Abstract
The purpose of this article is to examine the phenomenon of Balinese shadow puppet performances as a tourism entertainment spectacle in Ubud, Bali. Basically, the Parwa shadow puppet shows as Balinese shadow puppets are stag for the purposes of traditional ceremonies with long duration. In contrast to the type of Parwa shadow puppet show in Ubud is stag for tourism, only it's stag with a shorter duration. This phenomenon certainly raises a big question about the implications of stag such performances for tourism.This article is prepared to use qualitative research methods. All data were obtained through literature study, interview and observation. After all data is obtained, it is analyzed by using the perspective of cultural studies.The results show that the commodification of Parwa shadow puppet shows for tourism has economic, social and cultural implications. Economically, the commodification of the Parwa shadow puppet show for tourism has already had implications for a change in instrumental value, adding profit to cottage owners and retailers. Socially, the commodity has implications in the popularity as well as the identity of shadows puppet group. Culturally has implications for the preservation of cultural identity in the context of tourism, mediation of cultural promotion to tourists, cultural degradation of puppets and the difficulty of enculturation.
Highlights
Parwa is a traditional Balinese shadow puppet performed for the purposes of traditional ceremonies (Mangkunagara, 1957; Simmer, 1975; Phillpot and Mc Neil, 1968)
In contrast to the literary play, the commodification form of Parwa shadows puppet for tourism in Ubud using carangan plays with a shorter duration
The creation, commodification Parwa shadow puppet show for tourism could not be separated from the economic boost of tourism opportunities that have generated profit for the perpetrators
Summary
Parwa is a traditional Balinese shadow puppet performed for the purposes of traditional ceremonies (Mangkunagara, 1957; Simmer, 1975; Phillpot and Mc Neil, 1968). Parwa shadow puppet performances stag by using a large narrative of Mahabrata play accompanied by gamelan accompaniment four gender with long duration performances only on certain days in the context of traditional ceremonies. In contrast to the literary play, the commodification form of Parwa shadows puppet for tourism in Ubud using carangan plays with a shorter duration. In contrast to the main play on the pates shadow puppet for the ceremony, the carangan play on the commodification form of the pates shadow puppet show does not tell about the victory of the Pandawa against the Kurawa in a big family conflict, but the Pandawa victory against the monster group. The series of stories show the puppeteer's desire to voice the familiar aspect in the dimensions of Balinese cultural wisdom of tourists
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