In OOTB (1) we said that one of the sectors normally dismissed by Conventional Da’wah (CD) is the entertainment sector.
And we said that it’s time to prick and burst the CD superiority bubble with regard to entertainment.
In OOTB (2) we illustrated how, in alienation by the CD, the Malaysian entertainment industry had managed and is managing, in its own way, its loyalty to being Islamic.
In this OOTB (3) we argue that 21st-century da’wah must reckon with the fact that the entertainment industry will thrive and flourish even more in Malaysia’s digital age. And the implication is that the Malaysian da’wah circles have got to go beyond nasheed to be relevant.
‘Srikandi Cinta Ku’, a song about the heroic love of a mother, was the song that won the 33-year old contestant Naqiu the title of winner of the Gegar Vaganza 2019. It happened that the nasheed group Hijjaz had also performed this number when they competed in Gegar Vaganza 2017:
Since the two years it was on air, the Hijjaz Youtube scores are as follows:
RANK(27 Dec 2019, 7-8 AM)
Number of views (15 April 2017- 28 Dec 2019)
محمد سيفول أشرف إسميل
Hijjaz – Srikandi Cinta Ku | #GemaCoustic [MV]
Nur Fazilah CH
Ilhamy Channel II
Compare the Hijjaz achievement over two years with the five-day YouTube scores of Naqiu’s:
RANK (28 Dec 2019, 7-8 AM)
CHANNELS WITH 1,000 AND ABOVE VIEWS
NUMBER OF VIEWS
DAY 1 (23 Dec. 2019)
DAY 2 (24 Dec. 2019)
DAY 5 (28 Dec. 2019)
Astro Gempak 2019 Final – live
1.8mil (#No 1 on trending)
2.4mil (#No 1 on trending)
2.6mil (#No 1 on trending) 2.7mil (#No 2 on trending)
Astro Gempak Naqiu Boboy Srikandi Cintaku
Nota Band Official
Syndicate Music Rec
Putra Gegar Channel
Berita sensasi viral
Total Within Malaysia
Nephi Acaling (Philipinnes)
Nephi Axe (Philipinnes)
Wow reacts (Russian)
Total Outside Malaysia
The numerical comparison shows that the non-nasheed total of 5-day scores exceeded the nasheed 24-month scores by 3,686,901 views or 286%. Imagine what the gap will be in 730 days for the non-nasheed. An epic 40,000%?
Even if we reduce the figure to a conservative estimate, a difference of 4,000% would still be astonishing.
The internet has shifted the playing field of social influence dramatically, to say the least. Digital savvy young people go through their daily life on digital steroids. Facebook, Instagram, Twitter, Whatsapp and the like become their language of interaction, lifestyle and lifeway.
That digital communication, engagement and interaction become even more universal given the fact that songs are indeed colour blind:
Social Influencers in Malaysia by comparison
Currently, young social influencers of the Malaysian entertainment industry come in different groups. There are the #BBDU which in Malay stands for Budak Baru Dah Up or already-established-young artists and celebrities such as Khai Bahar, Neelofa, Siti Nurdiana, and Hael Hussaini some of whom rise to stardom after appearing and winning in nation-wide contests such as Anugerah Juara Lagu (AJL).
The BBDU capacity for social influencing has been phenomenal, to say the least:
Then there are the #BBNUs which in Malay stands for Budak Baru Nak Up or just-starting-to-rise young artists such as those in late teens or early twenties graduating from Astro’s newly conceived regional contests such as the Big Stage:
It will not be a stretch of the imagination to say that the young entertainers are giving other social influencers in Malaysia a hard time to compete with:
For one, business motives will ensure that entertainment programmes like Gegar Vaganza (GV) will continue to dominate Malaysian Malay Muslim public life and with it the instant making of new icons given the compelling digital power of social media:
For another, Malay Muslim entertainment icons are able to play their own role in ammar makruf, thus convincing society that they are a force-for-the-good to be reckoned with:
Da’wah OOTB vis a vis Malay Muslim entertainers – the way forward
The world of entertainment will not cease to be a field of the rat race and all the bad and the ugly that comes with public exposure and public influencing. But so will politics and even conventional da’wah.
It’s up to the OOTB Daies and mujtahidun to mobilise the power for good, to neutralise the power for bad, and to mediate the grey areas in between, that come with the unstoppable rise and reign of entertainers as social influencers in the Digital Age of the 21st century Malaysia.
If they succeed, they will be part of the solution to making Malay Muslim entertainers and entertainment industry a model of resurgent Islam for the world.
One fact remains: that there is no turning back to the non-digital era.
Contributed to us by Prof. Dr. Amriah Buang
President, Interactive Muslimah Association (IMAN), Malaysia
Disclaimer: The views and opinions expressed in this article are those of the author’s and do not necessarily reflect the views of The Best Fikrah team.