TUHAN, IZINKAN AKU BERNYANYI: ROCKER MUSLIMAH SUNDA DAN RESISTENSI TERHADAP STEREOTYPE
DOI:
https://doi.org/10.32332/jsga.v4i02.5730Keywords:
Muslim Singer, Musician Resistence, Stereotypes of Religious LeadersAbstract
This paper provides an analysis of resistance carried out by a rock band called Voice of Baceprot (VoB). VoB is a group of heavy metal musicians consisting of three young Sundanese Muslimah from Garut, Indonesia. Sundanese women are usually portrayed as having ambiguous characteristics, especially as depicted in the media. Physically, they are often perceived as attractive and ageless, while their personality traits are considered hard-working, assertive, principled, smart, and trustworthy. These perceptions thus create a negative stereotype of Sundanese women, especially since it is still taboo for muslim women to do rock music. This article aims to explain how these young Sundanese muslimah resist and negotiate their freedom as expressed through heavy metal music. Content analysis is used to analyze the data, such as the interview and the lyrics of their songs. The result shows that the values of religion still prevent women, especially young women, to pursue a career in arts. How VoB fight for freedom is not driven in a frontal and disruptive way, but they use their own vulnerability as their resistance. Through the lyrics, the way they dress, and how they express themself in the media, these young women show that freedom will never oppose from being shari’a muslim.
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Doubleday, V. (1999). The Frame Drum in the Middle East : Women, Musical Instruments and Power. Ethnomusicology, 43(1), 101–134. Retrieved from http://www.jstor.com/stable/852696
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Gunawan, N. A., Nurwati, N., & Sekarningrum, B. (2020). Analisis Peran Gender dalam Pengasuhan Anak pada Keluarga Etnis Jawa dan Sunda di Wilayah Perbatasan. Jupiis: Jurnal Pendidikan Ilmu-Ilmu Sosial, 12(1), 48. https://doi.org/10.24114/jupiis.v12i1.15568
Heryana, A. (2012). Mythology of Sundanese Women. Patanjala: Jurnal Penelitian Sejarah Dan Budaya, 4(1), 156–169.
Iskandar, R. Y. (2012). Citra Perempuan Sunda Di Dalam Karya Sastra Dan Film. Jurnal Sosioteknologi, 11(26), 97-104–104.
Ismiati. (2018). Pengaruh Stereotype Gender Terhadap Konsep Diri Perempuan. TAKAMMUL: Jurnal Studi Gender Dan Islam Serta Perlindungan Anak, 7(1), 33–45.
Istianah, I. (2020). Perempuan dalam Sistem Budaya Sunda (Peran dan Kedudukan Perempuan di Kampung Geger Hanjuang Desa Linggamulya Kecamatan Leuwisari Kabupaten Tasikmalaya). Al-Tsaqafa : Jurnal Ilmiah Peradaban Islam, 17(2), 195–204. https://doi.org/10.15575/al-tsaqafa.v17i2.9328
Jones, C. (2010). Materializing piety: Gendered anxieties about faithful consumption in contemporary urban Indonesia. American Ethnologist, 37(4), 617–637. https://doi.org/10.1111/j.1548-1425.2010.01275.x
Lahpan, N. Y. K. (2019). Islamic Musical Forms and Local Identity in Post-Reform Indonesia. Bijdragen Tot de Taal-, Land- En Volkenkunde, 175(2–3), 284–308. https://doi.org/10.1163/22134379-17502003
Lohlker, R. (2014). Hip Hop and Islam: An Exploration into Music, Technology, Religion, and Marginality. Wiener Zeitschrift Fur Die Kunde Des Morgenlandes, 104, 115–135. Retrieved from https://www.academia.edu/8139474/Hip_Hop_and_Islam
LPMQ. (2016). Tafsir Ringkas (Jilid 2). Jakarta: Lajnah Pentashihan Mushaf Al-Qur’an.
Marlina, I. (2006). Kedudukan Wanita Menak dalam Struktur Masyarakat Sunda (Studi Kasus di Kota Bandung). Sosiohumaniora, 8(2), 184–204.
Maryanti, S. (2016). Perlawanan Perempuan dalam Novel Sendekala. Konferensi Internasional Feminisme: Persilangan Identitas, Agensi Dan PolitiK (20 Tahun Jurnal PeremPuan), 2347–2373. Jakarta: Yayasan Jurnal Perempuan.
McMurray, A. (2008). Can Black Muslim Women Be Down with. Meridians, 8(1), 74–92. Retrieved from https://www.jstor.org/stable/40338912 Accessed:
Muttaqien, Z. (2019). Peran Perempuan dalam Tradisi Sunda Wiwitan. Khazanah Theologia, 1(1), 23–39. https://doi.org/10.15575/kt.v1i1.7123
Nielson, L. (2012). Gender and the politics of Music in the Early Islamic Courts. Early Music History, 31, 235–261. Retrieved from https://www.jstor.org/stable/23254010
Noviyana, A., & Yuningsih, A. (2016). Makna Citra Perempuan Sunda dalam Seni Tari Jaipong. Prosiding Hubungan Masyarakat, 638–643. Retrieved from https://docplayer.info/60727554-Makna-citra-perempuan-sunda-dalam-seni-tari-jaipong.html
Nurfajriani, T. (2018). Citra dan Stereotip Perempuan Sunda dalam Novel Marjanah Karya S. Djojopuspito. Lokabasa, 9(2), 187–199.
Pacholczyk, J. M. (1986). Music and Islam in Indonesia. The World of Music, 28(3), 3–12. Retrieved from https://www.jstor.org/stable/43561101%0AJSTOR
Prasetyo, A. P., & Tunggali, W. (n.d.). STEREOTIP PEREMPUAN SUNDA DALAM FILM INDONESIA (Sundanese Women Stereotype in Indonesian Movie).
Qardhawi, Y. (2000). Fatwa-fatwa Kontemporer (Jilid 3). Jakarta: Gema Insasni Press.
Rasmussen, A. K. (2005). The Arab Musical Aesthetic in Indonesian Islam. The World of Music, 47(1), 65–89. Retrieved from https://www.jstor.org/stable/41699623
Rohmana, J. A., & Ernawati. (2014). Perempuan dan Kearifan Lokal; Performativitas Perempuan dalam Ritual Adat Sunda. Musâwa, 13(2), 151–165.
Saraswati, M., & Beta, A. R. (2021). Knowing responsibly: decolonizing knowledge production of Indonesian girlhood. Feminist Media Studies, 21(5), 758–774. https://doi.org/10.1080/14680777.2020.1763418
Setiani, B. (2006). Fungsi Dan Peran Wanita Dalam Masyarakat. Lex Jurnalica, 3(3), 153–167.
Solomon, T. (2006). Hardcore Muslims : Islamic Themes in Turkish Rap in Diaspora and in the Homeland. Yearbook for Traditional Music, 38, 59–78. Retrieved from https://www.jstor.org/stable/20464972
Surya, P. (2010). Kepemimpinan Perempuan Bernilai Kesundaan Di Bidang Pendidikan. Jurnal Manajemen Pendidikan, 6(2).
Utomo, U. (2006). Gender dan Musik; Kajian tentang konstruksi Peran Laki-laki dan Perempuan dalam Proses Pendidikan Musik. Harmonia; Jurnal Pengetahuan Dan Pemikiran Seni, 7(1), 1–13.
van Es, M. A. (2019). Muslim women as ‘ambassadors’ of Islam: breaking stereotypes in everyday life. Identities, 26(4), 375–392. https://doi.org/10.1080/1070289X.2017.1346985
Wallach, J. (2014). Notes on Dangdut Music, Popular Nationalism, and Indonesian Islam. In B. Barendregt (Ed.), Sonic Modernities in the Malay World: A History of Popular Music, Social Distinction and Novel Lifestyles (1930s – 2000s) (pp. 272–289). Retrieved from https://www.jstor.org/stable/10.1163/j.ctt1w8h0zn.13%0AJSTOR
Weintraub, A. N. (2008). “Dance drills, faith spills”: Islam, body politics, and popular music in post-Suharto Indonesia. Popular Music, 27(3), 367–392. https://doi.org/10.1017/S0261143008102185
Wulandari, B. D., & Arvianti, I. (2018). the Ideology of Gender Differences in Indonesian Culture. ETERNAL (English Teaching Journal), 7(2), 1–20. https://doi.org/10.26877/eternal.v7i2.2159
Yulika, F. (2016). Jejak seni Dalam Sejarah Islam. https://doi.org/10.31219/osf.io/xufd2
Alpito, A. S. (2021). Tom Morello Puji Band Asal Garut Voice of Baceprot - Medcom. Retrieved December 15, 2021, from https://www.medcom.id/hiburan/musik/ob3eyaYK-tom-morello-puji-band-asal-garut-voice-of-baceprot?utm_source=share_mobile&utm_medium=share_twitter&utm_campaign=share
Ardanareswari, I. (2019). Honorarium, Aktris, Gender: Perempuan Pekerja Seni dalam Industri Perfilman Indonesia, 1950an-1970an. Lembaran Sejarah, 14(2), 136. https://doi.org/10.22146/lembaran-sejarah.45436
Astuti, L. D., & Supratman, L. P. (2019). Stereotip Materialistis Wanita Sunda dalam Video Klip. E-Proceeding of Management, 6(1), 1798–1806.
Az-Zuhaili, W. (2006). Fiqih Islam Wa Adilatuhu. Jakarta: Gema Insasni Press.
Bahar, A. (2021). Voice of Baceprot Ingin Orang-orang Lebih Toleran Sama Musik di “God, Allow Me (Please) to Play Music” - Hai. Retrieved December 15, 2021, from https://hai.grid.id/read/072842051/voice-of-baceprot-ingin-orang-orang-lebih-toleran-sama-musik-di-god-allow-me-please-to-play-music
Basbas, F. J. (2021). Introducing_ Indonesian metal trio Voice Of Baceprot on being. Retrieved December 15, 2021, from https://www.bandwagon.asia/articles/introducing-indonesian-metal-trio-voice-of-baceprot-interview-god-allow-me-please-to-play-music-new-release-wacken-open-air-august-2021
berdikarionline.com. (2020). Jalan Pedang Voice Of Baceprot (VoB) – Berdikari Online. Retrieved December 15, 2020, from https://www.berdikarionline.com/jalan-pedang-voice-of-baceprot-vob/?utm_campaign=shareaholic&utm_medium=whatsapp&utm_source=im
Beta, A. R. (2021). Out of thin air: emerging Muslim fashion entrepreneurs and the spectre of labour in Indonesia. Continuum, 00(00), 1–14. https://doi.org/10.1080/10304312.2021.1993569
Bigger, S. (2006). Muslim women’s views on dress code and the hijaab: Some issues for education. Journal of Beliefs and Values, 27(2), 215–226. https://doi.org/10.1080/13617670600849978
Butler, J. (2016). Rethinking Vulnerability and Resistance. In Vulnerability in Resistance (Judith But, pp. 12–27). https://doi.org/10.1080/0966369x.2017.1313871
Cochrane, J. (2017a). In Indonesia, 3 Muslim Girls Fight for Their Right to Play Heavy Metal. The New York Times. Retrieved from https://www.nytimes.com/2017/09/02/world/asia/indonesia-voice-of-baceprot-girls-heavy-metal.html
Cochrane, J. (2017b). In Indonesia, 3 Muslim Girls Fight for Their Right to Play Heavy Metal. The New York Times.
DeBano, W. S. (2005). Enveloping music in gender, nation, and Islam: Women’s music festivals in post-revolutionary Iran1. Iranian Studies, 38(3), 441–462. https://doi.org/10.1080/00210860500300812
Dixon, R. L. (2000). Sejarah Suku Sunda. Veritas: Jurnal Teologi Dan Pelayanan, 1(2), 203–213. https://doi.org/10.36421/veritas.v1i2.38
Doubleday, V. (1999). The Frame Drum in the Middle East : Women, Musical Instruments and Power. Ethnomusicology, 43(1), 101–134. Retrieved from http://www.jstor.com/stable/852696
Emam, F. (2018). Reclaiming Female Subjectivity: A Kristevan Analysis of Subversion of Sexual Difference in Sam Shepard’s Three Major Plays . Facta Universitatis: Series Linguistics and Literature, 16(July), 12–24. https://doi.org/10.22190/FULL1801015
Foucault, M. (1955). Discipline and Punish; The Birth of the Prison. https://doi.org/10.1093/bjps/axv048
Gordon, A. (2021). Voice of Baceprot; How Indonesian Muslim Trio Found Freedom in Heavy Metal. Retrieved December 15, 2021, from https://www.revolvermag.com/music/voice-baceprot-how-indonesian-muslim-trio-found-freedom-heavy-metal
Gunawan, N. A., Nurwati, N., & Sekarningrum, B. (2020). Analisis Peran Gender dalam Pengasuhan Anak pada Keluarga Etnis Jawa dan Sunda di Wilayah Perbatasan. Jupiis: Jurnal Pendidikan Ilmu-Ilmu Sosial, 12(1), 48. https://doi.org/10.24114/jupiis.v12i1.15568
Heryana, A. (2012). Mythology of Sundanese Women. Patanjala: Jurnal Penelitian Sejarah Dan Budaya, 4(1), 156–169.
Iskandar, R. Y. (2012). Citra Perempuan Sunda Di Dalam Karya Sastra Dan Film. Jurnal Sosioteknologi, 11(26), 97-104–104.
Ismiati. (2018). Pengaruh Stereotype Gender Terhadap Konsep Diri Perempuan. TAKAMMUL: Jurnal Studi Gender Dan Islam Serta Perlindungan Anak, 7(1), 33–45.
Istianah, I. (2020). Perempuan dalam Sistem Budaya Sunda (Peran dan Kedudukan Perempuan di Kampung Geger Hanjuang Desa Linggamulya Kecamatan Leuwisari Kabupaten Tasikmalaya). Al-Tsaqafa : Jurnal Ilmiah Peradaban Islam, 17(2), 195–204. https://doi.org/10.15575/al-tsaqafa.v17i2.9328
Jones, C. (2010). Materializing piety: Gendered anxieties about faithful consumption in contemporary urban Indonesia. American Ethnologist, 37(4), 617–637. https://doi.org/10.1111/j.1548-1425.2010.01275.x
Lahpan, N. Y. K. (2019). Islamic Musical Forms and Local Identity in Post-Reform Indonesia. Bijdragen Tot de Taal-, Land- En Volkenkunde, 175(2–3), 284–308. https://doi.org/10.1163/22134379-17502003
Lohlker, R. (2014). Hip Hop and Islam: An Exploration into Music, Technology, Religion, and Marginality. Wiener Zeitschrift Fur Die Kunde Des Morgenlandes, 104, 115–135. Retrieved from https://www.academia.edu/8139474/Hip_Hop_and_Islam
LPMQ. (2016). Tafsir Ringkas (Jilid 2). Jakarta: Lajnah Pentashihan Mushaf Al-Qur’an.
Marlina, I. (2006). Kedudukan Wanita Menak dalam Struktur Masyarakat Sunda (Studi Kasus di Kota Bandung). Sosiohumaniora, 8(2), 184–204.
Maryanti, S. (2016). Perlawanan Perempuan dalam Novel Sendekala. Konferensi Internasional Feminisme: Persilangan Identitas, Agensi Dan PolitiK (20 Tahun Jurnal PeremPuan), 2347–2373. Jakarta: Yayasan Jurnal Perempuan.
McMurray, A. (2008). Can Black Muslim Women Be Down with. Meridians, 8(1), 74–92. Retrieved from https://www.jstor.org/stable/40338912 Accessed:
Muttaqien, Z. (2019). Peran Perempuan dalam Tradisi Sunda Wiwitan. Khazanah Theologia, 1(1), 23–39. https://doi.org/10.15575/kt.v1i1.7123
Nielson, L. (2012). Gender and the politics of Music in the Early Islamic Courts. Early Music History, 31, 235–261. Retrieved from https://www.jstor.org/stable/23254010
Noviyana, A., & Yuningsih, A. (2016). Makna Citra Perempuan Sunda dalam Seni Tari Jaipong. Prosiding Hubungan Masyarakat, 638–643. Retrieved from https://docplayer.info/60727554-Makna-citra-perempuan-sunda-dalam-seni-tari-jaipong.html
Nurfajriani, T. (2018). Citra dan Stereotip Perempuan Sunda dalam Novel Marjanah Karya S. Djojopuspito. Lokabasa, 9(2), 187–199.
Pacholczyk, J. M. (1986). Music and Islam in Indonesia. The World of Music, 28(3), 3–12. Retrieved from https://www.jstor.org/stable/43561101%0AJSTOR
Prasetyo, A. P., & Tunggali, W. (n.d.). STEREOTIP PEREMPUAN SUNDA DALAM FILM INDONESIA (Sundanese Women Stereotype in Indonesian Movie).
Qardhawi, Y. (2000). Fatwa-fatwa Kontemporer (Jilid 3). Jakarta: Gema Insasni Press.
Rasmussen, A. K. (2005). The Arab Musical Aesthetic in Indonesian Islam. The World of Music, 47(1), 65–89. Retrieved from https://www.jstor.org/stable/41699623
Rohmana, J. A., & Ernawati. (2014). Perempuan dan Kearifan Lokal; Performativitas Perempuan dalam Ritual Adat Sunda. Musâwa, 13(2), 151–165.
Saraswati, M., & Beta, A. R. (2021). Knowing responsibly: decolonizing knowledge production of Indonesian girlhood. Feminist Media Studies, 21(5), 758–774. https://doi.org/10.1080/14680777.2020.1763418
Setiani, B. (2006). Fungsi Dan Peran Wanita Dalam Masyarakat. Lex Jurnalica, 3(3), 153–167.
Solomon, T. (2006). Hardcore Muslims : Islamic Themes in Turkish Rap in Diaspora and in the Homeland. Yearbook for Traditional Music, 38, 59–78. Retrieved from https://www.jstor.org/stable/20464972
Surya, P. (2010). Kepemimpinan Perempuan Bernilai Kesundaan Di Bidang Pendidikan. Jurnal Manajemen Pendidikan, 6(2).
Utomo, U. (2006). Gender dan Musik; Kajian tentang konstruksi Peran Laki-laki dan Perempuan dalam Proses Pendidikan Musik. Harmonia; Jurnal Pengetahuan Dan Pemikiran Seni, 7(1), 1–13.
van Es, M. A. (2019). Muslim women as ‘ambassadors’ of Islam: breaking stereotypes in everyday life. Identities, 26(4), 375–392. https://doi.org/10.1080/1070289X.2017.1346985
Wallach, J. (2014). Notes on Dangdut Music, Popular Nationalism, and Indonesian Islam. In B. Barendregt (Ed.), Sonic Modernities in the Malay World: A History of Popular Music, Social Distinction and Novel Lifestyles (1930s – 2000s) (pp. 272–289). Retrieved from https://www.jstor.org/stable/10.1163/j.ctt1w8h0zn.13%0AJSTOR
Weintraub, A. N. (2008). “Dance drills, faith spills”: Islam, body politics, and popular music in post-Suharto Indonesia. Popular Music, 27(3), 367–392. https://doi.org/10.1017/S0261143008102185
Wulandari, B. D., & Arvianti, I. (2018). the Ideology of Gender Differences in Indonesian Culture. ETERNAL (English Teaching Journal), 7(2), 1–20. https://doi.org/10.26877/eternal.v7i2.2159
Yulika, F. (2016). Jejak seni Dalam Sejarah Islam. https://doi.org/10.31219/osf.io/xufd2
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2023-01-05
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