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Hidajat, R., Pujiyanto, P., Hasyimy, M. ’Afaf, Aprilyawati, A. A. D., Haris, A. N. R., & Muhid, S. H. B. (2024). Comical Attractions of Hanoman as Commercial Tractive Power of Kecak Ramayana in Pura Uluwatu Bali. KnE Social Sciences, 9(15), 98–104. https://doi.org/10.18502/kss.v9i15.16197

https://doi.org/10.18502/kss.v9i15.16197

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authors

  • Robby Hidajat

    Robby Hidajat

    Art and Design Department, Universitas Negeri Malang
    https://orcid.org/0000-0002-7413-0655
  • Pujiyanto Pujiyanto

    Pujiyanto Pujiyanto

    Art and Design Department, Universitas Negeri Malang
  • Muhammad 'Afaf Hasyimy

    Muhammad 'Afaf Hasyimy

    Art and Design Department, Universitas Negeri Malang
  • Allfa Andranica Devya Aprilyawati

    Allfa Andranica Devya Aprilyawati

    Art and Design Department, Universitas Negeri Malang
  • Adinda Nur Ramadhani Haris

    Adinda Nur Ramadhani Haris

    Art and Design Department, Universitas Negeri Malang
  • Syamsul Hirdi Bin Muhid

    Syamsul Hirdi Bin Muhid

    Creative Industry Management and Performing Arts, Universiti Utara Malaysia

Published Date

  • May 9, 2024

Comical Attractions of Hanoman as Commercial Tractive Power of Kecak Ramayana in Pura Uluwatu Bali

KnE Social Sciences / International Conference on Art, Design, Education and Cultural Studies (ICADECS) / Pages 98–104

Abstract

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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