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Top1. Introduction
Contemporary global economic life with fewer boundaries between countries exhibits economic globalization. This also includes free trade all over the world and investment. One consequence of free trade is the advent of greater trading areas and the elimination of barriers to international trade. Economic globalization is a step toward eliminating all boundaries and barriers to the flow of goods, services, and capital (Irianto, 2009). It is the enabling of economic activity and trading that stems from countries around the world becoming increasingly integrated as market powers beyond the territorial boundaries of states. It requires the elimination of boundaries and barriers to the flow of capital, goods, and services (Aris, 2015).
Irianto (2009) concluded that globalization is an image of a shrinking world, as it becomes uniform. The contemporary development of information technology has had consequences for most societies throughout the world, both those living in urban and in rural areas. Currently, people everywhere can make economic transactions, and they can obtain information within a short time due to satellite and computer technology. In the era of globalization, culture is not merely a pattern of behavior, knowledge, and mindset of social groups. Culture is not regarded as a material reality that is always fixed, but culture in the era of economic globalization has built a reality that is continuously produced and reproduced and creates new identities.
In the context of contemporary Indonesian society, economic globalization is growing in tandem with the development of cultural consumption. This growth is creating a transformation of consumption capitalism, characterized by the proliferation of stylish shopping centers; the accelerated growth of the leisure, fashion, beauty, culinary, advice, and gossip industries; the building of luxury dwellings and apartments; increased advertisement of luxury goods, fast food, and reproduction; and lifestyle transfers through advertising and the media (Irianto, 2009b). For example, today, the Indonesian television broadcasting industry has attracted the attention of its citizens from dawn to dusk. The knowledge of a fast-paced reality and communication strategies is required to be able to maintain or change one’s attitudes and opinions on the importance of the source of a strategy (Irianto, 2013). Thus, television invites its audience to be obedient to whoever controls communication capital, both in the political and economic contexts (Fiske, 1987).
Beginning with Indonesia’s entry into the era of globalization, time-based pre-modern art, termed traditional art, has faced a global challenge. This is because globalization helps new values penetrate, which are associated with new practical devices. The emergence of new practical devices related to information, communication, and technology has led to industrialization that inevitably causes market orientation. It is impossible for such devices to produce greater cultural expression in the globalization era. According to Smith (2001:214-232), at this time, social development exceeds the shape of modernity (which is marked by the emergence of the good and service industries) and shifts to postmodernity, which is organized by cultural consumption and mass media games. Additional strategies are needed to revitalize traditional art so that it can be maintained and balanced with the demands of globalization. Traditional art, which is the expression of a supportive community for the creation of a harmonious whole between human beings and their environment, must adapt to market necessities in line with the demands of globalization (Kuswarsantyo, 2013).