Shadow puppetry is a great masterpiece belonging to the ancestors of the native people. Wayang is like a symbol of the progress of civilization. The diversity of types of shadow puppets is proof of this, from wayang purwa to beber. The stories, language and situations of wayang stories are often considered sources of wisdom across the ages. Existing since Hindu, Buddhist and Islamic times. Even wayang is used as a medium for da'wah which has played a big role in the development of Islam in the archipelago.
No one is able to explain the details regarding exactly when shadow puppetry entered the archipelago. Some say shadow puppetry has been around since the heyday of Hindu-Buddhism. There are also those who reveal that wayang actually existed long before the arrival of Hindu-Buddhism or the influence of Indian culture.
This speculation was expressed by the Dutch scientist, Jan Laurens Andries Brandes (1857-1905). In his view, wayang is included in the ten elements of indigenous culture or local genius of the archipelago before the influence of Indian culture.
Wayang is then compared with other local genius. Some of these are gamelan, the science of rhythmic poetry, batik, metalworking, a currency system, shipping technology, astronomy, rice fields, and orderly government bureaucracy.
This means that wayang has been around for a long time. By Javanese community leaders, shadow puppets were then inserted into Hindu stories. But they didn't forget to strengthen the story narrative with Javanese characters, starting from Semar, Bagong, Gareng, Petruk, Bilung and others.
“Evidence has conclusively shown that wayang existed long before the arrival of Islam in Indonesia. It is possible that the shape of the wayang corresponds to the model of human depiction on the walls of ancient Javanese temples. "In this case, three-dimensional human figures are generally found in temple wall reliefs, such as the Borobudur Buddhist Monument in the 9th century, and the Prambanan Hindu Temple in the 10th century."
“These figures closely represent human anatomy. Usually the posture is facing forward, the clothes depicted correspond to men's and women's clothes. We find this model of representation in Central Java during its peak period as a center of political and cultural power. "When the center of political and cultural power moved to East Java in the 11th century, there was a change in the depiction of humans from three-dimensional forms to two-dimensional models," said Sumarsam in the bookUnderstanding Wayang and Gamelan: Javanese, Islamic and Global Cross Meetings (2018).
Other transformations in shadow puppet forms can be seen from the wayang stories that develop. Generally, popular wayang stories include the heroic stories of the Mahabharata and Ramayana. The energy of the puppeteer telling the story has a big influence on the story.
A Dutch researcher, J. Kats agrees with this. J. Kats, who had observed 180 Javanese wayang stories in 1923, revealed that almost 150 of the wayang stories were stories from the final part of the Pandavas from the Mahabharata Series. The rest tell stories related to the Ramayana and other stories.
Great skill in managing wayang stories is proof of the vital role of a puppeteer. He is able to build fantasy in telling stories, insert values and social messages. He can also make human history from century to century not straight, not single, and even tends to change. This is the key to a puppeteer's fame. The story presented is unexpected.
"Javanese puppet shows are an important means of preserving and defending Hindu-Buddhist relics in Java which has undergone the process of Islamization. The main wayang form is wayang kulit. The stories in wayang kulit are based on Hindu heroic stories, Ramayana and Bharatayuddha. The stories of Panji and Damar Wulan, legendary warriors from pre-Islamic times, are also celebrated in the movie," wrote M.C. Ricklefs in the book History of modern Indonesia 1200-2004 (2005).
During the heyday of Islam in the archipelago, the existence of wayang actually increased. The native people at that time did not see Islam as a threat. Primarily adherents of the Hindu religion, Hindu culture slowly began to be penetrated by Islamic elements. In fact, Hindus are really happy. The tradition began to be adapted by Muslims. Shadow puppets, one of them.
After that, the shadow puppet story continued to develop. Shadow puppet stories, which were originally dominant in Hindu culture, began to be infused with Islamic literature as inspiration. Cabolek, Centhini, Tajusalatin are some examples. In this series of literature, Islamic elements can be seen starting to enter wayang stories. Most importantly, the process of cultural acculturation provides evidence that native people have long prioritized religious tolerance.
“The influx of Islam brought by traders from the coast was not initially considered a threat. The high tolerance of the royal elite meant that the lower layers were easily influenced by Islamic teachings. "Hindu culture has all been infused with elements of Islam, and Hindus are happy and even proud that their culture is considered to be in line with Islam."
"For example, the art of shadow puppetry began to include stories about Islam, and even then the preachers of Islam, especially the Wali Songo (nine saints) used shadow puppets as propagation props. "Terms can change slowly, for example, the magic weapon kalimosodo (kalimasada) becomes the creed, and so on," explained Putu Setia in the book Inflamed Bali (2008).
It was Sunan Kalijaga from Wali Songo who closely used shadow puppetry to spread Islam to all corners of Java. Sunan Kalijaga's great service to Islam was none other than because he created new creations in shadow puppet performances. This creation was carried out so that wayang art suited the tastes of the times. Especially as a medium for preaching. He also tried to incorporate Islamic elements into wayang.
For example, Sunan Kalijaga made the Pandavas, consisting of five people who upheld the truth, as symbols of the five Pillars of Islam. Meanwhile, Dharmakusuma, as the son of Pandu, was the first to be given an amulet called "kalimasada" aka the creed. Even the figure of Bima who always stands straight and strong is symbolized as prayer. Arjuna, who likes to meditate, celebrates fasting. Lastly, Nakula and Sadewa are symbols of zakat and hajj.
"So, Sunan really appreciates culture. There are no aspects of Islam taught by Sunan without going through culture. The pillars of Islam and Faith are introduced using Javanese culture. Wayang kulit is used as a means to preach."
“The art of music (gamelan) and dance are increasingly alive. It was by respecting culture that Sunan Kalijaga succeeded in inviting the Javanese to embrace Islam. There is no need for coercion in inviting people to change religions. It's enough for the culture itself to speak
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Source : VOI
Photography : Hendro Hioe
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