Chinese shadow puppetry is an ancient form of theater that holds modern appeal among some foreigners who are fascinated by the centuries-old craft.

Annie Katsura Rollins, a post-80s doctoral student of humanities from Concordia University in Montreal, Canada, paid her third visit to Tangshan, Hebei Province, on May 9. Tangshan is the birthplace of China’s shadow puppetry. Together with shadow puppeteer Lu Tianxiang, Rollins gave a presentation about shadow puppetry to children attending a show.

Shadow puppets are traditionally made of cattle, sheep and donkey hide. They have high aesthetic value on account of the exquisite, delicate technique that goes into making them. Folk legends and customs come to life in shadow puppetry, which is one reason it is hailed as “forefather of film.”

Like many other foreigners who love China, Rollins has had an interest in Chinese history since she was young. In 2008, she was fascinated by a shadow puppetry show she saw in an online video. The experience inspired her to visit China. Rollins traveled to Shaanxi, Shanxi, Gansu and other provinces to unravel the mystery of shadow puppetry. In 2011, she became an apprentice to Lu and began learning performance techniques at the core of shadow puppetry.

Lu was born into a family of shadow puppeteers. His father, Lu Fuzeng, is a second-generation shadow puppeteer in Tangshan. Lu Fuzeng said that during his childhood shadow puppetry was a major form of entertainment for locals, and plays were regularly held in surrounding villages. Students even made their own shadow puppets during class.

Rollins said that among all the cities she has visited, Tangshan’s shadow puppets have the most distinctive features with their intricate carvings that make them appear beautiful when seen as silhouettes.

“Now, many Americans also love shadow puppetry. They invite me to teach lessons on shadow puppetry. I have taught many children and senior high school students. They all love shadow puppetry very much,” said Rollins, adding that passing on the cultural heritage to children is a noble pursuit.

In Lu Tianxiang’s eyes, Annie has mastered the art of shadow puppetry. She has reached a professional level in her performance, and can be regarded as a master of shadow puppetry in the US.

While the future of shadow puppetry might be bright overseas, Lu Tianxiang worries about the art form’s fate at home in China. He admits that the glory days of shadow puppetry in China are long gone and the market is gradually shrinking. “With fewer audiences, the numbers of shadow puppeteers and puppet makers have become smaller,” he said.

“Shadow puppet making requires a certain artistic capability and several years of training. But the income is low, so young people nowadays are not willing to learn it,” Lu Tianxiang added, saying seeing the enthusiasm of foreign students and indifference of young Chinese has been bittersweet..

Nevertheless, Lu Tianxiang is grateful that through Rollins he has recruited three other students: Sophie from France, Beja from Spain and a British student who studies in China. Professor Serge from the Netherlands is also a shadow puppetry fan. He and Rollins are currently shooting a short film about shadow puppetry featuring props made by Lu Tianxiang.

Rollins has two goals for learning shadow puppetry to introduce it to Americans and to help China preserve the ancient performance art. She has decided to make shadow puppetry her career in the pursuit of these goals.

The Chinese link: http://www.chinanews.com/sh/2014/05-10/6155635.shtml

Translated by Du Mei

　　Revised by Tom Fearon