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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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