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All Journal Bali Tourism Journal
Alit Sankara
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Religion Arts Humanities Social Sciences Other

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Deconstructing Symbols and Meanings in the Kecak Dance Alit Sankara
Bali Tourism Journal Vol. 7 No. 3 (2023): Available online : 1 December 2023
Publisher : Bali Tourism Board

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36675/btj.v7i3.98

Abstract

Initially, tourists visited the village where the group resided to witness the Kecak dance. However, the dance's popularity grew, and it became a feature in various events. Tourists could now enjoy Kecak performances at destinations like Uluwatu, Tanah Lot, Batubulan, and others, which provided dedicated spaces for these performances. The Kecak dance, born out of creative cultural expression, became a unique art form showcased specifically for tourists. The choreography in Kecak dance is divided into five parts. In this choreography, all elements in the Kecak performance interact, creating a message directed to the audience. In dramaturgical analysis, it's important to note that Kecak Dance focuses on the aspects of performing arts. It is a dance highly specific to Balinese culture with unique characteristics reflecting their identity and cultural heritage. In the analysis of the staging of Kecak Dance using Symbolic Interactionism Theory, it portrays human life from a Hindu perspective consisting of Suka (joy), Duka (sorrow), Lara (pain), and Pati (death). The characters in Ramayana represent the qualities of protagonists and antagonists, which then interact with each other, giving rise to new universal values, such as Loyalty. Understanding the message in Kecak dance can be enhanced by increasing the involvement of tour guides as providers of additional information to tourists. Additionally, providing brochures containing synopses of the Ramayana story or the plot of Kecak dance in foreign languages during the performance can help the audience understand the presentation more easily, allowing the art to be fully appreciated.
An Analysis of the Social Role of Tourism Ambassadors in Bali Province Alit Sankara
Bali Tourism Journal Vol. 9 No. 1 (2025): Available online : 1 April 2025
Publisher : Bali Tourism Board

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36675/btj.v9i1.124

Abstract

This study explores the 2022 Bali Tourism Ambassador program through the lens of Stuart Hall’s Theory of Cultural Representation to examine how identity, culture, and tourism are constructed and communicated in contemporary Bali. As tourism remains central to Bali’s economy, the involvement of youth through ambassador programs has become a strategic cultural initiative. Using a qualitative case study approach, data were collected via interviews, observations, and media analysis. Findings reveal that the Bali Tourism Ambassador contest functions not only as a promotional platform but also as a symbolic site for producing and reinforcing dominant narratives about the ideal Balinese youth—cultured, attractive, intelligent, and civically engaged. Through Hall’s reflective, intentional, and constructionist approaches, the study illustrates how cultural symbols, rituals, language, and performance converge to shape public perceptions of tourism, modernity, and local identity. Events such as quarantine, public speaking, and traditional attire are framed not merely as assessments but as ideological practices embedded in a “regime of representation.” While the program succeeds in cultivating youth as cultural agents and tourism promoters, its long-term impact depends on consistent institutional support, mentorship, and integration into broader tourism development agendas. Without post-event follow-up, many of the finalists’ innovative ideas risk remaining symbolic. This research contributes to understanding how youth-led initiatives can serve as mechanisms of cultural continuity, soft power, and developmental communication in tourism-centric societies.
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