Cicilia Deandra Maya Putri
Universitas Negeri Surabaya

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Exploring Code Mixing: A Linguistic Case Study Of Tiktok Gen Z Beauty Influencer Communication Jasmine Anindia Putri S; Cicilia Deandra Maya Putri
Jurnal Pendidikan Bahasa dan Sastra Vol. 1 No. 2 (2026): Februari-April
Publisher : Samudra Ilmu Indonesia

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Abstract

This study aims to identify the most dominant forms of code mixing used by Gen Z beauty influencers on the TikTok platform. The study employs a qualitative approach using a case study design focused on the beauty influencer @treezyneon, applying Muysken’s (2000) typology of code mixing, which categorizes code mixing into three types: insertion, alternation, and congruent lexicalization. The research data consists of utterances containing code-mixing elements obtained from 12 TikTok videos. The results indicate that the most dominant type of code-mixing is insertion, which appears most frequently compared to alternation, while congruent lexicalization was not found significantly in the data. The use of code mixing in the form of insertion is considered more flexible, practical, and in line with Gen Z’s digital communication style, which is fast-paced, expressive, and follows social media trends. This study demonstrates that the use of slang in code mixing serves not only as a stylistic device but also as part of Gen Z’s digital communication style, reflecting their closeness to global culture and social identity in digital media.
Types of Code-Mixing in Indonesian Instagram Advertisements: A Linguistic Analysis Based on Muysken's Typology Rayhan Hidayat; Cicilia Deandra Maya Putri
Jurnal Pendidikan Bahasa dan Sastra Vol. 1 No. 2 (2026): Februari-April
Publisher : Samudra Ilmu Indonesia

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Abstract

This study investigates the types of code-mixing found in Indonesian Instagram advertisements based on Muysken's (2000) typology, which classifies code-mixing into three types: insertion, alternation, and congruent lexicalization. Ten Instagram advertisements from five different brands across various industries were selected as the data for this study. The advertisements were collected from five Indonesian brands active on Instagram between March and April 2026. The findings show that insertion is the most dominant type of code-mixing, appearing in nine out of ten advertisements, where English words and phrases are placed into Indonesian sentence structures. Alternation was found in only one advertisement, while congruent lexicalization was not found in any of the advertisements. These findings suggest that Indonesian advertisers predominantly use insertion as their preferred form of code-mixing, as English terms are widely recognized by target consumers and contribute to clearer and more effective communication in advertising.
STREAMING SELVES: VULGAR LANGUAGE, CODE-MIXING, AND HYBRID COMMUNAL IDENTITY OF AN INDONESIAN LIVE-STREAMER Fariq Shiddiq Tasaufy; Cicilia Deandra Maya Putri; Slamet Setiawan; Ayunita Leliana; Lina Purwaning Hartanti; Imam Hanafi; Noerhayati Ika Putri
LiNGUA: Jurnal Ilmu Bahasa dan Sastra Vol 20, No 2 (2025): LiNGUA
Publisher : Laboratorium Informasi & Publikasi Fakultas Humaniora UIN Maulana Malik Ibrahim Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18860/ling.v20i2.36114

Abstract

This paper examines how an Indonesian live-streamer and his audiences create a hybrid communal identity by using vulgar language and code-mixing with reference to the popular YouTube livestream @deandeankt. With the digital medium transforming the world into a global village, the streaming culture in Indonesia provides a distinct perspective into how localized linguistic practices interact with global trends in the internet. The interpretivist-constructivist paradigm applied in the current case study research was aimed at understanding the way language and interaction produced hybrid identities. It gathered linguistic and paralinguistic data of @deadndeakt’s livestream for 90 minutes with netnography and thematic analyses. According to the study, abusive swearing (e.g., "kontol [dick]", "goblok [stupid]") represents 89.3 percent of the vulgar language and serves as playful insults, which enhance group cohesion. Emphatic swearing ("Anjing! Gua kalah! [Bitch! I lost!]") and cathartic swearing (“Ngentot, mic-nya rusak! [Fuck, the microphone is broken!]”) increase the emotional involvement. Intra-sentential blends, especially code-mixing (“Brightness-nya kita bikin tiga kali [We increase the brightness threefold]”), prevails in 85 percent. Other examples combine English gaming slang (template, unarchive) with Indonesian structure and local dialects, like a Javanese swear word (“Cok [Damn]”). Pronunciations, such as BTW [read in Indonesian: be te we] are even more localized global terms. It is analyzed that the vulgar language usage assists in persona creation and building of relationships with the audience, creating a tight-knit, exclusive community in which such language represents belonging and emotional release, despite its offensiveness in the larger society. Moreover, streamers combine Indonesian and English with gaming jargon to successfully appeal to their bilingual audience, so that they could be technically accurate and still fit into the global gaming cultures. These activities form a hybrid identity, where speakers possess a strong sense of Indonesian culture but are consistent with international trends, which strengthens group exclusivity. The results draw attention to live-streaming as a contact zone in which language negotiates belonging, which disrupts strict cultural boundaries. The study highlights the sociolinguistic innovativeness of online communities and recommends future research on offline effects of these online linguistic norms and the effects of the hybrid identities and communicative practices used in live-streaming communities on daily language, social interaction, and identity formation in the real world. The authors also suggest cross-cultural comparative research to find out whether the phenomena are specific to the Indonesian situation or have they become a global trend.