DOI: 10.36347/sjahss.2019.v07i11.006

Pages: 795-799

The conservation of traditional performing arts in many countries that inherit ethnic arts is the topic to be discussed in this research. Until now, the countries still rely on traditional conserving societies to manage ethnic arts. The conserving strategy through tradition, however, cannot overcome age advancement, and it is not only failed to empower the existence of performing artists but also undermine professional chance of young artists. Tourism performing arts are then introduced in aligning with the goals of fostering, conserving and preventing ethnic arts from extinction. Technical matters of presenting performing arts are delegated to the show organizer. The arts are then presented on particular place and time for the favor of tourism. The presentation of the arts starts to exit from the shadows of tradition and religion, and goes toward presentation metamorphosis. This research is aimed to review the tendency of maecenas (art conservers) as the enforcing agents of tourism performing arts. The role of art conservers in tourism destinations in Indonesia and Thailand will be elaborated in this research. Indonesia destination are indicated by Kecak Ramayana played in Uluwatu, Bali, and Ramayana Ballet presented in Prambanan, whereas Thailand is represented by Thai Masked Dance Sala Chalermkrung in Bangkok. Data collection method includes observation and document review. Analysis technique is interpretation, and result of analysis shows that the conservation of tourism performing arts, especially those playing Ramayana story, is conducted by considering several aspects, such as: (1) aspect of place that helps audiences to regain their recollections, (2) aspect of time that gives audiences exotic sensations, and (3) aspect of maecenas (art conservers), especially relating with strategic roles or actions of rescue, protection and empowerment conducted by traditional custom organization, governing institution, and rulers.