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Strategi Komunikasi Hijabers…Hal. 19-44 Islamic Comunication Journal Strategi Komunikasi Hijabers…hal. 19-44 REDUKSI NILAI-NILAI NON-TAUHID DALAM KONTRUKSI WAYANG KARAKTER BATARA GURU Ahmad Hidayatullah Mahasiswa Pascasarjana Prodi KPI UIN Walisongo Semarang Email: [email protected] ABSTRACT avanesse traditional shadow puppet (wayang) if we look through the story we can see that it is adapted from Hinduism. It was taken from great epic story. The ara J Ramayana and Mahabharata. It does not wonder if we find opposite values beetwen Hinduism and monotheism (tauhid). It was noted by Walisongo at that time. They tried to do some reduction to things that opposite monotheism. They adapted inti Tauhid values so that they can di their mission successfully. In many adaption, we can take a look into the construction of Batara Guru‟s character. By using description analysis, this article to dig to know how deep Walisongo constructed Batara Guru‟s character to reduct values that opposite tauhid. As a result, the construction idea of Batara Guru -as a representation of Siva- does not hurt anybody. It is all caused by the wisdom and creativity of Walisongo in constructing the character of Batara Guru greatly and smartly. Keyword: Javanesse traditional shadow puppet (wayang), Batara Guru, Walisongo, Islamic missionary. ABSTRAK esenian wayang dilihat dari segi cerita merupakan karya adoptif yang berasal dari ajaran Hindu, yakni dua epos besar Ramayana dan Mahabharata. Menjadi tidak K mengherankan jika kemudian nilai Hinduisme yang bertentangan dengan nilai tauhid menjadi sesuatu yang begitu diperhatikan oleh Walisongo saat itu. Upaya reduksi terhadap nilai-nilai non-tauhid pada akhirnya dilakukan oleh Walisongo sebagai sebuah penyesuaian terhadap dakwah Islamiah yang mereka lakukan. Satu dari sekian banyak upaya itu terdapat dalam kontruksi penokohan Batara Guru. Menggunakan deskriptif analisis artikel ini mencoba menggali sejauh mana kontruksi terhadap karakter Batara Guru yang dilakukan dalam rangka mereduksi nilai-nilai non-tauhid. Alhasil kontruksi karakter yang sejatinya merupakan representasi dari Dewa Siwa ini dilakukan dengan tanpa melukai siapa pun pada saat itu. Semua itu karena kebijaksanaan dan kreatifitas Walisongo dalam mengkontruksi karakter Batara Guru secara apik dan cerdas. Kata kunci: wayang, Batara Guru, dakwah, Walisongo Islamic Comunication Journal Volume 02, Nomor 01, Januari-Juni 2017 45 Reduksi Nilai-Nilai Non-Tauhid…hal.45-57 PENDAHULUAN Brahmanas, Upanishads, Mahabharata, Bhagavadgita, Ramayana, Purana, dan Wayang merupakan seni pertunjukan Lainnya (Klostermaier 2003, 36). yang sangat terkenal dalam berbagai Hanya saja fase awal kekuasaan bentuk di kawasan maritim dan daratan Demak Bintoro ini kemudian juga Asia Tenggara. Sementara di Indonesia, menandai babak baru perkembangan wayang hadir dalam beberapa bentuk, wayang. Wayang sebagai sebuah media yakni wayang kulit, wayang golek dan hiburan yang sudah begitu digemari wayang orang (Arps 2007, 55). Di masyarakat –baik anggota kerajaan Indonesia, Jawa khususnya, wayang yang maupun awam– pada era ini harus dikenal sebagai sebuah masterpiece ( dihadapkan dengan kenyataan bahwa Sujarwo, dkk 2010) yang kali pertama wayang dinilai Hinduistik, animistik, dan diperhatikan secara serius pada era Prabu bahkan diharamkan karena tidak sesuai Jayabaya. Ia yang begitu gemar akan dengan ajaran Islam (Sudjarwo, dkk 2010, wayang, akhirya membuat gambar- 51). gambar dan cerita-cerita wayang pada Walisongo yang dalam sumber- daun tal dalam tahun 939 Masehi. sumber babad dianggap sebagai peletak Wayang tersebut dinamakan wayang pondasi terbentuknya pemerintahan Islam Rontal. Melihat ukurannya yang terlalu Kesultanan Bintoro Demak, tentu kecil untuk dipertunjukan, maka Raden memberi perhatian khusus terhadap Kudalaleyan –yang juga dikenal dengan kesenian adoptif ini. Mereka menjadikan Prabu Surya Hamiluhur– dari Pajajaran fakta tersebut sebagai tantangan sekaligus kemudian memperbesar ukuran gambar peluang dalam upaya untuk membumikan wayang tersebut di atas kertas pada tahun Islam di tanah Jawa agar masyarakat yang 1244 (Supriono, dkk 2008, 18). berada di bawah naungan Kesultanan baru Wayang sendiri dari segi cerita ini tidak melenceng dari petunjuk Al merupakan karya adoptif yang berasal dari Qur‘an (Purwadi, dkk 2006, xvi). ajaran Hindu, yakni Ramayana dan Akhirnya kontruksi karakter menjadi Mahabharata yang merupakan bagian dari sebuah perhatian sebagai jawaban atas kitab suci umat Hindu. Kitab suci umat tantangan tersebut. Tujuannya tidak lain Hindu terbagi dalam dua bagian, adalah untuk mereduksi nilai-nilai non- Pertama, Sruti, yakni kitab yang berisikan tauhid untuk kemudian menyesuaikannya ajaran yang langsung diwahyukan Brahma dengan nilai-nilai Islam yang sarat akan (Zat Tunggal Maha Pencipta) kepada tauhid. Rishi (orang suci), yaitu kitab suci Veda Satu di antara beberapa karakter (Sou‘yb 1996, 27). Kedua, Smriti, yakni pewayangan yang mengalami reduksi setiap tradisi (ucapan, perbuatan, tulisan) tersebut adalah Batara Guru atau yang yang mengandung ajaran seorang rishi dalam versi pra-Islam disebut di- (orang suci) atau ajaran seorang acharya identifikasikan sebagai Siwa. Siwa sendiri (guru) atau pun ajaran avatar (ingkarnasi- merupakan satu diantara tiga Dewa ilahi) seumpama Krishna dan lainnya. Trimurti (Wisnu dan Brahma) yang dalam Himpunan kitab yang termasuk dalam ajaran Hindu merupakan manifest dari Smriti itu diantaranya termasuk Sang Brahman (Tuhan). Maka menjadi Islamic Comunication Journal 46 Volume 02, Nomor 01, Januari-Juni 2017 Ahmad Hidayatullah menarik jika kemudian menjadikan Siwa (Surakhmad, 1990: 139). Dalam sebagai objek kajian mengingat karakter menganalisis data, penulis menggunakan ini menjadi titik salah satu titik tumpu deskriptif analitik sebagai upaya untuk bagi Walisongo untuk melakukan reduksi menguraikan dan menganalisis kontruksi terhadap nilai-nilai non-tauhid. yang dilakukan dalam pembangunan karakter Batara Guru. Hal ini bisa METODE PENELITIAN diidentifikasi melalui analisis terhadap Penelitian ini menggunakan karakter Batara Guru baik itu dikenal penelitian kualitatif. Menurut Gunawan sebagai ‗siwa‘ (versi pra Islam) maupun (2013, 82), secara harfiah penelitian pasca digubah oleh Walisongo dalam kualitatif adalah jenis penelitian yang bentuk dan karakter baru. temuan-temuannya tidak diperoleh PEMBAHASAN melalui prosedur kuantifikasi, perhitungan statistik, atau bentuk cara-cara lainnya Bicara mengenai suatu karakter dalam yang menggunakan ukuran angka. wayang, maka harus melihat Penelitian kualitatif berarti sesuatu yang perkembangan serta transformasi dari berkaitan dengan aspek kualitas, nilai atau karakter itu sendiri. Batara Guru sebagai makna yang terdapat dibalik fakta. sebuah ‗karakter‘ dalam cerita wayang Sementara menurut Bogdan dan Taylor sejatinya sudah muncul dalam periode pra sebagaimana dikutip Soewadji (2012, 51- Islam sebagai salah satu Dewa Hindu, 52) menyatakan bahwa penelitian yakni Siwa. Maka dari itu guna kualitatif diartikan sebagai salah satu mengetahui secara lebih mendalam perihal prosedur penelitian yang menghasilkan terjadinya ‗transformasi makna‘ yang ada data deskriptif berupa ucapan atau tulisan dalam kontruksi penokohan Batara Guru, dan perilaku orang-orang yang diamati. peneliti akan mencoba menyajikan data Secara metodologis, penelitian ini terkait karakter ini dalam dua sudut termasuk dalam lingkup Library research pandang, yakni pra Islam -yang (metode kepustakaan), yaitu penulisan didominasi Hindu- serta pasca masuknya dengan mengumpulkan data-data dari Islam. pustaka (Zed 2004, 3), utamanya yang Batara Guru Versi Hindu (Siwa) berhubungan dengan karakter Batara Guru dalam cerita pewayangan. Selain itu Sebagaimana dijelaskan sebelumnya, literatur terkait dengan dakwah Walisongo bahwa Batara Guru tidak lain adalah juga tidak kalah penting menjadi rujukan gambaran peran wayang yang merupakan dalam penelitian ini. Perpaduan antara refleksi dari Dewa Siwa. Siwa sendiri berbagai literature tersebut diharapkan merupakan dewa ketiga dari Trinitas penelitian ini mampu mendapatkan hasil agama Hindu adalah Dewa Perusak. Ia yang komprehensif. digambarkan sebagai seorang pertapa Adapun analisis penelitian ini yang mengendarai lembu suci dan tempat menggunakan analisis deskriptif, yaitu tinggalnya di Kailasa. Ia mempunyai usaha untuk mengumpulkan dan tangan empat,dan selalu berpakaian kulit menyusun suatu data, kemudian dilakukan macan dan berambut loreng dan seekor analisis terhadap data tersebut naga melingkar di lehernya. Lambang-nya Islamic Comunication Journal Volume 02, Nomor 01, Januari-Juni 2017 47 Reduksi Nilai-Nilai Non-Tauhid…hal.45-57 adalah Lingga atau Phallus. Istrinya Yuyut/Resi Rekatama, Raja Samodralaya Parawati; Durga, dan dewi yang dahsyat (Sudjarwo 2010, 114). Dia mempunyai Kali yang keduanya penjelmaan Parwati. dua saudara kandung, masing-masing Ganesha dewa keberuntungan yang bernama Sang Hyang Tejamaya/Batara berkepala gajah adalah yang paling Antaga (Togog) dan Sang Hyang Ismaya terkenal dari antara anak-anak Siwa yang (Semar) (Aizid 2012, 80). Ia juga banyak itu (Samad 1990, 28). Dewa Siwa mempunyai tiga orang saudara seayah lain dalam berbagai kisah dilukiskan dalam ibu putra Dewi Darmani, putri Sang berbagai inkarnasi: Ghandara, Mahadewa, Hyang Rudra/Dewa Esa, Sang Hyang Ishvara, Nilakanta, Nataraja. Bahkan Siwa Dewanjali, dan Sang Hyang Darmastuti dan istrinya Parvati belakangan (Sudjarwo 2012, 114). dikembangkan dengan turunnya dua putra Kelahiran Batara Guru dan dua yaitu, Ganapati, penguasa bidang saudara kandungnya ini diceritakan dalam pertanian,
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