THE TYPES OF AND THE POSSIBLE REASONS FOR A CODE-SWITCHING PHENOMENON IN INDONESIAN TEENAGE MAGAZINE HAI

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THE TYPES OF AND THE POSSIBLE REASONS FOR A CODE-SWITCHING PHENOMENON IN INDONESIAN TEENAGE MAGAZINE ‘HAI’

A Thesis Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education

By Leonardus Dikka Maha Putra Student number: 041214113

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA

2008 i


A Thesis on


By Leonardus Dikka Maha Putra Student Number: 041214113

Approved by

Sponsor

Yohana Veniranda, S.Pd., M.Hum.

November 15, 2008


A Thesis on


By Leonardus Dikka Maha Putra Student Number: 041214113

Defended before the Board Examiners on November 27, 2008 and Declared Acceptable Board of Examiners Chairperson

: A. Hardi Prasetyo, S.Pd., M.A.

________________

Secretary

: Made Frida Yulia, S.Pd., M.Pd.

________________

Member

: Yohana Veniranda, S.Pd., M.Hum.

________________

Member

: Made Frida Yulia, S.Pd., M.Pd.

________________

Member

: G. Punto Aji, S.Pd., M.Hum.

________________

Yogyakarta, November 27, 2008 Faculty of Teachers Training and Education Sanata Dharma University Dean,

Drs. Tarsisius Sarkim, M.Ed., Ph.D.


STATEMENT OF ORK’S ORIGINALITY

I honestly declare that this thesis, which I wrote, does not contain the work or parts of the work of other people, except those cited in the quotations and the bibliography, as a scientific paper should.

Yogyakarta, November 15, 2008 The Writer

Leonardus Dikka Maha Putra 041214113


[ Today is a gift ]

Dedicated to: My beloved parents ; Fortunatus Teguh Pudjiprawoto & Florentina Yustiani My lovely brothers ; Christophorus Rikko Agita & Eduardus Vikki Verdhian

Thank you for today I’ll do my best for tomorrow

[ Tomorrow is a mystery ] v



ACKNOWLEDGMENTS

I would like to praise Jesus Christ for giving me the belief that encourages me to always keep doing the right things. I thank Him for the belief that I have which whispers that there is something I can admire at the end of this exhausting process so I have good reasons why I have to finish my study. I also would like to express my gratitude to those who have supported me First, I thank Yohana Veniranda, S.Pd., M.Hum., my sponsor, for her guidance in the process of completing my thesis. I would like to give much respect and appreciation of her kindness and patience in correcting simple-minor errors in which I should have been able to produce everything correctly. Second, I thank F.X. Ouda Teda Ena, S.Pd., M.Pd. for giving me a new hope in the new topic for my thesis. I thank him for his trust that I can produce a fruitful research on code-switching in ‘HAI’ teenage magazine. I hope that I have given beneficial interpretations of the language phenomenon. Third, I thank all lecturers and staff of the English Language Education Study Program for their care and guidance. I thank them for the shared knowledge and experience that would be very useful for me in the future. Next, I also would like to give my never-ending thanks to my parents, Fortunatus Teguh Pudjiprawoto & Florentina Yustiani, for all of the opportunity that I have had. My warmest thanks are to my little brothers, Christophorus Rikko Agita & Eduardus Vikki Verdhian, I thank them very much for giving me another reason for finishing my study.

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Last, I also express my big thanks to all of my friends in PBI. They are Santi ‘Bantul’, Vensi ‘Solo’, Sigit ‘Puncak Merapi’, Bekti ‘Bantul juga’, Lexi ‘Jepang’, Susan ‘Kalimantan’, Alit ‘??’, Ayoex ‘Gombong’, Bernard ‘Magelang’ Dita ‘Kaliurang’, and Berto ‘NTT’. I thank them for their willingness to study together with me in our beloved, Sanata Dharma University.

Leonardus Dikka Maha Putra

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TABLE OF CONTENTS

Page PAGE OF TITLE …………………………………………...............................

i

PAGES OF APPROVAL ……………………………………………………… ii STATEMENT OF WORK’S ORIGINALITY………………………………… iv PAGE OF DEDICATION ……………………………………………………..

v

ACKNOWLEDGEMENTS …………………………………………….……... vi TABLE OF CONTENTS ………………………………………………..…..... viii LIST OF TABLES …………………………………………………………….. xi LIST OF FIGURE …………………………………………………………….. xii ABSTRACT …………………………………………………………………... xiii ABSTRAK ……………………………………………………………………... xv CHAPTER I: INTRODUCTION ……………………………………………. 1 A. Background of the Study …………………………………………………… 1 B. Problem Identification ……………………………………………………… 3 C. Problem Limitation ………………………………………………………… 4 D. Problem Formulation ……………………………………………………….

4

E. Objectives of the Study ………………………………….…………………. 4 F. Benefits of the Study ……………………………………………………….. 5 G. Definition of Terms ……………………………………………………….... 5 CHAPTER II: THEORETICAL REVIEW …………………………………. 7 A. Theoretical Description …………………………………………………….. 7 1. The Nature of Code-Switching ……………………………………………... viii

7


Page 2. The Types of Code-Switching ………………………………………………

9

3. The Reasons for Code-Switching …………………………………….......... 13 4. Code-Switching and Language Learning …………………………………... 15 B. Theoretical Framework ……………………………………………………. 16 CHAPTER III: METHODOLOGY ………………………………………... 18 A. Research Method ………………………………………………………….. 18 B. Source of Data …………………………………………………………….. 20 C. Research Instruments ……………………………………………………… 21 D. Data Gathering Techniques ……………………………………………….. 21 E. Data Analysis Techniques ………………………………………………… 22 F. Research Procedures ………………………………………………………. 24 CHAPTER IV: RESEARCH DISCUSSION AND OTHER FINDINGS .... 27 A. The Types of and the Possible Reasons for Code-Switching …………….. 27 1. Analysis of The Types of Code-Switching ……………….………………. 28 a. Organize the Data………………………………………………………….. 28 b. Peruse the Data…………………………………………………………….. 29 c. Identify General Categories and Classify Each Piece of Data…………….. 30 d. Integrate and Summarize the Data…………………………………. …….. 31 2. Identification of the Possible Reasons for Code-Switching……………….

36

B. Code-Switching in Teaching-Learning Process of English Language……..

42

CHAPTER V: CONCLUSIONS AND SUGGESTIONS………………….

45

A. Conclusions………………………………………………………………... 45 1. The Types of Code-Switching in ‘HAI’ Teenage Magazine………….......

ix

45


2. The Possible Reasons for Code-Switching in ‘HAI’ Teenage Magazine….. 46 B. Suggestions………………………………………………………………… 46 BIBLIOGRAPHY……………………………………………………………

48

APPENDICES APPENDIX 1: The Observation Form of the List of Code-Switching………… 50 APPENDIX 2: The Observation Form of the Types Analysis ………………... 51 APPENDIX 3: Code-Switching Cases in Vol. 37 …………….......................... 52 APPENDIX 4: Code-Switching Cases in Vol. 13 …………………………….. 74 APPENDIX 5: E-mail Transcript……………………………………………… 94

x


LIST OF TABLES Page Table 4.1: The Summary of the Types of Code-Switching in Vol. 37………… 33 Table 4.2: The Summary of the Types of Code-Switching in Vol. 13 ………... 34

xi


LIST OF FIGURE Page Figure 3.1: The Data Analysis Spiral ………………………………………… 24

xii


ABSTRACT Putra, Leonardus Dikka Maha. (2008). The Types of and the Possible Reasons for a Code-Switching Phenomenon in Indonesian Teenage Magazine ‘HAI’. Yogyakarta: Sanata Dharma University. This study aimed at giving interpretations of code-switching in ‘HAI’ teenage magazine. There were some language elements of English language which were juxtaposed with Indonesian utterances in the magazine. Sosiolinguistics defined this kind of language switching as code-switching. The code-switching was employed prominently by the writers of the articles of the magazine so it became a language phenomenon. There were two questions to be answered in this study. They were: 1) what are the types of the code-switching in Indonesian teenage magazine ‘HAI’? 2) what are the possible reasons for code-switching in Indonesian teenage magazine ‘HAI’? To answer the questions, I followed the steps in analyzing the data of qualitative research constructed by Creswell (1998) as cited by Leedy and Ormrod (2005: 150-151). The steps were: 1) organize the data, 2) peruse the data, 3) identify the data, 4) integrate and summarize the data. The steps were conducted to answer the first research question. In order to reveal the answer to the second research question, further interpretation of the data of code-switching and the answer to the first research question was conducted. In order to present a clear description of what code-switching actually was, I organized the sentences that contained code-switching on an observation form. Then I perused the entire data. This process spelt out that there were three types of code-switching that existed in ‘HAI’ teenage magazine; single-word codeswitching, conversational code-switching and integrated loanwords. Afterwards, further analysis was conducted to find out each type of the code-switching collected before. The summary of this process came up with the findings that single-word code-switching was the most frequent type in the occurrence, whereas conversational code-switching and integrated loanwords were consecutively in the second and third position of the percentage. The identification of the possible reasons for code-switching in ‘HAI’ teenage magazine involved two important aspects. They were theories of codeswitching from some linguists and the purposes of employing code-switching stated by the editorial staff of the magazine. I used them as the considerations to interpret the meaning of the existence of the language phenomenon in the magazine. The result of the interpretation implied that there were four possible reasons for code-switching in the magazine. First, code-switching was used to build intimate relationship with teenagers as the readers. Second, the writers faced some difficulty to describe or express certain things in Indonesian language. Third, it was because of the special terms related to the topic under discussion which were difficult to be translated to another language. Last, some quoted statements from the informants themselves contained code-switching. Whatever the types or the possible reasons are, I suggest that codeswitching utterances in ‘HAI’ teenage magazine provide good models for English xiii


language understanding. The appropriate form of the juxtaposed foreign language element related to its function on the text is of chief importance.

xiv


ABSTRAK Putra, Leonardus Dikka Maha. (2008). The Types of and the Possible Reasons for a Code-Switching Phenomenon in Indonesian Teenage Magazine ‘HAI’. Yogyakarta: Universitas Sanata Dharma. Penelitian ini bertujuan untuk memaparkan interpretasi mengenai codeswitching di majalah remaja ‘HAI’. Terdapat beberapa elemen bahasa Inggris yang penggunaannya diselipkan dalam ungkapan-ungkapan berbahasa Indonesia dalam majalah tersebut. Sosiolinguistik mendefinisikan alih bahasa semacam ini dengan istilah code-switching. Code-switching digunakan secara sering oleh para penulis artikel majalah tersebut sehingga ini menjadi sebuah fenomena. Ada dua pertanyaan yang ingin dijawab dalam penelitian ini yaitu: 1) tipe code-switching apa saja yang terdapat di majalah remaja ‘HAI’? 2) apa saja yang mungkin menjadi alasan dari penggunaan code-switching di majalah remaja ‘HAI’? Guna menemukan jawab dari pertanyaan-pertanyaan tersebut, saya mengikuti langkah-langkah penelitian untuk menganalisa data dalam penelitian kualitatif yang disusun oleh Creswell (1998) dan dikutip oleh Leedy dan Ormrod (2005: 150-151) sebagai berikut 1) mengorganisir data, 2) mengkaji data, 3) mengidentifikasi data, 4) mengkaitkan semua data dan merangkum kesimpulan. Langkah-langkah tersebut dilaksanakan guna menjawab pertanyaan yang pertama. Sedangkan untuk menguak jawaban dari pertanyaan yang kedua, dilaksanakan proses interpretasi lebih jauh dari data mengenai code-switching dan jawaban dari pertanyaan penelitian yang pertama. Dalam rangka memberikan gambaran yang jelas mengenai apa sebenarnya code-switching di majalah remaja ‘HAI’, saya mendaftarkan semua ungkapan yang mengandung code-switching dalam suatu lembar observasi. Kemudian saya menkaji data tersebut yang kemudian menguak fakta bahwa ada tiga tipe codeswitching di majalah ‘HAI’ yaitu single-word code-switching, conversational code-switching, dan integrated loanwords. Proses selanjutnya adalah menganalisa tipe setiap code-switching yang ada dalam lembar observasi. Proses tersebut menghasilkan kesimpulan bahwa single-word code-switching adalah tipe yang paling sering muncul. Sedangkan conversational code-switching dan integrated loanwords secara berurutan berada di posisi kedua dan ketiga menurut persentase. Peoses identifikasi dari apa saja yang mungkin menjadi alasan atas penggunaan code-switching di majalah remaja ‘HAI’ melibatkan dua aspek penting yaitu teori-teori mengenai code-switching dari para ahli bahasa dan tujuan dari penggunaan code-switching yang disampaikan oleh para editor majalah tersebut. Saya menggunakan dua aspek tersebut sebagai pertimbangan dalam menguak interpretasi dari maksud atau tujuan penggunaan code-switching di majalah tersebut. Dari proses interpretasi, dapat kesimpulan bahwa ada empat hal yang menjadi alasan dari penggunaan code-switching di majalah tersebut. Hal yang pertama, code-switching digunakan dalam rangka membangun hubungan yang akrab dengan pembaca. Kedua, para penulis artikel di majalah ‘HAI’ mengalami kendala dalam menyampaikan beberapa hal dalam bahasa Indonesia.

xv


Alasan ketiga yaitu karena istilah-istilah khusus dalam topik yang sedang dibahas sulit untuk diterjemahkan ke dalam bahasa lain. Alasan yang terakhir yaitu karena beberapa pernyataan yang dikutip dari para narasumber sendiri mengandung codeswitching. Apapun tipenya atau yang mungkin menjadi alasannya, saya menyarankan agar code-switching di majalah remaja ‘HAI’ memberi model yang baik bagi proses pemahaman bahasa Inggris. Bentuk yang tepat dari elemen-elemen bahasa asing yang digunakan sesuai dengan fungsinya masing-masing didalam teks merupakan hal yang sangat penting.

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CHAPTER I INTRODUCTION

A. Background of the Study Nowadays, people can easily gain as much as possible information that they need because there are a number of information resources such as newspapers, magazines, TV stations, and internet websites. Everybody needs up to date information to keep her or himself in touch with the world. In the middle of the fast advances in technology of the electronic information media such as television and internet, people are still interested in gaining much information that they need from the printed mass media like newspapers and magazines. Unlike the middle-aged people who really love to read newspapers to support their social life, teenagers would rather read magazines than newspapers, especially teenage magazines. They have certain reasons for this; it can be because of some more interesting features of magazines such as colourful papers and pictures or due to various topics of the magazines which are in line with the interest among teenagers. In order to fulfill the needs of information among teenagers, at present, so many teenage magazines are published and they compete to be the best. ’HAI’ teenage magazine is one of the most popular teenage magazines in Indonesia which still concerns in supplying teenagers with enough information in line with entertainment. This commitment is being realized within a lot of interesting features of the magazine that can increase teenagers’ interest in reading the magazine.

1


2 One interesting language feature that can be found in ‘HAI’ teenage magazine is prominent borrowing of words, phrases, or even sentences from English language juxtaposed with Indonesian words, phrases, or sentences to create interesting language utterances. In addition, the writers of the articles are aware of their process of adoption by italicizing those foreign language elements. This becomes a phenomenon because the adoption is employed prominently. Almost in every page of the magazine, there are so many words from English language that exist within Indonesian utterances. This phenomenon can be explained by linguists by the term codeswitching. Asher (1994: 581) explains “the term ‘code-switching’ refers to the juxtaposition of elements from two (or more) languages or dialects.” So, someone may switch the language that she or he uses from one language to another. She or he can produce a language utterance which consists of language elements from two or more different languages. It can be found in ‘HAI’ teenage magazine in which the writers produce Indonesian utterances with the language elements of Indonesian and English language. There are a number of reasons for code-switching. One of them can be a matter of necessity. Sometimes, people find some difficulty to explain something in their native language expression since there is no obvious word or expression of the language to be used. As the compensation they decide to find the more obvious expression from other languages. They employ the more expressive or representative word or phrase from foreign languages to explain what they want to say, so they speak with two different languages. For example, Indonesians frequently borrow ‘gender’ from English language. It can be seen in a popular


3 phrase of Indonesian language kesetaraan gender. Indonesians prefer borrowing an English word ‘gender’ to using an Indonesian phrase jenis kelamin. It is not strange at all to find an alteration between two different languages within a single utterance, which is called code-switching, as far as the speaker has appropriate reasons to apply it. There is a great deal of implementation of code-switching dealing with the foreign language elements which are borrowed. There is apparent distinction on the length of these elements which vary from a single word up to a complete sentence. Language theories are chief matters which should be obeyed as guidance toward better understanding and implementation of various kinds of codeswitching. Since ‘HAI’ teenage magazine is one of the Indonesian public media which carries out education mission, it needs appropriate reasons for borrowing language elements from foreign language, in this case English language, to be juxtaposed with Indonesian utterances.

B. Problem Identification Some examples of code-switching in ‘HAI’ teenage magazine assert clearly the different length of the juxtaposed language elements which are borrowed from English language. The foreign language elements are not only single words, phrases or clauses but also complete English sentences. This difference suggests various types of code-switching dealing with the length of the juxtaposed elements exist in the magazine. The analysis of the types hopefully may reveal the possible reasons for the existence of code-switching in ‘HAI’


4 teenage magazine, which are of chief importance for the process of language learning and understanding. The magazine has to have appropriate reasons for this.

C. Problem Limitation I am going to gain further comprehension and gain interpretations of a language phenomenon that exists in ‘HAI’ teenage magazine which is identified as code-switching. The code-switching, which should involve at least two languages, in this study involves the switching between Indonesian and English language.

D. Problem Formulation There are two problems formulated in this study in order to specify the main goal of the study. The problems can be formulated as follows: 1. What are the types of code-switching in Indonesian teenage magazine ‘HAI’? 2. What are the possible reasons for code-switching in Indonesian teenage magazine ‘HAI’?

E. Objectives of the Study In this study, there are two objectives to elaborate as follows: 1. to analyze the types of code-switching in Indonesian teenage magazine ‘HAI’, and 2. to identify the possible reasons for code-switching in Indonesian teenage magazine ‘HAI’.


5 F. Benefits of the Study There are a number of benefits of this study for other people. The benefits are specified for two groups of people who are the learners and other researchers of English language. The benefits for English language learners can be formulated as follows: 1. English learners will have broader knowledge of code-switching, especially about the types of code-switching that exist in society. The code-switching with various types in ‘HAI’ teenage magazines can be models for English language learners to be applied in their daily communication. 2. English learners will obtain some possible reasons for code-switching so they can understand where and when to apply it appropriately. The benefits for other researchers can be formulated as follows: 1. This study will hopefully encourage other researchers to conduct further study of code-switching. 2. Other researchers will have a kind of enlightenment or inspiration to explore other language phenomena which exist in society.

G. Definition of Terms These are some terms which need to be defined: 1. Code-switching Code-switching is one of the objects of sociolinguistics, the study which accounts the relationship between language use and the condition of the society. Chrystal (1987) as cited by Skiba in Code Switching as a Countenance of Language Interference explains that code-switching happens


6 when a bilingual person employs more than one language in her or his speech. This involves the alteration of the language expressions of languages used by the speaker. The alternated language elements take a number of forms such as sentences and phrases. 2. Teenage Magazines Teenage magazines are magazines which assert teenagers as the target readers. The topics of the articles vary in line with teenagers’ favorites. The language which is conformed to the teenagers’ language style or dialect is important to be considered in order to build teenagers’ interest in the magazines. It can also be an identity of a teenage magazine which can be used to differentiate this sort of magazine from the others. 3. ‘HAI’ Teenage Magazine ‘HAI’ teenage magazine is one of the local teenage magazines of Indonesia which has been published since 1977. This weekly magazine presents review of information for teenagers. It has various topics for the articles in line with teenagers’ life style such as pop music, sports, teenage idols, up-to-date events, horoscope, etc.


CHAPTER II REVIEW OF RELATED LITERATURE

This chapter is divided into two main parts namely theoretical description and theoretical framework. The theoretical description presents general understanding of code-switching which is explained through discussion of some definitions from some linguist besides a number of type classifications and reasons for it as the main points of this study. Meanwhile, the theoretical framework explains procedures organized to accomplish this study.

A. Theoretical Description In order to obtain good understanding of code-switching, this theoretical description is presented. This section consists of some definitions of codeswitching from some linguists, where and when it may happen in a society, some types classifications and reasons for it, and also the relation of it with teaching and learning activities. 1. The Nature of Code-Switching According to Wardhaugh (1992: 103) the term ‘code’ refers to any dialect or language used by a speaker to build communication with others. He asserts that a person may use more than one code in her or his speech instead of just employing a single code. People may switch or mix the codes or languages that they use. And a term ‘code-switching’ is used to name this conversational strategy.

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8 There are a number of definitions of code-switching according to some linguists. They have various definitions of it and employ different ways to explain it. In order to obtain in-depth comprehension of code-switching, this study presents a number of definitions from a number of linguists. Valdes-Fallis (1977) as cited by Duran in Toward a Better Understanding of Code-Switching and Interlanguage in Bilinguality: Implications for Bilingual Instruction explains that code-switching may happen if two languages used simultaneously or interchangeable. In addition, Peter Stockwell (2002: 135) states that “Code-switching is often the specific mechanism through which the borrowing of words and constructions happens.” From these two arguments, it can

be

understood

that

code-switching

involves

two

languages

used

simultaneously by a speaker. As a result, there is a kind of alteration in the language utterances involving language elements of those two languages by the process of borrowing and constructing or combining. A speaker may borrow certain language elements from another language and combine them with the language elements of her or his native language. The language elements here can be a word, phrase, clause or even complete sentence. But of course code-switching pursues a number of requirements such as the speaker’s language competence of the two languages in order to construct together the language elements of both languages appropriately. The construction needs match combination of the grammatical rules of the languages involved in the code-switching. It is explained by Chana (1984) as cited by Duran in Toward a Better Understanding of CodeSwitching and Interlanguage in Bilinguality: Implications for Bilingual Instruction that code-switching is the juxtaposition within the passage of


9 someone’s speech which involves items of two different languages. The items are tied together according to the rules of both languages so the speaker is obliged to put much respect on both language rules. Since code-switching belongs to sociolinguistics, social context is also important to be put in the discussion. The setting that enables code-switching to happen may be described. Wardhaugh (1992: 103-104) elaborates where codeswitching may happen. First, code-switching may happen in a multilingual country. It is a country which employs more than one language as media of communication among the citizens. Singapore, for instance, has five languages which are English, the Mandarin variety of Chinese, Tamil, Malay, and Hokkien, another variety of Chinese. The educational activity in formal school is held in formal Singapore English and Mandarin. Meanwhile, people tend to bargain something with either Hokkien or informal Singapore English in a traditional market. Second, code-switching may also occur where there are multilingual people meet each other in a foreign setting. For example, Indonesian students who live in the United State have a tendency to use not only English language all the time but they may also speak in their native language or dialect in certain occasions. When they discuss academic work they may use English language, but when they want to share daily activities in their spare time, they may choose Indonesian language. 2. The Types of Code-Switching Every linguist has her or his own theory or point of view to classify the types of code-switching. Code-switching is a broad and complex language


10 phenomenon since it involves two distinctive languages in a single context of occurrence. There are so many factors that affect code-switching to happen. The different classification of the types of code-switching is considered normal and acceptable. According to The Encyclopedia of Language and Linguistics, there are seven types of code-switching. The classification among those seven types is mainly according to the length of the juxtaposed elements which are borrowed from foreign language. The first one is called diglossia. There are two distinctive varieties of code that exist in diglossic communities. They are high (H) and low (L) variety. The first one is the prestige variety which is used in formal discourse, and the other, which is lack of prestige, is used in less formal discourse. People may use L variety when they speak to their family at home but choose H variety, the more formal variety, when they do job presentation in the office. The switching in diglossia occurs in discourse level and involves the switching from H to L variety or just on the contrary. Discourse is a unit of language elements which is longer than a sentence. The second type is situational code-switching. The language change depends on the occasion faced by a speaker since certain occasion may encourage the speaker to exchange the language which is used. The change happens for the whole part of one’s speech in one context. For example, an English teacher may talk in English for the whole part of the explanatory speech of a past perfect tense to the second-grade students of Junior High School. Unfortunately, the students have not understood the teacher’s explanation of when to use this tense. It is


11 helpful and possible if the teacher re-explains her or his English explanatory speech in Indonesian so the students can fairly comprehend it. Despite the framework of the context of occurrence which should be within one context, this example of situational code-switching also gives salient description that situational code-switching happens without any change of the topic. The third one is metaphoric code-switching. The role of relationship between the speakers in a conversation may change. The change of the language or dialect that they use may also change in line with it. Unlike the previous one, this type of code-switching asserts a change of the topic under discussion. When someone meets her or his neighbour doing a duty as a bank teller the person may greet her or his neighbour with their daily language, the less formal one, such as a local dialect. But the person, then, appropriately and politely chooses the more formal language to assert her or his main purpose to come to the bank, that she or he wants to draw some money. Here, the person changes the role of relationship from personal to official. The different relationship between the speakers which is built by changing the code that they use asserts the existence of metaphoric codeswitching. The fourth type of code-switching is called conversational codeswitching. It can also be called style shifting or code mixing. It allows the speaker to juxtapose various length of foreign language elements within her or his speech. The juxtaposed foreign language element in this type can be a phrase, clause, or full sentence. When the juxtaposed element is a single word, the process involves singleword code-switching. This fifth type can also be called borrowing. It welcomes


12 the speaker to borrow a single word from another language or dialect and place it within her or his native language utterances. Here is one example of this type of code-switching which involves Indonesian and English language: ‘Ceritanya dari film itu mengambil setting di Portugal.’ From the example, it can be seen that the speaker replaces an Indonesian word lokasi with an English word ‘setting’. The last type of code-switching introduced in The Encyclopedia of Language and Linguistics is integrated loanwords. The juxtaposition in this type happens in a morpheme level. Morpheme is a minimal functional element of a word. Here, someone may integrate a word from a foreign language with affixes of her or his native language to form a certain language expression. Here is an example of this type of code-switching which involves English and Indonesia language. ‘Ronald adalah pemain gitar yang ber-skill tinggi.’ From the sentence above, the speaker combines an Indonesian prefix berwith an English word ‘skill’. The next classification of code-switching is presented by Ronald Wardhaugh. He discusses three kinds of language switching that may exist in society. The first type of code-switching is situational code-switching. Wardhaugh (1992: 106) explains that situational code-switching happens when the language which is used by a speaker changes according to the situation which is faced by the speaker. She or he may speak one language in one situation and another language in the different one. It can be seen when a teacher starts a kind of


13 formal lecture in a standard variety and then tries to encourage the following discussion in a local dialect so that the students will not get tired. Second, there is metaphorical code-switching. One thing that enables people to identify metaphorical code-switching is that it has an affective dimension; formal to informal, official to personal, serious to humorous, etc. This type of code-switching can be seen when two leaders of local companies transact business together. Even though the standard language is generally used, sometimes they also speak in a local dialect for special effect, e.g., to show that they trust each other. The last type is conversational code-mixing. The difference between code-switching and code-mixing can be seen through the context of the occurrence in which code-mixing occurs within a single utterance of someone’s speech as what Wardhaugh (1992: 106) says that “Code-mixing occurs when conversances use both languages together to the extent that they change from one language to the other in the course of a single utterance.” Here are some examples of conversational code-mixing that Wardhaugh gives between Spanish and English language: a. No van a bring it up in the meeting. ‘They are not going to bring it up in the meeting.’ b. Todos los Mexicanos were riled up. ‘All the Mexicans were riled up.’ 3. The Reasons for Code-Switching This study elaborates various reasons for code-switching from two linguists; D. Crystal and Ronald Wardhaugh.


14 Crystal (1987) as cited by Skiba in Code Switching as a Countenance of Language Interference identifies three reasons why people employ code-switching in their communication. First, there is a possibility that a speaker may not be able to express her or himself in one language so she or he switches to another language to compensate for the deficiency. Someone’s language competence, even in her or his native language, may be limited. For a multilingual person who is able to speak more than one language, switching the language that she or he uses may be the best answer for the deficiency problem. Second, code-switching is used because someone wants to express solidarity with a particular social group of speakers. She or he may use a language which is used to show her or his sympathy or express what they fell toward others. Almost every ethnic group has a vernacular language or dialect, and switching the language toward the language of a particular ethnic group can be one way to express solidarity toward the group. Third, someone applies code-switching as a sort of variation in the level of formality of her or his speech. A speaker has to be able to decide the opportunity when to use each of them appropriately. Someone may accidentally change the degree of the formality of the language by code-switching. It is needed to give special effect of the relationship such as to build intimate relationship. Meanwhile, Wardhaugh (1992: 106) provides three reasons for codeswitching. The first reason is to express solidarity with the listeners. Language can be used as a bridge of solidarity. People may choose a language from a certain


15 country or ethnic group to show their solidarity toward the people from that country or ethnic group besides to build the more intimate atmosphere or relationship. The second reason is because of the choice of topic. In a conversation, people often switch the topic under discussion. A particular language might be appropriate to discuss a certain topic. The change of the topic might be also accompanied by language switching so the variety of the language can be appropriate with the new topic. The last reason for code-switching given by Wardhaugh is that someone uses code-switching because she or he perceives social and cultural distance. It is related to the level of formality of the language. Someone may choose an informal variety if she or he talks to her or his friend, on the other hand, a formal-standard variety will be the best choice if she or he talks to her or his teachers since there is social distance. 4. Code-Switching and Language Learning Cook (1991) as cited by Skiba in Code Switching as a Countenance of Language Interference agrees that code-switching can be used to help the process of language learning. He describes the Institute of Linguistics' examinations in Languages for International Communication test as one which uses code switching. At beginners’ level, students may use the second language to obtain some information from materials such as a travel brochure or a phone message to answer comprehension questions in the first language. At advanced stages, the students may be required to research a topic and provide a report in the first language.


16 B. Theoretical Framework In order to conduct a systematic study, I organize this theoretical framework to explain the procedures organized to accomplish this study. There are five steps presented in this theoretical framework. 1. Conducting preliminary observation of code-switching in ‘HAI’ teenage magazine By conducting preliminary observation of the code-switching in ‘HAI’ teenage magazine, I can obtain an overview of the language phenomenon being studied. The results of this process can be very useful for further processes since the preliminary observation may give me basic description of code-switching in the magazine. So, this step is also important in this study. 2. Conducting a confirmation of code-switching to the editorial staff of ‘HAI’ teenage magazine Conducting a confirmation of the existence of code-switching in ‘HAI’ teenage magazine to the editorial staff of the magazine is also needed. The information that I receive from them, as the informants of this study, hopefully can give me salient comprehension of the existence of code-switching in the magazine. 3. Collecting the code-switching cases which exist in ‘HAI’ teenage magazine By listing the code-switching cases on an observation form, I may gain much help in the process of analyzing the data. It can also give the readers a clear description of code-switching cases in ‘HAI’ teenage magazine. 4. Analyzing the types of code-switching in ‘HAI’ teenage magazine


17 The analysis of the types of code-switching is conducted after all of the utterances that contain code-switching in the magazine have been listed on the observation form. I employ some categories of the type of code-switching stated by linguists to classify the types of code-switching in ‘HAI’ teenage magazine. 5. Identifying the possible reasons for code-switching in ‘HAI’ teenage magazine The identification of the possible reasons involves three important aspects; a number of reasons for code-switching stated by linguists, some information collected from the informants of this study, and my interpretations of the phenomenon. The first two aspects are used as the basis for my interpretations in identifying the data. The result of this process may come up with some possible reasons for code-switching in ‘HAI’ teenage magazine.


CHAPTER III METHODOLOGY

I used a certain methodology to conduct this study, and this chapter aimed at discussing the methodology systematically. The discussion included research method, source of data, research instrument, data gathering techniques, data analysis techniques, and research procedures.

A. Research Method A certain methodology was needed as guidance to conduct and organize steps or procedures of this study. Since this study was conducted to comprehend a language phenomenon that existed in society, in this case code-switching, qualitative research was considered as the most appropriate term to name the method of this study because Leedy and Ormrod (2005: 133) argued that qualitative research focuses on understanding social phenomena in their natural setting. Code-switching in ‘HAI’ teenage magazine was considered as a social phenomenon in language use because the writers of the articles employed codeswitching prominently. Through this study I was going to analyze and comprehend this kind of social phenomenon that existed in ‘HAI’ teenage magazine. The objective of finding some possible reasons for code-switching in ‘HAI’ teenage magazine was to interpret the meaning of the existence of codeswitching in the magazine since it was essential, in qualitative research, to figure

18


19 out interpretations of the phenomenon which were constructed in the particular setting. The identification of the possible reasons could represent my interpretations of code-switching. Merriam (2002:3-4) discussed further about this: The key to understand qualitative research lies with the idea that meaning is socially constructed by individuals in interaction with their world. There are multiple constructions and interpretations of reality that are flux and change over time. And qualitative research tries to understand what those interpretations are at a particular point in time and in a particular context. Holliday (2002: 12) stated that qualitative research also tries to understand the complexities of a culture of the social world where we live and how we can go about thinking, acting and making meaning of it. He defined ‘culture’ according to the belief of Beales, G. Spindler and L. Spindler (1967: 8) that “’Culture’ therefore refers to the cohesive behaviour within any social grouping from a neightbourhood to a work group.” From this definition of culture, it could be concluded that the process of employing code-switching done by the writers of the articles in ‘HAI’ teenage magazine was a kind of culture since they employed code-switching prominently almost in every page of the magazine. In addition, it became cohesive behaviour which was implemented by most of the writers of the articles of ‘HAI’ teenage magazine. Since this research was an in-depth study of code-switching which presented further analysis and an description of this existing phenomenon, it was considered as descriptive research. Bungin (2007: 68-69) explained that descriptive study involved an in-depth exploration of the object being studied. That was why it was appropriate and necessary to not only identify the types of code-switching but also analyze the possible reasons for code-switching in ‘HAI’


20 teenage magazine. The analysis of the types of code-switching might come to the understanding of its complexities and through the identification of the possible reasons I would like to interpret the meaning of applying code-switching in the magazine. The choice of using the first person point of view was appropriate in this qualitative research to describe the inclusiveness of the researcher toward the object of the study. It was also needed to enable the readers to see my interpretations saliently. It was supported by Clark and Ivanič (1997: 169) who said that the use of ‘I’ could create: A different, more transparent relationship with her reader. […] She tried to make it very clear what her own opinions are. In other words, she tries not to disguise ‘opinion’ as ‘fact’ by using impersonal so-called objective language.

B. Source of Data ‘HAI’ teenage magazine was considered as the main source of data since this study concerned in code-switching that existed in ‘HAI’ teenage magazine only. There was a sort of combination between Indonesian and English language to produce certain utterances which was then considered as code-switching. I employed two editions of ‘HAI’ teenage magazine to be analyzed and chose the magazines randomly without paying much attention on the edition number or publish due date. I decided to choose two editions of ‘HAI’ teenage magazine as the objects of my research to answer the research questions since it had already been able to describe the existence of code-switching in ‘HAI’ teenage magazine. They were as follows: a. 12-18 SEPTEMBER 2005/TH XXIX NO 37


21 b. 26 MARCH-1 APRIL 2007/TH XXXI NO 13 The editorial staff of ‘HAI’ teenage magazine played a significant role as the informants of this study. Informants were needed to obtain a vivid description of code-switching in the magazine.

C. Research Instrument Kountur (2003: 151) explained that instruments of a research played an important role in data collection and analysis. Since this study was qualitative research, the researcher was considered as the research instrument of this study. It was supported by Merriam (2002: 5) who explained that A second characteristic of all forms of qualitative research is that the researcher is the primary instrument for data collections and data analysis. Since understanding is the goal of this research, the human instrument, which is able to be immediately responsive and adaptive, would seem to be the ideal means of collecting and analyzing data.

D. Data Gathering Techniques In order to obtain qualified data to support my research, I employed two methods offered by Bungis (2007: 115-124). They were participant observer and online data search method. Participant observer was a method used by researchers to obtain data of a research by observation and sensory perception. It required the use of human senses like eyes, ears, or skin to obtain data. I used this method to get the data of code-switching cases in ‘HAI’ teenage magazine. The implementation of this method was conducted in three steps. First, the observation form was designed to list the code-switching cases


22 which were found in ‘HAI’ teenage magazine. They were accompanied by the page numbers in the magazine. The data of code-switching presented on the observation would be easier to be analyzed. Second, the identification of the code-switching cases was conducted. Since English language elements, as the juxtaposed elements of the codeswitching in ‘HAI’ teenage magazine, were italicized, I gained much help to identify the code-switching cases in the target magazines. The process of the identification of the code-switching cases was done by reading and analyzing carefully the target magazine. Finally, all of the code-switching cases found in ‘HAI’ teenage magazine were listed on the observation form. They were accompanied by the page numbers in the magazine. Online data search was a method to get data from the internet. I conducted this method to obtain information from the editorial staff of ‘HAI’ teenage magazine as the informants of this study. I sent them an e-mail to clarify whether or not they had any purpose of using code-switching in the magazine. The answer from the informants might help me to identify possible reasons of code-switching in the magazine.

E. Data Analysis Techniques Data analysis was very important this qualitative study, so appropriate method in analyzing the data was necessary. In order to gain qualified findings, I followed the organized steps in organizing and analyzing the data of qualitative research which were constructed by Creswell (1998) as cited by Leedy and


23 Ormrod (2005). He created a data analysis spiral which was implemented within the following steps: 1. Organize the data The large bodies of text should be broken down into the smaller one which could be presented in the form of sentences or individual words. I conducted scanning reading to identify language expressions in the target magazines that contained code-switching. And then the code-switching cases were listed on the observation forms. 2. Peruse the data In this step, I might obtain an early overview of the data collected in the previous step which could be very helpful for the later steps. The sense of early interpretations toward the phenomenon being studied might arise here. 3. Identify general categories and classify each piece of data This step might come up with specific patterns of data. The data presented on the observation forms was the primary object of identification in this step. Every code-switching case which was listed on the observation forms was identified for its type. 4. Integrate and summarize the data After the identification process of the types of the code-switching in ‘HAI’ teenage magazine had been finished, the findings could be summarized. Creswell suggested that researchers presented the summary in an organizational scheme such as a table, figure, or diagram. This step also encompassed further interpretations of the data beyond certain types of codeswitching that existed in the magazine. The integration of every code-


24 switching case might spell out further interpretations of the language phenomenon. The data analysis spiral could be figured out as follows: The Final Report

Synthesis

Classification

Perusal

Organization

The Raw Data Figure 3.1: The Data Analysis Spiral

F. Research Procedures This section described the procedures of this study which were organized and done to obtain deep comprehension of the phenomenon being studied. There were six steps conducted to accomplish the research as follows: 1. Selecting the target magazine There were two editions of ‘HAI’ teenage magazine used as the target magazines in this study since they had already been able to describe the existing phenomenon in the Indonesian teenage magazine. I chose the magazine randomly.


25 2. Designing the observation form It was important to produce the observation form in the very beginning of the process. Observation form was needed to accommodate the data of codeswitching cases from the target magazine. They were used to list all of the code-switching cases found in the magazines so every code-switching case could be clearly seen within its context of the occurrence. 3. Listing the code-switching cases on the observation form After the observation form had been designed, code-switching identification on the target magazines could be conducted. Since the borrowed language elements were italicized, I gained much help in identifying the code-switching cases in the magazine. Every code-switching case which was found in the magazine then listed on the observation forms. 4. Analyzing the types of the list of code-switching Code-switching cases which were listed on the observation form were directly analyzed to find out the types according to the categories employed by this study. 5. Identifying the possible reasons for code-switching A number of linguists had asserted some reasons for code-switching application. I used the reasons as the bases to figure out the possible reasons for code-switching in ‘HAI’ teenage magazine. The process of identifying the possible reasons also included the reasons for code-switching stated by the editorial staff of ‘HAI ‘teenage magazine. My personal interpretations of the language phenomenon were also very important here.


26 6. Making conclusions based on the findings The results of the steps done previously were concluded in this step. They were the answers to the research questions presented in the problem formulation.


CHAPTER IV RESEARCH DISCUSSION AND OTHER FINDINGS

As it had been stated in the problem formulation, this study had two questions to be answered. They were 1) what are types of code-switching in Indonesian teenage magazine ‘HAI’? 2) what are the possible reasons for codeswitching in Indonesian teenage magazine ‘HAI’? This chapter was presented to discuss the implementation of the research procedures to answer the research questions and gain in-depth interpretations of the language phenomenon.

A. The Types of and the Possible Reasons for Code-Switching I conducted literature review to obtain enough data of the definition of code-switching. The data was sufficient to conclude that the language phenomenon which existed in ‘HAI’ teenage magazine was code-switching. I identified that the writers of the articles juxtaposed some English language elements with Indonesian utterances in their articles in the magazine. Based on a number of definitions of code-switching from some linguists, I defined codeswitching in ‘HAI’ teenage magazine as the juxtaposition of language elements of Indonesian and English language used simultaneously by the writers of the articles to produce certain utterances. Asher (1994: 578) gave a little support for my definition of code-switching in ‘HAI’ teenage magazine by stating that “Codeswitching then is the switching from one variety, either of the same language or of different languages, in speech or writing.”

27


28 The complexity of code-switching arose on which one definition had been implemented to form various types. And every people might have different reasons for applying code-switching. Yet, this might be the starting point to gain in-depth interpretations of the existence of code-switching in ‘HAI’ teenage magazine. Moreover, the code-switching occurred prominently so it became a language phenomenon

which

could

be studied

to

obtain

meaningful

interpretations.

1. Analysis of the Types of Code-Switching In the process of analyzing the types of code-switching in ‘HAI’ teenage magazine, I adopted the steps for analyzing data in qualitative research formulated by Creswell (1998) as cited by Leedy and Ormrod (2005). There were four main steps which were started by data collection or organization. Further explanation and implementation of the process could be seen in the discussion of the following steps. a. Organize the Data The data of this research were all of the code-switching cases in ‘HAI’ teenage magazines. There were two editions of ‘HAI’ teenage magazine which were used as the target magazines. They were as follows: 1) 12-18 SEPTEMBER 2005/TH XXIX NO 37 2) 26 MARCH-1 APRIL 2007/TH XXXI NO 13 An observation form was used to collect data of code-switching cases found in the teenage magazines. The observation form to collect the data of codeswitching in the contextual utterances could be seen in Appendix 1.


29 There were two observation forms used in this study. The code-switching cases in one edition of the magazine were collected on one observation form. I found so many utterances that contained code-switching cases almost in every page in the magazines. It showed that the writers of the articles employed code-switching prominently. All of the code-switching cases were listed on the observation form by writing the code-switching cases in the contextual utterances and not merely the switched or juxtaposed language elements. The code-switching in the magazines were mostly occurred within a sentence and only few of them occurred between sentences. The page number column accommodated the page numbers of the magazines where the code-switching were found. It was important to write also the page numbers so the existence of the code-switching cases in the magazines could be proved effectively. b. Peruse the Data This section was done to obtain an overview of the data of code-switching cases collected before. From the analysis of code-switching cases presented on the observation forms, I found that three of the six types of code-switching from The Encyclopedia of Language and Linguistics existed in the magazines. The classification of the types was based on the length of the juxtaposed language elements. The three types and the examples of code-switching from the magazines were as follows: 1) Conversational code-switching; the juxtaposed element can be a sentence, clause, or phrase. E.g.: a) Sekardus cat semprot warna-warni plus masker jadi senjata andalan. It’s show time! (p.5, vol. 37)


30 b) Nih mobil menjadi mobil yang paling sering memecahkan rekor fastest lap. (p.21. vol. 37) c) Siapa sangka kalo in the real life dia juga MisssRing-Ring? (p.2, vol.13) 2) Single-word code-switching; the juxtaposed element is a single word. E.g.: a) Next, tentang belajar dari coba-coba. (p.27, vol.37) b) Nggak nyangka kalo iklan itu bakal booming. (p.6, vol.13) 3) Integrated loanwords; the juxtaposed element consists of morphemes of English and Indonesian language which are integrated to form a single expression. E.g.: a) Sound-nya bener-bener dikulik abis. (p.13, vol.37) b) Yang udah pasti, ambience-nya jadi berubah. (p.13, vol.37) c) Nanti penonton kasih komentar, terus kalo ada penonton yang suka sama lagunya, mereka harus temenin nge-date. (p.10, vol.37) d) Rio pun menyanyikan salah satu lagu legend-nya The Groove itu dengan lancer. (p.12, vol.13) From the finding of the types of code-switching that existed in ‘HAI’ teenage magazine above, it could be concluded that the length of the juxtaposed language elements varied from a single word up to a complete sentence. And the code-switching mostly happened within a sentence. c. Identify General Categories and Classify Each Piece of Data In this step, the list of code-switching cases presented on the observation form was analyzed to find out each type of every code-switching case. Before the code-switching types analysis, the observation form was updated by adding the categories of the types of code-switching that existed in ‘HAI’ teenage magazine;


31 single-word code-switching, conversational code-switching, and integrated loanwords. The three types had been proved to be the only types of codeswitching which existed in the magazine. For a more detailed description of the observation form for analyzing the types of code-switching cases in the target magazines, see Appendix 2. d. Integrate and Summarize the Data I accounted code-switching based on the existence of the foreign language elements, in this case English language elements, which were combined with Indonesian language elements. The data implied that within a single sentence, there could be more than one unit of the juxtaposed element with various lengths. In other words, there could be more than one type of code-switching as it could be observed from the examples below. 1) Integrated loanwords and single-word code-switching a) Kalo udah di-perform-in secara live, tapi mereka nggak bisa ngeliat penontonnya. (p.5, vol.37) b) Problem utama band ini terletak pada frontman-nya yang pecandu berat drugs. (p.78, vol.37) c) Sayang, di single terakhir, pronunciation-nya rada kacrut. (p.21, vol.13) In the first example, an English-Indonesian expression ‘di-perform-in’ was the juxtaposed language element for the integrated loanwords codeswitching. Meanwhile, an English word ‘live’ was the juxtaposed language element for the single-word code-switching. So, there were two types of codeswitching.


32 2) Conversational code-switching and integrated loanwords a) Bams cs “memaksa” music maniacs Palembang ber-sing a long. (p.8, vol. 37) b) Job desk-nya hampir sama dengan stage crew. (p.29, vol.13) In the first example, conversational code-switching could be identified by the existence of an English phrase ‘music maniacs’, and integrated loanwords involved ‘ber-sing a long’. 3) Single-word code-switching and conversational code-switching a) Kombinasi medium beat dan ballad yang emang jadi kelebihan cewek

berambut panjang itu. (p.19, vol.37) b) Cuma mungkin lo belum sadar sepenuhnya akan gift itu, dan malah kadang suka ngerasa ketakutan. Man, just don’t take it for granted and use it in a good way. (p.46, vol.37) c) So, ayo tunjukin kalo kalian bisa menjaga mereka! Lets dance together lah …. (p.46, vol.13) From the first example, single-word code-switching could be identified by the existence of an English word ‘so’. And the English clause ‘there’s something wrong with him’ revealed that there was also conversational codeswitching. 4) Single-word code-switching, conversational code-switching, and integrated loanwords a) Nggak cuma ngandelin lagu-lagu ballad, mantan lady rocker Indonesia ini lebih mengeksplorasi kemampuan vokalnya untuk ngebawain single ngebeat kayak yang termuat di single In Your Mind. (p.19, vol.37)


33 b) Misalnya, kaos biru elektrik dengan hooded sweater magenta. Soal waktu pemakaian, warna “gonjreng” ini cocok banget buat dipake nonton konser, nonton di bioskop, pergi ke pensi, party di disko, bahkan nge-date sekali pun. (p.35, vol.13) The first example above contained three types of code-switching. The first one was single-word code-switching with ‘ballad’ as the borrowed word. The second one was conversational code-switching which involved an English phrase ‘lady rocker’. The last one was integrated loanwords which could be identified by the existence of ‘nge-beat’. The last step was summarizing the data. The summary of the number of code-switching cases in both target magazines and the occurrence percentage of every type of code-switching could be seen in the tables below:

The Number of No.

The Types of Code-Switching

Code-Switching

Percentage

Cases 1.

Single-word code-switching

166

58%

2.

Conversational code-switching

91

32%

3.

Integrated loanwords

29

10%

286

100%

The total number and percentage

Table 4.1: The Summary of the Types of Code-Switching in Vol. 37


34 The Number of No.

The Types of Code-Switching

Code-Switching

Percentage

Cases 1.

Single-word code-switching

143

55%

2.

Conversational code-switching

94

36%

3.

Integrated loanwords

24

9%

261

100%

The total number and percentage

Table 4.2: The Summary of the Types of Code-Switching in Vol. 13

Both

summaries

showed

similar

indications

of

code-switching

phenomenon in ‘HAI’ teenage magazine dealing with the frequency of occurrence of each type. The results of the percentage did not show salient distinction of the occurrence of the types of code-switching in the target magazines. From the data, it could be concluded that single-word code-switching was the most frequent type in the occurrence. Furthermore, the percentage in each target magazine was more than 50% of the total occurrence. The absolute presence of this type indicated that the writers of the articles in ‘HAI’ teenage magazine frequently juxtaposed a single English word with Indonesian utterances in their articles. The English words in the single-word code-switching were mostly content words such as nouns, verbs, adjectives and adverbs. But I also found that the writers also juxtaposed some English conjunctions. 1) Content words a) A noun Sebuah tagline yang menarik. (p.52, vol.13)


35 b) A verb Mereka para finalis Moka 2005. Meet, Eline, Livia dan Nadia. (p.5, vol.37) c) An adjective Setiap kali gue menonton film itu, gue selalu merasa amazed sama apa yang terjadi dalam alur gambarnya. (p.74, vol.13) d) An adverb Yakin aja, semua usaha keras kamu someday pasti ada hasilnya. (p.56, vol.37) 2) Conjunction Gue suka baca buku or nonton film horror, nanya-nanya ke temen yang “orang pinter”. (p.46, vol.37) Integrated loanwords code-switching itself essentially involved a process of borrowing single English words which were integrated with Indonesian affixes. It could be seen in the following examples. a) “Seger kalo diliat,” bilang Via sambil me-retouch graffiti karyanya. (p.7, vol.37) b) Kalo udah di-perform-in secara live, tapi mereka nggak bisa ngeliat penontonnya. (p.10, vol.37) c) Sound-nya bener-bener dikulik abis. (p.13, vol.37) From those four examples of integrated loanwords, it could be seen that the juxtaposed language elements consisted of English words and Indonesian affixes which were integrated. Their integration could not distract my understanding that the writers were absolutely eager to use foreign words rather


36 than words of their native language for certain expressions. It, once again, asserted how frequent the writer borrowed a single English word. 2. Identification of the Possible Reasons for Code-Switching Since this study was qualitative research, it was important to give interpretations of the existing phenomenon as it had been suggested by Holliday (2002: 5). The qualitative belief that the realities of the research setting and the people in it are mysterious and can only be superficially touched by research which tries to make sense is interpretive. It maintains that we can explore, catch glimpses, illuminate and then try to interpret bits of reality.

The main focus of the interpretive process in this study was to obtain indepth comprehension toward the phenomenon through the identification of its possible reasons. The identification of the possible reasons involved two important aspects. They were theories from some linguists and purposes of employing code-switching stated by the editorial staff of ‘HAI’ teenage magazine. I conducted a confirmation of code-switching in ‘HAI’ teenage magazine by sending an e-mail to the editorial staff of the magazine. I asked them whether or not they had any reasons for juxtaposing English language elements with Indonesian utterances in the magazine. From the reply of my e-mail that I received, it could be concluded that they had three reasons for it. First, they wanted to be closer to the readers. Second, code-switching was used to explain what they wanted to express concisely. Third, a direct quotation from the informants might also contain foreign language elements. I used them as my considerations to interpret the possible reasons for the existence of the language phenomenon in the magazine.


37 In qualitative research, the writer’s personal interpretations of the language phenomenon being studied were important. I also used my interpretation of the types of code-switching that existed in the magazine to reveal the possible reasons. The tendency of the writers in using certain types might spell out the underlying reasons for employing code-switching. There were four possible reasons that I could identify. The first reason was to build intimate relationship with the readers. This was appropriate with the reason stated by Crystal (1987) as cited by Skiba in Code Switching as a Countenance of Language Interference that code-switching could be used to express solidarity with others. The writers chose words or terms which were very familiar with teenagers as the readers. Teenagers usually used the terms in their social interaction. The existence of such terms as melting, worthed, ngedate, and jealous might distract the boundaries between the writers and teenagers so teenagers could feel that the writers became the members of their society. The use of such terms also enabled the writers to build up and close communication with teenagers as the readers and described that they really understand where teenagers lived; in their own dynamic-global-independent environment. A single mistake in the implementation of code-switching in ‘HAI’ teenage magazine really distracted my understanding that a code-switching phenomenon in the magazine had given good models to comprehend English language. But, the understanding of the essence of sociolinguistics which also accounted the culture and the structure of the setting of the society might give permission for it. Teenagers who frequently used informal-ungrammatical dialect or language variation in their communication encouraged the writers of the articles of ‘HAI’


38 teenage magazine to really enter their custom of communication to be closer to the readers. The understandable message was, then, the most important point. It could be understood by the existence of these two understandable examples, yet grammatically ineffective. a. Beda sama banci yang dari penampilan dan gesture tubuhnya aja udah keliatan. (p.26, vol.37) b. Peralatan yang ada tuh mulai dari tool kit yang kecil-kecil, sampai peralatan besar kayak dongkrak hidrolik. (p.49, vol.37) In the first example, the word ‘gesture’ actually had described the movement of the part of the body. The Indonesian word of ‘body’, tubuh, which followed the word ‘gesture’ asserted the ineffectiveness. It might also deviate the meaning of ‘gesture’ itself. But as what I had stated that the salient message was the most important point for code-switching in ‘HAI’ teenage magazine. The repetition could describe that the writer wanted to produce a clear message. For addition, the trend among teenagers in using informal-ungrammatical dialect might also affect the presence of ‘gesture’ in front of its Indonesian version ‘tubuh’. The ungrammaticality in code-switching in ‘HAI’ teenage magazine could be seen in the following example where the writer of the article produced ‘speakspeak’ as the juxtaposed element. a. Sadar kalo momennya tepat buat bikin cewek-cewek termehek-mehek, Ello langsung nunjukin skill-nya speak-speak. Pokoknya setiap abis satu lagu doi nggak pernah absen ngeluarin rayuan gombal. (p.75, vol.37) b. Bareng Aghi, Everybody Loves Irene menghasilkan sound-sound aneh yang berisik. (p.76, vol.13)


39 English language rules clearly did not allow the speaker to double the same verbs simultaneously like ‘speak-speak’ in the example above. But the ungrammaticality of code-switching in ‘HAI’ teenage magazine, once again, could be tolerated since one of the reasons for code-switching in the magazine was to build intimate relationship with the readers. And all of the juxtaposed elements had been conformed to the language style or dialect which were used by teenagers in their daily conversation. The ungrammatical part in code-switching came from teenagers themselves as one of the criteria of their informal dialect. The writer did not mean to plunge the readers into a mistake, yet it became a strategy to be closer to the readers by imitating the way they treated a language. The second possible reason came from the tendency that the writers frequently employed a single-word code-switching by juxtaposing a single English word with Indonesian utterances. It implied that the writers found some difficulty in describing what they wanted to express in Indonesian language or with Indonesian terms. It was supported by Crystal (1987) as cited by Skiba in Code Switching as a Countenance of Language Interference that a speaker might find difficulty to express her or himself in one language so she or he switched to another language to compensate for the deficiency. It was not because of the limited vocabulary of Indonesian language, I believed that there were some people who assumed that some English words might imply broader meaning than the Indonesian versions. It was supported by the editorial staff of ‘HAI’ teenage magazine. They explained that they decided to use foreign language elements to produce concise expressions without obscuring the fundamental meaning. They explained that they faced some difficulty to find Indonesian words which had


40 equal meanings with the English words or terms in the following code-switching cases. a. Score itu kan song-writing reality-dating game show. Jadi pesertanya dikasih waktu seharian buat bikin lagu. (p.10, vol.37) b. Pada fase ini seseorang sedang belajar tentang identitas dan tanggung jawab gender. (p.26, vol.37) c. Ini lazim disebut sebagai guilty pleasure. (p.54, vol.37) d. Buktinya lewat album repackage mereka yang sudah tidak menyertakan Dimi dalam daftar personil. (p.68. vol.13) The English words or terms in the examples above would be difficult to be translated into Indonesian and the translations might also eliminate some essential messages instead. Code-switching was very helpful to cover the deficiency problem of vocabulary. A speaker may switch the language that she or he uses to another if she or he has this kind of problem. The writers of the magazine had given me a good example to comprehend it. But it was important to make sure that teenagers absolutely understood the foreign words. Since the foreign language elements had been compromised with the teenagers’ daily dialect, as it had been stated in the previous paragraph, it could be guaranteed that teenagers had already understood the meaning of those foreign expressions. Actually, a strategy could be implemented to make sure that the readers really got the meaning by explaining the message of the foreign words in Indonesian, for certain English terms, after the presence of those terms. Even though the meaning would not be exactly similar, at least the readers could get clear description of it. I


41 guarantied that some teenagers did not understand what actually guilty pleasure means. Third, code-switching was employed because of the special terms related to the topic under discussion that should be used. Every topic might have some specific terms which were sometimes very difficult to be translated to another language. Like the term sticking in the following example of code-switching in ‘HAI’ teenage magazine. Sementara Claudia sibuk fingering, Ajeng tetep duduk manis sambil sticking. (p.66, vol.37) Indonesian language did not have an exact term to describe the term ‘sticking’, as the compensation; the writer borrowed and then juxtaposed it with Indonesian language elements. Other terms could be seen in the following codeswitching utterances. a. Selain itu stage manager juga berhak untuk memutuskan durasi pertunjukan. (p.28, vol.13) b. Kalo ngeliat faktanya, banyak banget film jenis ini yang jadi box office. (p.51, vol.13) c. Gara-gara ada catwalk baru yang dipasang di kanan-kiri panggung, Eross, Sakti dan Adam jadi rajin mejeng di areal itu. (p.31, vol.37) For the fourth possible reason, I agreed with the editorial staff of ‘HAI’ teenage magazine who said that sometimes a direct quotation from the informants was needed. It was also important to be informed that the informants themselves


42 might employ code-switching. The writers of the articles had to write exactly what their informants said. Some examples in the magazine revealed this argument. The foreign language elements in the following examples came from the informants themselves. It also described that some English expressions came from teenagers themselves a. “We need to start the revolution of streetball in Indonesia! Kami ngeliat kalo selama ini basket tuh nggak berkembang. … ,” beber Anwar a. k. a Hyper Drive yang juga salah satu dedengkot tim ini. (p.40, vol.37) b. “Ya udah langsung ketemuan di sana aja ya! Sekalian ada yang pengen aku retouch,” sahut Nadia pas janjian di telepon. (p.5, vol.37) It could be seen from the examples that sometimes the informants themselves applied code-switching in their speech. To express natural message of what the informants said or to be as informative as possible, the writers had to employ a direct quotation in their articles.

B. Code-Switching in Teaching-Learning Process of English Language Cook (1991) as cited by Skiba in Code Switching as a Countenance of Language Interference had stated that code-switching could be integrated in the process of language learning. He had given an example of how code-switching was used in the test of the Institute of Linguistics' examinations. Through this study I would like to provide an alternative material to teach English language dealing with the code-switching in ‘HAI’ teenage magazine. ‘HAI’ teenage magazine would be used as the teaching material.


43 The most important point for a public media like ‘HAI’ magazine was the salient messages which should be received by the readers. One of the purposes of employing code-switching was to build intimate relationship with the readers. The code-switching which was used prominently in the magazine should have been very helpful for the readers to gain effective process of understanding the articles since all of the foreign language elements, as the juxtaposed elements, were reader-familiar expressions. Teenagers were supposed to understand the messages of the utterances that contained code-switching. But the understanding of the teenagers toward utterances containing code-switching could be tested through the process of translating the foreign language elements into Indonesian to produce full Indonesian utterances. English teachers could use it as a teaching material for their students. But it was important to consider that the age of teen was the most appropriate period for the students since the expressions and also the topics of the articles in the magazine had been compromised for teenagers. According to Encarta Webster’s College Dictionary: 2nd Edition, a teenager could be defined as a young person between the age of 13 and 19. If it was related to the educational levels in Indonesia, the students in the second grade of Junior High School – the third grade of Senior High School were at the appropriate period to learn English through this alternative material. Teachers could provide two magazines for one class with 30-40 students. There were approximately 80 pages in one magazine, she or he could divide the students into groups of 3 and 4 and provided 15-17 pages for each group. Almost in every page of the magazine there were a number of utterances that contained code-switching.


44 The teacher could also ask the students to provide their own magazines. I believed that the students would be exited to bring their own magazines. It also could be one strategy to build interest among the students in the teaching-learning process.


CHAPTER V CONCLUSIONS AND SUGGESTIONS

This chapter aimed at accommodating final results of this research and some suggestions. The final results were the answers to the research questions of this study. The research questions were 1) what are types of code-switching in Indonesian teenage magazine ‘HAI’? 2) what are the possible reasons for codeswitching in Indonesian teenage magazine ‘HAI’? The suggestions were presented for the importance of current practice of code-switching in ‘HAI’ teenage magazine and future research of code-switching.

A. Conclusions 1. The Types of Code-Switching in ‘HAI’ Teenage Magazine I identified that there were three types of code-switching that existed in the magazine. The classification was based on the length of the switched language elements. The three types and the examples of code-switching from the magazine were as follows: a. Conversational code-switching; the juxtaposed element can be a sentence, clause, or phrase. b. Single-word code-switching; the juxtaposed element is a single word. c. Integrated loanwords; the juxtaposed element consists of morphemes of English and Indonesian language which are integrated to form a single expression.

45


46 2. The Possible Reasons for Code-Switching in ‘HAI’ Teenage Magazine There were four possible reasons that I could identify. They were as follows: a. The writers of the articles employed code-switching to build intimate relationship with teenagers as the readers. It was possible since the juxtaposed language elements were the terms that teenagers usually used in their social interaction. b. The writers of the articles found some difficulty in describing what they wanted to express in Indonesian language. And switching to another language, in this case English language, was the answer for this deficiency problem. c. Code-switching was used because of the special terms related to the topic under discussion. Every topic might have specific terms which sometimes were very difficult to be translated to another language. d. Sometimes a direct quotation from the informants was needed. And the quoted statements might contain code-switching. The writers of the articles had to write exactly what their informants said.

B. Suggestions There are two suggestions in this study; one is for the writers of the articles in ‘HAI teenage magazine and the other is for other researchers of English language who are also interested in code-switching. 1. The writers of the articles should choose an appropriate form of the foreign language element, which is borrowed from English language, related to its function in the utterance. The inappropriateness of its form will deviate the


48 readers’ understanding of the standard rules of English language. The following example contains an inappropriate choice of the foreign word related to its function in the utterance: Lagi nggak boring sama rutinitas. (p.70) The word ‘boring’ in the example above functions as an adjective which should describe the condition of the unspoken subject. But the essential meaning of this form of English word does not, actually, accommodate that function. The form ‘bored’ would be the appropriate form to be juxtaposed within the utterance. According to Encarta Webster’s College Dictionary: 2nd Edition, ‘bored’ means “feeling tired because one has nothing to do or has lost interest in sb/sth”. Whereas ‘boring’ means not interesting or dull. 2. Other researchers may conduct a research on code-switching in a spoken context. Code-switching may happen in either written or spoken context. It has been explained by Asher (1994: 578) that “Code-switching then is the switching from one variety, either of the same language or of different languages, in speech or writing.” Since a study of code-switching needs researchers’ acute understanding of the setting of the society, it is important for them to decide the domain, such as family and official, at the very beginning of the research.


BIBLIOGRAPHY

Asher, R.E. The Encyclopedia of Language and Linguistics. Volume 2. 1994. Oxford: Pergamon Press. Bloomsbury Dictionary Database Team. 2005. Encarta Webster’s College Dictionary. 2nd edition. New York: Bloomsbury. Bungis, H. M. Burhan. 2007. Penelitian Kualitatif: Komunikasi, Ekonomi, Kebijakan Publik, dan Ilmu Sosial. Jakarta: Prenada Media Group. Beales, A.R., Spindler, G. and Spindler, L. 1967. Culture in Process. New York: Holt, Rinehart and Winston. Clark, R. and Ivanič, R. 1997. The Politics of Writing. London: Routledge. Creswell, J. W. 1998. ‘Organizing and Analyzing the Data from Qualitative Studies.’ in Leedy, Paul D. and Ormrod, Jeanne Ellis. (ed), Practical Research: Planning and Design. 8th edition. New Jersey: Pearson Prentice Hall. pp. 150-151. Crotty, M. 1998. The Foundations of Social Research: Meaning and Perspective in the Research Process. Thousand Oaks, CA: Sage. Flick, U. 1998. An Introduction to Qualitative Research. London: Sage. Holliday, A. 2002. Doing and Writing Qualitative Research. London: SAGE Publications Ltd. Holmes, J. 1992. An Introduction to Sociolinguistics. New York: Addison Wesley Longman Inc. Indriani, M.I. 2003. English Pronunciation: the English Speech Sounds Theory & Practice. Jakarta: RT Gramedia Pustaka Utama. Kountur, R. 2003. Metode Penelitian untuk Penulisan Skripsi dan Tesis. Jakarta: PPM Leedy, P.D. and Ormrod, J.E. 2005. Practical Research: Planning and Design. 8th edition. New Jersey: Pearson Prentice Hall. Meriam, S.B. and Associates. 2002. Qualitative Research in Practice: Example for Discussion and Analysis. San Fransisco: Jossey-Bass.

48


49 Spolsky, B. 1998. Sociolinguistics. Oxford: Oxford University Press. Stockwell, P. 2002. Sociolinguistics: A Resource Book for Students. London: Routledge. Poole, S.C. 1999. An Introduction to Linguistics. New York: St. Martin’s Press. Pride, J. B. 1971. The Social Meaning of Language. London: Oxford University Press. Richards, C.J. and Schmidt, R.W. 1983. Language and Communication. New York: Longman Inc. nd

Wardaugh, R. 1992. An Introduction to Sociolinguistics. 2 Blackwell.

edition. Oxford:

Auer, P.1998. Code-switching in Conversation: Language , Interaction, and Identity, http://www.udc.es/dep/lx/cac/c-s/ (accessed on November 15, 2007) Chana, U. (1984). ‘Code-Switching Description.’ in Duran, L. Toward a Better Understanding of Code-Switching and Interlanguage in Bilinguality: Implications for Bilingual Instruction. http://www.ncela.gwu.edu/pubs/jeilms/vol14/duran.htm (accessed on November 15, 2007) Chrystal, D. 1987. ’The Reasons for Code-Switching.’ in Skiba, R. Code Switching as a Countenance of Language Interference. http://iteslj.org/Articles/Skiba-CodeSwitching.html (accessed on 15 November, 2007) Cook, V. 1991. ‘Code-Switching in Language Examination.’ in Skiba, R. Code Switching as a Countenance of Language Interference. http://iteslj.org/Articles/Skiba-CodeSwitching.html (accessed on 15 November, 2007 Valdes-Fallis, G. (1977).’ Code-Switching among Bilingual People.’ in Duran, L. Toward a Better Understanding of Code-Switching and Interlanguage in Bilinguality: Implications for Bilingual Instruction. http://www.ncela.gwu.edu/pubs/jeilms/vol14/duran.htm (accessed on 15 November, 2007)


Appendix 1 the Observation of the List of Code-Switching

No.

Page

The Code-Switching in ‘HAI’ Teenage Magazine

Number

50


Appendix 2 the Observation Form of the Types Analysis

The Types of No.

Page

The Code-Switching in ‘HAI’

Number

Teenage Magazine

Notes: CCS: Conversational code-switching SW: Single-word code-switching IL: Integrated loanwords

51

Code-Switching CCS

SW

IL


Appendix 3 Code-Switching Cases in Vol. 37

Publishing date: September 12th – 18th, 2005 Edition number: TH XXIX NO. 37

The Types of the No.

1.

Page


Number

Teenage Magazine

2

Code-Switching CCS

SW

IL

Kok kayaknya enak ya punya sixthsence alias indera keenam?

√ √

2.

2

Nggak nyangka, jack!

3.

3

Negara kita selalu masuk dalam chart √

5 besar negara terkorup di planet Bumi. 4.

5

Sekardus cat semprot warna-warni plus masker jadi senjata andalan. It’s

√

show time! 5.

5

Aksi nge-bomb malam itu dimulai lewat tengah malam.

6.

5

√

Di antara crew bomber yang dateng malam itu ada tiga bomber cantik yang √

ikutan. 7.

5

Mereka para finaalis Moka 2005. Meet, Eline, Livia dan Nadia.

8.

5

√

“Ya udah langsung ketemuan di sana aja ya! Sekalian ada yang pengen aku retouch,” sahut Nadia pas janjian di telepon.

52

√


53 9.

5

Selevel sama graffiti crew lain yang √

udah senior. 10.

6

Marceline Febriani Dalimatra ini juara √

Moka 2005 kemarin. So, tampang orientalnya langsung bisa diliat di cover Kawanku sebulan lalu.

√ 11.

6

Nggak cuma modelling aja. Cewek yang doyan hang out di eX ini juga gape

nge-dance,

balet

√

sampe

√

menggambar. 12.

6

“Menurut aku street culture kayak graffiti tuh keren banget! Bikin Jakarta eye

catching,”

komentar

pelahap

masakan italia ini. 13.

6

√ √

Soal style, cewek yang mengaku √

jomblo ini suka gaya Jepang. 14.

6

Terus warnanya tuh harus shocking √

pink. 15.

7

Abis nih cewek emang friendly banget. √

16.

7

Asik diajak ngobrol dan gampang nge√

blend sama orang-orang baru. 17.

7

By the way, seru nggak sih ikutan Moka?

18.

7

√

Sayang cuma tiga hari kurang puas. Hehehe,“ sambung pelahap steak ini sambil ketawa.

√


54 19.

7

Katanya

kamu

interest

ya

sama √

graffiti? 20.

7

“Seger kalo diliat,” bilang Via sambil √

me-retouch graffiti karyanya. 21.

22.

23.

8

8

8

So, biar umurnya baru 17 tahun Nadia udah lulus SMA.

√

Dengan skill kayak gitu Nadia emang

√

nggak perlu diragukan, coy!

√

See, liat sendiri dong kehebatan tiga √

bidadari ini. 24.

10

Well, kalo gitu bagi resep pedenya deh. √

25.

10

Soalnya gue dari kecil ngerasa born to √

be musician. 26.

10

Score itu kan song-writing realitydating game show. Jadi pesertanya

√

dikasih waktu seharian buat bikin lagu.

27.

10

Kalo udah di-perform-in secara live, tapi

mereka

nggak

bisa

ngeliat

√ √

penontonnya. 28.

10

Nanti penonton kasih komentar, terus kalo ada penonton yang suka sama √

lagunya, mereka harus temenin ngedate. 29.

10

Ya udah, bagi resep bikin lagu yang bisa bikin cewek melting aja.

30.

11

√

Kita kan denger rekaman suara kamu √

yang lagi di-mixing di studio. 31.

11

Dia butuh orang nyanyi buat nyobain alat recording yang dibelinya.

√


55

32.

11

Yang bener? Yani ditinggalin Oka, pacarnya yang rapper itu?

√ √

33.

11

Rencananya kami mau married.

34.

11

Kebetulan pas ngeliput launcing film Catatan

Akhir

Sekolah

ketemu

√

Thomas Nawilis. 35.

11

Kita kan udah tau kalo Gwen Stefani baru aja ngebuka label fashion yang dikasih nama Love Angel Music Baby

√

alias L.A.M.B akhir tahun 2004 lalu. 36.

11

Maklum, modelnya emang fashionable dan nggak norak. √

37.

13

Kebetulan, malam itu mereka sengaja berkumpul buat proses mixing terakhir √

album berjudul Retropolis itu. 38.

13

Yang udah pasti, ambience-nya jadi √

berubah. 39.

13

Soalnya, nih lagu di-set buat dibawain √

secara akustik. 40.

13

Untuk sound, album ini bisa dikasih √

acungan jempol. 41.

13

Sound-nya bener-bener dikulik abis.

42.

13

Saat finishing album Retropolis, Jarwo √

bernasib naas. 43.

13

Tanggal 28 Juli 2005 tengah malam, kelar

David

take

vocal,

Jarwo

meninggalkan markas Naif menuju rumah

√

menunggangi

skuter


56 √

kesayangannya. 44.

14

Yang kami tau, saat ngebikin album √

ini kami ngerasa fresh banget. 45.

14

Man, meski materinya beda sama album sebelumnya, kelihatan banget √

David cs. dan perusahaan rekaman optimis sama Retropolis. 46.

14

Awalnya, gue pengen bikin konsep √

cover yang in-line sama klip. 47.

14

√

Jadi deh, kami bikin hitung-hitungan √

yang kira-kira worthed sama konsep itu. 48.

14

Terserah, bagaimana imajinasi mereka √

terhadap set Retropolis itu sendiri. 49.

14

Soalnya, lagunya berubah last minute.

√

50.

14

Kalo gitu, good luck aja, deh!

√

51.

14

Yang versi kedua seru karena sesuai

52.

14

dengan taste kami.

√

Mulai dari groupies sampe pesan

√

terakhir nyokapnya Emil. 53.

14

Sebenarnya, ini bukan lagu. Melainkan intro buat single Gula-gula. Tapi, karena panjang, sengaja track-nya

√ √

dipisahin. 54.

14

Sebetulnya dia nggak pengen lagu itu √

jadi nge-slow. 55.

14

Tercipta

gara-gara

doi

pengen

ngebuktiin kalo computer juga bisa

√

dipake bikin lagu slow. 56.

14

Ibal mincing pake song, diterusin sama

√

David di bagian reff.

√


57 57.

14

Pas Pepeng bikin nih lagu, Naif lagi

√

dikejar-kejar deadline. 58.

14

Nyokap gue tuh orangnya cool.

59.

14

Sedangkan,

buat

√

song-nya

ngegambarin

jawaban

pertanyaan,

gue

yang

gue

pake

dari

√

bahasa

Indonesia. 60.

16

Buat aku. Avril tuh sosok yang perfect.

61.

16

Belakangan, pelahap fettuccini dan french fries ini terobsesi buat bikin

√ √

konser tunggal. 62.

16

Terus aku jadi leader-nya sambil main

√

piano dan diiringi orkestra. 63.

18

Dan mungkin hanya di Indonesia, gim √

bola yang satu ini punya patch paling banyak. 64.

18

Mulai

dari

outfit

sampe

cara

√

permainan. 65.

18

Pencahayaan, make up, dan alur cerita masih kental sinetronnya.

66.

18

Kalo pun ada hal baru mungkin pada setting cerita.

67.

18

Anyway,

kalo

untuk

√ √

sekadar

penyegaran nonton film ini boleh-

√

boleh aja tuh. 68.

18

Biarpun gaya penulisannya lumayan asyik, tetep saja suspense khas novelnovel konspirasi nggak ada sama

√

sekali. 69.

19

Sejak single Biar Cinta Menyatukan Kita

yang

dipasang

di

track

1

√


58

diperdengarkan, udah ada bakat kalo album ini bisa dijual. √

70.

19

At least, dari sisi musik.

71.

19

Overall, album ini pantes didenger

√

buat yang suka rock n’ roll. 72.

19

Toh, musiknya masih masuk dalam areal easy listening.

73.

19

√

Nggak Cuma ngandelin lagu-lagu ballad, mantan lady rocker Indonesia ini lebih mengeksplorasi kemampuan vokalnya untuk ngebawain single nge-

√

√

√

√

beat kayak yang termuat di single In Your Mind. 74.

19

Kombinasi medium beat dan ballad yang emang jadi kelebihan cewek berambut panjang itu.

75.

19

Emang sih, judulnya bonus track.

76.

20

Empat kali naik podium dan cuma 3

√ √

kali gagal finish. 77.

20

Dua posisi pertama dan runner up diambilnya.

78.

21

Ketenangan

Alonso

di

√

belakang

kemudi yang bikin R25 bisa sering

√

memimpin pole position. 79.

21

Cuma 4 kali pembalap Spanyol ini ada

√

di grid 1. 80.

21

Punya skill tinggi dan didukung mobil

√

yang cepat. 81.

21

Buktinya 5 kali Kimi memimpin

√

lomba sejak start. 82.

21

Nih mobil menjadi mobil yang paling

√

√


59 sering memecahkan rekor fastest lap. 83.

22

Selain

punya

beberapa

ruang

pengendali, di dalam orbiter terdapat living-room, dapur, ruang tidur, WC

√

dan ruang kedap udara. 84.

23

Berat tangki 1,67 juta pon (sekitar 760 √

ton) plus muatan penuh zat pembakar cair dan pengoksidasi. 85.

24

Terus pesta perpisahan gimana? Prom √

Night gimana? 86.

24

Well, begitulah yang terjadi kalo system

SKS

ini

√

bener-bener

diberlakukan. 87.

25

Nggak ada kelas tetap. Yang ada pada √

moving class kayak kuliahan. 88.

26

So, katanya kalo begini kejadiannya berarti there’s something wrong with

√

√

him! 89.

26

Soalnya denger-denger gosipnya, gay

√

itu bisa menular! 90.

26

Udah gitu, physically gay nggak bisa keliatan dari luar.

91.

26

√

Beda sama banci yang dari penampilan dan

gesture

tubuhnya

aja

udah

√

keliatan. 92.

26

Pada fase ini seseorang sedang belajar tentang identitas dan tanggung jawab

√

gender. 93.

27

Bisa bikin dia selalu happy, bisa bikin dia ngerasa nyaman….

94.

27

Sehingga bisa jadi message yang

√ √


60 keluar justru menguatkan kesan bahwa jadi gay itu asyik. √

95.

27

Next, tentang belajar dari coba-coba.

96.

27

Man, namanya juga masih remaja, √

hasrat kita buat yang namanya cobacoba kan gede banget. 97.

27

Saya cuma mau ingatkan bahwa gay itu bukan sebuah penyakit. Being a

√

gay is a choice! 98.

27

Semua

orang

punya

hak

untuk

memilih, jadi kita nggak boleh men√

judge kalo ada orang yang memilih menjadi

gay,”

tambah

bu

Yati

mengakhiri pembicaraan. 99.

27

Setiap gue ngobrol ama cewek lain, √

udahannya pasti aja kita ribut. Dia jealous. 100.

28

Kalo

kemaren-kemaren

sempet

boming

“tren” nenteng botol

air

√

mineral ke mana-mana, sekarang beda lagi. 101.

29

Yang namanya study tour itu emang asoy.

102.

31

√

Gara-gara ada catwalk baru yang dipasang

di

kanan-kiri

panggung,

√

Eross, Sakti dan Adam jadi rajin mejeng di areal itu. 103.

31

Langsung deh adegan unbelivable

√

dimulai. 104.

31

Rupanya, kegokilan personil Sheila On 7 memancing dua additional musician

√


61 yang membantu mereka untuk ikutikutan gokil. √

105.

31

At least, di atas panggung.

106.

38

Hari gini, make merchandise band dalam negeri emang asik.

107.

38

√

Abis, merchandise mereka-mereka ini

√

emang patut dikoleksi. 108.

40

Mengaku

sebagai

penyebar

virus

olahraga basket jalanan, Future makin mantap

berdiri

mengusung

√

entertainment basketball. 109.

40

Mungkin kalo mau diurut, Future √

tergolong klub basket pertama yang mainin streetball di Indonesia. 110.

40

“We need to start the revolution of streetball in Indonesia! Kami ngeliat kalo selama ini basket tuh nggak

√

berkembang. 111.

40

Anwar cerita saat pertama kali tim ini show-off

kemampuan

streetball

mereka pada sebuah turnamen basket di

Sukabumi,

penonton

di

√

√

√

√

sana

awalnya pada nggak terima. 112.

40

Makanya, untuk ngelatih skill aja, gue sehari latihan 200 kali push-up, 100 kali nembak, 10 kali lari lapangan bola dan kudu nyiptain trik baru setiap hari,” curhat Richard a.k.a Insane yang kepilih jadi saah satu dari 10 best streetballers

dalam

LA

Streetball Bandung kemaren.

Light

√


62 113.

40

Walaupun dalam streetball yang bikin √

fun buat penonton itu freestyle-nya,

√

para pemain juga kudu mikirin gimana √

mencetak angka biar jadi pemenang. 114.

40

Makanya di tim Future ini tiap pemain √

punya tipe dan desk-job-nya masingmasing. 115.

40

“Ada yang gayanya new school, yaitu menghadang

lawan

pake

trik-trik

√

√

freestyle tadi. 116.

40

Terus ada yang gayanya old school, menghadang

lawan

dengan

menggunakan otak (mirip-mirip trik

√

basket biasalah, RED.), yang terakhir √

ada hard knock yaitu pemain yang menggunakan power dan badannya

√

yang gede untuk menghadang lawan,” beber Richard. 117.

40

Beli aja DVD Future Streetball Mix Tape volume 1dan 2 yang beredar tiap

√

kali timini show. 118.

40

Kalo sempet, kamu juga bisa datengin streetball

√

bareng di basecamp mereka di Jalan

√

langsung

bahkan

maen

Ambon, Bandung. 119.

41

Apa tanggapan kita kalo ada temen yang bilang dia baru saja melihat UFO atau alien?

120.

41

Pokoknya merasakan ada sesuatu yang spooky deh.

121.

41

Even bukti nyata soal ini pun nggak

√ √ √


63 pernah ada juga. 122.

41

Salah satu contohnya mungkin kayak √

temen kita tadi yang tiba-tiba aja punya feeling aneh. 123.

41

Bahkan sejumlah sinetron remaja pun √

nggak ketinggalan memakai fenomena ini sebagai background ceritanya. 124.

41

Soalnya, konon, siapapun bisa dan berbakat memiliki kamampuan ini.

√

Well, ready to gain a new experience? 125.

43

Awalnya aku sempet shock, yang √

tadinya nggak pernah ngeliat mahluk yang seperti itu tiba-tiba bisa ngeliat. 126.

44

Katanya sih bisa aja asal diasah dengan bener. Hmm, worth to try nih!

127.

44

Kalo

nggak,

bisa-bisa

di

√

tengah

meditasi kita diganggu sama debt

√

collector. 128.

45

Makanya ada kemungkinan kita yang newcomer buat urusan ini bakal kaget

√

setengah mampus begitu mengalami sendiri. 129.

130.

46

46

a.

Sering banget!

b.

Sekali-sekali pernah.

c.

Never!

√

No! Kepikiran ke situ aja nggak

√

kaliiii…!! 131.

46

a.

Iya, itu sering banget terjadi.

b.

Hmm, munglin! Tapi nggak sering.

c.

Nope, that has never happened.

√


64 132.

46

Gue suka baca buku or nonton film √

horror, nanya-nanya ke temen yang “orang pinter”. 133.

46

Gimana ya, tertarik sih…! Menurut gue it’s kinda cool.

134.

46

Gue

nggak

tertarik

sama

√

yang

begituan! Don’t hate it, cuma males

√

aja nyari tau soal begituan. 135.

46

Cuma

mungkin

lo

belum

sadar

sepenuhnya akan gift itu, dan malah kadang suka ngerasa ketakutan. Man,

√

√

just don’t take it for granted and use it in a good way. 136.

46

Tapi kalo lo mulai belajar untuk percaya bahwa ada kehidupan lain di luar kehidupan kita, terus lo mau open mind, bisa aja suatu saat indra keenam lo tiba-tiba terbuka. Anything could

√ √

happen bukan? 137.

49

Sebagai contohnya bengkel-bengkel resmi

dealer

mobil

bisa

√

jadi

perbandingan. 138.

49

Peralatan yang ada tuh mulai dari tool kit yang kecil-kecil, sampai peralatan besar kayak dongkrak hidrolik.

139.

50

Yang paling bikin bete adalah lantaran tuh mobil udah full modifikasi.

140.

50

Tapi

berhubung

belinya

second,

kondisi tuh mobil masih standar abis. 141.

50

Coba deh perhatiin posisi bannya. Semuanya gue camber tuh!

√ √ √ √


65 142.

50

Asal tau aja, ban belakang mobil sedan √

Jepang tuh sebenarnya sama sekali nggak bisa di-camber. 143.

50

Tapi overall nih mobil emang oke

√

banget. 144.

51

Ada yang bilang tenaga mesin motor bisa meningkat kalo memakai octane

√

booster, power booster, atau yang

√

sejenisnya. 145.

51

Guys, apa yang kebayang di benak kita kala mendengar kata power booster?

146.

52

√

√

Tentang seorang loser yang harus jadi √

gigolo gara-gara kesialan menimpa dirinya. 147.

52

Lagi-lagi bad luck menjerumuskan

√

Deuce ke persoalan pelik. 148.

52

Nggak

tahunya

pihak

berwajib

ngeluarin statement pencarian buronan

√

pengacau pantai lewat sebuah sketsa wajah yang mirip dirinya. 149.

53

Tentunya buat masuk ke event ini, √

Deuce kudu lebih serius menjalani profesi gigolonya. 150.

53

Buat gue, film sekuel ini adalah sebuah

masterpiece,”

kata

Rob

√

Schneider yang juga bertindak sebagai penulis cerita. 151.

152.

54

53

Seluruh kawasan dipenuhi tempat praktek prostitusi, sex shop, serta sex

√

theatre.

√

Bisa

dibilang

film

komedi

yang

√


66 memakai setting Eropa lebih seru ditonton. 153.

54

Remote

TV

diambil,

tombol

dipencet.

√ √

154.

54

Lawakannya garing dan slapsticks.

155.

54

Udah gitu face-nya juga cantik.

156.

54

Ini

lazim

disebut

sebagai

√ guilty

pleasure. 157.

54

Contoh gampangnya yaitu makan junk food.

158.

54

Terus terang, gue nyari horny-nya aja.

159.

55

Yang kedua adalah jenis news feature atau berita yang mendalam.

160.

55

√

on

√ √ √ √

Kayak ngebahas fenomena tattoo, pecun sekolah, penari striptease dan sisi gelap profesi public relation (ada-

√

√

ada aja nih!). 161.

55

Tiga

besar

hasil

polling

Hai

√

menunjukkan, ketiga jenis tayangan yang berlainan jenis nongkrong di puncak perolehan suara. 162.

55

Ada yang niat mau cari informasi “underground”,

dan

ada

√

yang

mentingin bodi mulus doang. 163.

55

Kalo tayangan tengah malam tadi udah mulai ngerasa nggak meaning alias

√

nggak penting, mendingan buru-buru ambil remote dan matiin. 164.

165.

55

56

So, it’s your call. Mau guilty pleasure

√

ini berlanjut atau nggak?

√

Musik yang laku adalah musik yang

√


67 easy listening. 166.

56

Tapi,

kami

berlima

berusaha

menyampurkan semua influence itu

√

dalam satu warna musik yang enak didenger,” timpal Rendra. 167.

56

Single Berpaling yang jadi andalan di √

album perdana mereka yang selftitled, dapet respon cukup bagus di radio. 168.

56

Yakin aja, semua usaha keras kamu

√

someday pasti ada hasilnya. 169.

57

Kalo sempet nonton seri pertamanya dan termasuk suka sama gaya action

√

yang ditawarkan nih film, kayaknya lo akan suka nontonin sekuelnya. 170.

57

Tentunya sekalian jadi body guard para langganannya.

171.

57

Action-nya masih aja paten.

172.

58

Sekarang

semuanya

udah

√ cooling

down. 173.

58

√

√

Makanya ketika beberapa jam setelah √

sholat Ied tiba-tiba chaos terjadi, semua orang kaget. 174.

58

Man, it’s not over yet! Setelah ngerasain pegel yang luar biasa akibat berjam-jam berada pada posisi yang sama, Lukas dan keluarganya masih

√

harus ngerasain nyawanya di ujung tombak. 175.

58

Syukurnya adegan itu berakhir dengan happy ending.

176.

59

Thanks god sekarang chaos itu udah

√ √

√


68 berakhir (meski sempet terulang tahun 2004 lalu). 177.

59

Supaya traffic-nya enak, becak-becak √

itu dibagi dua kubu, yang bercat merah dan bercat kuning. 178.

60

Hei….What’s up? Hai yang makin keren aja dengan logo barunya!

179.

60

√

Jadi jangan di pulau Jawa and Bali melulu….Itu aja usul gue…Thanks

√

√

ya…Be cool man! 180.

60

Di Hai yang cover-nya DEWA,’kan ada

artikel

ama

gambar

CD

√

Kotak…Sumpah ma, doi keren banget! Swear! 181.

60

Kalo ada emailnya dia, atau gimana deh

caranya

biar

gue

bisa

get

√

connected ama doi…Oke deh..gue tunggu email balik dari Hai. Makasih banget

sebelumnya..KEEP

ON

√

ROCKIN!!!ALWAYS! 182.

61

Seenggaknya, di art exhibition satu malam

yang

diselenggarakan

di

√

Museum Nasional 27 Agustus lalu. 183.

61

Pertama:

ada

sneakers

exhibition.

Isinya sneakers alias sepatu olah raga. 184.

62

√

√

Soalnya kalo bicara soal founding father

musik

reggae,

kita

harus

√

kembali ke tahun 1963. 185.

63

“Omarian

mengajarinya

untuk

tidakmencuri, selalu berkata benar dan patuh kepada orang tua, dia sangat

√


69 ketat dan strict,” kenang Cedella. 186.

63

Cuma, komunitas ghetto atau gembel √

di Kingston malah ngeliat Bob sebagai ancaman. 187.

63

Malah dia pernah gagal pacaran karena masalah warna kulit. “No white man screwing up our bloodlines!” begitu

√

kata mereka. 188.

63

Lagu-lagunya selalu diputar lewat sound system di jalan. Nggak heran kalo The Wailers dijuluki The Sound System King. Guys, it was the birth of a legend.

189.

65

√ √

Seru, deg-degan, nervous, panas tapi

√

tetep gokil. 190.

65

Untung aja tim fashion stylish-nya

√

punya segudang baju buat Oky. 191.

65

Terlebih di depan kamera, asli banci foto semua. “Guys say cheese!”

192.

66

Sandy “Pas” band tiba-tiba nyusup ke back stage!

193.

194.

66

66

√ √

Sementara Claudia sibuk fingering, Ajeng tetep duduk manis sambil

√

sticking.

√

Ini dia ritual paling penting sebelum naik panggung. Yap. Briefing! Semua

√

dibahas abis, mulai dari blocking mereka sampe kapan mereka harus bersiap-siap. Kelar itu? Show time. 195.

68

Tanyain mereka.

dulu

background

musik

√

√ √


70 196.

68

Kan nggak lucu kalo ada salah satu

√

personil masih basic banget skill-nya. 197.

68

Maju dikit, kita bergerak ke style emo.

198.

68

Ini penting karena sound yang keluar dari alat-alat ini punya signature sound

√

√ √

√

yang cocok banget buat musik emo. 199.

69

Untuk gitar salah satu gaya yang selalu muncul adalah octave chord.

200.

69

√

Kord oktaf bakal bikin pitcht yang √

tinggi saat sound gitarnya keluar serta sangat kaya tekstur. 201.

69

Sedikit spike juga boleh tuh. Kalo

√

rambut keriting mending dibotakin aja. 202.

69

Kalo pake kacamata pastiin frame-nya √

dari berwarna hitam. Kako nggak punya, cari aja frame hitam yang tebal. 203.

69

T-shirt warna gelap yang rada kecil.

204.

69

Cardigan yang rada sempit atau Vneck sweater.

205.

70

√ √

√

Capricorn (22Desember-20 Januari) Life: Semuanya datar!... apapun yang

√

lo kerjain nggaj sukses. Love: Rasanya kok mulai ilfil sama

√

dia?! Single:’Duh, lagi males nyari gebetan

√

nih. Money: Wah, bonus dari ortu lumayan

√

lho! Health:

Gendut…gendut!

Olahraga

don?! Tanggal penting: 12 September.

√

√


71 √

206.

70

So far so good….Semoga jadi deh.

207.

70

Ada yang ngajakin kenalan, who??

√

208.

70

Waaa, nemu soulmate nih!

√

209.

70

Lagi nggak boring sama rutinitas.

√

210.

70

Makin cinta. Support-nya penuh..!

211.

70

Orang Pisces suka terlalu idealis dan

√ √

cenderung selfish. 212.

72

Lantaran Bali itu identik dengan √

pantai, venue yang dipilih di pinggir pantai. 213.

72

Dihibur lebih dari 30 artis di tiga panggung, bli-bli dan mbok-mbok dari seluruh

penjuru

Bali

pol-polan

√

mengalami adrenalin rush. 214.

73

Something interesting in A Mild Live Soundrenalin

2005

adalah:

ada

helicopter yang sering banget keliatan

√

berkeliling di area konser. 215.

73

Caranya, tinggal ikut games yang ada

√

di areal A Mild Zone. 216.

73

Manusia-manusia

ini

paling

eye

catching di antara crowd. 217.

73

√

√

Mereka adalah volunteer. Mereka ditransfer dari booth informasi untuk

√

melayani para penonton langsung di

√

lapangan. 218.

73

Penonton yang dateng bisa request √

lagu dan titip pesen sama orang yang mau dititipin pesen. 219.

73

Udah gitu kalo untung bisa sekalian diwawancara buat live report.

√


72

220.

74

Gimana nggak, cuma mereka satu√

satunya band yang perform pake kontrabas dan tampil dengan kostum rapih

kayak

orang

mau

pergi

kondangan. 221.

74

“Sejak pertama terbentuk kami banyak ter-influence

musik

90-an

√

macam

Sound Garden dan Pearl Jam. 222.

74

Tapi buat perform aksi panggung tetep nge-rock,

Cuma

dengan

hippies!” cerocos Robbie sang front man. 223.

74

√

kostum √

√

Ngebeset enam lagu: Impresi, Bocah, Anak Bali, Bayangan, Kesepian Kita, dan Jengah, sejak lagu pertama mereka

√

udah tampil full power. 224.

75

Pasalnya biar performance-nya kalem, √

aransemen lagu-lagu dibawain beda banget. 225.

75

Tapi

bukan

kalonggak

rock bisa

star

cepet

namanya mengatasi

√

situasi. 226.

75

Nggak diragukan lagi, cowok satu ini emang jago banget urusan bikin

√

melting cewek-cewek. 227.

75

Sadar kalo momennya tepat buat bikin cewek-cewek

termehek-mehek,

Ellolangsung nunjukin skill-nya speakspeak. Pokoknya setiap abis satu lagu doi nggak pernah absen ngeluarin rayuan gombal.

√


73 228.

76

But, sampe sekarang, dia masih seru

√

aja dibilang popstar. 229.

76

By the way, gue tertarik banget sama lagu-lagu di album lo.

230.

76

√

Since judul single lo Bad Day, pernah √

nggak sih ngerasain hari yang beberbener jelek? 231.

76

Kalo nggak salah pas gue masih di high school.

232.

76

Kalo jadi berangkat, gue langsung √

samperin lo, deh! It’s a promise! 233.

77

Buktinya, soundtrack film animasi Saint Seiya yang jadi lagu pembuka bisa dibawain dengan selamat.

234.

77

lalu.

78

yang pecandu

berat

drugs.

79

√

Problem utama band ini terletak pada frontman-nya

236.

√

Nih band terpilih jadi headliner di Jersey Live Festival awal September

235.

√

√

Tapi, sebelumnya, mereka sempet ikutan proyek album From Us to You yang bentuknya tribute untuk Titik Puspa.

√

√


Appendix 4 Code-Switching Cases in Vol. 13

Publishing date: March 26th – April 1st, 2007 Edition number: TH XXXI NO. 13

The Types of No.

1.

Page


Number

Teenage Magazine

2

Siapa sangka kalo in the real life dia juga MisssRing-Ring?

2.

3.

4

4

Code-Switching CCS

SW

√

Cewek satu ini …, ibarat drugs. Bikin

√

addict!

√

Waktu itu sulung dari dua bersaudara ini berdandan ala cheerleaders di film

4.

4

Bring It On.

√

(dari kru sampe stylist dan fotografer

√

kompak melotot, jack!). √ 5.

4

Iklan sebuah operator telepon seluler √

yang hampir tiap sepuluh menit sekali nongol di channel mana pun. 6.

6

Nggak nyangka kalo iklan itu bakal √

booming. 7.

7

Well, terlepas dari side effect tadi, fakta ngobrol sama Ryan emang asyik.

√ √

8.

7

Maklum, alumni SMA 8 Jakarta ini tergolong cewek smart.

9.

7

Daripada ngirim-ngirim SMS atau nelpon sana-sini, aku dengerin iPod aja

74

√

IL


75 sampe puas, “bilang pelahap tiramisu

√

dan milk shake coklat ini. 10.

8

A Milt Live Rising Stars menyajikan konser yang seru. Naff, Samsons dan

√

Ungu, semua tampil all out. 11.

8

The Next Rising Stars nggak mau!

12.

8

Belasan ribu music maniacs yang memadati

stadion

√

Kamboja,

Palembang (4/3) lalu adalah saksi betapa memukaunya konser A mild √

Love Rising Stars ini. 13.

8

Coin kelihatan enjoy dan main tanpa √

beban. 14.

8

Lima

lagu

applause

yang dari

dibawain music

dapat

maniacs

Palembang. 15.

8

8

9

√

√

Bams cs “memaksa” music maniacs Palembang ber-sing a long.

17.

√

Permainan bassis gimbal itu membuat banyak music maniacs terpana.

16.

√

√

√

So, emeng nggak salah memasang Ungu sebagai penutup A Mild Live Rising Stars. √

18.

9

Publik Palembang emang menunggu aksi mereka. Konser makin panas, jack! √

19.

9

Aksi Ungu sempet break sebentar karena juri mengumumkan pemenang A Mild Live Wanted regional Sumatra

√


76 Bagian Selatan. √ 20.

9

Hasilnya,

Coin

pemenang

A

mild

yang Live

menjadi Wanted √

regional Sumatra bagian Tengah. 21.

9

Andai Ku Tahu dan Bayang Semu yang menjadi barisan the best single Ungu dibawain.

√ √

22.

9

Music maniacs makin menggila.

23.

9

Entah ada berapa belas ribu orang yang menjadi backing vocal Pasha

√

malam itu. √

24.

9

Cukup asyik didengerin, jack!

25.

9

Band asal Lampung ini tetep tampil all out. √

26.

9

Hapus Aku-nya Nidji bikin ribuan penonton yang memadati lapangan √

parkir Bumi Sriwijaya ber-sing a long. 27.

9

Dua lagu tadi jadi poin penting untuk menyakinkan

juri

bahwa

mereka

pantas sepanggung bareng the next √

rising star. 28.

9

Plus menemani Rising Star tur di √

Lampung.

√ 29.

9

“Surprise banget! Kami sama sekali √

nggak nyangka. 30.

9

Kami

janji

akan

tampil

sebaik

mungkin,“bilang Dheru vokalis Coin


77 √

mantap. Keep rockin bro! 31.

9

√

Sama seperti Kimzy, LVT punya basic fans yang lumayan banyak. √

32.

9

Mereka kelihatan kurang pede, jack!

33.

9

Next time better ya!

34.

10

Doi males bawa tas, jack!

35.

10

“Ada satu yang udah pasti gue bawa.

√ √ √

charger ponsel. √ 36.

10

Takut kehilangan job, atau diputusin pacar, ya? √

37.

10

Buktinya, si cantik ini sempet nervous berat pas disuruh berakting. √

38.

10

“Iya nih, gue nervous karena disuruh √

berakting. 39.

10

Gimana

nggak

nervous?,”

bilang √

cewek kelahiran 30 Maret ini. 40.

11

Eh, drummer Peterpan ini punya side job baru!

√ √

41.

11

Katanya, lo sibuk ngurusin launching segala.

42.

11

√

Kemarin, gue sempet bantuin temen gue buat launching albumnya. √

43.

11

Bunga bergaya ala Michael Jackson, jack! √


78 44.

11

“Gue udah tau kalo Gavin adalah chick √

magnet. 45.

11

In case kalo-kalo ada cewek yang nekat ngegodain cowok gue,” repet √

Gwen, lempeng. 46.

12

Singgle mereka yang easy listening √

kenceng diputer di radio. 47.

12

Nggak heran kalo lagu mereka masuk √

ke jajaran chart teratas. 48.

12

Single Cinta Pertama (Sunny) banyak di-request. √

49.

12

Rio pun menyanyikan salah satu lagu legend-nya The Groove itu dengan lancer. √

50.

13

Cewek-cewek

kelihatan

melting √

ngeliat Rio yang juga makin menggila. 51.

13

Diset sebagai closing Bunga tampil pukul 1 dini hari dan membawakan 8 lagu. √

52.

13

Tampil keren dengan membawakan cover version Leaving on a Jet Plane dan tiga kali berkolaborasi. √

53.

13

Kolaborasi Bunga masih berlanjut, giliran seorang cewek bernama Santi yang diajak nyanyi bareng di lagu Saat Kau Pergi yang jadi soundtrack film Dealova.


79 √ 54.

13

Semuanya kompak bernyanyi… So

√

sweet! 55.

13

Termasuk ngasih pengumuman kalo √

backing vocal-nya bentar lagi mau menikah. 56.

13

Lewat Palsu, Ku Ada Disini, Alasan Untuk Hidup bikin semua berebutan √

menjadi backing vocal dadakan. 57.

18

Kalo lagi jenuh bermusik, Eet biasanya

√

main games. 58.

19

Biasanya gue main games yang di

√

computer buat iseng-iseng aja. 59.

19

Keseringan yang sedikit old fashion gitu. Kayak Flash Simulator.

√ √

60.

19

Sekarang lagi tahap finishing.

61.

20

So, untuk menghindari keributan, Tony Wong yang juga penasehat film itu √

sengaja merilis empat seri komik yang ceritanya

berdasarkan

cerita

film

Dragon Tiger Gate. 62.

21

Mencoba bermain di jalur pop yang √

dipadu dengan sentuhan R&B dan dance bikin album ini lebih berwarna. 63.

21

Sayang,

di

single

terakhir,

√

pronunciation-nya rada kacrut. 64.

21

Baik

visual

maupun

attitude-nya √

memang rada mirip sama band asal Yogja itu. 65.

21

Yang

memang

√

punya

tingkat

pergaulan yang standard dan nggak

√

√


80 high class. 66.

21

Malah, sound-nya rada-rada cupu dan

√

ketinggalan jaman. 67.

22

Maka, kali ini band pengundang masa √

kayak The Upstairs dan Clubeighties nggak termasuk sebagai headliners. 68.

22

Dengan

tema

Summer

yang

merupakan singkatan dari Saturday Under Musik Melody and Rhymes,

√

pengisi acara Klassix kali ini dibilang full band pensi yang lagi naik daun. 69.

23

Seperti misalnya menggubah setting-

√

an pintu masuk menjadi di depan. 70.

23

Mereka tetep mencoba menjebol pagar itu sambil melempari batu ke dalam

√

venue. 71.

23

Mereka tetep fun dan menikmati

√

suguhan panggung. 72.

23

Sejumlah head unit, subwoofer dan barang-barang berharga yang ada di daldm

mobil

pun

harus

mereka

√

√

relakan. 73.

23

Akhirnya setelah DJ Marquee perform √

dengan berat hati acara Klassix ini dihentikan. 74.

24

Sekarang kami tinggal nunggu aja keputusan apa yang bakal keluar,” tambah merchandise

Cesar, yang

√

koordinator ikutan

repot

ngejagain keamanan. 75.

24

Geng Petra anak-anak 82 is back!

√


81 76.

24

So, ternyata seni juga bisa dipakai √

sebagai sarana ekspresi cinta, selain coklat! 77.

24

Sedangkan, prediksi best sciences diraih oleh Aji Nugraha Santosa Kasmaji, Nadia Amelia Prasetyo, dan

√

Mega Christivana. 78.

28

Mulai dari mengatur kabel yang berserakan di bawah rig panggung,

√

mengatur sound sampe lighting.

√ √

79.

28

Bahkan, barisan orang ini juga yang bertanggung soundcheck

jawab

atas

jadwal

sampe mengatur flow

√

√

acara. 80.

28

Man behind the scene show! Tugas mereka jelas nggak kalah disbanding

√

tugas si artis. 81.

28

Dari

belakang

panggung,

mereka

(ikut) tampil all out demi memuaskan

√

penonton. 82.

28

Sebelum

berkenalan,

mari

beri

applause pada mereka. 83.

28

Tugas stage manager adalah mengatur jalannya konser secara menyeluruh.

84.

28

Mulai rundown

dari

memantau

acara,

sampe

√ √

jalannya memantau

√

sound output dari panggung. 85.

28

Selain itu stage manager juga berhak untuk memutuskan durasi pertunjukan.

86.

28

Nggak

heran,

saban

kali

konser

√ √

√


82 digelar, stage manager selalu kelihatan jadi sosok yang paling pusing. 87.

28

Stage manager, gampang dikenali.

88.

28

Membawa handy talkie dan rundown sambil sesekali berteriak.

89.

28

√ √

Traffiker bertanggung jawab membuat

√

konser berjalan tepat waktu. 90.

28

Biasanya, band punya sound engineer sendiri.

91.

28

Semata-mata

untuk

√

√

memudahkan

mereka mendapatkan setting sound

√

yang pas. 92.

29

Karena

mengurusi

tata

cahaya

panggung seorang lighting man juga

√

ngendon di FOH. 93.

29

Banyak

band

yang

menginginkan

√

setting lampu berbeda di tiap lagu. 94.

29

Diantara tim

produksi

yang lain

rombongan stage crew adalah yang

√

paling banyak. 95.

29

Mulai

dari

gulung-gulung

kabel,

√

sampe masang pernik dan backdrop. 96.

29

Tapi, begitu panggung kehujanan atau ada miss di panggung, stage crew

√

harus sigap bertugas. 97.

29

Job desk-nya hampir sama dengan stage crew.

98.

29

Musician crew bekerja berdasarkan keahliannya.

99.

32

(terutama

tentang

agama

dianutnya & about her hobbies).

yang

√ √ √

√


83 100.

32

Mulai

dari

isinya

sampai

harga

√

original-nya. 101.

32

Oh ya, sisi lain tentang Tom DeLonge ditunggu lho … Thanks before.

102.

35

√

Sekarang udah nggak jamannya lagi

√

milih warna soft. √

103.

35

Beranikan diri untuk goes shocking.

104.

35

Shocking colors cocok banget buat semua warna kulit.

105.

35

√

Serunya, warna ini bias ditabrakin

√

dengan warna shocking lainnya. 106.

35

Misalnya, kaos biru elektrik dengan hooded sweater magenta. Soal waktu pemakaian,

warna

“gonjreng”

ini

cocok banget buat dipake nonton

√

konser, nonton di bioskop, pergi ke pensi, party di disko, bahkan nge-date

√

sekali pun. 107.

35

Nggak pake ngomong, penampilan lo udah berteriak, “HEY LOOK AT ME!”

108.

38

√

Bosen bikin acara intern, ngebuat anak-anak OSIS Bopkri 1 memutuskan

√

untuk ngebuat event gede. 109.

38

Suasana acarapun memanas oleh para performance yang tampil.

110.

39

√

Mereka ngadain polling tentang perlu atau

nggaknya

acara

ini

√

diselenggarakan. 111.

39

Dan

headliner

yang

tampil

juga

banyak dan gokil-gokil! 112.

40

Baca terus majalah Hai dan Kawanku

√

√


84 terbaru! Oke, lets prove your creativity √

and your power!!! 113.

41

Apalagi kalo terus diajak ngobrol dan √

hang out. 114.

41

Nggak perlu yang ganteng, yang penting eye catching.

115.

41

√

Mengorek informasi sedetail mungkin tentang sosok cowok idaman mereka, diliat dari aspek fisik, kepribadian, √

juga lifestyle-nya. 116.

41

Paling gampang kelihatan or dikenali!

117.

42

Karena itu, para cewek ingin soulmate-

√ √

nya berkulit putih. 118.

42

Tapi, kalo emang dasarnya rambut lo nggak lurus, nggak usah maksain diri nge-rebonding segala ya? Coz’ the √

girls hate that!

√

119.

43

Man, semua itu nggak penting!

120.

44

Cewek-cewek merasa kalo cowok smart

alias

pinter,

pasti

√

punya

√

wawasan yang luas. 121.

44

Buat mereka, cowok model gini cool abis.

122.

44

√

Yaaah, kalo nggak sukses bikin dia penasaran, paling sial doi nggak notice

√

kehadiran kita aja kok. 123.

45

Yoi, mostly cewek nggak suka dengan cowok keputusan

yang dan

sulit

mengambil

susah

untuk

menentukan sikap, brur. 124.

46

Soalnya, cowok-cowok model gini ada

√


85

125.

46

di list teratas poling cowok idaman

√

Hai!

√

See? Makanya, mulai sekarang di √

depan cewek-cewek, kita pura-pura rajin olahraga aja. 126.

46

Paling nggak, bisa jadi guide mereka √

saban berpetualang di dunia gim dan computer. 127.

46

Para clubhoppers nggak perlu miris.

128.

46

So, ayo tunjukin kalo kalian bisa menjaga mereka! Lets dance together

√ √

√

lah …. 129.

47

By the way, nggak usah panic dulu sih.

130.

47

Sssst…, menurut Bu Wina, rata-rata

√

cewek-cewek masih memilih cowok

√

idamannya base on hal-hal yang bersifat fisik aja. 131.

48

Liburannya menjelma jadi disaster.

132.

49

Selanjutnya, ngakak all the way!

133.

49

Meski banyak juga yang slapstick, tapi

√ √ √

tetep bisa ngilangin stres. 134.

49

Dan, bukan Mr. Bean namanya kalo akhirnya nggak happy ending.

135.

50

√

Genre film ini bisa dibagi dalam dua kelompok besar: based on true story atau terjemahan bebasnya, diangkat dari kisah nyata (yang ini bukan Cuma

√

soal tokoh, lho!), dan historic film alias yang

mengangkat

seseorang

–

atau

kisah

hidup

paling

nggak

sebagian kecil dari kisah hidupnya –

√


86 ke layer lebar. 136.

51

Kalo ngeliat faktanya, banyak banget film jenis ini yang jadi box office.

√ √

137.

52

Sebuah tagline yang menarik.

138.

52

Dalam salah satu scene, Frankie the √

Frog dan bandnya memainkan lagu I Heard It Through the Grapevine. 139.

52

Dalam soundtrack film ini, juga √

terdapat lagu klasik Disney yang berasal dari decade ’60-an. 140.

54

Pada kompetisi tahun 1996 mereka berhasil mencapai babak final four.

141.

54

√

Kami terdiri dari pemain-pemain muda

√

dan punya skill yang cukup baik. 142.

54

Pemain-pemain muda yang punya jiwa satria,”cetus

Wahyu

Hidayat

Jati,

√

pemain center senior SM Britama. 143.

55

Selain treatment yang tepat, kondisi dalam tim secara keseluruhan pun emang

mendukung

√

solidnya

permainan. 144.

55

Nggak heran dengan modal sebanyak itu, masih banyak lagi prestasi-prestasi yan bisa diharapkan dari SM Britama. √

Keep up the good work, guys! 145.

58

Gagap sama transmisi matic bisa jadi lantaran

fitur

ini

kurang

begitu

familiar di kalangan pengendara mobil

√

lokal. 146.

58

Lantas selain posisi-posisi basic tadi, ada posisi lain yang bisa dipilih lewat

√


87 tuas persneling matic. 147.

59

Ini adalah satu dari 2 posisi di mana

√

mobil bisa di-starter. 148.

59

Misalnya saat terhenti di traffic light, atau sekadar berhenti sebentar di

√

pinggir jalan. 149.

60

Maklum,

selain

ngerasa

paling

penting, dia juga ngerasa nggak ada √

orang yang bisa menyaingi power-nya. 150.

60

Nah, karena sekarang kita yang paling deket sama dia, dia jadi berusaha dapet perhatian full dari kita.

151.

152.

60

60

Lebih sensitif, moody, plus ekspresif

√

dibandingkan dengan cowok.

√

Jika lo udah hands up, cari timing yang tepat buat mutusin hubungan.

153.

60

dijuluki drama queen.

√ √

62

“Gue lagi fall in love sama adik kelas.

155.

62

“Gimana cara untuk ngedeketin dia dan tau all about her?”

62

Yang paling ngetop sih multiple choice.

157.

62

√ √

Kompetisi yang fair biasanya berkisar

√

dalam adu program pembangunan aja. 158.

62

Kata bijak bilang: love many, trust few.

159.

63

Gue nervous nih kalo deket dia.

160.

63

Ada yang bilang, harus merhatiin 5

√ √ √

“S”: Shave. Shower. Stylish. Smell. Shoes. 161.

63

√

Cewek model cewek si Lobo ini nih

154.

156.

√

Plis kasih pick up line bikin cewek

√


88 terkesan di segala kondisi saat kenalan. 162.

63

Cewek lebih nginget soal personality

√

atau kepribadian. 163.

164.

63

63

Maka jadilah orang yang fun, smart,

√

dan apa adanya.

√

Guys, ayo kita Bantu temen kita yang lagi

punya

masalah

√

dengan

√

relationship mereka. 165.

63

Atau lo harus kreatif nyiapin suasana pacaran yang baru. Misal, pacaran di

√

pom bensin. Good luck ya. 166.

63

Atau lo bisa kasih doi surprise yang

√

bisa bikin lo enjoy lagi!

√ √

167.

63

Vacum dulu aja. Lamanya lo atur.

168.

64

Ada kata-kata bijak dalam bahasa Inggris

yang

berbunyi:

People

Change. Atau, jika diterjemahkan

√

secara mabok, artinya adalah:”Orang Kembalian.” 169.

64

“Menurut gua, buat presentasi besok, gua yang dapet bagian jadi pembicara, √

dan elu yang bagian ngebuat slide,” Endro berseru penuh semangat dengan volume suara setara petugas ronda. 170.

64

Rako

kembali

manggut-

manggut,”Oke…berarti…gua at least

√

bisa kebagian jado moderator yah…” 171.

66

Dengan

berbekal

skill

acting

tengkurep, cowok kriwil berbodi kremi

√

itu pun berusaha mengelak. 172.

67

Health: Stamina agak nge-drop nih.

√

√


89 Why? 173.

67

Single: Baru mulai pedekate? Good luck!

174.

67

Life:

sibuk…sibuk…sibuk.

√

Banyak

banget yang mau lo kerjain …,

√

beresin. Pahahal, kadang itu bukan

√

bagian lo. Perfectionost sih! 175.

67

Love: Sepertinya break lebih bagus

√

deh.

√ √

176.

67

Love: Mood-nya lagi nggak stabil.

177.

67

Tinggal bikin list acara plus tempat

√

kencan yang seru, pasti lo bisa tambah

√

lengket sama dia. 178.

67

Mending lo support dia dengan pujian.

√

179.

68

Sempet stuck karena album barunya

√

sukses,

Maliq

&

√

Dessentials

memutuskan untuk berhenti berpikir. 180.

68

Buktinya

lewat

album

repackage √

mereka yang sudah tidak menyertakan Dimi dalam daftar personil. 181.

69

Kalo ditambah proses mixing dan

√

mastering, bisa habis waktu enam

√

bulan. 182.

69

Whatta

nice

story!

Lantas,

soal

penggarapannya, gimana? 183.

69

√

Soalnya, kami dibantu sama Simon

√

Cosworth, engineer-nya Incognito. 184.

69

Cuma, kebanyakan stock lama.

185.

69

Karena sifatnya yang lebih upbeat, band ini oke aja kerjasama dengan DJ.

186.

69

Salah satu penampilan weird adalah

√ √ √


90 saat tampil di acara yang digelar sebuah bank. √

187.

69

Abis itu, sound-nya jebol.

188.

70

Dia ikut training di klub lain: klub

√

QPR. 189.

70

Dia

memanggil

Rio

dengan √

sebutan’black bastard’. 190.

70

Next, klub Millwall jadi persinggahan

√

Rio 191.

70

Karena si Frank Lampard Sr ini mulai √

annoying, akhirnya on Dave meminta Rio untuk West Ham. 192.

71

From nothing to be something. Setiap pertandingan

fansnya

berjubel

di

√

pinggir lapangan! 193.

71

√

“Hehehe… Gue Emang shopaholic, brur.

194.

71

Abis itu, dia beli Mercedes 500SL limited edition beratap kaca milik

√

Jamie Rednapp. 195.

71

Bukan

apa-apa,

mobil

sama

flat

√

mahalan mobilnya! 196.

71

“Cuma kalo ke nyokap gue lebih

√

seneng ngasih nyokap voucher. 197.

72

Penonton

langsung

dihibur

oleh

happening art persembahan tiga cewek

√

dari SMA Tarakanita. 198.

72

Nggak

hanya

itu,

selama

acara

berlangsung vocal grup SMA 70 menghiasi setiap jeda dengan lagulagu bumper.

√


91 199.

72

Udah kayak nonton talkshow di TV aja!

200.

72

√

Shannon Quinn dari Kedubes Amrik sampe

ngerasa

surprised

√

dengan

sambutan remaja Jakarta hari itu. 201.

72

Mereka berhak mendapat merchandise dari Hai dan Kedubes US Embassy,

√

serta makan siang bersama di Kedubes

√

bareng Sang Duta Besar himself. 202.

73

Selang

enam

hari

selepas

acara

launching buku Berani Bermimpi di

√

Jakarta, acara serupa digelar juga di Surabaya. 203.

73

Kali ini Ryo dari Hai, Shannon Quinn, public affair kedubes Amerika Serikat dan ibu Anita Lie, psikolog asal Surabaya,

bergantian

√

memberikan

pendapat soal isi buku. 204.

74

Setiap kali gue menonton film itu, gue selalu merasa amazed sama apa yang

√

terjadi dalam alur gambarnya. 205.

74

Sampai akhirnya, sebuah quote di atasyang gue dapat dari sebuah majalah-

√

bikin gue manggut-manggut sendiri. 206.

74

Di balik sebuah cerita yang hebat, pasti ada seorang mastermind cerita

√

itu. 207.

74

Untuk jadi penulis, butuh waktu yang panjang, dan mungkin tidak cukup hanya dengan rajin menulis diary tiap harinya.

√


92 208.

75

Akhir kelas satu, di sekolah gue diadakan pelatihan jurnalistik di situ diajarin deh how to be a good

√

journalist, dan di akhir pelatihan kita diajak melihat percetakan KOMPAS. 209.

75

Kelas dua SMA, gue dan temen-temen gue ikutan wall magazine competition

√

dan menang juara tiga! 210.

75

Karena di situ gue harus bikin artikel, √

wawancara narasumber, sampai nulis report. 211.

75

Semua akan berhasil dengan baik. Try and try because we never know about

√

next time. 212.

76

Dengan set remang-remang dengan banyak lilin di sekitar para personil

√

band, membuat kita serasa memasuki dunia lain. 213.

76

Bareng Aghi, Everybody Loves Irene √

menghasilkan sound-sound aneh yang berisik. 214.

77

Senin (12/3) kemarin, band yang dimotori Kele Okereke ini menggelar showcase

di

Paramount

√

Theater,

Seattle, Amrik. 215.

77

So, mitos yang disebut tadi, ternyata udah nggak ampuh lagi. Good job,

√

guys! 216.

77

The Killers, Babyshambles, Klaxons, dan Tori Amos juga menjadi line up di festival ini.

√

√


93 217.

77

3

Diva

Krisdayanti,

kebanggaan Titi

Indonesia,

DJ,

dan

Ruth

Shanaya, baru aja menggelar konser kolaborasi

dengan

tiga

√

penyanyi

Malaysia pada show-nya di Kuala Lumpur tanggal 25 Maret lalu. 218.

78

Memuat 14 lagu, album yang covernya bergambar kucing di papan putar

√

ini sempat meraih peringkat 1 di Billboard 200 tahun 1997. 219.

80

Isinya? Anything that will make you smile.

220.

80

√

Mulai dari bloopers ajaib di musik dan film, barang baru yang biarpun aneh, toh tetep diproduksi,

begitu pun

√

dengan parade mobil yang modelnya nyeleneh. 221.

80

Ada juga tren t-shirt seru dan kocak.

√

222.

80

Berasa butuh senyum dan refreshing?

√


Appendix 5 E-mail Transcript

Halo Dikka!

Terimakasih masih suka ngintip2! Langsung aja ya.

Tujuan kami sering nyomot kata Bahasa Inggris, terutama adalah mendekatkan diri ke pembaca. Mengingat kata-kata itu cukup hidup (artinya, sering dipakai) dalam bahasa obrolan sehari-hari. Ini sesuai dengan visi misi Hai yang salah satunya menjadi teman bagi pembacanya. Maka kalau diperhatikan, pemakaiannya juga dipilih sesuai dengan kata-kata apa yang sedang sering dipakai oleh pembaca.

Maksud berikutnya adalah, meringkas penulisan tanpa mengaburkan pemaknaan. Terminologi seperti "guilty pleasure", misalnya, akan lebih rumit untuk diterjemahkan, dan belum tentu maknanya sepadan. Seringkali, kata-kata dalam Bahasa Inggris juga nggak bisa dihindari dalam kutipan dari narasumber.

Begitu?

Semoga membantu.

Cheers!

94


95 -----Original Message----From: dikka putra To: [email protected] Date: Thu, 17 Apr 2008 18:23:19 -0700 (PDT) Subject: tanya-tanya

Hi HAI, kenalan dulu ah..., aku Leonardus Dikka Maha Putra (23) dari Jogja. Aku salah satu penggemar berat HAI sejak kelas 1 SMP. Emang sich aku sekarang udah nggak remaja lagi tapi kegemaranku ama HAI masih mbandel 'n nggak mau ilang, ampe sekarang aku masih suka ngintip artikel-artikel keren di majalah HAI. Sekarang aku kuliah di program study Pendidikan Bahasa Inggris, Universitas Sanata Dharma, Jogjakarta di semester 8. Oh iya...! Ngomong-ngomong soal kuliah, aku sebenernya lagi nyelese'in skripsi. Aku lagi butuh bantuan HAI nich, soalnya aku pilih majalah HAI sebagai bahan penelitian skripsi aku (secara penggemar berat gitu kale'!). So, aku mau tanya-tanya ama redaktur HAI satu pertanyaan berikut, mohon dijawab yaa. Kenapa HAI sering nyomot kata-kata dari bahasa Inggris t'rus digabung ama kalimatkalimat berbahasa Indonesia? Apa kata-kata itu lagi ngetren, lebih ke'ci di telinga,ato....gimana? Nih contohnya nih...,aku ambil dari artikel-artikel di majalah HAI: 1. Salah satu guilty pleasure gue belakangan ini adalah American Idol. 2. Jack juga ngasih tau kalo debut album The Ranconteurs, Broken Boy Soldiers, udah siap di-launcing tanggal 15 Mei nanti. 3. So, here we are! Sampe di Bandung sekitar pukul 8 malam dan dusambut oleh enem orang penting sekaligus.Finally, album ini dirilis juga di Indonesia. 4. Finally, album ini dirilis juga di Indonesia.

THE TYPES OF AND THE POSSIBLE REASONS FOR A CODE-SWITCHING PHENOMENON IN INDONESIAN TEENAGE MAGAZINE HAI

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