Abstract
Culture is the most critical thing when driving innovation. This paper aims to discuss the counter-hegemony of Drama Gong against modern entertainment arts today with the dynamics of openness innovation. The research method used is qualitative and uses triangulation analysis. Basic qualitative data were obtained by examining two stories of Drama Gong, namely: (1) Angling Dharma (the 1980s) and (2) Jayaprana (2020). Data were collected through observation, document review, and interviews with artists and art observers of the Drama Gong culture of Bali. Qualitative descriptive analysis was carried out by applying the theory of semiotics and the theory of symbolic interaction. The results showed that to maintain its existence since the 1980s Drama Gong performance art has been revitalized as a form of counter-hegemony to today’s modern entertainment arts. The counter-hegemony concerns three things, namely: (1) the innovation of Drama Gong performance art, (2) the application of new technology to support the packaging and performance of the Drama Gong, and (3) efforts to maintain the function of the Drama Gong as a way to teach Balinese culture.
Highlights
Drama Gong is a Balinese folk art performance that was born in the late 1950s
The technology era shifted the Drama Gong to become a favorite spectacle for the Balinese people because it was shifted by other entertainment media [74]
1980s have taken steps to revitalize the performance of Drama Gong
Summary
The forerunner of Drama Gong has been around since the late 1950s, a form of the mixture (hybridity) of Western theater, theatrical, stambul, and Janger (Balinese youth dance) [1,2]. The performance is accompanied by Balinese gamelan, dialogue in mixed Indonesian and Balinese languages, and the performers wear traditional Balinese clothes. Since this performance art is a mixture of traditional and modern, it is referred to as “classical drama” or just “drama” [3,4]. Every year in Bali there is always an art parade from eight districts on the island of
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