Culture is the most critical thing when driving innovation. This paper aims to discuss the counter-hegemony of Drama Gong against modern entertainment arts today with the dynamics of openness innovation. The research method used is qualitative and uses triangulation analysis. Basic qualitative data were obtained by examining two stories of Drama Gong, namely: (1) Angling Dharma (the 1980s) and (2) Jayaprana (2020). Data were collected through observation, document review, and interviews with artists and art observers of the Drama Gong culture of Bali. Qualitative descriptive analysis was carried out by applying the theory of semiotics and the theory of symbolic interaction. The results showed that to maintain its existence since the 1980s Drama Gong performance art has been revitalized as a form of counter-hegemony to today’s modern entertainment arts. The counter-hegemony concerns three things, namely: (1) the innovation of Drama Gong performance art, (2) the application of new technology to support the packaging and performance of the Drama Gong, and (3) efforts to maintain the function of the Drama Gong as a way to teach Balinese culture.

The aim of national education is to educate the life of the nation and develop Indonesian people as a whole, namely people who believe in and fear God Almighty, virtuous character, have knowledge and skills, physical and spiritual health, a steady and independent personality, and social responsibility, and social responsibility and nationality. To improve morale and form students of noble character, SDN 2 Tamanbali implements the internalization of the value of Hindu religious education. The results of this study indicate that: (1) The factors that cause the internalization of Hindu religious education values in forming students with noble character in SD Negeri 2 Tamanbali are in the form of internal (student) and external factors (family, school, and community). (2) The process of internalizing the value of Hindu religious education in forming students of noble character in SD Negeri 2 Tamanbali through the process of learning, habituation, example, school culture development, and extracurricular activities. (3) Implications of internalizing the value of Hindu religious education to students of Tamanbali 2 Elementary School, namely the formation of religious student characters (sraddha and bhakti), discipline (yoga sadhana), courtesy and hospitality (samiksantam), honest (satya), and caring.

Drama gong is a traditional Balinese performing art that was once popular and favored by the Balinese. Since the 1990s, traditional art has been pressured with modern art, so efforts to revitalize and innovate drama gong need to be carried out. One of the efforts made by Balinese artists is to create a digital drama gong model with the name Drama Keraton Cilinaya. This qualitative descriptive study aims to determine the development model of drama gong performances in the digital era. Research data were collected through document study, participant observation, and interviews. The results of the study show that the development of the Drama Keraton Cilinaya as a model of drama gong in the digital era is a form of traditional Balinese performing arts that has undergone internal and external innovation. The internal innovations carried out involve: (1) having an open mindset towards the players; (2) innovation in terms of story packaging; (3) improving the competence of drama gong players; (4) the use of multi-language (5) the regeneration of players; (6) improvement of makeup and costumes; (7) using digital music; and (8) improvement of stage layout. External innovations were carried out regarding collaboration with artists other than drama gong to get involved, as well as the application of digital technology in the packaging process of drama gong performance products and the distribution of drama gong products to be broadcast through TV media and Youtube Channels.

This article is aimed at finding out the positive politeness strategies used in utterances by characters in Little Women movie. The data were retrieved from Little Women movie directed by Hedwig (2019). This article applied documentation method in collecting the data and used qualitative method in analyzing the data. The collected data were analyzed in terms of the positive politeness strategies applied in it. The theories used to analyze were the theory of positive politeness strategy proposed by Brown and Levinson (1987). The findings of the article showed that there were 29 data of positive politeness strategy found in Little Women movie. The data found consist of eleven types of positive politeness strategies, namely exaggerate, intensify interest to hearer in the speaker’s contribution, use in-group identity markers, seek agreement, avoid disagreement, joke, offer and promise, be optimistic, include both speaker and hearer in the activity, give or ask for reasons, assume or assert reciprocity, and give gifts.

Karya ilmiah ini bertujuan membahas edukasi Tri Hita Karana (THK) dalam pertunjukan drama gong era society 5.0 dan maknanya bagi keberlanjutan budaya Bali. Makalah ilmiah ini merupakan hasil penelitian kualitatif yang datanya dikumpulkan melalui observasi, studi dokumentasi dan wawancara mendalam terhadap pelaku seni dan wakil penonton drama gong, serta pemerhati seni-budaya Bali. Analisa deskriptif kualitatif dilakukan dengan menerapkan teori semiotika, teori interasionisme simbolik, dan teori tindakan sosial (Bourdeau). Hasil penelitian menunjukkan: Pertama, model drama gong inovatif, antara lain terwakili oleh kisah “Jayaprana” diyangkan Bali TV (2020/2021), serta “Ni Diah Tantri” dan “Cupak Madeg Ratu” ditayangkan TVRI Bali (2021). Drama gong dengan menyampaikan edukasi Tri Hita Karana (THK) dimaksudkan agar penggemarnya menjadi masyarakat pintar sesuai era 5.0, mampu mewujudkan kehidupan yang harmonis: antara manusia dengan Tuhan (parahyangan), manusia dengan sesamanya (pawongan), dan manusia dengan alam (palemahan). Kedua, edukasi THK melalui pertunjukan drama gong memiliki makna dalam memperkuat tradisi dan menopang keberlanjutan budaya masyarakat Hindu Bali.

The Balinese shadow puppet show has a connection between the story that is told and the context of the yadnya ceremony. Mahabharata is an epic that is always the source of stories in Balinese shadow puppet shows, the storylines are often improvised by the puppeteers in the performances. Kawi dalang makes the story used more connected to the context of the implementation of the yadnya ceremony. One of the carangan stories that are often performed is the story of Bhima Swarga at the Pitra Yadnya ceremony. However, in the performance, the audience did not see this meaningful and unique performance. Therefore, it is necessary to conduct a study to find out the form of the performance, so that the reader knows the aspects of the form in the Balinese shadow puppet show Bhima Swarga story. The method used in this research is descriptive qualitative. The results of this study are in the form of a description and analysis of the synopsis, the structure of the performance, the form of the puppet characterizations, the language and vocals used, the musical accompaniment, the offerings used, and the stage set in the Balinese shadow puppet show Bhima Swarga story. all aspects of the form are integrated into a show that elevates Bhima as the central character and the story that is told can be used as an example in life to serve the ancestors.