Lao Theatre Serves Up Creative Menu of Advocacy, Arts

By Vannaphone Sitthirath Reprint | | Print |

Jun 20 2011 (IPS) - Khaoniew puppet theatre group, whose name translates into the ‘sticky rice’ that Laos is so known for, serves its audience a homegrown mix of creative social messages through the use of tools that locals are well familiar with.

The use of puppet masks made of coconuts and other natural local materials is a staple in the performances of the 11-member group, which was created in 2009 by artists coming from a state troupe called Kabong Lao Theatre.

Khaoniew’s use of puppetry allows the group to bridge language and other social barriers, using advocacy theatre to address issues like the risks and costs of trafficking and the sexual exploitation of women, especially those who cross the border to neighbouring Thailand.

This all too common story in fact is the story line of a Khaoniew performance called ‘Broken Dream’, which features the real-life story of Dam. Like many before her, the 15-year-old girl hoped to find a job in richer Thailand and help support her family in Laos. But these dreams were shattered when what was supposed to be migration for a better life became a case of her being trafficked to work in a nightclub in the Thai capital, Bangkok.

Such issues are not always easy to discuss openly in traditional settings in this South-east Asian country. But the use of puppet theatre creates a venue where this can be done, especially because messages can be delivered without the actors talking much. Language issues play in part in reaching audiences in different parts of Laos because while the main language is Lao, ethnic communities – many of whose members also end up moving to neighbouring countries in search of better life – speak their own languages.

“This puppet theatre is a unique art form that can communicate to everyone without speaking. We can also convey very successful messages to ethnic communities in Laos,” said Leuthmany Insisiengmai, a well-known master of puppet theatre in Laos and an advisor to Khaoniew who was recently awarded Best Artist. He is also director of Kabong Lao Theatre.

Gender relations, the role of men and women in society, HIV and AIDS have also been tackled by puppet theatre, apart from other advocacy performances on the environment and unexploded ordnance (UXO), a legacy of the U.S. intervention in Indochina decades ago.

For all the entertainment that the use of puppets and humour gives when it performs in theatre venues, communities and schools, Khaoniew’s work does not end with its performances. After their shows, its artists often open the floor to discussions with members of the audience, who are free to ask questions on issues like child trafficking and others. Games with audiences are also a frequent tool of interaction.