Islam is a religion but there are also popular cultures of Islam that are mass mediated, commercialized, pleasure-filled, humorous, and representative of large segments of society. This book illuminates how Muslims (and non-Muslims) in Indonesia and Malaysia make sense of their lives within an increasingly pervasive, popular culture of Islamic images, texts, film, songs, and narratives.
What does it mean to be a modern Muslim today? In contemporary discourse Islam and modernity are often presented as each other’s opposites in media and popular culture. Southeast Asia has a large Muslim population, especially in Indonesia, Malaysia, and Singapore, but Islamic culture in these states is conspicuously absent from the wider global discourse on Islam. With a focus on popular culture in Indonesia – a country that houses the world’s largest Muslim population and that is also undergoing modernisation –Islamic Modernities in Southeast Asia will demonstrate how Islamic modernities are being negotiated and constructed through popular and visual culture from a trans-regional perspective. Looking at a variety of Islamic-themed popular and visual culture including rock music, cinema, art, visual decorations in shopping malls, self-help books, and fashion blogs, the book explores how Islamic modernities are imagined, negotiated, contested, and shared in Southeast Asia.
This book offers a comparative and cross-cultural history of Islamic reform and European colonialism as both dependent and independent factors in shaping the multiple ways of becoming modern in Indonesia and Malaya during the first half of the twentieth century.
This book presents a historical overview of the Indonesian film industry, the relationship between censorship and representation, and the rise of Islamic popular culture. It considers scholarship on gender in Indonesian cinema through the lens of power relations. With key themes such as nationalism, women's rights, polygamy, and terrorism which have preoccupied local filmmakers for decades, Indonesia cinema resonates with the socio-political changes and upheavals in Indonesia’s modern history and projects images of the nation through the debates on gender and Islam. The text also sheds light on broader debates and questions about contemporary Islam and gender construction in contemporary Indonesia. Offering cutting edge accounts of the production of Islamic cinema, this new book considers gendered dimensions of Islamic media creation which further enrich the representations of the 'religious' and the 'Islamic' in the everyday lives of Muslims in South East Asia.
Indonesian Islam is often portrayed as being intrinsically moderate by virtue of the role that mystical Sufism played in shaping its traditions. According to Western observers--from Dutch colonial administrators and orientalist scholars to modern anthropologists such as the late Clifford Geertz--Indonesia's peaceful interpretation of Islam has been perpetually under threat from outside by more violent, intolerant Islamic traditions that were originally imposed by conquering Arab armies. The Makings of Indonesian Islam challenges this widely accepted narrative, offering a more balanced assessment of the intellectual and cultural history of the most populous Muslim nation on Earth. Michael Laffan traces how the popular image of Indonesian Islam was shaped by encounters between colonial Dutch scholars and reformist Islamic thinkers. He shows how Dutch religious preoccupations sometimes echoed Muslim concerns about the relationship between faith and the state, and how Dutch-Islamic discourse throughout the long centuries of European colonialism helped give rise to Indonesia's distinctive national and religious culture. The Makings of Indonesian Islam presents Islamic and colonial history as an integrated whole, revealing the ways our understanding of Indonesian Islam, both past and present, came to be.
Processes of transformation typically defined as "modernising" have been pervasive in Indonesia and Malaysia over an extended period of time and have played a central role in shaping the societies of both countries. Questioning Modernity in Indonesia and Malaysia engages critically with the concept of modernity considering the way it has been used in the analysis of cultural, social, economic and political processes in the two countries. The book argues that while Indonesia and Malaysia can both be considered fully modern, their modernities are not merely derivative of the Western understanding of the word. Written by scholars from both "inside" and "outside" the region, the case studies presented in this volume highlight the extent to which the intellectual tools, concepts, and theories commonly used in academic research reflect a European/Western modernist imaginary. Starting from the premise that modernity viewed from a local rather than a Western perspective takes on different qualities, the authors show how the process of conducting social research in Asia might be re-conceptualized on the basis of a revised understanding of this crucial idea. Their essays make a compelling case for the need to re-assess the application of a supposedly "Western" concept to the study of Asia.
Popular culture serves as a fresh and revealing window on contemporary developments in the Muslim world because it is a site where many important and controversial issues are explored and debated. Aesthetic expression has become intertwined with politics and religion due to the uprisings of the “Arab Spring,” while, at the same time, Islamist authorities are showing increasingly accommodating and populist attitudes toward popular culture. Not simply a “westernizing” or “secularizing” force, as some have asserted, popular culture now plays a growing role in defining what it means to be Muslim. With well-structured chapters that explain key concepts clearly, Islam and Popular Culture addresses new trends and developments that merge popular arts and Islam. Its eighteen case studies by eminent scholars cover a wide range of topics, such as lifestyle, dress, revolutionary street theater, graffiti, popular music, poetry, television drama, visual culture, and dance throughout the Muslim world from Indonesia, Africa, and the Middle East to Europe. The first comprehensive overview of this important subject, Islam and Popular Culture offers essential new ways of understanding the diverse religious discourses and pious ethics expressed in popular art productions, the cultural politics of states and movements, and the global flows of popular culture in the Muslim world.
The history of the Prosperous Justice Party (PKS) is part of the longstanding tradition of political Islam in Indonesia. Born in 1912 with the foundation of the Union of Muslim Traders (Sarekat Dagang Islam) this trend dominated the emerging nationalism in the Dutch East Indies for nearly twenty years. This initial momentum lies at the the origin of the two-dimensional Islamist project: to islamicise society by cleansing Islam of all practices considered to be impure; to mobilise the electorate by invoking Islamic values and their necessary implementation. Indeed, the birth and development of political Islam was closely linked to the reformist Muslim movement which in religious, cultural and social matters attempted to face the colonial challenge through a religious surge. In Indonesia, the Muhammadiyah, founded in 1912, and the Persatuan Islam, founded in 1923, provided most of the early generations of activists. During the decade after independence, militant Islam played a leading role in Indonesian politics. Between 1945 and 1960, the Masjumi party, which brought together most Muslim organisations, was one of the main government components and thereby constituted the matrix of political Islam in Indonesia to which the current generation of activists still refer. The discussions conducted within this party, especially the delicate compromises made between divine law and people's democracy, preconfigured the present debates conducted by Islamic parties. Like the current leaders of the PKS, this first generation of “government Islamists” was also confronted with economic and social modernity issues such as those related to the role of the West in this process. As the two following contributions remind us, its failure is mainly due to domestic reasons that in turn heavily influenced the way Indonesian Islam later considered these issues. Banned by President Sukarno and marginalised by the emerging New Order, the proponents of militant Islam had no choice but to withdraw from conventional politics. Here the organisational model of the Muslim Brotherhood (also repressed in several Arab countries) as well as the financial resources and literature made available to them by Wahhabi Islam networks contributed to the radicalisation of their discourse. The two terms Dakwah (preaching) and Tarbiyah (education) were therefore used to describe a movement based on the conviction that the re-Islamisation of Indonesian society was the essential precondition for its return to the political scene. Paradoxically, after the initial phase of repression, it was the New Order that favoured this agenda. From the early 1990s, some of the networks born from the Islamic revival were instrumented by a power lacking support and looking for scapegoats (Sino-Indonesian Christians...) on whom to deflect public anger. However, most student associations from the Tarbiyah movement did not let themselves be dragged into this trend and, true to their moral position, joined the opposition against the declining Soeharto regime. From this movement the Justice Party (PK) was born in 1998 (later transformed into the Prosperous Justice Party, or the PKS).
This book examines popular culture in Indonesia, bringing material on Indonesia’s media and popular culture to an English readership for the first time. It includes analysis of important themes including citizenship, gender, class, age and ethnicity, showing how developments in Indonesian society more generally are inextricably linked to popular culture.
