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Abstrak :
Disertasi ini ingin membangun argumen melalui studi perubahan pada musik Kakula (ensambel gong) bahwa pengaruh kebijakan kebudayaan pada sebuah musik tradisi tidaklah sesederhana mengakibatkan dikotomi antara kesenian Negara dan kesenian yang tumbuh di masyarakat. Dalam perjalanan selanjutnya Kakula mengalami perkembangannya yang cair seiring dengan berubahnya identitas pemakainya sehingga menembus dikotomi tersebut. Di samping itu peran individu, agensi, seniman sangat menentukan dalam menyiasati kebijakan kebudayaan. Dengan demikian, musik tersebut berguna bukan hanya untuk kepentingan pemerintah, melainkan pula untuk kepentingan kesenian itu sendiri, seniman dan masyarakat pendukungnya. ...... By studying the changes in Kakula music tradition (gong ensemble), this dissertation argues that the impact of cultural policy in a music tradition cannot be divided simply in to state arts versus community arts. Kakula grows fluidly with the shift of the identity of the user and penetrate that dichotomy. In addition, the role of individuals, agencies, artists, are significantly important to deal with cultural policy. Thus, music gives benefit not only for the government, but also for the artists and community.

Abstrak :
[ABSTRAK
Panji Angreni merupakan karya sastra yang disalin pada tahun Jawa 1723 atau 1795 dari suatu teks abad ke-17 yang?sayang?tidak diketahui teks induknya, pada masa ?budaya lisan kedua?. Teks dibingkai dengan sekar macapat, terdiri atas 48 pupuh ?bab? dan meliputi 1.983 pada ?bait?. Jarak budaya menimbulkan pertanyaan: bagaimana ?cara membaca? PA bagi pembaca masa kini. Dalam hal ini ?cara membaca? merujuk pada pemaknaan, karena bagaimanapun makna sastra lama dapat dipahami jika ada keakraban antara pembaca dan konvensi pada zamannya. Analisis menunjukkan bahwa PA, sebagai teks tulis, menujukkan ciriciri kelisanan melalui formula/formulaik. Keberpautan antara kelisanan dan keberaksaraan ditunjukkan oleh macapat sebagai bingkai teks: membaca teks yang dibingkai macapat harus dinyanyikan karena aturan formal pembaitan macapat sekaligus bertautan dengan tata susun nada. Pembacaan teks dengan cara ditembangkan seturut tata susun nada akan menghasilkan makna secara padu? baik tekstual maupun keindahan: kisahan, leksikal, tematik dan bunyi (segmentalsuprasegmental- musikal). Membaca PA seyogianya juga memahami pakeliran ?pergelaran wayang? kerena adanya tapak-tapak pakeliran pada PA.;

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ABSTRACT
Panji Angreni is a literature work which was copied in the Javanese year of 1723 or 1795 AD from 17th century text in the era of ?secondary oral culture? that? unfortunately?was not known for its first hand manuscript. The text of Panji Angreni is framed by macapat?s songs that consist of 48 cantos ?chapters? and cover 1,983 couplets ?stanzas?. A cultural distance raises a questions on ?how ?to read? Panji Angreni to current readers?? The ?how to read? phrase refers to the meaning, because an old literature meaning can be understood if there is a familiarity between a reader and conventions text era. Analysis showed that Panji Angreni, as written text, has literacy characteristic through formula/formulaic. An interlocking between orality and literacy is shown by macapat as atext frame; wheres reading a text that is framed by macapat should be sung because formal rules in macapat?s stanzas are engaged to tone row order. Reading the text by singing it in accordance to tone row order will result in coherent meaning, both textual an beauty meaning, particulary in narratives, lexical, thematic and sound (segmental-suprasegmantal-musical). Moreover, those who reading Panji Angreni should also understand pakeliran ?leather puppet performance story? because there are many tracs of pakeliran in Panji Angreni.;Panji Angreni is a literature work which was copied in the Javanese year of 1723 or 1795 AD from 17th century text in the era of ?secondary oral culture? that? unfortunately?was not known for its first hand manuscript. The text of Panji Angreni is framed by macapat?s songs that consist of 48 cantos ?chapters? and cover 1,983 couplets ?stanzas?. A cultural distance raises a questions on ?how ?to read? Panji Angreni to current readers?? The ?how to read? phrase refers to the meaning, because an old literature meaning can be understood if there is a familiarity between a reader and conventions text era. Analysis showed that Panji Angreni, as written text, has literacy characteristic through formula/formulaic. An interlocking between orality and literacy is shown by macapat as atext frame; wheres reading a text that is framed by macapat should be sung because formal rules in macapat?s stanzas are engaged to tone row order. Reading the text by singing it in accordance to tone row order will result in coherent meaning, both textual an beauty meaning, particulary in narratives, lexical, thematic and sound (segmental-suprasegmantal-musical). Moreover, those who reading Panji Angreni should also understand pakeliran ?leather puppet performance story? because there are many tracs of pakeliran in Panji Angreni., Panji Angreni is a literature work which was copied in the Javanese year of 1723 or 1795 AD from 17th century text in the era of “secondary oral culture” that— unfortunately—was not known for its first hand manuscript. The text of Panji Angreni is framed by macapat’s songs that consist of 48 cantos ‘chapters’ and cover 1,983 couplets ‘stanzas’. A cultural distance raises a questions on ‘how “to read” Panji Angreni to current readers?’ The “how to read” phrase refers to the meaning, because an old literature meaning can be understood if there is a familiarity between a reader and conventions text era. Analysis showed that Panji Angreni, as written text, has literacy characteristic through formula/formulaic. An interlocking between orality and literacy is shown by macapat as atext frame; wheres reading a text that is framed by macapat should be sung because formal rules in macapat’s stanzas are engaged to tone row order. Reading the text by singing it in accordance to tone row order will result in coherent meaning, both textual an beauty meaning, particulary in narratives, lexical, thematic and sound (segmental-suprasegmantal-musical). Moreover, those who reading Panji Angreni should also understand pakeliran ‘leather puppet performance story’ because there are many tracs of pakeliran in Panji Angreni.]

Abstrak :
Penelitian ini bertujuan untuk mengkaji Katingka dan Zikir dalam Tradisi Ritual Meagoliwu pada Masyarakat Koroni di Buton Utara. Hasil: Tradisi Ritual Meagoliwu pada Masyarakat Koroni saat ini masih terdapat di tiga desa: Lasiwa, Laeya, dan Maligano. Bentuk pelaksanaan di masing-masing desa mengandung persamaan dan perbedaan. Di Desa Laeya mengandung unsur kepercayaan Hindu dan di Desa Maligano mengandung unsur kepercayaan Islam. Pelaksanaan ritual meagoliwu di kedua desa tersebut tidak berjalan dengan baik. Hal ini disebabkan oleh keterlibatan lembaga adat dalam permainan politik dalam desa. Ritual meagoliwu yang ada di Desa Lasiwa menggunakan dua bentuk ritual yang berbeda, yaitu katingka dari unsur kepercayaan Hindu dan zikir dari unsur kepercayaan Islam. Namun unsur perbedaan bentuk dalam pelaksanaan ritual Meagoliwu tidak mengganggu keharmonisan hidup bermasyarakat. Terciptanya keharmonisan tersebut, berkat peran lembaga sara lembaga adat/imam desa dalam menyakinkan kepala desa mengenai pentingnya ritual meagoliwu adalah demi terciptanya ldquo;keamanan rdquo; dalam masyarakat. Kondisi tersebut tercipta berkat komunikasi yang baik antara lembaga sara dengan kepala desa. Kata kunci: Kabupaten Buton Utara, Katingka, Zikir Masyarakat Koroni, Ritual Meagoliwu

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This research aimed to study about the Katingka and Zikir in Tradition of Meagoliwu Ritual of Koroni People in North Buton Regency. The result showed that today the tradition of Meagoliwu ritual can be seen in three villages, those are Lasiwa, Laeya and Maligano Villages. In each of these villages, there are differentiations and similarities during the implementation of this ritual. Tradition of Meagoliwu Ritual in Laeya Village has some elements from Hindu faith while in Maligano Village has some elements from Islamic teaching. The implementation of the ritual does not run well due to the involvement of traditional institution in political intrigue within the community. Tradition of Meagoliwu Ritual in Lasiwa Village applies the two kinds of different ritual they are katingka with Hinduism elements and katingka with Islamic elements. Yet, those different elements do not bother the harmony within the society. The institution of Sara traditional institution traditional priest has the role to create the harmony within the society. The institution ensures Kepala Desa that the importance of ritual meagoliwu is for the society lsquo safety rsquo . The good communication between Sara Institution and Head of the Village embodied the safety. Keywords North Buton Regency, Katingka, Zikir of People in Koroni, Meagoliwu Ritual.

Abstrak :
Disertasi ini membahas permasalahan para imigran Maghribi di Prancis sekitar tahun 1970-1990 dalam LRG dan LYB Karya Tahar Ben Jelloun. Tujuannya adalah untuk melihat permasalahan para imigran Maghribi di Prancis ditampilkan dalam karya dan bentuk penyajiannya. Penelitian ini merupakan penelitian kualitatif yang menggunakan metodologi strukturalisme serta konsep-konsep mimikri dan hibriditas. Hasil penelitian menunjukkan bahwa para imigran Maghribi di Prancis dalam LRG dan LYB mengalami keterombang-ambingan karena tidak dapat "masuk" dalam budaya Prancis, padahal mereka telah "meninggalkan" budaya asal. Usaha untuk "masuk" dalam budaya Prancis mereka lakukan dengan cara bermimikri, meniru dan mengadopsi budaya Prancis. Mereka menjadi tokoh-tokoh yang hibrid, namun mereka tetap berada pada posisi abject, atau "tidak berada dimana-mana". Dapat saya katakan bahwa mereka berada dalam situasi cité de transit. Tahar Ben Jelloun, sang penulis, menyajikan permasalahan para imigran Maghribi melalui bentuk novel yang hibrid: tradisi realis Prancis, tradisi lisan yang diakrabinya dari Maghribi, dan teknik-teknik jurnalistik sebagai pengaruh dari pekerjaannya sebagai jurnalis. ...... This dissertation is the result of research and analysis the issues of Maghrebian immigrants in France from 1970 up to 1990. The goal of this dissertation is to explore and to find out the Maghrebian immigrant problems presented in the LRG and LYB novels written by Ben Jelloun, a famous French novelist. This qualitative research apply structuralism methodology and utilizing of mimicry, hibridity, and abjection’s concepts. Through the analysis of text structure, it can be concluded that the Maghrebian immigrants were vacillated as they were incapable of adjusting themselves in French culture whilst they have had "left" their native culture. They had been trying adjusting themselves to be accepted in the French Culture by many ways such as mimicry, imitating, and adapting French Culture. Unfortunately, they just achieve what we call the hybrid figures, and they keep remain in the "abject" position or "not being everywhere". I would say that they are in the situation of cité de transit. Tahar Ben Jelloun, the author, presents issues of Maghrebian immigrants intelligently through a hybrid novel combined of French realist tradition, oral tradition of Maghreb and journalistic techniques as the influence of his profession as a journalist.

Abstrak :
ABSTRAK
Penelitian ini mengungkapkan kesintasan tradisi lisan tyarka di Kepulauan Babar Maluku Barat Daya yang dilihat dari aspek kebahasaan dan pertunjukan, pemertahanan dan pewarisannya. Kesintasan dari aspek kebahasaan diperlihatkan melalui kreativitas produksi ekspresi puitik, sedangkan aspek pertunjukan dikaji berdasarkan situasi pertunjukan dan partisipasi penonton. Pemertahanan dan pewarisan tyarka sebagai warisan seni diungkap dalam kaitan dengan memori kolektif masyarakat Babar. Penelitian ini adalah penelitian kualitatif dengan menggunakan metode etnografi. Data penelitian difokuskan pada pertunjukan tyarka dari Babar Timur dan Pulau Masela dengan tetap memperhatikan data tyarka dari pulau lainnya di Kepulauan Babar. Temuan yang diperoleh dari analisis kelisanan dan ekspresi puitika menunjukkan struktur dan komposisi tyarka yang memiliki pola perulangan baku dalam pluralitas bahasa tua di Kepulauan Babar. Struktur tyarka menggambarkan falsafah ldquo;pohon dan ujung rdquo; yang merupakan metofora kesintasannya, sedangkan komposisi tyarka mengikuti melodi dasar yang diatonis karena pengaruh musik Barat. Sebagai sebuah pertunjukan ritual yang diyakini kesakralannya, tradisi lisan tyarka mengalami perkembangan yang cukup signifikan setelah terbentuknya Kabupaten Maluku Barat Daya. Upaya untuk mempertahankan dan mewariskan tyarka menunjukkan sikap kepedulian yang didasari penghargaan dan penghormatan terhadap tradisi leluhur dalam kesinambungan antargenerasi. Hal ini menjadi suatu kekuatan kultural masyarakat Babar sebagai masyarakat kepulauan yang tetap menjaga kesatuan dan keterikatan secara adat.

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ABSTRACT
This research had been carried out to expose the survivorship of oral tradition tyarka in Babar Archipelago, South West Mollucas based on its language aspect and performance, defense, and inheritance. The language aspect showed its surviving through creativity production in its poetic expression, while its performance had been studied based on its show rsquo s situation and the audience participation. The defense and inheritance of tyarka as an art heritage had been revealed related to the collective memory of Babar community. This research is a qualitative research using an etnography method. The data were focused on the tyarka performance in Eastern Babar and Masela Island without neglecting the others in Babar Archipelago. By analizing the oral and poetic expression, it was found that the structure and composition of tyarka have repeating patterns in the old language plurality in Babar Archipelago. The structure of tyarka describes ldquo tree and edge rdquo philosophy which is its survival methaphore. Its composition followed the basic diatonic melody influenced by Western music. As a ritual performance which is sacred, the oral tradition tyarka have been developing significant after the forming of the South West Mollucas Regency. The endeavour to defend and inherit tyarka showed the concern and appreciation of the community toward their ancesor and its regeneration. This effort becomes a cultural power of Babar community as an archipelago community to keep their unity and involvement.