Written By: Anthon Jason
Have you ever wondered how a blind person dreams? How does a blind person know whether he is awake or asleep? The reflective questions that emerged in the presentation of Wednesday Forum 12 March 2025 with Dr. Budi Irawanto tickled and made us realize how little we know about disability. The care and attention given are also often causing new problems because of the lack of willingness and ability to understand disability. Through the 2011 Indonesian film Hafalan Shalat Delisa (Delisa’s Prayer Memorization), directed by Sony Gaokasak and based on a novel by Tere Liye, Dr. Budi provides a critical analysis through the perspective of religious studies and communication science. The movie tells the story of a young girl’s resilience after losing her leg in the 2004 Aceh tsunami. Although it received praise for being able to attract audience sympathy and convey Islamic messages while also raising the theme of disability, there are some critical notes conveyed by Dr. Budi Irawan, who is an associate professor in the Department of Communication Science at the Faculty of Social and Political Sciences, Universitas Gadjah Mada.
Religious Framing of Disability: Piety as Redemption
Dr. Budi argues that the film positions Delisa’s disability as a spiritual trial ordained by Allah, framing her perseverance in prayer as a moral victory. By situating disability within an Islamic theological framework, the film frames Delisa’s amputation as a divine test of faith. While the Quran and Hadith emphasize compassion toward disabled individuals, the film’s emphasis on fatalistic acceptance (“this is a test from Allah”) risks normalizing societal neglect by framing disability as an individual challenge to overcome through piety alone. Such narratives echo medical model paradigms, which locate disability within the individual’s body rather than societal failures to provide accessibility. The tsunami’s aftermath, for instance, is depicted through Delisa’s grief over her family’s loss. However, the film neglects to critique the lack of inclusive infrastructure (e.g., ramps, accessible housing) in post-disaster rebuilding—a glaring omission given Aceh’s real-world struggles with disability inclusion.
Dr. Budi explained that while religious attitudes and responses to disability are quite diverse, it is not uncommon for Jewish, Christian, and Islamic perspectives to mimic the medical model by connecting disability bodily conditions with individual deficiency. Moreover, there is a persistent tendency to associate disability with individual sin (Schumm & Stoltzfus, 2011: xi). However, according to Al-Aoufi et al. (2012: 2026) Islamic philosophy has a positive attitude towards needy individuals and those who are in a disadvantaged situation. The Qur’an and the Hadith not only declared the existence of disabilities as a natural part of human nature but also provided principles and practical suggestions for caring for disabled people, as well as discussing the significance of such care.
The interesting thing is that we cannot find even a single word ‘disability’ in the Quran. But the word used is ‘disadvantaged people’. In the context of this term, Islam urges nondisabled Muslims to deal equally with disabled people. The Islamic perspective declares the right of the disadvantaged individuals and establishes the responsibility and duty of society towards such disadvantaged members (Al-Aoufi et al., 2012: 2016). Furthermore, the civil responsibility of society is illustrated in the Quran, which stresses that society is responsible for taking care of each of these individuals and is responsible for improving their conditions. The same applies not only to disabled persons but also to orphans and widows, who should be treated well and equally.
Drawing from these Quranic principles that emphasize the care of disadvantaged individuals, the narrative positions Delisa’s perseverance in memorizing prayer rituals as a marker of spiritual triumph. However, this portrayal aligns with what disability scholars call the ‘charity model’, where disabled individuals are objectified as vehicles for moral instruction rather than autonomous subjects. By focusing on Delisa’s unwavering devotion, and her ability to perform salat (prayer) despite physical limitations, the film reduces her agency to a narrative device that reinforces religious dogma. This mirrors critiques of how Islamic texts often address disability indirectly through metaphors of ‘disadvantage’ rather than structural advocacy, bypassing systemic barriers faced by disabled communities.
Cinematic Representation: Cripping Up and Inspiration Porn
Dr. Budi’s critique of Hafalan Shalat Delisa highlights two significant issues in cinematic representation: cripping up and inspiration porn. These concepts are central to understanding how disability is portrayed in the media, often reinforcing problematic stereotypes and neglecting authentic representation.
Cripping up refers to the practice of casting non-disabled actors in roles that involve characters with disabilities. This practice is criticized for reducing disability to a performative act, where actors mimic behaviors without lived experience, perpetuating stereotypes and excluding disabled actors from opportunities. In Hafalan Shalat Delisa, Chantiq Schagerl, a nondisabled actress, plays Delisa, exemplifying this issue. Budi argues that such casting decisions erase authentic representation and reinforce ableist norms in Indonesian cinema.
Inspiration porn involves portraying disabled individuals as inspirational figures primarily for the benefit of non-disabled audiences. This trope objectifies disabled people, framing their daily activities or achievements as extraordinary solely because of their disability. In Hafalan Shalat Delisa, Delisa’s perseverance in prayer rituals is celebrated by her community, reducing her to a source of inspiration rather than a multidimensional character. Dr. Budi critiques this portrayal for reinforcing the idea that disabled individuals exist primarily to motivate others, rather than advocating for systemic change or inclusive policies.
Both cripping up and inspiration porn contribute to the marginalization of disabled individuals in the media. They perpetuate stereotypes, reinforce ableist attitudes, and neglect the need for authentic representation and systemic advocacy. Dr. Budi’s analysis underscores the importance of shifting toward inclusive casting practices and narratives that center on disabled agency and critique societal barriers. Budi Irawanto’s critique of Hafalan Shalat Delisa highlights the need for more inclusive cinematic representations of disability. By addressing issues like cripping up and inspiration porn, media can move toward authentic portrayals that challenge societal norms and advocate for disability justice.
Conclusion: Toward Inclusive Representation
Hafalan Shalat Delisa succeeds in humanizing disability within an Islamic context but falters in its uncritical adherence to ableist norms. By privileging individual piety over structural critique and relying on non-disabled actors, the film perpetuates representational inequities that marginalize disabled voices. Dr. Budi Irawanto’s critique of Hafalan Shalat Delisa serves as a call to action for media creators to move beyond stereotypes and toward inclusive representation. By prioritizing authenticity, systemic critique, and intersectional advocacy, media can play a pivotal role in challenging societal norms and promoting disability justice. As Indonesia’s film industry grows, embracing intersectional approaches that center on disabled, religious, and cultural identities should transform how disability is framed, not as a test of faith, but as a call for collective justice.
