Artists Religiosity on Social Media

Inayatul Ulya, Ahmad Salehudin
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Abstract

This article analyzes the artist's religiosity on social media. The symbols of obedience to religion are often displayed by artists in various activities broadcasted on social media both when playing as an actor in a social media show or in their actual life that is covered on social media. The piety is shown by dressing sharia clothes, performing umrah, sponsorsing orphans program, follow Islamic sermon and others. The artist's religious expression holds the meaning, whether the motive is actually behind what is seen on social media, whether purely as part of religious obidience, or there is a religious commodification and media capitalism deliberately displayed to generate greater public viewer which subsequently increase revenue for media corporation. this study will use a phenomenological approach to understand the true meaning behind reality seen on social media. While the dramaturgy theory is used to analyze the religiousity of the artist on social media. Dramaturgy theory by Erving Goffman there is the concept of front stage and back stage. Front stage to explain the artist's visible visibility on social media, while back stage to explain the true artist's life (behind the scenes), so it can be mapped the artist's religiosity -as a religious obedience-, as part of the religious commodification or media capitalism.
社交媒体上艺术家的宗教信仰
本文分析了艺术家在社交媒体上的宗教性。无论是在社交媒体节目中扮演演员,还是在社交媒体报道的现实生活中,艺术家们在社交媒体上播出的各种活动中,都经常表现出对宗教的服从符号。虔诚表现在穿伊斯兰教的衣服,进行朝觐,赞助孤儿项目,遵循伊斯兰教布道等。艺术家的宗教表达承载着意义,无论其背后的动机是否真的是在社交媒体上看到的,是否纯粹是作为宗教证据的一部分,或者有一个宗教商品化和媒体资本主义故意展示,以吸引更多的公众观众,从而增加媒体公司的收入。本研究将使用现象学的方法来理解社交媒体上看到的现实背后的真正含义。而戏剧理论则用于分析艺术家在社交媒体上的宗教性。欧文·高夫曼的戏剧理论中有前台和后台的概念。前台解释艺术家在社交媒体上的可见性,而后台解释艺术家真实的生活(幕后),因此它可以映射艺术家的宗教性-作为一种宗教服从-作为宗教商品化或媒体资本主义的一部分。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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