<![CDATA[This study examines Nagasepaha Glass Wayang Painting (Seni Lukis Wayang Kaca Nagasepaha/SLWKN) in North Bali as a traditional art form rooted in Hindu-Balinese narratives, symbols, aesthetics, and religiosity, while facing sustainability challenges arising from socio-economic changes and limited regeneration. This study aims to analyze the negotiation between Hindu-Balinese tradition and modernity and to identify strategies for sustaining SLWKN. A qualitative approach with a case study design was employed. Data were collected through participant observation, in-depth interviews, and documentation involving active painters, descendants of Jro Dalang Diah, younger generations, village officials, and collectors selected purposively, and were analyzed using Homi K. Bhabha’s theories of hybridity and the third space. The findings reveal that cultural negotiation occurs contextually and at different levels across three domains, forming a spectrum of hybridity. The ritual domain demonstrates strong attachment to sacred functions, traditional conventions (pakem), and Hindu-Balinese values, thereby limiting the space for innovation; the commercial domain demonstrates adaptation to functional and market demands; while the collector domain provides greater space for reinterpretation and artistic innovation. SLWKN is sustained through six strategies: adapting to changing times, strengthening artistic quality, developing art networks, promoting regeneration, optimizing public spaces, and utilizing media. The principles of seken-tulus-dadi and the practices of matatamba, memedek, and nunas tirta further affirm the Hindu-Balinese religious-cultural dimension of these preservation efforts. The study concludes that SLWKN hybridity is contextual and gradational; its sustainability depends on the community’s ability to maintain its Hindu-Balinese value base while selectively creating space for transformation within the third space, enabling the tradition to remain living and relevant.]]>
