Main Article Content
The background of this research is to answer the hesitance regarding the moral messages in tourism performance art. The moral messages in tourism performance art that plays Ramayana story is then analyzed. Ramayana story is presented in tourism performance art in Indonesia and Thailand. In the beginning, Ramayana story is functioned to be the guidance for the audiences to learn about moral ethics from the character, structure, and appearance of the presentation. Ramayana story is now presented mostly for tourism entertainment but Educative Mandate is still conserved in tourism performance art. The design of this research is qualitative descriptive with functional approach. Data collection method involves interview and observation. Key informants are dancer, musician, tourism performance organizer, and art teacher in art school that represent Indonesia and Thailand. Observation was conducted on the centers of tourism performance art in Yogyakarta and Denpasar, Indonesia and also in Bangkok, Thailand. Results of research showed that (1) Mandate of Romance refers to the romance life of the characters in Ramayana story; (2) Mandate of Woman Paragon considers woman as both strength and weakness of man; and (3) Mandate of Causal Law emphasizes that the wrong is lost and the right is won.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
- Copyright on any open access article in a journal published by Mudra Jurnal Seni Budaya is retained by the author(s).
The Creative Commons Attribution License 4.0 formalizes these and other terms and conditions of publishing articles.
Adibah, Ida Zahara. 2017. “Struktural Fungsional Robert K. Merton: Aplikasinya Dalam Kehidupan Keluarga.” Jurnal Inspirasi 1 (1): 171–84.
Das, Rahul. 2020. “THE ROLE OF HINDUISM AND BUDDHISM IN PROMOTING INDIANNESS OUTSIDE INDIA: SCENARIOS OF SOUTHEAST ASIA.” International Journal of Research -GRANTHAALAYAH. https://doi.org/10.29121/granthaalayah.v8.i5.2020.147.
Davies, David. 2009. “Works and Performances in the Performing Arts.” Philosophy Compass 4 (5): 744–55. https://doi.org/10.1111/j.1747-9991.2009.00235.x.
DESAK, PUTU EKA PRATIW, NUR AYOMI PUTU, and DIAN PUSPITA CANDRA KOMANG. 2017. “Balinese Arts and Culture as Tourism Commodity in Bali Tourism Promotion.” MUDRA Journal of Art and Culture 32 (2): 238–52.
Desi Karolina Saragih. 2015. “BAHASA SEBAGAI IDENTITAS BUDAYA DALAM POSTKOLONIALMASYARAKAT INDONESIA,” 1–27.
Hakim, Rafadi. 2014. “The Marianna McJimsey Award Winning Paper: Countless Ramayanas: Language and Cosmopolitan Belonging in a South Asian Epic.” ASIANetwork Exchange 21 (2): 4–14.
Hidajat, Robby. 2020. “THE RELEVANCE OF BATIK FASHION WORN BY CHARACTERS IN THE YOGYAKARTA-STYLE RAMAYANA BALLET” 8 (1): 1–8.
Ka, A I, and D E R Bayerischen Staatstheater. 2011. “THE DIFFERENCES BETWEEN VALMIKI’S RAMAYANA AND THE THAI VERSION OF RAMAYANA (RAMAKIRTRI) OF KING RAMA I OF THAILAND (1782-1809),” no. December: 27112018.
Saputra, Karsono Hardjo. 2019. “Sastra Lama Tulis Sebagai Kelanjutan Tradisi Lisan Dalam Ranah Sastra Jawa.” Jumantara: Jurnal Manuskrip Nusantara 2 (1): 80–98. https://doi.org/10.37014/JUMANTARA.V2I1.122.
Seramasara, I Gusti Ngurah. 2019. “Wayang Sebagai Media Komunikasi Simbolik Perilaku Manusia Dalam Praktek Budaya Dan Agama Di Bali.” Mudra Jurnal Seni Budaya 34 (1): 80–86. https://doi.org/10.31091/mudra.v34i1.640.
Smith, Karen, and Kathy Foley. 2018. “Tradition and Post-Tradition: Four Contemporary Indian Puppeteers.” Asian Theatre Journal 35 (1): 70–84. https://doi.org/10.1353/atj.2018.0013.
Stabler, Albert. 2018. “Art Education and the Moral Injunction to Be Oneself.” International Journal of Art and Design Education 37 (3): 377–86. https://doi.org/10.1111/jade.12133.
Yodsurang, Patiphol, and Uekita Yasufumi. 2015. “A Traditional Community in the Chao Phraya River Basin II: Influence of Water Circulation on the Traditional Living Culture According to the Settlement Pattern.” Asian Culture and History 8 (1): 112. https://doi.org/10.5539/ach.v8n1p112.