Analisis Wacana Kritis Film Lagu untuk Anakku tentang Solidaritas Penyintas Perempuan 1965–1966

The 1965–1966 tragedy marked a turning point in Indonesia’s political power, accompanied by systematic violence against those accused of being affiliated with the Indonesian Communist Party (PKI), including women. The documentary film Lagu untuk Anakku (A Song for My Child) serves as a crucial medium that amplifies the voices of women survivors who have long been marginalized by the state’s historical discourse. This study uses a qualitative approach with Norman Fairclough’s Critical Discourse Analysis (CDA) model across three dimensions: text, discourse practice, and sociocultural practice. It is further supported by Kimberlé Williams Crenshaw’s theory of intersectionality to examine how Lagu untuk Anakku represents the solidarity of women survivors of the 1965–1966 tragedy. The findings reveal that solidarity is portrayed as a core element in the film. Through the Dialita Choir, the survivors create a safe space to support one another, preserve history, and challenge dominant state discourses that have silenced them, while also fostering intergenerational connections. The film also shows that the violence experienced by these women is intersectional, rooted not only in gender but also in ideology and class. The state, through its official historical discourse, exile policies, sexual violence, and stigmatization, contributes to the perpetuation of patriarchal oppression against women survivors. Thus, this study affirms the role of film as a counter-discursive space, and highlights the importance of intersectional approach to understanding multilayered vulnerabilities of women survivors of the 1965–1966 tragedy.