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All Journal Focus Integritas Terbuka: Peace and Interfaith Studies
Renatha Aisya Nazwanindya
Prodi Studi Humanitas, Fakultas Filsafat, Universitas Katolik Parahyangan
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Negotiating Tradition and Digitalization: The Cultural Agency of Indigenous Communities in Social Media Adaptation in Indonesia Paelani Setia; Moh. Dulkiah; Muhammad Ikhlas Rosele; Kristining Seva; Renatha Aisya Nazwanindya
Integritas Terbuka: Peace and Interfaith Studies Vol. 5 No. 1 (2026): Integritas Terbuka: Peace and Interfaith Studies
Publisher : Kongregasi Hati Kudus Yesus (RSCJ) Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59029/int.v5i1.82

Abstract

This study analyzes how indigenous communities in Indonesia, particularly the Cireundeu Indigenous Community, manage the relationship between tradition and digitalization through practices of cultural agency in the use of social media. The study employs a qualitative approach with a case study design through interviews, participant observation, and analysis of community social media content. The findings show that digital adaptation in Cireundeu occurs through three forms of cultural agency. First, community elders demonstrate a cautious attitude toward social media as an effort to preserve the continuity of cultural values (resist). Second, the community adjusts the use of technology to existing customary norms (negotiate). Third, younger generations utilize social media for cultural education, tourism promotion, identity representation, and local economic development (enact). This process is supported by collaboration among community members, universities, local government institutions, and other digital actors. The study shows that the community does not perceive social media as a threat to tradition. Instead, community members use social media as a medium to reproduce cultural identity and expand the visibility of the indigenous community. This study contributes to the scholarship on indigenous communities and digital transformation by proposing a cultural agency-based digital adaptation model that explains the relationship between tradition and technology within the context of indigenous communities in Indonesia.
Islamic Art at the Crossroads of Modernity: Aesthetic and Spiritual Interpretations in the Works of Ahmad Sadali and A.D. Pirous in Indonesia Renatha Aisya Nazwanindya; Mochamad Ziaul Haq; Yacobus Ari Respati; Henrycus Napitsunargo
FOCUS Vol. 6 No. 2 (2025): Focus
Publisher : Parahyangan Catholic University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/pzpxe735

Abstract

This study examines how contemporary Indonesian Islamic painting functions as a medium of spiritual reflection and as an intellectual project that negotiates Islamic tradition with global modernity. Focusing on the works of Ahmad Sadali and A.D. Pirous, the study responds to an academic concern regarding the persistent fragmentation in Islamic art scholarship among aesthetic, symbolic, and philosophical approaches, as well as the limited comparative readings of Indonesian Muslim artists within the global discourse of Islamic art. Employing a qualitative approach with an interpretive-analytical research design, the study collects data through direct observation of artworks at the exhibition Seabad Sadali: Menjejak Bumi Menembus Langit at Selasar Sunaryo Art Gallery and through visits to Studio Galeri Serambi Pirous, complemented by a literature review of theoretical works and previous studies on Islamic art, abstraction, calligraphy, and visual theology. The findings demonstrate that Ahmad Sadali and A.D. Pirous represent two distinct yet complementary aesthetic strategies within modern Indonesian Islamic painting. Sadali articulates tawḥīd through a quiet and contemplative mode of symbolic abstraction, whereas Pirous advances the deconstruction of calligraphy and heightened visual intensity as a dialogical expression of spiritual anxiety and faith. Together, their works affirm that Islamic painting does not operate merely as decorative art, but functions as a practice of visual theology—a mode of Islamic thinking enacted through symbols, color, and spatial composition. The implications of this study underscore the importance of visual art as an integral part of contemporary Islamic intellectual tradition, while also opening pathways for the development of more inclusive approaches to Islamic art education, curatorial practice, and public dialogue. The originality of this research lies in its comparative reading of Sadali and Pirous as an intellectual project of Indonesian Islamic art, positioning Indonesia not as a peripheral case but as a reflective and active contributor to the global discourse on Islamic art.
Co-Authors Henrycus Napitsunargo Mochamad Ziaul Haq Moh. Dulkiah Muhammad Ikhlas Rosele Paelani Setia Seva, Kristining Yacobus Ari Respati