Gender and Gender Redux Rethinking Binaries and the Aesthetics of Old-Style Javanese Wayang Sarah Weiss n 1993 i published an article entitled "Gender and Gender: Gender Ideology and the Female Gender Player in Central Java."1 Written when I was literally just out of the field, the article represented my preliminary attempts to untangle my own understanding of the paradoxical nature of gender ideologies as they functioned in Javanese culture and in particular in the world of Javanese wayang (shadow theater) performance.2 I subsequently read deeply into the theoretical and ethnographic dis- 1. In Kimberly Marshall, ed., Rediscovering the Muses: Women's Musical Traditions (Boston: Northeast University Press, 1993), 2148. The Javanese word gender is pronounced with a hard g and with stress on the second syllable. When the word gender appears in italics in this essay it refers to the Javanese instrument, and when it appears in regular font it refers to the complicated English word "gender." 2. A wayang kulit or wayang is an all-night Javanese shadow puppet performance. The two terms are used courses in anthropology, linguistics, literature, and gender studies in general and in particular on Java, Indonesia, and Southeast Asia as I analyzed my ethnographic
Women and Music: A Journal of Gender and Culture – University of Nebraska Press
Published: Oct 29, 2008
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