History of Semar Figure In Wayang Story

HISTORY OF SEMAR

According to historian Prof. Dr. Slamet Muljana, Semar's character was first discovered in the literature of the Majapahit Kingdom era entitled Sudamala. In addition to the form kakawin, Sudamala story also sculptured as reliefs in Sukuh Temple which dates back to 1439.
Semar is told as a servant or servant of the main character of the story, namely Sahadewa from the Pandavas. Of course, the role of Semar is not only a follower, but also as a humor launcher to dilute the tense atmosphere.
In the next era, when the Islamic kingdoms flourished on the island of Java, puppetry was also used as a medium of da'wah. Stories that are staged are still around the Mahabharata which was already firmly inherent in the memory of the Javanese community. One of the famous scholars as a cultural expert, for example Sunan Kalijaga. In wayang performance, Semar's character is still maintained, even more active role than Sudamala.
In the next development, Semar degree is increasing again. The Javanese poets in their literary works tell of Semar not just ordinary people, the incarnation of Batara Ismaya, the brother of Batara Guru, the king of the gods.

PAINTING SEMAR STYLE SURAKARTA

There are several versions of Semar's birth or origins. Yet all call this figure an incarnation of a god.
In the text of Fiber Kanda is told, the ruler of the heaven named Sanghyang Nurrasa has two sons named Sanghyang Tunggal and Sanghyang Wenang. Because the Single Sanghyang ugly face, then the throne of heaven also bequeathed to Sanghyang Wenang. From Sanghyang Wenang then passed on to his son named Batara Guru yeng. Sanghyang Tunggal then became the nanny of the Batara Guru's descendants, under the name Semar.

In the Paramayoga script narrated, Sanghyang Tunggal is the son of Sanghyang Wenang. Sanghyang Tunggal then married Dewi Rakti, a princess of the king of a crab jin named Sanghyang Yuyut. From the marriage was born a mustika intangible egg which later turned into two men. Both are each named Ismaya for the black, and Manikmaya for the white ones. Ismaya felt inferior to make Sanghyang Tunggal less favorable. The throne of heaven also bequeathed to Manikmaya, who then held Batara Guru. In the meantime Ismaya is only given the position of being the ruler of the Sunyaruri realm, or the dwelling of the spirits. Ismaya's eldest son named Batara Wungkuham has a round child named Janggan Smarasanta, or abbreviated as Semar. He became the caretaker of Batara Guru's descendants named Resi Manumanasa and continued up to his grandchildren. In special circumstances, Ismaya could possess Semar so that Semar became a very feared figure, even by the gods. So according to this version, Semar is the grandson of Ismaya.

In the Purwakanda manuscripts narrated, Sanghyang Tunggal has four sons named Batara Puguh, Batara Back, Batara Manan, and Batara Samba. One day there was news that the throne of heaven would be passed on to Samba. This made her three sisters feel jealous. Samba was kidnapped and tortured to be killed. But the act is known by their father. Sanghyang Tunggal also condemned his three sons to be ugly. Puguh renamed Togog while backs to Semar. Both were relegated to the world as a nanny of Samba descent, who later held Batara Guru. Meanwhile, Manan gets forgiveness because she just went along with it. Manan then performed Batara Narada and was appointed as a counselor of Batara Guru.

In the manuscript of Purwacarita narrated, Sanghyang Tunggal is married to Dewi Rekatawati son of Sanghyang Rekatatama. From the marriage was born a luminous egg. Single Sanghyang with a feeling of annoyance slammed the egg so that it broke into three parts, namely shell, white, and egg yolks. All three are transformed into men. Which comes from the shell is named Antaga, which comes from egg white is named Ismaya, while derived from the yellow is named Manikmaya. One day Antaga and Ismaya were at odds because each wanted to be the heir to heaven's throne. Both also held a mountain swallowing race. Antaga tried to devour the mountain with a single swallow but instead had an accident. His mouth was torn and his eyes widened. Ismaya uses another way, that is by eating the mountain little by little. After passing bebarpa all parts of the mountain moved into the body of Ismaya, but he did not succeed. As a result since then Ismaya was round body. The Single Sanghyang is furious about the ambitions and greed of his two sons. They were punished as caregivers of Manikmaya's descendants than was appointed king of heaven, titled Batara Guru. Antaga and Ismaya came down to the world. Each uses the name Togog and Semar.

ANCESTRY AND FAMILY

In the wayang narrated, Batara Ismaya while still in the heaven had been mated with his cousin named Dewi Senggani. From the marriage was born ten children, namely:

Batara Wungkuham
Batara Surya
Batara Candra
Batara Tamburu
Batara Siwah
Batara Kuwera
Batara Yamadipati
Batara Kamajaya
Batara Mahyanti
Batari Darmanastiti

Semar as the incarnation of Ismaya served for the first time to Resi Manumanasa, the ancestors of the Pandavas. One day Semar was attacked by two red and white tigers. Manumanasa shoots them both into the original form, a pair of angels named Kanistri and Kaniraras. Thanks to the help of Manumanasa, the two nymphs have been freed from the curse that they live. Kanistri later became Semar's wife, and was commonly called as Kanastren. Meanwhile, Kaniraras became Manumanasa's wife, and her name was changed to Retnawati, because Manumanasa's sister was also named Kaniraras.

In the puppet of Central Java, Semar is always accompanied by his children, namely Gareng, Petruk, and Bagong. But in fact the three are not Semar's children. Gareng is the son of a priest who is cursed and freed by Semar. Petruk is the son of a Gandharwa king. While Bagong created from the shadow of Semar thanks to the magic word Resi Manumanasa.
In the Sundanese puppet, the order of Semar's children is Cepot, Dawala, and Gareng. Meanwhile, in Javanese wayang puppetry, Semar is only accompanied by one child alone, named Bagong, who also has a son named Besut.

PHYSICAL FORM

Semar has a very unique physical form, as if it is a symbol of the depiction of the universe. Its round body is a symbol of the earth, the dwelling place of mankind and other creatures.
Semar always smiled, but puffy eyes. This depiction is a symbol of joy and sorrow. His face is old but his haircut is tumbling like a child, as a symbol of old and young. He is male, but has breasts like women, as a symbol of men and women. He is a god incarnation but lives as a commoner, as a symbol of superiors and subordinates.

PRIVILEGED SEMAR

Semar is a puppet of a local poet. Although his status only as a servant, but his nobility parallel to King Krishna in the story of Mahabharata. If in the war of westayuda according to the original version, the Pandavas advisor is only a Krishna, then in puppet, the number is added in two, and the other is Semar.
Semar in literature is shown only as a caregiver of Resi Manumanasa's descendants, especially the Pandavas who are the main characters of the Mahabharata story. However, in the puppet show with the theme of Ramayana, the dalang also used to display Semar as the caretaker of Sri Rama or Sugriwa family. It is as if Semar always appears in every puppet show, no matter what title is being told.
In puppet, Semar acts as a guardian of the warrior class, while Togog as caregiver of the giants. It is certain that Semar's foster children can always beat Togog's foster children. This is actually a mere symbol. Semar is an illustration of the fusion of the little people and the gods of heaven. So, if the government - symbolized as the Semar knights - listens to the voice of the little people who are like the voice of God, then the country he leads must be a superior and sentimental nation.

PHILOSOPHY OF DA'WAH IN FIGURE SEMAR

In his ijtihad, Sunan Kalijaga uses wayang as a way of dakwah. Despite the opposition of some of the guardians at that time, Sunan Kalijaga managed to do ijtihad for puppets to be accepted by other guardians by changing their shape so as not to be similar to humans.

Sunan Kalijaga makes wayang in a flat shape, long hands along the size of the body, and a long nose made. In addition, Sunan Kalijaga also makes puppets face different, unique, and describe their own character.

Ijtihad Sunan Kalijaga's other da'wah lies in the making of characters in puppets not found in wayang in Hindu and Buddhist versions. The most prominent is the holding of four characters known as Punakawan. There are four comrades consisting of Semar, Bagong, Petruk, and Gareng.

Each of them has a unique character and has a philosophy of dakwah is very admirable. Described by Rachmatullah Oky in From Room Room, Semar is derived from one word in Arabic, Mismar which means a nail. Because of difficult to pronounce, the tongue of Java people also recite with semar.

Nails have balancing and strengthening characters. Nails that are strongly embedded also symbolize a solid principle, not easily shaken. Semar then, is also a symbol of religious values ​​are solid, fixed, and can not be changed. In addition, still referring to the same explanation, Semar shaped a smiling figure but dripping down his tears, old-faced but has a childish knit like a child, and not obviously male or female. Its meaning is a balance that must exist among all believers.

Sometimes sad, there is a happy time. Both are waged and must be addressed wisely. Semar in the character created by Sunan Kalijaga is an all-round person who became the principal teacher or caregiver to all Pandhawa. Anyone who is in Semar's mentoring, he will be free from danger.This is what explains that semar is a symbol of religion. He saved his followers from error and led him to the happiness of the world and the salvation of the Hereafter. Religion, in this case Islam, also balances.

He is a mid in worldliness until one gets happy in the afterlife. He is also an entertainer in many ways, because the life of the world is often unfair.