For its second online installment of the 2021 Spring Puppet Forum Series, the Ballard Institute and Museum of Puppetry at the University of Connecticut will host “Puppet and Spirit: Living Gods, Demonic Snakes, Robotic Buddhas, and Migrant Relics” with puppetry studies scholars Claudia Orenstein, Tim Cusack, Ana Martinez, and Deepsikha Chatterjee on March 25 at 7:30 p.m. ET, one half hour later than the usual forum start time. This forum will take place on Facebook Live (facebook.com/BallardInstitute/) and will be available afterwards on Facebook and the Ballard Institute YouTube Channel (youtube.com/channel/UC3VSthEDnYS6ZjOwzT1DnTg). 

Join these four distinguished scholars as they explore the diverse relationships that exist between the spiritual world and performing objects, in both traditional forms of puppetry and contemporary artistic expressions. This forum is co-sponsored by the UConn Asian American Cultural Center, Asian and Asian American Studies Institute, Puerto Rican and Latin American Cultural Center, and El Instituto.

Why and how do we turn to the material world to connect with spiritual and supernatural dimensions of experience? How are performing objects used in ritual activities or other performative acts that touch on our deepest beliefs and questions about the nature of human existence? What religious and ontological perspectives frame these endeavors in both religious and non religious contexts? Our Forum participants will address these issues in terms of their own research into: the objects migrants have left behind on the southern U.S. border; the ritual use of oversize animal puppets in Assam, India; humanoid android characters in the HBO series Westworld; and other ways that puppets are considered powerful spiritual entities with a consciousness.

Claudia Orenstein, Theater Professor at Hunter College and the Graduate Center, CUNY, has spent nearly two decades writing on contemporary and traditional puppetry in the US and Asia. Recent publications: co-edited volumes Women and Puppetry: Critical and Historical Investigations and The Routledge Companion to Puppetry and Material Performance. She worked as dramaturg on Tom Lee and kuruma ningyō master, Nishikawa Koryū V’s Shank’s Mare, is Board Member of UNIMA-USA and Associate Editor of Asian Theatre Journal. Current book projects: Thinking Through the Puppet: Essays on Puppet Dramaturgy and a two-volume co-edited anthology with Tim Cusack, Puppet and Spirit: Ritual, Religion, and Performing Objects.

Tim Cusack is an adjunct lecturer in the Hunter College Theatre Department, where he teaches basic acting techniques. He was a founding artistic director of the downtown indie company Theatre Askew, which was twice nominated for the GLAAD Media Award in the Outstanding Off-Off Broadway Production category. He was the assistant editor on both the Routledge Companion to Puppetry and Material Performance and Women and Puppetry. His essay analyzing Susan Sontag’s celebrity persona through the lens of queer performativity was published in the anthology Susan Sontag and the Camp Aesthetic: Advancing New Perspectives. He has a BFA from NYU/TSOA and an MA from Hunter/CUNY. 

Dr. Ana Martínez is an Assistant Professor in the Department of Theatre and Dance at Texas State University. Her book Performance in the Zócalo: Constructing History, Race, and Identity in Mexico’s Central Square from the Colonial Era to the Present (University of Michigan Press, 2020) addresses the ways in which the material center of the Mexican capital, the Zócalo, manifests and contests its symbolic power through performance practices. Dr. Martínez’s fields of specialization are theatre practices in Mexico, Latinx drama, and performance design. Her current research and upcoming article focuses on migrancy’s material traces in performance. She holds a degree in Theatre Studies from the City University of New York Graduate Center, and MA in Scenography from Central Saint Martins College of Art and Design in London, and an Architecture degree from Universidad Anahuac in Mexico City.  

Deepsikha Chatterjee teaches at Hunter College CUNY. She has a Bachelors in Fashion Design from India, her MFA from Florida State University, and is now pursuing her PhD from CUNY Graduate Center. Her costume designs received the Best Costume Design award at United Solo 2014 and 2017. Her designs have been seen at various New York venues, and she has worked in many regional theaters. She has published about costumes of Indian film and dance and has presented at USITT, Costume Society of America and the Rubin Museum of Art. She serves as Dance Director for Indo-American Arts Council’s Erasing Borders Dance Festival.

For more information and to learn about other online programming, email bimp@uconn.edu. 

As part of its 2021 Spring virtual programming, the Ballard Institute and Museum of Puppetry at the University of Connecticut is pleased to present Milo the Magnificent by the Maryland-based company Alex & Olmsted on March 27, 2021 at 4 p.m. ET via Zoom.

Milo the Magnificent is a highly engaging puppet show about an aspiring magician. This wordless comedy, the winner of a Jim Henson Foundation Grant, is inspired by turn of the century vaudeville entertainers, is as highly physical as it is charming. Using stunningly innovative puppetry, Milo presents a variety of magic tricks which don’t always go as planned. Great for all ages! This performance lasts approximately 40 minutes and will include time for questions and answers with Alex & Olmsted after the show. 

In a review for the New York Times, Laurel Graeber wrote, “Milo is a bit of a cardboard character, but you can’t blame him for that. He’s a puppet: specifically, a huge cutout fellow, whose arms, hands and feet belong to one of his creators, and whose changing facial expressions are recorded on flippable circular cards. The duo Alex & Olmsted—Alex Vernon and Sarah Olmsted Thomas—invented his world, which includes other puppets made of cleverly repurposed materials. Milo […] aspires to be an illusionist, and while his tricks and experiments rarely work out as planned, children will still find them magical.” 

Alex and Olmsted (Alex Vernon and Sarah Olmsted Thomas) is an internationally acclaimed puppet theater company. In recent years, they have toured abroad at the Festival of Wonder in Denmark, the Puppet Festival Chuncheon in South Korea, the Festival de Casteliers in Montréal, and The Festival of Animated Objects in Calgary. In the United States, they have played Symphony Space in New York City, the Detroit Institute of Arts in Michigan, the Center for Puppetry Arts in Atlanta, and Black Cherry Puppet Theater in Baltimore, among others. Alex and Olmsted was recently awarded the 2020 State Independent Artist Award for Performing Arts from the Maryland State Arts Council (MSAC), the highest honor for performing artists in the State of Maryland and an award that is only given once in the lifetime of an artist or group. Their puppet show, Milo the Magnificent, was awarded a 2017 Jim Henson Foundation Grant, a Greenbelt Community Foundation Grant, and received an excellent mention in the New York Times. They were awarded a second Jim Henson Foundation Grant to further develop their outer space show, Marooned! A Space Comedy. Alex & Olmsted is a resident company at Baltimore Theatre Project. Vernon and Thomas are also proud company members of Happenstance Theater with whom they have created 10 productions since 2012.

Ticket price: $10/household. Tickets can be purchased online at bimp.ticketleap.com/milo-the-magnificent-virtual/. A surcharge will be added to online purchases. Attendees should purchase one ticket per household. While we ask for a minimum payment of $10/household, we greatly appreciate any additional support! A Zoom link will be emailed to households one hour before the performance. 

For more information about these performances or if you require an accommodation to attend this event, please contact Ballard Institute staff at 860-486-8580 or bimp@uconn.edu.

The Ballard Institute and Museum of Puppetry and the UConn Puppet Arts Program present ISH, an MFA performance by UConn Puppet Arts graduate student Felicia Cooper, co-sponsored by the Mansfield Downtown Partnership. This 45-minute, family-friendly puppet show will be performed outdoors on March 19, 20, and 21 at 7 p.m. in Betsy Paterson Square in Downtown Storrs. These outdoors shows will be socially distanced and follow State of Connecticut COVID-19 safety protocols. The performance will also be streamed on March 21 at 7 p.m. on Ballard Institute’s Facebook Live (facebook.com/BallardInstitute/) in celebration of World Puppetry Day.

This show is a whale of a time and a (very) loose homage to New England’s own Moby-Dick, if Ishmael was a hyper-curious eleven-year-old girl and the whale was a little friendlier! With the help of her stuck submarine, Ish explores her perspective in isolated circumstances, a maker’s approach, and our relationship to the ocean. Join us underwater for shadow puppets, object performance, and three-dimensional cantastoria as we search for a whale from right where we are.

Suitable for kids 6-11, ISH uses shadow puppets from an overhead projector, object performance in a suitcase, and original music from Juliana Carr. Calling on traditional performance techniques updated with new technology, this kick in the pants to Melville will spark curiosity in kids and parents alike. ISH uses technology as performance and performance as technology. This story is filled with creative problem solving and shifting perspectives. We want to encourage kids to use their imagination, take a step back, and try on new ideas! This show is supported by the Marks Family Endowment in Fine Arts, Connecticut Sea Grant, and the UConn Women’s League. 

Felicia Cooper is a third-year MFA candidate studying Puppet Arts at the University of Connecticut, with a BA in Theater from Point Park University. At UConn she moderated the Ballard Institute’s forum on Women in Puppetry, organized the inaugural Women in Making Forum with the Learning Community Innovation Zone, and presented research at the 2019 National Puppetry Festival. She has performed with Bread and Puppet Theater, Puppet Bucket Productions, and at the Eugene O’Neill National Puppetry Conference. She has held artistic residencies with the New Hazlett Theater, PearlArts, folkLAB, the Children’s Museum of Pittsburgh, Pittsburgh Creative ReUse, Pittsburgh Center for the Arts, and Propel Schools. She loves giving tours and workshops and sharing her exuberance for puppetry in all its forms.

Admission is free, but due to COVID-19 safety precautions, seating reservations must be made in advance by visiting bimp.ticketleap.com/ish-by-felicia-cooper/. This event is being offered in accordance with State of Connecticut reopening guidelines, including the Phase III sector rules for outdoor events. For safety, six feet of space will be required between seated family groups and masks are required for all attendees, staff, and volunteers ages two and up. There will be limited, socially-distanced seating available based on family or quarantine units. Chairs will be made available, but groups are encouraged to bring blankets. Hand sanitizer will be available at the entrance and exit of the seating area. Please note that public restrooms are not available. To learn more about the Ballard Institute’s COVID-19 protocols and to reserve seats visit: bimp.ticketleap.com/ish-by-felicia-cooper/. 

For more information, or if you require an accommodation to attend this event, please contact Ballard Institute staff at 860.486.8580 or bimp@uconn.edu.

For its first online installment of the 2021 Spring Puppet Forum Series, the Ballard Institute and Museum of Puppetry at the University of Connecticut will host “Puppetry in Therapy” with noted therapist and puppeteer Matthew Bernier and psychologist and UConn professor Dr. Sandra Chafouleas on Feb. 18 at 7 p.m. ET. This forum will take place on Facebook Live (facebook.com/BallardInstitute/) and will be available afterwards on Facebook and the Ballard Institute YouTube Channel (youtube.com/channel/UC3VSthEDnYS6ZjOwzT1DnTg). 

Join Bernier and Chafouleas in a revealing discussion about puppetry’s long-standing role in therapeutic practices. What is therapeutic puppetry, and who practices it? What kinds of puppets and puppetry are used in therapeutic puppetry? Who can benefit from puppetry therapy, both within and outside clinical contexts? This puppet forum will explore a little-known but fascinating aspect of contemporary puppetry that benefits thousands around the world. This forum is co-sponsored by the Neag School of Education at the University of Connecticut. 

Dr. Sandra M. Chafouleas is a licensed psychologist and works as a Distinguished Professor in the Neag School of Education at the University of Connecticut. She directs the UConn Collaboratory on School and Child Health (CSCH), and authors a Psychology Today blog on promoting student well-being. Her work focuses on assisting schools in implementation of evidence-informed policies and practices that support the whole child, with specific expertise in strategies to strengthen mental health and emotional well-being. Dr. Chafouleas is a fellow in both the American Psychological Association and Association for Psychological Science. Prior to becoming a university trainer, Dr. Chafouleas worked as a school psychologist and administrator in a variety of settings supporting the needs of children with behavior disorders.

Matthew G. Bernier, MCAT, ATR-BC is a registered and board-certified art therapist, artist, puppeteer, and Associate Professor in the Graduate Art Therapy and Counseling Program at Eastern Virginia Medical School, where he has taught since 1990.  He has a bachelor’s degree in psychology with a minor in theater arts.  He has a master’s degree in creative arts in therapy from Hahnemann University (now Drexel) and is pursuing a PhD in expressive arts therapy and social change at the European Graduate School in Switzerland. His expertise is in the areas of psychological development theories, therapeutic art processes, the Expressive Therapies Continuum, creativity/symbolism/metaphor, art psychotherapy theoretical approaches, and therapeutic puppetry.  He teaches internationally and is co-editor of Puppetry in Education and Therapy: Unlocking Doors to the Mind and Heart.

For more information and to learn about other online programming, visit bimp.uconn.edu or email bimp@uconn.edu.

The Ballard Institute and Museum of Puppetry will be closed through the spring as we install our new exhibition.

You can view past exhibits and other virtual experiences on our website, bimp.uconn.edu/online-experiences/.

The Ballard Institute will be temporarily closed due to facilities issues this weekend. While you can’t visit us in person, you can see our current and past exhibits online at https://bimp.uconn.edu/online-experiences/

Online symposium, April 9-10, 2021

Organized by Matthew Isaac Cohen, Jungmin Song, and John Bell 

Sponsored by the Ballard Institute and Museum of Puppetry and the Puppets Arts Program of the University of Connecticut

In societies around the globe, puppets and other performing objects such as masks and cantastorias are used to represent and stage the Other—various ethnicities and races considered different from the dominant group. Such dramatizations of alterity routinely involve caricature and exaggeration. The transformative capacities of performing objects—which allow any practitioner to enact anything or anybody—grant them unique capacities to realize exotic fantasies; inscribe and reinforce racial stereotypes and ethnic misrepresentations; but also to transcend received categories and struggle against modes of oppression such as colonialism, often through parody. 

The road to the Holocaust was paved by anti-Semitic puppets, showing, for example, Jews transforming to pigs, inculcating into German children an image of the racist insult Judensau (Blumenthal 2005: 94). America’s most popular living puppeteer, ventriloquist Jeff Dunham, is famed for his demeaning José Jalapeño and Achmed the Dead Terrorist figures and other characters who spout racist remarks. Turkish karagöz is replete with caricatures of the diverse population of cosmopolitan Istanbul, with offensive portraits of haggling Jews, stupid Arabs, and others. Beyond such racist imagery, puppetry and allied forms frequently reflects a particular society’s unstated, subtle, and yet systemic and pervasive racism and bias, which is often not even recognized or acknowledged by the practitioners engaging in it (Populoh 2019). 

Practitioners have also bravely challenged systemic racism. Masks and puppets representing Vietnamese women made repeat appearances in Bread and Puppet Theater’s anti-war political spectacles in the 1960s and 1970s, providing human form to the abstractions of collateral damage. In his solo street show, Puns and Doedie–Puppets against Apartheid (1981-1986), South African puppeteer Gary Friedman satirized the racist Apartheid regime and raised awareness of the social attitudes that underpinned it.  More recently, a “fluorescence” of African-American artists have turned to puppets, masks, crankies, and other performing objects to resist objectification of the black body, counter the grotesque ways that African-Americans have been portrayed, take back their own identities, complexify dominant narratives, and address sensitive issues through humor (Bland et al. 2020). 

This academic symposium coincides with the exhibition The Other: Race, Ethnicity, and Puppetry, curated by Dr. Jungmin Song (Ballard Institute and Museum of Puppetry, March 6-October 3, 2021) and aims to draw together scholars of puppetry, mask performance, cantastoria, and other types of performing objects globally in order to problematize representations of the Other, excavate systemic racism in performing objects, and demonstrate the capacities of puppetry and allied arts to challenge racism and xenophobia in order to fashion just, diverse, and inclusive societies. It follows up on the path-breaking 2018-2019 exhibition Living Objects: African-American Puppetry, co-curated by Paulette Richards and John Bell at the Ballard Institute and Museum of Puppetry, and the accompanying festival, seminar, and online publications (https://bimp-exhibitions.org/livingobjects/). 

PRESENTATION TOPICS

We invite proposals for 15-minute presentations on topics including:

• The representation of ethnic and racial Others in global traditions of puppet and mask theatre

• Exoticism, Orientalism, and Othering through puppetry and performing objects 

• The relation between racist and xenophobic discourse in society and the representation of alterity with performing objects 

• Puppets, masks, and performing objects as a means for cross-cultural understanding, generating empathy, and communicating with Others

• Challenging systemic racism, prejudice, and colonialism through puppets, masks, and performing objects

We intend to publish accepted papers in an online catalogue that will also include images from the The Other: Race, Ethnicity, and Puppetry. 

 SCHEDULE

Proposals: February 8, 2021

Notification of acceptance: February 15, 2021

Symposium: April 9-10, 2021

Revised presentations due: August 30, 2021

Publication of proceedings: November 2021

SUBMISSION GUIDELINES

Please submit your proposal as an email attachment.

Your proposal should be a Word document of no more than 350 words.

Your proposal should present original, unpublished work.

If your proposal is accepted, you will be invited to submit a first draft of your article by the deadline indicated above.

Your article should follow the “Manuscript Preparation Guidelines” for the Brecht Yearbook.

 CONTACT

All proposals, submissions, and general inquiries should be sent directly to matthew.i.cohen@uconn.edu, s_jungmin@hotmail.com, and john.bell@uconn.edu. 

REFERENCES

Bland,  Edna (moderator) with panelists Paulette Richards, Schroeder Cherry, and Anwar Floyd-Pruitt. The Renaissance of African American Object Performance. Online Fall Puppet Forum, Ballard Institute and Museum of Puppetry, October 22, 2020. https://www.youtube.com/watch?v=fZ1-H0dQBXk.

Blumenthal, Eileen. Puppetry and Puppets: An Illustrated World Survey. London: Thames and Hudson, 2005.

Populoh, Valeska Maria. “Embracing Complexity in Performing the Other.” Living Objects: African American Puppetry Essays. 6 (2019).  https://opencommons.uconn.edu/ballinst_catalogues/6.

The Ballard Institute is closed through January 8 and will reopen for reservations on January 9. You can make your reservations to visit in January now!

While you can’t visit us in person, you can visit our Virtual Experiences page to see current and some past exhibitions online! We also have coloring pages and workshops for you to do at home!

Happy holidays from the staff at the Ballard Institute!

The UConn Puppet Arts Program and Ballard Institute and Museum of Puppetry will host the end-of-semester presentation of UConn Puppet Arts undergraduate and graduate class finals on Friday, December 18 and Saturday, December 19 at 7 p.m. ET. These presentations will take place on Ballard Institute Facebook Live (facebook.com/BallardInstitute/). Talkbacks led by famed puppeteer Paul Zaloom will also take place each night. These performances are recommended for mature audiences. 

On Friday December 18, final presentations, performances, and talkbacks for Directing, Online Shadow Theater, and World Puppet Theater will take place via Facebook Live. Inspired by the radio sculptures of Tom Sachs and the African Sonic theories of puppet scholar Paulette Richards, Students in the Directing class will present their “ReInvention of the Radio Play”– experiments with sound as storytelling and puppet theater. Online Shadow Theater students will present their individual creations for the shadow theater, all performed solo and remotely! Introduction to World Puppet Theater students, who have been studying theories and histories of global puppet and object performance, will present short toy theater productions they created at the end of the semester.

On Saturday, December 19, final presentations, performances, and talkbacks for Object Theater and Paper Sculpture will take place via Facebook Live. Students in the Object Theater class will share a series of object theater performances in which ordinary household objects take on life to portray extraordinary events, confronting mortality, prejudice, phobias, and injustice in their own inimitable manner. Paper Sculpture students will present brief cameos with the characters they have created utilizing Albrecht Roser’s Papier Methode. 

Paul Zaloom, a comedic puppeteer, political satirist, filmmaker, and performance artist, will join us both evenings as a Responder to the students’ work. Paul Zaloom, who lives and works in Los Angeles and tours his productions all over the world, has written, designed and performed 14 full-length solo spectacles, including Fruit of Zaloom, Zaloominations, Sick But True, Velvetville, The Mother of All Enemies and the current spectacle, White Like Me: A Honky Dory Puppet Show.

For more information, please contact Ballard Institute staff at bimp@uconn.edu.