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Community Resistance to Femicide in West Java: Social Responses, Peace Actions, and Opposition to Violence against Women Mochamad Ziaul Haq; Gerardette Philips; Stephanus Djunatan; Henrycus Napitsunargo; F.X. Galih Kurniawan; Renatha Aisya Nazwanindya
Khazanah Sosial Vol. 7 No. 4 (2025): Khazanah Sosial
Publisher : UIN Sunan Gunung Djati

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/ks.v7i4.49068

This study analyzes how civil society communities in Indonesia—particularly in West Java and Yogyakarta—respond to and resist femicide as the most extreme form of gender-based violence. The research is driven by the growing prevalence of femicide and the absence of legal recognition of its structural and gendered nature in Indonesia. Employing a qualitative approach and a collective case study design, this study focuses on six grassroots organizations: Sekolah Damai Indonesia Bandung, Perspektif Sosiologi, Iteung Gugat, Youth, Interfaith and Peace (YIP) Center, Puan Hayati, and Srikandi Lintas Iman. Data were gathered through interviews, participatory observation, and document analysis. The findings reveal that these communities play critical roles not only in advocacy but also in psychosocial support, safe space formation, and the production of counter-narratives that confront patriarchal and symbolic violence. Functioning as cultural, political, and therapeutic agents, they fill the gaps left by institutional inaction. However, the study also highlights structural dysfunction: the burden of advocacy is disproportionately placed on these communities, while systemic failures in law, media, and education continue to normalize gender-based violence. Theoretically, the study integrates Berger and Luckmann’s theory of social construction with Galtung’s concept of structural violence and positive peace to frame femicide as both symbolic and systemic. This research contributes original insights to Indonesian gender studies by mapping community-based resistance to femicide—an area rarely examined—and by emphasizing the urgency of intersectoral policy reform and institutional support.

Religious Soundscape and Intercultural Identity: A Study of the Sound of the Adhan, Church Bells, and Gamelan in Bandung, West Java Henrycus Napitsunargo
International Journal of Nusantara Islam Vol 14 No 1 (2026): International Journal of Nusantara Islam
Publisher : UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/ijni.v14i1.55348

This study analyzes how Bandung's religious soundscape—the call to prayer, church bells, and gamelan—shapes spatial identity, religious experience, and intercultural relations in a pluralistic urban environment. Religious sounds here function beyond ritual: they generate social meaning and mediate everyday interfaith interactions. Using a qualitative case study design, the researchers collected data through soundscape observations, audio documentation, and in-depth interviews with diverse city residents. The analysis employed thematic analysis grounded in a posthuman acoustic framework. The findings suggest that religious soundscapes function as shared markers of time, space, and social identity. The call to prayer serves as a collective temporal marker; church bells reinforce historical spatial identity; gamelan embodies a sense of belonging to a local culture. Together, these auditory elements create a collective acoustic environment that fosters intercultural identification in urban space. The study also reveals shifts in sonic meaning driven by technological mediation: digital amplification, recording, and circulation can diminish perceptions of sacredness, transforming some sounds into functional rather than purely sacred sounds. By situating sound as a site of encounter, this research advances contemporary religious studies and the study of everyday religiosity. Its originality lies in integrating post-human soundscape and acoustic perspectives into the study of Indonesian Islam and in centering sound as a medium of religious-cultural interaction in a pluralistic urban context.

Religious Soundscape and Intercultural Identity: A Study of the Sound of the Adhan, Church Bells, and Gamelan in Bandung, West Java Henrycus Napitsunargo
International Journal of Nusantara Islam Vol 14 No 1 (2026): International Journal of Nusantara Islam
Publisher : UIN Sunan Gunung Djati Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15575/ijni.v14i1.55348

This study analyzes how Bandung's religious soundscape—the call to prayer, church bells, and gamelan—shapes spatial identity, religious experience, and intercultural relations in a pluralistic urban environment. Religious sounds here function beyond ritual: they generate social meaning and mediate everyday interfaith interactions. Using a qualitative case study design, the researchers collected data through soundscape observations, audio documentation, and in-depth interviews with diverse city residents. The analysis employed thematic analysis grounded in a posthuman acoustic framework. The findings suggest that religious soundscapes function as shared markers of time, space, and social identity. The call to prayer serves as a collective temporal marker; church bells reinforce historical spatial identity; gamelan embodies a sense of belonging to a local culture. Together, these auditory elements create a collective acoustic environment that fosters intercultural identification in urban space. The study also reveals shifts in sonic meaning driven by technological mediation: digital amplification, recording, and circulation can diminish perceptions of sacredness, transforming some sounds into functional rather than purely sacred sounds. By situating sound as a site of encounter, this research advances contemporary religious studies and the study of everyday religiosity. Its originality lies in integrating post-human soundscape and acoustic perspectives into the study of Indonesian Islam and in centering sound as a medium of religious-cultural interaction in a pluralistic urban context.

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

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.

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