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All Journal Rubikon: Journal of Transnational American Studies JURNAL PENGABDIAN KEPADA MASYARAKAT IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature BASIS (BAHASA DAN SASTRA INGGRIS) Titian: Jurnal Ilmu Humaniora COMMICAST Lingua Susastra Journal of English Language and Education Jurnal Demokrasi dan Politik Lokal Bakti Budaya: Jurnal Pengabdian kepada Masyarakat JOLALI: Journal of Language and Literature
Sujiwa, Krisna
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Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Blues as Cultural Resistance: Representing Black Struggle through Music in Sinners 2025 Ramadhanti, Rahma; Sujiwa, Krisna
Journal of English Language and Education Vol 11, No 2 (2026)
Publisher : Universitas Pahlawan Tuanku Tambusai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jele.v11i2.2317

Abstract

This study investigates the role of blues music in Sinners, directed by Ryan Coogler, as a form of cultural resistance against racial oppression during the Jim Crow era. It adopts Tricia Rose’s theory of Cultural Resistance and applies a qualitative interpretive method within the broader framework of Cultural Studies. The analysis focuses on how blues operates beyond its function as background music and instead serves as a narrative and ideological device that shapes meaning and representation. The findings identify three interrelated dimensions. First, blues functions as a medium of political expression that articulates the lived experiences and collective memory of Black communities. Second, the film presents a clear politics of sound and space, particularly in locations such as juke joints, where music becomes a site of negotiation, control, and resistance. These spaces are not neutral; they structure who can speak, perform, and be heard. Third, the narrative highlights an ongoing struggle to reclaim identity and cultural ownership in the face of appropriation and commodification. Blues emerges as both a cultural resource and a contested terrain shaped by unequal power relations. Overall, the study demonstrates that blues in Sinners operates as a hidden transcript, a form of symbolic protection, and a site of cultural contestation. These roles reveal both the resilience and the vulnerability of Black expressive culture under systemic oppression. This research contributes to film studies, sound studies, and cultural studies by emphasizing how material and spatial conditions influence practices of resistance and cultural production.
RAISING VOICES FOR PALESTINE: ANALYZING MACKLEMORE’S "HIND’S HALL" THROUGH BARTHES' SEMIOTIC LENS Sujiwa, Krisna; Zulferdi, Lazuar Azmi
Rubikon : Journal of Transnational American Studies Vol 13, No 1 (2026)
Publisher : Pengkajian Amerika, Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/rubikon.v13i1.116926

Abstract

This study examines Macklemore’s 2024 protest song “Hind’s Hall” as a cultural text that articulates transnational solidarity with Palestine amid escalating global attention to the Israeli–Palestinian conflict. While popular music has long functioned as a medium of political expression, scholarly analyses of contemporary Western protest songs addressing this issue remain limited. The research investigates how the song’s lyrics and visuals construct meanings related to resistance, institutional repression, and global activism. Grounded in Roland Barthes’ semiotic theory, particularly the concepts of denotation and connotation, the study employs a qualitative method through close reading of lyrical content and selected scenes from the music video. The findings reveal that denotative elements depict protest actions, state violence, and humanitarian suffering, while connotative meanings expose deeper ideological critiques of colonialism, racial capitalism, media manipulation, and the criminalization of dissent. The song also mobilizes affect and empathy to foster a sense of collective responsibility and transnational unity. This study concludes that “Hind’s Hall” operates not merely as a protest anthem but as a layered cultural artifact that challenges dominant narratives and amplifies marginalized voices. By transforming personal expression into political discourse, the song demonstrates how contemporary music can function as a powerful instrument of global awareness and resistance.
THE REPRESENTATION OF THE VATICAN THROUGH THE LENS OF AMERICAN IDEOLOGY IN THE FILM CONCLAVE (2024) Sulastri, Nurhaeni; Sujiwa, Krisna
BASIS (Bahasa dan Sastra Inggris) Vol 13 No 1 (2026): JURNAL BASIS UPB
Publisher : Universitas Putera Batam

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33884/basisupb.v13i1.11501

Abstract

This article examined how the Vatican was represented through the lens of American ideology in the film Conclave (2024) by using Stuart Hall’s theory of representation, specifically the intentional approach. The study employed a qualitative method through textual analysis of narrative structure, characters, dialogue, and visual symbols such as closed spaces, the sealing of red candles, black and white smoke, and the technological isolation procedures during the conclave to identify ideological meaning patterns embedded in the film. The analysis showed that the film deliberately constructed the Vatican as a sacred institution that also functioned as a political arena marked by secrecy, intrigue, and conflict between progressive and conservative factions, so that religious practice was shifted into a power drama in line with the typical suspicion of American ideology toward closed institutions. Characters such as Cardinal Tremblay and Joshua Adeyemi were represented as symbols of corruption, hypocrisy, and political ambition, while Cardinal Lawrence and Vincent Benitez were used to insert liberal American values such as moral individualism, transparency, inclusivity, and reform, including through the figure of an intersex Pope as a metaphor of a “new purity.” The article concluded that Conclave not only presented the Vatican as the spiritual center of Catholicism, but also intentionally projected and negotiated the hegemony of American values within the image of a transnational institution, thereby influencing how global audiences understood the relationship between sacredness, power, and ideology in cinematic representation.
Co-Authors Achmad Munjid Amalia, Shabrina Nur Amin Basuki Arief, Dikdik Baihaqi Aris Munandar Aris Munandar Chemamat, Sakis Darojat, Abdurrahman Fatkhania Salisa, Vinka Ferry Hidayat Intifadah, Alfira Khairina Irianti, Danika Rahma LAZUAR AZMI ZULFERDI Prihatika, Yusrina Dinar Rahmat Muhajir Nugroho Ramadhanti, Rahma Rendra Widyatama Restu, Pandu Wiguna Sulastri, Nurhaeni Traesar, Livia