Journal of Communication Studies | Vol. 4 No.1, Vol. 4 No ...

COMMUNICAREJournal of Communication Studies | Vol. 4 No.1,

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Vol. 4 No. 1, Januari - Juni 2017 ISSN : 2502-2091 (online)ISSN : 2089-5739 (cetak)

Member of :

• Gossip and Hidden Transcript in The Online and Of�line Interaction: The Case of Closed Group CommunicationRudi Sukandar

• Preferensi Penonton Terhadap Film Indonesia Muhammad Yaumul Rizky & Yolanda Stellarosa

• Promoting Environmental Awareness to Underprivileged Children in Jakarta By Holding a Special Event “The Joy of Children 2016” Magdalena Fenisia Caroline & A. M. Kiki Srirejeki

• Pola Komunikasi Komunitas Rumah Belajar Sahaja Bandung (Studi Etnogra�i Komunikasi Tentang Pola Komunikasi Antara Pengajar dan Anak Jalanan di Rumah Belajar Sahaja Bandung)Dwi Rizqi Anta & Arie Prasetio

• Children in Adult Television World: The Importance of Media Literacy in Family Viewing HabitTribuana Tungga Dewi & Muhammad Jaka Permana

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TABLEOFCONTENTS

TableofContents...........................................................................................................................

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EditorialBoard..............................................................................................................................

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PeerReviewer................................................................................................................................

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Editor’sNote…................................................................................................................................

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GossipandHiddenTranscriptinTheOnlineandOfflineInteraction:TheCaseofClosedGroupCommunicationRudiSukandar.................................................................................................................................

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PreferensiPenontonTerhadapFilmIndonesiaMuhammadYaumulRizky&YolandaStellarosa..............................................................

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PromotingEnvironmentalAwarenesstoUnderprivilegedChildreninJakartaByHoldingaSpecialEvent“TheJoyofChildren2016”MagdalenaFenisiaCaroline.......................................................................................................

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PolaKomunikasiKomunitasRumahBelajarSahajaBandung(StudiEtnografiKomunikasiTentangPolaKomunikasiAntaraPengajardanAnakJalanandiRumahBelajarSahajaBandung)DwiRizqiAnta&AriePrasetio.................................................................................................

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ChildreninAdultTelevisionWorld:TheImportanceofMediaLiteracyinFamilyViewingHabitTribuanaTunggaDewi&MuhammadJakaPermana.....................................................

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EDITORIALBOARDEDITORINCHIEF

Dr.LestariNurhajati,S.Sos.,M.Si.,STIKOMLSPRJakarta

EXECUTIVEEDITOR

XeniaAngelicaWijayanto,S.H.,M.Si.,STIKOMLSPRJakarta

EDITORS

AdamJamesFenton,Ph.D.,ScopusID57192265066STIKOMLSPRJakarta.

GraciaRachmiAdiarsi,M.Si.,STIKOMLSPRJakarta.

ArifSusanto,S.Sos.,M.Si.,STIKOMLSPRJakarta.

AlexSobur,M.Si.,UniversitasIslamBandung

GraceHeidyJaneAmandaWattimena,M.Si.,STIKOMLSPRJakarta.

Hersinta,M.Si.,STIKOMLSPRJakarta.

FizzyAndriani,M.Si.,UniversitasProf.Dr.Moestopo(Beragama)

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PEERREVIEWERDr.Dra.UlaniYunus,MM.,ScopusID:55840448700,UniversitasBinaNusantara

Dr.PujiLestari,S.IP.,M.Si.,ScopusID:56702935800,UniversitasPembangunan

Nasional"Veteran"Yogyakarta

Dr.UmaimahWahid,M.Si.,ScopusID:57191032537,UniversitasBudiLuhurJakarta

Dr.UwesFatoni,M.Ag.,ScopusID:57200993708,UINSunanGunungDjatiBandung

Dr.Eriyanto,ScopusID:57200336609,UniversitasIndonesia

Dr.Irwansyah,ScopusID:57192162892,UniversitasIndonesia

Dr.GunGunHeryanto,UINSyarifHidayatullah

Dr.LintangRatriRahmiaji,S.Sos.,M.Si.,FISIPUniversitasDiponegoro

Prof.AloysiusLiliweri,UniversitasNusaCendana

Dr.RinoF.Boer,STIKOMLSPRJakarta

RudiSukandar,Ph.D.,STIKOMLSPRJakarta

AriSantosoW.Poespodihardjo,Ph.D.,STIKOMLSPRJakarta

Dr.YolandaStellarosa,STIKOMLSPRJakarta.

Dr.JanetteMariaPinariya,STIKOMLSPRJakarta

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EDITOR’SNOTESalamhangatdariredaksiJurnalCommunicare!Komunikasiadalahbidangyangsangatluas,tidakadahabisnyadanselalumenarikuntukditeliti.Selamabeberapaedisiyanglalu,JurnalCommunicareterbitanResearchCenterandPublication-TheLondonSchoolofPublicRelations(LSPR)-Jakartasecaraberkalatelah menjadi wadah dalam mempublikasikan hasil penelitian dan artikel di bidangkomunikasi.Padaedisikaliini,mencobamelihatdenganperspektifyangberbedadarisebelumnya,redaksi Jurnal Communicare menyaring beberapa artikel yang menarik danmerangkumnya menjadi satu. Dalam dua bagian besar, Jurnal Communicare kali inimembahastematentangpolakomunikasibudayapopulerdanjugamediadigitalsertakomunikasi yang berkaitan dengan anak serta komponen-komponen yangmengelilinginya.Volume4Nomor1JurnalCommunicareinidibukadenganartikelhasilpenelitianRudiSukandar yang berbicara tentang percakapan belakang punggung atau gosip antaraanggotakomunitastertutupberkaitandenganinteraksitatapmukamerekadenganobjekgosiptersebut.DilanjutkandenganpenelitianyangdilakukanolehMuhammadYaumulRizkydanYolanda Stellarosa tentangpreferensi penonton terhadap film IndonesiadiJakartadenganmelihatatributfilm.SelanjutnyaadalahartikeldenganjudulChildreninAdultTelevisionWorld:TheImportanceofMediaLiteracyinFamilyViewingHabit,karyaTribuanaTunggaDewi&MuhammadJakaPermanayangmasihberadadiarealiterasimedia.Selainartikeldiatas,terdapatjugaartikelmengenaipelaksanaanacaraTheJoyofChildrenolehMagdalenaFenisiaCarolineyangdilaksanakanbagianak-anakkurangberuntungdiJakarta untuk menaikkan kesadaran akan isu lingkungan hidup terutama perihalpencemaranair.Masihdengannuansaanak,DwiRizqiAntadanAriePrasetiomengulastentang proses komunikai dan komponen komunikasi dalam membentuk hubunganantara pengajar dan anak jalanan. Jurnal Communicare edisi kali ini diakhiri denganartikelpenelitiandariKhoirunNi’mahdanPujiLestariyangmenjabarkananalisismodelkomunikasikeluargayangberkontribusipadaperkembangankepribadiananakmelaluipenanamannilai-nilaidalamkeluarga.Sebagai penutup, redaksi Jurnal Communicare berterima kasih atas kesediaan parakontributor,mitrabestaribaikdaridalamlingkupLSPRmaupunluarLSPRdanjugaparapihak yang mendukung Jurnal Communicare dapat terus hadir. Besar harapan kami

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bahwa Jurnal Communicare dapat terus ikut serta mmemperkaya dunia komunikasiIndonesiadenganpublikasiyangsemakinberagamdanmutuyangsemakinbaik.MengutipMervinGordon,“Noresearchiseverquitecomplete.Itisthegloryofagoodbitofworkthatitopensthewayforsomethingstillbetter.”Tetapsemangatdalamberkaryadansalamkomunikasi!ExecutiveEditorXeniaAngelicaWijayanto

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GOSSIPANDHIDDENTRANSCRIPTINTHEONLINEANDOFFLINEINTERACTION:

THECASEOFCLOSEDGROUPCOMMUNICATION

RudiSukandar

[email protected]

ABSTRACTDespitehavingnegativecontent,gossipandbackstagetalkscanalsobeamediumtolearnaboutdifferencesandprovideinformationfortherestofthecommunity.Furthermore,backstagetalksnotonlycontainmeregossip,butalsoreflectthehiddentranscriptsbyindividualswhoperceivedthemselvestobelesspowerfulthanthepowerholders.Giventhephenomena,thispaperattemptedtoinvestigatetheonlinebackstagetalksbetweencommunitymembersandtheirface-to-faceinteractionwiththeobjectoftheirgossipsbyusing the conceptsofGoffman’sdramaturgy, gossip, andhidden transcript.The studyfoundthatGoffman’s(1959)conceptofperformance,whileuseful,couldnotfullyworkinanalyzingdeviantbehaviors.ThisstudyfurtherconfirmsWittekandWielers’(1998)affirmation that coalition triads as the best predictors of gossip behavior. However,another triad model, called neutralization, is proposed to predict the occurrences ofgossip. Finally, the study also confirms the existence of the hidden transcripts bycommunityparticipantswhofeltbeingoppressedbythepowersthatbe.Keywords:Gossip,HiddenTranscript,Goffman,Dramaturgy,Behaviour.

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GOSSIPANDHIDDENTRANSCRIPTINTHEONLINEANDOFFLINEINTERACTION:THECASEOFCLOSEDGROUPCOMMUNICATIONRudiSukandar

INTRODUCTIONInordertotakepartinsocialinteractions,peopleadoptthevaluesupheldinthesocietyandadapttothechanges.Nevertheless,beinginvolvedinthesocialinteractionsdoesnotmeanthat theycanbecomeuniformedbecausetheybringwiththemuniquepersonalcharacteristics and values which influences the interactions. At the public level, theunique characteristics are hardly noticeable due to the shared values and norms.However,ifviewedattheinterpersonallevel,differencesbetweenindividualsseemtobevisibleand,atthesametime,inevitableconsideringtheuniquetraitsthateachindividualhas. Ifthesedifferencesarenotunderstoodandhandled,theymightleadtofrictionsthatcancreate injurious experiences for certain individuals. Consequently, as Abel and Sarat(1980-1981)assert,thetransformationofunperceivedinjuriousexperience(unPIE)toperceived injurious experience (PIE) will emerge into an open conflict. Thetransformationitself,accordingtoAbelandSarat,elevatesinthreestages:namingwhichreflectsaconditionof“sayingoneselfthataparticularexperiencehasbeeninjurious”(p.635).ThenextstageisblaminginwhichPIEistakentoastageofagrievancewhereanindividualblamesotherpeopletoberesponsibleforhis/herinjury.Finalstageisclaiminginwhichhavingblamedothersforhis/herinjury,anindividualexpressesthegrievancetothosewhoareresponsiblefortheinjuryandseeksforaremedyfromthem. However,ifthefrictionsareonlykeptinprivateorincertainsocialcirclesandnotforpublic consumption, theymayonly lead to backstage talkswhichwill not damage anindividual’s reputation publicly. Since the backstage talks exist in many cultures,societies, and social classes, they become a natural phenomenon that we find in oureverydayinteractionswithdifferentcirclesoffriendsoracquaintances.Whatmakesitmoreinterestingisthatbackstagetalksarerespondedwithdifferenttypesofemotions.Therefore, it is not surprising if Foster (2004) labels them as “an important socialbehavior thatnearlyeveryoneexperiences, contributes to,andpresumably intuitivelyunderstands”(p.78).Naturally,backstagetalksbecomeapartofourphenomenaassocialbeings and have already become our psychological, cultural and social traits andbehaviorsininteractingwitheachother. Sincethefrictionsmayormaynotbetheresultofpowerstruggle,thebackstagetalkscanberegardedaseitherhiddentranscriptormeregossip.Therefore,thispaperattemptstoanalyzewhethertheofflineandonlineconversationbetweenmembersofagroupaboutcertain issues on someone or something falls in the categories of gossip or hiddentranscript.Consideringthatgossipalsoflourishesintheinternet(Hura,1998),thispaperalsocomparestheparticipants’onlinebackstagetalksaboutatargetindividualtotheirface-to-faceinteractionwiththetargetindividualusingGoffman’s(1959)frameworkofperformance.Finallyhavinganalyzed thepatternof interaction related togossip, this

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paper also attempts to critiqueWittek andWielers’ (1998) networkmodel of gossipbehavior.LITERATUREREVIEWGoffman’s(1959)FrameworkGoffman’sexplicationofinteractionbyusinga“dramaturgicalapproach”isimportantinexplainingwhatconstitutesasinteraction.Thenotionsthatheintroducesarebasedonhis assumption that “when an individual appears before others he will have manymotivesfortryingtocontroltheimpressiontheyreceiveofthesituation”(p.19).Thisassumptionprovidesatheoreticalfoundationtoviewhowindividualsactinprivateorpublicspheres.Thepresentationofselftoothersiscrucialforanindividualinordertomaintainhisimageashewantsittobeprojectedandtobeseenandacceptedbyothers.Goffman’sworknotonlyresonateswiththewayweinteractinwithothersatthelevelsof interpersonal,butalsoreflectshowpeople interactandmaintainself-imagesat theinter-teamsandmasscommunicationlevels.Theapplicationofdramaturgicalapproachinanalyzingcommunicationandinteractionbringsanimplicationthateverythingcanbe“staged.”Inaddition,thisapproachimpliesthatthetrueselfisnotforpublicconsumptionbecause of fear of rejection from the audience and other parties such asactors/teams/societyonceanindividualuncovershis/hertrueselfwhichmaynotbeinaccordancewiththeupheldnormsandvalues. Inaddition,Goffman(1959)alsointroducestheconceptofimpressionmakinginwhichanindividualattemptstomakeimpressioninfrontofthepresenceofothers.Thisoccursin face-to-face interactionwhichhedefines as “the reciprocal influenceof individualsupononeanother’sactionswheninoneanother’simmediatephysicalpresence”(p.15).Thispresentationofselfbeforeothersyieldstheconceptofperformanceinwhichone’sfrontstageactmightbedifferentfromhis/herbackstageact. Thebackstageacttendstobeaspherewhereindividualssharestagingtalk(gossip)withtheir close friends in a limited and private circle of interaction. The implication ofGoffman’s(1959)notionsoffrontstageandbackstageisthatintheirinteractionwiththetargetindividual,individualstendtohidetheirtruefeelingsandpresentthemselvesin a carefully-crafted manner. However, this masking is uncovered if the targetindividualsareoutofsight.Asaresult,theindividualscanfreelytalkbehindthetarget’sbackbecauselessconstraintoccursinthesituation.Goffman’sfaceandbehaviormaskingconceptsestablishafoundationingossipresearchconsideringthefactthattheconceptsoffrontstageandbackstagebecomeusefulwhenanalyzingbackstagetalksorgossip.Furthermore,theconceptsoffrontstageandbackstageprovideausefulframeworkinanalyzinghumanbehaviorsrelatedtothediscrepanciesbetweentheirfrontstagetalksandbackstagetalks.

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GossipGossipasacommonphenomenonininterpersonalandorganizationalcommunicationissometimesdifficulttodefine.Severalstudieshavediscussedgossip, forexample, fromtheperspectiveofgenderanditstransmissionamongfriendsandinpublic(Hambaugh,2011)andtheroleof interpersonal jealousy,mainlysexualandemotional jealousy, ingossip(Warber,2013).Intermsofitsdefinition,alldefinitionsofferedbyscholarshaveonecommonality inwhichtheypointoutthemost importantaspectofgossipnamelytalkingaboutathirdperson.Withreferencetothethirdpartyaspect,Wittek&Wielers(1998)characterizegossipas“non-obligatorytalkaboutabsentthirdperson”(p.189).Theyemphasizeontheaspectsofvoluntaryconversationandabsenttargetindividualsasthemostimportantfeaturesofgossip.Inthisdefinition,thenegativecharacteristicofgossipasdefamatoryinnatureisnotofimportancebecauseofthepossibilitythatthetalkismerelyatalkwithoutanyjudgmentincludedinit.Besidesmentioningtheaspectofathirdperson,otherscholarsemphasizethenegativecharacteristicsofgossip.Wertand Salovey (2004) defines gossip as “malicious or defamatory conversation out ofearshot of others” (p. 122). In this definition the negative aspects are highlighted topresentanassumptionthatmostgossipisbad.Inamuchmoreneutralway,Guendouzi(2001)refersgossipas“atermthathasbeenusedintheliteratureondiscourseandgendertorefertomanytypesofbackstagetalk”(p.32).Shefurtherassertsthatbackstagetalkconsistsofgossip(comprisingpeergroupnews giving and bitching) and small-talk (encompassing chatting and phatic talk).Consequently,thebackstagetalkaccordingtothisdefinitionmighttakethenegativeorpositive forms. However, since the term itself has been negatively labeled from theculturalpointofview,manytakeforgrantedthatgossipisanegativephenomenonwhichis morally and religiously forbidden. Baumeister and Zhang (2004) agree with thisassumptionbecauseevenatthescholarlylevels“mostpsychologistshaveregardedthemotive to gossip as rooted in themalicious desire to harmothers by damaging theirreputation”(p.112).However,asstatedabove,gossipdoesnotmerelycontainnegativecontents.Baumeisterand Zhang (2004) suggest that gossip has useful functions in the socializing andinteraction process. They assert that gossip functions not only to strengthen therelationshipbetweengossiptellersandhearers,butalsotoofferinformationaboutthetargetindividual.Furthermore,accordingtoBaumeisterandZhang,themostimportantfunctionofgossiptocommunicatethevaluesandnormsofacertaincultureorsocietywhichmightbebeneficialtothehearers.Ifthehearersarenewcomersinacommunitywithadifferentsocialstructureandculturalvalues,theymightlearnaboutthedosanddon’tsincommunicatinginthecommunitysuchashowtointeractwithmembersofthecommunityandhowtopresentthemselvesinappropriately.Inaddition,BaumeisterandZhang(2004)alsosuggestthatgossipisaculturallearningbecause“byhearingaboutthemisadventuresofothers,wemaynothavetoendurecosts

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toourselvesbecausewewillhavesuccessfullyavoidedmakingthemistaketheymade”(p. 112). In accordancewith this assertion, Foster (2004) states that despite its badconnotation, gossip has social functions such as for information, entertainment,friendship,influence,evolutionaryutility,anddynamicutilityandguilt.Foster’sstance,alongwithotherscholars,opensanalternativewayofviewinggossipwhichapparentlyalsoplaysanimportantroleinoursocialinteractions,especiallyinourinterpersonalandorganizationalcommunication.Intermsofpowerrelations,gossipallowstheoppressedpeopleconfidentiallytowarnthoseinsimilarpositionabouttheoppressors(Alfano&Robinson,2017). In determining the nature of gossip,Wittek andWielers (1998) explicate howgossipbehaviorsarecarriedoutinanetworkmodel.BasedonBurt’stheory(ascitedinWittek&Wielers,1998),twomodelsarecommonlyfoundinthesocialsettingsofgossip,namelyconstraintandclosure.Constraintreferstoatriadinwhichtheegoknowsboththealterandthetertiuswhilethelattersdonotknoweachother.Closurecomprisesasettinginwhichthethreeactorsknowandhavegoodpersonalrelationshipswithoneanother.Inaddition to these models, Wittek and Wielers suggest another rivaling model—coalition—whichcanpredicttheoccurrenceofgossipininterpersonalcommunication.Coalitionrepresentsasituationinwhichtheegoandthealteregoknowthetertius,buttheir relationship to the latter is not good.The followingFigure1 (Wittek&Wielers,1998,p.193)describesgraphicallythegossipbehaviorsinthethreenetworkmodels.

Figure1

Coalition,constraintandclosuretriads

Basedontheirstudy,WittekandWielers(1998uncoverthat“coalitiontriadsturnouttobe thebest andmost consistentpredictorof gossipbehavior” (p.201).However, thisclaim needs to be thoroughly investigated because, I suspect many factors such asindividuals’personalmoralandreligiousvalues,genders1 (seeGuendouzi,2001),andpersonalitieswillcomeintoplaytodeterminewhetherthecoalitionmodelworks.

1 Guendouzi (2001) states that female responds more on ‘women-only gossip,’ while male responds more on everybody gossip.

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HiddenTranscriptRelating the concepts of power struggle and resistance has become a focus of studyamong communication scholars. In explaining resistance of a given group towardanother,Scott(1990)mentionsthattherearetwoconceptswhichneedtobedefined.Thefirstispublicdiscourseorpublictranscriptswhereindividualsbehaveaccordingtoasetofrulesandnormsinwhichoneshouldobeytohaveasmoothinteractionbetweensubordinates and dominating parties. The second is private discourse or hiddentranscriptsinwhichonecanfreelyexpressestheiropinionsandbehavedifferentlyiftheyareinpublicareasorunderthegazeofauthoritativefigures.Inotherwords,thenotionofhiddentranscriptsaccordingtoScottisused“tocharacterizediscoursethattakesplace‘offstage’,beyonddirectobservationbypowerholders”(p.4).Further,Scottmentionsthathiddentranscriptsmaybeseenfromthesocialpracticesthatthe under powered conduct such as their speech acts and nonverbalbehaviors/communicationintendedtocriticizeorrejectthepracticedrules,buttheyaredoneoutofpowerholders’view.AstudytousethenotionofhiddentranscriptstoanalyzesomeresistancetothepowerholderswasconductedbyMurphy(1998).Inherstudy,sheinvestigatedflightattendants’resistancetotheircompany’srulesandthedominationofthose in powers such as pilots in airplanes and company rules on their physicalappearance. Resistance also occurs because of differences in power. While discursive formationsreproducepowerrelations,Foucault(ascitedinDreyfus&Rabinow,1983)assertsthat“thesiteofpowercouldeasilybecomethesiteofsocialdisturbances,orevenrevolt”(p.146).AsillustratedinMurphy’s(1998)study,someflightattendantshavesuccessfullyexercised this notion in order to eliminate some rules which they thought to bediscriminatinganddisparaging.Inexplainingthispowerrelation,Foucault(ascitedinBertens,2001)emphasizeshisthoughtontheentityofpower.First,hementionsthatpower is notpossession, butmoreof strategies. Second, power is not localizedbut itspreads anywhere. Third, power does not always work through oppression andrepression, but also through normalization and regulation. Finally, power is notdestructiveinnature,butproductive. METHODParticipantsandDataGenerationProcedureTheparticipantsweremembersofastudentorganizationinastateuniversityinteractingonlinethroughchatgroupandface-to-face.ParticipantobservationwasemployedinthedatacollectionprocedureasIwasthememberoftheorganizationandchatgroup.Thisallowedme tohaveaccess to thewritten conversationdataand toanalyzemembers’onlinemessages and their offline behaviors. The collected data were focused on the

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messagespostedinrelationtoconflictmentionedbelow.Whileanalyzingtheirmessages,Isimultaneouslyobservedthemembers’behaviorwheninteractingface-to-facewiththetargetindividuals.Thetopicofdiscussionisaboutthefrictionandconflictthatseveralmembershadwiththeirlandlords.Thisconflictwascausedbyculturalclashandpresumedstereotypesthatthemembershaduponthelandlordsandviceversa.Othermembersoftheorganizationalsofelttohavebeentreatedbadlybythesamelandlords.DataAnalysisandObservationThedata from theonlinemessagepostingswere analyzedbasedon the categoriesofgossip(Guendouzi,2001)andhiddentranscript(Scott,1990).Thedatawerecomparedto how the members presented themselves in front of the target individuals usingGoffman’s(1959)frameworkforfrontandbackstageperformance.Aslightmodificationismadeintheframework;thefrontstagereferstothepresenceofthethirdpartiesandthebackstagereferstoasituationwhenthethirdpartiesareabsent.RESULTSANDDISCUSSIONBackstageTalksAsIobserved,backstagetalkswerediscussedthroughthreestages,whichIdubastopicintroduction, discussion (consisting of two simultaneously opposing parts, namelyheating-up and cooling down), and wrapping up. In the first stage, the topic wasintroducedbyMemberAwhoalsohadconflictwiththelandlords(henceforthreferredtoasthethirdparties).Hementionedthat

Inmyopinion,MemberB’sexperiencewiththethirdpartiesshouldbediscussedwithourfellowmembers.Ijustcan’tunderstandwhyourfellowmembersignorethefactthathehasabigproblem.Ifthisproblemisignored,itisnotimpossiblethatthesamethingwillhappenagaininthefuture.

This topic introductionwas then responded and endorsed by the chairperson of theorganizationbyaskingtherestofthememberstosharetheirideastosolvetheproblem.

Havingheardtheproblemthatourfriendshave,IpersonallyfeelinsultedbythetreatmentthatMemberBreceivesfromthethirdparties.However,Idon’twantto jump to conclusionwithout listening toothermembers’ opinionsabout thismatter

However,thechairpersonaddedattheendofherpostingawarningforallmemberstonotspreadthepostedmessagestonon-members.

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Please don’t distribute these emails to non-members in order to avoidinconveniences.Thisisonlythetalkamongus.

Afterthetopicintroductionbyamemberandendorsementbythechairperson,theissuewasdiscussedinthemailinglist.Thefirstpartofthesecondstage,heating-up,occurredrightaftertheintroductionwhenmembersexchangednegativemessagesaboutthethirdparties.ThefollowingisthemessagepostedbyMemberC.

TheproblemMemberBfacesisnotsomethingnewconsideringthemadnesslevelofthethirdparties.Asapersonwhosharesthesamereligiousbackgroundwiththem, I frankly feel embarrassedby the culture that grows in the placewhereMemberBlives...Ioftenfeeldisgustedtoseethatafterourreligiousmeetingstheyembraceusandcalleachotherbrothersandsisters.…IsuggestthatMemberAandBmoveout.[Movingout]togetherwillgiveabadimpressiontothethirdpartiesandconfirmtheimpressionthattheyarebarbaric.

MemberB,asthecenterofthediscussion,repliedtothepreviousmessagesbypresentinghimselfasavictimandcallingthethirdpartiesasignorant.

Iignoredthewarningsfromseveralpeopleaboutthepossibleoccurrenceofthisproblem.Itriedtofollowthemanagement’srequirements.Now,evenbysingingbymyself,Iamconsideredasanoisemakerasstatedinthethirdparties’ lettersenttomewithouteverconsultingme.

Hefurtherconfessedthathedidnotwanttoheatuptheproblem,sohetookanactofsilencetoshowhisresistance.

ActuallyIdon’twantbebotheredbythisproblem.That’swhyIremainsilentwiththehopethat therewon’tbeanotherproblem.Alas,once Isaidsomething, theproblemgetsworse.

MemberB further openly expressed his feelingwhen hewas informed after awhilethatthethirdpartiesneededfinancialcontribution.Hearingthisnews,hecalledthemasinconsistentpeople.

What is thiscontribution.Theyaresoweird.Whentrying toevictpeople, theyclaimthatthepropertyistheirs.Nowwhentheyneedsomemoney,theycall itours.Theyaresoinconsistent!

At this point, Member B usedmalicious or defamatory remarks to damage the thirdparties’reputation. Despitetheheatingupoftheissue,atthesametimesomememberstookaneutralstancebypostingmessageswhichwereintendedtocooldowntheoverheatedsituationasisexplicitlystatedinMemberD’scomment.

ForMemberAandMemberB,bepatientmen, itwon’t take long. Justdon’t letthemfeelsatisfiedbymakingyoufeelmiserable.Stopspendingyourenergy inthinkingaboutit.It'snotworthit.AsimilartunewasalsostatedbyMemberE,whohappenstobetheoldestmember

inthemailinglistandalwaystrytocalmus,theyoungerandangrypeople.

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MemberB,I’msorryfortheproblemthatyouhave.Ihopeallofyoustillkeepyourheadcoolbeforetakinganydecisions.Beingangryorupsetaboutsomethingorsomeoneisokay,butpleasesolvetheproblemelegantlyandrespectfully.

AnothermemberFalsoexpressedasimilarlyneutralmessagepartlybecauseofhiscloserelationshipwiththethirdparties.

Thismessageistoexpressmyregretabouttheoccurrenceoftheproblemthatourmembersface.Pleasedon’tgetmewrongbecauseofmystatusoflivingwiththethirdparties.Ijustthinkthatthisissueshouldnotbecomplicatedandprolonged.So,it’sbettertoavoidanyfurtherconflictbecauseweareallbrothersandsisters.

Finally,memberGalsooffersalmostsimilarstanceafterbeingfedupwithalldefamatorymessagesthatMemberBpostedinthemailinglist.

Member B, please knock it off. Not all things thatwe consider bad have to berespondednegatively.Justshowyourkindnessbyshowingittoothers…Sorry,Ihumblyneedtosaythisinorderforustobewiseinrespondingtotheproblem.

Finally,havingallopinionspresentedinthemailinglist,thefinalstage,wrapping-up,tookplace.Thechairpersonwrappedupallthediscussionaboutthematterbypostingaclosingremarkandurgingothermemberstokeeprespondingiftheproblemdevelopedtoanewstagelater.

Friends, I really appreciate your comments and responses. I agree that ourorganization should not be involved formally in this matter. However, we asfriendsstillneedtosupportourmemberswhoneedourattentionandhelp...Sothank you very much and I still expect our other members to express theiropinions. The most important thing is that we have to support one anotherbecause,beingfarfromourfamily,wearebrothersandsisters.

BehaviorsinFace-to-FaceInteractionIninteractingface-to-facewiththethirdparties,themembersinconflicttookdifferentbehaviors.MemberA’sbehaviorwas inaccordancewithGoffman’s (1959) conceptofperformance. At the front stage, hemasked his emotion and feeling toward the thirdpartiesbygivingtheimpressionthathewaswhathewasposedtobe.Hepresentedaselfthatrespectedthethirdparties.However,atthebackstageamongthefellowmembersoftheorganization,heunmaskedhisemotionandcontinuedtalkingnegativelyaboutthethirdparties. IncontrasttoMemberA,MemberBtookanextremebehaviorandactionwhenitcomestoface-to-faceinteraction.Hetriedasmuchashecouldtoavoidmeetingandinteractingface-to-facewiththethirdparties.Thisactofcompleteavoidancewasmuchmoredrivenbyhisinabilitytofullymaskhisemotionandfeelingsatthefrontstagewhenmeetingthethirdparties.Ifhemetthethirdparties,heactedpassivelybyremainingsilentanddidnottaketheinitiativestostartandparticipateinconversation.Thissetofbehaviorwasevenopenlyunmaskedwhenhewasatthebackstagesetting.Whenhislesssuccessful

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maskingwasuncovered,hebecamemoreoffensiveaboutthethirdpartieswhentalkingto other members of the organization or posting his messages in the mailing list.Therefore, inthecaseofMemberB,usingGoffman’s(1959)frameworktoanalyzehisbehaviorseemedlesssuitablecomparedtoanalyzingMemberA’sbehavior.MemberB’sfront stage – back stage performancewas clearly difficult to distinguish because thenuancesofhisbehaviorat these twosettings(frontandbackstages)werenotvariedgreatly.SummaryofAnalysisInanalyzingall thebackstage talks thatoccurredonline in themailing list, Iused thecategoriesofhiddentranscriptsandmeregossiptoclassifyallonlinetalks.Ashiddentranscriptsrelatetopowerrelationanddistribution,MemberAandMemberB’smessagepostings were the expression of their frustration with their lack of power in theirconfrontationwiththethirdparties.Theirpositionsasthetenantsatthethirdparties’property made them less powerful because they were bound by an agreement thatlimited their power. Since they had no channel to express their dissatisfaction andcriticismopenly, theycouldonlyuse themailing list and face-to-face interactionwithothermembersoftheorganizationasawaytoarticulatetheirfrustration.Despitethis,Member A andmember B simultaneouslywarn others about the landlords that theybelievedtobeoppressors,whichfurthersupportAlfanoandRobinson’s(2017)findings. Othermembers’messagepostings,on theotherhand, representmeregossipbecausetheydidnothaveanypowerproblemwiththethirdparties(althoughsomehavehadsimilar experience as Member A and Member B when living in the third parties.property).Therefore,itisnotsurprisingthatsomememberstookaneutralstanceandattemptedtocooldownthesituationbyadvisingMemberAandMemberBtobepatientandnottakeanyoffensivemovesagainstthethirdparties.Inaddition,althoughsomeothermemberspresentednegativegossip,someothermembersattemptedtogossiponthepositiveconsequencesoftheproblem.ThisreflectsBaumeisterandZhang’s(2004)affirmationthatgossipisaculturallearningbecausebylearningaboutone’sproblemsandmisfortunes,othermembersofthesocietywillhaveimportantinformationaboutthetargetindividual(seealsoandFoster,2004). Atthelevelofface-to-faceinteraction,MemberB’ssilencecanberegardedasaformofresistancetothethirdpartiesdominationofpowers.Therefore,IconsiderthatGoffman’s(1959)frameworknotthoroughlyusefulinanalyzingMemberB’sbehaviorsbecausethedifferences between front and back stage performance are not extreme enough.Furthermore, Member B’s behavior was strengthened by a blaming stage where,according to Abel and Sarat (1980-1981), an individual blames other people for theproblemthathe/shehas.

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Finally,thissmallstudyconfirmsWittekandWielers’(1998)affirmationthatcoalitiontriadswillbethebestpredictorsofgossipbehavior.However,Isuspectthatthistriadmodel onlydealswithnegative typeof gossip.My suspicion is basedon the fact thatMemberAandMemberBhavegoodrelationshipwitheachotherandmutuallydislikethethirdparties.Thisstateofrelationshipproducesproducingmaliciousanddefamatorytalksaboutthethirdparties.Inaccommodatingtheneutralstanceandneutralorpositivegossip,Iproposeanothertriadmodelwhichcanpredicttheoccurrencesofthistypeofgossip called neutralization. The following model graphically presents the type ofrelationship that each party has with one another using the proposed triad. (Note:Positivesignrepresentsgoodrelationship,negativesignrepresentbadrelationship,andzerorepresentsneutralrelationship).

Thismodelexplainsasituationinwhichtheegohasagoodrelationshipwiththealterand bad relationship with the tertius. The alter, on the other hand, has neutralrelationshipwiththetertiuswhichallowshim/hertocriticallyjudgetheego’snegativegossiponthetertiusandprobablybeabletoprovideaconstructiveviewtocountertheego’snegativejudgmentonthetertius.CONCLUSIONStudyinggossipuncoversthecharacteristicsthatwehaveashumanbeingsandsocialbeings.Besideshavingnegativecontent,gossipisalsoamediumtolearnaboutculturaldifferencesandtoprovideinformationfortherestofthecommunity.Thisinformationisusefulforthecommunitytoavoidsimilarmisfortunesandtobehaveaccordinglywhenadifficultsituationoccurs.Inaddition,backstagetalksarenotalwaysmeregossipbecausetheysometimesreflectthehiddentranscriptsbyindividualswhofeellesspowerthanthepowerholdersdo.Asforthosewhotalksneutrallyaboutathirdparty, thesettingfortheirneutralitycanbebestdescribedbythesuggestednewtriadmodelwhichexplicatestheiruniquepositionasneutralentityinthetriadofgossipbehavior.

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In terms of interaction with the third party, using Goffman’s (1959) concept ofperformanceisausefulincomparingthebehaviorsbetweenonlineinteractionandface-to-faceinteraction.However,assuggestedintheanalysis,theconceptcannotfullyworkinanalyzingdeviantbehaviors,whicharequitedifferentfromtheusualpattern.Insum,furtherstudyneedstobeconductedtoinvestigatetheissuepresentedinthispaper.Byandlarge,thescopeofthispaperisnotintendedforthepurposeofgeneralization,butfor the sake of presenting a piece of human behaviors in their interaction with oneanotheratthelevelofinterpersonalcommunication.REFERENCESAlfano,M.,&Robinson,B.(2017).Gossipasaburdenedvirtue.EthicalTheoryandMoral

Practice,20(3),473-487.

Bausmeister,R.F.,&Zhang,L.(2004).GossipasCulturalLearning.ReviewofGeneralPsychology,8(2),111-121.

Bertens,K.(2001).Filsafatbaratkontemporer:Prancis(2ndvol.).[Contemporarywesternphilosophy:France).Jakarta:GramediaPustakaUtama.

Dreyfus,H.L.,&Rabinow,P.(1983).MichelFoucault:Beyondstructuralismandhermeneutics(2ndedn.).Chicago:TheUniversityofChicagoPress.

Hambaugh,J.L.(2011).Gossipmongers:Interestingossipasafunctionofgenderandmodeoftransmission(Unpublisheddoctoraldissertation).IndianaUniversityofPennsylvania,Indiana,PA

Hura,G.S.(1998).Theinternet:Globalinformationsuperhighwayforthefuture.ComputerCommunication,20,1412-1430.

Felsteiner,W.L.F.,Abel,R.L.,&Sarat,A.(1980-1981).Theemergenceandtransformationofdisputes:Naming,blaming,claiming.LawandSocietyReview,15,631-654).

Foster,E.K.(2004).Researchongossip:Taxonomy,methods,andfuturedirections.ReviewofGeneralPsychology,8(2),78-99.

Goffman,E.(1959).Thepresentationofselfineverydaylife.GardenCity,NY:DoubledayAnchorBooks.

Guendouzi,J.(2001).‘You’llthinkwe’realwaysbitching’:Thefunctionsofcooperativityandcompetitioninwomen’sgossip.DiscourseStudies,3(1),29-51.

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Murphy,AG.(1998).Hiddentranscriptsoffightattendantresistance.ManagementCommunicatingQuarterly,11,499-535.

Scott,J.C.(1990).Dominationandtheartsofresistance:Hiddentranscripts.Newhaven:YaleUniversityPress.

Warber,K.M.(2013).Theroleofinterpersonaljealousyingossip:Anevolutionaryperspective.Retrievedfromhttp://www.msubillings.edu/CommFaculty/Coffman/410%20online/readings/gossip.pdf

Wert,S.R.,&Salovey,P.(2004).Asocialcomparisonaccountofgossip.ReviewofGeneralPsychology,8(2),122-137.

Wittek,R.,&Wielers,R.(1998).Gossipinorganizations.Computational&MathematicalOrganizationTheory,4(2),189-204.

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PREFERENSIPENONTONTERHADAPFILMINDONESIA

MuhammadYaumulRizky,YolandaStellarosaSTIKOMTheLondonSchoolofPublicRelations–Jakarta

[email protected],[email protected]

ABSTRACT

This research aims to discover the preference of audiences towards Indonesian movie,locatedinJakarta.ThepurposeofthisstudyistounderstandtheaudiencepreferencesofIndonesiamoviethroughmovieattributessuchasgenre,symbolism,actor,director,sequel,productionhouse, filmset,andmarketing.Quantitativedescriptiveresearchmethodwasused in the research and questionnaire distributed to 200 respondents by applyingpurposive sampling technique. This research found that the most average of audiencepreferencesfromfilmattributesare:genre,marketing,sequel,symbolism,director,actor,filmsetandproductionhouse.Keywords:Preference,Audience,IndonesianMovie,Quantitative,UsesandGratificationTheory,FilmAttribute.

ABSTRAK

PerkembanganperfilmanIndonesiadaritahunketahuncenderunglambat.DikabarkanjugabahwaperfilmanIndonesiaakanredup.NamunsaatiniperfilmanIndonesiajustrusemakin berkembang danmulai diminati. Penelitian ini dilakukan untukmengetahuitentangpreferensipenontonterhadapfilmIndonesiadiJakartadilihatdariatributfilmseperti genre, karya saduran, pemain, sutradara, sekuel, rumah produksi, latar, danpemasaran. Penelitian ini menggunakan metode penelitian kuantitatif deskriptif,kuesioner dibagikan kepada 200 orang responden dengan teknikpurposive sampling.Hasil penelitian menunjukkan bahwa preferensi penonton terhadap film Indonesiacenderungpadaatributfilmgenrefilm,preferensikeduaadalahpemasaran,preferensiketigaadalahsekuel,preferensikeempatadalahkaryasaduran,preferensikelimaadalahsutradara, preferensi keenam adalah pemain, preferensi ketujuh adalah latar danpreferensiterakhiradalahrumahproduksi.Kata kunci: Preferensi, Penonton, Film Indonesia, Kuantitatif, Teori Uses andGratification,AtributFilm.

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PREFERENSIPENONTONTERHADAPFILMINDONESIAMuhammadYaumulRizky&YolandaStellarosa

PENDAHULUANPreferensi adalah kesukaan. Kebutuhan individu yang tidak sama atau beragammembuat daya kepuasan setiap individu juga berbeda. Pemenuhan dan pemuasankebutuhan penonton dalam media adalah untuk mendapatkan hiburan, informasi,pendidikandanbudaya(McQuail,2011).Preferensiindividuyangberagamdalampemuasankebutuhantersebutdapatdisadariseperti individu yang mencari hiburan dalam mengalihkan masalah keseharian,kesibukannyadanrutinitasnya,misalnyasajadenganmenontonfilm.Pemuasanindividujuga bisa di pengaruhi melalui faktor lingkungannya. Seperti seorang individu yangsedangmenuntut ilmu di dunia perfilmanmaka akanmencari referensi film denganmenontonsegalajenisfilmagarmendapatkanpengalamandanpemahamanbaruuntukdipraktekannyakedalamduniakarirperfilmannyatersebut.Sineas film menjadikan preferensi penonton sebagai acuan dalam mengikuti pangsapasardalampembuatan film.Acuan tersebutdilihat denganmemahami fungsi umumdalam suatu film yaitu sebagai pencerminan nilai-nilai sosial budaya, pendidikan,hiburan,daninformasipadamasyarakatdisuatubangsa.SepertiyangdikatakanAmura,1989,bahwafilmbukansemata-matabarangdaganganmelainkanalatpenerangandanpendidikan. Film merupakan karya sinematografi yang dapat berfungsi sebagai alatpendidikanbudaya.Dengandemikianfilmjugaefektifuntukmenyampaikannilai-nilaibudaya(Trianton,2013).Pilihandanperbedaanpenontonmerupakanpengaruhkuatdalampersainganmedia,terutama media audio dan visual. Persaingan tersebut ditinjau dalam hal pemilihan,perhatian, dan penggunaan untuk memuaskan kebutuhan dan keinginan penonton.Penontonmemilikilatarbelakangdalammemilihmediaberdasarkanpreferensi,motifdanadanyaketertarikanyangmunculdalamdirisendiri.Latarbelakangtersebutsebagaipondasiutamaataugarisawalindividudalammemilihmedia.Latarbelakangaudieninidipandangsebagaipartisipanyangaktifdalammenentukanpenggunaanmedia.Mediamerupakansuatupenghubungdalammengapresiasikankreasidanbudaya.Seluruhfungsiumumdalamfilmbisadiidentifikasidenganmemahamiatributyangadadidalamfilm.Terdapatduaatributfilmyaitunaratifdansinematik.Naratifterdiridaricerita dan plot, ruang dan waktu. Sebuah film akan menarik untuk ditonton ketikamemiliki cerita dan plot serta ruang dan waktu yang jelas dan dapat dipahami olehpenonton. Oleh karena itu naratif adalah fondasi utama sineas dalam menciptakansebuah film. Sedangkanatribut filmberdasarkan sinematik terdiri dari sinematografi,editing, danmise en scene. Sinematik adalah proses untuk mewujudkan naratif yangsudahdibuatolehsineaskedalambentukaudiodanvisual.Sinematikmerupakanujungtombaksuatufilmketikafilmtelahditayangkandidepanpenontonataupenikmatfilm.

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Kedua atribut film saling berketerkaitan dan berkesinambungan dalam membentuksebuah peristiwa dengan maksud dan tujuan. Peristiwa yang mengikat ini disebutsebagaihukumkausalitasataulogikasebabdanakibat(Pratista,2008).Keinginanpenontondalammencari,menggunakandanmenilaisuatufilmtelahmembuatduniaperfilmansaatinimenjadisorotanutamasineasdalammenyalurkanhobi,minat,bakat, dan usaha mereka di Indonesia. Film Indonesia mulai bangkit kembali pascagerakanreformasitahun1998.BerawaldarimenurunnyasemangatdalamproduksifilmIndonesia pada pertengahan tahun 90-an. Penurunan ini terjadi dipengaruhi olehberbagaimacamfaktor,faktorpertamaadalahperkembanganbioskopdiIndonesiayangmulai berkelas-kelas hingga peraturan pemerintah yang sangat ketat atas pemutaranperfilmanpadamasaOrdebaru.BioskopyangberkelasdimulaipadanamaCinemascopeyang mulai dikenal dengan Bioskop 21. Kehadiran bioskop 21 mulai menggeserperedaran flm-film lokalyangditayangkanpadabioskop-bioskopkecilataupinggiran.Faktorkeduaadalahtemafilmyangmonotondancenderungdiproduksiuntukmendapatkeuntungantanpamempertimbangkankualitasfilmtersebut.Faktor ketiga adalah dikarenakan impor dan distribusi film yang diserahkan kepadapihakswasta.SepertibioskopdiIndonesialebihbanyakmemutarkanfilm-filmproduksiHollywoodsajadansedikitmemutarkanfilmIndonesia.Faktorkeempatadalahketikadiawal tahun 90-an hadir dan maraknya stasiun-stasiun televisi swasta yangmenghadikanfilm-filmimpordansinemaelektroniksertatelenovela.Faktor kelima adalah ketika memasuki pemerintahan Orde Baru juga membuatpenayangan film Indonesia semakin merosot oleh prosedur penyensoran film yangcukup kompleks dengan isu penyensoran dikaitkan aspek politik, ekonomi, sosialbudaya, agama, bahkan hak asasi manusia. Penggunaan film pada masa ini jugaterhubung campur tanganolehpemegangkekuasaanyangmenggunakan film sebagaimediapropaganda.FaktorkeenamadalahkrisismoneteryangterjadipadamasainijugamenyusutkanpenayanganfilmIndonesiayangharusbersaingketatdenganfilmimpor(Awaluddin,2012).KeenamfaktortersebutmenyebabkanpeningkatanproduksifilmIndonesiabaikmelaluikomunitas,festival,pendidikandanmelaluijalurindustritidaksebandinglurusdenganjumlahpenontondiIndonesia.MasihlebihbanyakjumlahpenontonyangmenontonfilmluardibandingkanfilmIndonesia(Awaluddin,2012).Untuk membangkitkan film Indonesia dari keterpurukannya diperlukan daya tariktertentuyangmenjadipendorongoranguntukdatangkebioskopdanmenonton film.Banyakfaktordayatarikyangbisamenyebabkanpenurunanjumlahpenontonfilm.Baikdarisegipromosi,kuotapenayangan,pemeranfilm,isuyangdiangkatdalamfilm,waktuperedaran film, pembuat film, bahkan hingga kualitas film.Menurut Ketua GabunganPengusaha Bioskop Indonesia, Djonny Syafruddin mengungkapkan data statistik

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menunjukkan bahwa anjloknya jumlah penonton umumnya bukan karena tidakdiberikan kesempatan tayang di bioskop, melainkan karena film itu sendiri memangtidakbermutu(Rulianto,2015).Berdasarkan data yang diambil dari Badan Perfilman Indonesiamelalui akun twitterresmi@BadanPerfilman,akumulasidataterkinijumlahpenontonfilmIndonesiasampaidengan 21Desember 2015 dari Cinema21, CGVBlitz dan Cinemaxx adalah peringkatpertamadidudukifilmberjudulSingledenganjumlahpenontonsebanyak331.844ribu.PeringkatkeduadidudukiBulanTerbelahdiLangitAmerikadengan jumlahpenontonsebanyak264.727 ribu. Peringkat ketiga filmberjudulVilla 603mendapatkan jumlahpenonton sebanyak 116.059 ribu. Namun melihat data yang diambil dari websiteFilmIndonesia.or.id baru terdapat dua film yangmencapai satu juta penonton dilihatmelaluiperolehanjumlahpenontontahun2015berdasarkantahunedarfilm,yaitufilmSurgayangTakDirindukandanComic8:KasinoKingspart1 (DataPenonton,2015).KeduafilmtersebutmerupakanfilmyangberakhiredarpadabulanOktober2015.Darihasilkeduadatatersebutdapatdisimpulkanbahwaminatmasyarakatdalammenontonfilm Indonesia belum besar dan seharusnya pada hari libur nasional merupakankesempatanbagimasyarakatuntukmenontonbioskop.Biladibandingkandengandatajumlahpenontonfilmyangdilihatpadatahunedarfilm2014 dengan 2015, jumlah penonton yang mencapai 1 juta hanya dua film, yaituperingkat pertama merupakan prekuel Casino 8: Kasino Kings Part 1 yaitu Casino 8,peringkatkeduaadalahfilmTheRaid2:Berandal.Namunpenurunanjumlahpenontondaritahun2014–2015dapatdilihatdarijumlahtertinggidanterendahdatapenontondari tahun 2014 – 2015. Penonton tertinggi pada tahun 2014 sebanyak 1.624.067penonton, sedangkan penonton tertinggi pada tahun 2015 sebanyak 1.523.570penonton. Lalu penonton terendah pada tahun 2014 sebanyak 375.799 penonton,sedangkan penonton terendah pada tahun 2015 sebanyak 273.581 penonton (DataPenonton,2014).Penjelasan di atasmenunjukan bahwaminat penonton di Indonesia dapat dikatakanmasihfluktuatif.Makaberdasarkanlatarbelakangdiataspenelitianiniinginbertujuanmengetahui bagaimana preferensi penonton pada film Indonesia dilihat dari dimensiatribut film. Sehingga dunia perfilman di Indonesia bisa berkembang, mendapatkanapresiasi,danbersaingdenganfilmluaryangtayangdiIndonesia.TINJAUANPUSTAKAPreferensiPenontonPreferensi adalah kesukaan (McQuail, 2011). Sedangkan khalayak (Audience) adalahseluruhbagianlapisanpembaca,pendengar,danpenontonyangmenerimakontenmedia

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ataumerupakantargetdaripenyiaranmedia(McQuail,2011).Tanpaadanyakhalayaktidakadakomunikasimassa,dankhalayakmemilikiperanandinamisdalammembentukalirandanefekmedia.Khalayakdapatjugadikatakansebagaikonsumenmedia.Maka dapat dipahami bahwa preferensi khalayak atau penonton adalah kesukaan,pilihan atau kecenderungan penonton dalam menentukan satu kebutuhan darimenonton film. Dalam penelitian ini preferensi penonton mengarah kepada filmIndonesiasebagaikebutuhandarimenontonfilm.Besarnyajumlahkhalayakyangdapatdiperolehmerupakanpenentukeberhasilansuatumedia.McQuail(2011)menyatakankarakteristikpenontonsebagaiberikut:1)penontonmerupakankumpulankonsumenbaik yangnyatamaupunyangpotensial; 2) anggotapenontontidaksalingberkaitansatusamalaindantidakmemilikiidentitasdiribersama;3) batasan yang ditentukan kepada khalayak umumnya berdasarkan kriteria sosial-ekonomi; 4) penonton adalah objek pengaturan dan kontrol oleh media; 5)pembentukannya bersifat sementara; 6) kepentingan publik adalah sesuatu yangdinomorduakandan7)hubunganpenontondenganmediaadalahsalingperhitungandanbukanberdasarkanmoral.Daripenjelasandiatasdapatdipahamibahwapenontondapatmenentukankeberhasilansuatuprodukmedia.Namunkeberhasilansuatuprodukmediayangdilihatdaribesarnyajumlahpenontonbelumtentumenentukankualitasprodukmedianya.Berkaitandenganpreferensipenontonterdapatbeberapapenelitiansebelumnyayangdijadikan acuandalampenelitian ini. Penelitianpertamayangdijadikan acuanadalahpenelitian yang dilakukan oleh Ita Kurniawati (2006) berjudul Preferensi PembacaTerhadapRubrikSuratKabarJawaPos(StudipadaPembacaJawaPosdiMalangMelaluiMetode Item selection danTracking study). Denganmemahami rubrik yang disajikandalam surat kabarmulai dari informasi hiburan, pendidikan, hingga informasi politikdapat memahami pembaca apakahmerekamemperoleh informasi atau berita sesuaikebutuhannya.Namunkebutuhansetiappembacayangberagamdanselektifmembuatpembaca memiliki kecenderungan yang berbeda-beda dalam mengkonsumsi berita.Penelitianiniinginmengetahuipilihanrubriksertabagaimanacararespondenmembacatopikdarirubrikyangpertamadibaca.Penelitian kedua yang dijadikan acuan berjudul Perbedaan Preferensi KonsumenTerhadap Atribut Film oleh Deavy Rosaline Henny Klavert (2013). Penelitian inibertujuan untukmemahami segala perbedaan preferensi konsumen terhadap atributfilmdilihatdarigender,umur,danpekerjaan.Varibelyangdigunakanadalahgenre,cast,direktur,simbol,negaraasal,rumahproduksi,dansekuel,bersertavariabelpendukungyaitubahaninformasidanteknologi.Metodeyangdigunakanadalahsurveidengan200respondenyangmenontonfilm.

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Perbedaan dalam penelitian sebelumnya dengan penelitian “Preferensi Penontonterhadap Film Indonesia” adalah penggantian sebuah variabel dengan variabel yangdianggap memengaruhi penonton dalam menonton film dan berhubungan denganatributfilm,yaituvariabelpemasaran.AdapunmenghilangkanefekpenggunaanCountryof Origin yang membuat penelitian ini bias terhadap persepsi penonton Indonesiatentanglokasiproduksidanrumahproduksidarisebuahfilmyangmenyebabkanadanyapenjelasanlebihterperinci.FilmPengertianfilmdapatberagamkarenatergantungpemahamanmelaluisudutpandangorang yang mendefinisikannya. Film didefinisikan sebagai penyambung materi fisik,berakhir dalam sebuah gulungan hitam bergambar yang tidak bergerak (Frampton,2009).Pasal1UUNo.23Tahun2009tentangPerfilmanmenyebutkanbahwafilmadalahkaryasenibudayayangmerupakanpranatasosialdanmediakomunikasimassayangdibuatberdasarkankaidahsinematografidenganatautanpasuaradandapatdipertunjukkan.Ada juga pengertian film sebagai media komunal, yaitu perpaduan dari berbagaiteknologidanunsur-unsurkesenianbaiksenirupa,teater,sastra,arsitektur,danmusikatauperpaduandariperkembangan teknologi fotografidan rekamansuara (Trianton,2013).Terdapatduaaspekutamapembentukfilmyangsalingberhubunganeratsatusamalain,yaituunsurnaratifdanunsursinematik.Namundalampenelitiansebelumnya,atributfilm yang dapat mempengaruhi preferensi dalam menonton film pada umumnyadiketahuiolehpenontonsepertigenre,symbolism,countryoforigin,pemain,sutradara,sekuel,danrumahproduksi(Gazley,Clark,&Sinha,2011).Dalampenelitianiniatributfilm yang akan digunakan adalah genre, karya saduran, pemain, sutradara, rumahproduksi, sekuel, latar dan pemasaran. Country of origin tidak lagi digunakan dalampenelitian ini karena atribut tersebut menjelaskan bahwa film dari beberapa negaramemilikigayaataunarasiyangkhassehinggamenjadi lebihataukurangatraktifbagikonsumen. Sedangkan penelitian ini hanya memfokuskan penelitian kepada filmIndonesia.Namun terdapat penambahan atribut dengan latar danpemasaran sebagaipenguatpenelitianini.Genredalamfilmdapatdidefinisikansebagaijenisatauklasifikasidarisekelompokfilmyang memiliki karakter atau pola sama seperti setting, isi dan subjek cerita, tema,struktur cerita, aksi atau peristiwa, periode, gaya, situasi, ikon,mood, serta karakter.Klasifikasitersebutmenghasilkangenre-genrepopulersepertiaksi,petualangan,drama,komedi,horror,western,thriller,filmnoir,roman,dansebagainya(Pratista,p.10).

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Genreberfungsiuntukmemudahkanklasifikasisebuahfilmdanmembagikanfilmdariseluruhfilm-filmyangpernahdiproduksi.Selainberfungsisebagaimengklasifikanfilm,genre berfungsi untukmemberikan gambaran umumkepada penonton terhadap filmyangakanmerekasaksikan.Pengertiandari aspek symbolismataukarya saduran adalahhubungandengankarya-karya sebelumnya. Misalnya novel yang diadaptasi dalam sebuah film, drama, serialtelevisi,ataupermainancomputer(Hennig-Thurau).Film-filmdenganbersifatadaptedscreenplaymemilikikepastianlebihbesardipasardaripadafilm-filmoriginalscreenplaykarenapenontonsudahmemilikipre-existingawarenesstentangsebuahfilm(GazleyC.S.,2011). Pelakuceritaataupemainadalahindividuyangdiciptakanataurekaanpengarangyangmengalamiperistiwa-peristiwa yang adadalam cerita. Pelaku cerita akanmemotivasinaratifdanselalubergerakdalammelakukansebuahaksi.Pelakuceritadapatmemilikiwujudfisikyangberagamdantidakselaluberwujudmanusia.Adapunpelakuceritajugadapat dikelompokkan menjadi beberapa jenis sesuai tuntutan dan fungsinya dalamsebuah film.Performaseorangpelakuceritaadalah sebuahkunciutamakeberhasilansuatufilm(Pratista,2008). Direkturatausutradaraadalahsalahsatuorangyangberadadibaliklayaryangdianggapsebagai seorang yangmemiliki daya tarik sendiri bagi konsumen. Sutradara bertugasdalammenjawabproduserdanbertanggungjawabuntukdetaildankualitasfilm.Halinimemerlukankemampuansutradaradalammemvisikan filmdenganpenulis skripdanproduser, merekrut, mengawasi, mengarahkan aktor dan kru (lapangan, editing, danpromosi)agarterciptafilmberkualitasdanpenjualanyangbaik.(Rabiger,2008).Rumahproduksifilmadalahsuatuorganisasiatauwadahuntukmenampungminatdanbakat dalam dunia film dan televisi. Dalammelakukan kegiatan ini, rumah produksimenyediakanperalatandan lokasiuntukmencariataumendapatkankeuntungandarikegiatantersebut. Sekuel adalah karya dalam sastra, film, atau media lain yang meneruskan,mengembangkan, dan menambahkan beberapa unsur untuk melengkapi ceritasebelumnya. Pemasaran adalah kegiatan proses sosial dan manajerial yang darinya individu dankelompokmemperolehapayangmerekabutuhkandaninginkanmelaluipenciptaandanpertukaran produk serta nilai dengan pihak lain. Oleh karena itu, pemasaran dalamperfilmanadalahkegiatanpenjualandanperiklananyangdilakukanolehproduserdansutradaradalammeningkatkankesadaranpenonton terhadapproduk filmnyadenganmateripemasaranfilmsepertiteasertrailer,officialtrailer,penjualankaryasebelumnya,penjualansebuahproduk,soundtrack,danlain-lain.(Kotler&Amstrong,2003).Peneliti

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mempertimbangkanpemasaransebagaisalahsatuatributdalamfilmuntukpenelitian“PreferensipenontonterhadapfilmIndonesia.”HaliniberhubungandengantahapPost-Productiondalamsebuahfilm. Latarmerupakahkeseluruhanlokasidantempatbersamasegalapropertinya.Propertiyangdimaksudadalahsemuabendatidakbergeraksepertiperabotan,pintu,jendela,dansebagainya.Latarharusmampumeyakinkanpenontondengan lataryangotentikatausamapersissesuaidengankontekslokasidanwaktuceritadalamfilm.Latarmemberikaninformasiyangkuatdalammendukungcerita filmsebagaipetunjukruangdanwaktu.Shoton locationatauproduksi filmsesuaidengan lokasisesungguhnyasudahpopulersejaksinemaNeoralismeItaliadanNewWavePerancis(Pratista,2008).PenelitianinimenggunakanlatardenganmetodeshotonlocationsebagaiatributkarenamulaibanyakfilmIndonesiayangberlokasisyutingdiluarnegeri,seperti"NegeriVanOranje","AssalamualaikumBeijing",ataualamterbukaseperti"5Cm"yangberlokasidiGunungSemeru.Dalampenelitianiniatributcountryoforigindigantikanolehatributpemasaran.Karenacountryoforiginmenjelaskantentangnegaraasalpembuatanfilmdilakukan,sedangkanpenelitianinimemfokuskanpadaperfilmanIndonesia(Gazley,2011).METODEPENELITIAN Metodeyangdigunakandalampenelitianiniadalahkuantitatifdeskriptifuntukmelihatpreferensipenontonterhadap filmIndonesia.Untukdapatmenjelaskanpermasalahanpenelitian yang ada, maka pendekatan kuantitatif dirasa cocok untuk digunakan.Sedangkandeskriptifdigunakanuntukmenelitiperilakuyangsedangterjadidanterdiridarisatuvariabel.Respondendalampenelitian ini adalahpenonton film yangmenonton film Indonesia,berusia 17-30 tahun dan berlokasi di Jakarta. Penentuan responden atau sampelmenggunakan tehnik non probability sampling dan purposive sampling, berjumlahsebanyak 200 orang di Jakarta. Ukuran sampel yang layak dalam penelitianmenurutRoscoe(1982)adalahantara30sampaidengan500orang(Sugiyono,2009).Data primer diperolehmelalui penyebaran kuesioner pertanyaan berstruktur denganbeberapa pilihan jawaban yang ada dan menggunakan skala Likert sebagai skalapengukuran. Penyebaran kuesioner dilakukan melalui internet atau instant messageseperti linemessengerdanwhatsappkepadaresponden.Setelahdataterkumpul,makaanalisisdatayangdigunakanadalahanalisisdataunivariat,yaituanalisisyangdilakukan

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untukpenelitianyanghanyamenggunakan satuvariabel.Dalamanalisisunivariat ini,datahasilpenelitiandiolahdandisajikandalamtabelfrekuensi.

OperasionalisasiKonsepVariabeldalampenelitianiniterbagidalam8dimensipreferensipenontonterbadapfilmIndonesia yang dilihat dari atribut film, yaitu 1) genre, 2) symbolism, 3) pemain, 4)sutradara,5)rumahproduksi,6)sekuel,7)pemasarandan8)latarataulokasicerita.

Tabel1OperasionalisasiVariabel

Variabel Dimensi Indikator Skala

PreferensiPenontonFilmIndonesia

GenreSimbolisme

Pemain

Sutradara

RumahProduksi

Sekuel

Pemasaran

Latar

Genre horror, comedy, action, drama, danlain-lainKarya saduran sepertiNovel, Game, Komik,Kartun,danlain-lain

1. Kehadiran2. Kredibilitas3. Reputasi

1. Kredibilitas2. Reputasi3. Selera

1. Kredibilitas2. Kualitas3. Karya

Karyalanjutan

Materipemasaran:poster,trailer,publikasi

Lokasicerita

Likert

Sumber:Pratista,2008

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HASILDANPEMBAHASAN

KarakteristikResponden

Gambar1.UsiaGambar2.JenisKelaminBerdasarkan gambar di atas jenis kelamin responden pada penelitian ini mayoritasadalahperempuan,yaitusebesar71%.Sedangkanrespondenlaki-lakihanyaberjumlah29%.Tidakadaketetapanjumlahrespondenuntukkategorijeniskelaminsehinggasiapasaja berhak menjadi responden menurut kriteria yang ditentukan. Usia 17-22 tahunmendominasi responden yang juga penonton film Indonesia, yaitu sebesar 86%.Berdasarkanintensitasmenontondalamsebulanterakhir,mayoritasrespondenberadapada kisaran 1 kali menonton film dalam satu bulan, yaitu sebesar 69%. Sedangkan17,5%respondenmenonton2kalidalamsebulan.

DimensiGenreDimensigenredalampenelitianiniterbagiatasbeberapapertanyaanyangmenyangkutmengenaigambarangenrefilmyangditonton.

Tabel2PertanyaandalamDimensiGenre

ItemPertanyaan SS S RR TS STS

Genrehoror,komedi,action,dramadanlainnyamemberikangambaranumumfilmyangditonton

21% 68% 8,5% 2% 0.5%

Genrehoror,komedi,action,dramadan lainnya membantu dalammemilihfilmyangditonton

25% 66% 5,5% 3,5% 0%

Genrehoror,komedi,action,dramadan lainnya memberikanekspektasilebihterhadapfilmyangditonton

20% 59,5% 10% 9,5% 1%

Menonton film berdasarkan genreyangdisukai

26,5% 59,5% 8% 6% 0%

86%

10% 4% Usia

17-22 23-27 27+

29%

71%

JenisKelamin

Laki-Laki Perempuan

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Dari tabel di atas dapat dilihat bahwamayoritas responden setuju dan sangat setujusebesar89%bahwagenresuatufilmsepertihoror,komedi,aksidramadanlainnyadapatmemberikangambaranumumfilmyangditonton.Selainitugenrejugamembantudalammemilih film yang ditonton yaitu sebesar 91%. Genre sebuah film juga memberikanekspektasidanharapanlebihakanfilmyangditonton,sebesar79,5%.Dalammenontonfilm, responden mayoritas menyatakan setuju dan sangat setuju yaitu sebesar 86%bahwamerekamenontonfilmberdasarkangenreyangdisukai.DimensiKaryaSaduran

Tabel3PertanyaandalamDimensiKaryaSaduran


Karya saduran seperti novel, game,komik, kartun dan lainnyamemberikan gambaran akan filmyangdisaksikan

20,5% 63,5% 12,5% 3,5% 0%

Karya saduran seperti novel, game,komik, kartun dan lainnyamemudahkandalammemahamifilmyangditonton

17% 58% 16% 9% 0%

Karya saduran seperti novel, game,komik, kartun dan lainnyamembantudalammemilihfilmyangditonton

17,5% 61,5% 13% 8% 0%

Dari tabel di atas mayoritas respondenmenyatakan setuju dan sangat setuju bahwakaryasaduransuatufilmdapatmemberikangambarantentangfilmyangditontonataudisaksikannya,yaitusebesar84%.Karyasaduranyangdimaksuddisinimisalnyafilm"Sabtu Bersama Bapak" (2016) yang diangkat dari novel berjudul sama. Akan tetapiterdapat12.5%repondenyangmenyatakanragu-ragudan3.5%respondenmenyatakantidaksetuju. Karyasaduransuatufilmjugadapatmembuatpenontonmudahuntukmemahamifilmyangdisaksikannya,yaitusebesar75%.Misalnyasajasaatmenontonfilm"KoalaKumal"(2016)yangdisadurdarinovelberjudulsamakaryaRadityaDika.Namun,terdapat16%responden yangmenyatakan ragu-ragudan9%yangmenyatakan tidak setuju. Karyasaduran ternyata juga dapat membantu responden dalam memilih film yang ingin

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ditontonnya. Mayoritas respondenmenjawab setuju dan sangat setuju, yaitu sebesar79%.DimensiPemain

Tabel4PertanyaandalamDimensiPemain


Pemain seperti Dian Sastro, IkoUwais, Raditya Dika dan lainnyadapat anda pahami perannyadenganbaik

20% 64,5% 11,5% 4% 0%

Pemain seperti Dian Sastro, IkoUwais, Raditya Dika dan lainnyamembuatandamemilikiekspektasilebih terhadap film yangdiperankannya

23% 63% 6,5% 7% 0,5%

Pemain seperti Dian Sastro, IkoUwais, Raditya Dika dan lainnyamenjadi penentu dalam memilihfilmyangditonton

20% 61,5% 10% 7% 1,5%

Reputasipemainmenentukanandadalammemilihfilmyangditonton

14,5% 51,5% 14% 16% 4%

Berdasarkan tabel di atasmayoritas respondenmenyatakan setuju dan sangat setujubahwapemainatauaktor/aktris terkenalsepertiDianSastro, IkoUwais,RadityaDikadan lainnya dapat dipahami perannya dengan baik, yaitu sebesar 84,5%. Akan tetapiterdapat11,5%respondenyangmenyatakanragu-ragudan4%yangmenyatakantidaksetuju.Selainitumayoritasrespondensebesar86%,menyatakanbahwapemainsepertiReza Rahadian, Dian Sastro, Raditya Dika, dan lain-lainmembuat penontonmemilikiekspektasilebihterhadapfilmyangditontonnya.MisalnyasajafilmRudyHabibie(2016)yangdibintangiolehRezaRahadian,penontonakanberekspektasibahwadenganadanyaRezaRahadiandalamfilmtersebutdapatmemuaskanmereka.Akantetapiterdapat6.5%repondenyangmenyatakanragu-ragudan7.5%respondenmenyatakantidaksetujudansangattidaksetuju. Pemain dan reputasinya juga menjadi penentu responden memilih film yangditontonnya. Mayoritas responden yang menyatakan pemain jadi penentu film yang

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ditonton yaitu sebesar 81,5%. Sedangkan yang berkaitan dengan reputasi penontonsebesar66%.DimensiSutradara

Tabel5PertanyaandalamDimensiSutradara


Sutradara seperti Mira Lesmana,JokoAnwar,HanungBramantyodanlainnyamenentukandalammemilihfilmyangditonton

16% 61,5% 13,5% 8% 1%

Kredibilitas sutradara seperti MiraLesmana, Joko Anwar, HanungBramantyodanlainnyamemberikanekspektasi lebih akan film yangditonton

22% 60% 12% 5% 1%

Sutradara seperti Mira Lesmana,JokoAnwar,HanungBramantyodanlainnya membuat anda dapatlangsung melihat gambaran genrefilmyangdiproduksinya

9% 65,5% 17% 7% 1,5%

Berdasarkan tabel di atasmayoritas respondenmenyatakan setuju dan sangat setujuyaitu sebesar 77.5%, bahwa sutradara seperti Joko Anwar, Mira Lesmana, HanungBramantyo dan lain-lain menentukan responden dalam memilih film yang akandisaksikan.Akantetapiterdapat13.5%repondenyangmenyatakanragu-ragudan9%respondenmenyatakantidaksetujudansangattidaksetuju. Selain itu mayoritas responden menyatakan bahwa kredibilitas sutradara jugamemberikanekspektasi lebihakanfilmyangditonton,yaitusebesar82%.Akantetapiterdapat 12% reponden yangmenyatakan ragu-ragu dan 7% respondenmenyatakantidak setuju dan sangat tidak setuju. Sutradara tertentu seperti Mira Lesmana, JokoAnwar,HanungBramantyo,RizalMantovani jugamembuatrespondendapat langsungmendapatgambaranmengenaigenrefilmyangdiproduksinya,yaitusebesar74,5%.

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DimensiRumahProduksi

Tabel6PertanyaandalamDimensiRumahProduksi


Rumah produksi tertentumenentukandalammemilihfilmyangditonton

5% 40% 26% 26% 3%

Kredibilitas rumah produksimemberikan ekspektasi lebih akanfilmyangditonton

4% 44,5% 24,5% 23% 4%

Rumah produksi tertentu dapatlangsungmemberikangambaranakankaryafilmyangditonton

3% 38% 29% 26% 14%

Berdasarkantabeldiatasrespondenmenyatakansetujudansangatsetujuyaitu45%,bahwarumahproduksisepertiMultivision,SorayaFilms,dan lain-lainmempengaruhipenontondalammenentukan filmyangditonton.Akan tetapi terdapat26%repondenyangmenyatakan ragu-ragudan29%respondenmenyatakan tidak setujudansangattidak setuju. Sedangkan untuk melihat apakah kredibilitas rumah produksi dapatmemunculkan ekspektasi tertentu akan film yang ditonton, mayoritas respondenmenyatakan setuju dan sangat setuju yaitu sebesar 48,5%.Akan tetapi terdapat 24%yangmenyatakanragu-ragudan27%yangmenyatakantidaksetuju. Berkaitan dengan apakah rumah produksi tertentu dapat langsung memberikangambarankepadarespondenakankarya filmyangditonton, terdapat41%respondenyangmenyatakan setuju dan sangat setuju bahwa rumah produksi tertentumemilikikarya yang dapat langsung memberikan gambaran kepada penonton akan film yangdisaksikan.Misalnya saja seperti filmyangdiproduksiolehSorayaFilmsyang identikdengan film bertema drama. Akan tetapi terdapat 29% responden yangmenyatakanragu-ragudan30%yangmenyatakantidaksetuju.DimensiSekuel

Tabel7PertanyaandalamDimensiSekuel

ItemPertanyaan SS S RR TS STSSekuel atau film lanjutandari filmsebelumnya menentukan andadalammemilihfilmyangditonton

19,5% 68% 7,5% 4,5% 0,5%

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Sekuel atau film lanjutandari filmsebelumnya memberikan andagambaran akan film yang akanditonton

17% 71% 10,5% 0,5% 1%

Sekuel film mempermudah dalammemahamifilmyangditonton

18,5% 64,5% 12% 4% 1%

Berdasarkan tabeldi atas,mayoritas respondenmenyatakan setujudan sangat setujuyaitusebesar87,5%bahwasekuelsuatufilmdapatmenjadipenentuuntukmemilihfilmyangakanditonton.Akan tetapi terdapat7.5%repondenyangmenyatakanragu-ragudan5%respondenmenyatakantidaksetujudansangattidaksetuju.Sedangkansekuelfilm dapat memberikan gambaran akan film yang ditonton, mayoritas respondenmenyatakan setuju, yaitu sebesar 88%. Akan tetapi terdapat 10.5% reponden yangmenyatakanragu-ragudan1.5%respondenmenyatakantidaksetujudansangatsetuju. Responden jugamenyatakanbahwa sekuel filmmembantumerekadalammemahamifilm yang ditontonnya, yaitu sebesar 83%. Akan tetapi terdapat 12% reponden yangmenyatakanragu-ragudan5%respondenmenyatakantidaksetujudantidaksetuju.DimensiLatar

Tabel8PertanyaandalamDimensiLatar

ItemPertanyaan SS S RR TS STSLatar atau lokasi pengambilangambarfilmmenjadiunsuryangmenentukan dalam menontonfilm

15,5% 54,5% 17,5% 11,5% 1%

Latar film membuat andamudah untuk memahami filmyangditonton

12% 55,5% 18,5% 11,5% 2,5%

Latar film tertentu membuatadanya kedekatan akan filmyangditonton

2,5% 17,5% 16% 53,5% 10,5%

Berdasarkan tabeldi atas,mayoritas respondenmenyatakan setujudan sangat setujuyaitu sebesar 70% bahwa latar atau lokasi pengambilan gambar suatu film dapatmeningkatkan ekspektasi terhadap film yang akan disaksikan. Akan tetapi terdapat17.5%repondenyangmenyatakanragu-ragudan12.5%respondenmenyatakantidaksetujudan tidak setuju. Selain itumayoritas responden jugamenyatakanbahwa latar

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sebuah filmdapatmemberikan gambaran umumakan film yang responden saksikan.Akantetapiterdapat18.5%repondenyangmenyatakanragu-ragudan13.5%respondenmenyatakantidaksetujudansangattidaksetuju. Lataratau lokasipengambilangambarsebuahfilmternyatatidakdapatmenimbulkankedekatanantararespondendenganfilmyangditontonnya.Misalnyafilmyangberlataratau mengambil lokasi di Sumatra Barat seperti Film "Me Vs Mom"; dapat sajamenimbulkanikatankedekatanpadaorang-orangMinangyangmenontonfilmtersebut.Mayoritas respondenmenyatakan tidak setuju dan sangat tidak setuju yaitu sebesar64%.Akantetapiterdapat16%yangmenyatakanragu-ragudan20%yangmenyatakantidaksetuju.DimensiPemasaran

Tabel9PertanyaandalamDimensiPemasaran

ItemPertanyaan SS S RR TS STSPemasaranfilmdenganposter,trailer,publikasi lainnya memunculkanekspektasi lebih terhadap film yangditontonnya

19% 67% 8% 6% 0%

Pemasaranfilmdenganposter,trailer,publikasilainnyamembuatandainginmenontonfilm

18% 68% 10,5% 3,5% 0%

Adanya poster, trailer, publikasilainnya mempermudah dalammenentukanfilmyangakanditonton

19,5% 65% 10,5% 5% 0%

Berdasarkan tabeldi atas,mayoritas respondenmenyatakan setujudan sangat setujubahwa pemasaran suatu film melalui trailer, poster, billboard, dan lain-lain dapatmemunculkan atau meningkatkan ekspektasi kepada film yang responden saksikan.Akan tetapi terdapat 8% reponden yang menyatakan ragu-ragu dan 6% respondenmenyatakantidaksetuju.Selainitupemasaranfilmmelaluitrailer,poster,billboard,danlain-lain dapat membuat responden ingin menonton film tertentu. Responden yangmenjawabsetujudansangatsetujusebesar86%.Akantetapiterdapat10.5%repondenyangmenyatakanragu-ragudan3.5%respondenmenyatakantidaksetuju. Mayoritasrespondenjugamenyatakansetujudansangatsetujubahwadenganadanyatrailer,posterdanpublikasilainnyadapatmempermudahrespondendalammenentukanfilm yang akan ditontonnya. Responden yang menjawab sebesar 84,5%. Akan tetapiterdapat10.5%repondenyangmenyatakanragu-ragudan5%respondenmenyatakantidaksetuju.

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AnalisisRata-RataperDimensiPenelitimelakukanpenghitunganrata-rataperdimensiuntukmencaridimensidenganpilihanterbanyakdariresponden.Adapunhasilnyasebagaiberikut:

Tabel10.Rata-RataPerdimensi

Jawaban

Mean

Genre 4.04KaryaSaduran 3.92Pemain 3.67Sutradara 3.77RumahProduksi 3.07Sekuel 3.98Latar 3.62Pemasaran 3.99

Dari tabel di atas dapat diketahui bahwa preferensi penonton dalammenonton filmIndonesiaberdasarkanGenresebagaialasanutamaatautertinggidengannilairata-rata4.04; diikuti oleh dimensi pemasaran dengan nilai rata-rata 3.99. Kemudian dimensisekueldengannilairata-rata3.98dandilanjutkandengankaryasadurandengan3.92.Diurutankelimadimensisutradaradengannilairata-rata3.77,laludiikutidimensipemaindengan3.67.Diurutanselanjutnyadimensilatardengannilairata-ratadesimal3.62dandimensirumahproduksidenganrata-rata3.07beradapadaurutanterakhir.Bilakitamelihatpreferensipenonton terhadap film Indonesia, tentunyaberhubunganjugadenganmediayangberlombauntukmerebutkhalayak.DalamkonteksinikhalayakpenontonsecaraaktifmenentukanfilmIndonesiamanayangdipilihuntukditontonnya,sehinggadapatdilihatsepertiapapreferensipenontonterhadapfilmIndonesia.Dalammelihatpreferensipenontonakan film Indonesia,dilihatdari atribut filmyaitugenre,karyasaduran,pemain,sutradara,sekuel,rumahproduksi,latardanpemasaran.DimensigenremenjadifaktorutamarespondendalammenontonfilmIndonesia.Genreframamendominasi film-filmIndonesia,namunperfilmanIndonesia jugasudahmulaimengeksplorasigenrelainnyasepertifilm"BattleofSurabaya"(2015)yangmerupakanfilmbergenreanimasi,sertagenreeksperimentaldengantemabencanaalamsepertifilmBangkit! (2016).Genre filmmemberikanstimulasikepadapenontondalammemenuhikepuasandidalamdirinya.RespondensetujubahwadenganmelihatGenre filmmakamenjadipenentudalammenontonfilmIndonesia.Preferensipenontonyangkeduaadalahdimensipemasaran.HalinikarenaPemasaranmampu menjadi sarana informasi dan pemahaman responden dalam menonton filmIndonesia.Pemasarandalamfilmmerupakanpemasarandalambentukaudio,visual,dan

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audio-visual,yaituposter,papanreklame,trailer,iklanditelevisi,spotradio,adlibsradio,iklandimediasosial,reviewblogatauwebsite,pressrelease,screeningperdanafilm,danlain-lain.Iklandimediasosialsaatinimenjadicaraefektifuntukmemasarkanfilmkarenamemiliki dampak yang besar dan jangkauan luas denganmodal yang rendah. Hal iniberhubungandengankebiasaanmasyarakatyangmulaiterbiasamenggunakaninternetsebagai media pencarian informasi. Dengan begitu penonton mengetahui kapan filmtayang, berjudul apa, bercerita tentang apa, siapa yang akan main, siapa yangmengarahkanpemain,danlain-lainterhadapfilmIndonesia.Preferensi penonton selanjutnya adalah dimensi sekuel. Dapat disimpulkan bahwaalasanlainrespondenmenontonfilmIndonesiaadalahadanyapengaruhsekueldalamfilm.HalinikarenaSekuelfilmmemberikanrasakedekatankepadapenontonsehinggadapatmenghindari,mengurangi,danmencegahkemungkinanterjadinyaketidakpuasandalammenontonfilmIndonesia.Sekueldapatpenontonsaksikanketikatayangnyafilmlanjutanataukeduasetelahfilmpertama,contohnyasepertifilmAADC2yangtayangdibioskop.Preferensipenontonberdasarkankaryasaduranberadapadaurutankeempat.Hal inimenandakan bahwa selain memberikan hiburan dan informasi, karya saduran dapatmeyakinkanpenontonbahwafilmyangdiadaptasidarikaryasadurandapatmemberikanhiburandanmelepaskanketeganganpenontonterhadapfilmIndonesia.Karyasaduranmerupakan karya lain atau karya yang berhubungan dengan karya sebelumnya,contohnyasepertifilm"MarmutMerahJambu"yangmerupakanfilmyangdiadaptasidariNovelhasilkaryaRadityaDika.PreferesipenontonberikutnyaadalahSutradara.SutradarasepertiMiraLesmana,JokoAnwar, Riri Rheza, dan lain-lain dapat mempengaruhi preferensi penonton dalammenonton film Indonesia.Hal inikarenasetiapSutradaramemiliki statuspribadidankredibilitasdalampembuatanfilm.Denganbegitupenontonmemperolehrasapercayadan pemahaman bahwa film Indonesia hasil karya dari sutradara tertentu dapatmemenuhikepuasandidalamdirinya.Unsur pemain seperti Iko Uwais, Dian Sastro, Raditya Dika, dan lain-lain memilikipengaruh dalam preferensi penonton film Indonesia. Sama halnya seperti sutradara,pemainmemilikistatusdankredibilitastersendiridimatamasyarakat.Respondensetujubahwamerekamenonton film Indonesia yang di dalamnya terdapat seorang pemaintertentu.Hal ini karena pemainmampumengalihkan sesuatu yang tidakmemuaskanpenontondalamfilmIndonesia. Dimensi latar filmmendudukiperingkatketujuhdalampreferensipenonton terhadapfilm Indonesia. Hal ini menandakan bahwa Latar mampumenjadi sarana pengalihanketegangandanhiburanbagipenontonmelaluigambardanlokasiceritayangmenghiburbagipenontonmelaluigambardanlokasiceritayangmenghibursepertidiParis,Beijing,

33

Belanda,dan lain-lain.Latarsendirisaat inisudahmulaidiperhatikanolehperfilmanIndonesia,namunlataryangdigunakanolehbeberapafilmbelummencerminkanlokasiIndonesia sendiri seperti "Winter in Tokyo" (2016) yang berlokasi di Tokyo, Jepang.Pilihanterakhirpenontonadalahdimensirumahproduksi.Halinimenandakanrumahproduksimemilikipengaruhkecildalampemenuhankebutuhanpenontonakandenganfilmyangdisajikan.SIMPULANDari hasil penelitian yang dilakukan maka dapat ditarik simpulan bahwa preferensipenontonterhadapfilmIndonesiaberdasarkanatribut filmdiawalidarigenresebagaipilihan kesukaan mereka dalam menonton. Dilanjutkan dengan pemasaran sepertisinopsis atau trailer film, karena sebelum menonton mereka cenderung mencariinformasiterhadapfilmyangakandisaksikan.Setelahmemilihgenredanmendapatkaninformasi dari pemasaran, penonton akan mengutamakan film yang memiliki sekueldibandingkandenganfilmbaru.Jikatidakterdapatfilmsekuel,penontoncenderungakanmemilihfilmkaryasaduran,manakalafilminimerupakanfilmyangdisadurdarikaryalainnya.Lalupenontonakanmenentukanfilmberdasarkansutradaranya,karenasetiapsutradara memiliki kredibilitasnya dalam membuat film. Adapun penonton yangmenentukan film berdasarkan pemain kesukaannya. Saat ini latar film sudah mulaidiperhatikanolehpenonton,namunlatarfilmberadadiurutanketujuhkarenaatributinicenderung bisa diketahuimelalui judul film atau pemasaran. Atribut rumahproduksimenjadipreferensiterakhirkarenapenontoncenderungbelummemahamiperanrumahproduksidalamsebuahfilm.Agar kecintaanmasyarakat akan film Indonesia lebih ditingkatkan,maka diharapkanbagi insanperfilmandapatlebihmengeksplorasipenentuangenrefilmsehinggadapatterciptanya keberagaman dan peningkatan kualitas film Indonesia. Selain itumengoptimalkanpenggunaanmediainternetdanmediasosialsebagaisaranapemasaranagar lebihmemudahkan sineas dalammenggapai penontonnya. Selain itu disarankanuntuk dapat lebih mengangkat dan menjelajah lokasi film yang berada di Indonesiamelalui adanya kerjasama dengan pemerintah, badan institusi yang mendukungpengembanganbudayaataupariwisata Indonesia.Denganbegituperfilman Indonesiabisa lebih menunjukkan identitas perfilmannya dengan memperkenalkan keindahanIndonesia kepada masyarakat domestik dan mancanegara, serta dapat memberikandampakkepadasektorpengembanganlainnyasepertisektorpariwisataataubudaya.

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DAFTARPUSTAKAAwaluddin, I. (2012, Maret 30). Blog. Retrieved from Bincangmedia.wordpress.com:

https://bincangmedia.wordpress.com/2012/03/30/dinamika-industri-perfilman-indonesia-dari-gambar-idoep-ke-cineplex/

Data Penonton. (2014). Retrieved from filmindonesia.or.id:http://filmindonesia.or.id/movie/viewer/2014#.Vn951Wxukkk

Data Penonton. (2015). Retrieved from Filmindonesia.or.id:http://filmindonesia.or.id/movie/viewer#.Vnz-xWxuka1

Frampton,H.(2009).LoveForTheCinemaMakesMeSad.InL.During,&D.Levitt,FilmTheory(p.267).USA:OxfordUniversityPress.

Gazley,A.,Clark,G.,&Sinha,A.(2011).Understandingpreferencesformotionpictures.JournalofBusinessResearch64,854–861.

Klavert,D.R.(2013).PerbedaanPreferensiKonsumenTerhadapAtributFilm.PerbedaanPreferensiKonsumenTerhadapAtributFilm,1-13.

Kotler, P., & Amstrong, G. (2003). Dasar-dasar Pemasaran. PT INDEKS KelompokGramedia.

Kurniawati, I.(2006).PrefensiPembacaTerhadapRubrikSuratKabarJawaPos(StudipadaPembaca JawaPosdiMalangMelaluiMetodeItemSelectiondanTrackingStudy).PreferensiPembacaTerhadapRubrikSuratKabarJawaPos,1-2.

McQuail.(2011).TeoriKomunikasiMassaBuku1.Jakarta:Salembahumanika.

McQuail.(2011).TeoriKomunikasiMassaBuku2.Jakarta:SalembaHumanika.

Pratista,H.(2008).MemahamiFilm.Yogyakarta:HomerianPustaka.

Rabiger,M.(2008).DirectingFilmTechniquesandAesthetics.USA:Elsevier.

Rulianto, A. (2015, Agustus 3). Artikel Film. Retrieved from Muvila.com:http://www.muvila.com/film/artikel/jumlah-penonton-turun-akibat-film-tidak-bermutu-150803h.html

Sugiyono. (2009). Metode Penelitian Kuantitatif Kualitatif dan R&D. Bandung:ALFABETA.

Trianton,T.(2013).FilmSebagaiMediaPelajaran.Yogyakarta:GrahaIlmu.

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PROMOTINGENVIRONMENTALAWARENESSTOUNDERPRIVILEGEDCHILDRENINJAKARTABYHOLDINGA

SPECIALEVENT“THEJOYOFCHILDREN2016”

MagdalenaFenisiaCaroline,A.M.KikiSrirejekiSTIKOM-TheLondonSchoolofPublicRelationsJakartafenisiacarolin@gmail.com,[email protected]

ABSTRACTLackof awareness to theurgencyof environmental issues, especially those related towater pollution, has become one of the reasons among underprivileged children inJakarta fornotconserving theenvironmentbecause it isnotreallyamatter for them.Theyarenotawareaboutthecorrelationbetweenhowpeopleaffectthewaterqualityandthedamagescausedtomarineenvironments.Tocopewiththewaterpollutionissue,itisimportanttoenacteducationalprogramsforthemsotheycanbeinformedofhowtoconserve water, have proper hygiene, and maintain sanitation. Therefore, the writercreated a pilot project focusing on underprivileged children in Jakarta to promoteawarenessofwaterpollutionbyholdinga special event “The JoyofChildren2016” –GenerasiPelindungAiron6thand7thAugust2016atCakungandCilincing,areasintheoutskirtsofJakarta.ItwassupportedbyWWFIndonesiaPandaMobile,SiDalang(KreasiDaurUlang),andWatSanAction–YayasanTirtaLestariwhotookpartastheeducatorsfor theevent.Byusinghuman-centeredapproach in specialevent concept, thewriterconducted the workshop at where the problem is, by walking a tour through thecommunitytoidentifyandhighlighttheproblem,tohaveadiscussion,andtoplayagamewith theexperts. Itwas successfullyheldand theobjectiveof theeventwasnotonlyachievedforthechildrenparticipantbutalsoforthecommittee.Keywords: Special Event, Environmental Awareness, Water Pollution Issue,UnderprivilegedChildren,Non-GovernmentalOrganization,PublicRelations

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PROMOTINGENVIRONMENTALAWARENESSTOUNDERPRIVILEGEDCHILDRENINJAKARTABYHOLDINGASPECIALEVENT“THEJOYOFCHILDREN2016”MagdalenaFenisiaCaroline&A.M.KikiSrirejeki

INTRODUCTIONAsthecapitalcityofIndonesiaandhometotheIndonesiangovernment,Jakartaisthemostpopulouscityinthecountry,andsomepeopletendtoearnrelativelyhigherincome.It is a place where most of the big businesses are in Indonesia. Unfortunately, thebehavior patterns of the resident and business industries are inhospitable with theenvironment.Itiscausingsubstantialongoingpollutionproblems,suchastheharmfulbehavior for varied products from natural resources, like fuel and groundwaterconsumption;andtheincreasingofindustrialdisposalwhetherliquid,solidorgas.Following the calculation results from the Ministry of Environment and ForestryIndonesia, in Jakarta, the index of thewater pollution has taken the first place 41,51percentratherthanwiththeindexofthelanduse22,75percent;andtheairpollutionis34,71percent.Theresultshowedthatthewaterresources inJakarta,whichtheriver,lake,andgroundwateralreadyheavilypolluted.Accordingtothe"JakartaEnvironmentalStatus2014"reportpublishedinMarch2015bytheJakartaEnvironmentalManagementBody(BPLHD),Jakarta'sriverhadahorriblequality starting from upstream to downstream whether it is physical, chemical, andbiological conditions.Onlyonepercent is ingoodcondition.The rest is32percent inheavy, 44percent in themedium, and23percent in the light polluted condition (seeFigure1).Evenworse,forgroundwaterqualityis99percentinthelightpollutedstateand1percentinmedium(seeFigure2).Inaddition,thequalityofthelakeis72percentinmediumand28percent inheavypollutedcondition(seeFigure3). Itmeansall thewaterresourcesinJakartawereindangerousconditions,especiallyforthegroundwaterandlakethattotallyhadzeropercentinagoodcondition.

Figure1

RiverPollutionIndexinJakarta2014

Heavilypolluted 32%

Moderatelypolluted 44%

Lightlypolluted 23%

Good 1%

0%20% 40% 60% 80% 100%

Source:LaporanStatusLingkunganHidupJakarta,BPLHD,2014

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BasedontheresearchresultfromDepartmentofPublicWorks(PU)JakartaandJapanInternationalCooperationAgency(JICA)in1989mentionedthat

“TheoverallamountofwastewaterinJakartaisestimatedat1.316.113m3/day,which for domestic 1.038.205 m 3/day, office and commercial area 448.933m3/day, and industry 105.437 m3/day. Regarding the number, domesticwastewater contributes to about 75 percent, office and commercial area 15percent,andindustryonlyaround10percent.TherebydomesticwastewaterandsewageofficearethelargestcontributortowaterpollutioninJakarta.”

Jakarta are heavily polluted by gray water from households, commercial buildings,together with discharges from industries, pesticide and fertilizer run-off fromagriculturalland,solidwaste,andfecalmatterfromoverflowingorleakingseptictanks"(UnitedNationUniversity,2015).According to a study byBPLHD (2014),most of the groundwater in Jakarta had collibacteria beyond the specified quality.Within the highest of colli bacteria is in NorthJakartathat70percentatimproperand30percentatqualified.WhilefortheotherareasofJakartastillgotabetterpercentage,withinaround50percentto50percent.Theprimarysourcesofgroundwaterpollutionare70percentcomefromdomesticwaste,suchasgarbageandhouseholdsewage.Anothercausethatpublicshouldconsideristheleakingsanitationdisposalsystem.WiththehighpopulationdensityinJakartacausingthelocationofmanywellsadjacenttotheseptictank.Forthisreason,therearemanygroundwater has been polluted by the leaking sanitation disposal system. From themonitoringresultofBPLHD(2013),thereare46wellsbelow10meters(46percent),35wellsover10meters(35percent),and17wellswithnothinginformationobtained(19percent).Thus,willhaveanadverseimpactonpublichealthduetothecontaminationandpoorsanitation.Most of the rivers in Jakarta also have the same condition that is heavily polluted.According to the rivers inventory fromBPLHD (2014), Jakartahas19 riverswith thelongestriverisCiliwungRiver.Ciliwunghas46,20kmlength,70meters'width,and20meters'depth.AsthemainarteryofJakarta,thepreservationofCiliwungRiveriscrucialtobemaintained.Unfortunately,basedonthelaboratoryanalysisresultsshownthatallovertheCiliwungRiverhashighBiochemicalOxygenDemand(BOD).ThemaximumBODconcentrateisinthePluitroadway(BPLHD,2014,p.58).Biochemical Oxygen Demand (BOD) is a characteristic that indicates the amount ofdissolved oxygen required by microorganisms (usually bacteria) to break down ordecompose organic matter under aerobic conditions (Umaly and Cuvin, 1988). BODexaminationisneededtodeterminetheburdenofpollutionduetowastewaterandtodesignbiologicaltreatmentsystem(G.AlertsandSSSantika,1987).IftheBODvalueis

38


gettinghigher,thenthewaterqualitywillgetlower.Inaddition,itwillincreasethemudthatcausedtherivertobecomeshallower.DomesticandindustrialwastesarethecausationforthosehighBODvalue.AccordingtotheViceGovernorofDKIJakarta,DjarotSaifulHidayat(2015),13bigriversinJakartahavecontainedatleastaround356tonsoftrash.CiliwungRiverhasthemostamounting132tonsoftrash,followedbyKrukut(44tons),Pesanggrahan(24tons),andCipinang(33tons).ArepresentativefromtheLandingCrumbRubber(LCR)team,SerdaWaris(2015),alsomentionedthattherearevariouskindsofgarbageintheCiliwungRiver,rangingfromplastic trash, baby diapers, cupboard rack, sleeping bed, and even a refrigerator.Additionally,hestatedthatmanytrashpickersuseraftstofindusedplasticbottlesintheriver to be sold again.Djarot unsurprisingly states Jakarta is in a difficult emergencyrelatedwithgarbage.AccordingtotheGovernmentRuleNo.82Year2011,thestandardqualityofaClass-IIriverisonlyallowedtohaveamaximumfecalcoliformof1.000/100mL.AccordingtothereportanalysisofBPLHD(2014),coliformbacteriahasitshighestconcentrationinEastandSouth Jakarta.East Jakartawith thehighestpollution level issituatedatSituRawa Badung (19.000.000/100 mL) and South Jakarta at Situ Mangga Bolong(30.000.000/100mL).Almostallotherregionshavehigherthanaverageconcentrationofcoliformbacteria.Thehigherthelevelofcoliformbacteria,themorethewatersourcebecomesunreliableforfarming,fishery,recreationalfacilities,andplants.Ashas alreadybeen indicated, all thewater resources in Jakarta areheavily pollutedwhetherfromdomesticandindustrywaste,plasticrubbish,andpoorsanitation.Jakarta'scitizensarenotrecommendedtoconsumethewaterfromthosethreewaterresources.However, poor households have limited knowledge on the issue and not sufficientlybetteraccesstopipedwater.ThepublicwatercompanyinJakartaisPDAMDKIJakarta–PAMJaya.Theyprovidecleanwater to its two partners; for the West area is managed by PT Pam Lyonaise Jaya(PALYJA)andfortheEastareaismanagedbyPTAetraAirJakarta(Aetra).Asamediatorand regulator between the three parties, since November 2001, the governmentestablished JakartaWater SupplyRegulatoryBody (JWSRB). It is an independent andprofessional institution tomaintainbalanced interestbetweenpublic, thecooperatingparties, and Jakarta's government to undertake water service provision in the DKIJakarta.

39

Figure2TheGovernanceoftheJakartaWater

Source:JakartaWaterGovernance,Nugroho,p.4Regarding the water sources, piped water distributed by those two operators, wassourcedfromJatiluhurDaminWest Java,CiliwungRiver,Pluitweirandseveralotherrivers.ThebiggestcontributionisfromJatiluhurDam(FionaZakaria,2009).EveryyeartheproductionofcleanwaterbyPAMJayacannotmeettheneedsofJakarta'scitizens.In2012,productionofPAMJayaamountedto488.46millionM3andin2013amountedto537.02millionM3.Although, the clean water production by PAM Jaya has increased, unfortunately, thewater consumption from residents of Jakarta also got intense.Water consumption inJakartain2013amountedto943.97millionM3whencomparedwiththeconsumptionin2014amountedto970.99MillionM3,sotherewasanincreaseinwaterconsumptioninJakartaat27.02MillionM3.Inaddition,PAMJayaisstillstrugglingtoreducewater losses,knownasnon-revenuewater (NRW). North Jakarta was the highest region with 46 percent of water loss.MohamadSelim,PresidentDirectorofAetrastatedthat80percentofNRWwasaresultof old and rusty pipes, while the other 20 percent was because of water theft. ThecompanyhadtospendaroundRp36billionjusttoreduceforonepercentoftheNRW,whileitcouldbeservefor12.000newcustomers.Itwasdifficultforthemtodestroythewatertheft.Ifpeopleconsumefrompollutedwater,itcaneffectontheirbody.In2013,thethreemaindiseases happened in Jakartawere influenzawith 712.541people, hypertensionwith222.982people,anddiarrheawith174.018people(BPLHD,2014,p.588).Basedonthatdata, itwastruethatdiarrheatookinthethirdplace,butwecannotunderestimateit.WorldHealthOrganization(WHO,2013)mentioned,“Diarrheadiseaseisaleadingcause

40


ofchildmortalityandmorbidityintheworld,andmostlyresultsfromcontaminatedfoodandwatersources.Worldwide,780millionindividualslackaccesstoimproveddrinking-waterand2.5billionlackimprovedsanitation”(para.6).Inaddition,diarrheatendedtobehigherinthegroupofloweducationandworkedasafarmer,fisherman,andlaborer(MinistryofHealth,2011).Therefore,toreducehealthrisks,peopleinJakarta,especiallythepoorhouseholdneedtobeawarethatconsumingwaterfromgroundwaterandriversareverynotrecommended.ThewaterpollutionfromthosethreewaterresourcesinJakartanotonlycausingtothehealthrisks,butalsothetotheseapollution.AllofthethirteenriversinJakartawillendup flowing into the ocean, where Thousand Island (Kepulauan Seribu) is located. Asmentioned before, those rivers have contained at least around 356 tons of trash.BambangSugiyono,ViceMayorofNorthJakarta(2012)statedthatthereare92tonsofwaste flowing into the ocean every day. Based on the report from Solid WasteManagementAgency(DinasKebersihan,n.d.)Jakarta,in2007-2014,11-15percentofthewasteisplastic,withproducing871tonsofplasticperday.ThatisoneofthecontributionthatmadeIndonesiawasthesecondbiggestmarinepollutionintheworld,producing3,2milliontonsofplasticwaste,with1,29milliontonsofplasticwasteflowingintotheocean,basedontheresearchbyJennaJambeckfromGeorgiaUniversityin2010.Astheseacontaminatedbytrashesandwaste,thereappearsomeeffects.First,theliquidsewagethatkeepsflowingtoJakartaBaycannotbeprocessed.ItcanaffecttheecosystembychangingseawaterPH,reducingthewaterclarity,orevenleadingtotheenrichmentofnutritionintheseathatcancausetheeutrophicationinseawaterthatputthecoralindanger(STEP,2014).Second,theplasticwastewillhaveendedupintoanotherlittleislandsinJakarta,thatarePari,Lancang,Payung,Pramuka,andKelapaIslands.Inthelast,anewproblemforalltheworld'smajoroceansincludingtheArcticandAntarctic,isknownas'microplastics’,theplasticwastethatbreakingdownintosmallerfragments,whichcanfurtherdamagetomarinewildlife.Microplasticsisinvisibletothenakedeyebecauseitisjustafewmillimetersindiameter.Accordingtothemarinescientists,KarenLavenderLawandRichardThompson(2014)statedthat

Everysingleplasticitemsultimatelydegradeintomillionsofmicroplasticspieces.Itiseasilyingestedbyfish,musselsandotherseaanimals,andthereisgrowingscientific evidence linking them to the passage of deadly, persistent chemicalsthroughtheenvironment,suchasthepesticideDDTandtoxicPCBs,makingthemmoreconcentratedwhentheycomeintocontactwithmarinelife(para.6).

Cleaningupthemicroplasticsintheoceanisdifficult,asit isnotfeasible.However, ifpeopledonotcareaboutthisplasticwasteintheocean,thentherewillbeamassivecause

41

ofinjuriesanddeathsofnumerousmarineanimalsandbirds.Therefore,educationofacommunity about the problems of marine debris may help to prevent some of theproblems,andeducationinschoolscanhelpnotonlythechildrentolearngoodhabitsbutalsocanspreadtheknowledgetotheirfamilies(Derraik,2002).BPLHDstatedthatthelevelofunderstandingofpeopleinJakartahasnotseenquitewelland equitably, so it is necessary tomake efforts involving the public to increase theunderstandinghowsignificantlytheenvironment(2014,p.631),nottomentionpublicawareness of water pollution in Jakarta is limited. Most of the non-governmentorganization stand for the specific purpose related to thewater issues. For example,WatSanAction–YayasanTirtaLestariconcerninwaterpollution,butspecificintothelackof sanitationeffect.Then, there isGreenerationconcern inwater resources issuewith specific into the plastic waste effect. Therefore, promoting environmentalawarenessinwaterpollutionisneededassoonaspossible.Theproblemsofwaterpollutionare toocomplicated forpeople tounderstand,not tomention for children. The world is home to 1.8 billion children, where 22,7 millionchildrenbetween10-14 years old live in Indonesia (BPS, 2010). The10-14 years oldbracketisthethirdlargestagegroupinIndonesiaafterthegroupof0-4yearsoldand5-9yearsold.Childrenmatterbecausetheyaretheshapersandleaderstotheglobalfuture.Appropriateinvestmentintoday'schildrenbyeducatingthemaboutwaterpollutionwillbecomeabetterpreparationforthefuture.Education is a human right that should be accessible to everyone, without anydiscrimination.Unfortunately,mostofthechildrenfromdisadvantagedenvironmentarenotabletoenjoytheirrighttoreceiveeducation.Lackofaccesstoinformationmakesthemnottoomuchawareofenvironmentalissues.Theyareraisedwithinimpoverishedenvironments where there are limited positive role models for appropriate socialbehaviorsandlivinginthecleanenvironment.Whileforthechildrenfrommiddletohigh-incomefamily,theyhavepositiverolemodelsandbetteraccessfromtheirwell-educatedparents. Therefore, underprivileged children are the earliest people who need theintervention.Iftheyaregettingawareofthewaterpollution,ithelpsthemtochoosewhatshouldtheydoandnottodo.Theyare livinginslumareaswherekeepingtheenvironment isnotmatterthingsforthem.Inaddition,mostofthemhavenearaccesstothewaterresources.Theirpoorhabitualonkeepingtheenvironmentsustainabilitycouldexacerbatethosewaterresourcescondition.Theeasiest strategyand tactic for theunderprivilegedchildren tounderstandandbeaware of water pollution is by holding a public relations event. Collaborating withexperts,eitherindividualsororganizations,isstronglyneededtoeducatethekidsintheevent. The children must also have to be actively involved during the event. Doing

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activities will make them remember what they have learned remain longer in theirmemory.Specialeventisanotableoccasionarrangedasastrategicpartofpublicrelations(Guthand Marsh, 2012). Public relations governs the communication contacts within theorganization to create interconnections with all stakeholders of the organization(Caywood,1997).Therefore,specialeventcanbeutilizedasanextensivestrategictooltoenhancepublicrelations(Yolani,2000).TheJoyofChildren(JOC)isserialeventsforunderprivilegedchildrentoenhancetheirknowledgeonspesificissue.Itisaspecialeventonceayearstartedat2015organizedbyLecreatté.TheJOCin2015wasanedutainmentaboutEnglish,andnowforthisyear,itwill be about environment. Edutainment approach standing as a combination ofeducation and entertainment. It is to promote the kids learning through exploration,interactivity,trialanderror,thatkidsgetsolostinthefunanddonotrealizetheyarelearningatthesametime.LITERATUREREVIEWAmaster’s studentatUniversityof SouthernCalifornia,WandaYolaniAlbano (2000),wroteathesisentitled“SpecialEventPlanningintheNon-ProfitSector”aboutayearlyfundraisingeventtoeradicatewomen'scancersorganizedbytheCedars-SinaiResearchfor Women's Cancers. One of the objectives of Cedars-Sinai Research for Women'sCancersistoincreaseawarenessamongstdonorsandattendees.Thespecialeventwasastrategicpublicrelationstoolandtacticfortheorganizertohelpfightthebattleagainstcancersonwomen.The objective of her thesis is to understandhow special event could be successful inraisingfundsfromthegueststowarderadicatingfemaletypesofcancer.Theresearcherusedpublic relations strategic planning as a template to produce a successful specialevent. She found that creating a special event "AnUnforgettable Evening 2000”withstrategicplanningmethodgaveahugesuccessforCedars-SinaiResearchforWomen'sCancers.Therewere793guestsattendedtheevent,anditgenerated$1.7million.Ithadconveyedmanyof their keymessages and increased awareness amongst current andprospectivedonors.OnesignificantadvantagethatCedars-SinaiResearchforWomen’sCancershasisitalreadystartedin1997,sotheyhavetheirpreviousknowledgetocreatescenariosinavoidingapotentialcrisis.Lecreattéorganizes the JoyofChildren(JOC)that focusesoneducatingdisadvantagedchildreninJakarta.TheJOCistheexclusivetrademarkoftheirspecialannualevent.Thefirstspecialeventwasheldon21stNovember2015toimprovetheconfidenceofchildren

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inspeakingEnglish.Then,theirnextsecondeventin2016willbemadewiththepurposeofpromotingenvironmentalawarenessofwaterpollution.METHODThisprojectaremadewithobservatoryandparticipativemethode.RESULTANDANALYSISPhase1:ResearchQuantitativePre-EventResearchDKIJakartaisthedensestpopulatedprovinceinIndonesia(BPSJakarta,2015,p.6).In2014,thereare10,8millionpeoplewhere720.966children(367.534boysand353.432girls)between10-14yearsoldliveinit(BPSJakarta,2016).Thefirstplacewinnerofthe2015 World Citizen Essay Contest, Zara Rupp stated that “over 41% of Jakarta´spopulation does not have a clean, reliable, or closewater source. For example,mostfamilieshavetowalkseveralmilestoreachtheirwatersource,andevenwhentheygetthereitmaystillbedirty,contaminated,orunsafe”(2015,para.6).Moreover,morethanhalfofJakartapopulationlackssafewatertodrink.Manypeoplearedyingfromwaterrelatedproblems,anditishavingthebiggestimpactonchildren(Rupp,2015).WHOandUNICEFJointMonitoringProgramme(2015)mentionedthatevery90secondsachilddiesfromawater-relateddisease.Tocopewiththewatercrisis,itisimportanttoenacteducationalprogramsforthepublicabouthowtoconservewater,properhygieneandsanitation.Therefore,theprojectwastopromoteawarenessofwaterpollutionforthechildreninJakarta.FiveW’s

a. WhyThisspecialeventwasoccurringbecause there isa lackofawarenessofwaterpollution issue among underprivileged children. They didn’t aware about theconnectionbetweenhumanimpactstothewaterqualityanddamagetomarineenvironments.Therefore,thecompellingreasonforconductingthiseventwastoenhancetheirawarenessofwaterpollutioninJakarta.

b. WhoTheeventwasorganizedbyLecreatté,anon-governmentorganization.Theeventwas held for underprivileged childrenwho are living in slum areas in Jakartawithintherangeagefor9–13yearsold.Theparticipantswerestudyingintheelementaryschoolfromthirdtosixthgrade.TheeventstakeholdersoreducatorswereWWF IndonesiaPandaMobile, SiDalang (KreasiDaurUlang)Community,AIESECUI,andWatSanAction–YayasanTirtaLestari.ThesponsorswerePTCitra

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VanTitipanKilat,PT.TupperwareIndonesia,ERIGOStore,WilliamSoeryadjayaFoundation,PTIndofoodSuksesMakmurTbk.,andPTTirtaInvestama.Lastly,themediapartnerswereNETTV,kaWanku,CosmoGirl,andMother&BabyMagazine.

c. WhenThemostconvenientdateforparticipantswasafterlongholiday(LiburLebaran)andatthefirstweekofnewsemester.Therefore,theeventwasheldonSaturday,6thAugust2016andSunday,7thAugust2016.

d. WhereTheeventshouldoccurinslumareasinJakarta.TheseplacesinJakartausuallydon’t have access to clean drinking water, and sanitation and sewage are notservicespeopleget.Therefore,theparticipantsthatthewriterwaslookingforarestayingandsurroundingbypoorenvironment,suchassomuchgarbagescattered.Based on the community research and visiting directly, the writer got twocommunitiesbased inCakung–East JakartaandCilincing–North JakartawhowereCakungChildrenCommunityatJalanCempakaIVNo.16andYayasanPutriKasihCilincingatJalanKalibaruTimurVI-ANo.14.

e. WhatThe outcomes that the writer wish to achieve are the participants not onlyunderstandaboutkeepingtheenvironmentalthingsthatalreadytoldbutalsoitwillremainlongerintheirmemory.Moreover,theoutcomesthatthewriterhadachievedweretheparticipantsrealizedabouttheirhabituallifewillhaveimpactto water problems, then they want to change theirselves to live moreenvironmentallybetterasagenerationofwaterconservative(GenerasiPelindungAir).Otherwise,thechallengeofthisprojectthatturnedouttobecompletelywellarethefunding.

SWOTAnalysisOncethefiveW’saredetermined,thewriterusedSWOTAnalysistounderstandallsortsofsituationsbothfrominternalandexternalpointofview.Herearethestrengthsandweaknessesoftheproject:

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Table1StrengthandWeaknessesoftheJoyofChildren

Goldblatthasmentionedabouttheopportunitiesandthreatsaretwokeyfactorsthatgenerallypresentthemselveseitherduringaneventorafterithasoccurred.However,thewritershouldthinkcarefullyaboutthesefactorstopreventtheprojectforgoingthewrongway.

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Table2OpportunitiesandThreatsoftheJoyofChildren

Phase2:DesignBrainstormingandMindMappingActivityThisprojecthastwomentorssinceitwasstartedin2015whoareSofiaBlakeandZackPetersen.ThewriterdidthegroupbrainstormingsessionwiththemthroughemailonMarch18th–April6th2016.ItwasstartedverybasicallythatthewriterdidtheresearchaboutwaterpollutionissueandwonderingiftheymighthavehadideasforlinkingitintotheJOC.Thewriterwasthinkingitmightbelikeaseminarandcompanyvisit,butstillnotsure.Sofiarespondedwithhavingnoideatoadvise,allsheknewthatthewriterwasontherighttrack.However,shegavetwonamestogetattachwith;SanofromGreenGenerationwhoisoneofthemostinfluentalpeopleintheenvironmentalmovement;andLieselotte

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HeederikwhoheadsanNGOthatprovidesinexpensivefilteringsystemstohavepurifiedwater.SofiawaswonderingmaybetheycanbepartnersforJOC.AfterSofia,Zackrespondedthewritertohavesomeresearchagain.Forinstance,howmanykidsdieeveryyearasaresultofthewaterinJakartabeingpolluted?Howmanydiefromdiarrhea?Whyisthatinacityof13millionthereisnopotabledrinkingwater?Zacktoldthewritertohavesomethingpowerful...apowerfulvideoaboutspendingthenightintheslumsandhowfilthythewateris.Sofiaagreedwiththat,shetoldthewritertodoresearchandgetnumbersbecauseweallknowthereisaproblem,butlackofreliableresearch leavespeoplea lotofroomtodenytheproblem.Shesuggestedtostartwithinterviewsincommunities,seeifthewritercanfindanotherNGOthatworkonsanitationorcommunalhealthandtieswatertohealthtochildren.Thewriteralwaysallearstothemandtookactionquitefast.Afterwards,thewritergaveareporttothem:

a. ThewriterhasalreadycontactedSanobyWhatsapptobeaspeakerforanevent,andhewasstillthinkingaboutit.

b. ThewriterfoundtwoNGOs;SiDalangandWatSanAction–YayasanTirtaLestariinordertohaveacollaboration.

c. Thewriteralreadygot60kidsfromthreecommunitiesandfoundations,andstilllookingtohavemorekids.

Atthatphase,thewritergotanideathatJOC2016willhavepre-eventandmain-event.The writer thought that the pre-event would be like asking AETRA or Palyja to dosocializationforeachcommunitiesandfoundationsaboutwatertheftandpollution.ThenthemaineventwouldtakeplaceatEcoParkAncolwheretherewillbeSanospeakingaboutwaterresourcesandproblemsinJakarta,recyclingworkshopwithSiDalang,andWatSanActiontalkingaboutsanitationandpollutedwater.Afterthat,theparticipantswillhavefreetimestoenjoytheEcoPark.However,thatconceptdoesnotworkintheend.ThewriterhadtriedtogetintouchwithpeoplewhoworksinEcoParkAncol,andalsoalreadysentproposaltotheMarketingteam,buttherewasnoanyrespondforonemonth,whichwascrucialandrunningoutoftime.Oneday,thewritercalledSofiaBlaketotellherabouttheprogressofJOCthatthewriteralreadyhadthechildren,theactivities,andthemainmessagesbutstilldidnotgettheplacefortheevent.ThenSofiaaskedafewsimplequestionslike,whydoyouwanttodothat andwhat do youwant. At thatmoment, we started amarvelousmindmappingactivity.Here istheproblemwiththeproject’soriginalsetup;thewriterwouldspenda lotofresources–time,moneyandlabortoorganizeaneventwithnocleardeliverableattheend;thechildrenactuallydonotneedJOCtotellthemaboutpollutedwater,theylivein

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it; people knowwhat they should do andwhat to avoid in terms of cleanwater, theproblemishowtomakethemdoit.Sofiacontinued,whywouldn’taneventinwhichweengagekids ingamesorworkshopthat teachthemaboutcleanwaterandsanitation?Howdoyouhelpchildrentakeactionsthatwillleadthemtomakebetterchoices?Howdoyouhelpthemgetcleanwater,washtheirhandsanddisposeofwasteproperly?SofiaandthewriterconcludedthataskingthemtocometoEcoParkAncoltoplaygamesforoneafternoonmaynotbethebestway.ThewriterthendecidedinsteadofgettingkidstoAncol,theJOCwillcometothekidsforconductingtheworkshop,wheretheproblemis.Therewillbewalkingatourthroughthecommunity to identify and see the problem, having a discussion and game with theexpertise.Thewriterneedtodopartnershipwithenvironmentalorganizationsthathavetheexpertise.Thiswillbetheprototypeorpilotprojectintwokampungs.Itwillrevisitandrevise.Theproject‘snewsetuphasbecomemorehuman-centered.However, while the writer already got S.A.J.A Foundation, Belajar Bersama SjorsFoundation, IPPA Rawamalang, Sobat Kolong, and Dilts Foundation, the writer gotanotherchallenge.SobatKolongandDiltsFoundationswerenotfitwiththenewconceptbecauseoftheirlocations;SobatKolonglocatedintheroadsidewhichwilldangerousforthekidstohavewalkingthroughobservation,otherwiseDiltsFoundationlocatedinagoodresidentialthatcleanandwellorganizedwhichthereisnoenvironmentalproblemwe could find easily. Afterwards, the writer lost contact with IPPA Rawamalang andBelajarBersamaSjorsFoundation,therewerenoanyrespondfromthemafterthelastconversation.Lastly,S.A.J.AFoundationsaidsorrythattheycouldnotjoinbecausetheyjustrememberedthattheyalreadyhadadealwithstudentsfromUniversitasIndonesiaatthedateJOCwillbehold.Inhindsightthewriterrealizethatproblemwasactuallygoodandsafethewriterbecausethewriterdidnotneedmanycommunitypartners,justtwokampungs.Therefore,thewriterwentbacktoobserveanothercommunitypartnersthathavelocationsaccordingtothenewproject’ssetup.Thewriterwillemphasizethisinthecoordinationphase.BasicResource:FinanceTheeventbudgetisthemostimportanttooltomanagethefinancialdecisionsintheeventplanning(Goldblatt,2014,p.141).HereistheeventbudgetoftheJOC2016:

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Table3EventBudgetPlanofJOC2016

Table3EventBudgetReportofJOC2016

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Figure3WaterfallChartofBudgetvsActualCost,fromthewriter,2016

ThebudgetplanningisRp32.900.000,buttheevent’sexpenditureisRp23.764.150.Itmeanstheeventhadefficiencyrateinto28%.Thiscouldbealessonforthewritertobemorepreciselywhencreatingthenextbudgetplanning.

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Figure4WaterfallChartofSponsorshipvsExpenditure,fromthewriter,2016

Next, the sponsorship income is Rp 27.000.000 but the event’s expenditure is Rp23.764.150, so then the event’s balance is Rp 3.235.850. It means 11% from thesponsorshipincomecanbestoredforthenextevent.BasicResource:TeamVolunteers are the lifeblood of this project. Most of the volunteers in JOC are fromuniversitystudentswhojustgraduatedorwillbegraduatedsoon.Theywererecruitedthroughonline;bysendinge-mailorregisteringinindorelawan.org.ThefirstvolunteerthatthewriterwaslookingforwasaGraphicDesigner.ThewriterspreadtheopportunityonTwitter,Facebook,[email protected],thewritergotFransSitanggang,astudentfromStatePolytechnicofCreativeMediawhowasappliedonFebruary25thbyemail.Atthatmoment, there were not many good applicants like Frans, therefore the writer onlyacceptedhimandmadeameetingafterwards.Theresultofameetingwithhimwashewouldfindhisrelativestojoinvolunteeringasgraphicdesignerstoo.Afterweeks,hegotChyntiaDevinandAhmadSyauqiwhowerealsohisbestfriends.Thiswasgoodbecausetheykneweachotherwellandhavethesametasteofgraphicdesigning.Thewritercontinuedwithlookingasocialmediateam.Inthebeginning,therewere75applicantsbutthewritercutitoffinto20applicantsonly.Thewritergaveasocialmediatesttothat20persons,thenintheendtherewere6bestpersonswhogetaccepted.TheywereSyazaSakinah,VisiDigita,NoviaIndrianti,PuspaGiarini,ShintaNurin,andApriasih.However,inthemiddleoftimeApriasihjustgotawaywithoutpermissionandnothingnewscamefromher.Thewriterneedspeople tohelp coordinate the volunteers in order to get focuswithexternal things, therefore thewritermade an opportunity for volunteers to be EventCoordinators(EC).ThewriterhadtwoECwhichwerePatriciaDjuhadifromOregonState

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University-USAandElisaClaudyafromPelitaHarapanUniversity.TheirresponsibilitywascompletelyincoordinatethehumanresourcesofJOC.Next,thewriterwaslookingforhandbookandphotographyteam.Thewriteropenedtheopportunity through indorelawan.org and itwentwell. For the handbook team therewereAnnisa,Mawar,Sherly,andChristinwhileinthephotographyteamtherewereO,Hutama,Sari,andNadira.In the middle of time, the writer realized that graphic designer team had overloadassignments,especiallyforsocialmediacontents.Thus,thewriteropenedanopportunityagain looking for graphic designer team that specifically works for the social mediacontents.ThewritergotCathlin,Fransiska,andMaria.

Figure5OrganizationalStructureofJOC,fromthewriter,2016

Notallvolunteerscouldcometotheeventitself,thereforethewriterdidvolunteeringrecruitmentagaintogetsomehelpintheevent.Hereisthejobdescriptionforvolunteers:

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Table4

JobDescriptionofVolunteersJOC2016(Pre-Event)

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Phase3:Planning

1. TimeThewriterstartedtheprojectinthebeginningofFebruary2016.TheprojectheldonSaturday,6thAugustandSunday,7thAugust2016.Thewriterhadsixmonths’preparationbeforetheeventbeganandonemonthforpost-eventtocreatetheprojectreport,mediamonitoring,andvideodocumentation.

2. Spacea. Saturday,6thAugust2016–Cakung

TheJOCheldinthethreedifferentspotsofoutdoorvenueforCakungChildrenCommunityatJalanCempakaIVNo.16,EastJakarta.

b. Sunday,7thAugust2016–CilincingTheJOCheldintheYayasanPutriKasihCilincingatJalanKalibaruTimurVI-ANo.16,NorthJakarta.Itislocated5-10metersfromtheseaside.TherewasoneactivitywithWWFIndonesiaPandaMobilethatparticipantswenttoobservetothesea.Theremainingactivitieswasheldinsidetheyayasan.

3. TempoThedurationfromtwodays’executionoftheprojectwasdifferent.Onthefirstday,theeventstartedat07.00a.m.andtheseconddaywasstartedat08.00a.m.duetoannualpublicactivity(senambersama)infrontoftheyayasan.

Phase4:Coordination

1. CommunityPartnersTheJOCranatthetwocommunitypartnersinJakartawhichareCakungChildrenCommunity and Yayasan Putri Kasih Cilincing. They were taking role as theprovideroftheparticipants.OnSaturday,6thAugustof2016,theJOCwasheldat

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CakungChildrenCommunity.Therewere25kidswhojoinedtheeventfrom3rdto6thgradeofelementaryschoolwithrangeage9–12yearsold.Nextday,theJOCwasheldatYayasanPutriKasihCilincing.Therewere50kidswhojoinedtheeventfrom5thto6thgradeofelementaryschoolwithrangeage10–13yearsold.a. CakungChildrenCommunity(KomunitasAnakBelajar)

ItisalearningcommunityforunderprivilegedchildrenlivinginEastJakarta.Mostofthesechildrencomefromfamiliesofwastepicker,driver,greengrocerand laborworker.Thecommunity learningcenter isnotbigenoughfor theJOC,thereforeitwasheldinthreedifferentspotsoutsideofitsplace.

b. YayasanPutriKasihCilincing–PondokRosalieRenduIt is a foundation managed by four sisters of Putri Kasih and locatedapproximately five meters from the seaside. The activities done by thisfoundation focusesoneducatingchildren, teachingvariousskills towomen,distributingfreegrocerieseveryweektotheneighborhoodandelders,sellingcheapusedclothes,providinghealthcareandservices.

2. SupportingPartnersSupportingpartners intheJOCaretheeducatorstotheparticipants.Theytakepart as the main role of the event. There are WWF Indonesia Panda Mobile,SiDalang(KreasiDaurUlang),andWatSanAction–YayasanTirtaLestari.TheseNGOs have their expertise in each field. Besides that, there is one supportingpartner who standing not as an educator but only to play with the kids foreducationalgames,whichwasAIESECUniversitasIndonesia.a. WWFIndonesiaPandaMobile

Panda Mobile is a part of WWF Indonesia as a media for conservativemessengerinpublicarea.Theyhavebigtruckwiththebackcabinmodifiedintomultifunctionstage,library,andaplacetowatcheducationalmovies.Thepartieswho can invite PandaMobile are school/university, company,NGO,mall,community,government,andeventorganizer.Onthesecondday,Sunday7thAugust2016,PandaMobiledivided50kidsintothreegroups.Theflowofanactivitythatwasusedwasarollingsystemwhereeachgroupgottheeducationinthreedifferentspotsatthesametime.Thosethreespotsweretheseafront,waterlab,andthemoviestation.Theactivitythatwasheldattheseafrontwastheobservationonthebeachthatalreadynotwellmaintained.Therewasnothinggoodaromaaround thesitedue to thegarbagescatteredaswellasbeingthelocationofthedisposaloftheoysters.Thefacilitatorsexplainedtothechildrenabouttheenvironmentalpollutionanditsimpacttothelivingthingsaroundthelocation.ActivityatthemoviestationwasplayingvideossuchastheconditionoftheCiliwungRiverwhich isalreadypollutedand its impacton livingcreatures.Thisactivitywasaimedto letchildrenunderstandthecycleofwastewhich

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originatedfromhumanbehaviortowatersourcesthenitwillbringbadimpacttolivingcreatures.

Therareopportunityofseeingthequalityofwaterthroughamicroscopemadeparticipants veryenthusiasticon thewater lab.They could seea varietyofbacteriacontainedinthewaterthroughthescreenofthemonitorconnectedtothemicroscope.Watersamplestakenfromthegutternearthelocationoftheactivities.Likethepreviousday,thechildrenbackintoonegrouptohearafairytalepresentedbyKakRyanandKakBiyongabouttheimpactofplasticwasteonsealife,especiallyturtles.

b. SiDalangCommunity(KreasiDaurUlang)

SiDalangstandsfor"KreasiDaurUlang"isoneoftheprojectsofTunasNusaFoundationthatwasconceivedin2011inJakarta.Theprojectisdesignedtobe able to support the three aspects of sustainable development, i.e.environmental, economic and social. They want to bear in mind of theresponsibilitytocorporationsandindividualsabouttheproductionofgarbagethroughthemechanismofwastecreationintothequalifiedcraftandreadytosellbyacommunityofmoms,teensandchildrenintheselectedlocation.Inthisproject,SiDalangstandingasawastemanagementeducator.Theyhaveinteractivesessionwiththeparticipantsteachingaboutorganicandinorganicgarbageandhowlongdoesittaketodecomposeforeachtypeofgarbage.Afterthat,theparticipantsfollowtheworkshoptocreateusefulthingswithwastematerials.OnSaturday,theparticipantsmademoneyboxandpencilcasefromwasteplasticbottles.WhileonSundaytheparticipantsmadepostcardfromwastecardboard.Theywereaskedtowriteapersonalmessageabout theirexperiencefollowingtheJOC’seventinthepostcard.

c. WatSanAction–YayasanTirtaLestari

WatSan Action is a U.S.-based organization founded as an umbrellaorganizationtosupportYayasanTirtaLestari.Byworkinginpartnership,theyarestandingasanon-profitorganizationaddressingwater&sanitationissues.TheyworkwithdisadvantagedIndonesiancommunitiestoimprovewater&sanitation conditions through educational activities and participatoryprojects. YayasanTirta Lestari have fourprogramswhich arepublic healthpromotionprogram,cleanwaterprogram,improvedsanitationprogram,solidwastemanagementprogram.Inthisevent,theystandasaneducatoroflivingincleanandhealthylifestyle.Theyonlycameontheseconddayduetotheirruleofworkinghoursintheweekend.Afterthepresentation,theysangtogetherwiththekidsaboutsevensteps towashhandproperlycontinueswithglittergames.Theglittergame

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was aimed to tell the kids that bacteria can spread from anywhere onlythroughthehandtouching, therefore thekidsshouldwashtheirhands inaproperlywayinordertobesparedfromdiseasessuchasdiarrhea.Beforetheactivityended,WatSanAction–YayasanTirtaLestaritogetherwiththekids,one-by-onedidthesevenstepstowashhandproperlyinthewashingstation.Oncedone,eachparticipantsgotabathSOAP.

d. AIESECUniversitasIndonesia(UI)

AIESECUIisthepioneerlocalcommitteeinIndonesiathatwasestablishedin1984. Their role in the event was to give an opportunity to their globalvolunteersforplayingeducationalgameswiththeparticipants.Theypresentonthefirstdayonlywithapproximately15foreignersandfiveIndonesian.Thegameswerewhisperchallengewordsgamesandsinging togetherof “Head,Shoulders,KneesandToes”.

3. PrintingItems

a. PaperBagb. Handbookc. T-Shirtd. ID-Carde. Certificatef. Plaqueg. Stickers

4. E-Items

5. SocialMedia

AccordingtoDepartmentofPublicInformationNon-GovernmentalOrganizationstated thatstorytelling throughsocialmediacontentcanhelpcreateagenuineconnection between the audience and the story. By developing a dialogue toencourage two-way communication allows NGOs the opportunity to builddedicatedsupporters(2013).Therefore,theJoyofChildrenwasbeingactivefordailypostinginthefoursocialmediaplatformswhichareFacebook,Instagram,Twitter, and LINE@. It was created since 2015 but being actively from thebeginningofApriltoSeptember2016.Tomanagethecontent,thewritercreatedcontent calendars forTwitterand Instagram tohelp the teamcreating contentregularlywithdifferentandupdatetopics.Byhavingthesocialmedia,thewriterhasanotherplatformtocommunicatenotonlywith the target audience of the event, but also to the public whom frommiddletohighincomefamilybackgroundandhavesocialmedialiteracy.

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FacebookoftheJoyofChildrenhas381likes.PatriciaDjuhadiwastheadminandshe was responsible for posting the posts every day, either images or videos.Facebookhasbecome likeawebsite for the JoyofChildrenwherepeopleonlyinteresttoseethephotogalleriesandinformation,ratherthanhavinginteractivesession.Next, the Instagramof the JoyofChildren (@thejocproject)with449 followersnowhasthehighestengagementrateratherthantheothersocialmediaplatforms.TherewerethreeadminsforInstagramandtheworkingsystemwaseverydaytheyshouldstandbyonlinetoreplyanycommentsandlikesallfollowers’postswhileonlyonepersonchargedtobetheposter.Thestandbyonlinesystemdividedintothreemoments;morning;noon;andevening.Example:Pusparesponsibleforstandbyinthemorning,thenVisiinthenoon,continuewithNoviafortheevening.Thissystemwasturningrolleveryday.The lowest engagement rate of social media platforms JOC is Twitter(@THEJOCPROJECT)withonlyhas145followers.Theteamalwayspostingtweetseverydaywhetherkultweetsorimages.Lastly,thereisaLINE@oftheJOC(@xpz8765v)with219followers.LINE@isaserviceused fordistributing informationandotherbusiness-relatedgoalswithsendingbatchmessagestoallthefollowersatonce,andalsohaving1-on-1chatfeaturetocommunicatewiththemindividually.ThefollowerseventuallyaskingaboutwhatisJOCdoingandhowtobeinvolvedasavolunteer.

6. SponsorshipTheJoyofChildren2016wassponsoredbyPTCitraVanTitipanKilat(TIKI),PT.TupperwareIndonesia,ERIGOStore,WilliamSoeryadjayaFoundation(WSF),PTIndofoodSuksesMakmurTbk.,andPTTirtaInvestama(Aqua).ThesponsorswhogavecashfundingwereTIKIandWSFwithRp10.000.000whileIndofoodwithRp7.000.000.Next,thesponsorswhogavetheirproductswereTupperwarewith150tumbler and 75 lunch boxes, ERIGO with 150 t-shirts, and Aqua provides 17gallonsofwater.Allofthesponsorsgetthesamerewardswithlogoplacementinhandbook,paperbag,t-shirt,certificate,plaqueande-poster.However,therewasonlyonecompany,Indofoodwhoaskedforeightpaperbags,twogoodiebags,andfivet-shirts.

7. MediaPartnership

MediapartnersoftheJoyofChildrenwerePTNetMediatamaTelevisi(NETTV),kaWankuMagazine,andMRAMedia(Mother&BabyMagazineandCosmoGIRL!Magazine).Allofthemgetthesamerewardswithlogoplacementinhandbook,paperbag,t-shirt,certificate,plaqueande-poster.

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ThejournalistteamofNETTVcamefortwodays,butthenewscoveragewasonlypublishedforthefirstdayoftheevent.ThejournalistofMother&BabycameontheseconddayoftheeventwhilethejournalistofthekaWankuandCosmoGIRL!werenotpresentsothewritersentapressreleaseanddocumentationtothem.InagreementwithkaWanku,itiswrittenthattheyshouldtweetontheevent,butsince they did not come, they replaced it by posting two more tweets for@thejocproject.

Phase5:EvaluationThewriterusedpre-andpost-eventsurveytotheparticipants.Thepre-eventsurveywasdonebefore theevent startedwhere theparticipantsneed toanswer five simplequestions.

Table5TheResultofPre-eventSurvey

Thepost-eventsurveywasdonebeforetheteamgivingthegoodiebagandphotosession.The participants need to give their opinion by answering three questions which are“Bagaimanakesankamumengikutiacaraini?Apasajayangkamupelajaridariacaraini?Apayang akankamu lakukan sebagaiGenerasiPelindungAir?”.Most of themsaid sohappyandexcitedwiththiseventbecausenowtheycandifferentiatebetweencleananddirtywater,theyknowhowtoprotectthewaterandwashingtheirhandsproperly.Theyalso enjoyed in the movie watching and storytelling session. The participants neverthoughtthatseaturtleswouldeattheplasticwastesinceitlookslikejellyfish.Intheend,thewritercouldanalyze through thispost-eventsurvey thatall theparticipantswerereallyenjoyed,happyandawareofthewaterpollutionissuebyfollowingtheevent.

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CONCLUSIONThewritertooktheconclusionforTheJoyofChildren2016“GenerasiPelindungAir”thatspecialeventconceptiseffectivetopromoteawarenessonwaterpollutionissue.Itwasbeing held on Saturday, 6th August 2016 at Cakung Children Community for 25underprivilegedkids and Sunday, 7thAugust2016atYayasanPutriKasihCilincing –PondokRosalieRendufor50underprivilegedkids.Thiseventwasfreeandnotopenforpublic.Besidesof thevolunteers, supportingpartners, and journalist, therewerealsosponsorrepresentativefromWilliamSoeryadjayaFoundationandTIKI.Thewriterlearntthatspecialeventisusefulfornon-govermentalorganization(NGO)topromoteideaorcause,acquiringnewdonorsandenhancesteamworkintheorganization.The objective of the JOC 2016 is to build awareness of water pollution issue amongunderprivilegedchildren,sotheyknowandrealizeifthewatergetspollutedeitherbyleakingsanitation,domesticwastewater,orfloatingrubbish,therewillbeascarcityofcleanwaterwhichtheywillneedtobuywaterwithprettyexpensivecost.MeizaSaputri,oneoftheparticipant,statedthatsheknowshowcleanwaterisreallyimportanttoherlife because sometimes she need to take shower from water well (air sumur). Byfollowingtheevent,shebecamemoreawaretonotlitterattheseaside.Also with another participant, Reni Oktaviani who get used to buy clean water Rp10.000,00 foronehour.After theevent, shesaidshewants tosavecleanwaterwhenusingit.Inconclusion,theobjectiveoftheeventwasachievedbecausealotofpositiveimpressionfortheevent.However, the participants were much excited until they spent much energy in thebeginningoftheevent,sotheywerehungryinthemiddleoftheevent.Ithappenedbothforthetwodays,whenthetimefortheworkshopwithSiDalang,mostof thechildrenalreadyexhaustedandkeptscreamingforlunch.After the event, the writer did the evaluation with the team and found out that byvolunteeringinthiseventtheycouldlearnhowtodealwiththekidsandalsobeingawareaboutwaterpollutionandenvironmentalissue.So,theobjectiveoftheeventnotonlyhasachieved for the kids but also to the committee. In addition, the writer did mediamonitoringandcreatingtheprojectreportforsponsorsandmediapartners.Lastly,thewriterpublishedathree-minutesvideoinpersonalFacebookaccountandone-minutevideoinJOC’sInstagram.Thepurposesofcreatingthisvideonotonlytoextendthememoriesandconsistentlyremindpeoplewhytheywerebeingpartofthisevent.ButalsotogiveadditionalcontentforthosethatarelookingupinformationabouttheJOC.Puttingthevideoonlineaftertheeventcanbeagreatwayforpeopletosharewithothers

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POLAKOMUNIKASIKOMUNITASRUMAHBELAJARSAHAJABANDUNG(STUDIETNOGRAFIKOMUNIKASITENTANGPOLAKOMUNIKASIANTARAPENGAJARDANANAKJALANANDI

RUMAHBELAJARSAHAJABANDUNG)

DwiRizqiAnta,AriePrasetioProdiS1IlmuKomunikasi,FakultasKomunikasidanBisnis,UniversitasTelkom


ABSTRACT

EducationistherightofeveryIndonesianchild.Noexceptionastreetchildwhoarespendmostofthetimeontheroad.Oneofcommunitythatworksineducationespeciallyforstreetchild is Rumah Belajar Sahaja’s in Bandung community. Rumah Belajar Sahaja’scommunityisaplaceforstreetchildtogeteducationthroughteachesandlearnactivities.Ineveryteachandlearnactivitythereisapatternofcommunicationbyteachersandstreetchild.Thepurposeofthisstudyistoformanewcommunicationpatternbetweenteachersandstreetchildtoattractchildren'slearninginterests.TheformedcommunicationpatternisexpectedtobeappliedintheRumahBelajarSahaja’scommunitysoastoattractmorestreetchildrentolearn.Thetheoryreviewusedinthisresearchiscommunication,interpersonalcommunication, communication process, communication ethnography, andcommunicationpattern.This research uses ethnography method of communication based on constructivistparadigm. The results showed that the process of communication, communicationcomponents and relationships between communication components to formcommunicationpatternsofRumahBelajarSahaja’scommunity.Teachersapproachwithstreetchild,streetchildfollowtherulesofRumahBelajarSahaja’scommunity,theteacherusescoercivecommunication.FoodandbeveragesaredistributedtostreetchildwhoareimplementingtherulesofRumahBelajarSahajaBandung.

Keywords:CommunicationPatterns,StreetChild,Community

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POLAKOMUNIKASIKOMUNITASRUMAHBELAJARSAHAJABANDUNG DwiRizqiAnta&AriePrasetio

PENDAHULUANPendidikan merupakan tiang pondasi bagi suatu negara dalam tindakan untukpembangunan suatu bangsa. Tak terkecuali untuk anak-anak, mereka membutuhkanpendidikandandijaminolehnegara,haltersebutsesuaidenganPasal9Ayat(1)UUNo23 Tahun 2002 tentang Perlindungan Anak menyebutkan; “Setiap anak berhakmemperolehpendidikandanpengajarandalamrangkapengembanganpribadinyadantingkatkecerdasannyasesuaidenganminatdanbakatnya”.Data kependudukan dari BKKBN (Badan Kependudukan dan Keluarga BerencanaNasional)2014menjelaskanbahwamasihada31,13%atausekitar134402siswausia7-15 tahunyang tidakbersekolahdi tingkatpendidikandasar.Daridata tersebutdapatditarik kesimpulan adanya angkaputus sekolahusiawajib belajar 9 tahundi diKotaBandung masih tinggi masih tinggi. (Sumber: aplikasi.bkkbn.go.id diakses pada 10Februari2017,pukul19.45WIB).Dengan tingginya angka anak putus sekolah berdampak pada kehidupan sosialmasyarakat,salahsatunyameningkatnyaangkaanakjalanan.DaridataDinasSosialKotaBandung,padaFebruari2014tercatatdarisekiankota/kabupatendiJawaBarat,jumlahanakjalananyangadadiKotaBandungmenjadiyangtertinggimencapaisekitar2500orangatau44%permasalahananakjalananadadiibukotaprovinsiJawaBaratini.Sesuai Undang-undang No.20 Tahun 2003 tentang Sistem Pendidikan Nasionalmenegaskanbahwapendidikandilakukanmelalui tiga jalur, yaitu:pendidikan formal,pendidikan nonformal, dan pendidikan informal. Pendidikan formal dilakukan disekolah, pendidikan nonformal dilaksanakan dimasyarakat, dan pendidikan informalutamanyadilaksanakandikeluarga.Gerakansosialdibentukolehsekelompokindividuyangmemilikitujuanyangsama,demisuatuperubahan.SalahsatugerakansosialmembangunsekolahgratisdiBandungyanginginpenelititelitiadalahRumahBelajarSahajayangberadadipasarCiroyomBandung.RumahBelajarSahajamerupakankomunitasyangmayoritasrelawanataupengajarnyamahasiswadanbertahanpalinglamayaitusejak2009danaktifsampaisekarang.Daripra-risetyangpenelitilakukan,RumahMimpidiJalanAsiaAfrikaBandungberdiritahun2011,danmasihaktifsampaisekarang.SaveStreetChildBandungberdiri tahun2011 namun kegiatan aktif yang dilakukan terakhir tahun 2016 dan sekarang sudahberhentisementara(vacuum).RumahBelajarSahajaBandungberdiri tahun2009dankegiatannyamasihaktifsampaisekarang.Rumah Belajar Sahaja dianggap yang paling lama bertahan dan masih aktif sampaisekarang. Rumah Belajar Sahajamasih aktif karenamemiliki kegiatan tematik setiap

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minggunnyasepertibelajarcalistung,bahasaInggris,agama,kesehatan,ketrampilandanmasihbanyaklagi.RumahBelajarSahajajugamemilikikebudayaanyangunikdaripadakomunitasanakjalanlainnyaseperti,budayamemandikananakjalanansebelummulaibelajar,menyita lem sebelum belajar, pendekatan kekeluargaan yang intim ke setiapanakjalanansepertiparapengajardatangkerumahdanberkomunikasidenganorangtuaanakjalanan.RumahBelajarSahajamerupakansebuahrumahbelajaryangdidirikanuntukmendidikperilakuanakjalananagarmenjadilebihbaik,berakhlakmulia,berbudipekerti luhur,mandiri, memperoleh Pendidikan yang layak dan dapat diterima oleh masyarakat.RumahBelajarSahajapertamakalidigagasdisekitarPasarCiroyom,Bandung.RumahBelajarSahajasecararesmididirikanpada tanggal1 juli2009,dipimpinolehseorangKepala Sekolah dengan masa pengabdian kurang lebih 6 bulan.(Sumber:rubelsahaja.wordpress.comdiaksespada8Februari2017,pukul20.50WIB)SudarwanDanim(2010:44)mengemukakanbahwadalamsenimengajaradaduajenisfilsafatpendidikanyangbisa terapkanyaituAndragogidanPedagogi.Andragogi lebihdimaknaisebagai“theartandscienceofhelpingadultlearn”(ilmudansenimembantuorang dewasa belajar). Sedangkan pedagogi sebagai “the art and science of teachingchildren” (ilmu dan seni mengajar anak-anak).Walaupun sama-sama memiliki fokusdalampembelajarantetapidapatdilihatbahwaadaperbedaanobjekajar.Dalam proses kegiatan belajar mengajar yang berlangsung pada dasarnya terdapatproseskomunikasiyangterjadiantarapengajardananakjalanan.HaroldLasswelldalamMulyana (2007:69) mengemukakan bahwa komunikasi adalah sebuah proses yangmenjelaskan siapa, mengatakan apa, dengan saluran apa, kepada siapa, dan denganpengaruhbagaimana.Setiap kelompok masyarakat memiliki pola komunikasi yang khas dan berbeda-beda.Rumah Belajar Sahaja juga memiliki pola komunikasi yang berbeda dengankelompok lainnya. Cara komunikasi yang diterapkan pengajar terhadap anak jalananakanberpengaruhpadakeberlangsungankegiatanbelajarmengajar.Dariuraiandiatas,halyangmenarikuntukditelitiolehpenelitiadalahpolakomunikasiyangdilakukanparapengajardananakjalanandiRumahBelajarSahaja.Denganadannyapola komunikasi diharapkan nantinya bisa diterapkan di Rumah Belajar Sahaja dandigunakanparapengajaruntukmenarikminatbelajar anak jalanandipasarCiroyomBandung.Daripenelitianterdahuluyangserupadenganjudul“PolaKomunikasiKomunitasSaveStreetChildBandung (StudiTentangPolaKomunikasiPengajarDalamMenarikMinatBelajarAnakJalanandiSaveStreetChildBandung)”Pengajarmengunakankomunikasipersuasifsertaintonasiyanglembutdansopansaatberhadapandengananakjalanan.

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PenelitiakanmelanjutkanpenelitiandenganobjekyangberbedasertacarapenggunaankomunikasipengajaryangberbedadenganSaveStreetChildBandungyaitudengancarakomunikasitegasdankoersifyaitukomunikasiyangmemaksadanmemberikansanksi-sanksi. Dengan cara ini pengajar akan menemukan hal-hal baru yang mucul dariperistiwa-peristiwakomunikasiyangterjadidiRumahBelajarSahaja.TINJAUANPUSTAKA

KomunikasiKomunikasi adalah proses penyampaian pesan atau informasi yang dilakukan olehkomunikatoratauseseorangyangmemberikanpesansecaraverbalmaupunnonverbalkepadaobjeksasaranyangditujuatauyangdisebutkomunikan.Komunikasibertujuanuntukmengubah,mempengaruhiataumembentukpikiranpadakomunikanyangsesuaikomunikatoringinkanagartujuandarikomunikasidikatakanberhasil.Gerald R.MillerdalamMulyana (2008: 69): “Komunikasi terjadi ketika suatu sumbermenyampaikan suatu pesan kepada penerima dengan niat yang disadari untukmempengaruhiperilakupenerima.”Dariteoriyangdikemukakanmenjelaskanbahwadapatdikatakanterjadinyakomunikasiapabila pesan yang diterimapada penerimapesan telah disampaikan denganmelaluiprosestransmisidariinformasi,gagasan,emosi,keterampilandansebagainya.KonseptualKomunikasiKonseptualisasi komunikasi menurut John R. Wenburg dan William W. Wilmot jugaKennethK.SerenodanEdwardM.BodakendalamMulyana(2007:67-77)tedapattigakerangkapemahamanmengenaikomunikasi,yaitukomunikasi sebagai tindakansatu-arah,komunikasisebagaiinteraksi,dankomunikasisebagaitransaksi.PolaKomunikasiPolakomunikasiadalahsuatugambaranyangsederhanadariproseskomunikasiyangmemperlihatkankaitan antara satukomponenkomunikasidengankomponen lainnya(Soekanto, 2001). Pola komunikasi diartikan sebagai bentuk atau pola hubungan duaorangataulebihdalamprosespengirimandanpenerimaanpesandengancarayangtepatsehinggapesanyangdimaksuddapatdipahami.ProsesKomunikasiProseskomunikasi,terdiriatasduatahap.meliputiproseskomunikasiprimerdanproseskomunikasisekunder.(EffendydalamMondry,2008:3).

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1. Proseskomunikasisecaraprimer,merupakanprosespenyampaianpikirandanatau perasaan seseorang kepada orang lain dengan menggunakan lambang(simbol)sebagaimedia.

2. Proses komunikasi sekunder, merupakan proses penyampain pesan dariseseorangkepadaoranglaindenganmenggunakanalatatausaranasebagaimediakeduasetelahmenggunakanlambangsebagaimediapertama.

Penegasantentangunsur-unsurdalamproseskomunikasiituadalahsebagaiberikut:

a. Sender: Komunikator yang menyampaikan pesan kepada seseorang atausejumlahorang.

b. Encoding:Penyandian,yakniprosespengalihanpikirankedalambentuklambang.c. Message: Pesan yang merupakan seperangkat lambang bermakna yang

disampaikanolehkomunikator.d. Media: Saluran komunikasi tempat berlalunya pesan dari komunikator kepada

komunikan.e. Decoding:Pengawasandian,yaituprosesdimanakomunikanmenetapkanmakna

padalambangyangdisampaikanolehkomunikatorkepadanya.f. Receiver:Komunikanyangmenerimapesandarikomunikator.g. Response:Tanggapan,seperangkatreaksipadakomunikansetelahditerpapesan.h. Feedback:UmpanBalik,yaknitanggapankomunikanapabilatersampaikanatau

disampaikankepadakomunikator.i. Noise: Gangguan tak terencana yang terjadi dalam proses komunikasi sebagai

akibatditerimanyapesanlainolehkomunikanyangberbedadenganpesanyangdisampaikanolehkomunikatorkepadanya.

KomunikasiAntarpribadiSecara umum komunikasi antarpribadi dapat diartikan sebagai proses pertukaranmaknaantaraorang-orangyang salingberkomunikasi.Komunikasi antarpribadi tidakhanyamenyampaikandanmenerimapesansecara timbalbalikmelainkanpertukaranmaknayaitukesamaanpemahamanantaraorang-orangyangberkomunikasiterhadappesan-pesanyangdigunakandalamproseskomunikasi.MenurutParksdalamBudyatna(2012:14)bahwakomunikasiantarpribadimerupakanbentuk komunikasi yang terutama diatur oleh norma relasional. Menurut VerderberdalamBudyatna(2012:14),komunikasiantarpribadimerupakanprosesmelaluimanaorangmenciptakan danmengelola hubunganmereka, melaksanakan tanggung jawabsecaratimbalbalikdalammenciptakanmakna.PendidikanNonformalBerbagaidefinisipendidikan luarsekolahdikemukakakanolehparaahli, sepertiyangdikemukakanolehNapitulu(1981)dalamSudjana(2004)bahwapengertianPendidikanNonformaladalahsebagaiberikut:Pendidikannonformaladalahsetiapusahapelayananpendidikan yang diselenggarakan di luar sistem persekolahan, berlangsung seumur

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hidup, dijalankan dengan sengaja, teratur, dan berencana yang bertujuan untukmengaktualisasikanpotensimanusia(sikap,tindakdankarya)sehinggadapatterwujudmanusia seutuhnya yang gemar belajar, mengajar dan mampu meningkatkan tarafhidupnya.EtnografiKomunikasiStudi etnografi komunikasi adalah pengembangan dari antropologi linguistik yangdipahami dalam konteks komunikasi. Tujuan deskripsi etnografi adalah untukmemberikanpemahamanglobalmengenaipandangandannilai-nilaisuatumasyarakatsebagai cara untuk menjelaskan sikap dan perilaku anggota-anggotanya. (Kuswarno,2011:13). Objek penelitian Etnografi Komunikasi yaitu Masyarakat Tutur, AktivitasKomunikasi,KomponenKomunikasi,KompetensiKomunikasi,VariatesBahasa.AnakJalananMenurutShalahuddin(2000:13),yangdimaksudkananakjalananadalahindividuyangberumur di bawah 18 tahun yangmenghabiskan sebagian atau seluruhwaktunya dijalanan dengan melakukan kegiatan-kegiatan guna mendapatkan uang atau gunamempertahankan hidupnya. Jalanan yang dimaksudkan tidak hanya menunjuk pada“jalanan”saja,melainkanjugatempattempatlainsepertipasar,pusatpertokoan,tamankota,alun-alun,terminal,danstasiun.KomunitasMenurutWilbur J. Peakmenyatakan bahwa komunitas bukan lagi sekadar kumpulanorangyangtinggalpadalokasiyangsamatapijugamenunjukkanterjadinyainteraksidiantarakumpulanorangtersebut. Jadi,selainkarenafaktor-faktorfisikyaknitinggaldilokasiyangsama,komunitasitujugabisamerupakanunitsosialyangterbentuklantaranadanya interaksi diantara mereka. Dengan kata lain, komunitas itu bukan hanyamenunjukpadalokalitassajamelainkanjugapadastruktur(Iriantara,2007:22).RumahBelajarSahajaRumahBelajarSahajaCiroyommerupakansebuahrumahbelajaryangdidirikanuntukmendidikperilakuanakjalananagarmenjadilebihbaik,berakhlakmulia,berbudipekertiluhur,mandiri,memperolehpendidikanyanglayakdandapatditerimaolehmasyarakat.KegiatanBelajarMengajarDalamhal iniyangdimaksudkanadalahbelajarberartiusahamengubahtingkah laku.Jadi,belajarakanmembawasuatuperubahanpada individu-individuyangmelakukanprosesbelajar.Perubahantidakhanyaberkaitandenganpenambahanilmupengetahuan,tetapi juga bentuk kecakapan atau keterampilan, sikap, pengertian harga diri, minat,watak,danpenyesuaiandiri.Jelasnyamenyangkutsegalaaspekorganismedantingkahlakupribadiseseorang(Sardiman,2007:21).

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METODOLOGIPENELITIANMetodeyangdigunakandalampenelitianiniadalahmetodestudietnografikomunikasidengan paradigma konstruktivis. Karena metode ini dapat menggambarkan,menjelaskan dan membangun hubungan dari kategori-kategori dan data yangditemukan.Hal ini sesuai dengan tujuan dari studi etnografi komunikasi, yakni untukmenggambarkan, menganalisis, dan menjelaskan perilaku komunikasi dari suatukelompoksosial.Kuswarno(2011:86).Dengan menggunakan metode penelitian ini, peneliti ingin menganalisis mengenaibahasa, komunikasi dan kebudayaannya pada satu konteks yang terjadi di kelompokmasyarakattertentudalamhaliniyaitukelompokmasyarakatdiRumahBelajarSahajaBandung.

HASILDANPEMBAHASAN

Pada sub bab ini peneliti akan menjelaskan pola komunikasi yang terbentuk antarapengajardananakjalanandiRumahBelajarSahajasesuaidengantinjauanpustakayangsudahdiurakanpenelitimelaluipendekatanetnografikomunikasi.ProsesKomunikasidalamRumahBelajarSahajayaitu:ProsesKomunikasiProses komunikasi pada Rumah Belajar Sahaja dapat dejelaskan dengan proseskomunikasprimerdanproseskomunikasisekunder.1. ProsesKomunikasiPrimer

a. Bahasa:KegiatanbelajarmenggunakanbahasaIndonesia.b. Kial(gesture):Parapengajartidakmemanjakananak-anakjalananc. Gambar:Mediapembelajaranlebihseringmenggunakangambar.d. Isyarat:Anakjalananaktifsaatmemimpindoadengancaramengangkattangan

untukmemimpinberdoa.2. ProsesKomunikasiSekunder

a. Papan tulis: Saat kegiatanbelajar, pengajarmenggunakanpapan tulis untukmenjangkauseluruhanakjalananagarpesanditerimaanak-anak.

b. Speaker: Speaker digunakan saat kegiatan senam untuk mempermudahkegiatansenamdanmenarikminatanak-anakjalanan

2. Unsur-unsurprosesKomunikasiRumahBelajarSahaja

a. Sender: Pengajar Rumah Belajar lebih berperan sebagai komunikator saatkegiatanbelajar.

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b. Encoding: Pembagian pengajar untukmemegang danmengawasi anak-anakjalananagarmateribelajardapattersampaikandenganbaik.

c. Message: Materi belajar di Rumah Belajar Sahaja lebih bertujun untukkehidupansehari-harianakjalanan.

d. Media:Mediayangdigunakanyaitupapantulis,alattulis,pernak-pernikuntukprakaryadanspeaker.

e. Decoding:Prosesdecodingpadaanakjalananseringkaliterlihatterhambatatauanak-anakkurangmemahamipesanyangdisampaikanpengajarkarenaanakjalanandiRumahBelajarSahajayangmayoritasanakjalananyangkecanduanlem.

f. Receiver:AnakjalananRumahBelajarSahajaleihbanyaksebagaikomunikansaatkegiatanbelajar.

g. Response: Ketika anak-anak aktifmaka akan dapat denganmudahmenrimamateri belajar dan antusias saat belajar. Sedangkan ketika anak-anak pasifbiasanyamerekabosandantidakminatuntukbelajar.

h. Feedback: Umpan balik yang diberikan anak jalanan ketikamerekamampumenjelaskankembaliapayangtelahmerekapelajari

i. Noise:LokasikegiatanbelajarRumahBelajarSahajadiluarruangansehinggabanyakgangguandanhambatan.

KomponenKomunikasiRumahBelajarSahajaKomponenkomunikasimenurutetnografikomunikasiadalahunit-unitkomunikasiyangmenunjang terjadinya satu peristiwa komunikasi.Rumah Belajar Sahaja memilikibeberapa unit komponen komunikasi yang khas.Ibrahim dalam Zakirah (2005:187)menyatakan bahwa komponen-komponen komunikasi diakronimkan dalam kataSPEAKINGyangterdiridariSetting,Participants,Ends,ActSquence,Keys,Instrumentalist,NormsofInteraction,Genre.Berikutpenjelasandarikomponenkomunikasi.

a. Setting: Lokasi Rumah Belajar Sahaja di pasar Ciroyom Bandung, kegiatanbelajarsetiapharisabtupukul15.00sampaiselesai.

b. Participants: Partisipan yang ikut belajar anak jalanan dan anak sekolahandengan rentang umum 9 tahun sampai 20 tahun. Sedangankan pengajarmayoritasmahasiswadanmahasiswiyangmasihaktifdiuniversitasmasing-masing.Rentangusianya19tahunsampai25tahun.

c. Ends: Tujuan utama hadirnya Rumah Belajar Sajaha untukmerangkul anakjalanandanmemberiilmupengetahuandanketerampilanhidup

d. Act Squence: Urutan kegiatan dimulai dengan memnadikan anak jalanan,mengumpulkan lem, sholat, belajar, setelah belajar selesai pengajar akanmembagikanmakanandanminumanlaluditutupdenganevaluasipengajar.

e. Keys: Cara menarik anak jalanan untuk ikut belajar adalah dengan caramelakukanpendekatankeanakjalanan,membuatanakjalanannyaman,diajakngobroldandiberimakandanminuman.

f. Instrumentalist:Parapengajarmenggunakanbentukpesanyangkoersifataumemaksadenganmemberisanksi-sanksi.

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g. NormsofInteraction:Normayangdiajarkanyaitukejujuran,tanggungjawab,mintamaafdansalingtolongmenolong.

h. Genre:Carabelajardikemasdenganceritaataudongengagaranakjalanantidakbosansaatbelajar.

HubunganAntarKomponenKomunikasiRumahBelajarSahajaHubungan antar komponen komunikasi akan menjelaskan beberapa hubungankomponenkomunikasisepertihubunganantaraSettingdenganParticipants,hubunganantara Participants dengan Genre serta hubungan antara Instrumentalist denganParticipants. Berikut penjelelasan hubungan antara komponen komunikasi yangmembentukpolakomunikasi.

a. HubungansettingdenganParticipants:LokasibelajarRumahBelajarSahajadipasarCiroyomBandungkarenabanyakanak jalanandenganmayoritasanakyangsukange-lem.RumahBelajarSahajaberkomitmenuntukmerangkulanakjalanandisekitarpasarCiroyom.

b. Hubungan Participants dengan genre: Materi pembelajaran yang diberikankepadaanakjalanantingkatkesulitannyalebihrendahdananakjalananlebihsenangbelajardenganmediagambaratauvisual.

c. HubunganInstumentalitiesdenganParticipants:Caraberkomunikasipengajarmenggunakanbentukkomunikasiyangkoersifataumemaksadengansanksi-sanksi.Halinibertujuanagakanakjalananmempunyaimentalyangkuatdanmempunyairasatanggungjawab.

PolaKomunikasiRumahBelajarSahajaDarihubunganantarkomponenkomunikasiyangdijelaskanpenelitidiatasdapatdilihatbahwa proses komunikasi, komponen komunikasi dan hubungan antara komponenkomunikasiakanmembentuksuatuperistiwakomunikasi.Peristiwakomunikasiyangdilakukansecaraterusmenerusakanmembentuksebuahpolakomunikasi.Peristiwa komunikasi yang dilakukan secara terusmenerus di Rumah Belajar Sahajaakan membentuk suatu pola komunikasi, pola komunikasi inilah yang disebut polakomunikasikomunitasRumahBelajarSahaja.BerikutinimerupakanpembahasanpolakomunikasiyangterbentukdikomunitasRumahBelajarSahaja.

a. Pengajarmelakukanpendekatandengananakjalanandengancaramengajakngobrol.

b. AnakjalananharusmelakukanperaturanRumahBelajarSahaja,yaitumandi,mengumpulkanlem,sholatdanikutbelajar.

c. Pengajar melakukan komunikasi secara koersif dan tegas, misalnya anakjalanan yang tidak mengumpulkan lem hukumannya tidak mendapatkanmakandanminum.

d. Memberikanmateribelajaryanganak-anak jalanansuka,misalnyadongeng,menggambar,prakarya.

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e. Anak jalanan yang melaksanakan peraturan Rumah Belajar Sahajaakanmendapatkanmakandanminum.

SIMPULAN

BerdasarkanhasilpenelitiandanpembahasanmengenaipolakomunikasikomunitasRumah belajar Sahaja Bandung. Khususnya melalui kegiatan observasi partisipanselama empat bulan, dari bulan Februari sampai bulan Mei 2017, wawancaramendalamdenganparainforman,makadapatditariksimpulansebagaiberikut:1. Proses komunikasi pengajar dan anak jalanan di komunitas Rumah BelajarSahaja menggunakan proses komunikasi primer yaitu dalam berkomunikasimenggunakanbahasaIndonesia,anakjalananlebihsenangbelajardenganmediagambar,parapengajartidakmemanjakananakjalanan,anakjalananaktifsaatkegiatanbelajar.Sedangkanproseskomunikasisekunderberupakegitanbelajarmenggunakan papan tulis untukmenjangkau semua anak jalanan agar pesanditerimaoleh anak jalanan,menggunakan speaker untukmenarikminat anakjalanan.

2. Komponen-komponen komunikasi di komunitas Rumah Belajar Sahajamembangunsuatuperistiwakomunikasiyangterjadiantarapengajardananakjalanan di komunitas Rumah Belajar Sahaja. Melalui komponen komunikasisebuah peristiwa komunikasi dapat diidentifikasi. Peristiwa komunikasi yangteridentifikasi antara lain pada saat pengajar mengajak anak jalanan belajar,kegiatan belajar, dan penerapan peraturan-peraturan di komunitas RumahBelajarSahaja.

3. Pola komunikasi yang terbentuk di komunitas Rumah Belajar Sahaja yaitupengajarmelakukanpendekatankeanakjalanan,anakjalananharusmelakukanperaturan komunitas Rumah Belajar Sahaja, pengajarmelakukan komunikasisecrakoersifdantegas,memberikanmateribelajaryanganak-anakjalanansuka,Memberikan makan dan minum kepada anak jalanan yang melaksanakanperaturanRumahBelajarSahaja.

DAFTARPUSTAKA

Budyanta, M. (2012). Teori Komunikasi Antapribadi. Jakarta: Kencana PrenadaMedia

Group.

Iriantara,Y. (2007).CommunityRelations:KonsepdanAplikasinya.Bandung: SimbiosaRekatamaMedia.

Kuswarno,E.(2011).EtnografiKomunikasi.Bandung:WidyaPadjajaran.

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Mondry,E.(2008).PemhamanTeoridanPraktikJurnalistik.Bogor:GhaliaIndonesia

Mulyana,D.(2007).IlmuKomunikasiSuatuPengantar.Bandung:PTRemajaRosdaKarya.

Mulyana,D.(2008).MetodologiPenelitianKomunikasi.Bandung:RemajaRosdaKarya.

Sardiman.(2007).InteraksidanMotivasiBelajarMengajar:Bandung:RajawaliPersA.M.

Shalahuddin,O.(2000).AnakJalananPerempuan.Semarang:YayasanSetara-Terredes-Hommes-Germany.

Soekanto,S.(2001).Sosiologi:SuatuPengantar.Jakarta:RajaGrafindoPersada.

Sudjana,N.(2004).Dasar-dasarProsesBelajarMengajar.Bandung:SinarBaruAlgensidoOffset.

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CHILDRENINADULTTELEVISIONWORLD:THEIMPORTANCEOFMEDIALITERACYINFAMILYVIEWING

HABIT

TribuanaTunggaDewi,MuhammadJakaPermanaFakultasIlmuKomunikasi,UniversitasPancasilaJakarta


ABSTRACT

Childrenarespecifictargetaudiencegroupthathasdifferentcharacteristicswithadult.Ifanadulthastheabilitytothinklogicallyandtocommunicateverbally,mostchildrenarelackoftheseskills.Thisconditionisnormalinhumandevelopmentstages,butfortoday’s highly competitive television industry children are in danger on absorbingprogramsthatisnotsuitablefortheirdevelopmentalstage.Inthiscase,parentshavetoaccompany and supervise their children’s television viewing habit. This researchconducted in Perumahan Gandaria Town House, Jakarta by in-depth interview andobservation.In-depthinterviewgathereddatafromparentspointofviewonhowtheydevelop television viewing regulation in their house.While observation conducted inordertogatherdataonthechildren’sviewinghabit.Asaresult,wefoundthatparentineach family already has television viewing regulations in their house. This regulationsupposedlywill able to guide andprotect the childrenwhilewatching television. Butotherfindingshown,parentsthemselvesaretheonewhobroketheregulations.Throughobservation,evidenceshownthatchildrenwatchadultorteenagerstelevisionprogramsnotbytheirownchoice,butbytheirparentschoice.Itisimportanttorecommendparentsto have better understanding on basic media literacy skill, so they can guide andaccompanytheirchildrentobeabletochoosethemostsuitableprogramsforthem.Byaccompanying and guide their children while watching television, parents are alsoallowedtheirchildrentobuildcriticalthinkingandpreparethemtohavebasicmedialiteracyskills.Keywords:children,parenting,television,viewinghabit,medialiteracy.

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CHILDRENINADULTTELEVISIONWORLD:THEIMPORTANCEOFMEDIALITERACYINFAMILYVIEWINGHABITTribuanaTunggaDewi&MuhammadJakaPermana

INTRODUCTIONMediaLiteracy;WhyMatters?InIndonesia,televisionisstilloneofthemassmediathatfrequentlychooseforchildren.AresearchconductedbyYayasanPengembanganMediaAnak(YPMA)in2006foundthatelementaryschoolstudentswatchtelevisionapproximately30-35hoursaweekor4-5hoursaday(Retrievedfromwww.kidia.org,04/04/2016).Thisfindingconsideredastoomuchconsumptiononscreenmedia(televisionandvideogames).Childrenalwaysbeavulnerabletargetaudienceinmediaindustry.PiagetinDrewesandSchaefer(2010)explainedmostchildrenbelow11yearoldhavenotdeveloptheirskillto think inabstractand logicalway. In today’svastsaturatedmediaenvironment it isimpossibletobannedchildrenfrommediaconsumption,butyetstillpossibletodrawstrictguidelinesonhowthemediaconsumptionshouldapplyinourhome.Sincechildrenare not developwell in their logical thinking, parentswill play an important role forsettingupboundaryonchildrenmediaconsumption.Based on these facts we conducted an exploratory research on how four families inGandaria Town House, Jakarta develop their television viewing regulation at home.Televisionviewingregulationnotonlyimportanttoprotectchildrenfromthenegativeimpactontelevision,butalsosuitabletodevelopcriticalthinkingandself-regulationforaudience. A childmight not able to have critical thinking and self-regulation yet, butratherexercisingthisskillwhentheygrowolderitwouldbebesttotrainthemwithbasiccriticalthinking,whiletheystillattheearlystageofdevelopment.Thesimplestepsmighthelp themtogrowasasmartandcritical televisionviewer.Thisability tobeasmartmediaaudienceiswhatknownasmedialiteracy.Backthenliteracyonlyappliedtoprintmedia.Whensomeoneabletoreadandwritethentheyalreadyconsideredasliterate.Butthen,itisexpandedtoothermedia.TheNationalTelemediaCouncilasquotedinSilverblatt(2014),definesmedialiteracyas“theabilitytochoose,tounderstand—withinthecontextofcontent,form/style,impact,industryandproduction—to question, to evaluate, to create and/or produce and to respondthoughtfullytothemediaweconsume.Itismindfulviewing,reflectivejudgment.”ThisdefinitionisexplainedmorebyEwen,quotedinBaran(2014)mentioned,“…Literacywasabout crossing the lines that had historically separated men of ideas from ordinarypeople, about the enfranchisement of those who had been excluded from thecompensations of citizenship.” While Silverblatt (2014) consider that media literacypromotesthecriticalthinkingskillsthatenablepeopletomakeindependentchoiceswithregardto1)whichmediaprogrammingtoselectand2)howtointerprettheinformationtheyreceivethroughthechannelsofmasscommunication.

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Inthisresearchwedeterminethatmedialiteracyinthefamily,supposedlystartswithasimple practical step: Setting up regulation on daily media consumption, includingaccompanyingchildrenwhiletheyconsumemediacontent.Wespecifically focusedontelevision viewing habit because in the four families we observed, television is theirprimarymedia.METHODInordertogatherthedata,InJune2016weconductedin-depthinterviewtobothparentsineachfamilyandobservedthefamilytelevisionviewinghabit.Childrenthatinvolvedasobservationalobjectsarebetween5to12yearsold.RESULTANDANALYSISRegulationintheFamily;WhoInvolveandWhatTheyDetermine?Through interview,we found that all four families admit (and also confirmed by ourobservationdata)theyalreadysettledregulationontelevisionviewinghabitthougheachhasdifferentboundary.Thekey findingsshowedallparentsaware the importanceofregulations on television viewing habit to a certain extend. All the regulation are notwritten,butonlysocializeinaspokenbasis.Settingupregulationinallfamiliesconductedbytheparents.Childrenareonlytheonewhomustobeytherules.Theregulationinallfamily,typicallyregardingtodurationofwatchingandprogramgenresthatareallowedforthechildrentowatch.Inthesetwofields,wefoundthatsometimetheonethatbroketherulearetheparents.Forexample,basedonourobservationwe found that thechildren inone familywatcha televisiondrama(sinetron)foradultbecausethemotherwatchedit.Themotherseemeddonotmindanddiscussedwhatwasontheprogramwithherchild.Mostofthetime,therewillbeadulttoaccompanythechildrenwhilewatchingtelevision.Motherplaysanimportantroleinthispart,sinceinallfamiliesweobservedmotheraretheprimarycaregivers.Allparentsalsoawaretheimportanceofadulttobetherewhenthechildrenarewatchingtelevision.Theyalsoseemedtobuilddiscussionwiththeirkidswhilewatchingtelevision.Insomefamilies,thechildrenaretheonewhoaskmoreonwhattheysawintheprograms.Especially,whentheprogramisnotthesuitableoneforthem. The importance of mother as primary adult that accompany children whilewatchingtelevisionalsoshownthroughinterviewwiththefathers.Allfathersseemedtoanswerwithuncertaintyabouttheirchildren’stelevisionviewinghabit.Somealsostatedclearlythatthemotheraretheonewhoismoreactiveonaccompanyingtheirchildrenwhilewatchingtelevision.

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CHILDRENINADULTTELEVISIONWORLD:THEIMPORTANCEOFMEDIALITERACYINFAMILYVIEWINGHABITTribuanaTunggaDewi&MuhammadJakaPermana

Anotherfindingintheresearchisthatmostofthetime,watchingtelevisionisanactivitythat is donewhile doing other activities.Watching television seemed to be a favoriteactivitywhileeating.Some families feedtheirchildrenbreakfastand lunch in frontoftelevision. In the morning watching television also common while getting ready forschool. Inobservation,wefoundwhatisconsideras“accompanyingthechildren”,notalways really mean watching television side by side and discussing what is on theprograms. Frequently we saw parents are around their children while watchingtelevision,buttheyaredoingsomeotherwork.Cleaningthehouse,preparingforfood,are someactivities that commonlydoneby theparentswhile their childrenwatchingtelevision.Whatisinterestingisthatallparentsrealizetheimportanceofwatchingtelevisionwiththechildren.Theyconsiderwatchingtogetherwith thechildren is themomentumfordiscussingmanythingswiththeirchildren.Eachfamilychosedifferentprogramtype,butallpreferprogramswithentertainmentgenre.Thisfindingshownthattelevisioncanbefunctionedasanintegrationtoolforthefamily,themediathatcanintegratediscussionbetweentheolderandyoungergeneration.Thus,televisionprogramsmightalsobeuseforthefamiliestotransferfamilyvaluebydiscussingwhatisconsidersuitableandnotsuitableforthem.Watchingtogetherwiththefamilyisagoodstartforparentstotraintheir children to be ready for participate as a media literate audience that not onlypositionedasconsumerbutmoreasanactiveaudience.Asanactiveaudience,wewillbeabletoignoretheunderqualifytelevisionprogramsandmightalsopushtheindustrytoproduce,distributeandexhibitonlyhighqualityprogramstotheaudience.CONCLUSIONWitha limitedamountof informant,weconclude that in these families televisionstillplaysanimportantrole.Thisimportantroleleadparentstosettledregulationregardingtelevisionviewinghabit.Thisisagoodstart,thoughchildrenarenotcontributeonthesettlement of the regulation. In the future, more parents need to be aware of theirchildren’s contributionon settlingupa televisionviewing regulation.Letting childrencontributetodeveloptheregulation,meansthattheadultarepreparingtheirchildrentobetheactiveaudiencethatcanthinkcritical.Criticalthinkingisamusthaveskillforeverychildrentobeamedialiterateaudience.But it is important torememberthatparentsplayavery importantroleonpreparingtheirkidstobeamedialiterateaudience.Inourfindingwefoundthoughparentsalreadyrealizehowimportantregulationontelevisionviewinghabit,butthereisatendencythatparentsthemselvesarenotalwaystheonethatalreadyfullyreadytobecategorizeasactiveaudience.Thisfindingleadsustoaconclusionthatwhatisurgenttoexecuteisanintegratedmedialiteracyworkshopthatincludeparents,othercaregivers,andchildren

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as a future active audience. This workshop should includemulti-disciplinary experts(media production specialist, family psychologist, psycho-analysis therapist, teacher,etc)withexperientiallearningworkshopmethod.Sincemothersplayanimportantroleastheprimarycaregiver,werecommendtoconductaspecialinteractiveseminarorworkshopformothers.Thisactivitiescanbeperformina setting thatmost comfortable for themothers, such as arisan or religious services(pengajianorkebaktian).Thepurposeoftheactivitiestobeinsertedinaregularwomangathering events, because in some cases women are most comfortable when a newactivittconductedwithintheircircleoffriends.Werealizethelimitationofthisresearchisonthelimitedamountofinformantandtime.Weareplanningtoexpandthisresearchwithabiggerinformantorevenwithasurveyasadatacollection technique, somoredescriptionon televisionviewinghabitcanbeprovide.

REFERENCESBaran,Stanley.(2014).IntroductiontoMassCommunication;MediaLiteracyandCulture.

NewYork;McGrawHill.Drewes,A.AandSchaefer,C.E.(2010).School-BasedPlayTherapy.NewJersey;Wiley&

Sons,Inc.Silverblatt, Art. Smith, Andrew.Miller,Don. Smith, Julie. Brown,Nikole. (2014)Media

literacy:KeystoInterpretingMediaMessages.California,Praeger.

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