Semiotic Analysis of 'Kun Fa Yakoon' Song Using Riffaterre’s Theory

: This article tried to find out the hidden meaning in the song Kun Fa Yakoon, written by Mohammad bin Dhahi, one of the most popular songs in the Muslim world during the pandemic Covid-19, not only due to the imitation of one of the current most popular Western songs, Memories by Maroon, but the acapella is also interesting due to the overwhelming symbols within the lyrics. Thus, new meanings need to produce to comprehend the song and its cultural context. This article aimed to deepen the comprehension of the song's message to result in an increased appreciation for art and a better understanding of the circumstances during the difficult times of the pandemic. The type of research conducted is qualitative research. In analysis, researchers used Riffaterre's Semiotics theory by identifying the Semiotic elements of the song, such as the use of metaphors and repetitions, then conducting heuristic reading and interpretation, and producing meaning through hermeneutic reading. The research findings indicate the discovery of meaning shifts in the form of metaphors and the creation of meaning through repetitions. In the heuristic analysis, ungrammatical elements like " نم" (who) interrogative in conjunction with "ّالإ" (except) yield a new meaning that signifies a firm statement: "I bear witness." The global situation currently being affected by the COVID-19 pandemic also generates the meaning of earnestness in prayer and the high demand placed upon it. This represents the songwriter's response to the anxiety prevailing in society and signifies an increase in faith.


Introduction
What do you imagine when you hear the phrase Kun Fa Yakoon?It is so familiar to the ears, especially for Muslims who routinely recite Surah Yasin as part of their religious rituals.But during the Covid-19 pandemic, the phrase Kun Fa Yakoon has been increasingly popular since it became a title of a song written by Muhammad bin Doha, serving as an expression of hope that the devastating covid-19 epidemic that has taken so many lives in the world will soon disappear from the earth.The presence of this song amid the right momentum then attracted the attention of so many people.On the YouTube channel where it was popularized, the video clip of this song has become one of the viral shows, drawing people's attention until it has been played 5,733,819 times since it was first released on May 27, 2021.As part of literary work, the song is the expression of a variety of deep feelings.
According to some viewers in the comments column, the song can bring the audience to drift away in feelings of sadness in prayer which appears "to compel God" to immediately reveal His omnipotence to eliminate the Covid-19 outbreak.A deeper message of a lyric poem, however, requires in-depth reading through critical work involving a set of theories.In this regard, it is necessary to explain the forms of the author's indirect expression in Kun Fa Yakoon song, i.g. through heuristic and hermeneutic readings by exploring the matrix of models, variants, and hypograms of the song, as offered by Riffaterre in his semiotic theory.
Although several studies view religious songs as cultural phenomena of society, 1 and that some parts of the lyrics are perceived to be able to bring altogether magical effects like a spell, a deeper message that the author wants to represent through a song needs to be explored.A study conducted by Rachel G. A. Thompson et.al. shows that songs have the potential as a method for rapidly sharing information (edutainment) about emerging public health crises. 23456Some researchers analyzed different poetries (songs included) with the use of Riffaterre's theory, 7 and they can serve as models for our research.As far as we concerned, the most recent research on the Kun Fa Yakoon song was conducted by Trimo the song by exploring the connotative meanings in the lyrics of the song.Nevertheless, this research has only found meaning in the form of belief in disaster from Allah and a request for strength to deal with it.It is seen that this meaning has not reached the level of meaning production which is the implication of the language structures and words in the lyrics of Kun Fa Yakoon song.Here the use of Rolland Barthes' semiotic theory, in our opinion, is inadequate, as conducted by the previous researchers.
This study began with the assumption that Kun Fa Yakoon as a song lyric, together with other poems, consists of structures of signs in which some words may come with different meanings from their literal ones.Even the title Kun Fa Yakoon itself may carry a different meaning from its literal meaning which is originally God's expression in creating all beings.So, this article therefore aimed to analyze the song lyrics by using Riffaterre's semiotic theory which promises the ability to produce new meanings.It is in this respect we expect to contribute to the novelty in this field of study

Methods
This study qualitatively described the meaning contained in the lyrics of Kun Fa Yakoon song by using Michael Riffaterre's semiotic theory.The primary source was the song Kun Fa Yakoon within the YouTube channel which can be accessed at the address https://youtu.be/VQSUCfRoZPM.The song is one of the most viral Arabic songs following the widespread Covid-19 pandemic.The song represents the feelings of a huge group of Muslims throughout the world regarding the pandemic.The uniqueness of this song is due to the rhythm which duplicates the song entitled Memories sung by Maroon, one of the most popular Western singers, but without a musical instrument (acapella).The indirectness of meaning which is represented in the language structure and the wordings of Kun Fa Yakoon has triggered this research.Since the content as a whole is a prayer or invocation, conducting a study may mean a study on invocations in the form of a song in a broader context.
Secondary sources consisted of references that support the research, including studies with a similar theme, with the same object or using a similar theory and/or approach.Many studies with the same theme or object were used to figure out to what extent the research that has been carried out, to determine academic gaps in related fields.Meanwhile, researchers that use the same theory on different objects served as models in conducting our research.Through reading techniques with a semiotic approach, this research is expected to provide a broader perspective, especially those related to the object of the research.In addition, note-taking techniques are also used through paraphrasing, synoptic, coding, and precision to record systematically which facilitate observation of the course of the research.
The data analysis technique used in this study was the Miles and Huberman's theory. 89A model which could be summarized in the following four steps: data collection, data reduction, data exposure, and verification or conclusion.Data was collected by listening to the song and taking notes, as well as eliminating irrelevant data according to the theory.After verifying the data, it was to be exposed together with the analysis until we conclude.In analyzing a literary work, there are at least five kinds of semiotic theories: 10 Charles Morris's theory of three semiotic aspects (pragmatics, semantics, and syntax), the theory of three semiotic levels (events, actions, and utterances) of Roland Barthes, the theory of three levels of Tzvetan Todorov (inpraesantia, in absentia, and verbal), Lotman's model theory and semiosphere and Michael Riffaterre's theory of meaning production.
In the beginning part of his book Semiotics of Poetry, Riffaterre argued that there are four aspects to consider in producing the meaning of a poem.They are indirect expression, heuristic and hermeneutic reading, matrix (including model and variant), and hypogram.Displacing, distorting, and creating meaning are indirect forms of poetic expression.Heuristic reading is done by reading the language structure of poetry normatively, morphologically, syntactically, and semantically at the first level.
At the second level, hermeneutic reading was carried out by reading the text back and forth until the meaning was founded of the entire literary text as a sign system.The matrix is hypothetical and only seen as the actualization of words in the structure of the text.The matrix could be abstracted in the form of one word, a combination of words, a part of a sentence or a simple sentence.The matrix becomes the motor or generator of a text.Meanwhile, the model is in the form of words that often appear in a poetic text.The variant is a sentence that is formed from the model.Thus matrix becomes the theme; the model is the keyword; and the variant is the development of the keyword.A hypogram is an activity of searching for data and tracing traditions from previous works. 1112

Results and Discussion
Here are the tabel of indirectness of expression in the lyrics of the song Kun Fa Yakoon: Table 1.Types of Indirect Expression in the Song 'Kun Fa Yakoon'

Displacing of Meaning
The metaphorical use of ‫البالء‬ (calamity) to represent being hit by a disaster and distress; The metaphorical use of ‫رجايا‬ (hope) to represent dependence on God and His ability to fulfil desires; The metaphorical use of ‫لّتحرمني‬ (do not deprive me) implies the fear of being excluded from God's love.

Creating the Meaning
Repetition of anaphora: The repetition of ‫منّليّغيركّربي‬ (I don't have anyone but You, my Lord) in multiple lines; Epizeuksis repetition: The repetition of ‫ال‬ (do not) in a row and the repetition of a complete sentence multiple times in line 9.
Table 1 showed that indirect expression may occur due to the shifting of meaning (displacing), destruction of meaning (distorting), and creation of meaning.Some forms of shifting meaning in the song Kun Fa Yakoon can be seen from the use of figurative language, either in the form of metaphor or metonymy.The use of this metaphor serves to figure out a clearer picture, evoke a certain impression and atmosphere, and intensify meaning through less diction. 13The shift in meaning in the form of a metaphor is clear in the 1st line of the lyrics:‫ّأناجي‬ ‫ّإليكّذليال‬ ً ‫ّالبالءّ#ّجئت‬ ‫ا‬ ‫حينماّحل‬ (When the calamity 11 Aning Ayu Kusumawati, "Analisis Semiotik Puisi Engkau Karya Muhammad Zuhri," Widyaparwa 49, no. 2 (2021): 442-453.
12 Fitria Febrianti, Suntoko Suntoko and Wienike Dinar Pratiwi, "Ekranisasi Novel Assalamualaikum Calon Imam Karya Madani Ke Film Assalamualaikum Calon Imam Karya Findo Purnowo Hw," Jurnal Pendidikan Tambusai 5, no. 3 (2021): 9591-9599. 13Arrry Luh Ketut Prasthaningrum, Ni Putu Luhur Wedayanti, and Ni Luh Kade Yuliani Giri, "Metafora dalam Album Evergreen Motohiro Hata," Jurnal Humanis, Fakultas Ilmu Budaya Unud 17, no. 8 (2016): 7-14.stroke # I came to You humiliated, I pray).Through language conventions, it can be seen that the metaphor of the underlined word is personification, which is in Arabic rhetorical terms known as isti'arah makniyah, other refers to it as isti'arah takhyiliyah.The word ‫البالء‬ in the sentence structure functions as the subject (actor) of the verb ّ ‫ا‬ ‫.حل‬The sentence means: "When the test has taken its place."The test is likened to a person or living being occupying a place.This sentence contains the meaning: "I was hit by a disaster, hit by sadness and distress."The purpose of using this personification is to give the impression that disaster has an active nature that can befall anyone.
The metaphor with the next idiomatic phrase is the word ‫رجايا‬ in the 4 th line:ّ‫من‬ ‫ليّغيركّربيّ#ّمعقودّإليهّرجاياّ‬ (I don't have anyone but You, my Lord # to Him hang my hope).There is a similarity in the meaning of the phrase related to hope with the dependence of objects on other objects that are higher and stronger.The adrift of hope has a meaning that shifts from its original meaning.The linked connotation of hope means the realization of all desires which are the will of Him who is referred to as God, the Ruler of all things.The metaphor here serves to intensify meaning through scanty diction.
The and to create beauty.Some types of repetition in the song Kun Fa Yakoon include anaphora repetition and epizeuxis repetition.
Anaphora repetition or repetition in the form of phrases is found in the 2 nd line which is repeated in the 11 th and 13 th lines: ‫يّشكواي‬ ‫ا‬ ‫#ّيسمعّمن‬ ‫منّليّغيركّربي‬ ( I don't have anyone but You, my Lord # Who hears my complain).Another repetition is the word ‫من‬ which is combined altogether with different words, as found at the beginning of the 2 nd , 3 rd and 4 th lines, also the word ‫ل‬ in the 5 th and 7 th lines.The same goes to the word ‫يا‬ in the 10 th and 12th lines.
Next is epizeuksis or repetition of a word or a phrase several times in a row. 15is type of repetition is found at the beginning of the 7 th line which repeats the word ‫ل‬ twice in a row.Epizeuksis repetition is also found in the following line 9 which is repeated 4 times.According to al-Humaidawi, repetition of sentences is not merely intended for phonetic or morphological purposes, but also for creating creative ideas.It seems that the author tried to come up with a new idea by repeating the complete sentence up to four times.The author wanted to emphasize the meaning of asking Allah to fulfill his wish to be healed of the disease caused by the Coronavirus that is currently sweeping the world after all healing efforts have been made.In so doing, the author asked as if he demanded the Lord to produce His miracle, as He has stated that the proof of His power in creating and changing everything is simply by saying: "Be!" (kun), then it will come true (fa yakun), as like magic.In this situation, the author asked Allah to say, "be"! to have mercy on him in regard to the fears of pandemic impacts.
Yakoon song resulted as follows: The First Part: (1) When disaster comes (hits me) (in the form of a disease caused by the coronavirus) # I, the weak and despicable, come to You (my Lord), to invoke (begging You); (2) (I testify that) there is no (more) but You, my Lord # who always hears my groaning (my complaints); (3) (I testify that) no one (again) will (be able to) grant (my) prayer # Except (He is Allah) who calls us to ask Him; (4) (I testify that) there is no (more) besides You, my Lord # (who) clings to Him all hope.The second part: ( 5 The question words ‫من‬ in lines 2, 3, 4, 11, and 13   .Al-Dabal revealed that the prohibited sentences in the verse: do not punish us, do not burden us, etc., contain the meaning of tadarru' (pleading), iltimas (supplication), and du'a (prayer).Therefore, the meaning becomes: "O Our Lord, we beg You, do not punish us if we forget or we are wrong.O our God, we beg You, do not burden us with a heavy burden as you burdened those before us.O Our Lord, we beg You, do not bear upon us what we cannot bear." The use of interjections (harf al-nida') in the 5 th , 8 th , 10 th , and 12 th lines by using the word ‫يا‬ ("o") in the song above is out of its original meaning: calling.Instead, it serves another function as an exclamation that expresses requests and prayers, known in Balagah as al-istigasah.Thus the 5 th line comes with the meaning: "I pray and ask You, O Most Gracious, Most Noble One;" the 8 th line has the meaning: "I pray and ask You, O my All-Merciful God;" the 10 th line has the meaning: "I pray and ask You, O God who has abundant grace;" and the 12 th line means: "I pray and ask You, O Healer of my heart." Lexically, the title sentence Kun Fa Yakoon means "Be!Then (it) be."This sentence refers to verses of the Koran which here are positioned as hypotensive the line "I, who is weak and despicable, come to You with grace."The form of bala' (the test) is explained in another line which mentions the word saqâm ‫)سقام(‬ in the sentence: "This disease of mine wears me out".Saqam ‫)سقام(‬ literally means disease or sickness. Another line also confirms that bala' is in the form of a disease, namely the statement: "O medicine of my heart, you have created an antidote for all diseases" through the use of the word medicine ‫شفاء(‬ ), disease ‫,)داء(‬ and cure ‫.)دواء(‬The 2 nd , 3 rd , and 4 th lines presuppose the testimony and determination that God is the only one who hears complaints, grants requests, and is a place to hang on to hopes.By referring to Allah as the All-Hearing Complaint (al-Sami'), the Most Granting Request (al-Mujib), and the Dependent (al-Samad) which are the beautiful names of Allah, the author had testified and shown his resolve in the opening of his prayer and invocation.The third part of Kun Fa Yakoon's song still contained requests and testimonies.He asked for the abundance of gifts from his Lord accompanied by a testimony that He is the Most Powerful, as a result of the presupposition of his statement of powerlessness in overcoming the illness he was suffering from.His testimony of Him, the only God Who All-Hears all of his complaints, is repeated at the end of this section.
Before closing, he once again asked his God, the Most Healer, by affirming his belief that Allah had created a cure for every disease.This sentence refers to the hadith of the Prophet narrated by Muslim from Jabir bin Abdullah that the Prophet said: ّ ٍ ‫ّداء‬ ‫ا‬ ِ ‫لكل‬ ّ ‫دواء‬ (Every disease has a cure).Here, the meaning can be found through the presupposition of the sentence that the author is asking for guidance to find a way of healing with the permission of his God.The sentence in the last stanza confirms this through his testimony that there is no other God who can heal and help him.He is the Great Helper.
The model of the song is found in the structure of the words ّ ‫ن‬ ‫ّلهّكنّفيكو‬ ْ ‫قل‬ ((I beg you) Tell him (this disease I'm suffering from) ( : ) kun Fa Yakoon 4x (get well, then this disease will heal soon)).The variant is in the form of prayers spread throughout all the song sentences.After it is confirmed that the song is a prayer asking for healing from view.In a broader context, this in turn could reveal how the teachings of Ibn 'Arabi spread out worldwide in this era through a popular acapella song.
) (I beg you) Don't punish me for (my) sins # (I pray to You) O Essence (the Most) Gracious, Most Glorious.(6) Really I'm just (your) weak servant # (whose) Fate is not always lucky; (7) (I beg You) Don't, don't forbid (block) me, O my Lord # from of) Your extraordinary (overflowing) goodness; (8) My illness has exhausted me # (I pray to You) O my most merciful Lord; (9) (I beg You) Say to it (this illness we are suffering from: "Kun Fa Yakoon" 4x (get well).The third part: (10) (I pray to You) O (God) Who (has) abundant grace # I have no power to overcome it (this disease); (11) (I testify that) There is no (more) my Lord besides You # Who (will) always hear my moaning (my groaning); (12) (I pray to You) O medicine for (sad) hearts # You have created the antidote for all diseases; (13) (I testify that) There is no (more) my Lord besides You # Who will cure me (from my illness) O my Helper.
are ungrammatical, due to discrepancy with the original purpose of asking.‫من‬which originally meant 'who?' changed its meaning to 'nothing', by the emergence of the word ّ ‫ا‬ ‫إل‬ (except).In the perspective of Arabic syntax, this structure is known as istisna' manfi (negative exception), in which the presence of ‫إل‬ changes the function of the question word ‫من‬ in the surprising effect it has on the restriction that accompanies the word ‫إل‬ after everything else has been removed.In his book entitled Dalil al-Balagah al-Quraniyah, Al-Dabal stated that the style of language using the interrogative word ‫من‬ which is accompanied with ّ ‫ا‬ ‫إل‬ contains the intention to explain (bayan) and to emphasize (taqrir).The word ‫من‬ in the verse above, therefore, does not come with the literal meaning: who?But changes to "no one (again) can intercede from Allah unless He allows it".This means: "Only He can intercede."It is very clear here and very firm that intercession is only given by Him and in His power.So here comes the meaning: "I testify that there is no more...". lies