Representasi Ideologi Generasi Muda Uni Soviet Dalam Lirik Lagu Mama - Anarxija (Mama Anarki) Dari Kino

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Representasi Ideologi Generasi Muda Uni Soviet Dalam Lirik Lagu Mama - Anarxija (Mama Anarki) Dari Kino Representasi Ideologi Generasi Muda Uni Soviet dalam Lirik Lagu Mama - Anarxija (Mama Anarki) dari Kino Mohamad Imaduddin Saleh1, Mochamad Aviandy2 1,2Program Studi Rusia, Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia Email : [email protected], [email protected] Keyword : Abstract. This journal article will discuss the ideological Critical Discourse representation of the Soviet Union’s youth in the lyrics of the song Analysis; Ideology; Mama - Anarxija (Mother Anarchy) from Kino. This research uses Kino; Song; the critical discourse analysis method from Norman Fairclough and Representation; Russia the theory of representation from Stuart Hall. By using three- dimensional critical discourse analysis approach from Fairclough and circuit of culture from Hall, several symbols were found that represented the ideology of the young generation of Soviet Union. The results of this research prove that the lyrics of the song Mama - Anarxija (Mother Anarchy) from Kino represents the ideology adopted by the young generation of the Soviet Union. The ideology was formed from Western subculture which emerged and developed among the youth of the Soviet Union. Subculture itself emerged as a result of the socio-political policies adopted by the Government of the Soviet Union during Nikita Khrushchev era. Abstrak. Artikel jurnal ini akan membahas representasi ideologi Kata kunCi : Analisis Wacana generasi muda Uni Soviet dalam lirik lagu Mama - Anarxija (Mama Kritis; Kino; Ideologi; Anarki) dari grup band Kino. Penelitian ini menggunakan metode Lagu; Representasi; analisis wacana kritis dari Norman Fairclough serta representasi Rusia dari Stuart Hall. Dengan menggunakan pendekatan analisis wacana kritis tiga dimensi Fairclough dan circuit of culture Hall, ditemukan simbol-simbol yang mewakili ideologi generasi muda Uni Soviet. Hasil penelitian membuktikan bahwa lirik lagu Mama - Anarxija (Mama Anarki) dari Kino merepresentasikan ideologi yang dianut generasi muda Uni Soviet. Ideologi tersebut terbentuk dari budaya subkultur Barat yang muncul dan berkembang di kalangan pemuda Uni Soviet. Budaya subkultur sendiri muncul sebagai hasil dari kebijakan sosial-politik yang diambil oleh Pemerintahan Uni Soviet pada era Nikita Khrushchev. I. PENDAHULUAN sebuah makna yang disampaikan produser Musik tidak hanya dinikmati dan diterima oleh audiens (Chye dan Kong, keindahan alunan nadanya, namun juga 1996, p. 215). Melalui rangkaian kata dan menjadi media bagi penciptanya untuk alunan nada dalam sebuah lagu, seseorang berkomunikasi. Sebagai salah satu produk dapat mengutarakan pendapat dan kebudayaan, musik dapat diartikan sebagai perasaannya mengenai beragam hal, salah JSSH P-ISSN:2579-9088 Vol. 4 Nomor 2, September 2020 | Mohamad I Saleh, M. Aviandy 121 – 138 ---- 121 satunya adalah dinamika kehidupan justru membuatnya semakin sulit untuk masyarakat ketika lagu tersebut diciptakan. dikendalikan. Salah satu alasannya adalah Oleh karena itu, musik dapat perkembangan musik rock bawah tanah merefleksikan suatu proses perubahan yang tumbuh subur di kalangan pemuda sosial, serta menjadi alat bagi pihak-pihak Soviet. yang terlibat untuk mengekspresikan Perkembangan musik rock bawah dirinya dan menarik perhatian khalayak tanah tidak lepas dari sensor ketat (Danaher, 2010, p. 811). Beragam genre pemerintah Uni Soviet terhadap musik musik dapat digunakan sebagai medium rock. Pada tahun 1984, Sekretaris Jenderal untuk merepresentasikan suatu fenomena, Partai Komunis Konstantin Chernenko salah satu di antaranya adalah genre musik menuduh beberapa grup musik rock telah rock, karena pada hakikatnya, musik rock menyerang ideologi dan moral masyarakat diciptakan sebagai media bagi anak muda Soviet (Shumov, 2013). Pemerintah Uni untuk mengekspresikan diri mereka dalam Soviet juga mengeluarkan daftar hitam perlawanan dan pembaruan nilai-nilai (blacklist) yang melarang musisi yang moral dan material yang berlaku di dunia bermain musik dengan genre rock untuk (Nevskaya, 2009, p. 10). tampil di muka umum. Seluruh Musik rock pertama kali muncul di penampilan seni di muka umum harus Amerika Serikat pada era 1950-an. Pada mendapat persetujuan dari pemerintah. awalnya, musik rock dimainkan oleh Oleh karena itu, keberadaan musik rock musisi-musisi muda dan menceritakan ‘bawah tanah’ menjadi alternatif bagi para masalah-masalah yang dihadapi oleh penggiat musik rock untuk mereka dalam kehidupan sehari-hari mengekspresikan kreativitasnya (Frith, 2019). Musik yang enerjik serta lirik (Nevskaya, 2009, p. 10). Meskipun dengan yang dekat dengan kehidupan sehari-hari, peralatan yang seadanya dan berada di membuat musik rock banyak digemari oleh bawah bayang-bayang penggeledahan oleh kaum muda dan menyebar dengan cepat ke aparat, penampilan musik rock bawah seluruh dunia, tak terkecuali ke Uni Soviet. tanah jauh lebih diminati oleh kaum muda Musik rock sendiri masuk ke Uni Soviet Soviet daripada penampilan grup rock pada tahun 1957, bertepatan dengan “resmi” pemerintah. Festival Pemuda dan Pelajar Sedunia yang Salah satu poin dalam program berlangsung di Moskow (Von Faust, 2013, reformasi Glasnost dan Perestroika yang p. 6). Pertukaran budaya antara pemuda diinisiasi oleh Mikhail Gorbachev di masa Barat dan pemuda Soviet terjadi secara pemerintahannya adalah keterbukaan arus massal dan terbuka, serta memberikan informasi publik. Program reformasi dampak yang besar bagi perkembangan tersebut memberikan dampak yang besar budaya di kalangan pemuda Soviet. dalam segala sektor kehidupan di Uni Kemunculan budaya Barat di kalangan Soviet, tak terkecuali dalam bidang seni pemuda Soviet tersebut mulai dan kebudayaan. Kebebasan berekspresi mendapatkan perhatian dan menimbulkan serta berakhirnya sensor dari pemerintah kekhawatiran dari para pejabat Soviet, memberikan ruang bagi para penggiat yang mengutuk musik rock and roll musik rock bawah tanah untuk tampil di sebagai produk eksploitatif kapitalisme muka umum. Para musisi rock tidak lagi yang buruk dan tidak bermoral (Rauth, dipersekusi, dan mereka dapat 1982, p. 3). Namun segala usaha mengembangkan karirnya secara legal pemerintah Soviet untuk meredam (Berkowitz, 1991, p. 460-461). Artikel perkembangan musik rock selalu gagal dan mengenai musik rock memenuhi surat 122 ------ JSSH P-ISSN:2579-9088 Vol. 4 Nomor 2, September 2020 | Mohamad I Saleh, M. Aviandy 121 – 138 kabar dan majalah, dan para penggemar penelitian ini. Kino merilis album terakhir musik rock dapat membeli tiket konser mereka yang berjudul Zvezda po imeni rock secara resmi untuk pertama kalinya solntse (Bintang yang bernama matahari) (Shumov, 2013). Hilangnya penyensoran pada tahun 1989, sebelum Viktor Tsoi membuat para musisi rock lebih berani dan meninggal dalam sebuah kecelakaan mobil vokal dalam menyuarakan aspirasinya. di dekat kota Riga, Latvia pada bulan Musik rock mengajarkan mereka untuk Agustus 1990. lebih bebas berbicara (Richmond, 2005, p. Kino menjadi salah satu grup band 359). Bagi generasi muda Soviet, rock yang paling sukses di Uni Soviet dan mendengarkan musik rock berarti masih memiliki pengaruh yang besar di menunjukkan independensi dan Republik Federasi Rusia, hal tersebut pembangkangan terhadap aturan di terbukti dari jajak pendapat yang masyarakat (Davydov, 2019, p. 776). Oleh dilakukan oleh koran Komsomolskaya karena itu, musik rock secara tidak Pravda pada tahun 2006. Jajak pendapat langsung berkontribusi dalam tersebut menempatkan Kino di urutan pembentukan ideologi generasi muda kedua sebagai grup musik rock paling Soviet. Komersialisasi seni yang didorong berpengaruh dengan perolehan 1811 suara. oleh restrukturisasi ekonomi menyebabkan Faktor utama yang menyebabkan Kino banyak grup-grup musik rock bawah tanah begitu terkenal di kalangan penggiat musik yang mulai memasuki ranah arus utama, rock Soviet pada khususnya dan melahirkan berbagai grup musik rock masyarakat Uni Soviet pada umumnya legendaris yang masih dikenal dan adalah karena lirik dalam lagu-lagu mereka memiliki banyak penggemar hingga saat yang mudah dimengerti namun tetap ini. dalam dan puitis, serta dapat mewakili Salah satu grup band rock legendaris perasaan para pendengarnya dalam Soviet yang mengawali karirnya sebagai melihat fenomena yang sedang terjadi pada grup band rock “bawah tanah” adalah masa itu (Timoveychev, 2017). Viktor Tsoi Kino, yang dibentuk di Leningrad sebagai vokalis dan penulis dari lagu-lagu (sekarang St. Petersburg) pada tahun 1981. Kino mampu memberikan kritik dan Grup band yang awalnya bernama “Garin i pandangannya terhadap fenomena sosial Giperbolody’” ini beranggotakan Viktor yang terjadi dengan bahasa yang halus dan Tsoi (vokal dan gitar), Yuri Kasparyan sopan, sehingga lagu-lagu Kino digemari (gitar), Georgii Gur’yanov (drum), dan banyak kalangan, bahkan oleh mereka Igor’ Tikhomirov (bass). Pada tahun 1982, yang tidak menyukai musik rock Kino merilis album pertamanya yang (Gorbachev, 2018, p. 170-171). Lagu-lagu berjudul 45, yang diambil dari durasi total Kino dianggap mampu mewakili suara album tersebut, dan mengawali ketenaran kelompok-kelompok marjinal yang baik Kino di ranah musik rock bawah tanah secara langsung maupun tidak langsung Soviet. Kesuksesan besar Kino dalam terdampak oleh dinamika sosial politik di memasuki ranah musik arus utama Soviet Uni Soviet. dimulai setelah mereka merilis album Dinamika sosial-politik di Uni Soviet berjudul Noch’ (Malam) yang dirilis pada diawali dengan stagnasi di masa tahun 1987, dan sukses terjual sebanyak pemerintahan Leonid Brezhnev, kemudian dua juta kopi. Dalam album ini terdapat diikuti
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