July 18, 2017
8:00 a.m. – 3:30 p.m.
Continental Breakfast, Morning and Afternoon Snack Breaks and Lunch included.
Hosted by: Judith O’Hare
Committee: Jan Wolfe, Monica Leo, Liz Freeman
Judith O’Hare is the Education Consultant and chairperson for the Puppetry in Education and Therapy committee for Puppeteers of America. She has planned an implemented the “Professional Day for the Teaching Artist and Therapist” for regional and National Festivals and has worked to bring attention and prestige to those puppeteers who work in the area of education and therapy. She is a touring artist and teacher trainer and developed a unique style of Toy Theater using Pop Up Scenery. She has done teacher training in Kenya, Tanzania, Calgary, Canada, Hong Kong and across the US. She is a recipient of the Marjorie Batchelder award for Puppetry in Education.
Monica Leo: Handbook
Jan Wolfe: Exhibit
Liz Freeman: Secretary
Valerie and Michael Nelson: email@example.com; www.magicalmoonshine.org
A Model for Using Black Light Puppets with Elementary Aged Students
Animal drawings by children are transformed through the use of black light paint and lighting into fantastic puppet scenarios. Working in groups children create musical soundscapes for one another team’s performances … This is an example of how black light can inspire and intrigue students to work cooperatively, creatively, and explore areas of the curriculum…
Michael and Valerie Nelson founded Magical Moonshine Theatre in 1979 and have worked primarily in schools since then. The majority of our work has been puppet performance, but we also have done a fair amount of workshop, PD teaching and residency work, starting as California Arts Council Artists in the Schools in the mid 1980s. For the last 11 years we have been working part time as Artists in Residence, and for the last year at an award winning Arts Magnet Elementary in Napa (Salvador El.) that used the Artful Learning Arts Integration framework. In addition to our teaching, we have performed coast to coast in the U.S. and in 18 countries (Asia, Europe, Latin America), and won numerous awards and honors for our work, including 3 UNIMA-USA Citations of Excellence in Puppetry. Before starting our puppet work, Valerie was a teacher in a Montessori school in Yountville. We both sing and play instruments, and specialize (somewhat) in bilingual (Sp/En) performance.
Matthew Bernier: firstname.lastname@example.org
Improving the Aesthetics of Puppetry in Education and Therapy
Aesthetics is concerned with the nature, expression, perception, and psychological responses to beauty and artistic experiences. Thoughtful aesthetic considerations (puppets, props, scenery, etc.) based on principles of art, design, and neuro aesthetics can greatly affect the experience and educational or therapeutic outcome. This presentation will offer suggestions for expanding the range of puppetry aesthetics choices.
Matthew Bernier, MCAT, ATR-BC is a registered and board-certified art therapist, a puppeteer and an Associate Professor in the Graduate Art Therapy & Counseling Program at Eastern Virginia Medical School. He has extensive experience in therapeutic puppetry. He has lectured and led workshops and courses in the U.S. and internationally. In 2005, he co-edited Puppetry in Education and Therapy: Unlocking Doors to the Mind and Heart. He is a member of the P of A Puppetry in Education and Therapy Committee and a corresponding member of the UNIMA Education, Development, and Therapy Commission. He is currently working on a PhD in Expressive Arts: Therapy, Education, Consulting, and Social Change from the European Graduate School in Switzerland. His current interests include the use of community expressive arts and collaborative and devised theatre with marginalized groups such as ex-convicted/ex-incarcerated adult offenders.
Michael Lamason: Black Cherry Puppet Theater; email@example.com, www.blackcherry.org
The Puppet Stage as a Learning Experience
Although its main purpose is most often to mask the puppeteers from the audience, the puppet stage has an important role to play in the learning experience. When it becomes the setting, the environment where story takes place, important curriculum connections and learning targets can be met throughout the planning and construction process. This presentation is an overview of the stage systems Black Cherry Puppet Theater’s visiting artists create during their residencies in Maryland schools and how they use the shows’ staging to enrich students learning experience.
Michael Lamason is executive director and a co-founder in 1980 of Baltimore’s Black Cherry Puppet Theater. The troupe pursues three goals: to excel at the art of puppetry, to make its unique cultural tradition accessible to the widest audience possible, and to use it as an educational tool for young people. He has produced more than twenty-five puppet productions and presented thousands of performances throughout the Mid-Atlantic Region. The theater is located in two formally abandoned buildings in Baltimore’s Historic Hollins Market Neighborhood. It serves as an example of how small arts organizations serve as catalysts for change in the community. Michael chaired a group of artists, educators and engineers in the late 1990’s to develop Black Cherry’s signature arts integrated residency, The Engineering of a Puppet Show.
Claire Ritzler: firstname.lastname@example.org
Through the Scottish Storyline approach which integrates all areas of the curriculum, the South American rainforest is explored by students using puppetry and drama skills. Scottish Storyline will be presented along with specific drama skills and examples of the puppets that students create. The rainforest storyline ends with a puppet performance by students. Students and teachers evaluate their work during and at the end of the storyline. Students are the dramaturgs/researchers throughout the storyline.
Claire Ritzler has been involved in education and the arts for 30 years. With a background in early childhood development, she became the director of Battle Creek Day Care in Michigan – a center for children who were victims of abuse and neglect. As the director of Ascension Lutheran Preschool in Ohio, she was involved with national accrediting for the preschool and joined with the local developmental disabilities board to encourage the mainstreaming of preschool children.
Because of her work with children, Claire began exploring new and creative ways to teach through clowning, storytelling and puppetry. Performing with Pam Clouse Puppets and the Alice Rhodes Puppet Theatre, she had the opportunity to broaden her puppetry skills. Combining her two favorite areas – education and puppetry – became a focus when she later served as the Education Director at the Center for Puppetry Arts. She developed educational puppetry programs for preschool, elementary, middle school and high school students. She was the program and education director at Young Audiences of Atlanta, a teaching artist for Alliance Theatre, and co-director of Artistic Endeavors.
Puppetry and Social Justice
This presentation will illustrate how the use of Shadow in three projects provide a model for using puppetry in social justice work. Shadow puppets can help provide a visual presentation about a complex issue and the work that was done about a Vietnam refugee camp in Hong Kong, victims of the Charleston massacre and Ray Bradbury’s “The Halloween Tree” are examples of the power of puppets.
Adam Frank is An Associate Professor in the Schedler Honors College, Adam Frank is a 30-year SAG-AFTRA member. Film and Television: principal roles in REVENGE OF THE NERDS, ABC’S YOUNG RIDERS, and the Dennis Hopper series FLATLAND. Theatre: Recet roles include Aegeon in COMEDY OF ERRORS, Montague in ROMEO AND JULIET, Stanley in RICHARD III, Oberon/Quince/Peaseblossom in A MIDSUMMER NIGHT’S DREAM, and Mark Twain in BIG RIVER (Arkansas Shakespeare Theatre); AS YOU LIKE IT and MUCH ADO ABOUT NOTHING (Will Geer Theatricum Botanicum). Adam has also performed with New York’s Mabou Mines and at Fringe Festivals in Austin and Hong Kong. Voice work/ADR: includes dubbing more than a hundred kung fu movies, TV shows, and anime series in Hong Kong in the 1980s. Directing: Mask/Puppetry versions of Macbeth, King Lear, A Midsummer Night’s Dream, and Romeo and Juliet (Schedler Honors College); shadow productions of “A Call to Arms” and “The Girl Who Flew” (Ozark Living Newspaper/Schedler Honors College); in 2016, a 45-minute shadow adaptation of Ray Bradbury’s “The Halloween Tree,” a collaboration between Conway Symphony Orchestra, Schedler Honors College, and El Zocalo Immigrant Resource Center. Adam is founder and Artistic Director of Ozark Living Newspaper, a theatre company dedicated to promoting social justice through the arts.
Rev. Dr. Theresa Mason: email@example.com
Invitation to Wonder: Puppets in Religious Education
Puppets invite children and the child in each one of us to imagine, to consider the extraordinary in the ordinary, and to encounter wonder. This workshop will describe and demonstrate how puppets can create a welcoming learning environment for exploring the sacred stories of faith and life.
Faith, spirituality and the arts have been woven together throughout my life. I have been a ventriloquist since I was 11 and have been addressing issues of faith with ventriloquism since I was 18. My call to proclaim my faith with puppetry comes from the same source that has led me to be a pastor, a teacher, a writer, and artist. I‘ve taught and proclaimed my faith with puppetry and I’ve directed puppetry teams of youth and adults throughout my ministry. I served for ten years as a pastor of United Methodist Churches in California. Then I went back to work on my Ph.D. in Theatre Arts, with a focus on religious theater. I served as Chaplain, and taught in the Religion Department at Hamline University, In St. Paul MN, and guest taught at United Theological Seminary of the Twin Cities. While at Hamline, I directed the Spirit Bound Players, a group of college student who took theater, music, and puppetry to local churches. I retired in July as senior pastor at Trinity United Methodist Church in Grand Island, Nebraska. Now, I am director of Earth Pot Theatre in St. Paul, Minnesota, a ministry of consulting, writing, and directing.
Karen Konnerth: firstname.lastname@example.org
Developing Writing Skills Through Puppetry
A step by step rationale and methods for developing writing skills based on story sequence, structure, and dynamic plot to culminate in puppetry presentations. Projects are built around core standards and utilizing collaborative learning and the sample projects were developed as part of an annual twelve-week school residency in arts integration.
Karen Konnerth is a visual storyteller who has shared both stories and storytelling opportunities worldwide with children and adults through puppet theater performances, puppet workshops, and arts integrated school residencies. Educator workshops include presentations at the John F. Kennedy Center for the Performing Arts and for the U.S. Embassy English Language Specialist Program in Central America, Asia, and the Middle East. Karen was awarded the 2011 Puppeteers of America Marjorie Batcheldor McPharlin Award for contributions in the field of education. She also initiated and directed the puppetry component of the Teen Docent Program at the Ogden Museum of Southern Art, awarded a 2015 National Arts and Humanities Youth Program Award.
Carol Sterling: email@example.com; www.carolsterling.net
The Educational Promise of A Puppet Called Me
This presentation will focus on how “A Puppet Called Me,” which has the photograph of the head of the puppeteer can be used to encourage oral and written communication for young people, their parents and/or caregivers, as well as with senior citizens. It will share selected activities used to strengthen social interaction, personal communication while enhancing listening and speaking skills.
Emphasis will be on sharing stories and memories about one’s life while encouraging trust, friendship and camaraderie. The presentation will include sample puppets made by children, their parents as well as seniors and will include strategies adapted by the presenter when she worked with young people, their parents and seniors in Manhattan and Brooklyn, NY.
Carol Sterling is the recipient of two Fulbright Specialist Programs in Educational Puppetry in India (2015) and Uganda (2012), the former Education Consultant for Puppeteers of America, and former President of UNIMA-USA. In 2016-17, her work focused on working with parents and children, teens and seniors. In January 2017, she created six Giant Puppets with students at the High School of Fashion Industries in NYC. Carol is the 2012 recipient of the Puppeteers of America Marjorie Batchelder McPharlin Award for Contributions to The field of Education. In February 2017, she returned to India and presented a paper at a Special Education Conference on “How Puppetry Can Be an Effective Intervention for Special Needs Students.”
Paula Shutman: firstname.lastname@example.org; Facebook: Puppets in Recovery
Therapeutic Puppetry:It’s Never Too Late To Have A Happy Childhood
Get out of your head and into a puppet! How puppetry combined with the therapeutic metaphor of the “inner child” can help adults heal from addiction and childhood trauma. Examples of ” inner child puppets ” will be demonstrated to show how they can foster awareness of emotions, negative thought patterns, and core beliefs, and how they can be used to develop and reinforce self love. How personal recovery from addiction and childhood trauma led to work with adults in recovery from addictions.
Paula wrote the article, Puppets in Recovery, published in the book, Puppetry in Education and Therapy: Unlocking Doors to the Mind and Heart, edited by Matthew Bernier and Judith O’Hare, 2005. She has a BA in Psychology from Texas Woman’s University, Denton, TX with 2 years of music therapy curriculum. Paula has spent 27 years developing inner child puppets and 27 years in recovery from an eating addiction. She uses her acting, singing, humor, and improvisational abilities in her puppetry. She attended Play Therapy conferences to learn about childhood development and trauma and attends lectures by experts in addiction recovery. She works as substitute teacher in the Denton, TX school system.
Jefferson Fietek: email@example.com
Utilizing Puppetry to Help Students Meet State and National Standards for Native American Tribes and Culture
This workshop will cover a variety of techniques that use puppetry to help students meet the state and national standards connected to Native American Tribes and Culture. The techniques presented will work for a variety of ages and reading levels. There will be various approaches to adapting vetted Native American children’s books into puppet show scripts. as well as ways to use pre-written scripts that are respectful and true to a variety of native cultures. There will be examples of specific techniques/styles of puppetry that lend themselves to these types of stories and adaptations.
Jefferson Fietek has twenty-five years directing and arts education experience in the Midwest. He is in his twelfth year as Theater Department Chair of Anoka Middle School for the Arts in Anoka, MN and is beginning his fourth year as an Adjunct Faculty in the School of Education at the College of Saint Scholastica in Saint Paul, MN where he teaches Arts Integration. He co-founded Young Artists Initiative (YAI) in Saint Paul, MN where he served as Artistic Director for eight years. YAI’s primary focus is bringing arts education to low-income and at-risk youth. Besides being an educator, he is also a playwright who has had three of his plays for youth produced. Jefferson often utilizes puppetry in his stage productions as well as in his classroom. He has been awarded the Ordway Center’s Education Award for Community Commitment, the Center for Excellence in School Counseling and Leadership’s (CESCaL) Educator of the Year Award, and the Anoka-Hennepin District 11’s TOP Teacher Award.
Joanne Schroeder: Adventureland1@mac.com; Adventurelandpuppets.com
How to Turn Books into Puppet Skits to Promote Reading
A demonstration of how to use puppets to present children’s literature, songs, stories and books will be presented. No puppet stage is used in the easy method. Various types of puppets will be used including hand, rod, finger, & marionette. These short puppet skits were developed when I worked as a children’s librarian in an elementary school and in a public library. Example: Brown Bear, Brown Bear will be demonstrated with a brown bear hand puppet and finger puppets. How to retire and begin a new career…
Joanne Schroeder spent her career working in elementary and public libraries as a children’s librarian. She put together short puppet skits and performed a variety show for libraries and schools. She speaks at libraries and conferences as an author and gives demonstrations using puppets to present stories. She is the author of the book Fun Puppet Skits for Schools and Libraries. Currently she works at an after school program performing puppet skits and helping the children make puppets.
July 17, 2017
An Educational Evening Performance followed by PechaKucha (IPA: [petɕa ku͍̥tɕa], chit-chat) is a presentation style in which 20 slides are shown for 20 seconds each (6 minutes and 40 seconds in total).