Indonesian Dance Festival 2013

Kuda Lumping (literally flat horse; or Jaran Kepang in Javanese) is a traditional Javanese dance depicting a group of horsemen. Dancers "ride" horses made from woven bamboo and decorated with colorful paints and cloth. Generally, the dance portrays troops riding horses, but another type of Kuda Lumping performance also incorporates trances and magic tricks. When the "possessed" dancer is performing the dance in trance conditions, he can display unusual abilities, such as eating glass and resistance to the effects of whipping or hot coals. Although the dance is native to Java, Indonesia, it also performed by Javanese communities in Suriname, Malaysia and Singapore.

The origin of Kuda Lumping is uncertain. Two main hypotheses have been proposed. The first suggests that Kuda Lumping may have arisen out of Diponegoro's war against the Dutch colonial forces, as a ritual reenactment of battles. The second argues that it is based on Mataram-era troops riding against the Dutch.^[1]

Kuda Lumping is known under different names in different areas. While Kuda Lumping is the most common name in West Java, in Central Java it is known as Jaran Kepang; in Bali, it is known as Sang Hyang Jaran.^[2] In Bali Sanghyang dance refer to the type of dance involving trance by spirit identified as hyang.

Kuda Lumping may be performed in celebration of a special event, such as a boy's circumcision or rite of passage.^[3] It may also be performed as entertainment, in a busker style.^[1] It is generally performed in a cordoned-off area, with the audience separated from the dancers.^[4]

Kuda Lumping is traditionally performed by a group of men drawn from the local community; this group can number from 2 to 8.^[2][5][6] The performers mount rattan horses and dance while traditional instruments such as the angklung, gongs, and dog-dog drums are played.^[1][4][5] This portion of the performance ends when a dancer enters a trance, which is traditionally said to be caused by spirit possession.^[1] In Sang Hyang Jaran, the audience may participate by forming a chorus and singing.^[2]

During their trances, the dancers may pretend to eat grass or drink water, while another performer or shaman uses a whip to direct them. In some performances, dancers may walk on coals or eat glass or fire, which can cause various injuries. The dancers also interact with the audience; in busker performances they may ask for money. In some areas the dancers serve as oracles to deliver prophecies. After awakening from their trances, performers claim not to remember anything done while performing.

Dancers perform using rattan horses, generally colourful and decorated with beads and sequins. Adults use larger horses than children. Children's horses may also be cut from bamboo mats.^[7] Performers wear colorful clothes and may occasionally dress as soldiers. The costume may also include small bells strung around the ankle.^[1] In comparison to the shaman, the dancers' costumes are more feminized.^[8]

Symbolism

Henry Spiller suggests that Kuda Lumping represents spiritual power and masculine virility, which is "wild and uncontrolled ... yet ultimately a good thing".^[9] Max Richter notes that the erratic movements of the "feminized" dancers may "draw on ideas about the subordinate 'irrational' female", while the slower, more deliberate movements of the shaman "may be seen as masculine and potent". However, he considers this secondary to the conflicts of science versus magic, and good versus bad.^[8] He also notes that it serves as a way for young boys to release energy in a non-violent manner.^[10]

Reception

Kuda Lumping is widely popular. But, individual observer opinions vary. Some view it as being related to Satan and thus evil, while others see it as being a good influence. A shift in meaning, from a mainly spiritual ritual to entertainment, has been noted.^[11]

Kuda Lumping has been used as the basis for a dangdut song of the same name.
(source: wikipedia.org)

Kuda Lumping's Attraction

Raden Ajeng (RA) Kartini's Biography; Kartini's Day

Raden Ayu^[1] Kartini, (21 April 1879 – 17 September 1904), or sometimes known as Raden Ajeng Kartini, was a prominent Javanese and an Indonesian national heroine. Kartini was a pioneer in the area of women's rights for Indonesians.

Kartini was born into an aristocratic Javanese family when Java was part of the Dutch colony of the Dutch East Indies. Kartini's father, Sosroningrat, became Regency Chief of Jepara. Kartini's father, was originally the district chief of Mayong. Her mother, Ngasirah was the daughter of Madirono and a teacher of religion in Teluwakur. She was his first wife but not the most important one. At this time, polygamy was a common practice among the nobility. She also wrote the Letters of a Javanese Princess. Colonial regulations required a Regency Chief to marry a member of the nobility. Since Ngasirah was not of sufficiently high nobility,^[2] her father married a second time to Woerjan (Moerjam), a direct descendant of the Raja of Madura. After this second marriage, Kartini's father was elevated to Regency Chief of Jepara, replacing his second wife's own father, Tjitrowikromo.

Kartini was the fifth child and second eldest daughter in a family of eleven, including half siblings. She was born into a family with a strong intellectual tradition. Her grandfather, Pangeran Ario Tjondronegoro IV, became a Regency Chief at the age of 25 while Kartini's older brother Sosrokartono was an accomplished linguist. Kartini's family allowed her to attend school until she was 12 years old. Here, among other subjects, she learnt to speak Dutch, an unusual accomplishment for Javanese women at the time.^[3] After she turned 12 she was 'secluded' at home, a common practice among Javanese nobility, to prepare young girls for their marriage. During seclusion girls were not allowed to leave their parents' house until they were married, at which point authority over them was transferred to their husbands. Kartini's father was more lenient than some during his daughter's seclusion, giving her such privileges as embroidery lessons and occasional appearances in public for special events.

During her seclusion, Kartini continued to educate herself on her own. Because she could speak Dutch, she acquired several Dutch pen friends. One of them, a girl by the name of Rosa Abendanon, became a close friend. Books, newspapers and European magazines fed Kartini's interest in European feminist thinking, and fostered the desire to improve the conditions of indigenous Indonesian women, who at that time had a very low social status.

Kartini's reading included the Semarang newspaper De Locomotief, edited by Pieter Brooshooft, as well as leestrommel, a set of magazines circulated by bookshops to subscribers. She also read cultural and scientific magazines as well as the Dutch women's magazine De Hollandsche Lelie, to which she began to send contributions which were published. Before she was 20 she hard read Max Havelaar and Love Letters by Multatuli. She also read De Stille Kracht (The Hidden Force) by Louis Couperus, the works of Frederik van Eeden, Augusta de Witt, the Romantic-Feminist author Goekoop de-Jong Van Eek and an anti-war novel by Berta von Suttner, Die Waffen Nieder! (Lay Down Your Arms!). All were in Dutch.

Kartini's concerns were not only in the area of the emancipation of women, but also other problems of her society. Kartini saw that the struggle for women to obtain their freedom, autonomy and legal equality was just part of a wider movement.

 

Kartini's parents arranged her marriage to Joyodiningrat, the Regency Chief of Rembang, who already had three wives. She was married on the 12 November 1903. This was against Kartini's wishes, but she acquiesced to appease her ailing father. Her husband understood Kartini's aims and allowed her to establish a school for women in the east porch of the Rembang Regency Office complex. Kartini's only son was born on 13 September 1904. A few days later on 17 September 1904, Kartini died at the age of 25. She was buried in Bulu Village, Rembang.

Inspired by R.A. Kartini's example, the Van Deventer family established the R.A. Kartini Foundation which built schools for women, 'Kartini's Schools' in Semarang in 1912, followed by other women's schools in Surabaya, Yogyakarta, Malang, Madiun, Cirebon and other areas.

In 1964, President Sukarno declared R.A. Kartini's birth date, 21 April, as 'Kartini Day' - an Indonesian national holiday. This decision has been criticised. It has been proposed that Kartini's Day should be celebrated in conjunction with Indonesian Mothers Day, on 22 December so that the choice of R.A. Kartini as a national heroine would not overshadow other women who, unlike R.A. Kartini, took up arms to oppose the colonisers.

In contrast, those who recognise the significance of R.A. Kartini argue that not only was she a feminist who elevated the status of women in Indonesia, she was also a nationalist figure, with new ideas who struggled on behalf of her people, including her in the national struggle for independence.

After Raden Adjeng Kartini died, Mr J. H. Abendanon, the Minister for Culture, Religion and Industry in the East Indies, collected and published the letters that Kartini had sent to her friends in Europe. The book was titled Door Duisternis tot Licht (Out of Dark Comes Light) and was published in 1911. It went through five editions, with some additional letters included in the final edition, and was translated into English by Agnes L. Symmers and published under the title Letters of a Javanese Princess.

The publication of R.A. Kartini's letters, written by a native Javanese woman, attracted great interest in the Netherlands and Kartini's ideas began to change the way the Dutch viewed native women in Java. Her ideas also provided inspiration for prominent figures in the fight for Independence.

There are some grounds for doubting the veracity of R.A. Kartini's letters. There are allegations that Abendanon made up R.A. Kartini's letters. These suspicions arose because R.A. Kartini's book was published at a time when the Dutch Colonial Government were implementing 'Ethical Policies' in the Dutch East Indies, and Abendanon was one of the most prominent supporters of this policy. The current whereabouts of the vast majority of R.A. Kartini's letters is unknown. According to the late Sulastin Sutrisno, the Dutch Government has been unable to track down J. H. Abendanon's descendants.

Condition of Indonesian women

In her letters, Raden Adjeng Kartini wrote about her views of the social conditions prevailing at that time, particularly the condition of native Indonesian women. The majority of her letters protest the tendency of Javanese Culture to impose obstacles for the development of women. She wanted women to have the freedom to learn and study. R.A. Kartini wrote of her ideas and ambitions, including Zelf-ontwikkeling, Zelf-onderricht, Zelf-vertrouwen, Zelf-werkzaamheid and Solidariteit. These ideas were all based on Religieusiteit, Wijsheid en Schoonheid, that is, belief in God, wisdom, and beauty, along with Humanitarianisme (humanitarianism) and Nationalisme (nationalism).

Kartini's letters also expressed her hopes for support from overseas. In her correspondence with Estell "Stella" Zeehandelaar, R.A. Kartini expressed her desire to be like a European youth. She depicted the sufferings of Javanese women fettered by tradition, unable to study, secluded, and who must be prepared to participate in polygamous marriages with men they don't know.

Religion

Raden Adjeng Kartini also expressed criticisms about religion^{[citation needed]}. She questioned why the Quran must be memorised and recited without an obligation to actually understand it^{[citation needed]}. She also expressed the view that the world would be more peaceful if there was no religion to provide reasons for disagreements, discord and offence^{[citation needed]}. She wrote "Religion must guard us against committing sins, but more often, sins are committed in the name of religion"^{[citation needed]}

Kartini also raised questions with the way in which religion provided a justification for men to pursue polygamy^{[citation needed]}. For Kartini, the suffering of Javanese women reached a pinnacle when the world was reduced to the walls of their houses and they were prepared for a polygamous marriage.^{[citation needed]}

Vegetarian lifestyle

It is known from her letters dated October 1902 to Abendanon and her husband that at the age of 23, Raden Adjeng Kartini had a mind to live a vegetarian life. "It has been for sometime that we are thinking to do it (to be a vegetarian), I have even eaten only vegetables for years now, but I still don't have enough moral courage to carry on. I am still too young." R.A. Kartini once wrote.

She also emphasized the relationship between this kind of lifestyle with religious thoughts. She also quoted, "Living a life as vegetarian is a wordless prayer to the Almighty."^[4]

Further studies and teaching

Raden Adjeng Kartini loved her father deeply although it is clear that her deep affection for him became yet another obstacle to the realisation of her ambitions. He was sufficiently progressive to allow his daughters schooling until the age of 12 but at that point the door to further schooling was firmly closed. In his letters, her father also expressed his affection for R.A. Kartini. Eventually, he gave permission for R.A. Kartini to study to become a teacher in Batavia (now Jakarta), although previously he had prevented her from continuing her studies in the Netherlands or entering medical school in Batavia.

R.A. Kartini's desire to continue her studies in Europe was also expressed in her letters. Several of her pen friends worked on her behalf to support Kartini in this endeavour. And when finally Kartini's ambition was thwarted, many of her friends expressed their disappointment. In the end her plans to study in the Netherlands were transmuted into plans to journey to Batavia on the advice of Mrs. Abendanon that this would be best for R.A. Kartini and her younger sister, R.Ayu Rukmini.

Nevertheless, in 1903 at the age of 24, her plans to study to become a teacher in Batavia came to nothing. In a letter to Mrs. Abendanon, R.A. Kartini wrote that the plan had been abandoned because she was going to be married... "In short, I no longer desire to take advantage of this opportunity, because I am to be married..". This was despite the fact that for its part, the Dutch Education Department had finally given permission for R.A. Kartini and R.Ay. Rukmini to study in Batavia.

As the wedding approached, R.A. Kartini's attitude towards Javanese traditional customs began to change. She became more tolerant. She began to feel that her marriage would bring good fortune for her ambition to develop a school for native women. In her letters, R.A. Kartini mentioned that not only did her esteemed husband support her desire to develop the woodcarving industry in Jepara and the school for native women, but she also mentioned that she was going to write a book. Sadly, this ambition was unrealised as a result of her premature death in 1904 at the age of 25.

Kartini Day

Sukarno's Old Order state declared 21 April as Kartini Day to remind women that they should participate in "the hegemonic state discourse of perkembangan (development)".^[5] After 1965, however, Suharto's New Order state reconfigured the image of Kartini from that of radical women's emancipator to one that portrayed her as dutiful wife and obedient daughter, "as only a woman dressed in a kebaya who can cook."^[6] On that occasion, popularly known as Hari Ibu (Mother) Kartini or Mother Kartini Day, "young girls were to wear tight, fitter jackets, batik shirts, elaborate hairstyles, and ornate jewelry to school, supposedly replicating Kartini's attired but in reality wearing an invented and more constricting ensemble than she ever did."

(from: wikipedia.org)

Bharata Wayang: Human Culture

Text: Hari Setianto/ Raphael Mamora
Photo: Hari Setianto

In pace with the intricate dance, enthralled by Arjuna and Dewi Sukesi’s fluid charm in protracted movements attended by Javanese gamelan music, in a rapid moment transforms into fast throbbing battle episodes amongst giants, thus was a fraction of Mahabrata and Ramayana’s epic saga portrayed dynamically by a Bharata Human Wayang theatre. Dialogues, theatrical  character roles, costumes, face painting and artistic traditional theatres makes this worthy of a world class theatrical arena.

Selaras gerak tari yang kompleks, sejenak terpana keluwesan sang Arjuna dan Dewi Sukesi dalam tempo tari yang sangat lamban diiringi gending gamelan jawa. Sesaat kemudian, berubah ke tempo tinggi dan adegan menjadi arena pertempuran para buto (raksasa). Sepenggal alur adegan yang dinamis dari pentas Wayang Orang Bharata melakonkan kembali kekuatan cerita-cerita Mahabharata dan Ramayana. Dialog dan peran berkarakter ala teater. busana dan lukisan diwajah serta tata panggung tradisional yang artistik. Menjadikan pentas Wayang Orang Bharata sebagai sebuah pentas teatrikal kelas dunia.

The performance was scheduled to start at 8.00 PM, local time. Show performers were beginning to prep up after sunset and with Indonesiaculture.net given full access to scenes behind the stage, more than 60 wayang performers began painting their faces, giving life to legendary wayang characters that would later gild the theatrical stage.

Pagelaran baru akan dimulai sekitar pukul 20.00WIB. Para pendukung acara sudah mulai bersiap diri selepas maghrib. Indonesiaculture.net mendapatkan kesempatan (all acsess) untuk berada ditengah-tengah menyaksikan semua kegiatan Wayang Orang Bharata. Berada dibelakang panggung, lebih dari 60 orang pelakon wayang sedang asyik melukis wajahnya. Berbagai peran tokoh pewayangan mulai terlihat dari goresan warna yang melekat di wajah.

Several senior actors were ahead in their prep sessions while young new performers without hesitancy asked for assistance in tricky parts of the face painting. Creative typical Javanese jokes and gags were hurled around and quickly enlivened the already crowded room. One by one began to stand beside the stage while doing individual warming up exercises, where a Gatotkaca character could be seen memorizing his lines with his masculine body poise held up by a robust horse stance.

Beberapa pelakon senior lebih dulu selesai bersiap diri. Para pelakon baru yang masih sangat muda usia tak segan meminta bantuan untuk membuat goresan-goresan yang dianggap sulit. Sahut-sahutan guyonan yang kreatif khas jawa terlontar begitu saja dengan cepatnya meramaikan suasana ruangan yang memang sudah padat. Satu persatu mereka bersiap diri disamping panggung melakukan pemanasan dengan gayanya masing-masing. Terlihat tokoh Gatotkaca yang terus melafalkan dialog bersamaan bahasa tubuhnya yang gagah, ditopang posisi kuda-kuda tegap.

Rapid gamelan chimes resonated out, signaling the commencement of the event. A Sripi dancer wearing a wooden mask danced charmingly while beside the stage, many of the waiting performers intently observed this opening phase. Laudable as an example was this never ending learning process of every wayang performer behind stage.

Gending gamelan dalam tempo cepat terlantun, pertanda pagelaran wayang orang dimulai. Seorang penari Sripi dengan memakai topeng kayu diwajahnya menari begitu atraktif. Dari samping panggung sebagian besar pelakon lainnya serius memperhatikan aksi panggung pembuka ini. Pantas dijadikan panutan. Proses belajar yang tak pernah berhenti dari masing-masing pelakon wayang orang terlihat dari belakang panggung.

That night, the Bharata Human Wayang show took on a theme ‘Makutoromo,’ a revelation from the gods to Abimanyu in his meditation in deciding the ruler of the Astina kingdom. Story plots staged by Bharata Human Wayang shows are always from India’s version of Mahabrata and Ramayana. The story of Mahabrata was adopted and furthered by Nusantara poets to become Bharatayuda.

Malam itu, pagelaran Wayang Orang Bharata mengambil tema Makutoromo, sebuah wejangan atau wahyu yang diturunkan oleh Dewa kepada Abimanyu dari pertapaannya untuk menentukan  titisan ratu di kerajaan Astina. Lakon cerita dari pewayangan yang selalu dipentaskan oleh Kelompok Wayang Orang Bharata tetap sesuai dengan sumbernya yaitu dari cerita Mahabarata dan Ramayana yang berasal India. Cerita mahabarata, ketika diadopsi ceritanya dikembangkan oleh para pujanga Nusantara menjadi Bharatayuda. 

During that age, Jayabaya assigned Empu Sedah to write and develop the story of Bharatayuda but Empu Sedah died before its completion and the task was continued by Empu Panuluh which conceived the completion of Bharatayuda. Later other poets further developed the story of Bhjaratayuda with other stories still based on the Bharatayuda holy book.

Pada jaman itu, Jayabaya memberikan tugas kepada empu Sedah untuk mengembangkan dan menulis cerita Bhatarayuda, kemudian sebelum selesai, empu sedah meninggal dan dilanjutkan oleh empu Panuluh dan melahirkan cerita Bharatayuda. Kemudian oleh para pujangga lain cerita Bharatayuda dikembangkan cerita-cerita lain yang berdasar pada kitab Bhatarayuda.

Stories in human wayang cannot be aligned in simplicity with modern stories like ketoprak art because accounts in wayang are comprehensive and possess among others, social & political aspects, such as stories of coup d’états, country invasions and other hundreds of further others.

Lakon dalam wayang orang tidak dapat disesuaikan dengan cerita modern seperti kesenian ketoprak, karena cerita dalam pewayangan sudah sangat lengkap. Misalkan dari segi sosial politik, dalam wayang orang terdapat itu cerita tentang kudeta, perebutan wilayah dan jika dibandingkan dengan kondisi sekarang semua sudah termaktup dalam cerita pewayangan. Jenis cerita pewayangan terdapat ratusan jenis cerita.

Included are daily life ethic philosophies such as upon how a child should behave and communicate with elders, relations between a king and his people and other ethical values. Therefore, it is not puzzling to find parents bringing along their children where they usually prefer the balcony for better deciphering of Javanese philosophies. Upon witnessing this form of interaction, it seems that another social cultural preservation has been accomplished by Bharata Human Wayang.

Termasuk falsafah-falsafah tentang tata krama dalam kehidupan sehari-hari, seperti bagaimana seorang anak bersikap dan berbicara dengan orang tua, bagaimana hubungan antara rakyat jelata dengan rajanya dan masih banyak sekali nilai-nilai budi pekerti yang dapat dipelajari dari sebuah cerita pewayangan. Tak heran pada setiap pertunjukan Wayang Orang Bharata, para orang tua membawa serta anak-anaknya. Biasanya mereka memilih balkon atas agar lebih leluasa menterjemahkan filosofi-filosofi jawa. Melihat interaksi tersebut, rasanya satu lagi misi pelestarian sosial budaya tersampaikan oleh kelompok Wayang Orang Bharata.

Bharata Human Wayang group is a foundation of human wayang that still survives the onslaught of the modern age. Currently, only three Human Wayang foundations still survives with locations in Jogjakarta, Solo and Jakarta, the latter as the performance benchmark of this traditional art.

Kelompok Wayang Orang Bharata, adalah sebuah paguyuban kesenian Wayang Orang yang masih bertahan menjadi pejuang budaya dalam gerusan moderenisasi jaman. Saat ini, tinggal tiga paguyuban Wayang Orang yang masih bertahan. Dua diantaranya berada di kota Yogyakarta dan Solo. Wayang Orang Bharata yang berbasis di Jakarta sebagai sentra negara Indonesia, menjadi tolak ukur keberlangsungan tradisi kesenian Wayang Orang

According to Marsam Mulyo Atmojo, Heaad of the Bharata Human Wayang Foundation, the establishment of Bharata Human Wayang Art Group cannot be estranged from Panca Murti Human Wayang Art Group that had been around since 1963 at Realto Theatre, which change name to Bharata Human Wayang Building at Senen, Central Jakarta.

Menurut Marsam Mulyo Atmojo, Pimpinan Paguyuban Wayang Orang Bharata, Berdirinya Kelompok Kesenian Wayang Orang Bharata tak dapat dilepaskan dari keberadaan kelompok Kesenian wayang orang Panca Murti yang telah ada sejak tahun 1963 dan berpusat di gedung realto theather, kawasan senen, Jakarta Pusat-yang saat ini telah berubah nama menjadi gedung Wayang Orang Bharata.

Though experiencing separation in 1972, the Bharata Human Wayang Art Group consistently carried out regular performances until 1999, where from 2000 to 2004 there were no staged shows due to ongoing building renovations.

Meski sempat pecah di tahun 1972,  kelompok kesenian Wayang Orang Bharata sejak pertama kali didirikan sampai dengan tahun 1999 konsisten menggelar pertunjukan wayang orang. Namun sejak tahun 2000 hingga 2004, Bharata mengalami vakum dari kegiatan pementasan wayang orang di gedung Bharata akibat dilakukannya renovasi gedung.

After completion of the building renovation, shows were regularly done every Saturday night. It is not difficult to find the Bharata building owing to its strategic location amongst stores beside a Senen Market Bus Station in Central Jakarta. By its management, a human wayang preservation activity for the youth has been set up where the majority is children of Bharata senior performers. At the moment, the total number of people involved in this cultural art is 120 people.

Setelah renovasi gedung selesai dan Bharata kembali melakuan pertunjukan, rutin satu kali dalam seminggu dihari sabtu malam. Tak sulit menemukan gedung wayang orang Bharata lokasinya sangat strategis berada dideretan toko-toko disamping terminal besar bis PASAR SENEN Jakarta Pusat. Oleh pengelola dikembangkan juga sebuah kegiatan pelestarian wayang orang-dengan mendidik para anak muda yang diharapkan akan meneruskan dan melestarikan budaya ini. Sebagian besar anak muda ini adalah anak-anak dari para pemain senior Bharata. Sampai saat ini jumlah seluruh anggota yang terlibat dalam kegitan Wayang Orang Bharata 120 orang.

As a valiant attempt to preserve the culture and awareness of human wayang art, often times, Bharata Human Wayang performers had to draw money from their own pockets to cover the costs of performances, practice sessions, costume rents, transportations, decorations and others, reaching millions of rupiah.

Sebagai sebuah upaya pelestarian sebuah budaya dan kesadaran yang sangat tinggi akan arti seni wayang orang. Sering kali para anggota Wayang Orang Bharata harus mengeluarkan biaya dari kantong mereka sendiri untuk membiayai sebuah pementasan termasuk dalam proses latihannya dan tidak sedikit biaya yang mereka keluarkan. Biaya yang dikeluarkan hingga jutaan rupiah untuk menyewa kostum, transportasi, dekorasi dan sebagainya.

Amidst the difficulty in preserving human wayang culture, hope endures due to the continual interest shown by foreigners coming from abroad, searching for this human wayang art to be performed in their countries. But Marsam regrets that due to unfavorable practices, often times, they were not brought directly to Bharata Human Wayang. Culture department officials never brought these foreigners to the Bharata theatre, instead shows were conducted elsewhere with only a few Bharata performers involved.

Ditengah beratnya upaya melestarikan budaya wayang orang, tetap terpercik harapan karena sampai saat inipun masih banyak pihak luar negeri yang datang ke Indonesia  mencari kelompok kesenian wayang orang untuk diundang dan melakukan pertunjukan di negaranya. Namun Marsam menyesalkan, karena adanya kecurangan dari pihak terkait, sering kali mereka tidak datang langsung ke Wayang Orang Bharata. Oleh orang-orang dinas kebudayaan para tamu luar negeri itu tidak pernah dibawa dan ditunjukkan keberadaan kelompok wayang orang bharata, tetapi mereka terima sendiri undangan tersebut dan hanya melibatkan beberapa orang bharata saja. 

Appreciation is needed upon the fact that cultural preservation is a high cost activity where countries like Japan provide guaranteed governmental lifelong support to kabuki performers, securing their undivided focus upon kabuki art performance excellence. In Indonesia, though government concern exists, it appears half hearted and art performers have to struggle to survive living, having yet to provide livelihood to their immediate families aside themselves.

Harus disadari bahwa sebuah pelestarian budaya adalah sebuah pekerjaan dengan biaya mahal. Sebagai contoh kesenian kabuki di jepang, di sana pelaku kesenian kabuki dijamin kehidupannya oleh negara, sehingga mereka dapat fokus menampilkan kesenian kabuki dan baik. Berbeda dengan di Indonesia, meski sudah ada perhatian dari pemerintah tapi tetap saja masih setengah hati, para pelaku seni tetap harus berjuang untuk bertahan hidup dan menghidupi diri sendiri dan keluarganya.

Distinguishing the great potential of human wayang art as an Indonesia’s trademark traditional theatre on a global scale, necessitates all elements of support upon its preservation. Come and witness its show, where last performance a while ago was attended by expatriates filling the double front VIP rows. These particular expatriates happen to regularly attend these performances and at the shows end, several represented the others and came over to the backstage and exclaimed in Indonesian “teramat istimewa .. teramat istimewa” which meant ‘extraordinary.’

Melihat besarnya potensi kesenian wayang orang sebagai citra teatrikal tradisional Indonesia berskala dunia, semua elemen harus membantu melestarikannya. Datang dan nikmati pertunjukannya. Seperti saat pagelaran beberapa waktu lalu, dua baris terdepan kelas VIP dipenuhi expatriates yang mempunyai agenda rutin menyaksikan pagelaran Wayang Orang Bharata. Ketika pertunjukkan berakhir beberapa orang perwakilan dari mereka datang menghampiri para pelakon dibelakang panggung dan berujar dalam bahasa Indonesia “ teramat istimewa..teramat istimewa,”

(Source: Indonesia Culture)