Abstract
Water puppetry has become an iconic representation of Vietnam, and Hanoi's Thăng Long Water Puppet Theatre is flourishing as part of the international tourist package. This article documents the radical modification in this theatre's performance themes in 2013 – from traditional to explicitly ethnicised – and subsequent reversion the following year. In exploring the possible role of state propaganda in these changes, and the government's mechanisms of influence over water puppetry, the politics of representation within Vietnam's art and performance sector are exposed.
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