Friends of Javanology, Puppet is one of the da’wah media used since the time of the spread of Islam through the scholars who are often referred to as “Walisongo” especially in the land of Java. Islam was spread in the archipelago by the Wali Songo peacefully. One of the approaches used in the dissemination is the cultural arts approach. One of the cultural arts that is a medium of da’wah is wayang. Among Muslims, many types of wayang have emerged which are used as a medium of da’wah.
Such as Puppet Purwa, Puppet Golek Menak, Puppet Suluh and other puppets. In its development, even though it has been hundreds of years, it turns out that Puppet still exists and is used as a propaganda medium to this day. Of course, by adjusting to the conditions of the times and the development of existing technology. Although puppet has undergone many changes, the changes have not killed the old puppet forms. This change has enriched the types of puppet that have ever existed in Indonesia.
Along with the increasing need for social communication facilities using puppet media, new puppets were created that can accommodate these communication factors, one of which was the Sadat Puppet in 1986 which was masterminded by Suryadi WS, a preacher from the Muhammadiyah circle.
This puppet developed in Mireng Hamlet, Trucuk District, Klaten Regency and was created in 1985. The concept of Sadat Puppet when it appears is different from other Puppet performances, especially Puppet Purwa. The Puppet plays that are performed do not adhere to the Mahabharata or Ramayana stories, but stories from ancient Islamic figures such as the songo guardians, Islamic kings and so on. It can be said that sadat puppet appeared to perfect the previous teachings with the mission of teaching Islamic monotheism. The teachings of monotheism in this sadat puppet performance will only focus on Ki Ageng Pengging’s play which contains Islamic monotheism teachings.
Friends of Javanology, If puppet performances during the Wali Songo era used props and completeness of the pakeliran technique, then wayang sadat, from the puppeteer to the play, used people and told about the history of the struggle of the Walis on the island of Java. Gending and costumes are also Islamic. The music is salawatan, the puppeteer wears a turban, the composer uses a skullcap, and the sinden wears a headscarf.
Writer:
Nimas Ayu Anggraini
Source:
