PREWEDDING PHOTO HYPERREALITY IN BALI

The practice of Hindu marriages in Bali has been unknowingly hit by the name pop culture, or in lifestyle terms as pre-wedding photos. The wedding customs of the Hindu community in Bali as a local tradition or local culture that previously did not recognize the term prewedding photos began to be inserted and produced through materialistic discourses and practices. Pre-wedding photos encourage the presence of an element of hyperreality from the millennial lifestyle that is mixed by digital and virtual spaces, as a trend of 'futuristic', 'replica', and 'copy' which has actually surpassed reality itself since its presence in 1996. The research is located in Bali and uses qualitative methods. The problems studied include (1) why there is a tendency for hyperreality in pre-wedding photos; (2) what are the forms of hyperreality of pre-wedding photos in Bali; (3) what are the implications of the hyperreality of pre-wedding photos in Bali. In general, this research is to deconstruct what is behind the pre-wedding photo phenomenon and reveal facts that can provide an overview of knowledge and understanding of its relationship with the hyper-reality of prewedding photos in Bali. The analysis of this research uses several theories, namely hypersemiotic theory, deconstruction theory, and commodification theory. The results show that (1) the factors that cause hyperreality in pre-wedding photos are lifestyle factors, commercial industry factors, globalization factors, and the factors of negotiation between photographers and clients (brides); (2) forms of hyperreality in pre-wedding photos in Bali show visual engineering, cultural fabrication, love accentuation, hybrid identity, parody and reinterpretation of style; (3) the implications of the hyperreality of pre-wedding photos in Bali show three implications, namely the implications of aesthetic innovation, the implications of an unstable commercial industry, and the implications of shifting meaning. What is presented in the pre-wedding photo phenomenon is a celebration of desire (symbol sales) in various manipulative ways and various supporting media.

wedding photo was not known, but recently it has begun to be inserted and produced through hyper-realistic discourses and practices. Hyperreality is built by the millennial lifestyle that blends with digital and virtual spaces as a trend of 'futuristic', 'replica', and 'copy' which actually goes beyond reality itself. Pre-wedding photos are a new culture, a new culture that has hit globalization. It is a form of articulation of modern or postmodern culture. That is, the phenomenon has gone beyond a reality called post-reality (symbolic game). In general, the purpose of making pre-wedding photos is as a medium that can inform the identity of the prospective bride and groom who will get married. Pre-wedding photos are able to present memories of the past into a need that is difficult to refuse, especially because it is once-in-a-lifetime moment, namely marriage. The art of photography is not only documentary, but also able to offer the production of self-image in social relations.
Pre-wedding which colors the practice of marriage in the Hindu community in Bali illustrates a culture that cannot be separated from the influence of globalization. In this study, not all districts in Bali were used as research locations. This is because (1) this study does not talk about the dichotomous tradition, (2) the method used is qualitative so it is not administrative in nature (representation of samples) and (3) pre-wedding photos are a pop culture that hit all districts. Thus, it will always give birth to new meanings that are produced in the future. This means that there are no more differences or boundaries for each district because it is global (boulders society).
Pre-wedding photos are lifestyle products, namely products that have a commercial business opportunities. A status is related to prestige. The results of observations made so far show that Balinese culture, both in urban and rural areas, is still contested or has a high sense of shame. Geriya considers that the euphoria of globalization and modernism illustrates progress, progress, and the prestige of life which is accompanied by a dehumanization bias (2004: 44). Furthermore, Atmaja (2017) also said that the practice of pre-wedding photos in rural areas is something that is common.
That is, if someone does not make a pre-wedding photo, it will raise questions and be considered to have no capital.
The problem that occurs is when pre-wedding photos display photos that are not "real" or do not match reality. Many prospective brides and grooms display something "hyperreal" with certain concepts. This means that a person can become more perfect, both in terms of physical appearance and a luxurious appearance that is not in accordance with the reality of the life of the prospective partner. In this case, the art of photography, especially pre-wedding photos, becomes an art product that produces self-identity that is In addition, there is no research on the hyperreality of pre-wedding photos in Bali, so this research is important to do.

RESEARCH METHODS
Understanding the meaning of something by using qualitative research always places the research subject in the same position as the researcher, building similarities to create interaction (Yusuf, 2014: 330). The research design for pre-wedding photo hyperreality includes: 1) a description of the art of photography, especially pre-wedding photos, including both in terms of practice, technique, function, meaning, and form.
Knowing the views both in terms of social, cultural, economic related to the manufacture and business of pre-wedding photos in Bali 2) an explanation of the aesthetics of photography, the concepts of pre-wedding photos, the meaning in pre-wedding photos 3) excerpts of documents, archives, documentation, and etc. The location of the research will be carried out in several areas of the province of Bali which are often used for prewedding photo shoots. Sources of data obtained both primary data sources and secondary data sources. Primary data were obtained, directly or indirectly in the field, both from interviews and observations. Interviews with several informants, such as wedding couples, photographers, community leaders, cultural observers, stakeholders, photography experts, and entrepreneurs (wedding organizers). Observations were made to see the representation of pre-wedding photos, such as seeing firsthand the life conditions of the bridal couple who took pre-wedding photos with a luxurious appearance.
Secondary data is data obtained and collected from several places, offices, and institutions in the form of books, journals, photographs (pre-wedding photos), articles and related documents or showing the hyperreality of pre-wedding photos, then processed according to the needs of research analysis.

DISCUSSION
The early development of portrait photography could not be separated from the trend that developed within the bourgeoisie. The exclusive impression offered by the art of portrait photography in the past encouraged the bourgeoisie to start documenting themselves not only for personal use but to be shown to the public at large. As a form of artistic creativity, the idea to make pre-wedding photos of one of the prospective bridal couples in Bali was finally realized by a Balinese photographer, namely Anom Manik  (2017) regarding the lifestyle of the Balinese people. In the study it was stated that the habits and lifestyle of the Balinese people changed in a relatively short time towards a luxurious life and tended to be excessive which in turn led to a consumptive lifestyle.
From an aesthetic point of view, pre-wedding photos are a commodification process. That is, the elements in the visual pre-wedding photo are a deliberate process of formation either through editing or adding objects that cause visual changes (manipulative). Making pre-wedding photos for most of the prospective bride and groom will automatically increase the cost of the wedding. Hyperreality occurs when the bride and groom with middle to lower economic conditions do everything they can to make pre-  Regarding the implications of the hyperreality of pre-wedding photos in Bali, it is divided into three discussions, namely the implications of aesthetic innovation, the implications of an unstable commercial industry, the implications of shifting meaning. The implications of aesthetic innovation, namely the creative industry and income, the prewedding photo phenomenon provides business opportunities, both to the community and the government so that they can increase income from the economic sector. The unstable commercial industry is caused by the commercialization of public facilities, the commodification of culture and the hegemony of new cultures. The shift in meaning is related to ideologies in the connotation and denotation meanings that are inserted in each creation of pre-wedding photo works. Contemporary spirituality of marriage is related to the marriage procession of the Hindu community in Bali, which not only prioritizes spirituality, but also is worldly. In addition, they are also led into a lifestyle trap in the form of artificiality, a play of signs and images filled with various aspects of activities with meanings that are not actually related to the context of spirituality. The authority of the sign in the hyper-reality of pre-wedding photos may also have been overemphasized so that everything becomes relative. The presence of meanings in each pre-wedding photo work provides opportunities for an unlimited range of interpretations.
Based on the results of the analysis in the previous chapters, the new findings in this study can be expressed as follows.
1. Pre-wedding photos create a phenomenon of hyper shifting to the reality of Balinese culture. Previously hyperreality became a reality because it was done by everyone and became something that was commonplace, even though at first it was opposed by some parties. This shows that culture is unstable and can change. Inevitably, if one day the pre-wedding photo is not done, it will reap the discussion, both by relatives and the community. In addition, everyone is able to make pre-wedding photos and does not know both the upper and lower middle class.
2. Photography ethics, namely the extent to which a photographer's morality (which is allowed and not) is related to the relationship between photography ethics (photographers), technological sophistication, and aesthetic insight. Basically, technology has provided the means and media in the realization of pre-wedding photo works, while photographers only use it. That is, the embodiment of art through the help of technology is able to make ethical values questionable as a form of expression in the name of creativity.