Women in the Shadows: Gender, Puppets, and the Power of Tradition in Bali by Jennifer Goodlander (review)

This ethnographic work addresses women performing as dalang (puppeteers) in Balinese wayang kulit (shadow play) performances, an activity that disrupts gender norms. The author reveals that her studies with a puppeteer, accompanying him to his performances, and her own performances as dalang were increasingly disruptive. After the introduction, the book is divided into "Sekala: The Visible Realm" (training, dalang, puppets) and "Niskala: The Invisible Realm" (ritual processes of becoming dalang, negotiating invisible and visible realms, shadows). The organization is sufficient to present findings, although the book could have benefitted from more subheadings.

The book reads easily and sets a journal-like, conversational tone that, although citing culture theorists, is free of verbiage. The author uses wayang kulit to examine gender and social class in history, life, and literature, although she occasionally explicates wayang narrative and puppets without exploring women or gender. Fortunately, the author describes the dalang's elevated position to offer social critique via comedic puppet characters, and the exposition of laughter and comedy—particularly the "presence of the comic characters to reinforce the habitus of the Balinese community"—demonstrates a grasp of aesthetic performance elements (57). The exposition on alus (refined) and kasar (coarse) in relation to sex, as well as the author's personal immersion into the world of wayang as a performer and interpreter, enhances the book's value.

Jennifer Goodlander interviewed several major women artists in Bali, including those who became dalang. Much of the information presented is not entirely new, but the subject is approached differently—largely through experience. The author discusses the subversion of gender norms at the Balinese arts academies, and then describes the resulting performances as entertainment, outside of the rich, transformative traditional performances. There are some troubling generations in a few parts, such as the assumption that Sita (Sinta), the wife of Rama, is less alus as determined by a puppet exhibit, although her otherwise flawless discussion of female puppets is insightful and significantly adds to the available literature.

The book's audience could include those who study Southeast Asian culture and religion, gender studies, performance studies, and Balinese studies. Scholars and students in those disciplines would benefit from reading this work. This book would be popular at bookstores in Bali as Balinese and outsider students are drawn to personal accounts of immersion in Bali. Although lacking a long immersion in Balinese studies, Goodlander's intensive ethnographic studies, make up for the lack of time the author has been studying the subject.

At first glance, it might appear that Women in the Shadows would merely examine women dalang, as the cover photo on the jacket suggests. A second glance, however, suggests that Goodlander might be referring to women being in the shadows (metaphorically) in Bali. She observed the performance of wayang lemah (a daytime, much shorter wayang without shadows or nuances of humor) by a female dalang named Ni Wayan Suratni. An in-depth interview with Suratni, eventually appearing at the end of chapter 5, adds a crucial perspective to the study.

Fortunately, there are some interactions with Ni Kerut Trijata, who is acknowledged by many as the first woman dalang. Other noted women dalang, including Ni Wayan Rasiani, Ni Wayan Nondri (who this reviewer saw perform in the 1980s), Ni Nyoman Tjandri, and the aforementioned Suratni, are presented in the text, which gives voice to local, women performers. Nevertheless, it remains unfortunate that the author could not witness more performances by women. Regardless, wayang kulit presents a boundary to women performers due to the needed voice differentiation and projection, the gender expectations, and problems of menstruation (which prevent women from touching the puppets or being in sacred spaces) as well as the continuing barriers erected by men.

While the author cites many scholars—ritual and culture theorists (sometimes too often), performance theorists, puppet theater, and Balinese specialists—Goodlander missed incorporating some important works into the study, such as Lisa Gold's Music...