Local Government's Political-Economy Goals in Post-Reformation Banyuwangi
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HUMANIORA
VOLUME 29 Number 1 February 2017 Page 12–23
The Mobilization of Using Cultures and
Local Government’s Political-Economy Goals
in Post-Reformation Banyuwangi
Ikwan Setiawan, Albert Tallapessy, Andang Subaharianto
Universitas Jember
Email: senandungtimur@gmail.com
ABSTRACT
This article deals with an ethnic identity-based-power through the mobilization of Using
cultures in Banyuwangi under local government policies in post-Reformation. By juxtaposing
Foucauldian discourse, Gramscian hegemony, and political economy perspective, we discuss some
cultural projects conducted by two Banyuwangi regents in post-Reformation periods, Samsul Hadi
(2000-2005) and Abdullah Azwar Anas (2010-2015 and re-elected for 2016-2021 period). With
different emphasized aspects, both of them created programs, which incorporated and mobilized
Using cultures for accomplishing their political economy goals. Samsul legalized Using cultural
expression, such as a local dance and language, as the way to strengthen the dominant-ethnic identity
and reach consensus for his political authority. In more sparkling activities, Anas has transformed
Using identity into various carnival programs, which, in one side, have supported tourism industry
and, in other side, have helped him in gaining consensus for his hegemonic position. However, in the
context of real cultural empowerment, those programs have not given positive effect for the cultural
worker in the grass root.
Keywords: cultural mobilization, cultural policies, identity, political economy, Using
INTRODUCTION of this cultural euphoria by doing incorporation
One effect of 1998 Indonesian Reformation and commodification of dominant-ethnic-cultures
h a s b e e n t h e e m e rg e n c e o f i n d i g e n o u s in their regions as the ways to secure and attain
communities’ movements for re-claiming their their political-economic targets.
economic, political, and cultural rights that In this article, we will explain some efforts of
had been repressed in the New Order period. the regional government of Banyuwangi in post-
However, some literatures criticize some reductive Reformation in mobilizing Using cultures without
meanings of these movements, because, instead leaving their historical roots in the New Order
of empowering indigenous rights, many local periods. We will focus on some cultural projects
elites—commonly rich individual, political figures conducted by two Banyuwangi regents, Samsul
and the descendants of ancient leaders—in some Hadi (2000-2005) and Abdullah Azwar Anas
regions have mobilized ethnic issues and use (2010-2015 and re-elected for 2016-2021). With
them for reaching economic and political goals different emphasized aspects, both of them created
(Davidson, Henley & Moniaga ed, 2010; Nordholt programs, which incorporated and mobilized
& van Klinken ed, 2009). In governmental context, Using cultures for accomplishing their political
regional state regimes also have taken opportunities economy goals. Samsul legalized Using cultural
12Ikwan Setiawan, Albert Tallapessy, Andang Subaharianto - The Mobilization of Using Cultures
expression, such as a local dance and language, as criticizes economic and production base-structure
the way to strengthen the dominant-ethnic identity that determine superstructure as ideology, religion,
and reach consensus for his political authority. In culture, morality, and socio-political process
more sparkling activities, Anas has transformed (Marx, 1991, 1992; Lebowitz, 2002; Wood,
Using identity into various carnival programs that, 2003). The capitalist ruling class with its financial
in one side, have supported tourism industry and, capacity and production tools can drive mode
in other side, have helped him in gaining consensus of production that produces massive materials
for his hegemonic position. Based on the brief with commercial values. The ruling class can
explanation, we argue that cultural projects which mobilize and monopolize particular ideological-
give priority for a particular ethnic identity may cultural knowledge in the structure of cultural
become a strategic effort for Banyuwangi regents in products that will determine the cultural process in
reaching consensual agreements from the majority society (Granham, 2006; Maxwell, 2001; Adorno,
of local artists, indigenous leaders, cultural experts, 1991; 1997; Witkin, 2003; Leslie, 2005; Louw,
and common people because they have had similar 2001). The consumption process of the material
idealization for empowering Using cultures. in the society will lead to the change of cultural
For getting more critical and comprehensive orientation—i.e. from subsistent to capitalist life—
analysis, we juxtapose three perspectives, namely that causes the change of socio-cultural practices.
Foucauldian discourse, Gramscian hegemony, and In the context of this article, we modify the ruling
political economy. Here is the logic of applying the class not as capitalist class, but as the regional state
three perspectives. We consider cultural projects regimes who also have had political-economic
issued by the two regents as discursive formation desire by creating the cultural projects.
producing knowledge of Using as the dominant The final goal of the cultural projects for
cultures. For Foucault (2002: 177), discourse is the regime is to reach hegemony. According to
a group of statements related to singular formula Gramsci, hegemony is a mode of power that
of meaningful object and a limited group of emphasizes intellectual, cultural, and moral
statements related to similar discursive formation, leadership in which the ruling class articulates
although they do not form a unity of rhetoric. As the necessity of the people, economically and
regime of truth, discourse will emerge knowledge ideologically, to create popular consensus and
and construct various discursive subjects that historical bloc that support the regime’s authority
also produce power operation and relation in (Gramsci, 1981; Howson & Smith, 2008). One of
particular historical settings (Hall, 1997: 49). It the strategies to reach consensus is incorporating
is important to note, discourse is not simply that residual—traditional—and emergent cultural
translates struggles or systems of domination, expressions in which the regime articulates them
but it is the thing for which and by which there into official policies and products to convince the
is struggle; it is the power, which is to be seized people agreement (Williams, 2006). However,
(Foucault, 1981: 53). Further, the power operation hegemonic power is never stable and always
is circulating; not top-down, not repressive, and needs newer negotiation-articulation because
coming from unlimited points (Foucault, 1998: in its operation there can be resistance from the
94-95). Following Foucauldian perspective, people such as local actors when they got the lack
the cultural mobilization is a kind of discursive of advantages from the regime, economically and
formation that creates various discourses about culturally.
dominant-ethnic-cultures—from linguistic, arts, The juxtaposition of the three perspectives in
rituals, until traditional wisdoms—talked by the our study is not only significant for the analyzing
state apparatuses, cultural experts, artists, and process, but also for collecting data process
ordinary people. by Using in-depth interview and participatory
At that point, we see the significance of observation. From interviews with our informants,
political economy perspective because the regimes we collected data about the regime’s cultural
have brought political-ideological motives in the projects from the New Order era to the Reformation
mobilization. Political economy is a perspective era that mobilize Using cultures, political condition
13Humaniora, Vol. 29, Number 1 February 2017
in each period, and the responses of local actors the in-between space or the third space from where
toward the projects. From our observations, we they have mimicked modern cultural elements as
collected data about forms of Using cultures that the dominant, but not quite the same, without have
were mobilized in the cultural projects and their left their ancestors customs completely—hybridity
political economy consideration. In data analysis, (Bhabha, 1994: 114). However, as the consequence
we will apply the three perspectives systematically of long institutionalization of traditional wisdoms
in order to interconnect the relations among into their daily and ritual activities, local people
data. Firstly, we will analyze Using cultures as have negotiated their knowledge into the dominant
dominant discourses in Banyuwangi context and practices of modernity deferred its liberal
the regimes’ attempts to make them as essential knowledge.
knowledge, when the society has experienced Although in their cultural subjectivity local
cultural hybridity as the consequence of modernity. people have been being hybrid, they will recall
This essential knowledge has been acceptable communal solidarity and mobilize ethnic essential
for Using communities, because it has been identity when there is foreign power that tries
appropriate with their necessity to develop cultural to dominate them. The mobilization of essential
identity. Secondly, we will read critically the cultural identity is one characteristic of identity
regimes’ cultural projects—its forms, differences, politics movement that emphasizes the significance
and similarities—and discursive-practical effects of the mobilization of particular cultural symbols,
toward socio-cultural configuration in Banyuwangi values, and practices for accomplishing ideal
and its relation to tourism. Finally, we will goals by contesting the power that dominates
criticize the political goal for hegemony through a community or society (D’Cruz, 2008; Alcoff
dominant-ethnic-cultures mobilization in the & Mohanty, 2006). In the context of Using
cultural projects, particularly its effects for local communities under the Dutch authority, for
actors in Banyuwangi. example, the people attempted to construct
essential cultural subjectivity when migrant-
A LEGACY OF THE NEW ORDER REGIME ethnics, particularly Javanese and Madurese, came
Culture is values, discourses, practices, and to Banyuwangi—as colonial soldiers, farmers, and
orientation that is moving dynamic, crossing- plantation labors. The term Using was a stereotype
over traditional and modern influences, and name given by other ethnics and the Dutch
determining by socio-historical factors such as apparatuses for Othering the natives with negative
political economy system and social interaction cultures such as fond of extravagant parties,
in particular periods (Skelton & Allen, 1999: permissive in sexual relation, and practicing
4-5). Culture, then, is something changing and witchcraft (Subaharianto, 1996; Sutarto, 2003,
transforming that is caused by various factors 2006; Sodaqoh, 1996). They ‘took over’ such
come from historical process—i.e. colonialism constructed identity as survival energy in both to
and capitalism—in which cultural members find develop socio-cultural solidarity and to strengthen
themselves as subjects with multiple influences, the concept “us” (Using people) and “them”
motives, and orientations. With the same account, (non-Using migrants). Using cultures with their
we see local culture as a complicated process of attractive performance arts, then, have become
becoming from which its members experience more dominant in Banyuwangi since the New
contesting discourses and practices caused by the Order regime made some cultural projects based on
preservation of romantic views that assumed it as essential paradigm with political economy goals.
sublime-traditional values and the coming of newer In the New Order periods, the regional
or modern cultural elements in their daily activities. government was a subordinate subject of the
In local culture, actually, there have been a national cultural policy of the central government.
transformation or a change caused by the discursive The policy promoted “the top-essences of regional
influences of modernity. The long encounters with cultures” and “Pancasila-based-cultures” as the
modernity in colonial period have taught local key elements of national culture. The main purpose
people how make suitable strategy to survive in of this national culture was to prevent the return of
14Ikwan Setiawan, Albert Tallapessy, Andang Subaharianto - The Mobilization of Using Cultures
feudal values and the negative effects of foreign some popular Using programs. They asked some
values in the midst of development programs. artists to produce radio drama in Using language
Actually, the policy of national culture had multi- and Using literature program. The two programs
level ambivalence. In one side, the state idealized had a large number of audiences and made the
sublime national values and regional cultural programs the popular policies to socialize and to
expressions that would be appropriate for filtering disseminate Using cultural identity continually in
the negative effects of foreign cultures. In other the plural society of Banyuwangi. The apparatuses
side, they restricted regional cultural forms that of radio also sponsored a recording process of
were assumed containing feudal values. However, Using-lyric songs. Their musical instruments were
for the sake of national development acceleration, the mixture of traditional musical instruments
the state regime encouraged Indonesian modernity such as gamelan, angklung (bamboo musical
that was absorbed from foreign positive values— instruments), kendang (a traditional percussion
modern sciences, technologies, and international instrument made from the skin of cow), and the
investments. In other words, instead of empowering modern musical instruments such as guitar and
regional cultures, the policy tended to position violin, without commercial motive—merely for
local expressions as “celebration of cultural disseminating Using cultures as Banyuwangi
signifiers without the deep meaning or with cultural identity and the regime development
controlled meaning based on the regime’s interest”. programs as consensual discourses (Setiawan,
In addition, the national culture policy had its 2010).
own goal to neutralize the residual collective The essential cultural projects will discursively
memory of Sukarno leadership in the previous restrict other or emergent cultural creativity with
periods and to reach common consensus under different color, although it is still a part of the
the newer leadership of Suharto. By mobilizing dominant ethnic culture. This Othering process
and celebrating local cultural attractions, the is important for the regime because the different
state regime wanted the people forgetting the color will pollute the purity of the dominant
oppressive reality of their militaristic apparatuses identity and, of course, challenge the hegemonic
and economic exploitation, so the regime would power of the regime. Commonly, the regime
get hegemonic position (Setiawan & Sutarto, never observes the content, discourses, and final
2014). goal of the different cultural expression—a judge
In the context of the New Order, the from the cover syndrome. Probably, the different
empowerment of Using identity in Banyuwangi creativity is a part of discursive formation of the
originated from the ambition of Regent Djoko dominant culture and has a function to disseminate
Supa’at to re-awaken cultural life after the 1965 its knowledge into other ethnic groups, but with
bloody tragedy. Through discursive formation some modification in its aesthetic and physical
and praxis, the regional state regime articulated forms. In the 1970s, for example, Fatrah Abal,
collective desires of cultural leaders, cultural a well-known song composer and electricity
experts, and local artists to produce Using contractor in Banyuwangi, arranged Using songs
expressions as Banyuwangi identity. The regional with Malay instrument that was very popular at
government gave the local actors opportunities for that time. For him, such cultural breakthrough had
re-awakening traditional arts—gandrung (musical- function to disseminate Using cultural expressions
dance), janger (traditional drama), and folksongs— widely, beyond the negative assumption among
and campaigning Using language in cultural sphere Banyuwangi people and other ethnics such as
of plural ethnic society. From the 1970s to 1980s, Javanese and Madurese. The regime saw this
the Banyuwangi government carried out a routine creativity as disobedience toward the Using
cultural agenda, namely Using songs competition cultural standard. As the consequence, Fatrah got
that originated from gandrung songs. the penalty; the regime cancelled all his electricity
The government through regional state radio contracts. However, he was consistent with his
(RKPD/Radio Khusus Pemerintah Daerah, the aesthetic choice and his Using songs with Malay
Radio of Regional Government) also produced instrument got popularity. What seems resisting
15Humaniora, Vol. 29, Number 1 February 2017
on the surface will legitimate the regime to give not purely traditional in cultural taste, orientation,
economic and social sanctions to the different and practice. The desire to build brick houses as
creative person. We call such phenomenon “a they have seen in television and city has been an
political-cultural schizophrenia” because the example of modern thinking in village sphere.
regime suspected the different cultural forms for Such in-between playing that have challenged the
having potency to mobilize discursive resistance state regime’s exotic and essential paradigm shows
among the people. that, since the New Order periods, the local people
What important to criticize from such romantic have had more adaptive strategy in facing socio-
idealization of local cultural mobilization—besides economic change by practicing, at once, modern
its political-ideological function—is its economic dominant elements and some of their ancestor
function. The state regime realized economic traditions. We call this “intra-ethnic different
potency behind the uniqueness and exotics of reading” as deconstructive reaction towards the
local cultures in the label of tourism industries grand-narrative of the state projects that is assumed
that got its popular momentum under the New as regime of truth with their empirical discursive
Order regime. Instead of institutionalizing local formation.
cultures as hegemonic discourses to stabilize
anti-colonial nationalism, the regime driven by POLITICIZING CULTURES AND
their economic desires tried to circulate them in CULTURALIZING POLITICS
global tourism market. The government saw a One of dominant trends in the regional level in
great opportunity to sell out cultural attractions, post Reformation period has been the mobilization
artifacts, crafts, and rituals to satisfy the foreign of “Putra Asli Daerah” issue [the region’s native
tourists’ gaze. Such economic motivation from descendant] for taking political-administrative
essential cultural projects, actually, engendered authority. At least, there are two major reasons
a complicated problem, namely the return of for the issue. Firstly, the native can understand
stereotype representations that entangled the local the regional potencies, society, and cultures for
people in traditionalism, while they lived under bringing better conditions. Secondly, the rising
modern pathway. sentiment of local people toward the failure of
In practical and discursive level, the the New Order regime in the previous periods to
incorporation of dominant local uniqueness in the empower their life makes the discourse of region’s
cultural tourism project may result some different native descendant reaches popularity in the local
readings among local actors. In the 1990s, after level. As one of political strategies, particular
having some preliminary researches in some Using candidates of regent or governor often construct
villages, the regime decided to set Kemiren as themselves to dominant-ethnic identity for gaining
“Desa Wisata Using” (the Using tourism village) public sympathy and winning election. As the
and ordered the people to preserve their “rumah consequence, when they were elected as regional
adat” (traditional house made from bamboo and leaders, they will give more attention to dominant-
wood) as traditional-unique cultural tangible ethnic community who gave political supports; a
attraction. Purwadi, one of cultural leaders in repetition of cultural politics as done by the New
Kemiren, resisted against the policy because the Order regime with newer meaning.
restriction to build a brick house would oppress In Banyuwangi, Regent Samsul Hadi (2000-
human rights and restrict their desire to experience 2005) repeated Using cultural mobilization with
modern architecture (Subaharianto & Setiawan, primordial tendency—Using as superior subject
2012). His argument shows modern discourse than other ethnics. Supported by cultural experts,
in the mind of Using leader in Kemiren since the he made two important cultural policies in his era,
New Order periods until now, although most of the namely (1) gandrung as Banyuwangi welcoming
people have still believed and practiced traditional dance through the Regent’s Decree No. 147 2003
rituals. Under the massive development projects, (Basri, 2008) and (2) Using language as local
from green revolution to media narratives, they curriculum in elementary and junior high school.
have experienced many changes that made them Although its origin has become polemic until
16Ikwan Setiawan, Albert Tallapessy, Andang Subaharianto - The Mobilization of Using Cultures
today, gandrung for majority of Using people has with the new aesthetic structure, also without
been acknowledged as the most wonderful dance alcoholic drinks. This choice made gandrung artists
heritage (Effendy, 2008). Its regional, national, with no sanggar marginalized in the euphoria of
and international popularity of gandrung made the regime projects. The sanggar artists enjoyed
Samsul legalized it as both tourism mascot and financial benefit through gandrung promotion in
cultural identity. The legalization was followed by Indonesian big cities and international cities. In our
(1) the making of giant gandrung dancer statue, view, such aesthetic standardization is “a cultural
(2) the training of professional gandrung dancer accident” caused by the projects of cultural revival
by Culture and Tourism Board, (3) the writing that does not meet the necessity of local actors
of gandrung by Blambangan Art Board, and (4) in lower level. This cultural accident shows that
the promotion of gandrung to other cities, both the incorporation of identity politics may cause
in Indonesia and foreign countries, as Surabaya, conflict among local actors with the same cultural
Jakarta, Hong Kong, and some cities in USA. background.
Moreover, gandrung-ization in the forms of Further, the policy of gandrung, up to now,
pictures and statues became dominant color in has emerged oppositional response from Using
villages and city landscape. people with Islamic background in some villages
The gandrung project got positive response at Kabat and Songgon Sub-districts. They have
from Banyuwanginese cultural experts because neglected gandrung performance in their villages
they would have power to represent it in various because this dance brings immoral elements as
discursive explanation—media narratives and alcoholic drink, erotic body of the dancers, and the
academic reports. For gandrung artists, they would historical background of gandrung lanang, male
get legal support to continue their creativity and to dancer (Anoegrajekti, 2011: 93). In addition, the
gain economic beneficiary through performance. same ethnic members from other villages have had
In this case, we see ‘a meeting point’ between cultural jealousy when their communities have not
the state regime’s political-cultural desire and the gotten attention from the government. This cultural
local actors’ economic-cultural necessity in the tension shows that in the level of intra-ethnic have
mobilization of local cultures. The state regime existed a latent problem, particularly when (a) a
can take the more important role by incorporating group of people with strict religious perspective
residual-but-popular art from which they will commits to Othering other group assumed as the
get consensus from the local actors and people profane one and (b) other communities in the same
for establishing political power. Further, there ethnic are not included in the cultural projects that
is a modern-economic motivation behind such make them cannot enjoy economic and cultural
project, namely the promotion of cultural tourism advantages.
agenda as strategic way to get financial advantage. Beside the policy of gandrung, Samsul
This is a kind of hybrid-cultural-policy which the also legalized Using language as one of local
state regime a chance to support traditional art curriculum contents in all elementary and junior
preservation and to get economic reward from the high schools in Banyuwangi. This legalization
activity. emerged inter-ethnic tension because non-Using
However, when the state cultural projects people saw this local curriculum as an imperative
become hegemonic, there is always problem strategy without understanding of multicultural
related to the persons or groups who have legal reality in Banyuwangi. Pro factions saw the
right to promote them and to modify or change their policy as political-cultural triumph because for
aesthetic structures. The government apparatuses long time under the New Order regime, Using
wanted to perform gandrung with some new students should learn Javanese language that
dance standards that were different to gandrung was historically identified as oppressor element.
terob (performed in hajatan, a traditional party It engendered both a tendency of Othering other
for celebrating a particular rite of lifecycle). The ethnic groups, as Javanese and Madurese, and
regime ordered gandrung artists who had legal repressive language policy that made other ethnics
sanggar (legalized art group) to perform gandrung must learn Using language. It was a transformation
17Humaniora, Vol. 29, Number 1 February 2017
of Javanese language policy for Using students of Samsul Hadi, 2005-2010, hereafter RAL), the
in the New Order era. However, local educated regime’s cultural projects had different color.
elites, as discursive subjects of “Using pride” did In the political process, Samsul’s instruction to
not understand such problem as the important local actors and bureaucratic apparatuses to elect
one because they only wanted to celebrate the RAL—although she is not Using—was one of the
linguistic triumph as a significant-historical event important factors for her triumph in regent election.
for developing and strengthening Using identity It means that Using ethnic through Samsul figure
(Sentot, 2008). was still becoming significant factor in political
With the similar tone, the local artists who election. Unfortunately, RAL did not create newer
got advantages under his authority saw Samsul cultural programs that can empower Using cultures.
as the figure of political-cultural leader who Although she continued previous programs
really cared to their economic problems and had a such as Festival Kuwung, a cultural carnival to
good will to position them in honor position. His celebrate Banyuwangi birthday, and the Training of
willingness to share money to the artists made them Professional Gandrung, many local actors mocked
appreciating him as a subject of comparison when her as “being too Balinese” because of her marital
his successor has failed to develop and empower position as the wife of Regent Jembrana, Bali, and
Using cultures. In addition, in structural positions, as “not knowing Using customs”. Bad evaluations
Samsul promoted the state apparatuses from Using toward RAL leadership were a form of cultural
ethnic to handle strategic bureaucratic positions. disappointment framed by the past-ideal-romantic
In this case, the collaborative incorporation imagination under the New Order and Samsul
of dominant-ethnic-cultures, education, and regime. In other words, primordial views based
bureaucratic structures will persuade consensual on essential culture, in one side, may become a
agreement from the subordinate class and open the symbolic resistance toward political leadership
way for hegemonic power in regional level. with less attention to the dominant-ethnic culture
From the Using-ization projects in Banyuwangi and, in other side, may continue stigmatic tradition
under the authority of Samsul Hadi regime, at in viewing other ethnic groups.
least, we see three problems in hegemonic power Abdullah Azwar Anas (hereafter AAA),
operation through dominant-ethnic-cultures Banyuwangi regent for 2010-2015—and re-elected
mobilization. Firstly, the essentialist cultural for 2016-2021 period—has not wanted repeating
projects will emerge politicizing cultures and RAL’s faults in perceiving Using cultures. Driven
culturalizing politic. While the first shows the by his economic and political desires, he has
regimes’ mechanism to politicize particular continued some previous programs and created
cultural expression as the way to include the newer cultural programs based on Using cultural
local actors in their power formation, the latter richness. However, he, as a young leader, has had
considers cultural primordial-ism to determine different perspective with the previous regents.
some political structures. Secondly, instead of With arguments to empower the life of traditional
its idealized function to resist foreign dominant artist economically and the great cultural potencies
power, the cultural mobilization will make power of Banyuwangi, he has promoted some discourses
relation in political works appearing as something on Using cultures that need to be managed with
normal because the regime can articulate the commercial tourism standards since his first period
populist desire to empower dominant-ethnic of leadership. It means a new globally oriented
cultures. Thirdly, the possibility of intra conflicts cultural project need to conduct. In the opening
among local actors and inter conflicts with other speech of Padang Ulan performance at the Hall
ethnic members that have lack of advantage— of Tourism and Cultural Board, 22 July 2011, he
culturally and economically—from the projects. confidently stated:
In the future, we will find a breakthrough
COMMODIFYING ETHNIC CULTURES INTO to develop and preserve our cultures….I
GLOBAL TOURISM MARKET encourage the government apparatuses
Under Regent Ratna Ani Lestari (the successor
18Ikwan Setiawan, Albert Tallapessy, Andang Subaharianto - The Mobilization of Using Cultures
related to cultures and tourism to approach television station, JTV, for example, broadcasted
traditional arts with tourism perspective. live street fashion shows, which modified
It is important because we need to utilize gandrung, janger, and kuntulan costumes in more
traditional arts potency to empower tourism colorful and wonderful mode. Radar Banyuwangi,
activities. We need to create international a regional media (Jawa Pos Group), reported BEC
network to attract global tourists to come as its headline. Of course, the official-steering team
here, to view our cultural attractions. needed to allocate much money to contract the two
Therefore, at 22 October 2011, we will media. Some national televisions also reported
have Banyuwangi Ethno Carnival (BEC). BEC in their news program. Some foreigner
I purposely invite manager of Jember photographers took pictures from the fashion
Fashion Carnival (JFC) because now carnival. Indeed, the first BEC, 22 October 2011,
he has networks with 180 international was successful program because thousands people
photographers. Therefore, please, do not watched and some regional and national media
make useless debates about BEC. For the reported it although to measure the tourism and
traditional artists, do not worry, we will economic beneficiary was not easy business.
not erase our traditional characters. BEC is Discursively, local actors in Banyuwangi
important to promote our cultural heritage. were divided into two factions in responding BEC,
Then, for the real tradition programs, accepting and resisting. For the resisting actors,
we will hold Festival Kuwung to expose BEC would marginalize and ‘kill’ Using arts
Banyuwangi traditions. Once again, we because the project only “looks like Using” without
need to compact to develop Banyuwangi touching the roots of empowerment problems
arts and cultures. We must show to the and gave economic benefit for non-Banyuwangi
foreign tourists that we are society with creators. The accepting faction, particularly
great cultures. cultural experts and institutions who has had close
By Using the subject, “we” in his speech, AAA relations with the regime, conceived BEC as a
brilliantly includes Banyuwangi people, especially great formula to promote Using cultural richness
local actors, as integral part of his futuristic project. globally. However, the regime as the leading class
To minimize the local actors’ resistance towards in political-cultural formation always had strategy
the plan, AAA conceptualizes two oppositional to face discursive resistance of the subordinate
paradigms under the discourse of arts and cultures class. The cultural bureaucratic apparatuses in
empowerment. Firstly, he promotes indigenous- Banyuwangi gave a chance to the resisting artists
romantic perspective which positions Banyuwangi to participate in BEC by both following the official
arts and cultures as the form of local wisdoms that rules of JFC management and giving a little of
needs to preserve in contemporary life. Secondly, traditional color—the parade of grandrung dancers
he issues tourism economy, which idealizes and ethnic music collaboration. This strategy made
cultural attractions as integral part of tourism them participate in BEC. When we asked one of
activities that can increase financial income. Such them for this contradictory, he answered, “Well,
binary opposition implies the regime’s desire my friends and I are only citizens. When our leader
to drive tourism economy based on the cultural asked us to participate, it is impossible to neglect.”
attractions. To realize the ideal goal, AAA issues The success of BEC, Banyuwangi Beach Jazz
BEC proposal and invites JFC management as Festival, and Parade Gandrung Sewu (A Parade
consultant in the carnival. AAA believes that the of A Thousand Gandrung) in 2011 has made AAA
JFC’s national and international publication will and his apparatuses creating more various and
guarantee the promotion of BEC as global fashion sparkling programs under banner Banyuwangi
carnival based on Using cultures. Festival in the following years. However, the
As a strategy to construct BEC as the first obligatory cultural-carnival menus in Banyuwangi
great cultural project under AAA’s regime, the Festival have been BEC, Banyuwangi Beach Jazz
official-steering team prepared enlarging public Festival, Parade Gandrung Sewu, and Banyuwangi
opinion of this program through media. Regional Batik Festival. Interestingly, from 2012 to 2015,
19Humaniora, Vol. 29, Number 1 February 2017
there had been multiplying number of the various but transforms local cultures into a celebration of
events in Banyuwangi Festival: 7 events in 2012, aesthetic signifiers to absorb post-modern taste
15 events in 2013, 23 events in 2014, 36 events in that deconstructs binary opposition between the
2015, and 53 events in 2016. In 2017, Banyuwangi traditional and the modern. However, the axe
government will make 66 events. of this program is market law. Local cultures in
Since 2011 until now, the combination of this consideration only become raw materials
cultural carnivals, international sport activities, and incorporated and represented by the regime
wonderful natural landscape, have delivered some through carnival cultural products that serve the
significant achievements in tourism development global tourism market without empowering the
for Banyuwangi government under AAA. In locality itself.
2012, for example, the government of Banyuwangi Ironically, the government has not given any
achieved “The Most Improved” award and in chance for folk artists and their art performances,
2013 achieved “The Most Creative” award such as angklung (musical instruments made from
in Travel Club Tourism Award (Rachmawati, bamboo performed with a dynamic rhythm) and
2013). Of course, those achievements have gandrung to show their aesthetic works through
become important signifier for the success of particular moments in Banyuwangi Festival.
AAA as the visionary leader in the history of Indeed, there has been gandrung parade, but it
Banyuwangi. Furthermore, in a international has been difficult for empowering this folk art and
event, the government of Banyuwangi in 2106 got its artists because the government has no planned
“UNWTO Awards for Excellence and Innovation programs that have touched their real problems.
in Tourism” in The Innovation of Public Policy Taking folk arts merely as raw material to be
and Governance category. This achievement was commodified into palatial fashions does not mean
not peculiar because since the first term of his making serious effort for evolving them and giving
authority, precisely in 2011, AAA has committed the artists sustainable cultural benefit. Instead, the
to the internationalization of Banyuwangi tourism governmental regime with neoliberal orientation
destination to attract the coming of foreign tourists intentionally makes various parades and festivals
into this east frontier of Java through some merely for valorizing artificial meaning of the
spectacular events. Slamet Kariyono, the secretary local art performance and rituals. Of course, once
of the regency, claimed that during the last five again, political economic goals are the dominant
year (2010 to 2015), there was the radical leap of motives behind ethnic identity celebration through
tourists visiting Banyuwangi (Rachmawati, 2016). commodification of Using cultures, particularly
Domestic tourists increased 161 % from 651,500 for negotiating hegemonic position. Therefore,
people in 2010 to 1,701,230 people in 2015, while talking Using cultures in Banyuwangi Festival
foreign tourists increased 210 % from 13,200 will raise the greater problems for the local actors,
people in 2010 to 41,000 people in 2015. particularly the regeneration of local performing
AAA and his apparatuses, clearly, have arts, if the government apparatuses have no precise
transformed flexibly the exotic uniqueness of policy in empowering it.
Using cultures into carnival modes which visually AAA and his apparatuses have incorporated
have attracted the viewers of Banyuwangi Festival. and commoditized Using cultures as raw materials
Although seems repeating the New Order policy for the carnival products. In this context, we can see
of cultural tourism, AAA has had more brilliant Using identity is not only positioned as the cultural
perspective based on global tourism market. It is core which cannot be re-interpreted, but also as the
impossible to reach a great economic beneficiary flexible identity that can be “played” for supporting
through the cultural projects without promoting economic and political interest of the regional state
them globally. The problem is that the fashion regime. As a younger politician and leader with
carnival, actually, is not empowering Using local capable knowledge of business and politics, AAA
values, but merely re-packaging of surface-cultural has been aware about many wonderful aspects
signifiers for international taste. In other words, of Using cultures that may fulfill the desire of
the regime does not think essentially any more, metropolitan people toward exotic, primitive, and
20Ikwan Setiawan, Albert Tallapessy, Andang Subaharianto - The Mobilization of Using Cultures
ethnic values in the midst of their postmodernity. AAA has brought the transformation
Banyuwangi Festival, for us, is an exemplar how paradigm in cultural projects by creating many
the regional state regime mobilizing dominant- wonderful carnivals because since the first term
ethnic-cultures, not merely for empower them as of his leadership, he has targeted selling exotic
local identity, but also to follow the global tourism Using cultural richness into global tourism
market. In this perspective, the regime imagines market. Therefore, he has set various programs by
to get great benefits, economically and politically. modifying many Using traditional arts and rites into
Financial income from cultural tourism activities the newer carnival expressions, such as in BEC,
today becomes a global trend in which ethnic Banyuwangi Batik Festival, etc. For developing
uniqueness re-packaged in commercial products various tourism destinations and attractions, those
for serving foreigner tourists who still desire cultural programs have been very interesting for
exotic cultures; ethnicity incorporation (Comaroff local inhabitants, domestic tourists, and foreign
& Comaroff, 2009). Politically, the regime, once tourists. Economically, the coming of them into
again, will gain political consensus from the Banyuwangi will increase the governmental
people and local actors—although not all—for income. Politically, although AAA is not Using
promoting dominant-ethnic-cultures globally and descendant, because of his success in promoting
developing them in contemporary period. In other Using cultures and other natural destinations into
words, the hybrid-cultural policy always brings the national and global tourism market, he has gotten
spirit of dominant-ethnic-culture into the newer political public consensus for his leadership.
modern understanding with economic and political From the two cases, we can see that in post-
orientation. In 2016 regional election, AAA was re- Reformation periods, the massive indigenous
elected to rule Banyuwangi until 2021. It proves movements who mobilize dominant-ethnic-
that all his sparkling carnivals with wide media culture for recalling communal solidarity can be
coverage regionally and nationally also have given entrapped into reductive meanings, especially
positive impact for Banyuwangi people, so they when the regional state regimes incorporate the
elected AAA for the second period. movements. The ideal intentions for empowering
ethnic communities economically, politically, and
CONCLUSION culturally can be hijacked by the regional state
At these concluding remarks, we just want regimes that have their own political economy
to re-articulate some critical conceptions about goals. Indeed local actors who can lobby the
the capability of the regional state regimes in governmental apparatuses will get economic
post-Reformation Banyuwangi for incorporating, advantages because they will get financial funding
articulating, and transforming Using cultural and involve in ceremonial cultural agendas.
identity into their cultural projects. Samsul Hadi However, the majority of local artists who have no
was the successful and prominent regent who such capacity will get nothing from the identity-
could raise communal pride and solidarity among based-projects. In this context, instead of becoming
Using people. His paradigm in cultural projects, the solidarity capital of indigenous movements,
politicizing culture and culturalizing politics, ethnic cultural mobilization can be “the celebration
generally could be accepted by the majority of of traditional signifiers” that gives no maximum
cultural experts, artists, and common people positive effect for the communities.
because he and his apparatuses might provoke
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