EKSISTENSI PEREMPUAN DALAM OPERA BATAK: STUDI KASUS ZULKAIDAH HARAHAP

• Main Authors: , JAYANTI M.SAGALA, , Dr. G.R. Lono Lastoro Simatupang
• Format: Theses and Dissertations NonPeerReviewed
• Published: [Yogyakarta] : Universitas Gadjah Mada 2014
• Subjects: ETD
• Online Access: https://repository.ugm.ac.id/134262/; http://etd.ugm.ac.id/index.php?mod=penelitian_detail&sub=PenelitianDetail&act=view&typ=html&buku_id=75330
• Institution: Universitas Gadjah Mada

Arts in which identical to masculinity domination or masculinity art that happen in Batak Opera musically, cannot be separated from concept that formed by the comunal people. Those reality argue by woman existence. If formely Batak Opera leaned into musically masculine art, by Zulkaidah Harahap�s existence, today Batak Opera turn into different way. This thesis aims to dig how the existence of Zulkaidah Harahap and the essential role of women artist of Batak Toba etnic. This research has been doing for two months at Tiga Raja Dolok and Pematang Siantar district where Batak Opera and Zulkaidah Harahap originally come from. Feminism perspective approach to know what problems which come to women in Opera Batak by both case and role act of the woman traditional artist Zulkaidah Harahap by doing historical-reconstruction research method and interviewing. In this case, women existence seen as �creativity� by art tradition perspective like what George Herzog upbring in his writting �creativity of music tradition artist.� Also, women existence can be seen by excistencialism-feminim perspective like what Simone de Beauvoir brought to audience through �women transcedency process.� Existencialism that Zulkaidah Harahap presenting gives essential meaning in stage, defenited as the �creativity� of Batak Toba play. Creativity of Zulkaidah Harahap can been seen by two forms. Firstly, as the first and merely one woman who ever led the group of Batak Opera. Secondly, as the first woman �parmusik� who brave and eligible in playing music instrumens, there upon regarded as the same position as man. The distortion that has been done by her succeed in demonstrating that as a woman, likewise a man, is exist for herself, as one who deserves regarded as a cultural subject. Through her work, at the present day Batak Women are not consider as taboo to be musician �parmusik� and regarded as subject in music itself.