Cover

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Title page, Editorial series, Copyright, Dedication

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Contents

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Note on Conventions

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pp. ix-xi

Malang is both a regency (kabupaten)1 and a city that lie within the cultural region of east Java, one of several cultural areas within the province of East Java, Indonesia (Map 0.1). Unless I specify “the city of Malang,” my references to Malang are references to the regency. As R. Anderson Sutton demonstrated...

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Preface: Inspiration

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pp. xiii-xxix

I did not expect that my derrière would be the subject of discussion between a former dancer in his eighties, a loud, energetic middle-aged woman, a young man who was one of my masked dance teachers, and a middle-aged male dressed like a woman selling...

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Acknowledgments

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pp. xxxi-xxxiv

Researching and writing this book have allowed me to travel, to work with many gifted individuals, to play music, to dance, to read, and to indulge in thinking. It has also been hard, testing my endurance, confidence, and motivation. I could not have made it through this process without support...

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1. Aims and Approaches

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pp. 1-32

Stunning Males and Powerful Females is about gender, power, and tradition— topics that are all the more fascinating in the regency of Malang in east Java, Indonesia, a place where the majority of people are Muslim and where cross-gender dance performance is quite common. Drawing on ethnographic...

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2. Maintaining Female Power through Male Style Dance

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pp. 33-62

This chapter explores some of the ways female dancers, as well as the mostly male musicians who accompanied them, were maintaining and making cultural space for the expression of women’s magnetic female power through women’s performance of male style dance, building from earlier analyses...

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3. Negotiating Pressures in Terms of Gender: Male Dancers and Female Style Dance

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pp. 63-93

This chapter develops some of my earlier analyses (Sunardi 2009, 2013) to further explore some of the ways in which male dancers who performed female style dance (or had performed female style dance prior to my fieldwork) have been pushing at dominant conceptual and physical boundaries of...

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4. Constructing Gender and Tradition through Senses of History

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pp. 94-126

This chapter explores how performers constructed senses of gender—including boundaries of femaleness and maleness—as they established what comprised tradition through their senses of history. I argue that the ways performers connected femaleness, the female style dance Beskalan Putri, the past...

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5. Maintaining the Representation of Female Power through Beskalan Putri

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pp. 127-157

This chapter examines some of the ways in which artists have maintained cultural space for the representation of female power through Beskalan Putri as they have adapted, taught, remembered, learned, performed, and talked about this dance. I focus on representations of female power...

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6. Where Tradition, Power, and Gender Intersect: Performer Interactions

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pp. 158-182

This chapter uses analysis of performer interaction to round off my exploration into gender, power, and tradition, bringing together many of the themes and issues discussed in previous chapters to demonstrate some of the ways that micro-moments of interaction on- and offstage are critical moments...

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Afterword

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pp. 183-184

In exploring dance performance as a dynamic site of cultural negotiation and change, this book has argued that through the continuous transformations performers have made to tradition, they have been negotiating culturally constructed boundaries of gender and sex—sometimes reinforcing these...

Notes

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pp. 185-192

Glossary

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pp. 193-194

Works Cited

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pp. 195-210

Index

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pp. 211-222