Malaysia is a multiracial/ multiethnic country that is rich with many traditional performing arts such as Wayang Kulit and Main Puteri. However, the number of artists practising these traditions is in decline and they are at risk of extinction according to several Malaysian news outlets. This project is dedicated to understanding the challenges faced by these artists and the strategies they use to overcome obstacles to preserve their art form. Tintoy Chuo, a puppeteer of Malay traditional shadow puppet theatre Wayang Kulit, has become my case study in examining Malaysian artists. Through interviews and analyzing Chuo’s online presence, I found some of his challenges include: (1) federal and state funding structures that favour STEM more than the arts; (2) the Malaysian state’s view on arts as tourism; and (3) state government bans on this art form because it is deemed unIslamic. Some of the strategies that Chuo uses to counter these issues are: (1) blending the traditional element with popular culture references, for example, Star Wars; and (2) seeking international recognition of his work through interviews that are published in magazines and aired on news networks. I compare Chuo’s methodology to the transformation Zapin, a Malay traditional dance, underwent in the 1960s when it was blended with Western ballroom dances as documented by Mohd Anis Md Nor. I reveal similarities between the two processes, including: funding, audience, recognition, methodology, inspiration and community. I argue that the concept of “preservation” used in the context of art-making is problematic, and discuss how framing this methodology in terms of “sustainability” can be a model for other artists hoping to see their art form survive into the next generation.