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Body of tradition: Becoming a woman ...

Goodlander, Jennifer L.

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Body of tradition: Becoming a woman dalang in Bali.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Body of tradition: Becoming a woman dalang in Bali./
作者:	Goodlander, Jennifer L.
面頁冊數:	248 p.
附註:	Source: Dissertation Abstracts International, Volume: 71-11, Section: A, page: 3860.
Contained By:	Dissertation Abstracts International71-11A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3423460
ISBN:	9781124244334

Body of tradition: Becoming a woman dalang in Bali.
Goodlander, Jennifer L.

Body of tradition: Becoming a woman dalang in Bali. - 248 p.

Source: Dissertation Abstracts International, Volume: 71-11, Section: A, page: 3860.

Thesis (Ph.D.)--Ohio University, 2010.

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."

ISBN: 9781124244334Subjects--Topical Terms:

522973
Theater.

Body of tradition: Becoming a woman dalang in Bali.
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500 $a Source: Dissertation Abstracts International, Volume: 71-11, Section: A, page: 3860.
500 $a Adviser: William F. Condee.
502 $a Thesis (Ph.D.)--Ohio University, 2010.
520 $a 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."
520 $a 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 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.
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