TEMBANG SANDUR BOJONEGORO: KEKERASAN BUDAYA DAN ARKEOLOGI-GENEALOGI PENGETAHUAN/ TEMBANG SANDUR BOJONEGORO: CULTURAL VIOLENCE AND ARCHEOLOGY-GENEALOGY OF KNOWLEDGE

AbstrakPenelitian sandur, kesenian rakyat berupa drama tari di Desa Ledok Kulon, Kecamatan Bojonegoro, Kabupaten Bojonegoro sudah banyak, tetapi yang membicarakan tentang kekerasan budaya dan tembang sandur dalam kerangka arkeologi dan genealogi pengetahuan belum ditemukan. Hal itu karena kekerasan budaya menimpa seni tersebut karena imbas stigmatisasi sepihak pascatahun 1965—1966 yang menganggap sebagai kesenian rakyat yang berafiliasi ke PKI, dan pada masa puritanisme Islam menguat pada tahun 1990-an yang menganggap sandur tidak sesuai dengan nilai-nilai Islam, padahal isi tembang-tembang sandur kontradiksi dengan stigma tersebut. Oleh karena itu, penelitian ini menguak aspek kekerasan budaya dengan menelusuri tembang sandur dari perspektif genealogi dan arkeologi pengetahuan dalam bingkai cultural studies. Teori yang digunakan adalah triangulasi teori, yaitu folklor, arkeo-genealogi pengetahuan, dan kesejarahan. Hasil penelitian ini menunjukkan bahwa (1) tembang-tembang sandur memiliki metrum puitika Jawa yang mengarah pada nyanyian anak-anak, dengan media bahasa Jawa lokal, dan menyimpan jejak kearifan lokal, etika, dan spiritual, (2) nilai-nilai Islam-Jawa menjadi ruh tembang-tembang sandur. Di dalamnya terdapat sinkretisme nilai-nilai Jawa dan Islam, (3) stigmatisasi sepihak pada Sandur Bojonegoro, baik oleh kalangan anti-komunis maupun puritanisme Islam, hanya melihat pada konteks kesejarahan Indonesia pada Orde Lama ketika politik menjadi panglima dan hanya melihat penampang permukaan semata tanpa mendalami unsur-unsur pembentuknya, ideologi, ajaran luhur, dan tradisi yang melahirkan seni sandur. Kata kunci:Sandur Bojonegoro, kekerasan budaya, arkeologi, genealogi pengetahuan AbstractThere are many researches on sandur, folk art in the form of dance dramas in Ledok Kulon Village, Bojonegoro District, Bojonegoro Regency, but those that talk about cultural violence and tembang sandurin the archaeological framework and genealogy of knowledge have not been found. This is because cultural violence befell the art because of the impact of unilateral stigmatization after 1965-1966 which considered it a folk art affiliated to the PKI, and during the period of strong Islamic puritanism in the 1990s, which considered sandur not in accordance with Islamic values, even though the contents tembang sandurcontradict this stigma. Therefore, this study uncovers aspects of cultural violence by tracing tembang sandurfrom the perspective of genealogy and knowledge archeology within the framework of cultural studies. The theory used is triangulation of folklore theory, archeology-genealogy of knowledge, and history. As a result, (1) the sandursongs have a Javanese poetic metre that leads to children's singing, with local Javanese language media, and keeps traces of local wisdom, ethics, and spirituality, (2) Javanese-Islamic values become the spirit of the tembang sandur. In it there is a syncretism of Javanese and Islamic values, (3) the unilateral stigmatization of SandurBojonegoro, both by anti-communists and Islamic puritans, only looks at the historical context of Indonesia in the Orde Lamawhen politics was the commander and only sees the surface without explore its constituent elements, ideology, noble teachings, and traditions that gave birth to the art of sandur. Keywords:SandurBojonegoro, cultural violence, archeology, genealogy of knowledge

‘Witnessing the Violence of the Settler State in Alexis Wright’s Carpentaria and Lee Maracle’s Celia’s Song’

A Canadian literary scholar based in Australia, I read “Aboriginal/Indigenous” Australian and Canadian literatures in English as sites where the ways in which we perceive racial and cultural violence might be re-configured. Cognizant of the role that literary studies discourse has had and continues to have in these nations as a tool for the maintenance of official, state-recognised ‘reconciliation’ narratives, my work looks instead to the literary encounter itself as a potential site for registering, or witnessing, the violence that the settler state attempts to screen off behind the scenes of its official attitudes towards reconciliation. This article will explore the concept of literary witnessing in an archive of trans-Indigenous literature across settler colonial states, linking award-winning authors Alexis Wright (Waanyi, writing in Australia) and Lee Maracle (Sto:lo, writing in Canada). Analysing Wright’s Carpentaria and Maracle’s Celia’s Song, I trace how these novels enact and inspire, but also complicate, witnessing in Canada and Australia (both of which maintain official policies of inclusion and multiculturalism, but are actually held up by a regime of continuing racialized violence). I also examine how these works of literature model ignorance and choosing to turn away as a form of violence and a roadblock to justice. Finally, I ask how these novels might provide models for subjectivity and justice that subvert the judiciary systems of these settler states, dislodging ‘witnessing’ from its place in discourses of state-authorized “justice”, and placing it in the realm of Indigenous law and the potential of an ethical (literary) encounter.

Social-Ecological Peace – A framework to analyze the transition from violence to peace in post-conflict areas, applied to Aceh, Indonesia

While the analysis of peace often stops with "negative peace" in conflict studies (Shields 2017), critical structural analyses of a transition towards peace risk to analytically emphasize how wartime structures extend into post-conflict times (see e.g. Lee 2020). In this article, by engaging with the two fields of conflict studies and political ecology, a framework is developed that allows a critical analysis of resilient structures and discourses from times of conflict, as well as of possible leverage points that could support a transition towards what is here conceptualized as "social ecological peace". The framework hence helps to understand in how far dimensions of prior violence have transformed into peace, and if certain dimensions of violence have continued, even though they manifest themselves in a different way. The framework builds on Galtung’s conceptualization of violence and peace, but realigns "cultural violence" with Pierre Bourdieu's "symbolic violence". Additionally, for extending the framework with an ecological dimension and historical dimension, the notion of 'slow violence' by Rob Nixon is introduced. Applying the framework to Aceh, Indonesia, shows how cultural peace allows individuals to narrate and act out of a new identity, and in this way, enables them to put into effect structures of a new era of positivesocial-ecological peace. At the same time, discourses that are inherited from wartime and transform into peace time structures risk to carry violence in them. It becomes important to lay open the structural effects of the very discourses that have supported Aceh’s autonomy, so that they may not further extend structural violence into peace times. This is likely to remain a challenge in a context that is described as still negotiating and struggling to enhance its autonomy (Setyowati 2020a).

Plant Life and More-than-human Agency in Zainab Amadahy’s Resistance

For centuries humans have acted as if the environment was passive and as if the agency was related only to human beings. Both Indigenous and non-Indigenous writers, scholars, and artists express the need to narrate tales about the multitudes of the living earth, which can help perceive the Earth as vibrant and living. The following paper discusses Black/Cherokee Zainab Amadahy’s speculative fiction novel 2013 Resistance as an example of a story resisting the claim about human beings as the ultimate species. The paper initially scrutinizes the phenomena of “plant blindness” and then explores how Zainab Amadahy illustrates plant life in her book. Unlike in traditional literary depictions of botany, the writer presents tobacco as an active and responsive agent that influences the characters, which, consequently, opposes anthropocentrism. The article also addresses the cultural violence and disregard that has dominated the Western perception of animistic cultures and expresses the need to rethink the theory of animism. This paper draws from posthumanist writings by scholars including Donna Haraway, Bruno Latour, Jane Bennett, and Stacy Alaimo. It also refers to some of the most influential contributions to critical plant studies made by Indigenous thinkers such as Robin Wall Kimmerer’ s Braiding Sweetgrass (2013).

The Impact Of South Asian Cultural Violence

<div>This study explores the experiences and perspectives of first/second generation South Asian Canadian women on the representation of South Asian culture and violence against South Asian women. Specifically, this study looks at the myth of South Asian cultural violence, which views South Asian culture as inherently oppressive toward women and South Asian men as violent; and as a result, South Asian women are seen as victims of these men and their culture.</div><div>This study does not undermine violence against South Asian women, but challenges the ways in which violence against South Asian women gets talked about through the myth or the discourse of South Asian cultural violence. Both the state and (trans)national media play an important role in circulating this myth to further socio-political agendas. Centering the narratives of South Asian women in this study will show the ways in which they make meaning of the myth, as well as how they challenge and resist it. This study involves a focus group with two first/second generation South Asian Canadian women using arts-informed narrative methodology. Findings demonstrate that the discourse of South Asian cultural violence has had a significant impact on their relationship to themselves, other South Asians, and to the South Asian culture due to the ongoing encounter with stories of violence against South Asian women. </div>

The Impact Of South Asian Cultural Violence

<div>This study explores the experiences and perspectives of first/second generation South Asian Canadian women on the representation of South Asian culture and violence against South Asian women. Specifically, this study looks at the myth of South Asian cultural violence, which views South Asian culture as inherently oppressive toward women and South Asian men as violent; and as a result, South Asian women are seen as victims of these men and their culture.</div><div>This study does not undermine violence against South Asian women, but challenges the ways in which violence against South Asian women gets talked about through the myth or the discourse of South Asian cultural violence. Both the state and (trans)national media play an important role in circulating this myth to further socio-political agendas. Centering the narratives of South Asian women in this study will show the ways in which they make meaning of the myth, as well as how they challenge and resist it. This study involves a focus group with two first/second generation South Asian Canadian women using arts-informed narrative methodology. Findings demonstrate that the discourse of South Asian cultural violence has had a significant impact on their relationship to themselves, other South Asians, and to the South Asian culture due to the ongoing encounter with stories of violence against South Asian women. </div>

Decolonising Local Knowledge – Arhuaco Filmmaking as a Form of Cultural Opposition

Can filmmaking as a form of intercultural communication serve as an apparatus for selfidentification and cultural opposition to established North/West knowledge pro- duction hubs? Based on extensive fieldwork in the Sierra Nevada and detailed analysis of the Arhucao films and their production and distribution strategies, this article explores the possibility of utilising film and audio-visual communication as a way to decolonise local knowledge. Following decades of persecutions, hostility, illtreatment and cultural violence, the work of Zhigoneshi (and, later, Yosokwi) communication col- lectives not only helped to nourish the cultural identity of the indigenous communities of Sierra Nevada de Santa Marta, but it also turned them into proud ambassadors of indigenous values on the international level. Prolific in their internal and external com- munication practices, they regained agency as full participants of intercultural dialogue, which focuses on the importance of the inclusion, diversity and dewesternisation of local knowledge. While acknowledging its own limitations and the author’s inevitable positionality, this article also reflects on further steps that the European and Western collaborators and institutions need to take to accomplish the vision of decolonisation. It concludes with acknowledging the work of the Arhuaco filmmakers and their allies in providing an invaluable contribution to strengthen this discussion and enable the shift towards a more all-embracing pattern of knowledge production and dissemina- tion based on quality and importance and less so on stereotypical preconceptions and geographical location.

Pengalaman Kekerasan pada Pedagang Kaki Lima di Indonesia

This study aims is to describe about the violence experience against street vendors in Indonesia including the causes of violence, forms of violence and street vendors' experience responses to the violence. This research uses qualitative methods with collecting data techniques from literature studies such as ,notes, books, papers or articles, journals and so on. The research results showed that the causes of street vendor violence are related to the class that have more power and the class that have less power. The power in question is the power or strength that a person has to do what he wants. The forms of violence experienced by street vendors can be identified into three forms based on Galtung's theory, including direct violence that can be seen such as physical, verbal and sexual violence, then the second is structural violence, namely violence that is not perpetrated by individuals but is hidden in a structure both smaller and smaller structures. broader structure, then the third is cultural violence, namely the symbolic space that exists in the cognition system and can be a driving force for both direct and structural violence. PKL responses to the violence they experience are divided into two, namely resisting and not resisting.

Peace Psychology

Peace psychology seeks to apply psychosocial principles to prevent and mitigate direct, structural, and cultural violence and promote harmony and equity in human relations. Two waves of peace psychology research and practice can be delineated. The first wave generated concepts, themes, and perspectives aimed at the prevention of nuclear war and mitigation of intractable conflicts characterized by repeated cycles of violence. The second wave enlarged the scope of peace psychology to include the amelioration of structural violence, the kind of violence that afflicts most of the world’s population and kills people slowly through the deprivation of life-extending human need satisfaction. The most recent iteration of the second wave addresses the cultural violence visited upon formerly colonized countries and calls for the development of theory and praxis informed by emancipatory methodologies.