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Abstrak :
Ekofeminisme memberikan suatu pendekatan baru terhadap dunia yang dimana tidak perlu adanya pertentangan mengenai sesuatu yang rasional atau irasional. Hal ini terdapat di dalam ekofeminisme yang menguraikan fungsi-fungsi mitos dalam relasi sosial juga lingkungan hidup. Dimana mitos-mitos ini digunakan sebagai spritualitas kritis yang memiliki kegunaan pengetahuan untuk seluruh kehidupan. Salah satu mitos yang berguna untuk manusia dan lingkungan adalah mitos mengenai hubungan manusia dengan alam dalam mengelola pertanian secara tradisional. Keberadaan mitos seperti ini membuat kita mengingat peran diri sendiri dalam menjaga dan menghargai alam. Terdapat krisis spiritualitas dan nilai-nilai mitos didalam kehidupan masyarakat modern yang memiliki hubungan dengan lingkungan. Beberapa mitos diyakini oleh kelompok-kelompok masyarakat sebagai simbol dan keyakinan mereka untuk lebih menghargai lingkungan atau alam. Artikel ini menggunakan metode ekofeminisme yang mengaitkan pengetahuan irasional dengan teori dari Charlene Spretnak dan Dewi Chandraningrum. Dengan menggunakan mitos-mitos yang dianggap sebagai pengetahuan irasional,justru masyarakat dapat lebih menghargai alam dan tidak semata-mata melihat alam sebagai objek yang dapat dieksploitasi untuk kepuasan manusia. ...... Ecofeminism provides a new place for the world, where there is no need for opposition to something rational or irrational. Ecofeminism found which describes the functions of myth in social relations as well as the environment. Where these myths are used as critical spirituality that has the use of knowledge for all life. One myth that is useful for humans and the environment is the myth about the relationship between humans and nature in managing agriculture traditionally. The existence of myths like this makes us remember the role of ourselves in maintaining and respecting nature. There is a crisis of spirituality and mythical values in the life of modern society that has a relationship with the environment. Some myths are believed by community groups as a symbol and their belief to be more respectful of the environment or nature. This article uses the ecofeminism method which links irrational knowledge with the theories of Charlene Spretnak and Dewi Chandraningrum. By using myths that are considered irrational knowledge, people can appreciate nature more and not merely see nature as an object that can be exploited for human satisfaction.

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National Cotton Acceleration Program (Program Akselerasi Kapas Nasional, PAKN) being incepted in East Sumba since 2008 has created three forms of resistance among female farmers in Tanamanang Village. The first form of resistance includes referring to the PAKN cotton as “project’s cotton,” which represents a negative inference, and can be categorized into a form of symbolic resistance. The second resistance is an open resistance since the actions can be observed in the female farmers’ daily routines. This form of resistance is done by defying the PAKN rules, such as the farming method and the sales agreement. The third form of resistance can be regarded as assertion resistance, whichv is done by rejecting the cotton demonstration plot being implemented in their front and back yard.

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This paper examines the relationship between women and nature in the village of Ratu Jaya Depok along the Ciliwung river. Ecofeminism framework suggesting oppression of nature as connected to the oppression of women is used. The Ciliwung river was a main water source for Dutch Batavia during the colonial era. It can no longer be used in this capacity due to bamboo felling, illegal logging and illegal housing upstream. Yet, Ratu Jaya women are still dependent on the Ciliwung river. Domestic work is completed using water from the Ciliwung, and not only that, the Ciliwung is a place to educate their children regarding the stones and bamboo. The water there is relatively clean. The women care for the river and rely on it for their children to survive climate change.

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Ecofeminism, or ecological feminism, is based on a belief that the social mentality that leads to the domination and oppression of women is directly connected to the social mentality that leads to the abuse of the natural environment. This paper, based on field assessments conducted from March - June 2013, will show that agricultural development models focused on income generation, as most of the women in agriculture projects are, are based on gender strategies that instrumentalize women to achieve productivity goals. These ideological hierarchies that instrumentalize women, also allow for the systematic domination of industry over smallholder farmers, and commodities over food security. In conclusion, these combined strategies are leading to the degradation of both rural, agricultural families and rural ecology in Indonesia.

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ABSTRAK

Zaman modern adalah sebuah masa yang mempunyai semangat perubahan, kemajuan, revolusi, dan pertumbuhan, dimana para pemikir ekofeminis sepakat melihat semangat ini adalah produk dari peradaban patriarkal. Industri kapitalis menjadi sebuah konsentrasi besar ekofeminisme yang melihat bahwa eksploitasi tidak hanya diarahkan kepada alam, melainkan juga perempuan. Vandana Shiva menjelaskan bagaimana perempuan, terutama di India, merupakan subjek yang paling dekat dan intim dengan alam, sehingga pada saat konsep pembangunan menundukkan alam muncul juga diskriminasi dan penindasan terhadap perempuan. Dengan menjelaskan prakrti sebagai prinsip feminitas, Shiva berusaha untuk menunjukan bahwa alam dan perempuan merupakan produsen atau penghasil kehidupan, dimana perempuan menyelenggarakan kehidupan melalui peran sosialnya.

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ABSTRACT

Modernism is an era that have enthusiasm to achieve something we called as progress, revolution, and development. But according to the ecofeminist, this kind of belief is a product from patriarchal culture which made gender-based ideology. Capitalism was the main concern to the ecofeminist who see it not only abused nature, but also women. Vandana Shiva explained how women, especially India‟s rural women, was an intimate part of nature, the only one that had a close relationship with nature. Thus, the capitalism would be the source of discrimination for both nature and women. With explained prakrti as a femininity principle, Vandana Shiva tried to show that nature and women as the producers of life, where women reproduce life not merely biologically, but also through their social role in providing sustenance.

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Dalam beberapa tahun terakhir, media animasi anak-anak tidak hanya berfungsi sebagai hiburan. Mereka mengalami perubahan drastis selagi menjadi lebih kritis terhadap isu-isu yang terjadi di masyarakat. Misalnya, penggambaran karakter wanita di masa lalu tidak sama dengan penggambaran wanita di media animasi saat ini. Begitupun juga dengan penggambaran laki-laki. The Loud House, salah satu serial televisi animasi anak-anak yang juga mengikuti tradisi mengeksplorasi isu-isu saat ini, mencoba merekonstruksi hubungan laki-laki dengan alam dengan menunjukkan bahwa mereka memang bisa peduli terhadap alam. Dengan menggunakan analisis tekstual yang dikombinasikan dengan konsep gender, kekuasaan, dan ekomaskulinitas, penelitian ini bermaksud memeriksa hubungan antara relasi kuasa berbasis gender di antara tokoh-tokoh utama dan perilaku mereka terhadap alam. Hasil penelitian ini menunjukkan bahwa The Loud House berhasil menghilangkan dualitas gender penindas-tertindas dan juga melengkapi kritik ekofeminisme dengan menunjukkan bahwa laki-laki juga dapat memiliki hubungan yang dekat dengan alam.

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In recent years, children`s animated media do not only serve as a form of entertainment. They have undergone drastic change as they become more critical towards issues occurring in society. For instance, the portrayal of female characters in the past is not the same as the portrayal of women in today`s animated media. The same applies to the representation of men. The Loud House, one of the children`s animated television series also following the tradition of exploring current issues, tries to reconstruct men`s relationship with nature by demonstrating that they can indeed care for it. Using textual analysis combined with the concept of gender, power and ecomasculinity, this research intends to examine the correlation between the gender-based power relations among major characters and their behaviour towards nature. The result of this research shows that The Loud House succeeds in eliminating gendered oppressor-victim dualities and also complementing ecofeminists` critique by demonstrating that men can have closer relationship with nature

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Konstruksi patriarki memandang menstruasi sebagai hal yang kotor dengan berlandas pada suatu prasangka yang keliru terhadap darah yang merupakan lambang kematian. Implikasi dari hal ini adalah adanya anggapan bahwa rahim membawa penyakit yang disebut dengan “penyakit perempuan”. Bias yang terjadi menyebabkan perempuan merasa malu dengan adanya menstruasi melanggengkan narasi patriarkal mitos menstruasi. Nilai-nilai yang tertanam secara mengakar dan kontinu berdampak pada perempuan yang kehilangan otoritas atas tubuhnya. Ilmu pengetahuan dan kapitalisme yang berkembang pesat membuat opresi terhadap perempuan makin kuat, bahkan produk menstruasi kini dikapitalisasikan. Kapitalisme yang berfokus pada profit mengabaikan kerusakan alam yang diakibatkan dengan banyaknya limbah pembalut. Ekofeminisme menunjukkan adanya opresi terhadap alam dan perempuan yang masih berlanjut hingga saat ini dan tidak mungkin untuk membebaskan salah satunya tanpa mengorbankan yang lain. ......The patriarchal construction views menstruation as a dirty thing based on the mistaken prejudice of blood which is a symbol of death. The implication of this is the assumption that the uterus carries a disease called "women's disease". The bias that occurs causes women to feel ashamed about menstruation, perpetuating the patriarchal narrative of the menstrual myth. Values that are deeply rooted and continuous have an impact on women who lose authority over their bodies. Science and capitalism that are developing rapidly make the oppression of women stronger, even menstrual products are now capitalized. Profit-focused capitalism ignores the natural damage caused by the abundance of sanitary napkins. Ecofeminism shows that there is an oppression of nature and women is still ongoing today and it is impossible to liberate one of them without sacrificing the other.

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Women and nature have a bonding which reflect the connectedness between humans and non-humans. The exploitation of women affects nature and viceversa. The novels Entrok, written by Okky Madasari, Tarian Bumi by Oka Rusmini, and Trilogi Ronggeng Dukuh Paruk by Ahmad Tohari narrate the experiences of women struggling to survive in cultures dominated by the patriarchal system. This article uses qualitative research methods to describe data about the women’s experiences of their encounters with exploitation in these three novels. All data were decoded using the ecofeminism theory. The results show that their nurturing character is a power in the spirituality of women, and it was used in patriarchal systems. The notion of feminization, which preserves both nurture and love, proved insufficient for this purpose as it objectifies women and weakens the struggle. To strengthen the advancement of women, it is important to develop the ethical relationship between humans and nature.

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Contemporary art practices have developed expansively over the global stage with the development of big international exhibitions, including those held in museums or biennales and festivals. In the last decade, the global art world has witnessed the contestation of powers among institutions and art practitioners generated by massive movements such as Occupy Movements, Arab Springs, Black Lives Matter, which has shifted the positionalities of artists and arts in the Global South. This shift also encourages discussions on decoloniality in the art system and art history, including how to centralize the issue of gender equality. Southeast Asian women artists have expanded their practices to show their individual world views, and touch upon political and ideological contexts revealing common urgencies on such issues as ecology, history, spirituality, and humility. This essay discusses art works created by women artists in Southeast Asia presented as part of the Biennale Jogja Equator (BJE) series in the period 2011 to 2021. This has provided artists with possibilities to engage in critical conversations and experiences, usually the preserve of the male-dominated sphere. By looking into these projects, the wide range of the shared trauma of violence, war, and colonialism, ecological damage, and lost livelihoods, to the pilgrimage towards the inner-self, have been juxtaposed and interwoven to create an imagination of collective futurism.