Hijabi Metal Voice of Baceprot: Discourse on Identity, Gender and Religion in Digital Space / Hijabi Metal Voice of Baceprot: Wacana Identitas, Gender dan Agama di Ruang Digital
DOI:
https://doi.org/10.18592/alhadharah.v23i2.15460Keywords:
discourse analysis, gender, heavy metal, hijab, intersectionalityAbstract
This study examines the intersection of religion, gender, and culture through the case of Voice of Baceprot (VOB), an Indonesian hijab-wearing metal band. Utilizing Kimberlé Crenshaw’s intersectionality theory and Laclau and Mouffe’s discourse analysis, the research analyzes YouTube viewer comments to explore how VOB’s identity as Muslim women metal musicians is constructed and contested. The study employs a qualitative approach, collecting comments from VOB’s most-viewed YouTube videos using Python-based scripts and analyzing them thematically and discursively. This methodology reveals competing narratives: critics perceive the hijab as incompatible with traditional metal aesthetics, while supporters celebrate its role in redefining gender and religious norms in popular music. By navigating these complex discourses, VOB challenges stereotypes within conservative Islamic norms and global metal culture, presenting the hijab as a symbol of personal choice and empowerment. The findings highlight how VOB redefines heavy metal as a global, inclusive genre and demonstrates the power of music to transcend cultural and religious barriers.References
Abbas, Syed Zamanat. 2023. “The Veil: A Silhouette of Autonomy and Empowerment.” Culture & Psychology 29 (2): 247–59. https://doi.org/10.1177/1354067X221115852.
Alghafli, Z., L.D. Marks, T.G. Hatch, dan A.H. Rose. 2017. “Veiling in Fear or in Faith? Meanings of the Hijab to Practicing Muslim Wives and Husbands in Usa.” Marriage and Family Review 53 (7): 696–716. https://doi.org/10.1080/01494929.2017.1297757.
Al-Saji, Alia. 2010. “The Racialization of Muslim Veils: A Philosophical Analysis.” Philosophy & Social Criticism 36 (8): 875–902. https://doi.org/10.1177/0191453710375589.
Arthurs, Jane, Sophia Drakopoulou, dan Alessandro Gandini. 2018. “Researching YouTube.” Convergence 24 (1): 3–15. https://doi.org/10.1177/1354856517737222.
Banchs, Edward. 2022. Scream for Me, Africa!: Heavy Metal Identities in Post-Colonial Africa. Scream for Me, Africa!: Heavy Metal Identities in Post-Colonial Africa. https://doi.org/10.1386/9781789385212.
Bayer, Gerd. 2016. Heavy Metal Music in Britain. Heavy Metal Music in Britain. https://doi.org/10.4324/9781315586441.
Benard, Charlène. 2024. “Who Listens to ‘Metal for Girls’? Metal, Orchestra and Female Voices: Measuring the Reception of Symphonic Metal in France, Between Middle Class and Gender.” Pop Music, Culture, and Identity Part F3184:211–34. https://doi.org/10.1007/978-3-031-56506-9_11.
Bhabha, Homi K. 1994. The Location of Culture. London ; New York: Routledge.
Burns, Lori. 2020. “Intersections of Gender, Race, and Genre: Cammie Gilbert and Black Female Subjectivity in Metal Music.” AMP: American Music Perspectives 1 (2): 98–118. https://doi.org/10.5325/ampamermusipers.1.2.0098.
Burns, Lori. 2024. “Reshaping the Discourse on Women’s Voices in Metal Music.” Open Access Government 42 (1): 278–79. https://doi.org/10.56367/OAG-042-11408.
Chaniago, Rizky Hafiz. 2020. “Social Media, Alternative Communication Tools for Women’s Voice: The Study of Women’s Veiled Role in Metal Subculture Music Indonesia.” Jurnal Komunikasi: Malaysian Journal of Communication 36 (2): 33–51. https://doi.org/10.17576/JKMJC-2020-3602-03.
Chaniago, Rizky Hafiz, Wan Amizah Wan Mahmud, dan Badrul Redzuan Abu Hassan. 2018. “Konstruksi Identiti Wanita Berhijab Melalui Fesyen Sub-budaya Muzik Metal Di Indonesia.” Jurnal Komunikasi: Malaysian Journal of Communication 34 (1). http://ejournal.ukm.my/mjc/article/view/21704.
Cherry, Elizabeth. 2018. “Gender, Metal and the Media: Women Fans and the Gendered Experience of Music.” Feminist Media Studies 18 (1): 154–56. https://doi.org/10.1080/14680777.2018.1407123.
Clark, Nancy, dan Nasrin Saleh. 2019. “Applying Critical Race Feminism and Intersectionality to Narrative Inquiry: A Point of Resistance for Muslim Nurses Donning a Hijab.” Advances in Nursing Science 42 (2): 156–71. https://doi.org/10.1097/ANS.0000000000000267.
Crenshaw, Kimberle. 1989. “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics.” University of Chicago Legal Forum 8 (1): 138–67.
Crenshaw, Kimberle. 1991. “Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color.” Stanford Law Review 43 (6): 1241–99. https://doi.org/10.2307/1229039.
Ekpo, Akon E. 2023. “The Double Edge of Diversity in a Digital World.” Dalam The Routledge Handbook of Digital Consumption, disunting oleh Rosa Llamas dan Russell W. Belk, 2nd edition, 413–24. Routledge international handbooks. Abingdon, Oxon ; New York, NY: Routledge.
El Sayed, Fatima, dan Nader Hotait. 2024. “Exploring the Role of Tiktok for Intersectionality Marginalized Groups: The Case of Muslim Female Content Creators in Germany.” Frontiers in Political Science 6 (November):1496833. https://doi.org/10.3389/fpos.2024.1496833.
Embassy of Indonesia Brussels, dir. 2021. VoB (Voice of Baceprot) - School Revolution - Live at @botanique_bxl Brussels, Belgium. https://www.youtube.com/watch?v=aeebBfjKDnw.
Halrynjo, Sigtona, dan Merel Jonker. 2016. “Naming and Framing of Intersectionality in Hijab Cases — Does It Matter? An Analysis of Discrimination Cases in Scandinavia and the Netherlands.” Gender, Work & Organization 23 (3): 278–95. https://doi.org/10.1111/gwao.12089.
Hasan, Md Mahmudul. 2016. “Oppression versus liberation: representation of Hijab in two post-9/11 british literary texts.” Hawwa 14 (2): 147–65.
Hickam, Brian, dan Jeremy Wallach. 2011. “Female Authority and Dominion: Discourse and Distinctions of Heavy Metal Scholarship.” Journal for Cultural Research 15 (3): 255–77. https://doi.org/10.1080/14797585.2011.594583.
Higgins, Kathleen Marie. 2012. The music between us: is music a universal language? Chicago ; London: The University of Chicago Press.
Hill, Rosemary Lucy. 2016. Gender, metal and the media: women fans and the gendered experience of music. Pop Music, Culture and Identity. London: Palgrave Macmillan.
Hoad, Catherine. 2017. “Slashing through the Boundaries: Heavy Metal Fandom, Fan Fiction and Girl Cultures.” Metal Music Studies 3 (1): 5–22. https://doi.org/10.1386/mms.3.1.5_1.
Jackson, Kenneth E., dan Elizabeth Monk-Turner. 2015. “The Meaning of Hijab: Voices of Muslim Women in Egypt and Yemen.” Journal of International Women’s Studies 16 (2): 30–48.
Jalil, Mohammad Muaz. 2024. “Should Liberal Feminists Support Hijab Ban in the West?” Public Integrity 26 (4): 414–25. https://doi.org/10.1080/10999922.2023.2198333.
James, Kieran, dan Rex Walsh. 2019. “Religion and Heavy Metal Music in Indonesia.” Popular Music 38 (2): 276–97. https://doi.org/10.1017/S0261143019000102.
James, Kierlan, dan Rex John Walsh. 2018. “Islamic Religion and Death Metal Music in Indonesia.” Journal of Popular Music Studies 30 (3): 129–52. https://doi.org/10.1525/jpms.2018.200007.
Jocson-Singh, Joan. 2016. “Individual Thought Patterns: Women in New York’s Extreme Metal Music Scene.” CUNY Academic Works, Desember. https://academicworks.cuny.edu/hc_sas_etds/134.
Jørgensen, Marianne, dan Louise Phillips. 2002. Discourse analysis as theory and method. London; Thousand Oaks, Calif.: Sage Publications.
Karaman, Nuray, dan Michelle Christian. 2020. “‘My Hijab Is Like My Skin Color’: Muslim Women Students, Racialization, and Intersectionality.” Sociology of Race and Ethnicity 6 (4): 517–32. https://doi.org/10.1177/2332649220903740.
Laclau, Ernesto, dan Chantal Mouffe. 1985. Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso.
LeVine, Mark. 2008. Heavy metal Islam: rock, resistance, and the struggle for the soul of Islam. 1st ed. New York: Three Rivers Press.
LeVine, Mark. 2022. We’ll play till we die: journeys across a decade of revolutionary music in the Muslim world. Oakland, California: University of California Press.
O’Neill, B., E. Gidengil, C. Côté, dan L. Young. 2015. “Freedom of Religion, Women’s Agency and Banning the Face Veil: The Role of Feminist Beliefs in Shaping Women’s Opinion.” Ethnic and Racial Studies 38 (11): 1886–1901. https://doi.org/10.1080/01419870.2014.887744.
Otebele, Osarugue. 2024. “The (Anti)Fan Is Black: Consumption, Resistance, and Black K-Pop Fan Vigil Labor.” Transformative Works and Cultures 44 (Desember). https://doi.org/10.3983/twc.2024.2465.
Paz, Ayala, dan Rebecca Kook. 2021. “‘It Reminds Me That I Still Exist’. Critical Thoughts on Intersectionality; Refugee Muslim Women in Berlin and the Meanings of the Hijab.” Journal of Ethnic and Migration Studies 47 (13): 2979–96. https://doi.org/10.1080/1369183X.2020.1757417.
Radovanović, Bojana. 2023. “Female Leadership in Serbian Metal Music. Frontwomen at the Crossroads of Visibility, Genre and Voice.” Dalam Women’s Leadership in Music, disunting oleh Iva Nenic dan Linda Cimardi, 213–24. Transcript Verlag. https://doi.org/10.1515/9783839465462-015.
Rear, David, dan Alan Jones. 2013. “Discursive Struggle and Contested Signifiers in the Arenas of Education Policy and Work Skills in Japan.” Critical Policy Studies 7 (4): 375–94. https://doi.org/10.1080/19460171.2013.843469.
Riches, Gabby. 2015. “Re-Conceptualizing Women’s Marginalization in Heavy Metal: A Feminist Post-Structuralist Perspective.” Metal Music Studies 1 (2): 263–70. https://doi.org/10.1386/mms.1.2.263_1.
Ruby, Tabassum F. 2006. “Listening to the Voices of Hijab.” Women’s Studies International Forum 29 (1): 54–66. https://doi.org/10.1016/j.wsif.2005.10.006.
Rumaney, Haniya, dan S. Sriram. 2023. “Not Without My Hijab: Experiences of Veiled Muslim Women in India.” Human Arenas 6 (1): 1–24. https://doi.org/10.1007/s42087-021-00193-3.
Saraswati, Marissa, dan Annisa R. Beta. 2021. “Knowing Responsibly: Decolonizing Knowledge Production of Indonesian Girlhood.” Feminist Media Studies 21 (5): 758–74. https://doi.org/10.1080/14680777.2020.1763418.
Sloan, Lacey. 2011. “Women’s Oppression or Choice? One American’s View on Wearing the Hijab.” Affilia 26 (2): 218–21. https://doi.org/10.1177/0886109911405827.
South China Morning Post, dir. 2021. Indonesian heavy metal girl band VoB defies social norms. https://www.youtube.com/watch?v=AtHb-7bTOqI.
Subarkah, Muhammad. 2021. “Jilbab Voice of Baceprot, Musik Metal, Hingga Kadal Gurun: Nasib Paranoid Islamofobia.” Republika Online. 10 Desember 2021. https://republika.co.id/share/r3uwt2385.
Velayati, Masoumeh. 2007. “Perceptions Contrastes Du Hijab Parmi Les Ressortissants Iraniens Rsidant Au Royaume-Uni.” Social Compass 54 (3): 435–51. https://doi.org/10.1177/0037768607080841.
VOB, (Voice of Baceprot), dir. 2022. Voice of Baceprot (VOB) - Live at Penny Lane. https://www.youtube.com/watch?v=X4bGV3qsUvk&t=717s.
Voice of Baceprot, dir. 2018. Voice of Baceprot - School Revolution. https://www.youtube.com/watch?v=4aZX-C8HKJc.
Voice of Baceprot, dir, dir. 2021. Voice of Baceprot - God, Allow Me (Please) To Play Music (Official Music Video). https://www.youtube.com/watch?v=WPVo_QyS0Hw.
Voice of Baceprot, dir, dir. 2022. VOB (Voice of Baceprot) - Enter Sandman (Metallica Cover) at Trans Musicales de Rennes 2021. https://www.youtube.com/watch?v=OU420zwX7do.
Warrier, Sujata. 2022. “Intersectionality.” Dalam Handbook of Interpersonal Violence and Abuse Across the Lifespan: A Project of the National Partnership to End Interpersonal Violence Across the Lifespan (NPEIV), disunting oleh Robert Geffner, Jacquelyn W. White, L. Kevin Hamberger, Alan Rosenbaum, Viola Vaughan-Eden, dan Victor I. Vieth, 151–63. Cham: Springer International Publishing. https://doi.org/10.1007/978-3-319-89999-2_301.
Weinstein, Deena. 2000. Heavy metal: the music and its culture. Rev. ed., 1st Da Capo Press ed. New York: Da Capo Press.
Wodak, Ruth, dan Michał Krzyżanowski, ed. 2017. Qualitative Discourse Analysis in the Social Sciences. 1st ed. London: Bloomsbury Academic. https://doi.org/10.1007/978-1-137-04798-4.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Zainal Pikri, Inna Muthmainnah
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the Creative Commons Attribution-NonCommercial 4.0 International Public License (CC BY-NC 4.0). This license allows reusers to distribute, remix, adapt, and build upon the material in any medium or format for noncommercial purposes only, provided that proper attribution is given to the original creator.