DRAMATURGY IN THE IDENTITY AND IMAGE OF INFLUENCER MUSDALIFAH BASRI ON THE TIKTOK ACCOUNT @MUSDALIFAHBASRII
Downloads
Objective: This study aims to analyze the application of front stage and back stage concepts in the formation of Musdalifah Basri's identity and analyze how her image shapes interactions with her followers on TikTok. Method: Using descriptive qualitative methods, data were collected through non-participatory observation on @musdalifahbasrii and @emde.team accounts, documentation, and literature studies. To analyze these objects, not all videos are sampled, but are specifically selected based on three main criteria. Results: The results of the study show that Musdalifah strategically uses his main account as a front stage to present a consistent comedic persona through hyperbolic appearances, styles, and settings. Uniquely, the back stage is deliberately exposed through his team account (@emde.team) to show a simple and collaborative work process, in order to build an authentic image and closeness to the audience. This dual strategy has proven to be successful in creating very high audience interaction, although it tends to be one-way. Novelty: The dual strategy of exposing both front stage and back stage through separate accounts to construct an authentic image and closeness to the audience, while maintaining a highly interactive but predominantly one-way engagement, highlights a unique approach in TikTok identity formation.
S. A. Fitri, S. Azkia, and L. Nursyabani, "Social Identity of Hijab Influencers on Social Media," vol. 9, pp. 211–228, 2024.
G. Octaviana, "The Number of Indonesian Tiktok Users is Soaring," Radio Republik Indonesia.
T. N. Novitasari And S. P. Setyawati, "The Use of Tiktok Applications in Developing Self-Confidence," Pros. Semdikjar ..., pp. 314–321, 2023, [online]. Available: Https://Proceeding.Unpkediri.Ac.Id/Index.Php/Semdikjar/Article/View/3667%0ahttps://Proceeding.Unpkediri.Ac.Id/Index.Php/Semdikjar/Article/Download/3667/2438
W. Octavia Isroissholikhah, "The Effectiveness of Content Creators in Promotional Strategies in the Digital Era," Sibatik J. J. Ilm. Bid. Sos. Ekon. Culture, Technology. and educators., vol. 2, no. 1, pp. 121–128, 2022, doi: 10.54443/sibatik.v2i1.507.
L. C. Sugiono, "Self-Image of Female Vapers in Surakarta," Epository.Uksw.Edu, pp. 7–15, 2022, [online]. Available: Https://Repository.Uksw.Edu/Handle/123456789/26868
F. A. Girnanfa and A. Susilo, "Dramaturgy Study of Impression Management through Twitter as a Means of Student Self-Existence in Jakarta," J. New Media Commun., vol. 1, no. 1, pp. 58–73, 2022, doi: 10.55985/jnmc.V1i1.2.
H. Rodas, "Dramaturgy," Dramaturgies, no. 4, pp. 109–112, 2017, doi: 10.26512/dramaturgias.V0i4.8523.
B. A. B. II, "Chapter II Literature Review 2.1 Dramaturgical Theory of Usm (1)," pp. 10–21.
R. Dewi and P. A. Janitra, "Dramaturgy in Social Media: Second Account on Instagram as an Alter Ego," J. Common Knowledge., vol. 8, no. 3, pp. 340–347, 2018.
R. C. Putri, Z. F. Nurhadi, And H. Mujianto, “Two Faces Of Celebrities: Analysis Of Goffman’s Dramaturgy,” Common core. Sci. J. Res. J. Soc. Inf. Sci., vol. 9, no. 1, pp. 73–90, 2024.
N. Nurmala and R. Setiawan, "The Phenomenon of Dramaturgy and the Construction of Self-Image of Instagram Second Account Users Among Students of FKIP Untirta," Edu Sociata J. Educator. Social., vol. 6, no. 1, pp. 345–356, 2023, [online]. Available: Http://Jurnal.Stkipbima.Ac.Id/Index.Php/Es/Article/View/1336
T. D. Bilqis, M. R. Alfiani, F. A. Gayatri, and Cuhandi, "Dramaturgy in Social Media: Second Account on Instagram as Self Disclosure," Hum. J. Sociohumanities Nusant., vol. 1, no. 2, pp. 155–164, 2024, doi: 10.62180/914e5g76.
U. N. Shabiriani, "Dramaturgy in the Identity and Image of Influencer Kadeer Bachdim on D_Kadoor Instagram Account," J. Lost Vis., vol. 3, no. 2, pp. 81–86, 2021, doi: 10.35886/lost.v3i2.236.
A. Rachman, Quantitative, Qualitative and R&D Research Methods, No. January. 2024.
A. Rizky Fadilla And P. Ayu Wulandari, "Literature Review of Qualitative Data Analysis: The Stage of Data Collection," Mitita J. Researcher., vol. 1, no. 3, pp. 34–46, 2023.
A. A. Mekarisce, "Techniques for Examining the Validity of Data in Qualitative Research in the Field of Public Health," J. Ilm. Health. Mass. Common Media. Health Community. Mass., vol. 12, no. 3, pp. 145–151, 2020, doi: 10.52022/jikm.V12i3.102.
Sri Suneki & Haryono, "Paradigm of Dramaturgical Theory on Social Life," Vol. II, No. 2, 2012.
E. Goffman, The Presentation Of Self In Everyday Life. Knopf Doubleday Publishing Group, 1959. [Online]. Available: Https://Books.Google.Co.Id/Books?Id=Sdt-Cdkv8pqc
J. R. Searle, Studies In The Theory Of Speech Acts. 1979. [Online]. Available: Http://Books.Google.Com/Books?Hl=En&Amp;Lr=&Amp;Id=Dhf27-Nv7pkc&Amp;Oi=Fnd&Amp;Pg=Pr6&Amp;Dq=Expression+And+Meaning+Studies+In+The+Theory+Of+Speech+Acts&Amp;Ots=Ywgn2w3dyc&Amp;Sig=1xq8eajakla3eobqejcxouyzvrk
Farhan Putra Ghaisani And E. Setiawan, "Dramaturgy of Local Tiktokers in Bandung," Bandung Conf. Ser. Public Relations, vol. 3, no. 1, pp. 118–124, 2023, doi: 10.29313/bcspr.v3i1.5910.
H. Jenkins, Convegence Culture. 1967.
Copyright (c) 2025 Amelia zahra, Nur Maghfirah Aesthetika

This work is licensed under a Creative Commons Attribution 4.0 International License.



