Divinities, Demons, Kings and Clowns:
Puppetry of India and Southeast Asia
Curated by Kathy Foley with the assistance of Michael Schuster

Yokthe Thay

Yokthe Thay  (Yokthe Pwe) are the intricate marionettes of the Burmese.  While popular belief traces string puppetry to Pagan in the 11th century, the first real reference dates from the 15th century.  Puppetry which had significant royal support is said to have preceded human theatre in Burma and become the model for it. Puppets are carved from wood and finely clothed.  Traditionally all puppets are carved with sexual organs. Human hair may be planted in the skull.  Figures are usually painted white with a fine quality talc (soapstone) mixed with water, while details are added in color.  The basic strings attached to the crossbar are at the temples, shoulders, and spine. Costumes are comparable to classical dance garb.

          The puppets are used to tell jataka (stories of the previous lives of the Buddha).  Performances seen today are most likely to be the opening Himalaya (Himantaka) scene where a series of creatures dance and fight.  The most distinctive instrument in the percussion orchestra is the pat waing (drum circle) which is accompanied by other drums, gongs, and wind instruments.  The singers were traditionally the most respected members of the troupe.  

The most important character types are probably the clowns, the prince and princess, strong males (represented here by the alchemist), ogres and animals.  The iconography is close to that of the Thai and related to the patterns found throughout the South and Southeast Asian region.

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