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.