Customs and culture should create women’s independence to actualize themselves in an era of emerging social progress in order to lead to the domination of women in the development of creative businesses. This research examines the role of social capital and whether it becomes a supporting or hindering factor in developing the creative industry of women entrepreneurs by examining the role of information sharing and innovations. Employing purposive sampling, questionnaires were distributed to 200 women entrepreneurs, and data were analyzed by using Structural Equation Modeling(PLS–SEM)software with SmartPLS Version 3.0. Social capital has a positive influence on the business performance of women entrepreneurs in Bali, Indonesia. Thus, the beliefs and norms that exist in the social capital of the Balinese Hindu concept can filter the information obtained from various information in business, which will ultimately be utilized by women entrepreneurs to create various innovations to meet the market demand. However, opportunities for women entrepreneurs are very limited to capital due to lack of guarantees to get capital, and a lack of entrepreneurship skills in the technological era, market access, bureaucracy, and legalization. Further, managerial skills, access to information technology, as well as the perspective that the men must be superior in Balinese culture and customs, make business for women entrepreneurs limited.

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.