Erwin Purba.
Mauly Purba.
Vannesia.
Junita Batubara*.
Torang Naiborhu Symbolic Violence in Verbal and Visual Discourse of Virtual YouTuber Kanna Tamachi Ghina Zoraya Azhar.
Acep Iwan Saidi.
Tri Sulistyaningtyas.
Dana Waskita Institut Teknologi Bandung Jalan Ganesha 10.
Bandung 40132.
Indonesia E-mail: gzazhar@gmail.
Tlp.
ABSTRAK
Penelitian ini mengkaji penggunaan kekerasan simbolik pada wacana live streaming virtual youtuber (Vtube.
Kanna Tamachi, dengan menggunakan pendekatan kualitatif dan metode analisis wacana post-struktural.
Unsur-unsur yang dikaji adalah elemen kekerasan bahasa dari Vtuber, baik kekerasan visual maupun verbal, dalam relasinya dengan viewer serta konteks Penelitian ini menarik karena mengkaji kekerasan bahasa dari sudut pandang budaya Tujuan penelitian ini adalah untuk mendapatkan relasi antara penggunaan kekerasan simbolik dengan penerimaan viewer terhadap kekerasan.
Melalui metode analisis wacana poststruktural, secara spesifik akan dikaji unsur-unsur kebahasaan dari Vtuber dalam kaitannya dengan konten kekerasan bahasa.
Akan tetapi, kekerasan bahasa yang dimaksud ditempatkan di dalam konteks budaya lokal, dengan makna yang sesuai dengan nilai dan karakter budaya Berdasarkan hasil analisis, penggunaan kekerasan bahasa dalam konteks wacana budaya lokal Jawa Timur pada Vtuber tidak selalu bersifat negatif, dan destruktif.
Melainkan justru bersifat positif dan konstruktif dalam menimbulkan daya tarik penonton, meningkatkan nilai hiburan, meningkatkan keakraban dan kedekatan, dan bahkan memberikan nilai ekonomi sebagai sebuah komoditas, meskipun konten tersebut merupakan kekerasan simbolik.
Kata Kunci: kekerasan simbolik.
modal simbolik.
komodifikasi bahasa.
analisis wacana.
ABSTRACT
This study examines the usage of symbolic violence in the discourse of the livestream of an Indonesian virtual YouTuber .
Kanna Tamachi, using a qualitative approach and post-structural discourse analysis (DA) method.
The focus of this study is on textual elements of language violence used by the Vtuber and their relation to the viewer in their social context.
This study aims to examine the relations between the usage of symbolic violence and the viewerAos reception.
Through the DA method, the linguistic elements of the Vtuber are specifically studied in relation to the language violence content.
However, the violent language is studied in the context of local culture, the meanings of which are relevant to values, norms, and characteristics of the local culture.
The result of this study confirms that the language violence used by the Vtuber in the context of local culture in East Java is not always negative or destructive.
Instead, it provides positive and constructive value by attracting and entertaining viewers and giving them the senses of familiarity and closeness.
It also provides economic value to the Vtubers through their status as a commodity.
Keywords: symbolic violence.
symbolic modal.
language commodification.
discourse analysis.
Jurnal Panggung V35/N2/06/2025 Saxophone in the Toba Batak Traditional Wedding Ceremony in Medan: Harmony of Tradition and Modernity INTRODUCTION Communication in profanity depend on the context in which they are used.
In Javanese culture, profanity necessity for humans as inherently social is often incorporated into daily conversations.
Nevertheless, effective communication Such words are not solely employed for cannot occur in the absence of language.
cursing or conveying negative emotions but Language serves as a medium for articulating can also serve as a form of Aolinguistic playAo situations, circumstances, or realities to fulfil in interactions (Salsabilla & Arimi, 2.
communicative objectives (Hansen & Machin.
Moreover.
Holly Lopez and Sandra Kybler 2019, p.
Therefore, language has the .
5, p.
identified two distinct categories trait of AureflectionAy, which is when language of profanity.
is used at the right occasion according to the The first category consists of speech current situation or AucontextAy .
an Dijk, 1.
that is not intended to cause harm .
on- As a messenger medium, language is not only This type of language use can occur verbal .
ral, speec.
, but could also be visual in various contexts, including argumentative .
mages, visual text.
(Franzia.
Piliang, & discourse .
here it serves a critical functio.
Saidi, 2015, p.
meta-language .
here obscene terms are In communication, the interpretation of referenced to convey a respons.
, casual a message varies depending on the context.
here such expressions are used When communication occurs through signs or symbols, it is categorized as symbolic individuals or group.
, and irony .
here The reception of a message jokes, sarcasm or ironic remarks are employed can be either positive or negative, influenced without the intent to demea.
by factors such as its content, delivery, and The second category includes speech A message with negative content intended to cause harm .
This type may still be perceived positively if conveyed of language use can occur in the context of properly, and vice versa.
For instance, certain explicit violence, where it is used to insult, words that are typically considered foulAisuch attack, or demean others.
Additionally, it can as jancuk in JavaneseAimay carry a positive manifest in the form of implicit violence, in meaning when used in friendly interactions, which negative stereotypes or undesirable serving as an indicator of closeness between traits are linked to a particular group, often Messages can be utilized to foster targeting an individual's identity.
closeness between two parties (Hanggraito.
The media can incorporate elements of 2021, p.
The party who said such profane violence, as it serves as a form of discourse, expressions may be considered as a familiar and all discourse has the potential to contain person and has closeness with the other party symbolic violence.
(Recuero, 2015, p.
(Sriyanto & Fauzie, 2017, p.
this case, symbolic violence can be defined in From two ways.
First, profane words or images that meaning and perception of violent expressions are generally viewed as a form of violence.
Jurnal Panggung V35/N2/06/2025 Erwin Purba.
Mauly Purba.
Vannesia.
Junita Batubara*.
Torang Naiborhu In this context.
AoviolenceAo does not refer to sensational and controversial entertainment physical harm but rather to psychological or (Sukowati, 2017, p.
Through the process emotional distress.
This represents the core idea of symbolic violenceAilanguage that becomes a consumable product (Choiriyati & inflicts psychological harm.
Second, language Wiendijarti, 2.
that Aosubtly coercesAo individuals, which is Consumption not always viewed as a form of violence individuals' desire to acquire or experience because it can be unintentional or non-violent.
new objects (Petrenko, 2.
This desire is often This definition of symbolic violence can be linked to social class positioning.
Symbolic described as Aoviolence that is not realized violence can function as symbolic capital, as violenceAo.
(Hu & Wang, 2.
Due to the contributing to prestige and social status, and invisible nature of such violence, it is often distinguishing different social classes: the upper, middle, and lower classes.
Language reproduced within society (Thapar-Bjyrkert, also serves as a marker of class distinctions.
Samelius, & Sanghera, 2.
with variations such as upper-middle-class Violence can also manifest systematically, language and lower-class language reflecting posing a threat to social structures and order these social divisions (Vershinina & Rodgers, .
enders, exclusions, discriminatio.
(Koot & Veenenbos, 2.
This form of violence is Vtubers.
Virtual Youtubers, referred to as symbolic violence.
Symbolic influencers (Tan & Greene, 2.
who provide violence operates within discourse, exerting their audiences with entertainment through harmful and coercive effects in a subtle manner various contents, which may include symbolic (Recuero, 2015, p.
A Vtuber is a content creator who Language, beyond serving as a medium of represents themselves as a digital character communication, can also function as symbolic or avatar while engaging with their audience capital, taking the form of a commodity.
When either in real-time through live streaming or language becomes a commodity, it can be via recorded broadcasts (VOD).
Viewers of exchanged within various economic markets.
Vtuber live streams can actively participate Language commodification occurs in specific by posting comments on live chat features situations, such as foreign language studies available on platforms such as YouTube or within the frameworks of the Aueducation Twitch.
These platforms facilitate audience marketAy.
Autourism marketAy, or Aujob marketAy interaction and engagement by allowing (Holborow, 2018.
Stainton, 2.
Just as viewers to respond to the content in real time language, in general, can be commodified, (Yu.
Gong, & Zhang, 2.
so too can the language containing symbolic viewers can also serve as live reactions toward violence (Fitchett.
Lindberg, & Martin, 2021, p.
the VtuberAos actions during the broadcast.
Although symbolic violence is inherently a form of violence, its content can generate Jurnal Panggung V35/N2/06/2025 Comments of Previous research suggests that language Saxophone in the Toba Batak Traditional Wedding Ceremony in Medan: Harmony of Tradition and Modernity violence can foster a sense of closeness and In this broadcast.
Tamachi repeatedly uses familiarity among individuals (Hanggraito, obscene Javanese words such as jancuk and Sriyanto & Fauzie, 2.
However, matamu .
iterally "your eyes"), along with such content is still perceived as symbolic visual elements displayed on the streaming violence when used to express hatred and screen, such as blood splatters or depictions resentment, depending on the context.
The of deceased characters.
While these linguistic media contributes to the normalization of and visual elements may be considered symbolic violence (Recuero, 2015, p.
, as it ethically inappropriate by the general public is often believed to generate sensation and due to their violent nature, they appear to controversy, drawing audiences into the enhance the broadcastAos appeal to viewers.
experience (Sukowati, 2017, p.
Language This phenomenon is particularly compelling and visual elements featuring symbolic for analysis, especially regarding the role of violence can thus become commodities for symbolic violence in Vtuber streaming, where content creators and consumer goods for the it serves as capital that allows Vtubers to public (Fitchett et al.
, 2021, p.
Holborow, generate economic benefits through language 2018, p.
For some influencers, the use of commodification within a specific socio- symbolic violence in language can enhance cultural context.
their influence.
For others, it may have the METHOD opposite effect (Tan & Greene, 2.
These studies illustrate how language This study utilizes both primary .
erbal and visua.
and secondary .
eb-base.
data violence can influence audiences, how the The analysis is conducted using the media incorporates symbolic violence, how post-structural discourse method.
Figure 1 il- sensational and controversial content attracts lustrates the three levels of data analysis ap- viewers, and how symbolic violence can be plied in this study.
However, no existing research Based on the above schematics, analysis has specifically examined how language and applied in this study is conducted according visual content featuring symbolic violence is to three levels of discourse analysis:
transformed into a commodity within Vtuber The first level of analysis focuses on both textual and visual elements, as well as their influencing its use.
This study aims to analyze Text analysis examines the use how Vtubers commodify symbolic violence of language within discourse to identify as- for their audiences, how it serves as capital pects of symbolic violence.
Meanwhile, image to attract viewership, and how it is shaped analysis explores the use of visual elements within a socio-cultural context.
that depict violence within the context of the This study focuses on the use of relationship between Vtubers and their view- symbolic violent discourse in one of the live At this level, the study also analyzes the streaming broadcasts of Kanna Tamachi.
connections between words within the text.
Jurnal Panggung V35/N2/06/2025 Erwin Purba.
Mauly Purba.
Vannesia.
Junita Batubara*.
Torang Naiborhu In discourse analysis, enunciation is a crucial element that must be examined.
This study identifies two key speaker positions:
the enunciator, who is the Vtuber, and .
the co-enunciator, who is either a viewer or a fellow VTuber (Angermyller.
Maingueneau, & Wodak, 2014, p.
The interaction between the enunciator and the co-enunciator occurs within three communicative roles:
interlocutors, speakers, and addressees.
Speakers are those actively engaged in Figure 1.
Data Analysis model of Discourse Analysis (Source: author documentatio.
conversation during the live stream, including the Vtuber and participating viewers.
The addressees are those who receive and interpret the discourse.
Collectively, speakers and relationships between images, and the relation between textual and visual components.
The second level of analysis examines discourse relations, focusing on the linguistic connections between speakers within the discourse, particularly between the Vtuber and other Vtubers, both verbally and visually.
Verbal relation analysis explores how linguistic choices reflect the dynamics of symbolic violence among the involved actors.
Meanwhile, visual relation analysis delves into how violent imagery is AuaddressedAy towards certain The third level of analysis focuses on the socio-cultural context of symbolic violence, particularly within socio-economic structures, symbolic levels, and the commodification of culture in digital discourse.
The socio-cultural context refers to the actual conditions in which texts and images are presented, aligning with the perspectives of Glynos and van Dijk on cotext and context.
Jurnal Panggung V35/N2/06/2025 addressees are referred to as interlocutors.
Additionally, a third element mediates the themAithe discussion (Angermyller et al.
, 2014, p.
For instance, if a Vtuber discusses the depiction of blood in a game with their audience, the Vtuber and the viewers serve as interlocutors, while the blood imagery functions as the topic that connects them in discourse.
The speech consists of text, which forms an essential part of discourse.
In the analysis of symbolic violence, context is a crucial factor.
Context refers to the specific social situations and conditions surrounding communication, such as whether a Vtuber engages in a friendly interaction or adopts a more aggressive and confrontational tone.
Viewers, as addressees, interpret this context based on their own perspectives and prior experiences (Angermyller et al.
, 2014, p.
Discourse analysis that emphasizes the context of discourse is a key characteristic of the post-structural discourse analysis Saxophone in the Toba Batak Traditional Wedding Ceremony in Medan: Harmony of Tradition and Modernity In this perspective, the meaning of discourse takes place, rather than relying on a text or image is not strictly determined by fixed social conventions.
In structuralism, a codes such as agreements or social conventions text or image refers to a general, predefined but is shaped by the context in which the text or image appears.
In other words, meaning structuralism, meaning is derived from a is derived from the enunciation situation.
specific reference .
within a particular Similarly, the interpretation of an image is context (Silverstein, 2.
For instance, in a influenced by both its surrounding conditions structuralist view, the word blood generally and its internal elements.
This view aligns with refers to the bodily fluid.
However, from a the idea that meaning is constructed within a post-structuralist perspective, blood can take social context .
an Dijk, 1.
This contrasts on a different meaning depending on the with structural discourse analysis, which context, such as "blood that appears on the interprets textual meaning as denotative or screen" in a Vtuber's live stream, where it literalAibased on dictionary definitions or becomes a symbol within a specific discourse.
grammatical conventions (Silverstein, 2.
For instance, the word AoanjingAo .
has a literal meaning as an animal, but its interpretation RESULTS AND DISCUSSIONS changes depending on the context in which it LanguageAiwhether is used.
In certain social situations, the word or visualAiplays a fundamental role in may carry a violent or offensive connotation, communication and social interaction.
Van whereas in a friendly environment, it might Dijk .
8, p.
explains that language take on a different, more casual meaning.
Thus, serves various functions, including achieving meaning is not fixed but is entirely dependent goals, effecting change, reinforcing ideas, on context.
acquiring knowledge, articulating thoughts.
In the post-structural discourse approach.
The context plays a central role in shaping meaning.
This perspective suggests that meaning in of information within a linguistic context.
discourse is not only interpreted denotatively Without language, information cannot be but also connotatively, depending on the effectively conveyed, as each word carries specific social situations and conditions in specific meanings and values that represent which the discourse occurs (Silverstein, 2014.
Context, in this sense, refers to the Language acts as a medium through which actual social conditions and interactions that information is transmitted, facilitating an uniquely shape discourse .
an Dijk, 1.
exchange known as discourse.
Through this Unlike the structuralist approach, which views process, meaning and values are shared, meaning as determined by agreed-upon social establishing a discourse relationship among codes, the post-structuralist approach argues In this sense, discourse is a form that meaning is specific to the context in which of social practice .
an Dijk, 1998, p.
Reality (Hansen & Machin, 2019, p.
Jurnal Panggung V35/N2/06/2025 Erwin Purba.
Mauly Purba.
Vannesia.
Junita Batubara*.
Torang Naiborhu is constructed and represented through to be integrated into Aocultural productsAo with discourse in written, oral, and visual forms, economic value (Pret.
Shaw, & Drakopoulou and its meaning is shaped by how the audience Dodd, 2.
This economic value is influenced interprets it .
an Dijk, 1.
by the amount of capital individuals or groups As a means of communication, language possess and their positions in various fields can serve as peaceful purposes, but it can .
ocial, academic, cultura.
(Roumbanis, 2.
also be used to inflict harm .
ek, 2008, p.
iek categorizes violence into two main However, violence may be perceived types: subjective violence and objective violence.
differentlyAiwhile some forms of violence Subjective violence refers to acts committed by are explicitly recognized, others are not.
The specific individuals or groups, such as criminals latter, which is "not perceived as violence," or terrorists.
Objective violence, on the other is what Bourdieu defines as symbolic violence.
hand, is divided into two subcategories:
This concept, introduced by Bourdieu and symbolic violence and systemic violence.
Unlike further explored by other scholars, refers to Bourdieu, who defines symbolic violence as a form of unconscious violence that is not a form of unconscious coercion that is not necessarily acknowledged as such by those always recognized as violence, iek argues who experience it (Thapar-Bjyrkert et al.
that symbolic violence arises from language or For instance, symbolic violence can symbols themselves.
Even if a message does arise from class distinctions, where one social not explicitly convey violence, if the symbol class exerts dominance over another without used contains violent elements, it is still being fully aware of this power imbalance.
considered symbolic violence.
This perspective Examples include the government-activists highlights the inherent power of symbols and or Vtubers-viewers relationships (Martin, language in shaping perceptions of violence.
Ferguson.
Hoek, & Hinder, 2.
Because Additionally, iek introduces the concept symbolic violence operates subtly, it may not of systemic violence, which refers to the harm be recognized as coercion, even if it contains that emerges as a result of social, political, elements of domination.
A historical example or economic systems.
This type of violence is the New Order era in Indonesia, during is embedded within institutional structures which President Suharto urged citizens .
uch as the system of government, economy, to "tighten their belts" due to economic and politic.
and is often normalized, making difficultiesAidespite the fact that the burden it less visible but no less harmful .
ek, 2008, should have been placed on state officials and This kind of "subtle coercion" Symbolic exemplifies how symbolic violence is often various forms, including symbols, images, accepted as a norm rather than recognized and behaviors.
It has the power to shape or as a form of oppression.
The interpretation impose a specific symbolic field, influencing of symbolic violence varies depending on the social and cultural context, which allows it According to iek .
ek, 2008, p.
Jurnal Panggung V35/N2/06/2025 Saxophone in the Toba Batak Traditional Wedding Ceremony in Medan: Harmony of Tradition and Modernity .
, language in symbolic violence serves as which contribute to social recognition and a medium for confrontation and aggression, prestige (Zhuang & Jiang, 2.
This form reinforcing power dynamics through its usage.
of capital plays a crucial role in establishing Violence, including symbolic violence, exists on a spectrum.
At one end, there is a social groups, including ethnicities, genders, "normal" standardAisituations that are not and social classes, often based on cultural perceived as violent.
At the other extreme, from being socially recognized as a marker violence .
ek, 2008, p.
This gradation of prestige and appreciation.
It encompasses suggests that symbolic violence is not always features such as appearance, traits, and habits, immediately identifiable as harm but can which distinguish individuals or groups escalate depending on context, interpretation, from others (Korkeila & Hamari, 2.
and the social or cultural frameworks in which These distinguishing characteristics create it operates.
social hierarchies, reinforcing identity and Symbolic violence is deeply intertwined with the emotional responses we experience Symbolic capital gains its power differentiation within a given cultural or social on a psychological level.
These emotional Cultural capital is often overlooked as surges act as impulses that drive actions, a form of AocapitalAo because it is less visible whether positive or negative.
Language plays compared to economic capital, which is tied a crucial role in shaping and expressing these to material and financial assets.
However, emotional outputs.
In particular, emotions it is rooted in symbolic capital which is such as hatred, anger, frustration, and despair based on recognition and social appreciation are more easily articulated and understood (Ihlen, 2.
Cultural capital exists in three through language.
While emotions manifest distinct forms: Embodied.
Objectified, and in many forms, violence often becomes the Institutionalized default mode of expression because it is a Brooks, & Rivkin, 2.
(Philip.
Newman.
Bifelt, more immediate and impactful response Symbolic capitalAiwhether economic, compared to peaceful alternatives (Glynos cultural, or linguisticAican generate benefits, & Howarth, 2007, p.
This explains why making it a valuable commodity.
Commodities symbolic violence is so prevalent, not only take various forms, including language, in media but also in everyday interactions, material culture, personal aspirations, large where aggressive or confrontational language institutions, and abstract concepts, all of is frequently used to communicate strong which are shaped by specific social contexts (Skotnicki.
Symbolic capital refers to value derived (Drewski.
Gerhards, & Hans, 2018, p.
, such as appearance, behavior, and cultural traits.
This commodities within culture, transforming them into symbols of status, identity, and social belonging.
Commodities gain value when they are Jurnal Panggung V35/N2/06/2025 Erwin Purba.
Mauly Purba.
Vannesia.
Junita Batubara*.
Torang Naiborhu exchanged in the market, benefiting those Vtuber.
The streaming screen features content who trade them (Skotnicki, 2024, p.
perceived as containing symbolic violence, maximize profit, commodities must attract both in language and visuals.
The first instance consumer attention.
Sensational contentAi of symbolic violence in visual form occurs such as violence or sexualityAioften holds when the screen depicts an accident involving the main characterAos pet dog.
The context nature (Nurwani & Martozet, 2022.
Sukowati, of this event is that the game prompts the 2017, p.
The meaning and exchange of Vtuber to throw a stone into the street, leading commodities are shaped by social conditions, the pet dog to chase after it.
The dramatic including status and hierarchy, such as race turn of events unfolds as a truck suddenly and gender (Skotnicki, 2024, p.
appears at high speed, followed by the sound The analysis in this article focuses on a of a collision and the screen fading to black.
specific live streaming broadcast by Vtuber When the display returns, both the truck and Kanna Tamachi, which aired in February 2021 the dog are gone, leaving only a red puddle on YouTube.
Kanna Tamachi was selected as resembling blood on the road.
The Vtuber and the subject of study due to the complexity and viewers react with shock and hysteria, with interrelation of verbal and visual elements in the Vtuber yelling and the chat filling with her content.
This stream will be examined using intense comments from the audience.
discourse analysis, specifically examining Initially, when the screen fades to symbolic violence present in dialogues and black, viewers express fear and surprise images exchanged between Vtubers, as well with comments like "huaa," Aukak saya takutAy as the role of viewers in the discourse.
The [AuI was scaredA.
, and "kagetAy [Auwas shockedA.
analysis will explore symbolic violence within However, when the screen returnsAirevealing the discourse by observing its context.
KannaAos character alongside the bloody pathAi The analytical process follows these the tone shifts.
Some viewers laugh at KannaAos steps: First, segments of dialogue, including hysterical reaction, leaving comments such as content and speech .
between Auulang aku kedip tadiAy [Aurepeat please I blinkedA.
, the involved parties, are displayed.
Second, "wkwk," and AuLucu banget gilaAy ["It was soo funny"].
Others engage in dark humor or violence are identified.
Third, discourse is violent expressions, with remarks like Aukaget examined in relation to the complete sentence, anj-!!Ay [AuI was shocked fu-!!A.
or "die doggo.
known as co-text (Angermyller et al.
, 2014, p.
The Fourth, words, sentences, and visuals are explicit representation of violence, evoking analyzed in relation to the discourseAos context, psychological reactions such as fear, horror, including the digital media environment and and hysteriaAievidenced by both the Vtuber's situational factors.
and viewers' responses.
This kind of situation what Baudrillard described as seduction.
Vtuber presents a game to viewers and other which suggests that such imagery creates a During Jurnal Panggung V35/N2/06/2025 Saxophone in the Toba Batak Traditional Wedding Ceremony in Medan: Harmony of Tradition and Modernity paradoxical experience: it provokes a sense of hatred, yet simultaneously fascinates and In the game, fear takes on an ironic role, as the VtuberAos fear becomes a source of entertainment for the audience (Baudrillard, 1990, p.
The viewers find comfort in this fear, as evidenced by their reactions when the gameAos screen showed a bloodstained path.
They laughed at the VtuberAos response and even made jokes about the symbolic violence.
For them, symbolic violence is framed within an entertainment context.
This aligns with the principle of symbolic violenceAiviolence that is either unconscious or accepted as such due to a shift in context.
In this scenario, both the Figure 2.
Vtuber's reaction to the visual appearance of symbolic violence in the form of a collision.
(Source: Kanna Tamachi Ch.
, 2.
symbolic violence and the VtuberAos reaction to it are transformed into commodities for the audience.
Viewers consume both the viewers react with laughter and playful violent imagery and the VtuberAos fearful comments such as Aularinya salah oIAy ["she response as entertainment.
This results in a ran the wrong way"].
AuSUARA TITAN commodity exchange, where the Vtuber offers BARU GESSAy [AuTHE NEW VOICE OF TITAN their performance as a commodity, while the GUYSS"], and Aumalah didekatin Ay ["she just audience reciprocates through recognition, approached it "].
Even after the screen either in the form of donations or comments transitions back to the regular game display, (Chapman.
Chua, & Fiedler, 2021.
Skotnicki, one viewer makes a donation to Kanna.
This screen display strongly emphasizes The second visual element that conveys intensity, as the blood splashes appear symbolic intensity is the streaming screen increasingly massive.
The blood is rendered display, which shows a splash of blood against vividly, seemingly splattering toward the a black background.
This occurs when Kanna's player's face, almost covering the entire game character is captured by a black shadow.
As the Areas not entirely filled with red are blood appears on the screen.
Kanna turns his illuminated by a maroon hue, enhancing face to the right, moving away from the screen, the brightness of the red and amplifying the and exclaims, "ah MATi .
overall visual impact.
This effect creates a HAHAHA.
" In response.
Raska remarks.
Auya sense .
of challenge and excitement jangan lurus kesono! HahaAy ["Then just donAot for both the VTuber and viewers (Baudrillard, go straight over there! Haha"].
Meanwhile.
The symbolic depiction of violence is Jurnal Panggung V35/N2/06/2025 Erwin Purba.
Mauly Purba.
Vannesia.
Junita Batubara*.
Torang Naiborhu further reinforced by the presence of black creatures capturing the player, the blood splatter, and the "game over" sign indicating the characterAos death.
Violence in this game carries an element of irony, where the intended meaning differs from the apparent one.
This irony is evident in the VTuberAos reactionAiinitially displaying fear and shock but eventually laughing, even Figure 3.
Vtuber's reaction to the visual appearance of symbolic violence in the form of blood splatter.
(Source: Kanna Tamachi Ch.
, 2.
if out of fear.
Amused by this reaction, viewers respond with laughter and jokes.
KannaAos fear becomes a form of entertainment, turning into This intense language appears during a commodity for the audience.
In response, gameplay, particularly while playing a horror some viewers make donations, effectively exchanging money for the symbolic portrayal After the VTuber spoke these words, of violence.
The combination of intense visual viewers reacted with comments such as "wow elements and the VTuberAos reaction creates a f word" and "she said the word.
" Some even compelling spectacle that captures viewersAo requested that a clipper .
omeone who creates attention, leading to a transactional exchange snippets from stream.
include the moment in (Skotnicki, 2024, p.
a clip, as seen in the comment "CLIP IT!" In In addition to visual content, live-stream Western culture, the words "fuck" and "shit" broadcasts also feature language that conveys embody symbolic violence, as they inherently symbolic violence.
Seven dialogues from the carry aggressive connotations .
ek, 2008, streaming broadcasts are analyzed in relation However, in this context, these words to their connection with symbolic violent lan- function as expressions of fear and despair The first dialogue comes from the Vtuber while streaming alone:
AuGa ada [ThereAos nothin.
I don't have any Aku ga punya [I donAot have i.
have nothing! Like fuck this shit!Ay In this dialogue, the words "fuck" and "shit" carry symbolic violent content.
The VTuber uses these words as an emotional expression of despair and fear, conveyed through language (Glynos & Howarth, 2007.
Jurnal Panggung V35/N2/06/2025 Although the words are addressed to the audience, their reaction is one of excitement and amusement.
Viewers perceive the use of such symbolic language as a commodity that offers a sense of thrill and intrigue, compelling them to continue engaging with the content despite its violent symbolism (Baudrillard.
Sukowati, 2.
The second dialogue occurs between two VTubers.
Kanna and Raska, when Kanna, feeling afraid to play alone, asks Raska to join the stream:
Saxophone in the Toba Batak Traditional Wedding Ceremony in Medan: Harmony of Tradition and Modernity Kanna: Gue ikutin aja deh kata lo.
Dosamu ntar di akhirat anjing ntar urusannya.
Raska: Kampret [Kanna: AuIAoll just do what you say.
Your sins will be your problem in the AodogAo afterlife.
Ay Raska: AuDamn itA.
Kanna and Raska: [Laughte.
In this exchange, the words anjing .
and kampret .
contain elements of symbolic The word anjing has two meanings:
first, it is commonly used as a curse word to express anger or annoyance.
second, it can function as a joke, which is evident from Kanna and RaskaAos laughter.
Additionally, anjing serves as a signifier for KannaAos VTuber avatar, which represents a dog or wolf.
Viewers found the dialogue amusing, as shown by a comment referencing the akhirat .
"akherat .
g awkkaowka.
", although it contains symbolic violence.
Raska responds to KannaAos statement with kampret, a word that, according to the Kamus Besar Bahasa Indonesia (KBBI), refers to a small, insect-eating bat.
However, in spoken language, kampret can convey two meanings: as a joking expression of familiarity or as an insult expressing frustration (Lopez & Kybler, 2025.
Salsabilla & Arimi, 2.
In this dialogue, both anjing and kampret function as markers of camaraderie while also carrying an ambiguous undertone of symbolic violence.
The third dialogue takes place while Kanna is being chased by a black shadow in the game.
At that moment.
Raska offers encouragement while urging Kanna to keep moving forward:
Raska: Kebut aja.
Kanna: Iya, iya! Udah kebut jancok! [Raska: Hurry up.
Kanna: Ok, ok! ItAos already the fastest I can you fool!] In this exchange, the word jancok contains elements of symbolic violence.
Commonly used as a curse or an expression of frustration, jancok can also serve as a term of familiarity among close friends .
alam Sriyanto & Fauzie, 2017, hlm.
Here, the word carries three meanings: an expression of fear, a curse, and a marker of camaraderie between the two VTubers.
The symbolic violent content arises in the context of KannaAos fear while being pursued by the black shadow.
The curse is directed both at the shadow and at Raska as a reaction to his encouragement.
In this instance, jancok conveys both KannaAos fear of the shadow and his frustration with Raska for urging him to speed up.
The fourth dialogue occurs when Kanna, feeling scared due to an in-game situation, reacts to Raska, who intentionally tries to frighten her:
Kanna: Guys, guys.
Ini teman bangsat kayak gini guys.
Raska: Hahaha, kampret.
Jelek, buru-buru.
[Kanna: AuGuys, guys.
This is the kind of jerk friend IAom talking about!Ay Raska: AuHahaha, beat it.
Hurry up, uglyA.
In this exchange, the words bangsat, kampret, and jelek contain elements of symbolic Kanna addresses the viewers ("Guys, guys") before using bangsat to refer to Raska.
According to the online KBBI, bangsat means an "evil person.
" Here, the word carries two meanings: first, as an acknowledgment of Jurnal Panggung V35/N2/06/2025 Erwin Purba.
Mauly Purba.
Vannesia.
Junita Batubara*.
Torang Naiborhu This reinterpretation distorts the original bangsatAitypically with symbolic violenceAitransforming it into something appreciated by the audience.
a result, the word becomes normalized and even enjoyed by viewers (Recuero, 2.
Figure 4.
Kanna said the word AubangsatAy.
(Source: Katsui Riku Ch.
, 2.
The fifth dialogue takes place when Kanna expresses her feelings about the live stream to Raska:
RaskaAos mischievous intent, and second, as a joking expression to establish familiarity between Raska and the viewers (Hanggraito.
This occurs in the context of Kanna feeling scared while Raska exacerbates his Raska: AuNanti minggu depan sekali lagi tuh lanjutin ke Part TwoAy Kanna: hahA PART TWO!? MATA-MU!Ay [Raska: AuJust do it once more next week, continue to the Part TwoAy Kanna: AuHuhA.
PART TWO!? IN AoYOUR EYESAo!A.
fear, prompting Kanna to jokingly call him In this exchange, the phrase mata-mu teman bangsat to the audience.
Raska responds .
iterally "your eyes") contains symbolic with laughter, followed by kampret and jelek In Javanese, mata-mu is considered a as a reaction to KannaAos symbolic violent swear word, typically used to curse or attack Their shared laughter reinforces the the eyes of the other person (Salsabilla & Arimi, idea that symbolic violence in this exchange However, its usage does not always serves as a sign of camaraderie rather than carry a negative connotation.
Depending on the context, mata-mu can express irony.
In this dialogue, viewers also react to sarcasm, or humor (Lopez & Kybler, 2.
KannaAos speech with comments such as "b this instance, the phrase holds two meanings.
word," "keluarin semua kata2 mutiara" [Auget all First, it functions as a curse directed at Raska, those wise words out!A.
, and "wkwkwk" [AulmaoA.
implying frustration over his suggestion to These responses indicate that the audience continue the game despite KannaAos fear.
The perceives KannaAos use of symbolic violent expression conveys KannaAos disbelief, as language as a form of entertainment, leading if accusing Raska of being oblivious to her them to laugh.
Some even describe it as "kata mutiara" .
ise word.
Second, mata-mu is also used as a playful According to the online KBBI, kata response to a joke.
Raska jokingly suggests means "speech," while mutiara refers to that Kanna should do another horror stream, pearls, symbolizing something valuable.
prompting Kanna to retaliate with symbolic this context, the phrase kata mutiara is used violent language in a humorous manner.
humorously to refer to KannaAos use of bangsat.
After Kanna says mata-mu, both VTubers Jurnal Panggung V35/N2/06/2025 Saxophone in the Toba Batak Traditional Wedding Ceremony in Medan: Harmony of Tradition and Modernity laugh, reinforcing the comedic nature of the exchange.
The symbolic violence in this context arises from KannaAos mixed feelingsAi being both scared and amused by the stream.
RaskaAos joke implies that Kanna enjoyed the experience and should continue with a second part.
Following this exchange, viewers respond in the live chat with comments Figure 5.
Super Chat from a Kanna Tamachi viewer.
(Source: Kanna Tamachi Ch.
, 2.
such as "M WORD ACQUIRED" and "your eyes wkwk.
" These reactions suggest that the audience was anticipating KannaAos use of matamu and felt entertained when she finally said The phrase creates a sense of excitement, delivering a moment that viewers had been waiting for (Sukowati, 2.
In this sixth dialogue.
Kanna reacts when their in-game character dies after being attacked by a black shadow:
AuBALIKNYA JAUH AMAT! BANGSAT! BALIKNYA JAUH BANGET BANGSAT! Hahay [AuTHE BACKTRACKING IS TOO FAR! BASTARD! THE BACKTRACKING IS TOO FREAKING FAR! Haha.
Here, the word bangsat contains symbolic Unlike its usage in the fourth dialogue, where it was directed at another person, in this instance, bangsat expresses frustration and disappointment over having to restart the game (Glynos & Howarth, 2.
The intensity of KannaAos emotions is evident in the repeated use of the word and the loud KannaAos irritation, while for the audience, this emotional outburst becomes a form of (Fitchett et al.
, 2.
Viewers respond with comments such as "sungguh nikmat B word-nya" [Authe B-word was chefAos kissA.
, "B WORD AHAHAHAHAHAH," and "B-Word!!! .
eaning " The use of nikmat "pleasurable" "enjoyable") suggests that viewers find KannaAos outburst Their by AHAHAHAH and emojis, further indicates that symbolic violent language is being transformed into an amusing spectacle, turning KannaAos frustration into a consumable entertainment commodity.
In this seventh dialogue.
Kanna responds to a Super Chat .
paid feature that highlights a viewerAos messag.
(Guarriello, 2.
The English translation of the above Superchat is as follows: Au1 Hour and 27 Minutes: Shocked by flashlight.
Kanna Comedian.
Ears Ringing.
Pause Game.
LetAos continue the game cs .
ext game: FNAF) shouting, followed by a sad or ironic laugh.
The repetition emphasizes KannaAos annoyance Kanna then replies:
and despair, as they direct their frustration toward two co-enunciators, namely both the AuGua bukan mau bercanda, gua emang goblokAy game and the viewers (Angermyller et al.
[AuI was not joking.
I am indeed stupidA.
Toward the game, bangsat conveys Jurnal Panggung V35/N2/06/2025 Erwin Purba.
Mauly Purba.
Vannesia.
Junita Batubara*.
Torang Naiborhu The word goblok .
eaning "stupid" or "foolish") is the symbolic violent expression in this dialogue.
However, it is directed at Kanna herself rather than at someone else.
The phrase is ironicAiwhile Kanna insists she is not joking, the self-deprecating use of goblok turns it into humor.
Viewers also perceive it as a joke, reinforcing the idea that symbolic violence in this context serves as entertainment.
This is evident in their responses, such as "Kanna pelawak alami" ["Kanna is a natural comedian"] and "Kanna comedian bukan idol bener wkwkwkwk" ["Kanna is a comedian, not an idol lmao"].
The audienceAos reaction shows that symbolic violent language is something Figure 6.
Viewers respond to a symbolic violence (Source: Kanna Tamachi Ch.
, 2.
they expect and enjoy from Kanna (Recuero.
Their response also reflects a sense of closeness between these two interlocutors.
live stream and reinforce the sense of closeness Kanna and the viewers (Hanggraito, 2.
between the Vtuber and the audience (Sriyanto Additionally, this use of symbolic violence & Fauzie, 2.
Viewers do not perceive these contributes to KannaAos symbolic capital, as words as actual violence, as they are spoken in it becomes a defining characteristic of her an entertaining context (Lopez & Kybler, 2025.
The fact that a viewer donated via Thapar-Bjyrkert et al.
, 2.
However, from a Super Chat further reinforces how symbolic semiotic perspective, these words still qualify violence can function as both symbolic capital as symbolic violence due to their inherently and a commodity, as it monetizes audience violent connotations .
ek, 2.
Ultimately, engagement and attention (Guarriello, 2.
such language serves as symbolic capital for Throughout the vtuber Kanna TamachiAos Kanna Tamachi and functions as a sought- broadcast, the audience's reactions to sym- after commodity for viewers (Fitchett et al.
bolic violent speech varied depending on the specific words used.
However, the most prominent response was a lively and enthusiastic CONCLUSION The above viewersAo response suggesting Based on the analysis of symbolic that they enjoy hearing Vtubers use words violence in the visual elements and dialogue associated with symbolic violence, often anticipating them eagerly.
For them, these several conclusions can be drawn.
Generally, words enhance the entertainment value of the Jurnal Panggung V35/N2/06/2025 Kanna TamachiAos Vtuber Saxophone in the Toba Batak Traditional Wedding Ceremony in Medan: Harmony of Tradition and Modernity ridicule, and emotional outbursts.
However, it is not always perceived as destructive.
rather, it can be constructive by providing Baudrillard.
Seduction.
New York: St.
MartinAos Pr.
Chapman.
Chua.
, & Fiedler.
Seduction as control: Gamification at engagement, and strengthening familiarity Foursquare.
Management Accounting or closeness between participants.
Language.
Research, as a medium of symbolic violence, can also org/10.
1016/j.
become a commodity.
In vtuber broadcasts.
Choiriyati.
, & Wiendijarti.
this commodification transforms symbolic Popularitas selebriti sebagai komoditas violence into symbolic capital that viewers Jurnal Ilmu Komunikasi, 9.
, actively consume.
Despite its violent nature, 128Ae142.
this very aspect makes it an appealing form of https://doi.
https://doi.
org/10.
31315/jik.
Drewski.
Gerhards.
, & Hans.
The findings of this study contribute to .
National the understanding of discourse and culture by expanding the concept of symbolic violence.
An exploratory study of symbolic This boundaries at a European school in Innovation:
The European violence is not merely an expression of Brussels.
anger, frustration, or despair but also a tool Journal of Social Science Research, 31.
, for establishing closeness, familiarity, and 429Ae448.
https://doi.
org/10.
1080/135116
Moreover, this study reveals that symbolic violence can function as symbolic Fitchett.
Lindberg.
, & Martin.
capital within economic exchanges, making it .
Accumulation by symbolic a commodity capable of generating economic dispossession: Tourism development in advanced capitalism.
Annals of Tourism Research, 86, 103072.
https:// org/10.
1016/j.
***
Franzia.
Piliang.
, & Saidi.
Representasi
DAFTAR PUSTAKA