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Teologi Jalanan: Studi Hermeneutis tentang Makna Simbolis Pesan Keagamaan dan Moral pada “Bokong Truk” Anthony Y. M. Tumimomor; Ranang Agung Sugihartono; Pande Made Sukerta
IHSANIKA : Jurnal Pendidikan Agama Islam Vol. 4 No. 3 (2026): September : IHSANIKA : Jurnal Pendidikan Agama Islam
Publisher : STIKes Ibnu Sina Ajibarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59841/ihsanika.v4i3.3993

Abstract

The visual phenomenon of text and images on the rear of trucks (bokong truk) has become a meaningful medium of social expression, particularly within the context of urban culture and the group identity of truck drivers and owners. The research under discussion in this study highlights how moral values and religious teachings are symbolically constructed in public spaces through visual media on trucks. The study also explores the potential for the formation of public perceptions and social norms regarding religious identity and street culture. The objective of this study is a dual-faceted one: firstly, to uncover the production of meaning on bokong truk panels that link moral values and religious identity, and secondly, to assess its impact on public perception, moral norms, and the dynamics of the relationship between religion and urban culture through a multimodal interpretation of the messages and meanings produced. The research employs a hermeneutic phenomenological approach and multimodal analysis to assess meaning-making through text and imagery. Empirical data in the form of photographs of truck rear panels were collected and analysed hermeneutically through three dimensions of meaning: The threefold meaning of the concept under discussion is as follows: firstly, representational meaning; secondly, interactive meaning; and thirdly, compositional meaning. The findings indicate that bokong truk panels function as "street theology", containing moral symbols and religious identities that reinforce public norms. The rear panels of trucks are not merely a visual medium; they also function as a "theological pulpit" serving as a normative instrument regarding religion and social behavior in urban spaces.
Filmic Peace Mediation Through Bugis-Makassar Local Knowledge and Participatory Practice Muhajir; Ranang Agung Sugiharto; Pande Made Sukerta
MEDIASI Jurnal Kajian dan Terapan Media, Bahasa, Komunikasi Vol 7 No 3 (2026): September
Publisher : P3M Politeknik Negeri Media Kreatif

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46961/mediasi.v7i3.2183

Abstract

Film is often recruited for peace campaigns as a carrier of explicit messages, yet this instrumental view overlooks the mediating work performed by image, sound, space, and embodied participation. This article examines Pindah Rumah, a Bugis-Makassar practice-based project developed in Tanatakko Hamlet, Maros, South Sulawesi, as a response to a situation in which residents faced difficulties relocating a traditional timber stilt house situated on land not formally owned by the household. The study asks how local knowledge is translated into filmic peace mediation and how a printed performance script is developed into an audiovisual deep script for novice local performers. A qualitative single-case design analyses a 112-page artistic archive comprising conceptual notes, scene descriptions, spatial diagrams, production photographs, rehearsal records, audiovisual documentation, research diaries, interview recordings, and reflective accounts. The findings show that Pindah Rumah critically reframes siri’ from reactive honour toward relational self-regulation through pacce/pesse, sipakatau, sipakainge’, and sipakalebbi. Filmic peace mediation emerges through the stilt house, collective labour, restrained movement, sound, humour, off-screen presence, and spectator participation. The audiovisual deep script expands printed instructions into observable arrangements of action, space, sound, cultural conduct, visual access, and performance rhythm. Its documented rehearsal functions include concrete cues, embodied recall, ensemble coordination, self-observation, and repeatability. The article contributes two related concepts, filmic peace mediation and the audiovisual deep script, integrated within one analytical framework for community filmmaking, arts-based peacebuilding, and culturally grounded performer training.