Monday, 7/21/97 To Cast A Shadow ON-CAMPUS Asian culture has
historically told its good-vs-bad stories through puppet shows.
Fowler Museum presents ‘In the Play of Shadows,’ an exhibit of
preserved puppets designed to amuse and educate.
By Nerissa Pacio Daily Bruin Senior Staff In the laboratory, all
is silent as an assistant passes a scalpel, scissors and string to
the doctor who stitches the wound. Lastly, the doctor receives the
key instruments to finish the operation – fabric and decorative
paint? In preparation for "In the Play of Shadows," the Asian
shadow puppet exhibit opening at UCLA’s Fowler Museum of Cultural
History on July 30, science and art go hand in hand. "I perform
‘surgery’ on these puppets," says Jo Hill, director of conservation
at Fowler Museum. "It’s like I’m a doctor – for art." With 44
puppets from Indonesia, Malaysia and India, the exhibit highlights
Fowler Museum’s own rare collection of works that date from the
late 19th to mid-20th centuries. Many of the displayed pieces were
collected by Melvyn Helstein, a professor who was part of UCLA’s
theater department before his death in 1990. Many puppets also
underwent "surgery" before going on display. "Each puppet had its
own chart, pictures and examinations," says Hill. "Although some
were in bad shape, it’s important to me as an educator to show the
art to the public." Karen Abend, Hill’s conservation laboratory
assistant, emphasizes that the goal was not to change but preserve
the original work. "We aren’t trying to change the artifact, just
stabilize it so no further damage occurs and it’s safe to display."
While some may think of puppets as simple toys or dolls rather than
art, the intricately carved figures are traditionally used in Asia
to educate as well as entertain the public. "The shadow puppet
tradition is deeply rooted in Asian culture, and is by no means
exclusively for children," says Roy Hamilton, curator of the
exhibit. "For example, in Java and Bali, the performances celebrate
village occasions or are hosted by wealthy families for royal
ceremonies. The tradition runs the whole gamut of society." The
show is performed by a puppeteer who controls the figures in front
of a lantern. Using rods to move the articulated body parts, the
shadows project on a screen as the puppeteer tells stories and
relays history, while the audience views the shadows from the
opposite side. "The puppets have interesting, subtle colors to
them," says exhibition designer David Mayo. "But as shadow puppets,
that’s not their primary purpose. We present the puppets to enhance
their contours, three-dimensionality and texture. They don’t look
like photos on a wall." Most of the puppets, made from cow hide,
emphasize detailed carvings, pierced holes and engraved scrolls.
However, while color is not the main focus of design, the puppets
are still brilliantly painted. The works from India are translucent
and brightly dyed in order to project colored shadows while the
human figures of Malaysia and the feathery monsters of Bali are
painted with bold hues. The colors add to the aesthetic enjoyment
of viewers who may be watching the show from the back of the screen
instead of the front, where only the shadows are seen. Based on
Hindu epics, the puppet show stories capture themes of good versus
evil, morality and politics. Today, the puppet tradition remains
strong, although the art is evolving by incorporating modern
political themes and colloquial jokes. "These epic stories are the
equivalent of the Bible in Western culture," Hamilton says. " They
carry the religious and moral weight of their traditions, serving
as the major religious text of that part of the world." Although
the puppets portray a simplified version of good and bad
characters, the stories are complex and spoken in an archaic
language. Audiences are still able to comprehend enough of the
speech in order to enjoy the tales. "It’s part of the art to speak
in the original language it was written in instead of translating
it," Hamilton says. "It’s like opera. You don’t translate it. It’s
written and performed in Italian because the language has a special
sound. It creates an exceptional mood." From the life-sized,
multi-headed monster puppet to the dwarf-like figures with upturned
noses, the exhibit promises to entertain. "The puppets take on
cartoon-like personalities," Mayo says. "The characters range from
the humorous to the outrageous. Just like in Asian theater, where
you get a wide range of personalities, you get the same type of
costuming in the puppet design. Asian visualization just goes way
over the top!" ART: "In the Play of Shadows: Puppets from Asia"
opens July 30 and runs through Jan. 5. Admission is $5 for adults,
$3 for seniors, $1 for UCLA students, and free to everyone on
Thursdays. For museum hours and more information call (310)
825-4361. PATRICK LAM/Daily Bruin Andhra Pradesh’s Nandi, the
sacred white bull from India, will be on display through Jan. 5. at
the Fowler Museum. PATRICK LAM/Daily Bruin This crocodile by Andhra
Pradesh is one of the many Asian puppets from the last century
preserved and showcased at Fowler Musem. PATRICK LAM/Daily Bruin
Lakshamana is one of many puppets featured in ‘In The Play of
Shadows.’ PATRICK LAM/Daily Bruin A puppet representing Hanuman,
general of the monkey army, in Fowler Museum.