Skipton International Puppetry Symposium

I attended the first ever Skipton International Puppetry Symposium this last weekend.

It was hosted by Skipton Town Hall who did an excellent job. The talks and networking opportunities were great. It was really lovely to see old friends and people who I’ve only encountered online before plus making new contacts.

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In the first panel discussion at the Symposium was posing the question “Where are we Now” in terms of the puppetry community. The panelists were Mike Dixon from the British Puppet Guild, Cariad Astles from BrUNIMA, Malcolm Knight from PuppeteersUK, Hugh Purves from The Puppet Centre (which is just getting back up and running again after a gap) and Clive Chandler from the PJF. Malcolm also brought his experiences from The Scottish Mask & Puppet Centre to the discussion as well.

David Micklem introduced the discussion and talked about how he felt that in the 90s puppetry was on the fringes but with productions such as “War Horse” and giant puppets by Royale de Luxe arriving on the scene puppetry arrived, (in terms of recognition of the artform).

It was acknowledged that things were difficult now in terms of getting work and funding and that we are in fact down to just one puppetry National Portfolio Organisation getting regularly funded by the Arts Council (Theatre-Rites). Clive also mentioned the lack of support for the arts from local councils now (Birmingham’s arts budget has completely gone and the Cannock Chase museum that Clive has been performing in regularly for years has also gone).

John Parkinson of Upfront Puppet Theatre in Cumbria had a more positive report that their theatre is now receiving a share of the arts funding from their local council for the first time after many years of running their business without any outside support. You can find my other posts about Upfront here: (Snow Queen, Stanelli’s Super Circus, Pied Piper, Commedia dell’Arte masks, Jack & the Beanstalk).

The speakers talked a bit about the organisations they were representing and then questions were taken from the floor including the discussion of the fact that there is not a tick box for puppetry as an art form on the Arts Council England grant forms when even relatively niche art forms like mime are represented. There was a lot of discussion about how we can start working together as a cohesive group to advocate for puppetry as an art form. PuppeteersUK was originally set up to do this job of bringing the puppetry community together in the modest form of a listings directory on a website and sending out a weekly newsletter. Nowadays anyone can make their own website very easily so the monetary support for PUK has been dwindling.

On the second day of the Symposium I attended the Devoted & Disgruntled session (CLICK HERE for my previous D&D at Leeds Playhouse post, CLICK HERE for D&D at The Little Angel Theatre post) at which one of the breakout sessions was discussing how PUK needed to change to address the new issues affecting the puppetry community and what new form it needed to take. This session segwayed into a different session that was thinking in a very freeform creative sort of way about an app for puppeteers that would be more like a game so that people (and younger people in particular) would want to engage with it something like Club Penguin. This was described as Puppet Utopia and was structured as a village with various areas to do different things e.g. a bank to talk about/access funding, a school for accessing puppetry training, a garden where new ideas can grow etc. etc.

I also formed my own session about how puppeteers can get paid a fair wage when the funding climate is so difficult and looked in on a session about the UK puppet festivals working together and maybe forming some sort of network and perhaps co-commissioning new work (something like WithoutWalls does).

You can also read about the discussion of Other Sectors & Wider Networks by clicking the link HERE

You can access the reports from all the Open Space discussions that have ever been held on the Devoted & Disgruntled website and search for whatever topics are relevant to you (including puppetry) in the drop down menus. I notice that not all the break out sessions have uploaded a report, so if this is you, please take a moment to upload a report of your group to the site, as this is a great resource for the puppetry community to be able to access.

You can see at the top some photos from the Halloween Shadow Puppetry Drop-In Workshop that I ran on the Sunday and below is a little video snippit from one of my audience members at my “Edward Lear’s Nonsense” show.

Do please leave a comment if you have anything to add about the Symposium and don’t forget, you can subscribe to this blog, if you would like to receive regular updates.

If you would like to book one of my suitcase shows or a workshop, you can Contact Me Here 😊.

Scenery taking shape and a visit to the Sound & Vision gallery at the National Science and Media Museum

I wanted a coloured background for the scenery on “Goldilocks…” and potentially some of the other stories in our new show (“Fairytales of Wit, Wisdom & Witchcraft“) and wanted to avoid using felt pens ( as I hadn’t been happy with the way they looked on the scenery for our Alice in Wonderland show previously).

I also didn’t want to go down the Ai/digital artwork printed out onto transparencies route. We had used period artwork which was out of copyright for our “Seven Songs of Love” show but this show would not be suitable for artwork of that type.

I thought I’d like to try glass paints, but was unsure if that would work and might have the problem of puppets sticking to it.

Then, I had a brainwave that I could try laminating the painted transparency so that the paint was encased and would be protected and not stick to the puppets.

The photos above show what I’ve got so far. I tried them out on the overhead projector and found that they look fine as they are (I wasn’t sure if I’d need to go in with a black pen to do outlines but they seem fine as is).

I was reminded of the hand painted magic lantern slides from the National Science and Media museum in Bradford.  They, and some Indonesian shadow puppets and silhouette cutouts by Lotte Reiniger, are now on public display in the new “Sound & Vision” gallery. You can access my previous posts about Lotte Reiniger here: (Animation at National Media Museum, Bradford and Nice but Naughty?).

The magic lantern pre-dates photography and cinema though photography was used to produce lantern slides (which were then hand coloured later on). CLICK HERE for the Wikipedia entry and HERE for info on the museum collection.

While I was doing my shadow puppet workshop and performances for the museum’s family day it was brought to my attention that there would be a screening of Lotte Reiniger’s masterpiece “The Adventures of Prince Ahmed” and accompanying workshops on Saturday 25th July.

This is the oldest surviving full length animated feature film (pre-dating Disney’s “Snow White and the Seven Dwarfs” by 11 years) with a new original score by Chris Davies.

Chris was originally commissioned by the museum to create the score (which is part recorded and partly performed live) for the Bradford animation festival in 2014.  You can find out more by clicking HERE. Below is a video extract from this first performance:

So, I (obviously), made a point of going along and also had time to go round the Sound and Vision gallery in the morning with my kids.

For those who haven’t already seen it, below is a little tour of the new gallery by Al, from “Al & Kai’s Faboo News”:

The “Faboo News” patreon page has had an overhaul and you can now access lots of fun activities/resources for FREE, why not take a look by clicking HERE