Windya Revani
Universitas Islam Negeri Sjech M. Djamil Djambek Bukittinggi

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Representasi Nasionalisme dan Makna Simbolik Tugu Peringatan Perang Kamang Analisis Semiotika Peirce Windya Revani; Risnawita
AdabCare: Journal of Humanities & Da‘wah Service Vol. 1 No. 1 (2025): Maret 2025
Publisher : Fakultas Ushuluddin Adab dan Dakwah - Universitas Islam Negeri Sjech M. Djamil Djambek Bukittinggi

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Penelitian ini bertujuan untuk menganalisis representasi nasionalisme pada Tugu Peringatan Perang Kamang di Sumatera Barat menggunakan pendekatan semiotika Charles Sanders Peirce. Latar belakang penelitian ini adalah pentingnya memahami simbol perjuangan sebagai media edukasi bagi generasi muda di era modern yang menghadapi tantangan globalisasi dan kemajuan teknologi informasi. Metode yang digunakan adalah deskriptif kualitatif dengan pengumpulan data melalui observasi visual, dokumentasi, dan studi literatur. Analisis semiotika diterapkan untuk menafsirkan makna visual dan simbolik dari tugu, termasuk fondasi, delapan relief peristiwa perang, dan empat patung pejuang yang menjadi tokoh sentral perjuangan. Hasil penelitian menunjukkan bahwa elemen-elemen tugu merepresentasikan nilai-nilai nasionalisme, seperti kesadaran kolektif, solidaritas, keberanian, pengorbanan, serta penghormatan terhadap pahlawan dan budaya lokal. Tokoh-tokoh seperti Datuk Rajo Pangulu dan Siti Aisyah menegaskan peran inklusif masyarakat dalam perjuangan kemerdekaan. Tugu Perang Kamang tidak hanya menjadi simbol perjuangan, tetapi juga media pendidikan yang efektif untuk menanamkan semangat nasionalisme pada generasi muda dan memperkuat persatuan bangsa. This study aims to analyze the representation of nationalism in the Kamang War Monument in West Sumatra using Charles Sanders Peirce’s semiotic approach. The background of this research is the importance of understanding symbols of struggle as an educational medium for younger generations in the modern era, which faces challenges from globalization and technological advancements. This study employs a qualitative descriptive method with data collected through visual observation, documentation, and literature review. Semiotic analysis is applied to interpret the visual and symbolic meanings of the monument, including its foundation, eight reliefs depicting war events, and four statues of central figures in the struggle. The findings indicate that the monument’s elements reflect nationalism values such as collective consciousness, solidarity, courage, sacrifice, and respect for heroes and local culture. Figures such as Datuk Rajo Pangulu and Siti Aisyah highlight the inclusive role of the community in the fight for independence. The Kamang War Monument serves not only as a symbol of struggle but also as an effective educational medium to instill the spirit of nationalism in younger generations and strengthen national unity.
Presentasi Diri Gay Influencer dalam Konteks Adat Melayu dan Rukun Islam di Kota Pekannbaru Windya Revani; Muhamad Fajri
Hikmah Studies : Journal of Religion, Narrative, and Thought Vol. 1 No. 3 (2026): September 2026
Publisher : Hikmah Studies : Journal of Religion, Narrative, and Thought

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Abstract

This study examines how gay men in Pekanbaru present themselves on the “front stage” and “back stage” within a society rooted in Malay culture and Islam, which generally rejects homosexuality. Despite facing strong opposition, the gay population in Pekanbaru has actually continued to grow by 5–10% annually from 2018 to 2023; however, this phenomenon has never been specifically studied in the city, making it a novel aspect of this research. The study employed a qualitative method using a phenomenological approach and Erving Goffman’s dramaturgical theory. It was conducted at a shopping, entertainment, and café complex in Pekanbaru through unstructured in-depth interviews and observations of two key informants who work as influencers. The data were analyzed using data reduction, data presentation, and conclusion-drawing techniques. The results of the study show that on the “front stage,” gay men engage in impression management in accordance with Malay customs and the Five Pillars of Islam in order to be accepted as “normal” men, while on the “back stage,” they openly display their true sexual identities to people who have already accepted them, with the level of openness being directly proportional to the level of acceptance they feel.