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"ABSTRAKBlack female empowerment merupakan sebuah bentuk pergerakan yang bersinggungan dengan permasalahan ras dan identitas gender. Beyonc mdash;artis perempuan kulit hitam yang dikenal merangkul identitas rasnya mdash;memproduksi lagu ldquo;Forward rdquo; dan ldquo;Freedom rdquo;. Dua lagu bermuatan politis dalam albumnya, Lemonade, dirilis pada tahun 2016. ldquo;Forward rdquo; berfokus pada kasus kebrutalan polisi terhadap warga negara berkulit hitam yang marak terjadi sejak tahun 2014, sedangkan ldquo;Freedom rdquo; berfokus pada pemberdayaan perempuan kulit hitam untuk bergerak melawan penindasan terhadap mereka. Dalam penelitian ini dilakukan analisis terhadap motif Black female empowerment dengan menganalisis lirik dan video musik untuk menemukan mitos di balik gerakan tersebut dengan menggunakan teori semiotik Roland Barthes. Temuan-temuan dalam analisis lagu ldquo;Forward rdquo; menunjukkan bagaimana orang kulit hitam, terutama perempuan kulit hitam, dianggap tidak berdaya. Diskusi antara semua orang dari berbagai ras untuk menemukan solusi untuk menghentikan diskriminasi ras sangat dibutuhkan. Adapun temuan-temuan dalam analisis lagu ldquo;Freedom rdquo; menunjukkan bahwa kesempatan bagi perempuan kulit hitam untuk maju berbicara merupakan hal yang dapat diperoleh sekarang, dan mereka akan didukung oleh sesama perempuan kulit hitam.

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ABSTRACTThe Black female empowerment is a form of movement that is intersecting both race and gender identities. Beyonc ndash;a Black female artist known for embracing her black identity ndash;produced ldquo;Forward rdquo; and ldquo;Freedom rdquo;, two politically-charged songs in her 2016 album, Lemonade. ldquo;Forward rdquo; focuses on the police brutality against Black people that have been increasing since 2014, whereas ldquo;Freedom rdquo; focuses on empowering Black women to fight back against the oppression against them. Using Roland Barthes rsquo; semiotic theory, this thesis analyses the Black female empowerment motifs by analyzing its lyrics and music videos in order to find the myth behind the movement. The findings in ldquo;Forward rdquo; show how Black people, especially Black women, are deemed ldquo;voiceless rdquo; and a discussion between all people to find solution to end the racial discrimination is urgently needed. While the findings in ldquo;Freedom rdquo; suggest that the opportunity for Black women to speak up is now obtainable, and they will be supported by their fellow Black women.

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The Black female empowerment is a form of movement that is intersecting both race and gender identities. Beyonc ndash a Black female artist known for embracing her black identity ndash produced ldquo Forward rdquo and ldquo Freedom rdquo , two politically charged songs in her 2016 album, Lemonade. ldquo Forward rdquo focuses on the police brutality against Black people that have been increasing since 2014, whereas ldquo Freedom rdquo focuses on empowering Black women to fight back against the oppression against them. Using Roland Barthes rsquo semiotic theory, this thesis analyses the Black female empowerment motifs by analyzing its lyrics and music videos in order to find the myth behind the movement. The findings in ldquo Forward rdquo show how Black people, especially Black women, are deemed ldquo voiceless rdquo and a discussion between all people to find solution to end the racial discrimination is urgently needed. While the findings in ldquo Freedom rdquo suggest that the opportunity for Black women to speak up is now obtainable, and they will be supported by their fellow Black women. "

"Indonesia adalah negara yang mengakui kepercayaan agama, seperti Islam, Kristen, Hindu, dan Budha. Namun, populasi yang dominan adalah umat Muslim; dengan demikian, norma sosial yang berlaku kurang lebih mencerminkan kepercayaan mayoritas. Budaya asing, khususnya budaya barat, sering dianggap tidak pantas dan tidak sesuai dengan budaya Indonesia. Salah satu contoh terbaru adalah lagu "God is a Woman," yang menyampaikan pesan pemberdayaan perempuan. Lagu tersebut dianggap kontroversial karena membawa nama Tuhan dan menyamakannya dengan sifat manusia, termasuk memiliki jenis kelamin. Selain itu, lagu ini berisi konten yang eksplisit secara seksual yang dianggap tabu. Meskipun ada banyak tantangan agar lagu ini dapat diterima di masyarakat, lagu ini masih banyak beredar di kalangan generasi muda di Indonesia. Menurut teori respon audiens Stuart Hall, ada tiga jenis audiensi yang menerima, menolak, atau menegosiasikan sebuah karya. Dalam penelitian ini, akan dibahas bagaimana pemuda Indonesia menegosiasikan lagu yang sebenarnya kontroversial tetapi tetap menjadi favorit mereka.......Indonesia is a country that recognizes religious beliefs, including Islam, Christianity, Hinduism and Buddhism. However, the dominant population is Muslims; thus, the prevailing social norms more or less reflect the majority‟s belief. Foreign cultures, especially western culture, are often considered to be inappropriate and not in accordance with Indonesian culture. One of the most recent examples is the song "God is a Woman," which conveys the message of female empowerment. The song was considered controversial because it brought the name of God and equated it with human traits, which include having a gender. In addition, this song contains sexually explicit content that is considered taboo. Although there are many challenges for this song to be accepted in the community, surprisingly, it is still widely circulating within the younger generation in Indonesia. According to Stuart Hall's reception theory, there are three types of audiences who accept, reject, or negotiate a work. In this research, we will discuss how Indonesian youth negotiate songs that are actually controversial but remain their favourite."

"ABSTRACTKarakter Shoujo merupakan karakter perempuan yang sering ditemukan dalam anime kontemporer Jepang. Representasinya memiliki perkembangan dari tahun ke tahun mengikuti perkembangan anime tersebut. Representasi dan penggambaran karakter shoujo berawal dari aspek femininitas tradisional hingga pemberdayaan karakter kuat sebagai heroine dalam anime tersebut. Namun berbeda dengan anime lainnya, Sen to Chihiro no Kamikakushi, yang merupakan anime karya Hayao Miyazaki dibawah produksi Studio Ghibli, memiliki representasi karakter shoujo yang berbeda. Chihiro, berubah dari karakter lemah menjadi berdaya melalui proses pemberdayaan. Tulisan ini akan membahas proses pemberdayaan dan pencapaiannya yang berguna dalam membangun identitas Shoujo melalui karakter Chihiro.

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ABSTRACTShoujo is a female character that is often found in contemporary Japanese anime. Its representations have developed throughout it years following the development of the Anime itself. The representation and depiction of shoujo charcters started from its traditional femininity aspects to its female empowerment form as a heroine characters in anime. But, differing from the typical anime, Sen to Chihiro no Kamikakushi, an anime made by Hayao Miyazaki under the name of Studio Ghibli, has different representation of its shoujo characters. Chihiro had to go through an empowering process to change from being weak to being an empowered female. With this thesis, the writer attempts to examine the characters empowerment process and the outcomes that has impact on building a new shoujo identity through Chihiro as a shoujo character."