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Abstrak :
Penelitian ini membahas tentang fenomena biduan dangdut. Image biduan dangdut menjadi sebuah hal yang negatif karena dibarengi dengan penampilan panggung biduan yang mempertontonkan goyangan. Biduan dangdut laris di kalangan pesta pernikahan hingga kampanye partai politik. Penelitian ini bertujuan untuk memaparkan self image yang dibangun oleh biduan dangdut sebagai suatu upaya menampilkan dirinya sebagai biduan dangdut. Sudut pandang kognitif membantu memaparkan self image yang dibangun biduan dangdut berdasarkan skema kognitif pada tataran pikiran mereka. Metode pada penelitian ini menggunakan pendekatan kualitatif. Penelitian ini memperlihatkan biduan memiliki self image yang berbeda sesuai skema kognitif berdasarkan hasil dari interpretasi pengalaman dirinya selama menjadi biduan dangdut.
This research examines the phenomenon of dangdut singer which has a negative image because of their sway at the stage. On the other hand, this phenomenon becomes a popular entertainment at the wedding party and political campaign. The aim of this research is to describe dangdut singer's ways of developing their self-image as a dangdut singer. Through a cognitive approach, self-image develops by dangdut singer's cognitive schema of themselves due to their interpretation of experience being dangdut singer. The method in this research uses a qualitative approach. The result of this research is dangdut singers have different self-image based on their cognitive schema and interpretation from their experience during becoming a dangdut

Abstrak :
ABSTRAK
Pangotoeb refers to the traditional tattooing among the Pantaron Manobo of Mindanao, a practice that has not been given a systematic description and analysis before in Philippine or Mindanao studies. After giving a review of early historical and recent reports on this practice, this article provides an ethnographic description of Pantaron Manobo tattooing on the following aspects: (a) the tattoo practitioner (and her socio-symbolic contexts); (b) tools and techniques; (c) variations in body placements; (d) basic designs; and (e) the given reasons why present-day Manobo tattoo themselves. In terms of Philippine tattooing technique, this study highlights the importance of distinguishing three modal hand movements: hand-tapping, handpoking, and incising techniques; this last is unique to Mindanao relative to the rest of the Philippines and perhaps Southeast Asia. This paper also opens a comparative and exploratory cognitive approach in studying Manobo tattooing practice. Calling for a methodological declustering of the study of tattooing from its frequent association with male/warrior identity, this article concludes by selecting a limited set of figures that appears to be an enduring schema underlying Manobo tattooing practice: (a) the central role of the female gender; (b) the unique importance of the navel/abdomen as a tattooing region of the (female) body; and (c) the importance of the ridge-pole (and the house in general) in naming tattoo figures and attributing significances. These appear to be more resonant with many other aspects of Manobo culture to warrant giving this schema a heuristic value for future studies.