Description text goesAt the heart of Chang and Eng and Me (and Me) is the story of Chang and Eng Bunker, the conjoined twins from Siam who became famous in the 19th century as the “Siamese twins.” Born in 1811, Chang and Eng’s lives were far more than a spectacle of their physical condition. They became naturalised U.S. citizens, married American sisters, and raised families while running a farm in North Carolina. Yet, their fame and status as immigrants brought them into the larger conversation about race in America, especially during a time of evolving attitudes towards Asian immigrants. here

By using puppetry to explore Chang and Eng’s story, Tobi Poster-Su examines the deeper layers of how race and identity are constructed. In Chang and Eng and Me (and Me), the manipulation and eventual dismantling of the puppets represent how identities are formed, performed, and deconstructed by society. Tobi’s puppetry asks us to think about the fluidity of identity—how it is shaped by both internal and external forces, and how it can be distorted through racial and cultural stereotypes.

This manipulation is not just a storytelling tool; it’s a metaphor for how marginalised identities are often treated by society. Puppets, in this context, become more than mere figures on a stage—they symbolise the complex power dynamics at play in the representation of marginalised people, particularly Asian and immigrant identities. Tobi’s performances, including Chang and Eng and Me (and Me), invite audiences to consider how these representations both reflect and shape societal attitudes.

At the core of Tobi’s work is the idea of “critical puppetry,” an approach that uses the art form to critique and resist constructed identities and hierarchies. Through the act of physically constructing and deconstructing puppets, Tobi visualises how identity is manipulated and controlled. This concept pushes puppetry beyond simple performance, transforming it into a potent medium for challenging societal norms.

But how does this play out in the story of Chang and Eng Bunker? Puppetry allows Tobi to reimagine the twins’ lives in a deeply personal and reflective way. By portraying their experiences through puppets, Tobi emphasizes the vulnerability and strength in the Bunker twins’ story, highlighting the tension between personal identity and the societal forces that tried to define them. Chang and Eng’s journey from Siam to America, their marriages, and their lives as immigrant farmers all serve as a mirror for examining the racial challenges that persist today.

This unique approach to storytelling allows puppetry to do something more than retell history. It brings audiences into a space where the past and present collide, prompting us to reflect on ongoing issues of race, identity, and representation. The symbolism of constructing and dismantling puppets becomes a way of questioning how identities are built up by society—and how those same identities can be torn down or misunderstood.

Tobi Poster-Su’s work exemplifies the power of puppetry as an art form that can reach far beyond entertainment. By delving into historical narratives like those of Chang and Eng Bunker, Tobi challenges us to rethink the ways we engage with history, identity, and marginalized communities. Their work with Chang and Eng and Me (and Me) opens the door to critical conversations about representation and race, demonstrating that puppetry can be a medium for both artistic and social change.

Thanks for joining us on this journey into the world of puppetry, history, and critical reflection. We hope this exploration of Chang and Eng and Me (and Me) has shed new light on the powerful role that puppetry can play in shaping our understanding of complex social issues. Follow Tobi on Instagram @tobipostersu and on X (formerly Twitter) @tobipostersu for updates on his upcoming work.