'ISLAM Stories and Wayang'

Wayang kulit is a great masterpiece belonging to the ancestors of the indigenous people. Wayang serves as a symbol of the advancement of civilization. The diversity of types of wayang kulit is proof of this, from wayang purwa to beber. The stories, language, and situations of wayang are often considered a source of wisdom across ages. It has existed since the Hindu, Buddhist, and Islamic eras. Even wayang has been used as a medium for preaching that has played a significant role in the development of Islam in the archipelago.

No one can explain the details regarding exactly when wayang kulit entered the archipelago. Some say that wayang kulit has been present since the height of Hindu-Buddhist glory. Others reveal that wayang actually existed long before the arrival of Hindu-Buddhism or the influence of Indian culture.

The speculation was revealed by the Dutch scientist, Jan Laurens Andries Brandes (1857-1905). In his view, wayang is included among the ten elements of original culture or local genius of the Archipelago before the influence of Indian culture entered.

Wayang is then paired with other local geniuses. Some of them include gamelan, the science of rhythmic poetry, batik, metalworking, a self-made currency system, sailing technology, astronomy, rice fields, and an orderly government bureaucracy.

This means that wayang has been present since ancient times. By the Javanese community leaders, wayang kulit was then infused with Hindu stories. But they did not forget to strengthen the narrative with Javanese characters, starting from Semar, Bagong, Gareng, Petruk, Bilung, and others.

"Evidence has convincingly shown that wayang existed long before the arrival of Islam in Indonesia. The form of wayang is likely in accordance with the depiction of humans on the walls of ancient Javanese temples. In this case, three-dimensional human figures are generally found in the reliefs on the temple walls, 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, their posture faces forward, and the clothing depicted corresponds to that of men and women. 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 shifted 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 book Understanding Wayang and Gamelan: The Intersection of Java, Islam, and Global (2018).

The transformation of other forms of shadow puppetry can be seen from the stories of wayang that have developed. Generally, the popular wayang stories include the heroic tales of the Mahabharata and Ramayana. The energy of the puppeteer telling the story has a significant influence on the narrative.

A Dutch researcher, J. Kats, agrees with this. J. Kats, who observed 180 Javanese wayang stories in 1923, revealed that almost 150 wayang stories are tales from the final part of the Pandavas from the Mahabharata series. The rest are related to the Ramayana and other stories.

"Great skill in managing wayang stories is proof of the vital role of a dalang. He is able to build fantasy in storytelling, weaving in values and social messages. He can also create the history of humanity from century to century in a non-linear, non-singular way, even tending to be changeable. This is the key to the fame of a dalang. The stories presented are unexpected."

"Javanese shadow puppetry is an important medium in preserving and maintaining the Hindu-Buddhist heritage in Java that has undergone the process of Islamization. The main form of puppetry is wayang kulit. The stories in wayang kulit are based on Hindu heroic tales, the Ramayana and Bharatayuddha. The tales of Panji and Damar Wulan, legendary heroes from the pre-Islamic era, are also performed in wayang," wrote M.C. Ricklefs in the book Modern Indonesia History 1200-2004 (2005).

During the height of Islam in the Archipelago, the existence of wayang actually increased. The indigenous people at that time did not see Islam as a threat. Especially the followers of Hinduism, slowly Hindu culture began to be infused with Islamic elements. In fact, Hindus were very pleased. Their traditions began to be adapted by Muslims. Wayang kulit, one of them.

After that, the story of wayang kulit began to evolve. The wayang kulit stories, which were initially dominated by Hindu culture, started to incorporate Islamic literature as inspiration. Cabolek, Centhini, and Tajusalatin are some examples. In this line of literature, Islamic elements can be seen starting to enter the wayang stories. Most importantly, the process of cultural acculturation provides evidence that the indigenous people have prioritized religious tolerance since ancient times.

"The entry of Islam brought by traders from the coast was initially not seen as a threat. The high tolerance of the royal elites allowed the lower classes to be easily influenced by Islamic teachings. Hindu culture was infused with Islamic elements, and Hindus were pleased and even proud that their culture was considered compatible with Islam."

"For example, the art of wayang kulit began to incorporate stories about Islam, and later the spreaders of Islam, especially the Wali Songo (nine saints), used wayang kulit as a medium for preaching. Terms could also gradually shift, for instance, the magical weapon kalimosodo (kalimasada) became the shahada, and so on," explained Putu Setia in the book Bali yang Meradang (2008).

Sunan Kalijaga is one of the Wali Songo who closely used wayang kulit to spread Islam throughout the island of Java. Sunan Kalijaga's great contribution to Islam is none other than his creation of new forms in wayang kulit performances. This creation was made so that the art of wayang would be in line with the tastes of the times. Moreover, as a medium of da'wah, he also tried to incorporate Islamic elements into wayang.

For example, Sunan Kalijaga made the Pandawa, consisting of five truth enforcers, a symbol of the five Pillars of Islam. Meanwhile, Dharmakusuma, as the first son of Pandu, was given an amulet called "kalimasada" or the declaration of faith. The figure of Bima, who always stands tall and strong, is symbolized as Prayer. Arjuna, who enjoys meditation, is symbolized as fasting. Lastly, Nakula and Sadewa represent almsgiving and pilgrimage.

"So, the sunan truly appreciates culture. There are no aspects of Islam that are taught by the Sunan without going through culture. The pillars of Islam and faith are introduced using Javanese culture. Shadow puppetry is used as a means to preach."

"The art of music (gamelan) and dance is becoming more vibrant. By respecting the culture, Sunan Kalijaga succeeded in inviting the Javanese to embrace Islam. There is no need for coercion in inviting people to change their religion. Let the culture itself speak."

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Source : VOI 

Photography : Hendro Hioe