Behind the Scenes

2017 ◽  
Vol 6 (2) ◽  
pp. 80-90
Author(s):  
Adilla Anggraeni ◽  
Adilla Amelia
Keyword(s):  
Collection Method ◽  
Traditional Art ◽  
The Arts ◽  
Arts Marketing ◽  
Art Consumption ◽  
Traditional Arts ◽  
Performing Art ◽  
Service Experiences ◽  
Art Elements ◽  
Depth Interviews

Delivering a satisfactory experience to the customers is an inseparable part of a service organization. This article investigates how two different groups of wayang orang (human wayang), a form of traditional art in Indonesia deliver service experiences to the audiences. Qualitative methods consisted of in-depth interviews and open-ended survey were utilized as the data collection method. The findings suggest that service experiences were delivered through the combination of various art elements in the performance, and some of the elements are considered to be more important than the others. Several barriers have also been identified as the barriers that inhibit consumption of this traditional art. Bharata and Swargaloka performing art groups were utilized as the context of this research. This article contributes to limited studies on traditional arts within the arts marketing domain, especially with regards to art experience delivery and art consumption.

scholarly journals REPRESENTASI KOMUNIKASI BUDAYA “NGARAK PENGANTIN BUAYA PUTIH” DALAM PERUBAHAN SOSIAL MASYARAKAT PADARINCANG

2017 ◽  
Vol 10 (2) ◽  
pp. 22
Author(s):  
Rahmi Mulyasih ◽  
Ahmad Sururi
Keyword(s):  
Social Change ◽  
Data Collection ◽  
Cultural Communication ◽  
Communication Model ◽  
Traditional Art ◽  
Community Activities ◽  
The Arts ◽  
Traditional Arts ◽  
The Impact ◽  
Made In

As one part of local wisdom, traditional art of Ngarak Pengantin Buaya Putih in Padarincang Village, Serang Regency experienced various dimensions of change in facing social change. The tendency is that people are slowly starting to display the outside culture in the wedding. This indicates a social change in Padarincang society, this social change is characterized by the reluctance of some younger generation to preserve the arts of " Ngarak Pengantin Buaya Putih ". The purpose of this study is to find out how the representation of cultural communication of White Buaya bride in the changes of social change at this time, the identification of efforts made in maintaining the traditional arts of white crocodile bride, the obstacles faced and the model of cultural communication in social change. The method used in this study is phenomenology with data collection techniques using interviews, observation and documentation. The results of the study and discussion show that the interaction and transactional communication model between Padarincang community and the outside community has resulted in the impact of social change which resulted in the local cultural stragnation. Although Padarincang society still strives to maintain the existence of art of " Ngarak Pengantin Buaya Putih " in the middle of social change and communication model that occurs in a responsive and transactional interaction. Various efforts of the stakeholders have been done in maintaining the existence of art of white crocodiles bride like the presence of sanggar, socialization and appreciation of local art displays in various community activities.

scholarly journals Sistem Manajemen Kesenian Jaran Kepang Turonggo Mudo Ngesti Budaya Kabupaten Semarang Sebagai Upaya Eksistensi Seni Tradisi

2019 ◽  
Vol 14 (4) ◽  
pp. 487
Author(s):  
Laura Andri Retno
Keyword(s):  
Financial Management ◽  
Management System ◽  
Material Object ◽  
Planning Stage ◽  
The Arts ◽  
Evaluation Stage ◽  
Group 2 ◽  
The Right ◽  
Traditional Arts ◽  
Depth Interviews

The material object in this study is the jaran kepang Turonggo Mudo Ngesti Budaya art group located in Semarang Regency. Using the arts management theory and qualitative research methods and in-depth interviews, this study aims to analyze the management system used in the arts group. The data acquisition supports the results of the research, in the form of (1) the planning stage, consisting of weekly, monthly, and incidental work programs carried out by the Turonggo Mudo Ngesti Budoyo art group; (2) organizing stage is the activity of sorting work according to organizational structure and fostering members; (3) the stage of supervision / controlling ,consisting of the introduction, implementation and saving back, and (4) the evaluation stage, namely the stage of evaluation of the success or failure of the activities carried out by the art group. Of the four stages carried out it can be said that the Turonggo Mudo Ngesti Budaya group is a traditional arts group with a good management system, even though the process of regeneration and financial management is not optimal enough, because there is no separation of leaders on the artistic and production sides, even though the selection and management of the right management will make traditional arts groups are more optimal in existence.

How can art museums develop new business opportunities? Exploring young visitors’ experience

2020 ◽  
Vol 21 (1) ◽  
pp. 109-131
Author(s):  
Wided Batat
Keyword(s):  
Cultural Practices ◽  
Cultural Tourism ◽  
Art Museums ◽  
Consumer Society ◽  
Content Type ◽  
The Arts ◽  
Business Opportunities ◽  
Arts Marketing ◽  
New Business ◽  
Art Consumption

Purpose So far, most studies in cultural tourism have looked at visitors in relation to the experience itself. This study aims to bring a broader view on what constitutes the daily environment of younger visitors and how museums could use this knowledge to develop a service delivery that is more adapted to their needs without sacrificing the museums’ integrity and authenticity. As such, this research brings a unique and deeper analysis of young visitor behavior, in relation to arts and cultural practices that could be expanded to other areas of tourism experiences. Design/methodology/approach The present study examines the main art and cultural tourism activities among adolescents. Using 32 in-depth interviews with adolescents between 13 and 18 years of age, this research takes a closer look at their experience and perceptions of art museums and exhibitions. Findings The findings show that adolescents’ perception of arts and exhibitions do not correspond to museum art criteria held by cultural tourism professionals. Based on the key theoretical themes emerging from the empirical investigation, a conceptual framework of adolescents’ attitudes toward arts and exhibitions is now presented to provide insights into the dimensions of adolescents’ art consumption in today’s western consumer society. Figure 1 provides a graphic model that visualizes adolescents’ art consumption experiences and summarizes the main findings and marketing implications in the arts field. Originality/value Based on these findings, new ways of engaging with adolescents in the field of arts are suggested to create new business opportunities for the museum. The findings lean toward the necessity to develop a more youth-centric approach, which differentiates between how adults define art and what adolescents believe art is supposed to be. Thus, the findings demonstrate that adolescents’ art consumption experiences are deeply anchored within the context of their social environment and the value judgments of their peers. The adolescent-centric logic within the arts experiential context is taken into account to underline the gap existing in many current arts marketing strategies that are targeting young visitors – and especially adolescents.

scholarly journals Sinematografi Wayang: Persoalan Transmedia Seni Pertunjukan Tradisional dalam Program Tayangan Televisi

2019 ◽  
Vol 15 (2) ◽  
pp. 137-152
Author(s):  
Arif Eko Suprihono
Keyword(s):  
Cultural Change ◽  
Performing Arts ◽  
Research Work ◽  
Research Process ◽  
Television Industry ◽  
Traditional Art ◽  
The Arts ◽  
The World ◽  
Conflicting Interests ◽  
Traditional Arts

ABSTRAKMerujuk pada proses penelitian delapan tahun terakhir, dan melihat hasil kerja Penelitian Hibah Bersaing, Penelitian Produk Terapan, terungkap kompleksitas pengelolaan kegiatan seni pertunjukan tradisional di masyarakat. Berkait erat dengan budaya industri televisi, terbentang peluang sekaligus ancaman serius bagi eksistensi seni tradisi. Hasil  kerja penelitian dalam rencana makro, disarankan urgensi tindakan konstruktif dan sistematis kepada para pekerja seni untuk mengantisipasi benturan kepentingan industri pertelevisian Indonesia dengan pengelolaan seni pertunjukan tradisional. Persoalan cinematography seni  tradisional  membahas proses dialektika kreatif mengarah pada pemikiran, tindakan, dan produk budaya dengan menyadari kerangka perubahan dan penyesuaian kultural. Diyakini, bahwa kesenian tradisi memiliki nilai luhur, kearifan lokal, identitas karakter masyarakat, menunjuk pada kebhinnekaan dan keunggulan, kekhasan suku bangsa Indonesia, berbeda dibandingkan dengan bangsa-bangsa lain di dunia. Referring to the research process of the last eight years, and looking at the work of the Competitive Grant Research, Applied Product Research, revealed the complexity of managing traditional performing arts activities in the community. Closely related to the culture of the television industry, opportunities and serious threats lie for the existence of traditional arts. The results of research work, suggest the urgency of constructive and systematic action to the arts workers to anticipate the conflicting interests of the Indonesian television with the management of traditional performing arts. The issue of traditional art cinematography refers to the process of creative dialectics leading to thoughts, actions, and cultural products by being aware of cultural change and adjustment frameworks. It is believed, that traditional arts have noble values, local wisdom, the identity of the character of the community, pointing to diversity and excellence, the uniqueness of Indonesian from other nations in the world.

scholarly journals PERAN KESENIAN REYOG KENDHANG SANGTAKASTA SEBAGAI SARANA BEREKSPRESI MASYARAKAT DESA TUGU KECAMATAN SENDANG KABUPATEN TULUNGAGUNG

2019 ◽  
Vol 2 (1) ◽  
pp. 35
Author(s):  
Mayendra Rifai Yahya
Keyword(s):  
Young People ◽  
Contemporary Art ◽  
Descriptive Analysis ◽  
Traditional Art ◽  
Current Trends ◽  
The Arts ◽  
Efficient Information ◽  
Changing Times ◽  
The Times ◽  
Traditional Arts

Keberadaan Sangtakasta memiliki daya tarik tersendiri untuk dijadikan sebagai objek penelitian. Kesenian-kesenian tradisional dihadapkan dengan modernitas kemajuan zaman di era globalisasi yang serba canggih ini. Perubahan kebudayaan suatu daerah sedikit banyak dipengaruhi oleh perubahan-perubahan masyarakatnya. Kesenian-kesenian tradisional dengan konsep-konsep lama semakin sulit mencari peminat, setelah para generasi mudanya kurang tertarik karena tidak adanya suatu pembaharuan. Anak-anak muda lebih cenderung menyukai bentuk kesenian yang kekinian atau masa kini. Munculnya grup-grup kesenian di Kabupaten Tulungagung dengan kreativitasnya masing-masing, sedikit banyak memberi angin segar terhadap pelestarian kearifan lokal daerah. Kesenian tradisional seperti Reyog Kendhang tak luput dari objek ajang berkreativitas dalam berkesenian. Sangtakasta sebagai sanggar seni yang berada di Desa Tugu Kabupaten Tulungagung ini, saat ini sangat berperan penting dalam hal memfasilitasi minat dan bakat anak-anak muda yang ingin terjun langsung dalam berkesenian. Konsep garapan baik tarian atau musikal, semuanya disesuaikan dengan perkembangan zaman atau tren masa kini tanpa meninggalkan dasar-dasar dari kesenian itu sendiri. Kesenian tanpa adanya sebuah pembaharuan mustahil akan tetap eksis melintasi generasi ke generasi, sebab sebuah kesenian akan selalu berkembang sesuai dengan perubahan zaman. Reyog Kendhang sebagai kesenian ikon dari Kabupaten Tulungagung saat ini juga tidak luput dari sebuah pembaharuan, karena kearifan lokal akan hilang tanpa adanya masyarakat pendukung. Pendekatan etnomusikologi,sosiologi dan antropologi digunakan sebagai sarana untuk memperoleh informasi yang lebih efisien dengan metode deskriptif analisis. Hasil daripada penelitian ini bahwasanya sebuah kesenian akan terus berkembang sesuai dengan perubahan zaman, mengikuti alur perkembangan zaman sah-sah saja asalkan tidak meninggalkan dasar dari kesenian itu sendiri. Musik Reyog Kendhang Sangtakasta saat ini mampu menyesuaikan zaman sesuai dengan minat masyarakat pendukungnya.Sangtakasta's existence has its own attraction to be used as the object of research. Traditional arts are confronted with modernization in globalization era. Changes of the culture in region are influenced by changes of society. Traditional arts with old concepts are difficult to find enthusiasts, after young people generation is less interested because there is no update in traditional art. Young people prefer contemporary art forms. The emergence of art groups in Tulungagung Regency with their respective creativity, gave a fresh update to the preservation of the local wisdom of the region. Traditional arts such as Reyog Kendhang is always as an objects of creativity in the arts. Sangtakasta as an art studio located in Tulungagung Regency Tugu Village currently plays an important role in facilitating young people’s talent who want to get involved in art. The project of sangtakasta studio is dance and musical, all adapted to the current trends without leaving the basics of the art itself. Art without update is can’t exist across generations, because an art will always develop in accordance with changing times. Reyog Kendhang as an iconic art from Tulungagung Regency is currently has an update, because local wisdom will be lost without the support community. Ethnomusicology, sociology and anthropology approaches are used to obtain more efficient information with descriptive analysis methods. The results of this study that an art will continue to develop in accordance with the changing times, follow the flow of the development of the times is fine as long as it does not leave the basis of art itself. Reyog Kendhang Sangtakasta Music is currently able to adjust the times according to the interests of the supporting community

scholarly journals Lembaga Olah Seni Budaya Jambi Kota Seberang Mengenal Kompangan Dan Hadrah Sebagai Seni Tradisional Melayu Jambi 1995-2017

2020 ◽  
Vol 20 (3) ◽  
pp. 926
Author(s):  
Siti Heidi Karmela ◽  
Ferry Yanto ◽  
Malynda Ayu Aprilia
Keyword(s):  
Cultural History ◽  
Research Problem ◽  
Historical Study ◽  
Name Change ◽  
Main Research ◽  
Traditional Art ◽  
Historical Method ◽  
Cultural Arts ◽  
The Arts ◽  
Traditional Arts

This research is a historical study with the theme of cultural history, with the object of research being the Kompangan Group and the Hadrah Group belonging to the Jambi seberang cultural arts institute in Jelmu village, Kampung Tengah Sekoja district. The main research problem is about “Kompangan and Hadrah Group Managed by LOSBJKS in Jelmu Village Since 1995 – 2017”, with two formulation of the problem proposed, namely; why LOSBJKS as an art institution can advance and develop the arts of Kompangan and Hadrah especially in Jelmu village and generally in the Sekoja area, and how LOSBJKS in preserving the values contained in the art of Kompangan and Hadrah as Jambi Malay traditional arts. The research objective is to explain the development of the Kompangan and Hadrah Groups belonging LOSBJKS which are the pioneers for the emergence of other traditional art groups especially in Jelmu village and generally in Sekoja area. In addition, it can also describe the roles and contributions of the board and members who are members of LOSBJKS to preserve the arts of Kompangan and Hadrah as traditional Jambi Malay arts. The research method used is the historical method which is method in historical research, where according to Kuntowijoyo the method starts from the heuristic, criticism, interpretation, and historiography. The findings show that there are change and developments from LOSBJKS, namely, first it can be seen from the name change from Riyadusholihin to LOSBJKS. Second, it is seen in the wider area of origin of permanent and non-permanent members. Third, in the terms of musical instruments, fourth, namely the costumes used especially the members of the Hadrah Group. Fifth, there was a change in the Kompangan technique (straight and circular patterns), if previously it was more characteristic of the Palembang (irregular) hitting technique, it had changed to Jambi striking technique that was more polite and neat. Sixth, in therm of singing there has also been a change, namely generally prayer and Malay songs, but at festivals sometimes there are also local songs so that they are not monoton.   

scholarly journals Kesenian Barongan Kabupaten Pati dalam Pergeseran Budaya

2017 ◽  
Vol 12 (2) ◽  
pp. 90
Author(s):  
Laura Andri Retno M
Keyword(s):  
Cultural Influences ◽  
Modern Society ◽  
Shift Function ◽  
Traditional Art ◽  
Stage Of Development ◽  
The Arts ◽  
Art And Culture ◽  
Qualitative Descriptive ◽  
Changing Times ◽  
Traditional Arts

Traditional arts are used to express the beauty of the human soul. In traditional artwork implicit message of the society of knowledge, ideas, beliefs and values norms. One example of a traditional art that has the function of rituals is Barongan. Barongan  is a community-owned art Kabupaten Pati, Jawa Tengah raised to preserve the culture and values in society. Through a qualitative descriptive approach with observation techniques and literature, it was found that at the next stage of development, especially in the modern society, arts performances Barongan shift function just as more entertainment. Barongan existence as art and traditional culture in Indonesia progressively eroded by the expansion of global art and culture. Therefore, efforts must be made to preserve the arts and culture in the midst of changing times and foreign cultural influences have been increasing in Indonesia

Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts

2022 ◽  
Vol 21 (2) ◽  
pp. 256-265
Author(s):  
I Wayan Dana ◽  
Ni Kadek Juni Artini
Keyword(s):  
Cultural Context ◽  
Qualitative Method ◽  
Active Role ◽  
Cultural Resilience ◽  
Traditional Art ◽  
The Arts ◽  
Large Trees ◽  
Traditional Arts ◽  
Male Dancers

The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is  to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali. 

scholarly journals Peningkatan Apresiasi Seni Dan Budaya Masyarakat Dalam Upaya Mewujudkan Desa Mergowati Sebagai Desa Wisata

Abdi Seni ◽  
2020 ◽  
Vol 10 (1) ◽  
pp. 34-46
Author(s):  
Soemaryatmi Soemaryatmi
Keyword(s):  
Social Life ◽  
Tourism Industry ◽  
Economic Activities ◽  
Cultural Traditions ◽  
Creative Dance ◽  
Traditional Art ◽  
The Arts ◽  
The People ◽  
Arts And Culture ◽  
Traditional Arts

AbstrakPeningkatan Apresiasi Seni Dan Budaya Masyarakat  Dalam Upaya Mewujudkan Desa Mergowati  Sebagai Desa Wisata, merupakan kegiatan dalam rangka meningkatkan kesadaran masyarakat Desa Mergowati terhadap potensi seni budaya yang dimiliki untuk dijadikan industri wisata. Mergowati adalah wilayah pedesaan yang memiliki lingkungan alam yang sejuk asri, dan pemandangan yang indah serta kehidupan sosial  masyarakat yang ramah dan penuh kekeluargaan. Desa Mergowati memiliki sejarah yang menarik, didukung dengan situs-situs peninggalan Kerajaan Mataram dan memiliki seni budaya serta kerajinan tangan terbuat dari bambu. Metode apresiasi dengan pendekatan aplikatif dan dengan meminjam pemikiran Alfian tentang kreatif, digunakan untuk membahas bagaimana  meningkatkan apresiasi seni tradisional masyarakat Desa Mergowati, dan bagaimana meningkatkan kreativitas pengrajin  anyaman  bambu. PPM Tematik di Desa Mergowati kali ini difokuskan pada peningkatan apresiasi seni tradisioal,  workshop pemanfaatan bambu untuk cinderamata, dan mengapresiasi tradisi budaya (Grebeg Gunung Boto). Hasil kegiatan dapat disampaikan sebagai berikut, (1) Pelatihan seni tradisional Tari Kuda Lumping, Tari Kreasi Baru: Tari Rigen, Tari Kupu-Kupu, Tari Merak, Tembang Mocopat, Tembang Dolanan. (2) Workshop pemanfaatan bambu: Lampu Hias, Pot Gerabah Hias, Gantungan Kunci. Diharapkan muncul kegiatan yang bernuansa ekonomi kreatif.Keywords. Apresiasi,  Seni, Mergowati, Wisata. AbstractIncreasing the Appreciation of Arts and Culture in the Community Efforts to Realize Mergowati  as a Tourism Village, is an activity in order to increase the awareness of the Mergowati people  to the potential of the arts and culture they have to make into the tourism industry. Mergowati is a rural area which has a cool natural environment, beautiful scenery and social life that is friendly and full of family. Mergowati village has an interesting history, supported by sites of the kingdom of Mataram and has cultural and handicraft made from bamboo. The appreciation method, with an applicative approach and by borrowing Alfian’s thoughts about creative, is used to discuss how to increase the appreciation  of  traditional  art  from  the  people  of  Mergowati  Village,  and  how  to  increase  the creativity of woven bamboo craftsmen. Thematic PPM in Mergowati Village this time is focused on increasing  appreciation  of  traditional  art,  workshops  on  the  use  of  bamboo  for  souvenirs,  and appreciating cultural traditions (Grebeg Gunung Boto). The results of the activities can be delivered as  follows,  (1)  Traditional  arts  training  on  Kuda  Lumping  Dance,  New Creative  Dance:  Rigen Dance, Kupu Kupu Dance, Merak Dance, Mocopat Song, Dolanan Song. (2) Workshop on the use of bamboo: Decorative lamps, decorative pottery pots, key chains. It is hoped that creative economic activities will emerge.Keywords: Appreciation, Art, Mergowati, Tourism  

scholarly journals THE DYNAMICS OF WAYANG GOLEK IN PANDEMIC AND GLOBALIZATION: TRADITIONAL ART SUSTAINABILITY

2021 ◽  
Vol 23 (2) ◽  
pp. 311-325
Author(s):  
Mohammad Rindu Fajar Islamy ◽  
Aam Abdussalam ◽  
Giani Adzkia
Keyword(s):  
Theoretical Study ◽  
Social Culture ◽  
Traditional Art ◽  
Islamic Studies ◽  
The Social ◽  
Arts And Culture ◽  
Great Pressure ◽  
The Government ◽  
Traditional Arts ◽  
Performing Art

This research aims to explore the dynamics of wayang golek art and to highlight its sustainability in the future. Modernity, the acceleration of technological devices and globalization wave in the last two decades, transfers great pressure on traditional arts and culture. Wayang Golek, a performing art originally from West Java, has recently received a fairly strong wave of resistance due to changes in the social culture which is mainly leading to modernity. By using a qualitative approach, data collection techniques were carried out by interviewing two main players as the puppeteers of Wayang Golek. The data analysis uses the theory of Miles and Hubberman, and the theoretical study of Islamic studies. The results of the study show that 1) Wayang Golek has unique characteristics, where the talent needed tends to go through the "inheritance" tradition, 2) Wayang Golek can be a bridge for internalizing religious and humanist values for the community through unique stories based on custom, 3) the restriction of Wayang Golek performance due to the Covid-19 pandemic leads the puppeteers to be more creative to survive, such as creating videos and uploading them in YouTube and other social media, and 4) the preservation of this art depends on the serious attention of all parties, from the government, regional officials, and the community.Penelitian ini bertujuan untuk mengeskplorasi dinamika kesenian wayang golek, serta menyoroti keberlangsungan ‘hidup’ seni tradisional wayang golek dimasa yang akan datang. Era modernitas, akselerasi perangkat teknologi dan gelombang arus globalisasi dalam dua dekade terakhir, memberikan tekanan hebat pada wilayah seni dan budaya tradisional. Wayang Golek sebuah seni pertunjukkan yang berasal dari Jawa Barat akhir-akhir ini mengalami gelombang resistensi cukup kuat imbas dari perubahan kultur sosial masyarakat yang bergerak kearah modernitas. Dengan menggunakan pendekatan kualitatif, teknik pengumpulan data dilakukan dengan wawancara terhadap dua pemain utama sebagai “Dalang” Wayang Golek, observasi dan dokumentasi. Adapun analisis data menggunakan teori Miles dan Hubberman, dan kajian teoritis Islamic studies. Hasil penelitian menunjukkan bahwa 1) Seni Wayang Golek memiliki karakteristik unik, dimana bakat yang dibutuhkan cenderung melalui tradisi “warisan”, 2) Wayang Golek dapat menjadi jembatan internalisasi nilai-nilai religius dan humanis bagi masyarakat melalui cerita-cerita unik berbasis adat, 3) dilarangnya pagelaran Wayang Golek akibat pandemi Covid-19 membuat para dalang lebih kreatif untuk bertahan, seperti membuat video dan menunggahnya ke YouTube dan media sosial yang lain, dan 4) Kelestarian kesenian ini bergantung terhadap perhatian serius semua pihak baik dari pemerintah, pejabat daerah, maupun masyarakat.

Sign in / Sign up

Export Citation Format

Share Document