Representation of Gender Identity in the Scene of the Film Kucumbu Badan Indahku by Garin Nugroho

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Yogyakarta— Representation of Gender Identity in the Scene  of the Film Kucumbu Badan Indahku by Garin Nugroho. This research was conducted by Muhammad Krissakti Gamala and Suminto A. Sayuti, which was published in the International Journal of Scientific Multidisciplinary Research (IJSMR) Vol. 4 No. 2 of 2026.

This research was conducted by Muhammad Krissakti Gamala and Suminto A. Sayuti revealed that the issue of gender identity in the context of Indonesian culture is still strong with patriarchal norms.

Gender identity as a social construct

Gamala and Sayuti's research confirms that gender identity in this film is portrayed as the result of a long social process, not something fixed or purely biological. Juno's character grew up in a rural environment that upheld traditional masculinity norms—men had to be strong, assertive, not soft, and not dance.

However, through the art of lengger dance, Juno actually displays the dominant feminine side. The film shows the clash between self-expression and social pressures that perceive gentleness as an aberration.

Reading signs through semiotics

This study uses a descriptive qualitative method with Roland Barthes semiotic analysis. Data were taken from key scenes showing:

1. Lengger dance costume
2. Body language and facial expressions
3. Dialogue and silence
4. Background music and visual ambience

The analysis is carried out at three levels of meaning:

1. Denotation – what is literally visible on the screen.
2. Connotations – meanings related to cultural and emotional values.
3. Myths – social beliefs that are considered "normal" or "natural".

This approach allows the film to be read as a sign system that reflects power structures and gender norms in society.

The body as an arena of conflict

Research has found that Juno's body is at the center of an identity struggle. At the denotative level, she wears a kebaya, jarik, and shawl as part of her dance costume. But at the connotative level, these attributes are associated with femininity and tenderness.

At the mythical level, society considers men who wear feminine attributes to be out of nature. The film symbolically debunks the myth by showing that art and identity cannot be limited by the masculine-feminine binary category.

Some of the main findings of this study include:

1. Violence in the film represents hegemonic masculinity that is synonymous with dominance and superiority.
2. The lengger dance is a space for identity negotiation that goes beyond traditional gender boundaries.
3. The loss of the father figure and the traumatic experience shaped the complexity of Juno's identity.
4. The emotional relationships between men in the film challenge the heteronormative norms of the village.

The myth of the "real man" is questioned

The study identified two main myths that films criticize:

1. A real man should not be soft.
2. Real men don't dance.

The film shows that the myth is a social construct that is passed down from generation to generation. Through Juno's life journey, the audience is invited to see that gender identity is dynamic and negotiable. Gamala and Sayuti consider this film to function as a social critique of the rigidity of patriarchal norms in Indonesia.

Implications for education and public discourse

These findings have an important impact on the world of education and cultural studies. Film can be used as a learning medium to develop students' critical literacy in understanding symbols, identities, and diversity.

In the context of public policy, this research reinforces the discourse that the diversity of gender expression needs to be understood as part of social reality, not a threat to culture. The semiotics approach also opens up space for students and researchers to read Indonesian film works as cultural texts that are full of ideological meaning.

Limitations of the study

The study acknowledges several limitations:

1. The analysis focused only on specific scenes relevant to the construction of gender identity.
2. Semiotic interpretations are subjective and open to other readings.
3. Studies have not examined the response or impact of movies on audiences directly.

However, this study enriches the study of gender representation in Indonesian films, especially in the realm of language and literature education.

Author Profile

1.       Muhammad Krissakti Gamala – Universitas Negeri Yogyakarta

2.       Suminto A. Sayuti – Universitas Negeri Yogyakarta.

Research Source

Gamala, M. K., & Sayuti, S. A. (2026). Gender Identity Representation in the Film Scene Kucumbu Badan Indahku by Garin Nugroho.

International Journal of Scientific Multidisciplinary Research (IJSMR), Vol. 4 No. 2, 2026.

DOI: https://doi.org/10.55927/ijsmr.v4i2.2

Official URL : https://journalijsmr.my.id/index.php/ijsmr