Autoethnographic Reflections on DaAowah Representation in Rindu Suara Adzan 2024 Budi Zaelani Institut Seni Budaya Indonesia (ISBI) Bandung 212 Buah Batu Street.
Bandung.
Indonesia budizaelani70@gmail.
ABSTRACT
The Rindu Suara Adzan 2024 religious-comedy soap opera depicts quotidian socioeconomic realities infused with Islamic principles, including humor and elements of contemporary culture.
This article offers an autoethnographic reflection on the author's experience portraying "Mas Sugeng," utilizing Charles Sanders PeirceAos semiotic framework to analyze the visual and symbolic portrayal of daAowah.
This study used a qualitative narrative approach to analyze four situations that illustrate the home, economic, and emotional aspects of masculinity within urban Indonesian society.
The findings indicate that daAowah in religious meditation and television dramas functions not by verbal preaching but through nuanced emotional connection, humor, and approachable moral exemplars.
The analysis illustrates how SugengAos gestures, objects, and silences represent inclusive Islamic messages, so converting entertainment into a participatory modality of popular daAowah.
This study enhances comprehension of media Islamization, emotional piety, and cultural communication in postmodern Indonesia, positioning autoethnography as both a method and a performance within visual culture research.
Keywords: autoethnography.
Peircean semiotics, religious-comedy soap opera, masculinity, daAowah, visual culture.
INTRODUCTION
Television remains one of the most Indonesian media, as they blend humor, influential mass media in Indonesia, shaping Islamic ethics, and everyday life into a unique form of visual preaching .
akwah visua.
narratives that combine entertainment and In the post-reformasi era, religious moral instruction.
For decades, television television programs have evolved from soap operas .
have occupied a central didactic sermons into entertaining and emotionally engaging narratives (Heryanto.
Indonesian functioning as both a mirror of social reality and a moral compass that reflects the shifting religious dramas that centered on moral values of society.
Among the various genres, religious-comedy productions have embraced humor, irony, distinctive phenomenon in contemporary and local realism.
Rindu Suara Adzan, which Hoesterey.
Unlike Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 has aired consistently from 2016 to 2024, conceals emotional depth, and his silence exemplifies this transformation.
The series translates Islamic teachings into domestic settings, where faith intersects with humor, religious-comedy format into a space of social tension, and the moral complexity of spiritual reflection rather than mere laughter.
urban life.
Such evolution reflects the broader The authorAos lived experience of portraying AuIslamic turnAy in Indonesian popular media Mas Sugeng becomes a critical entry point to (Fealy & White, 2.
, where religious explore how dakwah operates not only expressions merge with consumer aesthetics, shaping a form of Auaesthetic IslamAy that is simultaneously sacred and entertaining.
In recent years.
Indonesian religious This This television has experienced a transformation autoethnographic approach, positioning the from moralistic sermon-based narratives into authorAos own experiences as an analytical more affective, visually engaging forms of lens to interrogate broader cultural meanings.
Scholars such as Adityo .
In line with Ellis.
Adams, and Bochner .
Karim .
, and Wahyudi .
have autoethnography situates personal narrative observed that the expression of daAowah in within social and cultural frameworks, contemporary media increasingly relies on allowing researchers to use self-reflection as sincerity, empathy, and visual intimacy.
data for understanding collective identity.
Religious values are performed not only this context, acting is not merely performance through speech but also through gesture, but also praxis, a mode of embodying and This communicating cultural values.
The authorAos transformation reflects a broader tendency role as both performer and researcher allows toward what Bakar and Sari .
call for what Spry .
calls a Auperformative Aumediated autoethnography,Ay where bodily experience spirituality,Ay negotiated between the spiritual and the becomes a form of scholarly articulation.
In this context.
Rindu Suara Alongside autoethnography, this study Adzan 2024 serves as a cultural mirror, applies Charles Sanders PeirceAos semiotic illustrating how contemporary Indonesian theory to decode visual and symbolic elements in the sinetron.
PeirceAos triadic emotional resonance rather than instructional model of icon, index, and symbol offers a systematic way to interpret how visual signs Islam The figure of Mas Sugeng, played by .
, prayer rugs, motorbikes, clothing, and the author, stands at the intersection of these He is not a cleric or saintly Within this framework, visual character but an ordinary man, a repairman, culture becomes an arena of signification where the sacred is translated into the navigating modern urban challenges.
His mundane (Danesi, 2004.
Mirzoeff, 1.
masculinity is fragile yet humane, his humor combining semiotics and autoethnography.
Autoethnographic Reflections on DaAowah Representation in Rindu Suara Adzan 2024 Despite its cultural significance, the performance and visual representation co- phenomenon of religious-comedy sinetron create an inclusive model of dakwah that has received limited scholarly attention.
resonates with contemporary audiences.
Previous studies have focused on religious The daAowah films (Ayat-Ayat Cinta.
Ketika Cinta Bertasbi.
undergoing a significant transformation in or serious moral dramas (Wahyuningsih.
IndonesiaAos media landscape.
Traditional Kartikawati, 2.
, leaving a gap in the daAowah, often associated with sermons or understanding of comedy as a medium of preaching, is being reimagined Islamic discourse.
This study fills that gap by through visual storytelling, music, and analyzing how humor, reflexivity, and humor (Barendregt, 2018.
Rahim, 2.
The symbolism operate as subtle tools of daAowah Rindu Suara Adzan series demonstrates how in a televisual context.
It also offers a Islamic values can be communicated through methodological contribution by positioning empathy and everyday humor rather than performance-based autoethnography as a authoritative instruction.
This shift aligns valid form of cultural research in media with what Hoesterey .
describes as Auemotional piety,Ay a form of religiosity In summary, this paper argues that grounded in affective experience rather than Rindu Suara Adzan doctrinal discourse.
Within this framework, laughter and emotion become channels for Through the intertwining of Islamic humor, performance, and visual semiotics, the series embodies a Auliving daAowah,Ay one Islamic that is grounded in emotion, relationality.
Furthermore, religious-comedy and popular participation.
The authorAos format reveals a gendered dimension of embodied reflections as Mas Sugeng reveal daAowah.
Masculinity in Indonesian popular how artistic practice can become a site of culture has long been portrayed through strength, authority, and control (Nilan, 2.
personal experience within theoretical and Yet characters like Mas Sugeng present a new cultural frameworks, this study seeks to type of masculinity: humble, conflicted, and demonstrate that daAowah in the age of His spiritual journey unfolds television is not only spoken but performed, not only taught but felt.
meaning-making.
vulnerability, revealing how everyday men
LITERATURE REVIEW
negotiate faith, love, and responsibility in Autoethnography in Cultural and domestic and public spheres.
In doing so, the Performance Studies character destabilizes conventional images of Autoethnography has evolved from a male piety, offering instead a model of Aupopular masculinityAy marginal qualitative practice into a respected mode of inquiry that bridges art, identity, and emotional sincerity.
cultural critique.
Ellis.
Adams, and Bochner Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 oneAos creative journey as research, the approach that combines personal experience art-making with broader social understanding, turning knowledge-making becomes fluid.
the self into a site of research.
This method In this study, autoethnography is used challenges the traditional objectivity of social to explore the researcherAos dual position as science by positioning the researcher as both subject and observer.
In performance and becomes both data and interpretation.
The lensAiallowing text, a microcosm through which the larger discourse of dakwah, masculinity, and humor in Islamic media can be analyzed.
Peircean Semiotics becomes a way of re-performing lived For relationships (Peirce, 1.
Icons resemble their objects, indexes point to causal or existential connections, and symbols rely on cultural conventions.
This model has been Through this lens, performing AuMas widely applied in visual studies (Danesi.
SugengAy is not only artistic work but also a Mirzoeff, 1.
to analyze how images Islamic function as communicative systems.
representation, gender roles, and humor.
In the context of television, visual Recent scholarship has reinforced the semiotics helps uncover layers of ideological legitimacy of performative autoethnography and cultural significance embedded in mise- as an artistic methodology.
Adams.
Holman en-scyne, camera work, and costume.
For Jones, and Ellis .
emphasize the role of instance, the motorcycle used by Mas Sugeng in Rindu Suara Adzan functions as an icon of epistemic foundations.
Similarly.
Wardatun the working-class struggle, an index of .
highlights how autoethnography can nostalgia, and a symbol of dignity and illuminate the lived experience of Islamic Such semiotic readings reveal subjects in family and gender relations.
In the Indonesian signs not as fixed entities but as interpretative frequently remain obscured in conventional symbol offers a dynamic system for decoding improvisations, and emotional responses that PeirceAos triadic model of icon, index, and autoethnography facilitates the expression of Visual texts produce meaning.
Charles Sanders intertwined with emotional, spiritual, and foundation for understanding how media This perspective is vital for artistwhose Semiotics Meaning in Television storytelling but a performative act: writing role of AuMas SugengAy thus serves as a living autoethnography is not merely a form of experiences into academic discourse.
Spry that religious meaning in popular media often resides not in explicit sermons but in symbolic codes embedded within everyday because artists often participate in the social realities they represent.
By documenting Autoethnographic Reflections on DaAowah Representation in Rindu Suara Adzan 2024 Recent Recent literature on Islamic media Anggapuspa .
and Ramadhan and emphasizes the emotional and embodied Jupriani .
demonstrate how Peircean aspects of piety in performance.
Farida .
analysis can decode visual religious messages and Rahmawati .
argue that humor within religious narratives often humanizes underscore that Islamic values can be faith, allowing moral values to emerge Burhan Their narration but also through visual signifiers This aligns with Setiadi and like lighting, gesture, costume, and even NurAos .
findings that post-pandemic This understanding aligns with Islamic broadcasting increasingly integrates MirzoeffAos .
notion of visuality as the humor as a strategy of empathy and spiritual At a global level.
Mahmood and constructed through seeing.
In religious- Liew .
and Fadilah .
identify this comedy sinetron, humor and spirituality are shift as part of a broader aesthetic turn in Islamic representationAione that privileges symbols: the sarong, the coffee shop, the sincerity, feeling, and participation over mosqueAos courtyard, and the modest house doctrinal rigidity.
These studies collectively all represent intersections of faith, labor, and frame the Indonesian religious comedy as daily life.
both a site of spiritual pedagogy and a Thus.
PeirceAos framework provides the performance of affective devotion.
analytical scaffolding for this study: to In this transformation, dakwah is no interpret how SugengAos bodily gestures, longer confined to the mosque or pulpit.
takes new forms: motivational talk shows, semiotic vehicles of dakwah and identity.
Islamic pop music, religious influencers, and DaAowah and Popular Media Rindu Suara Adzan translate Islamic ethics mediated, commodified, and localized.
Hoesterey .
Indonesia has Rather as a Aurhetoric of connectionAy that disarms resistance, allowing moral messages to flow reflects a shift from textual religiosity to Meyer .
aptly describes humor fashion, television, and social media.
This witnessed the emergence of Auaesthetic Islam,Ay and sinetron such as Para Pencari Tuhan and media explores how Islamic messages are .
Kartikawati .
note that religious films The study of dakwah in contemporary Wahyuningsih Humor thus becomes an inclusive sometimes called media Islamization.
Heryanto audiences who may feel alienated by formal .
interprets this as the pleasure-driven politics of piety, in which religion becomes Moreover, part of popular cultureAos emotional economy.
ambivalence, a productive tension between critique and comfort.
It allows for playful Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 transforming laughter into a medium of maintaining respect for religious sentiments.
moral reflection.
This dynamic reflects what Barendregt .
This AuIslamic modernity,Ay masculinity provides fertile ground for entertainment serves both spiritual and commercial purposes.
The Rindu Suara Adzan Rather sinetron embodies this balance: it uses humor obedience, it models self-awareness and not to trivialize faith but to humanize it.
SugengAos character teaches that making Islam emotionally approachable.
faith can coexist with imperfection and that being pious does not require abandoning Masculinity and Emotional Piety in humor or humanity.
Media Masculinity in Indonesian popular The aesthetics of Islam in contemporary negotiations between patriarchy, modernity.
Indonesian media have been shaped by the and spirituality.
Nilan .
identifies the convergence of religious devotion, market tension between traditional male authority logic, and visual modernity.
Barendregt and the emerging ideals of emotional .
and Fealy & White .
argue that expression and equality.
Within religious Indonesian narratives, male characters typically oscillate negotiation between piety and pleasure.
The between two poles: the devout ustadz and the Rindu Suara Adzan series exemplifies this: its visual palette, use of lighting, and warm Characters like Mas Sugeng occupy an domestic imagery construct a cinematic intermediary position, neither heroic nor language of everyday spirituality.
Islamic Aesthetics and Visual Culture villainous, but profoundly human.
Nicholas SugengAos domestic conflicts, moments Mirzoeff conceptualizes visual culture as the Auarena of of silence, and reluctant piety exemplify what meaning-making,Ay Hoesterey .
terms emotional piety: a Within spiritual sensibility rooted in empathy and television operates as both a pedagogical and feeling rather than dogma.
His struggles with affective space.
Religious-comedy sinetrons pride, debt, and forgiveness represent the transform mundane visuals into spiritual metaphors: the call to prayer echoing in a lower-middle-class a husband cleaning his hardship and ethical aspiration.
Similar motorbike before dawn, or a simple family portrayals in Indonesian dramas (Si Doel These images carry symbolic weight Anak Sekolaha.
have shown how masculinity beyond their literal depiction, embodying Islam as lived experience rather than abstract (Suryadi, 2.
The comedic framing allows In this regard, the aesthetics of Rindu Suara Adzan enact what Meyer .
calls Autoethnographic Reflections on DaAowah Representation in Rindu Suara Adzan 2024 this design bridges creative practice and practices that shape how believers sense and scholarly reflection, where the body, emotion, experience the divine.
The showAos humor, and performance become legitimate sources of data (Spry, 2019.
Adams et al.
, 2.
vehicles of daAowah that appeal to emotion This method is particularly suitable for rather than intellect.
This Auaesthetic pietyAy studying the Rindu Suara Adzan 2024 sinetron resonates deeply with Indonesian audiences because the researcher occupies a dual who value sincerity .
as a marker of position as both performer and analyst.
the actor playing Mas Sugeng, the author Synthesis engages with the narrative emotionally and Drawing together these perspectives.
This position enables an intimate this study situates the authorAos performance understanding of how gestures, dialogues, within three intersecting frameworks: .
and visual compositions embody dakwah autoethnography as reflective methodology.
The qualitative orientation ensures .
Peircean semiotics as an analytical lens for that meanings are explored holistically rather visual meaning.
popular dakwah as than measured quantitatively, emphasizing cultural communication.
The synthesis of depth over generalization.
these dimensions enables a holistic reading of The integration of PeirceAos semiotics Rindu Suara Adzan not only as entertainment strengthens the analytical rigor of the study.
but also as an evolving site of Islamic By interpreting signs through the triadic pedagogy, humor, and identity formation.
relation of iconAeindexAesymbol, the researcher examines how visual and performative research expands the notion of dakwah from elements in the sinetron operate as signifiers verbal preaching to embodied practice, of faith, morality, and social identity.
making art a living form of worship and Combining autoethnography and semiotics cultural dialogue.
enables a multidimensional interpretation:
self-reflection RESEARCH METHODOLOGY cultural meaning.
Research Design This Research Context The study focuses on the Indonesian qualitative design grounded in narrative Peircean religious-comedy soap opera Rindu Suara Adzan 2024, produced for national television.
The show, which has aired for multiple Autoethnography, as Ellis.
Adams, and seasons, depicts urban working-class families Bochner .
define, connects personal negotiating faith and everyday challenges.
, cultural analysis .
, .
The narrative situates religion within humor.
The domestic conflict, and love, creating a approach allows the researcher, who is also the actor, to transform subjective experiences into academic knowledge.
In artistic research.
Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 The selected episodes .
our out of Data Collection Techniques sixtee.
represent key moments in Mas The data collection process unfolded in SugengAos spiritual transformation from a three stages:
prideful, stubborn husband to a more Immersive Reflection.
During reflective and humble individual.
These filming process, the author maintained episodes were chosen because they contain daily field notes focusing on emotional prominent symbols and scenes of moral and responses, physical embodiment, and emotional intensity, such as SugengAos silent moral contemplation.
repentance, his humorous arguments with Scene Selection and Documentation.
his wife, and his contemplative gaze toward Four representative episodes were the mosque.
Each moment becomes an identified for detailed analysis.
artifact of spiritual and artistic expression.
scene was transcribed and visually mapped to identify significant symbols Data Sources .
Data for this study were obtained Personal Reflective Journals.
The interpretation with the creative intent, about each scene.
Participatory Observation.
Continuous observation of production processes The use of self-as-data is justified and post-broadcast audience reception, focusing on how humor and dakwah subjectAos experience constitutes both the object and method of study.
The reflexive conducted to compare the actorAos improvisations, and internal reflections Collaborative Validation.
Discussions authorAos notes during and after filming, through four complementary sources:
Informal process transforms subjective insight into Interviews.
Conversations collective meaning.
with directors, fellow actors, and Data Analysis Procedures Data were analyzed through a two- development and the intended moral layered interpretative process:
Visual Symbolic Narrative Analysis.
Examination of selected scenes, props.
Autoethnography visually encode Islamic messages.
structured into a coherent narrative that costumes, gestures, and settings that Together.
Personal triangulation between subjective reflection.
This meaning-makingAihow production context, and textual evidence.
actor-character actorAos experiences resonate with broader Islamic and social contexts.
The adoption of Autoethnographic Reflections on DaAowah Representation in Rindu Suara Adzan 2024 autoethnography in this research reflects a media studies to verify interpretive growing trend in artistic and religious researcherAos Reflexivity embodied position as a legitimate site of inquiry (Hidayat, 2023.
Zainuddin & researcherAos positionality as both Kholis, 2.
As Wahyudi .
notes, performative autoethnography allows art transforming subjectivity into an practitioners to transform creative acts analytic strength (Wardatun, 2.
into spiritual reflection.
Through this lens.
As an autoethnographic work, validity my experience as an actor becomes not is grounded not in objectivity but in merely data but also a devotional act, authenticity, resonance, and cultural insight where performing sincerity becomes a (Ellis & Bochner, 2.
The goal is not to way of knowing the divine through the Peircean Semiotic Analysis Each scene understanding of how creative experience was examined using PeirceAos triadic sign communicates religious and emotional truth.
Icon:
Ethical Considerations .
All reflections are drawn from the researcherAos working-class identit.
Index:
compromising other participantsAo privacy.
Names of production members .
ther than connection .
SugengAos silence as public figure.
are anonymized.
The study an index of internal conflic.
aligns with ethical standards of qualitative meaning .
, the sarong as humility research, ensuring that personal testimony and spiritual disciplin.
Symbol:
This interpretive coding was then This methodological synthesis offers a model for art-based religious media research.
To ensure research credibility, this By combining embodied reflection and visual semiotics, the study positions performance as validation, and reflexive transparency.
Methodological Contribution Validity and Reflexivity Triangulation spiritual masculinity, and visual piety.
maintaining respect for collaborators and clusters such as humor as daAowah, both data and method.
The approach not only illuminates the cultural function of religious- cross-referencing reflective journals, scene analysis, and discussions with comedy sinetron but also demonstrates how the production team.
acting can serve as a form of living daAowah, a participatory expression of faith through art.
Peer validation involved feedback from fellow researchers in art and Pantun Jurnal lmiah Seni Budaya Vol.
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RESULTS AND DISCUSSION
Humor as a Medium of DaAowah Performing AuMas SugengAy: Between Humor occupies a central place in the Laughter and Reflection Rindu Suara Adzan narrative.
Each episode The character of Mas Sugeng in Rindu weaves moral advice into comedic dialogue.
Suara Adzan 2024 represents the ordinary transforming laughter into a form of soft Indonesian According to Meyer .
, sometimes careless, yet profoundly humane.
His connection,Ay capable of disarming resistance contradictions: he jokes to conceal anxiety, and fostering intimacy.
In Islamic contexts, boasts to protect his fragile dignity, and hides humor can carry ethical nuance while emotion behind laughter.
Through this critique into communal reflection.
characterAos Sugeng Aurhetoric archetype of the urban working-class Muslim For instance, in one memorable scene, male, reflecting the everyday negotiations Sugeng laments to his friends at a coffee stall:
between faith, economy, and masculinity.
AuIf your wife starts staying quiet, be Sugeng ThatAos no longer patience.
thatAos the involved both artistic creation and spiritual prelude to war.
Ay During filming, humor often The audience laughs, yet the humor emerged spontaneously.
yet, beneath the communication and emotional awareness.
Spry .
suggests, humor in performance himself or quarreled with his wife, the often reveals hidden cultural tensions.
Here, performance turned into a mirror of personal laughter becomes a bridge between critique I learned that this role was a form and empathy.
The scene subtly invites men to of da'wah, not just entertainment.
Rather, it reflect on their domestic behavior, using was what Hoesterey .
calls emotional comedy as moral pedagogy.
When Sugeng piety: communicating moral values through From a semiotic perspective, such empathy and emotional resonance.
humor operates through indexical signsAi This performative process revealed a gestures, pauses, and intonations that point critical insight: daAowah does not always require authority.
it can also arise from exaggerated expressions or his awkward Sugeng's flaws prove his pride, silences act as indexes of guilt and humility.
stubbornness, and guilt make him easy to These relate to.
In portraying him.
I found that Islamic virtues like patience, honesty, and .
SugengAos forgiveness without didactic speech.
Humor thus becomes visual daAowah: a teaching sermonizing could.
The character thus challenges the conventional portrayal of pious masculinity, inviting audiences to Furthermore, the integration of humor laugh, feel, and reflect simultaneously.
aligns with IndonesiaAos tradition of religious Autoethnographic Reflections on DaAowah Representation in Rindu Suara Adzan 2024 folk comedy .
enong dakwah, ketoprak humor, and cultural convention .
For example, ludruk Islam.
, where laughter serves as when Sugeng gazes silently at the mosque, spiritual relief.
In Rindu Suara Adzan, humor the scene carries multi-layered significance:
the mosque as an icon of faith, his silence as demonstrating that laughter and piety can an index of moral reflection, and the entire coexist as forms of worship.
mise-en-scyne Danesi .
calls Ausemiotic condensation,Ay showAos visual language reveals layers of where a simple gesture encapsulates complex meaning embedded in mundane objects and In religious-comedy sinetron, such The following table summarizes key condensation allows Islamic teachings to be sign systems identified in selected episodes:
Sugeng cleaning the before dawn Index Symbol SugengAos sarong and t-shirt attire Icon Sugeng silent before the mosque Index Symbol Sugeng not against his wifeAos anger Symbol These visual codes embody what Using PeirceAos semiotic model, the Sign Type (Peirc.
Icon Symbol vulnerability before God.
Semiotic Reading of DaAowah Symbols Visual Object / Gesture Antique The absence of explicit preaching DaAowah Interpretation is replaced by a contemplative atmosphere, soft music, lingering shots, and expressions of Represents persistence, and the dignity of Reflects diligence, and preparation for Signals simplicity and proximity to common people.
Indicates inner repentance, and Embodies patience and self-control as Islamic virtues.
quiet remorse that evoke emotional piety.
This semiotic richness demonstrates how visual storytelling can perform dakwah by showing rather than telling.
The audience does not receive religious instruction directly.
atmosphere, tone, and empathy.
In this sense.
Rindu Suara Adzan exemplifies what Mirzoeff .
terms visual culture: a space where meaning is feeling, and remembering.
Masculinity and Spiritual Transformation One of the most profound narrative arcs in the series is SugengAos gradual transformation from pride to humility.
first, he resists moral authority, dismissing wifeAos Yet through a series of domestic Each sign constructs meaning through conflicts and emotional confrontations, he triadic relationships: visual resemblance begins to experience subtle awakenings.
, contextual connection .
, and Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 A key episode illustrates this shift: after strength is measured by patience and motorcycle parts.
Sugeng sits alone, listening Moreover, to the evening call to prayer.
The camera corresponds to what Hoesterey .
calls captures him in medium close-up, his face Auemotional piety,Ay a form of faith cultivated half-lit by the twilight, his expression through affective resonance rather than No dialogue follows, only silence doctrinal learning.
In Rindu Suara Adzan, and the distant sound of the adhan.
This piety is not declared but felt.
it emerges silence becomes the loudest expression of through gestures of care, forgiveness, and This emotional register makes the From an autoethnographic standpoint, show profoundly accessible to audiences who this moment mirrored my own spiritual experience religion as part of everyday life.
Acting that scene felt like reliving Visual an inner call, an awakening not written in the Islamic Atmosphere script but emerging through embodiment.
Beyond narrative and character, the Schechner .
suggests, performance is a series constructs its Islamic sensibility through transformative act where the boundary visual composition.
The cinematography between actor and character dissolves.
I felt that SugengAos repentance was also mine.
evoking the intimacy of domestic spirituality.
silence was my prayer.
The recurring use of the color green and earth Through PeirceAos lens, the sceneAos tones reinforces calmness and purity.
Soft semiotic depth unfolds as follows:
Icon: the mosque and its illumination moments, creating a contemplative rhythm.
represent divine presence.
These aesthetic strategies correspond with Index: SugengAos stillness signifies MeyerAos .
notion of sensational forms, artistic modalities that influence religious Symbol: the act of listening to adhan perception via sensory engagement.
expresses submission and spiritual The This Aesthetics mosqueAos sometimes seen from a distance, sometimes reflected in mirrors or water, serves as a symbolic axis connecting the profane and the humility, a recognition of oneAos fallibility Even mundane activities, such as before God.
Such portrayal aligns with cooking or repairing a motorcycle, are bathed NilanAos .
observation that Indonesian in this visual spirituality.
Barendregt .
notes that such AuIslamic as dominance aesthetics of everyday lifeAy construct piety as a lifestyle.
SugengAos merging faith with visual pleasure.
Islamic From this perspective.
Rindu Suara masculinity as empathic leadership, where Adzan Autoethnographic Reflections on DaAowah Representation in Rindu Suara Adzan 2024 The safely, making the series a space for collective transforms into a microcosm of moral education, while the camera serves as a tool Popular DaAowah Media for spreading the word.
Every prop, like a Islamization radio, sarong, or coffee cup, acts as a carrier The findings suggest that Rindu Suara of meaning, producing what Mirzoeff .
Adzan 2024 contributes to the ongoing describes as Aua pedagogy of vision.
Ay The process of media Islamization, the embedding audience learns to see Islam not only as belief of Islamic values within popular formats.
but as practice embedded in gestures.
However, unlike propagandistic religious textures, and humor.
shows, it adopts a participatory and inclusive DaAowah here is not top-down but Humor.
Conflict, and Catharsis: The it speaks from within the lived Social Function of the Series experience of ordinary people.
At a sociocultural level.
Rindu Suara This aligns with Fealy and WhiteAos Adzan reflects the negotiation between .
idea of Aueveryday Islam,Ay where piety religiosity and modernity in IndonesiaAos urban By portraying moral conflict within SugengAos experiences.
Furthermore, this participatory daAowah aesthetic engagement.
Viewers are not laughter diffuses anger, allowing moral passive recipients but co-creators of meaning.
lessons to emerge gently.
This aligns with AristotleAos classical theory of catharsis but is Islamic preaching to affective storytelling.
moral balance.
In scenes of marital conflict, function, releasing tension while reinforcing Its success also indicates a shift frustrations, laughter, and contradictions in show illustrates how Islamic ethics can adapt Viewers recognize their own practices rather than ritual correctness.
The mediates between sacred ideals and everyday Comedy As a result, television becomes a site of cultural negotiation where faith is laughter becomes purification, restoring continually reinterpreted through art.
harmony between husband and wife, human Summary of Findings and God.
Autoethnographic In my reflective journal.
I noted:
Insight:
The actorAos lived experience as Mas AuEach laugh I performed as Sugeng was also Sugeng reveals the fusion of artistic a sigh of relief, a reminder that sincerity could embodiment and spiritual reflection.
emerge through imperfection.
Ay Acting contemporary daAowah.
This insight positions humor as both Semiotic social critique and emotional healing.
Analysis:
The elements of the motorcycle, mosque, allows the audience to confront moral issues sarong, and gestures function as Pantun Jurnal lmiah Seni Budaya Vol.
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CONCLUSION AND IMPLICATIONS
humility, perseverance, and moral This study has explored the interplay between performance, faith, and visual Humor as Communication: Comedy representation in the religious-comedy soap humanizes religion and expands its opera Rindu Suara Adzan 2024.
Through an reach by evoking empathy rather autoethnographic approach combined with than authority.
Peircean semiotic analysis, the research Masculinity and Spirituality: The demonstrates that daAowah in popular media narrative promotes emotional piety operates through emotional and aesthetic engagement rather than doctrinal instruction.
challenging rigid patriarchal norms.
The authorAos lived experience as the actor Aesthetic Visual portraying Mas Sugeng reveals that religious meaning can emerge through vulnerability, perform religious pedagogy through humor, and sincerity, turning entertainment sensation and emotion.
into an arena of ethical reflection.
DaAowah:
Cultural Impact: The sinetron fosters The findings highlight three central a vernacular form of daAowah rooted First, autoethnography as artistic in everyday life that is popular, research provides a powerful method for affective, and transformative.
By positioning the self as both The findings resonate with HasanAos subject and instrument of inquiry, this .
concept of Auperforming repentance,Ay which views the act of performance as a process of moral purification.
In Rindu Suara Acting becomes not only a craft Adzan 2024, humor and repentance are but also a medium of religious experience, a intertwined in what Fadilah .
describes living daAowah performed through gestures, as AuIslamic performativity,Ay a practice where silences, and laughter.
laughter mediates the sacred.
This creative Second.
Peircean semiotic analysis negotiation parallels KurniawanAos .
shows that television narratives convey notion of hybridity in daAowah television.
Islamic values through complex sign systems.
where religious devotion and entertainment The aesthetics coexist in tension yet mutual domestic spaces serve as icons and symbols of humility, devotion, and perseverance.
These intersecting modes of Through these visual cues, audiences learn to representation demonstrate that spiritual perceive Islam as a lived practice woven into meaning in popular media is not diminished everyday life.
by entertainment.
instead, it is deepened Third, the study reveals that humor through emotional proximity and human functions as affective daAowah, enabling moral Laughter acts as an emotional Autoethnographic Reflections on DaAowah Representation in Rindu Suara Adzan 2024 bridge that connects diverse audiences to reminder that art can be both entertainment spiritual reflection, transforming the act of and enlightenment.
In the laughter of watching into a participatory experience of ordinary lives, daAowah continues not from the empathy and introspection.
This finding pulpit, but from the screen, the heart, and the affirms MeyerAos .
view that humor can body in performance.
be a Audouble-edged swordAy capable of BIBLIOGRAPHY