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hio Tiong Gie, a renowned poo tay hie puppet master from Semarang, Central Java, died on Wednesday. He was 81.

As a senior dalang (puppet master), Thio was one of the few performers of this wayang (wooden puppet) art of Chinese origin in the country.

Poo tay hie is a typical Chinese drama show presenting wooden puppets clad in glove-like clothes. The name comes from the words poo (cloth), tay (bag) and hie (puppet or wayang). This art is widely known by the acronym potehi.

Thio Tiong Gie, who was also known as Teguh Chandra Irawan, had been hospitalized several times due to diabetes.

'€œMy father was under hospital care for 11 days until his demise. He faced his condition with forbearance, wisdom and steadfastness.

He always advised us to warmly welcome all guests visiting our home,'€ said his son Thio Haouw Liep, also known as Heri Chandra.

According to Heri, Thio had performed in Sukabumi, West Java, before his last hospitalization. During Lunar New Year celebrations in 2013 and 2014 in Semarang, Thio also appeared on his poo tay hie stage.

While performing out of town, Thio would be accompanied by one of his sons, Heri said. '€œMy younger brother, Thio Haouw Lie [Herdian Chandra], was the one most frequently following our father'€™s tours.'€

In previous interviews, Thio expressed concern over the absence of members of the young people to carry on the potehi playing art and skill. '€œNone of my children has worked as a dalang either,'€ Thio told The Jakarta Post in 2013.

Heri said that his father wished to have his wayang puppets well maintained after his death. Thio preserved his puppets wholeheartedly despite their old age, as they had become part of his journey in life.

Thio Tiong Gie was born in Demak, Central Java, on Jan. 9, 1933.

Moving from Demak at age nine to Semarang, Thio belonged to a family with uncertain livelihood. He could only start school when he was 14.

At 28, he found used newspapers with poo tay hie stories. Interested, he began to search for more such legends until he met puppet master Tan Ang Ang, who gave him a handbook and made him an apprentice.

Thio later became a dalang and was invited to stage potehi performances in many places. His income could help meet the needs of his family.

'€œAt the time I was performing in Central Java and West Java cities, even as far as Palembang, South Sumatra,'€ he said.

When the government of Suharto issued an instruction in 1967 banning art shows of Chinese
origin, his potehi troupe had to close down. Thio changed his profession and opened a welding business.

After 32 years, his puppets woke up from their slumber in 1999 following the change of government, when Thio was again invited to appear at Gadjah Mada University (UGM) in Yogyakarta.

Although the show was for free, he marked the moment as the '€œrebirth'€ of poo tay hie. A philanthropist wound up paying him for a superb performance.

Thio'€™s wayang stage always measured three by three meters with walls and roofs made up of galvanized iron sheets, making the room sweltering. As a result, electric fans were used to cool down the air inside.

Among the famous stories shown are Sie Jin Kwie, Hong Kiam Cun Ciu, Cun Hun Cauw Kok and Poei Sie Giok. As Thio once said, each title could take up to 45 days to complete, performed for four hours a day.

Thio'€™s is survived by six children: Thio Haouw Liep, Thio Koei Lian, Thio Haouw Poen, Thio Koei Hwa, Thio Koei Hoen and Thio Haouw Too; 23 grandchildren and one great grandchild '€” as well as three apprentices '€” all Javanese '€” who were virtually his assistants and will be his potential successors.