摘要:This article is written based on the research findings that aims to know and understand the alienation of Cak Bedulu Dance in Balinese tourism performing arts. This research was conducted due to the imbalance between assumptions and reality that occurred in the field. Supposedly,as a pioneer of Balinese tourism performing arts,this art group should be most often found in the tourism industry. However,although Cak Bedulu is one of the pioneers of art for Bali tourism,this art group actually experienced alienation. The question: (1) why do these art groups experience alienation? (2) what is the form of the performance? and (3) what are its implications for society and Balinese performing arts? This research applies qualitative method. The data source of this research is the performance of Cak Bedulu,related parties,and the society in Bedulu Village, Bali. The data collected by the techniques of observation,interview,focus group discussion,and library study were then analyzed by aesthetic theory,tourism performance theory,and the knowledge/power relation theory. The findings showed that: (1) Cak Bedulu arts groups experienced alienation because the way they were presented seemed no longer in line with the current market ideology,the ideology of tourism performing arts, and the cultural ideology of the local society,(2) The art groups of Bedulu Village present the Cak Bedulu performance in the form of drama dance with the Ramayana play. It can be seen from the way of presentation, costume and makeup,and the structure of the performance,and (3) The alienation of Cak Bedulu implies the loss of artistic media,financial input from artistic activities,and local cultural identity.
其他摘要:Artikel ini disusun berdasarkan hasil penelitian yang bertujuan untuk dapat mengetahui dan memahami keterpinggiran Tari Cak Bedulu dalam seni pertunjukan pariwisata Bali. Penelitian ini dilakukan karena dilatari adanya ketimpangan antara asumsi dan kenyat