Indonesia is a country with the highest development of the K-Pop target market in Southeast Asia. This also raises various participatory behaviors from fans. One form of participatory behavior is roleplaying, which is playing roles on social media using a K-Pop artist's identity. As roleplayers, they will present themselves as K-Pop artists and build relationships with other roleplayers. Twitter is the social media most commonly used by roleplayers because of its features that support identity presentation and personal communication with other people. Even though they use other people's identities, roleplayers will also build various interpersonal relationships with fellow roleplayers like in the real world, from friendships to romantic relationships. This study aims to explain how K-Pop artist roleplayers construct their identity and interpersonal relationships through Twitter. This research used symbolic interactionism theory as the guide. The research method used is qualitative, with research data obtained through questionnaires with open-ended questions and analyzed thematically. From the answers of 131 respondents, K-Pop artists' identity was the object that roleplayers were trying to present. They present it by providing factual information about the artist and forming a good self-image. The way they present the K-Pop artist's identity will affect their interactions with other roleplayers, which have several determining factors, namely similarities, trust, feedback, and the parasocial relationship with the used muse. This interaction will determine the formation of interpersonal relationships, including friendship and romantic relationships. There are different types of real-world roleplayer information given between their friends and lovers.
Indonesia is a Muslim-majority country. Therefore, Islamic values can be found in every aspect of national and state life. The privilege and power that Muslims have as the majority were used to structurally marginalize the minority group. It changes the essence of religious people who worship God into fanaticism that deifies religion. This study aims to explore the mechanism of cultural conflict and violence against the LGBTQ+ community in the online landscape, primarily through the @tabu.id platform after the pandemic hit. This research uses theories of cultural violence from Johan Galtung and cultural hegemony from Antonio Gramsci. This research uses a thematic analysis method from the comment section of @tabu.id posts. From 19 LGBTQ+ themed posts in @tabu.id from March 2020 to November 2021, it was found that some audiences still perceive LGBTQ+ as a deviation, mainly from Indonesian and Islamic values. This leads to the justification of cultural violence towards the LGBTQ+ community and the rejection of acknowledging LGBTQ+ as part of CSE. These findings show the importance of CSE integrated curriculum that included the LGBTQ+ matter to form an inclusive society. Peace study is also seen as the solution to solve the cultural conflict, violence, and hegemony in Indonesia.
The representation of the Asian race in the US music industry is still relatively small. However, Rich Brian, a person of Chinese descent with Indonesian nationality, succeeded in his career by carrying out the hip-hop genre that was firmly rooted in African-American (black) racial groups in the United States, a country which was dominated by Caucasian (white) races. This study aims to uncover how Brian represented his identity in the US hip-hop music scene using Stuart Hall's circuit of culture theory. The object of this research is the lyrics of several songs in Rich Brian's album. Through the analysis process, it was found that Brian did not cover the nationality and race identity he had. He precisely positioned himself on the spectrum of social identity. This then affects the representation of identity that he does in his songs, including revolving around the theme of the meaning of identity and stereotypes of the Asian race, as well as the struggles experienced by Asians who are part of minority groups in the United States.AbstrakRepresentasi ras Asia dalam industri musik Amerika Serikat masih tergolong sedikit. Namun Rich Brian, seseorang keturunan Tionghoa dan berkewarganegaraan Indonesia, berhasil berkarir dengan mengusung genre hip-hop yang berakar kuat pada kelompok ras Afrika-Amerika (black), di negara Amerika Serikat yang didominasi oleh ras kaukasian (white). Penelitian ini bertujuan untuk mengungkap bagaimana Brian merepresentasikan identitasnya dalam skena musik hip-hop Amerika Serikat menggunakan teori sirkuit budaya oleh Stuart Hall. Objek dalam penelitian ini berupa lirik dari beberapa lagu dalam album milik Rich Brian. Melalui proses analisis, didapati bahwa Brian tidak menutupi identitas kewarganegaraan dan ras yang ia miliki. Ia justru memosisikan dirinya pada spektrum identitas sosial. Hal ini kemudian memengaruhi representasi identitas yang ia lakukan dalam lagu-lagunya, diantaranya berkisar pada tema pemaknaan identitas dan stereotip dari ras Asia, serta perjuangan yang dialami oleh orang Asia yang merupakan bagian dari kelompok minoritas di Amerika Serikat.
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