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The Impact of Community Response to the Marginalization of the Existence of Indang Arts Tradition

机译：社区反应对筑艺传统存在的边缘化的影响

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摘要

This article aims to analyze the responses of the people who think that the art of Indang is less competitive in the entertainment industry. As a result, Indang art is often viewed as having little feasibility to be sold in the entertainment industry. The consequence of this negative perspectives towards Indang, that the Indang existence has become more and more marginalized. This qualitative research, aimed at finding out why some indang arts traditions are not valued as having acompetitive values in the entertainment arts industry. In addition, this study useds a multidisciplinary approach to further research the sociology of dance and music anthropology, choreography, and artistic performances of the show. The result obtained from the research is that the community considers the art of Indang tradition today has lost its ability to compete with the creation that is innovative. This resulted in the marginalization of the Indang by the owners themselves such as the local people. so that local people as owners have marginalized the art of Indang. People assume that the art of Indang tradition is no longer relevant to the market's tastes and the entertainment' enthusiasts. In fact the art of Indang tradition has been increasingly abandoned by society. In turn, Indang art needs to be developed in a more innovative way.
机译：本文旨在分析认为，酋长在娱乐业中竞争不太竞争的人的回答。因此，互公艺术通常被认为在娱乐行业中销售不可行。这种负面观点对待筑道的结果，即筑壁的存在变得越来越被边缘化。这种定性研究，旨在了解为什么一些酋长艺术传统在娱乐艺术行业中具有相干价值观。此外，本研究使用了多学科方法，进一步研究舞蹈和音乐人类学，编排和艺术表演的社会学。从研究中获得的结果是，社区认为今天的互联传统艺术失去了与创新的创作竞争的能力。这导致所有者自己的印度边缘化，如当地人。因此，当地人作为所有者已经以边缘地区化了酋长的艺术。人们认为，席莹传统的艺术不再与市场的口味和娱乐爱好者有关。事实上，酋长传统的艺术被社会越来越抛弃。反过来，席塘艺术需要以更具创新的方式发展。

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