Power Relations and the Existence of 'Slank' (Foucault's technology of the self)

Abstract

Slank is one of Indonesia's great bands that has endured for over three decades, developing a distinctive style and lyrical content. The social turmoil and dynamics experienced during the three ruling regimes are reflected in the histography of Indonesian music, encapsulated in hundreds of song lyrics. Through the lens of postmodernism and Foucault's poststructuralist approach, this research explores power relations and Slank's presence throughout these regimes. The study reveals that Slank's lyrics have acquired an exotic character, serving as a testament to the band's aesthetic existence. These lyrics illustrate Slank's effort to represent Indonesia, showcasing the country's cultural fusions from Sabang to Merauke, exemplified by songs such as 'Atjeh' and 'Good Morning Papua.' The lyrics also touch on themes of Western globalization and the extensive social dynamics embedded in Indonesian history. The research findings suggest that in creating music, Slank draws inspiration from power relations ingrained in social dynamics. The lyrics within Slank's albums revolve around resistance efforts, sensitivity to injustice, and challenges to dominant powers. These lyrical expressions serve as a means for Slank to resist and rebel against the narratives propagated by the ruling 'tools.'