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"AbstrakThe paper examines the politics of motherhood through the family planning programs in twolocales in Bangladesh. It argues that the entire discourse centers round patriarchal ideas andvalues in which women have little voice. The paper looks into the ideas of nationhood, thedevelopment, security, environment, poverty discourses, which weave patriarchy into sinewsand fabric of the entire political and social milieu. Womens movements and organizationshowever are making interventions by reshaping discourses and challenging the biologicalmodel of motherhood through positing the social political model of motherhood. "

"AbstrakThis paper aims to explain woman subjectivity reflected in Tempurung novel by Oka Rusmini by describing main character perception toward body and autonomy in the formation of womansubjectivity. In discussion I use feminist literary criticism approach. This study reveals thatwoman characters in Tempurung perceiving her body as a significant part of her subjectivity.Furthermore, woman subjectivity isnt her own project but a form of dialogue with otherelements including her relationship with husband, children, body and social culture constructionwhich surrounding her. The conclusion of this study is Oka Rusmini makes resistance to thenotion of subjectivity on conventional/traditional thought by representing narrative of womansubjectivity which doesnt neglect body, doesnt individual, doesnt always rational, doesntsubject to universal notion of subject and doesnt finish."

"AbstrakThis paper examines the relationship between women and nature in the village of Ratu JayaDepok along the Ciliwung river. Ecofeminism framework suggesting oppression of nature asconnected to the oppression of women is used. The Ciliwung river was a main water source forDutch Batavia during the colonial era. It can no longer be used in this capacity due to bamboofelling, illegal logging and illegal housing upstream. Yet, Ratu Jaya women are still dependenton the Ciliwung river. Domestic work is completed using water from the Ciliwung, and not onlythat, the Ciliwung is a place to educate their children regarding the stones and bamboo. The waterthere is relatively clean. The women care for the river and rely on it for their children to surviveclimate change."

"AbstrakHuman rights as convened through international law and the United Nations should beuniversal. However, in implementation, in the interest of the state, state sovereignty, religionand culture, the universality of human rights has been restricted by the state or certain parties.Subsequently, the implementation of human rights has become relative in Indonesia. Lesbian,gay, bisexual, and transgender/transsexual (LGBT) issues have been protested at the local andnational levels. It remains that the state has the responsibility to recognise, protect and fulfilthe human rights of LGBT Indonesians. This paper will explore how LGBT human rights areimplemented in Indonesian policy"

"AbstrakThe haram (to forbid) fatwa issued by the MUI against LGBTs and the death penalty against sexual offenders deviant has shaken the people of Indonesia, especially those of diverse sexualities. Religion, suppose to provide ease and solace to the human condition, has effectively buried those of non-normative sexualities alive. This is despite the fact that the regional, national and international legal human rights instruments recognize their rights as human beings to express their sexual and gender identities and orientations. In essence, Shariah and Islamic law is being used as the theological foundation for the issuing of the MUI fatwa contrary to the concept of human rights. Here, the work of Khaled M. Abou El Fadl is important as he attempts to break thetension between religion (Islam) and human rights using the social approach of contemporaryhumanities."

"AbstrakThis article examines one hundred and fifty film flyers released between 1966 and 1998 andidentifies two overlapping trends in their depictions of women: the Sexual Woman and theSensual Woman. The former is marked by an emphasis on sexuality, which includes moreexposed skin, the use of phallic imagery, and the depictions of implied sexual relations, bothconsensual and non-consensual. The latter is marked by modest clothing, a demure demeanor,and an emphasis on the importance of romantic relationships between women and men. Thesetwo archetypes, we argue, were determined by the films target audiences: the Sexual Womanwas used to advertise films to men, whereas the Sensual Woman was used to advertise filmsto women. These flyers thus reproduced the state gender narratives and biases, but wereultimately unable to conceal the fluidity of women and their bodies."

"AbstrakThis essay constitutes the first step in solving an enigma of Indonesian letters, one that islittle noticed but unfathomable: the absence of crime fiction from the canon of the nationalliterature. This is surprising for two reasons, the widespread popularity of crime in popularculture, both literature and film, and the g high esteem that the genre is held in other EastAsian national traditions (Japan; Thailand; South Korea). This paper argues that contemporaryIndonesian writers would be well advised to familiarize themselves with the various strandsof crime fiction, in particular the American variant known as Noir, and adopt these traditionsto local conditions. When Noir is examined closely, the attentive student will realize that the political and aesthetic concerns of American Noir writers are essentially those of Indonesianauthors the social depredations of neo-colonialism and the traumatic effects of international Cold War politics."

"AbstrakIndonesian womens leadership in the public domain is not well promoted and sustained.This research examined womens perspectives on female leaderships in Indonesia, barriers towomens leadership and qualities of an ideal female leader. Qualitative interviews, focus groupdiscussions and informal dialogues were conducted with 30 female community members, university students, lecturers, professionals, and womens activists. Respondents were between19 and 60 years of age, literate, and were working or living in Jabodetabek Jakarta, Bogor, Depok, Tangerang, Bekasi areas. Findings from this study suggest a narrow symbolic idealization of a heroic woman leader. Womens perspectives and inspiration were also explained by an embodiment of female gendered qualities of being patience, sincere, being approachable and having a strong interest women focused issues. In turn, this conceptualization may also poses barriers to a large scale of creative social change process in womens empowerment in public leadership. This research offers in depth understanding of the complexity of current barriers to and consistent stigmatization against womens leaders in Indonesia."

"This study provides an overview of the problems faced by LGBT people in Indonesia. There are four issues raised, namely, the meaning of gender and sexual orientation, violence and abuse, the role of the state, and the meaning of happiness for LGBT people. This study uses a sample of 60 respondents living in large cities, especially Jakarta. However, the strength of this study lies not in the survey results but in the results of the in-depth interviews. From this study it was found that respondents, in the context of a conservative state, are more open in interviews than surveys. This study unearths the meaning of life for LGBT people under a state which is repressive and absent for them."

"Konsep subjektivitas memiliki hubungan dalam penyingkiran dan reduksi perempuan dari kebudayaan. Perempuan merupakan liyan dalam kehidupan, dalam kebudayaan, yang tidak diketahui, sehingga muncul realitas perempuan versi laki-laki. Dalam sinema, perempuan mengalami reduksi dan diferensiasi dari industri yang strukturnya berangkat dari dominasi laki-laki. Representasi perempuan di layar sinema dominan tidak menunjukkan perempuan sebagai perempuan yang utuh, karena struktur yang melatari sinema secara dominan berangkat dari sudut pandang dan otoritas laki-laki. Subjektivitas perempuan menjadi nilai penting karena dapat memberikan penggambaran dan wawasan mengenai perempuan sebagaimana adanya, hadir bukan sebagai ilusi. Subjektivitas sutradara perempuan dapat menghasilkan representasi perempuan yang lebih dekat dengan kehidupan. Namun, ketika berangkat dari subjektivitas perempuan, sinema perempuan menghasilkan pendekatan yang berbeda dengan sinema dominan, sehingga sinema perempuan mengalami diferensiasi dan ditempatkan sebagai kontra sinema. Melalui pemikiran feminist film theory, tulisan ini berusaha mengidentifikasi bagaimana dinamika struktur kekuasaan dan paradigma yang terbentuk dalam sinema, khususnya permasalahan subjektivitas, membuat sutradara perempuan keluar dari konvensi sinema dominan dan menghasilkan bahasa baru, yang menempatkan sinema perempuan berada di posisi yang berbeda dengan sinema arus utama.

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The concept of subjectivity has a correlated role in the exclusion and reduction of women from culture. Women are the other; in life, in culture, that is unknown, so a male version of women's reality is produced. In cinema, women experience reduction and differentiation from an industry whose structure is rooted in male dominance. The representation of women on screen in dominant cinema does not represent women as complete women, given that the structures underlying cinema are dominantly based on male perspectives and authority. Female subjectivity holds crucial value because it provides portrayals and insights into women as they really are, not as illusions. The subjectivity of female directors produces representations of women that are closer to life. However, when it departs from women's subjectivity, women's cinema presents a different approach from the dominant cinema, which leads to women's cinema being differentiated and placed as a counter-cinema. Through feminist film theory, this paper seeks to identify how the dynamics of power structures and paradigms formed in cinema, especially the problem of subjectivity, have forced female directors to step out of the conventions of dominant cinema and produces a new language, which places women's cinema in a different platform from mainstream cinema."