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.