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KESALEHAN DIGITAL DAN POLITIK VISIBILITAS: FLUIDITAS IDENTITAS KEAGAMAAN PEREMPUAN BERCADAR DI INSTAGRAM (Text)
KESALEHAN DIGITAL DAN POLITIK VISIBILITAS: FLUIDITAS IDENTITAS KEAGAMAAN PEREMPUAN BERCADAR DI INSTAGRAM (Other)
The dissertation analyzes the construction, the negotiation, and the dispute of religious identity of niqabed women on Instagram in the Indonesian digital Islamic transformation. Looking at the fact that ‘niqab’ has undergone a purpose shift from a symbol of theological purification and ideology towards a plural identity articulation field in social media; this research places niqabing practice in a wider discursive and historical path. In particular, it answers four research questions. Before entering a digital field, what historical dynamics is there on the niqabing practice in Indonesia? How have niqabed women been constructed in Instagram? Why is the construction nonsingular and fragmented? And what type of negotiation and identity of niqabed women dispute is there reflecting the discourse dynamic in public digital space? This qualitative research applies virtual observations on the Instagram accounts of niqabed women, in-depth interviews with key informants, digital (uploads, online archive, screenshots) documentation, and literature interdisciplinary studies of Islam, history, anthropology, and media. Analysis is carried out by integrating three theoretical frameworks: network society and identity typology by Manuel Castells (legitimacy, resistance, project); the concept of digital religion from Heidi A. Campbell and Wendi Bellar (networked community, convergent practice, storied identity, shifting authority, multisite reality and experiential authenticity); and the framework of liquid modernity from Zygmunt Bauman to explain individuality and identity fragmentation in a liquid modernity condition. The results show the followings. First, the practice of faceveiling in Indonesia is rooted in the transcultural dynamics which began in the 19th century from an Islam reformism from Arab, transnational Islamic movements and the post-9/11 stigma phase from which a reimaging process through some popular traditions, such as novels and films, and digital media activism occurs. Second, in the Instagram, the face-veiled women identity is articulated in three configurations: (1) legitimacy identity, to reproduce the normative authority on the basis of texts and ulama, and to impose on tight moral boundaries; (2) resistance identity rearticulates niqab a symbol of agent which opposes the stigma of extremism, no-social, subordinate status of women (from the external) and the stigma of Indonesian Islam moderation incompatibility (from the internal); (3) project identity integrates niqab and global esthetics as an agenda of lifestyle, personal branding, and economy. Third, identity fragmentation is created by the Indonesian Muslim socio-cultural plurality, digital mediation and lived religion transformation, religious authority decentralization, algorithmic logic and attention economy, and biographic individual responsibility on a structural situation. Fourth, identity dispute occurs in three main discourse: authenticity, morality, and economy, which shows the dialectics between purification and popularization, between patriarchal control and woman agency, and between piety and symbolic co-modification. The dissertation’s contribution lies on the development of an integrative analytical framework in the contemporary Islamic studies by connecting the theory of community networking, digital religious, and liquid modernity to read the transformation of the religious identity of a female Muslim. The study affirms that the identity of a niqabed woman in the era of Instagram is not a deviant phenomenon, instead, it is a dynamic, performance religious expression reflecting the authority configuration, meaning, and religion practice in the Indonesian Islamic landscape of the 21st century.
KESALEHAN DIGITAL DAN POLITIK VISIBILITAS: FLUIDITAS IDENTITAS KEAGAMAAN PEREMPUAN BERCADAR DI INSTAGRAM
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PASCASARJANA, UIN SUNAN KALIJAGA YOGYAKARTA