Rap generation has much to learn from folk hero Semar
Rap generation has much to learn from folk hero Semar
By M.M.S. Marthawienata
JAKARTA (JP): President Soeharto suggested recently that
dalang (puppet masters) should create themes surrounding Semar, a
reincarnated god and servant at the royal palace that didn't
exist in the original Ramayana or the Mahabarata epics from
India.
Two questions come to mind: Who is this figure called Semar?
And when did he make his debut in the Indonesian inventory of
puppet stories? Before answering these questions, a look at why
Semar is becoming important is in order.
Recently there has been debate over the pitfalls of the influx
of foreign culture into Indonesia, particularly in the area of
recreation.
The strong reaction against the widespread popularity of rap
music among Indonesian teenagers was the latest problem. Prior to
this, people were worrying about Indonesian children's love of
foreign heroic figures, like Superman and Ksatria Baja Hitam.
The President suggested that the stories of Semar Mbabar Ilmu
Jatidiri (Semar is giving his teachings on self identity), in
which village head Semar also acts as a religious leader for
children, were more appropriate. Semar's teachings supposedly
contain self-identification, introspection, the basic human
characteristics and individual needs.
The search for Semar's origin, which is most likely mixed with
oral literature loaded with myths and legends, may turn out to be
beneficial to the current rap generation.
The search will allow younger generations to receive, respond
to, cultivate and incorporate all the imported cultures into
their own. In the past, their ancestors successfully absorbed and
processed an influx of Indian cultures, which came mainly in the
Ramayana and Mahabarata epics.
Origin
According to Soenarto, a member of the Surabaya Arts Council,
the oldest record of a wayang kulit performance is found in
lontar kakawin Arjunawiwaha, written by Mpu Kanwa in 1030.
Another reference is found in Wrttasmoaya, which was written by
Tanakung during the last years of the Kingdom of Kediri.
On the walls of ancient temples and caves scattered all over
East Java, reliefs depicting puppet stories featuring Semar have
also been found. Soenarto Timur lists a couple of examples:
1. Candi Jago (1343), near Singosari, Malang. The relief found at
this site depicts stories of Tantri, Kunjarakarna, Parthayajna,
Arjunawiweha and Krenayana. Figures of the male servants were
also chiseled on the walls;
2. Gua Pasir (1350), in the Tulungagung area, features a relief
from fragments of the Arjunawiwaha epic. In the relief, Arjuna is
accompanied by a fat servant.
It can therefore be concluded that the servant figures,
particularly the fat servant Semar, was a local creation and not
part of the epic imported from India. The creation of this figure
was started as early as 1283 and was recorded in temple reliefs
as early as 1343.
According to S. Padmosoekotjo, the Semar profile we know today
was the creation of the Sultan Agung, the king of Mataram. He
also created the profiles of Baladewa, Kresna, Jahnawi, Sembadra,
Suyudana, Banowati, Bima, Bagong, Petruk and the king of all
giants.
Changes to the wayang form definitely took place in line with
changes to the pakem (source book of puppet stories) in Ramayana
and Mahabarata. New characters and new stories continue to appear
and each region has its own version. A wide range of other
interests, particularly the need to develop a national character,
have also caused changes.
The religious leaders during the reign of Raden Patah of the
Kingdom of Demak are known to have used wayang -- featuring the
figure of Semar and his three children -- as a means to spread
the teachings of Islam. They inserted Islamic values into the
wayang performances, which were originally a medium of Hinduism
teaching.
Inheritance
Of the many source books around today, one was inherited
orally from puppet masters in the mountains of the northern part
of Central Java. This particular pakem is characterized by a
specific way of thinking taught by Samin Surasentika.
It is possible that this particular book was a spin-off from a
creation by a poet of the Surakarta palace, R. Ng. Ranggawarsita
(1801-1873). He created Babon Serta Pustaka Raja, which was later
broken down into Pakem Pustaka Raja Purwa, Pakem Pustaka Raja
Madya, Pakem Pustaka Raja Anatara and Pakem Pustaka Raja Wasana.
The source books from this area certainly provide detailed and
clear explanations of Semar -- a reincarnated god. He had many
names, including Ki Lurah Badranaya and Sang Hyang Ismaya.
This particular pakem begins with the birth of the first human
being, Adam, which was followed by the birth of Eve from his rib.
According to Samin teaching, once Eve gave birth to twins, she
would always give birth to twins. One of the male twins was named
Sang Hyang Syits. He was said to be fond of roaming the universe.
This character was also called Sang Hyang Tunggal or Sang Hyang
Wenang.
Sang Hyang Syits created four children from an egg. Semar came
from the egg shell, Togog from the inner skin of the egg, Sang
Kanekaputra from the egg white and Sang Manikmaya from the yolk.
These four children were given different jobs. Semar descended
to earth to take care of children, basically to act as a guardian
angel to help humans recognize their own selves and to understand
the power of nature in order to coexist in the prosperous
universe.
It is therefore perfectly appropriate for Semar to be used by
the New Order government to develop nationalism through the
understanding and implementation of Pancasila, especially the
principle of democracy through consensus.