This presentation considers the last twenty years of the historic Sino-Javanese puppetry form wayang potehi. Since the end of the Suharto period, this Hokkien-derived glove puppetry practice has expanded, with troupes increasingly traveling abroad to interact with related puppetry forms (for instance in Taiwan and Penang), while also engaging in the tourist trade and performing outside the historic traditional geographic range (Central and Eastern Java) and venue type (Chinese temple grounds). Since Sino-Indonesian identities are highly contested, patrons use the genre as an opportunity to frame this cultural product as an ethnic contribution to Indonesia’s rich practices of performance arts. Indeed, the genre has increasingly been identified by its sympathizers as a form of wayang, and Indonesian institutional actors (such as the Wayang Museum or editors of a recent wayang encyclopedia) are beginning to countersign this taxonomical shift. Recently, a Universitas Indonesia-based student troupe, without direct involvement from ethnic Chinese, has begun adapting the genre for general performance. At the same time, the recent intensification of Indonesia’s identity politics means that symbols such as wayangpotehi constitute an important way for Sino-Indonesian and Javanese subjects to insist on pluralism without having to abandon the moral high ground of ‘tradition.’ The presentation proposes that the ideological project to naturalizethe genrefor the majority population has reached an unprecedented new phase, both by constructing a Sino-Southeast Asian region across related puppet forms and seeking to exceed the recent regionally-defined itinerary of Chinese temple performance in East and Central Java.