Ni Made Ruastiti
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COMMODIFICATION OF TEKTEKAN CALONGARANG AT BATURITI, KERAMBITAN, TABANAN Sariada, I Ketut; Wirawan, AA Bagus; Kumbara, Anak Agung Ngurah Anom; Ruastiti, Ni Made
E-Journal of Cultural Studies Vol 9, No 2 (2016): May 2016
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

Tektekan Calonarang is a Calonarang drama dance which is performed for a new model of tourism, and is accompanied with what is referred to gamelan tektekan. In general, the Balinese people disagree that a sacred cultural element is performed for tourism. However, those living at Baturiti Village support the commodified Tektekan Calongarang in which what are referred to as sacred barong and rangda are performed. This has led to many questions as such a performing art contrasts with the Balinese people?s attitude in general. The problems of the present study are formulated as follows: why the people living at Baturiti Village, Kerambitan, Tabanan,  support the commodified Tektekan Calongarang using the sacred rangda and barong; what was such a commodification like; what was its implication on those who were involved in it, society, and such a performance itself. This present study is a qualitative one in which a number of related critical theories were used such as the theory of deconstruction proposed Jacques Derrida, the theory of social practice proposed by Pierre Bourdieu, and the theory of power/knowledge proposed by Michael Foucault. The result of the study showed that the commodified Tektekan Calonarang in which the sacred barong and rangda were used was performed in the forms of a procession and the Tektekan Calonarang performance. The market ideology, the developmental ideology, the religious ideology, and the conservation ideology inspired the commodified Tektekan Calonarang which involved the sacred barong and rangda performed for tourism. Such a commodification increased the income of those involving in such a performance and the local people (multiplier effects), the perpetuity of the magical strength of such barong and rangda, the market/tourism interest, and strengthened the local people?s social solidarity. The novelty of the present study was that there was no degradation of sacredness although the sacred rangda and barong were commodified for tourism. The reason is that every time such a performance was performed, a ritual was performed to purify such barong and rangda contextually.
NEWLY-PACKAGED BALI TOURIST PERFORMING ARTS IN THE PERSPECTIVE OF CULTURAL STUDIES Ruastiti, Ni Made; Parimartha, I Gde; Sedyawati, Edi; Suastika, I Made
E-Journal of Cultural Studies Vol. 3, No. 1 Januari 2009
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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Abstract

This research is focused on the newly packaged tourist performing arts; they are anew concept and seem to be different from the general tourist performing arts. They arepackaged from various components of Balinese arts and managed as large scale-touristperforming arts in terms of materials, space, and time of their performances. The researchercalls them new types of Bali tourist performing arts because how they are presented isnew and different from the traditional tourist performing arts which are simply performed.In this research, the newly-packaged performing arts are analyzed in the perspective ofcultural studies.The research was carried out at three palaces in Bali; they are Mengwi Palace inBadung regency, Anyar Palace at Kerambitan, Tabanan regency, and Banyuning Palace atBongkasa, Badung regency. There are three main problems to be discussed: firstly, how dothe tourist performing arts emerge in all the palaces? Secondly, are they related to thetourist industry developed in the palaces?, thirdly, what is the impact and meaning of themfor the sake of the palaces, society, and Balinese culture? The researcher uses a qualitativemethod and an interdisciplinary approach as characteristics of cultural studies. The theoriesused are hegemony, deconstruction, and structuration.The result shows that the tourism development at all the palaces has made the localsociety become more critical. The money-oriented economy based on the spirit of gettingbenefit has made the emergence of comodification in all sectors of life. The emergence oftourist industry at the palaces has led to the idea of showing all of the useful art and culturalpotentials which at the palaces and their surroundings. Theoretically, the palaces can bestated to have deconstructed the concept of presenting the Bali tourist performing arts into anew one, that is, ?the newly packaged Bali tourist performing arts?.It has been observed that all the palaces have developed t ?Newly packaged Balitourist Performing Arts? but they are different in themes. At Mengwi Palace the theme is?procession of religious rituals?, at Anyar Palace, Kerambitan, the theme is ?ritualprocession of welcoming the kingdom?s guests? and at Banyuning Palace, Bongkasa, thetheme is ?ritual procession of wedding?. The differences can be seen in the componentspresented in the performances.
DICTION OF DAYAK KATINGAN FAMILY ARTICULATION IN TEWANG TAMPANG VILLAGE AND ITS IMPLICATIONS ON FAMILY COLLABORATION Rahmawati, Ni Nyoman; Anom Kumbara, A.A. Ngurah; Suda, I Ketut; Ruastiti, Ni Made
E-Journal of Cultural Studies Volume 11, Number 4, November 2018
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/cs.2018.v11.i04.p01

Abstract

The difference in religious ideology in the Dayak Katingan family in the village of Tewang Tampang in reality does not trigger conflict, they always live in harmony and harmony. This can be seen from their intimacy and togetherness in daily social interactions. However, behind this harmony there is also a struggle for religious ideology in the practice of tradition. For this reason, the purpose of this study was focused on knowing how the Dayak Katingan family in Tewang Tampang Village articulated its diversity and outlined its implications for harmony in the family. This study uses a qualitative method. Data sources are primary and secondary data. Data was collected through participant observation techniques, in-depth interviews, and document studies. Determination of informants was conducted purposively and Snowball, the theories used were phenomenology theory, hermeneutic theory, and communicative action theory. The results showed that the way the Dayak Katingan family in Tewang Tampang village articulated their family traditions in a different way between Kaharingan Hindus, Islam and Christianity. This can be seen from the articulation presented by them, namely the Hindu Kaharingan people articulating tradition as part of religious rituals and in practice based on established rules. Meanwhile Muslims and Christians only articulate tradition as part of Dayak customs and culture and in practice adapts to the teachings of the religion adhered to. This difference in articulation of tradition has implications for religious attitudes in the family such as the opening of a space for dialogue, a tolerant attitude of religion, and a strengthening of family relations. Keywords: Articulation, religiosity, implications, diction  
Karakter Galuh Gaya Jero Ratna dalam Dramatari Arja Lakon Pajang Mataram di Banjar Kebon Singapadu Desiari,  Made Ayu; Sariada, I Ketut; Ruastiti, Ni Made
KALANGWAN Vol 3, No 1 (2017): Kalangwan
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Arja merupakan salah satu jenis dramatari Bali yang memadukan unsur drama, tari, tembang, dan musik. Di dalam sebuah pementasan dramatari Arja  terdapat tokoh-tokoh yang memiliki karakter tersendiri baik itu karakter keras maupun halus atau manis. Salah satu karakter yang dikaji dalam penelitian ini adalah karakter Galuh gaya Jero Ratna dalam sebuah pertunjukan dramatari Arja dengan Lakon Pajang Mataram yang dipentaskan di Banjar Kebon Singapadu. Kajian tentang Galuh dalam dramatari Arja sangat mendesak dilakukan sebab sampai saat ini belum ada studi yang mendalam tentang tokoh Galuh dalam dramatari Arja khususnya Gaya Jero Ratna. Studi ini merupakan sebuah penelitian kualitatif dengan pendekatan seni pertunjukan. Ada dua rumusan masalah yang dikaji dalam penelitian ini yaitu (1) Bagaimanakah bentuk pertunjukan dramatari Arja Lakon Pajang Mataram di Banjar Kebon Singapadu, Gianyar?; dan (2) Bagaimanakah karakter Galuh Gaya Jero Ratna dalam pertunjukan dramatari Arja Lakon Pajang Mataram tersebut?. Sebagai pisau analisis digunakan tiga buah teori yaitu teori Fungsional-Struktural, teori Estetika, dan teori Semiotika. Data-data dari penelitian ini, baik data primer maupun data sekunder diperoleh melalui observasi, wawancara, dan studi kepustakaan. Seluruh data yang terkumpul dianalisis dan ditulis secara sistematis. Hasil penelitian ini menunjukkan bahwa: (1) bentuk pertunjukan dramatari Arja Lakon Pajang Mataram di Banjar Kebon Singapadu dapat dilihat dari lakon, struktur pertunjukan, tokoh-tokoh, musik iringan, dan tempat pertunjukan. (2) Karakter Galuh Gaya Jero Ratna dalam pertunjukan dramatari Arja Lakon Pajang Mataram adalah sebuah karakter putri manis atau halus. Hal itu dapat ditinjau dari tembang pada igel penglembar dan igel pagunem, gerak tari, dan tata rias busana yang digunakan.
Tek Tok Dance Sebagai Sebuah Seni Pertunjukan Pariwisata Baru Di Bali Dyan Ratna, Putu; Ruastiti, Ni Made
KALANGWAN Vol 3, No 2 (2017): Kalangwan
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tujuan penelitian ini dilakukan adalah untuk dapat mengetahui dan memahami Tek Tok Dance sebagai seni pertunjukan pariwisata baru di Bali. Penelitian yang berlokasi di Puri Kantor, Ubud, Bali ini dilakukan karena adanya ketimpangan antara asumsi dan kenyataan di lapangan. Pada umumnya di Bali berkembang seni pertunjukan pariwisata antara lain : Cak Dance, Legong Dance, dan Barong Dance. Tetapi kenyataannya ini berbeda. Pertanyaannya: (1). Bagaimana bentuk pertunjukan Tek Tok Dance di Puri Kantor, Ubud?; (2). Mengapa Puri Kantor Ubud menciptakan Tek Tok Dance?; dan (3). Apa kontribusinya bagi Puri Kantor, masyarakat, dan industri pariwisata di Bali?. Metode yang digunakan dalam penelitian ini adalah metode kualitatif. Sumber data penelitian ini adalah pertunjukan Tek Tok Dance itu sendiri, para informan, buku-buku, dan jurnal terkait. Seluruh data yang telah dikumpulkan dengan teknik observasi, wawancara, dan studi kepustakaan dianalisis secara kritis dalam perspektif kajian budaya. Hasil penelitian menunjukkan bahwa: (1). Sebagai sebuah seni pertunjukan pariwisata baru, Tek Tok Dance disajikan dalam bentuk dramatari. Hal itu dapat dilihat dari cara penyajian, koreografi, struktur pertunjukan, lakon, tata rias busana, dan iringan musik pertunjukannya; (2) Puri Kantor di Ubud menciptakan Tek Tok Dance pada tahun 2013 karena adanya peluang pasar dan potensi berkesenian masyarakat setempat yang memadai; (3) Muncul dan berkembangnya Tek Tok Dance sebagai sebuah seni pertunjukan pariwisata baru di Bali berkontribusi positif bagi kehidupan ekonomi, sosial, budaya masyarakat setempat,para pihak terkait, dan pengayaan bagi industri pariwisata Bali.The objective of this research is to be able to know and to comprehend Tek Tok Dance as a new tourism performing art in Bali. The research located in Puri Kantor, Ubud, Bali is conducted because of the imbalance between assumption and reality in the field. In general, tourism performing arts in Bali are growing, such as: Cak Dance, Legong Dance, and Barong Dance. However, the reality is different. The questions are: (1).How does Tek Tok Dance’s performance form at Puri Kantor, Ubud?; (2). Why does Puri Kantor Ubud create Tek Tok Dance?; and (3). What is its contribution to Puri Kantor, society, and tourism industry in Bali?. The method used in this research is qualitative method. The data sources of this research are Tek Tok Dance’s performance itself, informants, literatures, and related journals. All data collected by observation, interview, and literature studies are analyzed critically in the perspective of cultural studies. The results showed that: (1). As a new tourism performing art, Tek Tok Dance is presented in the form of play and dance. It can be seen from the way of performing, choreography, performance structure, play, fashion makeup, and musical accompaniment of the show; (2) Puri Kantor in Ubud created Tek Tok Dance in 2013 due to the presence of market opportunities and the potential of local communities; (3) The rise and development of Tek Tok Dance as a new tourism performing art in Bali contributes positively to the economic, social, and cultural aspects of the local community, Puri Kantor as the performing organizer, and enrichment for Bali’s tourism performing arts.
Designing The Elderly Janger Dance Model In Tonja Village Denpasar Ruastiti, Ni Made
Mudra Jurnal Seni Budaya Vol 31, No 3 (2016): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v31i3.58

Abstract

The Elderly ./anger Dance (EJD) is a type of performing that particularly designed for elderly people, initially from its choreography, costume and makeup, or even its musical accompaniment. This performing is significantly created as those elderly people are offered a performing art model that is not suitable to their physical condition.Several problems arose during its process of creation, choreography, and the tempo, costume makeup, duration and their condition while performing the dance. It results to their disinterest on art participation. Therefore, this research is aimed at solving the problem on the improper of the art-performing model for those elderly people. This research is conducted in Tonja village, Denpasar by considering the adequateness of number and art potential of this area.The designing ofthis performing model is carried out through applying the participatory-implemented method. It focuses on the cooperation between researchers and the related parties started from socialization-planned model, implementation model until the trial model.Based on the whole stages of designing model on EJD, it is produced outputs as follows: EJD Model, activities report, article, lesson module, and HKI. Through this dance creation, those elderly are passionate again to participate on art. Simultaneously, it will affect their health quality improvement through art activity.Keywords: Performing- model design, Choreography, Outlook/make up and costume, musical accompaniment, Elderly Janger Dance (EJD)
Membongkar Makna Pertunjukan Tari Sang Hyang Dedari Di Puri Saren Agung Ubud, Bali Pada Era Global Ruastiti, Ni Made
Mudra Jurnal Seni Budaya Vol 32, No 2 (2017): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v32i2.105

Abstract

Tujuan penelitian ini dilakukan untuk memahami makna Tari Sang Hyang Dedari yang kini sering disajikan dalam konteks pariwisata di Puri Saren Agung Ubud, Bali. Padahal Tari Sang Hyang Dedari merupakan sebuah tari upacara untuk memohon keselamatan bagi masyarakat setempat. Sebagai sebuah tari upacara, Tari Sang Hyang Dedari semestinya hanya disajikan di pura dalam konteks upacara saja. Namun kenyataannya di Puri Saren Agung Ubud berbeda. Untuk itu, penelitian yang berlokasi di Puri Saren Agung Ubud ini akan mengkaji permasalahan tentang:(1) mengapa Puri Saren Agung Ubud menyajikan Tari Sang Hyang Dedari dalam konteks pariwisata?;(2) bagaimana mereka menyajikan?; dan(3) bagaimana Puri Saren Agung Ubud memaknai Tari Sang Hyang Dedari tersebut?.Penelitian ini dilakukan dengan menggunakan metode penelitian kualitatif dalam perspektif cultural studies yang dianalisis dengan teori dekonstruksi, teori estetika postmodern, teori praktik, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukan bahwa:(1) Puri Saren Agung Ubud menyajikan Tari Sang Hyang Dedari dalam konteks pariwisata karena dilatari adanya peluang pasar yakni berkembangnya industri pariwisata di Ubud serta adanya potensi kesenian masyarakat yang memadai untuk menampilkan seni pertunjukan pariwisata;(2) Puri Saren Agung Ubud menyajikan Tari Sang Hyang Dedari untuk pariwisata dalam bentuk tari kreasi baru pelegongan yang konsep penciptaannya merupakan pengembangan bentuk estetika pertunjukan Tari Sang Hyang Dedari untuk upacara;(3) Puri Saren Agung Ubud memaknai pertunjukan Tari Sang Hyang Dedari dalam konteks pariwisata terebut sebagai sebuah kreativitas seni, produk pariwisata bernilai ekonomi, sebagai pengikat relasi sosial masyarakat yang berimplikasi pada pelestarian seni pertunjukan tradisional di daerah tersebut pada era global.
Revitalisasi Tari Janger Lansia Di Kelurahan Tonja Denpasar Ruastiti, Ni Made; Suharta, I Wayan; Suryani, Ni Nyoman Manik
SEGARA WIDYA Vol 3 (2015): Segara Widya
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Tari Janger Lansia merupakan sebuah kesenian yang dirancang khusus untuk para lansia. Hal itu dapat diamati dari koreografi, tata rias busana, dan tempo iringan musik tarinya. Tari Janger Lansia penting untuk direvitalisasi mengingat selama ini tari tersebut telah terpinggirkan dan tidak berkelanjutan lagi. Tujuan riset ini dilakukan untuk merevitalisasi model Tari Janger Lansia di Kelurahan Tonja dalam rangka membangkitkan kembali semangat para lansia itu berkesenian. Riset implementatif ini dilakukan di Kelurahan Tonja dengan mempertimbangkan tingkat populasi dan potensi berkesenian para lansia di daerah tersebut memadai. Untuk itu, riset yang dilakukan dengan menggunakan metode kualitatif, khususnya implementatif partisipatoris ini menjadikan para lansia tersebut sebagai informan, yang memberi informasi tentang berbagai permasalahan terkait dengan ketidaksesuaian model tari itu bagi kondisi fisik mereka, sementara para seniman yang turut dalam kegiatan revitalisasi tersebut dijadikan informan kunci untuk mengungkap, sekaligus memberikan saran yang bermanfaat. Dengan demikian Tari Janger Lansia yang sebelumnya terpinggirkan itu akan dapat bangkit dan hidup bergairah kembali.Tari Janger Lansia, the Janger dance which is performed by the elders is particularly designed for the elders. That can be observed from its choreography, clothing, cosmetics, and the music which accompanies it. It is important to revitalize it as it has been marginalized and discontinued. This present study is intended to revitalize the model Tari Janger Lansia as an attempt to make the elders motivated again to get involved in arts. The study was conducted at Tonja Subdistrict for the reason that the number of the elders and the potential they have to get involved in arts are adequate. The qualitative method, especially the participatory implementative one, was used, meaning that the elders were used as the informants who could give information on the matters pertaining to the model which is physically impracticable to them. The informants involved in the revitalization were used as the key ones who revealed what the model was like and gave useful suggestions. The Tari Janger Lansia, which had been marginalized, would be resurrected and revitalized again.
Davedan Show Di Amphi Theatre Nusa Dua Bali Ruastiti, Ni Made; Parmi, Ni Wayan; Suryani, Ni Nyoman Manik; Sudiana, I Nyoman
Mudra Jurnal Seni Budaya Vol 33, No 2 (2018): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i2.365

Abstract

Artikel ini disusun dari hasil penelitian yang bertujuan untuk dapat memahami pertunjukan Davedan Show di Amphi Theatre Nusa Dua Bali. Penelitian ini dilakukan karena adanya ketimpangan antara asumsi dan kenyataan di lapangan. Pada umumnya wisatawan yang datang ke Bali hanya senang dan antusias menonton seni pertunjukan pariwisata berbasis seni budaya lokal saja. Tetapi kenyataan ini berbeda. Walaupun Davedan Show tidak dibangun dari seni budaya lokal saja, tetapi kenyataannya wisatawan sangat senang menonton pertunjukan tersebut. Pertanyaannya: bagaimanakah bentuk pertunjukan Davedan Show tersebut?; mengapa wisatawan senang menonton pertunjukan itu?; apa implikasinya bagi pelaku, masyarakat, dan industri pariwisata di Nusa Dua, Bali?. Penelitian ini menggunakan metode penelitian kualitatif, khususnya implementatif partisipatoris yang mengutamakan kerjasama antara periset dengan para informan terkait. Sumber data penelitian ini adalah pertunjukan Davedan itu sendiri, pihak manajemen, para penari, penonton, hasil-hasil penelitian yang telah ada sebelumnya. Seluruh data yang telah dikumpulkan dengan teknik observasi, wawancara, FGD, dan studi kepustakaan itu dianalisis secara kritis dengan menggunakan teori estetika postmodern, teori praktik, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukan bahwa: (1) Davedan Show disajikan dalam bentuk oratorium. Hal itu dapat dilihat dari cara penyajian, koreografi, dan iringan pertunjukannya. Davedan Show yang menampilkan tema Treasure of The Archipelago, membuka gerbang petualangan baru itu diiringi musik rekaman etnik Nusantara secara medley, berkelanjutan dengan struktur pertunjukan: seni budaya Bali, Sumatra, Sunda, Solo, Kalimantan, dan seni budaya Papua; (2) Davedan Show banyak diminati wisatawan manca negara karena penciptaan pertunjukan itu dilatari oleh ideologi pasar, ideologi estetika, dan ideologi budaya Nusantara; (3) Hingga kini Davedan Show berkembang secara berkelanjutan di Nusa Dua Bali karena berimplikasi positif pada ekonomi para pihak terkait, pengayaan bagi seni pertunjukan daerah setempat, dan identitas bagi kawasan wisata Nusa Dua, Bali.This article was compiled from the research results that aimed to understand the Davedan Show at Amphi Theater Nusa Dua, Bali. This research was conducted due to the imbalance between the assumption and the reality in real life. Generally, tourists visiting Bali are more excited and enthusiastic to watch the tourism performing arts that are based on local traditional art and culture. However, the reality is different. The questions are: how is the form of the Davedan show?; why do the tourists enjoy watching the show ?; what are the implications for the performer, the society, and the tourism industry in Nusa Dua, Bali?. This research applied qualitative research methods, especially the participative implementation that prioritized cooperation between the researchers and the related informants. The data sources of the research were the Davedan show, management, dancers, audiences, and similar research results produced by previous researchers. All data that had been collected by observation, interview, FGD, and literature study were then analyzed with aesthetic postmodern theory, theory of practice, and theory of power relationship. The results showed that: (1) Davedan Show was presented with the concept of a new presentation in the tourism performing arts in Bali. It could be seen from the material, the form, the way of presentation, and the management of the show. Davedan Show, presenting the theme of Treasure of the Archipelago and opening the new adventure gate, was accompanied by ethnic music recordings of the archipelago in a medley then continued with the performance structures of: Balinese, Sumatran, Sundanese, Solo, Borneo and Papuan art and culture; (2) Davedan Show attracted many foreign tourists because the show was based on the existence of market, aesthetic, and cultural ideologies of the archipelago; (3) Currently, Davedan Show has developed in Nusa Dua, Bali sustainably because of its positive implications to the economics aspect of the stakeholders, the enrichment of Balinese performing arts, and the identity of Nusa Dua tourism area of Bali.
Keterpinggiran Kelompok Kesenian Cak Bedulu Dalam Seni Pertunjukan Pariwisata Bali Ruastiti, Ni Made
Mudra Jurnal Seni Budaya Vol 34 No 2 (2019): Mei
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v34i2.700

Abstract

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 kenyataan yang terjadi di lapangan. Semestinya sebagai pelopor seni pertunjukan pariwisata Bali, kelompok kesenian ini paling sering ditampilkan dalam aktivitas kepariwisataan. Namun kenyataannya hal ini berbeda. Walaupun Cak Bedulu merupakan pelopor kesenian Cak untuk pariwisata Bali, kelompok kesenian ini justru mengalami keterpinggiran. Pertanyaannya: (1). Mengapakah kelompok kesenian ini mengalami keterpinggiran?; (2). bagaimanakah bentuk pertunjukannya?; dan (3). apakah implikasinya bagi masyarakat dan seni pertunjukan Bali?. Penelitian ini menggunakan metode kualitatif. Sumber data penelitian ini adalah pertunjukan Cak Bedulu, para pihak terkait, dan masyarakat di Desa Bedulu, Bali. Data yang dikumpulkan dengan teknik observasi, wawancara, FGD, dan studi pustakaan dianalisis dengan teori estetika, teori seni pertunjukan pariwisata, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukkan bahwa: (1). Kelompok kesenian Cak Bedulu mengalami keterpinggiran karena cara penyajiannya kini sudah tidak sesuai lagi dengan ideologi pasar, ideologi seni pertunjukan pariwisata, dan ideologi budaya masyarakat di Desa Bedulu; (2). Kesenian Cak Bedulu disajikan dalam bentuk sendratari dengan lakon Ramayana. Hal itu dapat dilihat dari cara penyajian, struktur pertunjukan, dan tata rias busana pertunjukannya; (3) Keterpinggiran Cak Bedulu secara tidak langsung berimplikasi pada hilangnya media berkesenian, hilangnya masukan finansial dari kegiatan berkesenian, dan hilangnya identitas budaya lokal.