Symbolic Interaction of Gromore Studio Series Followers as a Representation of the Existence of Oral Literature in Digital Media
DOI:
https://doi.org/10.55927/modern.v4i2.41Keywords:
Symbolic Interaction, Gromore Studio Series, Oral Literature, Cultural Digitization, NetnographyAbstract
Modernization and digital technology threaten the preservation of oral literature. This study analyzes the symbolic interaction of Gromore Studio Series followers in representing oral literature and social norms in digital media. This study uses qualitative netnography with a constructivism paradigm, collecting data through observation, comment analysis, and interviews. The results show that symbolic interaction occurs in three stages: the beginning of content publication, the transition to folklore, and the formation of identity. Culture is created by creators and audiences. Creators present entertainment based on folklore, digital participation, and appreciation of tradition. Audiences provide historical criticism, local sentiment, and fast consumption. The symbolic interaction of followers is divided into four: interaction with creators, emotional reactions, interaction between followers, and dissemination of information. Oral literature is represented through digitalization and dissemination via online platforms, social media, and digitalization for education and preservation
References
Adi, Baskoro (2009). Panduan Praktis Searching di Internet. Jakarta : Mediakita.
Amir, Adriyatti. 2013. Sastra Lisan Indonesia. Yogyakarta: Penerbit ANDI.
Ashforth, B. E., & Mael, F. (1989). Social Identity Theory and the Organization. Academy of Management Review, 14(1), 20–39.
Bascom, William R. 1965 a. Four Function of Folklore. The Study of Folklore (Alan Dundes, ed.) Englewood Cliff: NJ. Prentice Hall.Inc.
Baumeister, R. F., & Leary, M. R. (1995). The need to belong: Desire for interpersonal attachments as a fundamental human motivation. Psychological Bulletin, 117(3), 497–529. https://doi.org/10.1037/0033-2909.117.3.497
Bell, D. E. (1985). Disappointment in decision making under uncertainty. Operations Research, 33(1), 1-27.
Blumer, H. (1969). Symbolic Interactionism: Perspective and Method. University of California Press.
Bourdieu, Pierre. 1984. Distinction: A Social Critique of the Judgment of Taste. Translated by Richard Nice. Cambridge, MA: Harvard University Press.
Burgess, J., & Green, J. (2018). YouTube: Online Video and Participatory Culture. Polity Press.
Creswell, J. W. (2018). Research Design: Qualitative, Quantitative, and Mixed Methods Approaches. Thousand Oaks, CA: Sage Publications.
Danandjaja, James. 1986. Folklor Indonesia. Jakarta: Pustaka Grafiti Pers.
Danandjaja, James. (2002). Folklor Indonesia: Ilmu Gosip, Dongeng, dan Lain-lain. Jakarta: Pustaka Utama Grafiti.
Davis, M.H. (1994). Emphaty: A Social Psychological Approach. Westview Press.
Decety, J., & Jackson, P.L. (2004). “The Functional Architecture of Human Emphaty.” Behavioral and Cognitive Neuroscience Reviews, 3(2), 71-100.
Dundes, Alan. (1965). "The Study of Folklore." Prentice-Hall.Blumer, H. (1969). Symbolic Interactionism: Perspective and Method. University of California Press.
Fauziyah, N. (2024). Analisis Perbandingan Representasi Pesan Moral dalam Media Cerita Rakyat: Studi pada Channel YouTube Gromore Studio Series dan Riri Cerita Anak Interaktif. 6.
Field, S. (1979). The foundations of screenwriting. The Foundations of Screenwriting, 84, 487–492. http://ir.obihiro.ac.jp/dspace/handle/10322/3933
Geertz, C. (1973). INTERPRETATION OF Clifford Geertz. Basic Books.
Hall, S. (2013). Cultural Identity and Diaspora. XVIII(1), 1997.
Indriani, S. S., Puspitasari, L., & Rosfiantika, E. (2019). Analisis Interaksi Simbolik pada Konten Ofensif Iklan Grab #pilihaman. ProTVF, 3(1), 81. https://doi.org/10.24198/ptvf.v3i1.21245
Iskandar, T. P. (2022). Pola Komunikasi Orang Tua dan Anak Usia Dini dalam Pemanfaatan Youtube Channel selama Pandemik Covid-19. Maarif, 17(1), 140–153. https://doi.org/10.47651/mrf.v17i1.171
Lefebvre, H. (1974). The Production of Space. In Pierre Bourdieu: Key Concepts, Second Edition. https://doi.org/10.4324/9781315565125-7
McCloud, S. (1993). Understanding Comics: The Invisible Art. In The 100 Trillion Dollar Wealth Transfer (pp. 133–146). HarperCollins. https://doi.org/10.5040/9781399407663.0011
Pipit Muliyah, Dyah Aminatun, Sukma Septian Nasution, Tommy Hastomo, Setiana Sri Wahyuni Sitepu, T. (2020). Persepsi Penonton Terhadap Tayangan YouTube RJL 5. Journal GEEJ, 7(2).
Putra, G. H., & Pribadi, M. A. (2021). Peran Interaksi Simbolik Dalam Perencanaan Komunikasi Pemasaran ( Studi Kasus Strogen Indonesia ). Prologia, 5(2), 349. https://doi.org/10.24912/pr.v5i2.10210
Putra, R. S., Marpaung, Y. N. M., Pradhana, Y., & Rimbananto, M. R. (2021). Pesan Kesetaraan Penyandang Disabilitas Melalui Interaksi Simbolik Media Sosial. Interaksi: Jurnal Ilmu Komunikasi, 10(1), 1–11. https://doi.org/10.14710/interaksi.10.1.1-11
Rogers, A. (2004). Non-Formal Education: Flexible Schooling or Participatory Education? Springer.
Suryasuciramdhan, A., Haris, I. P., Agustina, L. F., & Al-bana, M. S. (2024). Analisis Isi Video Di Media Sosial Channel Youtube Kinderflix Dalam Kasus Pelecehan. 2(3).
Widyawati, M. (2024). Pola Penceritaan Kisah Asal-Usul Daerah Indonesia di Media Digital Youtube “ Gromore Studio Series .” 20(PIBSI XLVI). https://doi.org/10.30595/pssh.v20i.1391
Teeuw, A. 1994. Indonesia anatara kelisanan dan keberaksaraan. Jakarta : Pustaka Jaya.
Vansina, J. (1985). Oral Tradition as History. University of Wisconsin Press.




















