ekarang kesenian wayang golek terancam punah, seperti yang sudah TS jelaskan di atas,

wayang golek terancam punah diakibatkan para pemuda yang kurang menyukai wayang
golek, menonton pertunjukan wayang golek dianggap hal yang tabu ketinggalan jaman.
Selain itu dari berbagai sumber yang TS baca, Cimahi contohnya hingga saat ini di Kota
Cimahi sendiri baru ada 11 dalang. Itu pun mereka masih bergerak masing-masing, karena
belum memiliki asosiasi yang mewadahi secara khusus. Padahal para dalang itu sudah lebih
10 tahun terbentuk.
Selain indikator tadi, kepunahan Wayang golek ini dapat dilihat dengan semakin jarangnya
acara-acara pementasan wayang golek. Dulu biasanya kalau ada acara hajatan pernikahan
atau khitanan sering didatangkan wayang golek, namun belakangan lebih banyak
menyuguhkan keyboard elektone/ dangdutan. Selain itu harga pementasan wayang golek
sangat mahal, keberadaan dalang-dalang yang berkualitaspun semakin sedikit.

t is believed that we should preserve the culture from the ancient age, the wayang kulit so that
our future generations are still able to appreciate its uniqueness and beauty. We would not
want this creation symbolizing civilization to become extinct due to the rapid development
and modernization. As the generation who will determine the survival of wayang kulit, we
bear the responsibility to ensure that its existence is not jeopardized.

To be specific, in order to ensure the continuity in our today generation, improvement has to
be done on it so that it is modernized and be able to follow the rapid pace of development.
We can maintain the concept and outline of wayang kulit but to improvise more on the
content so that it fits the market demand of today world. With that said, wayang kulit has to
be commercialized which it is viewed to add value to people life. In short, by developing
wayang kulit in the entertainment industry can certainly grasp an inaugural position for itself.
In order to enable commercialization to happen, there are lots of aspects that we need to take
into consideration. Innovation and consequent scaling of wayang kulit require various
resources such as manpower, funding and etc. For this, we might want to appreciate the
support from the U.S. Ambassador’s Fund for Cultural Preservation (AFCP). AFCP funding
was generously given to the Centre for the Study and Documentation of Traditional
Performance (PUSAKA) to conduct research on Wayang Kulit, restore the shadow puppets,
and produce and record a series the performances. With this effort, it is a motivation to
mobilize company and government body in Malaysia to consider giving funding to wayang
kulit related organization.
Not to forget the effort of Centre for the Study and Documentation of Traditional
Performance(PUSAKA) which actively advocating the mission to preserve and develop
wayang kulit in conjunction to the modern need. For example, PUSAKA has established a
permanent home for the disappearing art in a theatre in the village of Kemunchup, Kelantan
to help preserve the art form and train future generations of artists and performers.