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Ayat-Ayat Cinta, Ahmadiyah and Pancasila

The sensational accomplishment of both the film and the book Ayat-Ayat Cinta (AAC) is an impression of our social molding and yearnings. Is intriguing that AAC has had the option to weaken the “distinctions” in such molding and desires to the degree of being unrecognizable. The film and the book have been similarly valued by our President, our church and ordinary individuals.

The inquiry is, do we need a book or a film like AAC to join us? On the off chance that we do, at that point we have some intense issues here.

“Ayat”, to my arrangement, is Arabic for “verification” or “proof”. “The confirmations or confirmations of the Lord’s quality are dissipated all finished.” All our sacred writings concede to this. “Those with eyes can see them unmistakably.”

Does AAC take the stand concerning the “presence” of our Lord?

Or on the other hand does it give testimony regarding the presence of a “Divine being” as imagined by one specific strict gathering? The book obviously advances certain strict qualities, as “comprehended” by the writer dependent on his social childhood.

A Christian young lady commending Islamic qualities and becoming hopelessly enamored with a youthful Islamic saint isn’t just worthy however attractive. For a change, shouldn’t something be said about a Muslim young lady commending Christian qualities and beginning to look all starry eyed at a youthful Christian legend?

I can’t help thinking about what might be the response of our recognized pastorate who talked so exceptionally about the film, and even showed up on TV to advance the equivalent.

I keep thinking about whether the maker of AAC would create a film along the above “inverse” line. As called attention to by a dear companion of mine, author Ayu Utami, this is a “dakwah film”. It advances “certain” strict qualities. I concur with her. The creator does as well. Along these lines, it is very normal that those specific qualities are maintained over others.

The makers of the film may not be keen on advancing something besides their business. All things considered, they are performers. They would prefer to avoid questioning. Had they been in the West, they would film the polar opposite of AAC – a Muslim saint or champion acknowledging Christian qualities and beginning to look all starry eyed at a Christian. Ayu Utami properly says that the film has similar plot as Hollywood motion pictures of the 1950s.

What does this demonstrate? What are these ayats pointing at? To begin with, we are still a lot of adapted by our limited strict childhood: I can endure you, however whatever is said and done, my religion is the best.

Second, my business will be business. Try not to mistake me for different things. I am only a performer. I put stock in the second piece of Machiavelli’s regulation of “food and carnival” to keep individuals occupied, so they don’t think basically and don’t represent any issues to the foundation.

The film is pluralistic as in it has a Christian character. I trust we don’t accept that to be the meaning of being pluralistic. And still, at the end of the day, the creator Habbiburrahman has been condemned by hard-liners. They contend, “For what reason should a Muslim protect the privileges of an American in Muslim Egypt?” The creator’s guard is really founded on common and basic liberties. What’s more, this is my third point: a considerable lot of us are not keen to other people groups’ privileges.

No big surprise we are not delicate to the predicament of the Ahmadis. They are being abused, yet our specialists, our ministry and a lion’s share of our kin are not in the slightest degree worried about it. Madi of Selena town was ruthlessly executed; the Ahmadis could be murdered as well. In any event one of our hard-liners is gotten on video yelling and shouting, “Slaughter, murder, execute the Ahmadis.” We are quiet.

Our dear and darling President could cry tears viewing AAC, yet his eyes are dry at the situation of Madi, Ahmadis and others. Or on the other hand, maybe we need paparazzi. Maybe, he has been crying tears in private. Maybe the media simply haven’t found him doing it.

I don’t have anything against AAC and its creator. Let us anyway observe AAC in the light of our indigenous social qualities as revered in the five purposes of Pancasila. What are the most noteworthy otherworldly and all inclusive qualities in the film that are not found in Pancasila? Surely, Hukum is at any rate one significant stride in front of AAC. A Christian doesn’t need to change over to Islam to like the widespread qualities in Islam and in the prophethood of Muhammad (harmony arrive).

Our kin are entranced by the Middle Eastern, Egyptian setting of the film. We esteem their conventions over our own, and we are both wistful and passionate about them. The Egyptians, be that as it may, didn’t respond our opinions. The maker of this film needed to film a few scenes in India, for a simply “material” reason.

AAC holds “guys as the legend”. Ladies are subordinates. They are generally the legend, and not the other way around. This isn’t Indonesian. This is extremely Middle Eastern. The “male” and the “manly” in AAC are so verifiably however certainly advanced, that one starts to contemplate whether love is manly.

AAC is really an impression of our current society. It has served well in bringing up to us the contention going on inside us. AAC’s remain on polygamy is an impression of such clash. This is my fifth and last point. Somewhere inside we are conflicted between unfamiliar and indigenous qualities. Simply think about our response to Ustadz A.A. Exercise center, Wong Solo, and their polygamy. We were unable to acknowledge it.

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