History of Theatrical Performances of Myanmar Marionettes

1.1 The Nature and Origin of the Marionettes

Marionette means stringed puppet. Both terms (Marionette & Puppet) are inter-changeable here.

 

Theatrical marionette performances were born from the repeated attempts to invent the stringed lifeless dolls, moved and acted like human in many ways. Here wood carver’s attempt to imitate live dances resulted in puppets. Buddha’s live stories are also a force behind to create puppets. Love story played by human was regarded as sin in the long past while wood puppets playing the same role was pardoned by the audience. So puppet plays were more encouraged by the public.

Because of that, many native scholars have taken for granted that wood carving, and other visual art, performing arts would suggest an idea of puppet plays in ancient time.

Two thousand six hundred years ago, Lord Buddha’s female monk, Subhar, mentioned that “I have seen wood images, decorated and moved about by strings attached to hands, feet, back, ears etc. (Hteri gar-htar, no. gar-htar No.238, 392, in Khudda Nikaya of Pali text)

“I have witnessed those mechanical images were made with limbs and body parts, and joined by strings, and put them to dance by strings. Somehow it in stilled life. (Verse no 392 and 394)

So in Lord Buddha’s time, stringed puppets might have existed.

Scholar Chit San Win in his book, “Today’s Puppet Plays” mentioned that – from AD 960 to 1278 was SUNG dynasty, stringed puppet theatre developed and progressed well enough to attract attention of people.”

“SUNG dynasty was a period contemporary to Pagan when Taung-thu-gyi Min and Sokkatae ruled there. However in all stone inscriptions, ink letters on walls, murals, sculptures etc. from Pagan period never mentioned a word related to Puppet.”

A famous native writer- Hla Thamein in his book “Myanmar-Yoke-Thay-Tha-Bin” referred those quotes and supported the idea of the early existence of the puppets.

In addition to this, in Visuddhi Magga Ahtakahta (of the Buddhist Scriptures) there are statements meaning the following.

# “Wooden image lacks soul or mind and so lifeless. But movement can be made with a strings attached to it.”

# Therefore, according to the said Scriptures compiled in Ceylon, stringed puppets really existed in Ceylon (now Sri Lanka)

1.2 Early historical evidences from Beik-the-noe (Pyu Period) and China

The dancing and the craft of making puppets which were basic arts of Yoke-Sone-Tha-Bin (marionette Theatre) can be traced back up to more than 2000 years ago (400 B.C.) in prehistoric times of Myanmar. When the ancient site of “Beikthano” was excavated, many earthen pots, wares and terra cotta figures including a female dancer were turned up. 6 Bronze figures of dancers and musicians was good evidence that a performing art had existed even in the Beikthano times.

According to Chinese Chronicles (from the Tang era) the Pyu had reached a fairly high standard in music and dance.

In A.D 760 a Nanchao (Yunnan) King Ko-lo-fang attacked and conquered the Pyu. Many Pyu artisans, artists and workers were taken prisoner to serve at his court.

The Nanchao forces waging war on the Chinese emperor under his grand-son Ee-mo-sung stopped it in A.D. 793. He sent a good-will mission to the emperor including dancers and music troupes from his conquered tribes in A.D. 800. The Pyu were also sent along with. So the Pyu and the Chinese got contact again. The Pyu King Yan-chi-yan of Khun-mau-chan Dynasty sent a mission to the Chinese through Nanchao. The Chinese chronicles recorded in details of the Pyu music and instruments and play. It was mentioned that the Pyu used 22 instruments made of 8 different materials including metal.

Because the Pyu who, who later became Myanmar made theatrical entertainments to the Chinese emperor, it can be surmised that Myanmar art of theatre had developed fairly well at this period.

1.3 Dancing and Puppet performance in Bagan times

bagan_150x150
Dancing Skills and Puppet Crafts in Bagan times
Paintings and stone inscriptions found in Bagan, added with the existing evidences such as murals, sculptures, carvings on pagodas, temples and caves, both visual and performing arts were fairly developing at Pagan.

In Beikthano and Bagan, we cannot see any definite evidences but only supportive evidence: in view of these life performances, we could hope Puppet should have existed.

However the developments were not abrupt, as it needed a priming time allowing for a later progress. So we can assume that Puppets have a priming period in Beikthano and Bagan.

1.4 The Earliest History of Myanmar Theatrical Marionette Performances

history_b
The earliest history of Myanmar theatrical marionette performances
It is difficult to say definitely when this Myanmar Puppetry had started, at what place and by whom. Geographically, the country of Myanmar has been situated between the two countries of culturally flourishing India and China since last 5,000 years.

According to Ishuveda or Rikaveda texts and Sanskrit texts of Dapana, Sangita-ratanakara and Baratanisa-shatra or Dance Niti that were compiled about 1500 B.C., marionette theatre had been definately performed in India since over 2000 years ago. It was also learnt that during the reign of Mugal emperors over India, marionette theatre was very popular. In China, marionette theatre was said to be originated in Fujian (Fukien) even in one hundred century A.D.

In the text of ancient history of China it was stated that the marionette theatre was performed during the reign of the emperors of Hang Dynasty.

Nevertheless, some Myanmar scholars gave a bold decision that “Myanmar marionette theatre did not come from India or China; it is truly our indigenous art and our own.”

Myanmar writer and scholar Dee doke U Ba Cho believed that, when Myanmar marionette was compared to Chinese marionette, there was no evidence that it came down from India or China.

There is no Asi-kyo system in ALL the puppet strings all over the world. This is only found in Myanmar

So an assumption can be made that basing upon Myanmar traditional dances developing on its soil, puppet making, joining, dancing all was born naturally in Myanmar.

U Ye Dway, a scholar in Myanmar puppet theatre, added that the Myanmar marionette was not imported from a neighboring country; but it might come from Sri Lanka. He assumed that along together with Theravada Buddhism from Sri Lanka, marionette theatre came to Myanmar. He decidedly stated so, because there was much social and cultural relations between the two countries and Sri Lanka marionettes have strings similar to Myanmar ones. However the strings and control were quite different.

Oo Chit San Win, as mentioned in his book Today Myanmar’s Puppet Theatre, believed that Myanmar Puppetry came out from its own in the same stream with other visual and performing arts. Evidences were as follows: –

– Stone carving and wood carving were developing together.
– Myanmar costumes were all the same in both.
– Myanmar dances were the same in both.
– Singing, conversation, music and plays were all the same.
– There is no difference in use of classical literature, court and commoners’ conversation used on both stages

These similarities suggest that Myanmar live plays and puppet plays had come out in the same current and development. Conclusively Myanmar puppetry is our innovation and our own.

Though there is not any strong evidence to say definitely whether Myanmar marionette theatre began in Bagan times or not, there were some shreds of evidence as clues in Inn-wa times following Bagan times.

During the reign of King Min-Khaung of Inn-wa in 846 M.E. (1484 A.D), Shin Maha Rahta Sara (1468 – 1529), the famous poet monk referred to marionettes in his work on Buddhist Jataka story, called Buridatha; his description of an invasion of mythical dragons (nagas) into the Kingdom of Benares was as follows.

Among the leaves and branches
On to the forks are coils,
Some dangling and moving
Up and down like a puppet
Played by strings

This suggests that string-operated puppets (marionettes) existed at that period.

#A group of big and small figures
Under the shining lights
Which exercise dexterous movements
To the beats, jumping and flying.#

They show that there were big and small figures (marionettes) in theatrical performances at that time.

So the monk mentioned in both instances the very existence of theatrical marionette performances.

Again, in his poetic eulogy, “the Mingala – Zedi Mawgun” composed in commemoration to completion of Mingalaze Pagoda in 861 M.E. in Tadar U;he referred to a Brahmin (a puppet figure) as follows.

# Whose hands move about,
Whose eyes are blinking
And whose mouth is smiling;
He doesn’t look like a puppet but alive— #

The above lines of verse reveal the aptly manipulated movements of marionettes of that time.

So, according to the monk’s said above works it is quite clear that Myanmar marionette theatre was working in full swing. People of Innwa (Ava) in those days might have been much delighted in marionette shows. Performance of the characters was considered to be much alive and perfect.

But in other literary works of Shin Maha Silawunsa, a poet monk of the same period, in prose texts of “Yarzawinkyaw” and “the story of Parayana”, in the works of the monks-Shin Oktama kyaw, Shin Ohn Nyo and Shin Khayma and in the Pyo (a kind of Myanmar poetic literature) texts of later poet monks. Shin Agga samadi and Shin Tay zaw sara did not have any record of the existence of the marionettes quite strikingly in contrast with the said monk. It is interesting to say that the marionette theatre really covered large area is doubted by present scholars.

About 90 years after Shin Maha Rahta Sara had written San Wara Pyot in 891 M.E., marionette theatre became the pleasure and practice of the royal audience.

The Maha yazawindawgyi (the Great Chronicle) by U Kala has notes that in 980 M.E., when envoys from the Mongul Court of Akbar, Gakonda and Achin arrived Pegu where King Anauk phetlun held court, they were entertained by various performances”—- including fourteen musical troupes of Mons, a Burmese orchestra, thirteen dancers and a performance of big and small figures (ah-yoke kyees and ah-yoke nges).”

1.5 Myanmar theatrical marionette performances in Konbaung times (1752-1885 A.D.)

Myanmar Theatrical Marionette Performances in Konbaung Times (1752-1885 A.D.)
Much like a big tree grown through ages, Myanmar cultural performance had blossomed into development.

So Myanmar marionette stage, fully developed with drama music, songs and dances became a rich branch of Myanmar culture.

Famous writer Saya Hla Tha Mein wrote in his book, “Myanmar Yoke-thay Thabin” (Myanmar Marionette Theatre) as follows.

A number of certain individuals donated to the great pagoda Htupayon in the city of Sagaing (Upper Myanmar) by King Narapadi in 806 M.E. or 1444 A.D. (line 52-55) were listed as “ah-yoke-thes” (puppeteers) on an inscription on the back of a stone slab which had been dedicated to commemorate the completion of the pagoda.

A list of workers with names, appointed to take care of the pagoda, was also mentioned in the inscription.

The word “ahyoke-thes” can be considered as puppeteers.

A well-noted person on the study of Myanmar marionettes, U Ye Dway spoke as follows.

“Ahyoke-thes” can be also considered as puppet-makers. But those listed on the inscription, were counted along with the large number of musicians and dancers all total 50, were possibly puppeteers to entertain the people coming to the pagoda from far and near.”

The lack of the word “yoke-thay” (marionette) does not deny its credibility. As the time changes, terms tends to change.

The use of the term “yoke-thay” (marionette) was specifically found inscribed on a stone slab in the year 1185 M.E. (1823 A.D.)

(There were live shows of) “Treading burning cinders, circus players, somersault, snake charming boxing, live and puppet shows, small and large figures, dances and singing from Mons, Shan, Yodaya, Indians such as Vesali, Chinese——–“

Although we can say that puppet was existing in Myanmar during Ava times or in 15 century A.D., a record of 1776 just said a general term “zatthabin” (Dance and drama)”. The term applied to both live and puppet shows. Later puppet shows were performed on a stage (hence superior performance or plays/ Amyint Thabin) and human live shows were performed on the ground (hence Ah-naint Thabin, lower performance). There was no such classification yet.

References relating to Myanmar marionette dances published by European and other foreign sources stated that the Italian priest Vincentius Sangamano in 1783, the British envoy Michael Symes in 1795 and the British envoy John Crawford in 1827 were entertained with puppet and theatrical performances. They noted that music, dancing and marionette performance were always present at royal functions and they were entertained with these at the court. They found these had become an integral part of royal life.

Both Henry Yule, a member of another mission from India to Inn-wa in 1855 and the British writer George Scott (pen-named Shway Yoe) in 1875 to Myanmar gave remarks that the puppet theatre was more popular than the live drama among Myanmar people in general.

Captain R.B. Prbberton, in his travel, “Journey from Manipoor to Ava, and thence across the Yoma Mountains to Arracan 1830”, recorded the accounts on 4th August, 1830 of his observation when he arrived at Kanee village (now a town). It was about a foot in height.

“Then, 5 or 6 people came bringing a minthamee (princess) figure. That small figure was formally very similar to a live dancer. It had 32 strings attached to a wooden ‘dalet’ (a control). Puppeteer held it with one hand. It was very life like and astounding to see it alive with dances by the puppeteer setting it in motion with the strings. Manner of dances was very delicate and faultless. Dance movements changed smoothly and abruptly stage by stage. Despite seeing the puppeteer played on the strings, the small figure seemed alive and danced on its own accord. (He was told) they had another one of human size. On specially built stages, the puppeteers were kept out of sight behind a curtain to be more realistic.”

U Ye Dway, one of the scholars in Myanmar puppet theatre, in his case study of “puppet Figures in Myanmar Puppet Theatre”, wrote that the royal court created a post of a minister (Thabin Wun in Myanmar) to control Thabin (the collective term for singing, dancing music and marionettes). According to his document –

– the first minister U Po Phyu, titled ‘Minhla Uzana’,
– the second that followed was U Toke who was authorized to receive revenues from seven village during the reign of Singu Min (1776-1782),
– U Thaw titled Zawta Bandhu during the time of Bodaw phyya or Badon Min (1782-1819) and the time of Bagyidaw or Sagaing Min (1819 – 1837),
– Ratanapura U Nu during the time of Bagan Min (1846-1853),
– U Thar Byaw during the time of Mindon Min (1853-1878) served the said posts respectively.”

Historical texts of that time have records stating puppet troupes using anumber of different characters (hence a new term ‘yoke-sone thabin’ came into use). All these new development (or innovation) appeared during this time.

Rules set down for marionettes and live performance were generally the same and only different in animate and in animate nature during the tenure of office by those ministers before the time of Bodaw phaya or Badon Min.

As the marionette performances became more alive and active, stories of drama or plots of play increased in number. Through the attempt and encouragement of the theatre ministry, the old and new forms of characters appeared on the stage and a variety of different character played. It is by no means certain that even though there were marionette dances in earlier times, there had never been profuse numbers of character played in different plots and scenes in a story. Development and progress led to great favors by the kings (in late Konbaung Dynasty). The best artistic troupes of marionette performance were honored with a grand title “Sin Daw Gyi/ Royal Puppet Troupe”.

A story, for an instance, went this way. When King Mindon moved to his newly built City of Yatanabon Mandalay, an auspicious ceremony took place. On that occasion U Thar Byaw, the leader of a marionette troupes sang some verses to eulogize the City of Yatanabon. The King was much delighted to hear it. The historical records said so.

The Royal Puppet Trope was said to be privileged with favors and rewards by the kings.

When King Mindon entitled himself as “The Convener of the Fifth Buddhist Synod” with great pomp and ceremony, the puppet troupe of U Thar Byaw celebrated the occasion as well. He played his puppet and sang a song in great praise of the city.

“My heart leaps up when I give my ears to it. It chills my heart”, said the King. And then he bestowed U Thar Byaw with a bolt of fine calico and a thousand silver coins.

1.6 Puppet/Marionette performances after the King and the Queen were taken away (A Period of Struggle for Independence)

Myanmar Theatrical Marionette Performances after the Deportation of the King and the Queen (Revolutionary Period for Independence)

The British expansionists annexed the whole of Myanmar in 1885 A.D.

The marionette performances fell into a decline after that. The country went into unrest and lack of royal encouragement to all puppet plays were a cause. After rebellions subsided, it was peaceful in most areas. The puppeteers tried to regain its old splendor and performances began all over the country.

They were not successful because the public was too conservative to accept the innovative changes in puppet drama and puppeteers dared not do improvements to it.

In the year 1888 railway lines from Mandalay to Yangon (then Rangoon) opened up. Puppet troupes from Mandalay came down to Yangon.

Those troupes were two categories at this time. Minthamee Gaing and Mintha Gaing. As a rule, depending upon their best performance, the best puppeteers played either Prince or Princess characters. It was recognized by the audience and the members of the puppet troupe according to their artistic ability. Out of the two best characters, one would dominate the other in virtue of their art. One group where the Princess character was the best of the best, it was called Minthamee Gaing. Another troupe dominated by Prince character was called Mintha Gaing.

– Minthamee Gaing at that time were Saya Zan Gyi, U Aung Koe, U Mu, U Lu Htwar, U Ar Bai, Kyaukar U Moe, U Hmyin, Mintha Gaing

– Mintha Gaing were Saya Yike, Saya Hlike and U Moe.

Categorically, they were regarded as the best and recognized by the audience, equal to the “royal puppet troupe”

In the King’s time, the royal puppet troupe Sin Daw was branded or provide with four ‘Thines’. A wand of red lacquer, which was partly or entirely gilded; the tip was bent down with a string; a white scarf called a Pawar Phyu being tied at the top.)

With no King now, they branded themselves as “Sindaws” (the Royal Troupes) meaning the best. The stages of troupes led by Saya Zan Gyi and Saya Yaik had four front posts each fastened a Thaing (# Shortly after the Annexation, the ruling British colonists, to give the wrong impression of a good governance, permitted the locals to do seemingly lucrative businesses (in a short term). Myanmar business men were generally a bit well off at that time and paid more for all stage performances. A marionette troupe received two hundred kyat to two hundred and fifty kyat as payment after one ‘set’ of show (lasting two nights). #At that time a Victoria gold coin cost only 12 Kyats.

In 1893, the troupes led by Minthamee (explained formerly) U Phu Nyo, U Pu, U Thant, U Kyaw, U Tint, Mintha Gaing (explained formerly) U Phoe Kun, U Ohn Khaing (Khine), U Shwe (Shway) Zin, U Mya Khe, U Toe, U Mye, U Nyan Kywe Gyi, U Kywe Galay, Hsin Maung Tun were famous. The stages allerected Thaings (explained formerly) at the front.

Out of the mentioned troupes, those led by U Phu Nyo, U Pu, U Thant, U Tint, U Kywe Gyi, U Kywe Galay and U Nyan were more outstanding. For a show they received 250 to 300 kyats. At the busiest time of ceremonies and yearly festivals, in the Myanmar months of Dabaung (March) and Dagu (April), they received three hundred to five hundred kyat for a show.

Not only the troupes from the upper Myanmar some also came into being in towns and villages in the lower Myanmar. They were also, to some extent, in favor of the general audiences.

There were two troupes coming out popular from Kyemyindine – a troupe led by Minthamee Gaing Zar Pyan Gyi and another from Rangoon – a troupe led by Zar Nyunt. They were so popular that they earned the same payment as those from Mandalay.

But the show business of marionette troupes gradually declined. People sought pleasure from other entertainment like Motion picture. There were other challenges too- live dancings like Zat Pwe, Ahnyaint. Modernization also challenged the puppeteers- they might change to other profession.

Earnings by puppeteers dropped drastically. Live performances became more attractive than marionette performances. Cinematic imports from abroad brought foreign style movie pictures much to the delight of the audiences.The marionette performance, once bright in the past, now faded into oblivion.

Reasons for this were well remarked by U Thein Naing in his National Literary Award winning book, “Myanma Yoke-sone Thabin (Myanmar Puppet Theatre).”

1. Myanmar puppeteers are very much sticking to old tradition and superstitions and age-old managements.
2. Arrangements and ideas for dances, drama, plots and plays practiced in 19th century are still staged to the people of 20th century.

The author Theik-pan Maung Wa once predicted that out-dated (Myanmar) puppet theatre will not survive long. After this, Zat Thabin (whole night performances), Ah-Nyeints (half-night performance) would go into obscurity.

Dr.Htin Aung in his book in English language- “Burmese Drama (Myanmar Zat Thabin)” stated as follows.

“After old puppet masters passed away, there were not many professional puppeteers to substitute them. Puppetry needed a long time and hardship. On the other hand, puppetry refused to get transformed and to go ahead with modernity. It did not fit in with younger generation.

U Chit San Win noted, “The first one who noticed the decline of puppetry was Say Pu Gyi. He himself was honored by the last king with a title, “Madhu Sadda Shwe Daung” (vocalist, his singing as sweet as honey). In 1882 he visited lower Burma. When his puppet troupe was performed in Than Zay Theatre, at Lamma Daw Qr., Saya Pu Gyi said- “Zat Thabin is popular and puppet shows declined in Yangon, we the puppeteers from Upper Burma have to stay in our native Mandalay”.

“Yes of course”, was the reply from his attendant, “live performances can attract the audience very well and the life-less puppet naturally fails to attract them.” This was the earliest warning from a great puppeteer.

1.7 State of Myanmar Marionette Performances after the Independence

Myanmar Theatrical Marionette Performances after the Independence
The above bad condition was up to the year 1950. Even after 1950, the condition of marionette performance and performers (puppeteers and musicians) were still going bad.They were not ready for a change as well.

“Nonetheless, Ponnapyan U Kyaw Aye, who became popular after the year 1920, managed to save the situation; he resumed puppet plays.”

The same situation was noted, in the book “Myanmar Culture in fifty years” published by Myanmar Translation Society, about the condition of Myanmar marionette theatre, during the years 1900 to 1950.

“The country was in ashes after the Second World War. People had no time to enjoy the regrouped marionette stages. They were trying hard for a survival.

After Independence, when the country changed to create its own destiny, Myanmar marionette theatre came up again. But it could not stand to challenges from other art and entertainment, which were going on with modernization.

At that time, there were three or four marionette troupes active in Rangoon. They were Nyaungdon U Ba Kyaw’s Yoke-son Sindaw (explained earlier), Khaing Marlar Sindaw Aphwai, Ponnapyan Kyaw Aye’s Yoke-son Sindaw-gyi and Pyidaw Aye Yoke-son Sindaw.

There were puppet troupes by
– Minthagyi U Ba Gyan, Kyo Weikzar U Hla Tin and Intha U Mya Gaung’s troupe in the town of Hinthada.
– U Mya Thaung’s troupe in the town of Shwedaung.
– U Htwar Sein’s troupe in the town of Phyarpon.
– On, in the town of Bogalay,
– Minthamee Ma Oke Aw’s troupe in the town of Shwebo
– U Chit Sein’s Sindawgyi at the village of Inn-da-gar in Ye-Oo Township, Shwebo district

Later in Mandalay were puppet troupes by
– Shwebo Tin Maung,
– Kha-yaing U Ba Yin,
– Mintha Maung Mya Thaung and
– U Paw Shan.
– U Han Thar’s troupe was at the village of Inn-da-gar (Ye-Oo).
– U Yar Thein’s troupe was in the town of Mahlaing-Pan-aing.
– Myodaw Thein Aung’s troupe, Shwegyan Thaung’s troupe, (Minthamee) Maung Mya Thaung’s troupe and U Ba Aye’s troupe.

– During the years 1965 to 1974, U(Oo) Ye Dway, a stage director, led “Dagon Aung” troupe, innovated with modern musical instruments added to Myanmar orchestra. It entertained people in the regions of upper and lower Myanmar.

– In a short time after the Independence, all puppeteers could not earn sufficiently from their profession but had to supplement their income from other work. Therefore, financers did not make annual contract with puppeteers. They did not make advance payments. The puppeteers and musicians were paid according to the number of nights they performed.

– During this difficult time, the most successful was Shwebo Tin Maung. He ‘hired’ each puppeteer per night basis. He also put his six puppet plays into gramophone records, earning each 2000 kyats.

– For each performance, he got 750 kyats in town and 1400 kyat in countryside. That was for open-airtheatre. For a puppet play in a closed theatre, he claimed 500 kyat per night, (exclusive of daily expenses).

Regarding his success made by Shwe Bo Tin Maung, Sayagyi U Thein Naing credited him in his book, “Myanmar Yoke-thay Thabin (Burmese Puppet Theatre)”…. ”Shwebo Tin Maung is presenting new stories related to the general public. Settings and presentations were his inovation. There were over 30 backdrops. Marionettes characters (added with modern ones) counted to 33. His troupe could be called the modernized marionette theatre! It could be a current situation of Myanmar Puppet theatre”.

So Shwebo Tin Maung presented usually a modern play in first half of night. These stories reflected current affair of the people and so the audience were interested in them. It proved that if puppet plays were presented in a clever way, the audience was ready to accept and enjoy them.

He continued in that book that – “in the months of July and August in 1965, co-operated by the Ministry of Culture, Saya Zaw Gyi and U Thein Tan came to Mandalay and tape-recorded singing, conversation and presentations by old puppeteers.

Again in April 1966 under the management of the Ministry of Culture, old puppeteers staged Sein Gwe play and Thadha Yuwadi play for a number of nights at Tatmadaw Opera House. Those who had never seen a puppet show came to the opera house. The old fans also came in to renew their interest in puppetry. This disappearing art was a great attraction to all and seats were sold out in no time. Critics said that when the old art was presented with modern stage and setting, it was sure to make a success.

U Chit San Win, in his “Puppet Theatre Today,” published in 1989 mentions of situation of puppet stage and plays during 1970 that –

“Myanmar Puppetry was made up of three components- (1) singing and conversation, (2) dance and (3) music. Combining together, it was an art form of rather “three-in-one”. Whatever was said by the vocalist, the puppeteer had to play with accordingly was a difficult art and needed a co-operation. Such a wonderful art should not go into oblivion”.

“Proparganda and encouragement were added from many other corners as well by writers namely Zeya, Zaw Gyi, Ludu U Hla, Daw Ah Mar, Hantarwaddy U Ba Yin, Nan Nyunt Swe, Hla Thamein, U Thein Naing, Dagon Nat Shin, Shwe Daung U Kyaw Mya Thaung, U Myat Kyaw (Directorate of Fine Art) Department), Zawana, Thargadoe, Saw Mon Nyin, Dr. Tin Maung Kyi, Dagon Sayar Linn, Thakhin Tin Oo, U Ba Mow, Maung Thit Lwin (Ludu), Sinbyu Kyun Aung Thein, U Min Kyi (Dance and Drama)”.

“Another chapter from the same book by U Chit San Win was “Puppetry and Progress made after 1962”. It was in fact what the revolutionary council had done in promotion of puppetry with the aim –
– to revive the Myanmar puppetry and
– to add and learn world puppetry to Myanmar Puppetry”

“In Febuary 1965, Ministry of Fine Art Department invited Puppeteers Dr. Ever Vodit and Miss Yanahavalitkova to Burma. They were to deliver a lecture on their western puppetry to puppeteers here. The workshop was opened at No. 1 Nawarat Road, Yangon and it would take from February 26 to April 27, covering nearly 2 months. The workshop was called “Workshop on Checkoslovak Puppetry”.

The workshop included topics on Shadow Puppet, Glove Puppet, Stick Puppet, String Puppets, Stage decoration, illumination and lights, presentation of drama etc. In this workshop, U Hla tin (Hla Thamein) served interpreter.”

“Apart from the Checkosloveck scholars, Yoke-sone Saya Linn also helped by lecturing on some topic. A certain scholar U Pe Tin delivered a lecture on wood carving of Puppets.”

Among theose attending were U Tun Yin, His son U Tin Ngwe (a amateur), U Aung Thwin (Puppeteer from Tharrawaddy), U Myint Kyi (a puppet lover), U Tun Tin, U Ye Dwe, U Aung Naing, Daw Moe Myint, Daw Shwe (a) Okkaklar Shwe.

“On their return, the two Checkosloveck scholars died in the plane crash near Cairo, Egypt. It was sorrow to every one who attended the workshop here.”

“After the workshop, following an advice from the Check scholars, a working committee was formed to continue the training and knowledge acquired here. Its members were all participants except U(Oo) Tun Yin age over 60. Council of Fine Arts funded its budget. The leader of the working committee was U Ye Dwe.”

“An advisory committee was also formed, chaired by U Thein Dan (a member of Culture Council) and its secretary was U Tin Hla. Its members were
1- U Khin Zaw, (Adviser to Dept. of Culture)
2- Dagon Saya Tin, (Senior Puppeteer)
3- U Soe Myint, (Secretary, Dept. of Culture
4- U Pe Tin, (Puppet Carver)
5- Capt. Khin Maung Nyo, (Officer on Special Duty)”

“Training was started immediately. The result of it were
1- Duet dance
2- Duet dance by stick puppets
3- Zaw-gyi by stick puppet
4- The story of a Fat Fellow, Maung Wa Gyi by stick puppets.
5- Stick puppets playing a story “United, we progress”.
6- The story of a simple wood cutter and a river spirit or “The Straight and the Crooked”
7- The Golden Cock (The story of a Bluffer could not Bluff long and warning a danger to blind faith)”

“All these plays and dances were accompanied by the music played from the back by tape. A ready- made easily transportable stage was used for all purpose”.

“After rehearsal, the trainees went out to entertain at public places like state high schools at Bo-ta-htaung(no. 6), Pa-be-dan (no. 1), Dagon (no. 2), Young Boys Rehabilitation School, Lu-ye-chun Camp at Pyi Road. The audience (mainly students and kids) totaling to about 70,000. The puppet plays were made during a period of August to November 1966. This service was aimed to establish a regular puppet troupe run by the state. A monthly salary of 125 Kyats was granted to all participants for about three years from 21 June 1965 to 29 February 1968. After this the committees were abolished.”

By this time at about 1975, puppet troupes of Dagon U Hla Dan, Dagon Htun, Ponna Byan U Kyaw Aye (all from Yangon), and lastly Shwebo Tin Maung from Mandalay all stopped already.

By this time about 400 persons in the whole country turned their back from Puppetry to look for other profession.

In early 1976, U Thein Dan, Director General from Directorate of Fine Art, read “The Eve of Myanmar Puppetry”. Following it, U Chit San Win read a paper, “The Dawn of Myanmar Puppetry” on 27 June 1976 at Young Men’s Prosperity Association, Pansodan.

Again on 25 August 1976, a meeting was made by many master puppeteers to found an association with an aim to spread puppetry, and to support and cooperate among the members.

Moreover, U Chit San Win recorded those puppet troupes still trying to survive at that time, overcoming all obstacles. They were
– Shwin Pyaw Pyaw Puppet troupe of Htilar kyaw Nyunt
– Kyaw Myint Tun from North Okkalapa
– Aung Min Galar Troupe from Mye-htae Myo
– Sein Linn Maung Troupe of Wizzar Nyunt from Thar-keta
– Mya Anna-war Troupe of U Mya Thein from Pyi
– Shwe-chan Troupe of U Nyo from Myin Gyan.
– Mandalay Troupe of U Kyaw Sein
– A puppet troupe from Pagan”

Myanmar puppetry progressed from King Bagyi Daw (1819-37), and prospered to another four Kings- such as Tharrawaddy Min (1837-46), Pagan Min (1846-53), and Mindon Min (1853-78). Later it declined up to now. The underlying causes were assessed by U Chit San Win. He presented his views in detail in his book “Myanmar Puppets Today”.

“- Live plays (Zat Thabin) popularity increased with new adaptation or change”. Examples were that the play was put onto stage. Backdrops were introduced. Decoration of the stage at the front was also an attraction.”

“- Stage decorations introduced”,while live plays were making a lot of change winning popularity, the puppet stage was lacking all these stage decoration. Words and conversation that described a scenario to the audience without a colorful back drop failed to make the present day audience to understand. Time had changed and the puppet play could not cope up with the challenges.”

“ – Poetic conversation changed to Prose”, although the audience of the past could understand poems and old terms, the new generation could not understand them. Time had changed. Old poetic conversation was replaced by modern prose.”

“ – Songs sung with old (musical) key were changed to new key”, U Pho Sein, the leading actor, used to change keys, which made him popular among the audience.”

“ – Modernization”, science and rapid development adopted by new generation offered the audience to easy understanding. Puppet plays failed to serve this way.”

“- Serving its important role”, Formerly puppet theatre was a key for spreading information and knowledge. As communication technology developed, newspaper, books, radio, television etc. became key factor for spreading knowledge. Here the puppet role-playeda secondary role to them.

“- Its role lost”, until the time of the last king, puppet theatre was a media communicating between the King and his people. Now with a new ruler and a new administration, it role is lost as well.”

“- Puppet theatre was neglected by the new British ruler”, the new British ruler did not encourage and promote it. It was rather neglected so long as it did not disturb its rule.”

“- Significant progress made by movie and other performing arts were a challenge to puppet theatre”, the live performing arts progress was made to leap and bounds with the help of modernization and technology, while Myanmar puppet theatre remained silent without innovation.”

Myanmar puppetry had served an important role, apart from entertainment, both politically and socially since In-wa (Ava) period.

So in modern times, we expected it would return to popularity in order to serve its important role among the people. In order to do this it has to overcome a lot of challenges.

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