Puppeteers perform during a puppet show in Yangon, Myanmar, Oct. 27, 2024. (Photo by Myo Kyaw Soe/Xinhua)

The new generation plays a crucial role in preserving the almost extinct art of Myanmar puppetry, known as Yoke The, said U Shwe Kyi, a 73-year-old who has devoted over 30 years of his life to safeguarding the tradition.

Myanmar puppetry is an important part of the country's cultural heritage. Historically, Myanmar puppetry was a prestigious performing art associated with royal events and religious celebrations. Although it flourished in the past, this art has declined later, he said.

With a collective commitment to preservation, Myanmar puppet art can experience a resurgence in the future, he said.

Everyone has a responsibility to promote national pride and fulfill a cultural duty to preserve Myanmar puppetry, the old artist added.

Tun Lin Aung, 37, said "I started learning puppetry in 2005. Preserving culture is essential for any nation, that is why I'm committed to sharing my knowledge of puppetry with anyone interested."

Nant Phyusin Myint Myat, 22, said "I recently completed my degree in dramatic arts at the National University of Arts and Culture. I started conducting puppet performances in 2019 and during my journey, I earned silver and gold prizes at the Myanmar Traditional Cultural Performing Arts competitions."

"In my opinion, puppet art faded two or three years ago, but since then, due to the increase in competitions, it has seen a bit of a resurgence. Each year, more competitions and competitors emerge, which gives me hope for the future of this art form to survive in the future," she said.

"However, despite this resurgence, we face a shortage of puppet makers, primarily because it is not a lucrative profession," she added.

"My goal is not just to earn money through puppetry, but to share this art form with new generations. Many people see puppetry as boring, but I believe it is not. Engaging an audience with non-living puppets is challenging," she said.

"All the puppets in Myanmar have smiling faces, but despite their cheerful faces, they can evoke deep emotions, especially in emotional scenes. It is truly fascinating how these ever-smiling puppets can move audiences to tears," she added.

Zaw Lin Tun, 27, said "I learned puppetry to help preserve Myanmar's traditions, not for a living. It is fascinating to make non-living puppets look like real humans. I encourage the younger generation to keep this tradition alive."

Maung Maung Min Kyi, 47, who has dedicated himself to puppet performances since he was 10 years old, said "My work depends on puppet shows. We have been invited to perform at puppet shows in other countries, as international audiences have a genuine appreciation for Myanmar string puppets."

He emphasized that this tradition can be sustained only by true enthusiasts who realize that it is not okay to look at puppetry as a profit.

In Myanmar, the National University of Arts and Culture in Yangon and Mandalay and the State High Schools of Arts, have recognized puppetry as part of their curriculum. This helps spread cultural knowledge, allowing young people to connect with this art form and ensuring that a new generation of puppeteers emerges from these institutions, according to U Shwe Kyi.