369 The Image of Woman in the Sintren and Kuda Kepang Arts: Gender Reality and Aesthetic Exploration Wahyu Lestari, Veronica Eny Iryanti, Syukur Samuel Barus Universitas Negeri Semarang, Indonesia Submitted: 2021-04-21. Revised: 2021-07-03. Accepted: 2021-11-26 Abstract The image of women that is actualized through the construction of gender roles, positions, and adaptation processes in artistic expression through Sintren and Kuda Kepang performances is very different. In this regard, the research aims to: (1) explain the forms of art performances of Sintren and Kuda Kepang; and (2) explain the image of women in the art performances of Sintren and Kuda Kepang in the context of gender reality and aesthetic exploration. The research was conducted on the art of Sintren Ujung Gede in Pemalang Regency and Kuda Kepang Turonggoseto in Semarang Regency. The research data were collected using the techniques of (1) observation, (2) interviews, and (3) document studies. The validity of the research data was carried out using the confirmability technique. The study used an interactive model analysis procedure, which was carried out with the stages of data collection, data reduction, data classification, and drawing conclusions. The results show that: (1) Sintren and Kuda Kepang arts are forms of traditional folk- art performances in which there is a scene of trance. This art is usually performed on stage or open arena by involving women as players; (2) The presence of women in the Sintren performances is a requirement that traditionally must be fulfilled until now. On the other hand, in the Kuda Kepang performances, the presence of women is a new phenomenon that provides opportunities and freedom for women to express themselves through dance. In the Sintren performance, the position of women becomes the center, subject, and object during the performance process. As a result, changes in the function of arts often result in the exploitation of Sintren dancers. On the other hand, in the Kuda Kepang art, the involvement of women with all their adaptations provides a new space for resistance to the existing gender stereotypes. Keywords: woman, sintren, kuda kepang, gender, aesthetic exploration How to Cite: Lestari, W., Iryanti, V. E., & Barus, S. S. (2021). Pedagogical Competency of Dance Instructors in The Training of Malay Court Dance Skills. Harmonia: Journal of Arts Research And Education, 21(2), 369-376 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 369-376 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.29927 bumen, Kendal, Klaten, Kudus, Magelang, Pati, Pekalongan, Pemalang, Purbalingga, Purworejo, Rembang, Semarang, Sragen, Sukoharjo, Tegal, Temanggung, Wonogiri, and Wonosobo. The development of technology and industry that took place globally causes changes in various aspects of life, inclu- ding in the arts. Some of the arts that were INTRODUCTION Central Java as one of the provinces in Indonesia has a variety of traditional arts, some of which still exist today. Va- rious traditional arts exist in 29 districts consisting of Banjarnegara, Banyumas, Ba- tang, Blora, Boyolali, Brebes, Cilacap, De- mak, Grobogan, Jepara, Karanganyar, Ke- Corresponding author: E-mail: wahyupyarlestari@mail.unnes.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 21 (2) (2021): 369-376370 originally related to existing traditional rituals gradually changed their function into entertaining arts to fulfill the aesthe- tic needs of their supporters. In this re- gard, this article examines two traditional art forms that are very popular in Central Java, namely the traditional arts of Sintren and Kuda Kepang. The study focuses on the issue of the presence of women as players in both arts. The performance process of the Sintren art, which is popular in the nort- hern coastal areas of the island of Java, is carried out in the same way in various existing districts. Kurungan (a cage) as the main property is used as a closing tool for Sintren dancers at the beginning of the show. Furthermore, after the dancer is possessed by a spirit, through the help of a performance handler, the Sintren dancers are released from the cage in a state of dan- ce attire and wearing dark glasses. In a sta- te of the unconscious (trance), the Sintren dancers will dance on stage to the accom- paniment of the music that is played (Su- harti, 2013; Azzahro & Indriyanto, 2019). The Sintren art, as one of the folk arts, places women as the main players who are also used as economic commodities for the benefit of groups or art associations. In the performance, the role of women in this art dominates the entire plot. The very promi- nent role of women is shown through the procession of nyawer or saweran, namely the activity of the audience throwing mo- ney at the dancers on stage. This tradition can certainly generate profits for art groups or art performers. Traditionally, to become a Sintren dancer, ritual requirements must be met, such as (1) the selection of a female dan- cer who requires that she is a young or un- married girl, and (2) female dancers must be in a state of purity or not menstruating. During the performance, the sintren dancer is accompanied by a handler or shaman who controls the various procedures for the performance that takes place. In addi- tion, the performance includes offerings (in Javanese culture, they are called sajen) which consist of at least three types of flo- wers, namely roses, jasmine, and Kanthil flowers, as well as various snacks, drinks such as tea, coffee, young coconut water (degan), fruits, and other crops that cannot be left behind. In addition to these accesso- ries, a ritual is also carried out by burning incense to bring out a magical aroma du- ring the performance. The phenomenon of women as an economic commodity in the sintren art also occurs in the tayub art. Tayub art which is popular in Blora Regency is an entertain- ment dance for men who often place tayub dancers as ‘comfort girls’ (Windrati et al., 2005). Tayub dancer, in the eyes of the au- dience, is seen as a perfect woman, beau- tiful, good at makeup, good at dancing, and has a sweet voice. The dancers must be friendly and give their charm by giving a smile through their lips, and the dancers only surrender when they are harassed by pengibing. Concerning this issue, Chiga Maro’atussofa and Eny Kusumastuti (2019) find that in the context of the lengger art in Wonosobo, female dancers are often abused during performances. As in the arts of sintren and tayub, in this art, there is also an act of saweran or suwelan to the dancers which is sometimes done in an im- polite way. In contrast to what happened in the Sintren art, in the Kuda Kepang art, the posi- tion of women as dancers in performances is currently a new phenomenon that shows openness and equality in artistic expressi- on. The women in this art get the oppor- tunity as players even though they must adapt to being male in their appearance of motion and clothing (Ismah, 2018). The Kuda Kepang art is one of the most popular forms of traditional folk dan- ce, which grows and develops in almost all areas of Central Java and even outside Central Java (Slamet, 2019; Hendriko & Ef- fendy, 2019; Malang & Radhia, 2017; Pri- mastri, 2017). The dance, which was origi- nally only danced by men with a dashing and brave appearance using a property in the form of an imitation horse as a mount made of woven bamboo, is currently in Wahyu Lestari, et al., The Image of Woman in the Sintren and Kuda Kepang Arts: Gender 371 great demand by women. Therefore, regio- nally this art can develop more widely in Central Java (interview, Pramono, 29 Mei 2021). Concerning the image of women in the arts, of course, it is closely related to the various supporting institutions. From a gender perspective, the Kuda Kepang art as a dance that used to be performed only by male dancers is now no longer the case. There has been equality of roles between men and women (Lestari & Barus, 2020, p. 123). However, even in the broader context of dance creativity, it shows that the invol- vement of women in dance is still very do- minant (Sugiarto, 2019). The reality that occurs shows that art is never stagnant but always dynamically adapts to a movement of change, which has implications for the loss and emergen- ce of new forms, including breaking away from gender boundaries. Therefore, the participation of female dancers in the Kuda Kepang art is a new phenomenon that al- lows traditional dances to live, grow and develop at any time following the develop- ment of human culture. Changes in art as a driver of life provide understanding for life by understanding the nature and role of individuals in the context of their cultu- re (Rohidi, 2000). This research on the image of women in Sintren and Kuda Kepang arts in the con- text of studies in gender perspective and aesthetic expression aims to: (1) explain the forms of Sintren and Kuda Kepang arts; (2) explain the image of women in the art performances of Sintren and Kuda Kepang in the context of gender reality and aesthe- tic exploration. METHOD A qualitative method was chosen to describe empirical phenomena arts of Sintren and Kuda Kepang through a pheno- menological approach, employing parti- cipatory observation when performances take place without adding or reducing the findings of empirical data in the field (Ro- hidi, 2012; Marshall & Rossman, 2006). The research was conducted on two cases of art, namely Sintren Art and Kuda Kepang Art, which were oriented to the study of gender phenomena in the arts. The research was carried out in Ujunggede Hamlet, Pemalang Regency, and Regunung Hamlet, Semarang Regen- cy. Pemalang Regency is one of the re- gencies in Central Java Province that has Sintren arts such as the hamlets of Padu- rasa, Mengori, Taman, as well as Mulyo- harjo, and Ujunggede. Ujunggede Hamlet was chosen because the existing Sintren performances still use traditional music, while several other areas have combined the accompaniment of Sintren music with the addition of Dangdut music. The Kuda Kepang Turonggo Seto group in Regunung Hamlet was chosen because this tradi- tional art is one of the art groups whose players are women. The main subjects of the study were the Sintren dancers of Mulyorejo, Ujung- gede, Pemalang Regency, Central Java and the Kuda Kepang dancers in the Turonggo Seto art group, Karang Gondang Hamlet, Regunung Village, Tengaran District, Se- marang Regency, Central Java. The rese- archers also chose another source person as supporting data, namely the leaders of these traditional arts groups. The research data were collected using the following techniques: (1) obser- vation, (2) interviews, and (3) document studies. Participation observations were carried out during the research process with the help of audio and video recording equipment. Interviews were conducted with dancers, musicians, group leaders, and observers of performing arts. Docu- ment studies were conducted on field no- tes, artworks of Sintren and Kuda Kepang, in the form of audiovisuals and photos. The validity of the data uses the triangu- lation of data, sources, and theory was car- ried out. The data analysis was carried out using an interactive model with the follo- wing stages: (1) data collection, (2) data reduction, (3) data classification, and (4) drawing conclusions (Milles & Huberman, 1994). Harmonia: Journal of Arts Research and Education 21 (2) (2021): 369-376372 RESULTS AND DISCUSSION Sintren and Kuda Kepang Art Perfor- mances Sintren and Kuda Kepang art perfor- mances, as well as several other traditional arts in rural communities in Central Java, are usually performed at ritual ceremonies, celebrations such as sunatan, weddings (mantenan), merti desa, or village clean, and the commemoration of national holidays (Ghofur & Rini, 2015; Hardwick, 2017). In this context, there are two main functions of this art: traditional ritual ceremonies, social facilities, and entertainment. Howe- ver, the function for ceremonial purposes has begun to be abandoned. The function of a ceremony is only carried out by peop- le in certain areas whose traditions are still strong. On the other hand, the function of dance as entertainment in this art is cur- rently increasing (Romadi, 2019). Sintren is a traditional art that places women as dancers and main players. The performance is held on an open stage sup- ported by a group of accompaniment mu- sic players. Apart from dancers and musi- cal accompaniment players, Sintren is also supported by a handler who is spiritually in charge of controlling the dancers. Kurungan (a cage) is an important property in the performance, which is used as a place when the dancer is in a state of unconsciousness (trance). Changing clot- hes is a half-round woven bamboo with a cloth covering. Kurungan in everyday life in Javanese society is usually used as a place to confine animals such as chickens, ducks, or geese. In the Sintren performance, there is an interaction between the dancer and the audience. When the audience throws mo- ney at the Sintren dancers, the interaction is carried out. The audience performs this ritual with the hope that the Sintren dan- cer will change the form or be aware of the trance. This interaction is the characteristic that distinguishes Sintren art from other traditional arts in Central Java. The Sintren dancers in dance costu- mes equipped with sunglasses accessories become the subject and the dominant ob- ject and become the central character du- ring the performance. There are several requirements and demands that a Sintren dancer must-have, which makes not all women able to become Sintren dancers. The special criteria as the main require- ments such as dancers are women who are still young and pure, meaning that they have never had sex with men and are not menstruating while playing Sintren. The central position of sintren dancers in the performance can be seen in Figures 1 and 2. Figure 1. Performances and costume of the main dancer in Sintren art performance (Docu- mentation by Ika, Lestari, 2021) Figure 2. The trance scene in Sintren perfor- mance (Documentation by Dika, Lestari 2021) In contrast to the Sintren art, the Kuda Kepang art performance was initially performed by male dancers. Male players with dance costumes and property sup- port in the form of imitation horses made of woven bamboo (kepang) better reflect the masculine dance performance or ga- gahan. In the performance, this art is usu- ally performed on an open stage with the support of a group of accompaniment mu- Wahyu Lestari, et al., The Image of Woman in the Sintren and Kuda Kepang Arts: Gender 373 sic players who are on stage. This format of performance is done so that the music playing and the Kuda Kepang dancers can be seen clearly by the audience. Almost as happened in the Sintren performance, there is also trance at certain times in the Kuda Kepang performance. Although originally this art was only played by men, at this time, there have been emerging Kuda Kepang art groups whose dancers are women. One of them is the Turonggo Seto art group which is the subject of the research. Although Karang Gondang Hamlet, Regunung Village, Ten- garan District, Semarang Regency, Central Java also has a Kuda Kepang art group who- se dancers are all male. This condition is relevant to Vinlandari and dan Gunawan (2020) opinion, which states that dance is an activity that can be carried out by both men and women, even though the issue of gender construction is still a benchmark in determining dance style or character. Fi- gure 3 and Figure 4 describe the Kuda Ke- pang performance played by female dan- cers and the setting of the performance. Figure 3. Front view of one of the formations at the beginning of the Kuda Kepang perfor- mance and its setting stage (Documentation by Lestari, 29 Mei 2021) Figure 4. One of the formation and move- ments of the Kuda Kepang dance with imita- tion horse property made of woven bamboo (Documentation by Lestari, 2021) The Image of Women in the Sintren and Kuda Kepang Art Performances: Gender Reality and Aesthetic Expression The image of women that refers to the construction of women’s roles in Sintren and Kuda Kepang Arts in the con- text of gender has differences. Realities that are socially constructed and defined culturally are closely related to the deve- lopment of stereotypes which are ideas or images that have been predetermined for generations in various fields of activity, including gender (Hussain et al., 2015). In the context of Sintren art as one of the traditional arts, it is shown that, although the function aspect of this art has changed, the presence of female dancers has never been replaced. Some of the requirements attached to dancers from generation to ge- neration are maintained. Even currently, the existing Sintren arts are almost entirely adapting and developing the performance format for entertainment purposes (Nurle- lasari et al., 2017). At this time to become a Sintren dan- cer is not easy. Several requirements must be met, such as (1) a woman who is still a virgin, (2) being willing to fast before performing, and (3) when fasting; dancers must maintain their diet and avoid actions that can destroy their sanctity. This is done with the belief that the spirit will not expe- rience difficulties when it enters the body of the Sintren dancer at the time of the per- formance. In the Sintren art, the position of wo- men as the central character during the performance is more of an entertaining object. All rhythmic dance moves that start from the moment you get out of the cage until the end of the performance are un- conscious expressions (trance). The dan- cers are under the control of a “handler” and the musical accompaniment is stimu- lated to swing and dance to fulfill the de- mands and desires of the audience. In the economic context, Sintren dan- cers’ attractiveness and their popularity become a commodity for the art groups they participate in. Apart from getting paid from the penanggap, this art group benefits Harmonia: Journal of Arts Research and Education 21 (2) (2021): 369-376374 from sawer or money from the audience directed at the Sintren dancers in each of their performances. In a situation like this, the position of the Sintren dancer becomes vulnerable to harassment by men and even exploited because when dancing, they do not realize what they are doing. In dance or other physical activi- ty, women and men are often considered different because of innate differences in body structure (Oliver & Risner, 2017). However, in reality, what happened to the Sintren art was different from what hap- pened to the Kuda Kepang art. The Kuda Kepang art, a dance that men usually play, is now commonly played by female dan- cers. The Turonggo Seto Kuda Kepang group consisting of young women is one examp- le of the existing groups of Kuda Kepang. The presence of women as dancers in the performances in this group is a different proof that not all dances reflect the gen- der identity of the dancers (Bassetti, 2013) the article focuses on the “problem of the male dancer”. Once discussed the histori- cal genealogy of the stigma and its effect on men’s participation in dance, I consider three stigma “antidotes”. Two of them – ar- tistic- professional excellence, manifest in structural inequalities, professional prac- tice and social discourse ; and athleticism, involving discursive and representational strategies – consist of emphasising the masculinising aspects of dancing-as-art/ profession (virtuosity, creativity. In the Kuda Kepang art, the trance at- traction is also the part that the audience has been waiting for. Nevertheless, the aspect of dance as a medium of aesthetic expression for the dancers and their audi- ences is currently a major concern for the choreographers and the audience. Based on these characteristics, Kuda Kepang art from the aspect of number and distributi- on can develop more widely when compa- red to Sintren art, which can only survive and thrive on the northern coast of Java, especially Central Java. The emergence of Kuda Kepang art groups consisting of female dancers is proof that this art is more adaptable to changes in the construction of the roles of men and women in artistic practice. The Turonggo Seto Kuda Kepang group, which consists of female dancers, does not show a trance scene, unlike other art groups that usually consist of male dancers. In the performance, female dancers of the Kuda KepangTuronggo Seto group try to adapt to play a gagahan dance that men usually play. By riding the Kuda Ke- pang property, Dancers explore aesthetics supported by costumes, make-up, variety of movements, floor patterns, and expres- sions in rhythm with the accompaniment music and the existing characterizations. This context proves that there has been a cross-playing activity as a form of resis- tance to gender stereotypes by employing male character dances played by women (Mahfuri & Bisri, 2019). CONCLUSION The Sintren and Kuda Kepang perfor- mances are traditional arts that still exist in the society of Central Java. As time advan- ces, it has triggered a change in the form of the show. The art that is usually performed on the open stage at rituals, celebrations, and other performance events, from the as- pect of the involvement of female players, there are differences. In the Sintren art, the presence of women as central figures du- ring performances for ritual purposes is a tradition that has been passed down from generation to generation until now. On the other hand, in the Kuda Kepang art, the presence of women is a new phenomenon that is starting to develop in various areas in Central Java. When the Sintren and Kuda Kepang arts changed their function into enter- tainment arts, the female dancer during the performance had a position as both a subject and an object that was vulnerable to exploitation to meet the economic needs and demands of the audience. On the other hand, in the Kuda Kepang art, the existing entertainment events can provide space for women to show their ability to exp- lore dance even though they must make Wahyu Lestari, et al., The Image of Woman in the Sintren and Kuda Kepang Arts: Gender 375 various adaptations. Adaptation done is the form of resistance to gender stereoty- pes, such as performing a range of gagahan motions for men, wearing a costume and makeup like a man, and expressions in rhythm with the existing dynamic music. (Hardwick, n.d.) ACKNOWLEDGMENTS Acknowledgments are conveyed to the Dean of Faculty of Language and Arts, Unnes, who has provided research funding in 2020 through the FBS Unnes DIPA Fund to carry out research entitled The Image of Women in Traditional Dance Performances in Indonesia: Gender Reality in Aesthetic Exploration. REFERENCES Azzahro, A. A., & Indriyanto, R. (2019). Interaksi Simbolik pada Pertunjukan Sintren Desa Luwijawa Kecamatan Jatinegara Kabupaten Tegal. 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