Along with its sequel, ″Bharatayudha″, it revealed little of the cultural realities of our own environment.
This was noticeably different from the more recent ″Mahabharata″ created by Teguh Santosa (1942–2000). Saleh′s version of the Mahabharata published by Balai Pustaka in 1949. He played a significant role in enriching the world of wayang with references to the land of its origin, which he adapted from M. Kosasih (1919–2012) experienced great success with Indonesian audiences while also being loyal to the episodes of the Indian epic. No one would disagree with that, but if this is true, can the same be said of the Indonesian comics that have dealt with the Mahabharata? Even those who know next to nothing about wayang nevertheless know the five pandawa. There is also the intellectual aspect: Indonesian viewers appear engrossed in what we might call the ″philosophy″ of the series.Īnother reason behind the craze might be the fact that the Mahabharata is not at all foreign for Indonesian television viewers. Many reasons explain the popularity of this Indian wayang, from the glamour of the actors, who look almost like Indian film stars, to the ″royal″ setting of the series, which has captured viewers′ dreams with its lustre. This comes not long after viewers enjoyed the ″Mahadeva″, the prelude to the ″Mahabharata″. Indonesians are currently crazy about the ″Mahabharata″ series screening on AnTV.
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