256 Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts I Wayan Dana, Ni Kadek Juni Artini Institut Seni Indonesia Yogyakarta, Indonesia Submitted: 2021-09-03. Revised: 2021-11-21. Accepted: 2021-12-26 Abstract The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali. Keywords: Baris Memedi dance, preservation strategy, traditional art How to Cite: Dana, I. W., & Artini, N. K. J. (2021). Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts. Harmonia: Journal of Arts Research And Education, 21(2), 256-265 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 256-265 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.31890 and one city, namely Jembrana, Tabanan, Badung, Gianyar, Klungkung, Bangli, Ka- rangasem, Buleleng, and Denpasar City. The predicate shows that the island of Bali has culture and customs that are integrated with implementing Hindu re- ligious teachings. This place has beautiful natural scenery that attracts attention, and many tourist attractions present a variety of traditional arts offerings full of allure. Traditional arts live, grow, and develop synchronously and diachronically; history records it so that the ‘remains’ of its traces can be recognized to this day. INTRODUCTION Bali Island is known to the world community with various predicates such as The Island of Gods, The Island of Pa- radise, or The Last Paradise on Earth, The Island of Thousand Temples, The Morning of The World, and The Island of Love, The Interesting Peaceful (“Inilah Julukan Pulau Bali,” 2017). This island, which is often also called Dwipa Island, The Heavenly Island, and The Island of Arts, is a province in Indonesia whose capital city is Denpasar. Bali Province is divided into eight districts Corresponding author: E-mail: iwayan_dana@yahoo.com p-ISSN 2541-1683|e-ISSN 2541-2426 I Wayan Dana & Ni Kadek Juni Artini, Baris Memedi Dance in Jatiluwih Village Tabanan 257 Holt (1967) argues that social facts and artifacts and some other remaining hardware provide essential information to discover the journey of arts in the past. This information shows that arts, especially in Bali, can be grouped into three categories: (1). the heritage; (2). living traditions; and 3). modern art. Traditional art, especially dance, manifests the diversity of regional identities (ethnic, cultural identity). Art in Bali is present, maintained, and preser- ved. The dances performed are related to a series of religious ceremonies. These in- clude dances such as Rejang, Sanghyang, Pendet, Baris, Barong, and Topeng. These dances are presented imbued with Hindu cultural values, united in the expressions of movements that contain ritual and theatrical elements from ancient Balinese, Hindu Bali, and modern Balinese people (Sediawati, 1986, p. 191 and Dibia, 1999, p. 7). Sugiartha (2018) also points out that tra- ditional dance and music are closely tied to Hinduism. Balinese traditional dances, as men- tioned above, have been passed down from generation to generation until today through various means including direct learning in the banjar environment (com- munity group at the level of Neighbor- hood Association), sekaha (community group based on expertise), and organiza- tions as studios, hermitage, and such. This learning transforms the form, technique, and content practically between the teach- er and the students. The process of ‘inheri- ting’ can also indirectly occur; for example, the younger generation sees how, the older generation practices their skills in perfor- mances at various events in the communi- ty. The next generation, according to their talents, practice the skills themselves have expertise in their fields. The next genera- tion can also learn from the ‘remaining’ artifacts, such as gamelan and recordings on temple walls. At the temple, the dan- ce poses, dance costume designs, and per- haps dance compositions are recorded. Now, the inheritance of traditional dance (art) in each region is evident through for- mal education (art schools), upgrading, workshops, continuous training, through recordings of Digital Video Discs (DVD), films, and other sophisticated tools. These are passing down or transmitting traditio- nal dances by raising children’s awareness about tradition, making them conscious of their history, and recognizing the past (Georgios, 2018). While recording and using strategic plans are also beneficial for the preservation (Nilvanich & Wisuttipat, 2107). Preservation emphasizes more on the process, namely the activity of preserving. It can also mean protection from damage, destruction, or extinction, so those pre- servation activities are needed. Of course, there is a management of human resour- ces in this preservation activity so that the tradition can be ‘competitive’ to ensure its continuity and benefit the lives of pre- sent and future generations. Tradition is interpreted as a paradigm of the creative process. An era will influence the innova- tive tradition, meaning that the tradition is constantly changing. This time, we study the Baris Me- medi dance in Jatiluwih Village, Penebel District, Tabanan, Bali to preserve tradi- tional arts. The name itself depicts its mea- ning, Baris means line-up, Memedi means ghosts. People perform this dance at the Ngaben ceremony (the burning of corpse ceremony), including the Pitra Yadnya ceremony. The community believes that the Baris Memedi dance is a sacred and rare tradition inherited from their ances- tors because it is only performed during a Ngaben or Pitra Yadnya ceremony (Dibia, 1999, p: 17) serves to lead the spirit to hea- ven realm. The Baris Memedi dance is per- formed by 7-15 dancers, depicting spirits dressed in keraras (dry banana leaves), and other leaves around the cemetery, expres- sing spontaneous movements from the ce- metery to the family home carrying out the Pitra Yadnya ceremony. The specific purpose of this study is to analyze the strategy of preserving the traditional art of Baris Memedi in Bali so that this dance remains alive, exists, and is preserved until today. Another purpose is Harmonia: Journal of Arts Research and Education 21 (2) (2021): 256-265258 to find out the process of the performan- ce in the Pitra Yadnya ceremony. The ur- gency is to understand the Baris Memedi dance so that it does not become extinct or disappear. This can happen because some Balinese-Hindu people in carrying out a religious ceremony, consider the practical side, efficiency, and influence of sampra- daya (teacher-student schools or traditions that carry new traditions). Therefore, it is essential to emphasize preservation by sticking to the values of the three basic frameworks of Hindu-Nusantara teach- ings, namely tatwa-susila-upacara (philo- sophy, ethics, form of offerings). The Ajeg (steadiness in preservation) of implemen- ting Hindu teachings continues to be lived and practiced to achieve sustainable har- mony between the tiny universe and the great universe. Without ‘inheritance’, of course, tra- ditional dances, which incidentally are arts that are performed ‘for a moment’, surely the remnants will not be recorded by the current generation. The inheritance pro- cess is meaningful that traditional dances, such as Baris Memedi as the nation’s ‘cul- tural heritage’, can be recognized, kno- wn, and continuously studied by the next supporting generation. The current gene- ration, as the next generation of tradition, has rights and freedoms to reinterpret the ‘tradition’ they have received by the spi- rit of the era of the local area. This means that history records that the tradition has always ‘lived’ in each generation of its reci- pients based on the mindset and behaviour pattern that surrounds their ethnic envi- ronment. Sanderson (1999) puts forward if there is a change in infrastructure, such as advances in technology, economy, and the environment, it will also impact the so- cial structure. Social structures, such as the world of education, social organizations, differences in tasks/works, or professions will certainly affect the course of the su- perstructure (ideology). This also makes traditional dances in the past different or changing from today. This existence shows that traditional dances are ‘living’ becau- se the community as the supporter for the next traditional dance culture has the right and opportunity to move, develop, and create a ‘tradition’ that always remains grounded in its roots and does not lose its meaning. Holt refers to such cultures ‘li- ving traditions’ according to the striving spirit of the communities that support them. Traditional arts, such as the Baris Memedi dance, have had a long history, in line with the development of the humans supporting them. Therefore, this dance’s diversity is a fact that can establish a har- monious relationship between ethnicities, complement each other, enrich each other, and need each other in line with the life order of the Balinese people, especially Ja- tiluwih Village. Now, Jatiluwih Village is one of the tourist villages promoting the beauty of the panorama. It also supports the existence of the Baris Memedi dance, so it is very important to get attention and preservation. Based on the previous explanation that preservation in Bali is not only trans- mission and recording but closely tied to Balinese culture and society, we can for- mulate the problems: What is the presenta- tion form of Baris Memedi dance in the Pit- ra Yadnya ceremony in Jatiluwih Village? How is the strategy for preserving the tra- ditional art of Baris Memedi dance imple- mented in Jatiluwih Village so that this dance remains alive, exists, and preserved until now? Third, what is the uniqueness of Baris Memedi dance in Jatiluwih Village so that it is important to carry out a preser- vation strategy? From answering the three key questions, other accompanying questi- ons will emerge to answer how and what is the uniqueness of Baris Memedi dance as a traditional art so that it is essential to preserve it. METHOD The efforts to preserve the Baris Me- medi dance is a cultural activity. The stu- dy of cultural activities is basically more appropriate to use qualitative methods, which consider issues of cultural context, ideology, interests, power in culture, and I Wayan Dana & Ni Kadek Juni Artini, Baris Memedi Dance in Jatiluwih Village Tabanan 259 meanings that refer to the culturalistic-hu- manistic paradigm. This type of research is intended to analyze, including selecting, classifying, and reducing various qualitati- ve data. We chose qualitative-analytic with the consideration that the principal activi- ty was carried out in the field to observe the implementation of the Baris Memedi dance presentation and culturalistic-hu- manistic (civilizing humans and humani- zing humans) in the local community du- ring the Pitra Yadnya ceremony. One way is by inviting the people who support the Baris Memedi dance together with the lea- dership of Jatiluwih Village to jointly dis- cuss the interests of continuing, fostering, developing, and utilizing these traditions so that they are not eroded by global cul- ture in the millennium era. This is carried out theoretically, which refers to the Baris Memedi Dance as a wali dance (sacred ce- remony). The promotion of culture, inclu- ding preserving the Baris Memedi dance, emphasizes the meaning of protection, development, utilization, and guidance so that Indonesian culture can grow strong. Baris dance is one of nine types of Bali- nese dance recognized and designated by UNESCO as an intangible world cultural heritage on December 2, 2015 (Santoso, 2015). The nine types of Balinese dances, including the wali dance (sacred ceremo- nies), are the Rejang dance, Sanghyang Dedari dance, and the Ceremonial Baris dance. At the same time, those belonging to bebali dance (ceremonial/semi-sacred) include Sidhakarya Mask Dance, Gambuh dance, and Wayang Wong dance. Dances that are included in the bali-balihan (en- tertainment) group are Legong Keraton dance, Barong Ket dance, and Joged Bum- bung dance. This Balinese traditional dan- ce which UNESCO recognizes strengthens the theoretical basis, which is also the res- ponsibility of the supporting community, the Bali Provincial Government, regen- cies/cities throughout Bali. In addition, the Central Government also plays a role in preparing facilities and infrastructure for preservation and further development. This implies maintaining the sanctity and harmony of Bali’s nature and its contents to create a prosperous life for the Balinese people sekala-niskala (visible and invisible) physically and mentally. The role of the community is quite prominent in maintai- ning and developing traditional Balinese dances, such as the Baris Memedi dance, which functions as a ceremonial dance. The study area is in Jatiluwih Vil- lage, Penebel District, Tabanan, Bali. Jati- luwih Village is now listed as a Tourism Village in western Bali that relies on a ru- ral atmosphere that is still calm, beautiful and presents the best and widest natural scenery of terraced rice fields on the island of Bali. Even though it is made a Tourism Village, the people still preserved the tra- ditional art of Baris Memedi dance, which was only present at the Pitra Yadnya ce- remony. Therefore, Jatiluwih Village is ap- propriate as a study area to preserve tradi- tional arts in Bali. Whether tourism affects activities to preserve traditional arts is also interesting to explore more deeply. In the initial stage, we collected the data cumulatively from the literature study. This data collection was done by tracking scientific writings in the form of printed books, journals, papers, and the results of previous research, especially those published. The literature study was carried out at the Library of the Indone- sia Institute of the Arts (ISI) Yogyakarta, ISI Denpasar, Hindu Dharma Institute in Denpasar, and at the Regional Library of Tabanan Regency in Bali. After the litera- ture study, then proceed with direct obser- vation of the phenomena that occur in the field. We obtained the most important and valuable data when we were in the field, through interviews with resource persons and informants met in Jatiluwih Village; the performers and executors of the Pitra Yadnya ceremony were the primary sour- ces in the field. We interviewed informants based on purposive sampling. We determine samp- ling by setting specific characteristics that are under the research objectives so that we expect it to answer research problems. Harmonia: Journal of Arts Research and Education 21 (2) (2021): 256-265260 Thus, purposive sampling is subjective sampling because the sampling technique relies on self-assessment when determi- ning the population to take part in rese- arch-based considerations that have been previously known. The analysis began with all data ob- tained from literature studies, observa- tions or observations in the field, results of in-depth interviews with resource per- sons and informants. Various events that occurred related to the Baris Memedi dan- ce were recorded audio-visually. Through recording, we hoped that data describing the implementation of the preservation of traditional arts and behavior and experts in the field could be observed repeatedly. Data analysis on aspects of physical acti- vity was carried out from an ethical point of view without leaving an emic point of view. Ethic and emic points of view were used according to traditions, norms, and values simultaneously, which analyzed the data in more detail with the analytical- correlative method. This data analysis was then used to discuss the research problems in the presentation of the results and dis- cussion. RESULTS AND DISCUSSION The Tabanan Regency area is an agri- cultural area recognized as a world cultu- ral heritage (WCD) by UNESCO, including Jatiluwih Village in the Penebel District (Agung, 2019). This village is closely rela- ted to the surrounding villages regarding the irrigation from Catur Angga Batuka- ru. Jatiluwih Village is easy to reach, from Denpasar City about 49 km to the north- west, Tabanan Regency City approximate- ly 26 km to the north, and Penebel District City 13 km to the north. Since 2000 this village has become a tourist destination, especially those who like the atmosphe- re of beautiful natural scenery supported by a wide expanse of terraced rice fields, maintained its sustainability, the air is cool at an average altitude of 700 meters above sea level (Artini, 2021, pp. 32-39). Agricultural culture is an insepa- rable part of the activities of the Jatiluwih community. Agricultural culture is an in- separable part of the activities of the Jatilu- wih community. These activities include a series of rituals mapag toya (taking water), ngendag land carik (plowing the fields), pan- gawiwit (planting season), ngrasakin (rice harvesting ceremony). , ngadegang Batari Sri (embodies the goddess Batara Sri), and mesaba nini or manyi (rice harvest). The farmers of Jatiluwih Village run a rice planting system for two periods a year by planting local Balinese rice to maintain the availability of sandalwood brown rice, glutinous white rice, and black rice, for the basic needs of the community (Figure 1). Figure 1. Rice fields in Jatiluwih Note. From Bali Ricefields [Photograph], by C. F. Ortiz, 2018, Unsplash (https://unsplash. com/photos/TF1qnG9eZHQ) Besides carrying out life activities in the agricultural world, Jatiluwih people are also involved in traditional arts, such as the Sekaha (art group) of Topeng, Prem- bon, Joged, Baris Tombak, and Baris Me- medi. Baris Memedi dance has become an icon of Jatiluwih Village in the preserva- tion of traditional dances that are thought to have emerged in prehistoric times. Pre- historic times in Bali have bequeathed ritual-magic performing arts forms that are influenced by elements of animism and dynamism (Dibia, 1999, pp. 1-3). Ba- I Wayan Dana & Ni Kadek Juni Artini, Baris Memedi Dance in Jatiluwih Village Tabanan 261 ris Memedi Dance in Jatiluwih Village has been preserved and developed according to the spirit of time of the local area. The existence of Baris Memedi dance in the era of the entry of Jatiluwih Village as a Tou- rism Village and the emergence of sampra- daya (school of teacher student) in carrying out ritual traditions need a strategy to pre- serve traditional arts so that they are not threatened with extinction. In addition, it is considered important that the Baris Me- medi Dance is included as a ‘cultural heri- tage’ resulting from the creation, taste, ini- tiative, and special work of the Indonesian nation that needs to be preserved. Baris Memedi Performance in the Pitra Yadnya Ceremony The Baris Memedi dance in the Pit- ra Yadnya ceremony in Jatiluwih Village, is performed by 7-15 male dancers aged 35-45 years. Of that number, some played the male Baris Memedi, some played the female Baris Memedi, and one played the Penambrat (King of Baris Memedi). The King of Baris Memedi is armed with a klakat (woven bamboo) as a symbol of the command stick to give direction to the Ba- ris Memedi when escorting the spirits of the dead to heaven. The number of dancers is more or less the same with the dance in the neighboring village, in Desa Wongaya Gede, which consists of nine dancers (Pur- namawati, 2019). The presentation process is unique, carried out through the following stages: (1) Matur piuning (asking for permission), i.e., all dancers perform a ritual asking for permission before the rulers of Setra (ce- metery) called Sanghyang Bhairawi and Sanghyang Prajapati, which are centred in Pura Dalem Prajapati. (2) Mepayas (ma- keup and dress up), namely the Baris Me- medi dancers, begin to make up and dress up according to their respective roles by utilizing some means available at the ce- metery. (3) Mesolah (dancing), this stage is the core part. After finishing their makeup and dress-up, the dancers walk inline (pa- rade) to the Pitra Yadnya ceremony. Arri- ving at the ceremony venue, the dancers carry out the ritual process of prayascita, byekaonan, and penyambleh bebek bulu sikep (purification and sacralization). Then the parade dances to the accompaniment of the Gong Kebyar gamelan with a line-up symphony combined with Baleganjur (a type of ancient gamelan ensemble). The dancers express spontaneous movements according to the dynamics of the accom- paniment, prioritizing the expression of marching movements. The dancers repea- tedly move until they go into a trance to dance like memedi (ghosts), which are so- metimes scary and funny. At this time, the dancers undergo a ritual to ask for salva- tion so that the spirit of the deceased goes to the heavenly realm. At that time, the complete offerings in the form of segehan agung and penyambleh bebek bulu sikep were presented until the dancers regained their senses. (4) Ngaluhur (closing) is the final stage of the Baris Memedi performance; all dancers receive the segehan ritual located in Dalem Prajapati Temple Court, follo- wed by penglukatan (cleaning themselves) in capuhan (the meeting of two rivers into one). The Baris Memedi performance in the Ngaben ceremony (Pitra Yadnya) is a manifestation of the commitment of the supporting community as the driving or- ganization, with the Jatiluwih Village ap- paratus as a local resource for preserving traditional arts (Figure 2). The supporting community believes that Baris Memedi, as a sacred ceremony dance has magical ritual properties and syncretism from be- lief systems or religions with local customs and rerencangan (supernatural beings) in the local cemetery (Artini, 2021, pp. 64-67). Therefore, the community feels they have an obligation to continue to maintain, care for, preserve, and develop this ritual accor- ding to the spirit of the era of the local era for traditional purposes, namely the suc- cess and smoothness of the Pitra Yadnya ceremony. Harmonia: Journal of Arts Research and Education 21 (2) (2021): 256-265262 Figure 2. Baris Memedi sacred dance Note. From Tari Sakral Baris Memedi Masih Eksis di Jatiluwih (Baris Memedi Sacred Dance Still Exists in Jatiluwih), 2018, Bali Post Traditional Arts Preservation Strategy Preservation is understood as pro- tection from destruction and maintaining or caring for and continuing the form of traditional art, which can be carried out in two ways, namely continuing and revita- lizing; continuing the form of artistic acti- vity that is still taking place in the midst of society according to its interests so that it continues to exist; revitalizing or revi- ving artistic forms or activities that have taken place, but are experiencing lethargy, leading to their extinction. Both continuing and revitalizing art forms that are in accor- dance with the expectations of the suppor- ting community require appropriate and careful steps, as well as generations who have a ‘sense of belonging’ and love local traditional arts so that a sustainable in- heritance process occurs. Inheritance and preservation contain the value of develop- ment, guidance, protection, and also utili- zation according to the interests of the sup- porting community. In contrast, in some cases, people do not realize the importance of the safeguarding or preservation of In- tangible Cultural Heritage (Srinivas, 2008). Preservation of intangible cultural heritage has three important benefits. First, it has a cultural value that can help people understand a particular time’s social and cultural fabric (Smith & Akagawa, 2008). It has an economic value, which is often re- lated to tourism (Deng & Ma, 2014). It has an aesthetic value (Ahmad, 2006). Balinese traditional arts are alike, but there is more to this. Balinese traditional arts are unique and have superior values and are inhe- rited from their ancestors and carried out by each generation traditionally and sus- tainably. The supporting community has an important role and responsibility for the Central Government, Bali Provincial Government, and Districts/Cities Govern- ment. Here, Penebel District is the van- guard as a ‘driver’ to provide facilities and infrastructure to preserve wali art (sacred ceremonies). This responsibility is under- taken as a form of a strong and consistent commitment to fostering a culture in the lives of individuals, communities, and in- stitutions to improve welfare and harmo- ny in Balinese Krama life, in a sekala-niskala (visible and invisible). Based on the stipulation as an Intan- gible Cultural Heritage, traditional arts such as Baris Memedi need to be strengt- hened and promoted so that this tradition exists in the present and future genera- tions. Therefore, the role of the supporting community and the village as the driving force for strengthening and advancing tra- ditional arts has the value of local wisdom. Supporting and driving organizations at the village level become the center of Ba- ris Memedi management as a cultural resource that has spiritual values that are protected to anticipate the impact of the dynamics of local, national, and global so- cietal changes that may affect the existence of Balinese culture and its development. Ajeg Bali is a strength in the strate- gy of preserving traditional arts and the search for a ‘new foothold’ that respects and at the same time implements tri hita karana (the teaching of harmonious re- lations between humans and the divine realm, between humans, and humans with the environment). This Ajeg Bali context becomes the motto and guide for the Ba- linese Hindu community, which implies the need for socio-cultural ‘self-defence’ (Nordholt, 2007), including preserving traditional arts. This ‘spirit’ of Ajeg Bali is one of the practical solutions that are seen as being able to strengthen the ‘endurance I Wayan Dana & Ni Kadek Juni Artini, Baris Memedi Dance in Jatiluwih Village Tabanan 263 spirit’ of Balinese culture, including pro- tecting the existence of Baris Memedi from the storm of globalization. The spirit of Ajeg Bali, as a soluti- on, is seen as being able to strengthen the ‘resilience’ of Balinese cultural traditions. Globalization, a culture of efficiency, practicality, fast food, which is present in amid Indonesian society, especially in Bali, should not become a serious threat to the existence of the traditional art of Baris Me- medi, but become a motivational medium to drive local people and to make them ha- ving global spirit. So, the strategy for pre- serving the traditional art of Baris Memedi, in accordance with Ajeg Bali will continue by inviting the participation of the sup- porting community as the key actors of preservation. The invitation movement encourages the collective spirit of the sup- porting community through the Jatiluwih Village Prajuru (traditional village appara- tus) to establish participation, togetherness and knit the continuity of the existence of Baris Memedi. Arts for the Hindu community in Bali, such as in Jatiluwih Village, are inse- parable from the creativity of the suppor- ting community. They live from the activi- ties of agrarian nature, namely the world of agriculture, whose ecological system is integrated with artistic creativity. This fact is referred to as cultural communication that put between the village and the center of the kingdom as the centre of the cultu- ral life of the dialogue between the ‘small tradition’ and the ‘big tradition’ (Kayam, 1981, pp. 38-40). The arts that are present, such as the Baris Memedi dance in Jatilu- wih Village, are seen as art belonging to the community. It comes from the commu- nity for the benefit of the local community, and its existence needs to be maintained. Until now, most communities on the is- land of Bali view themselves as the heirs and successors of Hindu culture brought by their ancestors from Java (Pitana, 1994, pp. 3-12 and Picard, 2006, pp. 16-20). The cultural journey for the Balinese peop- le continues based on religious teachings that characterize the dynamics of innovati- ve and creative socio-cultural movements (Kerepun, 2007, pp. 10-47). The socio-cul- tural dynamics of the Balinese people are strengthened by the spirit and essence coming from the teachings of the Hindu religion which every step is based on re- ligious philosophy, religious ethics, and the implementation of religious ceremo- nies (Triguna, 1994, pp. 73-88). The three forms of teaching are based on the concept of panca sradha (five beliefs in Hinduism) which are implemented in faith and daily life amidst the global community, inclu- ding the preservation of traditional arts. Cultural Advancement set forth ef- forts to increase cultural resilience and the contribution of Indonesian culture in amid world civilization through the protection, development, utilization, and fostering of culture. Through implementing Cultural Advancement, building cultural practices at the village level, driving local resources, strengthening the local cultural ecosystem, becoming a pillar of the strategy for pre- serving traditional arts. Cultural resilience, such as the spirit of Ajeg Bali, synergizes with elements of ideology, socio-culture, security, and other elements at the village level. Furthermore, the strength of ‘endu- rance and striving force’ articulates local wisdom and motivates creative activities, sharpens sensitivity, and generates aware- ness to continue preserving the traditional art of Baris Memedi. Thus, the purpose of Cultural Advancement is to develop the noble values of the nation’s culture, enrich diversity, strengthen identity, strengthen unity and integrity, educating life, improve welfare, and preserve the nation’s cultural heritage. It includes the traditional art of Baris Memedi Dance in Jatiluwih Village, Penebel District, Tabanan, Bali. CONCLUSION In Tabanan Regency, especially in Ja- tiluwih Village, Baris Memedi dance is an integral part of people’s lives. This dance has four stages in its presentation form: as- king permission, making up and dress up, dancing, and then closing. To differentiate Harmonia: Journal of Arts Research and Education 21 (2) (2021): 256-265264 this research from other cultural preserva- tion researches, we can summarize that the preservation strategy is as follows: 1) the active role of supporting the community; 2) the role of Jatiluwih Village apparatus that the village is a driving village; 3) Ja- tiluwih artist’s participation; and 4) the support of the national government, espe- cially the local government. All those are in accordance with the spirit of Ajeg Bali. The single most important aspect of Baris Memedi dance is that it is inseparable from its community as a belief system. The implementation of the preserva- tion of traditional arts in Bali can be seen in the transmission and continuation of the arts, including the creation process, which is carried out in three main contexts, na- mely in the family environment, in local communities for generations, and informal educational institutions. Traditional arts, such as the Baris Memedi dance, have had a long history, in line with the twists and turns of the deve- lopment of human life that supports them. The supporting community is at the foref- ront as agents of change who maintain, protect, develop, utilize, and nurture the next generation of Baris Memedi from time to time. They continue to inflame a sense of love for traditional arts with superior va- lues to see the importance of the strategy of inheriting the nation’s cultural herita- ge. The process of ‘preserving traditional arts’ is not easy to implement because the currents of internal and external influen- ces come and go bringing changes, espe- cially in today’s era of global information technology development. The development of innovative di- gital and information technology, such as adaptive robotics, artificial intelligence, the internet of things, human-machine in- terface, is moving rapidly to change and shake things up, permeating various as- pects of human life, including publishing Baris Memedi. This UNESCO stipulation, for examp- le, adds energy to strengthening Cultural Advancement, thus bringing fresh air in developing the noble values of the nation’s culture, enriching diversity, strengthening identity, and preserving the nation’s cultu- ral heritage, and influencing the direction of the development of world civilization. Implementing the ‘preservation of tradi- tional arts’ strategy means that its execu- tion is in the driving and supporting com- munity and the practice of strengthening cultural promotion is at the village level. The resilience of local culture that contains local wisdom articulates creative activities, sharpening sensitivity and creating shared awareness in the supporting environment to love traditional arts. Togetherness and participation from the supporting commu- nity of traditional arts is a very distinctive and prominent character. This shows the spirit of commonality, participation, and dedication of its supporting to strive col- lectively for the existence of Baris Memedi dance in order to keep it preserved. REFERENCES Agung, I G. G. (Ed.). (2019, November 15). Kegiatan Pendataan dan Pemetaan di Kawasan Warisan Budaya Dunia (WBD) di Desa Jatiluwih [Data Col- lection and Mapping Activities in the World Cultural Heritage (WCH) Area in Jatiluwih Village]. Kemdik- bud. Retrieved August 3, 2021, from https://kebudayaan.kemdikbud. go.id/bpcbbali/kegiatan-pendata- an-dan-pemetaan-di-kawasan-wari- san-budaya-dunia-wbd-di-desa-jati- luwih/ Ahmad, Y. (2006). 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