Gender Identity and Social Perception in Balinese Performing Arts: Cross-Dressing Practices and Their Impact on Artists’ Mental Health and Social Acceptance

Cross-dressing in performance traditions is a global phenomenon that reflects complex intersections between gender, identity, and social norms. In Balinese performing arts, cross-gender performance are both longstanding convention and where social identity is negotiated. This study explores two such roles in Calonarang ritual performance: the comedic Liku and the antagonistic Matah Gede. Using qualitative methods—including semi-structured interviews with performers and analysis of textual and recorded per-formances—the research explores the sociocultural framing of these roles. Matah Gede is typically performed by heterosexual men of high social standing, often priests, whose cross-gender portrayals are ritually sanctioned and widely accepted. In contrast, Liku is often performed by queer-identifying individuals of varied social status. These per-formers describe the role as both a form of artistic expression and a socially sanctioned outlet for gender fluidity, with some noting its positive impact on their mental well-being.
The study argues that gender in Balinese performance is not merely representational but performative, ritualized, and relational—capable of both reinforcing and subvert-ing social norms. Beyond Bali, these findings contribute to global gender studies by showing how traditional performance can provide culturally legitimate spaces for queer expression and emotional resilience in conservative contexts. This research thus enriches broader conversations around identity, embodiment, and the mental health dimensions of performance.