Ling Goh was born into a Teochew opera family. For more than thirty years, she has committed herself to preserving and developing Teochew opera and Teochew iron‑rod puppetry. Ling Goh also established the first cultural arts space in Malaysia dedicated to Teochew opera — the Teochew Puppet & Opera House.
Throughout her journey of preserving and promoting Teochew performance arts, Ling Goh has boldly embraced innovation, incorporating elements of modern theatre and musicals into traditional performances, thus attracting greater attention and participation of the young. At the same time, she has actively promoted Teochew opera and iron‑rod puppetry beyond the Teochew community, enabling people of other ethnicities to understand and appreciate their unique charms.
Recently, the Teochew Store spoke with Ling Goh in Penang to learn about her experience in passing on Teochew opera and iron‑rod puppetry, and managing the Teochew Puppet and Opera House.
The Teochew Store (TTS): You were born into a Teochew opera family. How did your family environment influence your artistic path? What made you decide to dedicate yourself to this craft?
Ling Goh (LG):
My family provided the starting point for my entry in the Teochew performing arts world. Without the guidance of my family members, I would not have the career I have today. I grew up immersed in Teochew opera and puppetry.
My great-grandmother and grandmother were both troupe performers — my great-grandmother specialised in huadan (young female) roles, while my grandmother excelled in xiaosheng (young male) roles. My mother, Toh Ai Wah (杜愛花), is skilled in iron‑rod puppetry. In 1989, she founded the Kim Giak Low Choon Teochew Puppet Troupe (金玉樓春潮州木偶劇團). She was recognised with the "Living Heritage Treasures of Penang Award" in 2008.
I began performing on stage at the age of seven. I gradually came to appreciate the unique beauty of Teochew opera, while also realising that it is a niche art rather than mainstream culture. If the younger generation does not continue to pass it on, this art form may eventually disappear. To be frank, working in opera has not brought me great wealth, compared with engaging in highly profitable businesses. However, it has constantly nourished me spiritually, driving me to keep moving forward till today.
TTS: With over thirty years of experience, what do you consider to be the core charm and essential value of Teochew opera and iron‑rod puppetry? Among the many shows you have performed in, which is your favourite, and why?
LG:
I have learned many life principles and philosophies from the opera field, and have inherited the spirit of "always striving to do one’s best in everything" from the older generation of artists. The senior troupe members may not be figures of great stature, but they approach every task — whether sweeping floors, washing tablecloths, or organising costumes — with complete devotion and seriousness. In today’s fast‑paced and restless era, such qualities are all the more precious and truly worth emulating by younger generations.
Among the many productions, my favourite is Ci Lang Zhou (辭郎洲). I deeply admire its heroine Chen Biniang (陳璧娘), especially her inner strength, determination, and sense of responsibility to her country and family. I once performed this role, and I feel she is the character whose personality is closest to my own.
TTS: More and more people are coming to recognise that Teochew opera is not only performed as part of religious rituals but is also a refined performing art in its own right. In Malaysia, your troupe and the Teochew Puppet and Opera House have made significant contributions in this regard. How do you integrate elements of modern theatre and musicals into your performances while preserving the essence of tradition? Could you share one of your boldest innovations? Have you encountered any doubts or resistance along the way?
LG:
From early on, I dreamed of seeing Teochew opera and iron‑rod puppetry recognised as performing arts that could be staged in theatres, or even on grander platforms, just like the operas in China and the theatrical dramas in Europe. This aspiration has driven me to pursue creative change and embrace new challenges. Over the years, I have been exploring ways to incorporate different elements into Teochew opera and puppetry; collaborating with groups from other cultures and ethnicities; and experimenting with language, music, scriptwriting, and stage design to bring our traditional performing arts closer to contemporary audiences.
Our boldest attempt to date was the 2022 production Ibu (meaning "mother" in Malay). We used the distinctive puppetry techniques of Teochew iron‑rod puppetry to tell a story adapted from the well‑known Southeast Asian folktale Si Tanggang. The production was presented in a linguistic blend of English, Malay, and Teochew. It was a remarkable breakthrough. We truly felt the boundless possibilities hidden within traditional art, and it gave me even greater confidence to keep exploring.
Of course, doubts are inevitable. Audiences generally fall into two groups: the conservatives and the progressives. Some conservative viewers feel that such innovations go against the principles and traditions of the art form. Whatever the opinion, we listen carefully and take it to heart, while continuing to seek a development path that suits us through ongoing experimentation.
TTS: You have been actively introducing Teochew performing arts to people of other ethnic groups. How have they responded?
LG:
They are pleasantly surprised by our culture. Although Malaysia is a multi‑ethnic country, genuine cross‑cultural exchanges are still quite limited. People may be aware of one another’s cultures, but we mostly remain within our own communities and lack real bridges of communication. As a result, our knowledge of other cultures is quite shallow.
When we began our cross‑cultural collaborations, we were all amazed by the depth and expressive richness that each tradition holds. This affirmed our belief that our cooperation is meaningful. In 2025, we presented a new adaptation of the Teochew opera The Ten Immortals Bestow Blessings. It was performed in the Malay language for the first time, with the hope of helping more friends from different Southeast Asian communities understand the content of our performance.
TTS: What do you see as the greatest challenge facing the preservation and transmission of Teochew opera and iron‑rod puppetry? How can traditional arts maintain vitality in the digital age?
LG:
I think the greatest challenge is that practitioners often continue with the operation model of the previous generations and are hesitant to alter the ecosystem of the occupation. Teochew opera and iron‑rod puppetry were products of the past, when troupe members had no rest days, holidays, or welfare benefits like the provident fund. If we persist in operating exactly as before, it will be difficult to attract young people. The outcome is a shrinking pool of successors. From my knowledge, most young practitioners in Malaysia, Singapore, and even Teochew in China come from performing families and are therefore more accustomed to and accepting of such conditions.
Many people feel that reform and innovation in traditional trades are difficult. In my view, making new changes is never easy in any industry. The key is to step out of one’s comfort zone and to dare to experiment, reflect in moments of difficulty, and learn from setbacks. Only then can we gradually find a direction for development. This requires tremendous determination and patience. Even passionate young people who enter this field may eventually step away if it does not offer them adequate material rewards. Therefore, how to balance artistic pursuits and everyday livelihood is a challenge that practitioners must grapple with.
Only by creating new value for this field can we attract more people to dedicate themselves to its preservation. However, taking the first steps toward change is never easy. After all, we come from an old environment, having worked for years under the fixed patterns set by the previous generation. We need to constantly convince ourselves and overcome our inner struggles. But if we fail to adapt to the changing times, this industry will eventually be phased out by society and the market.
Especially in today’s era of rapid digitalisation, we must continue learning new technologies and skills. When we have new ideas, we should try them out quickly, instead of asking ourselves whether they will succeed. In my experience, many efforts do not succeed on the first try. Rather, success often follows from our decision to do something, and then figuring out how to do it. Even if we encounter failure, it brings valuable lessons on why our approach does not work. For example, I have been observing the rise of short‑video platforms in recent years. Last year, I launched my own short‑video channel to introduce Teochew opera knowledge, explore front‑ and back‑stage life, and showcase performers’ daily lives. This generated considerable attention and resonance.
To sustain the vitality of Teochew opera, the older and younger generations must work together hand in hand. Generational gaps exist and are unavoidable, but we can strive to bridge them. Veteran artists should try to understand and embrace the ideas and innovations of the young generation, while young artists must respect the traditions handed down by their elders and learn from their meticulous and rigorous work ethic. Only then can tradition endure through dialogue and be revitalised through innovation.
TTS: What courses or activities does the Teochew Puppet and Opera House offer for young people? How do you attract them to learn Teochew opera, develop a love for it and even pursue it as a career?
LG:
We offer a wide range of courses suitable for both young and old, including traditional opera, iron‑rod puppetry, opera makeup, and Teochew music and drum. We also organise numerous free public courses and invite renowned opera instructors to conduct workshops at the centre.
For over a decade, the Teochew Puppet and Opera House has brought together many passionate volunteers who contribute their valuable free time to help run operations. The centre also provides a gathering and exchange space for like‑minded individuals. Here, they can relax, shed the "armour" and "mask" they wear in their workplace, and find joy in the opera arts. It is this joy that keeps their passion alive and sustains their commitment.
TTS: What has been your greatest challenge in running the troupe and the Teochew Puppet and Opera House? How did you overcome it? What support have you received from the Teochew community in Penang?
LG:
Between 2008 and 2013, before establishing the Teochew Puppet and Opera House, I ran the Kim Giak Low Choon Teochew Opera Troupe (金玉樓春潮劇團). Before this, I had spent many years working with my mother’s iron‑rod puppet troupe, so running an opera troupe was new to me. On one hand, it was driven by my desire to perform leading roles. On the other hand, many Teochew opera troupes in Malaysia were disbanding at the time, leaving many skilled and experienced performers with nowhere to perform. I felt this was a waste and wanted to create a platform for them to continue performing.
Only when managing the troupe did I realise the gap between reality and dream. Managing it consumed most of my time and energy. Besides, I was responsible for publicity and business negotiations, leaving me no time to perform. Eventually, due to operational difficulties, I had to close the troupe. I had taken out loans to fund it, and after closing, I paused my opera career and worked in the United Kingdom to pay off my debts. However, I did not abandon it. Having experienced the hardships of running a troupe, I understood all too well the uncertainties and struggles of street performance. This gave me the idea of establishing a cultural space for Teochew opera. After closing the troupe, I shared my vision with a benefactor, Madam Lim Gaik Siang (林玉裳), a renowned heritage conservationist in Penang. She helped secure a suitable venue, providing our performers and puppet troupe with a permanent performance venue.
It is fair to say there would be no Teochew Puppet and Opera House today without that earlier experience. Because of this, I prefer to view "difficulty" as "a formative experience." Closing the troupe was not an end but an opportunity for transformation. After three months in the UK, I returned and began preparing for the Teochew Puppet and Opera House, which I have managed ever since.
In the past, Penang’s Teochew associations and business communities focused more on charitable work, such as supporting orphanages and the disabled. As more people have come to know about the Teochew Puppet and Opera House in recent years, they have developed a deeper understanding and appreciation of opera art and culture, and have begun to sponsor our activities. This is a form of recognition for us. We look forward to even more members of the Teochew community coming forward to participate in the centre’s development in the future.
TTS: Have you ever felt lost or wanted to give up during your artistic career? What has kept you persevering on this journey?
LG:
I have been asked this question many times. My answer has always been "No." I am not an extraordinary person; I simply regard Teochew opera as both my life’s calling and my faith. Whenever I encounter difficulties, I focus on how to make things work. Even closing the troupe I had run for over four years did not make me consider giving up on this art form. The spiritual nourishment it has given me far exceeds any material reward. It also provides me with the inner courage to keep moving forward amid life’s many challenges.
TTS: What advice would you give to young people interested in learning or pursuing a career in Teochew opera or iron‑rod puppetry?
LG:
I would like to share three suggestions:
First, do not regard Teochew opera as something overly sacred. Take the initiative to interact with the older artists and befriend them. This will draw you closer to the art and help you truly understand it. We should not only learn the techniques they pass down but also absorb the serious and resilient attitude with which they approach their work.
Second, once you have an idea, be brave enough to try it. Do not fear breaking conventions, failure, or others' doubts and disapproval. Keep venturing, keep breaking new ground. Opportunities do not come knocking on their own; action is what creates new possibilities.
Third, do not expect the older generation to change immediately. Instead, through respect and understanding, let your efforts and results show them the new possibilities. Do your best to explore, express, and communicate, without being overly fixated on outcomes. Tradition and innovation complement each other. Because some people steadfastly preserve the authentic flavours of Teochew opera culture, we can still witness the essence passed down by our ancestors. At the same time, others must keep experimenting to infuse the art form with new vitality, ensuring it endures and moves forward.
TTS: As 2026 has just begun, what new plans do your troupe and the Teochew Puppet and Opera House have for the year ahead?
LG:
We have three main focuses this year: organising a professional puppetry forum to strengthen exchanges within the field; continuing to create new works so that more people can discover our performing arts; and developing a support programme for traditional arts aimed at creating more space for preserving and promoting Teochew opera and puppetry while also nurturing new talent.
Follow Ling Goh and the Teochew Puppet & Opera House
- Teochew Puppet & Opera House Facebook: www.facebook.com/TeochewPuppetAndOpera
- Ling Goh Facebook: www.facebook.com/linggoh1981
- Ling Goh Instagram: www.instagram.com/ling_goh81
Synopsis of Ci Lang Zhou
At the end of the Southern Song dynasty, as the enemy Mongol Yuan forces pushed southward, the Song emperor found himself besieged at Yashan. He summoned the Teochew general Zhang Da for rescue. Initially reluctant to act due to the corruption of the imperial court, Zhang Da was persuaded by his wife Chen Biniang to lead troops. However, Zhang Da was defeated, captured, and killed. Upon learning of his death, Biniang led the villagers in a daring night raid on the Yuan camp, successfully freeing the captured loyalist forces. The Yuan general Zhang Hongfan, determined to capture her alive, sent a surrendered official to persuade her to defect. However, Biniang saw through the ruse and executed the traitor. She then launched another assault before retreating to Haizhou. Enraged, Zhang Hongfan mounted a full-scale attack on Haizhou. Biniang fought fiercely and ultimately sacrificed herself while covering the retreat of loyalist forces. In honour of her bravery and loyalty, later generations renamed Haizhou as "Ci Lang Zhou" (literally, "Farewell to the Husband Isle").
Synopsis of Ibu
A young fisherman from a village, Tanggang, despises his hometown's poverty and dreams only of escape. One day, a merchant ship docks, and he abandons his grieving mother to seek his fortune abroad. The outside world dazzles him, and he works hard to shed his rustic roots, eventually marrying a foreign princess. When Tanggang returns home as a royal son-in-law, he is overcome with shame at his humble origins and refuses to acknowledge his aged, impoverished mother. Heartbroken, the mother curses her unfilial son, and he is turned to stone.
Interview conducted and translated by The Teochew Store. All images courtesy of Ling Goh and the Teochew Puppet and Opera House.
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