ANALISIS PENGELOLAAN KESAN ACHMAD PURNOMO DAN GIBRAN RAKABUMING MENJELANG PILKADA SOLO 2020

2021 ◽  
Vol 12 (1) ◽  
pp. 16-26
Author(s):  
Agungwibiyanto Wibiyanto
Keyword(s):  
Front Stage ◽  
Back Stage

Penelitian ini berkisar pada pengelolaan kesan  yang  muncul dari Achmad Purnomo dan Gibran Rakabuming Raka yang dibuat oleh media dalam pemberitaan pemilihan umum kepala daerah di wilayah Solo. Jenis penelitian ini ialah kualitatif deskriptif dengan analisis data menggunakan pendekatan Dramaturgi. Hasil dalam penelitian ini menyebutkan bahwa identifikasi personal dari Achmad Purnomo seperti citra dalam politik, citra pengusaha yang aktif dalam kegiatan sosial, citra seorang birokrat, demikian juga dengan Gibran Rakabuming yang disebutkan citra millenial, citra sebagai pengusaha yang mapan, dan citra sebagai anak presiden. Beberapa identifikasi tersebut dianalisis dengan dramaturgi baik secara front stage dan juga back stage yang nantinya akan diproyeksikan ke dalam bentuk citra oleh media, di mana citra tersebut menjadi citra kini, citra korporasi,citra multi image dan juga citra penampilan diri. Kontribusi penelitian ini ialah mengulas secara detail pengelolaan kesan yang muncul di seputaran pemilihan umum kepala daerah di Solo 2020.

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 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. 

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.

Social Innovation: a Novel Policy Stream or a Policy Compromise? An EU Perspective

2014 ◽  
Vol 22 (1) ◽  
pp. 145-169 ◽  
Author(s):  
Matteo Bonifacio
Keyword(s):  
Social Innovation ◽  
Social Enterprises ◽  
Policy Debate ◽  
Current Thinking ◽  
Front Stage ◽  
The 2008 Financial Crisis ◽  
Ethnographic Methodology ◽  
Back Stage ◽  
Ethnographic Analysis ◽  
Insight Into

Spurred by the recent global economic crisis, Social Innovation (SI) has gained increasing attention in the European Commission (EC) agenda. However, it remains a heterogeneous and ill-defined concept, whose boundaries are unclear. Currently, within EC discussions, it encapsulates a variety of concepts from social enterprises to societal change. Adopting an ethnographic methodology, this analysis provides insight into the contrasting official ‘front-stage’ and ‘back-stage’ views, constraints and practices by which SI has been adopted and promoted by the EC. While the ‘front-stage’ perspective is more intentionally based on the official situations, documents, and statements, the ‘back-stage’ is informed by both the ethnographic analysis and its relationship with the ‘front-stage’ perspective. The main finding of the analysis is that SI might presumably be seen as the only way to align the Commission's conservative-liberal policy, which is rooted in the Lisbon Agenda, with the pressing social demands that stem from the 2008 financial crisis. However, this analysis also indicates that, rather than a novel policy stream, SI can also be seen as a policy compromise that can be used to detract from debates around the need to develop a fully-fledged EU Social Policy; more deeply, it can detract the policy debate from facing a thorough reflection on our society and development model. The analysis here will also provide an overview of the risks associated with current thinking viewed from the perspective of EU players operating in the socio-political domain.

scholarly journals Avatar Kinect: Drama in the Virtual Classroom among L2 Learners of English

2019 ◽  
Author(s):  
Robert Bianchi ◽  
Byrad Yyelland ◽  
Joseph Yang ◽  
Molly McHarg
Keyword(s):  
Social Issues ◽  
Arabian Gulf ◽  
Virtual Classroom ◽  
Student Interactions ◽  
Young Males ◽  
Branch Campuses ◽  
Composition Course ◽  
L2 Learners ◽  
Front Stage ◽  
Back Stage

This study presents a qualitative approach to exploring classroom behaviour using dramaturgical analysis of student interactions in relation with, and as mediated through, a gesture-based gaming software among L2 learners of English at two international branch campuses in the Arabian Gulf where face-to-face interactions between unrelated members of the opposite sex are generally discouraged. We investigated whether Avatar Kinect might provide a safe way for young males and females to interact while discussing social issues in a composition course. Data were collected through personal observation and survey. Five key themes emerged from the study. First, some participants chose to perform at front stage and others chose to remain back stage. Second, front stage participants chose avatars with gender and skin colour similar to themselves. Third, all participants appeared to be engaged in the interactive role play processes and with one another. Fourth, front stage actors appeared to act without inhibition. Finally, all participants expressed frustration with technology shortcomings.

scholarly journals Pagelaran Budaya Jepang Cosplayer Dalam Perspektif Dramaturgi

2019 ◽  
Vol 2 (2) ◽  
pp. 245-253
Author(s):  
Putri Ekaresty Haes ◽  
Nuning Indah Pratiwi
Keyword(s):  
Front Stage ◽  
Back Stage

Fenomena acara televisi anime serta buku komik yang berasal dari jepang memberikan ruang bagi perkembangan budaya popular Jepang di Bali. Seni berbusana dalam budaya popular Jepang seperti Harajuku Style (yang terdiri dari Lolita, Visual Kei, Ganguro dan costum player) telah menggeser busana tradisional Jepang seperti kimono dan Yukata. Seorang costum player mengagumi karakter anime, manga atau cosplayer tertentu dan mencoba menghadirkan sosok karakter tersebut dalam beberpa pagelaran budaya Jepang yang dilaksanakan di kota Denpasar dan Kecamatan Badung. Adapun tujuan dari penelitian ini adalah untuk mengetahui panggung depan (front stage) dan panggung belakang (back stage) dari pada costum player tersebut. Penelitian ini merupakan penelitian kualitatif, dengan menggunakan teknik pengumpulan data berupa observasi, wawancara dan teknik dokumentasi. Dalam Hasil penelitian terungkap bahwa dalam perspektif dramaturgi yang menerangkan tentang keberadaan panggung dalam kehidupan manusia memberikan penjelasan bahwa antara panggung panggung depan (front stage) dan panggung belakang (back stage) seorang cosplayer merupakan dua sisi yang berbeda, bahkan bertolak belakang, namun tidak jarang memiliki kesamaan karakter.  Penyajian gaya busana para custom player sangat beragam (disesuaikan dengan tokoh) serta penuh dengan kreatifitas sehingga selalu menjadi pusat perhatian dalam pagelaran budaya Jepang yang dilakukan di The Japan Pagelaran of Udayana (D’JaFU), CLAS: H Bali Sakura Matsuri.

scholarly journals KAJIAN KEHIDUPAN SOSIAL PENGEMIS DI KOTA SURAKARTA

2020 ◽  
Vol 2 (1) ◽  
pp. 30
Author(s):  
Novi Ariyanti ◽  
Ratna Devi Sakuntalawati
Keyword(s):  
Social Life ◽  
Sampling Technique ◽  
Social Study ◽  
Naturalistic Inquiry ◽  
Snowball Sampling ◽  
Analysis Model ◽  
Analysis Technique ◽  
Front Stage ◽  
Inquiry Method ◽  
Back Stage

<p>The objective of this study is to examine the social life of beggars on the front stage and on the back stage residing in Joyotakan Village, Serengan, Surakarta, by using Dramaturgy Theory by Erving Goffman. This qualitative research uses the naturalistic inquiry method. In addition, the sampling technique uses purposive side and snowball sampling. Furthermore, the research informants taken are those who work as beggars. Data collection uses observation and in-depth interviews. The validity of the data uses triangulation of sources with the former management of Social Study Agency (LSK) Bina Bakat, and the head of the local neighborhood. The data analysis technique uses interactive analysis model from Miles and Huberman.</p><p>The results of the present research show that on the front stage, the actors act as <em>Me</em>, in order to be accepted by the audience. The setting of begging is done on the vital objects of the city such as the Great Mosque, PGS-BTC area, <em>Tugu Lilin</em> area, Jebres Police Station, <em>Matahari Singosaren</em>, <em>Indomaret Tipes</em>, and at Sebelas Maret University (UNS) and campus graduation events, and Surakarta Muhammadiyah University (UMS). In terms of appearance, they wear several attributes in the form of religious attributes (veils and prayer beads), supporting attributes (children, sling bags, plastic cups, and fingers), and general attributes (shirts, negligee, jackets, sandals, and clean clothes). They play sound, gesture, and expression as begging manner.The conclusion of the research is that theoretically the actor will play the role of <em>Me</em> on the front stage. However, in reality, <em>I</em> can also be seen when actors face disturbance in a show. The disturbance is in the form of rejection of the actors' presence; even the actors get a discrediting stigma from the audience, so that <em>I</em> appears as a response to the disorder. In the actors' social life of on the back stage, their human self will appear as <em>I</em>. However, the actors sometimes become <em>Me</em> when they have to take part in social activities that become the norm in society.</p>

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