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![]() ![]() The other perspective used ini this article is existentialist feminist perspective by Simone de Beauvoir’s theory “The process of women transcendence”. In this case, the existence of women is seen as a ‘creativity’ in traditional art perspective which is put forward by the theory of George Herzog in his writings “The creativity of tradition music artist”. It is used to see the women’s problems in the performing art of Batak Opera through the case study and individual life history of a prominent firgure from woman’s tradition of Zulkaidah Harahap with using historical reconstruction method and interview. This study had been done in two months in Tiga Dolok and Pematang Siantar, North Sumatera, the place where Batak Opera and Zulkaidah Harahap came from. This study purposes to examine attentively the existence and the importance of Zulkaidah Harahap as a woman in the performing art of Batak Opera in the Batak Toba. Formerly Batak Opera was more masculine art musically, after the existence of Zulkaidah Harahap, Batak Opera now has different path. ![]() This fact had been challenged by the existence of a woman. The art, that is identical with the domination of masculinity or masculine art that happens the Batak Opera musically, cannot be separated with the concept constructed by the patriarchal ideology in the communal. ![]()
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