Javanese Wayang Menak is a localized adaptation of the heroic story of Amir Hamzah, a figure originally found in 9th-century Persian literature, known as the uncle of the Prophet Muhammad and a companion who died in the Battle of Uhud. The story of Amir Hamzah entered the Nusantara around the 15th century through trade networks and the spread of hikayat (epic tale) literature, particularly in Sumatra, before developing along the northern coast of Java. Through a long cultural process from the Kartasura to the Surakarta era, the narrative transformed into Serat Menak and its various derivative tales such as Dewi Rengganis, blending Islamic teachings, Javanese values, and the spirit of heroism and humanity within a local cultural framework.
The Arrival of the Story of Amir Hamzah in the Nusantara
Through trade routes, the story of Amir Hamzah arrived in Sumatra in the form of epic tale literature, and later spread to the north coast of Java as Layang Ambyah. In the early 1700s, Carik Narawita, a scribe of the Kartasura Palace, under the commission of Queen Pakubuwana (consort of Pakubuwana I), transcribed the text into what became known as Serat Menak.
Then, the court poet Raden Ngabehi Yasadipura I reworked it with elements of Sufism and the noble philosophical teachings of the Nusantara, making the story of Amir Hamzah feel familiar and harmonious with Javanese local values.
Social Roles and Emancipation in the Serat Menak
The popularity of Serat Menak rose quickly, and according to Purbatjaraka (1951), during the 19th to early 20th century, the text was widely read by women. The story presents female warrior characters who are intelligent, powerful, and independent—providing inspiration for the emergence of women’s emancipation consciousness within the framework of traditional Javanese culture.
Dewi Rengganis: Love, Resolve, and the Spirit of Heroism
One of the popular stories that emerged from the expanded Amir Hamzah cycle is the tale of Dewi Rengganis, taken from Serat Rengganis from the work of Rangga Janur. The story tells of Dewi Rengganis, daughter of the sage of Argapura, who falls in love with Iman Suwangsa, the son of Jayengrana. Together, they fight to rescue Umarmaya from the land of Mukadam, guarded by an army of iron statues created by Begawan Majusi.
This tale presents a beautiful love story intertwined with themes of courage, loyalty, and spiritual strength, while also illustrating how female characters in the Menak tradition are portrayed as active, empowered, and wise.
From Manuscript to Wayang Performance
Until the early 20th century, the Menak stories were often performed in the form of wayang Golek in coastal areas and in the inland regions of western Central Java. However, in the Surakarta court area, this art form received little recognition because it was considered a “popular” entertainment that lacked refinement.
This situation changed when Sutardjo Trunodipo (STD), an artist and clergyman from Surakarta, created wayang Menak in 1933–1934 as a medium for religious outreach and public entertainment. He used Serat Menak by Yasadipura I as the primary source, but added visual elements from wayang Purwa, wayang Gedhog, Stambul theater, ketoprak, and even European and American films to make it more appealing to modern audiences.
Legacy and Collections of Wayang Menak
After Trunodipo passed away in 1936, part of his collection was purchased by R. Dutadilaga for PARINDRA (Partai Indonesia Raya) propaganda activities, and later came into the possession of RM Sajid, a painter and dalang from Sriwedari, Surakarta.
After independence, this Wayang Menak collection was briefly owned by the Surakarta municipal government, before eventually being collected by President Ir. Soekarno, who was known for his deep interest in the puppet arts of the Nusantara.