254 Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for Contemporary Preaching Islam Religion in Central Java, Indonesia Aris Setiawan Institut Seni Indonesia Surakarta, Indonesia Submitted: 2022-07-07. Revised: 2022-10-19. Accepted: 2022-11-28 Abstract This study aims to reveal the main reasons why wayang kulit (shadow puppets) and gamelan music were used again as tools of Islamic da’wah after the Wali Sanga era (Nine Saints). In Cen- tral Java (Banyumas, Solo, Demak, Pati), there has been a phenomenon of Islamic preaching and recitation performed by Kiai using wayang kulit and gamelan music. This study uses a phenom- enological approach, which is to get an explanation of the apparent reality. This approach focuses on events that are seen as having an impact, polemic, and discourse on life. This study also uses a critical approach, looking critically at the phenomenon of -art- being researched to test how far the view that puts that wayang (and gamelan) is not by religious rules is accepted, rejected, and even opposed. The result shows that although da’wah using wayang and gamelan has sparked a lot of polemics, the use of wayang and gamelan music is considered more effective in spread- ing Islamic teachings to grassroots communities due to two factors. First, continuing the trace of tradition brought by the first Islamic missionaries in Java (Wali Sanga). Second, to make people aware, especially young santri (prospective preachers) or congregation today, realize that Islam is spread peacefully and without resistance through art. Keywords: Islam, wayang, gamelan, da’wah, tradition, santri, pesantren How to Cite: Setiawan, A. (2022). Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for Contemporary Preaching Islam Religion in Central Java, Indonesia. Harmonia: Journal of Arts Research and Education, 22(2), 254-267 Harmonia: Journal of Arts Research and Education 22 (2) (2022), 254-267 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i2.38636 which include Javanese shadow puppet characters and gamelan. Wayang, synonymous with the Ma- habharata and Ramayana stories, was later changed to have an Islamic flavor. This re- minds us of the story of Sunan Kalijaga (a member of the nine saints) in the mission of spreading Islam in Java (Ismurdyahwa- ti, 2013). It is common information that Su- nan Kalijaga uses wayang in his preaching. Lukens-Bull (2008) said that the wa- yang was reinterpreted from a play with Hindu nuances. Even the shape and form of the wayang were changed (stylized) by INTRODUCTION In February 2022, the people of In- donesia were shocked by the opinion of a well-known preacher, Khalid Basalamah, that wayang kulit (shadow puppets) perfor- mances are haram and, therefore, the exis- tence of wayang must be destroyed (Ucu, 2022). His statement went viral and spar- ked a lengthy debate among the public. Contrary to this, some Kiai in Java views that Da’wah (preaching, which is an in- vitation or call to the way of God) can be done using a variety of mediums, some of Corresponding author: E-mail: arissetiawan@isi-ska.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Aris Setiawan, Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for 255 Sunan Kalijaga, so they were not like hu- mans because Islam forbids depicting a person’s face and body. Such a mission is trying to be reproduced in a contemporary frame by some Kiai such as; Bintoro (Solo), Sun Haji (Banyumas), Mastur (Jepara), Ki Goro-Goro (Demak). The same thing also started to happen in East Java, which was pioneered by Ki Fadil (Sidoarjo). They are Kiai, ustad, or pesantren graduates who preach, and carry the mission and message of Islam through Javanese culture for their santris (in the pesantren environment), and the public in general. In the life of the Javanese santri world, wayang and Music (gamelan) may become something foreign. However, not a few pesantren use wayang and Music as a means of preaching and entertainment (relaxation). The core meaning of the word santri is Islamic school students (Wood- ward, 2004, p. 119). In general, it is possible to distinguish between santri who practice ritualistic and mystical aspects of Javanese Islam and reformist santri who have close links to fundamentalist movements in the Middle East. Meanwhile, the “traditional” pesantren in Java can be categorized as a meeting room between the two poles of “Java and Islam” (Ricklefs, 2007). Santri, believes that all the require- ments of normative piety must be met to enter the mystical path. Most also think that the inner element of religious life is more important than the outward form. Geertz (1960, p. 126) even views traditio- nal santri live in a solitary world. Moreo- ver, the concept of santri, which stirs up Hindu, Javanese, and Islamic teachings, is currently considered to be something old- fashioned but can provide a balance of life as a stable Javanese human. More on this, Greets added: “Santri, who are very conservative, even though they are often called “ortho- dox” is actually not the most Islamic Java- nese Muslims, but they are less than that. They create the minimum shift from tra- ditional systems, where the animistic ele- ments of Hinduism and Islam are found in stable equilibrium” Geertz (1960, p. 125). Based on this view, such santri, wa- yang, and gamelan are indicated as relics of ancient Javanese teachings (Hinduism- Buddhism); in fact, they are used and are still preserved. We can trace this to Hairus Salim’s writing “Pertemuan Wayang dan Pesantren: Pandangan Seorang Santri Ter- hadap Kesenian” (2003). However, the re- lationship between pesantren and the arts is often paradoxical and ambivalent. On the one hand, art is supported and practiced as a valid daily expression. Especially after art is understood not only in terms of its aesthetic side but as part of religious expression; on the other hand, art is resisted and punished. This is especial- ly true if art is considered an activity and expression that rivals and even go against the religious values believed to be (Salim, 2003). Furthermore, how can art be stan- dardized based on religious values? How is art rejected and accepted by the reli- gious community, especially the Kiai, the santri, and life in the pesantren? Hairus, in his research, tried to find this relationship by reading a part of the autobiography of Kiai Saifuddin Zuhri (Minister of Religion in the Demokrasi Terpimpin (Guided De- mocracy) era under President Soekarno [1962-1966], and Minister of Religion in the Ampera Cabinet under President Soehar- to [1967]) in the book Guruku Orang-Orang dari Pesantren (1974). The book was publis- hed again by the LKiS publisher in 2012. On the back of the book cover are comments from historian and cultural observer Kuntowijoyo, who said that the book was precious for knowing how the santri were familiar with wayang and ga- melan. The comment is quite interesting because there is a clear affirmation of the familiarity of the santri with wayang and gamelan. The statement can also be read in a different light. First, the intimacy bet- ween santri and traditional Javanese art in the world of pesantren is considered something unusual or distant from the ge- neral public’s life. In other words, wayang and gamelan are areas that are considered “public property” not belonging to the santri in the pesantren. Second, the exis- Harmonia: Journal of Arts Research and Education 22 (2) (2022): 254-267256 tence of a statement of closeness between santri and traditional Javanese art shows that the power of traditional pesantren is not only formed in the dominance of reli- giosity in the form of sacred religious dog- mas but looks flexible and acculturative. Third, the relationship between the santri and the wayang-gamelan explains the pattern of continuing the tradition. For traditional santri, wayang and gamelan are considered part of religious preaching. No matter how strong the reforms in Islam are that reject all things that smell like traditio- nalism, these pesantren are still trying to hold on to the narrative or cult story about the Wali (Nasir, 2019). However, Hairus Salim’s reading needs to be reinterpreted as important information, especially through Kiai Saifuddin Zuhri’s autobiographical book in the 70s. That year, the polemic between the “right-wing” and “left-wing” who identified as a communist was still felt. Automatically, this affects people’s perceptions of artistic life (Lekra: Lembaga Kebudayaan Rakyat [the People’s Cultural Institute] under the Indonesian Commu- nist Party) and the pesantren world. The affirmation of the closeness between santri and wayang or gamelan then became quite a sensitive issue, so it needed great consi- deration to express it at that time. In addition to the references mentio- ned above, several previous studies that have discussed the relationship between art (especially local wisdom) and pesant- ren are Ma’sum, Triyanto, & Syarif (2018), Nurdianto, Joebagio, & Djono (2019), Fau- zi (2019), Hudaeri, Karomah, & Al Ayubi, (2020), Patriadi, Bakar, & Hamat (2015). Almost all of these studies explain the local wisdom that is each region’s main characteristic of pesantren. Of the many references, no one explicitly discusses the relationship between wayang and game- lan with pesantren and Kiai. It is in this context that this research is essential to do. While Siti (2005) and Usulludin’ (2003) studies try to offer a different novel- ty alternative, Siti explained that “art is not for art” because it must express spiritual dimensions, the principles of monotheism, to guide humans to God’s way. This type of art which, according to Usulludin, has not been widely available or created, even if there is one, is only an artistic expression that is not much different from the others (popular art). Both of these views seem to want to explain that the essential thing in the context of art is its spirituality. Whe- reas, in reality, on the field, the Kiai (in this study) are also playing in the area of aesthetics. One of them is by working on the musical side, which is quite riveting, wayang plays which are not only new but also full of creative humor. In other words, Islamic art, in the context of this research, is an attempt to juxtapose the spiritual side with the high aesthetic side; there is a ba- lance between the two. The main problem is a movement has emerged to reject the arts (traditional, es- pecially wayang and gamelan) from being used to preach Islam. This research shows that there is resistance from the preachers. They use wayang and gamelan as a me- ans of da’wah. The novelty of this study is to explain the findings of the strategy chosen by Islamic preachers in preaching using wayang and gamelan. The Kiai then had a large number of congregations and fans. This proves that efforts to weaken the traditional arts (wayang and gamelan) as a means of Islamic da’wah continue to be met with massive resistance METHOD This study uses a phenomenologi- cal approach, placing phenomena as sub- jects to be read and interpreted further (Qutoshi, 2018). This approach focuses on events seen as having an impact, polemic, and discourse on life (Holroyd, 2001). In the analysis process, phenomenology is not based on hypotheses or assumptions (Sanders, 1982). This approach requires researchers to be further involved, obser- ve, and take data directly on the pheno- menon or subject of the study (Neubauer et al., 2019). In other words, the presence of researchers in the field is essential to prove whether the phenomenon is mere- Aris Setiawan, Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for 257 ly a usual social symptom or has further implications for the existing social order (Greening, 2019). The polemic about the prohibition of wayang (and gamelan) per- formances because they are considered in- consistent with Islamic religious norms is contrary to the phenomenon in grassroots society. Puppets and gamelan are used as an essential part of Islamic da’wah. This study also uses a critical approa- ch, looking critically at the phenomenon of -art- being studied (Geahigan, 1983) to test how far the view that puts that wayang (and gamelan) is not following religious rules is accepted, rejected, and even oppo- sed. This can be observed from grassroots preachers (north coast of Java) trying to fight hegemony, namely preaching using wayang and gamelan. To get answers to questions such as; why do they do that? In addition to observation (Baker, 2006), interviews are essential (Mathers, Fox, & Hunn, 2000). Interviews were conducted with preachers who use wayang and ga- melan as part of their da’wah. The da’wah presentation became a show enjoyed by the public. Therefore, an ethnographic ap- proach as an effort to understand a pheno- menon is necessary (Humphreys & Wat- son, 2009). This is to find out to what extent da’wah with wayang and gamelan has received appreciation and even resistance from the public RESULT AND DISCUSSION Experience Wayang and Gamelan It is interesting to find out more about Kiai Saifuddin Zuhri’s experience with the world of gamelan and wayang, especially in pesantren; here is his statement. “In the pesantren, watching wayang is hardly contested about the law, haram or permissible. Some take the attitude of not permitting. It is not explained to what degree the impossibility of it, whether it is haram or makruh - with the argument of listening to exciting sounds until they are neglected from remembering Allah (dzikrullah). Even though not remembering Allah is haram. Besides, mixing between men and women at night can lead to im- moral acts. Some take the position of being allowed because it is said that wayang is the creation of the saints (Wali Sanga) in as- similating Hinduism into Islam. After all, one can take the essence of the lessons that are contained in wayang plays” (Salim, 2003). Furthermore, although watching wa- yang or playing Music (gamelan) is against the law, it is not easy to choose whether it is haram or permissible. The problem then is that watching or playing the wayang all night long means that the santri have left their main task (reciting the Al Qur’an). The thing that was feared later was that the santri was too late and found the spectacle’s ecstasy in the wayang show. Moreover, physical boundaries are often eliminated; men and women can mingle to watch without barriers. In the world of Islamic boarding schools (pesantren), this is strictly avoided. But once again, the stu- dents still view and appreciate that this art is a legacy of Sunan Kalijaga. The award is not only in terms of forwarding and an- nouncing presenting wayang in the world of pesantren but also reading books other than the Al Qur’an, such as the yellow book [kitab kuning] (Bruinessen, 1994). Mo- reover, wayang, teaching life guidance is not just a spectacle (Figure 1). Figure 1. Ki Joko Goro-goro’s “da’wah show” stage. (Photo: Setiawan, 2015) Like most santris, Kiai Saifuddin’s childhood at the pesantren was closely con- nected with the world of wayang. His fat- her allowed him to watch the wayang but had to recite the Al Qur’an in the morning (Salim, 2003). As previously explained, Harmonia: Journal of Arts Research and Education 22 (2) (2022): 254-267258 watching a wayang means emptying the recitation schedule; it must be replaced automatically. Moreover, little Saifuddin, when he was at the pesantren, explained to him that the five Pandawa figures (Yudis- tira, Bima, Arjuna, Nakula, and Sadewa) symbolized the pillars of Islam. Even the names of the wayangs are also trying to be connected in Islamic Arabic, such as Janaka, which means Janatuka (which me- ans heaven), and Arjuna who gets a secret weapon called Kalimasada, which Muslims consider to be short for Sentence Shahadat (Lukens-Bull, 2008). Figure 2. Ki Joko Goro-Goro using wayang as part of his preaching (Photo: Aris Setiawan, 2015) Documentation of the photos in this study were taken from 2015 to 2017. Ho- wever, da’wah activities using wayang and gamelan are still being carried out to- day (GM Media, 2022). Wayang plays in the pesantren world do not only originate from the epics of Ramayana and Mahabarata. Ki Joko Go- ro-goro (personal communication, March 2015) explained that the puppet plays that were displayed had very Islamic nuances such as Nggoleki Tapake Nabi Muhammad (looking for the Prophet Muhammad’s footprints), Semar Ngislam (Semar con- verted to Islam), Pandawa Sholawat (Pan- davas converted to Islam), Puntadewa dadi Ustad (Puntadewa become a Kiai) and so on. Likewise, with the play that little Saif- uddin watched, entitled Bima Ngaji (Bima reading the Al Qur’an). The world of wa- yang then influenced the santri, and little Kiai Saifuddin, even he and his friends often imagined playing wayang at the Mushola. Some become dalang (puppeteer- masterminds) while accompanied by ga- melan music using their mouths. “Sometimes I imitated the puppeteers’ stories when we were about to sleep at the Kiai Khudhori’s Langgar (small mos- que). We occasionally sleep together. When the night is quiet and the lights have been turned off, a friend imitates the puppeteer when telling a story. The various stories are imitated, the story of the birth of Gatotkaca, Srikandi Meguru Manah, or Petruk Dadi Ratu. If a friend pretends to be a puppeteer, the rest of us pretend to be gamelan musicians. Of course, the sound of the gamelan is sufficient by mouth. I’ve been appointed to be a pretend puppeteer. I kept telling stories; suddenly, my friends were all sleeping” (Salim, 2003). However, it is not certain whether the position of the santri at that time (the 1920s) was merely a spectator or it was per- missible to hold wayang performances as part of learning in the world of pesantren. By looking at the phenomenon that occur- red in Kiai Saifuddin, it appears that the world of wayang is a favorite spectacle for students. Moreover, his teacher’s opinions and statements that the wayang is a rep- resentation of Islamic teachings. The dy- namics of pesantren life, especially those based on Nahdlatul Ulama (NU), are quite interesting to observe regarding students’ concessions to watch and enjoy wayang puppets. Lukens-Bull (2008:4) even said that many Islamic boarding schools are the main sponsors of wayang performances, gamelan concerts, and other Javanese tra- ditional arts. This means that puppets can be performed freely in Islamic boarding schools, such as when the Gontor Islamic Boarding School presented Ki Anom Suro- to on its 90th birthday (2016). The ambivalence of the relationship between wayang, gamelan, and pesantren triggered Abdurrahman Wahid to write an article entitled “Seorang Santri Meni- lik Pandawa Lima (A Santri Looks at Five Pandavas)” (March 24, 1988). He revealed Aris Setiawan, Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for 259 that wayang stories provide lessons or ot- her teachings not found in pesantren. With a strong religious background (a descen- dant of NU’s founder and a very respected Kiai), Abdurrahman Wahid tried to defend the wayang and gamelan performances. As seen in Figure 1, there are words: Angeluri Buddhaya Jawi, Mangga Sami Ngaji, Ngugemi Agami, Manut Tak Lam- pahipun Para Wali (Preserving Javanese culture, let’s recite the Koran, stick to Is- lam, and follow all the saints’ actions). These words try to explain that the Isla- mic religion becomes more apparent if it adheres to the teachings of the Wali (nine people who are purified). In other words, the interpretation of the Al Qur’an verses and the prophet Muhammad’s hadiths are easily understood by the people of Indone- sia, and Java in particular, because of the struggles and existence of these saints. The wayang (and gamelan) polemic in the pesantren world thus drew a lot of attention between the permissible and the forbidden, thus requiring well-known Kiai like Abdurrahman Wahid and Kiai Saif- uddin to provide clarification with their respective versions and views. However, there are limits to what plays are “accep- table” to the santris and are not acceptable. Generally, santris like plays have powerful Islamic teachings compared to plays in ge- neral. Even to enter the world of pesantren, wayang plays often have to be changed or adjusted (Masroer Ch., 2015) Figure 3. Santri and community the da’wah using wayang and gamelan at one of the pesantren in Pati (Photo: Aris Setiawan, 2017) Regarding Music, resistance also ac- companies it, but in certain contexts, Music is more acceptable in the world of pesant- ren, such as the reading of Islamic songs sourced from Albarzanji (Ashari, 2012), Sho- lawatan (Aryani, 2017), Puji-pujian (Said, 2018), and so on. Music in this context is considered an integral part of Islamic te- achings because it can accommodate direct reading of the Al Qur’an verses. The most striking thing we can observe, for example, is in the performance or the Maiyah reci- tation conducted by Em Ha Ainun Najib (Cak Nun) with his Kiai Kanjeng gamelan group (Jamuin & Saputri, 2017). Cak Nun uses gamelan music to preach and sing Su- fistic Islamic praises (Howell, 2001). Thus, the presence of Music can be felt more fle- xible and adaptive. Handayani and Swazey (2018) exp- lained that, in fact, pesantren is very demo- cratic in terms of the arts, especially among the NU circles). As long as the logical reasons are well explained and beneficial to the people, pesantren will not reject it. However, according to Ki Joko Goro-goro (personal communication, March 2015), all must be sorted and selected for their mea- ning and philosophical values. The excess is that many pesantren graduates work as preachers using wayang and gamelan mu- sic. Figure 4. Ki Joko Goro-goro used gamelan as a means of preaching (Photo: Aris Setiawan, 2016) Regarding understanding gamelan’s presence in the world of pesantren, it can be observed from the traces of contact between Islam, saints, and Gamelan Se- katen. In the footsteps of Islam’s journey in Java, Gamelan Sekaten has become an Harmonia: Journal of Arts Research and Education 22 (2) (2022): 254-267260 important element in terms of Music and its religious function (Rahayu et al., 2020). Gamelan Sekaten is made with jumbo size, five times bigger than ordinary gamelan, capable of generating loud sound echoes within a far radius. The local communi- ty became interested to see it. However, enjoying the Sekaten gamelan is not free. Local people have to perform ablution and read two sentences of the creed (shahadat) if they want to see and enjoy the Sekaten repertoire (Utami, 2011). After the gamelan was played, Sunan Kalijaga preached, and the people consoli- dated themselves to convert to Islam. This is a method of spreading Islam in Java (Su- laeman, 2019). Gamelan Sekatan is used to commemorate Muhammad S.A.W.’s birth- day for a whole week in front of the Gre- at Mosque of Surakarta. Daryanto (2015) even mentioned that preaching using the Gamelan Sekaten had been carried out by saints since the Demak Kingdom’s era in the 16th century. However, the existence of Gamelan Sekaten at that time was not known until now. The idea of using Game- lan Sekaten is the answer to the obstacles that arise when the saints spread Islam. At that time, the Javanese people had power- ful beliefs in Hinduism and Buddhism. So, tools were needed to make the da’wah of Islam more attractive, and Sekaten was the answer to that (Waridi, 2006). Sekaten itself comes from the word syahadatain, which means two sentences of the shahada (Rahayu et al., 2020). The two sentences of the creed are also symbolized by the two sets of Sekaten gamelan, which have the names Kiai Guntur Sari and Kiai Guntur Madu, which are placed on the south and north sides of the Masjid Agung (Great Mosque) of the palace. Two musi- cal compositions (gending) are presented, namely Rambu and Rangkung. The Music was presented as a kind of musical concert, watched and enjoyed by people who had previously converted to Islam. It is said that the preaching of Sunan Kali Jaga ac- companied it. By looking at the history, the Kiai (as mentioned above) seem to find justificati- on for the use of wayang and gamelan in their preaching, both within the pesant- ren environment and society in general. It is a practice of continuation of the same tradition that the saints had done. Ki Mas- tur (personal communication, May 2015) explained that da’wah using wayang and gamelan today is urgent to return Islam as a rahmatan lil alamin. Considering that currently, there are many anarchist events under the guise of religion, it is as if Islam is inhospitable, harsh, and cruel. Through wayang and gamelan, the Kiai tried to re- call the importance of preaching Islam, which is more polite, respects others, and still adheres to the existing culture as in the early history of its spread. In other words, wayang and gamelan are symbols for peace-loving Islam. Wayang and Gamelan for Preaching Is- lam The first Islamic kingdom in Java was on the north coast, marked by the Gre- at Demak mosque’s construction. Ricklefs (1974, p. 17) said that the emergence of an Islamic kingdom in Java was dominated by “secular” monarchies who portrayed themselves as saints. At this point, the Hindu-Buddhist kingdoms experienced a political decline and were subsequently ta- ken over by the Islamic kingdom. Further- more, when Java was colored with Islamic kingdoms, the Javanese king’s title became “Sultan” or “Sunan” (Burdah, 2017). This is an effort to strengthen the religious man- date of Islam. In this area, then Islam is not only a partial religion or suddenly exists, but it needs missionaries who spread it. Missionaries are known as saints. Islam tries to be as flexible as possible so that the- re is no radical clash with Javanese culture, which previously embraced Hinduism- Buddhism. This subtle way of spreading Islam is the marker and the beginning of Islam to be accepted peacefully. The method used is preaching through wayang (and gamelan). Even at this point, the assumption often raised is that art is changed and polished so that preaching can be carried out poli- Aris Setiawan, Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for 261 tely and does not cause conflict. Wayang is an important tool in this context. The Wali Sanga is considered to be the pioneer and the main originator of creative ideas of preaching through wayang and gamelan arts (Muljana, 2005). As a result, Islamic te- achings did not become dogmatic rites but blended and became linked with Javanese culture. Automatically, Islam in Java has a unique side. In this regard, Woodward (2004, p. 83) explained that the history of the linka- ge between Javanese and Islamic culture is still very obscure. The origins and spread of Islam in Southeast Asia (Indonesia and Java in particular) have never been written in full due to the lack of reliable reference sources (Lukens-Bull, 2008). As we know, for example, the Javanese belief that the wayang kulit form today is the result of the creativity of Sunan Kalijaga. However, there is no reference that clearly and ac- curately portrays the incident. As a result, Sunan Kalijaga has become a kind of “so- cial myth” that is believed in its existence (Sumarsam, 2018, p. 132). Sunan Kalijaga is very well known in Javanese culture. He is seen as one of the nine saints who performed many miracles. In shadow puppets, Sunan Kalijaga chan- ges the shape or face of a leather puppet so that it does not resemble a human face. Islam forbids the depiction of human fa- ces. Wayang kulit is also made to be more “strange” but unique (Sumarsam, 2018). Her hands and nose are too long, and her body is flatter. Islamic stories are inclu- ded in the narrative of wayang stories. It is even said that a Javanese puppet story, Dewa Ruci, about Bima’s journey to meet his Lord, was born. The story is outside the two major narratives, namely Ramayana and Mahabharata. Javanese culture is a world of sym- bols. Wayang, with all the furniture and medium, are life symbol (Subiyantoro et al., 2020). Wayang plays are also full of meaning. Mystique, heroism, love, cou- rage, and heroism are symbols of life dis- guised as wayang shadows in the drama- turgy frame played by the puppeteer. This proves that wayang is a world of symbols, only those who have “landhep rasa” (inner sensitivity) can decipher the symbols and their meanings behind the screen called “kasunyatan” or reality (Sumarsam, 2018). It is Javanese philosophy that has formed the symbols in the wayang. It is realized that all the results of human thoughts and experiences in their journey toward perfection are a fixed pattern. Java- nese philosophy is one of the philosophical traditions that has grown and developed in Indonesia and the accumulation of Ja- vanese society’s thoughts, experiences, and feelings, which have crystallized into a culture. This Javanese philosophy is em- bodied in the form of symbols in wayang performances (Mrazek, 1999). Thus wayang performances are seen as a symbolic language of life that is more spiritual than outward. Such as Islamic practice, which emphasizes the transcen- dental aspect of religion rather than world- liness. So for people who love wayang, wayang performances are used as a guide for attitudes and actions, as is the Islamic perspective on the nature of life, the origin and purpose of life, the relationship bet- ween humans and God, humans and hu- mans, and humans with nature (Soetarno, 2005). Based on this fact, art and religious lovers will truly appreciate the puppet show, listen to all the dalang’s narratives of the puppets, and absorb all the essence of Islamic teachings manifested in wayang performances with a predetermined dura- tion. While in Music, there is a Latin term that reads, Qui Bene Cantat Bis Orat, which means whoever sings well, prays twice. In both Catholic and Christian religions, Music is used for dialogue with God, usu- ally known as liturgical Music. In Hindu society, dialogue with God is also usually done by mouth music, usually called Mant- ra or commonly through Pesantian. People who believe in God Almighty in Java often have dialogues with God on certain days with oral Music, commonly called Mamaca. The people who believe in God Almighty in Batak, commonly known as Parmalim Harmonia: Journal of Arts Research and Education 22 (2) (2022): 254-267262 use the Gondang Sembilan music to get clo- ser to God. Music does not only intersect with religious facilities. In the Nusantara tradi- tion, Music plays a role in strengthening traditional institutions during ritual cere- monies. In the Dayak Banuaq community, the Kelantan music media, is used to ac- company the Belian Sentiu ceremony. The Madurese people use the media of Music and singing to hold the Sandhur Dhamong Ghardham ceremony. The Madurese peop- le ask for blessings from God so that their harvest from the sea can always be fulfil- led. The Toraja people use a vocal musical instrument called Ma’Badong in the death rites of Rambu Solok. The combination of the typical Torajan dance and vocals is believed to be a means of praying so that God can accept people who die. Even Ma’Badong is an expression of the sad la- ment of those who are left behind. Thus, the existence of Music in the community that supports it is born to fulfill aesthetic fulfillment in the context of entertainment and fulfill religious needs. With its universal language, Music can be a powerful means for organizing the “rites of life.” Music is a language that all people can accept without the person having to know its contents verbally. Still, Music can convey various hopes and sur- render to God Almighty’s power as a ser- vant of the weak (Fung, 2016). Among the preachers of Islam them- selves, Music has become familiar and commonplace for voicing religious calls (Cahyono et al., 2020). In Indonesia, the- re is Rhoma Irama (dangdut singer) who collaborated with Zainudin MZ (preach- er) in the “Nada Dakwah” event. Bim- bo and several other artists collaborated with preachers to entertain with religious calls. This collaboration became a cultu- ral phenomenon in that era. Even during its golden age, this phenomenon reaped a high percentage of organizing more than non-preach music concerts, especially when religious celebrations had arrived. Let’s say that the month of Ramadan was the moment of holding religious Music. Apart from religious music develop- ment with pop nuances, nowadays there are many Islamic preaching that uses tra- ditional Music, especially gamelan. Call it Ki Bintoro (Solo), Ki Sun Haji (Banyumas), Ki Mastur (Jepara), Ki Joko Goro-Goro (Demak), Ki Fadil (Sidoarjo). Also, see Emha Ainun Nadjib with Gamelan Kyai Kanjeng, Ki Enthus Susmono with Satriya Laras, Ki Junaedi through Gamalen Wa- yang Walinya, Ki Sukron Suwanda who, when preaching, uses the media of wa- yang and gamelan figures. Even the reli- gious scholars with NU students’ backg- rounds packed wayang and gamelan into preaching dishes that were very attractive to the common people, entertaining and enlightening. Therefore, serving that in- volves gamelan in the preacher arena is recognized as something to captivate the public because it is an embedded culture that builds seriousness, not just the deli- very of verbal and monotonous language. Still, it is interspersed with Music as a bre- aker or a freshener. Religious Music Polemic Right-line Muslims argue that using Music actually leads to haram. Several prominent Islamic figures, such as Al Wa- hidy, Abdullah bin Abbas, Abdullah bin Mas’ud, Imam Ibnu Katsir, stated that Mu- sic is unlawful (Sinaga, 2001). Imam Ibn Kathir, in his interpretation, explained that after Allah told about the condition of hap- py people in verses 1-5, namely those who received guidance from Allah’s word and they felt that they enjoyed and benefited from reading the Qur’an. Allah told them in verse 6 about the miserable people who turn away from listening to the Qur’an and turn towards singing and Music. Abdullah bin Mas’ud is of the view that Music is so- mething that is haram. Abdullah bin Ab- bas, who is nicknamed Turjumanul Qur’an, is convinced that the above verse explicitly prohibits the use of Music as a means of religion. The position of Music in the content of the Al-Qur’an has not yet been found. The words Musiqi, qhina, or the same, Aris Setiawan, Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for 263 which involve the meaning of Music, are not found in the Qur’an (Choudhury, 1957). Not found a statement or a single word about Music in the Al Qur’an, which is direct and explicit, which identifies the concept of Music. However, those who re- ject Music base their argument on Allah’s condemnation in QS 26: 224, which reads, “Wasyusyu aro’u yattabi’ uhmul ghowun, “which means” And those poets, followed by evil people. “ Those who forbid music agree that music is “useless speech” (lah- wal-hadith), “something that sheds light” (saamiduun) and “contains false testimo- nies” (adzadzuura). In contrast to the above view, many Muslims support that Music is common- place in religion and even Music is a gift for life. They interpret the term beauty or soundness in the Qur’an as synonymo- us with Music. As noted by Choudhury (1957), according to his supporters, Music is nothing but melodious / and Music is nothing but tone poetry. Among the ver- ses in the Al-Qur’an that music supporters often use or support their arguments are: That “the beauty of sound” is men- tioned in Al Qur’an sura 35: 1, with the fol- lowing sound: Yadzidu fil khal maa yasyaa - Allah has added His creation according to His will, namely the beauty of sound. That “sweet voice” is mentioned in Al Qur’an sura 30:15, with the following sound: Fahum fii roudotim yuhbaruun - They were rejoicing in the garden listening to beautiful songs from heaven. Whereas the term “song” is mentio- ned in Al Qur’an sura 73: 4, with the follo- wing sound: Warottil Qur’ana tartila - And read the AL Qur’an with chanting. Imam Al Ghazali shows QS-31: 19 as a verse that conceptualizes the understan- ding of Allah’s praise for a beautiful voice, even though it is pronounced differently: “Indeed, the worst sound is the voice of a donkey” Choudhury (1957, p. 62). Of all the arguments of the Qur’an and its views on Music, by music suppor- ters as well as by those who reject the exis- tence of Music, there is not a single word that directly or explicitly identifies the concept of Music. In this case, Choudhu- ry (1957, p. 64) commented that it is dif- ficult to place Music in Islamic teachings properly. This means that the Qur’an does not say that Music is allowed or not, nor does it indicate anything that criticizes or allows Music. Thus, perhaps it can be said that whether or not a musical activity is allowed is an interpretation of the verses contained in the Al-Qur’an from people in- terested in Music. The Qur’an does not clearly allow or prohibit Music, but what do the scholars think? In the book Ihya Ulum Ad-din (re- viving religious sciences), a great scholar Imam Al Ghazali explained in Choudhu- ry (1957, p. 64) that hearing song, namely “sweet voices,” is permitted by Islamic teachings to understand that people who hear that sweet voice will get pleasure. A sweet voice is a blessing that Allah gives to his servant and one of the characteris- tics of a prophet, as narrated by Tarmidzi, which reads, “Allah Ta’ala did not send a prophet, but his voice was great.” According to AL Ghazali (Choud- hury, 1957), the prohibition of hearing a sweet voice was not due to the beauty of the sound itself, but due to something outside it, the context of “who makes the sound,” “who listens” to the voice. The context of the prohibition put forward by AL Ghazali is explained as follows: If the person making Music is the op- posite sex from the listeners (with a note that it is permissible for them to be married according to Islam), then this is prohibited because they are worried that sexual desire will arise, which is something that is prohi- bited in Islamic teachings. In this context, AL Ghazali also explained that singing has advantages that can move sexual desire (Choudhury, 1957, p. 64-65). Those who listen make singing their custom and way of life to take their time from other tasks, such as religion. Accor- ding to AL Ghazali, this is forbidden be- cause anything done excessively is prohi- bited (Choudhury, 1957, p. 64-65). Musical instruments are used as symbols. According to AL Ghazali, drin- Harmonia: Journal of Arts Research and Education 22 (2) (2022): 254-267264 kers of khamar (a type of drink that con- tains alcohol) are Iraqi serunai, fiddle, and instruments that symbolize people who liken themselves to women (mukhannats), namely long drums with small centers [do- mes]. According to AL Ghazali, the Iraqi serunai, the rebab, and the dome are prohi- bited instruments. Muslims consider kha- mar drinkers and mukhannats to be sinners, and anything that has become their tradi- tion is also prohibited from being imitated (Jähnichen, 2012). Songs contain bad, vile, insulting words and lies against Allah, the Prophet, and his friends. According to AL Ghaza- li, this was forbidden both for those who made it and those who heard it. Likewi- se, texts that characterize the shape of a woman’s body and other things contain things that are haram (Jähnichen, 2012). From the explanation put forward by AL Ghazali, it can be said that a melodio- us voice or singing in the context of Music is allowed in Islam’s teachings (Susetyo, 2005). The prohibition against melodious voices or singing is caused by negative things prohibited by Islam, which are as- sociated with these musical activities. Based on the above understanding, it seems that Islamic preachers in Central Java (Bintoro [Solo], Sun Haji [Banyumas], Mastur [Jepara], Ki Goro-Goro [Demak]) are positioning themselves to use the po- sitive side of wayang and gamelan. The positive side places wayang and gamelan as a catalyst in making da’wah easier to be accepted. Wayang and gamelan function more as media, not subjects that are the main focus of the problem. Thus, wayang and gamelan are considered as means that only deliver da’wah to be more accepted and understood, especially by grassroots communities. Its main essence is in the content of the da’wah, not in the wayang and gamelan. The story of the harmonio- us relationship between wayang-gamelan and Kiai Saifuddin Zuhri in the world of pesantren shows that traditional arts are generally well accepted as long as they have a strong positive impact. CONCLUSION Based on the analysis, it is seen as a whole that Music is an important part of a religious message, apart from all the polemics that accompany it. Inside the pe- santren walls, the contact between santri, wayang, and gamelan has long historical traces. However, it must be admitted that the relationship between pesantren and art (Music) is often paradoxical and ambiva- lent. On the one hand, art is supported and practiced as a valid daily expression. Mo- reover, art is understood not only from an aesthetic point of view but also in terms of the expression of the spread of Islamic te- achings, such as in the history of the saints in preaching. But on the other hand, art is resisted and punished. Especially if art is considered an expression that goes against the religious values that art believes in; in this context, wayang and gamelan (Mu- sic) are more aesthetic expressions so that the public can accept preaching and have a mission to raise awareness about peace- loving Islam. These are the reasons why many Kiai preach using puppets and ga- melan. The results of this study indicate that the rejection of wayang and gamelan in the latest Islamic discourse has a fairly ele- mentary error, namely focusing solely on material forms, not on the essence of the da’wah conveyed. The polemic related to this is due to a lack of basic understanding of the traces of contact between Islam and Java that take place flexibly in positioning wayang and gamelan as catalysts so that da’wah can take place ideally. The Kiai, who became the object of this research, carried out a massive mo- vement using wayang and gamelan in preaching to win the hearts of the grass- roots community. The implication is two- fold. Firstly, the essence of da’wah can be accepted easily. Second, traditional arts, which in this context, wayang, and game- lan, can continue to be sustainable. Aris Setiawan, Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for 265 REFERENCES Aryani, S. A. (2017). Healthy-minded reli- gious phenomenon in shalawatan: a study on the three majelis shalawat in Java. Indonesian Journal of Islam and Muslim Societies, 7(1), 1–30. https:// doi.org/10.18326/ijims.v7i1.1-30 Ashari, H. (2012). Tradisi “Berzanjen” Ma- syarakat Banyuwangi Kajian Rese- psi Sastra Terhadap Teks Albarzanji. Kawistara, 2(3), 276–284. Siti bin, A.Z. (2005). Spirituality and Is- lamic Art according to Sayyed Hossein Nasr. Harmonia: Journal of Arts Research and Education, 6(3), 1–8. https://doi.org/https://doi. org/10.15294/harmonia.v6i3.809 Bruinessen, M. van. (1994). Pesantren and Kitab Kuning: Maintenance and Continuation of a Tradition of Re- ligious Learning. In W. Marschall (Ed.), Texts from the Islands: Oral and Written Traditions of Indonesia and the Malay World [Ethnologica Bernica, 4]. University of Berne. Burdah, I. (2017). The Politics Of Mata- ram Kingdom During The Reign Of Sultan Agung. Jounal Of Indonesian Islam, 11(1), 267–306. https://doi. org/10.15642/JIIS.2017.11.1.267-306 Cahyono, A., Widodo, W., Jazuli, M., & Murtiyoso, O. (2020). The Song of Macapat Semarangan: The Accul- turation of Javanese and Islamic Culture. Harmonia: Journal of Arts Research and Education, 20(1), 10–18. https://doi.org/10.15294/harmo- nia.v20i1.25050 CHANNEL, G. M. (2022). Ki Joko Goro-goro Lucu Terbaru 2022 - YouTube. You- tube. https://www.youtube.com/ watch?v=et-N4qLTKc0 Choudhury, M. L. R. (1957). “Music in Is- lam.” Letters. Journal of the Asiatic So- ciety, XXIII(2), 43–102. Daryanto, J. (2015). Gamelan Sekaten dan Penyebaran Islam di Jawa. Jurnal Ikadbudi. Jurnal Ilmiah Bahasa, Sastra Dan Budaya Daerah., 4(1). Fauzi, A. (2019). Local Wisdom Pesantren sebagai Core Value Pengembangan Budaya Organisasi Kelembagaan Pendidikan Islam. Proceedings of An- nual Conference for Muslim Scholars (AnCoMS), 533–539. https://doi. org/https://doi.org/10.36835/an- coms.v3i1.227 Fung, A. (2016). Music in Religion, Reli- gion in Music: Christian Faith and Confucian Filial Piety in the Life- world Practices of Two Musician- Educators. The International Journal of Religion and Spirituality in Society, 6(3), 77–92. Geahigan, G. (1983). Art Criticism: An Analysis of the Concept. Visual Arts Research, 9(1), 10–22. Geertz, C. (1960). The Religion of Java. The Free Press. Greening, N. (2019). Phenomenological Research Methodology. Scientific Research Journal, VII(V). https:// doi.org/10.31364/SCIRJ/v7.i5.2019. P0519656 Handayani, A., & Swazey, K. (2018). Con- testatin in Gamelan Making Ritu- als: Tensions between Old and New Understandings. Humaniora, 30(3), 305–314. Holroyd, C. (2001). Phenomenological Research Method, Design and Pro- cedure: A Phenomenological Inves- tigation of the Phenomenon of Be- ing-in-Community as Experienced by Two Individuals Who Have Par- ticipated in a Community Building Workshop. Indo-Pacific Journal of Phe- nomenology, 1(1), 1–10. https://doi. org/10.1080/20797222.2001.1143385 9 Howell, J. D. (2001). Sufism and the In- donesian Islamic Revival. The Jour- nal of Asian Studies, 60(3), 701–729. https://doi.org/10.2307/2700107 Hudaeri, M., Karomah, A., & Al Ayubi, S. (2020). The Pesantren in Banten: Lo- cal Wisdom and Challenges of Mo- dernity. Proceedings of the Proceedings of the First International Conference on Religion and Education. https://doi. org/10.4108/eai.8-10-2019.2294504 Harmonia: Journal of Arts Research and Education 22 (2) (2022): 254-267266 Humphreys, M., & Watson, T. (2009). Eth- nographic Practices: From ‘Writ- ing-Up Ethnographic Research’ to ‘Writing Ethnography.’ In Organiza- tional Ethnography: Studying the Com- plexities of Everyday Life (pp. 40–55). SAGE Publications Ltd. https://doi. org/10.4135/9781446278925.n3 Ismurdyahwati, I. (2013). Shadow Pup- pets Performance of Yogyakarta through its Visual Language. ITB Journal of Visual Art and Design, 4(1), 28–34. https://doi.org/10.5614/itbj. vad.2013.4.1.4 Jähnichen, G. (2012). Al-Gahazali’s Thoughts on the Effects of Music and Singing upon the Heart and the Body and their Impact on Present- Day Malaysian Society. International Journal of Humanities and Social Sci- ence, 2(9), 115–123. Jamuin, M., & Saputri, Y. E. (2017). Maiya- han as a Model of Cak Nun’s Trans- formative Islamic Education. Iseedu: Journal of Islamic Educational Thoughts and Practices, 1(1), 73–96. https:// doi.org/https://doi.org/10.23917/ iseedu.v1i1.5421 Lukens-Bull, R. (2008). The Traditions Of Pluralism, Accommodation, And Anti-Radicalism In The Pesantren Community. Journal of Indonesian Is- lam, 2(1), 1–15. Ma’sum, A., Triyanto, T., & Syarif, M. I. (2018). Arts Education in Pesantren (Islamic Boarding School) : an Aes- thetic Expression of Students’ Draw- ing in MTs Al Asror Semarang. Ca- tharsis, 7(2), 249–256. https://doi. org/https://doi.org/10.15294/ca- tharsis.v7i2.23695 Masroer Ch. (2015). Spiritualitas Islam dalam Budaya Wayang Kulit Ma- syarakat Jawa dan Sunda. Jurnal Il- miah Sosiologi Agama, 9(1), 38–61. Mrazek, J. (1999). Javanese Wayang Ku- lit in The Times of Comedy: Clown Scenes, Innovation, and The Per- formance’s Being in The Present World”. In Indonesia 68 (Part One, pp. 38–128). Muljana, S. (2005). Runtuhnya Kerajaan Hindu-Jawa, Timbulnya Negara-negara Islam di Nusantara. LkiS. Nasir, M. A. (2019). Revisiting The Java- nese Muslim, Slametan, Islam, Lo- cal Tradition, Honor and Symbolic Communication. Al-Jāmi‘ah: Journal of Islamic Studies, 57(2), 329–358. Neubauer, B. E., Witkop, C. T., & Varpio, L. (2019). How phenomenology can help us learn from the experiences of others. Perspectives on Medical Education, 8(2), 90–97. https://doi. org/10.1007/s40037-019-0509-2 Nurdianto, S. A., Joebagio, H., & Djono, D. (2019). Pesantren Tegalsari: Is- lamic Synergy with Local Wisdom in Cultural Acculturation. Al-Tahrir: Jurnal Pemikiran Islam, 19(1), 29–52. https://doi.org/10.21154/altahrir. v19i1.1571 Patriadi, H. B., Bakar, M. Z. A., & Hamat, Z. (2015). Human Security in Local Wisdom Perspective: Pesantren and its Responsibility to Protect People. Procedia Environmental Sciences, 28, 100–105. https://doi.org/10.1016/j. proenv.2015.07.015 Qutoshi, S. B. (2018). Phenomenology: A Philosophy and Method of Inquiry. Journal of Education and Educational Developement, 5(1), 215–222. Rahayu, N. T., Warto, Sudardi, B., & Wi- jaya, M. (2020). The Dynamics of Social Values and Teaching in the Global Era: The Sekaten Tradition of Surakarta Kingdom. Journal of So- cial Studies Education Research, 11(1), 213–229. Ricklefs, M. C. (1974). Yogyakarta Under Sultan Mangkubumi 1749-1792. A History of the Division of Java. Oxford University Press. Ricklefs, M. C. (2007). Polarising Javanese Society: Islamic and Other Visions (c. 1830-1930). KITLV Press. Said, I. G. (2018). Saluting The Prophet: Cultural and Artistic Expression in Javanese Society. Journal Of Indone- sian Islam, 12(1), 103–133. https:// doi.org/10.15642/JIIS.2018.12.1.103- Aris Setiawan, Polemic and Reasons for Reusing Wayang and Gamelan as A Medium for 267 134 Salim, H. (2003). Pertemuan Wayang dan Pesantren, Pandangan Seorang Sant- ri Terhadap Kesenian. Jurnal Tas- wirul Afkar, 14(1), 151–162. Sanders, P. (1982). Phenomenology: A New Way of Viewing Organization- al Research. The Academy of Manage- ment Review, 7(3), 353–360. https:// doi.org/10.2307/257327 Sinaga, S. S. (2001). The acculturization of The Art of Rebana. Harmonia: Jour- nal of Arts Research and Education, 2(3), 72–83. https://doi.org/http:// dx.doi.org/10.15294/harmonia. v2i3.863 Soetarno. (2005). Nilai Filosofis, Etika dan Estetika Dalam Pertunjukan Wayang. Subiyantoro, S., Kristiani, K., & Wijaya, Y. S. (2020). Javanese Cultural Para- doxism: A Visual Semiotics Study on Wayang Purwa Characters of Satria and Raseksa Figures. Har- monia: Journal of Arts Research and Education, 20(1), 19–28. https://doi. org/10.15294/harmonia.v20i1.23838 Sulaeman, A. (2019). Acculturation Of Is- lam And Local Traditions On Ritual Activities At Keraton Yogyakarta. International Journal Of Scientific & Technology Research, 8(2), 1–3. Sumarsam. (2018). Memaknai Wayang dan Gamelan: Temu Silang Jawa, Islam dan Global. Penerbit Gading. Susetyo, B. (2005). The Change of Rebana Music to became Modern Kasidah in Semarang as a Deculturation Procces in Indonesian Music. Harmonia: Jour- nal of Arts Research and Education, 6(2), 1–10. https://doi.org/10.15294/har- monia.v6i2.724 Ucu, K. R. (2022, February). Isi Ceramah Ustadz Khalid yang Disebut Meng- haramkan Wayang. Republika.Id, 1. Usulludin’, W. (2003). The Spintualist of Arts, deep in thought of art of lqbal and Schuan. Harmonia: Journal of Arts Research and Education, 4(1), 1–20. https://doi.org/https://doi. org/10.15294/harmonia.v4i1.703 Utami, H. E. (2011). Kidung Sekaten An- tara Religi Dan Ritus Sosial Budaya. Harmonia: Journal of Arts Research and Education, 11(2), 153–162. https:// doi.org/https://doi.org/10.15294/ harmonia.v11i2.2208 Waridi. (2006). Karawitan Jawa Masa Pemer- intahan PB X: Perspektif Historis dan Teoritis. ISI Press. Woodward, M. R. (2004). Islam Jawa: Kesale- han Normatif Versus Kebatinan. LkiS. Zuhri, K. S. (2012). Guruku Orang-Orang dari Pesantren. LkiS.