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Abstrak :
Tesis ini membahas tentang konstruksi identitas Skinhead di dalam komunitas Skinhead di Jakarta dan sekitarnya dengan menggunakan penelitian kualitatif deskriptif analitis serta dampak pada praktik komodifikasi yang terjadi dalam bidang industri budaya Jakarta, era 1996 hingga 2014, dimana narasi besar dari kekuatan modernitas yaitu teknologi, perubahan ekonomi dan sosial budaya menjadi landasan global yang mempengaruhi proses tersebut. Hasil dari kesimpulan bahwa konstruksi identitas Skinhead di Jakarta dan sekitarnya serta praktik komodifikasi yang dilakukan tidak dapat dilepaskan dari tujuan dan cita-cita komunitas dan individu Skinhead dalam melakukan pemasaran identitas dan subkultur yang berproses melalui dua cara yaitu eksploitasi dan eksistensi dengan mengalihfungsikan menjadi entitas ekonomi dan mereproduksi kesadaran ideologis demi keberlangsungan generasi Skinhead. Selain itu, peneltian ini juga akan menunjukan keberadaan komunitas subkultur Skinhead di tengah-tengah banyaknya identitas di dalam kota urban yang merespon dominasi budaya berupa negosasi sebagai alternatif diluar sekolah dan pekerjaan dengan mempertahankan nilai lokal Indonesia. ...... This thesis discusses the Skinhead subculture identity construction in Jakarta and its sorrounding and the impact on commodification practices by using qualitative descriptive analitic research that occur in various areas of cultural industries era of 1996 ? 2014, in which grand narrative of modernity, including technology, economic and sociocultural change, become a global platform that affect the process. The conclusion indicates that the Skinhead subculture construction and the practice of commodification which conducted in various arena of cultural industries can not be separated from the aims and ideals of the Skinhead's subculture's identity project in attempt to do marketing identities and subcultures that proceeds through a two-way, namely exploitation and existence by converting to economic entity and reproduce the ideological consciousness for the sake of Skinhead regeneration. Beside that, this research is to show the existence of Skinhead subculture community amongs many other identities in the urban city that responds the culture domination by negotiating as the alternative activity outside the school and occupation by maintaining the local value owned by the parents culture.

Abstrak :
[ABSTRAK
Tesis ini menyelidiki proses berlangsungnya kontestasi dan negosiasi antar-aktor kampanye pariwisata Wonderful Indonesia dan Pesona Indonesia (WIPI) di media sosial Instagram dalam dinamika konstruksi dan pemaknaan identitas keindonesiaan. Data yang dikumpulkan dikategorisasi menjadi tiga narasi, yaitu ?resmi,? ?pemicu,? dan ?akar rumput?. Ada tiga aktor di Instagram yang diidentifikasi melalui peran dan keterlibatan, serta relasi kuasa di antara mereka, yaitu @indtravel, akun Instagram duta media sosial dan pengguna lima tagar. Untuk melihat dinamika konstruksi dan pemaknaan identitas keindonesiaan lebih lanjut digunakan konsep dan teori identitas nasional, country branding, aparatus ideologis negara dan interpelasi, Instagram sebagai media sosial, budaya partisipatoris dan heteroglosia dalam media sosial, serta cultural intermediaries. Penelitian ini menemukan bahwa WIPI sebagai perwujudan country branding merefleksikan upaya Kementerian Pariwisata untuk mengkonstruksi dan menarasikan keindonesiaan sebagai identitas kompetitif. Pada level akar rumput, duta media sosial mengkontestasi Narasi Resmi tersebut dengan menyorot identitas-identitas keindonesiaan lain yang berada di periferi. Namun, kontestasi tersebut berubah menjadi negosiasi ketika Kementerian Pariwisata memprioritaskan penggunaan media sosial dalam kampanye WIPI. Hal ini mengubah peran duta media sosial dari perantara budaya yang memproduksi narasi akar rumput menjadi aktor yang memproduksi narasi pemicu. Tesis ini menemukan para aktor memanfaatkan karakteristik dan fitur Instagram untuk memproduksi teks heteroglosik, baik sengaja maupun tidak, yang mengkontestasi dan menegosiasi satu sama lain. Instagram, yang menitikberatkan postingan visual, juga berkontribusi dalam proses visualisasi imajinasi keindonesiaan. Media sosial, dalam hal ini Instagram, memainkan peranan penting dalam proses konstruksi dan pemaknaan keindonesiaan karena menyediakan ruang bagi para aktor untuk berkolaborasi dalam proyek sinambung yang merumuskan keindonesiaan.

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ABSTRACT
This thesis investigates the contestation and negotiation in Wonderful Indonesia and Pesona Indonesia tourism campaign (WIPI), which happen between actors in social media, Instagram, in a way to construct their Indonesianess. The collected data is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?. There are 3 actors in Instagram, @indtravel, Instagram accounts of social media ambassadors and of those five hashtags users, which are identified by their roles, engagements and power relations. To look further into the dynamics of constructing and signifying Indonesianess concepts and theories of national identity, country branding, ideological state apparatuses and interpellation, Instagram as social media, participatory culture and heteroglossia in social media, and cultural intermediaries are used. Research findings reveal that WIPI is a form of country branding reflecting Tourism Ministry?s efforts to construct and narrate Indonesianess as a competitive identity. At a grassroots level, social media ambassadors contest that narrative by highlighting other identities that lie in the periphery. Later, the contestation turns into negotiation once the Tourism Ministry prioritises the use of social media in their campaign. This changes social media ambassadors? role as cultural intermediaries producing grassroots narrative into ones who produce the triggering narrative. This thesis finds all actors utilize Instagram characteristics and features to produce intended or unintended heteroglossic texts that contest against-, interpellate and negotiate with each other. Instagram, whose strong feature lies in visual posts, also contributes in visualizing the imagination of Indonesianess. Social media, in this case Instagram, plays important roles in the process of constructing and signifying Indonesianess, because it provides space for actors to collaborate in a continuous project of formulating Indonesianess.;This thesis investigates the contestation and negotiation in Wonderful Indonesia and Pesona Indonesia tourism campaign (WIPI), which happen between actors in social media, Instagram, in a way to construct their Indonesianess. The collected data is categorised into 3 narratives: ?official,? ?triggering,? and ?grassroots?. There are 3 actors in Instagram, @indtravel, Instagram accounts of social media ambassadors and of those five hashtags users, which are identified by their roles, engagements and power relations. To look further into the dynamics of constructing and signifying Indonesianess concepts and theories of national identity, country branding, ideological state apparatuses and interpellation, Instagram as social media, participatory culture and heteroglossia in social media, and cultural intermediaries are used. Research findings reveal that WIPI is a form of country branding reflecting Tourism Ministry?s efforts to construct and narrate Indonesianess as a competitive identity. At a grassroots level, social media ambassadors contest that narrative by highlighting other identities that lie in the periphery. Later, the contestation turns into negotiation once the Tourism Ministry prioritises the use of social media in their campaign. This changes social media ambassadors? role as cultural intermediaries producing grassroots narrative into ones who produce the triggering narrative. This thesis finds all actors utilize Instagram characteristics and features to produce intended or unintended heteroglossic texts that contest against-, interpellate and negotiate with each other. Instagram, whose strong feature lies in visual posts, also contributes in visualizing the imagination of Indonesianess. Social media, in this case Instagram, plays important roles in the process of constructing and signifying Indonesianess, because it provides space for actors to collaborate in a continuous project of formulating Indonesianess., This thesis investigates the contestation and negotiation in Wonderful Indonesia and Pesona Indonesia tourism campaign (WIPI), which happen between actors in social media, Instagram, in a way to construct their Indonesianess. The collected data is categorised into 3 narratives: “official,” “triggering,” and “grassroots”. There are 3 actors in Instagram, @indtravel, Instagram accounts of social media ambassadors and of those five hashtags users, which are identified by their roles, engagements and power relations. To look further into the dynamics of constructing and signifying Indonesianess concepts and theories of national identity, country branding, ideological state apparatuses and interpellation, Instagram as social media, participatory culture and heteroglossia in social media, and cultural intermediaries are used. Research findings reveal that WIPI is a form of country branding reflecting Tourism Ministry’s efforts to construct and narrate Indonesianess as a competitive identity. At a grassroots level, social media ambassadors contest that narrative by highlighting other identities that lie in the periphery. Later, the contestation turns into negotiation once the Tourism Ministry prioritises the use of social media in their campaign. This changes social media ambassadors’ role as cultural intermediaries producing grassroots narrative into ones who produce the triggering narrative. This thesis finds all actors utilize Instagram characteristics and features to produce intended or unintended heteroglossic texts that contest against-, interpellate and negotiate with each other. Instagram, whose strong feature lies in visual posts, also contributes in visualizing the imagination of Indonesianess. Social media, in this case Instagram, plays important roles in the process of constructing and signifying Indonesianess, because it provides space for actors to collaborate in a continuous project of formulating Indonesianess.]

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ABSTRAK
Fokus pembahasan tesis ini adalah peran beberapa agen dan kekuatan mereka dalam memunculkan batik Sasambo di Nusa Tenggara Barat, serta benturan narasi agen tersebut dengan pihak lain dalam menggambarkan identitas NTB. Batik Sasambo berupaya menggoyah kehadiran tenun sebagai kain khas masyarakat setempat dengan diberikannya ruang yang lebih luas. Dengan menggunakan metode etnografi melalui observasi dan wawancara mendalam, penelitian ini memperlihatkan bahwa beberapa guru di SMKN 5 Mataram, seorang guru SMP 7 Pujut dan Dinas Perindustrian NTB merupakan agen yang berperan penting dalam menjadikan batik Sasambo sebagai identitas NTB. Agen ini menarasikan bahwa batik Sasambo sebagai bentuk modernisasi identitas, alat untuk menyatukan etnis, sebagai bentuk kecintaan pada identitas nasional, dan membantu membangun perekonomian masyarakat. Namun, pihak lain yang berasal dari Dinas Perdagangan NTB, Dinas Koperasi dan UKM, masyarakat penenun, dan masyarakat yang pernah mengikuti pelatihan membatik, serta penjual di toko oleh-oleh mengontestasi narasi tersebut dengan menyatakan bahwa batik Sasambo belum mampu mengejar keberhasilan kain tenun karena batik Sasambo belum mampu tembus ke pasar ekspor. Selain itu, batik Sasambo terlampau mahal sehingga tidak laku dan tidak mampu dibeli oleh masyarakat setempat. Perbedaan proses membatik dan menenun juga menjadikan batik Sasambo sulit diterima masyarakat. Penelitian ini juga membuktikan bahwa keberadaan tenun belum mampu bergeser sebagai identitas NTB.Kata Kunci: Batik Sasambo, tenun, agen, narasi.

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ABSTRACT
The focus of this thesis discussion is the role of some agents and their power in bringing batik Sasambo in West Nusa Tenggara, as well as the narrative clash of the agent with others in describing the identity of NTB. Batik Sasambo seeks to shake the presence of weaving as a special fabric of the local community with the giving of a wider space. Using ethnographic methods through observation and in depth interviews, this study shows that some teachers at SMKN 5 Mataram, a teacher of SMP 7 Pujut and NTB Industry Office are agents that play an important role in making Sasambo batik as the identity of NTB. This agent narrates that Sasambo batik as a form of identity modernization, a tool for unifying ethnicity, as a form of love for national identity, and helping to build the economy of the community. However, others from the NTB Trade Office, the Cooperative and SMEs, the weavers, and the people who had participated in the batik training, as well as the sellers in the gift shop contended the narrative by stating that Sasambo batik has not been able to pursue the success of woven fabric because of batik Sasambo has not been able to break into the export market. In addition, batik Sasambo is too expensive so it is not sold and cannot be bought by the local community. The differences in the process of batik making and weaving also make batik Sasambo difficult to accept by society. This study also proves that the existence of weaving has not been able to shift as the identity of NTB.