In November, Cecilia had the opportunity to visit the Czech Republic and attend a puppet festival in Prague at the Minor Theater. This is the second of three puppet-related comics she drew while on the trip.
After traveling to Canada and Armenia, my final adventure of the summer season was heading to two different countries in Central America to teach puppet workshops. Under the auspices of the non-profit Co-partners of Campesinas, I was invited to teach puppetry to students in the towns of Ilobasco in El Salvador and Chichicastenango in Guatemala.
These two workshops were structured very differently. In Ilobasco, students ages 6-25 were grouped by age for a week long art and conflict resolution workshop during a school holiday. Due to changing school schedules, transportation challenges and family obligations, there were different numbers in the classes each day and not all students were able to stay for the entire workshop. Despite this, the younger students built sock puppets and used them to invent short scenes while the older students experimented with constructing hand puppets that used local gourds as heads.
In Chichicastenango, the workshop was hosted by a community organization called ASDECO and lasted for five days. I had a class of about 20 students, mainly teens and young adults, with some older participants, who made paper mache hand puppets. Unlike in El Salvador, where the focus of the workshop was creative expression, this one was intended to further the cultural goals of ASDECO who are dedicated to preserving and sharing the indigenous Ki’che culture of the region. Magdalena, an ASDECO staff member, led discussions about the traditional Ki’che stories of the Popol Wuj, which the students then turned into a short puppet play. I taught the group to construct hand puppets of the play’s characters with paper maché heads and cloth bodies. The finished piece was shared with the center’s staff and other community members on our final day.
Puppetry is not a very common art form in Central America. Few of my students in either Ilobasco or Chichicastenango had ever seen a puppet show and usually it was on TV rather than live. It was wonderful to see the students making creative decisions as they built their puppets and sometimes using other skills such as embroidery or beadwork to add to puppet clothing. I’m looking forward to seeing what else these artists create in the future.
Curious about puppets? Looking for some basic information about how to tell what kind of a puppet you might be looking at? You’ve come to the right place. Puppets are quickly gaining exposure in our popular culture, but they belong to a very old tradition, and are just as diverse as many other art forms. Here are some basics to know:
The definition of ‘puppet’ can be slightly different depending on who you talk to. Most people picture the fabric toy puppets they might have had as children, or the Muppet characters created by Jim Henson for Sesame Street. We often say that a puppet is any object brought to life by an operator, a definition which includes both realistic and abstract characters.
Hand puppets are puppets operated by the puppeteers hand inside the puppet’s body, usually making the head and hands move. Punch and Judy are good examples of traditional hand puppets. Sometimes a hand puppet is operated by two people, such as Telly Monster from Sesame Street.
Rod puppets are puppets with a rod holding up the body and usually two rods controlling the hands or arms. This allows the puppeteer to put some distance between themselves and the puppet. They are traditionally found in southeast Asia, primarily Indonesia.
Marionettes are puppets controlled by strings or wires. A good example of marionettes are the puppets in the movie The Sound of Music. Some marionettes can have up to a dozen strings controlling all the different parts of the body. Marionettes are usually human figures but can also be animals or abstract figures.
Over-life-size puppets is the term used by puppet historian John Bell to describe puppets that are larger than human size or enclose the puppeteer inside the puppet. Big Bird, from Sesame Street is an example of this kind of puppet.
Shadow puppets are flat cutout figures traditionally seen in silhouette, behind a screen. They can be made of paper, plastic, or leather and are sometimes opaque and sometimes translucent.
Object puppet is a term we sometimes use to describe characters that are created from found objects. All puppets can be classified as ‘object theater’ but these are characters made from a single object such as a hairbrush, fork or pair of binoculars.
Bunraku is a style of puppet originally from Japan. They are usually half or three quarters of human size and are operated by three puppeteers at once.
So yes, technically March was Women’s History Month and now it is April. Too bad, we’re still going to highlight three women puppeteers from around the world that you may not have heard of before. These women worked in very different forms of puppetry but each was a trailblazer in her own way.
You’ve probably heard of the painter Frida Kahlo, but a less familiar artist from the same era is Maria Dolores Velasquez Rivas (1897-1978), better known as Lola Cueto. She studied at the Academy of San Carlos along with the muralist David Alfaro Siquieros but her education was interrupted by the Mexican Revolution. She eventually became one of the few prominent women artists in Mexico at the time, taking her inspiration from Mexican folk art such as ‘papel picado’ and wooden children’s toys. Cueto lived in Paris from 1927-1932 where she first began creating hand puppets. After returning to Mexico, she founded several different puppet companies that performed educational shows for children. Cueto’s work can be seen in the Museum of Modern Art in Mexico City, the Brooklyn Museum and various puppetry collections.
This may surprise fans of Snow White, but Walt Disney was not the first person to create a full-length animated film. So far as we know, that was Lotte Reiniger, a German silhouette artist and puppeteer who created The Adventures of Prince Achmed in 1926. Born in Berlin in 1899, Reiniger combined her love of Chinese shadow puppetry and film into groundbreaking animated shorts and eventually feature length films that showcase her detailed shadow cutouts. She began by creating silhouettes for title cards and short sequences in live-action films and then gradually progressed to creating her own full-length work. Reiniger and her husband continued to create films even as they moved around Europe during World War II, eventually settling in England, where she died in 1981. You can see footage of Reiniger’s work, as well as an interview with her and a sequence she inspired in one of the Harry Potter films here. Below is her absolutely delightful short about Papageno, from Mozart’s opera The Magic Flute.
Cueto created hand puppets and Reiniger silhouettes; now we turn to marionettes and Gretl Aicher, the artistic director of the Salzburg Marionette Theater from 1977 until her death in 2012. Aicher inherited the theater from her father Hermann, who in turn had taken over from his father Anton. Trained as a sculptor, Anton Aicher founded the theater in 1913, so Salzburg has been enjoying these marvelous performances for a century. Today the Salzburg Marionette Theater employs a staff of 12 puppeteers and over 500 puppets, and performs operas, ballets and children’s plays both in Salzburg and all over the world. Under the leadership of Aicher, they have collaborated with the Salzburg Festival, as well as various international festivals. When asked in a 2004 book about the theater why ‘a life with marionettes,’ Aicher replied “For me, it is the process of empathizing with mind and soul, of feeling at one with the music and movement that bring these much-loved creatures to life.” Cueto and Reiniger would probably agree.
Our efforts have been focused on paper puppets for the past few weeks. With the help of Matthew McGee and puppeteers Heather Carter, Amy Kellett and Russell Matthews, we’ve created some new citizens of Paper World, out of scraps from SCRAP DC, local printers and the contents of the recycling bin.
These are some photos from our performance of Anansi’s Appetite at the Potomac Library in Maryland on January 19, 2013. As you can see, we had a great time!
This is just a quick update to say that our Education Page has gotten a makeover! Now we have more information about the workshops that we offer, as well as photos of past workshops and puppets that the students made. Go take a look and admire the fantastic creativity of these kids! If you know a school looking for a unique arts event to offer, send them our way!
Genna and I experimented with adding controls to some old characters last week, including Swirl Dancer, here:
We also created Mophead, a friend for Kismet, who is made of odd plastic pieces and fabric scraps: