This research discusses the process of marginalization of traditional art that threatens its existence, represented by puppet group Ngesti Pandhawa (WO) in Semarang, Central Java. The study and discussion of the problem are carried out using an economic perspective, in its interrelated context. The methodological approach that is used in this study is a qualitative approach, with a single case study design. The study focuses on the WO group Ngesti Pandhawa and related parties, in the flow of development and its presence in the face of the changes taking place around it. The result of the study from an economic perspective shows that in the face of globalization era in the 21st century, WO Ngesti Pandhawa is in a position of "dead shrink, life is not willing". Although in recent years there has been a development effort to maintain its existence in the form of management restructuring, promotion in internet media and signing of cooperation with several institutions, but WO Ngesti Pandhawa group still applies traditional family management.
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机译：该研究讨论了传统艺术的边缘化过程，威胁其存在，由杰拉邦的Semarang in Semarang in Puppet Group Ngesti Pandawa（WO）代表。对问题的研究和讨论是在相互关联的背景下使用经济角度进行的。本研究中使用的方法论方法是一种定性方法，具有单一案例研究设计。该研究侧重于WO Goldi Pandaawa和相关方，在发展之中及其面对围绕它的变化。从经济角度来看，研究结果表明，面对21世纪的全球化时代，禾琳迪熊河都处于“死亡萎缩，生活不愿意”的位置。虽然近年来，近年来一直存在以管理重组，互联网媒体促进以及与若干机构签署合作，但仍然适用于传统家庭管理。
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