Chapter 3. Mouth and Mind: A symbolic performance evoking conversation
3.3 Cross-Cultural Collaborations
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collaborations that can foster long lasting relationships. Through communication, Budaixi helps forge connections between Taiwan and other countries.
Museums foster communication by presenting culture but also by conserving it. Conservation work can lead to import conversations and collaborations both in the present and the future. “By conserving heritage I would be able to support a new generation of debate, discussion and contextualizing.” (Siebert) Museums and international traveling exhibitions can expose
audiences to new cultures and new ideas. This form of cultural diplomacy is especially beneficial for Taiwan whose hard power is constricted. Investing in ITEs is an investment for future
diplomacy. “What a conservator is doing is they are preserving an object so that there will be many multigenerational discussions about that object.” (Siebert) Collaborations of these sorts can benefit countries and “for Taiwan they are very important.” (Siebert)
ITEs allow heritage to become mobile and increases communication and connection to a larger global stage. The value of these connections have benefited Taiwan and served as a form of cultural diplomacy. Museums function as a form of cultural diplomacy because they are
representing and communicating numerous cultures to their populace. “If you are doing a good job of representation you would be including the community in the formulation of your
exhibitions and content if at all possible.” (Siebert) By identifying the museum's context in the culture on exhibition, the relations between participating museums and their associated countries are also explored. “Like a bridge, ITEs connect museums and facilitate links between them across national borders.” (Lai, p. 91) History, culture and art can be explored through ITEs, creating new bridges that strengthen relationships and connections.
3.3 Cross-Cultural Collaborations
Artistic collaborations are valuable forms of cultural diplomacy. They have the benefit of representing the countries involved and enhancing communication between parties.
Collaboration of this nature “enriches cooperation not just between institutions but between communities and universities.” (Lu) Such activities create space for different cultures to interact with each other. Collaborations can enhance the cultural landscape and “serve to validate or legitimate forms of cultural activity.” (Street, p. 307) Cross-cultural collaborations highlight
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particular aspects of participating cultures and can create a fusion of cultures that appeals to the global community through a collaboration that emphasizes transculturalism. Because of this countries strategize on what form their collaborations will take. Collaborations come in
numerous forms including museums hosting a visiting international traveling exhibition to artists working together to create original works of art. Collaborations can also align with the involved parties’ values such as the Center for Puppetry Arts's mission “to inspire imagination, education and community through the global art of puppetry.” (Haverty) Utilizing an art form that is so tied with Taiwan history and identity can be a powerful way to expand the nation’s soft power, especially since it is a small state. Smaller powers that engage in cultural exchanges can develop relationships to “enhance their respect, credibility, and persuasive power in the international public forum, especially in the eyes of foreign publics.” (Lee, p. 120)
Cross-cultural collaborations involve an investment of finances and time. However, these investments have the potential to create returns for involved parties in both the short and long term. Because networks are created through these collaborations, the seeds for future events are planted as the relationship grows. In the more immediate sense, cross-cultural events can see an increase in the number of visitors to museums because a new event is taking place. When organized successfully, ITEs attract increased visitors to the exhibition whose attention is aroused to partake of a noteworthy event. Collaborations, especially ITEs can capitalize on their newsworthiness by coinciding with important anniversaries or significant festivities. “With large numbers of visitors, the exhibition takes on something of the character of a festival.” (Lai, p. 101)
ITEs and the larger museumscape involves museums of differing sizes and specificities. In Taiwan, there is the much grander in scale National Palace Museum which makes the TAPTM's size look rather small in comparison. Because of the difference in history and focus “it's difficult to compare the National Palace with a puppet museum.” (Siebert) Though both museums engage in ITEs, the legacies of the two entities are different. The National Palace Museum has a specific history with Mainland China and the KMT government which puts it in a different context than a puppet museum like the TAPTM. As a museum with a specific focus, the TAPTM collects puppets from the Asian region. Their mission and their research have highlighted Taiwan's connection to the global community through the extended Chinese diaspora.
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When Taiwanese puppet museums collaborate with their peers abroad, they create a valuable opportunity for Taiwan to tell its story through Budaixi. As a contact zone, a museum “becomes a cultural center and a site of storytelling, of indigenous history, and of ongoing tribal politics.”
(Clifford, p. 212) Museums have the opportunity to give voice to those who may have been excluded in the past. Their ability to frame a contact zone as a relationship can be inclusive, allowing for representation and communication. Done well, international traveling exhibitions can create reciprocal communication between participating parties to ensure all voices are represented. “The ‘world of museums’ is diverse and dynamic” and ITEs help to enhance this diversity and amplify the dynamic. (Clifford, p. 218) Sending a portion of a collection abroad not only represents the museum but also the culture and country which it represents. These ITEs cross borders and connect not only the participating museums but the populace who engage with the visiting exhibition.
Though it has evolved dramatically since its first arrival in Taiwan, Budaixi is an “imported art form” which places it “in a context of a diaspora.” (Siebert) Because the TAPTM has such a specific focus, this context was able to be furthered explored. The museum found that there was a “continuity in the diaspora that is no longer in China.” (Siebert) This continuity linked Taiwan to other Asian countries such as Indonesia, Singapore and Malaysia where Budaixi has
immigrated. Traditional Chinese glove puppetry may have migrated to these countries but once there the art form transformed along with the country over time. “We have the nuances within that diaspora as each community has addressed local needs and evolution and continuity in different ways.” (Siebert) By highlighting these nuances in exhibitions both locally and overseas, museums like the TAPTM can present how each country is similar to and unique from each other.
The Taiyuan Asian Puppet Theatre Museum is well known for their cross-cultural collaborations.
Because founder Paul Lin created an organization that included the museum collection, puppeteers and a puppet performance troupe they were able to strengthen its international reputation and recognition. TAPTM has sent international traveling exhibitions to numerous countries including France, Germany, Turkey, Malaysia, Germany, Canada and the United States.
In 2017 the museum sent an ITE to South Africa. Their exhibition The Magic of Asian Theatre Puppets-Beauties, Heroes, Villains, Gods and Clowns visited the South Africa National Gallery
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from May to July 2017. Over 150 pieces from the TAPTM's collection were on display. The Gallery also hosted related lectures and workshops that revolved around Asian puppetry. It was the first Asian puppetry exhibition held in the country.
The museum’s ITE’s have helped Taiwan become more connected to the global
museumscape.“There's not any major museum that has puppets in its collection that doesn't know about us intimately-from the Smithsonian to the Branly.16All the major puppet museums know our collection, scholars know our collection.” (Siebert) The museum's history of a
multifaceted outreach has befitted it both locally and abroad. “I think that this institution has this range of responses which is puppetry, education and the authority of the collection with a world recognized scholar.” (Siebert) The TAPTM has cultivated a reputation connected to travel and transculturalism. “The internationalism has put it [Taiyuan Asian Puppet Theatre Museum] in a very strong position.” (Siebert)
Outside the Asian region there is less knowledge about Budaixi. Therefore, it is vital for Taiwan to connect to other puppet groups and museums. “It's a subgroup of a subgroup of a subgroup.
It's coming in through the back door.” (Siebert) Though it may not be as well known as other theater genres, such as Kabuki, Taiwanese glove puppetry does captivate audiences when it has gained a platform to do so. Because puppetry represents Taiwan, new audiences are exposed to more than just a puppet; they are exposed to its culture and history. Siebert felt that an audience’s initial exposure to Budaixi should not be underestimated. “I have every conviction that a visitor would be potentially as moved as I am by the collection.” (Siebert)
Investment in long term cross-cultural collaborations can benefit all parties involved. The Center for Puppetry Arts participated in all four years of the Cultural Olympiad, the Olympics arts festival program that occurred in Atlanta in connection with the 1996 Olympics. Numerous international puppeteers were hosted by the Center for this multiple year event that connected it to the Mega-Event of the Olympics. Since she was not a staff member at the time, Haverty consulted the Center's Administrative Director Lisa Rhodes who related how both the local Atlanta audience and the temporary audience of international visitors connected to the Olympics appreciated their puppet exhibitions:
16Quai Branly Museum in Paris, France
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“During the weeks of the Olympics, we had a huge exhibit of Jim Henson’s work and had visitors from all over the world attend because people around the globe are familiar with his work through Sesame Street, the Muppets, etc. The beauty of that exhibit was that it highlighted an American puppeteer whose work was appreciated worldwide and was enjoyed by a global audience who didn’t need to speak English to have a wonderful visit here. Because puppetry is such a strong tradition in so many countries, we had a lot of international visitors who were curious to explore our Center.” (Haverty)
In preparation to host the Chen Hsi-Huang Traditional Puppet Troupe, Haverty had the
opportunity to experience Taiwanese culture. “Working with the staff at TECO and the planning for Chen Hsi-Huang’s visit has absolutely given me a greater awareness and appreciation of the rich cultural traditions of Taiwan.” (Haverty) By giving space for this puppet troupe to represent Taiwan, the CPA hopes their performance will create a similar feeling among those in attendance.
“I hope that our audiences will also feel this way after seeing the performance.” (Haverty)
By promoting the popular culture of Budaixi abroad, Taiwan has the opportunity to shape how others view not only the country’s culture but its history and political struggles as well. As the popularity of Taiwanese glove puppetry expands overseas, Taiwan has a valuable opportunity to communicate to a growing number of people outside its border. Thunderbolt Fantasy is a cross-cultural collaboration that increased Pili’s fan base outside of Taiwan. The puppet series was able to communicate to both puppet and anime fans. “The Pili fans who liked Thunderbolt Fantasy felt like it was the quality of writing they remembered as being the best of Pili.” (Silvio) Anime fans were drawn to it because it was written by a famous Japanese writer. “Some of them couldn't deal with the puppets but those who liked it were like 'this is really cool.’” (Silvio) Thunderbolt Fantasy’s continuation into a second and currently in production third series indicates a positive response to this cross-cultural collaboration.
The hybridity of Thunderbolt Fantasy succeeded in part because of the collaboration with Japanese writer Gen Urobuchi. “He’s really famous and he has a lot of fans in Japan and across
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the world.” (Silvio) Another factor is the intended audience; Pili produced a collaboration that appealed to a specific fan culture instead of trying to reach a generalized audience. Thunderbolt Fantasy worked so well overseas because of how it is communicated to fan culture. Though the series appealed to a more subculture audience, that audience is known for their active
engagement. Working with a famous Japanese writer and incorporating anime elements appealed to this type of audience. “It’s right there in the overlap between Pili fans and anime fans.and how it is related to fan culture.” (Silvio) Additionally, the series appeals to active fans because the plot of Thunderbolt Fantasy is “really open to fan fiction.” (Silvio) The Pili company created tie in products that also helped popularize the show. Puppets portrayed in Thunderbolt Fantasy could be purchased as well as numerous products portrayed the characters’ likeness. “Basically I think it worked because they went the anime route, as opposed to the Disney route.” (Silvio)
Cross-collaborations create unique theatrical shows that in turn create excitement among fans.
On December 25, 2018 a post asked for opinions of Thunderbolt Fantasy’s second season.
“What did you think of season 2? And the last episode? Most importantly...HOW LOUDLY DID YOU SCREAM at the very end of the credits????!!!![sic] (Beware spoilers in the comments!)”
(Fans of Thunderbolt Fantasy 東離劍遊紀) Nangely Celestyal Darky Demon of Mexico City, Mexico replied, “Awesome, i love the last episode!! Lin and Sho battle together...Wow! My gift for Christmas x3 and the secret of the end...Ufff! I scream loudly…i knew it! I want the third season now! x3[sic]” (Fans of Thunderbolt Fantasy 東離劍遊紀) Tien Li Huang from Taipei, Taiwan said, “Me too! I want new seasons and the new movies forever and ever.” (Fans of Thunderbolt Fantasy 東離劍遊紀) Mana Kinzie, from Kapaa, Hawaii, left a lengthy positive review of the season, beginning thought on the larger story arc of the second season.
“Season 2 of Thunderbolt Fantasy Sword Seekers stands as a continuation of a story that's much larger than the series itself... Imagine stumbling upon something that few people even know exists that when you attempt to share what you've found the world really doesn't know how to react to it. For this reason I think TBF remains to be a hidden gem whose glimmer may only be appealing to certain eyes... Frankly, once you get past (or in my case openly embrace) the things that make TBF unique, what you're left with is a story that is complex and well
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written…” (Fans of Thunderbolt Fantasy 東離劍遊紀)
His post then segues into an assessment of the season two finale. Kinzie echoes other fans by praising the choreographed fight scenes but felt that the series particularly shined in regards to world building. He ended his review by praising the uniqueness of the series, “The finale brought about a fight that in it's [sic] own unique way tops that of the first season.” (Fans of Thunderbolt Fantasy 東離劍遊紀) Like other members, Kinzie too was hopeful for a third season. His hope centered on a “very suggestive possibility of yet again another likely awesome season of puppet mayhem in the world of thunder and fantasy.” (Fans of Thunderbolt Fantasy 東離劍遊紀)
Original puppet plays between the TAPTM museum and foreign puppeteers reflect successful cross-cultural collaboration. In 2001, they created and performed Marco Polo, an original production featuring Chinese, Taiwanese and Italian design elements. Both Taiwanese and Italian poetry was used in dialogue voiced by puppets. Nanguan and Italian opera created a cross-cultural blend of music. Another Taiwanese and Italian collaboration resulted in the 2013 puppet play King Porky (小豬當國王) about a daydreaming pig who wanted to be a king. The stage designed featured Italian and European styles and spoken dialogue included Mandarin, Italian and English. Advertisements highlighted the cross-cultural collaborations-“In conjunction with this year's oriental happy Zodiac Year of the Pig17and the Italian fairy tale, you must worship the New Year in Taiwan!” (Taiyuan Asian Puppet Theatre Museum)
In 2008, the TAPTM worked with Turkish puppet troupe Osek Shadow Theater to present Tree Fair, a “traditional Middle Eastern, legendary Turkish shadow play.” (Taiyuan Asian Puppet Theatre Museum) In 2015, the museum traveled to Turkey to perform at the Istanbul
International Puppet Festival, their fourth time performing. The festival hosts puppeteers from around the world and is an example of puppets acting as cultural diplomacy. Taiwan was
represented by TAPTC who communicated the uniqueness of Budaixi and how the tradition was tied to Taiwanese identity. The Taiyuan Asian Puppet Theatre Company presented A Sea of Puppet, A Woman Going Home and I Have a Name. They also hosted a conference entitled
17This is most likely a metaphorical reference to the zodiac pig as 2013 was the year of the snake.
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“Politics, Puppets and Identity in Taiwan,” held a screening of the Taiwanese film The Puppetmaster and a workshop. (Ergil) Their workshop featured a hands on aspect, allowing participants to hold and manipulate the puppets and examine musical instruments traditionally used in Budaixi performances. The workshop was described as “perhaps the most exciting event in this year's festival.” (Ergil) A Sea of Puppets also traveled to Vancouver, Canada in 2011 with sponsorship from the Asian Canadian Special Events Association. The two puppet puppet companies collaborated again in 2018 with the shadow puppet show Garbage Monster.
TAPTM collaborates with troupes around the world for a variety of reasons. “Sometimes people come to visit us, sometimes the government wants us to do something.” (Ruizendaal) Their play Little Girl Selling Fazi Fire (賣番仔火的小女孩) used mutlicultural items to enhance the play’s fusion theme. The TAPTM based the 2008 play on the Danish fairy tale Little Match Girl. The Nandou Theater18was designed as a match factory and featured matchbooks from around the world “as if it is a pocket-sized version of the World Matchbox Exhibition Hall.” (Taiyuan Asian Puppet Theatre Museum) A puppet collaboration in Macao was based on the desire to focus on the city’s history. Their 2010 play The Box (La Boite) created a cultural fusion by musically combining the pipa19with Western harps. Part of the Macao Arts Festival, the play took place on a boat in the Esplanada Don Carlos harbor. The TAPTC paired with French troupe La
Compagnie des Zonzonshe and had an audience of 800 people. “The audience was taken on a journey through different cultures and traditions, from the past to the present, in a performance that transcended the boundaries of language and nationality.” (O'Neil, p. 120)
Sponsorship from both Taiwanese and French government supported the 2008 TAPTC production The Box (La Boite). The success of this production led to a later Taiwanese and French collaboration; The TAPTC again collaborated with La Compagnie des Zonzonshe to debut A Sailor’s Tale in 2017. The production focuses on a French sailor during the Franco-Chinese War era who washes up on Taiwan’s shores and is found by a local woman. This particular play is a crossover of French, Chinese and Taiwanese influences; it was spoken and sung in French with Chinese subtitles. Traditionally sized Budaixi puppets wore Western and
18The Nadou Theater and Taiyuan Puppet Theatre Company are both affiliated with the Taiyuan Asian Puppet Theater Museum.
19A traditional Chinese musical instrument
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Eastern styled costumes and the sailor character had Western facial features. Traditional
Eastern styled costumes and the sailor character had Western facial features. Traditional