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"Makalah ini menelaah pentingnya hibriditas sosial-budaya dalam proses perkembangan arsitektur dan kota melalui perspektif kolonialisme dan multikulturalisme. Sebagai hasil interaksi dinamis selama berabad-abad antara beberapa kelompok etnis termasuk Melayu, Cina, dan Eropa, Muntok yang menjadi ibukota pulau Bangka sebelum abad ke-20 menawarkan ragam bentuk bangunan dan pola kota yang unik. Jangkauan makalah ini memfokuskan pada perpotongan antara sejarah kolonial dan hibriditas itu sendiri, yaitu melalui representasi material budaya. Metode riset dilakukan melalui kombinasi antara pendekatan kualitatif dan kuantitatif, termasuk wawancara, koleksi data dan analisis tipologi. Hibriditas menjadi alat kritikal untuk mengungkapkan proses dinamis pada arsitektur dan kota. Riset ini menemukan bahwa arsitektur hibrid tidak hanya tentang keberadaan aspek-aspek fisik dari bangunan, tapi juga paling penting adalah integrasi dan hubungan dialektikal antara materialitas dan proses sosial-budaya di belakangnya.

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This paper concerns the importance of socio-cultural hybridity in the process of architecture and urban development. It confronts spatial particularity occurring between the discourses of colonialism and multiculturalism. As a result of centuries of dynamic interaction amongst several ethnic groups including Malay, Chinese and European, Muntok as the colonial capital town of Bangka Island before 20thcentury offers various architectural edifices and urban forms. The scope of this paper focuses on the intersection between colonial history and hybridity itself and the research analyses its material represent through architecture and urban form. The methods of the research are conducted through a combination of a qualitative and a quantitative approach involving direct interviews, data collection, and typological analysis. Hybridity becomes a critical tool to reveal the dynamic process of architecture and urbanism. The research found that hybrid architecture is not only about the existence of physical aspects of buildings, but also most importantly about the integration and dialectical relationship between its materiality and the socio-cultural processes that lie behind it."

"Skripsi ini memperlihatkan bagaimana suatu grup kesenian tradisional yaitu Paguyuban Wayang Orang Bharata yang melestarikan kesenian tradisional wayang orang dapat bertahan di kota besar seperti Jakarta, dimana hiburan modern yang lebih menarik semakin bermunculan. Maka tulisan ini juga mengkaji bagaimana transmisi kebudayaan khususnya dalam mempelajari kesenian yang dilakukan oleh anggota Paguyuban Wayang Orang Bharata dalam memelihara regenerasi sehingga pelestarian kesenian tradisional wayang orang pun dapat terus berjalan hingga sekarang. Transmisi kebudayaan ini juga berkaitan dengan proses sosialisasi dan proses enkulturasi yang terjadi di Paguyuban Wayang Orang Bharata. Selain itu, kebudayaan dan nilai-nilai yang dianut oleh anggota Paguyuban Wayang Orang Bharata juga mempengaruhi sosialisasi dalam mempelajari kesenian yang dilakukan kepada anak-anaknya. Skripsi ini menggunakan metode penelitian kualitatif, dimana peneliti melakukan pengamatan terlibat dan wawancara mendalam.

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This thesis shows how a group of traditional art, namely Paguyuban Wayang Orang Bharata that preserve the traditional art wayang orang can survive in big cities like Jakarta, where modern entertainment that more exciting increasingly popping up. So this thesis also examines how cultural transmission especially in learning the arts is performed by members of Paguyuban Wayang Orang Bharata in maintaining the regeneration so that the preservation of traditional art wayang orang can be continued until now. Cultural transmission is also related to the process of socialization and enculturation process that occurs in Paguyuban Wayang Orang Bharata. In addition, the cultures and the values that held by members of Paguyuban Wayang Orang Bharata also affect the socialization of learning the arts to their children. This thesis uses qualitative research method, which involved researchers conducted observations and depth interviews."

"Sebagai kota yang lahir akibat perkembangan kapitalisme Eropa akhir abad ke-19, Medan menciptakan masyarakat baru yang sedang membentuk identitas keeropaan. Salah satunya dengan mendirikan kunstkring (lingkar seni) di Medan, sebuah jaringan perkumpulan seni yang tersebar di kota-kota besar Kolonial. Pada 1912 di Medan, berdiri perkumpulan dengan nama Delische Kunstkring (Lingkar Seni Deli) setelah sebelumnya terdapat Nederlandsch Indische Kunstkring di Batavia, Bandoengsche Kunstkring di Bandung, dan Semarangsche Kunstkring di Semarang. Penelitian ini bertujuan menjelaskan eksistensi Delische Kunstkring dalam ruang sosial dan kehidupan budaya di Medan masa kolonial. Penulisan ini menggunakan metode sejarah yang terdiri dari heuristik, kritik, interpretasi, dan historiografi dengan pendekatan selera dan konsumsi budaya Pierre Bourdieu. Hasil penelitian memperlihatkan bahwa Delische Kunstkring hadir untuk memenuhi kebutuhan akan kesenian dan melegitimasi perbedaan kelas sosial kaum terdidik yang mayoritas masyarakat Eropa di Medan.

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As a city born due to the development of European capitalism at the end of the 19th century, Medan created a new society that was forming a European identity. One of which was the presence of kunstkring (art circle) in Medan, a network of art associations spread across colonial cities. In 1912 in Medan, an association was established under the name Delische Kunstkring (Deli Art Circle) after there were already Nederlandsch Indische Kunstkring in Batavia, Bandoengsche Kunstkring in Bandung, and Semarangsche Kunstkring in Semarang. This study aims to explain the existence of Delische Kunstkring in Medan's social space and cultural life in colonial period. This study uses a historical method consisting of heuristics, criticism, interpretation, and historiography with Pierre Bourdieu's taste and cultural consumption as an approach. This study shows that Delische Kunstkring existed to fulfill the need for art for educated people who were predominantly European, legitimize their difference in social class."

"In her research Yulia Nurliani Lukito analyses modernity and the construction of culture by the authorities using the images of Indonesian vernacular architecture presented at three different sites and times. She argues that modernity is not solely constructed by the authorities, rather it is an ongoing process modified by visitors of exhibitions. Pasar Gambir was a laboratory of modernity for the colony, and an important stage in modernizing and negotiating cultural and social conditions in the colony. The Dutch Pavilion at the 1931 colonial exhibition became a moment when the Indies heritages played a role in marking colonial territory. Modern ethnographic park of Taman Mini gives a way to the making of an official 'authentic' culture and suppresses the previous Dutch construction of the Indies culture. Contents · Pasar Gambir of Batavia: Hybrid Architecture and Space of Encounter for the Indies People · The Dutch Pavilion at the 1931 International Colonial Exhibition in Paris: Contrasting Authenticity and Modernity · Taman Mini Indonesia Indah: the Rebirth of Indonesian Vernacular Architecture after Independence Target Groups · Lecturers and students of the social sciences especially in history and theory of architecture · Readers who are interested in cultural studies, architecture, history, and modernity The Author Yulia Nurliani Lukito received her doctorate degree in Theory of Architecture from RWTH Aachen. Her research interests are theory and history of architecture, modernity, and Indonesian vernacular architecture. "

"ABSTRAKInterviews with 22 marriage-migrant women from China, Vietnam, Cambodia, and the Philippines revealed that power distance in conjunction with individualis/collectivism influence their conflict styles. Moreover, women were more likely to engage in compromising style with their spouses, obliging with their in-laws, and avoiding with their spouse and in-laws when they had emotionally given up on resolving the conflict outside the home with strangers and acquaintances. Though inconclusive, the findings suggest that women's educational level, work experiences and financial status influence their conflict style. While these were cultural and social factors that influence the participants conflict style, their goal, namely, providing a better life for their children, was also found to be a major drive in resolving conflicts and in the process they empowered themselves to out win (surmount) the conflicting situations rather than being compliant. Suggestions for future studies as well as a scale for Cambodia's power distance and individualism/collectivism are suggested."

"ABSTRAKThe National Archives of Indonesia (Jakarta) and the National Archives of the Netherlands (The Hague) have been collaborating on the Java Archival Guide Project. This project, which initially ran from 2016 to 2017, will be continued in a second phase. It will provide insight into the size and richness of the local and provincial archives formed on Java during the colonial period after the dissolution of the Dutch East India Company (1800-1949). The whereabouts of these archives in Indonesia have been unknown to many researchers, preventing access to academics, local historians, and family researchers. The collections encountered during the research for this project date from the last days of the Dutch East India Company to the Japanese invasion and the years of the Indonesian National Revolution. The completed phase of the project was limited to the repositories of local and provincial governmental agencies on Java. In some cases the colonial collections seem to have disappeared, and in others, the records seem to have survived the years almost intact. "