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The concept of art village a la Dibia
Following
the existence of tourism village, now Bali
has art village as a form of conservation
for the existing art and culture. Indeed,
the art village in Bali has existed from
time immemorial since every village has
different tradition of art. However, it
requires an affirmation so that the concept
of art village could make aware and improve
the understanding of the local community
regarding the art potential at hand. It
is revealed by Prof. Dr I Wayan Dibia to
Bali Travel News in Denpasar not long ago.
According
to Prof. Dibia, the said art village is
not because it possesses a large number
of arts, but because it has a heritage of
characteristic art and has become a cultural
expression of its community. Every region
has its own art specification which also
becomes a part of the rural community life
from generation to generation. Besides,
the art community is not only in the form
of existing artists but also the existing
art writer who is capable of publishing
the existing arts.
Prof. Dr Dibia, a lecturer of Faculty of
Performing Arts, then said villages that
can be categorized as art villages are the
Kamasan Village (Klungkung) as a village
of traditional painting; Celuk Village (Gianyar)
that is famous for its gold and silverworks;
Singapadu Village (Gianyar) having many
kinds of performing arts; Kerambitan Village
(Tabanan) being famous for its Tektekan
(gamelan instrument of bamboo split drum)
and Tegal Cangkring Village (Jembrana) being
well known for its Jegog musical art.
With such affirmation, the community will
consciously take advantage of the potential
at hand as a strength to become deeply involved
in this art domain, added the former Director
of the Indonesia Institute of Arts (Denpasar).
Whether they would carry out promotion or
art dialogue depends on the potential they
have. “For the time being, it is considered
as commonplace. Well, if they are provided
with awareness that they belong to an art
village, so their young generation will
be aware that it constitutes an art potential
that needs preserving,” he affirmed.
This choreographer from Singapadu, Gianyar
also said that should there be a variety
of art villages it would strengthen Bali
as tourist destination. Visitors want to
see its performing art and they also want
to get the art relating to the emotion of
its community. “As a matter of fact,
art village is a regional strength to draw
people to come there. And it’s truly
possible because Bali is small enough that
its distance can be reached within relatively
short time,” he observed.
Then, with regards to the village having
all kinds of art, Dibia admitted to disagree.
If it has become the heritage of their ancestors,
it does not matter, but if it is intended
for merely looking for material wealth it
would even disrupt the development of art
in years to come. For instance, when Ubud
performs a Jegog show, the one that we could
see there is its performance only, not its
cultural expression. “If this comes
up, the art yielded does not become a specification
and tends to make its cultural expression
disappear,” he observed. (BTN/015)
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