The tourism sector in Surakarta Municipality is a mainstay source of potential revenue, given the extremely abundant cultural wealth.However, the contribution of the tourism sector is still not a superior. Efforts to realize the tourism sector as a source of economic income is higher, has been pursued by various means, such as the success of Visit Indonesia Year 1990 program, Visit Asean Year 1991, Sapta charm and welcoming the year 1998 as an Art-Culture, and Solo Fair (BSF) from year 1999 to 2002.However, the results achieved are still not as expected.
The fact is caused by the potential of the existing culture, especially one of them is the art of wayang wong, have not been empowered to maximum function as packets of exotic spectacle for tourists. Function wayang wong performance art despite being shown commercially, but have not been combined with cultural tourism package program. Yet the uniqueness of the performing arts are wayang wong, is the main attraction for tourists. Art of wayang wong also be cultural assets, and also as a symbol and the identity of the city of Surakarta. Because the art of wayang wong historical value can not be separated from the palace that is also one of the central Javanese culture.Unfortunately this kind of art that potential existence is increasingly squeezed by the presence of popular art, therefore gradually abandoned his fans. Hence the need for wayang wong revitalized performing arts, and even empowered to the development of cultural tourism.
This study intended to find a model of revitalization of wayang wong performance art. To achieve these objectives study conducted by Research and Development during the three phases within three years. The study was conducted in the third year a series of activities that are focused to develop a model revitalization of wayang wong performance art that can strengthen resilience of local culture and economy can improve the surrounding community. Based on the results of research and discussion is concluded that:
1. Wayang wong which has been cultivated as a form capable of improving the economic revitalization of the perpetrators of the arts and the surrounding communities as well as for local governments. Wayang wong who has worked as a model of revitalization was able to strengthen the resilience of local culture as reflected in the number of spectators who watched as a supporter of the arts on one side. On the other hand is very positive audience response to the existence of wayang wong as a proud cultural attractions as well as the Solo icon central Javanese cultural inheritance has historically
2. Cultural resilience is also reflected by the commitment and enthusiasm of participants puppet festival race of people originating from the studios where the culprit is a child (boy) who is still active in school, both in primary and secondary school. The group's regeneration in the studio arts tradition of wayang wong with today's adaptive contextual been proved that local culture is not static but dynamic way.
3. Module guide for the revitalization of traditional arts are an effective means of developing and simultaneously preserve the various other types of traditional arts. This module is also very relevant in an effort to improve the economic actors arts through a program of cultural tourism activities.