Dolls and Puppets from Old Burma

Burmese puppets have as rich a history as figures from the Japanese Bunraku Plays, or the Italian Commedia del Arte.  You’ll remember that shadow puppets played a rule in “The Parable of the Cave” from Plato’s “The Republic.”  

 

Mandalay puppets date to ancient times, and like the puppet morality plays of the European Middle Ages, were sued to teach history, religion, and current events to their audience.  For many, they were their only means of education.

 

So popular and important to tradition are these puppets now, that choreographers incorporate puppet moves into human dances.  The plays emulate gossip and history and can take all night.  This parallel to human behavior is something we often see as themes in the plays of Shakespeare and other playwrights. Kariagioz, of Turkey and Greece, also tends to tell traditional stories and poke fun and human foibles.  Punch and Judy are famous for their parodies of human nature as well.

 

The most famous Burmese puppets are probably those of The Mandalay Marionette Theater, which has been featured on PBS Travel shows.  They are cultural icons, and it is believed that Mandalay puppets are possessed by spirit of their creator in a positive and creative way.  Really, doesn’t all art hold a tiny piece of the artist’s soul,  hence FDR’s famous quote that “every time an artist dies, part of the vision of mankind passes with him.”   

 

Daw Ma Ma Naing,  is the  (Managing Director)  of the puppet theater.  She is also co-founder, and has more than ten years experience as a prize-winning puppeteer.
Part of her mission in creating the theater was to resurrect interest in the puppets, which had been dying in Myanmar due to lack of patronage.  The other co-founder is Mrs. Naing Yee Mar.

 Their  e-mail address is  puppets@myanmar.com.mm

Puppet Characters;  http://www.mandalaymarionettes.com/aboutpuppetsmain1.html

 

Below are very brief descriptions of two of the most famous and important traditional puppet characters.

 

Two ogres are popular characters, Nan Bleu And Taw Belu (City Ogre and Jungle Ogre).

Their ogre dance is characterized by “ominous music” with dance steps that imitate stalking behavior.  The message of their performance is to show “evil power and strength.”  mostly.  Traditional drums beat a rhythm, and these beats are called “Ka-roung.”


As the two ogres begin to fight and chase each other, the music becomes louder, almost like someone’s heart seems to pound harder and louder if she is afraid.  At the end of the
The Handmaiden

Another traditional or stock character is The Handmaiden puppet.  Sometimes, the same puppet can play different roles with a change of costume.

One female character is The Votaress puppet, who always wears red.  She wears her hair flowing, with a band of red silk around her forehead.  Another long scarf is tied around her waist and knotted at her chest.

The handmaiden does not have scarves or flowing hair.  Also, she does not wear red. The handmaiden puppet requires 12 parts to her performance, and because of the longevity and intricacy of her dance, requires a veteran puppeteer.

Votaress is a spiritual character and a very difficult puppet to handle. She has the most strings to manipulate, sometimes over 30.

 

About String Puppets:  http://www.mandalaymarionettes.com/aboutpuppetsmain2.html

 

The puppets are carved, then constructed and assembled, then strung.  They are actually marionettes.

 

 

Use index finger is important is important in controlling them properly.

 

Today, there is a new interest in the Burmese puppet theater, due in large part to its two founders.  Puppets are used in plays to educate the public on social issues like Aids awareness, but also to introduce new generations to the rich tradition of The Mandalay Marionettes.  To learn more, please go to the excellent website for The Mandalay Marionette Theater to see the puppets and learn more about their history and founders.