* Corresponding Author
Dari Pertunjukan Ke Media: Konvergensi Festival Musik Dalam Merespons Pandemi Covid-19
https://doi.org/10.22146/jmki.69696 Fakhri Zakaria(1*), Gustaf Wijaya(2)
(1) Magister Ilmu Komunikasi, Fakultas Ilmu Komunikasi, Universitas Padjadjaran
(2) Magister Media dan Komunikasi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Airlangga
(*) Corresponding Author
Abstract
The policy of physical and social restrictions as an action to prevent the spread of COVID-19 has forced the organization of music festivals to shift from conventional formats to virtual stages. However, this new format encountered several challenges, from infrastructure to social aspects. The practice of convergence, apart from being a form of adaptation, can also form a new social community that becomes social capital in the sustainability of the music festival, both economically and socially. This paper discusses the adaptation of music performance business actors through the convergence of music performance formats during the COVID-19 pandemic. The research method utilized is a case study. The object of research is Synchronize Fest and Tomorrowland. Both have strong and wide fans social capital. Both also have their unique way in carrying out digital convergence. Synchronize Radio and television broadcasted format is a form of convergence of musical performances carried out by the Synchronize Festival, as previously an annual multi-genre music festival on a national scale. Meanwhile, a multimedia-based website and community activation have become Tomorrowland's way of greeting its fans during the pandemic. This research is a portrait of how music festivals, as one of the sectors affected by the pandemic, are alive and stay connected to their fans.
Keywords
Full Text:
PDFReferences
Alexandro, R., Uda, T., Pane, L.L.(2020). Analisis Pengembangan Ekonomi Kreatif Kuliner Khas Suku Dayak Kalimantan Tengah. Jurnal Ilmiah Ilmu Sosial. Vol 6, No. 1, Juni 2020. pp. 11-25
Amit, A. M. L., Pepito, V. C. F., Gutierrez, B., & Rawson, T. (2021). Data Sharing in Southeast Asia During the First Wave of the COVID-19 Pandemic. Frontiers in Public Health, 9, 710. https://doi.org/10.3389/fpubh.2021.662842
Apriludy, A. (2021, July 15). Wawancara Arie Apriludy [Interview]. https://www.instagram.com/p/CRV_Z5hlG52/
Ariani, N. (2021). Enforcement of Law of Copyright Infringement and Forgery with the Rise of the Digital Music Industry. Jurnal Penelitian Hukum De Jure, 21(2), 223-236. doi:http://dx.doi.org/10.30641/dejure.2021.V21.223-236
Banerjee, D., & Rai, M. (2020). Social isolation in Covid-19: The impact of loneliness. International Journal of Social Psychiatry, 66(6), 525–527. https://doi.org/10.1177/0020764020922269
Baum, T., & Hai, N. T. T. (2020). Hospitality, tourism, human rights and the impact of COVID-19. International Journal of Contemporary Hospitality Management, 32(7), 2397–2407. https://doi.org/10.1108/IJCHM-03-2020-0242
Bettiga, D., Boaretto, A., & Chen, S. (2013). Exploring Media Convergence: Evidence from Italy. International Journal of Engineering Business Management, 5, 53. https://doi.org/10.5772/57330
Bracalente, B., Chirieleison, C., Cossignani, M., Ferrucci, L., Gigliotti, M., & Ranalli, M. G. (2011). The Economic Impact of Cultural Events: The Umbria Jazz Music Festival. Tourism Economics, 17(6), 1235–1255. https://doi.org/10.5367/te.2011.0096
Chaffey, D., & Smith, P. R. (n.d.). Digital Marketing Excellence. 691. Coiro, J., Knobel, M., Lankshear, C., & Leu, D. J. (Eds.). (2014). Converging Traditions of Research on Media and Information Literacies: Disciplinary, Critical, and Methodological Issues. In Handbook of Research on New Literacies (0 ed., pp. 121–150). Routledge. https://doi.org/10.4324/9781410618894-12
Creswell, J. W., & Creswell, J. D. (2018). Research design: Qualitative, quantitative, and mixed methods approaches (Fifth Edition). SAGE Publications, Inc; /z-wcorg/.
Cucinotta, D., & Vanelli, M. (2020). WHO Declares COVID-19 a Pandemic. Acta Bio-Medica : Atenei Parmensis, 91(1), 157–160. PubMed. https://doi.org/10.23750/abm.v91i1.9397
Curien, N., & Moreau, F. (2009). The Music Industry in the Digital Era: Toward New Contracts. Journal of Media Economics, 22(2), 102–113. https://doi.org/10.1080/08997760902900254
Danielsen, A., & Helseth, I. (2016). Mediated Immediacy: The Relationship between Auditory and Visual Dimensions of Live Performance in Contemporary Technology-Based Popular Music. Rock Music Studies, 3(1), 24–40. https://doi.org/10.1080/19401159.2015.1126986
Danielsen, A., & Kjus, Y. (2019). The mediated festival: Live music as trigger of streaming and social media engagement. Convergence: The International Journal of Research into New Media Technologies, 25(4), 714–734. https://doi.org/10.1177/1354856517721808
Deddy, M. (2003). Metode Penelitian Komunikasi. Bandung: PT Remaja Rosdakarya.
Djalante, R., Lassa, J., Setiamarga, D., Sudjatma, A., Indrawan, M., Haryanto, B., Mahfud, C., Sinapoy, M. S., Djalante, S., Rafliana, I., Gunawan, L. A., Surtiari, G. A. K., & Warsilah, H. (2020). Review and analysis of current responses to COVID-19 in Indonesia: Period of January to March 2020. Progress in Disaster Science, 6, 100091. https://doi.org/10.1016/j.pdisas.2020.100091
Drury, J., Rogers, M. B., Marteau, T. M., Yardley, L., Reicher, S., & Stott, C. (2021). Re-opening live events and large venues after Covid-19 ‘lockdown’: Behavioural risks and their mitigations. Safety Science, 139, 105243. https://doi.org/10.1016/j.ssci.2021.105243
Fraser, T., Crooke, A. H. D., & Davidson, J. W. (2021). “Music Has No Borders”: An Exploratory Study of Audience Engagement With YouTube Music Broadcasts During COVID-19 Lockdown, 2020. Frontiers in Psychology, 12, 2700. https://doi.org/10.3389/fpsyg.2021.643893
Frith, S. (2013). THE VALUE OF LIVE MUSIC. In D. Helms & T. Phleps (Eds.), Ware Inszenierungen (pp. 9–22). transcript Verlag. https://doi.org/10.14361/transcript.9783839422984.9
Gössling, S., Scott, D., & Hall, C. M. (2020). Pandemics, tourism and global change: a rapid assessment of COVID-19. Journal of Sustainable Tourism, 1–20. https://doi.org/10.1080/09669582.2020.1758708
Hartley, J. (2013). Case Study Research. In C. Cassell & G. Symon (Eds.), Essential Guide to Qualitative Methods in Organizational Research. SAGE Publications Ltd. https://doi.org/10.4135/9781446280119
Holt, F. (2010). The economy of live music in the digital age. European Journal of Cultural Studies, 13(2), 243–261. https://doi.org/10.1177/1367549409352277
Jansson, A. (2021). Beyond the platform: Music streaming as a site of logistical and symbolic struggle. New Media & Society. https://doi.org/10.1177/14614448211036356
Jeannotte, M. S. (2021). When the gigs are gone: Valuing arts, culture and media in the COVID-19 pandemic. Social Sciences, 7.
Jenkins, H. (2004). The Cultural Logic of Media Convergence. International Journal of Cultural Studies, 7(1), 33–43. https://doi.org/10.1177/1367877904040603
Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York University Press.
Karto, D. (2021, July 15). Wawancara David Karto [Interview]. https://www.instagram.com/p/CRV_Z5hlG52/
Kotler, P. (Ed.). (1999). Principles of marketing (2. european ed). Prentice Hall Europe.
Kotler, P., Kartajaya, H., & Setiawan, I. (n.d.). Marketing 3.0: From Products to Customers to the Human Spirit. 207.
Kotler, P., Kartajaya, H., & Setiawan, I. (2017). Marketing 4.0: Moving from traditional to digital. Wiley.
Ku, R. S. R. (2002). The Creative Destruction of Copyright: Napster and the New Economics of Digital Technology. The University of Chicago Law Review, 69(1), 263. https://doi.org/10.2307/1600355
Kusmarni, Y. (2012). Studi Kasus. UGM Jurnal Edu UGM Press.
Livingstone, S., & Helsper, E. (2007). Gradations in digital inclusion: Children, young people and the digital divide. New Media & Society, 9(4), 671–696. https://doi.org/10.1177/1461444807080335
McCarthy, E. J., & Perreault, W. D. (1993). Basic marketing: A global-managerial approach (11. ed., international student ed). Irwin.
McKinsey and Company. (2016). The beat of progress: The rise of music streaming in Asia. In The McKinsey Quarterly (Issue November 2016). https://www.mckinsey.com/~/media/mckinsey/industries/media and entertainment/our insights/digital musics asian beat/the-rise-of-music-streaming-in- asia.ashx
McLeese, D. (2021). Mayday Music: Response and Renewal Amid the Pandemic Lockdown. Rock Music Studies, 8(1), 7–25. https://doi.org/10.1080/19401159.2020.1852774
Mills, A. J., Durepos, G., & Wiebe, E. (2010). Encyclopedia of case study research. SAGE Publications; /z-wcorg/.
Morris, J. W. (2020). Music Platforms and the Optimization of Culture. Social Media + Society. https://doi.org/10.1177/2056305120940690
Mulyana, D. (2018). Metodologi Penelitian Kualitatif (9th ed.). Remaja Rosdakarya.
Neuman, W. L. (2018). Metodologi Penelitian Sosial: Pendekatan Kualitatif dan Kuantitatif. Indeks.
Nikjou, K. (2019, September 6). Is Tomorrowland World’s Best Music Festival? https://www.forbes.com/sites/kayvannikjou/2019/09/06/is-tomorrowland-worlds-best-music-festival/?sh=7044fb844a89
Onderdijk, K. E., Acar, F., & Van Dyck, E. (2021). Impact of Lockdown Measures on Joint Music Making: Playing Online and Physically Together. Frontiers in Psychology, 12, 642713. https://doi.org/10.3389/fpsyg.2021.642713
Onderdijk, K. E., Swarbrick, D., Van Kerrebroeck, B., Mantei, M., Vuoskoski, J. K., Maes, P.-J., & Leman, M. (2021). Livestream Experiments: The Role of COVID-19, Agency, Presence, and Social Context in Facilitating Social Connectedness. Frontiers in Psychology, 12, 647929. https://doi.org/10.3389/fpsyg.2021.647929
Osofsky, J. D., Osofsky, H. J., & Mamon, L. Y. (2020). Psychological and social impact of COVID-19. Psychological Trauma: Theory, Research, Practice, and Policy, 12(5), 468–469. https://doi.org/10.1037/tra0000656
Pavlik, J. V., McIntosh, Shawn. ,. (2019). Converging media: A new introduction to mass communication. /z-wcorg/.
Peil, C., & Sparviero, S. (2017). Media Convergence Meets Deconvergence. In S. Sparviero, C. Peil, & G. Balbi (Eds.), Media Convergence and Deconvergence (pp. 3–30). Springer International Publishing. https://doi.org/10.1007/978-3-319-51289-1_1
Rendell, J. (2020). Staying in, rocking out: Online live music portal shows during the coronavirus pandemic. Convergence, 1354856520976451. https://doi.org/10.1177/1354856520976451
Saladino, V., Algeri, D., & Auriemma, V. (2020). The Psychological and Social Impact of Covid-19: New Perspectives of Well-Being. Frontiers in Psychology, 11, 577684. https://doi.org/10.3389/fpsyg.2020.577684
Simon, J. P. (2019). New players in the music industry: Lifeboats or killer whales? the role of streaming platforms. Digital Policy, Regulation and Governance, 21(6), 525–549. https://doi.org/10.1108/DPRG-06-2019-0041
Simons, I. (2019). Events and online interaction: The construction of hybrid event communities. Leisure Studies, 38(2), 145–159. https://doi.org/10.1080/02614367.2018.1553994
Simpson, S., & Munro, J. (2006). Music Business: A musician’s guide to the Australian music industry. Omnibus Press.
Spilioti, T. (2017). Media convergence and publicness: Towards a modular and iterative approach to online research ethics. Applied Linguistics Review, 8(2–3), 191–212. https://doi.org/10.1515/applirev-2016-1035
Swarbrick, D., Bosnyak, D., Livingstone, S. R., Bansal, J., Marsh-Rollo, S., Woolhouse, M. H., & Trainor, L. J. (2019). How Live Music Moves Us: Head Movement Differences in Audiences to Live Versus Recorded Music. Frontiers in Psychology, 9, 2682. https://doi.org/10.3389/fpsyg.2018.02682
Swarbrick, D., Seibt, B., Grinspun, N., & Vuoskoski, J. K. (2021). Corona Concerts: The Effect of Virtual Concert Characteristics on Social Connection and Kama Muta. Frontiers in Psychology, 12, 1732. https://doi.org/10.3389/fpsyg.2021.648448
Todorova, G. (2015). Marketing communication mix. Trakia Journal of Science, 13(Suppl.1), 368–374. https://doi.org/10.15547/tjs.2015.s.01.063
Tomorrowland. (2021, June 23). OFFICIAL STATEMENT JUNE 23.
Warapsari, D. (2020). Crowdfunding sebagai Bentuk Budaya Partisipatif pada Era Konvergensi Media: Kampanye #BersamaLawanCorona (Kitabisa.com). Avant Garde, 8(1), 1. https://doi.org/10.36080/ag.v8i1.985
Wibisono, A. (2016). POTENSI PARIWISATA MUSIK SEBAGAI ALTERNATIF PARIWISATA BARU DI INDONESIA (CONTOH KASUS JAVA JAZZ). Universitas Gadjah Mada.
Wikstr, P. (n.d.). The Music Industry. 218.
Williams, C. C. (2021). Impacts of the coronavirus pandemic on Europe’s tourism industry: Addressing tourism enterprises and workers in the undeclared economy. International Journal of Tourism Research, 23(1), 79–88. https://doi.org/10.1002/jtr.2395
Williamson, J., & Cloonan, M. (2007). Rethinking the music industry. Popular Music, 26(2), 305–322. https://doi.org/10.1017/S0261143007001262
Winter, C. (2013). Media Development and Convergence in the Music Industry. In S. Diehl & M. Karmasin (Eds.), Media and Convergence Management (pp. 261–281). Springer Berlin Heidelberg. https://doi.org/10.1007/978-3-642-36163-0_18
Yin, R. K. (2018). Case study research and applications: Design and methods (Sixth edition). SAGE.
Yudelson, J. (1999). Adapting Mccarthy’s Four P’s for the Twenty-First Century. Journal of Marketing Education, 21(1), 60–67. https://doi.org/10.1177/0273475399211008
DOI: https://doi.org/10.22146/jmki.69696
Article Metrics
Abstract views : 4045
| 
views : 2044
Refbacks
- There are currently no refbacks.
Copyright (c) 2022 Jurnal Media dan Komunikasi Indonesia
| Jurnal Media dan Komunikasi Indonesia (Online ISSN 2721-396X) is published by the Department of Communication Science (DIKOM), Faculty of Social Science and Political Science (FISIPOL), Gadjah Mada University |