(2015-2018): a Semiotic Analysis Nurul Laela Kusumadewi, Da

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Passage2020, 8(1), 59-86

The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

Nurul Laela Kusumadewi, Dadang Sudana, M.A.,Ph.D.*), Ernie D. Ayu Imperiani, M.Ed.*) English Language and Literature Universitas Pendidikan Indonesia [email protected] , [email protected] , [email protected]

ABSTRACT

Music and song are vehicles of meanings, hence, depictions of women can be presented through them. This study investigates women’s portrayal in selected Billboard’s Year-End Chart songs through its significations which includes denotation, connotation, and myth constructed in the lyrics. Three major theoretical frameworks were used in this present study. The first theory is two orders of signification from Roland Barthes (1957) which was used to analyze the selected songs. The second theory is the bases of social power from French & Raven (1959). The third theory is resilience model from Benard (2004). The findings reveal that in connotation level women are portrayed as powerful and resilient. The findings indicate that as a powerful being, women possess certain types of powers. Meanwhile as a resilient being, women possess particular qualities of resilience. From gender stereotype perspective, the myth implies that women possess dominating agency dimension alongside communion and competence dimensions, which implies that stereotype on women is not likely to be rigid. Keywords: Barthes’ two orders of signification, portrayal, powerful, resilient, women.

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

INTRODUCTION which language functions, about gender and

Human communicates through two sexuality, and about the identities of cultures primary ways; verbally (such as speaking is the advantages of studying music face-to- face, lectures, etc.) and nonverbally (Bohlman, 2005). By investigating music, (i.e. images, colors, etc.) to convey what is one inseparable integral part of music is in his/her mind. The French-Swiss linguist lyrics. Lyrics are a vehicle for songwriters to Ferdinand de Saussure (1916), explains that convey messages which are the expressions language has the capability to provide a of what they feel or writing about reflections framework for representing other than itself, of social reality in society. including music. Hence, music is one of In an attempt to reveal the meaning ways of communication. This is also in line contained in lyrics of songs, semiotics is one with what is argued by some scholars such of suitable theories that is able to dissect as Sacks (2010) and Wilson, an American meaning even further to ideology. This is biologist (as cited in Mbe, 2017). Both due to the fact that semiotics in general scholars believe that human is both a sense is a study of sign. Language, words, musical and linguistic species. Furthermore, color, gestures are sign (Chandler, 2007). to the same degree as literacy and language, There are many major semiotic theories and it is noted that music is powerful in its one of them is from Roland Barthes. impact on human feeling and on the Barthes’ two orders of signification (1957) interpretation of events due to its can unravel denotation, connotation, and extraordinary work in six different brain myth of signs. Denotation level is the literal mechanisms. In terms of its social function, meaning of sign while connotation is music is part of fundamental and primal subjective meaning of sign and myth is aspects of human culture. According to society’s construction of phenomena that is Hargreaves & North (1997), music is an considered natural, such as masculinity, integral part of a culture in many societies. femininity, etc.

A discipline that emphasizes In regards to Barthes’ two orders of representations is called ethnomusicology. signification (1957), there have been some Understanding about cultural contexts, studies conducted in trying to investigate the ideology and politics, about the ways in portrayal and representation of women. The

Passage2020, 8(1), 59-86 first study came from Maulida (2014) which paper tried to analyze some songs that were attempted to analyze the connotation selected as the subject of the study due to meaning found in each word that appears in their content and achievements. In regards to the lyrics from dangdut song entitled their content, those songs contain a Wedus. This song has denotation meaning depiction of women, while in regards to where women reject patriarchal structures their achievements; the selected songs that exist in the community. By this fact reigned majorly in the list of Billboard’s indeed the listeners assume that Javanese Top 100 Year-End Chart. Consequently, this women are able to violate the inherent reflects the songs’ sales, radio airplay, and norms of Javanese women such as, saying streaming activity (Billboard). Therefore, fine words, being calm, upholding family those songs are immensely popular and values, and being polite. Thus, this is the widely listened among people. construction of the myth. The findings To help analyze the data, as illustrate the representation of patriarchal mentioned earlier, this paper uses the two ideology, even though the lyrics may seem orders of signification theory proposed by like it is a representation of feminism Roland Barthes (1957) considering that this towards that ideology. Consequently, study analyzes written language or text in whatever rejection or rebellions delivered by the form of songs. Thus, Barthes’ theory women, women realize that their status or (1957) is required to investigate the responsibility is lower than men. Another denotation, connotation, and myth in the study that deals with the portrayal of women selected songs. came from Yazid (2014). His study entitled Representasi Perempuan Minangkabau dalam Lirik Lagu si Nona found that denotation, connotation, and myth reflect the real condition of socio-cultural life of people from certain group, in this case is Minangkabau people who alleviate women’s position in the community.

While those previous studies focus in analyzing one particular song, this present

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

METHODOLOGY songs were selected by implementing

Research Design purposive sampling method. It is a method to represent a population. Borrowing from This study was descriptive qualitative and Tongco (2007) purposive sampling lies on interpretative as this study aims to reveal the the choice of the researcher to select data depiction of women contained in selected based on the purposes of the study. It is tied songs. It was descriptive as it tries to to the researcher’s objective (Palys, 2008). describe and the result cannot be obtained Since this study’s objective is to unravel by statistic procedure or quantitative but women’s portrayal, the songs must be through explanation and descriptive selected based on four requirements. First, technique. It was qualitative because songs the songs must contain a description of or music are cultural product (Harvard.edu) women. Second, the songs must be featured thus it studies things in their natural settings, in Billboard’s year-end charts. Third, the attempts to make sense of, to interpret, songs must be sung and written by the phenomena in terms of the meanings people singers themselves. Fourth, the songs must bring to them (Denzin and Lincoln, as cited be produced within three years period in Ospina, 2004). It was interpretative (2015-2018) before 2019. Below is the list because it is not only trying to cover the of selected songs with each song’s further denotative and connotative meaning of each details. song but also reveals the myth lies within. Interpretive studies assume that people God is a Woman by Ariana Grande (2018) create and associate their own subjective and Grande is an American singer, inter-subjective meanings as they interact actress, songwriter, as well as an activist with the world around them (Orlikowski and who actively advocates on LGBTQ rights Baroudi, as cited in Walsham, 1995). and Black Lives Matter, mental health

Data Collection awareness, and gender equality. Grande has been named Billboard’s 2018 Woman of the The data of this study were five songs from Year and was honored at the Billboard 2015 to 2018 Billboard 100 year-end top Women in Music on Dec. 6. 2018. This song charts. The songs are sung by female singers scored at number 62 on Billboard Year-End and written by the singers themselves. The Charts also appeared on a few other Year

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End Charts such as Pop Songs, Dance Club Rhythm & Blue Pop with Jazz strong Songs, Radio Songs, and Canadian Hot 100. undertones. "Rule Breaker" award was given It scored the biggest streaming week ever to this singer-songwriter at 2016 Women in for a pop album by a female artist on its Music event. Cara will receive the release. designation, which celebrates a boundary- pushing female music star whose approach Bodak Yellow (Money Moves) by Cardi B defies the conventional, on December 9. (2017) This song hit a new peak of No. 15 on the She is a famous American social Hot 100 and at number 30 on Billboard’s media personality, songwriter, singer and Year End Top 100 Charts and other Year former stripper of Trinidadian/Dominican End Charts. With the "Rule Breaker" award, descent. This multi-faceted lady created Cara joins a star-studded list of 2016 history in September 2017 by becoming the Women in Music honorees, headlined by first female rapper to top the Billboard Hot "Woman of the Year" recipients. 100 in 19 years with her debut hit with this Most Girls by Hailee Steinfield (2017) song. Beyond music, she is actively advocating from her social media accounts Steinfeld is an American actress, on social justice issues and body positivity. model and singer. Steinfield is set to host This song ruled at number 24 on 2017 and perform at the annual Billboard Women Billboard Year-End Charts and 54 on 2018 in Music Awards, honoring the standout Billboard Year-End Charts of Top 100 Hot female stars and executives of 2016. Songs as well as appeared on a few other Steinfeld joined Woman of the Year in New Year End Charts, which are Rap Streaming York. The song peaked at number 54 in Songs, R&B/Hip-Hop Streaming Songs, August and remained on the chart for 16 Streaming Songs, Hot Rap Songs, and weeks, and ruled at number 62 on Australian R&B/Hip-Hop Airplay Songs. ARIA (Australian Recording Industry Association) Year-End Charts. The critic Scars to Your Beautiful by Alessia Cara opinion of the song coming from Jonathan (2017) Currinn of Outlet Mag and Mike Wass of Cara is a popular Canadian singer of Idolator claimed that it was relatable and Italian descent; her music revolves around inspiring.

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

All about That Bass by Meghan Trainor After all songs are selected from the list of (2015) Top 100 Year-End Charts on Billboard from 2015 to 2018, the signifiers in the lyrics of She is an American singer, each song were determined. The signifiers songwriter and record producer, who wrote, were chosen based on the expressions or recorded, performed and produced three signifiers that are likely to indicate the independently released albums before she portrayal of women. Because the data are turned 18. Trainor’s music is known for its songs, some lyrics may occur more than retro style aesthetics. Most of her works once. Therefore, one particular signifier will revolve around subjects such as modern be shown once thus this study will not womanhood, body image, and display repeating signifiers. empowerment. Trainor was honored with the Chart Topper award at the 2016 Analysis Billboard Women in Music Awards. Trainor After all signifiers of each song were is one of several 2016 Women in Music determined, the signifiers were analyzed honorees, headlined by other "Woman of the through Barthes’ two orders of signification Year" recipients. This song ruled at number (1957) which was determining the 28 on Billboard’s Year-End Hot 100 Charts denotation, connotation and myth. The with other list of appearance on Year-End elaborations of each step are presented Charts such as Streaming Songs, Adult below: Contemporary Songs, Digital Song Sales, Canadian Hot 100, and Twitter Top Tracks. Determining the denotation. This first step deals with denotative meaning of signs (first Data analysis order of signification). The signifiers are In order to obtain in the ways in which interpreted based on their literal meaning. women are portrayed, the process of data Sometimes the word needs to be defined analysis in this study was performed in a from dictionaries. In this case, the study will few steps, namely selection, analysis, and use Cambridge online dictionary, Merriam interpretation. The elaborations of each step Webster online dictionary, and Urban are presented below. dictionary. Different sources of dictionaries are used depending on the words. For Selection

Passage2020, 8(1), 59-86 instance, the utilization of urban dictionary Interpretation is drawn from the findings of is needed to define another more cultural denotative sign (first level of signification) and referential meaning to pop culture. A and connotative sign (second level of sign then can be produced from the signifier signification) which then generate myth. By and signified. associating textual evidences and cultural phenomenon, these significations have the Determining the connotation. The second capability to reveal how women are step deals with connotative of signs (second portrayed in the selected songs. order of signification). It investigates connotative meaning of signs. It is generated by the denotative sign and the new signified. The linguistic signs are identified based on the context to reveal the depiction, as stated by Fiske (2002). Since the nature of connotative meaning is subjective, references are required to discover connotative meanings from the signs. Thus the meanings of signifiers are determined through the connection of the signifiers to particular phenomenon in society.

Determining the myth. It signifies myths from signs. Myth can be revealed from the combination of two orders of signification. Myth can be seen by analyzing what people believe through the natural and historical aspects. Similar to connotative meaning, references are required to reveal myth because it is more abstract and interpretative.

Interpretation

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

FINDINGS AND DISCUSSIONS

Table 4.1

Types of power and portrayal of women found in selected songs

No Name of Song Types of Power Portrayal of Women (Denotation, Connotation, and Myth)

1 God is A Woman by Women possess reward Women are portrayed as having Ariana Grande power and coercive self-awareness and mindfulness (2018) power as the (Autonomy) in regards of embodiment of female exercising their freedom of sexual assertiveness in choice. regards to their sexual relationship.

2 Bodak Yellow by Women possess Women are depicted as Cardi B (2017) referent power in terms resourceful (Problem Solving) in of being a social icon terms of financial independence and legitimate power is and they possess other exercised through autonomous traits such as women’s executive positive identity in terms of leadership at work. being a social icon, self-efficacy and mastery shown by competence dimension in women, as well as self-awareness and mindfulness.

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3 Scars to Your - Women are portrayed as socially Beautiful by Alessia competence, autonomous, and Cara (2017) purposeful. They are socially competence as they display empathy and caring attributes as well as compassion, altruism, and forgiveness. These traits are shown in their attempt to fight destructive beauty standards. Meanwhile, women are autonomous as they display positive identity quality upon self-acceptance. Lastly, women are demonstrating hope and optimism as they exercise dispositional optimism towards beauty.

Women are portrayed as 4 Most Girls by Hailee - autonomous as they display Steinfield (2017) adaptive distancing resistance toward reconstructing ‘most girls’ stereotype that undermines women. In addition, they also promote freedom of choice for women

Women are depicted as 5 All about that Bass - autonomous because they show

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

by Meghan Trainor positive identity quality in (2015) promoting self-acceptance and self-love and adaptive distancing resistance trait is shown through opposing destructive beauty standards set for women. and Mindfulness (Autonomy), Optimism and Hope (Sense of Purpose). To sum up, women in selected songs are portrayed as powerful and Meanwhile, the textual evidence of resilient. Women are depicted as powerful women’s depiction as powerful is further as they exercised four different types of elaborated in the followings. power out of five forms of power which Women Possess Reward Power were proposed by French & Raven (1959). The forms of power exercised by Reward Power in this study was women include Reward Power, Coercive only found in Ariana Grande’s God is A Power, Referent Power, and Legitimate Woman. God is A Woman is a song that Power. Whereas women are depicted as equalizes God and woman in a resilient as they embodied eight resilient metaphorical way in context of sexual traits in three various resilient dimensions relations thus men will believe that out of four resilient dimensions proposed women are God after that experience. by Benard (2004). Those eight resilient During the release of the song, many qualities demonstrated by women in this considered it as a blasphemy and heresy present study are Empathy and Caring, due to the fact that the song explicitly Compassion, Altruism and Forgiveness state that God is gendered. However, (Social Competence), Resourcefulness throughout history, gendered God has not (Problem Solving), Positive Identity, Self- always been controversial. For instance, Efficacy and Mastery, Adaptive St. Anselm, the Archbishop of Canterbury Distancing Resistance, Self-Awareness from 1093 to 1109, talked of ‘Christ, my mother’, and in her 14th century

Revelations of Divine Love, Julian of

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Norwich, a medieval mystic, says: ‘Just as signifiers confess acts as the desired God is our father, so God is also our action and the signifiers blessed and mother’. In recent year, which is 2015, the deserve act as the reward of the action notion of God as a woman in relation to confess. Hence, women are positioned as religious language was contested by the powerful and superior as she could ‘bless’ campaign of female bishops within men and therefore position men as more Church of England for expansive inferior. language and imagery about God Women Possess Coercive Power (Guardian, 2018). In popular culture, the epitome of this notion also has been Coercive power is depicted illustrated through movies, books, and through Ariana Grande’s God is A paintings. In denotative level, the song Woman. As mentioned previously, women demonstrates an interaction between a are God-wise, therefore, another quality woman and a man where the woman that women have is coercive power. It is might bless him if the man confesses. As presented by the signifiers contained in illustrated by the signifiers of the song verse 2 line 1 and 2, ‘I tell you all the lyrics from Verse 2 line 6 and 7, ‘And things you should know’ and ‘So baby, boy, if you confess, you might get take my hands, save your soul’. In its blessed’ and ‘See if you deserve what denotative level, the woman tells the man comes next’. In its connotation level, it what he should know and if he wants to can be seen that this dynamic is much like save his soul, he should reach for her a dynamic of God and men where women hands. In connotative level, women are positioned as God, where the possess this coercive power in their sexual resemblance quality is the power to relations. While in myth level, this is the reward. According to French & Raven embodiment of female sexual (1959), reward power is about rewarding assertiveness, where women are capable others’ for their action. When they of telling her partner what they desire. accomplished desired action, some reward Sexual assertiveness is an inter-individual will be given to them. In religions, God difference in the perceived general ability will reward those who do good deeds for to control one’s level of physical intimacy heaven and vice-versa. In these lyrics, the with others (Morokoff, Quina, & Harlow,

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

as cited in Lammers & Stoker, 2017). It Women Possess Referent Power helps facilitate one’s ability to the pursuit Referent power is presented in of romantic goals such as making them Bodak Yellow by Cardi B. It is a power more vocal in communicating of what that works through admiration towards they desire and avoid submissive role as someone and this power occurs when one presented in the first signifier, ‘I tell you seeks for the same identity and association all the things you should know’. This to the other they admire (French & Raven, assertiveness in women may be an 1959). Referent power often does not antithesis of traditional gender roles where show its direct effect yet others can be it includes expectations for men to initiate unconsciously influenced to do the same sexual activity and for women to respond thing as what one they admire does. to men's attempts to initiate sexual Women are pictured as having this power behavior (Morokoff, 1990; Muehlenhard through the signifier contained in verse 1 & McCoy, as cited in Morokoff, Quina, line 8, ‘They see pictures, they say, Harlow, Whitmire, Grimley, Gibson, & "Goals," bitch, I'm who they tryna be’. In Burkholder, 1997). In this assertiveness, its denotative level, other women wanted women apply coercive power. As the to be this woman when they saw her name suggest, coercive power demands pictures. The word ‘Goals’ as defined by compliance and the strength of this power Urban Dictionary as when someone posts lies on the negative valence and force a picture that is very attractive or (French & Raven, 1959). As mentioned something that they aspire to, such as earlier, as women depicted having some relationship. In its connotative level, this qualities of God, God is able to punish implies that the woman has referent power those who commit misconduct for Hell or because she influences others to be more sins. In this song, one will be punished if like her or in other words, the others show the man fails to do what the woman ‘oneness’ or desire to be associated with wished. The signifiers such as tell and her. The association and the effort of take serve as command for what the man oneness are shown by the signifiers ‘I’m should do. While save and soul is the who they tryna be’ and ‘Goals’. consequence of complying with the command. Women Possess Legitimate Power

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Cardi B’s Bodak Yellow proves signified that she has the capability to that women also exercise legitimate administer plans or where everything power. Legitimate power as elaborated in needs to be going as shown by the word chapter II comes from many bases and ‘moves’ as defined by Urban Online one of them is appointed position of Dictionary. authority established by social norms or Women as Resilient Beings hierarchy in some organizations. In this case the power exercised by women here In addition to women as powerful is formal social structure as demonstrated beings, this study also reveals that women by the signifier contained in the chorus in all five songs are portrayed as resilient line 8, ‘I'm a boss, you a worker, bitch, I beings. This is as proposed by a model of make bloody moves’. In its denotation Personal Strengths: What Resilience level, this signifies that while others are Looks Like by Benard (2004) that workers the woman is a boss thus she has measurement of personal resilience can the power where her business go. In been seen through personal strengths connotation level, the signifier signifies contained in four resilience manifestation that women can have a position of categories. They are social competence, authority at work as represented by the problem solving, autonomy, and sense of word ‘boss’. This reflects that many purpose. Thus, a resilient individual must women start to enter executive leadership possess certain traits that are included in positions at work. According to a study the four categories. In this study, the conducted in USA by Adams, Gupta, portrayal of women as resilient beings can Haughton, & Leeth (2007), although be seen through the eight traits of women have not yet reached top ranks of resilience which are Empathy and Caring, leadership in considerably big scale, Compassion, Altruism and Forgiveness however, the percentage of women who (Social Competence), Resourcefulness hold management occupation started to (Problem Solving), Positive Identity, Self- increase from 24% in 1980 to 42% in Efficacy and Mastery, Adaptive 2001. A boss possesses an ability to Distancing Resistance, Self-Awareness administer obligation and responsibility. and Mindfulness (Autonomy), Optimism The expression ‘I make bloody moves’ and Hope (Sense of Purpose). The

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

following section is a discussion on each attractive because mass media often trait of resilience possessed by women portray attractive people as more signified in the song lyrics. desirable, credible, and inspirational (Solomon, Ashmore, & Longo as cited in Women Possess Empathy and Caring Yan & Bissell, 2014). The myth revealed Attributes destructive beauty standard. Studies on the Empathy is the ability to know effects of exposure to appearance-oriented what another feels and understand content have consistently shown that it is another’s perspective, which is the damaging (Yan & Bissell, 2014). Thus, hallmark of resilience (Werner, 1992). It the song displayed empathy and caring for helps facilitate compassion and caring for some women who are struggling with others. These attributes can be found in their self-worth, image, and self-esteem to Scars to Your Beautiful by Alessia Cara. It love themselves. In its connotative level, is shown from the signifiers in verse 2 line the song seems to advocate women about 6 and 7, ‘She don't see her perfect, she self- acceptance and the danger of don't understand she's worth it’ and ‘Or destructive beauty standard. Scars to Your that beauty goes deeper than the surface’. Beautiful is a song about self-acceptance In its denotative level, the woman feel that and self-love for who we are. Therefore outer appearance is all that matters and empathy and caring lines are heavily does not see herself as perfect or worthy. contained in the song. The signifiers signified that women feel Women Possess Compassion, Altruism, empathetic because they recognize what and Forgiveness Attributes the other women feel; that is they do not feel that they are beautiful because they Women are portrayed as are not perfect, worthy, and the thought compassionate in Scars to Your Beautiful that beauty is all about outer appearance. by Alessia Cara. It is demonstrated by the Whilst social media is part of human signifiers in verse 2 line 8 and 9, ‘So to all culture today, people become more aware the girls that's hurting, Let me be your of their self-image and women are largely mirror’ and ‘Help you see a little bit targeted. That is why many women do not clearer the light that shines within’. In its feel worthy because they feel they are not denotative level, the song denotates that

Passage2020, 8(1), 59-86 the woman in the song will be the mirror thin and attractive female models for hurting girls to show them that beauty presented in magazines, televisions, etc. comes within. While in connotative level, (Harrison & Cantor, Lavine, Sweeney, & it connotates compassion. Compassion is Wagner, as cited in Yan & Bissel, 2014). the desire and will to care for and to help As mentioned before, this song is about alleviate another’s suffering (Peterson & self-acceptance thus this suffering refers Seligman, 2003), in addition, compassion to oppressive beauty standard that is is composed of five elements: recognizing directed towards especially young women. suffering, understanding the universality Finally, the second signifiers ‘Let me be of human suffering, feeling for the person your mirror, Help you see a little bit suffering, tolerating uncomfortable clearer the light that shines within’ feelings, and motivation to act/acting to signified last element of compassion alleviate suffering (Strauss, Taylor, Gu, which is alleviating other’s suffering. It Kuyken, Baer, Jones & Cavanagh, 2016). signified women’s aid to project and When one is compassionate, it leads directed that beauty is found within (inner him/her to recognize altruism and beauty). forgiveness. Similar to compassion, As women were depicted as altruism is empathy in action (Batson, powerful have been presented above, the 2002) and forgiveness is the ability to followings are the textual evidence of forgive self or others (Benard, 2004). The women which are portrayed as resilient. first signifier ‘So to all the girls that's hurting’ signified altruism also the first Women Possess Resourcefulness elements of compassion; how women Attribute recognize and feel for other women’s Women as resourceful beings are suffering. Destructive paths filled with displayed in Bodak Yellow by Cardi B. low self-esteem, body image According to Zauszniewski, Lai, and dissatisfaction, anorexia, bulimia, and Tithiphontumrong (2006), there are two depression are the effects on girls and types of resourcefulness which are young women in particular in order to personal resourcefulness and social attain their ideal image similar to resourcefulness. The former is defined as mediated images showing exceptionally the ability to maintain independence in

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

daily tasks despite potentially adverse situation. ‘I don’t dance now’ signified situations. This concept is adopted from working women, women who have jobs Rosenbaum in 1990. In other hand, social that involve dancing, or being dancers. It resourcefulness, as they also adopt from may imply that the wage they receive does another scholar named Nadler from 1990, not meet their expectation. Instead of is defined as the ability to seek help from getting stuck with the current job, women others when unable to function can turn their situation around to the independently. It is concluded that better, which is to change their job in personal resourcefulness involves the use order to be more financially independent of self-help strategies for coping with as signified through ‘I make money adversity or challenge, while social moves’. resourcefulness involves help-seeking Women Possess Positive Identity from formal or informal sources. In this Attributes present study, women are exercising their personal resourcefulness is shown from Positive Identity can be found in the signifier contained in the chorus line 5 three songs in this study. They are largely in Bodak Yellow song, ‘I don't dance now, contained multiple times in Scars to Your I make money moves’. In its denotative Beautiful by Alessia Cara, All about That level, it denotates that to make a living, Bass by Meghan Trainor, and Bodak the woman in the song did not dance Yellow by Cardi B. Positive identity is anymore, but she makes money. In its positive self-evaluation or self-esteem connotative meaning, it signified (Masten & Coatsworth, 1998; Werner & resourcefulness, which to solve the Smith, 1992). Women embody positive challenging situation to the better where it identity in Scars to Your Beautiful through is demonstrated by how she was making positive self-esteem. It is revealed through money by being a dancer to making much the signifiers enclosed in almost the entire more money by being her own boss as chorus from line 2 until 4, ‘You should mentioned in prior finding about power. It know you're beautiful just the way you shows the way women maintain financial are’, ‘And you don't have to change a independency thus it is a self-help strategy thing’, ‘The world could change its heart’, in trying to cope with challenging and ‘No scars to your beautiful, we're stars

Passage2020, 8(1), 59-86 and we're beautiful’. In their denotative perfect regardless of their varied sizes and level, they denotate that women are types. beautiful the way they are thus there is no A great confidence in one’s own need to alter their appearance or hurt personal self-worth is demonstrated in themselves in order to confront beauty Bodak Yellow. The signifier enclosed in standard so that the world would see the verse 1 line 14, ‘I'm the hottest in the value of natural beauty. In the connotative street, know you prolly heard of me’, in its level, they signified positive identity by denotation level, it denotates that the showing positive self-evaluation woman is a very hot woman and everyone demonstrated by the woman in dealing is likely to know her. In connotative level, with this adversity. it signified positive self-evaluation as represented by the word ‘hottest’ and the signifier ‘you prolly heard of me’ All about That Bass is a song signified great confidence in own’s about self-love and self-acceptance of personal worth. ‘thickness’, in other words, for curvy women to love their body. This song can Women Possess Adaptive Distancing be part of body positivity as the ultimate Resistance Attributes goal of the body positivity movement is to This attribute is shown in All about address unrealistic ideals about beauty, That Bass by Meghan Trainor and Most promote self-acceptance, and build self- Girls by Hailee Steinfield. Adaptive esteem through improving one's self- distancing involves emotionally detaching image and learning to love oneself to the oneself from parental, school, or fullest (Cwynar-Horta, 2016). Positive community dysfunction, realizing that one identity is demonstrated through the is not the cause of and cannot control the signifier in verse 1 line 8, 'Cause every dysfunction, realizing that one is not the inch of you is perfect from the bottom to cause of and cannot control the the top’. In its denotative level, it dysfunction of others and that one’s own denotates that women are perfect from future will be different (Beardslee, 1997; head to toe. It connotates positive identity. Beardslee & Podorefsky, 1988; Chess, It signified that every woman’s body is 1989; Rubin, 1996, as cited in Benard,

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

2004). Resistance is one form of adaptive denotates that Most Girls regardless of distancing. The refusal to accept negative how different women are, they are smart, messages about one’s self, one’s gender, strong, beautiful, unstoppable, and or one’s culture or race serves as a hardworking. Hence, being like ‘most powerful protector of autonomy (Benard, girls’ are desirable. In its connotative 2004). The resistance attribute in All level, it connotates resistance against about That Bass is highlighted through the ‘most girls’ stereotype because this is a expressions in verse 1 line 5 and 6, ‘I see song about contradicting ‘most girls’ the magazines working that Photoshop’ stereotype. This stereotype has existed and ‘We know that shit ain't real, come on widely in mainstream media such as now, make it stop’. The song presents its movies and novels for youth. The contradiction to vicious imagery of beauty expression ‘you are not like most girls’ is for women. Women are indoctrinated that often associated with praising a girl for to be beautiful they must have slim and having masculine-like traits and less slender body, thus alienating those who ‘girly’ or feminine traits. The ‘guy’s are curvy. To serve this image, attributes’ are unemotional, jokey, mainstream media alters model’s body reticent, and take a liking in sports, through technology manipulation to create gaming, and action movies. In contrast, highly slim and slender women and it can ‘most girls’ qualities are emotional, be seen from the signifier ‘I see the talkative, and take a liking in chick flicks. magazines working that Photoshop’. Thus, being feminine is lame and Many people begin to acknowledge and unattractive while being masculine is think that this imagery is unrealistic and rewarded and attractive. This idea even needed to be stopped because it goes to the mind of women. Hence, many encourages women of false and unhealthy women try hard to have these traits but beauty as this is revealed through the they tend to degrade other women who are signifiers ‘We know that shit ain't real, in the opposite spectrum from them. come on now, make it stop’. Therefore, resistance is embodied in this song since it tries to counter this The next song is Most Girls by stereotype by stressing that most girls are Hailee Steinfield. In its denotative level, it all strong, powerful, smart, and

Passage2020, 8(1), 59-86 unstoppable regardless of their choices to attainments (Bandura, 1994). Both traits live their lives. have been proven to borne out as a critical determinant of life success in handful of Another resistance attribute in resilience studies. Mastery is feeling Most Girls is conveyed through the competent or experiencing the sense of signifiers in pre-chorus line 2 and 3, ‘But doing something well and this is the most it's okay if you wanna change the body effective means of developing a sense of that you came in’ and ‘'Cause you look efficacy and help people recognize their greatest when you feel like a damn resilience. These traits are presented queen’. In denotation level, it denotates through the signifiers in verse 1 line 6, that women are allowed to alter their ‘Dropped two mixtapes in six months, bodies because what matters is when they what bitch working as hard as me?’. The are comfortable in their own skin. This song denotates that she successfully song connotates resistance as antithesis of produces two mixtapes in six months and plastic surgery practice which is she wonders which other artist work as condemned by some people in society. In hard as her. The song clearly connotates addition, this song states that it is self-efficacy and mastery. Mixtape is acceptable, confronting those who referred as a compilation of songs condemn plastic surgery for not recorded (as onto a cassette tape or a CD) embracing their natural beauty. The from various sources (Merriam Webster signifiers above signified that the primary Online Dictionary). Different from album, element of beauty is confidence and mixtape is a single-artist project and it altering one’s body is just one way to does not go through a standard record achieve that confidence level. label or distribution (Vice, 2013). Women Possess Self-Efficacy and Producing two mixtapes in the span of six Mastery months is an achievement. She also mentioned the words ‘working hard’ to Women possess self-efficacy and represent her great sense of self-efficacy. mastery in Bodak Yellow by Cardi B. Self- Thus, she feels a sense of efficacy mastery efficacy is one’s belief about one’s in her by doing something successfully. capabilities to execute behaviors necessary to produce specific performance

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

Women Possess Self-Awareness and non-judgemental and nonreactive Mindfulness Attributes attention to inner states. Kabat-Zinn (1994), an author on mindfulness practice Image of women depicted as also argues that it is a systematic and mindful and self-aware can be found in practical way to be in touch with inner Ariana Grande’s God is A Woman and being by self-observation, self-inquiry, Cardi B’s Bodak Yellow. and mindful action. Mindfulness involves In Ariana Grande’s song acceptance, reflection to one’s mindfulness can be seen from the surroundings and taking appropriate signifiers contained in pre- chorus line 1 action and this serves adaptational system and 2, ‘And I can be all the things you which many thinkers think that this is the told me not to be’, and ‘When you try to core of resilience. Thus the expressions come for me, I keep on flourishing’. In signified how women act mindfully by denotative level, it denotates that the taking appropriate action to this situation; woman can be anything she likes even which is to be focus to keep on growing other may be against it, and when people and not caught up in emotions. disagree with her, she would solely focus Similar to the song above, In on how to thrive. In its connotative level, Bodak Yellow, self-awareness and the expression signified mindfulness. In mindfulness are delivered by not caught this song women are told by others to act up in emotions as the appropriate action. It certain way or being in a certain way and is depicted through several signifiers in when it is not achieved, people have the verse 1 line 5 and 7 such as ‘Honestly, tendency to ‘go against’ them which is don't give a fuck 'bout who in front of me, shown by another signifier ‘come for’. and I don't bother with these hoes, don't However, despite all this contradicting let these hoes bother me’. In its denotative reaction, they keep on growing and level, it denotates that the woman does not thriving as demonstrated by the signifier care with people who bother her and she flourish, which signifies self-awareness will ensure that people do not bother her. and mindfulness. Self- awareness and In its connotative level, it connotates mindfulness are highly related to each mindfulness as the signifiers ‘don’t give a other. According to Goleman (1995) it is a

Passage2020, 8(1), 59-86 fuck and do not let these hoes bother me’ a hope that's waiting for you in the dark’. signified ‘relaxation response’ as Benson In its denotative level, it signified that (1996) put it. The woman in the song hope is still present even though it looks seems to accept, trust, and let go. nonexistent. While in its connotative level, it signified optimism. Research has Women Possess Optimism and Hope shown direct connections between hope Attributes and optimism as well as resilience Bailis & Chipperfield (2012) strengths of social competence, problem- explained that optimism is the extent to solving, self-efficacy, and with academic which individuals expect desired achievement. A research from Werner and outcomes to happen in the future, and Smith (as cited in Benard, 2004) found expect undesired outcomes not to happen. that the central component in coping with These attribute are shown in Scars to Your problems in adulthood is hopefulness thus Beautiful by Alessia Cara. Women are challenges and odds can be surmounted. portrayed as optimistic and hopeful. In this case, the odd is about self-image, Optimism has most often been conceived self-love, and self-esteem against cruel as a character trait or strength, which beauty standard. people possess in varying degrees. They DISCUSSIONS can soothe people’s worries and doubts in a difficult situation, and encourage The selected five songs from continued striving toward goals. Like Billboard’s Top 100 Charts (2015-2018) optimism, hope is a positive feeling and portray women as powerful and resilient. motivational state, but one that Although it is limited in number, the intrinsically involves beliefs about the self finding of this study is likely to be and one’s own actions as they relate to the sufficient enough to reflect some part of attainment of desired outcomes. Optimism reality how women are portrayed in and hope reflect a positive motivational popular music today. This finding also stance and expectations. They both linked indirectly challenges traditional claims to positive belief and emotion. The that stereotypes of women are not likely to signifier that displays these attributes is be fixed or rigid. There are three contained in the chorus line 1, ‘But there's dimensions contained in gender

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

stereotype, namely communion, compassionate in Scars to Your Beautiful competence, and agency (Eagly, Nater, by Alessia Cara as she projects her Miller, Kaufmann, Sczesny, 2019). affection through recognition of others’ Communion is stereotypical domain of women suffering due to high beauty female while competence and agency are standard set for them and eventually it stereotypical domains of men (Ellemers, leads in their low self-esteem. 2018). Communion involves selflessness, concerned with others and desire to be at The findings of this study reveal one with others (Eagly & Steffen, 1984) that agency is the dominating as communion is demonstrated by ability stereotypical domain possessed by to handle people well, polite and well- women, which is supposed to be men’s mannered, unselfish, romantic, honest, stereotypical domain while women still affectionate, emotional, patient, sensitive, maintain communion domain. This is in compassionate, and outgoing. line with the study conducted recently in 2019 by American psychologists, Eagly, In regards to the second dimension Nater, Miller, Kaufmann, Sczesny of their that is competence, this study cross-temporal meta- analysis on the demonstrated that women are shown to be change of gender stereotypes at seven smart, intelligent, level-headed, creative, decades range time. Their study revealed and have a sense of mastery which are the that women increased a sense of attributes of competence as it is shown by communion and competence over time. the ability to create or invent new things, However, in contrast, this present study willing to accept new ideas, thoroughness revealed that agency is the most in handling details, creative, common significant dimension shown by women sense, intelligent, level-headed, logical, different from the mentioned study where organized, smart, innovative, and having a the findings showed no change in agency. sense of mastery. Most Girls by Hailee Steinfield indicated smart and intelligent In terms of the first dimension, qualities expressed by ‘Most girls are communion, this study found that there smart and strong and beautiful’. Creative are some songs in which women is represented by resourcefulness as it is demonstrated these qualities such as

Passage2020, 8(1), 59-86 the ability to solve problems creatively or strong, decisive, and hardworking. resource utilization (Benard, 2004). This Agency referred to self-assertion, self- attribute contains in Bodak Yellow by expansion, and mastery (Eagly & Steffen, Cardi B as she makes a way to achieve 1984). Agency is manifested by the ability financial freedom depicted by ‘..I make to make decisions, courageous, calm in money moves’. The other trait found in emergencies, aggressive, ambitious, this study is level-headed embodied confident, critical, demanding, through self- awareness and mindfulness independent, possessive, proud, selfish, which are found in Ariana Grande’s God strong, decisive, hardworking, and is A Woman and Cardi B’s Bodak Yellow. stubborn. Level-headed is calm and able to deal Women are courageous and strong easily with difficult situations defined as are enacted in Most Girls by Hailee (Online Cambridge Dictionary). The two Steinfield and Scars to Your Beautiful by songs indicated that women remain calm Alessia Cara. In the first song, it is shown as sensible action in response to in the explicit expression that women are demanding expected behavior contained strong contained in the lyrics. While in the in Ariana Grande’s song and not to be latter, strength is embodied by portrayal of bothered by others contained in Cardi B’s women as optimistic and hopeful. song. A sense of mastery is also depicted Optimism is viewed as a character trait or in Bodak Yellow by Cardi B through self- strength. While confidence is represented efficacy and mastery. Mastery is by the positive identity women possess illustrated by how she is capable of found in Scars to Your Beautiful by generating works in short amount of time Alessia Cara, All about That Bass by as the song puts it ‘Dropped two mixtapes Meghan Trainor, and Bodak Yellow by in six months,..’. Cardi B. This confidence trait is displayed The third dimension is agency. by self-acceptance and self-worth. Agency is the most prevailing dimension Whereas ambitious and hardworking shown by women in this study as women qualities are found in Bodak Yellow by are demonstrated to be able to make Cardi B illustrated by how she is capable decisions, courageous, demanding, of producing certain artwork in short ambitious, confident, independent, proud, amount of time. Independence is denoted

Nurul Laela Kusumadewi The portrayal of women in selected Billboard’s top 100 chart songs (2015-2018): A semiotic analysis

through Bodak Yellow by Cardi B where attitude, and behavior. There are four types women possess legitimate power of power found in two songs, which are, demonstrated by the signifiers that she is a Reward Power, Coercive Power, Referent boss in denotative way. Demanding Power, and Legitimate Power. Meanwhile, quality is argued through reward power the depiction of women as resilient beings and coercive power in God is A Woman are illustrated through eight characteristics where women have the ability to demand contained in resilience manifestations. The for desired actions from other parties. The manifestations are categorized as social last trait is decisiveness or the ability to competence, problem solving, autonomy, make decisions is delivered by adaptive and sense of purpose. Moreover, in all distancing as indicated in All about That selected songs, women are demonstrated as Bass by Meghan Trainor and Most Girls having resilient attributes such as Empathy by Hailee Steinfield. This is decisive and Caring, Compassion, Altruism and quality because it involves having the Forgiveness (Social Competence), power of deciding. In the first song, the Resourcefulness (Problem Solving), Positive power of deciding lies on women’s ability Identity, Self-Efficacy and Mastery, to speak up to stop falsely beauty image Adaptive Distancing Resistance, Self- and in the latter, women have the ability Awareness and Mindfulness (Autonomy), to encourage any lifestyle they pleased Optimism and Hope (Sense of Purpose). regardless of others’ thoughts or The findings imply that the selected judgements. songs demonstrate that women still possess CONCLUSION communion dimension but agency and competence dimensions are dominating; This study examines the way in which dimensions known more expected of men women are portrayed in selected five songs rather than women. Agency and competence in Billboard’s Top 100 Chart (2015-2018). dimension are shown through problem From the findings, it is discovered that solving and autonomy traits as well as forms women in the selected songs are portrayed of power. Therefore, from the findings it can as powerful and resilient beings. In these be drawn a conclusion that gender songs, women are depicted as powerful due to their ability in changing others’ belief,

Passage2020, 8(1), 59-86 stereotype on women is not completely rigid.

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