Open Journal Systems

Wajah Alquran dan Hadis dalam Bingkai Meme: dari Estetis menjadi Lukratif

muhammad saifullah

Abstract

Seiring dengan lahirnya generasi Muslim baru yang melek digital serta adanya tekstur dunia maya yang berbeda sama sekali dengan dunia nyata, rupanya itu berdampak pada pergeseran cara resepsi masyarakat Muslim Indonesia kontemporer atas Teks Sucinya. Jika sebelumnya mungkin bisa dirangkum menjadi tiga pola: eksegis, estetis, dan fungsional, maka kali ini ceritanya bisa berbeda. Artikel ini mencoba untuk menginvestigasi pergeseran di muka melalui meme-meme di media sosial, khususnya Instagram, yang memuat baik kutipan ayat Alquran atau teks hadis. Salah satunya adalah meme unggahan akun @taaruf_nikah yang menuangkan interpretasi ringkas surah al-Zumar (39): 10 dalam latar rerumputan menguning silir oleh angin, bangkai kursi di tengahnya, fon identik, dan kesinambungan warna yang menyatu. Di situ tertulis, “Yang sabar ya.” Untuk melihat meme ini sebagai semata resepsi estetis, saya kira akan ada banyak hal yang dibuang, mengetahui yang mengunggah adalah tim kreatif dari akun yang mendaku dirinya sebagai agen biro jodoh daring. Namun, ketika dipahami sebaliknya, ia cukup menyisakan titik-titik keindahan. Dari sini, artikel ini tergoda untuk mengamati sejauh mana meme-meme Alquran dan hadis diproduksi dan kemudian dikonsumsi yang akhirnya berujung pada pembentukan wacana keberagamaan di benak masyarakat virtual Indonesia. Artikel berpendapat jika pergeseran paling mencolok bersemayam pada lahirnya pola resepsi lukratif, semacam fungsional tapi lebih praktis.

Along with the birth of digitally literate Muslim generation and cyberspace texture in which does not resemble to its real world at all, it apparently influences upon shift of how contemporary Indonesia Moslems receive (doing reception) their sacred texts. If before one could cover it become three patterns: exegesis, aesthetic, and functional reception, so that nowadays within digital world the emergence story diverges. This article wants to investigate a mentioned shift through memes in social media chiefly Instagram contained either Quran’s quote or hadith’s. One of them is what account @indonesiabertauhid has uploaded in regard with al-Zumar (39): 10. It depicts the simple interpretation with long mature grass backdrop, a carcass seat in the centre, and breaf punch line, including their identical font. One affords to find writing such, “Yang sabar ya.” To render these memes as merely the fruit of aesthetic reception, I deem it shall disband many things, knowing that the creative team is standing under account which claims itself as online matchmaker agent, but to conversely treat, it also remains some scenic points probably. The article therefore interests to disclose to what extent those memes are produced and consumed within which culminates upon religious making-meaning among virtually Indonesian. All in all, it can be argued that a strikingly shift occurs on birth of so-called lucrative reception, such functional yet rather practical.

 

Keywords


Resepsi Muslim, meme Alquran-Hadis, Instagram.

References


Asad, Talal. The Idea of an Antrhopology of Islam. Washington: Center for Contemporary Arab Studies. 1986.

Bellar, Wendi dkk., “Reading Religion in Internet Memes”. Journal of Religion, Media and Digital Culture. 2 (2). 2013.

Burroughs, Benjamin dan Gavin Feller, “Religious Memetics: Institutional Authority in Digital/Lived Religion”. Journal of Communication Inquiry. 2015. Vol. 39(4).

Castells, Manuel. Network of Outrage and Hope: Social Movement in the Internet Age, edisi kedua. Cambridge: Polity Press. 2015.

Eco, Umberto. The Role of the Reader: Explorations in the Semiotics of Texts. Bloomington: Indiana University Press. 1984.

Fuchs, Christian. “Some Reflections on Manuel Castell’s Book ‘Network of Outrage and Hope: Social Movement in the Internet Age”. TripleC. 10 (2). 2012.

Goriunova, Olga. “The Force of Digital Aesthetics On Memes, Hacking, and Individuation”. The Nordic Journal of Aesthetics. No. 47 (2014).

Halim, Wahyuddin. “Young Islamic preachers on Facebook: Pesantren As’adiyah and its engagement with social media”. Indonesia and the Malay World. 46:134. 2018.

Hasan, Noorhaidi. “The Drama of Jihad : The Emergence of Salafi Youth in Indonesia” dalam Linda Herera dan Asef Bayat. Being Young and Being Muslim: New Cultural Politics in the Global South and North. Oxford: Oxford University Press. 2010.

http://kontakk.com/@indonesiabertauhid.

https://indonesiabertauhid.com/profil/

https://www.instagram.com/indonesiabertauhidofficial/?hl=en.

Miller, Daniel. Tales from Facebook. Cambridge: Polity Press. 2011.

Miski. “Fenomena Meme Hadis Celana Cingkrang dalam Media Sosial”. Harmoni. 16 (2). 2017

Nisa, Eva F. “Creative and Lucrative Da’wa: The Visual Culture of Instagram amongst Female Muslim Youth in Indonesia”. Asiascape: Digital Asia. 5. 2015.

Qudsy, Saifuddin Zuhri. “Meme Hadis Celana Cingkrang: Menciptakan Budaya Tanding” dalam http://jalandamai.org/meme-hadis-celana-cingkrang-menciptakan-budaya-tanding.html.

Rofiq, Ahmad. The Reception of the Qur’an in Indonesia: A Case Study of the Place of the Qur’an in a Non-Arabic Speaking Community. The Temple University US, ProQuest LLC, 2014.

Saifullah, Muhammad. “Beyond Moslems Panics: an Exploration upon Instagram Matchmaker in Indonesia”, artikel belum dipublikasikan, dipresentasikan pada ICONIS 2018, 2-3 Agustus di Salatiga.

Shifman, Limor. "An Anatomy of a YouTube Meme". New Media & Society. 14. no. 2 (2012).

_____________. Memes in Digital Culture. Cambridge: MIT Press. 2014.

Zayd, Nasr Hamid Abu. Tekstualitas Al-Qur'an: Kritik terhadap Ulumul Qur'an. Yogyakarta: LKiS. 2002.




DOI: 10.21043/riwayah.v5i1.5041

How To Cite This :

Refbacks

  • There are currently no refbacks.