Sufistic Symbolism in Popular Music: A Study of Noe Letto's Lyrics Through Eero Tarasti's Perspective: Simbolisme Sufi dalam Musik Populer: Studi Lirik Noe Letto Melalui Perspektif Eero Tarasti

Ida Nursida; Hatta Raharja

doi:10.58194/eloquence.v4i3.3041

Authors

Ida Nursida UIN Sultan Maulana Hasanuddin Banten, Indonesia
Hatta Raharja UIN Sultan Maulana Hasanuddin Banten, Indonesia

DOI:

https://doi.org/10.58194/eloquence.v4i3.3041

Keywords:

Existential Semiotics, Sufistic Literature, Eero Tarasti, Noe Letto

Abstract

Background: Song lyrics serve as a medium for reflecting on a composer's spiritual and existential journey. There is a need to understand how Sufi symbolism constructs the concept of self (Dasein) and its relationship with the Transcendent.

Purpose: This study aims to examine the Sufi symbolism in Noe Letto’s songs “Sebelum Cahaya” and “Sandaran Hati,” focusing on how he reflects his existentialism to construct Dasein and Transcendence using Eero Tarasti’s existential semiotics.

Method: This qualitative study employs Eero Tarasti’s existential semiotics as the main analytical framework to examine Sufistic symbolism in Noe Letto’s song lyrics. The analysis focuses on two selected works, “Sebelum Cahaya” and “Sandaran Hati”, using lyric-based qualitative data to trace how symbols articulate dimensions of Dasein and Transcendence.

Results and Discussion: The findings of this study indicate that Noe Letto, through his lyrics, effectively reflects his Sufi journey. He successfully illustrates the concept of Dasein (self-existence) while connecting himself to the transcendent domain. Further discussion indicates that Noe Letto is able to strengthen the bond between God and humans, making the relationship feel close and affectionate. Although this study is limited to two song lyrics, these findings provide deep insight into the mechanisms a composer uses to articulate his spiritual journey to achieve transcendence.

Conclusions and Implications: In conclusion, this study confirms that a composer's creative process is a unique and authentic means of self-expression. Consequently, this article contributes to a new theoretical understanding of the significance of a composer's work and offers a method for deducing (obtaining) the existential meaning of song lyrics.

References

[1] N. A. Rasyid and N. Nurdin, “The Diaspora of the Sufis in Indonesia: Moving from Western to Eastern Islands,” Int. J. Hist. Philos. Res. IJHPR, vol. 9, no. 1, 2021.

[2] F. Shehadi, Philosophies of Music in Medieval Islam. Leiden: Brill, 1995. https://doi.org/10.1163/9789004247215

[3] A. N. Al-Fārābī, Kitāb al-Mūsīqā al-Kabīr. Al-Qāhirah: Dār al-Kātib al-‘Arabiy li aṭ-Ṭibā‘ah wa an-Nasyr.

[4] F. Dimyati, “Kekuatan Musik dalam Dakwah Islam,” nu.or.id. Accessed: June 21, 2023. [Online]. Available: https://islam.nu.or.id/hikmah/kekuatan-musik-dalam-dakwah-islam-E39ji

[5] P. L. Lauzon, “Music and spirituality: Explanations and implications for music therapy,” Br. J. Music Ther., vol. 34, no. 1, pp. 30–38, May 2020, doi: https://doi.org/10.1177/1359457520908263

[6] “Kasih Tak Memilih • Letto,” Letto. Accessed: Mar. 31, 2023. [Online]. Available: https://lettolink.com/kasih-tak-memilih/

[7] H. Bagir, Mengenal Tasawuf (Spiritualisme dalam Islam), 2nd ed. Jakarta: Noura Books, 2019.

[8] B. Senay, “Artists, Antagonisms and the Ney in the Popularization of ‘Sufi Music’ in Turkey,” Eur. J. Cult. Stud., vol. 18, no. 1, pp. 52–69, Feb. 2015, doi: https://doi.org/10.1177/1367549414557805

[9] N. K. Tompunu and I. R. N. Hula, “Use of Indonesian Slang and Equivalents In the Arabic Language,” ELOQUENCE J. Foreign Lang., vol. 1, no. 1, pp. 10–22, Apr. 2022, doi: https://doi.org/10.58194/eloquence.v1i1.147

[10] Cahaya Untuk Indonesia, Sabrang: Semua Orang Pasti PERNAH TERSESAT dalam Hidupnya, (Apr. 18, 2021). Accessed: Mar. 30, 2023. [Online Video]. Available: https://www.youtube.com/watch?v=Z2iUFqekh6s

[11] T. N. Fitria, “A Sufistic Interpretation in Letto’s Songs: Exploring the Relationship between Humans and God through Religious, Philosophical, and Spiritual Elements,” JETLEE J. Engl. Lang. Teach. Linguist. Lit., vol. 3, no. 2, pp. 87–102, Apr. 2023, doi: https://doi.org/10.47766/jetlee.v3i2.1409

[12] A. N. Sansidar, “Aktualisasi Tuhan dalam Syair: Pesan Dakwah Lirik Lagu ‘Sebelum Cahaya’ Karya Band Letto,” Kalijaga J. Commun., vol. 2, no. 1, pp. 33–46, June 2020, doi: https://doi.org/10.14421/kjc.21.03.2020

[13] M. Hia, “Analisis Makna Metafora dalam Album Letto Best of The Best Ciptaan Noe Letto,” KOHESI J. Pendidik. Bhs. Dan Sastra Indones., vol. 3, no. 2, pp. 1–12, Apr. 2023, doi: https://doi.org/10.57094/kohesi.v3i2.846

[14] S. Gaind-Krishnan, “Qawwali Routes: Notes on a Sufi Music’s Transformation in Diaspora,” Religions, vol. 11, no. 12, Dec. 2020, doi: https://doi.org/10.3390/rel11120685

[15] G. L. Beck, “Shared Religious Soundscapes: Indian Rāga Music in Jewish, Christian, and Islamic Devotion in South Asia,” Religions, vol. 14, no. 11, Nov. 2023, doi: https://doi.org/10.3390/rel14111406

[16] Q. Mu, “Pulled by God: Sound and Altered State of Consciousness in the Hälqä-Sohbät Ritual of Uyghur Sufis,” Eur. J. Musicol., vol. 20, no. 1, pp. 173–195, 2021, doi: https://doi.org/10.5450/EJM.20.1.2021.173

[17] A. Kirkegaard, “Music and Transcendence: Sufi Popular Performances in East Africa,” Temenos - Nord. J. Study Relig., vol. 48, no. 1, Jan. 2012, doi: https://doi.org/10.33356/temenos.6945

[18] A. Romdhoni, Semiotik Metodologi Penelitian. Literatur Nusantara, 2019.

[19] E. Tarasti, A Theory of Musical Semiotics. Bloomington and Indianapolis: Indiana University Press, 1994. https://doi.org/10.2979/3139.0

[20] E. Tarasti, “Musical Semiotics – a Discipline, its History and Theories, Past and Present,” Rech. Sémiot., vol. 36, no. 3, pp. 19–51, Sept. 2018, doi: https://doi.org/10.7202/1051395ar

[21] N. K. Ratna, Stilistika Kajian Puitika Bahasa, Sastra, dan Budaya, 1st ed. Yogyakarta: Pustaka Pelajar, 2009.

[22] ‘Āṭif Jaudah Naṣr, Ar-Rumz Asy-Syi‘riy ‘inda aṣ-Ṣūfiyyah. Beirut: Dār al-Andalus wa Dār al-Kindī, 1978.

[23] S. Samantaray, “Demystifying Mysticism: A Comparative Study of the Poetry of William Blake and Rabindranath Tagore,” 3L Lang. Linguist. Lit. Southeast Asian J., vol. 19, no. 2, Art. no. 2, June 2013, Accessed: Jan. 30, 2024. [Online]. Available: http://ejournal.ukm.my/3l/article/view/2535 https://doi.org/10.17576/3L-2024-3002-01

[24] B. Sudardi, Sastra Sufistik: Internalisasi Ajaran-Ajaran Sufi dalam Sastra Indonesia. Solo: Tiga Serangkai Pustaka Mandiri, 2003.

[25] A. T. Karamustafa, Sufism: The Formative Period, 1st ed. Edinburgh University Press, 2007. Accessed: Apr. 01, 2023. [Online]. Available: https://www.jstor.org/stable/10.3366/j.ctt1s4744s

[26] N. Green, Sufism: A Global History. John Wiley & Sons, 2012.

[27] Badan Pengembangan dan Pembinaan Bahasa, “sufi,” Kamus Besar Bahasa Indonesia (KBBI). Kementerian Pendidikan, Kebudayaan, Riset, dan Teknologi Republik Indonesia, Jakarta, 2016. Accessed: Apr. 01, 2023. [Online]. Available: https://kbbi.kemdikbud.go.id/entri/sufi

[28] Badan Pengembangan dan Pembinaan Bahasa, “tasawuf,” Kamus Besar Bahasa Indonesia (KBBI). Kementerian Pendidikan, Kebudayaan, Riset, dan Teknologi Republik Indonesia, Jakarta, 2016. Accessed: Apr. 01, 2023. [Online]. Available: https://kbbi.kemdikbud.go.id/entri/tasawuf

[29] M. Parman and N. Marni, “Sufi Symbols In Poems Of Ibn ᶜArabi And Hamzah Fansuri,” UMRAN - Int. J. Islam. Civilizational Stud., vol. 8, no. 2, Art. no. 2, June 2021, doi: https://doi.org/10.11113/umran2021.8n2.498

[30] M. Aminrazavi, Sufism and American Literary Masters. SUNY Press, 2014. https://doi.org/10.2307/jj.18253294

[31] K. Fuad, “Simbolisme Puisi Sufistik Odhy’s (Kajian Antologi Puisi Rahasia Sang Guru Sufi),” ATAVISME, vol. 23, no. 1, Art. no. 1, June 2020, doi: https://doi.org/10.24257/atavisme.v23i1.622.75-88

[32] Muḥammad At-Tawanjī, Al-Mu‘jam al-Mufaṣṣal fī al-Adab, 2nd ed., vol. 1, 2 vols. Beirut: Dār al-Kutub al-‘Ilmiyyah, 1999.

[33] S. Kamil, Sastra Banding: Sastra Antar Negara (Arab-Indonesia-Inggris), Sastra Terjemahan, dan Interdisipliner (Sastra-Islam-Politik). Depok: Rajawali Buana PUsaka, 2020.

[34] E. H. Whinfield, Masnavi I Ma’navi: The Spiritual Couplets of Maulana Jalalu-’D-Din Muhammad Rumi. London: Routledge, 2020. doi: https://doi.org/10.4324/9781315012377

[35] M. I. Shaleh, “Ibn al-Fāriḍ Syā‘ir al-Gazal fī al-Ḥubb al-Ilāhī,” J. Adab. J. Islam. Humanit., vol. 11, no. 2, pp. 256–263, Dec. 2011.

[36] “Eero Tarasti | People finder | University of Helsinki.” Accessed: Apr. 04, 2023. [Online]. Available: https://www.helsinki.fi/en/about-us/people/people-finder/eero-tarasti-9018515

[37] E. Tarasti, “What Is Existential Semiotics? From Theory to Application,” Chin. Semiot. Stud., vol. 1, no. 1, pp. 25–39, June 2009, doi: https://doi.org/10.1515/css-2009-0011

[38] “Existential Semiotics.” Accessed: Apr. 04, 2023. [Online]. Available: https://semio2014.org/en/existential-semiotics

[39] E. Tarasti, Existential Semiotics. Indiana University Press, 2001. https://doi.org/10.2307/j.ctt20060dh

[40] N. Sandström and A. Nevgi, “Moral Character, Moral Choice and the Existential Semiotics of Space Awareness,” Semiotica, vol. 2022, no. 247, pp. 139–165, July 2022, doi: 10.1515/sem-2021-0066.

[41] Letto Band, Sebelum Cahaya (Don’t Make Me Sad), (July 01, 2018). Accessed: Apr. 01, 2023. [Online Video]. Available: https://www.youtube.com/watch?v=ca4TJi8wwfA

[42] Letto Band, Sandaran Hati (Truth, Cry, and Lie - 2005), (Apr. 08, 2018). Accessed: Apr. 01, 2023. [Online Video]. Available: https://www.youtube.com/watch?v=O6iRcJzWppw

[43] Cahaya untuk Indonesia, Habib Husein Ja’far Diskusi sama Sabrang Soal Overthinking dan Masalah Hidup, (Apr. 18, 2021). Accessed: Apr. 10, 2023. [Online Video]. Available: https://www.youtube.com/watch?v=FMcTx_XSupY