Chapter 3. Mouth and Mind: A symbolic performance evoking conversation
3.1 Budaixi as representation
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generation. The Pili company has produced multiple series of Pili shows; past and current episodes can be watched on television and online. Like Shi Yan-wen, the series is spoken in Taiwanese with Mandarin subtitles. DVDs are widely available throughout the island and through the company’s website. Their innovative use of technology and marketing have won them accolades for Taiwan’s emerging “cultural creative industries” and the company is seen as a capable competitor with the “United States, Japan and Korea.” (Silvio, 2011, p. 151) The style of the show is distinct and is a “popular culture genre unique to Taiwan.” (Silvio, 2007, p. 285) Characters are beloved by the fanbase who gather online to discuss the show and share Pili inspired artwork. The puppet Su Huanzhen is both a protagonist of the Pili show and an “icon of Taiwanese popular culture.” (Silvio, 2007, p. 307) As the company has achieved success
domestically it has shifted to expanding its influence regionally and globally. The videos are one of the most popular entertainment produced in Taiwan and the series has “attracted cult
followings in Japan and China.” (Silvio, 2011, p. 150) There is hope for Pili to follow the success of Japan and South Korea at entering the Western market; however entry into the US market has been “extremely limited, and of varying success.” (Silvio, 2007, p. 286)
3.1 Budaixi as representation
Running itself as a de facto country while simultaneously dealing with increasing pressure from China puts Taiwan in a “unique situation in the international community.” (Lu) Cultural
diplomacy not only plays an important part in Taiwan's diplomatic efforts, it embodies a vital role. “If Taiwan is to survive, cultural diplomacy is crucial diplomacy.” (Lu) Living under such unique circumstances, Taiwan benefits from practicing more traditional diplomacy while
adapting to newer forms. As the world changes, so too does diplomacy; “diplomacy is no longer limited to the banquet of the season.” (Lu) While these traditional channels of diplomacy are still vital to the international community, the types of actors have become more diversified. The more channels of diplomacy Taiwan employs the more opportunities exist for the country to represent itself abroad.
“Taiwan is a unique situation in the international community. On one hand we are a normal country with all the portions of daily life. On the other hand Taiwan is not like a normal country because we are under political pressure from Mainland
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China. This is a crucial fact. Certainly this is why for the diplomat there is a clear mission trying to promote good relations with the international community. For example with diplomatic official exchanges, there is no limit to promote ourselves and all means could be useful.” (Lu)
Taiwan’s cultural diversity is reflected in the wide array of art forms. Taipei’s National Palace Museum has the one of the largest collection of traditional Chinese art in the world. Expressions of Hakka culture can be found in oil-paper umbrellas on display at Taoyuan’s Hakka Culture Hall. The country still uses Traditional Chinese characters, ensuring that calligraphy remains a practiced art form on the island. As a democracy, religion is freely practised on the island and Taiwan's religious temples have numerous festivals throughout the year; the Matsu pilgrimage is an annual event attracting thousands of participants. The government of Taiwan officially
recognizes sixteen aboriginal tribes. These tribes have their own distinctive culture and art forms which include weaving, dancing and religious festivals. Taiwan’s diverse cultures and their art forms represent the countries complex history, heritage and identity. As symbols of Taiwan, art then becomes tied to the politics of the country.
As a part of these diverse cultural arts, Budaixi both represents Taiwan and communicates issues of importance to the country to the international community. This research’s findings reflect how Taiwanese glove puppetry serves as a tool of cultural diplomacy by adapting a traditional art form to be used by modern actors. Budaixi has evolved into a distinctive art form that represents Taiwan; as such it can be used to teach about the history of the country and the diverse facets of its culture. “A particular relic may have a specific biography, but whole types of relic and indeed the class of things called ‘relic’ itself, may have a larger historical ebb and flow, in the course of which its meaning may shift significantly.” (Appadurai, p. 34) As Taiwan evolved from colony to autocracy to democracy, Budaixi has evolved alongside it, reflecting these historical and cultural changes back to the audience. By incorporating emerging technologies into their shows, puppeteers have created innovative artwork preserving its historical roots. Taiwanese glove puppets entertain while educating audiences about Taiwan’s history, cultural, diverse religious beliefs and its complex political status. As Taiwan works to increases its participation in the
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global community, Budaixi presents a “Taiwan-centered globalization” that is “grounded in just such a history, constructed through specific forms of remediation.” (Silvio, 2007, p. 287)
Culture is a valuable resource of power. As a form of soft power, cultural diplomacy “relies on and legitimizes the marketization of culture and sponsors the production and international projection of attractive media culture for the purpose of enhancing national reputation and economic profits.” (Iwabuchi, p. 423) Taiwan has a rich culture and can benefit from promoting it abroad. By using this culture as a tool of soft power, Taiwan can broadcast its beliefs and ideals to wider audiences. Since Taiwan has restraints placed on its use of hard power, utilizing its soft power could help balance Taiwan's diplomatic predicament and further engage the country with the global community. Taiwanese glove puppetry represents Taiwanese culture and connects it to the larger world of puppetry. “Local cultures are a microcosm of something
bigger.” (Siebert) By bringing that culture to a larger audience, Budaixi acts as a conduit connecting Taiwan to the larger international community as well.
Soft power has value in “its utility in redefining national identity.” (Lee, p.5) In Taiwan, puppets represent Taiwan because they have a connection to Taiwanese identity. During election season in Taiwan, local politicians pose with glove puppets for publicity. A puppet designed in the
likeness of former president Chen Shui-bian was made for publicity during his election campaign.
During her campaigning, current president Tsai Ing-wen had a puppet theater company perform at night markets in an attempt to grab voters' attention. Because of its connection to Taiwan and to identity, Budaixi can be used as a symbol to represent the country.
“They [puppets] are part of a certain political message about identity, about Taiwanese identity as opposed to any other identity. As such it's mainly used by politicians and basically only during election time to show their Taiwaneseness.
Puppet theater because of its history is the easiest thing to show that. Also
because it's fun and the puppets don't talk back. So they have very positive aspects and it's part of the Taiwanese psyche because of the television puppets in the 1970s and the Pili hype now.” (Ruizendaal)
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As an ambassador to France and Haiti, Lu Michel Ching-long served as a representative of his country and during this time he used puppets to represent Taiwan. While ambassador, Lu brought Taiwanese glove puppets on his diplomatic trips abroad; while on these trips he would show off the puppets to onlookers and demonstrate how they worked. A history of puppetry and its ties to Taiwan were incorporated into his speeches. Notably, he would enact short plays where he would play with the puppets while voicing characters in the French language. “For diplomacy you need creativity and imagination;” the ambassador’s puppet shows contained both. (Lu) French audiences were receptive to his shows and the ambassador became associated with the art form. “They always expected Lu will come with his puppets.” (Lu) This expectation reflected the associations between the Taiwanese ambassador with puppetry and by extension between
puppetry and Taiwan. Not only were his shows popular, his performances inspired some in the audience to travel to Taiwan to study. “French students came to Taiwan to learn the puppets.”
(Lu) In 2013, Lu gave a speech at the Festival d'Avignon6in France. After his speech he impressed the audience by performing with Taiwanese glove puppets. At the end of his puppet show, Lu told the audience, “You don't need to remember Ambassador Lu. But after you see and hear my speech and performance, I guarantee that you will remember that this is Taiwan.” (Yang) This association between Budaixi and Taiwan illustrates how the art form represents the country.
Taiwan museums represent Taiwan when working with other museums abroad. International traveling exhibitions can be particularly helpful for Taiwan if the receiving museum does not have any Taiwanese cultural artifacts in its collection. The Taiyuan Asian Puppet Theatre
Museum has represented Taiwan abroad with its museum exhibitions and with its theater troupe.
Their overseas representation has been government funded and has led to long lasting
relationships between other museums and other puppet organizations. “We could build a very deep and complex program for a foreign institution and represent Taiwan very well.” (Siebert) By representing Taiwan, the TAPTM was able to show not only the history of Taiwanese puppetry but also the role the country played in the larger world of Asian puppetry.
In May 2017, the museum traveled to Cape South, South Africa with their exhibition The Magic of Asian Theatre Puppets-Beauties, Heroes, Villains, Gods and Clowns. This international traveling exhibition allowed the museum to represent Taiwan abroad. Their presentation was the
6The Festival d'Avignon is an arts festival held annually in Avignon, France.
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first representation of Asian puppetry to be exhibited in Africa. The two month exhibition took place at the Iziko South African National Gallery; highlights included over 150 items not only from Taiwan but from the Asian region. Collection items on display included shadow, rod, marionettes and glove puppets as part of the exhibition. Accompanying workshops included puppet demonstrations and lectures focusing on Asian puppetry history and puppet conservation.
Lectures addressed the connection between Taiwanese identity and glove puppet traditions. By representing Taiwan, the TAPTM was able to show not only the history of Taiwanese puppetry but also the role the country played in the larger world of Asian puppetry.
When Budaixi travels abroad it represents Taiwan. In 2019, the TECO7office in Atlanta,
Georgia organized events to celebrate both the 40th anniversary of the Taiwan Relation Act and the 40th anniversary of the Taipei Atlanta Sister City relationship. Associated events included Taipei Mayor Ko Wen-je meeting with Atlanta Mayor Keisha Lance Bottoms and Georgia Governor Brian Kemp. The Atlanta based Center for Puppetry Arts (CPA) hosted a reception for Mayor Ko and the accompanying Taiwan delegation. Center for Puppetry Arts producer Kristin Haverty described the reception as positive, commenting that “it was a packed event!” (Haverty) The CPA advertised the event outside their puppet headquarters and media coverage featured photos of the Center, including photos of Mayor Ko standing in front of a CPA podium.
7The Taipei Economic and Cultural Office serves as an unofficial embassy and consulate overseas in lieu of formal diplomatic relations.
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Image 3 Taipei Mayor Ko Wen-je at the Center for Puppetry Art
During the Mayor Ko's visit a Memorandum of Understanding was signed between the Importers and Exporters Association of Taipei and the Metro Atlanta Chamber. The memorandum
proclaimed the participating parties would enhance their liaison and cooperation in regards to importing and exporting. Other areas where such ties would also be enhanced included investment and information sharing. The issue of Taiwan’s political and economic status was discussed at the event including how Taiwanese companies “have been caught in the middle of the U.S.-China trade war and are rethinking their China-heavy supply chains.” (Williams) Staging this event at the CPA allowed Budaixi to represent Taiwan at a political event and influenced the language of the participants. IEAT chairman Peter W.J. Huang told the Global Atlanta that the memorandum's signing was “more than just theater.” (Williams)
Budaixi will continue to represent Taiwan in Atlanta as the celebrations of this sister-city relationship extends into the summer. Again working with TECO, the CPA has arranged for the Taiwanese puppet troupe Chen Hsi-Huang to visit in June. Chen Hsi-Huang will be performing the traditional Budaixi play A Chance Encounter Leads to Marriage. The Center anticipates that people “will come and get excited about the budai xi [sic] glove puppetry and want to know more about the company and the tradition.” (Haverty) This particular troupe was chosen because they have learned the craft through a lineage of puppet masters. Connection to past Taiwanese
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puppeteers conveys the message that the “work is both of the present and the past.” (Haverty) By representing Taiwan, Taiwanese glove puppetry has brought Taiwan culture to Atlanta.
Other Taiwanese theater troupes are representing Taiwan to an international audience.
Tainan based GooDoo Puppet Troupe illustrates how the art form has evolved and how it is being used to tell Taiwan’s story. Formed in 2000, GooDoo regularly performs across the island and has conducted tours abroad to Japan and Thailand. Their shows incorporate the smaller sized traditional Budaixi puppets and the larger sized modern puppets similar to those used by Pili.
Puppets that resemble the Golden Ray style are also included in their shows, allowing audiences to visually witness the many changes the art form has undergone in Taiwan over the last few decades. GooDoo incorporates modern aesthetics and subject matter into its plays, reflecting the changes taking place in Taiwanese culture and the changing identity of its society. Troupe leader Huang Guan-Wei believes Taiwanese glove puppetry will continue to thrive and adapt to modern times. “Performances will become more complex and increasingly sophisticated.” (Huffman) As a representation of Taiwan, GooDoo feels an obligation to reflect Taiwan authentically. Huang feels a responsibility to both represent the people of Taiwan and the art form. “We have a responsibility to the legacy of Budaixi but we also acknowledge the needs of this era by incorporating experiences people have had on this land into our performances.” (Huffman)
A strength of diplomacy “is its audience reach and ability to generate public awareness and set the agenda.” (Nye, p. 107) GooDoo creates public awareness of Taiwanese history by
incorporating it into their performances. Their 2017 production, Mystery of The Great Mind Ocean, presented a historical drama set during Taiwan’s Dutch colonial period. Historical figure Koxinga became a character in the storyline and significantly moved the plot forward. The play addressed a complex series of issues including colonization, taxation, Aboriginal tribal life, prostitution, and racially motivated mass murder.
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Image 4 GooDoo Puppet Troupe's Mystery of the Great Mind Ocean
Working Taiwanese events and historical figures into storylines is important to GooDoo. Troupe member Roger Chang explains, “by putting stories into our plays that incorporate real events we can teach history that people might otherwise not know.” (Huffman) GooDoo’s approach reflects Taiwan’s evolving identity- Taiwanese history from the perspective of Taiwan as its own entity and distinctively not under the umbrella of China. Traditional smaller puppets are used that evoke its Chinese origins alongside modern day puppets that symbolized how the art, and the country, have changed.
Budaixi has evolved to attract a more international audience. The type of actors employing glove puppetry has also evolved. In addition to governments, private actors utilize cultural diplomacy to “send and gather information through interaction with the global public.” (Pigman, p. 211) Taipei based NPY Studio was founded in 2016 and is the creator of the online puppet show Underworld Rangers. The series follows a small group of puppet heroes as they travel the land fighting for justice. The puppet show performs entirely online via NPY Studio’s YouTube channel8. A unique aspect of the show is that production is partially financed through
8https://www.youtube.com/channel/UCvYEYEv87JBnTGozvZCI65Q
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crowdfunding9. Over 7,000 fans from Japan, China, Canada and the United States have donated financially. Additionally funding was provided by Taipei government’s Department of Cultural Affairs. By incorporating emerging technologies into their shows, puppeteers have created innovative artwork that preserves its historical roots and helps bring the art form to a larger audience that extends beyond Taiwan. New technologies such as online puppet shows can be classified as a new modality that is part of the “burgeoning field of digital diplomacy.” (Ang, p.
379) New technologies allow companies like NPY Studio to create an online public space for
“cultural growth and experimentation” that reaches a larger global audience. (Street, p. 309)
NPY Studio represents Taiwan in their promotional materials, showing Taiwanese voice actors recording in Taiwan and behind the scenes filming that takes place on the island. Crowdfunding efforts include special rewards for those who donate specific monetary amounts. NPY includes items in their reward packages such as tokens resembling Ming Dynasty coinage, bags and chopsticks embossed with traditional Chinese characters, and both posters and key chains of the main puppet characters. One reward package includes a T-shirt with cartoon images of the main four characters depicted in an anime style. The t-shirt is advertised as “made of 100% Taiwan quality cotton” and made with the “unremitting spirit of Taiwanese people.” (Lin) As a
representative of Taiwan, NPY Studio is bringing Taiwanese to a larger global audience. They maintain a Facebook page10which posts updates on the series. As of this writing, their fan community boasts 7,910 people.
Pili’s long running puppet series maintains a steady level of popularity in Taiwan and a growing fanbase abroad. As a representative of Taiwan, it mirrors the nation’s complex history. Like its country, the puppet show has roots in Chinese culture but has evolved into its own distinct identity. Taiwan’s multiethnic background is reflected in the way Pili “globalizes itself.” (Silvio, 2007, p. 285) Narratives and characters uphold the “principles of Taoism, Buddhism, and
Confucianism” while also adapting to modern times and incorporating contemporary digital effects and aesthetics. (Silvio, 2011, p. 152) Plotlines have become more complex and modern shows feature a “world of multiple organizations and shifting alliances.” (Silvio, 2011, p. 152) In
9A type of financial funding that raises small amounts of donations from a large amount of people through an online website.
10https://www.facebook.com/UnderworldRangers
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today’s world of complicated international relations, Pili exports Taiwan’s culture, entertaining while introducing foreign viewers to Taiwan.
In 2016, the company released Thunderbolt Fantasy, a cross-cultural collaboration puppet series between Pili puppeteers with Japanese anime artists and designers. Famous Japanese writer Gen Urobuchi worked on the production. The show aired in Taiwan, Japan, Mainland China and the United States. The series combined Pili’s signature puppetry style with Japanese characters and
In 2016, the company released Thunderbolt Fantasy, a cross-cultural collaboration puppet series between Pili puppeteers with Japanese anime artists and designers. Famous Japanese writer Gen Urobuchi worked on the production. The show aired in Taiwan, Japan, Mainland China and the United States. The series combined Pili’s signature puppetry style with Japanese characters and