Australian art connoisseur Anita Sinclair
elegantly described the different emotions
that can be transmitted through the art form
of puppetry: "Through puppetry we accept
the outrageous, the absurd or even the
impossible, and will permit puppets to say and do things no human could. We allow a puppet to talk to us when no one else can get us to speak. We allow a puppet to smile at us even when we have not been introduced. We also allow a puppet to touch us when a person would lose an arm for the same offence."
Puppetry takes many forms but they all have one element in common — they share the process of animating inanimate performing objects. Puppetry is used in almost all cultures both for entertainment purposes and ceremonially in rituals and celebrations.
A very ancient art form, which probably originated about 30,000 years ago, puppetry has been used since the earliest times to animate and communicate the ideas and needs of human societies.
ROOTS OF PUPPETRY
Evidence of earliest puppetry comes from the excavations at the Indus River basin. Archaeologists unearthed terra-cotta dolls with detachable heads capable of manipulation by a string dating to 2500BC. Other excavations include terra-cotta animals that could be manipulated up and down on a stick, archiving minimum animation in both cases.
The art form also spread across Asia. Puppets first surfaced in India, then in China with its pi-ying xi, the "theatre of the lantern shadows". There, puppets played to all social classes including the highest courts — yet, despite the intricate and beautiful nature of the art, puppeteers in China were always considered part of a lower social stratum, which was also the case in Europe.
Japan also has many forms of puppetry such as the Banraku, a traditional puppet theatre, which was founded in Osaka in 1864. Indonesia, with its very popular Wayang Kulit (shadow puppetry), showed a strong tradition in puppetry. So much so that, in 2003, UNESCO designated it as a "Masterpiece of Oral and Intangible Heritage of Humanity".
In Thailand, puppetry, known throughout the Kingdom as Hoon Krabok (small-sized, bamboo rod puppets), has a well-established history. In fact, Thai theatrical puppetry is unique among the various forms of puppetry in several ways: in addition to representing a character taken from the Ramakian (the Thai version of the Indian epic Ramayana, each puppet also requires the synchronised efforts of three puppeteers, dressed all in black, to effect its highly nuanced manipulation.
KEEPING THE ART ALIVE
Following what some may call mystical inspiration, a young couple in Chiang Mai, the charming city in the northern part of Thailand, is struggling to establish a different form of puppetry: traditional dance movements used in conjunction with contemporary music.
Clad in classical costumes that represent the typical tailored cut of the reign of King Rama IX, the present monarch, the puppets of Mr Phasakorn and Ms Saphthiwi, his wife, perform their dances, as the tradition imposes, on street corners and in parks. They are often invited to the homes of well-off people to perform at private parties.It has been said that the Muses — the Greek mythological goddesses who inspire the creation of the arts and of literature — call their sons. These two young artists at first endeavoured to establish a small business with flying lanterns, but without success. One day at home, talking about what they could do to earn a living, they stumbled onto an old dolls and puppetry essay that Phasakorn had bought when he was completing his architecture degree in Bangkok. The article was just the flash of inspiration they needed – the Muses had called to them.
Since Phasakorn's mother had made dolls for sale when he was a child, he recalled all the knowledge he had gained as he watched her craft these unique and graceful pieces of art. Full of enthusiasm, he and Saphthiwi began to cut, shape, tailor, paint and assemble the pieces until a pair of exquisite puppets finally came to life in their arms.
Instead of following the traditional Ramakian theatre, they crafted their creations to enable them to dance and bring joy to people with their harmonious movements to music. It took them more than a year to learn how to make the puppets graciously move and glide to the rhythm of the notes. They asked a friend who was a dancer to teach them classical dance movements, which they then practised in front of a mirror until they could pull and push the strings and rods to articulate the puppets properly and authentically. The result of all this hard work and dedication is simply amazing.When Phasakorn and Saphthiwi perform in public places, a large crowd always gathers around the stage. The puppets' life-like movements entrance onlookers, and there have even been cases in which particularly sensitive people had wept. The two puppets dance to both modern music and traditionalnorthern songs – it is stunning to observe how the puppeteers and their
success. One day at home, talking about what they could do to earn a living, they stumbled onto an old dolls and puppetry essay that Phasakorn had bought when he was completing his architecture degree in Bangkok. The article was just the flash of inspiration they needed – the Muses had called to them.
Since Phasakorn's mother had made dolls for sale when he was a child, he recalled all the knowledge he had gained as he watched her craft these unique and graceful pieces of art. Full of enthusiasm, he and Saphthiwi began to cut, shape, tailor, paint and assemble the pieces until a pair of exquisite puppets finally came to life in their arms.
Instead of following the traditional Ramakian theatre, they crafted their creations to enable them to dance and bring joy to people with their harmonious movements to music. It took them more than a year to learn how to make the puppets graciously move and glide to the rhythm of the notes. They asked a friend who was a dancer to teach them classical dance movements, which they then practised in front of a mirror until they could pull and push the strings and rods to articulate the puppets properly and authentically. The result of all this hard work and dedication is simply amazing.
When Phasakorn and Saphthiwi perform in public places, a large crowd always gathers around the stage. The puppets' life-like movements entrance onlookers, and there have even been cases in which particularly sensitive people had wept. The two puppets dance to both modern music and traditionalnorthern songs – it is stunning to observe how the puppeteers and their creations move as one, melding into an attractive and exquisite performance.
But the life of an artist is never easy, and it's no different for Phasakorn and Saphthiwi. There are no state or public organisations in Chiang Mai willing to help or even encourage these street performers. Even private organisations can do very little to support them. They live in the hope someone will someday take care of this form of art so it can be kept alive and establish itself as a new standard. But for now they are working on a new dance routine based on the well-known sad song, Ma Mia, which involves two new characters riding a magic dog – the very complicated figure requires a lot of skill and dexterity to operate properly.Phasakorn and Saphthiwi put all their heart and soul into puppetry. Every Sunday you can see them perform at the Three Kings Square surrounded by a crowd of mesmerised children and wide-eyed adults. And as their puppets move flawlessly, they dream of one day owning their own little theatre where people of all ages could gather to watch them perform – and where they could pass on the awe-inspiring art of puppetry.
elegantly described the different emotions
that can be transmitted through the art form
of puppetry: "Through puppetry we accept
the outrageous, the absurd or even the
impossible, and will permit puppets to say and do things no human could. We allow a puppet to talk to us when no one else can get us to speak. We allow a puppet to smile at us even when we have not been introduced. We also allow a puppet to touch us when a person would lose an arm for the same offence."
Puppetry takes many forms but they all have one element in common — they share the process of animating inanimate performing objects. Puppetry is used in almost all cultures both for entertainment purposes and ceremonially in rituals and celebrations.
A very ancient art form, which probably originated about 30,000 years ago, puppetry has been used since the earliest times to animate and communicate the ideas and needs of human societies.
ROOTS OF PUPPETRY
Evidence of earliest puppetry comes from the excavations at the Indus River basin. Archaeologists unearthed terra-cotta dolls with detachable heads capable of manipulation by a string dating to 2500BC. Other excavations include terra-cotta animals that could be manipulated up and down on a stick, archiving minimum animation in both cases.
The art form also spread across Asia. Puppets first surfaced in India, then in China with its pi-ying xi, the "theatre of the lantern shadows". There, puppets played to all social classes including the highest courts — yet, despite the intricate and beautiful nature of the art, puppeteers in China were always considered part of a lower social stratum, which was also the case in Europe.
Japan also has many forms of puppetry such as the Banraku, a traditional puppet theatre, which was founded in Osaka in 1864. Indonesia, with its very popular Wayang Kulit (shadow puppetry), showed a strong tradition in puppetry. So much so that, in 2003, UNESCO designated it as a "Masterpiece of Oral and Intangible Heritage of Humanity".
In Thailand, puppetry, known throughout the Kingdom as Hoon Krabok (small-sized, bamboo rod puppets), has a well-established history. In fact, Thai theatrical puppetry is unique among the various forms of puppetry in several ways: in addition to representing a character taken from the Ramakian (the Thai version of the Indian epic Ramayana, each puppet also requires the synchronised efforts of three puppeteers, dressed all in black, to effect its highly nuanced manipulation.
KEEPING THE ART ALIVE
Following what some may call mystical inspiration, a young couple in Chiang Mai, the charming city in the northern part of Thailand, is struggling to establish a different form of puppetry: traditional dance movements used in conjunction with contemporary music.
Clad in classical costumes that represent the typical tailored cut of the reign of King Rama IX, the present monarch, the puppets of Mr Phasakorn and Ms Saphthiwi, his wife, perform their dances, as the tradition imposes, on street corners and in parks. They are often invited to the homes of well-off people to perform at private parties.It has been said that the Muses — the Greek mythological goddesses who inspire the creation of the arts and of literature — call their sons. These two young artists at first endeavoured to establish a small business with flying lanterns, but without success. One day at home, talking about what they could do to earn a living, they stumbled onto an old dolls and puppetry essay that Phasakorn had bought when he was completing his architecture degree in Bangkok. The article was just the flash of inspiration they needed – the Muses had called to them.
Since Phasakorn's mother had made dolls for sale when he was a child, he recalled all the knowledge he had gained as he watched her craft these unique and graceful pieces of art. Full of enthusiasm, he and Saphthiwi began to cut, shape, tailor, paint and assemble the pieces until a pair of exquisite puppets finally came to life in their arms.
Instead of following the traditional Ramakian theatre, they crafted their creations to enable them to dance and bring joy to people with their harmonious movements to music. It took them more than a year to learn how to make the puppets graciously move and glide to the rhythm of the notes. They asked a friend who was a dancer to teach them classical dance movements, which they then practised in front of a mirror until they could pull and push the strings and rods to articulate the puppets properly and authentically. The result of all this hard work and dedication is simply amazing.When Phasakorn and Saphthiwi perform in public places, a large crowd always gathers around the stage. The puppets' life-like movements entrance onlookers, and there have even been cases in which particularly sensitive people had wept. The two puppets dance to both modern music and traditionalnorthern songs – it is stunning to observe how the puppeteers and their
success. One day at home, talking about what they could do to earn a living, they stumbled onto an old dolls and puppetry essay that Phasakorn had bought when he was completing his architecture degree in Bangkok. The article was just the flash of inspiration they needed – the Muses had called to them.
Since Phasakorn's mother had made dolls for sale when he was a child, he recalled all the knowledge he had gained as he watched her craft these unique and graceful pieces of art. Full of enthusiasm, he and Saphthiwi began to cut, shape, tailor, paint and assemble the pieces until a pair of exquisite puppets finally came to life in their arms.
Instead of following the traditional Ramakian theatre, they crafted their creations to enable them to dance and bring joy to people with their harmonious movements to music. It took them more than a year to learn how to make the puppets graciously move and glide to the rhythm of the notes. They asked a friend who was a dancer to teach them classical dance movements, which they then practised in front of a mirror until they could pull and push the strings and rods to articulate the puppets properly and authentically. The result of all this hard work and dedication is simply amazing.
When Phasakorn and Saphthiwi perform in public places, a large crowd always gathers around the stage. The puppets' life-like movements entrance onlookers, and there have even been cases in which particularly sensitive people had wept. The two puppets dance to both modern music and traditionalnorthern songs – it is stunning to observe how the puppeteers and their creations move as one, melding into an attractive and exquisite performance.
But the life of an artist is never easy, and it's no different for Phasakorn and Saphthiwi. There are no state or public organisations in Chiang Mai willing to help or even encourage these street performers. Even private organisations can do very little to support them. They live in the hope someone will someday take care of this form of art so it can be kept alive and establish itself as a new standard. But for now they are working on a new dance routine based on the well-known sad song, Ma Mia, which involves two new characters riding a magic dog – the very complicated figure requires a lot of skill and dexterity to operate properly.Phasakorn and Saphthiwi put all their heart and soul into puppetry. Every Sunday you can see them perform at the Three Kings Square surrounded by a crowd of mesmerised children and wide-eyed adults. And as their puppets move flawlessly, they dream of one day owning their own little theatre where people of all ages could gather to watch them perform – and where they could pass on the awe-inspiring art of puppetry.