scholarly journals Pengelolaan Kesan oleh Pengemis

2018 ◽  
pp. 173-179
Author(s):  
Gisky Andria Putra
Keyword(s):  
Impression Management ◽  
Body Language ◽  
The Other ◽  
Ordinary People ◽  
Strategic Location ◽  
Physical Limitations ◽  
Front Stage ◽  
Tone Of Voice ◽  
Back Stage ◽  
Face Expressions

The phenomenon of beggars is a problem faced by many cities, including Padang city. Permindo street of Padang city is a strategic location to serve as the location of the activity of begging. There are some beggars who take advantage of the real physical limitations, and there also beggars deliberately creating impressions as a beggar. The problem is how the beggars creating impressions on themselves to bring in the mercy of the other people (prospective benefactors). The purpose of this study is to describe how form the impression management that created by beggars. This research was carried out by using qualitative research methods and the type is descriptive. From the results of the data obtained, impression management by beggars, covering by verbal and non verbal aspects. Verbal aspect that used in front stage area (front stage) by saying Assalamualaikum and Alhamdulillah, while the non-verbal aspects include tone of voice, body language, appearance, face expressions, tools, and mystification. In the back stage area (back stage), beggars doing impression management through tone of voice, body language, appearance, and face expressions. Beggars showing a different impression on the two settings. In front stage area (front stage), beggars deliberately forming an impression to get a gift or alms from others (prospective benefactors), while in the back stage area (back stage), beggars forming an impression as ordinary people in a social environment.

scholarly journals DRAMATURGI DALAM PROSES LEGISLASI

2019 ◽  
Vol 9 (2) ◽  
pp. 42
Author(s):  
Tulus Tampubolon ◽  
Guntur Freddy Prisanto ◽  
Niken Febrina Ernungtyas ◽  
Irwansyah Irwansyah ◽  
Sekartaji Anisa Putri
Keyword(s):  
Qualitative Research ◽  
Impression Management ◽  
Political Communication ◽  
The Political ◽  
Communication Behavior ◽  
Observation Data ◽  
Political Actor ◽  
Front Stage ◽  
The Republic ◽  
Back Stage

Abstract As a political communicator, members of the DPR RI need to realize good political communication for the sake of the continuation of democracy. The Indonesian Parliament as a political actor that has an important role in the sustainability of democracy needs to manage their political communication from the front stage, back stage, and impression management aspects according to Goffman's theory as well as possible. In this study, it was examined how the political communication of the Indonesian Parliament in revising Law No. 32 of 2002 using the Goffman drama theory. The method used in this research is qualitative research using observation data collection techniques to three groups of the Republic of Indonesia DPR. From this dramaturgical analysis the researchers found that DPR groups had three front stages and one backstage each. Also found was a shadowing stage faced by the DPR in carrying out political communication activities. Political communication behavior carried out at the front stage is more formal and prioritizes the interests of the community. As is the case at the back stage, political communication is more relaxed and personal and group interests emerge. Key words:  Dramaturgy, Legislative Dramaturgy, Indonesian Parliament Dramaturgy   Abstrak Sebagai komunikator politik, anggota DPR RI perlu mewujudkan komunikasi politik yang baik demi kelangsungan demokrasi. DPR RI sebagai aktor politik yang memiliki peran penting dalam keberlangsungan demokrasi perlu mengelola komunikasi politik mereka dari aspek front stage, back stage, serta impression management sesuai dengan teori Goffman sebaik mungkin. Dalam penelitian ini diteliti bagaimana komunikasi politik DPR RI dalam melakukan revisi UU No. 32 tahun 2002 dengan menggunakan teori dramatugri Goffman. Metode yang digunakan dalam penelitian ini ialah penelitian kualitatif menggunakan teknik pengumpulan data observasi kepada tiga kelompok DPR RI. Dari analisis dramaturgi ini peneliti menemukan temuan bahwa kelompok-kelompok DPR memiliki masing-masing tiga pangung depan dan satu panggung belakang. Ditemukan juga panggung bayangan yang dihadapi oleh DPR dalam menjalankan kegiatan komunikasi politik. Perilaku komunikasi politik yang dilakukan pada front stage bersifat lebih formal dan mengutamakan kepentingan masyarakat. Lain halnya dengan yang dilakukan pada back stage, komunikasi politik bersifat lebih santai dan muncul kepentingan-kepentingan pribadi maupun kelompok. Kata kunci:  Dramaturgi; Dramaturgi Legislasi; Dramaturgi DPR

Factionalism Observed: Behind the “Face” of Harmony in a Chinese Community

1978 ◽  
Vol 74 ◽  
pp. 241-272 ◽  
Author(s):  
Barbara L. K. Pillsbury
Keyword(s):  
Impression Management ◽  
Chinese Society ◽  
Social Scientists ◽  
Behavioural Patterns ◽  
The Face ◽  
Prime Determinant ◽  
Front Stage ◽  
Back Stage ◽  
Closed Sphere ◽  
Front Region

The importance of “face” (lien or mien-tzu) has long been recognized as a prime determinant of Chinese behavioural patterns whether those of an individual or of a group. We also know that the Confucian emphasis on “harmony” (ho-p'ing) has long constituted a basic ideal in Chinese inter-personal relations. Recently social scientists have drawn attention to “impression management” and to the relatively great disparities in some societies between an individual's or group's “front region,” “front-stage” or “public sphere” behaviour and the contradictory “back region,” “back-stage” or “closed sphere” behaviour. Applying these concepts in a Chinese society which still purports to uphold Confucian ideals we find that the front-stage impression a group seeks and often manages to convey is one of unity and harmony. Closer inspection may reveal, however, that, back-stage, factionalism is rife.

scholarly journals DRAMATURGI DALAM PROSES LEGISLASI

2019 ◽  
Vol 9 (2) ◽  
pp. 42
Author(s):  
Tulus Tampubolon ◽  
Guntur Freddy Prisanto ◽  
Niken Febrina Ernungtyas ◽  
Irwansyah Irwansyah ◽  
Sekartaji Anisa Putri
Keyword(s):  
Qualitative Research ◽  
Impression Management ◽  
Political Communication ◽  
The Political ◽  
Communication Behavior ◽  
Observation Data ◽  
Political Actor ◽  
Front Stage ◽  
The Republic ◽  
Back Stage

Abstract As a political communicator, members of the DPR RI need to realize good political communication for the sake of the continuation of democracy. The Indonesian Parliament as a political actor that has an important role in the sustainability of democracy needs to manage their political communication from the front stage, back stage, and impression management aspects according to Goffman's theory as well as possible. In this study, it was examined how the political communication of the Indonesian Parliament in revising Law No. 32 of 2002 using the Goffman drama theory. The method used in this research is qualitative research using observation data collection techniques to three groups of the Republic of Indonesia DPR. From this dramaturgical analysis the researchers found that DPR groups had three front stages and one backstage each. Also found was a shadowing stage faced by the DPR in carrying out political communication activities. Political communication behavior carried out at the front stage is more formal and prioritizes the interests of the community. As is the case at the back stage, political communication is more relaxed and personal and group interests emerge. Key words:  Dramaturgy, Legislative Dramaturgy, Indonesian Parliament Dramaturgy   Abstrak Sebagai komunikator politik, anggota DPR RI perlu mewujudkan komunikasi politik yang baik demi kelangsungan demokrasi. DPR RI sebagai aktor politik yang memiliki peran penting dalam keberlangsungan demokrasi perlu mengelola komunikasi politik mereka dari aspek front stage, back stage, serta impression management sesuai dengan teori Goffman sebaik mungkin. Dalam penelitian ini diteliti bagaimana komunikasi politik DPR RI dalam melakukan revisi UU No. 32 tahun 2002 dengan menggunakan teori dramatugri Goffman. Metode yang digunakan dalam penelitian ini ialah penelitian kualitatif menggunakan teknik pengumpulan data observasi kepada tiga kelompok DPR RI. Dari analisis dramaturgi ini peneliti menemukan temuan bahwa kelompok-kelompok DPR memiliki masing-masing tiga pangung depan dan satu panggung belakang. Ditemukan juga panggung bayangan yang dihadapi oleh DPR dalam menjalankan kegiatan komunikasi politik. Perilaku komunikasi politik yang dilakukan pada front stage bersifat lebih formal dan mengutamakan kepentingan masyarakat. Lain halnya dengan yang dilakukan pada back stage, komunikasi politik bersifat lebih santai dan muncul kepentingan-kepentingan pribadi maupun kelompok. Kata kunci:  Dramaturgi; Dramaturgi Legislasi; Dramaturgi DPR

scholarly journals The travel blogger as digital nomad: (Re-)imagining workplace performances of digital nomadism within travel blogging work

2020 ◽  
Vol 22 (3) ◽  
pp. 391-416 ◽  
Author(s):  
Nina Willment
Keyword(s):  
Everyday Life ◽  
Impression Management ◽  
Presentation Of Self ◽  
Self Presentation ◽  
Original Contribution ◽  
Front Stage ◽  
Back Stage

Abstract Through analysis of empirical fieldwork conducted with British travel bloggers, this paper details a novel and significant investigation into the nuances of self-presentation and performances inherent in travel blogging work, through the lens of digital nomadism. Working with Goffman’s (The presentation of self in everyday life. Penguin, London, 1959) ideas of front and back regionalisation, the paper explores the distinct ways in which digital nomadism is performed by the travel blogger. Firstly, the paper highlights how performances of digital nomadism are integral to the successful self-presentation of the travel blogger as an aspirational worker. Next, it showcases how travel bloggers use performances of digital nomadism in the strategic complication of the front and back-stage of their work, in order to demonstrate authenticity to their audience. The paper then considers how travel bloggers undertake performances of digital nomadism, explicitly within the front-stage to aid in their overall impression management of being a travel blogger. Subsequently, the paper turns to discussions of how technology becomes utilised in performances of digital nomadism which flow across the travel blogger’s front and back-stage. Finally, the paper reviews how, through performances of digital nomadism, the travel blogger appropriates their own back-stage leading to issues of overwork and precarity. The paper’s original contribution lies in its use of the lens of digital nomadism to enable us to explore and reimagine the workplace performances of travel bloggers. In doing so, the paper is able to speculate on the nuances and motivations implicit in these performances, digging deeper into issues of online self-presentation, authenticity and place.

scholarly journals Dramaturgi Pengguna Narkoba di Surabaya

2019 ◽  
Vol 9 (1) ◽  
pp. 1-15
Author(s):  
M. Darul Muttaqin ◽  
Ali Nurdin
Keyword(s):  
Drug User ◽  
Drug Users ◽  
The Other ◽  
Positive Image ◽  
Limited Space ◽  
The Family ◽  
Front Stage ◽  
Back Stage ◽  
And Behavior ◽  
Attitudes And Behavior

This study aims to describe the dramaturgy of drug users in Surabaya. The subjects of this study were three drug users at the PLATO Foundation Surabaya and a drug user outside the foundation that was determined purposively. This type of research is descriptive-qualitative to describe the attitudes and behavior of drug users. Data were collected by interview, observation, and documentation to understand what drug users were doing. Data were analyzed by reducing, classifying, presenting all the information that has been obtained, and drawing conclusions. The results of the study describe that drug users perform roles in different places in the dramaturgy concept, namely the front stage and the front stage. Drug users play a role on the front stage by constructing their own identity with a positive image in front of other people or society. On the other hand, drug users play a back stage role in the form of identity as drug users. This back stage has space for freedom in a limited space for the family and community.

scholarly journals Studi Dramaturgi Presentasi Diri Da’i Migran di Kota Bengkulu

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Robeet Thadi
Keyword(s):  
Impression Management ◽  
Social Life ◽  
Qualitative Approach ◽  
Communication Process ◽  
Self Presentation ◽  
Front Stage ◽  
Back Stage

This paper aims at descriptively revealing the impression management regarding self-presentation of da’i migran (migrant preachers) in Bengkulu that includes: front stage and back stage within the communication process of everyday social life. This research applies qualitative approach within the tradition of dramaturgy. Data were collected through observation, interview and documentation. Findings reveal that the life of migrant preachers that occur in the front stages are very different with those that happened in the back stages. When he/she is in his/her front stages, a migrant preacher is required to act in a distinct manner to match his/her role such as exemplary role, polite in speaking, appropriate and proper in dressings, and live a humble life. In his/her back stage, a migrant preacher is free from such norms since there are no one to watch him/her. Here, a migrant preacher can live his/her take off his/her social mask and can life more authentically because without having to follow the instructions as she/he has to do in the front stage. Keywords: Da'wah activities, dramaturgy, migrant preachers and self-presentation

scholarly journals Sisi Lain Pengadaan Barang dan Jasa dalam Sebuah Studi Dramaturgi

InFestasi ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 253
Author(s):  
Putri Harziani ◽  
Made Sudarma ◽  
Aji Dedi Mulawarman
Keyword(s):  
Impression Management ◽  
Main Part ◽  
Complete Sequence ◽  
Goods And Services ◽  
Self Image ◽  
Presidential Decree ◽  
Management Techniques ◽  
Front Stage ◽  
Back Stage

This study aims to explore the role of the actors involved in the procurement’s stage in Y’s Faculty of X’s University. The role of procurement personnel became main part of the show to see whether the procurement of goods and services in the Y’s Faculty that using direct procurement’s method have appropriate with the rules of Presidential Decree 70 of 2012. The Procurement’s stage is divided into the front stage and back stage that can not be separated in the show. Dramaturgy used as a method to analyze the role, coupled with using impression management’s analysis from John and Pittman Taxonomy. This research resulted in the conclusion that the procurement’s procedure has been carried out, although not fully follow the rules, because there are some procurement’s procedure were not met. Formal evidence is documented but not complete sequence and presented. Impression management techniques used by the actor to display the desired self-image, on time and under certain conditions.

Chains of Freedom

2017 ◽  
Author(s):  
Diane-Laure Arjaliès ◽  
Philip Grant ◽  
Iain Hardie ◽  
Donald MacKenzie ◽  
Ekaterina Svetlova
Keyword(s):  
Detailed Examination ◽  
Investment Performance ◽  
Front Stage ◽  
Back Stage ◽  
Investment Process ◽  
The Way

Chapter 2 begins the detailed examination of the investment chain. It introduces some of the main sets of intermediaries and what their jobs are. The chapter also sketches how those intermediaries enable and constrain each other and form audiences for each other’s presentations of self. Behind the pervasive ‘front-stage’ presentations of an orderly, rigorous investment process, suggests Chapter 2, there lies a normally hidden, more messy, Goffmanesque ‘back stage’ of failures, uncertainties, and sometimes dissent. The chapter also highlights the way in which the numbers that measure investment performance obscure the ethical-political, labour, and legal conditions that make them possible.

scholarly journals Can Dogs’ Origins and Interactions with Humans Affect Their Accomplishments? A Study on the Responses of Shelter and Companion Dogs during Vocal Cue Training

Animals ◽  
2021 ◽  
Vol 11 (5) ◽  
pp. 1360
Author(s):  
Maria Luiza A. Fonseca ◽  
Angélica S. Vasconcellos
Keyword(s):  
Social Interactions ◽  
Social Deprivation ◽  
Behavioral Responses ◽  
The Other ◽  
Influential Factor ◽  
Vocal Cues ◽  
Companion Dogs ◽  
Shelter Dogs ◽  
Tone Of Voice ◽  
Neutral Tone

The inclusion of life history as a possible influential factor is pivotal in studies on behavior, welfare, and cognition. Shelter dogs have usually experienced a life involving poor social interactions with humans. Thus, we aimed to investigate the behavioral responses of shelter dogs (SDs) and companion dogs (CDs) during the training of two vocal cues (“sit”, “paw”), as well as the possible associations between their responses and the behaviors of trainers. We studied 15 SDs and 15 CDs in up to eight five-minute training sessions. Dogs’ and trainers’ behaviors were recorded and analyzed (through GLM, GLMM, correlation and Mann–Whitney tests). Shelter dogs responded to more cues per session, with shorter latencies and fewer repetitions of cues. Moreover, SDs spent more time wagging their tails. Dogs’ sex and trainers’ behaviors were also associated with differences in dogs’ responses. The use of a reproachful tone of voice was associated with a greater number of cues responded to, shorter latencies, and fewer repetitions of cues. However, this type voice/discourse was also linked to a greater exhibition of non-training behaviors (e.g., exploring the room or jumping on the trainer), and to dogs spending less time next to the trainer and wagging their tails. On the other hand, the use of a neutral tone of voice and laughter, besides being linked to performance, was also associated with longer durations of tail wagging. Furthermore, the duration of the trainers’ orientation to dogs was correlated with the orientation of the dogs to the trainers. Our data suggest that, even when having experienced social deprivation from humans, SDs’ capacities to learn vocal cues were preserved, possibly due to ontogenic homeostasis processes. Shelter dogs’ greater interest in the sessions may be also credited to their socially-deprived routine. Our outcomes also point to an association between friendly interactions during training and dog performance and excitement, which suggests that such interactions may have the potential to improve SD welfare.

scholarly journals Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta

Koneksi ◽  
2020 ◽  
Vol 3 (2) ◽  
pp. 351
Author(s):  
Dwi Sabrina ◽  
Lusia Savitri Retno Utami
Keyword(s):  
Popular Culture ◽  
Data Collection ◽  
Identity Formation ◽  
Rapid Development ◽  
Family Experience ◽  
Self Identity ◽  
The World ◽  
Front Stage ◽  
Back Stage ◽  
Collection Methods

No doubt the development of popular culture is very fast in the world, especially the K-Pop industry. Due to rapid development of K-Pop and more fans, innovations have begun to emerge in showing the love of fans towards K-Pop. One of them is K-Pop cover dance activities. This study discusses "The Formation of the Identity of K-Pop Cover Dance Performers in Jakarta" and uses observation and interview data collection methods to find out more about how the formation of K-Pop cover actors' self-identity formation. The theory used is their dramatism on the front stage and also the backstage. In this study the authors can see that each individual communicates themselves in different ways and not all cover dance performers perform their front stage roles up to their backstage life. The formation of the identity of the cover dance actors can change to follow the environment where they are and with whom they communicate. However, not a few also feel that his life as a cover dance on stage imitates and becomes someone else's figure carried to their   daily from various aspects such as family, experience and also the community.Tidak dipungkiri perkembangan budaya populer sangat pesat di dunia terutama K-Pop. Akibat perkembangan K-Pop yang pesat dan penggemarnya yang semakin banyak, mulai bermunculan inovasi dalam menunjukkan kecintaan dari penggemar terhadap K-Pop. Salah satunya adalah kegiatan cover dance K-Pop. Penelitian ini membahas tentang “Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta” dengan menggunakan teori dramatisme mereka pada front stage dan juga back stage. Dalam penelitian ini penulis dapat melihat bahwa setiap individu mengkomunikasikan diri mereka dengan cara yang berbeda-beda dan tidak semua pelaku cover dance melakukan peran front stage mereka hingga ke kehidupan backstage mereka. Peneliti menggunakan metode pengumpulan data observasi dan wawancara untuk mengetahui lebih dalam mengenai bagaimana pembentukan identitas diri para pelaku cover dance K-Pop. Pembentukan identitas diri para pelaku cover dance dapat berubah mengikuti lingkungan dimana mereka berada dan dengan siapa mereka berkomunikasi. Namun, tidak sedikit juga yang merasa bahwa kehidupannya sebagai seorang cover dance di atas panggung yang meniru dan menjadi sosok orang lain terbawa hingga ke kehidupan sehari-hari mereka dari berbagai macam aspek seperti keluarga, pengalaman dan juga komunitas. 

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