| Abstract | The oral history of the birth ofÃÂ dolalakÃÂ dance differs from other traditional dance legends in Java, such asÃÂ ronggeng, lenggerÃÂ orÃÂ tayub. The birth of the traditional dances is related to female figures. TheÃÂ dolalakÃÂ dance was invented by native soldiers (male) during the Dutch colonial period. This paper aims to examineÃÂ ÃÂ dolalakÃÂ as an arena of power and the contribution of women toÃÂ dolalakÃÂ in the context of historical reflection. This research is a qualitative study that uses data collection techniques by interviewing, observing, and is supported by documentation studies as well as related previous research. The results of this study show thatÃÂ dolalakÃÂ becomes the arena of power in its invention. There is a major power in interpreting the invention ofÃÂ dolalak, namely by soldiers (men). As for its development, theÃÂ dolalakÃÂ becomes an arena for power struggles that surrounds it. TheÃÂ dolalakÃÂ is performing art. TheÃÂ dolalakÃÂ also a medium for spreading Islam, and then the power by the state over it. The power struggles of dance operate and be practiced, from one meaning to another, until the power of state enters. It strengthens the theorization of power. It will continue as a practice of power. In this context, the contribution of women as figures preserving the dance is vulnerable to the invisible.ÃÂ DolalakÃÂ dance is mostly performed by female dancers and this has become an icon for people in Purworejo Regency, Central Java. Therefore, it is time for women as traditional dance preservers to be narrated and fill in public knowledge. |
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