OBJEKTIVIKASI PEREMPUAN DAN MASKULINITAS HEGEMONIK DALAM LIRIK LAGU POP SUNDA RUNTAH DAN NENG ENOK

Abstract

Sundanese pop songs, such as those by Doel Sumbang, can serve as a medium for reflecting contemporary gender ideologies. This research examines the portrayal of women in the lyrics of the songs "Runtah" and "Neng Enok," which are widely consumed on social media platforms. The problem’s background stems from a contradiction between the idealized image of the graceful Sundanese woman and the deviant representations in pop culture, where women are often subjected to moral critique by male narratives. This study aims to deconstruct the mechanism of The Male Gaze that results in the objectification and stereotyping of women, and to analyze how this moral critique is utilized to reassert hegemonic masculinity. This research employs a qualitative descriptive method with a critical discourse analysis approach, using Sundanese-language lyrics as the corpus. The leading theory applied is The Male Gaze (Laura Mulvey), which identifies objectification and the punitive look, and is supported by hegemonic masculinity (R.W. Connell) to understand the male narrator's motives. The findings indicate a mechanism of double-shaming performed by The Male Gaze. First, the "Runtah" lyrics judge women's sexual agency by using dehumanizing diction (trash, devil) to invalidate the self-worth of women deemed promiscuous. Second, the "Neng Enok" lyrics judge women's economic agency by labeling them as materialistic for choosing partners based on wealth. Synthetically, this moral critique functions as a tool for the male narrator to resolve internal contradictions (between desire and honor) and reassert moral superiority (hegemonic masculinity), thus establishing himself as a moral gatekeeper who controls gender boundaries within Sundanese society.