Actually covers a whole culture mindset or mindset of a community (of all perikehidupannya in the past, present and future), many expressed through a range of different dimensions and the arts. Similarly, art is one of the dominant place to articulate the intangible culture (intangible culture). As also expressed Meutia Farida Hatta Swasono in Yogyakarta Institut Seni Indonesia some time ago that the progress of the nation's culture and civilization brings with it, and at the same time brought a reciprocal basis as well, by the progress of arts.
How does the role of traditional arts in the concept of cultural resistance?
To answer these questions, would take several steps anternatif. First, it is necessary to identify a particular art-dominant traditional arts and sustainable (viable), which has a chance to be developed and enriched, as well as the emergence of the power to draw people's appreciation. Second, art, traditional art selected in accordance with the demands articulated social development, making it easy to adapt and promote the general sensitivity to the values of artistic elegance. Third, encourage the creation and dynamics of art into fresh food for the completeness of everyday life, making it a sort of way of life.
Art as a Cultural Value Added
Starting from the statement be argued that the development of local art (traditional) values are the development of art and art appreciation in order to enhance kemartabatan artists and the community. In national development, ideally in the arts as part of national culture acquire meaning in relation to the understanding and appreciation of cultural values. Therefore, to improve the resilience of national culture, the national development need to be dotted, starting from the development efforts of art that could produce "value-added cultural".
Grip-grip arts (local and national) are basically still needed, because it is rooted in culture. However, it is possible for the decomposition, reconstruction, rekoreografi, renovation, revitalization, recreation, accompanied by improvised with various ornaments. Touches of values and a new breath, should also be developed to invite appreciation and foster attitudes renewal and enrichment of the works of art. This is where the beginning of a local arts and cultural richness of "socio-cultural capital" of society.
On the other hand we must realize that the art area (traditional) is essentially anonymous. In fact, the further he also could not be restricted on the claim area. He became not limited by a certain line (borderless). For this reason, if the art is placed as a means of creating a culture of resilience of a nation the question of the meaning of cultural resistance that must be addressed as a national resistance.
Javanese case study in Central Java, for example, during the time he was trying to maintain their social existence and solidity to not lose consciousness, do not lose identity, self esteem, or even the history of civilization. The existence and solidity of this community will be maintained properly if the arts can strengthen our sense of self and identity as a graceful and civilized nation.
Able analogy is like art with such economy, the economic development and serves as an effort to improve the "value-added economy", the development of arts and culture will be meaningful as an effort to improve the "value-added cultural". The added value of cultural meaning is basically also includes value-added kemartabatan, value-added pride, identity and value-added-value-added minds and manners. It is closely related to what is aspired by the independence of this nation, which aspires to "the intellectual life of the nation".
Intellectual life of the nation is not based on a conception of meaning science or biological-genetic conception, but a conception of culture. Thus "the intellectual life of the nation" is an effort to improve the inner wealth, increasing levels of national culture, kemadanian levels, as a process of humanization reach keadiluhungan that surpass basic instincts, to raise the degree of human dignity and of our nation.
Cultural resistance and Globalization
It must be recognized that globalization was inevitable ancamanan. Resilience of this culture we mean of course must always be dynamic, in which cultural elements come from outside to strengthen local cultural elements. For that, we need to point out that the globalization process, which is said to sharpen the "clash of civilizations", and - to borrow a phrase Samuel Huntington - also can lead to severe destruction of civilization. Social and ethnic consciousness (exacerbation of civilizational, societal and ethnic self-consciousness), need not result in disablement of the marginalized existence of this nation, as long as we have a strong cultural resistance. In this sense, it is clear that when we talk about the resilience of culture, basically we are talking also about the preservation and development of dynamically with the efforts of more specialized.
Admittedly, globalization has a lot of sense. Such shrinking world of globalization. They termed it as a global village. Some are of the view, globalization is the unification of the world. But this sense does not mean cultural uniformity. Clear up to now, most scientists still disagree about the meaning of globalization. Even their proposed definition still leaves a lot of obscurity.
However, there are at least two major perspectives on globalization. The first perspective believes that globalization is a strategy for harmonization and provide a single value system model at the global level. Throughout the local culture in the globalization project will crushed so that the plurality that there is going to culminate in a single order. This perspective was born of a growing view among Western political thought and, in particular in the 18th century.
Globalization in the sense of them, a kind of two poles on the issue of cultural identity, social, and national, is on the other side they raised an idea of the destruction of local identity. With a close watch on developments in recent decades, it was clear the efforts of politicians of Western nations, the U.S. sort of trying to drag the world into a single structure based on Western values. Most of the scientists even mention such a model of cultural globalization as cultural imperialism that is more real impression in the mass media and the arts. For example, television programs, films, and pop music are the main tools of cultural imperialism. Thus, art can be the most effective in areas that could help the designers of cultural globalization to realize his ambition.
The second perspective, the globalization of real opposition to the first perspektf. Based on the views of this second group, run by the strengthening of cultural globalization and local art. They argued that although the world is currently undergoing a process of globalization, but the nations of the world does not give up. Strength and capability of local and regional cultures also felt strengthened.
A researcher from India, Dr. Abhay Kumar Singh once said: "Globalization in its initial form, may be regarded as a disaster for our art. He was like a hurricane could uproot everything down to its roots. But in another perspective, globalization can be viewed as a special opportunity for the nations of the world is fairly rich in terms of culture. The more advanced art to influence the world. History proves that at various times, the art of Iranian civilization, India, and Rome has been spreading to distant lands. Such a problem could happen again. Indeed, the nations who believe in their cultural roots, would not be afraid of a foreign culture. We must try and know how art can be a tool to defend the traditions and local culture ".
The second perspective on globalization is starting to emerge and develop at the end of the 20th century. Until the early third millennium, the debate about globalization still has not ended. Researchers and scholars are still preoccupied social discourse about the device and the influence of globalization on culture and the arts community. Infomasi the growing technology, communication, and culture of the nations of the world at the beginning of the 21st century to make the boundaries of the geo-politics no longer play an important role. The main peculiarity present century is so fast the process of information exchange. Because electronic communication is running all the time that connects the various separate rooms as if fused. Global communications network has made man the power to experience the world as one unit.
Today's world requires a positive and cooperative relations receive a range of existing plurality. Global community must be able to see the world as a whole in the middle of the various differences. Therefore, we must have a new vision of relations and regional and international cooperation. So the world continues to run and can be minimized from all forms of tension, conflict, superpower intervention and hegemony.
Certainly globalization, but we must be cautious, we should also look at the new opportunities. We must be proactive in it. There we have to "go global" with local specifics Indonesia, making Indonesia more commonly known as a powerful actor in the globalization process, both from the aspect of cultural and economic aspects of the advantages to be gained from the development of arts and culture of Indonesia.
