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 😊.

Making the Profile Police Chief Lip-Synch Shadow Puppet

The Police-chief design is meant to look futuristic but also firmly routed in present day military and police uniforms and body armour. I also wanted the design to obviously be a version of the British Police uniform because the story is set in a future version of the U.K. That said I also took some inspiration from the uniforms of other countries and a bit of sci-fi. You can draw your own conclusions on what those inspirations were but the very outsized hat was a deliberate choice.

The character has what you might call “small man” syndrome and feels he has to compensate with big status symbols (Hat and body armour). The other regular police officers/underlings will not have hats like this.

The uniform and hat also have the emblem of the City on them (a stylised phoenix) which you will see in lots of places in the course of the story.

I chose the same nodding mechanism design as I had used for “our hero” (the head pivoting on the neck rather than the neck pivoting on the body as I chose for the Prime Minister) as with the high collar on the uniform, this character would not have a lot of free movement of his neck.

This character has very close cropped hair or stubble and I was not quite sure how to achieve this at first but I am happy with the finished effect. The fact that the hat covers most of his head meant I did not have to do too much stubble cutting out!

We have now got a producer on board and we are looking for funding for the project. We are firstly aiming to secure some R&D money to produce the first 10 minute episode. This means, sadly that I will have to pause the making side of things for a while (as anything we do before securing the funding we will not get paid for). I will however be able to blog about other things and keep you up to date and progress (if any) with “The Secret Keeper” show.

In the meantime, if you would like to make a donation towards the project please use the donations box below:

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Thanks so much for contributing to our work! πŸ˜ƒπŸ‘

Thanks so much for contributing to our work! πŸ˜ƒπŸ‘

Thanks so much for contributing to our work! πŸ˜ƒπŸ‘

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