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Fantasi Dalam Dark Play Empat Vokalis Ekstrem Metal Perempuan Di Indonesia

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Fantasi Dalam Dark Play Empat Vokalis Ekstrem Metal Perempuan Di Indonesia PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI BERMAIN- MAIN DALAM TRANSGRESI: FANTASI DALAM DARK PLAY EMPAT VOKALIS EKSTREM METAL PEREMPUAN DI INDONESIA TITLE PAGE Tesis Untuk memenuhi persyaratan mendapat gelar Magister Humaniora (M. Hum.) di Program Magister Kajian Budaya, Universitas Sanata Dharma Disusun oleh Yulianus Febriarko NIM: 166322002 PROGRAM MAGISTER KAJIAN BUDAYA UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRAK Febriarko, Yulianus. 2020. Bermain-main dalam Transgresi: Fantasi dalam Dark play Empat Vokalis Ekstrem Metal Perempuan di Indonesia. Yogyakarta: Magister Kajian Budaya. Universitas Sanata Dharma. Skena musik ekstrem metal selama ini dipandang sebagai sebuah skena yang didominasi laki-laki dan dibangun berdasarkan imaji-imaji maskulinitas sehingga perempuan yang ingin ikut ambil bagian di dalamnya harus menyesuaikan dengan aturan-aturan dan kode- kode maskulin. Tindakan misoginis dan penyingkiran sifat-sifat feminin terlihat dari praktik-praktik yang terjadi di skena ekstrem metal yang membuat perempuan terpinggirkan. Hal ini memungkinkan kekuatan dan kontrol laki-laki direproduksi terus menerus lewat praktik transgresi yang menjadi ciri khas ekstrem metal. Meski begitu, banyak perempuan yang tetap terjun dan terlibat di skena ekstrem metal sebagai vokalis yang aktif dan berkarya dalam band ekstrem metal. Melalui pendekatan kualitatif, studi ini mengeksplorasi daya performance empat vokalis ekstrem metal perempuan di Indonesia yang terdiri dari Fransisca Ayu dari band metalcore asal Yogyakarta Killed on Juarez (KoJ) dan band matchcore Leftyfish, Lilin Purnamasari dari band grindcore asal Jakarta GOADS, Popo Puji dari band death metal asal Bandung Demons Damn, dan Hera Mary dari band sludge metal asal Bandung OATH. Data-data mengenai performance mereka menunjukkan bahwa mereka melakukan dark play dengan mengadopsi transgresi khas ekstrem metal yaitu sonic transgression, discursive transgression, dan bodily transgression sebagi upaya mereka untuk mendisrupsi aturan-aturan yang bersifat maskulin yang melekat pada ekstrem metal. Daya disrupsi ini muncul dari cara mereka bermain-main dalam tiga transgresi yang dapat diamati dalam penggunaan teknik vokal growl/scream, fashion panggung, aksi panggung, dan penulisan lirik mereka. Dark play yang mereka lakukan dapat disebut sebagai sebuah strategi resistensi mereka terhadap sistem patriarki dan sifat maskulin ekstrem metal yang selama ini memarjinalkan peran mereka. Konsep fantasi dalam psikoanalisis Lacanian digunakan sebagai perspektif yang mampu menjabarkan dasar atau penyangga dark play yang dilakukan oleh Ayu, Lilin, Popo, dan Hera dalam performance mereka. Kastrasi yang hadir lewat aturan-aturan tak tertulis (unwritten rules) yang dianggap bersifat maskulin membuat keempat vokalis tersebut mengalami keterasingan dengan skena ekstrem metal yang mereka masuki. Untuk mengatasi keterasingan itu, fantasi akan kebebasan dan fantasi akan kesetaraan menjadi dua fantasi yang menyangga strategi resistensi lewat dark play dalam performance mereka. Meski dapat dilhat bahwa di satu sisi mereka turut memperkuat aturan-aturan tak tertulis lewat performance mereka, tetapi dua fantasi tersebut menjadi penting untuk terus menerus menggulirkan wacana ekstrem metal yang bebas dan setara. Kata kunci: perempuan, ekstrem metal, performance, transgresi, dark play, fantasi. vi PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Febriarko, Yulianus. 2020. Playing in Transgression: Fantasy on the Dark Play of Four Women Extreme Metal Vocalists in Indonesia. Yogyakarta: Graduate School of Cultural Studies. Sanata Dharma University. Extreme metal scene has been known as a male-dominated scene which built upon masculine images. Hence, women who want to participate in the scene must do things on men’s terms and masculine codes. Misogynists acts and marginalization of women often happened and can be seen from the scene’s practices. This results in reproduction of control and power of men through extreme metal’s transgression characteristics. However, many women still actively engaged in this scene as vocalists of extreme metal bands. Using qualitative approach, this study aims to explore the power of four women extreme metal vocalists’ performance. They are Fransisca Ayu from Yogyakarta’s metalcore band Killed on Juarez (KoJ) and matchcore band Leftyfish, Lilin Purnamasari dari from Jakarta’s grindcore band GOADS, Popo Puji from Bandung’s death metal band Demons Damn, and Hera Mary from Bandung sludge metal band’s OATH. The data show that the four vocalists do a dark play by adopting three characteristics of extreme metal transgression which are sonic transgression, discursive transgression, and bodily transgression. They did the dark play in order to disrupt the masculine codes that has been long associated to extreme metal. The power of this disruption can be seen in the way they use growl/scream style of vocal, fashion on the stage, stage act which includes moshing and stage diving, and in their lyrics. The dark play also can be said as a strategy to resist extreme metal’s patriarchal system and masculine codes in which they are marginalized by. Then Lacanian concept of fantasy is used as a perspective to explain fantasy that frame the dark play throughout their performance. The castration which happened through the masculine codes and unwritten rules lead these four vocalists to alienation in extreme metal scene. In order to overcome it, fantasy about freedom and equality arise and framed the dark play in their performance. While their dark play can be empowered the law and unwritten rules, on the other hand these two fantasies become important in order to produce and reproduce the discourse of freedom and equality in extreme metal. Keywords: women, extreme metal, performance, transgression, dark play, fantasy. vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI KATA PENGANTAR Ungkapan terima kasih saya kirimkan kapada berbagai pihak yang mendukung penulisan tesis ini. Kepada keluarga saya, terutama Bapak dan Ibu saya, yang tidak pernah melarang saya untuk mendengarkan Slayer, Metallica, Cannibal Corpse, Mayhem, hingga Eyehategod. Dari situlah kemudian muncul kerinduan saya untuk mempelajari dan memperdalam tentang kultur musik metal dan segala bentuk dinamikanya. Terima kasih untuk adikku yang selalu hadir di saat-saat genting. Kepada Ibu Devi Ardhiani yang darinya saya menyadari adanya banyak keruwetan dalam tulisan-tulisan saya dan kemudian membantu saya untuk menyederhanakannya. Juga kepada St. Sunardi, Katrin Bandel, Budi Subanar, SJ., Bagus Laksana, SJ., Baskara Tulus Wardaya, SJ., Budi Susanto, SJ., Hari Juliawan, SJ., Tri Subagya, dan Supratiknya. Lewat perjumpaan dengan mereka, saya menyadari bahwa saya perlu berbenah untuk berubah. Diskusi-diskusi panjang nan melelahkan yang berujung pada saran dan masukan untuk tesis ini juga saya lalui dan terima dari kawan-kawan seperjuangan di IRB. Terima kasih khusus untuk kawan-kawan IRB Angkatan 2016. Kepada Albertus Harimurti, pemilik padepokan Berbah, saya ucapkan terima kasih atas masukan untuk tesis ini dan juga untuk bahan overthinking di malam hari yang diberikannya. Kepada kawan-kawan di Motherbase Nggerus Reading Club, saya ucapkan terima kasih untuk kopi dan cerita- ceritanya. Juga untuk kawan-kawan lintas angkatan dan juga para staff di Pascasarjana USD yang telah berdinamika dengan saya melalui cara yang berbeda-beda, saya ucapkan beribu terima kasih. Kepada Francisca Ayu, Lilin Purnamasari, Popo Puji, serta Hera Mary saya ucapkan pula terima kasih atas cerita-cerita hidup kalian di dunia metal. Tesis ini secara khusus saya persembahkan untuk kalian yang tidak lelah berjuang di tengah himpitan berbagai tantangan dalam skena. Terakhir, bukan berarti tidak utama, rasa terima kasih saya kirimkan juga untuk Lidwina Wimalasari yang membuat saya menyadari adanya kerapuhan-kerapuhan dalam diri saya dan untuk Elisabeth Tamara Sabatini yang telah menemukan lalu menemani saya ketika saya sedang berusaha memeluk kerapuhan-kerapuhan itu sembari menjalani kehidupan yang tidak akan pernah baik-baik saja ini. viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI DAFTAR ISI JUDUL .................................................................................................................... i HALAMAN PERSETUJUAN ............................................................................. ii HALAMAN PENGESAHAN .............................................................................. iii PERNYATAAN KEASLIAN KARYA .............................................................. iv LEMBAR PERNYATAAN PUBLIKASI ........................................................... v ABSTRAK ............................................................................................................ vi ABSTRACT ......................................................................................................... vii KATA PENGANTAR ........................................................................................ viii DAFTAR ISI ......................................................................................................... ix BAB I ...................................................................................................................... 1 PENDAHULUAN .................................................................................................. 1 A. Latar Belakang ................................................................................................... 1 B. Rumusan Masalah .............................................................................................
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