GIRL POWER ACTIONS IN DISNEY’S RAYA AND THE

LAST DRAGON MOVIE (2021)

Rananda Khairiyah Handari
121711233144
Rananda.khairiyah.handari-2017@fib.unair.ac.id

ABSTRACT

Raya and the Last Dragon is a female superhero film from Southeast Asia
produced by Disney. In this film, Raya is described as the daughter of the heart
region. Raya was trained by his father to guard his territory. At that time, he liked
to practice material arts and talked to his father to share ideas. In this film, it is
told that Raya's father wants Raya to reunite Kumandra. But the road that Raya is
taking is not that smooth, she has to go through the obstacle that is losing her
father, being betrayed by her own friend. In this case, Raya appears in many ways
connected to the Girl Power presented in the film Raya and the Last Dragon. The
purpose of this study is to analyze aspects of Girl Power in Raya’s appearance in
the film Raya and the Last Dragon. The writer found that Raya wanted to prove
emphasizing, domination, freedom, self-expression, and confidence through this
film. She expresses the emphasis through her way of uniting the ideas that are
owned in several female characters in this film to fight together to act in front of
the camera, giving ideas to, and learning to forgive others. In this film, he also
exposes her feminine identity and masculine way, but still, looks strong. This
finding also shows that the strength of sisterhood can also be expressed as girl
power which lies in the characteristics of women themselves. In addition, this
research is expected to make readers, especially women, more aware of the power
of women in themselves and the true sisterhood.

Keywords: Girl power, Sisterhood, Heroine, Feminism, Gender in media 

i
Introduction

Girl Power is characterized as “emancipated confidence” that raises self-

esteem, reduces depression, and alters gender roles among girls and young

women. In the early and mid-1990s, the word became popular with the punk

community. Young females tied to the common term 'girl power' or 'girl culture'

appeared in mass consciousness in the 1990s. It boomed through the products of

girls' culture that started in the century and continues to a lesser extent today. This

term was popularized in the mid-1990s by the American pop music group Spice

Girls. In her book Girl Heroes: The New Power in Popular Culture, Susan

Hopikins wrote about the relationship between female power, women, and female

action heroes in the late 20th century (Susan Hopkins, 2002). The idea about

women's power has a tradition of being directly connected with the fantasy and

action of heroes in the 1970s and the character of women of the third wave on US

television. Therefore, women's strength is usually related to the feminine role as a

way to inspire other young women individually. Girl power also believes that

women and girls must appear confidently, make decisions and do things

independently without being influenced by other views from men or social and

political movements.

In this study, the writer explains why people always assume women are

always in lower positions than men. Women and men were required to fill up

separate areas in the 19th century. Men were expected to live a public social life,

and they could go outside to interact with other men in public places such as

10
cafés, bars, or clubs. On the other hand, women were usually expected to spend

their lives in the kitchen, cooking, cleaning, and educating children (Kalb, 2002).

Not all women are required to receive a formal education. People did not think

that education was necessary for women. Gradually, an unfair situation is realized

by many people. Women built a campaign to oppose injustice. They were trying

to create rebellion in the world to break male dominance. The trend of protests

came from the notion of equality for women called feminism. The term feminism

came from the French language, féminisme, which was coined in the nineteenth

century by Charles Fourier, a French philosopher and utopian socialist. First used

in 1980, the English word shows women struggling to achieve equal opportunity

with men (Cavallaro, 2001: 201)

Raya and the Last Dragon is an American animated film produced by Walt

Disney Animation Studios and distributed by Walt Disney Studios Motion

Pictures. The film was released on March 5, 2021 worldwide and can be watched

on the Disney+ platform. The film begins with a story about Kumandra. In ancient

times, Kumandra was a prosperous land. However, a plague called Druun started

to spoil everything. They absorbed the inhabitants and turned them to stone.

Finally, Kumandra's dragons, who are believed to be immortal, used their magic

to create an orb that has the power to not only fend off the Druun, but also revive

everyone except the dragons, who turned to stone the moment after the orb was

created. Everyone wanted the magical orb’s, which eventually divided them into

tribes based on their area. The Heart Tribe acquired the orb and has been keeping

them safe ever since. The film explores these ideas of Raya's quest to find Sisu the

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last dragon and her beliefs about how dragons can influence the changes in nature.

The identity of a princess as a Southeast Asian warrior is an essential part of her.

As the first Southeast Asian Disney princess, Raya will become a favorite role

model for girls worldwide because the character is attractive and challenging.

Raya, described as a heroine without any love interest, teamed up with two

adorable little children. Still, her best friend is Sisu, a strange water dragon,

voiced by actress-singer Awkwafina.

Feminism existed in the early 20th century and was written in A Room of

One's Own (1929), a book-length essay by Virginia Woolf. In terms of feminist

women, women are grouped to fight for women's rights in everyday life. The aim

is to balance the reciprocal relationship between gender-feminists (Woolf, 1929).

In a broader sense, the feminist women's movement rejects all things that have

dropped women's rights and are handed down by the dominant culture, both in the

political and economic realms and in everyday lives.

The feminist theory emphasizes women’s struggle for their rights, the

criticism on the dominant role of men in society, and racial conflict, especially

gender conflict. Firstly, the feminist movement was considered as understanding

as women's rights awareness is equal to men. Call this reading a woman, and read

it a woman. By "reading as a woman" is the reader's awareness that the struggle

for meaning and significance of literary works involves significant differences in

the sexes. The reader’s awareness within the framework of the academic feminist

study is a study of various methods. Feminist theorists are also generally

concerned with traditional gender roles, which, in particular, are the norms built

12
between men and women in social groups. Then, Feminism has to do with

patriarchal politics, women's identity practices, gender divisions of labor, and the

distinction of private and public spheres, as well as with power-over ties of

mental, intellectual, psychological, spiritual, symbolic, and corporeal aspects,

many of which are ignored by liberal feminism (Motta 2011). This theory was the

theory used to analyze female characters in the film Raya and the Last Dragon.

There are so many films about a heroine that have been researched. One of

the studies that have examined the main character as a heroine was the Wonder

Woman character as a representation of women in cosplay and making Wonder

Woman a feminist icon (Rose 2015). According to (Rose 2015), women in

cosplay can be described as women wearing a costume or clothing that is identical

to a particular identity, such as a superhero. Meanwhile, in this research, the focus

was girl power representation in the main character. Both Raya and Gal Gadot are

female superheroes depicted in their films and represent women as the main

characters. Both films also show similar characters who have girl power. In Raya

and the Last Dragon, it is Raya, and in Wonder Woman, it is Gal Gadot. 

Rahmaniar (2015) did research on Gretel’s girl power in Tommy Wirkola’s

Hansel and Gretel Witch Hunter film. The Hansel and Gretel movie was released

to the public in 2013 adapting the Grimm Brothers’ famous classic fairytale. This

research focused on the representation of girl power through Gretel as the main

character and Gretel shows her feminine side as an emotional and weak woman

who still needs a man’s figure. Monica (2018) researched Girl Power Represented

through Visual Images of Artemisia in 300: Rise of an Empire. 300: Rise of an

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Empire is an American film released in 2014. This film is based on the graphic

novel by Frank Miller entitled Xerxes. This research focused on the visual,

costumes, accessories, weapons, and black color as a masculine symbol and

feminine to become a powerful commander.

Traditional gender roles are roles in some respects which justify inequalities

between men and women. When men and women first meet, their conventional

gender roles cast men as having rational minds, strong, and protective. In contrast,

women launched men as emotional or irrational, weak, defensive, and submissive

(Tyson 85). This film contains a powerful message of women's representation.

Representations of women in the media are used as a reference by its audiences

and the society in general to "see" women. One example of media that mainly

represents women is Disney. Young people, especially women, generally favor

Disney films. Disney films primarily tells us about the life of a princess (of

course, all the films have princesses in them, although there is a much larger

number that doesn’t) and all Disney female characters, past and present, are

depicted as weak and passively sitting, waiting to be 'saved by a prince' (Michelle

1999). Strong and active women began to be portrayed in Disney animated films

in the late 1970s and 1980s. Examples of such woman independence and

liveliness have even appeared among some of the first-era Disney studio feature

animation characters. However, it is the presence of some of the most prominent

and successful classic Disney characters; Snow White and Cinderella—both fairy-

tale princesses were described as passive princesses, thus establishing a

14
widespread accepted reputation that Disney films are full of weak and lethargic

women. (Michelle 1999)

The way the media depicts a woman frequently becomes a reference and an

example used to judge women generally. There are examples displayed by the

media that make women out there often compare themselves to other women,

feeling like they have to meet the standards recognized by the public as

represented in the media.

Representation in the film can be considered very important. Because

cinema does not belong to one group, it is meant to be enjoyed and watched

together. Everyone has a story to share. Representation means acknowledging

diversity, and the film media should be able to unite this diversity. In the film

Raya and The Last Dragon, Raya can prove that the stereotype of people who

claim that women are weak is wrong. For women, freedom is a form of action that

is not bound by existing traditions or stereotypes. They can do whatever they

want. Tradition is generally defined as “receiving everything that has been

determined in the past” (Plested 2011). Someone who accepts tradition as the

main view in life is called a traditionalist. is more than anything else and must be

followed without any reason is called a traditionalist (Kalb 2002).

The writer argues this issue becomes critical because when the male view

that audiences worldwide have been programmed indirectly to accept and be

regarded as the only viewpoint that is 'made strange', as has been done by gender

theorists for decades, the only point of view will remain. Producing films that are

dominated by women and put aside (but still not controlled) Women's gaze takes

15
us one step further into the eyes of men who are strange and can run away,

making us, women, not afraid to act.  In the early 1990s, film production began to

raise issues about women. In films like this, the woman is the focus or the main

character. In old movies, women were depicted as a character who was weak and

powerless. However, today many women are represented as courageous and

strong. Some of Hollywood’s biggest and most famous film productions have

produced many films that feature women as the central issue and attractive

women. An example is Tomb Raider (Chengting, 2020).

Theory and Method

Feminism

A Room of one’s Own, written in 1929, is a classic feminist novel. The

women's movement (feminism) is depicted in what is probably Virginia

Woolf's most accessible book. The book tells us about two things; women and

literature. This book discusses the differences between gender prejudice

connecting women and fiction. According to Virginia Woolf, thinking of the

wealth of men and women, poverty led Woolf to consider the main

circumstances in file creation artworks (Woolf 1929). Feminism existed in the

early 20th century and was written in his book A Room of One's Own (1929)

by Virginia Woolf. In terms of feminist women means women who are

grouped to fight for women's rights in everyday life. The aim is to balance the

reciprocal relationship between gender-feminists. In a broader sense, the

feminist women's movement rejects all things that have dropped women's

16
rights and are handed down by the dominant culture, both in the political and

economic realms and everyday lives.

“If a person cannot eat well, he/she will not think properly.”

This sentence is written at the beginning of the book, which signifies that

a person can become an artist with the concentration of raw imagination and

creativity and can develop and satisfy other talents in the maximum condition.

(Virginia 1929, 4.) The concluding statement in this book is that you don't need

to think about whether the gender of the author is fatal. What matters is, two

genders must cooperate with each other. There shouldn't be a difference in their

thoughts, like in their bodies. Before the art of writing became a trend, we saw

that there must exist cooperation between men and women, and for women, the

way to this cooperation moved away from the money he had and his room.

Woolf also saw that the elements must have the habit of freedom and courage

to write down her ideas word for word in public space (Virginia 1929).

These social gender problems began to arise because of the existence of a

patriarchal community, inequality in education, and the fact that women cannot

appear in some historical stories, or the rarity of appearances of women in

history are the main things that are told in this book. In her book, Woolf

mentioned inequality and having some significant difficulties; that women

have different social conditions than men (Virginia 1929, 7). It has been seen

that these social conditions encompass specifically and most of the boundaries

of family life. Household/family life can limit women's activities at home and

isolate them from public areas.

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 Based on all the inequalities and difficulties mentioned in her book,

Woolf can conclude that women only have one chance to cope with everything

alone and produce something new and transcendent (Virginia 1929, 8). A top

example is a room itself, which can be interpreted as the place and time a

woman can learn seriously without being disturbed by others, away from

difficulties and responsibilities. It is directly related to women’s economic

freedom.

Basically, Virginia Woolf wanted women to be free in all areas. She

stated that the rights given to men to work with equal rights as men are divided

equally equal wages or wages, have the same rights in education, and gender

equality should be given to women. (Virginia 1928, 10) This study emphasized

the contribution of deep feminism to women's lives, and there are many things

that women should do to have equal rights. There are some people and groups

who abuse feminism for privileges and writers who are sincere in what they

say about the issue of feminism.

Action Heroine : Girl Power

A music group called Spice Girls initially introduced the concept of Girl

Power. Spice Girls used these terms as a slogan to mark the power of attractive

girls to represent cultural moments where girls experience increased

purchasing power and industry executives needed to create new consumer

profiles (Emile 2009). After that, their slogan became famous. Girl power

culture from Spice Girls includes pop stars or celebrities. The concept was

18
 disseminated through the media, especially media which focused on women in

the post-feminist era.

The characteristics of Girl Power consist of various concepts such as

offering a taste to teenage girls and women that they understand and can choose

when to be girly and when to be strong (Zaslow E 2009). This means that they can

be what they want to be, for example, mothers at home, professional women at

work, a woman is sexy for her partner and sexy for their own pleasure. The girl

doing the Girl Power action also believes that they should be treated the same as

men, have control over their bodies, and determine what they want. In addition,

they can also enjoy sexuality freely. As a result, women shift conceptualization of

femininity because they understand the concept of how to be female, feminine and

feminists have different meanings. 

Many media such as television, radio, advertisements also have a high

interest in girls and women because it is considered a selling power value. For

example, at the end of the year In 1990s America, many media outlets made about

eighty-five billion dollars a year (Zaslow E 2009), but along with its appearance

in various media, many people misinterpret the message as a representation, for

example in pop music and their public performances. We often see that sometimes

they present sexual images and many people think that women are only sexual

objects in the media because many offers from companies, advertisers, and

manufacturers try to make a woman's body an object. (Zaslow 2009).

In people's perceptions, modern action heroes can be expressed from the

concept of traditional gender roles. An action hero can determine their will, can

19
make their own decisions, and can fight the battles they plan in their own way.

An action hero also has high curiosity and intelligence and is also described as

physically and emotionally intense, and the audience describes them as the

ideal and exemplary figure. In doing their actions, heroines or female action

heroes still care about the value of beauty that women in films possess in

general. Whether it be television commercials or direct cinema, action heroes

are usually portrayed as beautiful, intelligent, and have sexual power. (Zaslow

2009) Action heroine is actually an idea for the concept of acceptance of

gender in the media and society. They want the audience to see them as strong

and independent women who can do more and are equal to men because, so

far, they have always been shown as weak, gentle, and different. Thus, the

appearance of women that do not match their gender traits is often compared to

their role as women, which is more cautious than traditional gender role

concepts, thereby questioning the authenticity of identity as a stable term

(Zaslow 2009).

New media should present or portray women in this way. On average,

viewers of the heroine action films are male; thus, it can be interpreted that the

action of the hero as a person who is strong and has sexual attractiveness, has a

powerful as they want, can produce to make their own rules about the limits of

the action to be taken and be more careful with the primary target audience. To

give viewers a more profound understanding, action heroes who are usually

depicted as simple, reliable, and will overlook the complex issues that are their

current popularity (Zaslow 2009).

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Review of Related Studies

The first related study is about the similar issues in a different object

conducted by Rini Rahmaniar. Gretel’s Girl Power in Tommy Wirkola’s Hansel

and Gretel: Witch Hunters Film (Endita 2016) examined the main character in the

movie. As the main character, Gretel represents the issue of feminism and retells

the story of the fairy-tale in this film. This case study discussed the girl power that

appears in the Third Wave Feminism era. By studying the narrative non-narrative

aspects, the result found that Gretel presents a girl who is both feminine and

masculine. Gretel was portrayed as a woman who is aggressive, brave, intense,

and has rational thoughts, all of which are the traits closely related to men.

However, at the same time, Gretel also shows her feminine side as any ordinary

woman we can find in our daily lives. A woman who is emotional, cares for small

children, cares about the environment, has weaknesses, and still needs a male

figure as a company in her life.

The difference between the first related study and this current study is the

object chosen. Raya is the main character in the film Raya and the Last Dragon.

Raya is known as the first female hero character to represent Southeast Asia in

Disney films. In this film, Raya is described as a woman who fights with all her

power to restore the great Kumandra by reunifying the parted tribes. Raya is

described as a tough woman who likes challenges and is independent. She is brave

and able to fight criminals alone without any hesitation to take revenge and

reunify Kumandra. The researcher used feminist theory by Virginia Woolf

because Raya shows her attitude towards the problems that she goes through and

21
the various obstacles in a very feminist manner. According to feminist theorists, it

is very suitable to analyze the characters in this film.

The overall difference between this study and the previous studies is that

this study emphasized more on how the feminist actions Raya carried out in the

film Raya and the Last Dragon by applying Virginia Woolf’s feminist theory and

using the narrative non-narrative method to analyze the data in the movie. Raya is

one of the most famous icons today. This study explored her feminist character

using feminist theory, which the writer feels is suitable for this research. In this

study, the writer hopes to help the readers to do further research, the author

explains the methods that were used to analyze the topic of the research. This

chapter is divided into several sections to explain the stages of the analysis. The

author also describes the technique of data collection and data analysis techniques.

To analyze the problem and issue through the film, the writer used narrative and

non-narrative aspects.

22
Discussion and Finding

Action Heroine : Girl Power

Raya

In the film, the female characters are revealed through their physical

appearance and the attitudes they display in the movie, such as their clothes

and gestures shown by the heroine.

Jeffrey A. Brown's book, Dangerous Curves: Action Heroine, Gender,

Fetishism, and Popular Culture, says that Action heroine is an idea created for

the concept of gender acceptance in the media and society. They want every

human being to see them as women who can do more things and are equal to

men because they are always portrayed otherwise by the surrounding

community. Thus, her appearance, which can sometimes conflict with gender

attributes, is often compared to her role as a woman who violates the rules of

ancient traditions, thus questioning the reasonableness of identity as a stable

term (Brown, Dangerous Curves: Action Heroine, Gender, Fetishism, and

Popular Culture 1966). In this case, the audience can see Raya as a character

capable of making decisions without the help of man and fighting her own

battles with little fanfare, as shown by male characters. Disney seems to be

aware of this uniqueness. Raya and the Last Dragon is a film about

empowering women showing young girls that they too can grow up to be

heroes.

27
 Figure 4.1 Raya is bringing gems to repel the Druun (01:19:08)

Figure 4.2 Raya is saving a child while Boun is helping Raya to get rid of the Druun. (01:22:20)

According to Zaslow (2009), Girl Power can be interpreted that women can

be both masculine and feminine. The word masculine itself relates to men, and

vice versa, the word feminine word is for women. Starting from the 1920s in

America, many women broke the old rules of gender roles and explored

previously masculine domains in the workplace (Harnett 2009). Raya, who lives

in the modern era, also proves that in today's life women also have a strong role.

A woman who is proving that life doesn't have to be led by a man and exercising

Girl Power is depicted in Raya and the Last Dragon movie which put Raya as the

main character. Raya’s appearances in Raya and the Last Dragon are related to

the concept of Third Wave Feminism that emerged in the 1990s, where many

women become popular culture icons such as Girl Power (Knight 2010). 

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 Stereotypically, women and femininity have always been defined as two

things that cannot be separated. However, in this case, some poses of the Raya

body do not show their femininity. In Figure 4.1 which shows the courage of Raya

in fighting the druun. This scene shows the "toughness" side owned by the

kingdom. In addition, the brave side of  “toughness” is also seen from the way he

saves the citizens as depicted in figure 4.2, Peggy walking boldly and holding a

small child surrounded by drunn. Raya displays the girl’s power side by fighting

the Druun alone and wanting to be a person who shows that she must defend the

truth. Which really illustrates that Raya is a female superhero who saves the

people around her.  (Zaslow 2009) suggests that independence is stereotypically

associated with human characteristics. By showing that the main character in this

film is independent, Raya can be categorized as "masculine" The word

"independence" itself has a meaning related to the idea of Girl Power. Besides, in

figure 4.2 it looks like Raya's sharp and straight gaze when rescuing the little child

indicates that Raya wants to prove that she is an independent woman. Besides, the

look in his eyes conveys a sense of confidence as well because he's looking

straight without showing any doubt.  

Figure 4.2 shows the scene where Raya is seen rescuing a small child who

is being chased by the druun and says:

Raya : “Okay, Tuk, these are the last of them. go! we’re right behind you “ 

[01:23:10-01:23:20]

His actions in this scene show courage. He confidently spoke those words to

his comrades who were in danger in a firm tone. By saying that, Raya wanted to

29
show that she could handle this problem and situation herself despite that it was

quite dangerous for him. The way he acts, makes decisions on behalf of girls

strength, that Raya is a brave woman who believes that she can solve the problem

herself without the help of a male figure. In addition, Raya as the main female

character in this film has a way of speaking that represents very high self-

confidence, a characteristic that is also owned by Girl Power.

In this film, Raya looks feminine from the hairstyle she wears, the make-

up she wears, and the accessories she wears during this film. Traditionally,

people usually categorize a woman by her hairstyle. Long hair is a symbol of a

feminine woman. Alana Schetzer, in her journal entitled “Can long hair really

make someone feel feminine'” wrote that The relationship between long hair

and femininity has existed for a long time. In some cave drawings of our

earliest ancestors, there are depictions of women with long hair. In medieval

Europe, a woman is long, flowing the lock symbolizes her virginity and purity;

after she got married, she dictates that she wears her hair or is covered.

(Schetzer 2014) As depicted throughout the film, Raya keeps her hair long to

show her femininity, although she also shows her masculine side through her

role as the heroine. In figure 4.1, it can be seen that Raya repels the Druun by

using the gems she has. This is also supported by Brown according to in his

book, "Action Heroine's performances of conflicting gender attributes are often

matched with traditionally carefully staged female roles” (Brown, Gender and

Action Heroine: Hardbodies and the Point of No Return 1966). In this scene,

Raya displays the girl’s power side by fighting the Druun alone and wanting to

30
 be a person who shows that she must defend the truth. In figure 4.2, Raya is

seen helping small children, which really illustrates that Raya is a female

superhero who saves the people around her.

Figure 4.3 Raya appearance when she is an adult (00:20:46)

Figure 4.4 Raya and Sisu are both wearing red robes. (00:28:30)

In figure 4.3, Raya is seen wearing her red robe. Red is often interpreted as

a bold color. Red is a color that symbolizes energy. It is associated with

movement and excitement (Meghamala 2016). Therefore, Raya uses red as a sign

that she is a woman who is full of energy, strong, and always interested in

challenging things. Wearing red clothes will make the main character the center of

attention and of course more visible. In this case, Raya always wears his red robe

so that he is easily seen and memorized by the audience (Meghalama 2016). In

Hindu religious beliefs, the color red, when used by a woman, symbolizes purity,

31
generosity, courage, protector, and the ability to destroy evil (Colour Symbols in

Hinduism 2015). The director here may want to show that the Raya character here

has the strength and courage to unite Kumandra. Color is believed by many to be

a crucial sexual clue signal, but what color humans prefer is complicated to

predict. Color is usually seen depending on human perception and vision. People

perceive color experiences and their effects in the same way to provoke different

situations in different responses. The use of color is significant in enhancing one's

character (Kodzoman 2019). In figure 4.4, Raya and Sisu wear the same hat and

robe, which can be interpreted that both have the same goal, to restore Kumandra.

In figure 4.3, Raya wears a long hairstyle. Long hair is often considered a sign of

femininity. People view those with long hair seem more feminine, sexy, and ideal

as beautiful women.

Raya Teenager Era

Raya was trained since her childhood to keep gems in the "heart" area by

the leader of her tribe, her own father. Raya is trained by his father to reunite

Kumandra. She became his father's hope. In this film, it is obvious how close

the relationship is between Raya and his father.

Basically, Raya was born from a Southeast Asia family, so her black hair,

tan skin are a hallmark and marks that the film Raya and the Last Dragon

depicts Southeast Asian women. These factors can be seen in physical

characteristics, family, and biology. In terms of physical traits, then a race has

features on its body that are different from other types of races. Just by looking

at a person's physique, it is possible to tell which race that person is from. Skin

32
 color, hair shape, height, and other physical characteristics can be observed

characteristically in people of the same race. For example, straight black hair,

brown eyes, a small body, skin tend to be yellow and tan.

Figure 4.5 Appearance when Raya was still a teenager (00:04:46)

Figure 4.6 Raya wears clothes that are the same color as her father (00:08:42)

The scene above showed Raya when she was a teenager. In Figure 4.5, Raya

still looks like a teenager. She was training at the gems store at the time. It can be

seen from the style of clothing that she chooses to show modern accented clothes.

Figure 4.6 is a scene when Raya is talking to her father. Raya is seen wearing

outfits the same color as her father, which is blue. By wearing clothes of the same

color as his father, it can be interpreted that Raya and his father that who come

from have the same goals and ideas. The color blue can also be interpreted as

33
loyalty, quality, and innocence. In the church, blue symbolizes heaven and is the

color of truth (Kashyap 2011).

In figure 4.6, it looks like Raya wears her Ponytail to make it look

fresher and look younger. This hairstyle is usually called a ponytail and bun.

This hairstyle is used functionally or formally and represents control over

oneself. Many people say that using this hairstyle can increase self-confidence

and dominance.

Namaari

Namaari is a character who has a different appearance compared to Raya.

Namaari is Raya's mortal enemy, a smart, calculating, and tough warrior. The

daughter of the leader of the Fang tribe is willing to do anything to protect her

people. However, deep in her heart, she admires dragons. Namari looks a little

more tomboy than Raya. But that doesn't mean that they have a different vision

and mission. The hairstyle that Namaari has in this film is short, undercut hair.

Women who have short hair are usually known as having just gone through the

bitterness of life. Having short hair can only be done by girls with high

independence, which symbolizes that they are ready to face the challenges of

life in the future and leave the bitter past behind. Her short hair is also a

symbol of high self-confidence. In this case, Disney films are primarily about

the life of a princess (of course, all the films he cites have princesses in them,

although there is a much larger number that doesn’t) and that all Disney female

characters - past and present are depicted as weak and passively sitting waiting

to be 'saved by a prince' (Michelle 1999), it can be said that Naamari is not an

34
 ancient princess figure, she is a princess from Disney with a tomboy image and

can do what she wants herself without the need for a prince figure.

Figure 4.7 Namaari is fighting with Raya over gems (01:00:35)

Virana: “Look around. We made all this by making smart decisions,

not emotional one. We are safe, our canal protects us from those

monsters. I don’t think it’s wise to risk yourself.”

Namari: “But you heard the general, we’re running out of space. We

need to expand. If we had all the gem pieces, we could do that safely.

You’re right this isn’t emotional decision, it’s the only decision we can

make to secure Fang’s future.”

Virana: “Namaari, you’re truly growing into the leader I raised you to

be.”

The conversation above occurred when Namari conveyed a message to his

mother that she saw Raya was struggling to find other pieces of the gem. At that

time, Namari heard that her own area was in shortage and needed more space.

Namaari also came up with a solution to fight Raya and seize the gem from Raya

for a better life in Fang. In this scene, it can be seen that Namaari also wants

35
recognition from his mother that she is worthy of being juxtaposed with Raya.

She is worthy to contribute to building Fang further, as one day she will replace

her mother's position as chief of Fang. In the conversation, there are two women

who become leaders. Virana's role as a leader wants her daughter to continue her

power in the future, but she doesn't want to take too high a risk because

according to her, what Raya doing is an act full of emotion. According to

Virana, actions based on emotions will cause losses and regrets in the future.

The girl power action performed by Namaari is also shown in Figure 4.7

Here, it is seen that Namaari is fighting with Raya to win the gem, Namaari

wants the gem to protect her territory. During this fight, it was seen that Namaari

also wanted power and praise from his mother so that she could feel satisfied

and get recognition to continue his mother's leadership. In this case, the Girl

power shown by Namari is very clear with how she fights Raya and tries to get

the gem. This scene is in line with the feminist movement towards women's

struggles to align themselves, get recognition, and also know how to place its

existence. It's not enough just to be a feminist to invite women to think about

their fate in order to produce knowledge about women. Women want to have a

life independent so that they can determine their destiny without depending on

men (Hikmah 2013).

36
 Figure 4.8 Namari's appearance when she's an adult (00:29:05)

In figure 4.8 Namaari is seen wearing white clothes. White itself often

symbolizes purity, cleanliness, peace, rebirth, and knowledge (Color Symbolism

in Hinduism 2015). White is also a color that represents feminism. While

Namaari in figure 4.8 wearing white clothes can also indicate that he has

extensive knowledge of dragons. This concept is very suitable to be used by

Namari because it fits her personality, which is tomboy but has a small heart

who really likes the dragon figure.

Sisu

Sisudatu or known as Sisu is Kumandra's last dragon figure. The legend

in the film says Sisu is a very beautiful water creature with invincible magical

powers. However, what Raya met was quite the opposite, Sisu was known by

Raya as a funny dragon with a sense of humor. Sisu has always considered

herself to be the most underachieving student, but now, Sisu must learn to

become the great dragon figure mentioned in the legend so that she can save

Kumandra with Raya. Basically, the dragon was described by the ancient

Greeks and Sumerians in the form of a large flying snake. The word "dragon"

comes from the Greek "draconta" which means "to watch over or guard a

37
territory (Shuker 1995). They were originally described as creatures who guard

something that is considered very valuable, such as a pile of treasures,

heirlooms or even important people such as a king's daughter. Ancient people

really craved the existence of guardian creatures like this.

The shape of the dragon itself depends on the culture of each region and

how they think about dragons, whether they are good or bad creatures. In the

film Raya and the Last Dragon, Sisu is described as a good dragon and has

magic power. Her magic power is that she can transform into a human or

dragon, she has powers that ordinary humans does not have.

Figure 4.9 Namaari’s appearance when he’s still a teenager (00:12:55)

Sisu is the youngest child in her family, she is known as the weakest, but

she is trusted by her siblings to save the gems and hide to save Kumandra in

the future. Sisu is described as a silly dragon, but she proves that she can

protect and restore Kumadra. She has courage, loyalty to Raya, being a mother

figure who always gives advice, girl power that describes that she is a strong

female dragon and can fight for her territory, which makes Sisu's character

attractive and loved by many people.

38
 Sisu: “I’m not, like, the best dragon, ya know?”

Raya: “But you saved the world.”

Sisu: “I did do that. That’s true. But have you ever done like group

project, but there’s like that one kid who didn’t pitch this much but

still ended up with the same grade? Yeah, I wasn’t the one who

actually made the gem. I just turned it in.”

In the conversation, sisu felt that she was not the one who made the gems

as a whole, but she was only helping to light the gems to get maximum power.

It can be interpreted that the power that Sisu has in this film is very big. She

can turn gems on with her own power, which can prosper Kumandra.

Building Trust & Sisterhood

Women have always been known to be weaker than men. In everyday

life, Women and men are often treated differently. This is often referred to as

gender inequality. The meaning of gender inequality is to give people different

opportunities based on gender issues (Parziale 2020). Gender inequality is

common in this world, no matter where they live. Before the formation of the

feminist movement, women did not have many ways to do many things in

fighting for their rights. Since the formation of the first feminist movement,

many women have begun to dare to voice their opinions, both individually and

in groups. In this film, Raya, as the main role, shows the audience that she, as a

young girl, also has the right to voice that women deserve to be seen as heroes.

One of the terms that resulted from the second wave of feminism is sisterhood.

39
Sisterhood can be interpreted as building a bond between one woman and

another. Pearson explains in his book, Multicultural Feminism and Sisterhood

among Women of Color in Dialogue of Social Change Dialogue the bond

between one woman and another can also be linked to their participation in the

same culture, described as a social understanding that includes ideas about

what is important to unite and is realized as a strategic guide to action (Pearson

2007).

Women in the fraternity are not always related by blood, have the same

background or the same life story. Therefore, the sisterhood created by the

female characters in the story of Raya and the Last Dragon comes from very

different backgrounds. Raya's character is told as a teenager who her real father

raised in the heart area. Raya is described as a strong, independent woman,

learns self-defense-like material arts, and successfully achieves her goals.

Unlike Namaari, Namaari was raised by a mother from the Fang area. Namaari

is educated harder by his mother, Namaari is described as a cold, selfish figure

who always cares about herself. When Raya was younger, she played and ate

with Namaari, Namaari gave her a necklace with a dragon pattern, and then

Raya invited her to see the gems made by the dragon they believe in. But, at

that time, Namaari betrayed Raya by summoning bodyguards from Fang and

tried to steal the gems. Still, Namaari’s efforts failed to convert the gems into

pieces and were taken by the residents of the regional representatives.

“In a different world, maybe we could have been friends, but I have to do

what’s right for Fang,” Namaari says things like this to Raya with the intention

40
that she wants to be friends with Raya in other ways. Still, it turns out that

Namaari has her own will to prosper her territory by trying to steal the gems

and take advantage of Raya's kindness and innocence.

Figure 4.10 Namari reveals her true purpose to Raya ( 00:15:47)

Trust is considered necessary for interpersonal relationships between

people and organizations and has been studied through various disciplinary

lenses. For example, personality theorists explore aspects of a person's

personality and the development that affects their willingness to trust (Lewicki

& Bunker, 1996). Since that incident, Raya has been unable to trust anyone

because she feels the trauma of being betrayed by her friend.

Figure 4.11 Raya talk about trust witsh Sisu (00:53:57)

Sisu: “Being a people is hard. You have small heads, no tails. You lie

to get what you want, like the Talon Chief back there.”

Raya: “Yeah, well, the world’s broken. You can’t trust anyone.”

41
 Sisu: “Or maybe the world’s broken because you don’t trust anyone.”

[00:53:57- 00:54:16]

Figure 4.11 shows Raya talking on the boat with Sisu. They both talk

about the difficulty of being a human. Humans can do anything to get what

they want. For example, this film is about lying. Raya, who feels the same way,

says that the world has changed and she can't trust anyone. But Sisu has a

different view saying the world is changing because Raya can't trust anyone.

The scene in figure 4.11 is taken from a medium close-up that clearly shows

the head, shoulders, eyes of the character used in the conversation scene

(Corrigan and White 2012). In addition, the eye-level angle is also used to

allow the audience to interpret what kind of people are in the scene so that the

audience can see the character's expressions very clearly (Giannetti 2014). This

shooting is very suitable because it fits the dialogue which seriously discusses

trust.

Raya: “I really wanted to believe him. I really wanted to believe that

we could be Kumandra again.”

Sisu: “And we can,”

Raya: “Literally thousands of people turned to stone would argue

otherwise.”

Sisu: “That doesn’t mean you shouldn’t try.”

Raya: “And I did. and you know what happened? I got kicked in the

back by someone who gave me a gift. Look around. We’re a world of

orphans because people couldn’t stop fighting over a gem. Wanna

42
 know why other dragons didn’t come back? It’s because people don’t

deserve them.”

Sisu: “But you can change that.”

Raya: “No, Sisu, I am done trying. Kumandra is a fairy tale. The only

thing Important to me now is bringing my baa back. “

[00:54:25 - 00:55:00]

In that conversation, Raya tries to explain what she has experienced,

which made her unable to trust anyone, to Sisu, so she understands her

condition. But in that scene, Sisu persists and wants to prove that Raya’s words

are wrong and the most crucial element of life is the existence of a trust. There

is no formal definition of the strength of trust, and different meanings of trust

addressing other aspects of trust have been proposed in the literature. For

example, in some studies, Trust between social friends is referred to as

interpersonal trust or inner strength. A way to represent the power of trust

between friends is when a higher trust value between two users or a draw

indicates that they have more intimate social relationships (Xiaoming 2018).

Sisu: “All the other dragons had been turned to stone. We were

drowning in a sea of Druun. But my oldest brother Pengu refused to

accept defeat. This is where we’d make our last stand, united. So, one

by one, they combined all their magic, creating the dragon gem. I

don't know why they chose me. It could have been any of us. All I

know is I trusted them, and they trusted me, and so. When they put

43
 faith in me, it empowered me beyond anything I could imagine. The

same can happen with Namaari”

Raya: “I really wish I could believe that. I once thought that we could

be friends.”

Sisu: “After all this, maybe you can be”

Raya: “Even if she wanted to help us, how could I possibly trust her?”

Sisu: “But if somehow you could, you wouldn’t just bring your Ba’

back. you’d also bring back her dreams.”

In this conversation, Sisu tried to explain to Raya that the most important

thing is to trust each other. Sisu explained to Raya that she was the smallest

dragon in her family, but she was trusted by her brother to take care of the

gems. Sisu also didn't understand the reason why she was given the trust even

though she was the most careless dragon and had no magic power like his other

siblings. This concept of trust by participating in a group is considered to be

able to foster social trust by stimulating repeated social interactions between

individuals (Mannemar 2016).

Figure 4.12 Raya gives the gems to Namaari (01:24:46)

44
 Figure 4.13 Raya and her friends have turned to stone

In picture 4.12 it can be seen that Raya has given her gems to Naamari,

which means Raya has made the decision to trust Namaari to unite Kumandra. In

the end, they turned to stone, and entrusted everything to namaari this can be seen

in scene 4.13 when everyone has become a stone of hope the only hope for

realizing Raya’s dream is Namaari. In this case, Raya seems to enjoy a big soul

and is able to forgive Namaari for a better world. They don't always feel the same

story, they may have different principles and fight through their obstacles, but

they struggle to achieve the same goal, namely by uniting women to make the

world a better place. According to the saying, “together is better than alone

because together they can work more quickly and effectively. If one of them fails,

another can replace them.” (Pearson 2007). In this case, physical and emotional

support is also important. It can make women feel heard, seen, and understood by

others. A supportive and strong circle of friends will present a greater chance for

women to survive than women who struggle alone or are socially isolated (Marie

2015). one contributor to the Harvard Business Review Podcast says that "by

being connected to each other, I think what we get out of that is the ability to

45
come out together and be proud of ourselves but also support each other both

explicitly and implicitly." (Berstein 2018).

This statement can be seen in this film when Raya gives her gems to

Namari, which means that Raya invites cooperation and fosters trust in Namari.

In the end, it was Naamari who had to save and continue the struggle that Raya

had given him. The other women in the story give boundless enthusiasm when

they want to achieve a goal with both physical and emotional support. The

struggle of women makes them form a closer bond with each other and is known

as sisterhood. In this film, they unite, put aside their respective egos, give each

other strength and help solve each other's problems. As Bell Hooks says in his

book, “Solidarity will strengthen the struggle of resistance” (Hooks 2015).

Interpretation Findings :

The film titled Raya and the Last Dragon features the characters of Raya,

Namaari, and Sisu as women, the main characters who voice the action of girl

power. Through these characters, the film supports the idea of uniting women for

a common cause. The idea of uniting women indirectly affects how female

characters stand out and develop throughout the story. In the analysis of the

interpretation of these findings, the authors include the actions of three female

characters as representations of heroine actions. Analysis of heroine action

through a gender lens finds it as a woman's ability to unite women who have the

same ideas. In the process of the girl power action journey, this heroine performs

a movement to unite and realize her goals.

46
 As one of the female lead characters, Raya is described as a teenage woman

around 20 years old with a small body, black hair, and tan skin. Raya’s nature

reflects a woman who is tough, confident, independent, and intelligent. Therefore,

Raya is very adamant about her determination to return her father and unite

Kumandra with her ideas. An idea or thought is something (the result of thoughts,

suggestions, desires, hopes) that you want to convey to the reader or listener. In

addition, the idea is visualized into facts, data, information, and other media that

can explain the idea well and at the same time convince potential readers or

listeners (Suyono 2004).

Raya has an idea to unite the women in the film. The idea was initiated by

Raya herself. According to Raya, uniting is more important than dividing with

their respective goals. Meanwhile, in this film, the character of Namari is

described as more selfish because she wants to fulfill her personal interests. This

film shows a new world, a better life created by Raya. Raya also gave birth to new

ideas with the return of the united Kumandra. The new world order is interpreted

as a form of feminism that Raya has carried out. The writer finds that the action of

the female main character in this film really describes the content of a powerful

action heroine. Raya's character shows that she is a very tough woman proving

that women also have ideas and can solve their own problems. The author

believes that Raya’s action by uniting women can be considered as an action hero

because Raya has the ability and belief to unite women who have the same views

and goals by trusting each other even though they must have conflicts and the

journey is not always smooth.

47
 This film carries a story that strongly symbolizes how women who have

different or conflicting characters and appearances can unite. They can create a

new world. Two strong figures as female knights, when they unite, they can

realize their will. Women are able to unite. Women can do that without a male

figure even though there is a conflict between each other, like the story of Namari,

who is selfish in this film. In this film, there is no oppression from men or

exploitation. This film shows how women unite an idea to become a reality. The

dragon character in this film is also depicted with the trait of self-sacrifice,

sacrificing their life hoping that they can trust each other. This film also shows

that women can work together. Raya's character in this film is described as a

sincere and tough woman, in contrast to the character of Namaari, who is sly. She

is smarter in taking advantage of any situation, for example—a form of betrayal

that is very difficult to forgive for those who have believed in her.

The action of heroin and girl power is represented as a response to

feminism, a form of change in which the image of women is shown as women

who are willing to sacrifice, gather ideas to unite so they can get what they want.

They have a toughness that is not inferior to men. They are depicted united to

fight and restore what has been destroyed. In another view, the female characters

in this film really want to change society's idea about women, women who have to

wait for a decision from men to do something according to culture or tradition,

and when they don't obey the existing culture, they look different and violate

existing rules. This can be seen from the scenes in the film, in which the majority

show very strong female characters. This film proves that women can be in

48
control, and they are no longer objects or predicates. They have to be subjected.

Women have the right to determine how to live their lives with women's own

thoughts. If they want to be seen as beautiful, then women must reflect on

themselves by fighting for their ideas.

This film shows the power of women as a subject not as an object. This film

also does not face the pressures or limitations of culture, religion, etc. Uniting

Kumandra is the main goal and the idea of Raya as the one who unites the nation.

In accordance with the theory adopted, the new feminism theory is about the idea

of how the idea is fought for, how to unite the world into one without the need for

a male character in her life, even when men can also fulfill its goal of uniting

Kumandra. In the end, even though women are known to have big egos, they unite

to defeat their egos to restore Kumandra.

The three main female characters in the film Raya and the Last Dragon are

represented as women who have the same idea or ideas, namely as independent,

strong, brave female heroes. Without a man, they can carry out plans, solve

problems and unite goals for the common good. Although in the course of Raya’s

mission, there are conflicts that are usually experienced by women, the feeling of

disappointment that we have been betrayed, which makes it hard for her to trust

others. In this film, they are able to kill each other's egos. They appear as action

heroes whose aim is to unite women and are considered successful in breaking the

stigma that they need men to solve a problem or to achieve a goal. Thus, the

interpretation of the results of the research above is that the film Raya and the last

dragon can be considered as an action heroine film. In this case, they do not need

49
male figures to support their actions. In this film, there is also no oppression

carried out by men against women. Raya and the Last Dragon can be stated as an

action heroine based on the analysis of the figure, the girl power action found by

the writer. According to the writer's observations, films released by Disney

Princess have eliminated the dominant male figure. Disney wants to eliminate

women's dependence on men. In the past, in Disney movies, male figures were

always shown as problem solvers, as if without a female prince, they couldn't do

anything, such as fighting, expressing ideas or opinions, etc. At this time, women

no longer appear as sweeteners, but women appear as fighters.

50
CONCLUSION

This last chapter concludes the analysis and discussion in the previous

chapter. Based on the findings and interpretation of issues taken from the film

Raya and the last dragon, the author can conclude that Raya, as a woman, has

succeeded in showing the audience the importance of unity in achieving a goal. In

this film, Raya can build a good relationship with Naamari with her girl-power

action, a form of heroin action Sisterhood. In the analysis of this study, Raya is

seen as the main character who has broad thoughts about fighting for her rights. 

As seen from the female characters, Raya, Namaari, and Sisu are depicted as

female figures who have the same goal in heroine action. They can realize what

they want by being united.  

By analyzing the appearance of the main female character through her

appearance and characteristics, the writer finds that the female character here has

an appearance that describes as an action hero with the strength and independence

possessed by each character. However, they can also show their role as a woman.

That is easy to lie to, and when they have been betrayed, it is challenging to build

trust with someone, but in this case, Raya can temper his ego and forgive. 

Therefore, it can be seen in the first scene that the appearance of the

female characters shown in this film is depicted differently. They have their

uniqueness and characteristics such as Raya, who is the first disney princess from

Southeast Asia, which represents a form of resistance. At the same time, Namaari,

51
 52

which is identical to his hairstyle that looks tomboyish, sisu is also described as a

dragon who has to support the Raya action. Even though they have different

characters, they have the same goal, which is to unite Kumandra. However, Raya's

character in this film stands out more because Raya has the most excellent idea

and determination to join Kumandra again. Greetings to reach its goal. Raya

experienced several obstacles, such as being betrayed by her own best friend so

that Raya had a trust issue. In subsequent scenes, Raya is depicted as a woman

representing a female superhero from Southeast Asia with her tough appearance. 

Based on the results and discussion on the issue of Girl Power and its

relation to Sisterhood in the film Raya and the Last Dragon, it can be concluded

that this film is proof of patriarchalism which has previously been applied to the

way of thinking of men and women, that women are not objects, but subjects.

Therefore, in this film, we build a sisterly relationship that appears as the basis for

solidarity support for proof in the world of patriarchal domination. By creating

groups based on fraternity, women not only share the same ideas but are also able

to share beliefs, strengths, and resources. This awareness awakens a sense of unity

in establishing sisterhood between the three female characters in the film. The

existence of sisterhood is expected to overcome the patriarchal domination that

always divides women's minds.

Today's women are known to stand on their own two feet to survive, but

some things can’t be avoided, like the bonds created by sisterhood. Women define

themselves in the context of their relationship with humans, and they are more

concerned with relationships than ego or power. 

52
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