Chinese influences even reached the West: for example, in France, one spoke of “Chinese shadows” (see Shadow Theatre).Īll sorts of legends, myths, and quasi-historical tales tell of the origin of shadow puppets in each country and actual origins are obscure. Here, transmissions were probably never a one way borrowing, and China and the Islamic world’s shadow genres have interacted with Indian strains in this area in multidirectional flows over long periods. While Indian influence is clearly visible in the shadow theatre of South East Asia – most notably, in the repertoire – actual practice of shadow puppetry remains more important and pervasive in the South East Asian region.
Some argue that it originated in Central Asia and from there radiated to other countries: to India and China and South East Asia, and also (through the intermediary of the Turks) to Mediterranean nations of the Middle East, North Africa and Europe where it became an indigenous popular art (see Karagöz). Shadow theatre seems equally old in India and China. These forms will be emphasized in this article, recognizing that other techniques coexist and can dominate as in Japan (Bunraku / ningyō jōruri) or Vietnam ( water puppets). Sometimes, it is found in areas where religiously focused puppetry existed in the past.įlat figures used to throw a shadow on a screen (shadow puppets) and three- dimensional figures manipulated by strings to simulate human movements are, arguably, some of the oldest, most important, and valued Asian genres. Additionally, today a rich new tradition of puppetry carrying social, political, educational or entertainment functions has arisen. While many of these rites are defunct, the aura of the sacred lingers on in certain genres. In China, the puppets were sometimes used in exorcistic rites prior to the performances (see China). Traditionally, this helped bless the viewers and the presentation: in the past there was sometimes a thin line between ritual and the performance of the puppet play, especially in some of the shadow puppet genres (as in Kerala in India and Indonesia). In India, Indonesia, and Malaysia there were, traditionally, ritual preparations for a performance that might include invocation of gods and ancestors as part of the opening, especially if the performance were in a temple (India) or rural context (Indonesia, Malaysia). Manipulators used figures to teach, moralize, and tell exemplary legends and stories with religious import. Effigies of the divinities or humans, via their figurative representations, were animated to inspire or instruct believers.
Origins giving importance to puppetry on the continent seem linked with religion or ancestral cults exorcizing negative spirits. Puppetry has been practised for many centuries in Asian countries, especially India and China where it is old and deeply implanted: these two cultures have influenced the puppetry of neighbouring regions.
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