A set of 28 Myanmar Marionettes with Explaination
•
6 likes•8,692 views
A set of Myanmar Professional 28 Marionettes Photos & Presented by Kyaw Myo Ko, Mandalay Marionettes Theater, Myanmar. www.mandalaymarionettes.com
Recommended
More Related Content
What's hot
What's hot (20)
More from Kyaw Myo Ko
More from Kyaw Myo Ko (10)
Recently uploaded
Recently uploaded (20)
A set of 28 Myanmar Marionettes with Explaination
- 1. A set of 28 Puppets Myanmar Professional Puppets, Produced by Mandalay Marionettes Myanmar. www.mandalaymarionettes.com
- 2. 1. Bodaw : The Hermit / Monk www.mandalaymarionettes.com
- 3. 2. Thagyar Min : King of the celestial beings www.mandalaymarionettes.com
- 4. 3. Sama-deva Nat, or Brahma; The Good Celestial Being www.mandalaymarionettes.com
- 5. 4. Nat Pyet ; The Evil Celestial Being www.mandalaymarionettes.com
- 6. 5. Bayin, or Min : King www.mandalaymarionettes.com
- 7. 6. Wun : The Prime Minister www.mandalaymarionettes.com
- 8. 7. Wun : The Home Minister www.mandalaymarionettes.com
- 9. 8. Wun : The Minister or Secretarial www.mandalaymarionettes.com
- 10. 9. Wun : The Mayor www.mandalaymarionettes.com
- 11. 10. Mintha : Prince www.mandalaymarionettes.com
- 12. 11. Minthamee : The princess www.mandalaymarionettes.com
- 13. 12. Mintha-Gyi : The Prince regent www.mandalaymarionettes.com
- 14. 13. Mintha-Latt : The Prince regent www.mandalaymarionettes.com
- 15. 14 & 15. Than-Cho & Than-pyet (Sweet-Song-Ster & Broken Voice): The Jesters www.mandalaymarionettes.com
- 16. 14 & 15. Than-Cho & Than-pyet (Sweet-Song-Ster & Broken Voice): The Jesters www.mandalaymarionettes.com
- 17. 16. Nat-Kadaw : Votaree or Medium www.mandalaymarionettes.com
- 18. 17. Apyo-daw : The handmaiden www.mandalaymarionettes.com
- 19. 18. Thu-Nge-Daw : The page Boy www.mandalaymarionettes.com
- 20. 19. Ponna : Brahmin Astrologer www.mandalaymarionettes.com
- 21. 20. Zawgyi : Magician/Alchmist www.mandalaymarionettes.com
- 22. 21. Nan Belu : City Ogre www.mandalaymarionettes.com
- 23. 22. Taw Belu : Jungle Ogre www.mandalaymarionettes.com
- 24. 23. Garuda : Mythical Bird www.mandalaymarionettes.com
- 25. 24. Naga : Serpent www.mandalaymarionettes.com
- 26. 25. Myin : Horse www.mandalaymarionettes.com
- 27. 26. Myauk : Monkey www.mandalaymarionettes.com
- 28. 27. Hsin : Elephant www.mandalaymarionettes.com
- 29. 28. Kyar : Tiger www.mandalaymarionettes.com
- 30. +1. Old Man ( U Shwe Yoe) Optional Puppet www.mandalaymarionettes.com
- 31. +2. Old Woman ( Daw Moe ) Optional Puppet. www.mandalaymarionettes.com
Editor's Notes
- Yoke Thay (Myanmar Traditional Marionettes Theater) Yoke Thay, once a highly esteemed royal pastime, is a show not merely of stringed wooden dolls but of life-like human substitutes. They could tell stories like dramatists. They could dance like subtle choreographers. And what is more, they could make human dancers so envious of their superceding artistry that there has emerged a form of marionettes dance imitatively created by human beings themselves. In fact, Puppetry is the blend of sculpture, Painting, costuming, embroidery, and dramatic arts . Being a form of arts where many kinds of arts converge. Yoke Thay (the Myanmar Marionettes Theater) still survives with its brilliant tradition and sophisticated string craft; the art of manipulating. Yoke Thay is the traditional stringed puppets of Myanmar. It is, in fact, wooden marionettes manipulated by means of strings. In those days of Myanmar kings, it was known as Ah-Myint-Tha-Bin which literally means performance on the high level . The Royalty did not at first allowed human dancers on the stage and thus lifeless marionette dance has a great opportunity to be on a high level stage above the Royal audience. The human manipulators and singers were hidden and obliged to perform behind the hand rail and the back curtain attached to it. Female artistes were not allowed then to present themselves on stage. Accordingly, men had to impersonate women characters. Men artiste performed as women impersonators were later known as Yoke Thay Min-Tha-Mi, the female puppet dancers on whom the title of Great Sweet Singer ( Ma-du-Thaddha-Shwe-Daung ) were usually conferred. During the reign of king Min-Don in the Kon-Baung dynasty, there use to be several types of marionette troupes: the grand marionette troupe ( Sin-Daw-Gyi ) to be performed in the present of King, the minor marionette troupe ( Sin-Daw-Gale ) in the present of the Queen and the Crown Prince, ( Tha-Mi-Daw-Sin ) to the Royal daughters and ( Win-Daw-Sin ) to be confined to the palace enclosure alone, etc… Yoke Thay is higher in status and the creation of this art is also considered to be a sacred accomplishment. The 28 puppets were formed to depict the 28 ru-pas (physical forms) which consists of 4 bu-ta-nu-pas (elements) and 24 u-pa-da-ya-ru-pas (attachments) mentioned in the Ah-bi-damma ; the Buddha's teaching embodied in the third basket of Ti-pi-ta-ka . The 4 ministers marionettes represent the 4 elements and the other 24 puppets are two Nat votaress, one horse, two elephants (black and white), one tiger, one monkey, one parrot, two ogres, one zawgyi (necromancer), one dragon, one garuda (mythical Bird), one deva (good spirit), one king, one prince, one princess, two prince regents, one astrologer, one hermit one old woman and two court jesters. The puppet sculptors are required to observe the strict rules regarding the choice of the prescribed types of wood for carving particular figures, the prescribed proportion of the figures befitting the roles and human anatomy including sex organs. The dramas staged in Yoke Thay versions are taken from the themes of five hundred and fifty ni-pa-tas (the stories as to many preceding existences of the lord Buddha before attaining Buddha hood :). Fables and historical themes are occasionally performed. Win-Ko-Win (nine chronicles regarding the sacred facts of the Lord Buddha) forms a bulk of the dramatic repertory. As Marionette Theater is being enacted night long, provision must be made in it to amuse young and old. The show first begins with the scene depicting the depicting the destruction of the world by wind, water and fire and then the formation of the new world. To symbolize the destruction of the world, harsh and deafening music is played by percussion instrument three times. When the music of destruction stops, the music of creation follows, ushering a nat votaress who enters from the middle entrance. The appearance of the Nat Votaress indicates that a new world has been created. Only experienced veteran puppeteers can manipulate the Nat Votaress because this marionette has to perform all dance steps and sing all appropriate songs. It is said that in olden days the Nat Votaress puppet had sixty strings attached by which it could imitate all human movements. When the Nat votaress goes in, the scene of the Himavanta forest appears and the animal figures come in successively. They dance animatedly and stylistically to their musical accompaniment and songs. In this scene, the stage traffic (i.e. the exit and entrance of the figures) is strictly prescribed in accordance with their nature and habits: all winged creatures and mythical figures enter and exit the stage from above the bar (the hand rail) and all crawling and marine creatures enter and exit the stage from below the bar. The scene keeps alive as Himavanta is supposed to be inaccessible to human beings. Only ogres and Zawgyi (supernatural beings endowed with the power of magic) might be found wandering in those wilds. Incidental amusement draws the attraction of the young audience and this scene is thus repeated every night. It means to preserve the tradition. The portrayal of the founding of a kingdom begins with the appearance of four ministers in the second part of the night. They hold a conversation give and take on secular, religious and royal affairs. Moreover, they introduce the synopsis of the drama to the audience, which is going to be performed. They also mention the names of the leading characters and their brief accounts. Then, they go to the councils. Then, they go to the council chamber where the king will hold a Royal audience with his ministers. Meanwhile, the king asks about the prince who will be returning from the Taxila (university) in the completion of his high education. The ministers are then summoned to wait and attend the return of Royal son. After the court scene, the romantic performance of the dance-duet in a sylvan journey follows. It is know as Myaing-tha-hna-pa-thwar. The prince has brought with him his lover or fiancée, a beautiful princess he met at the Taxila. On the sylvan journey, the princess who feels tired and ached in her feet appeals for taking a rest. The words of the princess's appeal and the prince's consolation are conveyed to each other by lyrics and troth-plighting dances while two or three court jesters tease them and joke about. The above-mentioned scenes are indispensable to any drama. The master puppeteers display their virtuosity not only in manipulating and singing but also in feminine voices and gestures. The dramatic dialogues are grandiloquent and in verse form. The plays performed are all melodramatic and comic tragedies base on jatakas and ni-pa-tas . Whatever the plot is, there is always a moral lesson for the young and religious instructions for the adults. Myanmar Marionette Theater is not merely an entertainment. It is meant to educate the audience morally and culturally . It always ends with a poetic justice: reward for the good and punishment for the evil. The hero and heroine, in the face of adversity, recite melancholic verses or Nyo-Gyin in the middle of the plot. Finally, the happy reunion of them ends the plot by showing the fact that honesty wins a victory over deceit. Myanmar the only country which had a Royal officer of ministerial status appointed by the kings themselves to look after all entertainments. It was in times of King Sagaing Min (AD 1819-1837) commonly known as King Ba-Gyi-Daw in Myanmar History that his minister for Royal entertainment, U Thaw , was authorized by his royal master to issue a Royal Edict on Myanmar Marionette Theater. In this edict mentioned the laws that the marionette artistes were to abide by. The ancient Myanmar Kings patronized this important branch of Myanmar art with great emphasis. Nowadays, the old marionette generation has almost faded away . But there is still a rosy future for this performing art. Article “About Myanmar traditional Marionettes Theater” BY U Ye Htut Department of Dramatic Arts University of Culture Myanmar
- The Hermit ( Bo-daw ) Dispenser of wisdom, arbiter of disputes, mentor of kings and princess; all of these titles suit the Bodaw. His speech is admonition to the audience. He is not the strictly religious recluse, but a holy man endowed with Powers to bring comfort and good fortune. The Bodaw marionette is made of a light and auspicious wood, the E-ka-rit or 'Emperor of Timber'. Bodaw's robe is a simple garment of dark saffron or brown. It's usually wrapped in the fashion of a monk's robe. But it is sometimes made in the style of the Brahma's costume.
- Tha-Gyar Min : King of the Celestial Beings His costume is most opulent, the tiered head-dress studded with brilliants, and his robe stiff with sequins and beads. The Thagyarmin puppet always descends upon the stage from above the handrail, signifying his abode on high. His couch is so soft that he sinks to his waist. At times of distress for the good People below, it is hardened to stone, his signal to Peer earth-wards and do the needful. Every New Year, 'Thingyan', which by the Burmes Calendar is in mid-April, he must descend to earth, riding on a creature symbolizing the fortunes of the coming year.
- Sama-deva Nat, or Brahma : The Good Celestial Being Sometimes, he is the guardian spirit of a tree, or Yokazoe, dressed in white, or he may be a higher spirit from one of the six towers of Celestial Dom. In that case his costume will be much like the attire of the Thagyar Min, but with fewer tiers to the headdress. The Yokazoe is not a very powerful nat, perhaps, but very kind and capable of granting some favours, most especially the gift of male children. The Nyaung trees (Ficus SPP) that he lives in are even nowadays seen to have small shrines tacked to them, with offerings of flowers, and a lighted candle at dusk. Since they are endowed with supernatural powers, the nat must hover on mid-ar, their feet not being allowed to touch the stage. The puppeteers have a heavy time of it; fortunately these dignitaries do not dance, so they must only be held aloft while making a few sweeping gestures with the hands.
- Nat Pyet; The Evil Celestial Being The usual Nat-Pyet is a comic figure, creating havoc out of pure mischief and not out of malice. He is small and flump, with a round white belly protruding from under a too short jacket, his waist-cloth tucked up to show tattooed thighs and fat knees. His teeth are bared in a Perpetual grin.
- King ( Bayin ) He is seldom dressed in ceremonial state costume, which might make him indistinguishable from the king of the Celestial Beings. He usually wears a white jacket, and a richly woven or embroidered Pasoe. In the right hand is a diamond-shaped dagger of gold, in the left a fly whisk with a jeweled handle.
- Four Minister Four ministers, with the king presiding, was a complete cabinet in ancient times. In line with this tradition, a puppet trope is said to be incomplete without any one of the four Ministers. They are; 1.The Prime Minister (or) Nan-Yin-Wun. 2.The Home Minister 3.Minister or secretarial 4.The Mayor. In Myanmar, they all are generally call ‘ Wun ’ (or) ‘Burden’ meaning those serving high duty or undertaking burden of state. The two senior ones usually dress high hat of velvet, called ‘Bong’ handed with gold. They wear red and green long robes open at the front, edged again with gold and jewels, and silk jacket and “ pasoes ” (or) sarong. This sarong is a long piece of cloth. Prime minister with green hat usually wears a green robe and has to sit close to the throne or ‘ Nan ’ and so called ‘ Nan-Yin-Wun ’ the minister closer to the palace. Next to him is the home minister, dressed in red hat and robe of any color as specified by the kings order and silk jacket and pasoe . The two junior members wear similar long robes. But the head dress is different from senior ones. A white piece of rolled-up cloth is circled around the head with 2 ends tucked behind like a rabbit’s ears. The king used to have a similar head dress of white cloth, but with a single rabbit’s ear at the back. Traditionally in a puppet show, the ministers are narrator of the plots going to be unfolding. From them the audience comes to know about the foundation of the story usually are from 447 Jatakas of Buddha’s previous lives.
- Four Minister Four ministers, with the king presiding, was a complete cabinet in ancient times. In line with this tradition, a puppet trope is said to be incomplete without any one of the four Ministers. They are; 1.The Prime Minister (or) Nan-Yin-Wun. 2.The Home Minister 3.Minister or secretarial 4.The Mayor. In Burmese, they all are generally call ‘ Wun ’ (or) ‘Burden’ meaning those serving high duty or undertaking burden of state. The two senior ones usually dress high hat of velvet, called ‘Bong’ handed with gold. They wear red and green long robes open at the front, edged again with gold and jewels, and silk jacket and “ pasoes ” (or) sarong. This sarong is a long piece of cloth. Prime minister with green hat usually wears a green robe and has to sit close to the throne or ‘ Nan ’ and so called ‘ Nan-Yin-Wun ’ the minister closer to the palace. Next to him is the home minister, dressed in red hat and robe of any color as specified by the kings order and silk jacket and pasoe . The two junior members wear similar long robes. But the head dress is different from senior ones. A white piece of rolled-up cloth is circled around the head with 2 ends tucked behind like a rabbit’s ears. The king used to have a similar head dress of white cloth, but with a single rabbit’s ear at the back. Traditionally in a puppet show, the ministers are narrator of the plots going to be unfolding. From them the audience comes to know about the foundation of the story usually are from 447 Jatakas of Buddha’s previous lives.
- Four Minister Four ministers, with the king presiding, was a complete cabinet in ancient times. In line with this tradition, a puppet trope is said to be incomplete without any one of the four Ministers. They are; 1.The Prime Minister (or) Nan-Yin-Wun. 2.The Home Minister 3.Minister or secretarial 4.The Mayor. In Burmese, they all are generally call ‘ Wun ’ (or) ‘Burden’ meaning those serving high duty or undertaking burden of state. The two senior ones usually dress high hat of velvet, called ‘Bong’ handed with gold. They wear red and green long robes open at the front, edged again with gold and jewels, and silk jacket and “ pasoes ” (or) sarong. This sarong is a long piece of cloth. Prime minister with green hat usually wears a green robe and has to sit close to the throne or ‘ Nan ’ and so called ‘ Nan-Yin-Wun ’ the minister closer to the palace. Next to him is the home minister, dressed in red hat and robe of any color as specified by the kings order and silk jacket and pasoe . The two junior members wear similar long robes. But the head dress is different from senior ones. A white piece of rolled-up cloth is circled around the head with 2 ends tucked behind like a rabbit’s ears. The king used to have a similar head dress of white cloth, but with a single rabbit’s ear at the back. Traditionally in a puppet show, the ministers are narrator of the plots going to be unfolding. From them the audience comes to know about the foundation of the story usually are from 447 Jatakas of Buddha’s previous lives.
- Four Minister Four ministers, with the king presiding, was a complete cabinet in ancient times. In line with this tradition, a puppet trope is said to be incomplete without any one of the four Ministers. They are; 1.The Prime Minister (or) Nan-Yin-Wun. 2.The Home Minister 3.Minister or secretarial 4.The Mayor. In Burmese, they all are generally call ‘ Wun ’ (or) ‘Burden’ meaning those serving high duty or undertaking burden of state. The two senior ones usually dress high hat of velvet, called ‘Bong’ handed with gold. They wear red and green long robes open at the front, edged again with gold and jewels, and silk jacket and “ pasoes ” (or) sarong. This sarong is a long piece of cloth. Prime minister with green hat usually wears a green robe and has to sit close to the throne or ‘ Nan ’ and so called ‘ Nan-Yin-Wun ’ the minister closer to the palace. Next to him is the home minister, dressed in red hat and robe of any color as specified by the kings order and silk jacket and pasoe . The two junior members wear similar long robes. But the head dress is different from senior ones. A white piece of rolled-up cloth is circled around the head with 2 ends tucked behind like a rabbit’s ears. The king used to have a similar head dress of white cloth, but with a single rabbit’s ear at the back. Traditionally in a puppet show, the ministers are narrator of the plots going to be unfolding. From them the audience comes to know about the foundation of the story usually are from 447 Jatakas of Buddha’s previous lives.
- A Prince Puppet ( Min-tha ) Parts played – (1) The prince- Hero (2) The brother (or) son of a king (or) Prince Description The romantic hero, the prince- puppet is sometime known as ‘soft Prince (Min-Tha-Nu), in accordance with his singing / dancing role. In every Burmese drama, a compulsory scene is the dance dust, which usually take place in the forest. The prince and princess may be in exile, due to the wiles of a jealous step mother queen, or the prince might be returning from Takkasila , after learning the 18 manly arts, winning the hand of the instructor’s daughter as best student. Or perhaps the prince has lost his way while hunting. The dress, both jacket and sarong is a superb embroidery of best craftsmanship's. A cross shaped embroidered chest piece is ‘ Sa-lwe ’, a royal insignia of king and prince. The long sarong is found ‘correctly’ tucked up to the waist with the terminal piece hanging down from it. This is the only specimen where a gents’ sarong is correctly dressed close to tradition.
- The Princess Parts played – (1) Princess role in duet dance (2) A heroine in most plays (3) A Nat Kadaw or a Votaress or a Medium, with a red turban around the head and her hairs flowing down. (4) An Apyo-daw (or) maid or honor. She dances without red turban, but hair flowing down behind. Description Her face always makes beautifully sculpture and painted. The jacket is most opulent, heavily embroidered with silvers, tinsels, and beads. After all her charming beauty is beyond description. She is dressed also with elaborate imitation jewelry on her neck and breast. Her little comb pinned into the hairs is studded with diamonds!
- The Prince Regents ( Min-Thar-Gyi + Min-Thar-Latt ) If they are the uncles of the leading Minthar, they known as the Elder Regents (Min-thar-Gyi), or if cousins and friends, as the middling Min-tha (Min-thar-Latt). They are not as powerful as the king or the Heir Apparent Prince, but nevertheless of commanding appearance dressed identically to King or Prince. The state of their characters is made known by the coloring of the faces, white for virtuous, red for evil, respectively known as the Prince Regent 'White-face' and Prince Regent 'Red-face'. They are not dancing role marionettes, but sometimes the middling Min-thar might give a display of swordsmanship. The Prince and Princess singers, the Regent singer and the Than-Cho jesters are the four most revered speakers of a troupe.
- The Prince Regents ( Min-Thar-Gyi + Min-Thar-Latt ) If they are the uncles of the leading Minthar, they known as the Elder Regents (Min-thar-Gyi), or if cousins and friends, as the middling Min-tha (Min-thar-Latt). They are not as powerful as the king or the Heir Apparent Prince, but nevertheless of commanding appearance dressed identically to King or Prince. The state of their characters is made known by the coloring of the faces, white for virtuous, red for evil, respectively known as the Prince Regent 'White-face' and Prince Regent 'Red-face'. They are not dancing role marionettes, but sometimes the middling Min-thar might give a display of swordsmanship. The Prince and Princess singers, the Regent singer and the Than-Cho jesters are the four most revered speakers of a troupe.
- Burmese Clown Parts played - (1) The clown (or) The Jesters (2) A good companion (or) a servant to Burmese Prince (or) Princess Description It’s called with many names. Than-cho , one who speak sweet. Than-pyet , one who speak Jokes Those are also called Lu-shwin-daw , one who amuses others as funny face fits its role.
- Burmese Clown Parts played - (1) The clown (or) The Jesters (2) A good companion (or) a servant to Burmese Prince (or) Princess Description It’s called with many names. Than-cho , one who speak sweet. Than-pyet , one who speak Jokes Those are also called Lu-shwin-daw , one who amuses others as funny face fits its role.
- Votaress or Medium - Nat-Kadaw Parts Played - The Votaress or Medium ( Nat Kadaw ) Dance Description This puppet can be used for both Votaress and handmaiden, for they are almost identical with the exception of few changes of costumes. 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, two short ends fluttering over the ears. A long silk scarf is tied around her torso, knotted on her bosom. Votaress is a fascinating part of the ethnic scene of Burma, a medium possessing of such a beautiful ‘butterfly’ or soul that a Nat had taken her for his wife. She may have a mortal husband but her first duty is of course towards her spiritual spouse, who will through her prophecy the future of her clients. This is one of the most difficult Marionettes to handle since she usually has the most strings, up to over thirty. One puppeteer usually handle the Princess, he can also manipulate the Votaress and Handmaiden.
- The Handmaiden ( Apyo-daw ) Parts Played - The Handmaiden ( Apyo-daw ) Dance Description This puppet can be used for both Votaress and handmaiden, for they are almost identical with the exception of few changes of costumes. The maiden doesn’t wear red, her hair flowing down. There are no head bands (or) scarves across the bosom. The handmaiden dance is categorized into twelve parts of that must be mastered by both human dancer and puppeteer. This is also one of the ritual dances of the live drama, danced by a veteran puppeteer. This is one of the most difficult Marionettes to handle since she usually has the most strings, up to over thirty. One puppeteer usually handle the Princess, he can also manipulate the Votaress and Handmaiden.
- Page Boy ( Thu-Nay-Daw ) Parts played - (1) Son of Burmese prince (2) Royal Page Boy dance (or) Thu-Nay-Daw . Description 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 procession, to make sure all was in order, and to point out the seating plan of the nobles. The page boy dance is based on this act and the marionettes, smaller than normal.
- Bramin Astrologer ( Ponna ) Parts played- (1) Astrologer, interpreters of dreams and Omins (2) Master of ceremony for auspicious (3) In drama, they are much needed villain. The Royal edit of the early 19 th century set the mandatory number of marionettes at 36, their identities are not known to have been listed. In time, however, the accepted number less to 28, commonly known to symbolize the 28 ‘physical bodies or element’ that inhabit 31 ‘towers of existence’. In some plays additional puppets are needed and added without qualms. The rest of the puppets, such as the Old Couple, Villainess, Queen etc., are optional, but it is normal for a troop to have all on hand, and even two (or) three sets of the main characters are kept.
- Zaw Gyi (Alchemist) Parts played - (1) The last participant in Himavunta scene (2) One of the good characters found in many folk tales (3) The alchemist (4) The magician Description A pointed chin, a funny moustache and a bushy beard plus a slight smile, convey a quizzical look of Zaw-Gyi that readily wins in love of every one. He is dressed in red, wearing along and flaring robe trimmed with gold, a red cap on his head, red slippers (not re here). Trousers under a tucked-up Pasoe ( not here ). Unlike the religious hermit, this magical and mythical figure is believed to enjoy an ascetic life in the wood. He would pass time busy with his philosopher’s stone, capable of making many miracles with it. He would turn a stone into gold or a dead to live, he would relieved his loneliness by playing with nymphs created, with the touch of his magic stone or staff to fruits of a certain vine. He would think of saving good folk in troubles, he would seek and collect herbs and grind medical concoction, then he would offer these to the helpless who are in need of it. His red stuff is magic as well! Prodding with it, he might turn one to anything as he wishes. He could fly through air or pass through earth. He could transform himself into another form. There’ll be no end telling about his mysterious powers. 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 highest praise for a puppeteer.
- Demon (or) Oger (Belu ) Nan Belu And Taw Belu (City Ogre And Jungle Ogre) Parts played - (1) Belus play in Himavunta scene (2) In many or 447 Jataka Tales Belus plays villainous role Description The ogre dance is mostly a show of evil power and strength, and the ominous music combine with stalking steps, creates a most chilling mood. The dance is accompanied by a characteristic drum beats known as “ ka-roung ”. The music would arouse and exits heart beats in the audience. Another demon would appear on the opposite end, performing the ritual. Later finding rivals, they would stage a fight and make chase. The music is now louder and quicker representing a decisive final stage. One would mount another and even gets locked for a time hanging in the air. And at the end, each would enter with a somersault to the back stage. The city ogre’s headdress is topped with a jeweled spike, the jungle ogre’s with a plumed crest. The city ogre will of course stand on the right side of his less noble companion and they are carrying short sward ( Than-lyet ), one of the five items of the Burmese king’s regalia. Both Puppets are identical in face, build and decorations. Protruding snout provided with fangs and grinning teeth and starry eyes convey a sardonic expression. This would surely attract and fascinates clever youngsters among the audience, while timid one would be sacred.
- Demon (or) Oger ( Belu ) Nan Belu And Taw Belu (City Ogre And Jungle Ogre) Parts played - (1) Belus play in Himavunta scene (2) In many or 447 Jataka Tales Belus plays villainous role Description The ogre dance is mostly a show of evil power and strength, and the ominous music combine with stalking steps, creates a most chilling mood. The dance is accompanied by a characteristic drum beats known as “ ka-roung ”. The music would arouse and exits heart beats in the audience. Another demon would appear on the opposite end, performing the ritual. Later finding rivals, they would stage a fight and make chase. The music is now louder and quicker representing a decisive final stage. One would mount another and even gets locked for a time hanging in the air. And at the end, each would enter with a somersault to the back stage. The city ogre’s headdress is topped with a jeweled spike, the jungle ogre’s with a plumed crest. The city ogre will of course stand on the right side of his less noble companion and they are carrying short sward ( Than-lyet ), one of the five items of the Burmese king’s regalia. Both Puppets are identical in face, build and decorations. Protruding snout provided with fangs and grinning teeth and starry eyes convey a sardonic expression. This would surely attract and fascinates clever youngsters among the audience, while timid one would be sacred.
- Garuda ( Galon ) Parts played – (1) King of the bird in many of 447 Buddhist Jataka tales. (2) A character in Himavunta scene in which it fights with Naga , king of serpents. Description Mythical creatures and they have magical power to turn themselves to human form, crown on their heads for identification. Garuda has a bird’s head, human body and hands, with wings attached and talons.
- Nagar - King of serpent Parts played – (1) King of serpent in many of 447 Buddhist Jataka tales. (2) A character in Himavunta Scene in which it fights with gallon (or) Garuda, king of the birds. Description Naga is a Pali word for a mythical serpent. The body is made up of the tubular cloth tapering to the tail end. It’s filled up with very fine saw-dust.
- White Horse Parts played - (1) The first member of Himavunta scene (2) The Royal stallion for the king and nobility. Description It’ll be necessary to write a little about this to enable one to appreciate the important role of this horse puppet. According to Burmese ancient belief handed down from generations, the world was destroyed and creates three times by fire, storm, and Rain with the appearance of 7 suns. Fix devastated all on earth and storm swept away the ashes and everything left, followed by torrential Rain, if raised the water level. So much so, that it reached the highest celestial. Brahma’s abode. The puppet play would start with the clashing of the cymbals seven times, followed by the sound of a large gong, and ended with rumbling and rapid rhythm of drum, this sequence is repeated Symbolizing and chaotic events. After this, tranquility and peace came to earth. Now a Nat – gadaw puppet would come out and dance singing in praise to unseen Devas or Nats of and locality around. She would request a favor from all, such as the Tha-Gyar-Min , king of the celestial beings, the importance personate from 37 Nats and finally the audience. After the Natgadaw enters, a new world is supposed to have been erected first with the appearance of the “Horse Constellation”. This is symbolized by the horse puppet, flying in over the back drop, and discerns on to the stage. Finding a vast expense of earth, it temps to gallop the whole length, represented by the state, 3 times. The music is “ Myin-Det-Yodaya ” (or) “The Horse Trot” in which the drums and clapper are played with a rhythm like the sounds of hooves.With the end of music, the Horse leaves the stop by galloping over the back-drop. After this, the Monkey, the Tiger, the Elephant, the Demons, the Zaw-Gyi (Alchemist) and the fighting of Naga and Garuda would appear in succession to complete the Himavunta scene.
- Monkey ( myauk ) Parts played - (1) A member of himavunta-scene (2) In Jataka plays, where monkey is a member of plot. (3) As Hanuman (name of the character) in Ramayana puppet play which is rarely staged. Description A characteristic music played for this dance would be easily identified by the Burmese audience. The dance is a wild one the monkey plays half bent facing direct to the audience, with dangling limbs and tail. The only occasional movements are a few nods and shakes head and fore head as if to grasp for banana, his favorite fruit, or to make a salute. While the monkey is dancing two ogres ( belus ) would appear on either side of stage an start a war dance. He usually wears a few human garments over his furry velvet body. The spins string is short. So that he swing forward. The monkey makes his departure by swinging off the stage.
- Elephant ( Hsin ) Some puppeteers believe the elephant is possessed by a guardian spirit and servant to the Bo-daw hermit, so they will keep it in a crouching position in front of his shrine. The elephant used in forest scene is always black, with pink tipped ears, and decorative motifs painted on the trunk and forehead.
- Tiger (Kyar) The tiger is used in the nat – legent play of Mai U, one of the most popular puppet plays. The animal puppets are rather heavy, with primarily wooden parts, even when most are hollowed. Their movements are not difficult to manipulate but must be aggressively fast, so they require some strength in handling.
- Old Man ( U Shwe Yoe ) Parts played – In the dance of U Shwe Yoe and Daw Moe . Description The conical dance of U Shwe Yoe and Daw Moe is a popular item among the country folk. This dance is always performed to make amusement by village lads in procession at festival.
- Old Woman Parts played – (1) Used as wife of the old men and (2) Daw Moe , the wife of U Shwe Yoe in the conical dance (3) Some mother roles