Date: Thu, 4 Dec 2008 11:18:14 -0500
To: puptcrit-AT-puptcrit.org
Subject: [Puptcrit] Wayang kulit in Surakarta


An article on a wayang performance by Purbo Asmara - a great puppeteer from
Indonesia.

The Jakarta Post
December 3, 2008

Feature

'Wayang' with English, a first for Surakarta

by Rachel Hand, Contributor, Solo

Wayang kulit enthusiasts were treated to a performance by the
internationally renowned dalang Purbo Asmoro at the Sasana
Mulya, Kraton Kasunanan, in Surakarta, on Nov. 22.

The performance was put on for a group of expatriate teachers
from the Jakarta International School and the Jakarta
International School Academy.

Most foreigners -- and Indonesians who do not come from a
Javanese-language background -- who watch a wayang kulit
(Indonesian leather puppet) show cannot understand what the
dalang (puppet master) is saying, as the play is usually
conducted in Javanese. However, on this occasion everyone could
follow the story -- and even understand the jokes -- as Kitsie
Emerson provided a simultaneous English translation.

This was no easy task, but Kitsie, a gamelan and wayang
enthusiast who has worked intensively with Purbo for more than
five years, took it all in stride.

Although Kitsie has previously translated Purbo's performances
in Jakarta, London, New York, Chicago, Seattle, Washington and
Singapore, this was the first time she had translated it in
Surakarta in such a traditional setting to a largely Javanese
audience.

Since wayang performances are often spontaneous, the
translation, projected onto a large screen to the right of the
kelir (wayang screen), could not be preplanned. Direct
translation was combined with helpful descriptions and cultural
explanations; Kitsie successfully captured the poetry of the
language.

The lakon (play) Brubuh Alengka told the story of the fall of
the Alengka kingdom and the defeat of the evil Dasamuka at the
hands of Rama, Lesmana and Wibisana with the help of the monkey
army. English language information sheets gave the non-Javanese
speaking audience members some background information on the
story and a pictorial guide of its main characters.

Many foreigners in Surakarta were attracted by the idea of being
able to understand the story, from tourists passing through the
city on their travels across Java, to students studying Javanese
art and culture.

There were more than 30 foreigners in the audience from
countries as diverse as the UK, U.S., Hungary, Italy, Singapore,
France, Switzerland, Israel and Japan.

Thomas, from Wales, who was spending four weeks in Java, said he
had previously seen a two-hour wayang performance in Yogyakarta.
But this was the first time he had watched an all-night show --
and stayed for the duration -- totally immersed in the plot,
thanks to the English translation.

"I like 'wayang' because it gives gamelan a theatrical
application. The music and theater complement each other ...
it's more interesting and entertaining," he said.

"It's beautiful to watch the puppets and their actions, and the
English translation enables me to reflect upon the philosophy
behind the story."

Many of the foreign audience members were students who
frequently attended wayang performances, but who had not yet
mastered the complexity of the Javanese language.

"Ki Purbo's portrayal of Dasamuka was brilliant and terrifying
... he completely captured Dasamuka's lust and rage and the
effect was mesmerizing," said British national Joe, who is
spending a year studying karawitan (art of gamelan) at the
Indonesian Arts Institute in Solo.

Indeed the English translation itself provided several instances
of humor, such as when Purbo started reading the translation
from the screen and then struggled to find the Javanese words
that could not be translated into English.

Fabriani Mega Saputri, a nine-year-old child star from Kediri,
East Java, provided much of the entertainment in the Limbukan
and Gara-Gara comic scenes.

Her childlike cheekiness and Purbo's wit were a fine
combination, but ultimately it was her beautiful singing voice
that shone through as her true star quality.

Prince Gusti Benawa, who had enabled the performance to take
place at the kraton, made a brief appearance during the
Gara-Gara, as did one of the teachers from Jakarta, Elisabeth
Medina, who was asked to speak some French.

As the story continued into the early hours of the morning, many
of the foreign audience members remained gripped by the plot. At
3.30 a.m. a sizable audience still remained as the performance
drew to a close.

The translation enabled English speakers to learn about Javanese
culture, traditions and humor. Purbo's references to the
translation meant that the international guests could be
involved in the entertainment and so the translation itself
became a part of the show.

Purbo Asmoro is quite comfortable with foreign audiences, having
toured and performed in Singapore, the U.S., London, Vienna,
Greece and Thailand. He also performed and conducted workshops
at the La Paz Theater Festival in Bolivia in April, and recently
returned from a trip to Japan.

In early April he will perform for three consecutive nights at
the Maison des Cultures du le Monde in Paris.

For more information on Purbo Asmoro's activities visit
www.purboasmoro.com
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