SUNDAY 25 | More than 2,000 years ago, in 121 BC, Emperor Wu of China’s Han dynasty was devastated by the untimely death of one of his favourite concubines. ‘The sound of her silk skirt has stopped,’ the emperor, an accomplished poet, wrote of Li Fu-ren. ‘On the marble pavement dust grows. Her empty room is cold and still. Fallen leaves are piled against the doors. How can I bring my aching heart to rest?’ Grief-stricken, the emperor implored his court officials to bring his lover back to life. Legend has it that, inspired by the lively shadows cast by children playing with dolls inside the court, one of Wu’s aides crafted a perfect replica of the concubine out of leather. Holding the figure in front of an oil lamp, he gently manipulated its limbs to make it ‘dance’. The emperor was delighted – and shadow puppetry was born. “Shadow puppetry is powerful and mysterious in its immateriality, capturing the imagination of people for thousands of years,” says Master Shadow Puppeteer Mann Kosal, one of a new generation of guardians. “Even within the structured storylines, every performance leaves room for improvisation. This allows the art form to remain a relevant, living part of the culture of the time, able to respond to the contemporary needs of the population.” Known as sbaek in Khmer, the puppets are chiselled by hand out of tanned cow hide using traditional methods. Plays are performed as homage to Buddha, the Hindu gods and the ancestral spirits they depict, and as a vehicle for communication with them – the point being to elevate both performers and the audience to ‘a higher level’. Screenings of The Battle To Rebuild Sbaek Thom and Puppets Beyond Borders explore this ancient art.
WHO: Shadow puppets
WHAT: The Battle To Rebuild Sbaek Thom and Puppets Beyond Borders screening
WHERE: Meta House, #37 Sothearos Blvd.
WHEN: 7pm August 25
WHY: Khmer entertainment from the ‘Golden Era’