AbstractThis article reviews the phenomenon of modern education, particularly highlighting the behavior ororientation of society that ignores history as a school of moral or political virtue in society and state. Without the presence of the government so that the symptom slooping symbolic violence. Second, look for strategic steps that can be done so that the function of history as amoral school optimal.Kajian can run against both of these issues are very fundamental and must be understood as the historical background of the dysfunctional moral school. School morale is an important part of finding a solution. By using the approach of cultural studies, the teaching of history can be directed and contributed ideal text and social text in order to overcome various problems.
During the pre-colonial era the Balinese arts and design were dominated by the themes of puppetry which contained the Hindu religious teachings. When the Dutch colonial government controlled Bali, the Balinese arts and design changed. This present study is intended to explore the existence of the Pitamaha association and the attitude of the Pitamaha painters towards the domination of the modern arts and design taught by Spies and Bonnet. The qualitative method and the postcolonial theory combined with various other critical supporting theories were used in the present study. The result of the study shows that Pitamaha is the first modern association of arts in Bali. However, Pitamaha still integrated the pattern of the Balinese traditional association. In this association, the royal elites were involved as the mediators between Spies and Bonnet and the Balinese painters. Spies and Bonnet taught the modern arts which were different from and even contrasted with the Balinese arts and design. However, the Pitamaha painters welcome it. This could not be separated from the practice of teaching through hegemony and domination which contrasted with what had been desired by the Balinese painters who intended to maintain the Balinese arts and design. In such an ambivalent condition, they mimed the modern arts and design. The mimicry made was not intended to mime the modern arts and design; instead, the mimicry made was intended to interpret with reference to the norms of the Balinese arts and design.
During the pre-colonial era the Balinese arts and design were dominated by the themes of puppetry which contained the Hindu religious teachings. When the Dutch colonial government controlled Bali, the Balinese arts and design changed. This present study is intended to explore the existence of the Pitamaha association and the attitude of the Pitamaha painters towards the domination of the modern arts and design taught by Spies and Bonnet. The qualitative method and the postcolonial theory combined with various other critical supporting theories were used in the present study. The result of the study shows that Pitamaha is the first modern association of arts in Bali. However, Pitamaha still integrated the pattern of the Balinese traditional association. In this association, the royal elites were involved as the mediators between Spies and Bonnet and the Balinese painters. Spies and Bonnet taught the modern arts which were different from and even contrasted with the Balinese arts and design. However, the Pitamaha painters welcome it. This could not be separated from the practice of teaching through hegemony and domination which contrasted with what had been desired by the Balinese painters who intended to maintain the Balinese arts and design. In such an ambivalent condition, they mimed the modern arts and design. The mimicry made was not intended to mime the modern arts and design; instead, the mimicry made was intended to interpret with reference to the norms of the Balinese arts and design.
The harmonious relation between the ethnic groups living at Pupuan Village can be evidenced by the inter-ethnic marriages. The problems of the present study can be formulated in three questions. They are why the Chinese ethnic people can live harmoniously with the Balinese ethnic people, how is the dynamics of the power behind the harmonious relation between the Chinese ethnic people and Balinese ethnic people at Pupuan Village, and how the educational model implemented by the Chinese ethnic people and Balinese ethnic people is developed to contribute to the harmonious relation between the two ethnic groups from the ethno pedagogic perspective. The descriptive and qualitative method was used in the present study. The data were collected through in-depth interview, observation, and documentary study. The data were analyzed using the interactive analysis method. The theories used include the Theory of Practice proposed by Bourdieu, the Theory of Discourse of Power/Knowledge proposed by Foucault, theory of Habernas Education, and so forth. The result of the study shows that there are several reasons why the relation between the Balinese ethnic people and Chinese ethnic people has become harmonious. They use power and capital. The Balinese ethnic people use the spiritual capital (the capital of cultural power) through the values of the local genius. The Chinese ethnic people use the socio-economic capital they have to make the domination of the Balinese people balanced. The dynamics of the power behind harmony shows that the relation between the two ethnic people at Pupuan Village is made to be diluted resulting from the power of the internal (local) people and the external (national) people which can be seen from the religious aspect, political aspect, socio-cultural aspect, and socio-economic aspect. The ethnopedagogic educational model is developed using different media such as the societal organization, the social activity in the forms of ngayah (doing voluntary religious things) and ngoupin (helping other people living in the neighborhood prepare and perform their traditional and religious activities).
The regional regulation issued by the Provincial Government Number 2 of 2012 defines that Tri Hita Karana is a Hindu philosophy explaining the three things which contribute to prosperity. Therefore, the promotional media of tourism should be ideally based on the ideology of Tri Hita Karana. However, the fact shows that it has been marginalized in the promotional media of the Bali cultural tourism. In relation to this, three main theories are used in the present study. They are the theory of deconstruction, the theory of practice, and the theory of social reality construction. The qualitative, descriptive, and interpretative methods were employed to analyze the data, which were collected through in-depth interview, observation and documentary study. Based on the result of the study, it can be concluded that the capitalistic ideology, the ideology of cultural dualism, the ideology of consumerism, the ideology of commercialism, the ideology of totalitarianism, and the ideology of pseudo-social responsibility have been responsible for the marginalization of the ideology of Tri Hita Karana in the promotional media of the Bali cultural tourism. The system used to deconstruct the promotional media of the Bali cultural tourism involves the government, private companies, and the graphic design consultants. They are oriented towards their respective ideology and interest. The ideology and interest-oriented promotional media of the Bali cultural tourism affect the image of Bali as a tourist destination. The implications are as follows: Bali is an area of the culture of tourism; it is an area where postmodern people live; it is an area where glocalization takes place; it is an area where modern spirituality develops; it is also an area where the identity of the Balinese people and culture is shown not to be in accordance with the fact.
The industrialization of the art of craft at Tegallalang, Gianyar, Bali results from the technological, economic and cultural development and leads to the production of different types of products of the art of craft. The industrialization of the art of craft cannot be separated from the role played by the stakeholders in order to obtain benefit. The problems of the study are as follows (a) what stakeholders play roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali? (2) How the stakeholders play their roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali? This present study is a qualitative one in which the critical theory of social practice proposed by Bourdieu and the ethnographic approach are used. The result of the study shows that the stakeholders playing roles in the industrialization of the art of craft at Tegallalang, Gianyar, Bali include the parents, the traditional village, the administrative village, the local government, the provincial government, craftsmen, the raw material supplier, the formal and informal financial institution, and foreign consumers. The stakeholders play their roles using different capitals such as the cultural capital, social capital, and economical capital. Those who have big capitals will dominate those who have fewer capitals and organize what products should be produced.
The library is an essential learning resource center for schools. For this reason, every school or madrasa is required to have a library that meets national education standards. Although formal provisions require educational institutions to have a library, many schools do not yet have a library. The development of school libraries, especially elementary schools (SD), is still lacking compared to the middle school, high school, and college libraries, thus giving the impression that SD libraries are marginalized. This study explored the development constraints that led to the marginalization of elementary school libraries in Singaraja, Bali. This research used a qualitative approach in the form of multiple case studies. The data collection techniques were in-depth interviews with appointed informants, total and purposive samples, and snowball sampling. Data analysis in this study followed Peter Berger's model with conceptualization, proof, and objectivation steps. The results indicated that there were several obstacles to the development of elementary school libraries, namely (1) the dadi-dadi dogen ideology adopted by the principal; (2) the teaching and learning process is still teacher-centered; (3) a comprehensive education system; (4) unprofessional librarian; (5) the government is not in favor of the school library management policy; and (6) free school jargon. These findings prove that the general assumption about the constraints on developing school libraries due to limited financial capital is not entirely true. There are other more important factors, namely power relations related to ideology.
