Analytical Reconstruction: A Language Education Philosophical Foundation of Lyrics and Video “Baby Shark”

Ni Wayan Surya Mahayanti¹, Darmiyati Zuchdi², Pratomo Widodo³, Ni Komang Arie Suwastini⁴

Yogyakarta State University, Yogyakarta, Indonesia^1,2,3

Ganesha University of Education, Bali, Indonesia^1,4

Abstract

The song “Baby Shark” is one of the most popular language-learning media for children. Many studies have proven the effectiveness of songs in improving children's language skills. The study of the foundation, meaning, and value in the songs is also important to do. With the inferential content analysis method, this study aims to find the philosophical foundation of language education reflected in the videos and lyrics of the song "Baby Shark." This research begins with data making (unit determination), data reduction, inference, and analysis. The unit used as data in this study is a video and lyrics of the song "Baby Shark" on the Pinkfong Youtube channel. In conducting inference, hints and signs are used, and the data were analyzed by paying attention to each word in the song lyrics, every movement, and expression in the video, as well as other supporting information such as background music. Besides, the theory of language philosophy and education are used as a basis for the inference. NVivo 12 Plus was used to help the analysis. Based on the results of inference, it was found that the philosophical foundation of language education underlying this song is analytical reconstructionism. Interpretation of the meaning of the song can only be understood by connecting verbal signs with nonverbal signs on the video. Also, social issues are raised to be able to understand the reality of family life in Korea. By knowing the philosophical foundation of this song, teachers are expected to be wise in using it in learning so that learning objectives, according to the curriculum, can be achieved.

Keywords: analytical, reconstruction, philosophical foundation, baby shark, songs

 

I.          Introduction

The role of songs has been confirmed as crucial media to help students’ learning. Songs do not only engage the students in learning (Lo & Li, 1998; Schoepp, 2001; Shen, 2009; Arevalo, 2010; Brown & Brown, 1997; Bokiev, et al. 2018; Widyasari, 2016), but also motivate students (Stansel, 2008; Chou, 2014; Romero, 2017; Ajibade & Ndububa, 2008; King, 2010; Cook, 1997; Lems, 2018) and help them in building vocabularies (Shipley, 1998; Cameron, 2001; Fisher & MacDonald, 2001; Ernoz, 2007; Romero, 2017; Coyle& Gracia, 2014; Chou, 2014; Davis & Fan, 2016; Aquil, 2012; Kerekes, 2015; Kusnierek, 2016; Javadi-Safa, 2018; Suriyatham, 2019). As the other literary works, like poetry and prose, songs also play vital part in inserting and building values (White, 2015), ideology (Tomlinson, 1995; Photikanit & Sirasoonthorn, 2018; El-Falaky, 2015; Kusumah, 2016), and culture (Cheung, 2001; Plagwitz, 2006; Ajibade Ndubaba, 2008; Jolly, 1975; Saricoban & Metin, 200; Orlova, 2003; Pennycook, 2003; Pennycook, 2007; Arevalo, 2010) of a region or nation. Many studies in cognitive science, anthropology, sociolinguistic, psycholinguistic, FLA, and SLA, have been verified the significant contributions of songs in young learners’ lives (Engh, 2013).

In this digital era, YouTube has become the most popular social media used by children to access many contents, including songs. The most popular and watched song in the last four years, which reaches 4,277,154,202 views (in December 2019), is “Baby Shark." It was uploaded by the Pinkfong YouTube channel and becomes popular until now. Even this video reached rank 32 in the top 100 of the most viewed videos in all over the world in 2019. Looking at this phenomenon, "Baby Shark" indeed becomes one medium of learning English for children around the world. Carrying ‘Family Members’ theme, it contains more critical and implied meaning than just the introduction of family members. Especially in the video of Pinkfong Youtube channel, there are many signs in the movement that lead to the motives of the video maker.

Research that examines Baby Shark's lyrics and videos are still minimal. Arif & Triyono (2017) have indeed conducted a critical discourse analysis of Baby Shark's lyrics and found that Baby Shark is a song that depicts a culture of hard work. By using metaphors, the song is intended to show a form of the mindset of the Korean people. Besides, Maydi & Esfandiari (2018) focused on how video baby shark challenge is used to represent a leader profile. From their study, it was found that trough the baby shark challenge, the leader can build his profile as a firm but humanist figure. Unfortunately, from those previous studies, there are no findings that can show the philosophical foundation that underlie that song. As a media in teaching and learning English, to be the basis of its educational practice (Nurlaila, 2014; Suyitno, 2007; Ornstein, 1991; Saritas, 2016; Bim-Bad & Egorova, 2016), it is undebatable that Baby Shark must have clear language and education philosophical foundations. The foundations are reflected, both through song lyrics and in the video. Consequently, this study was conducted to investigate the philosophical foundation of language education reflected in the lyrics and video Baby Shark.

II. Background Literature

Philosophy of Education

Education requires philosophy as a basis and guidance in carrying out the practice of Education (Nurlaila, 2014; Suyitno, 2007; Ornstein, 1991; Saritas, 2016; Bim-Bad & Egorova, 2016). Dewey (1961) mentioned that philosophy can be said as a general theory in the world of education, which later became a crucial foundation in determining the educational curriculum (Ornstein, 1991; Hopkins, 1941; Dewey, 1916; Smith, Stanley, & Shores, 1957; Bim-Bad & Egorova, 2016; Ogwora, Kuria, Nyamwaka, & Wyakan, 2013). Not only curriculum, but philosophy also distinguishes the basis for educators to make decisions in the selection of material, textbooks, media, and other cognitive and non-cognitive activities (Ornstein, 1991). Thus, Education can be said as a laboratory for philosophical theory and speculation to be tested and implemented (Dewey, 1961; Patel, 1958) dan philosophy is a guide to educational wisdom passed down from generation to generation (Young, 2013; Doganay & Sari, 2003). Renani (2019) has proven that a good understanding of philosophy from the teacher has a positive effect on the teacher's professional knowledge related so that it will significantly support the practice of education.

There are various philosophies of education from time to time, which form the basis of Education practice in each country. Each philosophy gives a framework, both for policymakers, as well as for practitioners in the world of Education. It is undebatable that the selection of the philosophical foundation is inseparable from the ideology of each country and region (O’neil, 1981). Some philosophies of education that are known are perennials, essentialism progressivism, reconstructionism, existentialism, post-modernism, and critical pedagogy.

Perennialism is based on Realism philosophy, which aimed at helping students to know and internalize ideas and values which are universal and lasting forever (Tan, 2006). Intellectual is the most crucial focus through the classics and the traditions of the community (Ellis, Cogan & Howey, 1991). The material used should be classic and great books, including arts, music, and classical literature, to make students capturing the essence of truth, goodness, dan beautiful (Gutek, 2004), like Shakespeare’s works. Teachers should be well educated, knowledgeable, intellectual, and have good morals as a model.

However, like perennialism, essentialism emphasizes universal and permanent ideas that can be gained through great works of great people. Schools are expected to convey cultural and historical heritage to students for their skills, attitudes, and values development (Ellis, Cogan & Howey, 1991). The curriculum is not determined based on students’ needs and interest, but rather by the traditions and heritage that the students need to master for advanced education, the world of work, and active social and political participation (Gutek, 2004). Intellectually and morally, experts are the essential requirement for the teachers to be able to maintain students' competence and discipline. In order to be a good member of civilized society, discipline cannot be negotiated to master (Ornstein & Levine, 2003). Besides, in order to check students’ achievement, many competency tests are conducted as the assessment.

Unlike perennialism and essentialism, progressivism offers a shift in the approach to education. It concerns the uninterested teacher-centered and rigid process of teaching. The human experience is the source of knowledge and values, so it highly depends on individual experience. Schools, as social agencies, have to be democratic and create more chances for students to interact with an environment that is continually changing. Problem-solving, inquiry, and self-discovery are skills which are crucially developed to confront students’ personal and social problems. Teachers are facilitator and guide to help the students in their problem-solving. Since the attention is on the holistic development of the whole child – emotionally, physically, socially, and intellectually (Gutek, 2004), collaboration is more important than competition.

In line with progressivism, reconstructionism also considers schools as social agencies rather than mere academic institutions. Nevertheless, it is argued that schools should be the centers for the reconstruction of society and the creation of a new social order. Learning about global issues, like economic and political problems such as poverty, warfare, famine, and terrorism, as well as be equipped with the necessary skills to solve these problems, are the main focus of school activity. It also includes multicultural education, believing that students need to go beyond their inherited culture to construct a tremendous sense of identity and purpose. A multidisciplinary and interdisciplinary curriculum is adopted, and the teacher also needs to create real social projects for students.

In existentialism, universal and straightforward ideas are rejected. Reality is on individual construction. It is believed that every individual is unique, and they have their condition and choices (Ornstein & Levine, 2003). Schools should recognize that every student is a free, unique, and sentient being with personal fears, hopes, and aspirations (Tan, 2006). Individual needs and preferences determine the material and way of learning.

Consequently, it neglects the needs of the community and society, leading to selfishness and egoism (Ozmon & Craver, 2003). Open-minded and reflective are fundamental skills for the teacher to build a free atmosphere for students' learning. Real-life examples of struggles faced by individuals could be introduced through a variety of means such as literature, films, and music. An authentic assessment sounds more suitable for reflecting the students’ progress.

Postmodernism is a more perspective of beliefs. Rejecting the existence of objective and eternal knowledge, they assert that all claims to knowledge are constructed by those in power to establish and perpetuate their control over the oppressed and exploited. Postmodernists beliefs that the aim of education is authorization and alteration – to occupy the students to discard the dominant or people in power obligation, develop their own identities, and convert society by liberating the marginalized groups from domination. Teachers play a crucial role in helping students to transform their knowledge to serve ideological and political interests in different ways (Ozmon & Craver, 2003). Student-centered learning will give students a chance to begin with, the real personal identities, histories, and ordinary experiences then proceed to more abstract meanings of culture, history, and politics. A variety of narratives should be used for the students to see the different perceptions from those in power and those who are marginalized (Tan, 2006).

Critical pedagogy is based on existentialism, post-modernism, and the impact of Marxism. Critical pedagogy aims to analyze social and educational conditions in schools and society in order to surface exploitative power relationships and introduce reforms that will produce equality, fairness, and justice (Gutek, 2004). It opposes the transmission of universal and traditional knowledge, ideas, and values. They are also skeptical of the hidden curriculum to use for the shake of people in power domination. Instead, it promotes a flexible and multidisciplinary curriculum that is based on the students' own experiences. A good teacher has to be able to select the teaching materials and activities with the students’ life stories as the starting point. From that initial activity, a plurality of voices and perspectives is encouraged by students from different ethnic, language, class, and gender. He or she also assists the students in achieving their own identity and working towards greater equality and justice for all.

Philosophy of Language

Philosophy, which comes from the Greek word, Philos (love) and Sophia (wisdom), means investigating things that are favored or wisely favored. Because of his love for something, a philosopher will always come to his critical questions. Through philosophy, philosophers can think openly in order to get the deepest essence of something. Thus, philosophy is a product of thinking, which is a general belief, principle, and attitude and a process that can form a concept for decision making in life.

The process of thinking in philosophy indeed cannot be separated from the use of language. Language is used as the primary communication media. Consequently, philosophers also need language as a medium of thought and convey the results of their thinking, namely through the use of language (Sudartini, 2011). Language and thought are interdependent (Grice, 1989; Davidson, 1984). With language, philosophers are able to do philosophy, and with philosophy, linguists can understand the language in-depth and comprehensively. High-level thought processes (Vygotsky, 1978) and reflective inquiry (1933), which were carried out by philosophers, can only be achieved by using language. Thus, it seems clear that the philosophy of language becomes an essential branch of philosophy in its existence.

Just like other philosophies of science, linguistics also develops on the philosophical basis of language itself. Various linguistic theories are born from various philosophical foundations that have varied views on language. Various streams of language philosophy emerged, such as the philosophical language of structuralism, analytic, existentialism, pragmatism, and post-modernism. All these philosophical foundations view language through different points of view.

Structuralism gives a new paradigm for linguists, sociologists, and philosophers to analyze a specific field as a sophisticated system of interrelated parts. It believes that all human activity and its products are constructed and not natural (Moghaddas & Dekhnich, 2015). It also holds that everything has meaning. It is believed that every system holds a structure, and that structure regulates the position of every element. Structural rules deal with existence than deviations, and that structures are the "real things" underlying the surface of meaning (Moghaddas & Dekhnich, 2015). Meaning can be gained through the process interpretive when signs do not exist without another sign acting. To get a holistic understanding and interpretation, relating all the signs, verbal dan non-verbal is crucial.

Analytic philosophy opposed idealism and the method of this form of metaphysics. This philosophy is a foundation to explain, elaborate, and test philosophical statements (Kaelan, 1998).  In order to prove the truth, language should be used since language has cognitive functions. As stated by Grice (1989) and Davidson (1984), language and thought are interdependent. The true meaning can be gained by formulating the logical thought using language. A meaningful proposition can only represent the reality if it has a logical structure and can be verified empirically. The proposition is not only about its grammatical form but expressed in the categories of contemporary formal logic. The study of logic reveals the fact that meaning validity depends on the premise and the conclusion of the sentence. 

Pragmatism is a philosophy or thought about action (Keraf, 1987: 15). This philosophy states that whether a theory is correct depends on the meaning of the theory for humans. Thus, the measure for all actions is the benefit in practice and results that promote life. On that basis, our goal of thinking is to obtain the final results that can bring our lives more advanced and more useful. Pragmatism criticizes the old philosophical systems, which, according to pragmatism, have made the mistake of looking for the ultimate, absolute, and eternal essence. Regarding language, adherents of pragmatism argue that language is a means of dialogue and expression of ideas. Thus, new meanings will be obtained when there has been interaction and dialogue between the users of the language.

Blackburn (1994) defined postmodernism as a response contrary to assurance in objective or scientific truth. It denies the idea of fixed meanings or any correspondence between language and the world, or any fixed reality or truth or fact to be the object of inquiry. Postmodernism seems to have influenced the ways of finding the truth of meaning. Truth is subjectivity, which means that subjective truth emphasizes the importance of the experience experienced by an individual, which he considers relative. Derrida, through his deconstruction theory, states that meaning is obtained through intertextual studies so that there is no definite and final meaning. In a text with accepted meanings, there are still meanings obtained through other means or even radical ways to find meanings that are not expressed by the text but are deeply embedded in the text. The meaning depends on the experience of each individual that is relative and not the same.

Table 1. Education and Language Philosophy

Education Philosophy	Language Philosophy
Perennialism Focus: Intellectual Material: Classic and great books like Shakespeare’s works. Teachers: Well educated, knowledgeable, intellectual, and have good morals as a model.	Structuralism Language has cognitive functions, and it should be verified empirically.
Essentialism Focus: Intellectual and Discipline Material: great works of great people related to culture, history, and politics Teachers: Well educated, knowledgeable, intellectual, and have good morals as a model.
	Analytic Meaning can be gained through the process of interpretive. The signs do not exist without another sign acting.
Progressivism Focus: Social interaction (collaboration) for gaining experience Materials: Related with real-life and students' problems Teachers: facilitator and guide to help the students in their problem-solving.	Pragmatism Meaning can only be achieved through interaction and dialog. Something has meaning if it is beneficial for human life.
Reconstructionism Focus: centers for the reconstruction of society and the creation of a new social order. Material: global issues, like economic and political problems such as poverty, warfare, famine, and terrorism, as well as be equipped with the necessary skills to solve these problems and multicultural education Teachers: create real social projects for students.
Existentialism Focus: Individual uniqueness and construction. Material: determined by individual needs and preferences. Teachers: Open-minded and reflective
Postmodernism Focus: occupy the students to discard the dominant or people in power obligation, develop their own identities, and convert society by liberating the marginalized groups from domination. Materials: debatable and makes the students show their voices Teachers: helping students to transform their knowledge to serve ideological and political interests in different ways.	Postmodernism No fixed meaning, truth is subjectivity based on one's experience, the meaning is relative
Critical pedagogy Focus: analyze social and educational conditions in schools and society in order to surface exploitative power relationships, and introduce reforms that will produce equality, fairness, and justice  Material: multidisciplinary and intercultural based on the students’ own experiences. Teachers: intercultural competence

III. Method

This study is a qualitative study with an inferential content analysis model. The objectives of the qualitative content analysis are to elaborate on the language education philosophical foundation of the content in ‘Baby Shark’ lyrics and video deductively. The content analysis procedure is carried out in stages (1) data making, (2) data coding, (3) data reduction, (4) inferential, and (5) analysis. In data making, a video of Baby Shark uploaded by PinkFong YouTube channel was downloaded and transcribed. Then, the coding was done to differentiate the unit of analysis. Unit of analysis in this qualitative content analysis is the themes for the lyrics (coded by T1, T2, T3, until T9.) and the scenes for the video (coded by S1, S2, S3, until S13.). After coding the data, data reduction was conducted to reduce irrelevant data. The inference is made by linking or comparing findings on song lyrics and videos with theories of language philosophy and education (Zuchdi & Afifah, 2019). After that, the results of inference are discussed and interpreted using relevant theories and researches.

IV.   Findings

The Baby Shark video, which lasts 1 minute 46 seconds, begins with PinkFong's identity as the publisher of this video. The PinkFong mascot was also seen, which is a young pink fox with a small yellow crown on its head. Before the song began, the mascot ran to the left side, and the screen changed to the video of the Baby Shark song. At the beginning of the song (S1), Baby Shark's writing appears in dark blue placed in the middle of the sea in light blue. The sky was clear with white clouds, which added to the impression that the day was bright. In the baby shark writing, there is also an air inhaler pipe commonly used by divers, as if the baby shark writing will use it to prepare for diving. Also seen the tip of the fox's tail on the water surface from left to right. In scene 2 (S2), the video shows the inside of the sea from a distance. A shadow of a big fish with a pink fox's tail swam from right to left. Besides, other small fishes began to emerge, both clear and visible from a distance.

Next, in scene 3 (S3), it appears that the big fish is swimming closer from right to left. It was clear that the big yellow fish was swimming and ride by a PinkFong fox who used its diving equipment. Fox seemed to sit sweetly and smiled happily at the back of the fish. In this scene, there is also still much other small fish swimming towards the right side of the screen. Continue to scene 4 (S4), and the fox appeared with its complete diving equipment. Together with two other fish, the fox seemed to wave-like, saying 'let us dance.' While enjoying the dance, a large black shadow suddenly appeared from a distance and made the fox and two other fish surprised and frightened. Then, the surprise came. In scene 5 (S5), there appears a boy with a red and white buoy on his waist and a shark hat on his head. The child moves his right hand by bringing his thumb and index finger together. The movement is an indication of the small teeth of a yellow baby shark swimming to the left and right of the screen. While doing the movement, there was a song with a child's voice tone:

“Baby shark, doo ... doo ... doo ... doo ... doo ... doo.

Baby shark, doo ... doo ... doo ... doo ... doo ... doo.

Baby shark, doo ... doo ... doo ... doo ... doo ... doo.

Baby shark!” (T1)

Then the screen changes to yellow, marked by a pink shark, with a PinkFong fox on top, swimming from right to left. Then, scene 6 (S6) appears, showing a girl with a blue and white float on her waist and a shark hat too. The child shows movements like an adult female shark by opening and clasping his palms. The movement seems very elegant for a shark that hunts prey. The scene also features a pink shark with flushed lips and curly eyelashes, which appeared earlier, swimming elegantly. A melodious voice of a woman sings also is heard:

“Mommy, shark doo…doo…doo…doo…doo…doo.

Mommy shark doo…doo…doo…doo…doo…doo.

Mommy, shark doo…doo…doo…doo…doo…doo.

Mommy shark!” (T2)

Next, the screen changes again from yellow to pink. The switch is marked by a blue male shark with fangs that are very sharp swimming from the left to the right screen. Of course, it still with the PinkFong fox on it. In scene 7 (S7), the boy reappears, but with more ferocious expressions. That expression represents the nature of the adult male shark, who is a real hunter. The hand movements shown in this scene are also different. Using all hands and arms represent the size of the mouth of an adult male shark when eating its prey. Even on the back screen, the blue daddy shark swims from right to left of the screen. The voice that was heard was the voice of an adult male singing:

“Daddy shark, doo…doo…doo…doo…doo…doo.

Daddy shark, doo…doo…doo…doo…doo…doo.

Daddy shark, doo…doo…doo…doo…doo…doo.

Daddy shark!” (T3)

In scene 8 (S8), the introduction of the family shark continues on grandma. The change of screen to purple is marked by a peach-colored shark swimming with PinkFong fox from right to left. Girls appear with facial expressions like grandmas who have lost many teeth. The movements of his hands are slick with the movements in scene 6. However, the fingers are hidden to give the impression of being blunt or without teeth. With the Movement, the representation of a grandmother's figure is visible. The presence of a peach-colored shark with glasses swimming from left to right adds to the definite figure of the grandmother of the shark. A voice like an older adult who sounded trembling singing lyrics:

“Grandma shark, doo…doo…doo…doo…doo…doo.

Grandma shark, doo…doo…doo…doo…doo…doo.

Grandma shark, doo…doo…doo…doo…doo…doo.

Grandma shark!” (T4)

Next, the screen changes color to peach marked by swimming a green shark with a white mustache and eyebrows. Still, with the PinkFong fox on it, scene 9 (S9) begins. In this scene, the boy appears with facial expressions like grandpa without teeth. His hand movements are similar to those done in scene 7, but the fingers are hidden like in scene 8. With such movements, it is clearly seen that the boy is playing the character of the grandfather shark. The voice of an older adult can be heard singing:

“Grandpa shark, doo…doo…doo…doo…doo…doo.

Grandpa shark, doo…doo…doo…doo…doo…doo.

Grandpa shark, doo…doo…doo…doo…doo…doo.

Grandpa shark!” (T5)

The next scene (S10), with a green background, shows the two children with both hands’ movement over their heads. The expression on the face of the child is sweet, but the boy's expression looks fierce. The movement represents the sharks that swim together, look for prey with fierce while singing:

“Let’s go hunt, doo…doo…doo…doo…doo…doo.

Let’s go hunt, doo…doo…doo…doo…doo…doo.

Let’s go hunt, doo…doo…doo…doo…doo…doo.

Let’s go hunt!” (T6)

At the end of the scene, the two children are just shocked and scared, when five sharks come to surround them, baby, mommy, daddy, grandma, and grandpa shark. The scene continues on scene 11 (S11) with a purple background. Seen in the scene, the two children ran towards the left side of the screen with hand movements like swimming. Their facial expressions seemed panicked and frightened. They are seen running away from chasing mommy, daddy, baby, in quick succession. The lyric that sounded at that time was:

“Run away, doo…doo…doo…doo…doo…doo.

Run away, doo…doo…doo…doo…doo…doo.

Run away, doo…doo…doo…doo…doo…doo.

Run away!” (T7)

The scene continues on scene 12 (S12), where a boy steps out of a rock with large holes. Seaweed appeared on his head. The child performs a sweeping, wiping motion, as a surge of relief has been free from the pursuit of sharks. Likewise, a girl emerges next from a different hole with a crab concerning her shoulder. Doing the same movement with the boy, the look of relief appeared on the boy's face. During the scene, lyric sounds:

“Safe at last, doo…doo…doo…doo…doo…doo.

Safe at last, doo…doo…doo…doo…doo…doo.

Safe at last, doo…doo…doo…doo…doo…doo.

Safe at last!” (T8)

In the last scene (S13), the two children emerge from the hole together. The movements they make are also the same, that is, one hand above the head, and the other hand waving a sign of separation. The position of the right- and left-hand changes alternately. At the end of the scene, the kids show two palms together on the head with the body squatted. It is the sign of video over. Behind the scenes of the two children, the family of the shark and the PinkFong fox appear sequentially, starting from the baby, fox, mommy, daddy, grandma, and grandpa. In addition to the Pinkfong fox, all of the sharks carry forks and wear napkins, like people who will eat. They seemed to smile happily accompanied by the lyrics:

“It’s the end, doo…doo…doo…doo…doo…doo.

It’s the end, doo…doo…doo…doo…doo…doo.

It’s the end, doo…doo…doo…doo…doo…doo.

It’s the end!” (T9)

Based on the description and lyrics of the song Baby Shark, the inference can be made through comparison with the theories of Educational philosophy and language. The results of the inference, in brief, can be seen in chart 1.

Chart 1. Inferential of Language Education Philosophical Foundation

From chart 1, it is clear that analytic is the philosophical foundation of Baby Shark lyrics and video. Besides, reconstructionism is also found in the lyrics and video of baby shark. It shows that the composer really considers the language and educational philosophy in designing this song as media of learning English. To make it clearer, the evidence of each philosophical foundation is presented in table 2.

Table 2. Inferential of Language Education Philosophical Foundation

Philosophical Foundation	Inferential Result	Examples from the Data
Perennialism	-	-
Essentialism	-	-
Progressivism	-	-
Reconstructionism	The song is about the representation of child-centered value in South Korea setting. There is a shift in fertility beliefs that makes South Korean Families decide to be childless. Having one child is more than enough; he/she does not need to have a sister/brother.	Scene 5 (S5): a boy with a red and white float on his waist and a shark hat on his head. The child moves his right hand by bringing his thumb and index finger together. The movement is an indication of the small teeth of a yellow baby shark swimming to the left and right of the screen. While doing the movement, there was a song with a child's voice tone: “Baby shark, doo…doo…doo…doo…doo…doo. Baby shark, doo…doo…doo…doo…doo…doo. Baby shark, doo…doo…doo…doo…doo…doo. Baby shark!” (T1)
	Korea is a patrilineal country where the father is the economic provider by working hard	In scene 7 (S7), screen switching is marked by the swimming of a blue male shark with very sharp fangs from the left to right hand of the screen. The boy reappeared, but with a more ferocious expression. That expression represents the nature of the adult male shark, who is a real hunter. The hand movements shown in this scene are also different; that is, by using all hands and arms to represent the size of the mouth of an adult male shark when eating its prey. Even on the back screen, the blue daddy shark swims from right to left of the screen. The voice that was heard was the voice of an adult male singing: “Daddy shark, doo…doo…doo…doo…doo…doo. Daddy shark, doo…doo…doo…doo…doo…doo. Daddy shark, doo…doo…doo…doo…doo…doo. Daddy shark!” (T3)
	South Korea is a Confucian where family becomes the most priority. The secure connection of parents-children continues after children marry and still support their elderly parents.	In scene 8 (S8), the introduction of the family shark continues on grandma. The change of screen to purple is marked by swimming with a peach-colored shark with pinkfong wolves from right to left. Girls appear with facial expressions like grandmas who have lost many teeth. The movements of his hands are slick with the movements in scene 6. The fingers are hidden to give the impression of being blunt or without teeth. With the Movement, the representation of a grandmother's figure is clearly visible. The presence of a peach-colored shark with glasses swimming from left to right adds to the definite figure of the grandmother of the shark. A voice like an older adult who sounded trembling singing lyrics: “Grandma shark, doo…doo…doo…doo…doo…doo. Grandma shark, doo…doo…doo…doo…doo…doo. Grandma shark, doo…doo…doo…doo…doo…doo. Grandma shark!” (T4)
	As a family-oriented country, the management of the corporation is done among family members. They work together to build the company.	The next scene (S10), with a green background, shows the two children with both hands moving over their heads. The expression on the face of the child is sweet, but the boy's expression looks fierce. The movement represents the sharks that swim looking for prey with fierce while singing: “Let’s go hunt, doo…doo…doo…doo…doo…doo. Let’s go hunt, doo…doo…doo…doo…doo…doo. Let’s go hunt, doo…doo…doo…doo…doo…doo. Let’s go hunt!” (T6)
Existentialism	-	-
Postmodernism	-	-
Critical pedagogy	-	-
Structuralism	-	-
Analytic	Meaning can be gained through the process of interpretative. The signs do not exist without another sign acting	Lyrics “Safe at last, doo…doo…doo…doo…doo…doo. Safe at last, doo…doo…doo…doo…doo…doo. Safe at last, doo…doo…doo…doo…doo…doo. Safe at last!” (T8) will have no exact meaning The scene in scene 12 (S12) where a boy comes out of a rock with big holes. Seaweed appeared on his head. The child performs a sweeping, wiping motion, as a surge of relief has been free from the pursuit of sharks. Likewise, a girl emerges next from a different hole with a crab concerning her shoulder. Doing the same movement with the boy, the look of relief appeared on the boy's face.
Pragmatism	-	-

V.     Discussion

Based on the description of the content and inference in the lyrics and videos of Baby Shark, it can be concluded that the song was made based on the analytical reconstructionism philosophy. Through this song, children can interpret the meaning of baby (T1), mommy (T2), daddy (T3), grandma (T4), and grandpa (T5) by looking at all the signs in the video (S5, S6, S7, S8, and S9). In order to prove the true meaning, formulating the logical thought the language should be conducted. As stated by Grice (1989) and Davidson (1984), language and thought are interdependent. A meaningful proposition can only represent the reality if it has a logical structure and can be verified empirically. Here, the song succeeded in making students understand new vocabulary (Shipley, 1998; Cameron, 2001; Fisher & MacDonald, 2001; Ernoz, 2007; Romero, 2017; Coyle& Gracia, 2014; Chou, 2014; Davis & Fan, 2016; Aquil, 2012; Kerekes, 2015; Kusnierek, 2016; Javadi-Safa, 2018)

Besides, after examining nine themes and 13 scenes in baby shark by PinkFong lyrics and videos, global issues, such as culture (Cheung, 2001; Plagwitz, 2006; Ajibade Ndubaba, 2008; Jolly, 1975; Saricoban & Metin, 200; Orlova, 2003; Pennycook, 2003; Pennycook, 2007; Arevalo, 2010) and economic problems are represented. Shark is a wild animal with excellent hunting ability (S4, S10, S11). Thus, the shark is a representation of Korean people who have high enthusiasm and commitment to working to achieve financial security. It is in line with the findings of Arif & Triyono (2017), which states that Baby Shark is a song that depicts a culture of hard work of Korean people.

More specifically, the song describes the issue of Korean Confucian culture that is very family-oriented (Lee & Lee, 2014; Lee, 2008; Park, 2014; Jin, 2015; Lee, 1999; Chung, 2015; Choi, Kim, Drankus, & Kim, 2013; Kim, 1993). In the song, Baby is mentioned earlier than other family members (T1, S5). It seems that in a family in Korea, a child is a hope that becomes a priority (Yang & Rosenblatt, 2008). However, the Baby Shark song does not appear to be mentioned sister and brother, as found in other family songs (for example, Finger Family). It is a depiction of Korean beliefs that began to shift in the view of fertility. As economic needs are increasing (DiPrete et al., 2003; Yang, 2004), Korean couples prefer childless (Lee & Lee, 2014; Ciiang, 1993; Yang & Rosenblatt, 2008; Hu & Scoot, 2014). For them, if they cannot provide the best for their children, they prefer not to have children.

Korean women have a central role in taking care of children and households so that their position is closer to children (Eun, 2004; Jin, 2015). Several studies have found that the closeness of mother-child relationships is related to children's academic abilities (Chao, 2001; Kalhotra, 2013) and socio-emotional functioning (Kim & Choi, 2010; Choi, 2005; Park & ​​Lee, 2005; Lee & Choi, 2003). Mommy is mention (T2) before Daddy (T3) shows that in the family, the role of the mother is vital. The figure of women in Korean society is also described as very feminine in the song. It is evident from the appearance and impressive movement of a woman's elegance (S6), whereas the father figure becomes central (Lee, 2008) and the pillar in the financial sector (Eun, 2004; Chao, 2011). For that reason, a father is a formidable and authoritative figure (S7).

The presence of grandparents in the song also shows Korean culture that is still responsible for the elderly (T4, S8 & T5, S9). The parents-children relationship is stable and continues until their children grow up and get married (Yang & Rosenblatt, 2008; Yl, 1993). Therefore, the burden on the family is enormous to be fulfilled. So, hard work is increasingly becoming a necessity.

Another social issue is related to how business in Korea is the result of business cooperation between family members. Most companies in Korea are family-owned companies. Of course, with the Confucian principle, family support, even in company management, is crucial (Lee & Lee, 2014). The culture is reflected in the song as they hunt together, "Let's go hunt" (T6, S10).

This research is certainly limited in its aims and methods. To better understand the meaning in the lyrics and videos of this song, semiotic and critical discourse analysis can be conducted. Another approach based on the philosophy of postmodernism can also be considered to see other meanings that may be contained in the song.

VI.       Conclusion

Lyrics and video of Baby Shark on the PinkFong YouTube channel are one of the learning media for English throughout the world. As a learning medium, the song certainly has a philosophical foundation. Language education can make the proper use of the practice. Based on the results of the inference, it was found that the philosophical foundation of language education, which became the guideline, is analytic reconstructionism. It is proven through the interpretation by linking the lyrics with other signs that appeared on the video. Besides, the social and cultural issues of the area also became the basis for its production. Social issues raised, such as child-centered values, childless ideology, patrilineal, and family-oriented.

VII.   Pedagogical Implication

Knowing these results, using this song as a learning medium needs wiser consideration. In contexts other than Korea, teacher needs to supplement the vocabulary learning through this song with explanation on the multicultural issue. It is still a fun yet meaningful media for teaching English for young learners. Teachers also can use the signs in the video to train their analytical ability by scaffolding them with several questions.

References

Ajibade, Y., & Ndububa, K. (2008). Effects of word games, culturally relevant songs, and stories on students’ motivation in a Nigerian English language class. TESL Canada Journal, 25(2), 27-48.

Aquil, R. (2012). Revisiting songs in language pedagogy. Journal of the National Council of Less Commonly Taught Languages, 11, 75-95.

Arevalo, E.A.R. (2010). The use of songs as a tool to work on listening and culture in EFL classes. Cuadernos de Lingüística Hispánica, 15, 122-138

Arif, M. & Triyono, S. (2017). What lies beneath baby shark song?: A critical analysis on Korean society. Parole: Journal of Linguistics and Education, 7 (1), 44-52. doi: http://dx.doi.org/10.14710/parole.v7i1.17047 

Bim-Bada, B.M. & Egorova, L.I. (2016). Interaction between philosophy of education and teaching practice. International Journal of Environment & Science Education,  11(10), 3385-3393

Blackburn, S. (eds.). (1997). The Oxford Dictionary of Philosophy. OUP.

Bokiev, D., Bokiev, U., Aralas, D., Ismail, L., & Othman, M. (2018). Utilizing music and songs to promote student engagement in ESL classrooms. International Journal of Academic Research in Business and Social Sciences, 8(12), 314–332

Brown, R. & Brown, N. (1997). Use songs to teach. Reading & Writing Quarterly: Overcoming Learning Difficulties, 13(4), 349-354, Doi:10.1080/1057356970130405

Cameron, D. (2001). Working with spoken discourse. London United Kingdom, UK, Sage Publications.

Chao, B. C. (2011). Examining the interactions among family dynamics, acculturation, spiritual well-being, and Asian American culture. Ph.D in UMI.

Chao, R. K. (2001). Extending research on the consequences of parenting style for Chinese Americans and European Americans. Child Development, 72, 1832-184.

Cheung, C. K. (2001). The use of popular culture as a stimulus to motivate secondary students’ English learning in Hong Kong. ELT Journal, 55(1), 55-61. http://dx.doi.org/10.1093/elt/55.1.55

Choi, I. J. (2005). The Influence of cultural uniqueness of parent-children relationship on adolescent’s mental health: Parent-adolescent affective bonding (Bu-Ja-Yu-Chin-Sung-Cheong). The Korean Journal of Counselling and Psychotherapy, 17, 1059-1076.

Choi, Y., Kim, Y.S., Drankus, D., & Kim. H.J. (2013). Preservation and modification of culture in family socialization: Development of parenting measures for Korean immigrant families. Asian Am J Psychol, 4(2), 143–154. doi:10.1037/a0028772.

Chou, M. H. (2014). Assessing English vocabulary and enhancing young English as a Foreign Language (EFL) learners’ motivation through games, songs, and stories. Education, 42(3), 284-297. doi10.1080/07908318.2015.1027216

Chung, E.Y.J. (2015). Korean Confucianism tradition and modernity. Korea: The Academy of Korean Studies Press

Ciiang, H.S. (1993). Modernisation and changing family structure in Korea. Ph.D Dissertation in University of Sheffield.

Cook, G. (1997). Language learning, language play. ELT Journal, 51(3), 224-231. http://dx.doi.org/10.1093/elt/51.3.224

Coyle, Y., & Gracia, R. G. (2014). Using songs to enhance L2 vocabulary acquisition in preschool children. ELT Journal, 68(3), 276-285.

Dabbagh, A. & Noshadi, M. (2016). Philosophy-based language teaching approach on the horizon: A revolutionary pathway to put applied ELT into practice. Journal of Language Teaching and Research, 7(5), 1022-1028. Doi: http://dx.doi.org/10.17507/jltr.0705.25

Davis, G. M., & Fan, W. (2016). English vocabulary acquisition through songs in Chinese kindergarten students. Chinese Journal of Applied Linguistics, 39(1), 59-71.

Dewey, J. (1916). Democracy and education. New York: Macmillan.

DiPrete, T. A., Morgan, S. P., Engelhardt, H., & Pacalova, H. (2003). Do cross-national differences in the costs of children generate cross-national differences in fertility rates? Population Research and Policy Review, 22, 439-477.

El-Falaky, M.S. (2015). The representation of women in street songs: A critical discourse analysis of Egyptian Mahraganat. Advances in Language and Literary Studies, 6(5), 1-8. http://dx.doi.org/10.7575/aiac.alls.v.6n.5p.1

Ellis, A. K., Cogan, J. J., & Howey, K. R. (1991). Introduction to the foundations of education (3rd ed.). New Jersey: Prentice Hall.

Engh, D. (2013). Why use music in English language learning? A survey of the literature. English Language Teaching, 6(2), 113-127

Ersöz, A. (2007). Teaching English to young learners. Ankara Turkey, TR: EDM Publishing.

Eun, K.S. (2004). Korean family values: A comparative study of five countries. Journal of Korean Studies. 1-22

Fisher, D., McDonald, N., & Strickland, J. (2001). Early literacy development: A sound practice. General Music Today, 14(3), 15.

Giroux, H. A., & McLaren, P. L. (1989). Schooling, cultural politics, and the struggle for democracy. In H. A. Giroux & P. L. McLaren (Eds.), Critical pedagogy, the state, and cultural struggle. New York: State University of New York.

Goodlad, J.I. (1979). Curriculum inquiry. New York: McGraw-Hill.

Gravenall, B. (1945). Music in language-teaching. ELT Journal, 3(5), 123-127. http://dx.doi.org/10.1093/elt/III.5.123

Gutek, G. L. (2004). Philosophical and ideological voices in education. Boston: Allyn and Bacon.

Hallam, S. (2010). The power of music: its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education. 1-32. Doi: 10.1177/0255761410370658

Hopkins,L .T. (1941). Interaction: The democratic process. Boston: D.C. Heath.

Hu, Y. & Scott, J. (2014). Family and gender values in China: Generational, geographic, and gender differences. Journal of Family Issues, 1–27. Doi: 10.1177/0192513X14528710

Javadi-Safa, A. (2018). Effects of using songs on adult EFL learners’ vocabulary learning. Journal of Applied Linguistics and Language Research Volume, 5(3), 101-112.

Jin, B. (2015). Family cohesion and child functioning among South Korean immigrants in the US: The mediating role of Korean parent-child closeness and the moderating role of acculturation. Ph.D Dissertation in Syracuse University

Jolly, Y. (1975). The use of songs in teaching foreign languages. The Modern Language Journal, 59(1,2), 11-14. http://dx.doi.org/10.2307/325440

Kalhotra, S. K. (2013). Parent child relationship among high and low achieving high school students. Asia Pacific Journal of Multidisciplinary Research, 1, 208-215.

Kerekes, E. (2015). Using songs and lyrics in out-of-class learning. In D. Nunan & J. Richards (Eds.), Language learning beyond the classroom. New York: Routledge, 33-42.

Kim, K.O. (1993). What is behind "Face-Saving" in cross-cultural communication?. Intercultural Communication Studies, III(1), 39-47

Kim, Y. & Choi, K. (2010). The relationships among the father-daughter affective bonding, parenting attitude, and parenting efficacy in mother. 생활과학, 13, 83-91.

King, R. (2010). Music and storytelling in the EFL classroom. Humanising Language Teaching, 12(2). Retrieved from http://www.hltmag.co.uk/apr10/sart05.htm

Kuśnierek, A. (2016). The role of music and songs in teaching English vocabulary to students. World Scientific News, 43(1), 1-55

Kusumah, W. A. (2016). Ideology construction and its signification a socio-cognitive analysis of Bob Marley’s selected lyrics. Thesis in Universitas Pendidikan Indonesia.

Lee. C.Y. (2012). Korean culture and its influence on business practice in South Korea. The Journal of International Management Studies, 7(2), 184-191

Lee, C.Y. & Lee, J.Y. (2014). South Korean corporate culture and its lessons for building corporate culture in China. The Journal of International Management Studies, 9(2), 33-42

Lee, H.Y. (2008). A comparative study of Korean, Chinese, and Japanese traditional family and contemporary business organizations. EAI Working Paper Series 14, East Asia Institute, 1-32

Lee, J. & Choi, S. C. (2003). The construction and validation of parent-adolescent affective bonding scale. Korean Journal of Social and Personality Psychology, 17, 87-104.

Lee, Z.N. (1999). Korean culture and sense of shame. Transcultural Psychiatry, 36(2). 181–194

Lems, K. (2018). New ideas for teaching English using songs and music. English Teaching Forum 2018, 14-21.

Lo, R. S. M., & Li, H. C. F. (1998). Songs enhance learner involvement: Materials development. In Forum, 36(3), 1-3. doi: 10.1088/1748-6041/10/3/035010.

Moghaddas, B. & Dekhnich, O. V. (2015). The philosophy of structuralism in language and linguistics. Issues in Theoretical and Applied Linguistics Series, 4(6), 24-29. Doi: 10.18413/2313-8971-2015-1-4-24-29

Ogwora, E.T., Kuria, G., Nyamwaka, E., Nyakan, B. (2013). Philosophy as a key instrument in establishing curriculum, educational policy, objectives, goals of education, vision and mission of education. Journal of Education and Practice, 4(11), 95-102.

Orlova, N. (2003). Helping prospective EFL teachers learn how to use songs in teaching conversation classes. The Internet TESL Journal, IX(3). Retrieved from http://iteslj.org/Techniques/Orlova-Songs.html

Ornstein. A.C. (1991). Philosophy as a basis for curriculum decisions. The High School Journal. 74(2), 102-109.

Ornstein, A. C., & Levine, D. U. (2003). Foundations of education (8th ed.). Boston: Houghton-Mifflin.

Ozmon, H. A., & Craver, S. M. (2003). Philosophical foundations of education (7th ed.). New Jersey: Merrill Prentice Hall.

Park, E. (2014). Korean culture and transformation of national identity. A Master Thesis in University in Oslo.

Park, S. Y., & Lee, J. Y. (2005). The relationships among the parent-child affective bonding, self-differentiation, and interpersonal relationship. 아동학회지, 26, 189-200.

Pennycook, A. (2003). Global Englishes, rip slyme, and performativity. Journal of Sociolinguistics, 7(4), 513-533. http://dx.doi.org/10.1111/j.1467-9841.2003.00240.x

Pennycook, A. (2007). Global Englishes and transcultural flows. New York: Routledge.

Photikanit, K. & Sirasoonthorn, P. (2018). Reconstruction of social ideology through the power of music: Case study of Suntaraporn band, Thailand. Kasetsart Journal of Social Sciences, 39, 343-350

Plagwitz, T. (2006). Karaoke in the digital audio lab. Proceedings of the Digital Stream Conference 2006 at California State University, Monterey Bay.

Renani, G. A., Afghari, A., & Hadian, B. (2019). Effect of awareness of teacher education philosophy on EFL teachers’ professional knowledge: A post-method perspectivization. International Journal of Instruction, 12(2), 435-454. https://doi.org/10.29333/iji.2019.12228a

Romero, P.X. (2017). Teaching and learning English through songs: A literature review. MSU Working Papers in SLS, 8, 40-45

Saricoban, A., & Metin, E. (2000). Songs, verse and games for teaching grammar. The Internet TESL Journal, VI(10). Retrieved 20.12.2012 from http://iteslj.org/Techniques/Saricoban-Songs.html

Schoepp, K. (2001). Reasons for using songs in the ESL/EFL classroom. TESOL Journal, V11(2). Retrieved from http://iteslj.org/Articles/Schoepp-Songs.html

Shen, C. (2009). Using English songs: an enjoyable and effective approach to ELT. English language teaching, Vol. 2 No 1 pp 88-94

Shipley, D. (1998). Empowering children. Toronto, Canada: International Thomson Publishing.

Smith, B.O., Stanley, W.O., and Shores, J.H. (1957). Fundamentals of curriculum development. New York: World book.

Stansell, J. W. (2005). The use of Music for Learning Languages: A Review of the Literature. University of Illinois at Urbana-Champaign.

Suriyatham, V. (2019). Exploring what EFL learners learned through English songs: A case study in a Thai University. Asian EFL Journal, 23(3.3), 230-252.

Tan, C. (2006). Philosophical perspectives on education. In Tan, C., Wong, B., Chua, J.S.M. & Kang, T. (Eds.), Critical Perspectives on Education: An Introduction. Singapore: Prentice Hall, 21-40.

Tomlinson, G. (1995). Ideologies of Aztec song. Journal of the American Musicological Society, 48(3), 343-379

Veugelers, W. (2011). Introduction: linking autonomy and humanity. In Wiel Veugelers (eds), Education and Humanism Linking Autonomy and Humanity, Netherlands: Sense Publishers, 1-8.

Vygotsky, L. (1978). Mind in society: The development of higher psychological processes. Cambridge: Harvard University Press.

White, L. M. (2015). Impact of children's literature on family structures and children's perceptions of family. Education Masters, Paper 320.

Widyasari, F.E. (2016). Musical intelligence based instructions to teach English to young learners. Asian EFL Journal, 2, 163-177.

Wyse, D., Hayward, L., Higgins, S. & Livingston, K. (2017). Language and education. The Curriculum Journal, 28(4), 443-445. Doi:10.1080/09585176.2017.1378463

Yang, S. (2004). Moon-hwa-gie-sool-juck eui-sa-gyoul-jung mo-del-ei ta-reun dae-hak-sang-deuleui moo-ja-nyou-ga-jock-ei gwan-han in-sick youn-goo [College students’ views on childless families based on an ethnographic decision model]. Journal of Korean Home Management Association, 22(5), 149-159.

Yang, S. & Rosenblatt, P.C. (2008). Confucian family values and childless couples in South Korea. Journal of Family Issues, 29(5), 571-591. Doi: 10.1177/0192513X07309462

Yew, K. (2020). Towards an Educational Philosophy for the Twenty-first Century Classroom. Philosophical Reflections for Educators. Retrieved March 04, 2020 from Encyclopedia.com: https://www.encyclopedia.com/education/applied-and-social-sciences-magazines/towards-educational-philosophy-twenty-first-century-classroom

Young, M. 2013. Curriculum theory: What it is and why it is important. Cadernos de Pesquisa, 191- 201

Yl, S.H. (1993). Transformation of child socialization in Korean culture. Early Child Development and Care, 85(1), 17-24. Doi: 10.1080/0300443930850103

Complete publication can be downloaded in https://www.asian-efl-journal.com/monthly-journals/2020-monthly-journals/volume-27-issue-1-2020/