‘The tradition of rod puppets in Brussels’ listed as UNESCO Intangible Cultural HeritageTuesday, 9 December 2025
Tuesday, 9 December 2025
Ans Persoons, Brussels State Secretary for Urban Planning and Heritage, is delighted and proud to announce the inscription of ‘the tradition of rod puppetry in Brussels’ on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. Supported by urban.brussels and the Royal Theatre of Toone, this recognition was made official during the 20th session of the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage, held in New Delhi from 9 to 14 December 2025.
This international recognition for Brussels and Belgium celebrates a living, popular art form that is deeply rooted in Brussels' history. Inherited from travelling theatres since the Renaissance, rod puppetry is now preserved and reinvented at the Royal Theatre of Toone, a veritable conservatory of this tradition and the last theatre of its kind still operating in Brussels.
"While Brussels is famous throughout the world for its Art Nouveau treasures, its architectural diversity and its thousand-year history, our City-Region also stands out for the richness of its living heritage, its traditions and its folklore, which forge our collective identity. The rod puppets of the Theatre of Toone are a magnificent symbol of this: they make young and old alike laugh, dream and marvel, and every year they attract visitors from all over the world who come to discover this authentic part of our culture. By adding this tradition to the List of Intangible Cultural Heritage of Humanity, UNESCO recognises the importance of preserving, passing on, and proudly promoting this Brussels tradition, which bears witness to the creativity and folk spirit of Brussels," says Ans Persoons, Brussels State Secretary for Urban Planning and Heritage.
A historic, living, and inclusive tradition
This nomination was initiated four years ago by urban.brussels, the Brussels administration responsible for heritage, with a view to promoting Brussels' identity, its local languages, inclusiveness, and non-commercial character.
Imported to Belgium by travelling theatres from Italy and Central Europe (16th/17th centuries), rod puppets reflect Brussels' multicultural identity. In the past, puppet shows allowed adult spectators, who were often illiterate, to discover plays, operas, and popular novels to which they would otherwise have had no access.
Still very popular in the 19th century, with several troupes performing, since 1963 it has been limited to the Theatre of Toone.
"Brussels rod puppets are part of our collective heritage. It is a living ancestral heritage that has been passed down for centuries and will continue to live on! Our priority today is to pass it on and promote it for future generations. This tradition is a collective tradition. It belongs to all the people of Brussels. Thank you for keeping it alive with us," says Nicolas Géal, known as Toone VIII, Director of the Royal Theatre of Toone.
Its distinctive feature is the ‘rod,’ a metal rod that passes through the puppet's head and forms two hooks at its ends. The rod is used to manipulate the puppet by moving various parts of its body. This manipulation is carried out by a well-trained team of six puppeteers hidden behind a raised puppet theatre. It requires considerable physical effort to give rhythm and precision to the movements. The puppeteers follow the voice of the leader, who plays all the characters by varying the intonation of his voice.
The repertoire, often parodic and improvised, combines theatre classics, folk tales, and social satire, in a typically Brussels spirit of “zwanze” and self-mockery. It is more specifically inspired by chivalry, biblical episodes, devilry, and popular 19th-century novels. The use of local Brussels language and references to local identity and popular cultural practices help to create a sense of identification among the audience.
An art form saved from oblivion and passed on to new generations
Threatened with disappearance in the 1960s, the tradition of rod puppetry in Brussels was saved thanks to the creation of the non-profit organisation Théâtre de Toone in 1969, which has since given practitioners significant visibility. Today, the theatre offers four performances a week, attracting a loyal audience and many visitors, in the heart of the "îlot sacré", listed as UNESCO world heritage.
“Our traditions never sleep: they live on and evolve with time. Brussels folklore is the best proof of that; it tells our way of being, our City, and all the stories that run through it.The inscription of the rod puppetry tradition on the UNESCO list is the recognition of a piece of Brussels’ soul, embodied by the Royal Theatre of Toone. Since 1830, this unique place has kept our history alive and tells it with that slightly offbeat creativity that defines Brussels humour. It is a thread that links generations, a strong thread carried by passionate individuals who continue to captivate audiences.This distinction shows that Brussels is a city that respects its roots, knows how to make them evolve to reach younger generations, and is full of cultural richness. And honestly, it feels good to see all of this recognised on the world stage.” declares Philippe Close, Mayor of the City of Brussels.
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With more than 30 shows in its repertoire, the theatre offers a wide variety of performances and is constantly reinventing itself. The puppets are studied, restored, and catalogued, and the theatre receives support from several institutional levels.
The Theatre of Toone plays an essential role in intergenerational transmission, the promotion of local language and the promotion of cultural diversity. Every year, it welcomes thousands of spectators of all ages and backgrounds and trains new puppeteers in an informal, open and inclusive setting. In recent years, this tradition has evolved: roles that were once gendered (men: leaders, manipulators, manufacturers; women: costume designers) are now gender neutral.
While puppet shows once educated the working classes of Brussels, today they continue to contribute to the education of their audience. The performances allow, in a playful way, access to the classics for adults and families. Several primary and secondary schools have incorporated the performances into their educational programmes to promote cultural awareness among young people and immerse them in local tradition.
This living heritage is also passed on and preserved through the Toone Museum and temporary exhibitions. External presentations also help to promote this tradition at local and international events, such as participation in several festivals (Charleville-Mézières in France and Geochang in South Korea), events organised by the International Puppetry Association, and European initiatives (Heritage Days, European Heritage Label).
A contribution to sustainable development
The UNESCO inscription also reflects the practitioners' commitment to sustainable development: the use of recycled materials, particularly wood for puppet making, local crafts that consume little energy, and raising awareness of environmental and social issues through shows and workshops.
Collective mobilisation
Finally, this application is the result of a participatory process, coordinated by urban.brussels, involving puppeteers, artisans, folklore associations, cultural institutions, and a wide audience. It is based on concrete safeguarding measures, inventories recognised at regional and community level, and a dynamic of local and international cooperation.
“The inscription of the art of rod puppets as Immaterial Cultural Heritage of Humanity is an extraordinary recognition of a tradition that incarnates the soul of Brussels. I want to congratulate the Royal Theatre of Toone for its essential role, as it’s their passion and commitment that kept this unique tradition alive in the heart of our capital. I also want to thank the Brussels Capital Region for supporting this candidacy with determination “, says Elisabeth Degryse, Minister-President of the Federation Wallonia-Brussels and Minister of Culture.
Although the puppeteer community is not very large, it has shown real commitment and great resilience over time.
The Brussels-Capital Region and, more broadly, Belgium would therefore like to express their particular appreciation to the UNESCO Intangible Cultural Heritage Committee for this distinction, which honours not only a unique form of artistic expression, but also the values of freedom, creativity and dialogue upheld by this centuries-old tradition.
