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