Didi Kempot: Masculinity and Actor in Circulation and Consumption in Industrial Revolution 4.0

Widyawati, Nina; Santoso, Widjajanti M.

doi:10.2991/assehr.k.200818.043

Cited by 1 publication

(1 citation statement)

References 5 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Didi Kempot's songs have quite a lot of fans by all generations, from old people to kids. Although his lyrics are Javanese, his songs' popularity is not only in Java, but in all Indonesian (Widyawati & Santoso, 2020). Sad Boy is a nickname for male fans while Sad Girl is a nickname for female fans, and the community for the fans is known as Sobat Ambyar (Broken-heart Friends).…”

Section: Introductionmentioning

confidence: 99%

A postcolonial autopsy on Javanese identity through Campursari lyrics

Setiawan,

Nurbani,

Nurhidayah

et al. 2023

NOTION J. Linguist. Lit. Cult.

View full text Add to dashboard Cite

Campursari seems to reflect submissive identity, but in deconstructive perspective, the identity is chaotic space. By using postcolonial perspective, this research nails its analysis. The approach used in this research is library research with postcolonial approach. The data are the selected lyrics of Didi Kempot’s songs, they are Cidro, Tatu, Suket Teki, Pamer Bojo, and Sewu Kutho. The technique of data collection is documenting and the technique data analysis is interpretation. The result shows that Didi Kempot’s Campursari songs affirm the submissive way of loving. Cidro represents inferiority, Tatu represents surrender, Suket Teki represents inferiority, Pamer Bojo represents betrayal, and Sewu Kutho represents surrender. Those broken love defines Javanese identity which is seen submissive (dominated), but simultaneously, it also exposes a deconstructive point that loving is releasing, and releasing shows non-dominated side.

show abstract

Section: Introductionmentioning

confidence: 99%