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In June 1965, 28-year-old Jim Henson started a written log of his activities in what became known as “The Red Book.” He noted down what had happened up until that point (deemed “Ancient History”) and then recorded anything that he felt was worth recording as single line journal entries until the end of 1988.
Jim was busy in the summer months shooting a movie or episodes of The Muppet Show or developing new projects. There is no doubt that both Jim and Jane would have enjoyed many of the performances offered and may have attended screenings of various puppet films. This entry was posted in 07-July '64, 1964, Appearances and tagged Fritz Holzberlein, Howdy Doody, Jan Falkenstein, Jane Henson, Lewis Mahlman, Margo Rose, Miami, Puppeteers of America Festival, Rufus Rose, The Jimmy Dean Show, The Muppet Show.
Many of the Festival sites (dorms, dining hall, hotel, workshops, two theaters, four exhibits and parking) are located on South Campus. Festival attendees will see all of the exceptional afternoon and evening performances that have been invited to the event. As you are registering for the Festival, you will be asked to make choices of the Workshops that you would like to attend. Surround all of these these events with 4 professional theaters, transportation available between easily walkable venues, award-winning dining services, comfortable accommodations, a recently developed downtown with various restaurants, shops and a puppet museum and a welcoming community that has been supporting the Puppet Arts for 50 years and you will understand why you need to come to Storrs, CT in August 2015. A successful Festival runs on Good Intentions, Careful Planning, a Dedicated Staff, Amazing Talent, Excellent Facilities, Good Food, Appropriate Funding and Willing Volunteers. The 2015 National Puppetry Festival is the kick-off celebration for the 50th Anniversary of Puppetry at the University of Connecticut. The Professional Day for Teaching Artists and Therapists is Professional Development for puppeteers, educators and therapists who would like to be more effective while working in educational and therapeutic settings. Each Presenter will be allotted 30 minutes – 20 minutes for the presentation and 10 minutes for discussion. Graduate Credit will be available through the University of Connecticut School of Education. All Presenters will receive FREE REGISTRATION for the Professional Day for Teaching Artists and Therapists.
The Critical Exchange is a series of discussions among practitioners, critics, and scholars, on selected topics, taking place during the 2015 Puppeteers of America National Festival, and co-sponsored by UNIMA-USA (the American Center of the Union Internationale de la Marionnette), which seeks to foster and enhance critical engagement within the puppet arts. We are looking for participants from the fields of puppetry, theater, dance, visual art, film, animation and other related areas who would like to bring their thoughtful views about puppetry to address the topics listed below.
Tensions often exist between those involved in practicing an art and those engaged in critical discussion of it. This session deals with the increasing expansion and mixing of materials and forms that fall under the rubric of puppetry. How have women, minorities, gay and queer individuals and other marginalized groups been a part of the art of puppetry and contributed to the art form? In the United States and many other countries around the world puppetry has primarily been seen as an art form addressing children. Puppetry seems to have blossomed in recent years, expanding in a multitude of new directions that engage older puppetry traditions and invent new ones. The Cotsen Center for Puppetry and the Arts was established in 1998 to allow CalArts students to explore contemporary puppetry and performing objects. Puppetry has been found to be an excellent tool for the teaching of multiculturalism to children. Students will learn basic techniques used in creating live puppet theatre so they can use puppetry to incorporate multiculturalism into the classroom. Sarah Lawrence University offers several puppetry courses through both it’s Dance and Theater programs at the undergraduate and graduate level. UQAM is proud to be the only Canadian university to offer creators of puppet theater a program specifically designed to enable them to deepen languages essential to the practice of contemporary puppet theater, and develop critical thinking skills in relation to this booming art.
The Actors Academy for the Puppetry Arts (TAAPA) is a training academy that combines the art of acting with the art of puppetry. The Old Trout Puppet Workshop in association with the Calgary Animated Objects Society and The Massachusettes Museum of Contemporary Arts, offers two-week explorations into the creative art of puppet theatre.
The National Puppetry Conference participants collaborate with nationally and internationally renowned puppet artists, and each other, to produce innovative plays and productions that push the boundaries of puppetry’s definitions and dare participants to challenge themselves and their audiences.
Puppets in Progress founded in 1980 at Brooklyn College is open to teachers and the community.
The Puppet school offers students lessons in improvisation, character voices, and TV puppetry techniques and puppet making.
Ann and David Powell, know as the Puppetmongers Powell offer the Puppetry eXporatory Laboratory, a program that brings people together from all-walks-of the-arts to collaborate under their mentorship.
The festival will take place August 9 – 16, 2015 in multiple venues across the Storrs, CT campus.
Presented in collaboration with the Theatre Outremont, this festival combines big shows and small forms, traditional techniques and up-to-date technologies. Hosted by the Nashville Public Library, this festival brings artists from around the world to perform for 15,000 children and adults over the course of three days. Portland Institute for Contemporary Arts’ annual Time-Based Art Festival (TBA) draws artists from across the country and around the globe for a convergence of contemporary performance and visual art in Portland, Oregon.
This Pittsburgh-based puppet festival and presenting organization, aims to strengthen the Pittsburgh puppeteer community by providing a support structure for puppetry performance. Puppets in the Green Mountains is a bienniel international festival of puppetry and unusual theater held in Southern Vermont.
Presented at The Public Theater in New York City, Under the Radar (UTR) is an annual theater festival that spotlights international artists ranging from emerging talents to masters in the field. Art Farm in Marquette, Nebraska, offers an artist residency program for professionals, emerging or established, in all areas of the arts and offering accommodations and studio space to pursue their art in exchange for a contribution of labor of 12 hours per week to help renovate and maintain Art Farm’s buildings and grounds as well as other projects, suited to skills and temperament. Throughout the year, The Theatre Arts Department at The Banff Centre  invites project proposals from artists, artistic collectives, and companies to develop new work in the Theatre Arts department’s studios, theatre facilities, and production shops. Every winter artists from all over the world are invited to Caldera Arts Center near Sisters, Oregon, for month long residences. Minneapolis Art on Wheels, based in Minnesota, is a vehicle for activating public spaces with large-scale projections of sound and video.
Based at the Wexner Center for the Arts at Ohio State University, the Artist Residency Award program offers considerable financial resources, along with technical, intellectual, professional, and moral support to develop new work. Puppeteers of America, a national nonprofit organization, founded in 1937, provides information, encourages performances and builds a community of people who love puppet theater. UNIMA-USA, founded in 1966, is the North American Center of Union Internationale de la Marionnette, the oldest international theatre organization in the world, founded in 1929.
Spearheaded by IBEX Puppetry, The Puppet Slam Network aims to catalogue, connect, support, and raise awareness for the Puppet Slam Nation.
World Puppetry Day celebrates an art form that is as old as the beginning of humankind and is just as relevant today.
Puppeteers of America and UNIMA-USA are proud to present this National Day of Puppetry and World Puppetry Day taking place all over North America and brought to you by the local Puppeteers of America guild in your area. Saturday, March 21 and all month long there are special events celebrating the art and mastery of puppets.
Experience the world of marionettes, crankies, ventriloquism, table-top, hand held and shadow puppets!
Patsy Hornaday will create a special display at their Garden Puppet Theatre Mini-Museum at the Kent County Visitor Center. Come join the puppets and members of the Boston Area Guild of Puppetry for a day of performances, puppet-making and demonstrations that will delight all ages. Puppet Showplace Theater, New England’s premier presenter of puppetry arts, is pleased to present a globally-inspired series “Puppets Around the World: Stories and Puppetry Styles from Across the Globe,” featuring shows highlighting Chinese folklore, Turkish shadow puppetry, and international guest performers from Quebec. Free activities include Sock puppet making, Walk-around puppet characters, Demonstrations of puppetry styles with hands-on interaction (Courtesy of the Atlanta Puppetry Guild), Meet the Center’s mascot, Sockly and Toddler activity tables. Join in celebrating National Day of Puppetry with a free family festival including 2 puppet shows, puppet crafts and puppet workshop. Each Austin Public Library location (21 of them) will have a display of puppet related materials to check out and puppet templates to take home. A major source for this quick overview is the 700 page book The Puppet Theatre in America by Paul McPharlin and Marjorie Batchelder McPharlin. Before radio, television, videotape, the internet, interstate highways, and airplanes puppeteers entertained audiences around the country.
Tony Sarg set up shop in New York City in 1915 and the same year Ellen Van Volkenberg did shows in Chicago and Helen Haiman Joseph did shows in Cleveland. Paul McPharlin brought together information about all these performers by publishing the Puppetry Yearbook in 1930 and then in 1936 he brought together 170 people for the first American puppet festival. Television made Burr Tillstrom (Kukla, Fran, & Ollie) and Bil Baird into stars with recognition far beyond the world of puppeteers. In 1961 the Puppeteers of America incorporated and the “council” became the Board of Trustees.
The 1970 festival at Storrs showcases the work of Frank Ballard and the six-year-old puppetry program at the University of Connecticut.
In 1990, the untimely death of Jim Henson at age 54 was a devastating loss to the community of puppeteers.
Blair Thomas, Redmoon Theatre, Andrew Kim, Frogtown Mountain Puppeteers, Dan Hurlin, Alice Wallace, Liz Joyce, Crabgrass Puppet Theatre, Other Hand Productions, Jonathan Cross, Richard Termine, and Stephen Kaplin all joined the ranks of puppeteers doing award winning work. This very brief chronicle mentions just a few of the more prominent performers who keep the art of puppetry in front of audiences. Puppet Festival (r)Evolution is the 2013 National Festival of the Puppeteers of America, connecting audiences with puppet artists through performances and events from August 5 – 10 at Swarthmore College in Swarthmore, PA.
The Puppeteers of America, a national nonprofit organization dedicated to the art of puppetry, was founded in 1937 and provides information, encourages performances and builds a community of people who love puppets and puppet theater.

The PofA’s membership consists of over one thousand puppeteers and friends of puppetryfrom across the United States.
SWARTHMORE, PA — Single tickets are now on sale to the general public for performances taking place during Puppet Festival (r)Evolution, the 2013 National Festival of the Puppeteers of America, August 5 – 10 at Swarthmore College in Swarthmore, PA. The Membership Directory and Handbook provides an historical perspective on the Puppeteers of America organization and outlines the many services available to its members. In August 2012, the insurance agents that offer liability insurance to PofA members  introduced three health care options especially designed for members. The Puppeteers of America Audiovisual Library was established as a resource center and archive for the recorded history of puppets.
Over 30 working puppeteers and experts in different aspects of the art are available to offer assistance to members.
The National Festivals, sponsored by the Puppeteers of America, are intensive, week-long conferences held every other year in a different region of the country. Regional Festivals conducted in alternate years are usually hosted by local Guilds and are of shorter duration. Puppet theatre productions of many styles are performed by award winning artists and newly discovered talent.
Festivals typically feature workshops on all aspects of puppetry, exhibits of contemporary and historic puppets, and a puppetry store.
The highlight for many puppeteers is the opportunity to reunite with old friends, make new friends and network. Members of the Puppeteers of America enjoy a discounted registration to all puppetry festivals.
The Puppeteers of America offers two scholarships that cover registration at National Puppetry Festivals to assist those members who might otherwise not be able to attend. The Mike & Frances Oznowicz Youth Scholarship was created to help our younger members to attend a festival.
Rufus and Margo Rose, best known for their work on Howdy Doody, did several shows during the festival and would become close friends of the Henson family. As we continue to negotiate with artists, make arrangements for facilities and equipment and plan for all contingencies, information will be added, adjusted and updated. We are pleased with the number of PofA members and non-members who have already registered. One possibility is to take the full Meal Plan in the dining hall, which offers a wide variety of selections for each meal.
The different elevations of the campus have been carefully landscaped with gentle walking slopes and the ability to use an elevator to change levels. Does a marginalized art form, as puppetry has often been, attract and make a place for marginalized individuals or not? Performers, directors, teachers, and artists all bring skills that enrich the Puppeteers of America network.
This one-of-a-kind laboratory offers a framework for practical training, artistic innovation, aesthetic inquiry and interdisciplinary investigation. Classes include Puppet Theatre-Bunraku Style, and Toy Theatre and Shadow Puppetry, and Marionette Puppetry. Both undergraduate and graduate level classes are available and include course titles such as Muppet Magic and Monsters. Ballard, the University of Connecticut has presented more than 500 puppet programs since its creation. Included in the course load are several puppet classes including Puppetry for Young Children – Methods of constructing puppets and stages with and for children 3 to 8 years of age. In addition to a broad-based curriculum in theatre studies, students work under the direction of a faculty member to operate a complete puppetry theatre with comprehensive study in a variety of construction, manipulation, historical study, and performance techniques.
This allows the public a place to train and participate in puppet acting and puppet character development.
Experienced puppeteers and relative newcomers to the form explore various performance styles and techniques in rehearsals, workshops, and master classes. Recently Puppetry in Practice Museum opened an additional outreach center in the Marine Park section of Brooklyn. Puppet Power conferences have attracted participants from all areas of the helping professions, as well as educators, artists, activists and students. The programs begins in January and culminates in the Fresh Ideas in Puppetry performance in May at Robert Gill Theatre, University of Toronto.
The Nashville International Puppet Festival is made possible by generous support from the Nashville Public Library Foundation.
By promoting experimentation through collaborations with visual and performing artists of other disciplines, they aim to grow the audience for puppetry in the Pittsburgh region.
MAW develops software, hardware and methodologies for participatory urban projection, and helps artists and community organizations utilize these instruments to creatively claim and transform public spaces.
Ann’s Warehouse Puppet Lab is an experimental haven for artists developing interdisciplinary projects for puppet and object theater.
Puppeteers of America has existed for over 75 years, sponsoring yearly festivals, producing a quarterly journal and providing many other services, all through the goodwill of our volunteer members. The organization’s mission is to promote international understanding and friendship through the art of puppetry.
Every culture has their own history and one is encouraged to borrow freely from each other. The heart of puppetry is a grand and glorious tradition that includes all, transcends languages, and unites the world in a way that is truly unique and powerful. The celebration also encourages children to become arts advocates with a letter writing campaign. Some locations will feature the display the week of March 15 through March 21 and some will feature the display all month long! The Royal Marionettes performed at the Centennial celebration in 1876, with George Middleton assisting his family. The conference was so successful that there was an immediate demand to form a national puppetry organization. Shari Lewis, Paul Ashley, Rufus and Margo Rose, Mabel Beaton, Mary Chase Lomabard, Fred Rogers all had national shows. The festival director is Carol Spinney who plays Big Bird on the new and highly popular show Sesame Street, featuring Jim Henson’s Muppets. The Puppeteers of America and UNIMA-USA sponsored the World Puppet Festival in Washington DC with Nancy Staub as director. With the leadership of Jane Henson, George Latshaw and Richard Termine in 1991 the first puppetry conference was held at the Eugene O’Neill Theatre Center. Paul McPharlin welcomed college professors, elementary school teachers, museum curators, therapists, recreation leaders, authors, and puppet builders. As you look through this directory you will find their names listed under Trustees, Appointed Officers, Committee Chairs, Consultants, Award Recipients, Regional Directors, Guild Presidents, Newsletter Editors, Puppet Places, Festival Directors, and Past Presidents.
This bi-annual festival showcases some of the best work being done by award-winning puppeteers across the country and offers opportunities to engage with career puppet artists through workshops, talks and community events. The six-day festival showcases hundreds of award-winning puppeteers presenting original works for diverse audiences. Several list include officer and members’ contact information, Guild information and Consultant contact information.
Members may purchase a million dollars of liability coverage at a very nominal annual cost through the Puppeteers of America.
The archive collection is now at the Ballard Institute and Museum of Puppetry, 1 Royce Circle, suite 101B  University of Connecticut, Storrs CT 06268. From 1956 into the internet age it served as a splendid single source for books, videos and instructional materials on puppetry.
It was an opportunity to connect with fellow artists in the field and, in the early years, to recruit new talent to the Muppet team. An array of performers including Lewis Mahlman, Jan Falkenstein, and Fritz Holzberlein offered shows with all types of puppets – marionettes, finger puppets, and shadow puppets. It is important for you to know that the Registration Fees will increase onFebruary 1st, and again on April 1st.
There will be shuttle bus service between venues, as well as several vans to assist those needing support. If you are interested in volunteering for any of the various positions of leadership and support, please inform us as you register.
Come join us for the National Puppetry Festival of the Puppeteers of AmericaAugust 10 – 16, 2015 and stay for the year!
How does critical discussion enhance the world of the arts, both its appreciation and its practice? How do the tensions between convention, technique, tradition, and predictability on the one hand, operate in relation to experimentation, innovation, aliveness, and surprise on the other?
The center strives to combine puppet theater with the use of new technologies and emerging forms and practices that cut across traditional boundaries.
The program offers a BFA degree in puppet arts and is the only institution in the country offering masters degrees (both MA and MFA) in the puppetry. Participants will create individual puppets, engage in small ensembles, and, in the nature of collective creation, create short experimental projects to be presented publicly. Puppets in Progress hosts parent workshops to supplement our school programs and meetings with other puppeteers and performing artists. Almonte is a historic town 33 miles southwest of Ottawa Canada.  The two-day festival presents puppeteers from all over Canada, and from other countries as well.

The ultimate goal of UTR is to offer a crash course in theater that is exciting, independent, and experimental, created by some of the most dynamic artists working today.
When applying, consider that it might take a little time to adjust to the environment, particularly if you are new to Nebraska; and if you are planning a large outdoor project, the weather might not always be your cooperative companion. MAW disseminates these instruments and works with artists interested in technology to promote mobile public projection.
A total of $200,000 annually is earmarked for distribution across the center’s disciplines—visual arts, performing arts, film, and, soon, education.
Middleton performed during the early years of the century and he was an honored speaker at the founding of Puppeteers of America.
In 1937 the first national festival of the organization, Puppeteers of America, was held in Cincinnati. Dozens of local stations provided work for puppeteers including Ralph Chesse in San Francisco and Jim Henson in Washington.
Regional Directors coordinated Guild activities including the first regional festival in 1960. Every summer the conference provides a 10-day think tank for the growth of puppetry as an art form.
The PofA also provides access to resources and venues to share knowledge and best practices and create opportunities to connect with other puppeteers, the American public and international puppet artists. The 29th annual festival was held at the Di Lido hotel in Miami Beach from June 29 – July 5, 1964. Puppeteers of all kinds, from all disciplines, from all over the country and beyond gather for performances, workshops, shared inspiration and friendship.
Bonds are made, and friendships forged that will last beyond the festival.  You will be changed, and your puppetry will grow. Check back to the site frequently and join us on FaceBook at Puppeteers of America 2015 National Festival at UConn for the most current information.
Does the identification as “children’s fare” necessarily limit or direct the types of shows that can be produced? The group will have 24-hour access and use of Studio 1 – Goodman, a 3,300 square foot flexible space with a resilient stage floor.
Inspired by their example editors of Puppetry Journal continue the chronicle of American puppetry right up to the present day. The Lano family, Nicholas Nelson, Walter Deaves, Jesse and Mae Jewell, Lillian Faulkner, Len Ayres Mantell Manikins of vaudeville fame and George Pinxy Larsen’s Punch and Judy were all active in 1900. During the war puppeteers were drafted or enlisted and some continued puppeteering in uniform or working for the USO entertaining troops.
Entertaining and newsworthy articles about puppeteers, puppet theatres, exhibitions, touring companies, technical tips, new books, films, television, and puppet festivals, help to keep the membership informed.
How can individuals move back and forth between these worlds of engagement, or combine them? How do directors, choreographers, puppeteers, actors, and dancers make choices about what goes on stage and why? What kinds of exchanges might exist or be created between children’s shows and those for more mature audiences, and how might cross-fertilizations between them work to enrich the art at both ends or bring them together? Caroll Spinney, the puppeteer for Sesame Street’s Big Bird, will serve as the festival’s honorary Grande Maestro.
The residency will be supported by technical staff and may include travel and housing, but will not offer offset stipends. Another good source is A Timeline of Puppetry in America published by Puppeteers of America 2003, edited by Paul Eide, with Alan Cook and Steve Abrams. Sue Hastings studied with Sarg and by 1930 she was a major competitor with 5 companies out on tour.
Five years went by without a national festival and the Puppetry Yearbook reduced production. Lewis Mahlmann, Fay Ross Coleman, Ron Herrick, George Latshaw, Jay Marshall and Erica Melchoir are names that appeared most frequently at festivals and in the Journal.
She made notes in her program indicating that she was interested in character development and the role of the hero in story. In what ways does the idea of “puppet” or other models serve as a guide to the puppet director-performer? John Bell will serve as artistic director, Paul Spirito as workshop director, and Margarita Blush as festival liaison.
Rufus & Margo Rose met while working for Sarg… By the end of the 1920’s The Yale Puppeteers, The Tattermans, Lou Bunin, Ralph Chesse, Perry Dilley and Remo Bufano were performing. In addition to many marionette companies, Helen Haiman Joseph and Perry Dilley were using hand puppets. The 1946 festival at the Studio of Rufus and Margo Rose was a new beginning for Puppeteers of America. Rufus Rose, Frank Paris, Ed Johnson, Dorothy Rankin, Tom Harrison, Mollie Falkenstein, Daniel Llords, Nancy H Cole, Jim Menke, and B.Gay Puppets were familiar names. At the 1976 festival, Virginia Austin Curtis performed with Clippo for an evening of nostalgia. Sponsoring these events gave Puppeteers of America high visibility and its largest membership along with some inevitable growing pains. Perhaps she attended Martin Stevens workshop on script writing or his offering later in the week focusing on directing and rehearsing. He did buy an advertisement in the program, sending greetings from Rowlf who was enjoying stardom on The Jimmy Dean Show. The festival will include performances, workshops, exhibits, scholarly presentations, and numerous community activities. Pauline Benton was performing with shadows, and Marjorie Batchelder was introducing the rod puppet to American audiences.
In 1948 the PofA lost one of its founding spirits, Paul McPharlin, but the organization was strong enough to continue.
Broadway scale shows by Bil Baird or Bobby Clark were too costly and elaborate for festivals. Other participants learned how to construct puppets at workshops featuring different materials like celastic, fiberglass, and string. How might the history of puppetry be written to reflect its inclusion or exclusion of marginalized groups? It will also kick off a year of celebration marking the 50th anniversary of the UConn Puppet Arts program.
Live performances were often classic children’s tales, but other offerings included scenes from Shakespeare, political protest, and experimental work with poetry and cubist design. 1974 saw the start of the UNIMA Citations and the founding of Boston’s Puppet Show Place with Paul Vincent-Davis becoming artistic director in 1976. The PofA Endowment fund honoring Rufus Rose began in 1975 and in 1981 the first grants were awarded to assist puppeteers with new projects.
The O’Neill Puppetry Conference, The Center for Puppetry Arts, the University of Connecticut, Unima-USA, Puppetry Journal, and the festivals of Puppeteers of America all continue as major contributors to the art of puppetry in the United States.
In 1934 Glenn Hughes began a puppetry department at the University of Washington in Seattle.
In 1957 the festival finally made it to the West Coast featuring Bob Baker, Tony Urbano, Rene, and Lettie Connell (Schubert).
After 1981 the summer classes in Charleville, France inspired Allelu Kurten, Barbara Pollitt, Terry Snyder, Paul Mesner, Preston Foerder, John & Carol Farrell, Michael Nelson, Andrew Periale and others.
From 1934-1941 WPA government programs sponsored thousands of puppet shows around the country. In 1962 the Seattle Worlds Fair presented Bunraku from Japan and Les Poupees de Paris by Sid and Marty Kroft and the same year Bil Baird toured India. Ronnie Burkett, Phillip Huber, David Simpich and Joe Cashore brought new vitality to the art of the marionette. Frequently in the festival spotlight were Dick Myers, The Poppinjays, the Melikins, David Syrotiak, and Kathy Piper.
Canadian festival performers included George Merten, John Conway, and Leo & Dora Velleman.
Schwartz and Steve Hansen bought vitality to the form, and Burr Tillstrom was featured on Broadway.
At the end of the 40s the bright young talents emerging included Bob Baker and George Latshaw In 1949 George Latshaw transformed the Grapevine newsletter into Puppetry Journal. Lampoon, Nikki Tilroe, Ralph Lee, In the Heart of the Beast, Paul Zaloom, Roman Paska, Larry Reed, Michael Malkin, Bob Hartman, Grey Seal, Mark Levenson, Gary Jones, Larry Engler, Peter Baird, Eric Bass, The Puppetmongers Powell, Mermaid Theatre all began working in the 70’s.
Germany’s Albrecht Roser and Australia’s Richard Bradshaw made regular visits which had a lasting impact on American artists. As the century ended Membership Chair, Gayle Schluter, retired and after 22 years, 5 Cricklewood Path, was no longer the official address of PofA.

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