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"This artwork is revealing about the existence of Legong Tombol in Banyuatis village, Buleleng which has stagnated regeneration. Through this work, the steps taken to resolve the impasse is by reconstructing the shape of the dance, then rechoreographing the missing parts and subsequently teaching the dance form to the local young generation dancers. Related to the issues raised on the existence Legong Tombol in Banyuatis village, then this work present about : (1) Creation Method of dance that starts from the reconstruction effort of the dances that is almost extinct, (2). Reconstructing and re-packing the form of Legong Tombol dance and then returning to the community, (3). Resenting the training methods of Legong dabce which is contained in the creativity of the figure of the artist (late.) I Wayan Rindi which has been successfully re-lifted up."

""Karya seni ini mengungkapkan tentang keberadaan Tari Legong Tombol di Desa Banyuatis, Buleleng,""Bali yang mengalami kemandegan regenerasi. Melalui karya ini, langkah yang ditempuh untuk menga­ tasi kemandegan tersebut adalah dengan merekonstruksi bentuk tari tersebut, kemudian mengkore­ ografi ulang bagian yang hilang serta selanjutnya mengajarkan bentuk tarian tersebut kepada para penari generasi muda setempat. Terkait dengan permasalahan yang terjadi atas keberadaan tari Legong Tombol di Desa Banyuatis, maka dalam karya ini disampaikan tentang: (1) Metode Penciptaan karya tari yang bertitik tolak dari usaha rekonstruksi bentuk tari yang hampir mengalami kepunahan, (2). Merekonstruksi dan mengkemas ulang bentuk tari Legong Tombol untuk kemudian dikembalikan kepada masyarakat, (3). Menyajikan metode pelatihan tari Legong yang terkadung dari kreativitas sosok seniman (alm.) I Wayan Rindi yang berhasil digali kembali.""

"Brayut is a phenomenal myth figure in Balinese culture. He is adored and also pleaded for a child by those who want a child in their families. On the other hand, he is disrespected as a family that is lack of attention on the prosperity of their family because he has to grow many children in his family. At the present, his existences is decorating the gardens lots as an absurd family which described briefly in a literary work known as Brayut geguritan. Implicitly, behind the absurdity of this family described in the beginning of the geguritan, can be found that the concept of Tantrayana strongly influence the social diversity system of the Baliiese Hindus in Bali. Tantrayana is a religious sect of Hindus in India which then localized in Bali. It might be influenced with Balinese local genius which obtain similar concepts that enable the Tantric teachings to be acculturated."

"Balinese pop music has undergone industrialization since the decade of 1990's when the technological progress, economical system, and new musical culture massively drove to the born of recording studios, musicians, and and the products. In the hands of capital owners, Balinese pop music capitalism occurs. Behind the discourse of the preservation of Balinese culture through Balinese pop music, ideology and interests work for the purpose of capitalization. The result of the study shows that during the two and a half decades, the industrialization of Balinese pop music goes in the form of production, distribution, and consumption in the province of Bali due to the linked cultural power, the power of capital, and media power. Industrialization is influenced by a number of ideologies, capitalism, popisme, local political culture, and multiculturalism, in which capitalism became the dominant ideology. Bali pop music industrialization causes a certain impact. The economical impact related to exchange rates; social impact (use value) related to the value / benefits; cultural impact associated with the value of identity / authenticity; and political impacts associated with the value of developmentalism 1 developmentalism."

"Hindus in Bali carry out various yadnya almost every day. One of the yadnya is cremation ceremony. The ceremony was held as a tribute to the deceased family. The tribute is conducted based on the belief that the souls of those who have passed away never die, but are still alive in the other unreal world. In addition, it is believed that if his ancestors are in happiness, they will also try to help and make their offspring who are still alive happy. Cremation ceremony especially in Munggu Pakraman Village Tabanan can not be separated from various equipment of ceremony. One among the unique equipments, namely the performance of Barong Kadengkleng. This Barong is always performed in this Pakraman village when there is a cremation ceremony at intermediate levels and above. The form of Barong Kadengkleng dance in the cremation ritual is accompanied by Daeng from the family at the late. The show was held the day before the cremation ceremony started from the fron entrance of the house of the late and then proceed to the border road of Munggu Pakraman Village and ended up in front of the bale adat where the body is laid. Judging from its function, the dance of Barong Kadengkleng has two functions, namely the religious function and escorting functions. In a religious function, ie every performance of Barong Kadengkleng uses offerings and performed only with regard to cremation ritual, while in its escorting function namely helping deter and escort the return of elements of pancamahabhuta and the soul to its origin."

"Viewed from the perspective of art and culture, in general the province of Nusa Tenggara Barat (NTB) has a very pluralistic cultural diversity, in addition to art and culture that are rooted in tradition and culture of Sasak, there are also art traditions rooted in the cultural traditions of other ethnic which have occupied especially the territory of Lombok and Mataram in the periods of long enough time. The plurality of cultural traditions when explored and developed more broadly becomes an additional point for NTB in the development of the tourism industry. Of the various forms of artistic cultural traditions, the Balinese performing arts is one of art forms that developes in the city of Mataram and has quite high potency if it is involved in the tourism industty. Appeals for more highlighting the indigenous cultural traditions of Sasak people causes the marginalization of Balinese arts and gives very small chance to participate actively in the world of tourism development efforts in Mataram. This phenomenon is examined in this study, particularly related to the issues presented, namely, the role of government, community and tourism components in exploiting the potency of traditional performing arts in the tourism industry as well as the conception of the shape and structure of the traditional performing arts in the tourism industry in the city of Mataram."

"Pariwisata budaya yang dikembangkan di Bali diatur dalam Peraturan Daerah Provinsi Bali Nomor 2, Tahun 2012 tentang Kepariwisataan Budaya Bali yang menekankan pentingnya tri hita karana dalam pengemban¬gan pariwisata di Bali. Oleh karena itu, idealnya segala aktivitas pengembangan pariwisata budaya di Bali, termasuk promosi pariwisata benar-benar menunjukkan aplikasi falsafah tri hita karana. Tujuan jangka panjang penelitian ini, terwujudnya media promosi pariwisata budaya Bali yang benar-benar mengimple¬mentasi ideologi tri hita karana. Terkait dengan tujuan ini, target khusus yang hendak dicapai adalah upaya penggambaran marginalisasi ideologi tri hita karana dalam media promosi pariwisata budaya Bali. Metode yang digunakan untuk mencapai tujuan dan target tersebut, berupa wawancara mendalam dan pengamatan serta penggunaan dokumen. Wawancara dilakukan dengan pihak terkait, seperti Dinas Pariwisata Provinsi Bali, Dinas Pariwisata Kota Denpasar, Kabupaten Badung, Tabanan, dan Gianyar, serta perusahaan di bidang panwisata maupun di bidang disain grafis di Bali. Pengamatan dilakukan terhadap billboard yang terkait dengan pariwisata serta dokumen berupa foto, brosur, leaflet, dan iklan tabloid yang mempromosikan panwisata dan diproduksi oleh para pihat terkait tersebut di atas. Berdasarkan hasil analisis data dapat disimpulkan Based on the result of analysis bahwa yang memarginal-kan ideologi tri hita karana pada media promosi pariwisata budaya di Bali adalah ideologi kapitalisme dan ideologi dualisme kultural. Hal ini teijadi karena pembuatan media promosi pariwisata pada dasarnya bertu¬juan untuk meningkatkan jumlah wisatawan yang mengunjungi objek yang dipromosikan. Tentu saja tujuan itu berujung pada pemngkatan perolehan keuntungan atau uang. Implikasi utama media promosi pariwisata budaya Bah yang ideologi tri hita karana-nya termarginalkan pada citra Bali sebagai daerah pariwisata adalah bahwa Bali tercitrakan sebagai daerah budaya pariwisata dan bukan pariwisata budaya."

"Bali adalah salah satu daerah di Indonesia yang masih menjunjung budaya adat dan budaya kesenian yang masih dikagumi oleh masyarakat dunia. Produk adat tradisional ke pura merupakan bagian dari perjuangan untuk menjaga kearifan lokal. Desain kosmologi adalah dimensi transendental yang memiliki eksplorasi yang sangat kompleks. Gaya dalam desain merupakan cerminan dari perilaku dan sikap budaya manusia pada waktu tertentu, sejalan dengan dinamika kehidupan, seperti dinamika sosial, perkembangan budaya dan nilai. Desain bisa menjadi cerminan zaman di setiap periode. Gaya perancang bisa menjadi tren jika ia mampu memenuhi kebutuhan dan selera konsumen. Anadai mengatakan, desain akan dibuat untuk memenuhi kebutuhan masyarakat atau orang yang akan melakukan kegiatan adat dan budaya, maka draf konsep harus dimulai dari siapa dan kapan akan digunakan disain, hal ini perlu dilakukan. Disajikan sebagai pertimbangan yang cukup matang oleh seorang desainer, Sehingga apa yang disain mereka dapat diterima oleh pengguna desain."