the governance and the community system of Aceh.
Of the Acehnese wisdoms is in the field of political communication i.e. Local richness of the Acehnese society has incised “the face of the Acehnese society” as a high civilization of the historical trajectory of the archipelago. The contemporary Islamic music performance known as Music Religi Popular (popular religious music) that seems overwhelmed the recent market is worth to note as the impact of popular image on ideal muslimah that is proposed by qasidah and modern nasyid. This preliminary research paper tries to see: How does the gender content of qasidah and nasyid relate to Islamic attitudes towards the performing arts? How are women represented in qasidah and modern nasyid performance? How does the audience respond to gender relations as revealed in qasidah and modern nasyid, both in performance and the lyrical texts? The material is drawn primarily from Java, Kalimantan, and Aceh, and is based on field research, visual recordings and interviews with several figures who have long been involved in qasidah and modern nasyid as leaders, trainers, or performers. The emergence of modern nasyid movement from the ‘tarbiyah’ movement since early of 1990’s (Gatra, September 2010, p.80) which is in a certain degree always oppose the modernist and government’s imaged of being Muslim woman, obviously has challenges the Lasqi’s image of ideal Indonesian Muslimah. The New Order insistence on “proper roles” for women as wives, and mothers meant that qasidah became part of the apparatus of the gender arrangement of New Order Era in which the performing arts were not exempt. It is worth noting a prominent figure in qasidah development Tuti Alawiyah, a former leader of Asyafiiyah pesantren, who played a great role in setting up Lasqi movement.
Zulkarnain (2004, xviii) noted that in the middle of the 1960s, Nur Aisyah Djamil from North Sumatra established the first qasidah group which she named “nasyid”, the acronym of her name. Early in Indonesian qasidah history, the significant female role cannot be overlooked, recalling the relatively important role of women as musicians in traditional Southeast Asian ritual.
It has a goal (and to some extent, still is) to present government programs so that they were in accordance with the norms and values of Islam for Indonesia.
Lasqi (Lembaga Seni Qasidah Indonesia) as a movement has a patron-client relationship with the New Order in supporting the Islamizing of Indonesia.
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