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Body of Tradition: Becoming a Woman Dalang in Bali

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Body of Tradition: Becoming a Woman Dalang in Bali Body of Tradition: Becoming a Woman Dalang in Bali A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Jennifer L. Goodlander August 2010 © 2010 Jennifer L. Goodlander. All Rights Reserved. 2 This dissertation titled Body of Tradition: Becoming a Woman Dalang in Bali by JENNIFER L. GOODLANDER has been approved for the Interdisciplinary Arts and the College of Fine Arts by William F. Condee Professor of Theater Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GOODLANDER, JENNIFER L., Ph.D., August 2010, Interdisciplinary Arts Body of Tradition: Becoming a Woman Dalang in Bali (248 pp.) Director of Dissertation: William F. Condee The role of women in Bali must be understood in relationship to tradition, because “tradition” is an important concept for analyzing Balinese culture, social hierarchy, religious expression, and politics. Wayang kulit, or shadow puppetry, is considered an important Balinese tradition because it connects a mythic past to a political present through public, and often religiously significant ritual performance. The dalang, or puppeteer, is the central figure in this performance genre and is revered in Balinese society as a teacher and priest. Until recently, the dalang has always been male, but now women are studying and performing as dalangs. In order to determine what women in these “non-traditional” roles means for gender hierarchy and the status of these arts as “traditional,” I argue that “tradition” must be understood in relation to three different, yet overlapping, fields: the construction of Bali as a “traditional” society, the role of women in Bali as being governed by “tradition,” and the performing arts as both “traditional” and as a conduit for “tradition.” This dissertation is divided into three sections, beginning in chapters two and three, with a general focus on the “tradition” of wayang kulit through an analysis of the objects and practices of performance. Next, in chapters four and five, I shift my focus to the body as the site of the display of political and social power, and write about women dalangs and some of the major female characters in wayang kulit. In Bali there is both 4 the sekala, visible, and niskala, invisible, worlds of existence—and I also look at this invisible or spiritual side. The final section, chapters six and seven, focuses on my experience becoming a dalang in order to probe this invisible, or niskala domain of wayang kulit. I describe, through reflexive ethnography, the training process and ritual initiation I underwent before my first performance. In this dissertation, working from the general to the specific, I interrogate how “tradition” is constructed in Bali through an examination of wayang kulit, or shadow puppetry, in order to examine how women’s involvement in these performing arts might provide women an opportunity for greater agency within Balinese society. Approved: _____________________________________________________________ William F. Condee Professor of Theatre 5 ACKNOWLEDGMENTS Like any theatre production, this research and the final written product is the result of the hard work of many people. I am blessed to have had the help and advice of many generous people as I worked on this dissertation. My advisor, Dr. William F. Condee, has provided insight and guidance through every step of this process. I have been honored to work with him and am grateful for his determination that I see this project through on an almost impossible schedule. “Thank you so much for believing in me and my abilities.” The other members of my committee have provided advice and insight each step of the way. I am especially grateful to Dr. Marina Peterson for help with both the methodological tools to embark on this project, the theory to conduct my analysis, and for cautioning me when sometimes there was too much theory. Dr. Peterson always reminded me to foreground my own observations and insights and has given me confidence to be a scholar. Dr. Jordan Schildcrout provided me with a foundation in feminist and queer performance theory. He is a model of the type of scholar and teacher I hope to become. Dr. Andrea Frohne introduced “tradition” as a complex notion and inspired me to give it serious consideration in my work. Dr. Elizabeth Collins has been an enthusiastic cheerleader for my work in Indonesia and I am grateful for sharing many thoughtful conversations comparing our time in Bali. I chose to pursue my PhD at the School of Interdisciplinary Arts because even at my first visit to the program, I was impressed with the breadth and rigor of the students and faculty. The opportunities to study music, film, and visual arts, together with theatre 6 have enriched my understanding of performance and appreciation of the arts in culture. I thank Dr. Dora Wilson, Dr. Charles S. Buchanan, Dr. Vladimir Marchenkov, and Dr. Alessandra Raegno for sharing their wisdom and time. I also thank all of the other students in Interdisciplinary Arts for their friendship; I have been lucky to have such witty, fun, and clever colleagues. A.J. Predisik deserves special mention for sharing my love of puppets and all things Indonesian. His enthusiasm sustained me whenever I felt weary—and “thank you A.J. for eating all of the cupcakes!” I spent over a year and a half in Bali developing the ideas and research that are contained in this dissertation. That kind of prolonged study would not be possible without generous financial support from many sources. The Graduate Student Senate awarded me a Research and Creative Activities Grant, which partially funded my first trip to Bali. The Student Enhancement Award, also from Ohio University, gave me a second summer in Bali to begin studying Balinese language and secure my research contacts for a longer trip. The trip was Dr. Gene Amaral’s idea and I am grateful for his support. I then spent ten months in Bali, from December 2008 until October 2009 on a Fulbright Fellowship to Indonesia, which is an amazing program for cultural exchange and research. Elizabeth Clodfelter was instrumental in helping me with the application process. I can hardly even begin to express adequate thanks for my many friends, “family,” and informants in Bali. The group Cudamani and Emiko Susilo introduced me to Balinese performing arts and culture. Dr. I Nyoman Sedana at ISI supported my application for the Fulbright, provided assistance along the way, and was the initial force 7 behind my opportunity to perform at the Ubud Festival. I am extremely grateful for his wonderful advice and insight. Ni Made Murniati (called Kadek in this dissertation) took me in as family, tirelessly led me around Bali, and answered my many questions. She and her family took care of me when I was sick or lonely, and were the ones present to celebrate my successes. I am a better person because of knowing her, her husband, and children. At the university Anak Agung Ayu Kusuma Arini served as my research counterpart and she was extremely generous with her time and energy. I enjoyed watching her teach gambuh at the university and having the chance to dance at a celebration at her house. I am grateful to the many other dalangs, dancers, artists, and friends who influenced and helped me with my research, too many to name. Finally, I must thank I Wayan Tunjung, my puppet teacher and dear friend. He and his family will always be close to my heart, “words can not express enough gratitude for all that you have done for me.” I want to thank my family for always believing in me. My father and mother spent countless hours driving me to rehearsals and performances; those hours are the foundation of my love for theatre. My sister Kim has always been a great friend and confidant. She along with her husband Dino and children Cooper and Natalie fill my life with many riches. And finally, I want to acknowledge my partner and best friend, Tina, “thank you for sharing this adventure with me.” 8 DEDICATION In memory of my mother. 9 TABLE OF CONTENTS Page Abstract ............................................................................................................................... 3 Acknowledgments............................................................................................................... 5 Dedication ........................................................................................................................... 8 List of Tables .................................................................................................................... 11 List of Figures ................................................................................................................... 12 Preface: A Note on Language and Terms ......................................................................... 13 Chapter 1: Introduction ..................................................................................................... 14 A Journey .......................................................................................................................14 The Problem of Women and Tradition ..........................................................................15 Defining Tradition .....................................................................................................17 Puppet Performance: Introducing the Tradition.........................................................20 Previous Scholarship on Wayang Kulit as Tradition .................................................23
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