Cultural Distribution Theory of Puppets
Cultural Distribution Theory
Culture develops outside the area of origin and then adapts to its new environment. F. Greebner (1877-1934) made a concept regarding the classification of cultural elements based on their similarities which is called the concept of kulturkreise. This concept was later developed by Wilhem Schmidt (1868-1954) to see the history of the distribution and development of culture.
Koentjaraningrat explains about the diffusion (distribution) theories of culture in order to examine cultural elements in the Melanesian region. His opinion is that human culture comes from a certain place which later becomes the main culture. This parent culture develops, spreads and breaks into many new cultures due to circumstances and time.
A question certainly arises, why can puppets from Java influence outside Java, such as Sumatra, Kalimantan, NTB and Bali? There are several things that must be considered in answering the questions above. First, the position and influence of the kingdoms in Java during the classical Hindu-Buddhist to Islam against kingdoms outside Java.
Second, the position of Java Island in the route of international trade and shipping traffic. Third, the characteristics of the inhabitants of Java when they leave their hometowns, namely that they always bring their cultural identity with them, so that the possibility of spreading wayang out of the island is greater.
The position and influence of the major kingdoms in Java since the 8th century AD cannot be separated from Java's position as an international port which was not only a transit point for shipping lanes, but also in trade routes. The name Java was first mentioned since at least the 5th century AD In L'Historie des Han, a country called Ye-tiao is mentioned which is often considered the same as Java in 132 or the equivalent of the 5th century AD.
Java and Sumatra were involved in a trade competition and kinship relations between the two dynasties. It is reported that around the year 860, the ruler of Suvarnadwipa, named Balaputra, the grandson of King Sailendra of Yawabhumi (Java), erected a building inside a large Buddhist monastery in Nalanda, Bengali. This opinion, although it is still contested by many experts, deserves to be examined in depth. Indirectly, this is an indicator that Java is the main culture for the next several cultures in the 8th century AD.
Balaputeradewa's departure to Sumatra after its defeat in fighting for the throne of the Ancient Medang Kingdom. Considering that wayang performances have been known since at least the 8th century AD, it is not impossible if the departure of Balaputeradewa to the land of Svarnadwipa also brings along the culture of wayang performances from Java Island.
During the time when Islam developed in the archipelago, especially in Java, Sunan Kalijaga, one of the Wali Songo who played an important role in the spread of Islam on the island of Java, also used wayang as a medium of preaching. The spread of Islam which spread to several areas in the archipelago after Islam developed in Java, also did not rule out the possibility of bringing along the wayang media as a medium for spreading Islam.
The arrival of people from outside Java who then interacted with the inhabitants of Java Island could raise the possibility that the immigrants — whatever the purpose of their visit to Java Island — brought along the Javanese culture they met to their place of origin. Another possibility is that people who come from Java, when they visit outside Java or even settle there, bring along cultures originating from Java, one of which could be wayang originating from Java.
The puppet show, which is held outside Java, then adjusts to the conditions of the people there, which of course is different from the conditions of people outside Java. This is in accordance with what was conveyed by Arsyad Indradi in his article, he stated that if puppets entered the island of Kalimantan, they were closely related to the Banjar Kingdom and the Demak Kingdom.
As a result of the relationship between these two great kingdoms, then in Tanah Banjar, Wayang Gung began to develop, which according to Arsyad was an adaptation of Wayang Wong on the island of Java. Meanwhile, evidence of the influence of the interaction of the Javanese with people from outside other islands, for example with Balinese, is the emergence of the Gambuh puppet.
The influence can be seen from the play of the wayang gambuh story, which only specifically plays the Panji story, as in Java.
The influence of Javanese puppets on Wayang Gambuh seems to be closely related to the marriage of sons and daughters of Javanese aristocrats to sons and daughters of Balinese aristocrats and the conquest of Balinese kingdoms against Java or vice versa. As stated by I Ketut Rinda that after the conquest of Raja Mengwi of Bali against Mas Sepuh of Blambangan, in 1634, the puppet and its mastermind were brought to Bali.
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