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2 THE STUDY
A socio-cultural study on the intangible cultural
heritage of ethnic groups in Medan Metropolitant is
a necessity to compare regional and global studies.
UNESCO (2008) determines cultural heritage
comprises the oral traditions and cultural
expressions through languages. The cultural heritage
in globalization includes the ethnic performance in
the arts, social practices, rituals, festivals,
indigenous knowledge of nature, and crafts.
Adhering to and revitalizing those traditions are vital
for cultural diversity and creativity as well as for
global tourism.
Local awareness of the influential ethnic heritage
impacts on the survival and reconstruction of
cultural identity and diversity in globalization
(Kaufman, 2013 and Shankar, 2010). Moreover,
Grunewald’s report reveals the power of ethnic
culture heritage in the reproduction of the arts.
Grunweld stresses the social practices of ethnic
groups, and asserts that "the ethnicity exercised in
the terms of a cultural production of traditions to be
exhibited as distinctive features within the touristic
ambit that would signify the ethnic character of the
interaction” (Grunewald, 2006, p. 7). In the
anthropology of tourism, Storanza (Storanza, 2001)
argues that a holistic research explores the local
cultures and their relationship with the tourism
industry and socioeconomic development. The
cultural tourism locations gain the benefit from
touristsvisiting such reconstruction of cultural
representation through the identification and
inventory of heritage and museum renovations.
Gonzales (Gonzales, 2008, p. 807) recommends new
research for the local cultural identity interactive
process with the global tourism industry. Since
1970, the reinvention process of cultural heritage
which meets global tourism has been perceived.
The anthropology of heritage and tourism has
elaborated cultural heritage in globalization. The
interaction of compelling local culture with
globalization (Pieterse, 2009) has been enhanced by
information technology which is the source of
humanity theory on the ritual, carnival, and cultural
festivals of cultural productions.
2.1 Research Design
This ethnography research was conducted by using
participant observation, depth interviews, and
document analysis, and involved holistic and
integrated systems of beliefs and cultures in which
the elements of religion, myths, cultural practices
and acceptance of ethnic members are functionally
and meaningfully interrelated. Geertz (Geertz, 1975)
argued that an ethnographic method is conducted by
selecting informants, transcribing a collection of
text, exploring the origins of ethnicity in genealogy,
and compiling a diary/logbook of reports, while the
most important procedure is data reconstruction
through symbolic interpretation. The anthropology
of art and tourism explores the meaning and
functions of the performing arts in the context of
dynamic cultural growth in the community to be
developed into a scientific theory. Thereafter, the
arts and tourism research methodology is conducted
through the application of ethnographic techniques
as well as the secure data on ethnic culture heritage
and art in Medan and their prospects for the global
tourism development. The implementation of
ethnographic fieldwork for the identification,
inventory, and mapping collected data (Lury, 2007)
from each ethnic group was conducted through
surveys, observation, and interviews. Ethnographic
methods were conducted to explore the art of
intangible culture.
2.2 Techniques of Data Collection
Three techniques were used in the data collection:
first, an inventory survey of arts and ritual, carnival,
and cultural festivals of ethnic groups was
categorized in types of religious rituals, ceremonies
and live entertainment. Survey questionnaires were
distributed to the representatives of respondents
from each ethnic group. Second, observant
participatory was held at different ethnic galleries,
for instance places of worshiping places, traditional
buildings, public spaces and tourist destinations that
perform rituals, ceremonies, and live entertainment.
The observation was recorded video-taped with a
handycam and each activity was noted in diary
under the categories of art galleries, ritual
procession, carnival and cultural festivals. The focus
of the observation was addressed to all activities
associated with religious rituals, ceremonies, and
live entertainment. Third, the following
professionals of arts performance and tourism
industry were interviewed, namely dancers, painters,
poets, cartographers, art managers, journalists,
bureaucrats, studio owners, businessmen, and hotel
tour leaders.
2.3 Techniques of Data Analysis
Data obtained from the surveys, observation and
interviews were converted to empirical data and
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