DRAMA GONG DALAM PANGGUNG PERTUNJUKAN KESENIAN BALI DI ERA GLOBAL - Putera Semadi, Anak Agung Gde (Widya Accarya, 2019)
Abstract Penelitian ini mengangkat topik ?Drama gong dalam panggung pertunjukan kesenian Bali di era global?. Keterpinggiran yang sedang dialami drama gong dewasa ini dikaji secara mendalam dengan teori-teori budaya kritis seperti: teori hegemoni, dekonstruksi, dan semiotika. Bentuk penelitian kajian budaya (culture studies) ini dirancang sebagai penelitian kualitatif dengan pendekatan fenomenologis. Hasil penelitian menunjukkan bahwa drama gong di era global memang benar masih terpinggirkan dari panggung pertuntukan kesenian Bali. Faktor internal dan eksternal yang menyebabkan keterpinggiran itu antara lain; sekaa drama gong tersebut tidak dikelola dengan manajemen seni profesional, menjamurnya genre budaya populer yang lebih menarik bahkan mudah diperoleh masyarakat secara langsung melalui media masa elektronik. Kondisi drama gong di Bali benar-benar sangat memprihatinkan. Minat masyarakat untuk menonton pertunjukannya relatif sangat kecil. Oleh karena itu, maka pementasannya di panggung pertunjukan kesenian Bali menjadi sangat jarang, apalagi grup-grup terpopuler teater ini sudah membubabarkan diri. Efek dari keterpinggiran drama gong selama ini adalah memudarnya gairah beraktivitas dan kreativitas berkesenian masyarakat di bidang drama gong. Perolehan finansial bagi para pelaku bahkan pionir drama gong di Bali menjadi menipis, serta redupnya salah satu media pendidikan nonformal yang sarat budi pekerti sebagai penerus nilai-nilai luhur budaya Bali. Kata Kunci: Keterpinggiran, Drama gong, Panggung Pertunjukan Kesenian Bali   Abstract This research raised the topic ?Drama gong on the stage of Balinese art performances in the global era?. The marginalization which is currently being experienced by drama gong is the deeply studied by critical cultural theories such as: the theory of hegemony, deconstruction, and semiotics. This form of cultural studies is designed as a qualitative research with a phenomenological approach. The result of this research showed that drama gong has truly been being marginalized from the stage of Balinese art performances. The internal and external factor which result in that marginalization are including; Sekaa drama gong which is not manage by professional art management, the proliferetion of more interesting popular culture genres which are even easily accessed directly by public through electronic mass media. Drama gong condition in Bali is truly alarming, people?s interest in watching the shows is relatively very small. Therefore, its performances on Balinese art performances stage are very rare, moreover these most popular groups in the theater have already disbanded. The effect of drama gong marginalization during this time is the warning of people?s passion in art creativity and activity in the field of drama gong. The financial gain for the perpetrators and even the drama gong pioneers in Bali is depleting, and the dimming of one of the non-formal education media which is full of characters that become the successor of Balinese culture noble values.   Key words: Marginalized, Drama gong, Bali art performance stage.