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The Quanzhou puppet show (木偶戏), also (know) as the string puppet show, started in the Qin and Han dynasties and (bring) to Fujian by immigrants (移民) during the Jin and Tang dynasties. By the end of the Tang Dynasty, it was already popular in Quanzhou.

For thousands of years, the Quanzhou puppet show has been an important part of the folk culture Quanzhou and the Minnan region, in its unique skills and performances have been enjoyed by both common people and scholars.

Over a thousand years, the Quanzhou puppet show has kept more than 700 traditional plays and special musical style called puppet tunes, with over 300 melodies and old (instrument) like the yajiao drum and zhengluo. It has developed (detail) string control skills and beautiful puppet head carving craftsmanship.

The traditional plays of the Quanzhou puppet show include ancient Quanzhou's customs, beliefs, and celebrations. It preserves words pronunciations of the ancient Heluo language and Minnan dialect (方言). This makes it valuable for studying Minnan culture, dialect, and southern opera, (attract) scholars worldwide.

Due to special connections between Quanzhou, Chinese Taiwan, and Southeast Asia, the Quanzhou puppet show spread to Chinese Taiwan and Southeast Asian Chinese communities in the late Ming and early Qing dynasties. It plays a (particular) important role in spreading Minnan culture, connecting people across the Taiwan Strait and overseas Chinese, and enhancing cultural identity.

During a workshop at a local art school, Li met Pierre, a French violinist who was fascinated by her instrument's attractive sound. "It's like the voice of ancient China," he remarked with excitement, gently plucking (拨) the erhu's strings. Inspired by each other's music, they decided to mix the soulful melodies of the erhu with the dynamic range of the violin for a performance at the upcoming Bastille Day celebration.

As they practiced in a sunlit studio overlooking the Seine, Li taught Pierre how to imitate raindrops with quick bow movements on the erhu, while Pierre showed her how to weave Western harmonies into the Chinese folk tune "Jasmine Flower." The integration created a charming soundscape that neither had imagined possible. On the performance night, their piece "Silk Road Echoes" received thunderous applause. The audience were amazed at how the erhu's sad tones danced with the violin's vigorous (有活力的) melodies.

What began as a summer experiment blossomed into lasting friendship and something far greater. Today, Li and Pierre co-teach virtual music classes, connecting students in Chengdu and Lyon through weekly "global jam sessions." Their students cooperate on pieces that mix erhu with guitar or Peking opera with jazz. Li often tells her pupils, "Music has no borders; it's a language that turns differences into harmonies." When traditions meet with open hearts, they don't conflict; they compose something entirely new.