A Semiotic Analysis of Signs in Urban Feminism Graffities

A SEMIOTIC ANALYSIS OF SIGNS IN URBAN FEMINISM GRAFFITIES

A THESIS

BY ERIN PUTRI FADHILAH REG. NO. 140705083

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2018

UNIVERSITAS SUMATERA UTARA A SEMIOTIC ANALYSIS OF SIGNS IN URBAN FEMINISM GRAFFITIES

A THESIS

BY ERIN PUTRI FADHILAH REG. NO. 140705083

SUPERVISOR CO-SUPERVISOR

Dr. T. Thyrhaya Zein, M.A Dr. Rohani Ganie, M.Hum. NIP. 19630109 198803 2 001 NIP. 19570203 198503 2 002

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra From Department of English.

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2018

UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies, University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.

Head, Secretary,

Prof. T. Silvana Sinar, M.A., Ph.D. Rahmadsyah Rangkuti, M.A., Ph.D. NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002

UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on December 20th, 2018

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. Budi Agustono, M.S. NIP. 19600805 198703 1 001

Board of Examiners

Prof. T. Silvana Sinar, M.A., Ph.D ______

Dr. Thyrhaya Zein, M.A ______

Dr. Rohani Ganie, M.Hum. ______

UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION

I, ERIN PUTRI FADHILAH, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed :

Date : December 20th, 2018

UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION

NAME : ERIN PUTRI FADHILAH

TITLE OF THESIS : A SEMIOTIC ANALYSIS OF SIGNS IN URBAN FEMINISM GRAFFITIES

QUALIFICATION : S1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA.

Signed :

Date : December 20th, 2018

UNIVERSITAS SUMATERA UTARA ACKNOWLEDGEMENT

Bismillahirrahmanirrahim.

First and foremost, the writer would like to thank the lord of the world, Allah

SWT, for giving the guidance, brightest lights and deepest mercy also for pouring the never ending blessings to finish this thesis. Shalawat and salam are always addressed to the great Prophet Muhammad SAW, may peace be upon him, who has guided us to the enlightenment in this world.

The writer realizes that there were bunch of obstacles and problems faced in accomplishing the thesis entitled A Semiotic Analysis of Signs in Urban Feminism

Graffities in order to fulfill the final requirement on achieving undergraduate degree at English Literature department, Faculty of Cultural Studies, Universitas Sumatera

Utara.

The special and deepest gratitude are always dedicated to my greatest parents,

Erwanto and Dwi Andayani, for the endless loves, prayers, supports, and eternal affection as my life-time strength. Also for my dear two younger sisters Novia and

Adisya for giving me support and the joyful times we shared together. I will never finish this thesis without the support from all of you from the beginning.

I would like to express my very sincere gratitude and massive appreciation to my supervisor, Dr. T. Thyrhaya Zein, M.A. and my co-supervisor, Dr. Rohani Ganie,

M.Hum. for their kindness, guidance, supportive advice, beneficial suggestion, and their willingness to share time in correcting this thesis and full attention on supervising me.

My gratitude also goes to the Head and the Secretary of English Department,

Prof. T. Silvana Sinar, M.A., Ph.D. and Rahmadsyah Rangkuti, M.A., Ph.D., and for the rest of the lecturers and the staffs of English Department for the facilities and

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UNIVERSITAS SUMATERA UTARA opportunities given to me during my study in this faculty. I would also like to thank

Bang Kirno for his kindness, his endless help and patience on facing me during my period on finishing my thesis. Thank you so much for helping me on my academical and administrational stuffs.

I owe this achievement to my homies and support system, the members of

Iqro‘ Hijrah; Sarah, Gita, Niki, Lambeng, Ojik, Robby for their precious existence in my life. Equal thanks are also expressed to my great sidekicks, Fiqie, Yazid, Silvi

(and her mother, literally), and Naufal; I am beyond grateful for your cares, tireless supports and the valuable cheers during my hard time and breakdowns.

Sincerest gratitude is extended to my dearest classmates for the entirety of four years we have spent together with lectures and organizational events especially to my mates kak Puji, Rahma, Reka, Dian, Aisy, kak Eno, Mona, Qorry, Zikri and

Andre Reza. Also to all of my lovely students from Accelerated English Centre for the warm supports and cherished moments we shared together. To the people I have not physically met in person but have had a great impact on my life throughout the years; Tiara, teh Amalia, kak Shabrina, Affrita, Sukkie, Chicou, Oddy, Yoya, Noval,

Gabin, Adam, also the rest of F4, Homos, and Proletar Sampah members; I would like to thank each and every one of you sincerely. I do wish we could have a good chat with a plateful of french fries and green tea when time allows it.

Medan, December 20, 2018

Erin Putri Fadhilah Reg. No. 140705083

UNIVERSITAS SUMATERA UTARA ABSTRACT The title of this thesis is A Semiotic Analysis of Signs in Urban Feminism Graffities. The writer focuses mainly on the analysis of the verbal and nonverbal signs and how the meaning of semiotic signs are realized in in graffities. This study is a library research and uses descriptive qualitative method to analyze the data. The data of this study is five urban feminism graffities and collected by downloading the images from the website page Pinterest. Graffiti is a form of visual communication which mostly contain writings and drawings that have been made in the public surface and mainly at the walls. The theories applied to analyze the data are Triadic Model theories of semiotics proposed by Charles Sanders Peirce. Peirce‘s theory is used to analyze the problems about the signifying of the verbal and nonverbal signs. The analysis reveals that the nonverbal signs mainly indicate the character‘s motion in graffities and the emotions. The verbal signs support the nonverbal signs by signifying some aspects which are not covered by the nonverbal signs, such as extended meaning behind the signs and setting of time. Furthermore, the analysis also shows that the meaningful event is created by the relationship between verbal and nonverbal signs comprised in each graffiti. Key words: Semiotics, Signs, Graffiti, Peirce

UNIVERSITAS SUMATERA UTARA ABSTRAK Skripsi ini berjudul A Semiotic Analysis of Signs in Urban Feminism Graffities. Penulis berfokus utama pada analisis tanda-tanda verbal dan nonverbal serta bagaimana makna tanda-tanda semiotik direalisasikan dalam graffiti. Penelitian ini adalah penelitian kepustakaan yang menggunakan metode deskriptif kualitatif dalam menganalisis data. Data dari penelitian ini adalah lima graffiti feminisme urban dan dikumpulkan dengan mengunduh gambar dari situs Pinterest. Graffiti adalah bentuk komunikasi visual yang sebagian besar berisi tulisan dan gambar yang telah dibuat di permukaan publik terutama di dinding. Teori yang digunakan untuk menganalisis data adalah teori Model Triadik semiotika yang dikemukakan oleh Charles Sanders Peirce. Teori Peirce digunakan untuk menganalisis masalah tentang penandatanganan tanda-tanda verbal dan nonverbal. Analisis mengungkapkan bahwa tanda-tanda nonverbal terutama menunjukkan gerakan karakter dalam graffities dan emosi. Tanda-tanda verbal mendukung tanda-tanda nonverbal dengan menandakan beberapa aspek yang tidak tercakup oleh tanda-tanda nonverbal, seperti makna yang diperluas di balik tanda-tanda dan pengaturan waktu. Selain itu, analisis penelitian ini juga menunjukkan bahwa peristiwa bermakna diciptakan oleh hubungan antara tanda- tanda verbal dan nonverbal yang terkandung dalam setiap grafiti. Kata kunci: Semiotika, Tanda, Graffiti, Peirce

UNIVERSITAS SUMATERA UTARA

TABLE OF CONTENTS

AUTHOR’S DECLARATION ...... i COPYRIGHT DECLARATION ...... ii ACKNOWLEDGEMENT ...... iii ABSTRACT ...... v ABSTRAK ...... vi TABLE OF CONTENTS ...... vii CHAPTER I INTRODUCTION ...... 1 1.1 Background of the Study ...... 1 1.2 Problem of the Study ...... 5 1.3 Objectives of the Study ...... 6 1.4 Scope of the Study ...... 6 1.5 Significances of the Study ...... 6 CHAPTER II REVIEW OF LITERATURE ...... 7 2.1 Semiotics ...... 7 2.2 Semiotic Theory by C.S. Peirce ...... 9 2.3 Graffiti ...... 14 2.3.1 Definition of Graffiti ...... 14 2.3.2 Classification of Graffiti ...... 16 2.4 Feminism ...... 19 2.4.1 Definition of Feminism ...... 19 2.4.2 Feminism Movement ...... 20 2.4.3 Urban Feminism Graffiti ...... 21 2.5 Previous Related Studies ...... 23 2.6 Theoritical Framework ...... 26 CHAPTER III RESEARCH METHODOLOGY ...... 28 3.1 Research Design ...... 28 3.2 Data and Source of Data ...... 29

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UNIVERSITAS SUMATERA UTARA 3.3 Data Collecting Method ...... 29 3.4 Data Analyzing Method ...... 30 3.4.1 Data Condensation ...... 31 3.4.2 Data Display ...... 32 3.4.4 Conclusion Drawing & Verification ...... 33 CHAPTER IV ANALYSIS AND FINDINGS ...... 34 4.1 Data Analysis ...... 34 4.1.1 Data 1: Stop Telling Women to Smile ...... 34 4.1.2 Data 2: No Street Harassment ...... 38 4.1.3 Data 3: Cats Against Catcalls ...... 42 4.1.4 Data 4: Portrait of Yousafzai Malala ...... 46 4.1.5 Data 5: Woman Throwing Margaret Atwood Book as A Weapon ...... 50 4.2 Analysis Result ...... 52 4.3 Findings ...... 55 CHAPTER V CONCLUSION AND SUGGESTION ...... 56 5.1 Conclusion ...... 56 5.2 Suggestion ...... 57 REFERENCES ...... 58 APPENDICES

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UNIVERSITAS SUMATERA UTARA CHAPTER I

INTRODUCTION

1.1 Background of the Study

Language is an important element in every human lives. It is a basic equipment to communicate which plays prominent role to deliver messages from one to another as the interaction to declare information. People can tell their ideas straight-forwardly, either spoken or written. In addition, people use language in order to express their personal reaction to situations, to stimulate response in someone‘s set of mind, and for the sake of gaining knowledge. The study of language in human lives itself, can be representated in one major study field called Linguistics. Linguistics is the study of language that include sounds, the arrangement of words, and meaning. It is concerned with identifying the meaningful elements of specific languages. Linguistics is essentially the study of how language mean, there are six branches of linguistics study; they are

Phonology, Morphology, Syntax, Semantics, Pragmatics and Semiotics. In this occasion to finish the thesis, the writer will focus on the scientific study of signs which known as Semiotics.

Charles Sander Peirce (1839-1914), an American linguist and philosoper, stated that semiotics is a science, with the findings & theories, and technique to study anything that produced signs (Priss, 2015). Peirce defined triangle theory or triangle meaning consisting of three elements; sign, object, and interpretant. For the sake of simplicity, the writer interprets the sign as the signifier, for example, a written word, an utterance, smoke as a sign for fire etc. The object, on the other hand, is best thought of as whatever is signified, for example, the object to which

UNIVERSITAS SUMATERA UTARA the written or uttered word attaches, or the fire signified by the smoke. The interpretant, the most innovative and distinctive feature of Peirce's account, is best thought of as the understanding that we have of the sign/object relation. The importance of the interpretant for Peirce is that signification is not a simple dyadic relationship between sign and object: a sign signifies only in being interpreted.

This makes the interpretant central to the content of the sign, in that, the meaning of a sign is manifest in the interpretation that it generates in sign users. Something becomes a sign not because of any inherent feature it has but because it acquires the formal characteristics that any sign must have, namely, that it correlate with an object and that it produce an interpretant in a process in which the three are irreducibly connected.

Language discusses not only spoken or written matter, but also includes sign, then people should be more sensitive and critical of all signs conveyed consciously or unconsciously by the addresser even a trivial matter, seeing that it have information or message. Therefore, the branch of linguistic study which covers the field of sign is semiotics, well known as the science of sign. Sign is better-known as a signifier, or a symbol that signifies something else. In common matters, the sign can be an proper representation of the thing that is signified, while in other cases, it may be a symbol affiliated with it. Sign or sometimes called as non-verbal language can be seen in almost all aspects of our life.

The branches of linguistics always related to each other, in creating communication, utterance is helped by the context, in order to avoid any miscommunication between the speaker and hearer. Thus, the visualization is also important as an impactful way to make the communication get more realistic. The

UNIVERSITAS SUMATERA UTARA visualization itself can be found in art which includes paintings, graphic design, movie, posters, wall painting, body painting and so on. Art is the mirror of societies, art can also be the inspiration for a society. In this study, the writer will take one of art‘s representation, graffities, as the objects. Especially the graffities whose contents conceive feminism art.

Graffiti is a form of visual communication which mostly contain writings and drawings that have been made in the public surface and mainly at the walls.

Suchita (2017) also stated that ―Social spaces became a platform for people to express their frustrations and deep-rooted resentments. The world became their canvas and they began mapping social symbols through graffiti art on public spaces for the geospecific audiences, with symbols ranging from individual to social perceptions.‖. Graffiti works as a form of visual communication, a room for dialogue with the world through visual art. It can be a social, cultural or political commentary that links the world to these art forms. In this work, graffiti is taken as an urban element, concept, or symbol. Urban symbols, like any other symbols, fulfill two functions of ―representing the meaning‖ and ―creating identity‖

(Kousari, 2010). Urban design focuses on human behaviors and feedbacks in the environment and all fields of urban semiology try to elaborate on such behaviors.

Feminism is a group of different social theories, political movements, and moral philosophies, driven by motives related to women's causes and rights in the aim of reinforcing developed, stable and strong societies. In general, Feminism is concerned with females not just as a biological category, but the female gender as a social category, and therefore feminists shared the view that women‘s oppression tied to their sexuality. This was because women and men‘s biological

UNIVERSITAS SUMATERA UTARA differences reflected in the organization of society, and based on these differences, women have treated as inferior to men. Whether Feminism is considered as a social movement or a political movement, it specifically and mainly focuses on women‘s experiences in her daily life, which she subjected to in the society. Since

Feminists are able to feel and experience the pain and suffering of women they are totally convinced of what it means to be a ―women‖ in Patriarchal societies

(Steeves, 1987).

Figure 1.1 Graffiti which portray Urban Feminism

As the graffiti play important role to voice out minority‘s mind, it is assumed that graffiti can also be a platform for feminist to spill their inner heart out. Many artists have been inspired by the woman's world and its visual beauty, her body, her hair, and this is not necessarily feminist art, actually, it could be sometimes considered as an anti-feminist art especially when it tends to show the woman as an object for sexual pleasure (Noor, 2017). On the other hand, any art

UNIVERSITAS SUMATERA UTARA created by a female is sometimes considered feminist art because it helps to reinforce women in the field of art. Female graffiti writers have knocked every closed door behind which lays a problem in silence, almost all occidental women sufferings have been treated through female muralists, especially sexuality issues which took a lot of attention by European and American feminist activists.

Sometimes, some of their works were bold and hard to accept by ordinary people or conservative families.

The title ―A Semiotic Analysis of Signs in Urban Feminism Graffities‖ is selected because the writer wants to explore the relationships between symbols and social practices through Semiotics. In this study, the writer uses the triadic semiosis theory by Peirce from Theory of Semiosis and the analysis are focused on five graffities work, they are Stop Telling Women to Smile by Tatyana

Fazlalizadeh, Cats Against Catcalls by Starchild Stela, No to Harassment by Mira

Shihadeh, Portrait of Yousefzai Malala by unknown artist and Woman Throwing

Book As A Weapon inspired by unknown artist.

1.2 Problem of the Study

Problem of the study is important to make the analyzed problem become more specific, so it helps the writer to obtain clear description for the further analysis. Based on the rapid explanation that stated above, the writer found the following problems such as:

1. What are the semiotic meanings found in the signs of urban feminism

graffities?

2. How are the semiotic signs realized in the urban feminism graffities?

UNIVERSITAS SUMATERA UTARA 1.3 Objectives of Study

Based on the problem of the study which stated above, the writer claimed the following objective of the thesis such as:

1. To identify the semiotic meanings found in the sign of urban feminism

graffities.

2. To describe the realization of semiotic signs found in the urban feminism

graffities.

1.4 Scope of the Study

Scope of the study is the limit which the writer made in order to keep the writer focuses on the topic that discussed. Related to the problems and objectives of the study, this research is limited on the analysis of the signs in five selected

Urban Feminism Graffities that still under the semiotical approach. Thus, Scope of study is a necessary action to deal with in order to make the research to be more well-managed and specific.

1.5 Significance of the Study

The result of the research is expected to give more beneficial significance in the following ways:

1. Theoretical Significance

This study is expected to give better input and understandings in the academic fields especially for English department students who concentrate in semiotic studies.

2. Practical Significance

This study also expected to be used as reference for further researchers who want to discuss about the related topic in term of studies of signs and graffities.

UNIVERSITAS SUMATERA UTARA CHAPTER II

REVIEW OF LITERATURE

Review of literature deals with theoritical framework, concept of Urban

Feminism Graffities, previous related study as well as providing the important theories which are used in this study. Considering that, the researcher uses theory proposed by Charles Sanders Peirce as the basis of the research and also as the way to do the analysis.

2.1 Semiotics

2.1.1 Introduction to Semiotics

Etymologically, the term of semiotic originally derived from Greek semion, which mean sign. Semiotics, or semiology, is the study of signs, symbols, and signification as communicative behavior, especially as elements of language or other systems of communication. It is also the study of how meaning is created. It explores how words and other signs make meaning. In semiotics, a sign is anything that stands in for something other than itself. According to Oxford

Advanced Learner‘s Dictionary (2007) the definition of semiotics is the study of signs and symbols and of their meaning and use. A sign can be located anywhere, a sign in words form, a sign in human gesture, a sign in traffic ways, a sign in national flag and every object that manifest a meaning which can be determined as sign. Semiotics is a general study about the signs as essential part of cultural life and communication (Sobur, 2006). Semiotically, people can only know about culture and reality by means of the sign, through the process of signification this studies assume that a human phenomena which cultural sociological is as sign

UNIVERSITAS SUMATERA UTARA signification. Semiotic become a sign interpretation due it characteristic of method and role which understanding the sign.

Alex Sobur (2006) also said that semiotics is usually define as a general philosophical theory dealing with the production of signs and symbols as part of code systems which are used to communicate information. Semiotics includes visual and verbal as well as tactile and olfactory signs (all signs or signals which are accessible to and can be perceived by all our senses) as they form code systems which systemically communicate information or massages in literary every field of human behaviour and enterprise. The experts who studied the field of semiotics are Ferdinand de Saussure and Roland Barthes (Sobur, 2016). Both have an equation that is looking for the concept of representation that represents reality. But not all research experts applied in this research, but only a few concepts that researchers think relevant to this research.

The semiosis (sign processing) takes place within this cultural orientation.

Semiotics analysis provides the translator with means to deal with signs in a persuasive advertisement which reflect a cultural identity. (Nöth, 1990: 476) emphasizes the usefulness of semiotics by saying ―…semiotics provides the theoretical tools for the analysis of signs and communication process in advertising…semiotics expands the analytic horizon from the verbal message in the narrower sense to the multiplicity of codes used in persuasive communication‖.

2.1.2 Basic Concept of Semiotics

Semiotics is the science of the sign meaning that studies myths and metaphors. The basic concepts of semiotics are symbols, codes, meanings, myths,

UNIVERSITAS SUMATERA UTARA and metaphors. According to Saussure (in Sobur, 2006) sign is categorized into three elements, they are:

a. Signs include material aspects (sounds, letters, images, motion,

shapes)

b. Signifier. The signifier is the material aspect of the language: what

is said or heard and what is written or read

c. Signified are mental images, thoughts, and concepts. Signs are the

mental aspects of language.

Figure 2.1 Semiotics concept of Saussure

These three elements must be intact, without any of the elements; no sign can be spoken of even inconceivable. Thus, a signified is a concept or what is presented by a signifier and a relationship between Signified and signifier is called symbolic relation that will produce meaning (Barthes in Sunardi, 2004). For example, the word "Supermarket" can be a sign, as it has a Signifier (the word itself) and a signified (real place where we can shop).

2.2 Semiotic Theory by Charles Sanders Peirce

Charles Sanders Peirce (1834-1914) is one of the founders of the semiotic approach and logic philosophy which well-known as a pioneer of pragmatism

UNIVERSITAS SUMATERA UTARA doctrine who has provided the basic in the general theory of signs through his writings, and text that have been compiled 25 years after his death in a single comprehensive piece of work entitled Oeuvres Completes (Chandler, 2002).

Peirce proposed the term ‗semiotic‘ which according to peirce is synonymous with the concept of logic that focuses on the knowledge of human thinking process (Eriana, 2015). Charles Sanders Peirce (1980), said that there are three sides of sign. The sides are representamen, object, and interpretant.

The following quote shows one of his definitions for the relationships involved in using a sign:

―A Representament is a subject of a triadic relation to a second, called its Object, for a third, called its Interpretant, this triadic relation being such that the Representament determines its interpretant to stand in the same triadic relation to the same object for some interpretant.‖ (Peirce, 1980)

According to Peirce a sign consists of a physical form (representamen) which could, for example, be written, spoken or represented by neurons firing in a brain, a meaning (object) and another sign (interpretant) which mirrors the original sign, for example, in the mind of a person producing or observing a sign.

It should be pointed out that the use of the term ‗relation‘ by Peirce is not necessarily the same as in modern mathematics which distinguishes more clearly between a ‗relation‘ and its ‗instances‘. (Priss, 2015).

Peirce (1965) in his book Basic Concepts of Peircean Sign Theory stated that sign has been defined as something, which stands to somebody for something in some respect or capacity. Peirce made a triangle-meaning model to understanding a sign. A triangle meaning consists of representamen, object and interpretant. Peirce is the one who has so far delivered the broadest and most advanced theoretical frame work on the semiotics.

UNIVERSITAS SUMATERA UTARA Interpretant

SIGN

Representamen Object

Figure 2.2 Charles Sanders Peirce‘s Triadic Model

The triadic and evolutionary semiotics of Charles Sanders Peirce has a phenomenological angle that places signification, emotions and perceptions at the basis of his theory of how create meaningful signs in cognition and communication). Peirce called the sign a representamen, in order to bring out the fact that a sign is something that "represents" something else in order to suggest it

(that is, "re-present" it) in some way. Signs can take many forms. They can be words, numbers, sounds, photographs, paintings and road signs among and more.

However, while signs can be many things, they can be categorized as one of a few types (Chandler, 2002).

2.2.1 Interpretant

Interpretant (I) or the usage of sign is a concept of thinking from the people who use a sign and give it a special meaning or meaning that people have in their minds about an object which is referred by the sign. The most important thing is in the process of semiotic is how the meaning occurs from a sign when the sign is used by the people to communicate. The interpretant has rheme, dicent, and argument. The rheme is the probability for interpretant such as a concept, the dicent is the fact of interpretant or the real description of a thing, then argument is

UNIVERSITAS SUMATERA UTARA logical reasoning of interpretant. In addition, in the Philosophical Writings of

Peirce, the rheme is a qualitative possibility.

2.2.2 Representamen

Representamen (R) can be divided into Qualisign which is formed by quality, such as the concept of color, sinsign which is formed by the real physical reality or the shape of a thing. Peirce says about Sinsign (sin is ―being only once‖ as in single, simple, Latin semel) is actual thing or event. Then Legisign is the law or rule of how the thing should be such as the sound of whistle in the soccer match. Mostly the legisign is made by human being to organize the social life, and because of that almost all the convention is the legisign. (Hawan, 2017).

2.2.3 Object

Object (O) or reference is a social context which becomes reference from a sign or thing which it refers to. Object has three classifications as the representamen and object always related to each other. They are Icon, which the sign has the resemblance with the fact of what it refers, or a sign which denotes and have the characters of the Object, whether the Object exists or not. The next classification is Symbol, the sign connected with the object because of the agreement. Symbol is a general law or ideas which operate only in a particular situation, areas, or society. It should be noticed to differentiate symbol with legisign. Then, the Index which the sign connected with the object because of the cause and effect connection.

The two types of semiotic which developed by Ferdinand de Saussure and

Charles Sander Pierce has different characteristic within it epistemological. Most of Semiotician agreed that Sauusure type of semiotic as the model of semiotic

UNIVERSITAS SUMATERA UTARA signification, and Piercian model as the semiotic of communication. Saussurean model has focus on the sign as system and structure and denied the usage of a sign in a process of communication troughs individuals. A Piercian model had concerned it semiotical approach in process of sign production and unlimited interpretation of sign called semiosis process.

Peirce believe that the three elements, and the respective classifications they imposed upon signs, could be combined to give a complete list of sign types.

That is, since a sign has a sign-vehicle it can be classified as either a qualisign, a sinsign, or legisign. Additionally, since that sign has an object it can be classified as either an icon, an index, or a symbol. And finally, since that sign will also determine an interpretant it can be classified as either a rheme, a dicent, or a delome. Each sign is then classifiable as some combination of each of its three elements, that is, as either one of the three types of sign-vehicle, plus one of the three types of object, plus one of the three types of interpretant (Priss, 2015).

Category Firstness Secondness Thirdness Trichotomy

Representamen Qualisign Sinsign Legisign

Object Icon Index Symbol

Interpretant Rheme Dicent Argument

Table 2.2 Classification of Signs by Charles Sanders Peirce

There are two rules for permissible and combination based on the diagram of Peirce‘s classification of signs.

The first one, types of each element are classifiable as either a quality, an existential fact, or a convention. That is, across the three elements of a sign, there

UNIVERSITAS SUMATERA UTARA are three types deriving from qualities (the qualisign, the icon, and the rheme), three deriving from existential facts, (the sinsign, the index, and the dicent), and three deriving from conventions (the legisign, the symbol, and the delome).

Second rule is the classification of the interpretant depends upon the classification of the object, which in turn depends upon the classification of the sign-vehicle. The rules that determine permissible classifications, then, are that if an element is classified as a quality, then its dependent element may only be a classified as a quality. If an element is classified as an existential fact, then its dependent element may be classified as either an existential fact, or a quality. And if an element is classified as a convention, then its dependent element may be classified as either a convention, an existential fact, or a quality.

Peirce (1965) in his book Basic Concepts of Peircean Sign Theory also stated that the semiosis process is infinite process, because he thinks that the interpretant can be a new representamen, and if it joins with another object, it will produce the new interpretant again, and so forth. And finally, it can be unlimited.

2.3 Graffiti

2.3.1 Definition of Graffiti

Graffiti is a representative form of visual communication. The term

"graffiti" derives from the Greek graphein ("to write"). Graffiti (s. graffito), meaning a drawing or scribbling on a flat surface, originally referred to those marks found on ancient Roman architecture (Alonso, 1998:5). Graffiti refers to writings, drawings that have been scribbles, scratched or painted on a surface within public view. It can range from just words to elaborate paintings. The graffiti revolution took place primarily in 1970‘s and 80‘s, originating in New

UNIVERSITAS SUMATERA UTARA York City along with the emergence of hip hop culture. Social spaces became a platform for people to express their frustrations and deep-rooted resentments. The world became their canvas and they began mapping social symbols through graffiti art on public spaces for the geospecific audiences, with symbols ranging from individual to social perceptions (Alonso, 1998:14). Graffiti works as a form of visual communication, a room for dialogue with the world through visual art. It can be a social, cultural or political commentary that links the world to these art forms (Suchita, 2017).

The range of Graffiti begins from simple marks to variety of complex compositions, wether it is from the term color, tags, font style, picture, scribbles, doodles, etc. Purpose behind the creation of such marks may include a desire for recognition that is public in nature, and/or the need to appropriate public space or someone else's private space for group or individual purposes. Illegitimate counterparts to the paid, legal advertisements on billboards or signs, graffiti utilize the wall of garages, public rest rooms, and jail cells for their unspoken messages.

This illegal expression claimed as vandalism to the larger society, especially for those who have no acknowledgement about visual art.

The graffiti that are painted on the street are mostly the reflection of designs that spread powerful messages embedded culturally into the society. From public walls to buildings, artists have chosen to deliver powerful messages to the residents and visitors of the city, messages that are laden with thought provoking images and text. As Hasan (2014) stated that in English, the word ‗Graffiti‘ has undergone changes in meaning and relates specifically to writings in public spaces which are generally unexpected. Actually, human was writing graffiti since the

UNIVERSITAS SUMATERA UTARA prehistoric era, they wrote and drew the prayer, spells, story or event on the surface of the caves. And since the down of civilization they were making graffiti on walls of ancient structured.

These scribblings have been said to provide a unique insight into society, because messages written through graffiti are often made without the social constraints that might otherwise limit free expression of political or controversial thoughts. From a historical standpoint, graffiti has been used by epigraphologists to reconstruct a history of both the people of Pompeii and the ancient Athenians

(Abel & Buckley 1977:4). Archaeologists have also examined graffiti to learn more about the history of writing. Graffiti can also be traced back to the ancient

Egyptians, who developed one of the oldest and most remarkable forms of writing in the world.

2.3.2 Classification of Graffities

According to Alonso (1998:5) and hiphoparea.com as one of the largest hip hop community online, graffities can be classified to several main points.

They are: tags, political, existential, masterpiece, first outline and gang graffiti.

1. Tags

Tagging is the writing of the assumed identity. The tag is the subject matter, the structure of the art that is graffiti art. Tags tend to employ the attributes of the writer: name, initial, address, specific symbols of certain values, and so on.

Tags might occupy public spaces just like the graffiti categorized as public. The specific characteristics of tag is the message they convey are adressed to those within the social boundary of the people writing the tags.

UNIVERSITAS SUMATERA UTARA The purpose of tagging is about ―getting up‖ in as many places as possible.

For the tagger recognition as a prolific writer is an important goal. Through prolificity, fame and a sense of power are acquired by how many tags a writer can complete. Power is exercised by how writers make personal claims to the surfaces they tag (Alonso, 1998). The writer also feels a sense of power by participating in an activity and culture that is so active and has such a visible effect on their physical surroundings.

2. Political

Political graffiti is the most open system of graffiti, meaning that all who are confronted with these texts can understand the messages being conveyed. The writers of political graffiti geographically place their writings on busy thoroughfares, which guarantee an extensive viewing. This type of graffiti uses the general public as an audience to communicate ideas against the establishment.

Political groups take advantage of graffiti as communication because it is the safest, the most economical and a highly efficient way of reaching a desired audience. Political graffiti messages are fragments of truth (Kousari, 2010), a hurried summary of facts that include themes associated with labor conditions, freedom, political power, homelessness, unemployment, religious thought, and civil rights. In addition, political graffiti is usually associated with critical social events, not usually part of the everyday landscape.

3. Existential

Existential graffiti is the most common form of graffiti, and similar to political it follows an open system. They contain individual personal commentaries, and it is sometimes referred to as expressive graffiti. Existential

UNIVERSITAS SUMATERA UTARA graffiti that can be subdivided into several subcategories depending on the thematic content, they are Sexual, Racial, Love, Religious, Philosophical,

Humorous, Non-sexual and Self. The geographical distribution of existential graffiti does not follow an identifiable pattern in the urban environment, but it can be consistently found in public bathrooms.

Regardless if the content is associated with love, sex, or racial remarks, existential graffiti represents outward manifestations of personality. These inscriptions depict ideas and sentiments that are usually taboo in the social life of the writer (Alonso, 1998:9).

4. First Outline

The first outline is often a term for the original sketch on which the painting is based as well as the process to its translation to the train or wall. The importance of a good sketch is essential but just as important is the ability to transfer it faithfully. If this process is poorly executed the whole piece will be ruined. The first outline process is successful if the artist or writer transfers accurately the design or if the artist actually adds to the design potential of the space the work is situated in.

5. Masterpiece / Piecing

Piecing (or bombing as it commonly referred to) is a decorative expression of the name that demands an artistic skill and understanding of aerosol paint control. The term piece is applied to all graffiti paintings that are more than tags or throw-ups. The term is shorthand for masterpiece. The appropriation and shortening of the term masterpiece is intuitively a critique of the high art gallery system. A system where the idea of masterpiece is heavily tied in with the

UNIVERSITAS SUMATERA UTARA traditional notion of genius, connoisseurship and the monetary value of an artwork. In graffiti every painting is referred to as a piece and therefore as a masterpiece (Alonso, 1998:6).

7. Gang Graffiti

Gang graffiti, another category of written expression is the least challenged style of graffiti by the dominant class. It is not the type of graffiti that is scattered across the city as is tagging and piecing. It functions as a way to communicate sentiments, express group identity, and to dictate rules of their socially constructed places (Limbos, 2015). The idea of territoriality is perhaps the most important function of gang graffiti, and a close examination can uncover an accurate identifier of turf ownership. By reading the walls one could uncover a good approximation of the extent of a gang‘s territory.

2.4 Feminism

2.4.1 Definition of Feminism

Feminism is the belief that women should have equal rights to men in the ground of opportunities, treatment, respect, and social rights. Zeinab Noor (2017) stated that Feminism is a group of different social theories, political movements, and moral philosophies, driven by motives related to women's causes and rights in the aim of reinforcing developed, stable and strong societies. In general, feminism doesn't, in any way, mean to stand against men as much as it means standing by oppressed women worldwide until they get their rights, equally to men, especially in education and employment. Feminism can be vary from a nation to another, from a culture to another, depending on the level of suffering and social ethics and beliefs. Global feminism has a number of common goals like stopping all kinds of

UNIVERSITAS SUMATERA UTARA violence against women, demanding for equality in voting, education and employment (Noor, 2017).

2.4.2 Feminism Movement

Feminists aim to understand the reasons for the devaluation and focus on changing the devaluation and disparity between women and men in terms of biological, individualistic, social psychological and economic aspects (Steeves,

1987). Based on devaluation aspect, Steeve categorized four main streams of feminist theory which point out the devaluation of women. The are liberal feminism, radical feminism, socialist feminism and marxist feminism.

Liberal feminism is a belief of the inequality exist because of due to irrational prejudice and can be changed through rational arguments and rational mental development (Steeves, 1987). Therefore, liberal feminists promote that both government and society should guarantee equal opportunities between the two sexes; they emphasize on establishing and changing laws on issues such as education, women‘s suffrage, employment, and equal payment so to enable women‘s intellectual growth, professional success, and to improve representation of women in politics, history, and media (Steeves, 1987).

Radical feminism is a movement that believes sexism is so deeply rooted in society that the only cure is to eliminate the concept of gender completely.

Radical feminists suggest changes, such as finding technology that will allow babies to be grown outside of a woman's body, to promote more equality between men and women. This will allow women to avoid missing work for maternity leave, which radical feminists argue is one reason women aren't promoted as

UNIVERSITAS SUMATERA UTARA quickly as men. In fact, radical feminists would argue that the entire traditional family system is sexist. (Steeves, 1987)

Socialist feminism is a movement that calls for an end to capitalism through a socialist reformation of our economy. Basically, socialist feminism argues that capitalism strengthens and supports the sexist status quo because men are the ones who currently have power and money. Those men are more willing to share their power and money with other men, which means that women are continually given fewer opportunities and resources. In short, social feminism puts major focus on economics and politics. (Steeves, 1987)

Marxist feminism is concerned with the public sphere of women and pays attention to the relation of women and the wage of labor (Gentry, 2008). Marxist feminists argue that women‘s oppression has resulted in class oppression under capitalism. In other words, Marxist feminists state that women‘s oppression in the modern nuclear family structure was the result of the capitalistic society in which male wage earners have control over the family and they propose that bringing down capitalism is the necessary step to end male privilege. (Steeves, 1987).

2.4.3 Urban Feminism Graffiti

UNIVERSITAS SUMATERA UTARA reinforce women in the field of art. Female graffiti writers have knocked every closed door behind which lays a problem in silence, almost all occidental women sufferings have been treated through female muralists, especially sexuality issues which took a lot of attention by European and American feminist activists.

Sometimes, some of their works were bold and hard to be accepted by ordinary people or conservative families.

Before feminism, the majority of women artists were invisible to the public eye. They were oftentimes denied exhibitions and gallery representation based on the sole fact of their gender. The art world was largely known, or promoted as, a boy's club, of which sects like the hard drinking, womanizing members of Abstract Expressionism were glamorized. To combat this, Feminist artists created alternative venues as well as worked to change established institutions' policies to promote women artists' visibility within the market

Rather than considering it as crimeful act aimed at destroying property, sociologists have found that graffiti artists are drawn by processes of appreciating its aesthetic appeal in addition to considering graffiti a practice through which they can make friends and form and solidify communities. This transformation in graffiti culture has enabled the emergence of all-women graffiti crews. All-women crews composed of women around the world challenge and support each other and their art form digitally through the creation of new spaces for visibility, communication, and support.

Feminism in graffiti has grown faster and even reached the level of organizing some female street art events as it is the way in the annual event

"Femme Fierce" in London, on the occasion of the International Woman Day

UNIVERSITAS SUMATERA UTARA (Gentry, 2008). The movement of feminism represented by graffiti has sometimes become considerable pieces of art, especially in the contemporary arts when mural painting with all its techniques has become a legal form of graffiti. Urban galleries, governments and authorities started themselves to hire street artists for legal and technically prepared murals in public or chosen areas or to open more spaces, events, competitions for such kind of arts and activities.

A graffiti art takes important part of city space especially in urban life, it allows the men and women that participate in it to have their voices heard.

However, both urban space and the subculture of graffiti privilege men's voices.

Feminine space has been socially constructed as an interior space, while public space is thought to be masculine. Urban feminism graffiti is inextricably linked to urban space because it is the foundation for the game of masculinity that is the center of graffiti (Gentry, 2008). The female graffiti artist works in that masculine urban space as well, despite the city is often thought of as dangerous space for women. When the graffiti art is read within its urban context, it can be seen as ongoing conversation with the public.

2.5 Previous Related Studies

The role of semiotic in analysis has been done by some researchers.

Previous study is given to show the similarity and difference between this research and another research. As the additional references for the writer in process of writing this thesis, the writer collects several previous related studies which have been reviewed and the result of the previous studies presented as follows:

UNIVERSITAS SUMATERA UTARA The first previous study was conducted by Prasetya (2014) that identified the semiotic signs conveyed in graffities. The writer uses three graffities made by

Bansky as the research data with the use of Ferdinand de Saussure‘s theory in classifying the semiotic signs and using qualitative descriptive method. The writer was also using Roland Barthes theory in analyzing denotative and conotative meaning of the signs in the selected data. The contributions of this study to the current study is that both using the same method of research as well as similiar object which still in the category of semiotic signs in graffities.

The next previous study the writer reviewed is the journal article conducted by Hasan (2014). He analyzed five graffities around Bandung city by using Roland Barthes‘ theory. Barthes‘ Framework is applied to find out the meaning of graffiti. This previous study used qualitative descriptive method and also by doing an interview with the Bomber of Act Move to enrich the data and make the clear understanding of his study. The finding of this study is the meaning of denotation, connotation and myth or ideology of the graffiti with the supporting theory by Roland Barthes. The results of this study give contribution to the writer to an understanding of the exploration and interpretation the meaning beyond and surface of graffiti, the similiarity of the object in graffiti field and same using of the method for both research also being helpful contribution in the finishing of current study.

Other thesis was conducted by Eriana (2015) that described about perfume advertisement by analyzing icons or the symbols based on the triangle semiosis of

Pierce. The icons and the symbols in each data are analyzed separately by using the triangle semiosis of Pierce. Then, the collected data were analyzed using the

UNIVERSITAS SUMATERA UTARA qualitative and descriptive method. The contribution of this study to the writer is that both have the same theoretical literature from Charles Peirce in analyzing both studies. Thus, both writers can get reach the initial goal to find the semiotic signs in each objects of the research.

Suchita (2017) in her journal article analyzed the graffiti in certain place called Bengaluru, she uses the purposive sampling technique in doing her research. The graffities that found around Bangalore were analyzed by using

Semiotic theory by Roland Barthes. Therefore, the similiarity between her study and the current study is from the object of analysis, both of the writers use graffities on doing the research. The contribution The contributions of this previous studyare technique of analysis and research topic, mythology messages and value which reflected in graffities by using Peirce‘s triadic model..

Other previous study is a thesis research done by Hawan (2017). The aim of the study is to find semiotic signs and how the meaning of semiotic signs are realized in the selected movies poster. The similiarity between this previous study with the current study is because the writer was using qualitative descriptive method and Triadic Semiosis theory in which proposed by Charles Sanders Peirce about Verbal and Visual Aspect. The contribution of this study is to give understanding about how posters can interpret meanings through its verbal and visual aspects.

2.6 Theoritical Framework

The Theoritical Framework is needed in research for the sake of clearance and expect to give better understanding for the research review. Here is the theoritical framefork of this research:

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Graffities

Signs of Urban

Feminism Graffities

Peirce’s Triadic Model

Representamen Object Interpretant

Qualisign Icon Rheme

Sinsign Index Dicent

Legisign Symbol Argument

Realization of Signs in Urban Feminism Graffities

Figure 3.6: Theoritical Framework

Five graffities which portray urban feminism has selected as object which being analyzed using Charles Sanders peirce‘s triadic model. Semiotics is one of branch linguistics studies which explain the study of meaning-making, also the study of sign process and meaningful of communication. A sign or representamen is a concrete thing that can be seen by the people and it represents another thing beyond it. It is used as a subtitute for another thing in order to transmit a concept

UNIVERSITAS SUMATERA UTARA about sign. The Triadic model categorized into Representamen, Object and

Interpretant, which each elements have their own points. A sign represent something which may not be present, to a system capable of interpreting such subtitution.

Peirce defined semiotic as an irreducibly triadic process where in something, as an object. The object is what the sign represents. Interpretant or the usage of sign is a concept of thinking from the people who use a sign and give it a special meaning or meaning that people have in their minds about an object which is refered by the sign (Peirce, 1965:116). The most important thing is in the process of semiotics is how the meaning occurs. Interpretant is a process of perceiving meaning (in the mind) of an interpretant, in semiotics, is the effect of a sign on someone who reads or comprehends it.

UNIVERSITAS SUMATERA UTARA CHAPTER III

RESEARCH METHODOLOGY

3.1 Research Design

Research is the activity to collect the data, to find out the problem that will be analyzed, to study repeatedly about the related problem to finally present the result in the end of the research. The very first step that performed by the writer in this study is collecting data and compiled them and then explained it before the data analysis stage.

In this research the writer used descriptive qualitative method to analyze the data, in order to understand the semiology states in the correlated Feminism

Graffities. Qualitative research methods provide more emphasis on interpretation and providing consumers with complete views, looking at contexts, environmental immersions and a depth of understanding of concepts (Moleong, 1991)..

This study used qualitative descriptive method because the data of this study is emerged in the form of words and sentence, and the result will not be presented through statistic diagram or percentages in quantitative method. Instead, this study is considered to give descriptive explanation based on the writer‘s journey on collecting the data by using descriptive qualitative approach in document or content analysis.

3.2 Data and Source of Data

Data is always required to do research. It becomes important equipment for the researchers to finish their study. Data of this study is visual signs and verbal text in five urban feminism graffities. Source of the data is from online source in a website called Pinterest. It shares the similiar function as Google

UNIVERSITAS SUMATERA UTARA Image as media application that allows users to organize, share, and discover new interests by posting images and videos from around the web.

The table below displays the data which obtained from the source and will be analyzed in this research based on their publication years.

No. Title of Graffities Years Published Source 1. Stop Telling Women to Smile 2012 Pinterest by Tatyana Fazlalizadeh

2. No to Street Harassment by 2013 Pinterest Mira Shihadeh

3. Cats Against Catcalls by 2013 Pinterest Starchild Stela

4. Portrait of Yousefzai Malala 2014 Pinterest by Unknown Artist

5. Woman Throwing Margaret 2017 Pinterest Atwood Book as A Weapon by Unknown Artist Table 3.2. Data Collection based on Publication Year.

3.3 Data Collecting Method

Qualitative researchers typically rely on three methods for gathering information: (a) participating in the setting, (b) observing directly, (c) analyzing documents or material culture (Moleong, 1991). A document is a text-based file that may include primary data (collected by the researcher) or secondary data

(collected and archived or published by others).

Preparing the technique of data collecting is the prominant way that generally used by researchers to obtain the required data. In collecting the data of this study, the writer discusses three things. First, the writer explains the data and source of data. Second, the writer describes the instrument that is used in this

UNIVERSITAS SUMATERA UTARA research. The last thing that is discussed by the writer is technique or method of data collection.

The writer uses the techniques of observation and documentation to collect the data. These following steps are applied in collecting the data with Observation method:

1. Downloading the Pinterest application from Play Store via writer‘s

smartphone and login to the existed account of the writer‘s.

2. Searching and observing the related data in the Search Tab using tag line

such as ―Feminism Art‖, ―Street Art‖, ―Woman Graffiti‖, ―Urban Graffiti‖

―Feminism Graffiti‖, etc.

3. Sorting and selecting the pictures of required data and download all of the

selected data to then be analyzed by relevant theory to get the conclusion.

Meanwhile in collecting the data by using Documentation method, the writer obtained the documentation from supporting books in the library, article in the internet, thesis, and international journal.

3.4 Data Analyzing Method

Quoting Miles, Huberman and Saldana (2014) interactive model of qualitative analysis as data analyzing method, the writer will present three major points in analyzing the data after the process of data collecting. In this study, the selected data is suited with the chosen method because each steps of the analysis is in accordance with the research initial plan. As the writer mentioned in the section of data collection on previous chapter, the collected data is shown as the original referenced material before it is condensed. They describe the primary

UNIVERSITAS SUMATERA UTARA phases of data analysis as three major action: data condensation, data display, also conclusion drawing and verification.

3.4.1 Data Condensation

Data condensation used to be known as data reduction or data compressed but it was changed because data reduction implies ―weakening or losing something in the process‖. Miles, Huberman and Saldana (2014) stated that, ―The data condensation itself refers to the process of selecting, focusing, simplifying, abstracting, and/or transforming the data.‖

Data condensation involves making decision about which data will provide the writer‘s intial focus. Therefore, reduced data can give description deeply to the observation result. In qualitative analysis, the analyst decides which data are to be singled out for description according to principles of selectivity.

Data condensation often forces choices about which aspects of the assembled data should be emphasized, minimized, or set aside completely for the purposes of the project at hand. There are several steps in this stage as follows:

1. Selecting

The data is selected based on verbal text and visual sign in graffities which portray urban feminism. The writer selected the data based on the verbal text and visual sign. They are Stop Telling Woman to Smile (2012), No to Street harassment (2013), Cats Against Catcalls (2013), Portrait of Yousefzai Malala

(2014), and Woman Throws Margaret Atwood Book as Weapon (2017).

2. Focusing

UNIVERSITAS SUMATERA UTARA In the process of focusing, the writer categorized the selected data image whether they have the classification of semiotic signs that can be analyzed or not.

Therefore, the writer focused on urban feminism graffities.

3. Simplifying

In the process of simplifying, the selected data as in the feminism graffities from Pinterest are simplified by codes. Such as initial for each related components.

4. Abstracting

The analysis theories include abstracting the visual sign and verbal text in the selected data about the graffities which represent feminism. In abstracting process, the selected graffities were identified and analyzed based on the types of semiotic signs which found in Triadic Model by Peirce.

4. Transforming

For the final touch in transforming process, the writer transformed the data that had been analyzed into separated pictures and texts and merged them in one table to become model analysis by using Peirce‘s theory.

3.4.2 Data Display

Data display is the second phase to analysis the data according to Miles and Huberman‘s (1994). A display is an organized, compressed assembly of information that permits conclusion drawing and action. In the qualitative research, the data can be displayed in the form of table, graphic, phi card, pictogram, and other equivalent of them.

In this study, the process of showing data simply in the form of image of the graffiti, words, sentence, narrative, and table in order to the writer mastered in

UNIVERSITAS SUMATERA UTARA the data collected as the basic of taking appropriate conclusion. In addition,

Peirce‘s Triadic Semiosis diagram will be used to represent the relation of interpretant, representamen, also object to the selected graffities also merge its hidden meaning to then relate them to the social life.

3.4.3 Conclusion Drawing and Verification

The third element of analysis activity is conclusion drawing and verification. Conclusions are verified as the analyst proceeds. Verification may be as brief as fleeting second thought crossing the analyst‘s mind during writing, with a short excursion back to the field notes, or it may be through and elaborate, with lengthy argumentation. In this research, the writer made the conclusion based on the finding of data analysis. The writer will explain and describe the result of analysis by drawing the conclusion in order to answer the problem of the analysis of this study while the further verification was done by the supervisor.

UNIVERSITAS SUMATERA UTARA CHAPTER IV

ANALYSIS AND FINDINGS

4.1 Data Analysis

In this chapter, the data were analyzed by using Peirce‘s Triadic model which consist of representamen, object, and interpretant. Data analysis is process of evaluating data using analytical and logical reasoning to examine each component of the data provided. This form of analysis is just one of the many steps that should be complete when conducting a research. Data from the source are gathered, received, and then analyzed to form some sort of findings or conclusions.

The writer elaborates in detail, the result of the analysis about triadic sign

Peirce of urban feminism graffities. Peirce‘s theory was used to dig the meaning of any signs in the graffities. The representamen can be classified to qualisign, sinsign, and legisign. The object divides into three classification, they are icon, symbol, and index. The interpretant has rheme, dicent, and argument.

4.1.1 Data 1: Stop Telling Women to Smile

This graffiti was published on 2012 and the name of its artist is Tatyana

Fazlalizadeh. Based on the analysis of the data, the writer found three signs; the representamen, object, and interpretant. The data is analyzed by using Peirce‘s

Triadic Model.

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3 2

Figure 4.1 ―Stop Telling Women to Smile‖ graffiti by Tatyana Fazlalizadeh

4.1.1.1 An Analysis of Visual Sign in “Stop Telling Women to Smile” Graffiti

The visual signs is the picture in graffiti. In this research, the writer found

3 visual signs in Stop Telling Women to Smile graffiti (figure 4.1). They can be

seen as follows:

No. Representamen Object Interpretant

Flat-curved lips The woman is not An expression which makes the smiling. object look emotionless. In this section, the flat–curved lips shows that the woman feels unhappy with people who tell her to smile in public space. When people feel

UNIVERSITAS SUMATERA UTARA uncomfortable, such as when someone says something inappropriate, they engage in an uncomfortable smile that is designed to cover up their true feeling of discomfort. 2. Sharp eye gaze A pair of eyes which An expression of woman‘s strength show serious and and danger through eyes; it also intimidating stare. implies a certain degree of intelligence and fierceness. It generally means the person is silently observing or questioning their surroundings. It is also called as the ―death stare‖ or the ―predatory look.‖ It‘s the ability to stare into someone else and make them feel as though someone is staring directly into their soul. 3. Raised eyebrows. A pair of eyebrows lifted An expression of someone who out of curiousity. appear or feel skeptical, surprised, mildly scandalized. It also implies someone to disapprove or approve challenges. In this context, it represents woman‘s bravery against street harassment. Table 4.1 Visual signs analysis in ―Stop Telling Woman to Smile‖ graffiti

Based on its representamen, Peirce divides signs into three, called

Qualisign, Sinsign, and Legisign. The qualisign (quality of the signs) found in

that data is color that contain in the graffiti are black-white color. The sinsign

(actual event of the sign) found the event and expression showed by the character,

the expression of the woman who shows flat and serious expression on her face,

she looks unhappy and does not smile at all.

Based on its object, Peirce divides signs into three, called icon, index, and

symbol. Icon is signs that has resemblance with the fact of what is refers. The

icon found in this sign is the picture of no-smiling woman (the woman). The

UNIVERSITAS SUMATERA UTARA writer called it as an icon because it resembles the real woman who expresses no- smiling face. People will be easy to recognize her as a woman. The symbol found in this sign is a flat-curved lips which represents the woman refuses to smile eventhough the people tell her to, a pair of sharp eyes represent strong and dangerous stare as an armor of woman when people tell her to smile in a public space, and raised eyebrows which represents woman‘s bravery to beat against street harassment. The index found in this sign is verbal text which used to inform pedestrians and people who passes by on public street about street harassment issues that happened to women.

The interpretant in this sign is it is dictatorial and unacceptable thing to do to tell a woman to smile even if the intention is purely innocent and mere joke.

4.1.1.2 An Analysis of Verbal Sign in “Stop Telling Women to Smile” Graffiti

In this graffiti, the phrase which have been analyzed using Charles Sanders

Peirce theory can be seen as follow:

Figure 4.2 Verbal Sign in ―Stop Telling Women to Smile‖ Graffiti

In this verbal analysis, letters, words, phrases are categorized as a sign.

The phrase ‗Stop Telling Woman to Smile‘ is interpreted as the epitome of unspoken feelings from woman who have been accosted, in some way, by men just for walking down the street in the cities where they live.

UNIVERSITAS SUMATERA UTARA The portraits of woman are pasted onto walls in public spaces as a way to bring awareness to, and combat, street harassment. A smile represents happiness, contentment, having a good time, a lack of stress and worries. In this context, to instruct a female stranger on the street to smile are highly impolite and unacceptable. It is patronizing and demoralizing when a woman is asked, instructed, ordered and flat-out commanded to smile.

One of the founders of Stop Street Harassment, one of the biggest nonprofit organization dedicated to documenting and ending gender-based street harassment worldwide, wrote her master‘s thesis on street harassment and found, through interviews with more than 1,100 people, that nearly all female respondents had been harassed while walking down the street at least once. In one portion of the author‘s work, 225 people were asked had they ever been the recipient of honking, whistling, kissing noises, leering, groping or other aggressive and harassing gestures in public, to which 99% of respondents said they had.

4.1.2 Data 2: No Street Harassment

This graffiti was published on 2013 and the name of its artist is Mira

Shihadeh from Cairo, Egypt. Based on the analysis of the data, the writer found three signs; the representamen, object, and interpretant. The data is analyzed by using Peirce‘s Triadic semiosis.

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5 1

2 4

Figure 4.3 ―No to Street Harassment‖ by Mira Shihadeh

4.1.2.1 An Analysis of Visual Sign in “No to Street Harassment” Graffiti

The visual signs is the picture in graffiti. In this research, the writer found

5 visual signs in No to Street Harassment (figure 4.2). They can be seen as

follows:

No. Representamen Object Interpretant

Left hand, A woman holding a The spray bottle in woman‘s hand spray bottle with her left is interpreted as an equipment to Spray Bottle hand. defend herself from the unpleasant situation that occured on her surroundings; especially the sexual harassment that has done by men in public street. In this section, to hold something with left hand is counted as impolite action (especially in Muslim majority country).

UNIVERSITAS SUMATERA UTARA 2. Hand on hips Resting a hand on hips This gesture is taken up by a person who is 'ready for action', typically an assertive action. Assertive action only used when someone feel the need to assert themselves when their rights have been violated. So hand on hips is interpreted as the person who is angry or irritated. 3. Red dress. A woman wearing red The color red is strongly linked to dress. bravery, energy, power, anger, leadership, courage, desire, attraction. A woman who wear red dress is assessed as visually and sexually more attractive than those who do not. In this context, the woman does not wear red dress in purpose to attract the men. 4. Male figure Black male-like figure An activity of how a group of men floated in the air. have been attacked and expelled out. (based on the floating-in-the-air figure). 5. Spray sprinkles The large amount of The spray sprinkles are interpreted sprinkling element which as the power of women who try to sprayed out of the sprayer attack the men who harrassed them. bottle. Table 4.2 Visual signs analysis in No to Street Harassment graffiti

Based on its representamen, Peirce divides signs into three, called

Qualisign, Sinsign, and Legisign. The qualisign (quality of the signs) found in

that data is color that contain in the graffiti are black and red color. The sinsign

(actual event of the sign) found the event and expression showed by the character,

the expression of the woman who shows satisfaction through her smirk after

expelling the group of men with the help of power from the spray bottle.

Based on its object, Peirce divides signs into three, called icon, index, and

symbol. The icon found in this sign is the picture of a woman who wear red dress

while spraying a group of men until they floated away in the air. The writer called

it as an icon because it resembles the real woman who expresses women‘s

UNIVERSITAS SUMATERA UTARA struggle to battle against street harassment which mostly done by male. The symbol found in this sign is how the woman holds the spray bottle in a firm and decisive way to fight against street harassment. The index found in this sign is verbal text which used to to tend women from being sexually harassed on the street.

The interpretant in this sign is the women have rights to defend themselves from men who do street harassment to them. Street harassment unwelcomed or unwanted verbal, non-verbal, physical or visual conduct based on sex or of a sexual nature which occurs with the purpose or effect of violating the dignity of a person. Spray bottle which used as weapon interpreted as the voice of the woman itself as defense weapon.

4.1.2.2 An Analysis of Verbal Sign in “No Street Harassment” Graffiti

In this graffiti, the phrase which have been analyzed using Charles Sanders

Peirce theory can be seen as follow:

Do not Harass = ال ل ل تحرش

Figure 4.4 Verbal Sign in No Street Harassment Graffiti

In this verbal analysis, letters, words, phrases are categorized as a sign.

has been translated into English as ―Do not harass‖. It ‘ ال ل ل تحرش‗ The phrase voices out most of the women‘s inner feeling about how irritating sexual harassment is. These voices share stories of trauma, defiance, and betrayal. This

UNIVERSITAS SUMATERA UTARA phrase, along with the visual signs, quickly caught on as a powerful statement of being fed up with the inappropriate cat calls, and street harassment that women face on a daily basis.

Most women faced gender-based street harassment by strangers in their life. Street harassment limits people's mobility and access to public spaces. The activities include catcalls, sexually explicit comments, sexist remarks, homophobic slurs, groping, leering, stalking, flashing, and assault. It is a form of gender violence and it's a human rights violation It is how the graffiti artists show solidarity with women‘s rights and rape. It became a symbol for social awareness campaigns.

4.1.3 Data 3: Cats Against Catcalls

This graffiti was published on 2013 and the name of its artist is Starchild

Stela. She is known mainly for her activist graffiti/street art, zines, and fine art.

Figure 4.5 ―Cats Against Catcalls‖ by Starchild Stela

UNIVERSITAS SUMATERA UTARA 4.1.3.1 An Analysis of Visual Sign in “Cats Against Catcalls” Graffiti

The visual signs is the picture in graffiti. In this research, the writer found

4 visual signs in Cats Agaisnt Catcalls (Figure 4.5). They can be seen as follows:

No. Representamen Object Interpretant 1.

Cats A group of sleeping cats. Cat is interpreted as friendly creature who is full of affection and known as one of the most loyal animal for its owner. They become unfriendly when they feel attacked or abused. In this context, the cats assumed to be the protector for each woman who get catcalled by strangers. 2. Pink horn A pair of pink-colored Horn is often used metaphorically to horn on the girl‘s hair. signify strength and honor, because horns are the chief weapons and ornaments of the animals which possess them; hence they are also used as a type of victory. 3. Frowned The girl frowned her A facial expression in which the eyebrows eyebrows. eyebrows are brought together, and the forehead is wrinkled, usually indicating displeasure, sadness or worry, or less often confusion or concentration. Pink, a delicate color that means sweet, nice, playful, cute, romantic, charming, feminine, and tenderness.

UNIVERSITAS SUMATERA UTARA 4. Heart shape Pink heart slipped Heart shape is the universal symbol between the cats. of romantic love. Heart shape is an ideograph used to express the idea of the "heart" in its metaphorical or symbolic sense as the center of emotion, including affection and love. The heart shape has long been recognized across cultures as being a symbol of love, charity, joy and compassion. Table 4.3 Visual signs analysis in ―Cats Against Catcalls‖ graffiti

Based on its representamen, Peirce divides signs into three, called

Qualisign, Sinsign, and Legisign. The qualisign (quality of the signs) found in

that data is color that contain in the graffiti are blue, pink, and grey. The sinsign

(actual event of the sign) found the event and expression showed by the character,

the expression of the woman who shows displeasure, sadness, worry and

confusion; proven by the frowned eyebrows.

Based on its object, Peirce divides signs into three, called icon, index, and

symbol. Icon is signs that has resemblance with the fact of what is refers. The

icon found in this sign is the picture of a group of cats who surrounds a female

figure as if they protect the female. The writer called it as an icon because it

resembles the real woman who expresses women‘s displeasure on getting

disrespect treat through catcall on the street and how the cats against street

harassment especially catcalling itself. The symbol found in this sign is how the

woman is protected behind the cats against the disrespect treatment that done by

strangers on the street. The index found in this sign is the verbal text shown in the

image.

UNIVERSITAS SUMATERA UTARA The interpretant in this sign is even non-human creature support the women rights to not being harassed on public space through catcalling. Catcall is interpreted as the cause of women‘s lack of confidence as well as the disrespectful treatment they receive, proven by the furrowed eyebrows.

4.1.3.2 An Analysis of Verbal Sign in “Cats Against Catcalls” Graffiti

In this graffiti, the phrase which have been analyzed using Charles Sanders

Peirce theory can be seen as follow:

Figure 4.6 Verbal Sign in ―Cats Against Catcalls‖ Graffiti

In this verbal analysis, letters, words, phrases are categorized as a sign.

The phrase ‗Cats Against Catcalls‘ is interpreted as how the non-human creatures are aware about the street harassment issue especially in catcalling terms. The figure of group of cats which claimed as catcalling fighters are made as a way to bring awareness to street harassment.

Catcalling is an activity that cause numerous of women encountered countless times of miserable walk-in-public experiences. Some even have to live with it, as society has become strangely tolerant of this ―minor‖, ―harmless‖ form of sexual harassment. As the cat represents friendly creature who is full of affection and known as one of the most loyal animal for its owner, the phrase is analyzed as even animal against sexual abuse which is one of the most traumatising things that could happen to a person.

UNIVERSITAS SUMATERA UTARA 4.1.4 Data 4: Portrait of Yousafzai Malala

This graffiti was published on 2014. Based on the analysis of the data, the

writer found three signs; the representamen, object, and interpretant. The data is

analyzed by using Peirce‘s Triadic semiosis.

4 2 3

Figure 4.7 ―Portrait of Yousafzai Malala‖ by Unknown Artist

4.1.4.1 An Analysis of Visual Sign in “Portrait of Yousafzai Melala” Graffiti

The visual signs is the picture in graffiti. In this research, the writer found

4 visual signs in Portrait of Yousafzai Malala (Figure 4.7). They can be seen as

follows:

No. Representamen Object Interpretant

Big Muscles A woman rolls up her Muscles are perceived to be a form sleeves to show her arm of power, strength and masculinity.

UNIVERSITAS SUMATERA UTARA muscles. Muscles are idealized as a masculine attribute, those who have muscular body are perceived to be powerful. 2. Clenched fist A woman clutched her An activity in which the hand is fist powerfully. clutched to make a fist when someone bent their fingers in towards the palm. Clenched fist interpreted as the gesture of empowering, firmness and strength, connection to agression and anger. 3. Smirk A woman crack a smirk A facial expression in which one on her lips. corner of the lip is lifted to show self-satisfaction, smugness, or even pleasure at someone else's unhappiness or misfortune. 4. Veil A woman wear a veil The tradition of veiled women in wrapped around her head. religion came into play in Judaism, Christianity, and Islam. These various religions interpreted their own scriptures that a woman should be veiled to show respect and reverence for their Lord. In the Christian world, the veil is often used in prayer and when attending church. For the Muslim religion, it is not only worn as a symbolic gesture, but is also part of the Islamic culture, and in some places, required by law to this day. Table 4.4 Visual signs analysis in ―Portrait of Yousafzai Malala‖ graffiti

Based on its representamen, Peirce divides signs into three, called

Qualisign, Sinsign, and Legisign. The qualisign (quality of the signs) found in

that data is color that contain in the graffiti are blue, red, black, and brown. The

sinsign (actual event of the sign) found the event and expression showed by the

character, the expression of the woman who shows satisfaction and firmness;

proven by the smirk on the lips.

UNIVERSITAS SUMATERA UTARA Based on its object, Peirce divides signs into three, called icon, index, and symbol. Icon is signs that has resemblance with the fact of what is refers. The icon found in this sign is the portrait of Yousafzai Malala herself. The writer called it as an icon because it resembles the real Yousefzai Malala, a Pakistani activist for female education and the youngest Nobel Prize laureate. She is known for human rights advocacy, especially the education of women and children in her native Swat Valley in Khyber Pakhtunkhwa, northwest Pakistan. The symbol found in this sign is how Malala show her strength about fighting for female education through the clenched fist gesture and smirked lips she made. The index found in this sign is the verbal text shown in the image.

The interpretant in this sign is it is believed that women supposed to be treated equally in term of education. The smirk expresses self-satisfaction and confidence-gaining. Since clutched fist is interpreted as the gesture of empowering, firmness and strength, connection to agression and anger, it is highly connected to woman figure in the graffiti herself.

Malala is known as one of Pakistani female activist who inputs massive- scale of contribution in the life of children education. Unlike so many young

Pakistani women, Malala was raised to see the strength and power of her sex. She speaks of being supported from birth by proud father Ziauddin Yousafzai, who she says lifted her up and showed her off to the community with as much pride as if he had been gifted a son. Malala reflects on her fathers dedication to Islam, education and progressive thoughts about women in the Middle East and how it influenced her to grow in a similar direction.

UNIVERSITAS SUMATERA UTARA 4.1.4.2 An Analysis of Verbal Sign in “Portrait of Yousafzai Melala” Graffiti

In this graffiti, the phrase which have been analyzed using Charles Sanders

Peirce theory can be seen as follow:

Figure 4.8 Verbal Sign in ―Portrait of Yousafzai Melala‖ Graffiti

In this verbal analysis, letters, words, phrases are categorized as a sign.

The phrase above is interpreted as how one woman can empower and give strength to create big impact in one‘s life. The weight of Malala‘s intelligence is enough to inspire. Her profound thoughts analyzing the complexities of religion and controversial politics translates to wisdom and power far beyond her years; a young woman who honors her home of the Swat Valley as well as her dedication to Islam. She finds a way to respect both while incorporating the potential of a progressive society where women are treated as equals.

Malala epitomizes leadership, a person who fearlessly stands up for change and continues to spread her message even after such brutal circumstances.

Her courage, determination, and ultimate kindness are traits every leader should strive to possess. And her fight is a daily reminder of how lucky people in general who receive a good education without struggle and without fear for living.

UNIVERSITAS SUMATERA UTARA 4.1.5 Data 5: Woman Throwing Margaret Atwood Book as A Weapon

This graffiti was published on 2017 and made by unknown artist. It is

known that the graffiti is inspired by one of most influencing graffiti artist,

Banksy, with his graffiti artwork called ―Flower Bomber‖. Based on the analysis

of the data, the writer found three signs; the representamen, object, and

interpretant. The data is analyzed by using Peirce‘s Triadic semiosis.

3 1

Figure 4.9 ―Woman Throwing Margaret Atwood Book as A Weapon‖ by Unknown Artist

4.1.5.1 An Analysis of Visual Sign in “Woman Throwing Margaret Atwood

Book” Graffiti

The visual signs is the picture in graffiti. In this research, the writer found

3 visual signs in (Figure 4.9). They can be seen as follows:

No. Representamen Object Interpretant

Red lipstick A woman with The appliance of red lipstick is dominated red color on interpreted as the act of her lips. empowering, self-assurance, and bold confidence. It draws people

UNIVERSITAS SUMATERA UTARA attention and subsequently a symbol of power. 2. Book A woman holds Margaret A book is both a portable physical Atwood Book. object and the body of immaterial representations or intellectual object whose material signs—written or drawn lines or other two- dimensional media—the physical object contains or houses. 3. Pair of Glasses A woman wears a pair of A pair of lenses set in a frame worn glasses or specs. on the nose and ears in order to correct deficiencies in eyesight or to ornament the face. People who wear glasses generally interpreted as nerd and looks more intellectual. Table 4.5 Visual signs analysis in ―Woman Throwing Margaret Atwood Book‖ graffiti

Based on its representamen, Peirce divides signs into three, called

Qualisign, Sinsign, and Legisign. The qualisign (quality of the signs) found in

that data is color that contain in the graffiti are black, white and red. The sinsign

(actual event of the sign) found the event and expression showed by the character,

the expression of the woman who shows bravery and audacity; proven by the

woman‘s ready-to-attack pose by lifting one hand and the other one is ready to

throw book.

Based on its object, Peirce divides signs into three, called icon, index, and

symbol. Icon is signs that has resemblance with the fact of what is refers. The

icon found in this sign is the Margaret Atwood book. The writer called it as an

icon because book resembles the education, a core of every movement all children

and women can do. Meanwhile Margaret Atwood is known as one of novelist-

feminist who is also a Canadian poet, literary critic, essayist, inventor, teacher and

environmental activist. She has published seventeen books of poetry, sixteen

UNIVERSITAS SUMATERA UTARA novels, ten books of non-fiction, eight collections of short fiction, eight children's books, and one graphic novel, as well as a number of small press editions in poetry and fiction. The symbol found in this sign is how the woman in the graffiti show her power to strike against the world through education; proven by the book she hold and her gesture also the bold red-tinted lips which shows confidence within a woman. There is no index found in the graffiti.

The interpretant in this sign is it is believed that education is the core of every movement to go against the world‘s wickedness. The book symbolizes education. A great job, a good social reputation are few of the many benefits of being an educated person. Education is a must for a promising and secure future and a stable life. An educated person has more chances of landing up a good high paying job. It is a knowledge-gaining. It develops a perspective of looking at life.

4.2 Analysis Result

The semiotic signs found in the five urban feminism graffities are visual and verbal signs. Each graffities contain picture of women and other supporting elements such as book, cats, veil, paint spray that associated with feminist. The

Peirce theory used the triadic model to find the relation between the representament, the object and the intepretant.

The representamen which have been found in this research are: Qualisign which is based on quality of background color in the urban feminism graffiti which in this section are black, white, red, blue, pink, brown, ets. Sinsign that found in the graffities shows the expression of the characters, which are angry, satisfied, uncomfortable, embarassed, etc. Legisign is the law or fact which is not found in the data.

UNIVERSITAS SUMATERA UTARA The object consists of icon such as a picture of book that generally is

associated with education sign. Second is symbol which can be found in this

graffities such as the spray bottle that hold by a woman that represents the

weapons to fight against street harassment. Lastly, index is the written language

that found in verbal signs.

The interpretant found in this study are dicent and argument. There is no

rheme found in the graffities because the graffities only contain the verbal and

visual signs, there is no audio used in it. Dicent sign is the situation or location of

the graffities, the writer found the information of five urban feminism graffities

from the Pinterest website in the internet. The last is argument. This signs give a

reason when its created. This graffiti is used to inform people about urban

feminism activity through the existence of mural art especially street graffities.

The analysis above can be seen in the following table:

No. 5 Selected Signs Total Peirce Theory Urban Feminism Verbal Visual Representament Object Intepretant Graffities Q S L Ic In Sy R D A 1 Stop 1 3 4 ✓ ✓ _ ✓ ✓ ✓ _ ✓ ✓ Telling Women to Smile 2 No to Street 1 5 6 ✓ ✓ _ ✓ ✓ ✓ _ ✓ ✓ Harassment 3 Cats 1 4 5 ✓ ✓ _ ✓ ✓ ✓ _ ✓ _ Against Catcalls 4 Portrait of 1 4 5 ✓ ✓ ✓ _ ✓ ✓ _ ✓ ✓ Yousafzai Malala

UNIVERSITAS SUMATERA UTARA 5 Woman 0 3 3 ✓ _ _ ✓ _ ✓ _ _ ✓ Throwing Margaret Atwood Book Total 4 19 23

Table 4.6 Representative of verbal and visual signs in 5 Urban Feminism graffities based on Peirce‘s theory.

To answer the second problem of the study, the writer found some related

meaning in selected urban feminism graffities by using Pierce theory in order to

find the realization of semiotic signs.. There is no mystical object found in the

graffities. The written language in the graffiti delivers the information of how

people should be more aware toward the feminism issues that occur in life.

The realization of semiotics in urban feminism graffiti also proved by the

fast growth of female graffiti artist by organizing annual event called "Femme

Fierce" in London on the occasion of the International Woman Day. The

movement of feminism represented by graffiti has sometimes become

considerable pieces of art, especially in the contemporary arts when mural

painting with all its techniques has become a legal form of graffiti. Urban

galleries, governments and authorities started themselves to hire street artists for

legal and technically prepared murals in public or chosen areas or to open more

spaces, events, competitions for such kind of arts and activities.

Based on the selected data of five urban feminism graffities in this

research, it is realized that visual and verbal signs in semiotics play important role

to deliver the meaning of signs itself to then be interpreted for society. In this

case, the urban feminism graffities deliver the message for people to always be

UNIVERSITAS SUMATERA UTARA aware of the issues for street harassment, gender inequality, women rights, sexual harassment and the importance of education for women.

4.3 Findings

In the selected Urban Feminism graffities, the writer found verbal and visual signs. The verbal text are the written text such as the motivational quotes of the woman who fight for education and gender equality and the invitation for people to stop street harassment. The visual signs are the image or the figure that support the verbal text.

1) Dominant of the graffities are represented by visual components. There are

19 visual signs and 4 verbal text in total.

2) The graffities in this study are dominated by the figure of women, realized

by body gestures, expressions. There are also war equipment, books,

animals, also women wearings and stuffs.

3) Colors of the graffities are made in order to make the graffities look

powerful, colorful and meaningful for the people especially women.

UNIVERSITAS SUMATERA UTARA CHAPTER V

CONCLUSION AND SUGGESTION

5.1 Conclusion

After analyzing the semiotics signs in previous chapter, this chapter provide conclusions about the analysis that can be explained as follows:

1. The semiotic signs found in the five urban feminism graffities are visual

and verbal signs. Each graffities contain picture of women and other

supporting elements such as book, cats, veil, paint spray that associated

with feminist. There is nomystical object found in the graffities. The

written language in the graffiti delivers the information of how people

should be more aware toward the feminism issues that occur in life.

2. The meaning of semiotic signs in the five urban feminism graffities are

realized through using Peirce‘s Triadic semiosis which are representamen,

object and interpretant.

3. Qualisign represented by quality of background color in the urban

feminism graffiti which in this section are black, white, red, blue, pink,

brown, ets. Sinsign found in the graffities shows the expression of the

characters, which are angry, satisfied, uncomfortable, embarassed, etc, and

legisign is the law or fact which is not found in the data.

4. Object consist of icon such as a picture of book that generally is associated

with education sign. Symbol which is found in this graffities is the spray

bottle hold by a woman that represents the weapons to fight against street

harassment. Index is the written language found in verbal signs.

UNIVERSITAS SUMATERA UTARA 5. The interpretant in this graffiti related to rheme, dicent, and argument.

There is no rheme found in the graffities because the graffities only

contain the verbal and visual signs, there is no audio used in it. Dicent sign

in the graffities is the information of five urban feminism graffities from

the Pinterest website in the internet. The argument in these graffities isthe

media used to inform people about urban feminism activity through the

existence of mural art especially street graffities.

5.2 Suggestions

In line with the conclusions that have been stated, the writer offered suggestion to the readers, the future researchers can use other semiotician theories to analyze a sign for enriching and giving variety in sign research especially for those who are interested in doing further study on semiotics field.

It is suggested for other researchers who want to conduct a research by using semiosis appeal not only in graffiti but also from the other media; such as traffic signs, poster, sports logo, painting, politician banner, etc in order to understand the ways of the semiotic are used and managed in signs.

UNIVERSITAS SUMATERA UTARA REFERENCES

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Gentry, Erin. 2008. Female Graffiti Artists in A Gendered City. Bowling Green State University. Ohio.

Hasan, Ibnu Safaruddin. 2014. When the Wall Talks: A Semiotic Analysis of Graffiti Tagged by ‘Act Move’. Universitas Pendidikan Indonesia. Bandung. Retrieved from http://repository.upi.edu/6947/1/NonSkripsi_0707848.pdf

Hawan, Rizki. 2017. An Analysis of Semiotic Signs Found in Movie Poster of Pirates of the Caribbean. University of Sumatera Utara. Medan. Retrieved from http://repositori.usu.ac.id/handle/123456789/3357

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Miles, M.B. and Huberman, A.M. 2014. Qualitative Data Analysis: An Expanded Source Book. SAGE Pubication Inc. California.

Moleong, Lexy J. 1991. Metodologi Penelitian Kualitatif: Qualitative and Quantitative Approaches. Boston: Ally and Bacon. Boston.

Noor, Zeinab. 2017. Reflections of Feminism in Contemporary Mural Painting between Occidental and Oriental societies. Helwan University. Cairo. Retrieved from https://papers.ssrn.com/abstract=3056709

Noth, Winfried. 1990. Handbooks of Semiotics. Bloomington : Indiana University Press. Bloomington.

Piliang, Amir Yasraf. 2003. Hipersemiotik :Tafsir Cultural Studies atas Matinya Makna. Jalasutra. Yogyakarta.

UNIVERSITAS SUMATERA UTARA Peirce, Charles Sanders. 1940. Philosophical Writings of Peirce; Edited by Justus Buchler. New York: Dover Publications, Inc. New York.

Peirce. Charles Sanders. 2003. Semiotics. Sage Publications. London.

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Sobur, Alex. 2006. Semiotika Komunikasi. Bandung: Remaja Rosdakarya. Bandung.

Steeves, H.L. 1987. Feminist theories and media studies: Critical Studies in Mass Communication. Retrieved from https://eric.ed.gov/?id=EJ353683

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UNIVERSITAS SUMATERA UTARA APPENDICES

Data 1 Stop Telling Women to Smile. Graffiti by Tatyana Fazlalizadeh. Published in 2012.

For many women, just walking down the street can mean being subject to harassment by men—from subtle comments to overtly hostile remarks. Back in 2012, fed up with such treatment, Tatyana Fazlalizadeh, an oil painter by trade, decided to speak out: She produced an illustrated self-portrait with a caption—‖Stop Telling Women To Smile‖—and plastered copies all around her Brooklyn neighborhood.

UNIVERSITAS SUMATERA UTARA Data 2 No to Street Harassment. Graffiti by Mira Shihadeh. Published in 2013.

Throughout Cairo, sprawled across walls and buildings, are words in solidarity for women rebels, graphic depictions of violence, and art demanding for women‘s rights. Although graffiti is an accessory of any revolution or protest, it‘s important that pro-women and anti-harassment messages are a part of Egypt‘s. Street art in Cairo has become a way for women‘s rights to be advertised as a legitimate part of the mainstream revolutionary movement. Mira Shihadeh is one of wall-painting artist who paints messages against sexual harassment.

UNIVERSITAS SUMATERA UTARA Data 3 Cats Against Catcalls. Graffiti by Starchild Stella. Published in 2013.

Street artist Starchild Stela is not like general run-of-the-mill graffiti enthusiast. She uses her can of spraypaint to make feminist statements and ―spread out radical cute culture.‖ This ―Cats Against Catcalls‖ piece is a prime example of her aesthetic who mostly used pastel colors in her arts.

UNIVERSITAS SUMATERA UTARA Data 4 Portrait of Yousefzai Malala. Graffiti by Unknown Artist. Published in 2014.

Yousefzai Malala is a Pakistani activist for female education rights and has been engaged in activist work since she was only 11 years old. She made history as the youngest Nobel Peace Prize winner at age 17. She inspires many people especially women in term of feminism that many street artists use her portrait to be painted as graffiti in public street.

UNIVERSITAS SUMATERA UTARA Data 5 Woman Throwing Margaret Atwood Book as A Weapon. Graffiti by Unknown Artist. Published in 2017.

Feminist writing has evolved into many diverse forms and genres since its inception and now includes authors who are both mainstream as well as radical – from Virginia Woolf to Margaret Atwood and Sylvia Plath. Modern women are evolving through their writing and the Feminist Writers Festival is a platform for young female writers to grow. The urban feminism graffiti in data 5 was painted by unknown artist inspired by Bansky‘s graffiti art entitled ‗Flower Thrower‘.

UNIVERSITAS SUMATERA UTARA