Mairead Kennedy
Taking this course has clarified to me that the definition of gender in dance can stray far from just male and female identity, as there are feelings of both genders that come up in different movements. Men can perform a female dance, while women can perform a male dance. This does not imply that the dancer identifies themselves as the specific gender that they are dancing. However, it does prove that gender is fluid and does not have to be separated or stagnant. The concept of layering gender while executing a specific dance brings up a lot of abstract ideas of what gender truly is. Personally, I have experienced this through observing the ways in which performers exhibit characteristics of the opposite gender. The layering of gender and the use of the physical body to perceive sensations is just part of what makes this dance such a unique experience.
When analyzing female dances, we can see how they have been modified in certain ways where we can easily distinguish them from male dances. This is based on the gender differences that have been developed overtime in Indonesia. Throughout the history of Java, the role of women in society has varied greatly. For example, “in the early nineteenth century, women controlled their husbands’ money, bought and sold items at the markets, and were regarded as superior to men in financial matters”, which may lead us to believe that women were viewed as stronger than men (Sunardi 36). Not only did they have more ability in finances, but they were also held to higher standards in physical strength, as it was their responsibility to guard the rulers. Another aspect to their power was their sexuality. Using their sexual power, women could actually test the self control of men to see whether or not they could resist temptation. This seems quite conflicting, as women were thought to be so powerful, yet they were also sexualized in a belittling manner. Eventually, this strength was diminished when a new ruler took control and created a new set of ways in which women should present themselves. They were expected to be reserved, polite, and calm. This is obviously reflected in female dance through soft facial expressions and slow, controlled movements.
The overlapping of genders is also clear through the makeup that the dancers wear during performance. The costumes are all amazing, regardless of whether it is a male or female that is dancing. What I found to be so outstanding was the idea that feminine beauty can come through the male costume that is worn when a woman is dancing a male dance. This was a concept that I had honestly never put much thought into. A combination of gender characteristics is understood in the costume for Beskalan Lanan where “many females enhanced their womanly beauty while producing senses of masculinity through makeup” (Sunardi 46). One specific image of dancer, Tri Wahyuningtyas, depicts a way of drawing on the facial hair of a man, while still using blush and eye makeup to show her womanly beauty. The image is stunning, and it is clear that she is a beautiful woman, but still expresses qualities of a man through her exhibition. This demonstrates how the juxtaposition of different genders can be brought into synchronicity. Whether it seems natural or not, there is a definite reality to the concept of gender fluidity and it is shown in these dances.
Not only are there sensations regarding gender that are felt in the body through this dance, but there is also an overall sense of meditation. Spirituality is a large part of this dance style, as it is performed at important ceremonies and rituals. When taking part in this style of dance, one has the ability to feel and understand sensations at a deeper level. When Tomie Hahn discussed her findings in generating new ideas, she referred to her exploration of the senses in the body. Her writing was so intriguing, and she was able to make her thoughts very clear. People can learn a lot about themselves through simply harmonizing with their physical body. Creating a connection between the mind and body can further one’s sensation and perception. She wrote her idea that “as movements become embodied, an experience of freedom and realization may occur” (Hahn 43). From my own experience in this style of dance, I can definitely say that there are movements that are new to my body that have created completely new sensations. Specifically, the controlled movements of the traditional dances that we have learned in class vary greatly from the casual dance that I do with my friends. These new feelings have all been good and helpful to my body in some way. Also, when learning Lengger during a workshop, I was taken aback by the intensity and expressiveness of the movements. They were so much more extreme and unusual, which was new to me in a different way.
It might seem like a lot to say that learning about these different dance styles can make someone think more about the meaning of identity, but this was definitely the case for me. I had never thought about the fluidity of gender through performance in particular. I was also exposed to such new feelings of freedom in my body. Creating a connection between the physical body and the mind is a unique experience that I appreciate as a takeaway from this course. This style of dance was new to me, but I already feel that I have a greater understanding of not only the dance itself, but also the culture that it comes from.
