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Download Article (PDF) Advances in Social Science, Education and Humanities Research, volume 552 Proceedings of the 4th International Conference on Arts and Arts Education (ICAAE 2020) Moral Criticism: Social Stigma About LGBT on Didik Nini Thowok’s Dancing Skills in Cross-Gender Dances Ratih Dwi Anjani1,* Kusnadi1 1Arts Education, Yogyakarta State University, Yogyakarta, Indonesia. *Corresponding author. Email: [email protected] uthor. Email: @Student.uny.ac.id ABSTRACT Dance functions, design patterns, and dancing skills begin to change a lot. The female-character dance that was originally performed by men (cross-gender) is now being performed by women. The emancipation of women has influenced changes in cultivation and forms of dancing skills. In the past, it was considered taboo if women followed all trends of arts. Women were not allowed to expose their bodies in public. As time goes on, women begin to pursue careers in the field of arts. Female dancers are no longer taboo, because of the development of thinking patterns and shifting norms in society. This habit seems to make the settled things in common. A dance artist from Temanggung, Didik Nini Thowok, makes a lot of art exploration while carrying out cross-gender practices in its implementation. The activities are carried out by him as one of the Indonesian art ambassadors to promote and reintroduce the traditional culture which is slowly eroded. However, many times his efforts have drawn criticism and critique because of the social stigma. It also creates pros and cons arguments because his creation is considered a form of the LGBT movement which is currently viral. This study aims to alter public perceptions of misconceptions about gender and its understanding. In practice, in the world of past traditional dance, cross-gender dance had often been performed for reasons of safety and moral and ethical laws, but nowadays it is considered uncommon because it is associated with the LGBT movements. This research is expected to be able to change the perception and social stigma about cross- gender dancers. Keywords: Social Stigma, LGBT, Cross-Gender, Didik Nini Thowok 1. INTRODUCTION changes in an increasingly advanced era; new challenges and problems which come and go of Indonesian culture is a pluralistic condition that course will affect changes in the composition and develops in a certain area and in line with historical supporting aspects. developments and the background of the area. Culture grows and develops because of a sustainable heritage These dance changes usually occur through the and preserved values [9]. Culture includes habits, performances, cultivation, function, and inheritance. customs, and works of art in the form of material or These changes accompany the dynamics that occur in non-material. One of the cultural products is dance all sectors and will ultimately affect each other. art. Each dance has a different origin and background, usually storing information about the history of the 2. LITERATURE REVIEW environment in which the dance developed and the conditions at which it was created. The form, variety, 2.1. Cross-Gender Dances and uniqueness are explicit values embedded in dance and become a special attraction for the audience. The Cross-gender mentioned in this study is dancers era of globalization is the biggest challenge of who play or perform characters as the opposite of cultural preservation which demands the readiness of their gender. Consistent with the professionalism to the young generation to create a bulwark against the dance on stage, cross-gender male dancers will changing times. The art of dance is not immune from portray the female character as perfectly as possible, Copyright © 2021 The Authors. Published by Atlantis Press SARL. This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/. 72 Advances in Social Science, Education and Humanities Research, volume 552 using a bun, wearing kebaya or kemben (female dance Apart from the series of cross-gender traditional costume), and applying makeup for women. They and cultural arts, there are still many other indigenous move like a graceful and elegant woman, but outside Indonesian traditional arts with the cross-gender the stage, he is a man. potential, such as Mask Dance, both from Palimanan, Indramayu, and Losari, which allow the dancer Indonesia has recognized the existence of cross- (woman) to play a male character. gender people for a long time and it has become a tradition in society. As time goes on, human views Cross-gender is one of the abilities an artist must have always changed; traditions and cross-gender arts have to enter the professional world of dance, to have disappeared due to the negative stigma of present various forms of dance. The ability to cross society, even though there are quite a lot of arts that these boundaries is a demand for traditional dance, involve cross-gender characters. Even, our ancestors theatre, and drama artists as support to their skills in from the Bugis ethnic group (South Sulawesi) dancing, as a cultural figure [2]. Cross-gender recognized five different genders in society at that mentioned is of course different from the concept of time: woman (makunrai), tomboy (calalai), man "transgenderism", which is often shown on television (oroane), and shemale (calabai). The last one is the and mainstream media today. Bissu group who is considered a holy person and does Moreover, with a sissy appearance that is fully not belong to any of these genders. Another long- intended for humor (not comedy), the art that is meant established art with cross-gender principles is the is lost. Certainly, it is no longer an art, because traditional drama from West Sumatra, Randai, where talking about arts means discussing the techniques a female character was also performed by a man. This and skills. was because, according to the local customs, it was considered inappropriate or negative if women performed and were involved in Randai. That was 2.2. Lesbian, Gay, Bisexual, and why women’s roles in Randai were played by a man. Transgender (LGBT) Jathilan dance used to be performed by young and Lesbian, gay, bisexual, and transgender (LGBT) handsome men wearing men's costumes, but the are kinds of mental disorder on gender disorientation movements were graceful with beautiful makeup. The and sexual deviation. LGBT issues started to rise in origin of jathil is closely related to gemblak, a the 90s; scathing comments and scorns are identical tradition passed down from generation to generation with communities as in the so-called acronym. in East Java. In this tradition, boys with the ages of 12 Members of the community and LGBT people dare to to 17 would be “married off” by a warok (a man who show themselves after the law of human rights has a chivalrous nature, good characters, and dignity protection, including the right to freedom of peaceful in the community) and made as a gemblak. (a young assembly and to freedom of association with others boy kept by an older man during either a period of based on what they understand. sexual abstinence or heterosexual marriage. This means In fact, deviant sexual behavior has existed since a that they are adopted as their children for two years. long time ago. In ancient Egyptian reliefs, there are One form of the cultural products is the traditional images of two men kissing each other. Since ancient theater that develops in the scope of the Yogyakarta times, these deviant sexual practices have been and Surakarta palaces, known as Langendriyan. This opposed by society because these activities are drama or theater is only performed for entertainment considered abnormal and contrary to religious norms. in the palace. Adipati Danureja VI succeeded in Lesbian, gay, bisexual, and transgender (LGBT) creating a dance drama that was different from belong to mental disorders [4]. The definition of wayang wong (puppet), both in terms of technique mental disorders according to experts is: and dialogue. This new genre could be accepted by society. In the 1930s, Langendriyan groups were 1.2.1. Lesbian established in villages and often performed in various events in the community [10]. Lesbian is sexual disorientation that makes women attracted to other women or the same gender. The stories taken for the Langendriyan performance mostly come from Serat Damarwulan 1.2.2. Gay (folktales of Damarwulan). Serat Damarwulan tells about the history of the Majapahit kingdom era. The Gay is also regarded as homosexual, which is a performed stories include Ranggalawe, Damarwulan, sexual deviation that occurs and makes men attracted Menak Jingga, and many more. Even though almost to other men. Usually, some men play a role as the all the characters are male, they are played by top and bottom. women. The duration of the show is from 30 minutes to 2 hours. 73 Advances in Social Science, Education and Humanities Research, volume 552 1.2.3. Bisexual because they feel more secure. They also play games and toys for girls, such as dolls, cooking utensils, and Bisexual is sexual disorientation that makes the playhouse, which will make the mental growth go doers interested in two genders at the same time, both against his identity as a man, and vice versa. male and female. 2.3. Biography 1.2.4. Transgender Didik Nini Thowok is a unique figure who was Transgender is a condition where a person’s born as a boy, but his charisma will emerge if he gender does not show his/her identity, which is the plays the role of a woman. Didik has explored opposite of the gender he/she actually has. This femininity and cross-gender dances since he was condition causes a woman to be a tomboy and a man young.
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