Chapter 1. Introduction
1.4 Research Method
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roots of this particular art form which later motivated me to designate it as my research topic.
Budaixi, Taiwanese glove puppetry, is one of the art forms that can be used as a tool of cultural diplomacy. Because it has evolved alongside Taiwan in its transformation from colony to flourishing democracy, it is a powerful reflection of the country’s journey. The purpose of my research is to explore how Taiwan has used its culture as a form of diplomacy. It is my hope that this research will provide guidance on how theatrical culture, specifically Budaixi, can be
utilized on a deeper level to further promote Taiwan’s interests to the international community.
My research analyzes how Taiwan has used its culture as a form of diplomacy and soft power.
Specifically I focus on how Budaixi is a useful tool of cultural diplomacy because of its deep roots in Taiwan. Like Taiwan, Budaixi has undergone a unique evolution and the art form is entwined with the island’s transformation. I hope to illustrate glove puppetry’s ability to further broadcast Taiwan’s importance and significance in the international community to a greater global audience. By presenting Budaixi to a world stage, Taiwan can use individual puppeteer hands to amplify the country’s collective voice.
1.3 Research Question
My research addresses two questions. First I ask how Taiwanese glove puppetry can be used as a tool of cultural diplomacy. Since a key aspect to this question is effectiveness, I am additionally asking what are the contribution and challenges of using Budaixi as a tool of cultural diplomacy.
To answer these questions I have conducted literature research on soft power, public diplomacy and cultural diplomacy. Case studies provide examples of how various forms of Taiwanese culture has been used as cultural diplomacy and why a particular cultural aspect was embraced.
In-depth interviews examine how the specific art of glove puppet theater can be incorporated as a function of cultural diplomacy. An online fan group of the Pili puppet series Thunderbolt
Fantasy has been analyzed for evidence of cross-cultural communication.
1.4 Research Method
To determine how Taiwanese glove puppetry can be used as a tool of cultural diplomacy I have adopted a qualitative methodology. Qualitative research is used in social sciences and is a method of observation to gain data of a non-numerical nature. This form of research focuses on
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the hows and whys of phenomenon occurring. To explore how often phenomenon occurs, quantitative research is used; this research method involves empirical investigation of
phenomena via statistical or other numerical methods. Qualitative research techniques involve in-depth literature review, focus groups, participant observation, interviews and case studies.
Because the aim of this research is to explore how Taiwanese glove puppetry can be used as cultural diplomacy a qualitative research method was chosen to enable an in-depth understanding and exploration of the topic.
Qualitative research was conducted through secondary research of literature review and analysis, and in-depth interviews. Literature review focuses on soft power, public diplomacy, cultural diplomacy and Taiwanese glove puppetry. I have conducted exploratory case studies with qualitative methods to examine how different forms of Taiwanese culture have been used as a form of cultural diplomacy. Because numerous art forms exemplify Taiwan's culture, I have chosen three different genres for my case studies. Cloud Gate is an example from the dance genre. Peking and Taiwanese Opera are both part of theatrical and singing genres. Nezha, the Electric Techno Neon God, is an example from both religious art and dancing genres.
Objects of research involved the Taiyuan Asian Puppet Theatre Museum, the Center For Puppetry Arts, Taiwan puppet television shows such as Shi Yan-wen and the Pili puppet series including Thunderbolt Fantasy, and online activities of Pili fans. In-depth interviews were held with puppet scholars, puppet museum staff, puppeteers and puppet fans. Additional research was conducted with an analysis of an online Facebook fan group of Taiwanese glove puppetry.
Interviews were conducted in person, over the telephone and through email. I have interviewed six individuals for this research.
Lu Michel Ching-long served as the Taiwanese ambassador to France for sixteen years. He also served as ambassador to Haiti and as director of Taiwan's Association of Foreign Relations. Lu helped strengthen Taiwan's bilateral ties with France and Haiti, fostering cross-cultural
communication and educational experiences. Now retired, Lu lectures both domestically and abroad on diplomatic issues, cross-cultural communication and how to promote Taiwan through
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its multifaceted culture. As an ambassador, Lu gained a reputation for incorporating Taiwanese glove puppets into his diplomatic trips and lectures.
Robin Ruizendaal is the director of the Taiyuan Asian Puppet Theatre Museum (台原亞洲偶戲 博物館). The TAPTM encompasses both a museum and theater space and has fours floors dedicated to puppetry, featuring glove, marionette, rod and shadow puppets. In addition to puppets from Taiwan, their collection includes puppets, props, costumes and stages from across the Asia region. Paul Lin co-founded the TAPTM with Ruizendaal in 2000 and the organization currently has over ten thousand Asian puppetry artifacts in its collection. They hold regular puppet exhibitions, educational workshops and puppet performances both locally and abroad.
Kim Siebert is the Collection and Conservation Director at the Taiyuan Asian Puppet Theatre Museum. She facilitates the preservation, care and exhibition of the museum's collection. Having trained, worked and lived in multiple countries, Siebert shared her experience in conserving artifacts from diverse cultures. Siebert has a background in museum and conservation practice with a focus on cultural heritage artifacts. She has worked with the TAPTM since 2008.
Dr. Terry Silvio has researched both Taiwanese Opera and Taiwanese glove puppetry. She has a particular interest in the intersection of performance traditions and media technologies. Working with Academica Sinica since 2002, she is an Assistant Research Fellow in the Institute of
Ethnology. Silvio has written several academic articles about puppetry and her book Puppets, Gods, and Brands: Theorizing the Age of Animation from Taiwan will be published September 2019.
Kristin Haverty is a producer at the Center for Puppetry Arts (CPA) in Atlanta, Georgia, USA and a UNIMA2councilor. Currently she is working with the Taipei Economic & Cultural Office (TECO) in Atlanta to host the Taiwanese Chen Hsi-Huang Traditional Puppetry Troupe at the CPA in June of this year. Established in 1978, the CPA is the largest non-profit organization in the US that is solely dedicated to puppetry.
2Union Internationale de la Marionnette International Puppetry Association
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Tiffanee Niitsu-Santo is an American fan of Taiwanese glove puppetry and has appointed herself an ambassador for Taiwanese culture and glove puppets. She brings her collection of glove puppets to comic, anime3and doll conventions in the United States and introduces curious onlookers to the Pili puppet series and to Taiwan. Niitsu-Santo cares deeply about Budaixi and has made connections within the puppet fan community both in Taiwan and around the world
Additional research involves qualitative analysis of an online puppet fan group. Fans of Thunderbolt Fantasy (東離劍遊紀) is a Facebook group for fans of the Pili puppet television series Thunderbolt Fantasy. Pili is a Taiwanese company and their puppets are a contemporary form of Budaixi. The group is specifically for English speaking fans of the series and has 169 members from multiple countries. At time of analysis there were 170 subscribers to the fan page.
Analysis of posts’ subject matter was examined from messages dating from October 24, 2017 to December 29, 2018.
3Anime is a form of Japanese animation known for its colorful graphics and fantasy themes.
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