KOMODIFIKASI IDENTITAS TIONGHOA DALAM HUMOR: STUDI ENCODING/DECODING STUART HALL TENTANG PERTUNJUKAN STAND-UP COMEDY ERNEST PRAKASA

Ulwan Fakhri  Noviadhista; Bambang Dwi Prasetyo; Antoni

doi:10.54783/japp.v2i3.28

Ulwan Fakhri Noviadhista Universitas Brawijaya
Bambang Dwi Prasetyo Universitas Brawijaya
Antoni Universitas Brawijaya

DOI: https://doi.org/10.54783/japp.v2i3.28

Keywords: cultural studies, humor studies, encoding/decoding model

Abstract

Abstrak

Melalui pendekatan Kajian Budaya dan Ekonomi Politik, penelitian ini mengungkap adanya komodifikasi identitas Tionghoa yang diartikulasikan melalui humor oleh Ernest Prakasa, komika Indonesia beretnis Tionghoa, melalui kelima pertunjukan stand-up comedy-nya. Penelitian kualitatif berparadigma konstruktivis-kritis ini mengadopsi model beserta teori encoding/decoding dari Stuart Hall. Pada proses encoding, di samping mencoba mengangkat diskursus tentang identitas melalui humor seperti komika dari identitas marginal lain, Ernest juga memiliki intensi untuk mengkomodifikasi identitasnya. Adapun hasil dari decoding terhadap delapan audiens pertunjukan stand-up comedy Ernest membuktikan bahwa mayoritas atau enam orang di antaranya terklasifikasi sebagai audiens yang berada pada posisi dominan-hegemonis, yakni berpersepsi bahwa humor identitas dari Ernest ditujukan untuk negosiasi identitasnya.

Kata kunci: kajian budaya, kajian humor, model encoding/decoding

Abstract

Through Cultural Studies and Political Economy approach, this research reveals the commodification of Chinese identity that articulated through humor by Ernest Prakasa, a Chinese-Indonesian comic, in his five stand-up comedy shows. This qualitative constructivist-critical paradigm research adopts the models and theories of Stuart Hall’s encoding/decoding. In the encoding process, aside from articulating the identity through humorous discourse like other marginalized comics, Ernest also has the intention to commodify his identity. Meanwhile, the results of decoding eight Ernest’s stand-up comedy shows audiences proved that the six of them are classified as audiences in a dominant-hegemonic position, perceiving that the humor of Ernest's identity is intended to negotiate his identity.

Keywords: cultural studies, humor studies, encoding/decoding model

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