PERTANIKA JOURNAL OF SOCIAL SCIENCES AND HUMANITIES

This study aimed to explain women’s positions and roles in ludruk in the wetanan (eastern) region of East Java, Indonesia, and those in makyong in Malaysia. Studies centring on traditional women provide a unique academic forum to scrutinise their existence. This study was intended to contribute to that area of inquiry by exploring identity transformation in two genres of traditional performing arts in two Southeast Asian countries. Employing a critical ethnographic approach, it sought to make explicit the relationship between the two performing arts from the perspective of traditional women. Furthermore, it investigated the identity transformation emerging in ludruk and makyong. Data was gleaned from key informants involving ludruk leaders of Setia Kawan and Maharani groups in Indonesia. For the makyong in Malaysia, data was retrieved from the fourth generation of makyong performers. The results of this study revealed women’s pivotal roles in the development of ludruk and makyong. The performance stage offers them decent and critical roles in both arts. Both traditional arts have experienced transformation in performance identity, especially concerning the traditional art ideology and performance structure as a response to ever-evolving market demands. In this regard, adaptable management of traditional arts is key to maintaining the continuity of ludruk and makyong. In this regard, theoretical implications of the study enhance our knowledge about the existence and development of traditional performing arts, and more particularly the dynamic interaction between the ideological foundations. In real-life application, the study offers practical suggestions for curriculum planning of drama arts education.