Many Asian marionettes have been grouped together in books as "Burmese Puppets". This term is inaccurate, and it should only be applied to those puppets from Myanmar (Burma). While they do share an amazing similarity in form and function, Burmese researchers credit their neighboring countries (especially China and India) for the origination and contributions to this art form.

Modern western puppeteers try to reduce the weight of their marionettes by using strong, light-weight materials. They also try to keep the number of strings to a minimum by using a counter-balanced puppet design which allows gravity to hold a puppet in a "normal" pose when at rest. In contrast, traditional Asian marionettes (particularly Burmese marionettes) are made the same way they have been made for centuries using the same patterns, design, coloring, clothing, hand controls and the same number of strings. They need a lot of skill and years of training to handle these heavy puppets (solid wood) and the mass of strings that are involved.

Early Puppets "Wooden Dolls On Strings"

"The oldest and most widely used puppet in marionette shows is the string marionette. All marionette theater in Taiwan is now performed by part-time puppeteers for religious rather than purely entertaining purposes. Shows may be performed to drive evil away or to thank the gods. Major occasions for marionette presentations include the birthday of the Jade Emperor (the ninth day of the first lunar month) and that of the Three Great Emperors (the 15th day of the first lunar month)." (this quote is from a now defunct web page "Traditional Chinese Culture in Taiwan")

"Marionette puppets, about two feet high and manipulated by 11 to 14 strings, are usually presented in front of a simple backdrop. "(this quote is from the now defunct web page "Puppetry in Taiwan" by The Republic of China - Taiwan - Official Home Page)

construction of a Chinese marionette photo thanks to a private collection

Thanks to the generosity of a private collector, I can display photos of her fabulous collection of Chinese marionettes including some information about how they are made. The owner states: This photo has the Chinese marionette's gown pinned up. His body is bamboo, molded, probably while wet into a basket like weave to create a rib cage.  His legs are rope or burlap strips to which wooden shoes are attached.  The head, hands and shoes are definitely wood. The face is painted white with a varnish like top coat. Each face has a different expression, not mass produced. Each one was made with care. Different  Chinese style makeup is used on the ladies. Some of them have their hair painted on with jet black flat paint.  The women have human hair. I bought them in Beijing. The merchant said they were from Fujian, China. She said a set of these consisted of a group of 30 or so puppets to entertain a wealthy family. She bought them from a small village in Fujian. They still have the strings attached, to the head, hands and feet. The strings connect to a bamboo piece (a manipulation device) that the audience would not see. Note the excellent quality of the heads and the fabulous costumes greatly contrast with the crudely made hands and feet. It is interesting that the Chinese strove to reduce the weight of their marionettes by using ropes and basketry. Compare this construction to the very heavy solid wood Burmese marionettes below.

I have been told that puppetry in India is so central to the communication to the general public that there is a puppeteer to service almost every block.
 

Puppet from India photo by Jean D. Lotz

Indian Merchant (20") photo thanks to Gerry Glaeve

Parrot (10" x 14") photo thanks to Gerry Glaeve

Mandalay is the center of Burmese arts and culture. Myanmar puppetry dates back several centuries, but originated in China and India. It was probably well established in Myanmar during the Pagan Era, but is mentioned in records of the arts in the 11th, 15th and 16th centuries. Puppetry was in great demand at the courts of the Myanmar royalty, especially during the Kone Bong Era. It fell into rapid decline after the demise of the Burmese royalty, and with the popularity of modern entertainment.

A Burmese puppet play is like a ballet - a story told with music and dances. The themes of the puppet plays were drawn from historic legends, the ten great lives and the 550 Birth stories of Lord Buddha. The Mandalay Marionettes (Yoke Thay) display all of the traditional artistic elements of Burmese puppetry: Myanmar dancing, music, wood carving, sequin embroidery and painting.

There have been many outstanding marionette artists from time to time among them was Shwebo U Tin Maung. Some Burmese puppet artists are:

• Shwebo U Tin Maung was a descendant of the ancient professionals
• U Ohn Maung
• U Than Nyant
• Kyaw Myo Ko
• U Pan Aye (a former student of Shwebo U Tin Maung)

photo of an artist stringing a puppet

The Creation of the Universe and the horse:
 

The Horse: The white horse plays an important role in Burmese mythology and the traditional Himavunta scene (Himalayan scene) in a Burmese puppet show. According to Burmese ancient belief, the world was destroyed and recreated three times by fire, storm and rain with the appearance of 7 suns. Fire devastated all on the earth, storm swept away the ashes and everything left, followed by torrential rain. The puppet play would start with the clashing of cymbals seven times, followed by the sound of a large gong, and ended with rumbling and rapid rhythm of a drum. This sequence is repeated and symbolizing these chaotic events. Tranquillity and peace return to earth. At this point, a Nat-gadaw puppet appears dancing and singing praise to unseen Devas or Nats requesting favors from all. According to the Buddhist concept of the Universe, the first constellation to appear in the sky is the galaxy of stars shaped like a horse's head. So in a Burmese puppet play the new world is first created with the "Horse Constellation" symbolized by the horse puppet; flying in over the back drop, and descending onto the stage. Finding a vast expanse of earth, the horse attempts to gallop the whole length of the earth, represented by the stage, three times. The music is "Myin-Det-Yodaya" or "The Horse Trot" in which the drums and clapper are played with a rhythm like the sound of hooves. With the end of the music, the Horse leaves the stage by galloping over the back-drop. After this, the monkey, tiger, elephant, demons, the Zaw-Gyi (Alchemist) appear followed by the fighting Naga and Garuda to complete the Himavunta scene.

Jungle Creatures:

The monkey dance is a wild one and the music is lively and easily identified with the monkey by a Burmese audience. The monkey usually wears a few human garments over his furry velvet body. The monkey stands half bent facing directly toward the audience with dangling limbs and tail. The only occasional movements are a few nods, head shakes, grasping for a banana, or making a salute. The monkey's "spin string" is short so that he can swing forward and make his departure by swinging off of the stage.

While the monkey is dancing two ogres appear on either side of the stage and start a war dance. The ogre dance is mostly a show of evil power and strength. The ominous music and stalking steps create a most chilling mood. The music is accompanied by a characteristic drum beat known as "ka-roung". The music grows louder and quickens as the fighting intensifies until the climax. At the end each would enter with a somersault to the back of the stage. Both puppets are identical in face, build and decoration except the city ogre has a headdress topped with a jeweled spike, where the jungle ogre has a plumed crest, and the city ogre will stand on the right side of the less noble jungle ogre. They have menacing expressions with their protruding snouts, fangs, grinning teeth, and starry eyes. Their sickly green flesh also adds to the sensation of danger. They both carry a short sword "Thanlyet" (one of the five items of the Burmese king's regalia).
 

Taw Belu (Demon / Jungle Ogre)

Myauk (Monkey)

Gauda  (Galon / King of the Birds)

Magical Powers:

Zaw-Gyi (Alchemist / Wizard) (75 cm)

The Wizard: Zaw-Gyi is a fun loving, mischievous demigod living in the forest. He has a friendly face with a slight smile, a pointed chin, a funny mustache and a bushy beard. Typically he is dressed in red, wearing a long and flaring robe trimmed with gold, a red cap on his head, red slippers and trousers under a tucked pasoe. He would pass time busy with his powerful philosopher's stone, or magic red staff  This popular character is capable of powerful magic, flying through the air, and boring through the earth. This caring Alchemist will grind medicinal plants with his magic red stick to help good people in need. He can transform himself or others into another form. He can revive the dead, turn stone into gold, or create nymphs from certain fruits for his own playful amusement.  He celebrates his magical successes with wild dances, and even sits on his magic stick. Kyaw Myo Ko says, "His dance steps and acrobatic leaps are fast and complicated. Any puppeteer who handles this marionette well is regarded as a master of art, able to handle any puppet. Thus to be called a good Zaw-handler is the highest praise for a puppeteer."

Nat Kadaw (Votaress / Spiritual Medium) Or Apyo-daw (Hand Maiden)

A Spiritual Medium or Fortune Teller: The Votaress is a fascinating part of the ethnic scene of Burma. She is a medium possessing such a beautiful "butterfly" or soul that a Nat had taken her for his wife. Although she may have a mortal husband, her first duty is towards her spiritual spouse (the Nat), who will prophesy the future of her clients through her. The Votaress puppet is always dressed in red, the favorite color of Nats. Her hair flows down and a band of red silk circles her brow with two short ends fluttering over her ears. A long silk scarf is tied around her torso, and knotted on her bosom.  This puppet can be used for both the Votaress and the handmaiden since they are almost identical with a few costume changes. This is one of the most difficult marionettes to handle since she has the most strings (30 or more). One puppeteer usually handles the princess, Votaress and handmaiden. Naing Yee Mar adds, "We never used this Nat Kadaw doll in a roll of a princess or a queen or the handmaiden dance at our theater." (see Hand Maiden below)

Royalty (the heroes of the story)
 

Prince

Princess (68.75 cm)

The royalty (King, Queen, Prince, and Princess) are the heroes of the story and will always be the most expertly sculpted and opulently dressed and they are often larger than most of the other puppets. The princess embodies the Burmese ideal beauty, so her face is always beautifully sculpted and painted. Her jacket is the most opulent, heavily embroidered with silver, tinsel, and beads. After all, her charming beauty is beyond description. She is also dressed with elaborate imitation jewelry on her neck and breast. Her little comb pinned into her hair is studded with diamonds!

The love duet between the Prince and Princess is the most beautiful and sentimental performance. This is the climax of the puppet show. The best puppeteers are always selected to perform this magnificent and artistic royal dance. The prince, back from his studies, brings his love back to his home palace. They are accompanied by two jesters who make a joke when they are tired.
 

Apyo-daw  (Hand Maiden) (66.25 cm) by Dr. Tin Maung Kyi

Naing Yee Mar adds: "The Handmaiden (Apyo-daw with the yellow dress) is used in a roll of a princess or a queen by taking out the head bands and scarf across the bosom. This particular doll in your web page was carved by Dr. Tin when we started our theater in 1986. We keep this puppet as a model to produce the new one and for studying. Many visitors at our theater asked us to sell that puppet. The visitors are allowed to choose the dancing puppets from our stage for buying after the show except that special one." Photo of princess and handmaiden on stage

Political Figures:

Home Minister

Ministers are used primarily used to tell the story and are not actively involved in the story line. The puppets sizes are in relation to the political power and rank of the offices represented.  More photos: Home Minister and Mayor | Prime Minister and Minister of Secretarial

Miscellaneous Characters and Clowns:

The puppet representing a Thu-Nge-Daw or Thu-Nay-Daw (Page Boy) is smaller than most since it represents a young boy in the roles of a son of a prince or a pageboy. Page boys were young sons of lesser princes and nobles, who up to the age of 14, served as general errand boys in the palace. Being allowed access to the ladies quarter, they were most useful in carrying messages and love letters. One of their duties was to run ahead of royal processions, to make sure all was in order and to point out the seating plan of the nobles.

The clown / Jester is the Prince's side-kick. He brings in a lot of humor to otherwise scary situations. He is often easy to blame for some of the problems that the Prince might fall into. One of the most popular parts of a Burmese puppet performance are comedy skits played out by "U Whewi Yoe and Daw Moe", typically old men and old women representing the town fools. Often these comedies are impromptu performances laughing at some recent local situation. These are especially popular among the Burmese country folk who can better understand the humor.
 

Thu Nge Daw (Royal Page Boy) (50 cm)

Clown / Jester

Branin (Ponna)

Old Man

Old Man

Old Woman

Marionettes: Thailand

I hope to get some photos of Thai (Full Figure Puppets) m