Buto cakil first created at the time of Sultan Agung. Earlier figures were not there at all. Usually they appear in scenes of war or war-bang back bambangan. In its development also known as blind Hair Geni. It is said that this is a representation of blind-Londo Londo-man of color who come and become imprealis in the archipelago
While Punakawan, he echoed from Java. In the Indian myth of this character totally unknown. Semar the term itself is believed to be derived from the Arabic, Ismar which means nail. That was then nail the Javanese palace was used as the title by Surakarta, Pakubuwono (Woodward, 1999: 329). That is why Semar is often regarded as a representation of the Prophet Java outside Gods. He is considered to be more grounded and more willing to know the case of Java compared with figures (imports) more. Semar is also known by the name of the Hyang Ismaya. He is the brother of Sang Hyang Manik Maya or commonly called Guru. Semar also has a brother that are inversely proportional to her, namely Sang Hyang aka Tejamaya Tejamantri. Togog Tejamantri or called by the Sundanese people, famous for menghambanya nature to those who can afford more (On the birth Togog and Semar and see why they are ugly puppet Encyclopedia, p.. 238).
On the one hand, the Javanese people themselves regard as a spiritual teacher Arjuna Semar though he always joked sarcastically, did not know alkaline, coarse, short, ugly, black and often fart's. They also believe that the Bagong, one of the children born of Semar Semar own shadow. Third son of Semar, Gareng, Petruk and Bagong was a reflection of past, present and future. And there is nothing beyond mistitisme Semar in Java, though Guru, King of the Gods, his brother. But even trustedas a spiritual teacher Pandavas, is basically just a servant Semar, the common people, farmers in general and not at all let alone a blue-blooded aristocracy.
That fact is paradoxical, but at this point that it mawujud pointedness. Semar became the essence of all wisdom and padanyalah conical. Semar is a god but he is at once human and human though he is not just a man. Semar is vague and he was not just any. In "Finding Semar Raga", Sindhunata analogize Mandira Semar as a tree that grows between the moon and sun. Semar who was worried because he considers himself does not know and to know himself finally got word from Sang Hyang Tunggal to find the body.
Before his departure, Sang Hyang Tunggal said to Semar, "Mandira tree is a tree and a light evening, it did not separate the sun and moon, day and night. So you are vague, yes Semar. Do not you faint on the dark, do not you faint to bright anyway. Only with a faint heart, you can see the darkness and light, good in evil (...) You're pale as a corpse. You're like a man who had vanished.
In the life of Semar, already contained death. Only the brave life leads to death within him, that's what life will continue with immortality (...) You are dhudha Nanang nunung.Bersusu your breasts like a woman. But you berkuncung like men. So it is hard to make sure whether you're male or female. You are strong like a man. You're like a fertile woman. You are the father sky and mother earth. Rupamu ugly, Semar, but in you a man and woman united. In you, man lives not because kegagahannya, she does not live because of her beauty. In you, Semar, men and women live and exist because of love. Then you, the ugly, the dhudha Nanang nunung this is also theAsmarasanta. Seeing yourself, Semar, although low, sudra and papa, people will be attracted to virtue, because in you there is true love men and women "(1996: 10-12).
Once the importance of these figures to the point in its development then Semar is associated with a discourse of power of the people, especially farmers. Strange (1998: 138) says, "since the era of India, the peasant movement has been crystallized with a variety of expectations that the new fair queen will emerge to fix the time of the chaotic order and restore communities in balance with nature".
Thus the position of the bridge Semar masses with a court or shaft power has become an important ideograph for milenaris. Condongnya idea of 'usurpation' main attraction is then sought in the governance in the post independent Indonesia. The most obvious case is, call it political maneuvering by both Preseiden Indonesia, Suharto to counter the oposannya. In the early rising, Suharto legitimize his rule with a piece of mail known as Supersemar, Decree of March 11 (1966).
Strange himself and then interpret that Suharto tried to play as the reincarnation myth-Sabdopalon Semar at the end of the founding of Majapahit, and quote it as if it was he who obtain the promised revelation sabdopalon it. As already explained, Majapahit was regarded as the culmination of meetings with self self. That is, people feel there the peak of the nature of Java, Java successfullymanifested. The story is narrated Darmogandhul that after the fall of Majapahit, Java identity will also be annihilated along with the disappearance Sabdopalon. But Sabdopalon said that there would be his time 'era Buda' ie the time when a Java back in power and Java people will find herself again after 500 years of that time (See Nurul Huda, Figure antagonists Darmo Gandhul: Historical and Religious Social Tragedy in the end Majapahit. London: Temple Press, 2005).
Puppet art form, in turn, continues to experience stretching. Various sanggit up with new forms of performance more in line with the state of society today continues to be developed. Now, what shape or however we can only hope that the art of this tradition is not lost value. (This note is part of the study "Political Identity of Javanese-Chinese", Cin, 2008)
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