Published date: May 09 2024

Journal Title: KnE Social Sciences

Issue title: International Conference on Art, Design, Education and Cultural Studies (ICADECS)

Pages: 98–104

DOI: 10.18502/kss.v9i15.16197

Robby Hidajatrobby.hidajat.fs@um.ac.idArt and Design Department, Universitas Negeri Malang

Pujiyanto PujiyantoArt and Design Department, Universitas Negeri Malang

Muhammad 'Afaf HasyimyArt and Design Department, Universitas Negeri Malang

Allfa Andranica Devya AprilyawatiArt and Design Department, Universitas Negeri Malang

Adinda Nur Ramadhani HarisArt and Design Department, Universitas Negeri Malang

Syamsul Hirdi Bin MuhidCreative Industry Management and Performing Arts, Universiti Utara Malaysia

The article examines the commercial tractive power of Kecak Ramayana in Pura Uluwatu Bali. Kecak Ramayana has become tourism commodity since 1930s, thanks to I Wayan Limbak and Walter Spies. One of characters in Kecak Ramayana is Hanoman, considered as the most attractive character. The Ramayana Story is a sacred epic recounting the struggle of Sri Rama against the evil of Rahwana, King of Alengka. Foreign tourists love this story and seem fairly enthusiastic to see the show. The number of foreigners who come to see Kecak Ramayana has increased every year, impacting the commercialization of Kecak Ramayana as tourism art. The tractive power behind the show becomes the question that warrants exploration. The research methodology employs observational qualitative descriptive, gathering data from interview and field observation. Data analysis involves two techniques, namely visual textual descriptive and interpretative. The result of research consists of three aspects, respectively (1) the role of Hanoman character in Kecak Ramayana, (2) the comedic allure of Hanoman as spectator decoy, and (3) the impact of Hanoman’s comedic appeal on the commercial success of Kecak Ramayana.

Keywords: kecak Ramayana, tourism commodity, tourism art

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