Water puppetry series: A Short talk with Mr. Phan Thanh Liêm

Recently, I had a chance to meet Mr. Phan Thanh Liem - a renowned water puppetry artist. He has shared valuable insights about the origins of water puppetry, what makes it unique, and how can we work together to preserve this art form. Let's have a closer look on his plan.

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Artist's biography

Phan Thanh Liêm

Water Puppetry Artist

An accomplished water puppetry artist, Mr. Phan Thanh Liêm has showcased his talents both in Vietnam and internationally. He is also the innovator behind a portable miniature model of the "Thùy đình," the traditional water puppetry stage, designed for easy transportation.

Me and Mr. Phan Thanh Liêm

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Water puppetry as a family tradition

Hoang Tien: I understand that your family has a rich tradition of making water puppets and performing water puppetry. Can you share more about this tradition with me?

Mr. Phan Thanh Liêm:

I'm the seventh generation in my family to carry on the traditions of water puppetry. Our family's traditional craft is making statues and sculptures, and from this, we have extended to making and performing water puppets. Our ancestors would perform at celebrations or holidays to entertain the local villagers.

My grandfather was particularly fond of water puppetry. He had created numerous plots for water puppetry shows, gaining immense popularity. My father shared the same passion, and he contributed a lot to the revival of water puppetry after Peace was secured in Vietnam. Along with improving the craft of water puppetry, he also brought water puppetry to other countries, performing them and attracting attention from international audiences.

Now, I carry on this tradition by continuing the path of my ancestors: to develop water puppetry itself and spread it to the public.

Unique to Vietnam

Hoang Tien: Puppetry is an art form that is shared by many countries, but only Vietnam has water puppetry. In your opinion, what makes water puppetry unique to Vietnam?

Mr. Phan Thanh Liêm:

Well, I think its uniqueness lies in how the show is performed on a water surface. There is not enough information on how water puppetry began - you know, the oldest evidence is the Sùng Thiện stone tablet in Hà Nam, which indicates that water puppetry dates back to the Lý dynasty or even before that. But one thing is consistent: water enlivens the puppets. Thanks to water resistance, the artists can create realistic movements, thus bringing each puppet to life. The water stage also helps the performers hide the simple machine that controls the puppets' movements, adding an air of mystery to the performance and enhancing the illusion of how the artists manipulate the puppets.

His collection of self-created water puppets

The reality of water puppetry

Hoang Tien: I can see that water puppetry is losing popularity these days. What do you think are the reasons behind this?

Mr. Phan Thanh Liêm:

I think the reasons come from both the artists and the audience.

To be honest, water puppetry is only regarded as a pastime activity, and shows only take place on holidays or celebrations - when everyone can freely enjoy the performance. Hence, water puppetry is not a source of income for most people, even in the past. As technological advancements and globalization offer more job opportunities, villagers would opt for other career choices that can help them support their families. Therefore most young people rarely devote their effort to refining the craft of water puppetry but focus on other career paths that can guarantee a sustainable life for themselves and their beloved.

As for the audience, they are spoilt for choice amidst the rise of social media and other entertainment platforms. Water puppetry is no longer their top choice, nor is it attractive enough compared to the novelty of new media. Hence, the downfall of water puppetry is not a surprise.

Preserving a cultural legacy

Hoang Tien: So what is your opinion on how we can preserve water puppetry?

Mr. Phan Thanh Liêm:

Preserving water puppetry requires concerted effort because the key to this matter is ensuring a sustaining body of audience.

First of all, we need governmental support. Plans to incorporate water puppetry in education, especially the education of kindergarten and primary level students, is crucial to the longevity of water puppetry. Young students should be nurtured in an environment surrounded by traditional cultural values so that they can deepen their love for Vietnamese culture. This goes the same for water puppetry, as watching the shows in kindergarten schools, or observing the collection of water puppets, can spark their curiosity and urge the young kids to dive into this art form.

Besides, efforts to popularize water puppetry through media and broadcasting are essential to ensure that this art form reaches more people. However, one thing should be noted is that water puppetry, chèo, tuồng, or any other art forms, requires a specific plan tailored to the characteristics of each art form in order to fully unleash its power and achieve the popularity of its heyday again.

Secondly, artists have to take action. They have to use their creativity to breathe new life into water puppetry while still maintaining the traditional elements inside it. That is what I'm trying to do right now. Since 2000, I have developed a miniature version of "Thủy Đình" - or the water stage - that can be easily transported and set up. This helps water puppet shows become more flexible and reach more potential audiences.