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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