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"This article illuminates the author's concern that policies of multiculturalism which reverberated around the euphoria of the reformasi era appears to be in fact a response of the New Order government policy which emphasize on 'mono-culture' policy. The author sees that is not an impossible thing that policies of multiculturalism will be trapped on primordialism and certain ethnic domination. The author builds the argument from empirical data collected from art inventions of several ethnic groups in Indonesia that illustrate there is a tight relationship between art inventions and ethnic existence identity/solidarity. Arts invention brings toward identity reinforcement, existence, and finally authority from the ethnic group. This empirical data demonstrates that arts invention brings ethnic authority not only arts authority, but also authority in political life. Studying from the data raises the concern that multicultural policies which gives freedom to culture will bring to authority formation and concentration among ethnic groups with the strong potential in creating their arts. When this happens, Indonesia will return to certain ethnic domination. Is the government ready for the possible implication of such multicultural policies?"

"Berbagai bentuk karya (seni) yang merupakan ekspresi dapat diperlakukan sebagai identitas atau 'identitas' (baca:representasi), karena dua hal. Pertama, para peneliti berhasil memasuki kandungan mental seniman yang melahirkan karya-karya otentik, seperti misalnya penelitian Kenneth George tentang kaligrafi Pirous. Kedua, proses pemaknaan suatu karya (seni) dianggap cukup penting sehingga pada gilirannya karya itu dapat menjadi ajang kontestasi untuk bisa menjadi representasi identitas. Contoh dari proses pemaknaan ekspresi seni itu, sangat jelas pada kajian Jennifer Santos tentang kerajinan tangan masyarakat desa Tegallalang, Bali, juga Juliana Wijaya tentang alih kode dalam tuturan dan Tito Imanda tentang Si Unyil anak Indonesia. Seperti telah dikatakan sebelumnya, makna suatu ekspresi maupun proses pemaknaannya sangat tergantung pada berbagai konteks di mana karya itu diekspresikan. Karya seniman seperti lukisan, teater, tari, seni kerajinan dan berbagai bentuk karya lain seperti film, surat kabar dan narasi, mempunyai makna yang lahir karena pengaruh persentuhan kebudayaan. Persentuhan satu kebudayaan dengan kebudayaan lain, satu kebudayaan lokal dengan kebudayaan nasional atau dengan kebudayaan masyarakat global.""

"In many multi-ethnic and multi-religious societies, nation building has often become the urgent task of the government. Under the authoritarian rule of Soeharto, the state introduced an assimilationist policy towards the ethnic Chinese. As the model of the Indonesian nation was based on indigeneity, the ethnic Chinese, considered to be foreign, were expected to be absorbed into the 'native population'. However, after the fall of Soeharto and the rise of a more democratic regime, this policy has been gradually abandoned and multiculturalism has been adopted. This paper aims at examining the evolving concept of the Indonesian nation, the state changing policies towards the ethnic Chinese and the responses of this minority, especially after the fall of the New Order regime. The revival of Chinese ethnicity and the relationship with nation building in the land of the Garuda will also be discussed."

"This aritcle discusses about the phenomenon of globalization involving two fishermencommunities, the Tomalou fishermen in Tidore islands and the Philipines fishermen. Bothof them sail and hunt in the same seawater zone, constructed and formed as a transborderterritory between Indonesia and the Philipines. The natural resources management systemthrough decentralization should ensure the exsistence of local fishermen (Tomalou) to gainmarine (fish) resources, secured by government without interference by the Philipine fishermen.The data in this paper has been analyzed with several transborder theories. As a result, thispaper shows that the state representated by the regional government has failed to protect thelocal fishermen (Tomalou) and ensure in continued presence in achiving welfare from the searesources."

"Non-processual approaches in anthropology have been heavily criticized for not providing an adequate framework for explaining the emergence of socio-cultural phenomena, and the processes and mechanisms of change. Socio-cultural life is undeniably dynamic and everchanging. In facing this matter many anthropologists have turned to a processual approach in studying the dynamics of culture in the last two decades. In this article the author shows how the a processual approach is applied to the study of cultural dynamics. The author begins by discussing the unit of analysis and focus of study in a processual approach. Following that, she discusses the implication of this upon the methods and strategies for uncovering, describing and explaining change. The author also shows how this approach can uncover the heterogeneous nature of a socio-cultural phenomenon and the extent to which that heterogeneity allows change to occur. Her arguments are based upon empirical cases of knowledge transmission and formation among farmers in several locations on the north coast of West Java and Central Lampung."

"This paper illustrates the significance of underground comics in Indonesia in the absence of a national comics industry. Underground comics means that its selling is independent of common marketing channels, and the comics usually have non-conventional graphics and narrative style. The author focuses on the life and works of Athonk, an Indonesian independent comics' artist, bypasses conventional modes of marketing and strengthens the global network of independent comics' artists and fans through internet. Fed up with the absurdity of Indonesian cultural and political life, Athonk is consistently creating stories of contestation between the powerful and powerless with cynicism through his amusing characters and language. The author places Athonk in the context of Indonesia art history, and debate between 'high art' and 'low art' that dominates discussion of art in Indonesia. The situation discredits comics as a 'low art' form which makes it still very far from establishing its position. Ironically, public welcome his art and this motivates him to keep working. This article hopefully will give broader picture about Indonesian comics as a potential art form and expression in the future."

"Non-processual approaches in anthropology have been heavily criticized for not providing an adequate framework for explaining the emergence of socio-cultural phenomena, and the processes and mechanisms of change. Socio-cultural life is undeniably dynamic and everchanging. In facing this matter many anthropologists have turned to a processual approach in studying the dynamics of culture in the last two decades. In this article the author shows how the processual approach is applied to the study of cultural dynamics. The author begins by discussing the unit of analysis and focus of study in a processual approach. Following that, she discusses the implication of this upon the methods and strategies for uncovering, describing and explaining change. The author also shows how this approach can uncover the heterogeneous nature of a socio-cultural phenomenon and the extent to which that heterogeneity allows change to occur. Her arguments are based upon empirical cases of knowledge transmission and formation among farmers in several locations on the north coast of West Java and Central Lampung."

"In this article, the author assumes that the clear-cut distinction between modern and traditional arts is merely a form of scientific construction which needs to be re-examined. The political, social and cultural problems underlying the development of modern art, in particular in developing countries are quite different from those in Euro-American countries. Therefore, the artistic expressions are also different and cannot be analyzed in terms of aesthetical standard as developed in the West. The author provides evidences that the modern art in Indonesia has its own discourse. An intensive dialogue' between the traditional and the modern elements is going on. Three cases drawn from three artists are discussed in this article as the example of the ongoing dialogue."

"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."

"Betawi culture is filled with traditions rooted in the myriad ethnic groups that came together to form that culture in the past. Some of these traditions have on occasion been the subject of debate as to their proper origin. While some traditions have disappeared, those that are of Chinese origin have been repressed or outlawed during the past several decades. However, the author notes that since the fall of the New Order in Indonesia, performances of the Liangliong and Barongsai have been staged ever more frequently. She discussed the problem within the framework of Hobsbawm's 'invention of tradition', and goes to show how there invention of these performances is marked by a change in their functions, and is linked to a previously unacknowledged Betawi elite."