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Woman As Actress of Traditional Performing Arts and Gender Justice in East Java

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Woman As Actress of Traditional Performing Arts and Gender Justice in East Java SATWIKA: Kajian Ilmu Budaya dan Perubahan Budaya http://ejournal.umm.ac.id/index.php/JICC 9olume 1, 1omor 1 hlm ….. PISSN EISSN WOMAN AS ACTRESS OF TRADITIONAL PERFORMING ARTS AND GENDER JUSTICE IN EAST JAVA Arif Budi Wurianto The University of Muhammadiyah Malang Abstract Main problem is whether gender justice and equality in art performance, mainly in traditional art performance, have become central issues in efforts to socialize and as a gender mainstream in Education, Law, Economy, Politic, and Social. In general and traditional art performance, woman always involved, especially the main actresses in various art performances, they are adored both as ”diva or idol‘ who are able to attract people and also are humiliated because, in some occasions, she shows her over-sensuality so that it humiliates her dignity as a woman. The both positions generate a number of questions about position of gender mainstream and its advocating. INTRODUCTION actress and art performance There is statement that in art organizer. woman is also marginalized. The Results of some researches meaning of the above statement is inform that there are still very deep, because in the world of unbalancing in the society about art, such as art of literature, certain values that cornering woman performance art, sculpture art, as an actress in art performance in recording art, skill art, and so on, expressing their art acting. woman, beside as an object of art Nevertheless, income received by work, in the process of art action, she actress is not balance with her also has never got responsive justice professionalism only because she is a and equality gender. Art constitutes a woman. Woman as an organizer human cultural product that neutral often finds difficulties to get access in gender, both man and woman have of credit for art performance and equality in creation and utilize it for lobby of cultural communication social and cultural life. In the life of only because she is a woman. Beside traditional performance art, woman that, there is still negative is much involved, both as an actress perspective to woman as an actress of active art and as performance because of its performance schedule organizer. Woman often identified as and their involvement with many a powerless art object. Even, in people. Based on the reality of traditional performance art that woman as an actress in traditional art should be neutral in gender, woman performance, it needs other is involved in stressing a brand perspective in viewing woman as she suffering gender inequality and conducting their traditional art injustice. This is a gender injustice performance activities. This new and a gender inequality for woman in perspective could be started from getting the same rights both as redefinition based on the cultural studies as basis for providing new ”Mathil‘ dancer that lead to paradigms that refer to conceptual in discriminative and exploitative nature. The redefinition is done as a treatment. This injustice treatment starting point of efforts to advocate happened, mainly in performance of woman, find concept and steps of ”reog obyok‘, where its dancer participatory strategy in helping performance seems free and woman who active in public sector in unrestricted. The injustice treatment traditional art performance to get her includes; sexual flatter, through gender justice. momentum of ”saweran‘ (chances Yet, gender injustice is for audience, mainly men, to dance caused by the existing social together with her while giving tip by construct. Patriarchy tradition makes touching body of the ”Mathil‘ dancer; woman is marginalized and get woman is forced to obey to man gender injustice and always been as through ”edreg‘ dance (”Mathil‘ an art object that lead to show her dancer gives respond in the form of sexual exotics in art, this ultimately captive attitude to ”barongan‘ and lead to sexual flatter that offend ”ganongan‘ dancers every after woman self-dignity and self-esteem. performing her dance); the attribute Moreover, beside as a sexual object of easy-woman to ”Mathil‘ dancer is in art exotics, there are many cases caused by costume models (gaudy in indicating that woman as a subject to dress and makeup or more stressed in sell their sensuality in art activities, beautiful makeup so it looks as a especially in modern popular art and seducer woman); and even there is recording. brand as prostitute woman is caused Main problem is whether by pattern of taking and dropping gender justice and equality in art woman that are not appropriate with performance, mainly in traditional art time schedule agreed by society performance, have become central where the dancer lives, both when issues in efforts to socialize and as a exercising and performing in a stage gender mainstream in Education, (Ekapti Wahyuni, 2008). These Law, Economy, Politic, and Social. examples constitute some cases from Gender issue is, of course, a cultural many art performances in East Java issue, but cultural aspects inside or Indonesia that are various. seldom discussed whereas it is the Related with world social issue that needs aids and conference about Woman IV in advocating. Some issues have Beijing 1995 that resulted in Beijing happened related with this problem. Platform for Action with basis of One research showed that, for action focusing on 12 critical points, example, woman in art of ”Reog there are some points referred Ponorogo‘ in East -ava, it revealed dealing with woman rights and that ”Reog Ponorogo‘ performance woman dignity in traditional art with its ”Mathil‘ woman dancer, performance. These points are: beside she brings the art of ”Reog Woman and Poverty, Violence to Ponorogo‘ as increasingly Woman, Woman and Economy, appreciated by wider societies, it also woman in authority and decision generate injustice treatment to taking, and rights for woman. These 2 points have close relation to the woman. Woman often been treated woman role in traditional art as an object of masculine authority. performance because, beside as a Masculine authority indicates man form of intellectual and talent views to woman and social capacity in art action, traditional art perception about relationship performance is also as a part of between man and woman based on economy expression activities that the existing values and norms. susceptible to woman flatter and Woman used as agent of injustice. change in tradition of Reog Ponorogo. When government Woman in Traditional Art transfers ”jadhil‘ dancer position 3erformance ” from man to woman in various In general and traditional art festivals and performance, it gives performance, woman always positive assessment about involved, especially the main acceptability of people appreciation actresses in various art performances, to this reog art. Yet, in the further they are adored both as ”diva or idol‘ development, this art changes that who are able to attract people and they are defeated by masculinity in also are humiliated because, in some art performance. occasions, she shows her over- Nevertheless, in case of sensuality so that it humiliates her Gandrung art in Banyuwangi, dignity as a woman. The both popularity of Gandrung makes this positions generate a number of performance becomes ”cultural icon‘ questions about position of gender in the city. Meanwhile, Gandrung is mainstream and its advocating. identical with woman dancer. Two Special case could be given, sides accompanying the art of for example, position of Tayub dance Gandrung are (1) gandrung actresses in Ngadisari, Tengger Highland feel that they get cultural when there is ritual in ceremony acknowledgement, so that their talent sequence of ”Kasada‘, position of and capacity constitute her dignity as dancer is respected as theme of ritual subject, (2) in the other side, during central symbolism. Likewise, when gandrung playing, there is always ”tayuban‘ is playing, there is no violation to morality norms, for practice of sexual flatter like example, drug or giving money (tip) ”saweran‘ or giving money by to dancer, these generate people‘s inserting in part of the woman body negative assessment, so that as many tayuban do in some places. gandrung woman dignity is Some cases of dignity humiliating of cornered, (3) this second side woman actress, for example, in one triggers assumption from the of ”puppet show‘ play, when religious group to give distinction comedian ”limbukan or gara-gara‘ assessment, (4) issue of performance which is now often filled with song management that susceptible to request from ”dalang‘ to ”pesinden‘, injustice gender. or material of comedian that often Madura seems identical to conducting sexual flatter through religious society and seldom related words and nonverbal language to to traditional art performance, based 3 on Elanie Bouvier research (2004), Java where all players are man. in fact, in part of Northern Madura Player of woman is played by also preserves traditional art transvestite man. Presently, although performance where woman also there is still transvestite man, yet involved. One of Madura traditional woman has taken over this role. art that involves woman is ”Tandha‘. There are two reasons for this, i.e.: Behind this people‘s art, there is (1) As a job chance for woman; man‘s authority that triggers gender (2) As an art innovation and injustice. Actually it is not only opportunity for woman to happened in Madura, almost all pair express. dances, certainly, inserted man‘s Wayang orang shows in the authority to woman in the form of royal palace, in the past, also played sexual subject and object. Yet, based by man, including player of woman on research by Riansyah and Ahmad character. This continued until 1930. Zainul Hamdi (2007) reported that Afterward, there is a change where woman role in traditional art is vary, woman character is played by such as phenomenon of woman as woman. In some chances, there is pengrawit and sinden di Northern cross gender actor where man Madura island that utilize traditional character is played by woman.
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