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Ni Komang Putri Nadia Anjaswari
Universitas Pendidikan Ganesha, Singaraja, Indonesia

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Analisis Jenis Alih Kode Bahasa Indonesia-Inggris dalam Segmen YouTube "#HISTORYTELLING" karya Nessie Judge: Analisis Jenis Alih Kode Bahasa Indonesia-Inggris dalam Segmen YouTube "#HISTORYTELLING" karya Nessie Judge Ni Komang Putri Nadia Anjaswari; Dewa Putu Ramedra; I Wayan Swandana
Jurnal IKA Vol. 24 No. 2 (2026)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/ika.v24i2.121388

Abstract

This study examines the phenomenon of Indonesian-English code-switching in a planned digital monologue discussing a true-crime narrative. While previous research has primarily analyzed code-switching in casual two-way interactions, there is a significant gap regarding its syntactic application and function in digital storytelling by a single speaker. Therefore, this study aims to identify the types of code-switching and their driving motives in Nessie Judge's YouTube segment "#HISTORYTELLING," specifically in videos detailing cults and psychological manipulation. Using a descriptive qualitative approach and content analysis, data from three purposively selected videos were analyzed using Poplack's (1980) syntactic boundaries and a functional sociolinguistic framework. The results revealed 50 code-switching utterances, with intra-sentential code-switching as the most dominant type (50%), followed by inter-sentential (30%) and tag code-switching (20%). The dominance of the intra-sentence type—characterized by the insertion of English lexicon without violating Indonesian grammatical rules—indicates a highly structured bilingual repertoire rather than a linguistic deficit. Furthermore, this practice is shown to serve a distinct pragmatic purpose; it serves more than simply filling vocabulary gaps, but rather as a strategic tool for articulating specific socio-psychological terminology, expressing affective functions, and negotiating interpersonal solidarity with virtual audiences.