The Significance of Culturally Hybrid Religious Artifacts in a Multicultural Society
Article Sidebar
Read Counter : 60
Download : 45
Main Article Content
Abstract
The Cheng Ho Mosque in Surabaya is the study's main point since it is a cultural artifact with a structural layout and social objectives that combine Chinese and Islamic traditions. The Cheng Ho Mosque is a cultural object, as well as a social arena that represents hybrid culture. The cultural artifact serves as essential for understanding how social interaction takes place in an environment with symbols representing cultural hybridity. This study aims to show how Cheng Ho Mosque, as a cultural artifact, develops significance and becomes part of a cultural group's daily existence. The main theoretical framework used in this study is Cultural Identity Theory. Cultural semiotics is the research method that is being used. The study's findings suggest that the cultural semiotic frame analysis of the artifacts indicates three distinct characteristics of Surabaya's Cheng Ho Mosque: a religious place, a commercial space, and a social space. Worship activities including prayer, reading the Holy Qur'an, and recitation are all part of the interactions in the mosque's main function. The architecture of the buildings surrounding the mosque, meanwhile, was designed to reflect the business culture and network of the Chinese community in Surabaya and the area, including the use of corporate sponsors for events that are not just religious but also for general community activities including sports and gatherings of the Surabaya Chinese community. The Cheng Ho Mosque is an artifact that represents the distinctive features of Chinese Muslims as a subculture.
Article Details
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
This work is licensed under a Jurnal Komunikasi Creative Commons Attribution-ShareAlike 4.0 International License.References
Aini, F. N., Saryoan, C. A. R., & Prakoso, D. D. (2022). Analisis Perbedaan Ornamentasi Bangunan pada Masjid Cheng Hoo Surabaya dan Purbalingga Berdasarkan Alkulturasi Budaya Asing. MOZAIK, 1(1), 1–8.
Ang, I., & Stratton, J. (2018). The Singapore way of multiculturalism: Western concepts/Asian cultures. Sojourn, 33(S), S61–S86. https://doi.org/10.1355/sj33-Sd
Bennett, A. (2020). Hebdige, Punk and the Post-subcultural Meaning of Style. In J. S. Keith Gildart, Anna Gough-Yates, Sian Lincoln ·
Bill Osgerby, Lucy Robinson & P. W. M. Worley (Eds.), Hebdige and Subculture in the Twenty-First Century Through the Subcultural Lens. Palgrave Macmillan.
Bhandari, N. (2020). Negotiating Cultural Identities in Diaspora: A Conceptual Review of Third Space. Curriculum Development Journal, 42, 78–89. https://doi.org/10.3126/cdj.v0i42.33215
Collier, M. J., Thomas, M. (1988). Cultural Identity: An Interpretive Perspective. Sage.
Endrayadi, E. C. (2019). Pendirian Masjid Cheng Ho: Sebuah Identitas Cina Muslim dan Komoditas Wisata Religius Surabaya. Humaniora, 1(2), 171–186.
Hennig, K., & Kirova, A. (2012). The role of cultural artefacts in play as tools to mediate learning in an intercultural preschool programme. Contemporary Issues in Early Childhood, 13(3), 226–241. https://doi.org/10.2304/ciec.2012.13.3.226
Kanana, E., & Ellen, H.-H. (2020). Global and Local Hybridity in African Youth Language Practices. Africa Development, 40(3), 13–32.
Kitts, M., Stewart, P. J., & Strathern, A. J. (2017). Discursive, Iconic, and Somatic Perspectives on Ritual. Source: Journal of Ritual Studies, 31(1), 11–26.
Kori, S. & Sumardiyanto, B. (2023). Simbol Harmonisasi: Alkulturasi Budaya Islam dan Cina pada Ornamen Masjid Cheng Ho Surabaya. Jurnal Lingkungan Karya Arsitektur, 2(2), 74–85.
Leeuwen, T. van. (2004). Introducing Social Semiotics: An Introductory Textbook. Routledge. http://www.amazon.com/Introducing-Social-Semiotics-Introductory-Textbook/dp/0415249449
Littlejohn, S. W., Foss, K. A., & Oetzel, J. G. (2017). Theories of Human Communication, (11th ed.). McGraw-Hill Companies, Inc.
Mahfud, C. (2014). The role of cheng ho mosque: The new silk road, Indonesia-China relations in islamic cultural identity. Journal of Indonesian Islam, 8(1), 23–28. https://doi.org/10.15642/JIIS.2014.8.1.23-38
Muhammad, H. A. (2024). Agama dan Konflik Sosial: Studi Pengalaman Indonesia. Marja.
Muzzaki, A. (2010). Cheng Hoo Mosque: Assimilating Chinese Culture, Distancing it from the State. 71, 1–29.
Siefkes, M. (2012). The semantics of artefacts: How we give meaning to the things we produce and use. Themenheft Zu Image 16: Semiotik. Part 1 (“Principles of Semantization”, Section 1 –, 1(16), 67–102. http://www.gib.uni-tuebingen.de/image/ausgaben?function=fnArticle&showArticle=218; Part 2 (“Notation”, section 4 – 7) http://www.gib.uni-tuebingen.de/image/ausgaben?function=fnArticle&showArticle=219.
Siefkes, M. (2021). Cultural Semiotics and Meaning Attribution to Artefacts. Multimodal Artefact Analysis in Ancient Studies Investigating the Intersemiotic Relations between Pictorial and Verbalcommunication in Ancient Egypt, the Near East and Beyond.
Thaib, E. J., Nusi, A., & Suharti. (2021). Da’wah in Multicultural Society; Struggling between Identity, Plurality and Puritanity: an Empirical Study of Cheng Hoo Mosque of Makassar, South Sulawesi. Al-Ulum, 21(1), 89–106. https://doi.org/10.30603/au.v21i1.2111
Thorne, S. L. (2003). Artifacts and cultures-of-use in intercultural communication. Language Learning and Technology, 7(2), 38–67.
Wayessa, B. S. (2017). We are not alone: conceptualizing people-things relationship in Oromo community in North America. Journal of Ethnic and Cultural Studies, 4(1), 34–43. https://doi.org/10.29333/ejecs/60
Wihbey, John P., Jackson, Sarah J. Cruz , Pedro M., C., Brooke, & Welles. (2022). Visualizing diversity: Data deficiencies and semiotic strategies. In H. Engebretsen, Martin. Kennedy (Ed.), Data Visualization in Society. Amsterdam University Press. https://doi.org/doi 10.5117/9789463722902_ch22