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Malay and Islamic thinking. Raja Ali Haji and his masterpiece, the Tuhfah
                           al-Nafis will never be forgotten.
                           With the 20  century came the call for “progress”, Islamic modernism
                                     th
                           movements, religious debates in Minangkabau,  and the Muhammadiyah
                                                                    30
                           was founded in Yogyakarta. The early 20  century was also marked by
                                                               th
                           efforts to create an “Islamic ideology”. Anticipating a take-over by the
                           Semarang Branch of the Sarekat Islam, which had become influenced
                           by Marxist ideology, Sarekat Islam national figures, especially H.O.S.
                           Tjokroaminoto and Haji Agus Salim, held the ground for their Islamic
                           “ideology”. In 1926, Soekarno, a young leader obsessed with the ideal of
                           the national unity, published his classic article, “Nationalism, Islam and
                           Marxism” in which he invited these “unifying” elements to unite in the cause
                           of national ideals. This was on the sidelines of the struggle of thinking about
                           various cultural aspects of Islam and “how faith could be a stimulus for the
                           manifestation of a cultural life that was meaningful and dignified for life in
                           the world and in the hereafter” while the arts developed and manifested
                           themselves. It is not surprising that langgar, surau, mosques and other
                           venues showed that the teachings of one Islam manifest themselves in
                           numerous architectural styles to symbolize regionalism. A plethora of
                           material culture shows the regional character of the Islamic taste. In addition,
                           Islamic arts, dance, music, and so on, develop without abandoning regional
                           styles. Thus, we may say that each field of Indonesian culture has its own
                           Islamic style. But, despite its different outward and inward manifestations,
                           Islam remains an ever-present unifying symbol. The same holds true for
                           Islamic literature. Despite being written in different regional languages and
                           sometimes bound by their own literary traditions, the message of Islam can
                           still be captured by those from other regional cultures.

                           Finally enjoy the wealth of knowledge that has vividly been presented in this
                           book.




















                           30.  A fascinating insight is provided in B.J.O. Schrieke, Pergolakan Agama di Sumatra Barat:
                           sebuah sumbangan bibliografis” Jakarta: Bhratara 1973 (the original writing was published in
                           TBG, 59 (1919-1921), 249-325.



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