The research aimed at investigating how Lengger used the virtual sphere to negotiate their image to society. LenggerBanyumas was always stereotyped with the discourse of Queer, Gay, Bisexual, and Transgender (QGBT). Therefore, it ledto gender discrimination, not only on the stage but also in their daily life. Consequently, in this 4.0 era, Lengger neededto use social media in order to create a different image as an alternative way to negotiate the dancer’s gender identity.The method applied was Hine’s virtual ethnography method by applying Habermas theory. Respondents were interviewed virtually through video conference. Meanwhile, the data were collected through their Instagram. The results  show that Lengger constructs their image on social media to produce an image by performing double-identity; they are  feminine on the stage and masculine in real life. The first identity is a feminine dancer to reveal the image of a  professional drag dancer from Banyumas. However, Lengger elaborates the masculine identity in their dance performance by wearing the attribute of female dancers. Meanwhile, Lengger also reveals masculine identity in their real life. As identity is fluid, it indicates that the image will also never be fixed. Thus, this image is reproduced constantly in the virtual sphere as a negotiation towards society’s stereotyping.

Sari dalam Pertunjukan Seni di Banyumas: Perspektif Bourdieu. Berdasarkan permasalahan empirik di lapangan, eksistensi lengger di Banyumas secara umum semakin meredup. Namun, lengger lanang Langgeng Sari semakin menunjukkan eksistensinya. Sehingga penelitian ini bertujuan mengungkapkan pola interelasi pendukung eksistensi lengger lanang di Banyumas. Penelitian ini adalah penelitian kualitatif deskriptif yang menggunakan teori Bourdieu menggunakan metode new-ethnography. Hasil penelitian menunjukkan bahwa arena, modal, habitus, dan lintasan adalah unsur-unsur yang saling terkait dan mendukung eksistensi lengger lanang hingga saat ini. Unsur-unsur tersebut menjadi pemantik kemunculan lengger lanang Langgeng Sari dalam komunitas seni pertunjukan Banyumas. Dalam paradigma Bourdieu, modal budaya yang dimiliki lengger lanang Langgeng Sari adalah para seniman tradisional dan pemerintah, sedangkan modal simbolis adalah penerimaan masyarakat pada keunikannya. Habitus lengger lanang adalah keterampilan dan intensitas mereka dalam kesenian, khususnya tari tradisional. Adapun lintasan ditunjukkan dari penerimaan kesenian-kesenian tradisional lain di Banyumas atas keberadaan lengger lanang ini.

The phenomenon of power, exercised through the issue of gender and sexuality, is represented in Indonesia along with different regimes. However, the gendered body becomes the target of experienced body politics. Thus, this article aims at investigating the body politics of the gendered subjects as revealed in Indonesian Post-Reform films entitled The Dancer (Sang Penari) and Memories of My Body (Kucumbu Tubuh Indahku). This study used the narrative method by applying Yuval-Davis’ theory. Through these two films, this paper argues that the intersection of gender and sexuality leads to the othering process of the gendered body through the notion of the Indonesian Communist Party (PKI). Further, the ambivalence construction of motherhood, which essentially deals with femininity, is practised toward the gendered bodies. However, the power relation positions the gendered subjects paradoxically by mystifying their body and also demystifying their existence. This shifting is operated under altered discourse in different regimes. Further, biopower is exercised not only by regulating the body but also by subjugating them through sexual slander. Indeed, it leads them to be demonized as PKI regarding the regime’s agenda in maintaining the Indonesian collective trauma of the 1965 Genocide. However, the gendered subjects define themselves as a subject through their agency by submitting to the master narrative.