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Tantan Hermansah, Tantan
UIN Syarif Hidayatullah Jakarta, Indonesia
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COMMUNICATION PATTERN OF KARAWANG ISLAMIC STUDENT FAMILY ORGANIZATION (KMIK) JAKARTA IN FORMING COHESIVE GROUPS Zahra Nur Afifah; Tantan Hermansah; Nasichah
Wasilatuna: Jurnal Komunikasi dan Penyiaran Islam Vol. 6 No. 01 (2023): April
Publisher : Program Studi Komunikasi dan Penyiaran Islam Fakultas Dakwah Universitas Islam Internasional Darullughah Wadda'wah Bangil Pasuruan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.38073/wasilatuna.v6i01.868

Abstract

Jabodetabek is a megapolitan area with a high rate of migrating students from all over Indonesia to continue their higher education. The Karawang Islamic Student Family (KMIK) Jakarta is a forum for Islamic students from Karawang who are in Jabodetabek to continue to work, accommodate aspirations, and serve the Karawang community. The wide scope of KMIK Jakarta requires an effective communication pattern that makes members wherever they are, will feel bound and belonging. The purpose of this study is to determine communication patterns and communication barriers that arise in the cohesive formation of the group. This study used descriptive qualitative approach and phenomenological research method. Data collection was done by interviews, and informant selection techniques by purposive sampling. The cohesive analysis of the group in this study used the Gorupthink Theory of Irvin L. Janis. Four indicators were obtained in this study, namely complex communication, effective communication, communication that is able to build enthusiasm, and high-intensity communication. Communication barriers that occur are differences in communication patterns in each management period. The existence of cohesive groups makes KMIK Jakarta able to face communication barriers that occur with star communication patterns or to all familial channels.
Strategi Komunikasi Dakwah dalam Upaya Deradikalisasi Kelompok Islam Garis Keras di Indonesia Sutiono Purwosunu; Tantan Hermansah; Muhammad Fanshoby; Wildian Fajrin Nur Rahman
Dakwah: Jurnal Kajian Dakwah dan Kemasyarakatan Vol. 29 No. 2 (2025): Dakwah: Jurnal Dakwah dan Kemasyarakatan
Publisher : Faculty of Dakwah and Communication, UIN Syarif Hidayatullah Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15408/q1thys84

Abstract

This study aims to analyze the role of dakwah (Islamic preaching) as a communication strategy in the deradicalization of hardline Islamic groups in Indonesia. Using a qualitative descriptive approach and a library research method, this study examines various academic sources, official reports, and religious organization publications through thematic analysis. The findings reveal that dakwah, when framed as persuasive communication, functions as an ideological intervention that promotes awareness, empathy, and social reintegration. The study identifies three strategic stages of dakwah-based deradicalization: preventive (education and public awareness), curative (dialogue and spiritual counseling), and rehabilitative (social and economic reintegration). The effectiveness of these strategies depends on three key elements: the communicator’s credibility, the persuasiveness of the message, and the participatory nature of communication. This research offers a new perspective by positioning dakwah not merely as a religious ritual, but as a transformative communication tool, an instrument of soft power that strengthens Islamic moderation and social peace in Indonesia. Radikalisme keagamaan tetap menjadi ancaman nyata di Indonesia, yang semakin mengkhawatirkan dengan maraknya radikalisasi pada generasi muda. Penelitian ini menganalisis strategi komunikasi dakwah sebagai instrumen deradikalisasi yang efektif bagi kelompok Islam garis keras. Dengan metode studi pustaka dan analisis tematik terhadap berbagai sumber akademik dan laporan resmi, temuan penelitian mengungkap bahwa dakwah yang dirancang sebagai komunikasi persuasif berperan strategis pada 3 tahap yaitu preventif, kuratif , dan rehabilitatif. Studi ini menegaskan bahwa dakwah tidak hanya berfungsi sebagai penyampai ajaran, tetapi lebih sebagai instrumen komunikasi ideologis yang memfasilitasi perubahan kesadaran, empati sosial, dan transformasi keyakinan secara sukarela. Dengan memposisikan dakwah dalam kerangka strategi komunikasi, artikel ini menawarkan perspektif baru sebagai respons terhadap tantangan deradikalisasi yang kian kompleks.    
Representasi Hijab Voal Syar’i pada Akun Instagram @merajutkisah Sri Arnita; Gun Gun Heryanto; Tantan Hermansah; Muhammad Fanshoby
Meyarsa: Jurnal Ilmu Komunikasi dan Dakwah Vol. 5 No. 1 (2024)
Publisher : Universitas Islam Negeri Madura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.19105/meyarsa.v5i1.10135

Abstract

The phenomenon of using the hijab from year to year is increasingly diverse. However, not only are there more and more uses and models, but the motifs on each hijab are also increasingly diverse. Merajut Kisah in this case presents a new face in the world of Muslim fashion where it gives a different touch to the hijab. Merajut Kisah adds a design inspired by various countries in the world that have a history of Islamic heritage and its development. This study aims to answer the question of how the syar'i voal hijab represents Merajut Kisah of Eyes of Andalucia in the series Andalusia, Granada, Alhambra, Seville, Plaza de Espana, and Cordoba. The theory used in this study is Stuart Hall's representation theory. Hall's representation has three important points in the analysis process, namely representational elements, representational systems, and representational approaches. The results of the study show that the six syar'i voal hijab of Merajut Kisah of Eyes of Andalucia represents the Islamic culture that once existed in Andalusia. The building, which was used as design inspiration by the Merajut Kisah team, is proven to implement the concept of art in Islam which combines geometry, calligraphy, and plant motifs. The science of geometry is used to create art combined with calligraphy to praise His greatness. Then, to beautify the two arts, plant motifs were also presented.
Co-Authors Abd. Mujib Adnan Acep Muslim, Acep Ade Rina Farida Affan Rizqillah Aulia Afifah, Zahra Nur Agung Setyo Budi AGUNG SETYO BUDI Ahmad Rifqi Arief Maulana Amal Jamaludin Amallah, Nurlaillah Sari Amirul Fathin Fadhil Ananda Rizki Amellia Andi Faisal Bakti & Venny Eka Meidasari Andi Fakhrullah Andi M. Faisal Bakti Aniq Nahdia Lulu Annawawie Anugrah , Gilang Tresna Putra Anugrah, Gilang Tresna Putra Aprianto, Denny Arief Tri Setiawan Athik Hidayatul Ummah Atiqah Rahmah Aura Syifa’unnisa Aziz, Muhammad Thariq Bagya Husna Fatwa Bakti, Andi M. Faisal Dede Mercy Rolando Denny Aprianto Dessy, Dessy Kushardiyanti Dewi Rahmayuni Dimas Firli Maulana Dudun Ubaedullah Dwi Arini Yuliarti Echa Rysni Mahalani Edi Amin Eko Yudi Prasetyo Fadhila, Nurul Fanshoby, M. Fanshoby, Muhammad Fansoby, Muhammad Farida, Ade Rina Farrany Alifia Ramadhani Fifi Novianty Fita Fathurokhmah fuad, anisul Gazi Gazi Gazi, Gazi Gun Gun Heryanto Gun Gun Heryanto Gun Gun Heryanto Hasbullah, Muhammad Najmudin Hayat, Heni Imam Habieb Maulana Ishmatun Nisa Isna Rahmawati, Isna Istiqomah, Al Fuji Iza Ma’rifah Jumroni Jumroni, Jumroni Khairatul Jannah Khoiro, Dela Amaliya Kiky Rizky KIKY, Rizky Amalia Kusmana Kusmana Kusmana Kusmana Laras Lestari, Dewi Lestari, Dewi Laras LIA AMALIA M. Iqbal Nur Aulia Fazri Ma'rifah, Iza Maisaroh Maisaroh Makroen Sanjaya MARIA ULFAH Ma’rifah, Iza Moch. Fakhruroji Moh. Ismail Monarshi, Evri Rizqi Monarshi, Evri Rizqi Muhammad Fanshoby Muhammad Ilham Fudholi Muhammad Iqbal Muhammad Najmudin Hasbullah Muhammad Qori Qordofa Muhammad Rusydi Azmi Muhammad Sirajuddin Muhammad Taufiq Muhammad Yudhi Lutfi Muhsan, Aryani Muhtadi Muhtadi Muhtadi Muhtadi Muhtadi Muhtadi Muhtadi Nabila, Ni’mah Fajriatul Nabilah Nabilah, Osha Naschihah Nasichah Nasichah Nasichah Nasichah, Nasichah Ni mah Fajriatul Nabila Nisa, Ishmatun Nofia Natasari Novi Andayani Praptiningsih Novianty, Fifi Novita Misika Putri Nur Afifah, Zahra Nur Rahman, Wildian Fajrin Nurul Fadhila Oktaviani, Sandra Praptiningsih, Novi Andayani Pratama, Dendi Anugrah Rabbani, Hanifur Rahmah Ningsih, Rahmah Rahmah, Atiqah Rahman, Mila Amalia Rahmayuni, Dewi Rakib, Kanjul Ramadhani, Farrany Alifia Ratnasari, Nofia Ratnasari, WG Pramita Ries Dyah Fitriyah Rini Laili Prihatini Risdawati Risdawati Risdawati, Risdawati Risna Siti Rahmah Sabrina, Yuslimatu Saraka, Muh. Yahya Sari, Wanda Izzah Novita Setiawan, Arief Tri Sofyan Sjaf Sokhi Huda Soliha, Fhida Nabila Sondi Silalahi Sri Arnita Sri Arnita Sri Rahayu susanti, mimah Sutiono Purwosunu Syaharani, Afri Syifa’unnisa, Aura Tresna Putra Anugrah, Gilang WG Pramita Ratnasari Wildian Fajrin Nur Rahman yazid hady, yazid Yudi Ariski Yusria Ningsih Zaeni Rokhi Zaeni Rokhi Rokhi Zahra Nur Afifah