Virtual Sphere: A Site to Negotiate the Image of Lengger Banyumas
Keywords:Virtual sphere, Stereotype, Image Negotiation, Lengger Banyumas, Virtual Ethnography
This research aimed at investigating how Lengger used the virtual sphere to negotiate their image to society. Lengger Banyumas was always stereotyped with the discourse of Queer, Gay, Bisexual, and Transgender (QGBT). Therefore, it led to gender discrimination, not only on the stage but also in their daily life. Consequently, in this 4.0 era, Lengger needed to use social media in order to produce a different image as an alternative way to negotiate the dancer’s gender identity. The method applied was Hine’s virtual ethnography method by applying Habermas theory. Respondents were interviewed virtually through video conference. Meanwhile, the data were collected through their Instagram. The results show that Lengger constructs their image on social media to produce an image by performing double-identity; they are feminine on the stage and masculine in real life. The first identity is a feminine dancer to reveal the image of a professional drag dancer from Banyumas. However, Lengger elaborates the masculine identity in their dance performance by wearing the attribute of female dancers. Meanwhile, Lengger also reveals masculine identity in their real life. As identity is fluid, it indicates that the image will also never be fixed. Thus, this image is reproduced constantly in the virtual sphere as a negotiation towards society’s stereotyping.
Airoldi, M. (2018). Ethnography and the digital fields of social media. International Journal of Social Research Methodology, 21(6), 661-673. https://doi.org/10.1080/13645579.2018.1465622.
Carter, P. (2015). Virtual ethnography: Placing emotional geographies via YouTube. In Social Memory and Heritage Tourism Methodologies (pp. 48-67). UK: Taylor and Francis Inc. https://doi.org/10.4324/9781315797915.
Celeste, B. L. D. (2017). Dancing amidst displacement: Binanog dance as cultural adaptation and resistance. Philippine Sociological Review, 65, 97-120.
Claire, E. (2017). Dance studies, gender, and the question of history. Women, Gender, History, 46(2), 157-185. https://doi.org/10.4000/clio.13826.
de Vries, K. M. (2015). Transgender people of color at the center: Conceptualizing a new intersectional model. Ethnicities, 15(1), 3-27. https://doi.org/10.1177/1468796814547058.
Fatmawaty, L. S. W. A., & Marahayu, N. M. Utami, S. M. B., & Suhardi I. (2018). Lengger lanang langgeng sari dalam pertunjukan seni di Banyumas: Perspektif Bourdieu (The interrelated pattern of lengger lanang langgeng sari existence in Banyumas art performance: Bourdieu’s Perspective. Jentera: Jurnal Kajian Sastra, 7(2), 198-214. doi.org/10.26499/jentera.v7i2.916.
Hallet, R., & Barber, K. (2014). Ethnographic research in cyber era. Journal of Contemporary Ethnography, 43(3), 306-330. https://doi.org/10.1177%2F0891241613497749.
Hoppu, P. (2014). Folk dancers cross-dressed: Performing gender in the early nordic folk dance movement. Journal of Folklore Research, 51(3), 311-335. https://doi.org/10.1353/jfr.2014.0014.
Jin, D. Y. (2017). Understanding civic engagement in the smartphone era: Corporate sphere vs. public sphere. Development and Society, 45(2), 353-378. http://doi.org/10.21588/dns/2016.45.2.008.
Kassaye, A., Ashur, I., & van Heelsum, A. (2016). The relationship between media discourses and experiences of belonging: Dutch Somali perspectives. Ethnicities, 16(6), 773-797. https://doi.org/10.1177/1468796816653627.
Khalil, M. (2019). Stereotyping and power relations a phenomenological reflection. Reflective Practice, 20(6), 679-691. https://doi.org/10.1080/14623943.2019.1693356.
Kruse, L. M., Norris, D. R., & Flinchum, J. R. (2018). Social media as a public sphere? Politics on social media. Sociological Quarterly, 59(1), 62-84. https://doi.org/10.1080/00380253.2017.1383143.
Levitt, H. M., Surace, F. I., Wheeler, E. E., Maki, E., Alcántara, D., Cadet, M., Cullipher, S., Desai, S., Sada, G. G., Hite, J., Kosterina, E., Krill, S., Lui, C., Manove, E., Martin, R. J., & Ngai, C. (2018). Drag gender: Experiences of gender for gay and queer men who perform drag. Sex Roles, 78, 367-384. https://doi.org/10.1007/s11199-017-0802-7.
Mazali, T. (2011). Social media as a new public sphere. The MIT Press Journals, 44(3), 290-291. https://doi.org/10.1162/LEON_a_00195.
Morad, M. (2016). Queering the macho grip transgressing and subverting gender in Latino music and dance. Dans Ethnologie Francaise, 46(1), 103-114. https://doi.org/10.3917/ethn.161.0103.
Murtagh, B. (2013). Genders and sexualities in Indonesian cinema: Constructing gay, lesbi, and waria identities on screen. London: Routledge.
Murtagh, B. (2017). Double identities in Dorce’s comedies: Negotiating gender and class in New Order Indonesian cinema. Journal of Humanities and Social Sciences of Southeast Asian, 173(2-3), 181-207. https://doi.org/10.1163/22134379-17302021.
Nasrullah, R. (2018). Etnografi virtual: Riset komunikasi, budaya, dan sosioteknologi di internet. Bandung: Simbiosa Rekatama Media.
Pepe, P. P. (2020). Body of resistance: Blackness and the politics of (in)visibility on YouTube. Bulletin of Spanish Studies, 97(7), 1187-1210. https://doi.org/10.1080/14753820.2020.1815983.
Titley, G. (2012). Re-situating culture in the body politic. Retrieved from https://pjp-eu.coe.int/documents/42128013/47261677/2004_resituating_culture_coepub.pdf/7d5401b2-4954-4049-b765-de001d26f30d.
Turner, G. (2014). Understanding celebrity. London: SAGE Pub.
Zhongxuan, L. (2018). Paradoxical empowerment and exploitation: Virtual ethnography on internet immaterial lpabour in Macao. Journal of Creative Communications, 13(1), 1-16. https://doi.org/10.1177/0973258617743618.
Copyright (c) 2020 Lynda Susana Widya Ayu Fatmawaty, Mr
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
a. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License - Share Alike that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
c. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.
All articles published Open Access will be immediately and permanently free for everyone to read and download. We are continuously working with our author communities to select the best choice of license options, currently being defined for this journal as follows: Creative Commons Attribution-Share Alike (CC BY-SA)