DOCSLIB.ORG

Performing Islam Through Contemporary Indonesian Popular Music, 2002-2007

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performing Islam Through Contemporary Indonesian Popular Music, 2002-2007 PERFORMING ISLAM THROUGH INDONESIAN POPULAR MUSIC, 2002-2007 by Dorcinda Celiena Knauth BA, Lebanon Valley College, 2002 MA, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of University of Pittsburgh in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH School of Arts and Sciences This dissertation was presented by Dorcinda Celiena Knauth It was defended on October 16, 2009 and approved by Akin Euba, PhD, Professor of Music Anne K. Rasmussen, PhD, Professor of Music, College of William and Mary Bell Yung, PhD, Professor of Music Dissertation Director: Deane L. Root, PhD, Professor of Music ii PERFORMING ISLAM THROUGH CONTEMPORARY INDONESIAN POPULAR MUSIC, 2002-2007 Dorcinda Celiena Knauth, PhD University of Pittsburgh, 2010 A growing body of scholarship examines the diverse and new ways that popular music is used as a vehicle for Islamic discourse in contemporary Indonesian society. This dissertation compares three modern leaders who place their music within their own ideological context through non- musical discourse. K.H. Abdullah Gymnastiar (Aa Gym) is a preacher in Bandung whose music attempts to bring together Arabic traditions and optimistic practical advice; his piece “Jagalah Hati” shares in the theology of the Islamic philosopher Abu Hamid al-Ghazali and represents the “Managemen Qolbu” philosophies of his pesantren Daarut Tauhiid, a center for the nasyid musical style. Ahmad Dhani is a rock musician of the Jakarta band Dewa 19, who refashioned himself as a spiritual leader in order to oppose radical Islam through Islamic rock music; his songs “Satu” and “Laskar Cinta” clearly reference the philosophies of the Indonesian Sufi saint Syekh Siti Jenar. Emha Ainun Nadjib (Cak Nun) is a writer in Yogyakarta who uses a modern revamping of traditional Javanese music in eclectic and philosophical community gatherings with his gamelan ensemble Kiai Kanjeng; their pieces “Gundul Pacul” and “Ilir-Ilir,” examples of Islamic fusion, are analyzed with reference to Cak Nun’s prose writings “Menyorong Rembulan dan Matahari Berkabut” and “Gundul Pacul, ‘Fooling Around,’ Cengengesan.” This dissertation also describes the work of other Islamic musicians in Indonesia, including Snada, Bimbo, Edcoustic, Ungu, Letto, Gigi, MQ Voice, and The New MQ Voice. The three spiritual leaders use their music to fuel an Islamic revival in Indonesia that can be called Sufi. Their definitions of Sufism vary, but all are attempting to spur a discussion of Islam that is meaningful for Indonesians. By perrforming Islamic music, musicians teach their listeners about their own understandings of the religion and in effect are “performing Islam .” This dissertation explores the musicians’ theosophic associations, their ideas of how their music can be conceived of as both local and universal, and their roles as civic leaders. iii Copyright © by Dorcinda Celiena Knauth 2010 iv TABLE OF CONTENTS PREFACE.................................................................................................................................. XII 1.0 INTRODUCTION........................................................................................................ 1 1.1 BACKGROUND AND CONCEPTS................................................................ 10 1.1.1 Islamic Revival amidst Indonesia’s Diversity........................................... 10 1.1.2 Islamic Popular Music in Indonesia.......................................................... 16 1.1.2.1 Sound in Islam..................................................................................... 16 1.1.2.2 The Sounds of Islam in Indonesia ..................................................... 19 1.2 THESIS AND SIGNIFICANCE OF RESEARCH......................................... 29 1.3 METHODOLOGY AND THE FIELD SITE.................................................. 31 1.4 CHAPTER OUTLINE ...................................................................................... 36 2.0 NASYID MUSIC AND AA GYM............................................................................. 40 2.1 NASYID DEFINED........................................................................................... 44 2.2 K.H. ABDULLAH GYMNASTIAR AND THE PESANTREN DAARUT TAUHIID............................................................................................................................. 50 2.3 AA GYM’S LEADERSHIP POSITION IN INDONESIAN NASYID ......... 55 2.4 AN EXEGESIS OF “JAGALAH HATI” THROUGH THE WRITINGS OF AL-GHAZALI .................................................................................................................... 62 2.5 COMPARING VERSIONS OF THE SONG “JAGALAH HATI” .............. 67 v 2.5.1 “Jagalah Hati” performed by Aa Gym and MQ Voice........................... 68 2.5.2 “Jagalah Hati” performed by Snada......................................................... 73 2.5.3 “Jagalah Hati” by New MQ Voice ............................................................ 78 2.6 “JAGALAH HATI” AS CONTEMPORARY FOLK SONG........................ 86 2.7 CONCLUSION .................................................................................................. 88 3.0 ISLAMIC ROCK, AHMAD DHANI AND DEWA 19 ........................................... 91 3.1 DHANI’S SECULAR MUSIC CAREER ........................................................ 93 3.2 DHANI’S SPIRITUAL AWAKENING........................................................... 96 3.3 DEFINING GENRES: ISLAMIC ROCK...................................................... 99 3.4 EARLY RELIGIOUS ENDEAVORS............................................................ 105 3.5 SPIRITUAL CHALLENGE........................................................................... 112 3.6 EXPRESSING ONENESS: THE ALBUM LASKAR CINTA...................... 118 3.7 CRITICISM AND RESPONSE...................................................................... 127 3.8 CONCLUSION ................................................................................................ 144 4.0. ISLAMIC FUSION, CAK NUN AND KIAI KANJENG ..................................... 148 4.1 CAK NUN AND ISLAM IN JAVA................................................................ 152 4.2 KIAI KANJENG AND THE PLACE OF MUSIC WITHIN THE RHETORIC OF CAK NUN ............................................................................................ 157 4.3 INTERPRETING THE UN-INTERPRETABLE......................................... 164 4.4 MUSICAL EXEGESIS ................................................................................... 169 4.5 CONCLUSION ................................................................................................ 182 5.0 CONCLUSION......................................................................................................... 186 5.1 ISLAMIC POPULAR MUSIC AS “UNIVERSAL” .................................... 194 vi 5.2 CRAFTING THEOSOPHICAL ASSOCIATIONS ..................................... 200 5.3 THE ARTIST AS TEACHER AND CIVIC LEADER................................ 205 5.4 ISLAMIC POPULAR MUSIC AND CIVIC FUNCTION .......................... 210 5.5 SUGGESTIONS FOR FURTHER RESEARCH ......................................... 213 APPENDIX A............................................................................................................................ 215 CAK NUN’S “MENYORONG REMBULAN DAN MATAHARI BERKABUT”..... 215 A.1 Author’s Note ......................................................................................... 215 A.2 The original writing in Bahasa Indonesia............................................ 216 A.3 English Translation................................................................................ 227 APPENDIX B ............................................................................................................................ 238 CAK NUN’S “GUNDUL PACUL, ‘FOOLING AROUND’, CENGENGESAN”...... 238 B.1 Author’s Note ......................................................................................... 238 B.2 The original writing in Bahasa Indonesia............................................ 239 B.3 English Translation................................................................................ 245 BIBLIOGRAPHY..................................................................................................................... 252 vii LIST OF TABLES Table 1. Form of "Jagalah Hati," as performed by Snada............................................................ 74 Table 2. Form of "Jagalah Hati," as performed by New MQ Voice............................................ 78 Table 3. Form of “Ilir-Ilir," performed by Kiai Kanjeng........................................................... 170 viii LIST OF FIGURES Figure 1. Children receiving gifts before concert, Jakarta 2005.................................................... 4 Figure 2. Nasyid performance, Jakarta 2005 ................................................................................. 5 Figure 3. Opick, Jakarta 2005........................................................................................................ 6 Figure 4. Map of Indonesia, indicating areas where fieldwork was conducted........................... 33 Figure 5. Aa Gym ......................................................................................................................... 42 Figure 6. Aa Gym with his two wives, Rini and Ninih, during their first public photo opportunity in June,
Load more

Recommended publications
  • Conserving the Past, Mobilizing the Indonesian Future Archaeological Sites, Regime Change and Heritage Politics in Indonesia in the 1950S
    Bijdragen tot de Taal-, Land- en Volkenkunde Vol. 167, no. 4 (2011), pp. 405-436 URL: http://www.kitlv-journals.nl/index.php/btlv URN:NBN:NL:UI:10-1-101399 Copyright: content is licensed under a Creative Commons Attribution 3.0 License ISSN: 0006-2294 MARIEKE BLOEMBERGEN AND MARTIJN EICKHOFF Conserving the past, mobilizing the Indonesian future Archaeological sites, regime change and heritage politics in Indonesia in the 1950s Sites were not my problem1 On 20 December 1953, during a festive ceremony with more than a thousand spectators, and with hundreds of children waving their red and white flags, President Soekarno officially inaugurated the temple of Śiwa, the largest tem- ple of the immense Loro Jonggrang complex at Prambanan, near Yogyakarta. This ninth-century Hindu temple complex, which since 1991 has been listed as a world heritage site, was a professional archaeological reconstruction. The method employed for the reconstruction was anastylosis,2 however, when it came to the roof top, a bit of fantasy was also employed. For a long time the site had been not much more than a pile of stones. But now, to a new 1 The historian Sunario, a former Indonesian ambassador to England, in an interview with Jacques Leclerc on 23-10-1974, quoted in Leclerc 2000:43. 2 Anastylosis, first developed in Greece, proceeds on the principle that reconstruction is only possible with the use of original elements, which by three-dimensional deduction on the site have to be replaced in their original position. The Dutch East Indies’ Archaeological Service – which never employed the term – developed this method in an Asian setting by trial and error (for the first time systematically at Candi Panataran in 1917-1918).
    [Show full text]
  • Pop Melayu Vs. Pop Indonesia: New Interpretations of a Genre Into the 2000S
    CHAPTER SIX POP MELAYU VS. POP INDONESIA: NEW INTERPRETATIONS OF A GENRE INTO THE 2000S Emma Baulch Introduction This chapter presents the rise to national fame of the pop Melayu band, Kangen Band, as an example of reclaiming of the derisive term kampun- gan. In it, I argue that this reclaiming represents an interesting case of genre manipulation, and consider what this can reveal about how Indonesian pop genres are constituted, what they ‘are’ and what they ‘do’. In so doing, I seek to rework existing scholarship relating to Indonesian pop genres and modernity, as well as interrogate some broader theories of genre. In this essay, I extend the argument that Indonesian pop genres are not purely technical categories, they touch on myths of class and nation (Wallach 2008; Weintraub 2010; Yampolsky 1989). As we shall see, in the New Order period, pop music genres reached out to these myths by posi- tioning themselves variously vis-à-vis the capital city, Jakarta. Such posi- tioning, achieved through use of the terms gedongan (a term that strives to infer refinement by stressing the non-masses’ central position in the urban environment) and kampungan (a term that strives to enforce sub- alterns’ marginal position in relation to the metropolis, see also the previ- ous contribution by Weintraub), continues to haunt the constitution of genre in the post-New Order period, but in novel ways. These novel ways, I argue, may be seen to result from industrial transformation and new systems of knowledge production. The Contentious Rise of Pop Melayu In the middle years of this decade, a group of youths from the provincial city, Lampung, in Southern Sumatera gathered together and began busk- ing outside of their day jobs (as pushcart traders, construction workers), then staging more formal performances at music festivals in their home © Emma Baulch, 2014.
    [Show full text]
  • A Short History of Indonesia: the Unlikely Nation?
    History Indonesia PAGES 13/2/03 8:28 AM Page i A SHORT HISTORY OF INDONESIA History Indonesia PAGES 13/2/03 8:28 AM Page ii Short History of Asia Series Series Editor: Milton Osborne Milton Osborne has had an association with the Asian region for over 40 years as an academic, public servant and independent writer. He is the author of eight books on Asian topics, including Southeast Asia: An Introductory History, first published in 1979 and now in its eighth edition, and, most recently, The Mekong: Turbulent Past, Uncertain Future, published in 2000. History Indonesia PAGES 13/2/03 8:28 AM Page iii A SHORT HISTORY OF INDONESIA THE UNLIKELY NATION? Colin Brown History Indonesia PAGES 13/2/03 8:28 AM Page iv First published in 2003 Copyright © Colin Brown 2003 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the publisher. The Australian Copyright Act 1968 (the Act) allows a maximum of one chapter or 10 per cent of this book, whichever is the greater, to be photocopied by any educational institution for its educational purposes provided that the educational institution (or body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act. Allen & Unwin 83 Alexander Street Crows Nest NSW 2065 Australia Phone: (61 2) 8425 0100 Fax: (61 2) 9906 2218 Email: [email protected] Web: www.allenandunwin.com National Library of Australia Cataloguing-in-Publication entry: Brown, Colin, A short history of Indonesia : the unlikely nation? Bibliography.
    [Show full text]
  • Arabic Music. It Began Something Like This : "The Arabs Are Very
    ARAP.IC MUSIC \\y I. AURA WILLIAMS man's consideratinn of Ininian affairs, his chief cinestions are, IN^ "\Miat of the frture?" and "What of the past?" History helps him to answer lioth. Dissatisfied with history the searching mind asks again, "And Ijcfore that, what?" The records of the careful digging of archeologists reveal, that many of the customs and hahits of the ancients are not so different in their essence from ours of today. We know that in man's rise from complete savagery, in his first fumblings toward civilization there was an impulse toward beauty and toward an expression of it. We know too, that his earliest expression was to dance to his own instinctive rhythms. I ater he sang. Still later he made instruments to accompany his dancing and his singing. At first he made pictures of his dancing and his instruments. Later he wrote about the danc- ing and his instruments. Later he wrote about the dancing and sing- ing and the music. Men have uncovered many of his pictures and his writings. From the pictures we can see what the instruments were like. We can, perhaps, reconstruct them or similar ones and hear the (luality of sound which they supplied. But no deciphering of the writings has yet disclosed to rs what combinations or sequences of sounds were used, nor what accents marked his rhythms. While one man is digging in the earth to turn up what records he may find of man's life "before that," another is studying those races who today are living in similar primitive circumstances.
    [Show full text]
  • Rituals of Islamic Spirituality: a Study of Majlis Dhikr Groups
    Rituals of Islamic Spirituality A STUDY OF MAJLIS DHIKR GROUPS IN EAST JAVA Rituals of Islamic Spirituality A STUDY OF MAJLIS DHIKR GROUPS IN EAST JAVA Arif Zamhari THE AUSTRALIAN NATIONAL UNIVERSITY E P R E S S E P R E S S Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/islamic_citation.html National Library of Australia Cataloguing-in-Publication entry Author: Zamhari, Arif. Title: Rituals of Islamic spirituality: a study of Majlis Dhikr groups in East Java / Arif Zamhari. ISBN: 9781921666247 (pbk) 9781921666254 (pdf) Series: Islam in Southeast Asia. Notes: Includes bibliographical references. Subjects: Islam--Rituals. Islam Doctrines. Islamic sects--Indonesia--Jawa Timur. Sufism--Indonesia--Jawa Timur. Dewey Number: 297.359598 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU E Press Printed by Griffin Press This edition © 2010 ANU E Press Islam in Southeast Asia Series Theses at The Australian National University are assessed by external examiners and students are expected to take into account the advice of their examiners before they submit to the University Library the final versions of their theses. For this series, this final version of the thesis has been used as the basis for publication, taking into account other changesthat the author may have decided to undertake.
    [Show full text]
  • Glossary.Herbst.Bali.1928.Kebyar
    Bali 1928 – Volume I – Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu by Edward Herbst Glossary of Balinese Musical Terms Glossary angklung Four–tone gamelan most often associated with cremation rituals but also used for a wide range of ceremonies and to accompany dance. angsel Instrumental and dance phrasing break; climax, cadence. arja Dance opera dating from the turn of the 20th century and growing out of a combination of gambuh dance–drama and pupuh (sekar alit; tembang macapat) songs; accompanied by gamelan gaguntangan with suling ‘bamboo flute’, bamboo guntang in place of gong or kempur, and small kendang ‘drums’. babarongan Gamelan associated with barong dance–drama and Calonarang; close relative of palégongan. bapang Gong cycle or meter with 8 or 16 beats per gong (or kempur) phrased (G).P.t.P.G baris Martial dance performed by groups of men in ritual contexts; developed into a narrative dance–drama (baris melampahan) in the early 20th century and a solo tari lepas performed by boys or young men during the same period. barungan gdé Literally ‘large set of instruments’, but in fact referring to the expanded number of gangsa keys and réyong replacing trompong in gamelan gong kuna and kebyar. batél Cycle or meter with two ketukan beats (the most basic pulse) for each kempur or gong; the shortest of all phrase units. bilah Bronze, iron or bamboo key of a gamelan instrument. byar Root of ‘kebyar’; onomatopoetic term meaning krébék, both ‘thunderclap’ and ‘flash of lightning’ in Balinese, or kilat (Indonesian for ‘lightning’); also a sonority created by full gamelan sounding on the same scale tone (with secondary tones from the réyong); See p.
    [Show full text]
  • Fenomena Kesenian Karawitan Di Gancahan 8 Godean Sleman Yogyakarta
    FENOMENA KESENIAN KARAWITAN DI GANCAHAN 8 GODEAN SLEMAN YOGYAKARTA SKRIPSI Diajukan kepada Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta untuk Memenuhi Sebagian Persyaratan guna Memperoleh Gelar Sarjana Pendidikan oleh: Yunar Cahya Kurniawan 11208241015 JURUSAN PENDIDIKAN SENI MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA 2016 FENOMENA KESENIAN KARAWITAN DI GANCAHAN 8 GODEAN SLEMAN YOGYAKARTA SKRIPSI Diajukan kepada Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta untuk Memenuhi Sebagian Persyaratan guna Memperoleh Gelar Sarjana Pendidikan oleh: Yunar Cahya Kurniawan 11208241015 JURUSAN PENDIDIKAN SENI MUSIK FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI YOGYAKARTA 2016 i PERSETUJUAN Skripsi yang berjudul Fenomena Kesenian Karawitan di Gancahan 8 Godean Sleman Yogyakarta ini telah disetujui oleh pembimbing untuk diujikan. Yogyakarta, ……………….. Yogyakarta, ……………….. Pembimbing I Pembimbing II Dr. Ayu Niza Machfauzia, M.Pd Drs. Bambang Suharjana, M.Sn NIP: 19660130 199001 2 001 NIP: 19610906 198901 1 001 ii PENGESAHAN Skripsi yang berjudul berjudul Fenomena Kesenian Karawitan di Gancahan 8 Godean Sleman Yogyakarta ini telah dipertahankan di depan Dewan Penguji pada 11 Maret 2016 dan dinyatakan lulus. DEWAN PENGUJI Nama Jabatan Tanda Tangan Tanggal Drs. Sritanto, M.Pd Ketua Penguji ____________ ______ Drs. Bambang Suharjana, M.Sn Sekretaris Penguji ____________ ______ Drs. Kusnadi, M.Pd Penguji I ____________ ______ Dr. Ayu Niza Machfauzia, M.Pd Penguji II ____________ ______ Yogyakarta, April 2016 Fakultas Bahasa dan Seni Universitas Negeri Yogyakarta Dekan, Dr. Widyastuti Purbani, M.A NIP. 19610524 199001 2 001 iii PERNYATAAN Yang bertanda tangan di bawah ini, saya Nama : Yunar Cahya Kurniawan NIM : 11208241015 Program Studi : Pendidikan Seni Musik Fakultas : Bahasa dan Seni Universitas Negeri Yogyakarta menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri.
    [Show full text]
  • Pembatasan Dan Pengecualian Hak Cipta Musik Dan Lagu
    PEMBATASAN DAN PENGECUALIAN HAK CIPTA MUSIK DAN LAGU SKRIPSI Diajukan Untuk Memenuhi Sebagian Persyaratan Guna memperoleh Gelar Sarjana (Strata-1) pada Fakultas Hukum Universitas Islam Indonesia Yogyakarta Oleh ANSHAR AZIZ MACHMUDA No. Mahasiswa : 12410039 PROGRAM STUDI S1 ILMU HUKUM F A K U L T A S H U K U M UNIVERSITAS ISLAM INDONESIA YOGYAKARTA 2016 ii iii iv v HALAMAN MOTTO “ Jika seseorang tidak berusaha, padahal nasibnya telah mengharuskan berusaha, dia menyia-nyiakan telah nasibnya itu, dan akan ditinggalkan. Namun orang yang bertekad baja tidak pernah menyerah pada ujian, akan selalu melihat masalah dengan mata terbuka.” Dia adalah penembus zaman, yang selalu bergerak: jika ditutup satu pintu, dia akan menerobos pintu yang lain. (Tsabit Bin Zuhair yang bergelar “Taabbath Syarran”) vi HALAMAN PERSEMBAHAN Karya ini kupersembahkan kepada: Orangtuaku Tercinta H. Achmad Rizani & Hj. Refnita vii KATA PENGANTAR Puji syukur kehadirat Allah SWT, atas limpahan Rahmat dan Karunia-Nya, sehingga penulis dapat merampungkan skripsi dengan judul “PEMBATASAN DAN PENGECUALIAN HAK CIPTA MUSIK DAN LAGU”. Tujuan penulisan skripsi ini untuk memenuhi sebahagian syarat memperoleh gelar Sarjana Hukum (S.H) pada jurusan Ilmu Hukum Perdata, Fakultas Hukum Universitas Islam Indonesia. Terselesaikannya skripsi ini tidak terlepas dari bantuan banyak pihak, sehingga pada kesempatan ini dengan segala kerendahan hati dan penuh rasa hormat penulis menghaturkan terima kasih yang sebesar-besarnya bagi semua pihak yang telah memberikan bantuan moril maupun materil baik langsung maupun tidak langsung dalam penyusunan skripsi ini hingga selesai, terutama kepada yang saya hormati: 1. Dekan Fakultas Hukum Universitas Islam Indonesia atas kesempatan yang diberiken bagi penulis untuk menimba ilmu di Universitas tercinta ini.
    [Show full text]
  • Pesan Dakwah Persuasif Ustadz Abdullah Gymnastiar Di
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Digital Library of UIN Sunan Ampel PESAN DAKWAH PERSUASIF USTADZ ABDULLAH GYMNASTIAR DI KANAL YOUTUBE : KAJIAN AL-HIKAM TENTANG CARA TERBAIK MENYIKAPI PERSOALAN HIDUP SKRIPSI Diajukan kepada Universitas Islam Negeri Sunan Ampel Surabaya Guna Memenuhi Salah Satu Syarat Merengkuh Gelar Sarjana Sosial (S.Sos) Di Bidang Komunikasi dan Penyiaran Islam Toyiz Zaman NIM:B71214024 PROGRAM STUDI KOMUNIKASI DAN PENYIARAN ISLAM FAKULTAS DAKWAH DAN KOMUNIKASI UNIVERSITAS ISLAM NEGERI SUNAN AMPEL SURABAYA 2019 M/1440 H i ABSTRAK Toyiz Zaman : B71214024 | Pesan Dakwah Persuasif Ustadz Abdullah Gymnastiar Di Kanal Youtube : Kajian Al-Hikam Tentang Cara Terbaik Menyikapi Persoalan Hidup Kata Kunci : Pesan Dakwah, Persuasif, Menyikapi Persoalan Hidup Pada prinsipnya dakwah ialah mengajak ke jalan Tuhan dengan sifat dan sikap yang santun dan dengan cara yang hikmah. Apalagi konteksnya adalah pada masyarakat yang plural, pada titik inilah dakwah dituntut untuk menjadi cahaya atau pioner dalam mendeskontruksi budaya-budaya yang keras, urakan, dan menyimpang dari kebenaran. Oleh karenanya perlulah dakwah yang persuasif, memahami dan bukan mencaci, mengedepankan rasa dan psikologis mad’u, bukan kepentingan pribadi. Inilah yang diperankan Aa Gym dalam melaksanakan aktivitas dakwahnya secara persuasif. Dia menekankan pada aspek kajian hati dalam kebanyakan ceramahnya, bahasa yang ringan, serta komunikatif adalah bagian dari kelebihan beliau dalam berdakwah, sehingga berbagai kalangan pun dapat dengan mudah menyimak setiap kajiannya.Selain dakwah dari mimbar ke mimbar, dari pesanteren ke pesantren akun youtube Aa Gym Official juga menjadi partnernya dalam berdakwah. Berkaitan dengan pembahasan diatas rumusan daripada konteks permasalahan yang ingin digali adalah : Apa Pesan Dakwah Persuasif Ustadz Abdullah Gymnastiar Di Kanal Youtube Tentang Cara Terbaik Menyikapi Persoalan Hidup? Pada penlitian ini menggunakan metode penelitian deskriptif kualitatif dengan kajian analisis wacana model Teun A.
    [Show full text]
  • Adat As a Means of Unification and Its Contestation. the Case of North Halmahera
    Brigitta Hauser-Schäublin (dir.) Adat and Indigeneity in Indonesia Culture and Entitlements between Heteronomy and Self-Ascription Göttingen University Press Adat as a Means of Unification and its Contestation. The Case of North Halmahera Serena Müller Publisher: Göttingen University Press Place of publication: Göttingen University Press Year of publication: 2013 Published on OpenEdition Books: 12 April 2017 Serie: Göttingen Studies in Cultural Property Electronic ISBN: 9782821875487 http://books.openedition.org Electronic reference MÜLLER, Serena. Adat as a Means of Unification and its Contestation. The Case of North Halmahera In: Adat and Indigeneity in Indonesia: Culture and Entitlements between Heteronomy and Self-Ascription [online]. Göttingen: Göttingen University Press, 2013 (generated 10 septembre 2020). Available on the Internet: <http://books.openedition.org/gup/181>. ISBN: 9782821875487. Becoming Aristocrats: Keraton in the Politics of Adat Fadjar I. Thufail Introduction An incident in West Jakarta District involving a group of thugs unravels the fraught relationship between the royal families of Javanese keratons and the public,1 exposing contentious issues over cultural property, political connection and symbolic status. The incident discloses an overlooked connection between the aristocracy and economy and sheds light on the challenges the aristocrats confront to rethink how noble culture and adat encounter the encroachment of capital and the state into the palace realm. In other words, the incident with the thugs depicts the predicament that the keraton and its noblemen must negotiate in order to sustain and assert the cultural sovereignty of the palace despite the continuous pressures from the state and capital to curtail the political role of the keraton.
    [Show full text]
  • Women Who Run with the Wolves Lemos De Carvalho, Claudia
    Tilburg University Women Who Run With The Wolves Lemos De Carvalho, Claudia Publication date: 2018 Document Version Publisher's PDF, also known as Version of record Link to publication in Tilburg University Research Portal Citation for published version (APA): Lemos De Carvalho, C. (2018). Women Who Run With The Wolves: Online stories and roles of Spanish- speaking jihadist women. [s.n.]. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. sep. 2021 Women Who Run With The Wolves Online stories and roles of Spanish-speaking jihadist women Women Who Run With The Wolves Online stories and roles of Spanish-speaking jihadist women PROEFSCHRIFT ter verkrijging van de graad van doctor aan Tilburg University op gezag van de rector magnificus, prof. dr. E.H.L. Aarts, in het openbaar te verdedigen ten overstaan van een door het college voor promoties aangewezen commissie in de Ruth First zaal van de Universiteit op dinsdag 19 juni 2018 om 10.00 uur door Claudia Sofia Lemos de Carvalho geboren te Porto, Portugal Promotores: Prof.
    [Show full text]
  • MUSISI DAN RELIGIOSITAS (Studi Tentang Keberagamaan Musisi Indie Di Yogyakarta)
    MUSISI DAN RELIGIOSITAS (Studi Tentang Keberagamaan Musisi Indie di Yogyakarta) SKRIPSI Diajukan Kepada Fakultas Ushuluddin Universitas Islam Negeri Sunan Kalijaga Yogyakarta Untuk Memenuhi Syarat Memperoleh Gelar Sarjana Sosial OLEH: MUH. IRFAN ROMDHONI NIM: 02540958 PROGRAM STUDI SOSIOLOGI AGAMA FAKULTAS USHULUDDIN UNIVERSITAS ISLAM NEGERI SUNAN KALIJAGA YOGYAKARTA 2008 Ustadi Hamsah, S.Ag, M.Ag Dosen Fakultas Ushuluddin UIN Sunan Kalijaga Yogyakarta NOTA DINAS PEMBIMBING Yogyakarta, 27 Juli 2008 Kepada Yth. Dekan Fakultas Ushuluddin UIN Sunan Kalijaga Yogyakarta di Yogyakarta Assalamu’alaikum wr. wb. Sesudah melakukan beberapa kali bimbingan, baik dari segi isi, bahasa maupun teknik penulisan, dan setelah membaca skripsi mahasiswa tersebut di bawah ini: Nama Mahasiswa : Muh. Irfan Romdhoni NIM : 02540958 Jurusan : Sosiologi Agama Judu Skripsi : MUSISI DAN RELIGIOSITAS (Studi Tentang Keberagamaan Musisi Indie di Yogyakarta) maka selaku Pembimbing/Pembantu Pembimbing saya berpendapat bahwa skripsi tersebut sudah layak diajukan untuk dimunaqasyahkan. Demikian, mohon dimaklumi adanya. Wassalamu’alaikum wr. wb. Pembimbing Ustadi Hamsah, S.Ag, M.Ag NIP. 150298987 PENGESAHAN SKRIPSI / TUGAS AKHIR Nomor : UIN.02/DU/PP.00.9/1462/2008 Skripsi dengan judul : MUSISI DAN RELIGIOSITAS (Studi tentang Keberagamaan Musisi Indie di Yogyakarta) Yang dipersiapkan dan disusun oleh: Nama : Muh. Irfan Romdhoni NIM : 02540958 Telah dimunaqasyahkan pada : 14 Agustus 2008 Nilai Munaqasyah : 75 (B) IPK : 3,09 Dan dinyatakan telah diterima oleh Fakultas Ushuluddin UIN Sunan Kalijaga Tim Munaqasyah: Panitia Ujian Munaqasyah: Ketua Sidang Moh. Soehadha, S. Sos, M. Hum NIP. 150291739 Penguji II Moh. Soehadha, Yogyakarta, 14 Agustus 2008 D E K A N MOTTO “Hidup Tanpa Musik Adalah Kesalahan” (nietszche) 1 1 Idhar Resmadi, Music Records Indie Label ( Bandung: DAR! Mizan, PT.
    [Show full text]