kerap memasukkan unsur-unsur kebudayaan dalam permainannya sebagai bagian dari konten promosi budaya ataupun konten atraktif yang dapat menarik perhatian para pemain game. Seperti video game Genshin Impact yang memasukan unsur-unsur kebudayaan beberapa negara populer pada negara-negara fiksinya, seperti Mondstadt sebagai representasi budaya Jerman, Liyue sebagai representasi budaya Cina, dan Inazuma sebagai representasi budaya Jepang. Penelitian ini berfokus pada analisis representasi budaya Ainu yang ada di Pulau Tsurumi, Inazuma dalam video game Genshin Impact. Penelitian ini metode kualitatif analitik melalui observasi pada video game dan studi studi pustaka untuk mengetahui budaya Ainu pada Genshin Impact dan dianalisis bentuk representasi budayanya berdasarkan teori representasi reflektif. Berdasarkan hasil penelitian ini adalah adanya representasi budaya Ainu pada konten, nama, benda, fitur dan nama-nama tempat di Pulau Tsurumi, Inazuma dalam video game Genshin Impact, yaitu Maushiro, Kanna Kapatcir, “Pirika cikappo kapatcir-kamui”, serta nama-nama tempat yang ada di Pulau Tsurumi, seperti Oina Beach, Moshiri Ceremonial Site, Chirai Shrine, Mt. Kanna, Shirikoro Peak, Autake Plains, Wakukau Shoal yang mengandung unsur kebudayaan Ainu, Jepang.

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In today's video games development, developers often include cultural elements in their games as part of promotional content to attract players. As an example, video game Genshin Impact includes cultural elements of several popular countries in its fictional countries, such as Mondstadt as a representation of German culture, Liyue as a representation of Chinese culture, and Inazuma as a representation of Japanese culture. This study will focus on analyzing the representation of Ainu culture in Tsurumi Island, Inazuma in the Genshin Impact video game. This study uses an analytical qualitative method through observation of video games and literature studies to find out the Ainu culture in Genshin Impact and analyze the form of cultural representation based on reflective representation theory. Based on the results of this study, there are representations of Ainu culture in the contents, names, objects, features and place names on Tsurumi Island (Genshin Impact). Those representations are Maushiro, Kanna Kapatcir, "Pirika cikappo kapatcir-kamui", as well as the names of places on Tsurumi Island, such as Oina Beach, Moshiri Ceremonial Site, Chirai Shrine, Mt. Kanna, Shirikoro Peak, Autake Plains, Wakukau Shoal."

"Dalam makalah ilmiah ini, saya mencoba berefleksi atas pengalaman saya dalam program Indonesian International Student Mobility Awards (IISMA) untuk menunjukkan bagaimana program-program yang dilaksanakan dalamnya beserta dengan diskursus mengenai ekspektasi akan partisipan IISMA ini, mengindikasikan bahwa IISMA merupakan proyek untuk mempromosikan budaya Indonesia dan juga mencoba menciptakan citra tersendiri untuk 'orang Indonesia' di mata masyarakat asing. Namun, saya melihat bahwa dalam upaya mempromosikan kebudayaan Indonesia ini, para koordinator IISMA mengedepankan suatu konsepsi kebudayaan Indonesia yang dibentuk oleh pemikiran Orientalis yang mendorong kami untuk menampilkan kebudayaan Indonesia selayaknya sebuah kebudayaan yang primitif, statis, dan eksotis . Dalam hal ini, saya juga akan menarasikan upaya-upaya saya untuk melawan cara berpikir self-orientalist tersebut, baik itu melalui upaya-upaya untuk mengubah konstruksi self-orientalist itu sendiri, atau dengan menggunakan penggambaran eksotis tersebut untuk memahami identitas saya itu sendiri.

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In this paper, I aim to reflect upon experiences from my participation in the Indonesian International Student Mobility Awards (IISMA) program to show how the various programs and discourse regarding the expectations for the recipients of the awards point to the program being a project of promoting Indonesian culture and in cultivating a specific image of ‘an Indonesian’ in the eyes of our foreign audience. However, I argue that in these efforts of promoting Indonesian culture, the coordinators of the IISMA program push forward a conception of Indonesian culture that is shaped by Orientalist thought which push us to portray our own culture in a manner that reinforces depictions that paint us as a primitive, static, and exotic culture. I will also narrate how throughout my participation in this event, I have attempted to exercise my own agency to resist against these self-orientalist modes of thinking, either in attempts to reshape them or in using them to find my place during my time abroad.

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