Traditional Arts in the Virtual Production Arena
Abstract
This article reviews traditional arts in the ‘virtual production arena’. Artists of art activities in a virtual production arena must maintain their life energy and belief in the importance of their art works. This situation has forced conservers of traditional arts to be sensitive and set limits on the intervention of other artists. Empathy and participation in traditional arts are seen as a fear of losing ownership and loyalty, and are also perceived as anxiety over the threat of impairment. This article reviews the evolution, function, transformation and structuring that synergize local and global spaces of virtual production. Globalization is a process that reduces the existence of people in local spaces. To cope with this process, traditional arts have emerged, leaving the local buffer zone and entering the realm of generation Z, which has struggled to cope with the COVID-19 pandemic. Traditional arts have undergone mutation in virtual space and live again with new soul, new vision and new shape, synergizing with current trends. Most agencies that conserve traditional arts fail to understand this transformation. Traditional arts have become a capital source that supports the identity of individuals, institutions, organizations and bureaucracies. Clash among art conservers over virtual space represents a path toward structuring. Several activities constitute this structuring, including: constructing new networks, new relations, new identities, and new participation in a global production arena; developing art as a commodity; alleviating the free market impact by presenting art as a social spirituality to help individuals who suffer from loneliness and alienation; and activating individuals who already live alone who are crowded by less important information. A downstream part of traditional art in its struggle for claiming virtual space is its economic implication for art conservers.
Keywords: traditional arts, virtual space, art conservers
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