SEX EXPLOITATION EXPERIENCED BY SRINTIL
IN AHMAD TOHARI’S
THE DANCER
A THESIS
SUBMITTED TO THE BOARD OF EXAMINERS
IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF SARJANA SASTRA
IN ENGLISH
By
Olivia Dilla Christiana
2010101034
ENGLISH DEPARTEMENT
LIA SCHOOL OF FOREIGN LANGUAGES YOGYAKARTA
YOGYAKARTA
2015
APPROVAL SHEET
A THESIS
SEX EXPLOITATION EXPERIENCED BY SRINTIL
IN AHMAD TOHARI’S THE DANCER
Olivia Dilla Christiana
2010101034
Accepted by the Board of Examiners
in the English Department
LIA School of Foreign Languages Yogyakarta
onJuly 7th, 2015
Board of Examiners
Name and Title Signature
1.
Chair : Emilia Tetty Harjani. S.S., M. A (.….….........)
2.
Secretary/Second Advisor :Hesthi Herusatoto, S.S., M.A. (...................)
3.
Member/First Advisor : Hilaria Dewi Hapsari, S.S., M. Hum. (...................)
Yogyakarta, July 2015
LIA School of Foreign Languages Yogyakarta
Drs. Agus Darwanto, M.A
Director
STATEMENT OF ORIGINALITY
Herewith, I state that this thesis is truly my original work. Every word or statement taken from the references is treated as quotation and excerpt in which the name of the authors and the publishers are stated. If any claim related to the analysis that I made persists in the future, I would be fully responsible for clarification.
Yogyakarta, 7 July 2015
Olivia Dilla Christiana
MOTTO
You will do everything that lies in your power.
(Daddy)
Do the best you can until you know better.
Then when you know better, do better.
(Maya Angelou)
Tidak ada suatu rezeki yang Allah berikan kepada seorang hamba
yang lebih luas baginya daripada sabar.
(HR. Al Hakim)
Raise your words, not voice.
It is rain that grows flowers not thunder.
(Rumi)
When the sky is unlimited then put your dreams the same.
(Olivia Dilla)
DEDICATION
It is my genuine gratefulness and warmest regard; I dedicate this thesis to my beloved Mama,
Bapak, the late
Ibu, and I also dedicate this thesis with love to my caffeine and sugar; my husband and children. All of you have given me a wonderful support and meaningful life. I thank God for having all of you in my life.
ACKNOWLEDGMENTS
First of all, the writer would like to thank God because the writer could finish this thesis. The writer also feels grateful to God for health and happiness given to her. He gives her a blessing to complete this thesis after some difficult moments and always leads her to persist in completing this thesis. He also gives her strength to keep focusing on this thesis.
The writer’s gratitude is also addressed to her families. They have supported her to finish this thesis. Special gratitude goes to her mother. Through the happiness and sadness, she has raised her with all her love. She is so amazing. Besides, she gets marvelous power from two angels. They are Farrel and Alya. Both of them are always her sweetheart. She also feels grateful for a wonderful husband, Haribintarto. His love and patience are her provisions to finish the study and thesis. She would like to say thanks so much to Bapak who has always kindly taught her to be a patient person in life, and he inspires her in many aspects of life. She also wants to say thanks to her sibling Merry Florida Astiningrum. Even though she lives in a different country, she always asks and supports her to complete the thesis. She is such a kind and lovely girl.
The writer feels grateful that there are two super lecturers behind the completion of this thesis; they are Hilaria Dewi Hapsari, S.S., M.Hum. and Hesthi Herusatoto, S.S., M.A. The first advisor of this thesis has always patiently guided and advised her to finish this thesis, and she is also a good listener to her. The second advisor of this thesis has always patiently guided and corrected the writing into the detail aspects. She also inspires her to be good in writing. Besides, the writer also feels glad about having lecturer like Ontje Helena Manurung, S.S., M.Hum. She has introduced her about literature world. Besides, she can be a teacher and a sister to the writer.The writer says thank so much to those lecturers.
In addition, the writer dedicates her gratitude to all lecturers of LIA School of Foreign Language Yogyakarta who have given her priceless knowledge to finish her study. She would also like to thank all staffs of LIA School of Foreign languages. They have patiently helpedher with the administrative stuff.
The writer also thanks her extraordinary friends; Yuliah Mekar Rustanti, Ditya Al Santos, Wiwiet Septiani, Valentina Andantin, Osela Ekaninda Andini, and Kusnadi Saputra. They are also such a lovely family to the writer. The crack of laughter, good time and bad time have been through together. Those sweet moments will never be forgotten.
The last, this thesis is still far from perfect and the writer hopes that this thesis can give benefits to the readers.
Yogyakarta, June 25th, 2015
Olivia Dilla Christiana
TABLE OF CONTENTS
Title .......
i
Approval Sheet
ii
Statement of Originality
iii
Motto .....
iv
Dedication
v
Acknowledgements
vi
Table of Contents
viii
Abstract
x
Intisari
xi
Chapter 1 Introduction
1
1.1.
Background of Study
1
1.2.
Problem Statement
6
1.3.
Scope of Study
6
1.4.
Objective of Study
7
1.5.
Significance of Study
7
1.6.
Theoretical Approach
7
1.7.
Method of Research
8
1.8.
Thesis Organization
8
Chapter 2 Literary Review
9
2.1.
Feminism
9
2.1.1.
Radical Cultural Feminism Perspective
9
2.1.2.
Patriarchy System
11
2.2.
Sex Exploitation
13
2.2.1.
Prostitution
14
2.2.2.
Pornography
15
Chapter 3 How Sex Exploitation in the Form of Pornography and Prostitution Experienced by Srintil is Portrayed in Ahmad Tohari’sThe Dancer
19
3.1.
Object of Sex Exploitation
18
3.1.1.
Object of Prostitution
20
3.1.2.
Object of Pornography
31
Chapter 4 Conclusion
40
Bibliography
Appendix
SEX EXPLOITATION EXPERIENCED BY SRINTIL
IN AHMAD TOHARI’S
THE DANCER
By Olivia Dilla Christiana
ABSTRACT
This thesis analyzes sex exploitation seen in Ahmad Tohari’s The Dancer. The purpose of this research is to find out how sex exploitation in the forms of prostitution and pornography experienced by Srintil is portrayed in the novel. To achieve the purpose, the writer applies radical cultural feminism theory which concerns with the oppression toward women; when the man as a subject and woman as an object. The writer acts as a feminist and uses the method ‘reading as a woman’. The writer finds that Srintil, as a
ronggeng, becomes an object of prostitution and pornography. In
Paruk village, prostitution is portrayed when Srintil has to give sexual service to men, while
dukun ronggeng has a role as a pimp. Meanwhile, pornography is shown when the men look at Srintil as a prostitute whose body can be enjoyed freely, even when she is dancing in front of them. People in Paruk village believed that being a
ronggeng was to preserve their culture. In fact, being a
ronggeng makes Srintil become the victim of men’s power in patriarchy system. Therefore, the writer concludes that there is still an oppression toward women seen in literary works. And, the writer objects any kind of oppression and sex exploitation either in literary work or reality.
Keywords : sex exploitation, patriarchy, radical cultural feminism
EKSPLOITASI SEKS YANG DIALAMI SRINTIL
DALAM NOVEL
THE DANCER KARYA AHMAD TOHARI
Oleh Olivia Dilla Christiana
INTISARI
Tesis ini menganalisis eksploitasi seks didalam novel The Dancer karya Ahmad Tohari.Tujuan penelitian ini adalah untuk mengetahui bagaimana eksploitasi seks dalam bentuk prostitusi dan pornografi digambarkan didalam novel.Untuk mencapai hal tersebut, penulis mengaplikasikan teori sastra feminisme radikal-kulturalyang memandang penindasan terhadap kaum wanita; laki-laki sebagai subyek dan wanita sebagai obyek.Dalam hal ini, penulis bertindak sebagai feminis dan menggunakan metode ‘membaca dari sudut pandang wanita’. Penulis menemukan bahwa Srintil, sebagai ronggeng, menjadi obyek prostitusi dan pornografi. Di dukuh Paruk, prostitusi digambarkan ketika Srintil harus melayani laki-laki, sementara dukun ronggeng bertindak sebagai mucikari. Sedangkan pornografi terlihat ketika laki-laki memandang Srintil sebagai seorang pelacur yang tubuhnya bisa dinikmati, terlebih ketika dia sedang menari di depan banyak orang. Masyarakat di dukuh Paruk percaya bahwa menjadi ronggeng bertujuan untuk melestarikan budaya. Namun pada kenyataannya, Srintil hanya menjadi korban kekuasaan laki-laki dalam sistem patriarki. Dengan demikian, penulis menyimpulkan bahwa masih ada bentuk penindasan terhadap wanita dalam karya sastra. Penulis pun keberatan dengan segala bentuk penindasan dan eksploitasi seks baik dalam karya sastra maupun dunia nyata.
Kata kunci : eksploitasi seks, patriarki, feminis radikal-kultural
CHAPTER 1
INTRODUCTION
1.1.
Background of Study
The unequal rights between men and women in social life such as in education, employment, politic, and economic sectors have become a never ending discussion among feminists. They have fought and concerned about these matters since the 18th century. They have fought to make their rights equal to men.They consider women are human beings that have the same rights in social life. This issue involves male’s domination or male’s supremacy. For instance, in the past, education was only for boys while the girls were only at home, wives only took care of their children, and there are any other inequalities towards women.In society, women often become objects of oppression because of their weaknesses.Therefore,there are many human trafficking in society and the victims are mostly children, girls,and women. They are delivered to brothels by irresponsible people and they become the object of sex exploitation. They take the profit from sex exploitation.In any cases, children, girls, and woman sold into brothels become victims of prostitution. Besides, they also become objects of pornography as well. The men enjoy the beauty of female’s body from either pictures or porn movies. In this case, the men become subjects and the women become objects.Thus, sex exploitation is also one of the issues that must be concerned.This is a violation of human right.
Jeffreys states in her book Industrial Vagina about the definition of sexual exploitation and it is based on the subject of the 1991 Draft UN Convention against sexual exploitation. She states that “sexual exploitation is a practice by which person(s) achieve sexual gratification, or financial gain, or advancement, through the abuse of a person’s sexuality by abrogating that person’s human right to dignity, equality, autonomy, and physical and mental wellbeing” (3). Based on this statement, sexual exploitation is a practice done by person(s) to get benefits or advancement to get promotion in a certain position.For example, giving a lure (a prostitute) in order to get higher position in a company. Thus, the prostitute become an object of sex exploitation.
Sometimes sex exploitation happen because of poverty, innocence, and lack of education which make women deceivable by a group of people. Besides, patriarchy system also becomes the cause of sex exploitation. In this system, the dominance of male’s hand also is the cause. Therefore, women only have small opportunity in society and they cannot explore their abilities easily while men have more opportunities. From this condition, men dominate many fields in social life. As a result, men can control the society. Kate Millett, one of the feminists from the United States, stated that male control over the public and private world maintains the patriarchy system. That is why male control must be eliminated to liberate women. To eliminate male control, men and women have to eliminate gender—specifically, sexual status, role, and temperament—as it has been constructed under patriarchy system (Tong 52). Based on that statement, in patriarchy system, people differentiate someone’s sexual status, role, and temperament based on his or her gender. In this condition, women are positioned beneath the men because men have more power to control them. As a result, women have less freedom and easy to be deceived.
Because of inequalities between man and women in society, the feminists fight for women’s right and uphold feminism as the main ideology.Cambridge Advanced Learner Dictionary defines the word ‘Feminism’as“the belief that women should be allowed the same rights, power and opportunities as men and be treated in the same way, or the set of activities intended to be achieved this state” (Walter 461). It means that the feminists have been fighting for women’s rights in social sectors, such as education, employment, economics and politics.
One of the feminism developments reaches up to the scope of literature world. It means that women are given the rights to write, criticize and evaluate literature products. The development of feminism comes into literature world and give women opportunity to get involved in it. The feminism also becomes one of the literary critics to respond the development of feminism itself (Yasa37). It relates to feminism which studies about feminist criticism in literature and it focuses on women as characters whether it is in short story, prose, novelette, novel or even to the author. In other words, women also have rights to give perspectives, opinions, or ideas in order to evaluate the literature itself (Suharto 18). Showalter in Sugihastuti’s Kritik Sastra Feminism explains that “so far, the representatives of the readers and writers in western literature are men.Feminist criticism shows that the feminists can bring a perception and hope in literature world” (18). The feminists’ perception and hope is insight, knowledge, and thoughts based on feminism perspective.Therefore, by what Showalter explained, the reader can act as a feminist to carry the perception in literary world. Culler in Sugihastuti’s Kritik Sastra Feminis says that ‘reading as a woman’ means that it is reading with full of consciousness and disclosing some presumptions of men’s dominance that is androgynous or patriarch (19). In this case, the writer uses a method of ‘reading as a woman’ to reveal the forms of sex exploitation portrayed in literary work. In other words, the writer positions herself as a feminist to view the literary work.
One of literary works that elevates female character as a victim of sex exploitation is Srintil in the novel entitled The Dancer written by Ahmad Tohari and first published in 1982. The Dancer tells about Srintil’s life of being a
ronggeng dancer in
Dukuh Paruk, Central Java. At that time, Srintil was eleven years old and was crowned as a
ronggeng dancer so that she could not play with other friends at her age. Since that time, she had to follow the rituals as a
ronggeng dancer. In Paruk village,
ronggeng was a symbol of god’s messenger whose name was Ki Secamenggala. That was why the villagers felt enthusiastic to respond the event. Srintil was innocent of being a
ronggeng dancer and she just followed the rituals. One of the rituals that must be followed by her was
bukak klambu. In this ritual, she had to give her virginity to a man who could pay the
dukun ronggeng with the highest price. This was the final ritual for her to become a
ronggeng dancer. As Srintil became a ronggeng officially, she had to sleep with a man after her performance. The man who had a lot of money could enjoy her body, and the
dukun ronggeng continuously took some benefits from her to gain wealth.
Dukun ronggeng said that ronggeng was a tradition which had to be preserved and its presence could make the village wealthy.
Srintil is an illustration of a woman who becomes an object of sex exploitation. Based on the description above, the writer would like to explore the oppressive life, which was experienced by Srintil, and analyze it from a radical cultural feminism perspective. Tong stated that radical cultural feminism is a branch of feminism that focuses on the root of women oppression which comes from the patriarchal system (53). He also stated that radical cultural feminism perspective opposes the patriarchal system, which acknowledges that men have power and rights over women which is called as male’s supremacy to oppress women. It acknowledges that men are the masters and women are the slaves (68).
The writer of this thesis chooses The Dancer because in this novel there are many poor treatments that are experienced by the character of Srintil. Moreover, virginity is only appreciated with a piece of gold and this is very ruthless. Another reason why the writer chooses the novel is that males’ domination are also described clearly in this novel. The character of Srintil is an object of lust contentedness and it is contrastive to radical cultural feminism perspective. Srintil is one of the examples of oppression toward woman and it is described in literature world. In reality, there are still many oppression cases that happen towards women. That’s why the feminists fight for women’s right in both society and literary work.
In addition,The Dancer is originally from Indonesia, and it has been translated into English, Japanese, Dutch, and German. According to Shinobu Yamane inRonggeng Dukuh Paruk, there have been more than fifty theses born from this novel and all of them are from the English Department of Leiden and Lund University—Sweden (Tohari ii). In this thesis, the writer will discuss the woman character that is oppressed in the novel, and the writer would like to relate it to radical cultural feminism perspective, that is to read and to criticize the literary product from a woman’s point of view. It is necessary to be discussed because there are many cases about sex exploitation in the forms of prostitution and pornography that occur in society or that are told in literary works. In this thesis, the writer tries to reveal the sex exploitation which is described in the literary world.
1.2.
Problem Statement
In this novel, Tohari shows how a woman experienced the pressure of life as a
ronggeng dancer. In this study, the writer is going to find the answer to the question below:
How is sex exploitation in the forms of prostitution and pornography experienced by Srintil portrayed in Ahmad Tohari’s The Dancer?
1.3.
Scope of Study
The Dancer tells about a woman oppression that is exploited by the situation in Paruk village.It contradicts radical cultural feminism perspective. In this research, the writer limits the discussion only on the character of Srintil in the novel The Dancer which was written by Ahmad Tohari and focuses on radical cultural feminism perspective that sees the main character as the object of prostitution and pornography.
1.4.
Objective of Study
In this research, the writer wants to find out how sex exploitation in the forms of prostitution and pornography experienced by Srintil is portrayed in Ahmad Tohari’s The Dancer.
1.5.
Significance of Study
This thesis hopefully can increase the readers’ knowledge about feminism and radical cultural feminism theory in literature. Besides, it can help to understand Ahmad Tohari’s The Dancer and to see the sex exploitation in the novel. It also improves the writer’s understanding in seeing sex exploitation in patriarchy system.
1.6.
Theoretical Approach
In this research, the writer uses radical cultural feminism theory to analyze Ahmad Tohari’sThe Dancer. This theory sees the oppression when the man as a subject and woman as an object (Tong 68). The ideology of radical cultural feminism is to advocate the women’s rights from men’s oppression, to break sex exploitation, prostitution, and pornography (Tong 96). Srintil in The Dancer has to be a
ronggeng to preserve the culture. But in fact, she only becomes the object of sex exploitation because in practice she is used as a sexual object in Paruk village.
1.7.
Method of Research
The writer does library research to collect the data of research. The writer reads the novel. Then, the writer tries to find the theory that would be used. The major data are taken from The Dancer by Ahmad Tohari and some sources from books such as Feminist Thought by Rosemarie Tong, KritikSastraFeminisby Sugihastuti Suharto,Analisis Gender dan Transformasi by Mansour Fakih, Gender dan Inferioritas Perempuan by Sugihastuti and Itsna Hadi Saptawan, Theorizing Patriarchy by Sylvia Walby and Industrial Vagina by Sheila Jeffreys. The writer collects the main data from The Dancer, and takes them as the evidences to answer the problem. The writer also relates the main data from The Dancer to the theory of radical cultural feminism and other references.
1.8.
Thesis Organization
The writer organizes the thesis into four chapters.
Chapter 1 is introduction that consists of background of study, problem statement, significance of study, scope of study, theoretical approach, method of research, and thesis organization. Chapter 2 is the theoretical review. This chapter will explain about radical feminism theory that relates to the topic.Chapter 3 is the analysis of the research problem. The writer would like to reveal how sex exploitation in the form of prostitution and pornography experienced by Srintilis portrayed in Ahmad Tohari’s The Dancer. Chapter 4 is the last chapter that is the conclusion.
CHAPTER 2
LITERARY REVIEW
In this chapter, the writer would like to give the explanation about radical cultural feminism perspective and forms of sex exploitation. Firstly, the writer needs to explain about the definition and the development of feminism.
2.1.
Feminism
Feminism is a concept and movement for defending women’s right in society.The goal of feminism is to liberate women from shackle that women cannot explore the abilities and liberate from the pressures whether it is from male dominance or a certain culture.According to Cambridge Advanced Learner Dictionary, feminism is “the belief that women should be allowed the same rights, power and opportunities as men and be treated in the same way, or the set of activities intended to be achieved this state” (Walter 461). Hooks,an activist of feminism states in her book Feminism is For Everybody that “feminism is a movement to end sexism, sexist exploitation, and oppression” (1). Thus, the feminists advocate or support women’s right and equality in society.
2.1.1.
Radical Cultural Feminism Perspective
One of the developments of feminism is radical cultural feminism. Tong in her book Feminist Thought explains that the basic substance of radical cultural feminism is to emphasize the fundamental cause of women’s oppression and it derives from the patriarchy system. As it is known, men controls the public and private realm (52).The ideology of radical cultural feminism is to advocate the women’s rights from men’s oppression, and to break sex exploitation, prostitution, and pornography (Tong 96).
The feminists of radical cultural perspective fight against the male domination and female subordination in the forms of prostitution and pornography through the social life. Walby in her book Theorizing Patriarchy says that physical control over women done by men and forced sexual intercourse is a basic form of oppression against women. The link between patriarchy and male domination of sexuality, heterosexuality, prostitution,and pornography are the central analyses of many radical feminist (118).
Tong describes further that radical cultural feminism perspective rejects the system of male dominance that is seen from the point of view of sexual violence: men as subjects and women as objects (68). Dworkin and Mac Kinnon in Tong’s Feminist object to pornography as the propaganda of patriarchy system.They also claim that sexuality is the primary locus of male power in which women harming gender relations are constructed. Moreover, they claim that because pornographers systematically depict women as less fully human, women deserve less respect and worse treatment than men (Tong 69). Walby in her book Theorizing Patriarchy explains that radical feminism is distinguished by its analysis of gender inequality in which men as a group dominate women and are the main beneficiaries of the subordination of women (3). Along with these matters, radical feminism develops into radical cultural feminism. It concerns with the ideology of sexual objectification as it is said that men as subjects or masters and women as objects or slaves based on patriarchy system. It can generally support male sexual violence against women (Tong 66). Thereby, radical cultural feminism stands for the women who are oppressed, discriminated, exploited, and neglected by men.
2.1.2.
Patriarchy System
Patriarchy in a literal sense means ‘ruled by father’.Nanda and Molital explain in their book Human Right, Gender, and Environment; “It usually refers to the domination of father-husband within a family and the subordination of wife and children. The use of the term ‘patriarchy’ thus implies that the system of male power in society both reflects and stems from the dominance of the father in the family”(160). The relation of dominance in patriarchy has two sides called sex and gender. In this case, the exploitation and discrimination also become part of sex and gender. Sex is human biological form such as physical organ between men and women, while gender forms men and women behavior. For instance, man is a tough, strong, firm, and a hard worker. Meanwhile, woman is a weak, helpless, and defenseless person. These characteristics label takes place in a long process so there is a perspective that men can control over women while women can only accept the situation helplessly. From this point, the women’s oppression appears in society or some culture.
Septiawan and Sugihastuti in their book Gender dan Inferioritas Perempuan explain that through sex and gender, structuralism is formed in society in which men have higher position than women. This thing proves that the involved interaction demands one of the sexes that is more superior to the others. The men are the winners; they have larger authority and roles determiner in social process. In this case, women’s role also encounters negative perspective that includes their role and status in society. Moreover, women inferiority appears in social life as a trademark (82-83). For example, men have chance to get higher education, while women are commonly placed only as housewives.
Women inferiority is also found in patriarchy system in society or certain social culture. That is why the basic gender discriminations and exploitations are widespread into society. Gender itself has an impact on pressure toward woman. It is not something natural, but it is formed by the society and culture in a long process as the writer explained previously that patriarchy gives a reference to the society itself. For instance, women are fully responsible for children’s education and domestic affairs while men only work and make a living. In fact, this activity can be done by two parties and it is not always done by women. The view of gender also brings a seal that women are categorized as weak and helpless persons, so this is one of the factors of male superiority.Besides, it brings the gender differences between men and women in social life; that is why social inequality is also shaped in this situation. Fakih explains in his book Analisis Gender dan Transformasi that the form of god’s fate or women behind men becomes a paradigm in social life, and it brings a limit space over women and brings freedom and power over men. If we take a look at gender and violence, such as sex exploitation, prostitution, pornography, molestation, enforced sterilization and sexual and emotional harassment, the victims mostly are girls and women. These are the products of men power over women (7-20). The patriarchy system causes woman oppression since it emphasizes on men’s superiority in society.
Structuralism of patriarchy gives the unfair impact and poor treatment to women. There are many kinds of poor treatment such as domestic violence and public violence in the patriarchy structural system(Septiawan and Sugihastuti 85).From the review of system itself, Jeffreys concludes in her book The Industrial Vagina, that patriarchy gives the conclusion so that the reason of oppression towards women is horribly simple; men want their power, and for that reason, they will keep women in a state of subordination to maintain it (viii). That is why patriarchy system leads the oppression in social life.
2.2.
Sex Exploitation
Based on Cambridge Advanced Learner’s Dictionary, the word ‘sex’ is “physical activity in which people touch each other’s bodies, kiss each other, etc. This activity is related to and often includes sexual intercourse” (Walter 1165). Meanwhile, the word ‘exploitation’ is categorized as a noun which means “when someone uses someone else unfairly for your own advantage” (Walter 436). From those definitions, ‘sex exploitation’ is physical activity in which people touch each other’s bodies, kiss each other, etc. related to and often includes sexual intercourse done by someone to someone else unfairly for his or her own advantage.
According to an article “Sexual Exploitation Law and Legal Definition” on USLegal.com, ‘sexual exploitation’is “taking the advantage of sexuality and attractiveness of a person to make a personal gain or profit” (1). Since the victims of sex exploitation are commercialized by irresponsible people to get benefits, it can be called as sex exploitation. Based on an article “Commercial Sex Exploitation of Children Law” on USLegal.com,it is stated that “the forms ofsex exploitation are prostitution, pornography, and transactional sex” (1). These forms of sex exploitation are called sexual organs utilization. These actions break individuals’ life and freedom rights.
Sex exploitation often becomes a major point in the discussion of feminism. Moreover, the victims are mostly children, girls, and women. Irresponsible people who take advantage from the victims’ weaknesses cause bad impact on them.
2.2.1.
Prostitution
Prostitution is one of the sex exploitations that happens in society. The irresponsible persons sell girls and women in order to take benefit from them. Millet in her book Sexual Politics explains about sexual politics in society. She said “the term ‘sexual’ refers to gender and ‘politic’ refers to power-structured relationships. This is an arrangement whereby one group of persons is controlled by another. It will attempt to prove that sex is a status category with political implications”(24). The practitioners, the pimps, use power-structured to gain benefit. For instance, a woman is used as an object or money-making machine by the pimps. They form a system of feudalism where there are a boss and slaves.
The radical cultural feminism develops the point of views that prostitution is a practice done toward women that has relation with sex exploitation. Jeffreys in her book Industrial Vagina states that “prostitution is a harmful cultural practice.It is overwhelmingly a practice that is carried out through and in the bodies of women and for the benefit of men” (10). Suhendarsyah in his scientific article, says that “prostitution is the sale of sexual services such as oral sex and sexual intercourse. And, someone who sells sexual services is called prostitute or commercial sex worker ” (1). Besides, based on Pardede in her article “Prostitusi”, there are some forms of prostitution. They are concubine, call girls, b-girls, gold diggers, hostes, and gigolo (1).
Radical cultural feminism sees prostitution as a main problem in society that will disappear along with woman equality (Jeffreys 1). The radical cultural feminists want to fight against sex exploitation in the forms of prostitution and pornography.
2.2.2.
Pornography
In nineteen sixties, radical cultural feminism arose in the west because of the reaction to the social sexism culture or discrimination and sex differences. The movement was particularly important in order to fight against sexual violence and pornography (Fakih 84). Based on
Undang-Undang Republik Indonesia No.44 Pasal 1 tahun 2008 tentang Pornografi, “pornography isa picture, sketch, illustration, photo, writing, voice, sound, animation, cartoon, conversation, or body movement containing obscenity or sexual exploitation ” (1). In other words, pornography is an exploitation of someone’s body because it showsan eroticism in the form of pictures, words, or sounds.
Sa’abah in his article “Perilaku Menyimpang dan Seksualitas Kontemporer Umat Islam” explains about pornography based on language etymology and its development. He says that “pornography comes from Greek “porne” which means a whore and “graphein” which means writing. Based on these words, the main object of pornography is women. Also, pornography means obscene that is known as a description of erotic behavior using pictures or words to raise the lust. Sa’abah also describes the definition of pornography stated by Ernest and Seagle as follows: “Pornography is any matter odd thing exhibiting or visually representing persons or animals performing the sexual act, whatever normal or abnormal”. In other words, pornography is any kind of forms that visually presents human or animal do sexual action either normally or abnormally. Therefore, the pornography terms contain pejorative meaning about sexual things. In addition, he devides the types of pornography into three definitions. Firstly, pornography degrades women value. Secondly, the erotic of dirty pictures, rude words, and vulgar humor that bring a degradation to women’s life and destructive behavior which relates to human mentality. Thirdly,the definition becomes a background of porn action because it relates to action that aims toward destructive things through sexual activity. It can be direct touch and seduction or physical contact such as rape and adultery (1).
Pornography clearly gives a negative perspective towards women. In this case, women are mostly displayed as an object of pleasure, so it will degrade women’s dignity in society. From this point of view, radical cultural feminism opposes pornography as a form of sex exploitation.
CHAPTER 3
THE PORTRAYAL OF PROSTITUTION AND PORNOGRAPHY EXPERIENCED BY SRINTIL
The chapter discusses the portrayal of prostitution and pornography experienced by Srintil. The writer uses the principle of ‘reading as a women’ to reveal the sex exploitation in literary work. The sex exploitation has become the point of oppression toward women as objects in patriarchy system as seen in Ahmad Tohari’s The Dancer.
3.1.
Object of Sex Exploitation
In the novel, copulation is used for the preservation of culture in
Paruk village. Srintil becomes the victim of the wrong culture. Being a
ronggeng, Srintil does not only become a dancer, but she also has to sleep with men. She also gets poor treatment for being an object of prostitution and pornography. The writer of this thesis discusses prostitution and pornography experienced by Srintil that are portrayed in Tohari’s The Dancer. In this case, Srintil also becomes the object of men’s lust. The writer of this thesis discusses the sex exploitation in the forms of prostitution and pornography experienced by Srintil.
3.1.1.
Object of Prostitution
The purpose of a
ronggeng is to preserve a custom in Paruk village. In fact, a
ronggeng dancer not only dance on a stage, but also gives a service to the men who want to sleep with her. Practically, Srintil is created to be an object of prostitution. Firstly, the writer would like to define the meaning of object of prostitution. Based on Cambridge Advanced Learner’s Dictionary the word ‘object’ is defined as“a person or thing that is affected by the action of something or involved in the result of action or the result you wish to achieve by doing it’’(Walter 867) and the word ‘’prostitution’’ is the work of prostitute” (Walter 1015). Meanwhile, according to Suhendarsyah, ‘prostitution’ is the sale of sexual services such as oral sex and sexual intercourse”(1). So, the object of prostitution is a person affected by the practice of prostitution.
As a
ronggeng, Srintil has become an object of prostitution. A
ronggeng must be possessed by men. It means that men can sleep with her and enjoy her body as well.In this situation, Srintil is positioned as a person who does not have a choice to quit from being a
ronggeng after knowing that a
ronggeng is not only a dancer but also a woman who has to sleep with many men. It is clear that she has to obey the rule of being a
ronggeng as explained before. The obligation of being a
ronggeng has been managed by the custom. The obligation itself makes Srintil have to sleep with many men who pay the dukun
ronggeng. It is not different from a form of prostitution in which Srintil has to satisfy men’s lust and the object of prostitution. In other words, the subjects of prostitution are men, and the object is Srintil as it is seen from the statement: “I believe that Srintil was born to be a
ronggeng dancer, a woman who was possessed by all men” (Tohari 51).
The main purpose of cultural preservation is to mantain the existence of
ronggeng dance. Moreover, there is a belief in Paruk that a
ronggeng will make the village prosperous. Ironically, there is a prostitution in the practice of being a
ronggeng, that is, sleeping with men with payment. So, Srintil is not only a
ronggeng dancer but also sex worker (prostitute).
A ronggeng, according to the story, is a woman who can dance elegantly and has to be willing to sleep with men. To be a
ronggeng is not easy because Srintil has to pass the rituals. One of the ritual is
‘bukak kelambu’. It is ceremony in the form of contest for men who want to sleep with a virgin
ronggeng. A man who follows the contest has to give a bride price to
dukun ronggeng. After that, the man has a right to take the
ronggeng’s virginity. In this case, there is another proof portrayed as a prostitution which is transactional sex. It is about selling and buying sexual service. In this novel, Srintil becomes the object of prostitution that is bought and sold. It can be concluded as a form of sex exploitation which is called as transactional sex in prostitution. In The Dancer, men are considered as if they have power and wealth while women only an asset that can be bought and sold through bargaining system. The following quote indicates that Srintil becomes the object of transactional sex in prostitution. “Right now, all I have are two silvers rupiah. I want to offer these to you an advance, there’s still another day left and probably by then I can get the gold piece,” said Dower to the man who wants to enjoy the
bukak kelambu (Tohari 59). On the bargaining, the requirement from Mr. Kertareja is a piece of gold, but he was disappointed because Dower only brought two silver coins which was actually not the requirement to enjoy Srintil’s body. Kertareja said to Dower: “All right, I’ll accept you cash advance but tomorrow you have to bring a gold piece. If not, you lose the contest and your cash advance.” Dower said “You mean, if I fail to bring a gold piece I lose my cash advance?.” “Yes!” replied Kartareja curtly, his face tinged with cunning (Tohari 60). On the next day, Dower brought an ox as additional payment to Kartareja. He changed the requirement because he could not bring a gold coin to Kartareja. Nonetheless, Kartareja felt happy even though he did not show it. The situation shows that Mr. Kartareja uses Srintil as a barter to get the cash in advance while he is still waiting for the gold piece. In other words, Kertareja tries to take opportunity by using Srintil to get an ox, two silver rupiahs, and a gold piece. In this situation, Srintil becomes the object of prostitution in the form of transactional sex, while the subjects are the
dukun ronggeng and Dower.
At the night that had been decided, there was another young boy who brought a gold coin. This was what Kartareja was waiting for. The young boy named Sulam. He believed and stated that he could afford the requirement which was asked by Kartareja. Sulam said in arrogant voice. It is a prostitution that shows a selling and buying of Srintil’s virginity, as it is seen in the quotation below:
“You organized the
bukak kelambu for this evening didn’t you?”, “That’s right”, said Kartareja. “So why are you asking me I’m here? Do you think I’d come all the way to Paruk if I didn’t plan to have some fun with the
ronggeng?”. “If that’s the case you must have the gold piece with you,” Kartareja replied. “That’s an insult, you don’t seem to know who I am. Of course I brought the gold-piece not silver coins or an ox,” retorted Sulam, glancing scornfully at Dower(Tohari 73).
On the night of
bukak kelambu, Srintil had to sleep with the men who paid the
dukun ronggeng. It was the last requirement of being a
ronggeng that has to follow. This situation is not different from a form of prostitution and the object is Srintil. Mr. Kartareja and Mrs. Kartareja forced her to sleep with two men over night. This treatment is clear that this situation is like a pimp to the prostitute where there is a boss and a sex worker (object of prostitution). After sleeping with Dower, Srintil felt hurt on her belly. She tried to refuse to sleep with Sulam, but Mrs. Kartareja kept persuading her. It is seen in the statement
“Two silver coins and a buffalo now belong to you. You are a wealthy child, aren’t you happy?”.Srintil nodded her head, although her abdomen ached. “You still have yet to receive a gold piece. You want that, don’t you? When Sulam awaken later, he’ll come in here.” Srintil eyes open wide and her voice was hoarse as she spoke to Mrs. Kartareja. “You mean I have to entertain Sulam too...?” “It’s nothing worry about. Is it? You will be the only child in Paruk village to have a gold piece.” Srintil replied, “But my belly hurts, Grandma it’s really hurts.” Mrs. Kartareja kept persuading “I once experienced something like this, My beautiful child, believe me. It’s nothing worry about. Just think a gold piece... Rest now, as long as Sulam is still snoring’’ (Tohari 79).
Although Srintil felt hurt on her belly, the
dukun ronggeng kept persuading her to sleep with two men (Dower and Sulam). Besides, the
dukun ronggeng had received the payment and did not want to disappoint Dower and Sulam. The framework of prostitution is clear in this situation and Srintil becomes the object. The
dukun ronggeng only thought about wealth and money. From this situation, Srintil gets inhuman and violent treatment. Meanwhile, Mr. and Mrs Kartareja, Dower, and Sulam are the subjects because they take benefits from this
bukak kelambu event.
From the quotes about
bukak kelambu, there is someone or people who gets benefits from ‘
bukak kelambu’. Firstly is the
dukun ronggeng because Kartareja succeeds to deceive those men (Dower and Sulam). Mr. Kartareja gets a piece of gold, two silver coins, and an ox.Secondly is Dower who finally can enjoy Srintil’s body firstly, and thirdly is Sulam who also can enjoy Srintil’s body after Dower. It clearly shows that Srintil is being the object of prostitution that is bought and sold. The framework of sex exploitation is like a buyer and seller. There is also an intrigue which is shown by Mr. Kartareja and Mrs.Kartareja to get wealth and the object to use is Srintil. The writer agrees that this is also one of the forms of sex exploitation which is called transactional sex in prostitution. It is covered by the culture in Paruk village. The writer concludes that the bargaining between Mr. Kartareja and the two men, Mr. Dower and Mr. Sulam, in
bukak klambu event is a prostitution. Mr. Kartareja takes benefits greedily from the
bukak klambu. Meanwhile, as customers (Dower and Sulam) get their right to sleep with the virgin ronggeng, who is Srintil after giving bridge prices. Therefore, the subjects of this prostitution are Mr. Kartareja, Dower, and Sulam, and the object is Srintil.
In The Dancer, Srintil also becomes a concubine. Usually, concubine can become a whore in a prostitution community. It depends on condition and situation. A concubine has to give sexual service to men. Cambridge Advanced Learner’s Dictionary defines a concubine as ‘’a woman who in some societies, lives and has sex with a man, she is not married, she is a lower social rank than his wife or wives’’(Walter 256). This terminology is used for a woman who is kept by rich men. The woman who becomes concubine lives in a luxurious style. The men who keep a concubine will give her special gift such as a big house or expensive jewellery. However, in returns, a concubine has to give sexual pleasure to the rich men. In The Dancer, Srintil became a concubine of Lie Hian and got wealth such as gold, necklace, a pendant made of gold, gold bangles, and diamond earrings. Sakarya, her grandfather, got his house renovated. In other words, making his grandchild, Srintil, became a concubine is a sex exploitation because he got some benefits. So, the subject of the prostitution is Sakarya and the object is Srintil. It can be seen from the following statement:
“Look, it’s only been a few months since she’s become a
ronggeng and she is wearing a gold necklace. Her pendant is also made of gold... You may know where that
ronggeng got pendant. But I bet you don’t know who gave Srintil her necklace,” replied other woman. “That adulterous headman from Pecikalan?” “No, he replaced the grass roof of Sakarya’s house with zinc sheeting. He didn’t give the ronggeng a necklace’, “So who did?” “ LieHian!” The Chinese man who owns the ciu distillery. Just you watch soon Srintil will be wearing gold bangles or maybe even diamond earrings.” (Tohari 84).
One day, Simbar and Babah pincang who were sellers in Dawuan tried to persuade Srintil to sleep with them. They knew that Srintil could be enjoyed whether it was from her appearance or on the bed. After Srintil became a
ronggeng officially, many men wanted to sleep with her. Hence, to that sellers, they wanted to flirt and enjoyed her body, besides dirty mind also appeared in their minds. Simbar and Babah pincang saw Srintil as a prostitute that could be bought and enjoyed for sexual pleasure. There is a form of prostitution, and the object is Srintil that can be seen in the text below:
Simbar, a soap seller, spoke to her, with his eyes gleaming “Hey lovely lady, I know that in
Paruk village the people use a stone to scrub themselves when they wash. But that’s not suitable for you, wash yourself with my soap. I won’t charge you anything if you leave your bedroom door open for me”. Babah Pincang also says in slurred voice, “I have leather sandals for sale, velly cheap. Good quality. So, you girl not walk with naked feet. You have velly good legs. Take my sandals. Later l want pay when I sleep in Palluk Village” (Tohari 85-86).
Simbar and BabahPincang are the men who are attracted sexually to Srintil’s body. They try to bargain her because of sex reasons.The assumption of prostitute is labelled to Srintil by society and that is why those men try to bargain for sexual pleasure. The figure of prostitute is formed because of ronggeng status. Srintil is used as the object of prostitution for men. In this sense, these ruthless words come out from men’s mouths and contain degradation of awoman’s dignity. The perspective of cheap woman is labelled on the character of Srintil. This is a form of prostitution because Srintil is the object that can be bought with goods, which are soaps and sandals, while the subjects are Simbar and Babah Pincang
One day, Mrs. Kartareja gave a massage to Srintil’s womb so that she could not get pregnant and the womb became infertile. This is one of the forms of maltreatment, human manipulation, and violence toward woman. These forms happen in prostitution because of economic reason. IfSrintil cannot get pregnant, it will benefit the men or women who exploit her. What Mrs. Kartareja does is a manipulation that associates with sex or copulation with men. The advantage can be for an individual or a group of community with a reason of cultural preservation. In the story of Srintil, sterilization is the form of reaching target for the
dukun ronggeng to get rich. If Srintil gets pregnant, the dukun
ronggeng will get no income anymore. So, the
dukun ronggeng gives a message to Srintil to make her infertile and does not have to worry because Srintil can still sleep with many men in order to get more money. The treatment of making her infertile given by Mrs.Kartareja to Srintil is like a pim’s treatment to a prostitute. The pimp gets benefits from the prostitution. In this case, the subject of prostitution is the pimp, who is Mr. Kartareja and the object is Srintil. Mrs. Kartareja is only an assistant and a practitioner of Mr. Kartareja whose job is giving a massage to Srintil. The quotation below is an evidence that Srintil is being the object of prostitution :
“I had strong feeling that Srintil had begun to be haunted by the realization that Mrs. Kertareja had massaged her womb in a way that had somehow destroyed her ability to reproduce. The
dukun ronggeng and his wife would have believed that they had to do this because custom in Paruk dictates that a
ronggeng’s career would be finished with her pregnancy’’(Tohari 93).
In the world of prostitution, the pimps have an authority to the prostitutes. They have command to be executed by the prostitutes. The command is to give sexual services to men. In this system, the pimps get benefit from prostitution. The more men sleep with the prostitute, the more money the pimps will get. Sometimes, the prostitutes try to refuse the command, and it makes the pimps angry. However, the pimps have full authority over the prostitutes, so they can not refuse anything ordered by the pimps. From this situation, the prostitutes get oppression from the pimps. In The Dancer, Mrs. Kartareja feels disappointed because Srintil did not want to serve Marsusi who could give her hundred gram of gold. Srintil refused him and it made Mrs. Kartareja feel very disappointed. The bad words that are pointed out directly to that
ronggeng dancer (object of prostitution) are kind of non-physical violence which is violence through words which insult her. As the object of prostitution, Srintil gets non-physical violence and it can give bad impact on Srintil. The impact is psychological pressure toward her. The quoted text below can be a proof which indicates the non physical violence toward Srintil as the object of prostitution:
“So this is the way you repay our kindness? We provided you with the means to be prosperous, but this is what we get in return; completely humiliated by Mr. Marsusi. You, offspring of Santayib, you’re nothing!!!... And yet you have the nerve of reject a hundred-gram gold necklace? Do you think you’re rich? If you didn’t like the necklace, you should have taken it for me..!!! You should have serviced Mr. Marsusi anyway because everyone knows you are a ronggeng and a whore!” (Tohari 162-163).
Mr. Kartareja tried to hold his wife’s anger but Mrs. Kartareja could not hold her anger. She spitted disdainfully toward Srintil. This shows a degradation of human being.
“Enough enough... “ Kartareja, trying to restrain his wife’s fury. Her chest heaving. Mrs. Kertarejareleased the remainder of her rage by spitting bitterly in Srintil’s direction. Srintil remained silent, Mrs.Kartareja went insided and slamming the door loudly. Tears poured from her eyes. The determination she had shown in facing Marsusi collapse, broken-down by the references Mrs. Kartareja to her dead parents” (Tohari 163).
Srintil refused to sleep with Marsusi. This made the
dukun ronggeng not get a hundred-gram gold necklace. This situation shows that the
dukun ronggeng became the subject of prostitution and the object is Srintil.
In The Dancer, Srintil also became a
gowok. Gowok was a woman rented by a father for his son that had already grown up and was about to get married. A
gowok would give lessons about many things to a young man.It started from kitchen needs to sexual needs. So, when the young man got married with the woman, he knew what should be done.Sentika knew that Srintil was a ronggeng who slept with men and that was why Sentika offered her to be a gowok.Being a
gowok is actually similar to being a prostitute. She is paid for sexual activity to the young man. In this situation, Srintil becomes an object of prostitution covered in cultural system, in which a young man should be taught by a
gowok before getting married. Moreover, being a
gowok shows a degradation of women’s dignity because as a woman, Srintil can be enjoyed by many men. Whereas, a woman can only be possessed by a man in a husband-wife relationship.
In The Dancer, the men consider that money is the source of power because they can enjoy Srintil’s body to fulfill their lust. So, Srintil’s position is always beneath men because she becomes an object that can be paid. In this case, Srintil becomes an object of prostitution that is positioned as the buyer’s wish. So, the subject of this prostitution is Sentika, and the object is Srintil. It can be seen on the following statements:
Sentika persuades Srintil “You think it is ridiculous? Fine. But you, young beauty, you’d be willing to be a
gowok for my son, wouldn’t you?”.Srintil laughed... “I don’t know. What do you think?”.... “But I’ve never been a gowok” Srintil explained. Sentika interrupted, reaching into his pocket “So, you’d have a new experience, this money here is an advance for a performance and for your work as a gowok. You can have it all if you are willing to do both.”Sentika put a gold ring and amount of money on the table. Srintil sat staring in astonishment. Unaware of what she was saying, she mumbled,“Has your son been circumcised?” Sentika replied with a laugh “He was circumcised by circumcision specialist but not yet by you!”(Tohari 220).
While being a
gowok, Srintil also performed as a ronggeng dancer. She did it because of Sentika’s requests. On a festive night in Alaswangkal, Srintil danced as a ronggeng dancer and it was a celebration for Waras, Sentika’s son who was turning into adult phase. Along the night, Srintil became an object of prostitution. When Srintil was performing a ronggeng dancing, the men easily fulfilled their lust. The lust came into men’s eyes while Srintil was dancing. The village chief who was called Pak Lurah was crazy about Srintil’s dancing performance. His lust raised when Srintil was dancing in front of him as if he wanted to posses Srintil’s body. In this case, the subject of prostitution is Pak Lurah and the object is Srintil, as it is seen in the following texts:
The village chief became restless, his senses confused by the gin. Suddenly, the hollow-checked old man stood up and staggered to the center of the stage. Standing with his legs wide apart and his arms open, he began to dance, inviting Srintil to join him. He sang a traditional song, but his words were disjoined and slurred, and his voice is sluggish. His face was burning red with lust and alcohol(Tohari 237).
Srintil always becomes a symbol of sex to the men whenever she dances. Every man dances lustfully with Srintil and touches any parts of her body such as breast and cheeks. This shows that the men consume her sexiness. So, it is obvious that the subjects are men and the object is Srintil. It is seen in the following text:
During that time, she had accommodated the men who wanted to dance; many of them had been satisfied only after she had sat on their laps. Two or three times she had retreated to her room to straighten her clothes, especially those covering her chest. Equally often, she had to re-apply powder to her face, particularly to her cheeks when she was most often touched. (Tohari 237).
The custom of
ronggeng, either being a dancer or a
gowok, makes Srintil become an object of prostitution that is coveredby the cultural system in Paruk village. It is humiliating for women. Besides, a
ronggeng dancer is positioned as an object as she can be bought or rented by money. The writer thinks that it is the same as a form of sex exploitation named prostitution.
From the explanation above, a
ronggeng dancer is only a status that makes the body available to the men. The body is displayed through the body movement. More than this, the body is allocable to the men who have money. From this point of view, there is no private place for a
ronggeng dancer. She belongs to the public and as an economic function. The utilizations of woman’s body become an erotic object and make them into economic reason. At the end,the status of being a
ronggeng has changed.
Ronggeng becomes an instrument of exchange for economic reason (get wealth from the customers of the
ronggeng) and for sexual pleasure (get pleasure form seeing the eroticism of the
ronggeng’s body). Thus, in the novel, prostitution includes selling and buying for sexual service. It can be seen on the
bukak kelambu event, there are two men who give the bride price such as an ox, silver coin, and gold coins, and the
dukun ronggeng wants to have all of them. So, it is called framework of prostitution because selling and buying for sexual service become the way to get wealth for the
dukun ronggeng. In other words, the
dukun ronggeng becomes the pimp and Srintil is the prostitute.
3.1.2.
Object of Pornography
Previously, the writer has statedthe etymology of ‘pornography’ in chapter two. The word comes from Greek, “porne” which means a whore and “graphein” which means writing. Therefore, pornography mostlyrefers to women and whores, like what the writer explained. In other words, pornography is a kind of woman harassment because it degrades woman value. In this case, pornography makes woman lose her value. That is why radical cultural feminism opposes this matter and act against this matter. Pornography gives a position to women as the objects that can be enjoyed, possessed, bought, and sold. Finally, women do not have privacy to their life.
Before discussing Srintil as an object of pornography, the writer defines the definition of object of pornography. As stated in Cambridge Advanced Learner’s Dictionary, the word ‘object’ is “a person or thing that is affected by the action of something or involved in the result of action or a reason for doing something or the result you wish to achieve by doing it”(Walter 867). The word “pornography”, as defined by Ernest and Seagel in chapter two is ‘’any matter odd thing exhibiting or visually representing persons or animals performing the sexual act, whether normal or abnormal” (Sa’abah). Based on
Undang-Undang Republik Indonesia No.44 Pasal 1 tahun 2008 tentang Pornografi, “pornography isa picture, sketch, illustration, photo, writing, voice, sound, animation, cartoon, conversation, or body movement containing obscenity or sexual exploitation ” (1). So, object of pornography is a person or thing that is affected by the action exhibiting or visually representing persons or animals performing the sexual act, whether normal or abnormal in the form of a picture, sketch, illustration, photo, writing, voice, sound, animation, cartoon, conversation, or body movement containing obscenity or sexual exploitation.
In fact, women mostly become the object of pornography activity. It cannot be denied that there are also men that become pornography objects. Yet, the presentation and marketing environment is not as significant as women. Therefore, it can be said that pornography is a kind of media that is actually created for men. A woman often intensively appear as an object of pornography, so men will consider that woman is someone who has function and role as men’s lust satisfier. Thus, they feel that it is normal and legal to keep utilizing women and make them part of men’s imagination. That perspective will push men to degrade women. It will cause many sexual harassment practices which are done innocently without any burden. Pornography gives a position to women as objects to be enjoyed, possessed, and commercialized. From this circle, women do not have any rights to their own lives. Women’s bodies become place to men’s power because they think that women can be a place of sex pleasure for their desires. In brief, women mostly become victims to pornography impacts. This is also called as sex exploitation toward woman in a form of pornography. In this case, Srintil become the object of pornography and it happens to her in The Dancer. Moreover, her presence is displayed as pornography icon.
There are many kinds of pornography. These can be pictures, words, or sentences with vulgar humorous words. In The Dancer, Srintil is related to lust and desire for men. Srintil as a
ronggeng dancer also has a duty to satisfy men’s desire. When Srintil danced, Sakum who was the drummer always gave a sign with humorous vulgar words. Each time the drum started beeping,Sakum always gave a sign of lust to the male audience. When bawdy words came out from Sakum’s mouth, the ovation adorned lustfully. In this situation, Srintil becomes a
ronggeng whose body can be enjoyed by men and the bawdy word also becomes a sign of lust whenever the drum is beeping.
The bawdy word that comes out from Sakum’s mouth is ‘
Chiiiisss’. Whenever Sakum says this word, the men would be noisy. Clamour comes around the audience. They look at Srintil’s body. From the word ‘
Chiiiss’, the figure of Srintil becomes an analogous figure toward a form of pornography. It can be seen in the following text:
Sakum, despite his blindness, could follow a
ronggeng performance with precision, as if he could see, Sakum would let out a bawdy shout exactly when the ronggeng dancer swivelled her hips back and forth. At the precise moment the ronggeng aroused her male audience, Sakum’s sharp voice would make as sound that had become renowned;
Chiiiiisss! People said that, without Sakum accompanying, a
ronggeng performance would be dull and flat (Tohari 14).
Sakum has ability to give a sign to the audience. The sign which is given is a kind of signal to the men’s lust. Starting from the beeping of music and the movement of Srintil’s hips are the centre of body to be enjoyed. The word ‘
Chiiisss’ is sounded by Sakum when the sexiness of Srintil’s hips begins to move back and forth. From this movement, the men automatically blow their mind into erotic mind. It is a form of desire and lust which comes from men’s mind. That is why pornography shapes to the men’s mind more and more after the bawdy word ‘
Chiiiisss’ appears as seen in The Dancer: “Sakum continually spiced her performance with lewd shouts and calls, the sound of “
Chiiisss....” always perfectly timed with the thrusting of Srintil’s hips” (Tohari 16). So, the writer concludes that the word ‘
Chiiiss’ is a pornography word.
Chiiss’ is a word that indicates a pornography aspect. In this case, Srintil becomes the object of pornography because Sakum gives a sign of lust from Srintil’s hips movement. Meanwhile, the subjects of pornography are male audience. Additionally, this is also one of sex exploitations because in this case, Srintil’s sexy body is enjoyed freely by the audience.
Another evidence that the word
‘chiiiiss’ is considered as pornography is when Srintil got a sacred ritual at Ki Secamenggala’s cemetery. Sakum with his group of
calung played music for Srintil’s performance. In the middle of
ronggeng performance, Sakum with his ability gave an erotic sign to the audience that was the word ‘Chiiiss’. It began when Srintil thrusted her hips and then bawdy word also came out from Sakum’s mouth. Mr. Kartareja, the
dukun ronggeng who had been possessed by the spirit of Ki Secamenggala began to dance lustfully and the audience shouted lively after hearing the word ‘
Chiisss’. The word ‘
Chiiiss’ is sounded to raise the men’s lust. Pornography shapes automatically to this word and the object is addressed to Srintil. In this case, Sakum is a media of pornography because he gives the sign of eroticism by sounding the word
‘Chiiiss’. The subjects of pronography are male audience and the object is Srintil. It can beseen in the text below:
“Then the
calung ensemble, picking up the mood of Kartareja’s entranced state, started playing songs of a raunchier nature, and the somber atmosphere of the sacred ritual vanished. Sakum resumed this usual role, pursing his lips when Srintil thrust her hips and blowing out a bawdy hiss.
Chiiisss... Chissss....” (Tohari 47).
In The Dancer, the writer also finds sentences that indicate a pornographic description and the object of pornography which are addressed to Srintil. It is when Srintil revealed her breasts. The author gives an impression to the readers that Srintil is a vulgar and cheap woman through the sentences. It may shape a pornographic imagination especially to the men. The writer thinks that it is a degradation of woman’s dignity. Even though it is only a character in literary work, but it also gives a negative sight to woman’s values.It happened when Waras asked Srintil to open her breasts. So, the subjects of pornography are Waras and also the readers, while the object is Srintil. It can be seen from the text below:
Waras says, “Last night I put money down the front of your blouse, let me see if it’s still there?”Srintil answers, “I’ve put already the money away. It’s not there anymore”Waras says “Really? But I still want to see.”... “No”... “You said we were friends, you were just tricking me, weren’t you.”... “Of course not.”Srintil reply.“ So, how come you won’t let me see your chest?”. Srintil could hardly keep herself from laughing. She squatted in front of Waras and opened her camisole, revealing her breasts completely. “See, there’s no money here, okay?” (Tohari 240).
One day, when Srintil came to
Dawuan market, people looked at Srintil lustfully. She becomes an object of pornography to men. This point of view appears to the men because of the custom in Paruk village. The custom is that a
ronggeng dancer is possessed by all men in
Paruk village.Srintil body becomes the object of pornography to be enjoyed. The beauty of Srintil’s body is the central attention to men.It is seen in the following statement: “All men look at Srintil’s body when she comes along to the
Dawuan market. All males’ eyes were trained on Srintil’s buttock or legs, or the pale nape of her neck below her black hair which was tied up in a knot. Coarse remarks could be heard coming from every corner of the market” (Tohari 86). In Tohari’s story, a portrayal of the degradation of woman’s value is very clear in it. In The Dancer, Srintil becomes the depiction of a woman body and sex for men. She is the object of pornography in her village, while the men are the subjects.
Pornography and obscenity are identical to sexual activity. Pornography is related to porn action (such as; pictures, films, words, etc), and obscenity is the result after seeing pornography. Srintil is formed to be an object of pornography because of her position as a
ronggeng dancer. Srintil has a beautiful appearance that excites men. She always gets ovation and scream of desire in each of her dance movement. Besides, men can freely enjoy the beauty of her body during the dance performance. She also dances beautifully and elegantly in front of people. She tries to dance her best. Ironically, people do not see from Srintil’s performance but more than that, they see her as an object of pornography. Sakum, he is a drummer who plays the music in
tayub group. He always gives a sign of lust from his mouth by saying
‘Chiiss’ so that men’s eyes focus on Srintil’s hips. The writer concludes that this is a form of obscenity. It is also a part of pornography to raise audience’s lust.So, the subjects of pornography are male audience that can be seen in the statement below:
During her performance, Srintil remained cool and calm, the audience completely in the grip of her enchantment. They were amazed at the way she flicked her scarf and curved her fingers back, the most difficult hand position for a ronggengdancer. Sakum continually spiced her performance with lewd shouts calls, the sound of “chiss”. Always perfectly timed with the thrusting of Srintil’s hips(Tohari 16).
Based on the statement, the audience only focuses on the sexiness of Srintil’s body foremost on her hips. They see her for pleasure and entertainment only. This woman body is displayed as an object of pornography. The sound of
‘chiiss’ is a sign of lust to the men sounded by Sakum. It is obscenity that relates to pornography aspect,as it is also seen in the following statement below:
Kartareja signalled the drummer. The second that followed echoed with the percussive music of the
calung ensemble, matched by the clapping of almost every inhabitant of the village. Sakum began clowning around, swinging and swaying comically as he played his xylophone, and his bawdy shouts drawing noisy applause (Tohari I6).
The men do not see the meaning of dancing itself, but more than the sexiness of the
ronggeng dancer. The shapes of body become pornography aspect and sexual pleasure. The sound of
‘chiiss’ gives a symbol or sign to the object of pornography which is addressed to Srintil’s hips.
Radical cultural feminism perspective opposes the form of oppression toward women which is caused by patriarchy system. Patriarchy system makes woman powerless. The forms of sex exploitation that are prostitution and pornography are the forms of oppression toward women. As it is seen in the character of Srintil, she becomes the object of prostitution and pornography. It means that she lives in a circle of men’s power that is started from the ancestor (Ki Secamenggala), grandfather (Sakarya), the
dukun ronggeng (Mr.Kartareja), and all men in Paruk village. They change a point of view based on men’s power that a ronggeng dancer is owned by men in Paruk village.
In
The Dancer, Srintil, as a major character, gets unfair and poor treatments.She also becomes an object of lust, and the
dukun ronggeng continuously takes some benefits from her.In this case, some people exploit her in the name of culture. This is in contrast with the purpose of radical cultural feminism perspective fights against an oppression towards women who are positioned as objects/slaves and men as subjects/masters.
CHAPTER 4
CONCLUSION
Tohari’s novel entitled
The Dancer shows many inequal treatments toward a woman named Srintil. The writer reveals the evidences that Srintil, the main character, is exploited and she becomes an object of oppression in the forms of prostitution and pornography. It is caused by patriarchy system that controls the social life, reflected through the poor treatments from men in
Paruk village to Srintil. It is a contradictory with the ideas of radical cultural feminism perspective. Radical cultural feminism perspective fights against the patriarchy system and all forms of sex exploitation and oppression toward women. It also opposes men as the subjects and women as the objects in social life. Srintil in
The Dancer becomes an object of prostitution and pornography. Starting from some events such as
bukak kelambu,being forced to give sexual service many men, being a
gowok, and being a concubine, it is clearly that she becomes an object of prostitution. Meanwhile, when she is dancing, the audience look at her body as an object that can be touched freely. Moreover,many man look at her body movement on a certain part such as her hip and breast when the word
‘chiiss’ said by Sakum becomes a symbol of her sexiness.That word is also a sign of her eroticism that increases the men’s imagination about Srintil’s body. Therefore, it is shown clearly that Srintil’s body, especally her body movement while dancing, becomes the object of pornography.
From this research, it is found that the forms of sex exploitation are prostitution and pronography.The research shows a
ronggeng’s role, function and status is only subordinate. The inequal relationship (men’s domination) gives a result that a
ronggeng dancer is considered only as an object of men’s possession. Besides, she has to be submissive to all men’s desire and becomes an object to give profit to the
dukun ronggeng, family, and society.
In patriarchal system,Srintil is forced to accept the position of
ronggeng as a fate based on the belief in Paruk village. In fact, being a
ronggeng is only a concept constructed by the custom in Paruk. Moreover, the
ronggeng’s role changes from a dancer into a men’s lust satisfier. It means that Srintil as a
ronggeng is only used to fulfill men’s desire and not to preserve the culture.The writer, as a feminist,she sees that there is an oppression toward Srintil, the main character. Srintil is exploited as the object of prostitution and pornography. Based on this case, the writer objects and disaggrees with any kind of sex exploitation because it is a form of an oppression toward women. Although Srintil is only an example of woman who is oppressed seen in literary work, she is actually the portrayal of woman oppressed in reality.Therefore, it can be seen that either in literary work or reality, women are still portrayed as a character who is oppressed and exploited. The purpose of the writer revealing sex exploitation in literary world is to eliminate gradually any kind of sex exploitation and oppression toward women in literary world. This is a way of the writer to reach the goals of feminism in literary world, to make the authors of novels not to exploit and oppress women, and to gain the readers’s knowledge about the forms of sex exploitation in literary world.
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