Evening, between the sparkle of the moon light in Karawang, a middle-aged woman was busy answering telephone from the public whose requests to enliven the event which will be held. Lia Ozawa dangdut singer who was quite famous in Karawang, she almost spent her days every night on the stage. Lia began her career as a Dangdut singer in Karawang since she was in high school. Although her parents did not allow her become a singer, but she loved his profession as a star. Lia is from an educated family. Her father is government employee in Karawang. Lia claimed to start a singing career because it was inspired by television sparkle. At first she wanted to be Jaipong dancer like what she saw in the TV shows. Then in 2003, when Inul shaked Indonesia with Goyang Ngebor; Lia also assured themselves to be like Inul. In the begining Lia started her career as Dangdut singer from stage to stage. The rejection from her family did not make her recede. In 2006, she made her own dangdut group named Askara, which is an acronyme of Asli Karawang.

The presence of television in Karawang brought significant cultural change. One of the woman characters of Dangdut singer who chose the nickname Lia Ozawa has been very visible. She chose Ozawa name, which was incidentally taken from a Japanese porn star named Maria Ozawa. Ozawa known as a sex symbol in the virtual world of sexuality brings imagination to hear the name. Surely Lia too, as a dangdut singer, she offered sexual imagination such as the porn star Maria Ozawa. Andrew N. Weintraub, an ethnomusicologist from US discussesin detailsome ofthefiguresin the Indonesian dangdut from the king of dangdut Rhoma Irama up Inul era that brought new phenomenon dangdut into music with the sensual sway. Andrew also noted how Dangdut went back in the “exploitation” by the world of entertainment, including broadcast TV program dangdut music, until the contest looking for dangdut singer. In 2006, in an informal survey on a weekly television program showed that 29 of the 43 events devoted to the music dangdut (67%), while other calculations showed that dangdut was displayed on the screen almost ten hours per day.

The presence of Inul Daratista in Indonesian TV (2003) brought many changes on dangdut genre in Indonesia. Inul was considered raising the image of dangdut even to foreign countries. Dangdut previously is often derided as a musical “fried peanuts” in the 1970s and was associated with grassroots poor which later has turned into a form of entertainment that was highly appreciated by the public. The woman who was born in Pasuruan, East Java, January 21, 1979, began a career stage as dangdut singer in the folk events in Pasuruan, East Java. Initially his father did not agree with his decision to sing, but with strong determination and wanted to help the family economy, she still advanced. Before entering the total performance into the world of dangdut, Inul prefered to bring the Rock songs than dangdut, because of this background, too, Inul prefered to sing dangdut songs re-arranged using the style of dangdut music with arrangements of rock music is different with Rock songs sung by the musician Rock itself, for example Jamrud, Rif, Boomerang. Similarly, the upbeat songs are often sung by Inul: Poco-poco, Goyang Dombret, Jaipong, the action stage was also very interesting. Stage action is known as “Goyang Ngebor” Ngebor (drilling) is associated with Inul’s style moving his hips rotating to the left, to the right in a clockwise direction or the reverse, up and down, there are enchanted and some are aghast, rocking is considered erotic and indulgence of sensuality by people who do not support Inul. Inul’s performance became famous while creating the pros and cons in the whole society, not only among musicians but was expanding Indonesian dangdut including the politicians, clergy, students, workers and so on. Indonesian dangdut presence in the world has created thousands of loyal fans, both in villages and cities. Lia Ozawa is one of them. Life choices as a dangdut singer obtained from virtual impressions are present in her life. Maria Ozawa with images of sexuality and Inul with images of sensuality become important references in the career of Lia Ozawa.

Dangdut is really loved in Karawang. Every celebration (marriages, circumcisions, thanksgiving, etc) is not legal without a sparkling dangdut stage. Dangdut performance is a symbol of prosperity in Karawang. How could not be? Karawang grows as the largest industrial city in Southeast Asia which makes the inhabitants have enough income to buy an entertainment. Fancy Dangdut stage, sparkling lights, audible sound which can be heard until hundreds meters, inviting all the people to present to enliven the celebration. Not only that, nyawer habit (giving money to the singer and dancing together) is a sign of economic status and must be declared in front of the audiences. Askara (Dangdut Group) in certain months is crowded of receiving a request to perform. In this month Askara will perform for 25 times. Removing and rebuilding the stage will become daily work and that could be exciting and exhausting for this group. Complete package with a stage, sound, lighting, instruments, musicians and five singers are facilitated by Askara during a celebration. Consumers only need to spend 8-10 million rupiahs for one show. Usually Askara starts the performance at 1 pm until sunset, and continue again after Isya (prayer time in the evening) until night passed. Lia admitted to not intend for trying the recording industry to further popularize her group. However, she always makes video documentation on every show. She submits the video to the agency which then they multiply the video into thousands of copies and sold freely in Karawang. Lia did not get money from the VCD sale, but her group (Askara) gets popularity and the invitation to perform never stops. The performance of Dangdut Karawang is actually almost similar to Bajidoran rite, which differentiate only types of music, musical instruments, and costumes. In appearance, Dangdut Karawang is categorized as Dangdut Pantura (Northern Coastal) Style. Dewi Persik (Dangdut Singer who is popular with Goyang Gergaji) on Dangdut Television Program said there are three important elements in Dangdut Pantura: voice, swaying, and interaction.

The singer’s voice that must match with the standards of dangdut genre, as well as singers must be able swaying the hips, swaying the hips does not mean just moving the hips alone and slowly but should be creative as possible so that it can be an attraction to captivate the audiences. Apart from the voice and swaying, dangdut singer Pantura should be able to interact with the audiences in front of them, because of the nature of dangdut Pantura is more populist, not only enjoyed by the singer, but all those who are in the arena, including the audiences who should come to enjoy the song they sung. Apart from Dewi Persik, Inul Daratista has also said when commenting to the contestant D’Academy in Indosiar (National Television) that dangdut could not be enjoyed there is no shake or sway, even though the song is presented a sad song but always remember to shake or sway even when the song is not happy. Dangdut without swaying is like vegetables soup without salt. So, be reasonable if Dangdut Karawang can’t be separated from the swaying hips, especially Dangdut Karawang has a narrative history of Goyang Karawang struggle, which later became the region’s identity.

The term of Goyang Karawang has been known since the 90s when Lilis Karlina used the term Goyang Karawang as dangdut song title. This song reminds that Karawang have Goyang tradition associated with the history of the struggle. At first Goyang Karawang, women do when they cleaned up the paddy, then the colonial era used it as a sign of the war, which has now become entertainment Goyang Karawang comeing with dangdut and Jaipong.

Lia, the singer and the owner Askara always start the performance by singing Goyang Karawang song. There is no definite reason why this song shall appear in the opening of the show, but Lia claimed all dangdut group in Karawang do. So, this is like a rite that has become a tradition and identity of Dangdut Karawang. Identity is understood as a reflection of a common history and cultural codes that make up a group of people become ‘one’, although from the ‘outside’ they look different (Stuart Hall, 1990). Pride in the history of the nation struggle with swaying hips into images that amplify the actions or behaviors that may be widely considered taboo. Goyang Karawang song is sung by a woman and the first stanza appear the word ‘akang’ and ‘kang’ in the phrase ‘Kalau ingat akang ke tanah Sunda, Jangan lupa Kang kota Karawang’ (If you remember akang to Sundanese land, do not forget Kang about Karawang City) which means a call to men. That is to say the song is dedicated to men. In the fourth stanza is the words … this tradition, … do not to be mocked. These words may be interpreted as the legitimacy of Goyang Karawang as a tradition that should not be mocked, it allows, there are people or men who underestimated Goyang Karawang action.

Performativity of Karawang dangdut singer is very attractive, different from other Dangdut singers in other areas. Lia admitted that there are no special rules or norms agreed upon in the community about her appearance. Precisely the people ask Dangdut singer to appear as sexy as possible. This is different from other regions around West Java, the presence of Fundamental Islam is now limiting Dangdut singer performativity, ranging from hours to clothing worn gig singer. Dangdut sexy appearance in Karawang make man excited to give money (nyawer) and dance. Sexy body with lust provocative attire often create negative stigma attached to Dangdut singer, however the singers enjoyed it. Sexier means more audiences dancing and giving money, so the income is also getting higher, about 5-10 million rupiahs in a night.

This article is a simple description of the social conditions in Karawang district, using dangdut as woman’s body commodification in order to serve the male sexual fantasies. On the other side Goyang Karawang has actually become a public media to express their sexual desires in the eastern zone of cultural modesty integral to the identity of the territory exalted. Mikhail Bakhtin, a Russian philosopher, said how to understand the events of the carnival as an event in which the mass of the opportunity and freedom to act and break away from the norm and moral restraints normally found in their everyday life. In the context of Goyang Karawang as an event, dangdut performances can be understood as the only zone in which sexual expression is allowed to be presented or displayed. In the case of dangdut, dangdut singer presents the experience for the audiences to a longing for the past and a form of protest against sexual oppression which were very provocative and binding. The Dangdut singer as victims of the patriarchal system to serve the needs of male sexual or economic commodity in the music industry are created. But on the other hand, these women are as a subject who has the power through the appearance and actions. Therefore, dangdut performances have explanation is far more complicated than capitalism and the dominance of gender inequalities for singers. By understanding the performance of Goyang Karawang, we could see woman singer as the subject, we will also be able to understand much more interesting explanation about the dynamics of social class and gender relations.

REFERENCES

Andrew N. Weintraub. Dangdut Stories: A Social and Musical History of Indonesia’s Most Popular Music. Oxford University Press. 2010.

Mikhail Bakhtin. Rebelais and His World. Indiana University Press. 1984.

Emile Durkheim on Ira J Cohen (ed.). Sociologist of Modernity. Blackwell Publishing. 2003.

Stuart Hall. Culture Identity and Diaspora dalam Colonial Discourse and Post Colonial Theory on J. Rutherford (ed.). Identity: Community, Culture, Difference. Lawrence & Wishart. 1990.

Gorys Keraf. Komposisi. Pusat Pembinaan dan Pengembangan Bahasa Departemen Pendidikan dan Kebudayaan.1975.