This article examines contrasting strategies that the practitioners of Acehnese dance in two Indonesian cities, Yogyakarta and Banda Aceh, sagely create to legitimize their participation in the arts in today's increasingly conservative religious climate in Indonesia. Islam in Yogyakarta has drifted away from a historically syncretic, localized form and toward a more conservative form. This shift has impacted Yogyakarta's Muslim dancers’ views on which kind of arts they deem appropriate to take part in. In particular, as they seek to maintain their religious identity and practice religious principles in order to be connected to a modern, globalized Islam, they choose to leave a local dance tradition for Acehnese dance, a tradition that originated in a province three thousand kilometers away. In Banda Aceh, the post-tsunami period (2004–present) sees religious leaders’ contestations toward the performing arts becoming part of the province's administrative system under sharia law, posing new challenges and risks.
