| Abstrak/Abstract |
This study critically investigates how a Javanese-Japanese family in Tottori, Japan, manages the
TikTok account @megakenichiro_official, which reframes domestic sharenting performances via the
perspective of Japanese popular culture, particularly Crayon Shin-Chan. Using a netnographic
technique (Kozinets, 2015), six videos are systematically and thematically selected, together with
netizen remakes, captions, hashtags, and comments, to study the convergence of sharenting and anime
nostalgia. The analysis uses Hoskins' (2011) media memory—particularly the "connective turn"—and
Driessens' (2013) celebritization theory to map a cyclical media ecosystem in which content creation,
audience reinterpretation, and platform algorithms constantly reinforce one another.
The findings identify three interlinked processes: (1) Javanese sharenting as affective performance,
combining maternal authority, Islamic ritual, and performative mirroring of children's tantrums; (2)
tantrum-driven virality, where "tantrum versus tantrum" exchanges become meme-able domestic
satire, generating diverse audience responses; and (3) cultural memory and the platformization of pop
icons, in which netizens reframe the Ueno family through analogies to Japanese cartoon. Notably,
sarcastic framings like colonial parenting historical memory are included into digital parenting
discourse, resulting in hybrid mnemonic mappings that combine postcolonial critique and anime-
inflected humor.
According to the study, Crayon Shin-Chan's ongoing resonance in Indonesia stems from emotional
relatability, language hybridity, and culturally entrenched humor rather than algorithmic virality. By
reimagining a bicultural family as a "living meme" of Japanese popular culture, Indonesian viewers
actively co-produce and commodify Japanese popular culture, adding to broader discussions about
digital culture and postcolonial parenting in Southeast Asia. |
