There seems to be different message from these two novels, The Dancer is much more questioning the norms covering the ―ronggeng‖ tradition while the Memoirs of Geisha tends to be accepting the geisha tradition as what it is. On the other hand, Srintil does rebellious action in this ―bukak klambu‖ occasion. Director Ifa Isfansyah read the first two books when he was. In geisha it is used to benefit the Mother of Okiya and no rebellion of the geisha. Sang Penari -The Dancer is based on a trilogy of books, Ronggeng Dukuh Paruk, by Ahmad Tohari. This geisha and ronggeng culture reproduce many other cultural product such as ―mizuage‖ in geisha, and ―bukak klambu‖ in ―ronggeng‖ both of which refer to the same thing, selling the woman‘s virginity to the highest bidder. As the entertainers, the geisha and ―ronggeng‖ build and shape their body and performance to attract men. Practices as geisha and the mother, as the ―ronggeng‖ and the shaman. The negotiation and contestation come up between the actors in daily The result of the analysis shows that the power relation is not stable, and the power practiced by each of them is influenced by the symbolic capital and economic capital they have. This is analyzed through Foucault‘s theory of power. Power relation between them are unique and dynamics. As an entertainer in the traditional sphere, they are bounded with the other women and build close interaction as well as power relation with them who are called ―Mother‖ in the Geisha and ―ronggeng shaman‖ in The Dancer. Same main female character of traditional entertainers, as a Japanese geisha and a Javanese traditional dancer, respectively. Main female character and ―Mother‖ in Arthur Golden‘s Memoirs of This article aims at comparing the ideas of power relation between the
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