"Yi-ko really lumps everything together as if characters from different ages can slaughter each other. This is also the normal emancipation and freedom of folk culture." points out Huan Wen-po, who has carried out a complete survey on the subject.

As well as being rich in subject matter, "yi-ko is rooted in the festive life of the masses, and it thus gets new life from following the pulse of the times," stresses Tsai Hsin-hsin, who wrote a dissertation on yi-ko for her master's degree.

Yi-ko is actually the short name for "poetical yi-ko." It consists of placing scenery and a pavilion on a platform, and acting out legends or poetic scenes with people or puppets.

Divine Commercials: There are writings relating to yi-ko from as early as the Sung dynasty. Some 150 years ago the Taiwanese poet Liu Chia-mo also mentioned yi-ko in his work. So no matter whether in mainland China or Taiwan, yi-ko has a long history. Moreover, many of those who used yi-ko to pay tribute on the birthdays of the gods were wealthy merchants, which meant that its widespread popularity had subterranean links with the economic development of old Taiwan.

Such is the yi-ko mentioned in the late Ch'ing dynasty Discussions of Taiwan Past and Present, or in works of poetry, most of which were in a belt around the prefectural city, Tainan. Gradually Meng Chia (today Wan Hua) in the north also came to have the lovely atmosphere of more than 100 yi-ko platforms. In A Photography Album of Taiwan, published in the early years of the Republic, yi-ko began to appear in religious processions in the town of Tataocheng. The pictures show that some merchants would even supply fifty platforms for one family.

Because at that time there were prize competitions for yi-ko, the merchants would try to win by inviting scholars to take part, imparting the additional and rare elegance of the literati to the culture of the temple. The historian Lien Ya-tang, who wrote a comprehensive history of Taiwan, said that the "golden professions" of that time would design yi-ko with special characteristics for shops, selling items such as tea, incense and medicine. On the one hand they would greet the gods, while on the other, as advertisements, such yi-ko also allowed the common people a taste of the delights of culture. Compared to today's displays on trucks of new goods by some automobile or wedding companies, the old yi-ko adverts might not be so direct but they were rich in subtle interest and human feeling.

Nu Wa and Wu Hua Bump Into President Lee: No matter whether now or in the past, the subjects of yi-ko have mostly been old legends of the supernatural and folk tales. "Puppets in ancient dress are something worth seeing. No matter how modern clothing and ornamentation evolves, there is nothing special about it. Like my 'Emperor Kuang Hsu Selects a Concubine,' which won first prize at the Ch'ao T'ien Temple in Peikang," says Chiu Tung-hsuan, who has been creating yi-ko for forty years.

Apart from folk stories, traces of the opening up of Taiwan are also widely welcomed. In 1932, when the Japanese emperor paid a visit to Taiwan, the merchants of Tataocheng made "The Righteous Steed Repays Kindness" and "The Pure Concubine Teaches Weaving." Such historical legends, which are very familiar among the people, follow yi-ko around the streets.

Some yi-ko, wanting to be novel, direct themselves to current affairs, leading to scenes like "The Ten Major Constructions," "Armstrong on the Moon," "The Monk Wu Hua Bitterly Fights Ch'u Liu-hsiang," and "The Multitudes Salute President Lee Teng-hui."

In changing with the times, apart from new topics, there have also been uninterrupted advances in tools and machinery--from manual labor and ox-carts to big trucks; people have daily become wealthier and machines and scenery have progressed in leaps and bonds. "Soon after retrocession, what machines did we have? Only paint and wood. Now the dragons can spray water and spew vapors. There are even moving lights and lasers. All these machines are controlled by computer!" Chiu Tung-hsuan brims over with excitement as he describes the sensational modern yi-ko. Moreover, he reveals that to make a prize-winning yi-ko you must spend NT$4-500,000!

Don't Look at the Immortal--Only the Person: Modern yi-ko uses sound and light to achieve victory. In earlier days the beauty and art came mostly from the leading female role. The quality was not in the hardware but depended completely on the beauty and singing of the actor for success, usually a case of "whose horse had the most beautiful man astride; don't look at the immortal, look at the person." This interest is a little like that in today's electric organ flower trucks. Only, today, the leading role is played by children or man-made models.

"People believe that yi-ko can keep away demons and suppress evil. By playing a role, children will be helped by the gods and grow up in peace," says Huang Wen-po. This is especially so in the large temples in places like Peikang and Chiali, where most of the participants are children. They must still go through a lottery to be selected by the gods, and when it comes to the day of the procession the children sit motionless on the yi-ko. They cannot move, drink or go to the toilet, and they have to put up with all kinds of weather. At the end of the day they usually drop off into an exhausted slumber. This is a normal part of childhood for many children who grow up in the country.

From Pan Ku splitting the heavens to the President's affection for the people, the sources of yi-ko subjects never dry up. Today the many displays of machines and dummies with their vital changing content continue to supply people with a spectacle to enjoy and comment on as they stand together in the street after a good meal.

[Picture Caption]

Musical accompaniment by Peikang musicians for an yi-k'o legend gives pe ople a new experience. (photo by Vincent Chang)

Many yi-k'o players are not much more than suckling babes. (photo by Huang Lili)

After a day of braving the elements in an embroidered robe, the children usually go straight off into an exhausted slumber. (photo by Arthur Cheng)

With its dummies, light and sound, sensational yi-k'o is on a par with its traditional counterpart with live actors as it glitters in the night. (photo by Huang Lili)

Many yi-k'o players are not much more than suckling babes. （photo by Huang Lili）

After a day of braving the elements in an embroidered robe, the children usually go straight off into an exhausted slumber. （photo by Arthur Cheng）

With its dummies, light and sound, sensational yi-k'o is on a par with its traditional counterpart with live actors as it glitters in the night. （photo by Huang Lili）