The Revival Of The Dying Art
Myanmar marionette theatre (Yoke Thay) – once a highly esteemed royal pastime – is a show not merely of stringed wooden dolls, but of life-like human substitutes. It is in fact, wooden marionettes manipulated by means of strings. They could dance like subtle choreographers. The Myanmar puppet still holds its own national characteristics and the original Myanmar tradition as it includes all the artistic works such as Myanmar dancing and music, sculpture, sequin embroidery and painting.
Myanmar puppetry dates back several centuries. It was well established in Myanmar during the Pagan Era, 11th century and records of the arts were made in the fifteen century. Since then it has trod a dogged track, sinking, time again, into popularity. This process of revival and de- cline had recurred repeatedly. Puppetry was in great demand at the courts of the Myanmar royalty, especially during the Kone Bong Era (1820-1885).
In those times of Myanmar Kings, the royalty did not at first allowed human dancers on the stage. That was a great opportunity for lifeless marionette dancers to be on a high level stage above the Royal audience. It was known as Ah-Myint-Tha-Bin which literally means per-formance on the high level. Female artists were not allowed at that time to present themselves on stage. Accordingly, male artists who performed as women im-personators were later known as Yoke-Thay-Min-Tha- Mi. The human manipulators and singers were hidden and obliged to perform behind the hand rail and the back curtain attached to it. [more]