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The Ronggeng, the Wayang, the Wali, and Islam: Female or Transvestite Male Dancers-Singers-Performers and Evolving Islam in West Java

The Ronggeng, the Wayang, the Wali, and Islam: Female or Transvestite Male... This article discusses the relationship of Islam, female performance, <i>wayang/topeng</i>, and transvestite practices in the performing arts of West Java, giving a very brief overview of three periods: the mytho-historic moment of the <i>wali</i> (saints), who used arts, including <i>ronggeng</i> (female-style singing-dancing) as a tool of conversion; the colonial era, when the palaces that were fonts of religious wisdom and colonial resistance became major centers that hired and influenced <i>ronggeng</i> arts, which dispersed through the Sundanese area of West Java, further developing genres like <i>tayuban</i> (dance parties of the aristocracy) and <i>ketuk tilu</i> (Sundanese popular dance performance); and the contemporary period, when the art has been devalued, noting that anti-pornography legislation enacted in 2008 is, in part, aimed at eliminating remnants of these long-existing female-singer-dancer and transvestite male performance practices, which are mentioned in literature of the colonial period and linked in oral histories with the advent of Islam. Through changing assumptions about <i>ronggeng</i> and the arts we see shifts in attitudes toward performance, sexuality, and religious discourse in local Islam. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

The Ronggeng, the Wayang, the Wali, and Islam: Female or Transvestite Male Dancers-Singers-Performers and Evolving Islam in West Java

Foley, Kathy, --
Asian Theatre Journal , Volume 32 (2) – Sep 14, 2015
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

This article discusses the relationship of Islam, female performance, <i>wayang/topeng</i>, and transvestite practices in the performing arts of West Java, giving a very brief overview of three periods: the mytho-historic moment of the <i>wali</i> (saints), who used arts, including <i>ronggeng</i> (female-style singing-dancing) as a tool of conversion; the colonial era, when the palaces that were fonts of religious wisdom and colonial resistance became major centers that hired and influenced <i>ronggeng</i> arts, which dispersed through the Sundanese area of West Java, further developing genres like <i>tayuban</i> (dance parties of the aristocracy) and <i>ketuk tilu</i> (Sundanese popular dance performance); and the contemporary period, when the art has been devalued, noting that anti-pornography legislation enacted in 2008 is, in part, aimed at eliminating remnants of these long-existing female-singer-dancer and transvestite male performance practices, which are mentioned in literature of the colonial period and linked in oral histories with the advent of Islam. Through changing assumptions about <i>ronggeng</i> and the arts we see shifts in attitudes toward performance, sexuality, and religious discourse in local Islam.

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Sep 14, 2015

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