This article aims to criticize the incorporation and commodification of Using cultures undergone by Abdullah Azwar Anas in Banyuwangi, East Java. To answer the problem, we analyze primary data from our field research and secondary data from online media related to AAA's efforts to incorporate, articulate, and commodify Using cultures into various carnival programs (2011)(2012)(2013)(2014)(2015)(2016)(2017) by applying theories of commodification, postmodernism, and hegemony. The result of this study shows that, driven by his desire to promote Using cultures globally in the midst of postmodern trends, since 2011 the government of Banyuwangi has created many carnivals and festivals, such as

This article aims to describe and criticize the constructions of post-colonial Javanese locality in campursari from the New Order to Reformation era. Applying the textual-contextual method with postcolonial theory, some campursari songs composed by Nartosabdo, Manthous, Didi Kempot, and Cak Diqin will be analyzed to reveal out the constructions of Javanese postcoloniality in transformative modes. The textual analysis method will be conducted by analyzing some song lyrics to find out Javanese locality discourses related to some issues such as new cultural values and practices and male-female relationship in the midst of modernity, from the New Order until Reform era. The contextual method will help us in connecting critically discursive constructions in the song texts to historical condition in which modern values and practices have affected Javanese individual and society. This study shows that campursari songs represent the transformation of locality in which the song writers bring their view on the changing of cultural life by negotiating Javanese cultures with more flexible paradigm. It means that the song writers consciously represent local cultures which have had dialogue with modern cultures as an effort for negotiating and transforming Javanese locality as well as a strategy for popularizing and marketing campursari.

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 (2000Hadi ( -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.

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.

This article aims to explore the concept and practice of neo-exoticism as an ideal-flexible formula for developing ethnic arts in the midst post-colonial society and neoliberal tourism industry. By analyzing our field data from various events of cultural tourism in Banyuwangi, East Java, Indonesia, we will elaborate some concepts and practices of neo-exoticism. We adopt and develop the idea of neo-exoticism from the concept of "post-colonial exotic" by Huggan (2001), which describes the contestation between the desire of intellectuals and activists to preserve traditional cultures continuously as a significant marker for national identity and the state's policy to incorporate the beauty of exotic cultures into commercial activities. The framework will help us to analyze primary data from participatory observation in cultural tourism activities in Banyuwangi and interview with some folk artists from 2012-2019 as well as secondary data from online news media. The result of this study shows that the neo-exoticism formula in the development of ethnic arts has several advantages. For the state regime, this formula makes local government easy for repackaging ethnic artistic richness in the form of tourism products such as carnival, festival, spectacular event, and collaborative performance. Indeed, the artists and residents will benefit through their cultural participation, but the investors in tourism with neoliberal flexible principles which incorporate exotic characteristics into their services will get greater profits. However, the neo-exoticism formula will not have a major impact on ethnic arts that still follow the traditional standard performances.