Chapter 4. Rose and thorn: Contributions and challenges of Budaixi
4.2 Challenges of Budaixi
國
立 政 治 大 學
‧
N a
tio na
l C h engchi U ni ve rs it y
small. We're flying under the radar.” (Ruizendaal) Though puppet shows explore political matters, the entertainment of watching puppets makes the subject matter easier to convey. While politics feel part of the show or storyline, “it's not in your face.” (Siebert)
Taiwanese glove puppetry can initiate increased interest in Taiwan and puppet shows are
opportunities to create further exploration. “If you watch Thunderbolt Fantasy and you've never seen anything like it before there's all these directions it could take you.” (Silvio) Prior to
becoming a Budaixi fan, Niitsu-Santo did not know much about Taiwan's culture. “I honestly did not know anything, only that they speak Chinese.” (Niitsu-Santo) Since her interest in Pili began, her interest in Taiwan has deepened. “Taiwan’s culture as a whole is fascinating to me and I want to just dive into its pool of wonder. It’s an ongoing quest for me and a journey.” (Niitsu-Santo) Likewise before Thunderbolt Fantasy, Niitsu-Santo knew little of Taiwan’s political situation with China. “I knew a bit of the tension between Taiwan and China, since many of the Taiwanese actually settled there with Chiang Kai-shek and brought over the puppetry culture with them.” (Niitsu-Santo) Today, her understanding is more nuanced, a product of her own study and friendships with Pili fans in Taiwan. “I learned from Taiwanese friends that it’s a very sensitive subject…I know that Taiwan is made up of many immigrants who fled China many decades ago and China holds a grip on Taiwan and the citizens want their independence and freedom.” (Niitsu-Santo)
4.2 Challenges of Budaixi
Taiwanese glove puppetry contributes to Taiwanese cultural diplomacy but it also comes with its own challenges. The effectiveness of cultural diplomacy is difficult to measure. Specifically, it is difficult to definitively measure emotions or how people’s beliefs are altered. Though the 2006 National Opinion poll was cited by Robin Ruizendaal, Kim Siebert and Terry Silvio as important evidence of Budaixi’s significance in Taiwan, I was unable to find additional direct quantitative evidence. All three of these interviewees expressed the need for more research in this area.
Siebert also cited the 2006 poll as evidence of the importance of both Budaixi and international traveling exhibitions for Taiwan. There was surprise expressed that Taiwanese glove puppetry had been chosen as the best symbol to represent the country. Ruizendaal and Siebert agreed that the TAPTM staff did not expect such a result. “That was a very nice surprise to see that
‧
國立 政 治 大 學
‧
N a
tio na
l C h engchi U ni ve rs it y
Taiwanese people generally would identify a puppet as being an emblem in a way that represented Taiwaneseness.” (Siebert) Ruizendaal revealed that the government office that conducted the opinion survey did not expect Budaixi to take first place, sharing that he “talked to the Minister in charge and they were quite amazed as well by the outcome, they didn't expect it.”
(Ruizendaal)
Despite expressing the belief that Taiwanese glove puppetry is an effective tool of cultural diplomacy and that more direct evidence was needed, none of my interviewees could provide any new data. Neither the Taiyuan Asian Puppet Theatre Museum nor the Center for Puppetry Arts collect data on visitors and the TAPTM does not collect demographic data on its
international travel exhibitions or cross-cultural collaborations. When asked, none of my interviewees knew of any additional research done by the Taiwanese government concerning puppetry. Similarly, my interviewees could not provide data measuring the impact of either international travelling puppet exhibitions or cross-cultural artistic puppet collaborations. Kim Siebert reflected that such research “would be difficult to do.” (Siebert) My personal search for quantitative research on Budaixi did not reveal any additional studies. Kristin Haverty summed up this lack of direct evidence on the effectiveness of Budaixi saying, “it feels very elusive and hard to quantify.” (Haverty)
Ruizendaal felt measuring Budaixi’s successful effectiveness was difficult because there are numerous ways to measure success. If traditional measures of success such as soaring profits and large audience numbers are used to gauge the success of a museum then “in that respect we're a complete failure.” (Ruizendaal) He explained to Macao Magazine that “the performances and exhibitions bring in money. The museum loses money.” (O'Neill, p. 119) Ruizendaal emphasized the importance of factoring in the position of theater, arguing that “live performance of puppet theater is completely at the fringes of the entertainment industry and the arts industry, both in the perception of the audience and the government.” (Ruizendaal) The Pili company does not have this problem as its adopted to television and DVDs. “Television is very difficult to compete with.
That's the problem of live theater.” (Ruizendaal) While there is general agreement that cultural diplomacy is important there is debate on how to evaluate its effectiveness. Ambassador Lu
‧
國立 政 治 大 學
‧
N a
tio na
l C h engchi U ni ve rs it y
acknowledged this difficulty and argued that the “most important part of cultural diplomacy is the communication that happens with the presentation of a country like Taiwan.” (Lu)
Lack of further quantitative evidence has not prevented the Taiwan government from funding puppet enterprises. Ruizendaal attributed consistent funding to both a governmental policy of
“equal distribution of funds” and specific invitations from government officials to participate in cross-cultural activities. (Ruizendaal) Siebert noted that the TAPTM had been consistently successful in securing funding from both the Taiwanese government and foreign institutions that allowed them to conduct ITEs and cross-cultural collaborations. “So obviously this museum is seen to be doing that quite effectively.” (Siebert) The TAPTM's overseas travels have helped the museum to attain an international reputation. This reputation then helps to secure more funding for more international travel. At the time of my interview with Siebert, the TAPTM had received funding for an ITE traveling to Toledo, Spain to be held in 2020. With funding coming from both within and outside of the country to help the TAPTM financially, this indirect evidence suggests that Taiwanese glove puppetry is a valuable form of cultural diplomacy.
Another challenges involves the power dynamics that are inherent in collaborations. Budaixi encourages transculturalism by building bridges of commonality between puppeteers, museums and audience members. Therefore, it is important to examine the power dynamic when these collaborations are being assembled. “Every single nuance of difference and sameness should be on some level acknowledged and negotiated if you're doing a good job.” (Siebert) The TAPTM's work with other museums involved different cultures working together. Ruizendaal felt that both cultures were well represented in these cross-cultural collaborations. “It was always egalitarian I think.” (Ruizendaal) Taiwanese glove puppetry has both assets and hindrances when combined with puppet traditions from another country. If Taiwan is not already represented in a museum, a Taiwanese museum may have a more difficult time establishing the relationship needed for an ITE. This challenge is compounded because some art forms are more valued than others.
“Because of this Eurocentric way that we've framed heritage we have this hierarchical framework where paintings are more important than
embroideries...Puppetry because it's practiced by marginalized communities like
‧
國立 政 治 大 學
‧
N a
tio na
l C h engchi U ni ve rs it y
theater performers, the heritage of theater performers in most societies have not necessarily been revered….Because the way that it's structured and because certain art is valued more than others or communities, it's almost like how can you measure the value of this. We have to change the entire paradigm of
measurement.” (Siebert)
Moving out of a Eurocentric lens would allow visitors to view a culture on its own terms. “Until recently in the West, transculturation has been understood hierarchically, in ways that naturalize a power imbalance and the claim of one group to define history and authenticity.” (Clifford, p.
201) This new paradigm involves museum “contact approaches” to evolve relationships built on established systems into new relations. (Clifford, p. 7) Such an approach would give wider space for Taiwan to tell its story on its own terms.
When a culture engages with another, there is a power exchange aspect to the relationship that could result in cultural displacement. Siebert felt that questioning the nature of the relationship could prevent displacement from occurring. “Why do you need this relationship with an outsider?
It's because you're not represented within.” (Siebert) Dr. Silvio observed that when Taiwan puppeteers have participated in cross-cultural collaborations that have deviated too far from their cultural cores they have failed. Pointing out the failure of the Pili film The Arti, she noted that Pili “added a lot of Disney elements” including heavy use of CGI and wisecracking animal sidekicks. (Silvio) Because Thunderbolt Fantasy worked with its puppet aesthetics and did not altar its style dramatically it was well received by its devoted fanbase and by new fans
discovering the art form for the first time. Likewise, although Underground Rangers adds in references to Western culture it does not stray too far from its Budaixi foundation.
The language barrier is a particular challenge for Taiwanese glove puppetry. The art form is typically voiced in Taiwanese, commonly understood in Taiwan but far less so by viewers outside of the country. Thunderbolt Fantasy was originally given two versions of audio, one in Taiwanese and the other in Japanese. The DVD box set comes with Traditional Chinese, Simplified Chinese and English subtitles. Outside of Thunderbolt Fantasy, Pili shows do not have English or Japanese subtitles. Puppets speak in Taiwanese and Traditional Chinese subtitles
‧
國立 政 治 大 學
‧
N a
tio na
l C h engchi U ni ve rs it y
are provided. While fan posts indicate that voiceovers would be most celebrated, subtitles are an acceptable substitute. Dr. Silvio interviewed Mainland China Pili fans and found that they were
“willing to read the subtitles.” (Silvio) Analysis of Pili fanpage Fans of Thunderbolt Fantasy indicates fans are also willing to read subtitles if available. Posts on the Facebook page ranged from frustration from a lack of English subtitles for Pili projects to hope that future translations would be provided.
While a challenge, this language barrier has also served as an opportunity among overseas Pili fans. As a hindrance, a limited number of English subtitles and voiceovers has resulted in a slow growing fanbase abroad. Subtitles in Japanese and simplified Mandarin, and Japanese voiceovers for the entire Thunderbolt Fantsy series has helped reach a wider audience but lack of English subtitles translate to isolated fan base growth. Members of Fans of Thunderbolt Fantasy expressed disappointment in the lack of English subtitles. A post from October 25, 2017 reporting on the Japanese premiere of Thunderbolt Fantasy spin off film Sword of Life and Death commented about the lack of release in Western countries and the lack of English subtitles.
“No news as of yet with regard to North American (or other English language) release, but I'll post an update as soon as I hear!” (Fans of Thunderbolt Fantasy 東離劍遊紀) A February 9, 2018 post announced that “Thunderbolt Fantasy: Sword of Life and Death comes out on Blu-ray and DVD on April 4th.” (Fans of Thunderbolt Fantasy 東離劍遊紀) The post noted that this was for release in Japan and then added, “hopefully this means Western audiences will get to see it via streaming service or other English language release.” (Fans of Thunderbolt Fantasy 東離劍 遊紀) This suggests that fan are hoping for an English voiceovers or subtitles.
As an opportunity, a lack of subtitles is compelling fans to take action on their own and in the process creating cross-cultural connections. Non-Taiwanese speaking and non-Mandarin reading Pili fans cannot understand the dialogue in most of Pili’s catalogue. Bilingual fans translate Pili clips for fans who do not understand the language prompting cross-cultural conversations. The Facebook fan page regularly translated Pili related media into English for group members. A December 9, 2017 post featured a tweet25of fan art with accompanying Japanese text which the
25Individual posts made on Twitter are referred to as tweets.
‧
國立 政 治 大 學
‧
N a
tio na
l C h engchi U ni ve rs it y
poster translated into English. “The tweet says Congrats on (the release of) Sword of Life and Death and ‘I want to drink with Shou Fu Kan.’” (Fans of Thunderbolt Fantasy 東離劍遊紀) Translating news and commentary about Thunderbolt Fantasy creates conversation between fans from different cultures and countries. Another example written November 6, 2017 highlights a post written in Japanese on Twitter. The original tweet focused on Japanese actor Nishikawa Takashi who was reportedly voicing a character in an upcoming episode of Thunderbolt Fantasy.
The accompanying text read, “Went poking on Twitter and discovered that Nishikawa-san's character is named 浪巫謠 (Rou Fu You). The kanji *could* be translated to ‘Wandering
Sorcerer Ballad’ but I'm not sure how exactly they intend it to be read, so it's just a guess!” (Fans of Thunderbolt Fantasy 東離劍遊紀) Pili fans actively search for new Pili related online
material and willingly translate text into English for other fans.
As an opportunity, the lack of official English subtitles has prompted overseas fans to create their own. Fansubs26in the United States are created “mostly by Taiwanese Americans” but more translations exist elsewhere. (Silvio) Multiple unofficial fansubs have been created by the global Pili fan community and “there have been fansubs in dozens of languages-Romanian, French Spanish, Eastern European ones.” (Silvio) Facebook posts include an embedded translation tool that translates posts into the preferred language of the user further reducing language obstacles.
Likewise, fan clips of Pili episodes on YouTube sometimes come with fansubs. However, since these translations are not official the quality of the translations is varied. Niitsu-Santo's exposure to Taiwanese glove puppetry has inspired her to being Mandarin studies. “I found myself
wanting to learn Mandarin Chinese, buy Taiwanese cookbooks, travel guides and study material for the language.” (Niitsu-Santo)
Online websites created by fans are further indirect evidence of private actors advocating for Taiwan’s behalf while overcoming language challenges. This is mirrored in Korea, where fans have created “websites dedicated Kdrama27and K-pop.” (Trolan, p. 205) Clips featuring scenes from drama shows or K-pop music videos come with subtitles to assist foreign fans. These subtitles are “effectively nullifying the language barrier and potentially encouraging people to
26Foreign film or television episode that has been given subtitles by a fan of the program
27Korean dramatic television shows
‧
國立 政 治 大 學
‧
N a
tio na
l C h engchi U ni ve rs it y
learn Korean.” (Trolan, p. 205) Despite the initial language barrier, social media encourages communication between fans leading to friendships and greater interest in the culture producing the entertainment of interest. “Social media has led to major impacts for the Korean
entertainment industry and tourism, and in turn, an opportunity for Governmental branding of
‘Korea.’” (Trolan, p. 205) Through social media and an active fan base, Taiwanese glove
puppetry functions as a gateway into the wider area of Taiwanese culture, slowly overcoming the challenge of the language barrier.
The perseverance of overseas Pili fans in promoting and translating their favorite shows illustrates the advocacy of puppet fans. By collaborating with Japanese artists, Pili was able to appeal to a wider audience by introducing unfamiliar elements of Taiwanese glove puppetry to an audience that was already familiar with anime. “Thunderbolt Fantasy is part of the gateway as it's reached many fans of anime/manga in general.” (Niitsu-Santo) The visual spectacle of the puppet show entertains them, spurring them to investigate more. Fans have taken up the role of translation services in the absent of official Pili options. Though the language barrier is a
challenge it has not stopped fans from enjoying the show. “Often the puppet can express so much without words. This power to express ideas without words allows us to break down language barriers and connect as human beings.” (Haverty) The spectacle of puppets are drawing viewers into Taiwan’s culture and “by continuous efforts, Taiwan can be better understood by the international community.” (Lu)
‧
國立 政 治 大 學