Philanthropic Ads and Social Welfare:

How Digital Advertising Promotes Islamic Philanthropy in Indonesia

Agung Zainal Muttakin Raden

, Muhammad Iqbal Qeis

and Asep Saepudin Jahar

Visual Communication Design, Faculty of Language and Art Universitas Indraprasta PGRI

Jakarta, Indonesia

Faculty of Shari’a and Law, Islamic State University Syarif Hidayatullah, Jakarta, Indonesia

Keywords: Islamic Philanthropy, Philanthropic Ads, Semiotics, Social Welfare, Digital Advertising

Abstract: The recent emergence of Islamic philanthropic institutions in Indonesia offer many opportunities for fund

raising and donation including zakat, infaq and sodaqoh, as well as solidarity act and humanitarian reliefs

towards Muslims hit by disaster or living in an extreme condition. Digital advertising is one of the media used

to attract donors so that they are willing to donate some of their wealth to these Islamic Philanthropic

institution in the modern era. Islamic philanthropic advertisements is on of the new phenomenon in the

advertising world in Indonesia. However, despite operating within the term of Islamic philanthropy, many of

the recent ads were observed to not display any message related to Islam, but leaning towards humanitarian

act. This paper will analyze the ads made by Islamic philantropic institutions in attracting philanthropist to

engage in the act of donations to see how digital advertising promotes Islamic philanthropy in Indonesia. The

analysis was done using Barthes’ semiotics approach related to the narrative codes to grasp the meaning

behind the ads as well as to see the recurring themes commonly displayed within the ads. The result shows

that the advertising promotes philanthropy mission toward social welfare more than promoting Islamic

philanthropy as one of the pillar of Islamic faith.

1 INTRODUCTION

Philanthropy is interpreted as a conceptualization of

the practice of voluntary giving, voluntary services

and voluntary associations to help others in need as

expressions of love (Kasdi, 2016). The term

philanthropy comes from the Greek words, philos

which means love and anthropos which means

human, coined together to refer to the love of

humanity (Dwijatmiko, 2009). The term has the

meaning that love for humanity in the form of

solidarity, sympathy, and empathy does not refer

specifically to a particular religion since every core

religion teachings always touch the subject of love for

fellow human beings.

As one of the five pillars of Islamic faith, Islamic

philanthropy in the form of zakat is considered

compulsory and important. According to BBC, as a

type of worship and self-purification, zakat has its

own system and does not refer to the charitable gifts

given out of kindness (BBC, 2009). Another form of

Islamic philanthropy is sadaqah or alms. According

to the Center for Arab American Philanthropy,

sadaqah or alms are more than just a voluntary charity

as it holds a high religious value and also religious

duty (Center for Arab American Philanthropy, 2014).

Thus, Islamic philanthropy views philanthropy

as more than just the love of humanity but also the

love of God in related to the act of worship as a

religious duty for Muslims. Islamic philanthropy in

Indonesia such as qurban, zakat, and alms was

promoted by using philanthropic ads to encourage

goodwill to engage in charity and donation.

Philanthropic institutions having a commitment to

support good governance needed some donors to

provide donations in making philanthropy a

sustainable act. The aspect of good governance such

as transparency, accountability, responsibility, and

professionalism demand a tangible effort to involve

people in becoming a donor. This effort is then

carried out through the use of digital advertisement.

The emergence of cityscape and public space in

Indonesia enabled by the influence of democratic

system has strengthened public religious expression.

The public religious expression was faced with

modernity and globalism, creating a modernized

Muttakin Raden, A., Qeis, M. and Jahar, A.

Philanthropic Ads and Social Welfare: How Digital Advertising Promotes Islamic Philanthropy in Indonesia.

DOI: 10.5220/0009944724592466

In Proceedings of the 1st International Conference on Recent Innovations (ICRI 2018), pages 2459-2466

ISBN: 978-989-758-458-9

2459

Islamic expression in many levels. One of them is in

the form of Islamic philanthropic ad. Islamic

philanthropic ad is a new phenomenon in the

Indonesian advertising sphere that grasp the attention

of the community since it shows the adaptation made

by the religious expression in the face of

modernization. These ads regarding philanthropy are

very unique considering that this type of

advertisement can be categorized as commercial ads

as well as non-commercial advertisements

(Dwijatmiko, 2009).

Indonesia has a philanthropic institution that

manages zakat, infaq, and alms, namely the

Indonesian National Zakat Amil Agency (Badan

Amil Zakat Nasional or BAZNAS). BAZNAS is one

of the official and the body established by the

government based on the Presidential Decree No.8 of

2001 which has the duties and functions of collecting

and distributing zakat, infaq, and alms at the national

level (Linge, 2015). In addition to BAZNAS, there

are many other philanthropic institutions that are

incorporated as foundations, associations,

community-based, or research-based non-profit

institutions.

To attract donors to engage in philanthropy act,

these institutions spread their message using, banner,

website, social media, and advertising in the form of

digital advertising. Digital advertising is one of the

media that is easy to be shared and spread around in

order to attract donors by utilizing the advancement

in the information technology. However, despite

operating within the term of Islamic philanthropy,

many of the recent ads were observed to not display

any message related to Islam, but leaning towards

humanitarian act.

This article will analyze the Islamic Philanthropy

ads from six institutions, namely Aksi Cepat Tanggap

(ACT), BAZNAS, Dompet Dhuafa, Rumah Zakat,

LAZISMU, and NU CARE–LAZISNU. The digital

advertisements from the philanthropic institutions

will then be analyzed by using Roland Barthes's

semiotic approach related to the narrative codes. By

analyzing the visual appearance, the message

delivered as well as the recurring motifs contained

within these digital advertisements will be

understood. This analysis will bring light on how

Islamic philanthropy institutions are using digital

advertising to promote Islamic philanthropy in

Indonesia.

2 METHODS

This paper uses semiotics methodology to analyze the

philanthropic ads, specifically narrative codes

proposed by Roland Barthes. Narrative codes are

codes that contained stories, sequences, actions, or

anti-narratives (Tinarbuko, 2009). The semiotics was

also used to analyze visual signs found in

philanthropic ads in the form of digital advertisement.

Visual semiotics is basically one of the fields of

semiotics that specifically has an interest in the

investigation of all kinds of meanings conveyed

through visual senses (Budiman, 2011).

The six digital ads was compiled from the latest

ads featured by six prominent Islamic philanthropic

institutions in Indonesia. The six digital ads are then

analyzed visually to see the structure forming the ads.

This description of the structure of the ads was done

in order to observe the narrative codes contained

within. After observing the narrative codes, the codes

will then be divided into the verbal and the visual

codes. The verbal and the visual codes will then be

analyzed using semiotics approach related to the

narrative codes to grasp the meaning behind the ads

as well as to see the recurring themes commonly

displayed within the ads.

All narrative codes within the ads, both the verbal

and the visual, will be analyzed by using three of the

five narrative codes proposed by Barthes: the Semic

code, the Symbolic code, and the Cultural code.

Tohar, Asaf, Kainan, and Shahar stated that the semic

code can be used to identify the recurring motifs or

theme while symbolic code and cultural code can be

used to reveal the hidden expressions within the

narrative (Tohar, Asaf, Kainan, & Rakefet, 2007).

The semic codes will be used to analyze the

narrative, specifically related to the setting or object

to see the underlying thematic and connotative

expression communicated in the ad. The symbolic

code analyze the contrasting elements found within

the narrative to see the hidden meaning in the ad. The

cultural code analyze the expression used in relation

to specific identification of a field or culture. The

analysis done in the six advertisements emphasizes on

the effectiveness of the message delivered and the

way it was delivered using visual and verbal

narratives to find the commonality between the six

ads presented in this paper.

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3 DISCUSSION

This paper will analyze six digital advertisements

released by six philanthropic institutions: ACT,

BAZNAS, Dompet Dhuafa, Rumah Zakat,

LAZISMU, and NU CARE-LAZISNU. The six

digital advertisements picked are the most recent

advertisement to be released, covering a broad range

of subject from providing natural disaster relief to

encouraging to do qurban or livestock sacrifice.

The discussion will seek to understand the way

philanthropic ads are able to arouse and raise

awareness to make donations and the motifs

contained within the philanthropic ads as well as to

shed light on its role in the field of philanthropy in

Indonesia.

Figure 1. Digital philanthropic ads by ACT

Figure 1 shows philanthropic ads released by

ACT related to the disaster happened in Donggala and

Palu regions. Recently Indonesia was rocked by

natural disasters such as earthquake and tsunami

centered in

the Donggala and Palu regions in Central

Sulawesi. This incident caused the region to collapse

and the victims, both the dead and heavily injured,

added to the grief and sadness in facing the aftermath

of this natural disaster. ACT as one of the

philanthropic institutions in Indonesia quickly moved

in to help in terms of providing logistics for the

refugees by using digital advertisements delivered

through their website in https://act.id.

The structure in this advertisement can be divided

into three parts: The top, The middle, and the bottom

part. The top part consists of a logo showing the word

“Let’s ACT” accompanied by two pictures. The

picture on the left shows a surrounding area of a

mosque covered in flood while the picture on the right

shows a broken building ddevastated after dealing

with earthquake. The middle parts featured the text

consisting of a headline and a body text. The bottom

part layouted into a footer provides phone numbers

that can be contacted and social network addresses

that can be accessed along with the logo of ACT Care

For Humanity.

The narratives in this ad can be divided into the

verbal and visual narratives. The verbal narrative can

be seen in the headline “BERSAMA BANTU PALU,

MAMUJU & DONGGALA” (Help Palu, Mamuju, &

Donggala Together). The body text provides the

verbal narrative encouraging people to help those in

need in Donggala and Palu who were dealing with the

aftermath of a 7.7 richter scale earthquake. The verbal

narrative asks the people to help ease the troubling

situations by engaging in the area of social solidarity.

Meanwhile, the visual narrative can be seen in the use

of the image of the mosque and the surrounding

environment being submerged in floods on the left

side of the ad and the image of the damaged building

on the right.

Based on these verbal and visual narratives, we

can conclude that the narrative codes in this

philanthropic ad heavily advertise the message about

social solidarity. The text “ringankan kesusahan

seluruh saudara terdampak gempa” (ease the trouble

faced by our kin dealing with natural disasters)

accompanied by the image of flooded mosque and

damaged house solidify this message. The hashtag

#BersamaHadapiBencana (face the disaster together)

brings the sense of unity and social awareness. The

text “salurkan kepedulian anda” (channel your

concern) was used to evoke attention to the

humanitarian side of all the viewers.

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Figure 2. Digital philanthropic ads by BAZNAS

Figure 2 shows philanthropic ads released by

BAZNAS, a government institution that conducts the

collection and distribution of zakat, infaq, and alms,

related to qurban or livestock sacrifice in celebrating

the Eid-Al-Adha or the Festival of Sacrifice. Eid-Al-

Adha is an annual celebration held in the month of

Dzulhijjah by Muslims. This celebration refers to the

story of the prophet Abraham and his obedience to

Allah to sacrifice his son, Ishmael.

The structure in this advertisement can be divided

into three parts: The top, The middle, and the bottom

part. The top part consists of a picture showing a

middle-aged male carrying a goat over his shoulders

and a landscape of rice field. The middle parts

featured the text consisting of a headline and a body

text featuring the lists of all BAZNAS outlets. The

bottom part layouted into a footer provides phone

numbers that can be contacted and social network

addresses that can be accessed.

The verbal narrative can be seen in the headline

“GERAI KURBAN BAZNAS” (BAZNAS qurban

outlets) followed by the sub-headline of “Tunaikan

kurban, zakat, dan sedekah Anda melalui gerai

kurban Baznas” (Do your qurban, zakat, and alms

thhrough BAZNAS qurban outlets). The body text

which lists the address of BAZNAS outlets that can

be contacted encourage people to access the outlets to

engange in the pihlanthropy act as a part of the verbal

narrative. Meanwhile, the visual narrative can be seen

in the image of a middle-aged male wearing a

"Kurban Berdayakan Desa" (qurban empowers rural

areas) shirt while carrying a goat in front of the

background of a hut and rice field.

Based on these verbal and visual narratives, we

can conclude that the narrative codes in this

philanthropic ad advertise the message about social

welfare and empowerment. The shirt worn by the

middle-aged male accompanied by the smiling face

and the strength to lift a goat are visual signs that

enforce the narrative of empowerment. The wide race

field and bright sky brings the sense of welfare and

free from problems.

Figure 3. Digital philanthropic ads by Dompet Dhuafa

Figure 3 shows philanthropic ads released by

Dompet Dhuafa, a non-profit organization committed

to raise the social dignity of the poor. The ad is related

to the act of zakat. As mentioned before, zakat as a

part of Islamic philathropy is one of the five pillars of

Islamic faith. It is a compulsory worship for every

Muslim in order to express their faith and was

outlined in the Quran Surah Al-Baqarah verse 43,

“And establish Prayer and give Zakat and bow with

those who bow (in worship and obedience)”.

The structure in this advertisement can also be

divided into three parts, albeit a little different from

the previous two advertisements. The top part

consists of two logos. The logo on the left side is a

logo of Zakatnesia, a program launcehd by Dompet

Dhuafa with its slogan “Berkah untuk Indonesia”.

The logo on the right side is the logo of Dompet

Dhuafa organization. The middle parts featured the

slogan of this advertising which is “Berzakat

semudah memberi like” and the main illustration

featuring a thumbs up icon with a picture of three

boys reading a book inside of it. The bottom part

layouted into a footer provides bank account numbers

and social network addresses that can be accessed.

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The verbal narrative can be seen in figure 3 in the

headline "Berzakat Semudah Memberi Like" (giving

zakat is as easy as giving like). The verbal narrative

stressed the easiness of giving zakat. Meanwhile, the

visual narrative can be seen from the thumbs up

images that refers to the act of liking something in

social networks such as facebook. Inside of this

thumbs up, there is a picture of three boys reading

books and dressed in elementary school uniforms

with smiling faces indicating happiness.

Based on these verbal and visual narratives, we

can conclude that the narrative codes in this

philanthropic ad advertise the message about the

social effect of giving zakat. The slogan of

Zakatnesia, “Berkah untuk Indonesia” (blessing for

Indonesia) and the three boys reading happily means

that zakat can help develop the people of Indonesia,

preparing for a better future. The smiling faces of the

boys shows happiness and reassurance and the act of

reading is a sign of a better education.

Figure 4. Digital philanthropic ads by Rumah Zakat

Figure 4 shows philanthropic ads released by

Rumah Zakat, a philanthropic institution that

manages zakat, infaq, alms, and other social funds

through community empowerment programs. The

empowerment program is realized through four main

clusters, namely Champion Smile (education),

Healthy Smile (health), Independent Smile

(economic empowerment), and Sustainable Smile

(environmental sustainability initiative).

The structure in this advertisement is different

from the previous advertisements as it only features

two parts, the body and the footer. The body part

consists of texts on the left side and illustration on the

right side. The text then can be divided into two, the

first featuring headline and body text while the

second featuring the slogan and the amount of

donation needed. The illustration on the right side

featured a smiling girl wearing hijab with hands

placed in front of her body, indicating gratitude. The

footer provides social network addresses that can be

accessed and a word saying “sharing happiness”.

The verbal narrative can be seen in figure 4 in the

headline “Beasiswa Sekolah Juara” (Scholarship for

the champion school). The body text provides the

narrative about a smart girl who is a student in one of

the champion school located in Medan. She was

crying because she neglected her duty to worship by

not doing Ashr Prayer because she fell asleep. The

narrative emphasized that there are children who has

strong religious faith but also excels in studying. The

next text “Ayo, bantu wujudkan mimpi anak-anak

Indonesia” (let’s help the Indonesian children to

achieve their dream) brings the narrative to that of

social welfare for a better future. The word “sahring

happiness” found in the footer contains a verbal

narrative of to be happy, you have to make other

people happy by the act of sharing. This verbal

narrative then was strenthened by the visual narrative

in the image of a girl wearing a hijab with a smiling

face and hands placed in front of her body.

Based on these verbal and visual narratives, we

can conclude that the narrative codes in this

philanthropic ad also advertise the message about the

social effect of giving zakat. The hand gesture with

smiling face is a sign of a gratitude related to the

slogan of

“let’s help the Indonesian children to

achieve their dream” and “sharing happiness”.

Figure 5. Digital philanthropic ads by LAZISMU

LAZISMU is a national-level zakat institution

that is devoted to community empowerment through

the productive use of zakat, infaq, alms, and other

generous funds from individuals, institutions, and

Philanthropic Ads and Social Welfare: How Digital Advertising Promotes Islamic Philanthropy in Indonesia

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companies. Founded by Muhammadiyah in 2002,

LAZISMU was confirmed by the Minister of

Religion of the Republic of Indonesia as the National

Amil Zakat Institution through Decree No. 457/21 in

November 2002.

The structure in this advertisement shown in

figure 5 is different from the previous advertisements.

The previous ads were structured in a portrait position

whereas here, the ad was structured in a landscape

position. Here we see the advertisement was divided

into two parts, the left and the right part. The left part

consists of LAZISMU logo and an illustration of a

girl wearing hijab smiling while writing. The right

part consists of texts containing headline “Zakat itu

gaya hidupku” and the body text explaining about the

philanthropic lifestyle. This ad is differentfrom the

previous also as it doesn’t contain any social network

addresses that can be accessed.

The verbal narrative can be seen in figure 5 in the

headline "Zakat itu gaya hidupku" (giving zakat is a

part of my lifestyle). The verbal narrative boast the

word lifestyle usually found in capitalism world and

coined it with an act of giving zakat. Meanwhile, the

visual narrative can be seen from the image of a girl

sitting in front of the desk. The chair the girl was

sitting on is an office chair while the desk is that of an

office one. It indicates that this girl is an office worker

and having her own means of income. Again, this ad

features smiling face indicating happiness.

Based on these verbal and visual narratives, we

can conclude that the narrative codes in this

philanthropic ad advertise the message about the

social duty of giving zakat. The headline

accompanied by the body text “Ekspresikan masa

mudamu, Salurkan dermamu” (express your youth by

engaging in a philanthropy) is a call for every youth

who are searching for their own expression in a social

setting. The smiling working girl shows happiness

and confidence, expressing that she is pleased on her

philanthropic act. They used the word “hobby” and

“lifestyle” and put the working girl image to be more

appealing towards the youth and to introduce Zakat

as a part of social expression.

Figure 6. Digital philanthropic ads by NU CARE-

LAZISNU

NU CARE-LAZISNU was established in 2004 as

a means to help the community, according to the

mandate of the 31st NU conference held in Boyolali,

Central Java. NU CARE was formally acknowledged

by the Decree of the Minister of Religion No. 65/2005

to collect Zakat, Infaq, and Alms to the general

public. NU CARE-LAZISNU is a non-profit

organization that belongs to the Nahdlatul Ulama

(NU) association which aims to have the benefit of

the welfare of the people by raising social values

through Zakat, Infaq, Alms and Endowments funds

(ZISWAF).

The structure shown in figure 6 can be divided

into two parts, the upper and the lower part. Each part

carries a distinct narrative. The upper part consists of

NU CARE-LAZISNU logo, A text of “Bantu yatim

pelosok desa” and an illustration of a young boy

accompanied by an old woman wearing hijab. The

bottom part consists of text “untuk bersekolah”, an

illustration of three young boys wearing school

uniform, and the website that can be accessed.

The narrative in figure 6 is structured differently

than the other advertisements. Here, the verbal and

visual narrative are linked to each other, featuring two

distinct stories based on the ad structure. These two

stories are then used to form a main narrative intended

by the ad. The upper part featured the text “bantu

yatim pelosok desa” (help the fatherless child in rural

areas) linked to the image of a young boy facing

down, expressing sadness. The absence of male adult

figure indicates that this boy is a part of the fatherless

children in rural areas. The old woman wearing hijab

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was featured with a sad expression to further

strengthened the message of a poor life experienced

by this fatherless boy. Meanwhile, the lower part

featured the text “untuk bersekolah” (to go to school)

linked to the image of three boys walking while

wearing school uniforms. The visual support the text

by giving an image of three boys walking to the

school in rural areas.

Based on these verbal and visual narratives, we

can conclude that the narrative codes in this

philanthropic ad advertise the message about the

social effect of philanthropy. The upper part featured

a gloomy and sad vibe is contrasted by the lower part

featured a happy and gleeful vibe. The contrast help

creates a main narrative of philanthropy as a way to

improve life to achieve happiness. The word “kita

bisa” (we can) as a part of the website name also

strengthened the narrative code of having a power to

overcome the poor life faced by the fatherless child.

After observing the six narrative codes within

these philanthropic ads, we can now see the semic

code, symbolic code, and cultural code presented

across these six ads. Going through all the narratives,

there are many theme and motifs etched inside these

six ads such as dream, strength, and community

union. However one semic code is persistently shown

across the six ads: the social welfare motifs. In figure

1, for example, the visual narrative of damaged

building indicates the housing problems. By engaging

in Islamic philanthropy, the housing problems will be

alleviated, promising a better living condition. This

motifs can also be seen in the ads presented in other

figures.

In figure 2, social welfare was shown clearly by

the use of word “berdayakan desa” (empower rural

areas) and the green rice field. In figure 3, social

welfare is implied using the smiling three boys

reading book indicating happiness. The three boys

wearing a school uniform means that they can finally

get education and in turn aim for a better living in the

future.

In figure 4 and 5, the word “sharing happiness”,

“lifestyle”, and the image of the smiling girl formed a

semic code of feeling glad of the philanthropy act that

leads to a better life. Lastly, figure 6 shows a sad

situation that was turned into a happy situation by the

act of philanthropy, leading the fatherless child to live

a better life. All six ads featured a semic code which

conveys about the message of ensuring the people the

funds and education needed, so that the long term

goal of poverty alleviation can be achieved. In

conclusion, the semic code shows us the transitions of

Islamic philanthropy from religious duty to social

duty.

The symbolic code plays with hidden meaning

that is not explicitly present in the narratives by

analyzing the contrary. For example in figure 4, The

visual narrative emphasized that the girl is feeling

grateful while the verbal narrative shows that the girl

is feeling sad . This shows the symbolic code that she

is now on her way to achieve her dream and she is

feeling grateful towards those who helped her by

donating their money through Rumah Zakat. This

hidden meaning can also be found in other

philanthropic ads. The narrative of rural areas and the

visual narrative of the strength to lift the goat in figure

2 show the symbolic code of weak versus strong. This

symbolic code is related to the socio-economic status

symbolized within the advertisement’s narratives.

Figure 3 compares the act of giving zakat to the act of

giving like while figure 5 compare it to the youth’s

lifestyle. It compares the act of religious duty to the

daily life act.

This shows a symbolic code of making the

religious duty more easy by treating them as a social

act done within our daily routine. The most prominent

contrast then was shown in figure 6 where the gloomy

vibe representing “the poor” in the upper part of the

ad is contrasted to the gleeful vibe representing

“education” in the lower part of the ad. In conclusion,

the symbolic code shows the change from living in

poverty to living in adequacy by relegating the act of

philanthropy from its position as a religious act to that

of a social act.

The cultural code refers to the specific expression

related to the underlying theme of the narrative. The

expressions found within the six advertisements such

as “ease”, “empowers”, and “sharing” can be

categorized within the socio-economic jargon. The

term “Rural area” and “affected community” along

with “better education” conveyed through visual

narratives are also a part of this socio-economic

jargon. In conclusion, the cultural code shows that

these six philanthropic ads from the six Islamic

philanthropy institutions are leaning towards

embodying the socio-economic purpose rather than

the religious purpose.

4 CONCLUSIONS

Philanthropic institutions are presently growing and

fastly developing in Indonesia considering that there

are still many welfare gaps in Indonesian society.

Aside of that, Indonesia also houses many regions

that are prone to natural disasters. Philanthropic

institutions need to be able to answer these

challenges. Thus, it is a challenge for philanthropic

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2465

institutions to deliver the message through their

advertisement in order to communicate the message

clearly and target a specific challenges related to the

unique condition in Indonesia.

The six ads advertised through digital advertising

discussed from each philanthropic institutions feature

more or less the same structure. They feature texts,

visuals, and the part which contains the institution’s

contacts. The texts and the visuals contained within

these six advertisements featured different

characteristics, but the narrative codes, both the

verbal and visual narratives featured in these six

digital ads communicate the same message.

The semic code found in these ads shows us the

transitions of Islamic philanthropy from religious

duty to social duty. The symbolic code shows the

change from living in poverty to living in adequacy

by relegating the act of philanthropy from its position

as a religious act to that of a social act. The cultural

code shows that these philanthropic ads are leaning

towards embodying the socio-economic purpose

rather than the religious purpose. These narrative

codes are showing that the digital ads for these six

Islamic philanthropy institutions express a shifting of

philanthropy act from religious duty towards socio-

economic purposes. The analysis shows that the

advertising promotes philanthropy mission toward

social welfare more than promoting the religious

aspect of Islamic philanthropy as one of the pillar of

Islamic faith. This phenomenon put the act of Islamic

philanthropy in line with the high growth of

economic market in Indonesia. This reflects a social

changes within the muslim society in Indonesia The

mixture of religiosity and socio-economic market in

Islamic philanthropy ad creates a shift in Islamic

philanthropy by using a trend of social media and

marketing in the form of marketization of Islamic

philanthropy.

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