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All Journal ESENSIA: Jurnal Ilmu-Ilmu Ushuluddin Indonesian Journal of Islamic Literature and Muslim Society
Maharsi
UIN Sunan Kalijaga Yogyakarta
Religion Humanities Social Sciences

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CRITICIZING THE BUGIS ISLAMIC SCRIPT, PAU-PAU RIKADONNA I DARAMATASIA FROM SIRIQ NA PESSÉ PERSPECTIVE Bermawy Munthe; Mustari Mustari; Maharsi
Indonesian Journal of Islamic Literature and Muslim Society Vol. 6 No. 1 (2021): June 2021
Publisher : IAIN Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/islimus.v6i1.4345

Abstract

Pau-Pau Rikadonna I Daramatasia (PRID) is a very popular story and has an important position in the lives of Bugis people in South Sulawesi as well as in other region. In the script form, the story has three versions: Bone, Barru, and Pangkep. Not only being written in script form, the story is also staged in short films, picture stories, dances, and others. This article aims to understand the meaning for the Bugis' collective awareness of PRID stories. To reveal the meaning, Bone version of PRID will be used with considering the whole story. Bone's PRID is also unique because it has some additions of episodes at the beginning and at the end of the story that become the focus of this article analysis. In understanding the meaning contained in the PRID, Levi Strauss's theory of structuralism will be used by building binary opposition to the depth structure of the text. Based on the analysis conducted, the addition of episodes contained in the PRID version of Bone is closely related to the cultural value of siriq na pesse (honor and solidarity) which is opposing sharia values. This can be interpreted as an effort by the Bugis to reconcile the two values so that PRID is well thanked and appreciated until now as can be seen in Youtube contents.
Aesthetic Representation of Sufi Femininity: Women’s Costumes and Symbolism in Wayang Wali and Wayang Sambung Lutfianto; Abdul Munip; Maharsi
ESENSIA: Jurnal Ilmu-Ilmu Ushuluddin Vol. 26 No. 2 (2025)
Publisher : UIN Sunan Kalijaga Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14421/fhcn7d06

Abstract

This article examines the aesthetic representation of female characters in Wayang Wali by Ki Sunan Sunhaji and Wayang Sambung by Ki Muhammad Mukti as part of the Islamic cultural da’wah strategy in Java. Drawing on visual semiotics, the analysis focuses on the depiction of female figures through physical appearance, ornaments, costumes, and bodily expressions as interconnected systems of cultural signs. The findings indicate that the representation of women in Wayang Wali and Wayang Sambung deliberately avoids sensuality and luxury, instead emphasizing simplicity, modesty, and spiritual values aligned with Islamic teachings. Elements such as soft color tones, modest clothing, and restrained bodily expressions are employed to construct an idealized image of femininity grounded in Sufi philosophy and Javanese-Islamic ethical principles. Women are represented not as objects of desire, but as symbolic figures embodying grace, humility, and spirituality. In conclusion, the visual aesthetics of female characters in these wayang traditions demonstrate a unique synthesis of religious values, local cultural identity, and artistic expression. As forms of cultural representation, Wayang Wali and Wayang Sambung function not only as artistic media but also as significant instruments of Islamic cultural transmission, offering an alternative model of beauty and femininity rooted in ethical and spiritual ideals.
Co-Authors Abdul Munip Bermawy Munthe Lutfianto Mustari Mustari