friend added, “she suffered somuch, andtooksuch risksto be agood she continued, “sheis so beautiful.” And then, aftera moment, another admiration for theKoreanInstagramcelebrity Ayana JihyeMoonin2019, “She issohumble,”myIndonesian friendDinnysaid.Speakingofher Korea hijrah, foreign, fashion, , conversion, Keywords: authority. of conceptions Indonesian in foreign the of role the extension, by and culture Islamic Indonesian contemporary in circuits alternate ” to suggests journey “ Her base. fan Indonesian asubstantial created has Islam to conversion whose woman aKorean Moon, Jihye Ayana of example the on particularly Ifocus domestication. total its preclude that foreign the of allure the accessing of process unique a facilitate fashion of affordances the how Iask piety, Muslim of adoption their of because audiences media social Indonesian large have who Islam to converts foreign and settings, foreign in themselves situating through appeal their amplify who celebrities pious Indonesian genres, two Analyzing audiences. Indonesian passionate and large have who celebrities fashion pious from examples through this Ianalyze cosmopolitanism. and conversion through foreignness domesticating and accessing of that allure, different aslightly relays community religious shared this of feature another that I suggest article, In this prestige. aesthetic indirect and influence clerical direct as prominent, been has inspiration Arab Unsurprisingly, character. transnational its noted have decades two past the in Indonesia in movements piety Islamic of forms public of rise visible the of Scholars Abstract: Boulder Colorado of University Carla Jones Indonesian PiousSociality Mualaf Chic:ConversionandMediationin yber

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172 Corresponding author: Carla Jones, University of Colorado Boulder, UCB 233, Boulder, CO 80309-0233, USA. E-mail: [email protected] Muslim countries,a newstrategic terraindubbed “moderate Islam”has majority some Saudi For to Arabia. limited not is approach This influence. foreign policy soastomitigatecompeting politicalthreatsvia cultural into fields intellectual and commercial, aesthetic, integrates sense, this in power, Soft wealth. oil and authority religious through influence its export and the kingdom of Saudi Arabia as part of the kingdom’s global strategy to formal educational,philanthropic, andclericalexchangesbetweenIndonesia prestige. aesthetic indirect and influence Unsurprisingly, Arab inspirationhasbeenprominent,asdirectclerical Indonesia inthepasttwodecadeshavenoteditstransnational character. Scholars ofthevisiblerisepublicformsIslamic pietymovementsin Situating theforeign mualaf, orchicconvert. chic the figure: familiar a on celebrity,twist new a of Ayanaexample an is Considered inthecontextofglobalfeaturesIndonesianpious amplifying theotherinwaysthatplaywithalterityanddomestication. selectively mined. They emerge asthrillingaffective partners,each that cosmopolitanism andconversiontreattheforeignasasubstancetobe Isuggest follows, Inwhat fabulous. and difficult simultaneously be aspiration blendshardshipandglamourtoremindfollowersthatpietycan transnational the its understandable focus on Arab influence. broadens Ayana’s stardom highlights how field feminine inspiration thatsaturatesIndonesianexperiencesofMuslimpietybeyond and frivolous, fantastical, lifestyle thatsocialmediacelebrityaffords. Includinganotherwise Muslim pietyisparticularlywellsuitedtothecelebrationofcosmopolitan this article,IsuggestthatthehistoricallytranslocalcharacterofIndonesian distinctively Indonesian,itstransnationalcharactermaybelessapparent.In become has scene, social elite and vibrant a itself field, this capitalism. As that intensify in the primarily social media channels that fuse and wealthinthepubliclypiousenvironmentofurbanIndonesia,qualities industries incontemporaryIndonesia.Beautyandmodestyproduceprestige and stylethatareattheheartofboomingpiousfashionlifestyle Muslimah.” Commentslikethesehighlightapotentintersectionofpiety

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173 Carla Jones residence may have predated European rule but whose classification as classification whose but rule European predated have may residence against the Indies ascategories ofracialcontrol,marking residentsof Arab descent in colonists Dutch by used later were affiliations These 305). (2006, distant links to the prophet (sayyid ) as simultaneously cosmopolitan otherwise facilitated and affiliation relationships, markingdescendants ofHadhramitravelerswithgenealogical dress, food, in influences landscape oftheIndianOceanasoneinwhichtranslocal exchangeof religious revolution. Engseng Ho describesthe imperial andmystical adoption of previously foreign dress and diet were more reliable signs of a the “conversion oradhesion”(Reid1988,140),notingthat simplerecitationof the arrivalof Arab merchantsinthe13thcenturywasaprocessof Historical analysesofIslamizationinSoutheast Asia haveaskedwhether how politically and semioticallydense Arab connections have become. these factshavecontributedtocomplexculturaltransformations thatreveal in Arabic andthattheProphetMuhammadwas an Arab man,inIndonesia, While Muslims around region. the world the honor in the fact influences that translocal the Qu’ran many was of revealed one been has style religious, Arab presenceinSoutheast Asia haslongbeencontested. Arab, qua both women, consistent withreligiousaspiration. Indonesian pious For celebrities andnot,performingbeautyacrossnationalbordersisentirely cosmopolitanism. to aspirations ways theyanimateeliteanxietiesaboutnationalautonomyandpersonal with their intermittentappearanceinforeignpolicy, tandem allowsustoseethecomplex in frames, analytical our of center the to closer fields these Placing influence. global about debates transnational beauty,in as or fashion such fields, social peripheral apparently highlight can seriously these models oftoleranceorsophistication. Taking softpowerstrategiessuchas and religious ascultural threats, andframethemselvesaslegitimatehistoricallyauthentic initiatives power soft Arabia’s Saudi figuring from benefit each Indonesia and Morocco, Jordan, Turkey, Egypt, argue, movements suchasISIS. As PeterMandavilleandShadiHamid(2018) become a field in which to claim a future global role in the face of extremist

was not a definitive indication of conversion. Rather, the Rather, of conversion. indication definitive a not was syahadat yber pribumi andother“foreign Orientals”(vreemde oosterlingen ) whose C yber O rient, Vol. 15, Iss.

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174 Carla Jones also illuminate how conceptionsof foreignness andpotency intersect. As resonates with asimilarlogicatthecore ofsociallymediatedfame, itmay rather thanterritories (Heine-Geldern1942; Tambiah 2013). Although this of being produced and conserved through claiming people, or audiences, Steedly 1999).Southeast Asian patron–clientrelations have alonghistory to harness and deploy, even in the service of generating new centers (cf. foreignness isnotsimplya threatthatmustbedomesticated,butapotency phenomena such as social media and religious celebrity. Seen in this light, invites ustoconsidertheaestheticheartbeatingat coreofcontemporary political powerishelpfulhere.Itnotonlydecenters an Arab focus but An expansiveperspectiveontheroleofforeignness andreligious of theirethnicandgeographicdistance(Lücking Eliyanah 2017). and allowingperipheralMuslimstoclaimamoremoderate stancebyvirtue thereby assigningextremistandmasculinistvalences toan Arab essence perception oftheMuslimworldassingularlycentered inthe Arab sphere, Muslims tobeconsideredessentiallymoderate. This narrativereliesona has beencentraltonationalaspirationsamongsomeSoutheast Asian fueled recent also has it resentments. As SumitMandal(2011) argues, therediscoveryof Arabness capital, cultural substantial signified expertise travel totheMiddleEastandfacilitywith Arabic languageandreligious and democraticreformasi movements. Although formanyyoung activists, connections andstylehavebeencentralfeaturesofthereligiousreformist global andlocalsourcesinapost-authoritarianera.Inthislandscape, Arab home hasnowbecomeacomplex,sensory, andcommerciallandscapeof religious interpretationabroadasawayofcritiquingauthoritarianruleat two decades. What beganasstudentinterestinthe1980sdiscovering remained relevant in the recent period of religious purification over the past religious foundation for resistance to colonial rule. These connotations have informed itsown“ummabelowthewinds”(Laffan 2003),facilitatinga By theearly20thcentury, theintersection of Arabness andIslamic critique against whichtoposeapparentlymoremoderatelocalMuslims. segregated, Arabness itselfframed Arab culturallifeasa“fanatic”foil foreign foreclosedfullmembershipinnativelife(Mandal2018,74). Thus

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“become Indonesian” and occupy a range of high-profile and respected families have been situated in the archipelago for generations may have prophet inthe Indonesianpresent.Hadhrami descendantswhoselives and part becauseoftheirfiguration asadiffracted yetlivingpresenceof the is belovedinpartbecause oftheircapacitytodrawanaudience,andin example, asayyidwhohas alarge following(habib,literally“beloved”) “broker.”For cross-cultural a as described (1960) Geertz Clifford which here ofstranger-kings andtoalesserextentthe ,orlocalpreacher, personal power. Returningtothe complex figureofthe sayyid isillustrative Each channelandtranslatepowerexternaltotheself ortotheregioninto also add, religious social mediastars, are arguably figures in this sense. individuals. Preachers,kings,descendantsoftheprophet, andwemight powerful becausetheymayalsouncannilycorrespond todistinct any particularperson,yettheycirculateandresonate inwaysthatare may precedeandexceedanyindividualtherefore correspondlessto types sociality, of types new of idea (1998) Siegel’s James on Building individual andafamiliarsymbol,emblematicofaneraormoment. Barker, ErikHarms,andJohanLindquistargue (2014),isbothaunique teasing outhowtothinkabouttheroleofforeign. A figure,asJoshua Thinking of these dynamics through the concept of figures is helpful for their example, For figures. male authentication tolocalaudiencesinpartreliedonmarryingwomen. to limited largely was which one but legitimate. Foreignness was therefore an attractive mix of foreign and local, only lastaslongtheywererecognizedsimultaneouslyforeignand of a center. Rather, they configured it through themselves in ways that could himself as and installs ruler” (Slama 2020, 291). These figures society did not reject aparticular the concept enters who figure potent “supernaturally power was whose anchored in their capacityto appear from outside, to arrive as a 2015) (Braginsky “stranger-kings” or figures foreign kingdoms, somepredatingthearrivalofIslam,restedonmythsabout recruiting theforeignforlocalpowerithelpstorecallthatSoutheast Asian foreignness asalong-standinglocalpractice.Inanalyzingtheseformsof Indonesia haveinvokedhistoricalpatternsofselectivedeployment Martin Slama(2020)hasargued, recentreligiousandpoliticalinitiativesin yber C yber O rient, Vol. 15, Iss. 1, 2021

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available powerfultools suchas batik andsacred heirlooms. This created accessories, and etiquetteequallyalongside theirbroaderrepertoire of foreign domination thatwasDutchrule, bypositioningDutch clothing, became atechniquebywhich royalfamiliesincolonialJavafacedthe argued (1994),the socialzoneknownascara enhance theself. Again, thishashistoricalorigins. As JohnPembertonhas medium throughwhichto access theexternalpowerthatmightprotectand reflect or signify some deeper or truer process of translation but are the very Like theradiantbeautyofpageantqueen,appearances donotsimply Considering theseexamplestogetheraccentuatesthesalience ofappearance. holds ifthatpowerremainsundomesticated. other, sometimes at the personal risk of losing the self, but its efficacy only the of power protective the with dance fleetingly to is alterity embracing figures, these For standards. beauty perfectly,emulating American not but trappings, bywrappingamalebodyinglamourousfemininity, andalmost, transvestite beautyqueens(bakla)intimatelyaccessalteritythroughits possesses anunusualabilitytoattractagalaxyofpowerfulothers,male passion playholdamongBicolanosinthePhilippines. As apersonwho beauty pageantqueens,spiritmediums,andperformersintheChristian that appeal the as described has (1999) Cannell Fenella what of versions might recognize these religious celebrities as wealthierand more public embodied experienceoftheworldoutsideIndonesiatoIndonesians. We or peoplesimplyknownforfrequentlytravelingabroad. They relay are converts,minorities,mixedchildrenofIndonesiansandnon-, them of Many difference. with relationships attractive active, with figures religious andproductiveconceptthatinvitesanalysisoftheprevalence foreign. Eachofthesegenresplaysontherelationshipinspirationasa mediated pietywhichreanimatessomeoftheseoriginsinthepower selebriti and Instagram) traffic in a newly precarious but profitable arena of media celebritiesinIndonesiaknownasselebgrams(aportmanteauof social significantly, and, preachers, entrepreneurs, Muslim Contemporary partially foreign(Alatas2011). because of their status as part still alluringly, in arguably is this yet positions, yber C yber O rient, Vol. 1

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177 Carla Jones two effects: ithighlights thetransformative potential ofIslam(even inthe as conversion narratives.Repeatedlyretelling theirconversionshas atleast Jefri al-Bukhari and Yusuf Mansurhave presentedtheirpersonal biographies even preachers who were raised Muslim, such as Gymnastiar, Arifin Ilham, in particular stands out as a Chinese Indonesian convert (Hew 2012), yet movements outofsinfulpasts andintomorevigilant,piousfutures.Siauw personal oridiosyncraticlife changesinagenealogyofrecognizablyepic others’ for and his conduits followers fled Mecca for Medina, these celebrities narrate otherwise as capacity unique transformative their therefore and journeys Many of these figures emphasize their conversion status as evidence of their 61). using visual persuasion in the service of Islamist proselytizing (Hew 2018, and Indonesian, slang evocative imagestocraftareputationas“casualbut dogmatic”preacher hadith, and Qur’an to references textual phrases, Arabic uses Siauw Felix Similarly, 2006. in marriage second his of wake self-help figures (Hoesterey 2016) until his followers abandoned him in the with declarationsofaffection forhiswivesandquotationsfrom American andbeauty to love references Sufi mixed Gymnastiar Abdullah preacher into income (Kloos 2019; Millie 2017; Slama 2017). For example, celebrity status, endearthemselvestofollowers,andpotentiallyconvertthatvisibility deploy amixofglobalandpersonalsemioticreferencescanenhancetheir celebrity universeoftheselebgram.Celebritypreacherswhocandeftly appearances. Maleandfemalepreachersalikecanselectivelyaccessthe community withthrillingnewcodesofbelongingwhichalsoemphasize new alloysofnationalandtransnationalreferencestocreateforms intimate contextofcontemporarysocialmedia,skilledpractitionerscraft admiration. Inthehighlycapitalized,digitized,transnationalyetaffectively attention totheforeignthatseeksabalancebetweendomesticationand Although historicallyandsociallyvaried,theseexamplesemphasize nonsensical toDutchcolonialofficials(1994,67). making itbothmorespirituallypotentinaJavanesesenseand the twinnedeffect ofsimultaneouslyelevatingandreducingDutchstyleby

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178 Carla Jones alo htl n Jrslm Plsie i Dcme 21 (iue 1). (Figure 2019 December in Palestine” “Jerusalem, in hotel Carlton watched herhome pregnancytestturnpositive inahotelroomat theRitz previously unseen photosandvideoof themomentsheandher husband conversation withaparallel cosmopolitanism.InJuly2020,Dianshared to private aspects of an influencer’s life into public affection, it is equally in brands, herfamily, and her global travels. If that intimacy converts access channels, promotingher clothing andheadscarflines,hersponsoring followers. Dianselectivelysharesglimpsesintoherlife viahersocialmedia million five over boasts account Instagram whose Pelangi, Dian Consider cosmopolitan (cf. Abidin 2016). photographic contentthatconveysavisionofthem asbothpiousand beauty industries,thesewomenrelyheavilyon theabilitytopost intersection withtheappearance-focusedorientation ofthefashionand part becauseoftheirrelianceonInstagram,butalso becauseoftheir as theirglobalaudiencesconsiderthemmoreMuslimah thanIndonesian.In Some of the world’s best-known Muslimah influencers are Indonesian, even sense ofintimacyandageneral“feeling”closetotheirfollowers. Annisa R.Beta(2020)describesasauniqueformofdakwah,emphasizes they sell,however, isbothmaterialandimmaterial. This combination,what affect theirfollowersalgorithmically informing theircompensation. What their influencers, employment andreputationsareintimatelyenmeshed,theircapacityto As measure. equal in beauty and piety for enthusiasm genre maynotbereligiousexpertsperse,butpiouslifestylestars,modeling this in figures public Feminine discipleship. religious of those to common mix imageandaffect tosummonandcultivateaudiencesthatsharefeatures Female their appeal.Itmaintainsinsiderstatusasoutsiders. pre-conversion lifemayseemcounterintuitive,butitisarguably essentialto preacher’s celebrity a of alike fans and disciples Reminding it. preceded reanimating conversionaspositivelifechangewhilerecallingthethat past,that underscore stories hijrah past, sinful a erasing than Rather 2008). holding thepastinpermanentreliefwithpresent(Burhani2020;Howell absence oftraditionalreligioustraining)andemphasizesoutsiderstatusby

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179 Carla Jones qualities that are highly valued in a crowded and commodified visual commodified and crowded a economy, inturncreatingeconomicvalue. in valued highly are that qualities settings, heraccompanyingtextsandstylestelegraphhumilitysincerity, (personal communication,March6,2014).Intandemwiththeseglamourous producing imagessetinglobalcapitalshasbeenforherIndonesianaudience Although sheisagloballyrecognizedcelebrity, herprimarymotivationin and importantly, hertravelsto Australia, Egypt,andaroundIndonesia. her owndesignandsetinavarietyoflocationssuchashome,school, global brandssuchasZaraorH&Mincombinationwithanaccentpieceof of composed blog, her to outfits-of-the-day posting teenager, a as began cannot personallyvisit(Lücking2019).Indeed,herdecade-pluscelebrity Indonesians mayimagineaspartoftheirreligiousuniverse,evenifthey news was public while situating her in a circuit of travel that many Images such as these share the joy she and her husband felt long before their in theRitz CarltonHotel, Jerusalem,Palestine withherInstagram audience (Pelangi2020). Figure 1:DianPelangi sharingherpositivepregnancy testfromDecember2019, yber C yber O rient, Vol. 15, Iss. 1, 2021

180 Carla Jones Egypt (Hoesterey2018). been publicizedbyIndonesian foreigndiplomaticefforts intheUSand strategic indomesticefforts toquellradicalizationinIndonesiaandhave Nusantara’sgentility,Islam resilience, beenon have focus compassion and archipelagic, connective,and“in-between”geographic andculturalroots. friendly, anddiverseorientationtotheologycommunitybecauseofits asserted thatIndonesiaisthelegitimateinheritorof auniquelytolerant, 2015). Framed in the language that of soft qualities and Aziz power,(Sahal region the Indonesian in Islam’sNahdlatul presence enhance now and Ulama preceded specifically representatives and inclusivity of values Muslim organized aroundthethemeofuniquecorrespondence betweenbroad was which congress, annual organization’s2015 the to up leading months actively promoting“IslamNusantara,”aconceptwhichemerged inthe “moderate Islam.”NahdlatulUlamaespeciallytookupthischallengeby Ulama andMuhammadiyah,topositionIndonesiaasagloballeaderin

of Foreign Affairs, and Indonesia’s largest Islamic organizations, been formalandinformalstrategiesbytheMinistryofReligion, achieve thesedreams. Among themostprominentinpastdecadehave involves exactlythat,imagination,harnessedtoinitiativesdesigned Indonesia anewcenterontheworldstage.ImagininganIndonesian institutions inIndonesiathatareinvestedthepossibilityofmaking national sourcesofpowerinvitesustoconsidertherolearange Situating fashion and celebrityin these broader questions of foreign and Imagining anIndonesiancenter exist beyondthevernacularorforeign,translationitself. of transcendence”thatimagesevoke(Morris2009,6),thedreamthey and audiences.Emphasizingthisdynamicrequiresustoengagethe“fantasy Karen Strassler(2020)hasargued, acircuitofdemandsbetweenimages in conditionsofintenselymediatedcontemporarylifethusinitiate,as The “releaseofaffects” (SpyerandSteedly2013,26)imagescangenerate women’s bodies and appearance have been a deliberate, although marginalized, apparentlyperipheral tothisagenda,acloseranalysis suggeststhat Although yber C yber O rient, Vol.

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181 Carla Jones but has nowbeenintegrated into itsbroaderfashion agenda emphasizing the modestfashion worldpredatestheformation ofBadanEkonomi Kreatif staffed world of fashion design. The rhetoric of Indonesia as the kiblat of textile industriesisthusharnessed tothefeminized,andoftenfemale and garment mass the in Women’slabor 2018). (Usher industry garment attempt toleadthefastest growingsector($300billion)oftheglobal an in campaigns, these in profile high particularly been has fashion Modest muscular industrieslikeoilormining. and nowseenasapotentialdriverofnationaldevelopment, alongsidemore new initiativeisfashion,representing56percentof the creativeeconomy the particular context of religiously spectacular Indonesia. in At the center of this 2017) (Schwab revolution” industrial “4th the and 2002) (Florida of Tourism, itsituatedthepost-developmenthyperbole of“creativeclasses” economic formsintoglobalassemblages.Nowasubsection oftheMinistry technical, soastofacilitatetheinsertionofotherwise messyculturaland cultivation ofcreativitythatrequiresrenderingthenon-technicalinto strategies aroundsoftskillsinIndonesia. This initiativecelebratesanational Ekonomi Kreatif representsthemostformalexpressionofnewdevelopment The creationofanewgovernmentbureauinIndonesia2015,theBadan dismissed, asthecontextdemands. how appearancesarealternatelysaturatedwithintensemoralvalencesor to Islamic geography (Tempo 2016; Republika 2019). It also underscored value designrolesassociatedwith Western fashioncentersviaclearreference kiblat, orcenterofthemodestfashionindustry, hopedtoreorientthehigher foreign diplomacyandeconomicdevelopment.PositioningIndonesiaasthe expressed throughcompetingministries,aroundglobalIslamicleadership: and lessmoderate. This approachbringstogethertwokeystategoals,often femininity, particularlyGulf-styleabayas,thatarepresumablylessfriendly in Indonesian textilesandtasteimpliesanantidotetoothergenresofpious garbed beauty Feminine as moderation. serve religious Indonesia’s to of summoned evidence are appearances women’s how illustrates elegant Muslim country, yetonewheremodestly attiredwomenremainanggunor majority worlds’largest the as Indonesia Presenting mission. this of feature

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182 Carla Jones access tostatefunding. at home.Beingeitherunableorunwillingtosuitthose rulesmaylimittheir attracting Indonesianconsumers,whowanttoseeglobal aestheticsavailable While totranscend. aim asked to perform indigeneity abroad, they may find initiatives that it is less effective these in influence transnational of sort barriers, someofwhichcanproducenationalboundaries thatpreventthe and opportunities created has landscape this Indonesia, in influencers and in Indonesia are halal given the Muslim majority market) and “for Indonesian company that isbrandedashalal(althoughalmost allpersonalcareproducts Cosmetics and theIndonesiangovernment. Wardah, anIndonesian skincare grown, hertravelshavebecome amixofpersonalandsponsored,by Wardah has reputation Pelangi’sglobal Dian home. As at foreign the to access and navigated thisdemandfor presenting versionsofIndonesianbeautyabroad Let us return to examples of how individual designers and influencers have Minh-Ha Phamargues restson“racialplagiarism,” (2017). capitals areundifferentiated rawculturalmaterialsfeedingasystemwhich expression inspiredbyglobaltravels,whiletheperipheriesoutsideofthose Designers inglobalcapitalsarerecognizedasautonomousauthorsofartistic reproduces amapofcentersandperipheries(LeshkowichJones2003). eccentric individualsasuniquespecimensofgenius,yetnonetheless fashion production. The system may celebratecreativity and even elevate source offashiondesignandremainsassociatedwithlow-wagedfast garment industries,Indonesiahasstruggledtoachievecredibilityasa global fashionsystem.Likemanycountrieswithlarge export-oriented they facewell-knownbarrierstoentryfornon-Western creativesinthe optimism aboutthepotentialforfashiontoachievemultiplenationalgoals, Although Indonesiandiplomaticandeconomicinitiativesdovetailintheir over thepastdecade. have regularlyhostedfashionshowsfeaturingmodestdesigners US, andembassiesin Amman, Moscow, New York City, Paris, and Seoul Indonesian embassies. Consular offices in Los Angeles and Houston, in the become featuresoftheforeigndiplomaticandculturalbudgetsfor have shows fashion Further, Indonesian. uniquely as beauty and diversity

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183 Carla Jones noein rdto (iue ) Smlr xmls nld modest include examples Similar fashion designers Anandia Putri ofIKYK(anabbreviation for“IKnow 2). (Figure tradition Indonesian and logoedsashes combinedtoevoke anedgystreetstyle,rather than to herweeklongvisitNew York City. Heruseofblack, baseballcaps, Drake song“Nicefor What” whichshe felthadbeenthesonicbackdrop and thereforetechnically batik,theoverallstylewasinspiredby textiles sheshowedinJakarta werecreatedthroughwax-resistdying, the Week.Although YorkFashion New to designer sponsored Wardah her September2018visittoNew York asaBadanEkonomi Kreatifand by inspired was collection 2018 October her example, For Indonesia. These trips have provided inspiration for Dian’s domestic collections in Agency forCreativeEconomy(BEKRAF)2019). Indonesia asasiteofethnicdiversityandhandmade clothing(Indonesian addition, showsthatarehostedinformalshowcalendars typicallyemphasize of Indonesiayetrarelyexpandingtheaudiencebeyond thenational.In attended by the Indonesian diasporic community, offering them a reflection Yet andtolerance. fashion showsforconsulatesandembassiesareprimarilymarketedto ofdiversity narrative aesthetic ecumenical officially local textiletraditionssuchasbatik collections outsideofIndonesia,Dianhasoptedforlooksthatemphasize both to aspirations customers’ upward mobility and increased piety (cf. Fealy 2008, 29). her When presenting and inspiration, divine inspiration, industry’sfashion broader the from borrow selectively aestheticof rhetoric reveals howcosmopolitanismandinspirationintersectinwaysthat A briefreadingofthestylestheseambassadorsdisplayinforeignsettings friendly, global,beautiful,and,importantly, Indonesian. the companyinserviceofpromotingagenremodestbeautythatis of language foreign diplomacy, the theseambassadors fusetheirownfaceswiththefaceof from Borrowing channels. media social celebrities’ the extensive photoshoots to produce content for the brand’s advertising and for designers, singers,orothercelebritieswhom Wardah sendsabroadfor of themostprominent. These ambassadorsareIndonesianactresses, women,” investsheavilyinkey“brandambassadors,”ofwhichDianisone

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184 Carla Jones foreignness, rather than exporting Indonesian aestheticmoderation. in thenarrative ofIslamNusantarabecause theyappeartobeimporting modesty. Inshort,what theyareexportingisnotas easilyrecognizable valuable ambassadorsfor auniquelyIndonesianversionofIslamic use ofimportedtextilesand apparentlyforeignshapesmakethemless because theirlooksareinsufficiently recognizableasIndonesian. Their as muchfundingorrecognition fromtheIndonesianstate,inpart Muslim customerbasesthere(Jones2018). Yet neitherhavereceived shoots inKoreaandJapanwithlocalmodels havedevoted,non- from associationswithblackabayas.Bothsetmany oftheirfashion neutral tones in their collections, yet distinguish their color choices are infactmorefeministthanIndonesianstyles. Bothuseblackand what mightseem like either androgynousor even masculinestyles versions ofmodestwearprominentinIndonesia. Bothargue that than eitherthesheerandform-fittingIndonesian kebaya orthetrendy Korean claim thatthemonochromatic,athletic,andpyramidalformsof designers Both 3). (Figure Islam with relationships historical limited have whom of openly embraced urban styles from Japan and Korea, countries with both (@ranihattaofficial), @ “Friends;” Hatta show Rani TV and US ikyk2011) the from dialogue of bit a Know,” You Figure 2:DianPelangi’s Fall2018runwayshow, October 2018,, yber inspired byhertriptoNew York Cityamonthearlier(Salsabila2018). hanbok andJapanesekimono C yber O rient, Vol. 15, Iss. are inherentlymoremodest 1, 2021

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Bahasa Indonesia,English, Arabic, andKorean acrosshersocialmediasites. three millionfollowersand a YouTube channel.Shepostsvariously in an Instagram account (@xolovelyayana, “Proud Korean and Muallaf”) with resident ofbothSeoulandJakarta, andteenageconverttoIslam.Shemanages Indonesian. Twenty-four-year-old Ayana JihyeMoonisaKoreancitizen, not is ambassador brand talked-about most perhaps and Wardah’snewest The pleasuresofdifference (Rutherford 2003,23)oftheforeignwithoutdomesticating it? How mightstyleitselfbetheborderthatmediates the “aliencharacter” kinds of affordances that make fantasy and worship partners in mediation? we consideramorecomplexinterpretation.Howmight fashiongeneratethe simple evidenceofthesuccessthosestrategies.Inwhatfollows,Isuggest investment inexportingpopularculture,theseexamplesmightseemlike fact thatIndonesiarepresentsoneofthelargest marketsofKoreanstate examples asafawningaffection forthenon-Indonesian.Considering One couldeasilyinterprettheallureofforeigninmanythese us sekr n eert tl crut lk HjaFs.A se el her tells she As HijrahFest. like circuits talk celebrity on frequent speaker a guest is and companies Indonesian major four by sponsored is She yber Figure 3:IKYK2017Fallcollection,inspiredbytheKoreanhanbok C yber (Jakarta Fashion Week 2018). O rient, Vol.

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186 Carla Jones particular hascreated agenreoffandom inIndonesia thatfeeds asense as BartBarendregt andLusvitaNuzuliyanti haveargued (2018),KPopin populated by female stars, androgynous male stars, and female fans. Yet, dramas andmusicoffer Indonesiansaworldthatispredominantlyfeminine, Korean relations. fan facilitating to dedicated 2018 in Jakarta in office an studio creditedwithpromoting Korean TV andmusicalcontent,opened export strategyhassucceeded. SMEntertainmentGroup,thepowerhouse cultural Korea’s where country a of example an be to appears Indonesia Ministry ofReligious Affairs, eventhoughsheisnotacitizen(Figure4). first her unique,hybridambassadorialrole.Inversely, Ayana completedher the KoreanembassyinJakartabyambassador, recognizing Korean diplomacy. On January 27, 2020, she wasformally hosted at she hasbecomeamorevisiblerepresentativefor both Indonesianand grown, Ayana’sAs 2008). has Iwabuchi fame and (Huat accomplishments has thereforebeennolesscentraltoKoreanmodernitythanitsindustrial Korean music,fashion,beautyproducts,andgeneralyouthculturalstyle as a“wave”(hallyu)bytheMinistryofCultureand Tourism in1997, culture appearstohaveachievedanelusivedevelopmentalgoal.Launched Korean andyetlackingobviouslytraditionalreferences,popular country inspiteoflimitednaturalresources.Simultaneouslyrecognizably independent admirable, an as Korea establish to designed project complex positioning Koreanpopularcultureasthesoftpowercomponentofa development whichsupportsawidearrayofindustries,fromcarstomusic, viewed fromafar, Koreaappearsasanexampleofcentrallyguidednational precarity and pressure among Korean youth (Jung 2017;Rea 2018), when Korea asamodelofmodernityin Asia. Although thisperiodhasproduced plans targeted technologicalprowessandpopularculture,presenting following the Asian Financial Crisis of the prestige late global 1990s. to National rise development Korea’s from benefit to children their expect could consistent with a period in Korean history during which wealthy families who wascommittedtoeducatingherwell(Moon2020c). Their planswere she grewupinSouthKoreaasadaughterofanuppermiddle-classfamily hijrah in her 2020 biography, written in Indonesian and published in Jakarta,

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187 Carla Jones can earnsubstantialhonorariameetingwithIndonesian expatriates. produced a large secondary market for Indonesian Muslim preachers who destinations. Conversely, thegrowingIndonesiandiasporainKoreahas Middle Eastand Turkey, addingKoreatoaglobalcircuitofsacredleisure tourism companiesincreasinglyoffer tourstoKorea,inadditionthe secular performanceasconsistentwiththeirownpiety. Indonesianreligious achievement (usingthetermshajjandziarah),viewtheiraffection for to visitingKoreaaspilgrimages,borrowingtheterminologyofreligious stars andeachother. Co-optingthe languageofreligionitself,fansrefer of femininecommunity, withfans reinforcingtheirdevotionto yber Figure 5:Oneof Ayana’s first photographic introductions Figure 4:“Marriagebooklet…No! Vaccination booklet.” Ayana’s preparation for umroh in2019(Moon2019a). C yber as a“Korean Muslim,”(Moon 2017). O rient, Vol. 15, Iss. 1, 2021

188 Carla Jones In 2018 shereplaced InnekeKoesherawati asa Wardah brandambassador, and videos of her in wearing hanbok and hijab together (Figure 5). talent Indonesian toIslam. scouts invited hertovisitIndonesiain2017, followingthereleaseof photos attraction her as field same the in Indonesia She continuestostudy Arabic andIndonesian,placingherfascination with story, butrather atransformationentailingreligiousandculturaltraining. Ayana’sconversionsimple a than more much involved therefore has hijrah The affordances of beautyandfashion (Hijrahfest Official2019). her personality from fragile and “sensitive” to now confident and “positive” transforming with Islam credits She country. Muslim majority a in living began she after only was that and hijab, a wearing begin to able was she which sheprivatelyconverted,saysdidnotfully feelMuslimuntil in an attempt to force her to rethink her conversion. In spite of the ease with financially,her support to refused parents her though even abroad study to plans her with through follow to determined was she school, high in hijab a wear to Unable religion. only and first her Islam making widespread, is and study. ShedescribesKoreaasan “atheist”societywhereIslamophobia in hersecretconversiontoIslamat16,followingnineyearsofcuriosity parents shewouldbemovingthere. Their dismaywasfounded,shesays, scholarship forstudyatUniversity Teknologi Malaysia,sheinformed her selebgram universe. After secretlyapplyingforandwinningauniversity icons of piousbeauty. These womenlater facilitated her introduction to the Indonesian pious celebrities, such as Dian Pelangi and Ria Miranda, as in interested became She 2018). OFFICIAL (TRANS7 elsewhere or Iran was moreenthusiasticabouttheIndonesianstylesthanthoseshesawin and hijab in women of photos to drawn the herself found quickly she Internet, Using culture. competitive Korea’s and education of stress the from difficult to access resources from Seoul. She found Islam a soothing release it finding East, Middle the and Islam about could she as much as read she much ofwhatKoreanmodernityoffers. Shedescribeshow, asateenager, rejected ostensibly she that idea the in lies actor.appeal Rather,an her nor Yet Ayana’s popularity complicates that interpretation. She is neither a singer yber C yber O rient, Vol. 15, Iss. 1, 2021

189 Carla Jones ern hno ad ia (iue ) Da Plni per taking appears Pelangi Dian 7). (Figure a bowattheendofherNew York hijab Fashion Week showin2019. and hanbok wearing laboratories. Jakarta Wardah’s in scientists Ayana appearsstrolling throughatraditionalKoreanneighborhood as perform and world the (WardahBeauty World” the Face to 2020). Init,theambassadorsappearastouristsinIndonesia andaround Ready is Beauty “Your theme the anniversary emphasizeditshybridglobalandIndonesian orientationwith 25thcompany’s the commemorating video brand lush Wardah’s2020 late (Figure 6). domestic tripsandcelebratinglebaran with Dian Pelangi’s extended family social mediacircuitinaseriesofcoordinated,friendlyevents,including mother. The other Wardah sisters(kakak/adik)welcomedherintotheir a celebrityknownforhaving“converted”fromyoungsexyactresstocovered Figure 6: Ayana celebratingeidIndonesianstylein2018,atDianPelangi’s yber C yber O family home(Moon2018a). rient, Vol. 15, Iss. 1, 2021

190 Carla Jones wearing a jilbab and covered clothing (Figure 8). This is in spite of the fact lenses for “work,” and that her skin seemed tobelighteningasa result of reminded fans thathernatural eye color is brown,thatsheonlywears tinted rather thancosmeticintervention. InoneInstagrampostfrom2018,she regularly explainthatherappearance istheresultofspiritualcommitment illustrates. HerInstagram posts signal her awareness of this fascination and material andimmaterialqualities oflongingfortransformationthat Ayana with beautyproducts.Embodiedandintimate, underscoresthe how softpowerinitiativeshaveexportedKoreanbodily aestheticsalong affective the as describes transformation thatbeautyindustriespromiseapplieswell here,highlighting (2017) Jarrin Alvaro What beautiful!” so are Many of the comments on Ayana’s social media posts simply exclaim “You “It’s like she has the best of both! She has struggled, but popular positionthatIndonesianwomenenhancetheir beautybycovering. she appears flawless.” the reinforcing added, she hijab,” with prettier only is it but love, women instantly popularbecauseshehastheKoreanstyleofbeauty thatIndonesian Dinny friend my journey, Ayana’s particularly admired with Ayana’s humility fascination about her beauty, “Her face her is already describing In Figure 7: Ayana appearing asa2020 Wardah ambassadorinKorea. “Helloworld,what’s yber C yber new withyou?”(WardahBeauty 2020) O rient, Vol. 15, Iss. 1, 2021

191 Carla Jones religious festivals alongside preachers such as Felix Siauw. In the Wardahthe Siauw.In Felix as such preachers alongside festivals religious dark colorsand boldbodilyperformances. Sandrafrequentlyspeaks at mother. Sandra’s pre-hijrah image as a her hip hop and for R&B singer who favored and entertainment of cosmopolitan upbringingas thedaughterofaBritishfatherandIndonesian world the from hijrah her for known also was interviewedbyDewi Sandra,afellow Wardah brandambassador apparent inaseriesofinterviews Wardah produced in2019.Inthem, Ayana especially is softness pastel with hijrah linking progression narrative The religious of story a projecting moderation (wasatiyah)throughluminous,flawlessfemininity. industry, beauty Korean the in features almost monochromaticfacesinthepromotionalaestheticechoessimilar communication, July31,2017). The softnessofthehighlypolishedand former head of PR, their most popular color scheme (Oktavia, personal darker colors in their broader palette but is also, according to the company’s the formofpaleskinandpinklipcolors.Itcontrastswithsome to pastel-coloredclothingandmakeupcolorsthatemphasizeperfectionin calls, inEnglish,softandflawless. In Wardah’s brand palette, softness refers branding company’s the which line makeup the is Ayanafor look chosen Wardah’sthat consider to helpful is femininity,it of uses strategic involve that one of Wardah’s primary lines is called White Secret. If soft power can Figure 8:Muslimdressenhancingsoft,pale,flawlessbeauty(Mo on 2018b). yber C yber O rient, Vol.

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192 Carla Jones appeals as an inversion. Attempting to acquire fluency in a new national new a in fluency acquire to Attempting inversion. an as appeals account assimply anexampleofsyncretic hybridity. Her conversionstory “converting to modernity”itself,wemight rethinktheurge toreadher argued, conversions arenotsimplyaboutchangingreligionsbut from herfansbothadmiration andsympathy. If,as Talal Asad (1996)has can be.Herconversionistherefore amixofglamourandsuffering, eliciting but ratheranexampleofhow hardyetrewardingreligioustransformation achieve, to others for goal a simply Ayana’sthan more however,is charm, adores Indonesia(Figure9). who figure a into culture Korean with fascination Indonesian converting and enthusiasmformodestfashion,sheappearsasabeautifulcuriosity, professing atasteforIndonesianfood,gratitudeher Wardah sisters, parallel, Sandra announcesthat Ayana hasbecome a “real Indonesian.” By while tastingIndonesiansweets. As Ayana compares each dish to its Korean her hijrah story and her dreams about a possible future Indonesian husband in amixofIndonesianandEnglish,whileSandrainvites Ayana toshare meet inapastel-huedcafé(WardahBeauty 2019). The conversationunfolds interviews, both Sandra and Ayana wear Wardah’s distinctive pale blues and Figure 9:DewiSandrainterviews Ayana aboutherhijrahandtastefor yber C yber Indonesian food(Moon2019b). O rient, Vol. 15, Iss. 1, 2021

193 Carla Jones Ayana’s conversion highlights how they work together. Her story is equal is story Her together. work they how Ayana’shighlights conversion coexist, can dakwah and commodification not or whether ask than Rather generate particular affordances inthebroaderpersuasion ofdakwah. These examplespromptus torevisithowtheworldsofbeautyandfashion “I certainly conditions, difficult should beabletodoit,too. We should trytosupportherfromafar.” such under fast can Ayana if explained, This, in turn, can motivate even more religious commitment. As Dinny foreignness, downplayingherKorean-nessinfavor ofherMuslim-ness. inconvenience the displaying Further, of livingapiouslifeinnon-Islamicenvironment doublymediatesher lax. as authorities religious Arab authorities inpiouspractice,adelight,giventheir frequent dismissalby These exampleselicitapleasurablereversalby making Indonesians foodand halal of finding of remaining healthy, outside whichfollowersrepeatedlydescribeas“inspiring.” difficulty Ramadan the described first she her 2020, in Celebrating Indonesia Seoul. in mosques more and She isalsoactiveinlobbyingformorehalalbusiness,prayerrooms, mastering asetofskillsandrulesthatarefamiliartothembutnother. laundry, andcooking,allowingher followers towitnessthepleasureof daily lifeinSeoulasaMuslimah.Shesharesvideosofhershopping,doing competency. religious to journey a Her vlogson YouTube on conveythesmalldelightsandchallengesofnavigating travelers fellow of community her interviewers orfansrespondinkind,situatingthemacallandresponse which to Allah!” “Masya of exclamation impulsive her is Indonesia of the consistent crowd-pleasers in her frequent television interviews in new habitusandtastes,themselvessensoryactsoftranslation.One through conversion(Keane2006,114) alsoentailstrainingoneselfintoa co-religionists” of community “translocal a joining of fantasy The change. with suchacuteKoreanaccent.”Conversionhereentailsmorethanreligious speaks and Indonesian learn to struggling still is She her. rejected parents in Indonesia. To quoteDinnyagain,“Shehassuffered suchhardship.Her income islargely basedoncommercialrelationshipsandconsumerdevotion although sheisbeginningtodevelopbusinessrelationshipsinKorea,her hierarchy ofKoreaasamoreadvancedsocietythanIndonesia.Indeed, setting, evenwhileremaininga“proudKorean,”reorientstheapparent

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194 Carla Jones Ayana’s enthusiasm for Islam and Indonesia, via her enjoyment of modest of enjoyment her via Indonesia, and Ayana’sIslam for enthusiasm others because ofitspotentialforostentatious display(riya’;Husein2017). semiotically ambiguous, appealingtosome yetthreateningoreven sinfulto their sincerityinbeingvisibly pious(Jones2010). Visible pietyremains vibrant contextofIndonesian medialife,theyalsofaceskepticismabout religious practice. They mayfeel thisisafact,butinthedenseand that appearancesareafundamental andlegitimatecomponentoftheir celebrities pious of fans Indonesian to illustrates Ayana’stherefore, story, through creativityisaformofworship(dzikir)itself. divine inspirationarenotcontradictoryprocesses,andthatself-cultivation prominent amongIndonesianmodestfashiondesignersthatcreativeand remade self.Similarly, herpoints ofinspirationreinforceanarrative self-expression makesitespeciallyamenabletothepromiseofaradically of fantasies of circulation and production the in foundation Fashion’sown cosmopolitanism emerge as partners in the fantasy of aworld of followers. social mediacelebritieswhosecompanyshenowkeeps.Conversionand the beautyandeleganceofmodestfashiondisplayedonglamorous parts discoveryofanewlifephilosophythroughIslamandattractionto Figure 10:Bigsister Ayana welcomingheryoungerbrotherintoIndonesianIslam, yber C signaling anewcoronation(Moon2020a). yber O rient, Vol.

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195 Carla Jones marriage proposalson socialmedia inviting hertosettle downwith Ayana herself blushinglyadmitsin interviews,shereceives frequent creating new resemblancesmayalso requirenewdomestications. As on femininity. While foreignnessinthisarenacanbemined, theactof counts ascentersandperipheries, inpartbyfocusingouranalyticalgaze Celebrity accesstotheforeign thuscomplicateswhoandwhatnow term suffering toadmirationforhernewwealth,beauty, andfame. short- her for pity linking like compelling, figure uniquely becomes Ayana to thosesamedebates. This contexthas producedtheconditionsinwhicha sincerity inIndonesia,butitisalsounsurprisinglyharnessed asanantidote transnational the convert. Digitalmediationmayhavefacilitatedthedebates aboutpietyand of figure the in coalesce arenas affective and aesthetic experience ofdiscovery, proselytizationandthepleasureofcreatingnew subject new requires formation. Indisplayingthatprocesspublicly, literallysharingthe that conversion of aspect complex more much the 10). These appear as tools akin to her own modest dress in assisting in a including flavor, aesthetic changesthatsuggesthisversionofIslamwillbeIndonesianin in manyofherInstagramphotos.Likeher, hehasbeguntoadoptsmall Islam inMarch2019.HefastedwithherduringRamadan2020andappears more than the fact that her high-school-aged brother Aydin dakwah converted to to commitment her of Ayana’s fans persuades detail no Perhaps logics undergirding advertisingandproselytizationcanbeharmonious. her celebritycharm,remindingfollowersthattheparallelpromotional humility. Her convert’s enthusiasm for perfecting her comportment informs that modestyisbothtechnical,asincovered,andcharacterological, about herbeautyreinforcesapreferenceamongfansofmodestfashion presumed to be superficial. Further, her apparent lack of self-consciousness of dakwahthanthecurrentgenerationwhosefashionablemotivationsare face ofparentaldisapproval(Brenner1996)weremoresincerepractitioners courageously “converted”toareligioninwhichtheyhadbeenraisedthe public culturewhichclaimsthatearliergenerationsofreformistyouthwho fashion, isthereforein dialogue withanostalgicstrainofIndonesian

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may bejustaspleasurable. They maynotbeonsocialmediaandtheyspectacular, butthey demands display? Whose versionsofmodestyrefusetobemadevisible? of visual dakwah? Whose fantasies no longer fit in an affective universe that become untranslatable? Whose expressionsdonotmakesenseinalandscape questions. If piety requires access to the cosmopolitan, what aesthetic logics Considering the role of the foreign in these aesthetic projects prompts other hold a mirroruptoIndonesiaitselfmorethantheworld(Figure10). ultimately may she them, of love her enjoy Muslims Indonesian as Indonesian fans. As much as Ayana savors Indonesian Islam, and as much form demands she preserve her foreignness while smilingly facing her an outsider of “stranger-queen,” whose potencyreliesonherabilitytorefusefulldomestication. This kind new a suggest Ayana like figures far declined.Consideredinthehistoryofregionalgenrespower, an Indonesianhusbandforfuture,optionshehasso

Figure 11: Ayana’s greenroom, behindthescenesshooting Wardah videocontentand yber professing herloveofIndonesia (Moon 2020b). C yber O rient, Vol. 15, Iss. 1, 2021

197 Carla Jones Nation.” Alatas, IsmailFajrie.2011. “BecomingIndonesians: The BāʿAlawīintheIntersticesof Influencer SelfiesasSubversiveFrivolity.” Social+Society3(2):1–15. Abidin, Crystal.2016.“‘Aren’t These Just Young, Rich Women Doing Vain Things Online?’: References influence. astute feedbackoftwoanonymouspeerreviewers.Iamgratefulforallthe this issue’s of feedback editors, JamesHoestereyandMartinSlama,theequallykind andastute kind the from benefited article This Acknowledgements Veil.’” AmericanEthnologist 23(4):673–697. Brenner, Suzanne.1996.“Reconstructing SelfandSociety:Javanese Muslim Women and ‘the Imagining theOthertoEmpower the Self.LeidenandBoston:Brill. Braginsky, Vladimir.2015. Digital Asia7:20–41. Activists inIndonesia.”Asiascape: Beta, Annisa. 2020.“TheMuslimahIntimatePublic:Re-ConsideringContemporaryDa’wa Honolulu: UniversityofHawai’iPress. Modernity, editedbyJoshuaBarker,Southeast Asian ErikHarms,andJohanLindquist,1–17. Barker, Joshua,ErikHarms,andJohanLindquist.2014.“Introduction.”InFigures of May 4. and ReligiousEncounters, Workshop ofthe Austrian Academy ofSciences, Vienna, Austria, Lifestyles andOnlineMuslimFandom.”Conferencepaper, ContemporaryMediaPractices Barendregt, Bart,andLusvitaNuzuliyanti.2018.“From ShariatoSeoul:Musically-inspired van der Veer. New York: Routledge. Asad, Talal. 1996.“CommentsonConversion.”InConversiontoModernities,editedbyPeter

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198 Carla Jones www.youtube.com/watch?v=WEVVgcSx7pE&ab_channel=HijrahfestOfficial. Hijrahfest Official. 2019.“AYANA.” YouTube video,June24. Accessed [July5,2020]https:// Propagation ofFelixSiauw.” IndonesiaandtheMalayWorld 46(134):61–79. Hew, Wai Weng. 2018.“The Art ofDakwah:SocialMedia, Visual PersuasionandtheIslamist Routledge Belonging, editedbyChang-Yau HoonandSiew-MinSai,179–199.LondonNew York: of ChineseMuslimPreachers.”InIndonesiansReassessed:History, Religionand Hew, Wai Wang. 2012.“Expressing Chineseness,MarketingIslam:Hybridperformance Far EasternQuarterly2(1):15–30. Heine-Geldern, Robert.1942.“ConceptionsofStateandKingship in Southeast Asia.” The Anthropology 24(4):589–621. George, Kenneth.2009.“Ethics,Iconoclasm,andQur’anic Art inIndonesia.”Cultural Comparative StudiesinSocietyandHistory2(2):228–249. Geertz, Clifford. 1960.“The JavaneseKijaji: The ChangingRoleofaCulturalBroker.” Leisure, Community, andEverydayLife.New York: Basic Books. Florida, Richard.2002.TheRiseoftheCreative Class…andHowit’s Transforming Work, edited byGregFealyandSally White, 15–39.Singapore:ISEAS. Contemporary Indonesia.”InExpressing Islam:ReligiousLifeandPoliticsinIndonesia, Fealy, Greg.2008.“ConsumingIslam:CommodifiedReligionand AspirationalPietismin Cambridge UniversityPress. Cannell, Fenella.1999.PowerandIntimacyintheChristianPhilippines.Cambridge: and theConstructionofReligious Authority.” TheMuslimWorld 110 (2):154–177. Burhani, Ahmad Najib.2020.“Muslim Televangelists intheMaking:ConversionNarrative yber C yber

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199 Carla Jones Jones, Carla. 2010.“Materializing Piety:Gendered Anxieties aboutFaithful Consumptionin Brazil. 2017. Jarrin, Alvaro. 2021]. https://www.instagram.com/p/BmVqczTAN2a/. Jakarta Fashion Week (@jfwofficial). 2018.Instagramphoto, August 11. Accessed [April10, indonesian-identities-at-the-2019-ny-now-300897624.html. [September 21,2020].https://www.prnewswire.com/news-releases/bekraf-highlights-the- Indonesian Identitiesatthe2019NY7. Accessed Now.” website, August PRNewswire Indonesian Agency forCreativeEconomy(BEKRAF).2019.“BekrafHighlightsthe celebrity-sociality/the-revival-of-riya. Accessed [September21,2020].http://americanethnologist.org/features/collections/piety- Asia, editedbyMartinSlamaandCarlaJones.AmericanEthnologist website,November8. Indonesia.” InPiety, Celebrity, Sociality: A ForumonIslamandSocialMediainSoutheast Husein, Fatimah.2017.“TheRevivalofRiya’:DisplayingMuslimPietyOnlinein Korean Wave. HongKong:KongUniversityPress. Huat, ChuaBeng,andKoichiIwabuchi,eds.2008.East Asian PopCulture: Analysing the Indonesia, editedbyGregFealyandSally White, 40–62.Singapore:ISEAS. Promoters ofIndonesian‘Sufism.’”InExpressing Islam:ReligiousLifeandPoliticsin Howell, JuliaDay. 2008.“Modulationsof Active Piety: Professorsand Televangelists as 416. LondonandNew York: Routledge. Islam.’” InRoutledgeHandbookofContemporaryIndonesia,editedbyRobertHefner, 406– Hoesterey, James.2018.“PublicDiplomacyandtheGlobalDisseminationof‘Moderate Alto: StanfordUniversityPress. Hoesterey, James.2016.RebrandingIslam:Piety, Prosperity andaSelf-HelpGuru.Palo Berkeley andLos Angeles: UniversityofCaliforniaPress. Ho, Engseng.2006.TheGravesofTarim: GenealogyandMobility Across theIndian Ocean. Princeton: Princeton UniversityPress. yber The BiopoliticsofBeauty:Cosmetic Citizenshipand Affective Capitalin C yber O rient, Vol. 15, Iss. 1, 2021

200 Carla Jones Keane, Webb.2006. South Korea.”Positions25(4):745–767. Jung, Minwoo.2017.“PrecariousSeoul:UrbanInequalityandBelongingof Young Adults in Francisco, CA:Fine Arts MuseumsofSanFrancisco. Contemporary MuslimFashions,editedbyJillD’AlessandroandReinaLewis,70–79.San Jones, Carla.2018.“StylishEthics:IndonesianModestFashionandNationalImage.”In Contemporary UrbanIndonesia.”AmericanEthnologist37(4):617–637. Mandal, Sumit. 2018.Becoming Arab: Creole HistoriesandModernIdentityin the Malay Comparative Studies South Asia, Africa andtheMiddleEast31(2):296–311. Mandal, Sumit.2011. “TheSignificanceoftheRediscovery ArabsintheMalay World.” Jerusalem.” Lücking, Mirjam.2019.“Travelling withtheIdeaof Taking Sides:IndonesianPilgrimagesto (103): 1–20. Moralities andConstructionsof Arab OthersinContemporaryIndonesia.”SocialSciences6 Lücking, Mirjam,andEviEliyanah.2017.“Imagesof Authentic Muslim Selves:Gendered in Asia?” Chic Leshkowich, Ann Marie,andCarlaJones.2003.“WhatHappens When Asian ChicBecomes Winds. LondonandNew York: Routledge. Laffan, Michael.2003.IslamicNationhoodandColonialIndonesia:TheUmmaBelowthe Performance ofProfessionalisminMalaysia.”AmericanEthnologist46(2):162–175. Kloos, David.2019.“ExpertsBeyondDiscourse: Women, Islamic Authority, andthe ComparativeStudiesinSocietyandHistory60(4):758–785. Indonesian Qur’an.” Keane, Webb. 2018.“Divine Text, NationalLanguage,and Their Publics: Arguing an Berkeley andLos Angeles: UniversityofCaliforniaPress. yber Bijdragen totdeTaal-, Land-enVolkenkunde 175:196–224. Fashion Theory7(3–4):281–300. Christian Moderns:Freedom andFetishintheMissionEncounter. C yber O rient, Vol. 15, Iss. 1, 2021

201 Carla Jones Southeast Asia,editedbyRosalind Morris,1–28.Durham:Duke University Press. East andSoutheast Asia.” InPhotographiesEast: TheCameraandItsHistories inEastand Morris, Rosalind.2009.“Introduction: PhotographiesEast: The CameraandItsHistoriesin Moon, Ayana Jihye.2020c. Ayana: MyJourneytoIslam.Jakarta:GramediaPustakaUtama. 10, 2021].https://www.instagram.com/p/B7VvTsDFBNS/. Moon, Ayana Jihye(@xolovelyayana).2020b.Instagramphoto,January15. Accessed [May 10, 2021].https://www.instagram.com/p/B9jWl8HFJP0/. Moon, Ayana Jihye(@xolovelyayana).2020a.Instagramphoto,March10. Accessed [May 2021]. https://www.instagram.com/p/BwHJSh3Hp-u/. Moon, Ayana Jihye(@xolovelyayana).2019b.Instagramphoto, April 11. Accessed [May10, 10, 2021].https://www.instagram.com/p/B4KGRUbl97t/. Moon, Ayana Jihye(@xolovelyayana).2019a.Instagramphoto,October28. Accessed [May 2021]. https://www.instagram.com/p/BjpXueJFLY3/. Moon, Ayana Jihye(@xolovelyayana).2018b.Instagramphoto,June5. Accessed [May10, 2021]. https://www.instagram.com/p/BkKiUlTl8Gs/. Moon, Ayana Jihye(@xolovelyayana).2018a.Instagramphoto,June18. Accessed [May10, 2021]. https://www.instagram.com/p/BTvKD2qDeJ1/. Moon, Ayana Jihye(@xolovelyayana).2017.Instagramphoto,May5. Accessed [May10, Ithaca: CornellUniversityPress. Millie, Julian.2017.Hearing Allah’s Call:Preaching andPerformanceinIndonesianIslam. Religion inForeign Policy. Washington, D.C.: The BrookingsInstitution. Mandaville, Peter, andShadiHamid.2018.IslamasStatecraft:HowGovernmentsUse World. Cambridge:CambridgeUniversityPress. yber C yber O rient, Vol. 15, Iss. 1, 2021

202 Carla Jones Siegel, James. 1998.A NewCriminalType inJakarta: Counter-Revolution Today. Durham: Schwab, Klaus.2017. TheFourthIndustrial Revolution.New York: CrownBooks. University ofHawai’iPress. Saraswati, L. Ayu. 2013. Seeing Beauty, SensingRaceinTransnational Honolulu: Indonesia. Photograph, October. Jakarta: Wardah Cosmetics,usedwithpermission. Salsabila, Shabrina,photographer. 2018.“[DianPelangi’s Fall2018runwayshow.]” Mizam Pustaka. Kebangsaan Sahal, Akmad, andMunawir Aziz. 2015.IslamNusantara:DariUshûlFiqhHinggaPaham an IndonesianFrontier. Princeton:PrincetonUniversityPress. Rutherford, Danilyn.2003.RaidingtheLandofForeigners: TheLimitsoftheNationon modest-fashion. 2020]. https://republika.co.id/berita/py9jd5115932449519000/bekraf-kembangkan-ekosistem- Modest FashionEcosystem].”Republika Republika.com. 2019.“BekrafKembangkanEkosistemModesFashion[BekrafPromotesthe Haven: Yale University Press. Reid, Anthony.1988. Culture.” Rea, Stephen.2018.“CalibratingPlay:SociotemporalityinSouthKoreanDigitalGaming Worldmaking 4(3,Fall):67–80. Pham, Minh-Ha.2017.“RacialPlagiarismandFashion.”QED: A journalGLBTQ Pemberton, John.1994.OntheSubjectof“Java.”Ithaca:CornellUniversityPress. https://www.instagram.com/p/CCTOZvSFJkz/. Pelangi, Dian(@dianpelangi).2020.Instagramphoto,July6. Accessed [July6,2020]. American Anthropologist 120(3):500– yber [:FromLegalPreceptstoCommunity Awareness]. Southeast Asia inthe Age ofCommerce, 1450– C yber O rient, Vol. website, September24. Accessed [September21, 511. 15, Iss. 1, 2021 1680, Volume 2.New :

203 Carla Jones article/the-multibillion-dollar-modest-fashion-industry-thats-gone-global. British Vogue website,October 19. Accessed [September21,2020]. https://www.vogue.co.uk/ Usher, Pip.2018.“TheMultiBillion-Dollar ModestFashionIndustry That’s GoneGlobal.” com/watch?v=6yOGDL2Z9fg&ab_channel=TRANS7OFFICIAL. (15/01/18) 3-4.”YouTube video,January15. Accessed [July5, 2020].https://www.youtube. TRANS7 OFFICIAL.2018.“AYANA MOON,SELEBGRAMKOREA |HITAM PUTIH hijab-dunia-ini-sebabnya. [September 21,2020].https://bisnis.tempo.co/read/735244/bekraf-ingin-indonesia-jadi-kiblat- Indonesia toBecometheKiblatforHijabi World].” Tempo Tempo.com. 2016.“BekrafInginIndonesiaJadiKiblatHijabDunia. [Bekraf Wants Citations refertotheJournalofEthnographicTheorypublication. action: AnAnthropologicalPerspective, 3–31.Cambridge,MA:HarvardUniversityPress. Journal ofEthnographicTheory3(3):503–534.ReprintCulture, Thought,andSocial Tambiah, StanleyJeyaraja.2013[1973].“TheGalacticPolityinSoutheast Asia.” HAU: Indonesia. Durham:DukeUniversityPress. Strassler, Karen. 2020.DemandingImages:Democracy, MediationandtheImage-Eventin Asia.” Steedly, MaryMargaret. 1999.“TheStateofCulture Theory inthe Anthropology ofSoutheast Research Press. Move, editedbyPatriciaSpyerandMarySteedly, 3–40.SantaFe:Schoolfor Advanced Spyer, Patricia,and MarySteedly. 2013.“Introduction:ImagesthatMove.”InThat Concepts ofPower.” Archiv Orientální, Slama, Martin.2020.“ImaginingIndonesianIslamasaCenter:NewMediationsandOld Indonesia’s IslamicpreacherEconomy.” EconomicAnthropology 4(1,January):94–106. Slama, Martin.2017.“A SubtleEconomyof Time: SocialMediaandthe Transformation of Duke UniversityPress. Annual Reviewof Anthropology 28:431–54. yber C yber O rient, Vol.

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204 Carla Jones 4 3 2 1 Notes 2020]. https://www.youtube.com/watch?v=Cc2GuBPfzfA&ab_channel=WardahBeauty. #YourBeautyIsReadyToFaceTheWorld].” YouTube video, August 11. Accessed [September21, WardahBeauty. 2020.“Wardah #CantikmuSiapHadapiDunia.[Wardah youtube.com/watch?v=LhvxkgZD_7A&ab_channel=WardahBeauty. with Ayana JihyeMoon.“YouTube video,July15. Accessed [July5,2020].https://www. WardahBeauty. 2019.“Wardah Heart toHeartwithDewiSandra-Episode2:FunSession skin tolighter skintonesshould bereadas signifiers forcosmopolitaneity in general. categories ofbeauty haveshiftedovertimefromaclassically romanticpreferencefor yellow confused withalonging forEuro-Americanracialidentity. Rather, thefactthat Indonesian as Ayu Saraswatiargues (2013),whitenessinIndonesian conceptionsofbeautyshouldnotbe that featurewhitemodelsandgain cachetforappearingtobediverse. are theresultofprecisehistoriesoppression,suchasdreadlocksor blackface,forcollections rests onadmiration. celebrity, suggestingthattheirothernessislessavailableforakindofdomestication considered essentiallyother, suchasPapua,donotexperiencethesamedegreeofadoring have convertedtoIslam.Relatedlyandtellingly, convertsfromregionsofIndonesia thatare taking onIndonesianfamilynamesandgenerallyde-emphasizingtheirdifference, evenifthey erasure andstigmatizationofChineseIndonesianswhohavebeenrequiredtoassimilatethrough Ethnicity alsofiguresinthedismissalofotherothersIndonesia,mostevidentcomplex that heisoutoftouchwithauthenticIndonesianreligioustastes,inspitehislarge following. example, criticsofHabibRizieqShihab,leaderthehardlineIslamicDefendersFront,ar language. sacred mishandling potentially for site anxious an and for worship medium appealing an both is Indonesia in Arabic While whitenessresonatesatleast partlyherewithracialdifference, andhence foreignness, Pham describesdesignersintheUSandEuropeasco-optingdistinct minority aestheticsthat Notably, beingmarkedasforeigndoesnotalwaysconferattractiveallurein Indonesia.For As Kenneth George (2009) and Webb Keane (2018) each argue, facility with Qur’anic Qur’anic with (2018) Webb (2009) facility and Keane George argue, each Kenneth As

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