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The Eastasouth Journal of Social Science and Humanities
Vol. 2, No. 02, February 2025, pp. 199 – 206
ISSN: 3026-5592, DOI: 10.58812/esssh.v2i02
Journal homepage: https://esj.eastasouth-institute.com/index.php/esssh
The Phenomenon of Celebrity Recruitment as Legislative Members
from the Perspective of Dramaturgy Theory
Jaenal Hasyim Maddi1, Marlinda Irwanti Purnomo2
1,2 Universitas Sahid, Indonesia
Article Info
ABSTRACT
Article history:
Received Feb, 2025
Revised Feb, 2025
Accepted Feb, 2025
The phenomenon of recruiting celebrities as legislative members has
become a trend in various countries, including Indonesia. This
phenomenon has sparked debates, particularly concerning the
capabilities, credibility, and motivations of celebrities in politics. This
theory likens social life to a stage performance, where individuals play
specific roles to gain social recognition. This study employs a
qualitative research method with a case study approach on several
celebrities who have become legislative members. The findings
indicate that many celebrities utilize their popularity as social capital
to gain voter support but often face challenges in adapting to the
complex legislative role. The study also reveals that the performance
displayed in public often differs from the reality behind the scenes. In
conclusion, the image-building strategies employed by celebrity
politicians significantly determine their success in establishing political
legitimacy in the eyes of the public.
Keywords:
Celebrities
Dramaturgy
Image Building
Legislative
Politics
This is an open access article under the CC BY-SA license.
Corresponding Author:
Name: Jaenal Hasyim Maddi
Institution: Universitas Sahid, Indonesia
Email: enalkatangka@yahoo.com
1. INTRODUCTION
In recent decades, Indonesian politics
has undergone a significant shift in terms of
legislative recruitment. One prominent
phenomenon is the increasing number of
artists who have entered politics and
succeeded in occupying parliamentary seats.
This phenomenon has raised various
questions regarding the motivation behind
recruiting artists as politicians and the extent
to which they are able to carry out legislative
duties well.
The dramaturgy theory developed by
[1] is used in this study to analyze how artists
as politicians build their image and play their
roles on the political stage. According to [1],
individuals always try to control the
impressions displayed in front of the public to
match social expectations. In this context,
artist-politicians can be analyzed as actors
who display certain performances to attract
voters' sympathy [2].
This study aims to understand how
artists who become members of the legislature
build their political image, how these image
strategies contribute to their political success,
and how the behind-the-scenes reality affects
their performance as members of the
legislature.
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200
1.1. Politics as a Performance in the
Recruitment of Artist Legislative
Candidates
Politics can be likened to a
theater stage where celebrity
candidates play certain roles to
attract voters. In this context, they
must manage their image and
credibility to match public
expectations. In an effort to utilize
the popularity of celebrities to boost
vote acquisition, political parties
make celebrities their vote getters.
This arises from the public's
boredom with old politicians and the
desire for new faces. However, the
question is: do celebrities have
enough quality to become people's
representatives? Popularity is often
the only capital, while their
capabilities and capacities are often
questioned.
Political parties compete to
recruit artists by considering their
popularity which is considered
"marketable". This often eliminates
party cadres who have gone through
a long cadre process. In the long
term, this pragmatic approach can
weaken the party internally, cause
frustration among cadres, and
reduce the quality of political
leadership [3].
In addition, politics as a
performance can be seen from how
political parties and artists use
certain moments to strengthen their
image. For example, through the use
of social media, artists who run for
office often display a simple lifestyle
or social activities that show their
closeness to the people. These
actions, although often deliberate
and planned, aim to create a positive
impression that is relevant to the
public's desires.
Dramaturgy theory explains
that political actors play roles on the
"front stage" to attract the attention
of the audience, in this case voters.
The front stage includes campaigns,
public speeches, and ceremonial
activities that are often full of
symbolism. On the other hand, the
"back stage" is the space where
political strategies are designed,
including negotiations with parties
and interest groups. The alignment
between what is presented in front
and what is planned behind is the
key to the success of this strategy [4].
A concrete example of this
concept is the blusukan
phenomenon carried out by several
celebrity politicians. By visiting
remote areas and interacting directly
with the community, they build a
narrative of closeness and concern
that strengthens their image on the
front stage. However, behind it all,
there is a communication strategy
and impression management
designed to achieve certain political
goals [5].
1.2. Front Stage: Front Stage in the Image
of Artist Legislative Candidates
In politics, the front stage is
a space where artists present
themselves as credible leaders who
care about social issues. Social
media, political advertisements, and
public debates are the main means of
building this image. Artists use
certain symbols such as formal attire,
persuasive rhetoric, and campaign
slogans to attract voters' sympathy.
In politics, especially in the imaging
of legislative candidates from among
artists, the concept of the front stage
refers to how they present
themselves to the public to build a
positive image. The front stage is
part of [1] dramaturgy theory, which
describes how a person behaves
according to the expectations of their
audience. Artist candidates often
take advantage of the popularity
they have built in the entertainment
industry to create the impression of
being close to the people, competent,
and concerned about social issues.
They are active on social media,
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201
attend various public events, and
display an attractive communication
style in order to maintain their
electoral appeal. This imaging
strategy aims to convince voters that
they are not just celebrities, but also
figures who are worthy of trust in the
world of politics. Thus, the front
stage becomes an important element
in shaping public opinion and
increasing the electoral
opportunities of celebrity legislative
candidates.
1.3. Back Stage: Political Strategy
Behind the Scenes
Behind the scenes, there are
strategies designed by campaign
teams and political parties to direct
artist campaigns. Communication
training, designing political
narratives, and compiling campaign
agendas are part of efforts to increase
the credibility of celebrity legislative
candidates. In many cases, artists are
guided to understand political issues
so that they can appear more
competent in front of the public. In
the world of politics, especially in the
campaigns of legislative candidates
from among artists, the concept of
back stage or "back stage" refers to
strategies and maneuvers carried out
behind the scenes to build an image
and gain political support. Unlike
the front stage which displays a
controlled public impression, the
back stage is a space where
campaign teams, political
consultants, and legislative
candidates themselves design
campaign strategies, compile
narratives, and negotiate with
various parties, including parties,
donors, and interest groups. Here, all
preparations are made, starting from
compiling campaign materials,
debate simulations, to analyzing
public sentiment on social media. In
addition, in the back stage there are
often political compromises,
lobbying, and issue management
strategies to face political opponents.
In other words, back stage is a place
where political strategies are
polished so that they can be
presented convincingly on the front
stage, ensuring that every movement
seen in front of the public has been
carefully designed to support the
achievement of electoral goals.
1.4. Impression Management and
Challenges for Artist Candidates
Impression management is a
crucial aspect for artists who enter
the world of politics. They must be
able to convince voters that they are
not just public figures without
political experience, but are also able
to contribute substantively to policy
making. However, the challenge
faced is public skepticism towards
their capabilities, especially if they
do not have a strong track record in
politics or social activism.
Impression management is the main
strategy for legislative candidates
(caleg) from among artists to build a
positive and convincing image in the
eyes of voters. With a background as
a public figure, they tend to get
attention more easily, but the main
challenge is how to turn popularity
in the entertainment world into
credibility in the world of politics.
They must show that they do not
only rely on fame, but also have
competence, vision, and
commitment to the interests of the
community. To that end, they often
use social media, interviews, and
involvement in various social and
political activities as a way to
strengthen the impression as leaders
who care and have integrity.
However, the big challenge faced is
the stigma that artists only rely on
image without a deep understanding
of politics, as well as public doubts
about their capabilities in carrying
out legislative duties. In addition,
they also have to face competition
from experienced politicians and
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202
possible attacks from political
opponents who question their
credibility. Therefore, effective
impression management is the main
key for celebrity candidates to not
only attract voters' attention, but also
build trust and legitimacy in the
world of politics.
2. LITERATURE REVIEW
2.1 The Relevance of Dramaturgy Theory
Dramaturgy theory introduced
by [1] provides a framework for
understanding how artists present
themselves on the political stage. In this
concept, social interaction is understood
as a performance in which individuals
play roles to influence the audience. The
front stage is where artists show the
image they want to project, while the
back stage is the space where strategies
are prepared.
[1] also discusses the concept of
impression management, where
politicians try to create a certain
impression through their clothing,
speech, and other actions. They manage
their impressions so that the audience
accepts the identity they present. In a
political context, impression
management allows politicians to change
public perception through planned
strategies.
The theory also highlights the
difference between front-stage and
backstage behavior. The front stage, such
as a campaign, a rally, or a political
debate, often projects a polished image to
meet public expectations. Meanwhile,
the back stage is where political strategy,
negotiation, and compromise take place.
This dynamic suggests that what appears
on the surface is often at odds with the
reality behind the scenes.
In the context of artists who enter
politics, the relevance of dramaturgy
theory is seen in the way they use their
experience as actors to play roles on the
political stage. They use their acting skills
to show empathy, modesty, or concern
for the community. For example, their
presence at social events or charity
events can be seen as part of a front-stage
strategy to build emotional connections
with voters.
However, dramaturgy theory
also reminds us of the risk of excessive
manipulation. If the public begins to
realize that there is a discrepancy
between the image presented and the
actions behind the scenes, trust in
politicians can be eroded. Therefore, the
success of implementing this theory
depends heavily on consistency and
honesty in building a political image.
Furthermore, the relevance of
dramaturgical theory also helps us
understand how social and cultural
structures influence the dynamics of the
political stage. For example, in societies
with low levels of political literacy,
strategies of manipulating symbols and
representations tend to be more effective
than in critical societies. This suggests
that social context plays an important
role in determining the success of
dramaturgical strategies.
Thus, dramaturgical theory not
only helps explain political phenomena
as performances but also offers insights
into how politicians can build
relationships with the public through
structured and strategic communication.
2.2 The Relevance of Dramaturgy Theory
Dramaturgy theory introduced
by [1] provides a framework for
understanding how artists present
themselves on the political stage. In this
concept, social interaction is understood
as a performance in which individuals
play roles to influence the audience. The
front stage is where artists show the
image they want to project, while the
back stage is the space where strategies
are prepared.
[1] also discusses the concept of
impression management, where
politicians try to create a certain
impression through their clothing,
speech, and other actions. They manage
their impressions so that the audience
accepts the identity they present. In a
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Vol. 2, No. 02, February 2025, pp. 199 – 206
203
political context, impression
management allows politicians to change
public perception through planned
strategies.
The theory also highlights the
difference between front-stage and
backstage behavior. The front stage, such
as a campaign, a rally, or a political
debate, often projects a polished image to
meet public expectations. Meanwhile,
the back stage is where political strategy,
negotiation, and compromise take place.
This dynamic suggests that what appears
on the surface is often at odds with the
reality behind the scenes [6].
In the context of artists who enter
politics, the relevance of dramaturgy
theory is seen in the way they use their
experience as actors to play roles on the
political stage. They use their acting skills
to show empathy, modesty, or concern
for the community [7]. For example, their
presence at social events or charity
events can be seen as part of a front-stage
strategy to build emotional connections
with voters [8].
However, dramaturgy theory
also reminds us of the risk of excessive
manipulation. If the public begins to
realize that there is a discrepancy
between the image presented and the
actions behind the scenes, trust in
politicians can be eroded. Therefore, the
success of implementing this theory
depends heavily on consistency and
honesty in building a political image.
Furthermore, the relevance of
dramaturgical theory also helps us
understand how social and cultural
structures influence the dynamics of the
political stage. For example, in societies
with low levels of political literacy,
strategies of manipulating symbols and
representations tend to be more effective
than in critical societies. This suggests
that social context plays an important
role in determining the success of
dramaturgical strategies [9].
Thus, dramaturgical theory not
only helps explain political phenomena
as performances but also offers insights
into how politicians can build
relationships with the public through
structured and strategic communication.
3. RESEARCH METHODS
This study uses a qualitative
approach with a case study method. Case
studies are chosen because they allow
researchers to explore in depth how artists
who become members of the legislature play
their roles in the political world.
3.1 Types of Research
This research is descriptive-
qualitative with an interpretive
approach. Data were collected through
in-depth interviews, media analysis, and
observation of artist-politician activities
in various public forums.
3.2 Research Subject
The subjects of this study
consisted of several artists who have
become members of the legislature in
Indonesia. The selection of subjects was
done purposively based on their
popularity, political track record, and
involvement in policy making.
3.3 Data collection technique
a. In-depth Interviews
Interviews were conducted
with artists who have served as
legislators and political experts who
understand this phenomenon.
b. Media Analysis
Studies were conducted on
news coverage in print and online
media to understand how artist-
politicians build their image in front
of the public.
c. Observation
Directly observing the
behavior of artist-politicians in
parliamentary sessions, campaigns,
and their interactions with
constituents.
3.4 Data Analysis Techniques
The data that has been collected
was analyzed using Goffman's
dramaturgical theory approach, by
comparing the image displayed in front of
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204
the public and the reality that occurs
behind the scenes.
3.5 Data Management
a. Interview Transcription
All interviews were recorded
and transcribed verbatim to ensure
data accuracy.
b. Data Coding
Data from interviews,
observations, and media analysis
were categorized based on key
themes relevant to dramaturgical
theory.
c. Thematic Analysis
Identify key patterns in
respondents’ responses to
understand image strategies and
behind-the-scenes realities.
d. Data Triangulation
Data were compared across
sources (interviews, media, and
observations) to increase the validity
of the research results.
e. Data Interpretation
The analyzed data were
interpreted in the context of
dramaturgical theory to understand
the dynamics of the artist’s role in
politics.
3.6 Deep Interview Questions and Answers
1. What is your main motivation for
entering politics?
Answer: “I want to bring
positive change and use my
popularity to fight for
people's aspirations."
2. How did you adjust from the
entertainment world to the world of
politics?
Answer: “This change was
quite difficult, but I learned
from experience, taking
training, and discussing with
more senior colleagues."
3. Is there a significant difference
between the image you portray in
the media and the reality of day-to-
day legislative work?
Answer: “Sure, in front of the
camera I have to maintain a
good image and
communication, but behind
the scenes there are many
technical challenges I have to
learn."
4. What is the biggest challenge you
face as an artist turned legislator?
Answer: “The main challenge
is to build credibility and
show that I can work
seriously, not just rely on
popularity."
5. What is your strategy in building
public trust in your role as a member
of the legislature?
Answer: “I continue to
interact with the community,
listen to their aspirations, and
demonstrate real work in the
policies I support."
4. RESEARCH RESULTS AND
ANALYSIS
4.1 The Role of Artists in Politics: Between
Popularity and Competence
Many artists who enter politics
use social capital in the form of their
popularity. However, this study found
that popularity alone is not enough to
carry out legislative duties well. The
challenges faced include a lack of
understanding of political and legislative
mechanisms, as well as difficulties in
adapting to a complex work environment.
First, this study shows that artists who
enter politics often use strong image
strategies in their campaigns. They build
an image as individuals who care about
society and have a vision for change, even
though in reality they face challenges in
adjusting to complex legislative duties.
The front stage they present through the
media and campaigns is often at odds
with the reality of the back stage which is
full of political dynamics, negotiation of
interests, and limitations in
understanding the legislative process.
4.2 Image Strategy: Building Political
Identity
Using dramaturgy theory, it was
found that many artist-politicians use
image strategies such as:
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205
a. Frontstage Performance
When appearing in the
media, they try to show concern for
social issues, express their vision and
mission, and build closeness with the
community.
b. Backstage Reality
Behind the scenes, they face
political pressure, difficulty in
understanding policies, and demands
from the political parties that support
them.
The main challenge faced by
artists who become members of the
legislature is building credibility amid
public doubts about their capabilities.
Popularity does provide an advantage in
gaining votes, but it does not guarantee
the ability to carry out legislative duties
effectively. Many artists have difficulty
understanding the policy-making
process, the dynamics of political parties,
and governance. However, some artists
have managed to adapt to their new roles
through a learning process, consultation
with experts, and active involvement in
legislative commissions that suit their
interests and capacities.
4.3 Impact on Democracy
This phenomenon has a dual
impact on democracy. On the one hand,
the involvement of artists can increase
public political participation. However,
on the other hand, if not accompanied by
adequate competence, it can reduce the
quality of legislation and the effectiveness
of parliament in carrying out its functions.
This study also found that there is a gap
between public expectations of artist-
politicians and the reality of their work as
members of the legislature [10]. The
public often expects artists to continue to
act as charismatic and entertaining public
figures, while the world of politics
requires them to be serious, critical, and
have a deep understanding of policy
issues. In many cases, artist-politicians try
to balance these two aspects by
maintaining their popularity on social
media and showing their involvement in
legislative tasks. The image strategy used
by artists in politics not only affects their
success in elections, but also determines
how they maintain their position in the
political world. Some artists choose to
maintain their image as popular figures
by relying on media and personal
branding-based campaigns, while others
begin to build competence in the field of
legislation in order to survive in the long
term in the world of politics.
5. CONCLUSION
Based on the research results, it can be
concluded that the phenomenon of artist
recruitment as legislative members is closely
related to the image strategy played in the
political arena. Erving Goffman's dramaturgy
theory helps in understanding how artists
who enter the world of politics utilize their
popularity as social capital to gain legitimacy
in the eyes of the public.
Thus, this study concludes that the
phenomenon of artists becoming members of
the legislature is a form of image politics that
is greatly influenced by role-playing in the
political arena. The success of artists in politics
depends not only on their initial popularity,
but also on their ability to adapt, build
credibility, and manage public expectations
and the reality of legislative work faced.
Therefore, it is important for the public to be
more critical in choosing political leaders and
not only focus on the image built through the
media
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