AUTONOMY AND POWER OF WOMEN BODIES FOR WARANGGANA IN NGANJUK REGENCY

Culture is never separated from the practice of power relations as well as Tayub performances. This article attempts to analyze the autonomy of Waranggana Tayub's body both in the private and public spheres, and to describe how Waranggana Tayub exercises power over his body. This research has used phenomenological qualitative methods. Data has been obtained from observations, interviews, and documentation. The results of the study were analyzed using the theory of power relations put forward by Michael Foucault. The results of the study showed that Waranggana is able to determine his body autonomy both privately and publicly as evidenced by Waranggana determining the boundaries of his body that can be seen and not seen by the audience. In the Tayub performance, there is a game of tug-of-war between Waranggan a and Pengibing which places Waranggana as both object and subject.


INTRODUCTION
Traditional art is always displayed in events both on a local and international scale such as the Asian Games, the world cup, the G20 Summit and other events. Art has a role as a national identity, tourist resource and tourist attraction (Aldianto, et al, 2020). In fact, traditional art is still an icon of welcoming guests in various countries, such as Brazil with the Samba dance, the Bhangra dance from India, to the typical Middle Eastern dance performed by Qatar at the 2022 world cup. Indonesia, which is known for its cultural diversity, has more than 3000 traditional arts spread across 38 provinces (Wedhatami & Santoso, 2014).
In traditional art, the role of women as performers is no longer in doubt. Women are still the main focus of the audience in various shows. Women arts workers face various obstacles such as traditional art which is now at the crossroads of the era. Art performances are also starting to become less popular (Heriyanto, 2015;Setiawan, 2018;Laura, 2016). Society's negative labeling of female arts workers and the vulnerability to acts of harassment on stage are still a real scourge (Sukari, 2009;Darmawanti & Yanuartuti, 2019;Cahyani & Sudrajat, 2021). Studies that have been conducted (Defi, et al, 2022) found that society's antithetical assessment of women's body art still looks down on their profession. Various negative discourses on female performers seem to have been normalized by society. Female performers perceive negative accusations as a risk from their job. Although it is undeniable that changes in traditional art norms that put aside the ritual side to the commercial side have made female artists dare to display a sensual side (Handayani, et al, 2018;Novitasari, et al, 2019).
One of the traditional arts that still exists today in the East Java region is Langen Beksan or commonly known to the public as Seni Tayub. This art is a cultural product of an agrarian society which is interpreted as a fertility ritual (Juwariyah, et al, 2023). Tayub art is usually performed by the people of East Java for various community activities such as village cleaning ceremonies, baby markets (baby births), weddings, stakes, merti bumi (earth alms), building houses, harvesting, wiwit (planting) and boyongan (moving house). (Purwadi, 2017). This art presents the figure of a dancer who is the main attraction in the show called Waranggana or "Ledhek" or "Tledhek". Waranggana in Tayub is a symbol of Dewi Sri who rejects disaster, brings happiness, fertility, a harmonious and balanced life (Prakosa & Siahaan, 2020). Therefore the practice of Tayub Art is carried out based on customs that are recognized by the local community (Purwadi, 2017).
One area in East Java that still preserves this art is Nganjuk Regency. Every year a Gembyangan Waranggana event is held which coincides with the Clean Village event in Sambirejo Village, Tanjunganom District. Like a graduation ceremony, a Waranggana who has taken training in Javanese gendhing dance and singing for about 6 months gets permission to perform at the Tayub art event (Wakidjan in Nugroho, 2018). This proves that being a Waranggana is not an easy profession.
In her performance, a female Waranggana uses her body to attract the attention of the audience, especially the male audience. This is evidenced by the sexual impression that is DOI: 10.24014/ Marwah.v22i1.21678 Marwah: Jurnal Perempuan, Agama dan Jender (p-ISSN: 1412-6095 | e-ISSN: 2407-1587) Vol. 22, No. 1, 2023 displayed on stage starting from the bright clothes, highlighting the sexy body such as the buttocks, chest, hips, and glances in the eyes that increase the audience's desire (Surur and Anoegrajekti, 2004: 26). The Tayub performance is still synonymous with erotic impressions where the escort often touches Waranggana's body parts or inserts sawer money in inappropriate ways, such as inserting sawer money into Waranggana's chest. This problem blurs the boundaries of autonomy and body control privately and publicly from the figure of "Waranggana". As a result, society labels Waranggana negatively because the dance is considered sensual and labeled as inappropriate to be in the upper class or marginalized. Without Waranggana in Tayub art, an event is considered not a blessing or loses its sacredness (Caturwati, 2004: 50).
Based on some of the comparisons above, this article corroborates previous studies related to women's bodies but has a different focus and has never been studied before. The article aims to describe how body autonomy is in the private and public domains for a Waranggana and how they practice power over their bodies as a Waranggana. Michael Foucault 's power relations theory approach is used to analyze this phenomenon . Apart from being different in terms of the focus of the study and the theory used, previous studies have interpreted women's bodies as mere objects or commodities. While this article analyzes women's bodies in the private and public domains and bodies as objects as well as subjects of power. Another difference is in the research method used. This article has used a qualitative method with the type of phenomenological research and data obtained based on the results of interviews and participatory observations so that the problem is studied based on Waranggana's experience in more depth.

METHODS
This study has used a qualitative phenomenological method with a power relations theory approach proposed by Michael Foucault. According to Creswell (2014: 4-5) qualitative research is research that seeks to explore the in-depth meaning of a social phenomenon that will be presented from an individual or group perspective. Meanwhile, according to Husserl, the phenomenological method studies the subjective experience of informants (Sugiyono, 2013 Meanwhile, source triangulation was carried out by examining all data sources from key informants, supporting informants, observations, and documentation in order to obtain valid and credible data.

Tayub Art at Nganjuk District
In the tayub performance, there is one person who is in charge of controlling the progress of the event and determining the rounds of the guest of honor who will dance with Waranggana (Ratih, et al, 2005). Meanwhile, Pengibing is a person who is given the opportunity by the flight attendant to dance with Waranggana whose rotation is based on social benchmarks in the form of social status or certain positions such as village heads, village officials, police, soldiers, businessmen, villagers (Ratih, et al, 2005).
At the beginning, the Tayub art functioned as a fertility ritual. Then this art is transformed into performing arts or folk entertainment. This dance is still sustainable, especially in the northern coastal areas of Java (Hidajat, 2014 The kemben is covered with sampur The kemben is covered with sampur Tips (Getting Money from Audience)

Inserted into Waranggana's chest
Money is placed on a tray, given in a handshake Since 2006, Tayub Padhang Bulan was formed so that the condition of Tayub art is more orderly and accepted by the community. Previously, Tayub was carried out in the "Ubyug" system, where caregivers who had a lot of money competed with each other to give tips to

Waranggana Bodies Both on Private and Public Area
The body is an element that is always in turmoil, both natural and cultural upheavals; private and public; between the self and the other (the other), individual and social. The body becomes a personal right when it is in the private sphere, whereas it becomes a social right when it is in the public domain. The independence of the body will be relative (relative) when it is in the private space. On the other hand, the body does not have absolute independence when it is in Furthermore, the female body is seen as a complex matter. In consumer culture, the female body is interpreted as a meaningful social body. As a body that is displayed in the social sphere, it is general in nature, but also exclusive and bound by the gender ideology that binds it.
Without ideology, we cannot define the meaning of the body itself (Thornham, 2010). The meaning of the body changes from time to time following the mindset of society so that the meaning of the body will always change. The body is not only interpreted based on its biological

Body Power in Michael Foucault Perspective
Culture according to Foucault's view is always related to power and knowledge, because that is where power and knowledge play their role. Relations of power and knowledge always exist in social and cultural spaces, they are everywhere, including art spaces (Setyobudi and Alkaf, 2011). The performances that are displayed on stage or in front of the camera are wrapped in a game of attraction for one another which in the end remains oriented towards a woman's body.
This power makes a woman's body the object of economic interests that govern life (Surur and Anoegrajekti, 2004: 26).
Foucault explains that power can come from anywhere and can be in various places.
Power does not only come from outside, but also from within, setting regulations and relations from certain groups or social conditions (Haryatmoko, 2002;Raditya, 2014: 234). Power takes various forms depending on different conditions. Because power includes practice in certain locations where there are various interconnected strategic positions (in Sutrisno & Putranto, 2005;Raditya, 2014: 234). According to Foucault, power lies within the body and the body becomes the center of power (in Raditya, 2014: 297). Humans who can control their bodies have more power than those who cannot control their bodies (in Raditya, 2014: 272). Women's bodies are positioned as places of contestation (struggle) for power (Foucault, 1997: 87).
Tayub art is seen as one of the patriarchal cultural practices where Waranggana as a woman is positioned as an object to be shown and seen as inferior. But in practice, there is a tugof-war between women and men (Waranggana and Pengibing In rituals that are profane, the contestation of power occurs fiercely. The shift of the body as a subject into an object occurs when the guide plays the power to find gaps in areas that are not highlighted by the camera so that they can touch Waranggana's body, such as embracing  The body becomes the main object of discipline. The body is tempered to become adept so that it can be of use. The system of power is embedded in all body forging procedures so that the body becomes competent and valuable. The body is guided and controlled so that its movements are in accordance with the time. Foucault argues that only a submissive body has value. The process of disciplining the body is submission to the individual's body (Hardiyanta, 1997: 162). In line with this, Waranggana wore conspicuous clothing and jewelery and highlighted several parts of their body as a sign that they were able to take over the power that had so far ensnared them. Through their body Waranggana existence are shown. They consciously use their body to appear beautiful, flexible, smiles a lot in front of the audience not only as an object of power, but also as a subject of power to attract and captivate the audience. The more attractive their appearance in the Tayub show, the more sawer money they will get. The more they are known by the audience, the more job offers for them. Foucault (1997:117) states that where there is power there is resistance. Every time there is a power that operates there is always a conflict against the power itself, which in fact is a resistance that cannot be separated from the relationship of power, because going out of power is an impossibility. Jhon Berger explained the unequal position of men and women where men are placed as subjects while women as objects have been firmly embedded in the cultural space including traditional arts, pop culture, advertisements, pornographic sites (in Lurry, 1998;Setyobudi and Alkaf, 2011) . Men's view of women as objects that are shown not only affects the relationship between men and women, but also how women see and position themselves. A system that places men as sex subjects. While women as objects signify the discourse of power DOI: 10.24014/ Marwah.v22i1.21678 Marwah: Jurnal Perempuan, Agama dan Jender (p-ISSN: 1412-6095 | e-ISSN: 2407-1587) Vol. 22, No. 1, 2023 and knowledge. But will this position always be constant and unchanging? Can there be a cycle where women have the power to use their bodies to dominate men? (Setyobudi and Alkaf, 2011 Waranggana also performs body power as a form of professionalism in their work. There are companions who give negative offers such as "Come on out tomorrow" or "I have money, come on out, I'll take you home later". Waranggana did not respond to such an offer and when they returned home they were picked up by their husbands. There were even Waranggana who were accompanied by their husbands and children until the show was over. She is also able to position herself as a Waranggana who is professional in her work but still has integrity as a woman and a wife.
Waranggana's body politics also occurred when they rejected Pengibing who abused him.
They were moving backwards slowly while dancing when facing Pengibing who got too close to them. Waranggana turned and kept his face away when Pengibing tried to kiss him. Waranggana also used a swift movement to sweep the sampur at the wild Pengibing who was too close to him. They did not hesitate to throw their hands at the companion who was bothering them from behind so that the companion would not harass them. For Waranggana, the job on stage is to sell voices and perform dances, not to be harassed. They try to avoid various forms of harassment that occur. Waranggana also has self-esteem and cannot be abused.
Waranggana faced various disrespectful treatment from Pengibing. On the other hand, waranggana interprets her attire as a protection from the companion who wants to poke her.
Waranggana clothing can be layered and use a sponge that makes several parts of the body stand out. This was done to avoid direct physical touch in the body.
In the struggle for power relations, there is competition between the Waranggana, such as suddenly their voices disappear during a performance, even though outside of the show there is no problem with their voices. Then throwing insults at each other between the Waranggana and trying to look more prominent in terms of sound. Others, Waranggana do silicone injections to make her appearance more beautiful, wearing a large amount of jewelry as a symbol that she is a famous and salable Waranggana. Some of Waranggana's colleagues also ordered him to sing a piece that he could not master with the aim of embarrassing Waranggana in front of the guests.
Outside the arena, Waranggana also often shares job information. However, there are also Waranggana who show dislike for each other, don't want to cooperate, and show bad speech, tease each other on social media, and don't greet each other when they meet. Pengibing plays the power to touch Waranggana's private body. When the Tayub performance began, there was a tug-of-war in the power relations between Waranggana and Pengibing. In sacred rituals, the contestation for power between Waranggana and Pengibing occurs tenuously. However, during the profane rituals, the contestation for power took place fiercely. Waranggana who is seen as an inferior object turns out to be able to position and use his body power as a subject to attract Pengibing's attention in order to get sawer money or tips.