Praktik Bermusik Musisi Muda dalam Skena Metal Ekstrem

Oki Rahadianto Sutopo, Agustinus Aryo Lukisworo

Abstract


This article investigates the young extreme metal musicians’ musical practices in Yogyakarta within the context of neoliberal era. To construct an empirical knowledge based on young extreme metal musicians’ narratives, this research utilized qualitative approach, specifically ethnography, from April to August 2019. In order to articulate conflictual and hierarchical dimension of extreme metal scene, this research applied Bourdieusian perspective. Based on data analysis, this study shows that, firstly, objectively, young musicians’ practices started within the condition which social inequality already existed. This represent a hierarchical characteristic of extreme metal scene as a field of struggle -ranging from local, national, to global level. Secondly, theoretically, young musicians’ practices within extreme metal scene require and reproduce particular capital, with regard to the specific rule of the game of the extreme metal scene, defined as extreme metal capital. Thirdly, the goal of the extreme metal, social, and symbolic capital accumulation, also cultural codes embodiment, was on the extreme metal scene’ doxa reproduction mechanism which accentuate three important values, namely authenticity, independency, and community. Finally, this three findings are the manifestation of extreme metal scene resistance towards state and market power in the neoliberal era.

 

Tulisan ini berfokus pada praktik bermusik musisi metal ekstrem muda di Yogyakarta dalam konteks era neoliberal. Guna membangun pengetahuan sesuai dengan narasi musisi metal ekstrem muda, penelitian ini menggunakan pendekatan kualitatif, secara spesifik etnografi, antara April hingga Agustus 2019. Untuk mengartikulasikan dimensi konfliktual dan hierarkisitas skena metal ekstrem, penelitian ini menggunakan perspektif Bourdieusian. Adapun hasil analisis temuan lapangan menunjukkan bahwa, pertama, secara objektif, praktik bermusik musisi muda dimulai dalam kondisi dimana kesenjangan sosial telah eksis bahkan sebelum praktik tersebut terjadi. Hal ini menunjukkan karakteristik skena metal ekstrem sebagai ranah perjuangan yang bersifat hierarkis -terbentang dari leval lokal, nasional hingga global. Kedua, secara teoritis, praktik bermusik musisi muda dalam skena metal ekstrem membutuhkan dan mereproduksi kapital yang sangat spesifik terkait dengan rule of the game dalam skena tersebut, kami menyebutnya sebagai ‘kapital metal ekstrem’. Ketiga, muara dari proses akumulasi kapital metal ekstrem, kapital sosial dan kapital simbolik, serta proses embodiment mengenai kode-kode budaya terletak pada mekanisme reproduksi doxa skena metal ekstrem yang mengutamakan tiga nilai penting yaitu otentisitas, kemandirian dan komunitas. Adapun ketiga temuan tersebut merupakan manifestasi dari perlawanan skena metal ekstrem terhadap kuasa Negara dan pasar dalam era neoliberal


Keywords


young musician, extreme metal, resistance, practice, Bourdieu

Full Text:

PDF

References


Baulch, E. (2003). Gesturing Elswhere: the Identity Politics of Balinese Death/Trash Metal Scene. Popular Music 22(2), 195-215.

Baulch, E. (2004). Reggae Borderzones, Reggae Graveyards: Bob Marley Fandom in Bali. Perfect Beat: The Asia –Pacific Journal of Research into Contemporary Music and Popular Culture 6(4), 3-27.

Becker, H. (1982). Art Worlds. USA: University of California Press.

Bennett, A., dan S. Waksman. (2014). The SAGE Handbook of Popular Music. California: Sage.

Bennett, A., M. Cieslik., and S. Miles, (eds). (2003). Researching Youth. New York: Palgrave Macmillan.

Bennett, A. (1999). “Subcultures or Neo-tribes? Rethinking the Relationship between Youth, Style and Musical Taste”. Sociology 33(3): 599–617.

Bourdieu, P. (1984). Distinction: A Social Critique of the Judgement of Taste. USA: Harvard University Press.

Bourdieu, P. (1986). The Forms of Capital. Dalam J. Richardson (ed), Handbook of Theory and Research for the Sociology of Education (Hal. 241-258). Wesport CT: Greenwood.

Bourdieu, P. (1993). The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press.

Bourdieu, P dan L. Wacquant. (1992). An Invitation to Reflexive Sociology. USA: Chicago University Press.

Brewer, J. (2005). Ethnography. Buckingham: Open University Press.

Clinton, E. dan J. Wallach. (2016). Talking Metal: The Social Phenomenology of Hanging Out. Dalam Nelson Varas-Diaz dan Nial Scott (ed), Heavy Metal Music and the Communal Experience (Hal. 37-56). Lanham: Lexington Books.

Dhakidae, D. (2003). Cendekiawan Dan Kekuasaan Dalam Negara Orde Baru. Jakarta: Gramedia Pustaka Utama.

Dummond, J.D. (1990). The Characteristics of Amateur and Professional. International Journal of Music Education, 15, 3-8.

Fahmi, F.Z., P. McCann, and S. Koster. (2017). Creative Economy Policy in Developing Countries: the Case of Indonesia. Urban Studies 54(6), 1367-1384.

Fahmi, F.Z., and S. Koster. (2017). Creative Industries and Regional Productivity Growth in the Developing Economy: Evidence from Indonesia. Growth and Change 48(4), 805-830.

Hall, S., and T. Jefferson (ed). (1976). Resistance through Rituals: Youth Subcultures in Post-War Britain. London: Routledge.

Hanan, H., and D. Hemanto. (2019) From Clothing to Culinary Industries: Creativity in the Making of Place. Creative Industries Journal (online first).

Hebdige, D. (1979). Subculture: the Meaning of Style. London: New Accents.

Hodkinson, P. 2005. “Insider Research in the Study of Youth Cultures”. Journal of Youth Studies 8(2), 131-149.

Kahn-Harris, K. (2007). Extreme Metal Music and Culture on the Edge. Oxford: Berg.

Luvaas, B. (2013). DIY Style: Fashion, Music and Global Digital Cultures. Oxford: Berg.

Martin-Iverson, S. (2012). Autonomous Youth? Independence and Precariousness in the Indonesian Underground Music Scenes. The Asia Pacific Journal of Anthropology 13(4), 382-397.

Muggleton, D. (2000). Inside Subculture: Postmodern Meaning of Style. Oxford: Berg.

Samuel, H. (2010b). “Universitas, Negara Dan Masyarakat Indonesia: Implementasi Paradigma Modernisasi Di Era Orde Baru.” Humaniora 22, 31–42.

Springer, S., K. Birch., dan J. Macleavy (ed).(2016). The Handbook of Neoliberalism. London: Routledge.

Sutopo, O.R. (2010). Dinamika kekuasaan dalam Komunitas Jazz Yogyakarta 2002-2010. Jurnal Ilmu Sosial dan Ilmu Politik 14(1), 83-106.

Sutopo, O. (2016). Agenda Pengembangan Kajian Kepemudaan di Indonesia. Jurnal Sosiologi Pendidikan Humanis, 1(2), 161-172. Retrieved from http://journal2.um.ac.id/index.php/jsph/article/view/2472

Sutopo, O.R. (2019). ‘Learning by Doing: Young Indonesian Musicians, Capital and Night Life.’ Dalam Geoff Stahl dan Giacomo Botta (ed), Nocturnes: Popular Music and the Night, 79-94, UK: Palgrave.

Sutopo, O. R., S. Threadgold, dan P. Nilan. (2017). Young Indonesian Musicians, Strategic Social Capital, Reflexivity, and Timing. Sociological Research Online, 22(3), 186 –203.

Sutopo, O.R., and P. Nilan. (2018). The Constrained Positions of Young Musicians in the Yogyakarta Jazz Community. Asian Music 49(1), 34-57.

Sutopo, O.R., G.R. Wibawanto dan A.A Lukisworo. (2020). Melampaui Subkultur/Post-Subkultur: Musisi sebagai Jalan Hidup Kaum Muda. Jurnal Studi Pemuda 9(1): 1-12.

Thornton, S. (1996). Club Cultures: Music, Media and Subcultural Capital. USA: Wesleyan University Press.

Wallach, J. (2008). Modern Noise, Fluid Genres? Popular Music in Indonesia, 1997-2001. Wisconsin: The University of Wisconsin Press.

Wallach, J & A. Levine. (2011). ’I want you to support local metal’: A theory of metal formation. Popular Music History, 6.1/ 6.2, 116-134.

Weintraub, A. (2010). Dangdut Stories: A Social and Musical History of Indonesia’s Most Popular Music. New York: Oxford University Press.




DOI: http://dx.doi.org/10.17977/um021v5i2p107-119

Refbacks

  • There are currently no refbacks.


Copyright (c) 2020 Jurnal Sosiologi Pendidikan Humanis

Editorial Office:
Sociology Program, Faculty of Social Science, Universitas Negeri Malang
Semarang St. No. 5 Building I3-101 65145.
Phone. (0341) 551312. line. 375, 376 (20)
Homepage: http://journal2.um.ac.id/index.php/jsph/index
email: jsphum@yahoo.co.id

ISSN 2502-7875 (printed)
ISSN 2527-5879 (online)

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.