DANCING BODIES ON STAGE

摘要

This article explores how female dangdut and tarling dangdut performers negotiate ‘nyawer encounters’ through their creative, embodied actions on stage. nyawer involves a direct monetary transaction between a dancing audience member and the performing singer-dancer. Following Hallam and Ingold (200718. Hallam , E. and Ingold , T. 2007 . “ Introduction ” . In Creativity and cultural improvisation , Edited by: Hallam , E. and Ingold , T. 1 - 24 . Oxford : Berg . View all references), I understand creativity as a generative process characterised by continuity rather than disjuncture. This form of creativity manifests itself in the improvisations of the performers on stage. I show how female performers have been creatively improvising since the beginning of dangdut as a genre, and discuss, based on two contemporary performers, how improvisations take shape during nyawer encounters. These improvisations stand in a dialectical relation to the intercorporeal relationships between performer and dancing audience member. The performers' lived experiences are subject to this dialectical interrelation and illustrate the multifarious nature of their subjectivities.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/13639811.2011.614085