The Dialectics of the Performance of the Kecak Ramayana in Uluwatu, Bali, Indonesia

Datos Bibliográficos

ID14956352
AutoresRobby Hidajat (0000-0003-4252-1536, Universidad de Guanajuato, autor de correspondencia), Endang Suprihatin (State University of Malang), Utami Widiati (0000-0002-8603-4556, Universidad de Guanajuato), E W Suprihatin, Guntur Guntur (0000-0002-3604-2734), Surasak Jamnongsarn (0000-0002-1050-8639, Srinakharinwirot University)
Año2023
Volumen15
Número2
Fecha de publicación2023-06-24
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaRupkatha Journal on Interdisciplinary Studies in Humanities (JOURNAL)
Identificadores de la revistaISSN: 0975-2935 • E-ISSN: 0975-2935
EditorialAesthetics Media Services (PUBLISHER)
DOI10.21659/rupkatha.v15n2.13
OpenAlexW4383378105
IdiomaEN
Referencias citadas9

The Ramayana kecak is a popular tourist art in Bali that is rich in symbolism. The audience watches only from the front of the stage, which is formalistic in nature, witnessing different scenes, characteristics of figures, structures, and dramatic factors. The performers are not aware that the backstage is the realm of rituals and a part of the deep experience of spiritual beliefs. The front stage and backstage should be viewed as complementary duality. Activities behind the stage are more natural while those on the front stage are a manipulation. The backstage can be understood as a dramaturgical richness of a paradoxical and symbolic Eastern performing art. Therefore, the appeal of the backstage is not an attractive consideration. This research uses a qualitative descriptive approach. The data were collected through in-depth interviews with Ramayana kecak artists at Uluwatu Temple, Bali, and a document analysis was done. The theories used are symbolic interpretation, text and context, and symbolic structure. The results of the research present a description of the dramaturgy of Balinese performing art with a specific focus on: 1. Dramaturgy of the front stage, 2. Dramaturgy of the backstage, and 3. Local spiritual aesthetics including the spirit of duality known as taksu which is rooted in Rwa Bhineda

Aesthetics · Art · Dialectic · Dramaturgy · Epistemology · Geography · Literature · Psychoanalysis · The Symbolic · Visual arts · Cultural and Artistic Studies · Environmental Engineering and Cultural Studies · History · Philosophy · Psychology · Semiotics and Cultural Interpretation