Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Main Puteri, also referred to as Main Teghi in the Kelantanese dialect, is one of the authentic arts found in the state of Kelantan. This performance is one of the most popular traditional healing methods of the Kelantan-Pattani Malay community since the olden days. It is admittedly difficult to separate the ‘performing art’ and ‘medical ritual’ aspects in Main Teghi due to the close ties between the two elements. There are many versions about the origin of Main Teghi as source of information. However, since there are no accurate records thus oral sources are the only ones available. In terms of performance, there are interesting elements in Main Teghi that are a combined elements of acting, singing, dancing, miming and music; apart from Islamic, magical and ritual elements. Tok Teghi, the leader of the group, acts as a medium to connect the patient with the summoned spirits. During this process Tok Teghi keeps changing characters; becoming fierce and ferocious, a senile elder, a disabled youth, speaking nasally and various other characters to portray the pain shouldered by the patient. It is believed that there are more than 50 songs in a Main Teghi performance, but now not even 10 are still being performed. Among those commonly performed are entitled Kijang Mas, Mengulit, Pendekar, Cik Muda, Cik Kojo, Menora and Abe. Main Puteri was recognised as a National Heritage in 2012.

Ghazal Parti is a combined performance of music, songs, dance and comedy that obtained its influences from the Middle East. Its songs have elements of Arabian rhythm with lyrics in Arabic and Malay. The word ‘Parti’ means the ‘merriment of the ghazal performance’. This arts form expanded in the states of Penang Island, Kedah and Perak in Peninsular Malaysia. Ghazal Parti is often performed at wedding events in the village and at official ones in the city. In wedding events the performance starts from early evening to midnight and sometimes stretches to dawn. A performance in a wedding event is inside a reception hall that faces the newly-wed couple’s house so that the couple’s family members and guests can watch the show. There are eight to 12 musicians depending on the availability of musical instruments that are an accordion, two violins, an oud, a flute, bass guitar, drum, hand-held drum, bongo, tambourine, and maracas. The singers possess academic background in Arabic; some studied at private or public religious schools. The songs are Arabian in Arabic rhythms originating from Egypt. In the beginning the dancers were men in ladies’ clothing wearing scarf, batik sarong and baju kurung with thin make-up, as ladies were not allowed to become dancers. In the 1950s there appeared dancers among the transgender. Another component in Ghazal Parti is comedy that functions to fill in the break time of the musicians and singers. In a performance they rest twice to thrice and it is at this juncture the space is utilized by the comedians bringing themes of current issues.