By: Samsul Nizar
Professor & Head of STAIN Bengkalis
In the world of wayang, people are very familiar with characters such as Semar, Gareng, Bagong, and Petruk. In Javanese culture, the four witty figures are the “Punakawan Pandavas” (four brothers) who accompany the Five Pandavas. However, perhaps not many people know that the four witty characters in the puppet are the work of Sunan Kalijaga, which was originally used as a method of da’wah in spreading Islam in the archipelago. The composition of wayang by incorporating Islamic values was carried out by Sunan Kalijaga around 1443 AD.
Among the four figures above, Semar is the central wayang figure and the leader of the other three figures. Javanologically, Semar means haseming samar-samar (the phenomenon of the literal meaning of the Guide’s life). Meanwhile, Semar means the guide to the meaning of life. The figure of Semar is known as a wise character. He can get along with anyone, both the upper and lower classes. His figure is very responsive to the dynamics of the times and ideological on the principle of truth. He firmly takes preventive, persuasive, and repressive measures when injustice and arbitrary actions are found. He was willing to risk everything for the mandate he received from the Almighty. There are several symbols of religious values in the figure of Semar’s lead character, namely:
First, the right hand pointing upwards (hablum min Allah) with a good index finger indicates the monotheism of the acknowledgment of the oneness of Allah. Whatever is done in life is a form of self-servitude and only for the sake of Allah alone. All movements of the leader’s life must be a form of devotion and refer to the rules of the Creator (Allah SWT). On the other hand, consider oneself worthy of worship (through its various variants) with arrogance over the rules made.
Second, the left hand is behind (hablum min an-Nas). This position implies that whatever good a leader or human being, in general, should do, it should be hidden so as not to appear ujub (people who like to be proud of themselves) for the good he has done. Because what is done to others requires sincerity that does not need to be published. Not the other way around. Everything that is done to others (even if sometimes it is not much) is published and made viral to raise the prestige and electability of oneself so that everyone can know. The attitude of a leader like this is a display of ujub (people who like to be proud of themselves) attitude and a loss of sincerity for what he is doing.
Third, the right hand looks forward, and the left hand is hidden behind, which is a form of sincerity in interaction with others. The left hand behind the symbol does not want to agree on what is being done. It is a symbol of the words of the Prophet: From Abu Hurairah, Rasulullah SAW said: “There are seven people who Allah SWT will shade in His shade on a day where there is no shade other than His shade. His left-hand does not know what his right hand gives” (Hadith by Bukhari and Muslim).
The right hand up and the left hand down shown by the figure of Semar have similarities to the Sufi dance of Jalaluddin Rumi (known as whirling dervishes). The symbol’s meaning is to make oneself aware that all that is owned is trust, property, and gift from the Almighty. All His deposits are obtained, so do not forget to share them below. It reminds humans of religious teachings, so they do not become selfish, greedy, and forgetful individuals but become personal figures who always share and spread goodness throughout the universe. Not the other way around. All the benefits to enrich oneself (and enjoy the belt) and everything is done for others are published everywhere.
Fourth, have hair pins like children, but have an old face. This symbol is a sign that a leader must have. To achieve the degree of an ideal leader, one must have the clarity of thinking (like that of children) and the side of maturity of thinking (like that of parents). Through clarity and thinking maturity, a leader can give birth to wisdom in every decision taken. Not the other way around, behaving like children when fighting over “toys” and like elderly parents who only ask to be served.
Fifth, his eyes are described as crying, but his lips are filled with the laughter of happiness. It is a picture of the content of life in a mortal world. Everyone goes through moments of sorrow and moments of joy. Everything happens to everyone and can’t be avoided. On the other hand, the position of tears (upper position) and smile (lower position) shows that a leader must be able to turn people’s sadness into a smile of happiness. Even though the people have a smile of happiness, a leader who is “alone” in munajat (praying to God) to Allah, his tears never dry to cry, expecting Allah’s love for all he leads. Not the other way around. His smile is only for himself, no matter the tears of the people who wet the universe. It is an implementation of the moral form of the Prophet to his people.
Sixth, Semar seems to have never known the word sad. His speech is always spontaneous but contains the truth. Every talk is always entertaining so that sad people become happy. It is the symbol of a leader. Despite his pain and sadness, he never showed it to others, like the look of his father and mother. Even though it is a heavy burden to carry to make their children happy, all the burdens and sorrows are hidden so that their children do not know. They don’t want the people or their children to cry too. They enjoy the burden and sadness for themselves as long as the people or their children are always happy. Not the other way around. They want themselves (and their colleagues) to smile in luxury while the people or their children cry bitterly in suffering.
Seventh, wayang performances cannot be separated from gamelan accompaniment. Gamelan is a musical accompaniment for the performance of the four characters created by Sunan Bonang. When observed and listened to carefully, the rhythm of the gamelan is an expression of shahadatain. The form of the content of monotheism. Gamelan is so sacred that the players must be able to maintain ablution’ and focus on the rhythm of the shahadatain, not on the “sung” songs. The song that is sung is a dynamic that occurs in society with religious and social messages that are full of values. The leader figure displayed by Semar needs an accompaniment (gamelan) that keeps the policy movement united in the name of Allah. The gamelan that accompanies Semar’s “performance” is a symbol of scholars who are tafaqquh fi ad-din in a kaffah manner, not just the appearance of accessories, strings of words, or the elegance of the “inhabited house.” Gamelan music reminds Semar always to pray to remember the Creator. Gamelan players (ulama) continue to “maintain their wudhu” so that they are always clean from stains (zahir and bathin). Not the other way around, the sound of incoming music (whisperers) who forget the leader of Divine truth, musicians who have never touched the water of wudhu (away from Allah), and the rhythm of the music that sings greed and pride.
Eighth, Semar, Gareng, Bagong, and Petruk figures symbolize four types of lust in humans, namely the lust of muthmainnah, lawwamah, sufiah, and ammarah. All these passions naturally exist in every self. However, if humans want the salvation of life, then the lust of muthmainnah must be the controller of the other three types of lust. Otherwise, man will be led astray by his lust. The same thing in the appearance of the four wayang figures above becomes beautiful and full of messages when the presence of Semar is more dominant in the interaction of the four characters. This dimension needs to be owned by every top leader who is led and all humans over him. Not the other way around, the dominance of the muthmainnah lust is lost by the blows of the other three more powerful and self-controlled passions. When this happens, the value of virtue is lost in all policies and behavior displayed.
Ninth, warrior soul. Semar displays the figure of a knight and a caring friend. What is said is unquestionable, unlike a propeller on a hill (hypocrite). He said politely, meaningfully. Help each other sincerely, without promises that are broken. He said it was a promise as a manifestation of self-character. Not good at speaking tongues behind hidden intentions. It is opposed without discrimination if it is against the rules of religion and law. Self-idealism is never pawned by interests in the style of “split bamboo politics,” which is full of material interests. Respect each other with certainty. Policies and promises are not like “throwing stones and hiding hands” or taking refuge in idealism has been pawned.
Reflecting on the philosophy conveyed by Sunan Kalijaga through Semar’s character, it should be used as a mirror for himself. The nine characters above represent Walisongo, reminding them of their teachings, self-character, and fighting strategies.
What Semar symbolizes is very relevant to today’s life. Moreover, the era of social media is so free without the control of shahadatain. All goodness (even if it is limited) or the dimension of sincerity is damaged by media publications that are tumultuous and full of euphoria. Support for a person or group is too hasty and seems “face-to-face”. Distrust of someone who, without a suggestion, checks what is judged. Disappointment is shown to all to gain sympathy and discredit the opponent. Displeasure often leads to character assassination. Hatred by revealing the disgrace of others, while the disgrace itself is so wide gaping. All disgrace is presented and easy to find on social media. It will be displayed depending on your choice of which puppet character is dominant. Or there are other figures besides the four above who have appeared in humans in the 4.0 era. Or what if the figures who appear are increasingly out of Semar’s philosophy in the current 5.0 era and beyond? It is unimaginable, and only each self can answer and choose the character they want to play. Or, there are characters outside the “Punakawan Pandavas” that all wayang characters never thought of, but modern humans display them with real arrogance. Although only as a “wayang“, he is arrogant in his role. How about the arrogance of “wayang” when it has become a “dalang“? Maybe more than the arrogance of the object that Allah cites in Surah al-Baqarah: 34. No one knows, no one will answer, except the owner of the self who always “tafakkur ila Allah (thinking, contemplating, remembering Allah for all his creations that are scattered in the sky and on earth, even those in the human body and soul)”.
Wa Allahua’lam bi al-Shawwab
Translated by: Ruzaini, M.Pd (Alumni of English Education Study Program of STAIN Bengkalis)
