The Wet Marionettes of Saigon

By John Shebat de Silva

‘In Search of Saigon’ is in Day One. By now every traveler has had a taste of pho and ‘legally’ jaywalked across notorious traffic conditions countless times. There was no doubt that we were all now in Ho Chi Minh City. However, as we reached our next destination some began to realise something rather familiar; the presence of a somewhat Chinese influence in the overall environment at the Golden Dragon Water Puppet Theatre. There were Chinese-esque lanterns hung above us and the traditional outfits donned by the front of house attendants looked the part too.

The team was set to witness this 50-minute cultural spectacle. The hall of the theatre was reasonably comfortable; air-conditioned and cushioned seats. The audience comprised largely of foreign tourists and some locals. The welcoming speech soon came on and explained in both Vietnamese and English that the origins of this cultural performance dates back eleven centuries. Lonely Planet claims that the art comes from the North and made its way to Saigon as tourism began to boom.

As the curtain drew open, the audience’s loud chatter was slowly replaced by the growing sound of classical instruments. The backdrop was also a familiar Chinese-influenced structure and large portions of the stage was in fact water. The first puppet soon made its appearance, wading through the murky water as it introduced itself as the narrator. Although the dialogue was entirely in Vietnamese, it doesn’t take much to understand that a lot of the spoken materials were humourous in nature and its delivery was often slapstick.

The purpose of the narrator however, does not present the story in any form of chronology. The entire performance consists of acts which primarily highlighted the traditions and cultural lives of the Vietnamese people. From ferocious yet graceful dragons ‘dancing’ on the water, to an elegant pair of phoenixes courting, the show reflected the many beliefs and practices of Vietnamese folks. The phoenix dance segment had audiences in awe when the legendary creature produced an egg which subsequently ‘hatched’ into a baby phoenix.

Segments of the performance such as the riding of buffalos, catching of frogs, rearing of ducks, and catching of foxes emphasised the role of agriculture in the traditional Vietnamese community. One segment which was particularly festive was the one where a man returns triumphantly to his native land after winning a national exam or competition.

Vietnamese legends and folklores were not left out. One segment was about King Le Loi and the turtle. Legend has it that King Le Loi who was at one point facing the threat of invasion by his enemies, was aided by the ‘God of the Sea’. The King was given a sword to ward off his enemies and when he had succeeded, a turtle was sent to claim the sword back.

The team’s Vietnamese student guides later explained the significance of the appearance of several animals in the performance. In Vietnam, each of the following animals represents a different attribute; the dragon symbolises power, the phoenix – grace, turtles means wisdom that comes with age, and the lion was a symbol of bravery.

Finally, the performance climaxed with a minor pyrotechnique display. The entire show was not only an excellent display of culture but also the talent and dedication of the ensemble comprising of musicians and puppeteers. 

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John de Silva is a 24 year-old Monashian majoring in International Studies. Though born in Kuala Lumpur, he likes to think of himself more as a ‘Penang-kia’ as he has spent most of his life on the island state up north.