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PENGALAMAN DAN EKSPRESI KESEDIHAN Analisis Semiotik Terhadap Lagu-Lagu Dan Video Klip Didi Kempot

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PENGALAMAN DAN EKSPRESI KESEDIHAN Analisis Semiotik Terhadap Lagu-Lagu Dan Video Klip Didi Kempot PENGALAMAN DAN EKSPRESI KESEDIHAN Analisis Semiotik terhadap Lagu-lagu dan Video Klip Didi Kempot SKRIPSI Diajukan untuk Memenuhi Salah Satu Syarat Memperoleh Gelar Sarjana Psikologi Program Studi Psikologi Disusun Oleh: Alfonsa Maria Theoterra Yoshanti 039114019 PROGRAM STUDI PSIKOLOGI JURUSAN PSIKOLOGI FAKULTAS PSIKOLOGI UNIVERSITAS SANATA DHARMA YOGYAKARTA 2010 i ii Dedicated to: My beloved Papi, Andreas A.Susanto Who always believe in me Thank you so much…how I am proud to be your daughter iii Dedicated to: My beloved Papi, Andreas A.Susanto Who always believe in me Thank you so much…how I am proud to be your daughter iv ABSTRAK PENGALAMAN DAN EKSPRESI KESEDIHAN Analisis Semiotik terhadap Lagu-lagu dan Video Klip Didi Kempot Alfonsa Maria Theoterra Yoshanti Lagu-lagu campursari yang dipopulerkan oleh Didi Kempot banyak mengusung tema kisah cinta yang sedih. Kesedihan itu dikisahkan lewat lirik lagunya dan semakin ditegaskan dengan ekspresi wajah dan gerak tubuh dalam video klipnya. Pengalaman dan ekspresi kesedihan yang disajikan sedemikian rupa dalam video klip dan lagu-lagu Didi Kempot sangat kontras jika dibandingkan dengan penampilannya yang sangat maskulin. Kontradiksi ini mengacu pada tradisi maskulin dalam kehidupan sosial, dimana laki-laki dianggap tidak maskulin jika mengalami dan mengekspresikan emosi yang dianggap ‘milik’ dimensi feminin yaitu emosi sedih. Dengan demikian, penelitian ini bertujuan untuk mengetahui bagaimanakah kesedihan dialami dan diekspresikan oleh laki- laki, yang dalam penelitian ini ditampilkan oleh Didi Kempot lewat lagu-lagu dan video klipnya. Selain itu, melalui penelitian ini juga dapat diketahui dinamika antara kesedihan dan maskulinitas. Penelitian ini menggunakan lirik lagu dan video klip Didi Kempot sebagai obyek penelitian. Adapun kriterianya adalah: (1) lagu yang dipopulerkan oleh Didi Kempot, (2) memiliki tema kesedihan, (3) aransemen asli, tidak termasuk lagu-lagu pop Indonesia yang disadur dalam bahasa Jawa, maupun lagu-lagu versi remix atau house music. Penelitian ini merupakan penelitian kualitatif dengan metode analisis semiotik. Proses pengambilan data dilakukan dengan teknik simak dan catat. Hasil penelitian ini menunjukkan bahwa pengalaman kesedihan pada lagu- lagu Didi Kempot disebabkan karena kehilangan sang kekasih, sementara sikap terhadap kesedihan itu dapat dikatakan sebagai sikap yang pasif. Ekspresi kesedihan ditunjukkan lewat ekspresi fasial, gestural, dan postural seperti dahi berkerut, tatapan mata yang sayu, tangan menyentuh dada, dan badan yang membungkuk. Keberanian Didi Kempot dalam menyajikan pengalaman dan ekspresi kesedihan dapat dinyatakan sebagai wujud maskulinitas yang baru, yang tetap mempertahankan sifat tegar, kuat, dan percaya diri namun di sisi lain juga sensitif dan peka terhadap emosinya sendiri. Kata Kunci: Didi Kempot, Pengalaman dan Ekspresi Kesedihan, Maskulinitas v PENGALAMAN DAN EKSPRESI KESEDIHAN Analisis Semiotik terhadap Lagu-lagu dan Video Klip Didi Kempot Alfonsa Maria Theoterra Yoshanti ABSTRAK Lagu-lagu campursari yang dipopulerkan oleh Didi Kempot banyak mengusung tema kisah cinta yang sedih. Kesedihan itu dikisahkan lewat lirik lagunya dan semakin ditegaskan dengan ekspresi wajah dan gerak tubuh dalam video klipnya. Pengalaman dan ekspresi kesedihan yang disajikan sedemikian rupa dalam video klip dan lagu-lagu Didi Kempot sangat kontras jika dibandingkan dengan penampilannya yang sangat maskulin. Kontradiksi ini mengacu pada tradisi maskulin dalam kehidupan sosial, dimana laki-laki dianggap tidak maskulin jika mengalami dan mengekspresikan emosi yang dianggap ‘milik’ dimensi feminin yaitu emosi sedih. Dengan demikian, penelitian ini bertujuan untuk mengetahui bagaimanakah kesedihan dialami dan diekspresikan oleh laki- laki, yang dalam penelitian ini ditampilkan oleh Didi Kempot lewat lagu-lagu dan video klipnya. Selain itu, melalui penelitian ini juga dapat diketahui dinamika antara kesedihan dan maskulinitas. Penelitian ini menggunakan lirik lagu dan video klip Didi Kempot sebagai obyek penelitian. Adapun kriterianya adalah: (1) lagu yang dipopulerkan oleh Didi Kempot, (2) memiliki tema kesedihan, (3) aransemen asli, tidak termasuk lagu-lagu pop Indonesia yang disadur dalam bahasa Jawa, maupun lagu-lagu versi remix atau house music. Penelitian ini merupakan penelitian kualitatif dengan metode analisis semiotik. Proses pengambilan data dilakukan dengan teknik simak dan catat. Hasil penelitian ini menunjukkan bahwa pengalaman kesedihan pada lagu- lagu Didi Kempot disebabkan karena kehilangan sang kekasih, sementara sikap terhadap kesedihan itu dapat dikatakan sebagai sikap yang pasif. Ekspresi kesedihan ditunjukkan lewat ekspresi fasial, gestural, dan postural seperti dahi berkerut, tatapan mata yang sayu, tangan menyentuh dada, dan badan yang membungkuk. Keberanian Didi Kempot dalam menyajikan pengalaman dan ekspresi kesedihan dapat dinyatakan sebagai wujud maskulinitas yang baru, yang tetap mempertahankan sifat tegar, kuat, dan percaya diri namun di sisi lain juga sensitif dan peka terhadap emosinya sendiri. Kata Kunci: Didi Kempot, Pengalaman dan Ekspresi Kesedihan, Maskulinitas. vi THE EXPERIENCE AND EXPRESSION OF SADNESS A Semiotic Analysis toward Didi Kempot’s Songs and Clips Alfonsa Maria Theoterra Yoshanti ABSTRACT Most of campursari songs, which are popularized by Didi Kempot perform a sad love story theme. The sadness is described by its lyric and is more confirmed by facial expression and gestures in its musical video. The experience and expression of sadness performed in the musical video is somehow in contrast to Didi Kempot masculine physical appearance. This contradiction refers to the masculine tradition in the society where man is considered not to be masculine if he experiences and express such an emotion which belongs to feminine dimension, which is, sadness. Therefore, this research is intended to find out how sadness is experienced and expressed by men, which in the research is represented by Didi Kempot through his songs and musical videos. In addition, through this research, the dynamics between sadness and masculinity is discovered as well. The object of this research are Didi Kempot’s song lyrics and musical video. The criteria of which is: (1) it’s popularized by Didi Kempot, (2) its theme is sadness, (3) it has original arrangement, not to include Indonesian pop songs which were translated to Javanese, or its remix version or house music. This is a qualitative research with a semiotic analysis method. Data collecting process was done by refer and record technique. The result of the research shows that the experience of sadness in Didi Kempot songs is caused by loosing someone who is loved. The attitude towards the sadness can be categorized as a passive attitude. The expression of sadness is shown by facial expression, gestures, and postures, such as frown, glaucous, touching chest with hand, and bent body. Didi Kempot’s courage in performing the experience and expression of sadness can be stated as a new form of masculinity, in which keeping the character of tough, strong, and confidence, yet sensitive to his own emotion in other way. Keywords: Didi Kempot, Experience and Expression of Sadness, Masculinity. vii viii KATA PENGANTAR Tibalah saat yang paling membahagiakan dari seluruh proses penyusunan skripsi: menulis Kata Pengantar. Penulisan skripsi ini sungguh merupakan suatu proses pendewasaan yang pada akhirnya proses itu hanyalah awal dari berbagai proses pendewasaan selanjutnya. Bermula dari keinginan peneliti untuk menyajikan suatu penelitian yang berbeda, maka peneliti mengangkat tema tentang kesedihan dan maskulinitas. Peneliti juga memberanikan diri untuk menggunakan metode analisis semiotik, yang belum pernah digunakan oleh peneliti-peneliti sebelumnya pada Fakultas Psikologi USD. Untuk semua pihak yang berperan dalam proses pendewasaan ini, peneliti ingin mengucapkan terima kasih yang tak terhingga untuk: 1. Bapak A.Supratiknya, terima kasih banyak atas bimbingan serta pendampingan selama saya berproses, dan atas kehormatan dan kebanggaan menjadi salah satu mahasiswa bimbingan Bapak. 2. Bapak V. Didik Suryo Hartoko, terima kasih atas jam-jam perkuliahan inspiratif yang saya ikuti selama menjadi mahasiswa, yang membuat saya tertantang untuk lebih banyak membaca. Terima kasih atas kesediaan Bapak menjadi salah satu penguji bagi skripsi saya. 3. Ibu Sylvia Carolina MYM., terima kasih atas kesabaran dan senyum yang selalu dibutuhkan para mahasiswa, dan terima kasih atas kesediaan Ibu menjadi salah satu penguji bagi skripsi saya. ix 4. Tangan dan senyum yang selalu membantu dalam segala urusan teknis di Fakultas Psikologi: Bu Nanik, Mas Gandung, Pak Gie, Mas Doni. 5. Penggemar Didi Kempot nomor wahid, yang memberikan dukungan dan apresiasi tiada henti: Mas Muji. Mas, saatnya menentukan pilihan: Didi Kempot atau David Beckham? 6. Dua orang terhebat dalam hidup, yang kasih sayang dan pengorbanannya layak mendapat piala: kedua orangtuaku Bapak C. Teguh Dalyono dan Ibu C. Indah Retnowati. 7. Kakak dan sahabat tercinta, jam weker di waktu pagi, jaket di siang hari, dan selimut di malam hari: my duddie dudders, AY.Adventa Pramushanti. 8. A man with a sharp and brilliant mind, my beloved Papi: Andreas A. Susanto. Your patience and support definitely contributed many to the completion of my thesis. 9. Doa dan semangat yang selalu menyertai dari Pakdhe Romo Y.Puryanto, SCJ. 10. Kehangatan dan keceriaan yang selalu hadir setiap kita semua berkumpul: Eyang, Pakdhe-budhe, Oom-tante, dan RemAh Martowidjojo.
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