Scott’s Vitamins by GlaxoSmithKline is one of the leading vitamins in the Philippines in terms of Vitamin C because of its great-tasting, fruit-flavored, chewy pastille that kids will surely love.

Roppets Edutainment Production Inc. was given the chance to be a part of the most popular Vitamins in the Philippines by fabricating their company mascot, Mr. Scottsie! Roppets fabricated ten pieces of Mr. Scottsie mascot in just 20 days! This is a record for us. The usual fabrication of one mascot will consume you 15 to 20 working days. And we are proud to say that we are the first mascot fabricator that has achieved this record.

Roppets Edutainment Production also provided animal mascots to mingle with the kids and performed a dance number for the kids. picture taking was all over the place with our very own easter bunny.

Last January 1, 2012, SM Mall of Asia together with Roppets Edutainment Production Inc. Presented the most exciting and extravagant mascot parade in the Philippines! More than 50 mascots marching around the mall, is a great experience for the whole family.

the cast of seven dwarfs marching around Mall of Asia

Ernie from sesame st marching around the mall cheering with the crowd

Bj, Baby bop and Riff are so happy to see the crowd happy and taking picture of the mascot parade

All star cast!

BJ of Barney and Friends
Baby Bop of Barney and Friends
Riff of Barney and Friends
Santa Claus
Frosty the Snowman
Ernie of Sesame st
Angry Bird
Power Puff of Cartoon Network
Tweety of Looney Tunes
Bumble Bee of Transformers
Donald duck of Mickey and Friends
Nemo of Finding Nemo
Pickachu of Pokemon
Mike monster of Monsters inc.
Hello Kitty of Sanrio
Arabian Giant Puppet
Japanese Giant Puppet
American Giant Puppet
German Giant Puppet
Prince of Snow white
Witch of Snow white
Snow White
Dopey of Seven Dwarfs
Grumpy of Seven Dwarfs
Doc of Seven Dwarfs
Happy of Seven Dwarfs
Sneezy of Seven Dwarfs
Sleepy of Seven Dwarfs
Bashful of Seven Dwarfs
etc.

While waiting for the parade to start, the crowd was very much excited. Most of the crowd are kids, taking pictures and playing with the mascots. Excitement is in the air for the parade to start. The mascots were segregated into 5 groups, the first group represented the Disney characters along with snow white and seven dwarfs. Second group was categorized by character mascots like hello kitty, mike monster, pickachu etc. Third group represented cosplayers along with the giant puppets namely, American character, Arabian character, Japanese character and German character. Fourth group represented well known game characters like Angry bird and different animals. The last group represented stiltwalkers along with the most famous and crowd favourite, Bumble bee!

mike monster and pickachu by roppets edutainment production inc.

Bumble bee mascot with stiltwalkers

The mascot parade lasted for almost 1 hour and 30 mins. After the march, all mascots proceeded to the music hall for their Dance performance and musical play.

dance number from Roppets

snow white and the seven dwarfs musical play

a musical play by roppets edutainment production inc.

After the performances, the crowd had their chance to have their picture taken with their favourite character mascots as well as playing with them during the pictorial.

picture taking with the mascots

These project of SM Mall of Asia shows the strength of the Filipinos to promote family values and strengthen family ties using the medium of mascots. Roppets Edutainment Production Inc. Was honoured and proud to be part of this one of a kind event for the whole family.

The ASEAN PUPPETRY ASSOCIATION (APA)

(APA) ASEAN Puppetry Association

The participants of the 1st ASEAN Puppetry Festival, comprising of representatives of national puppetry associations/secretariats, puppetry artists, enthusiasts, experts, and observers from brunei Darussalam, the kingdom of Cambodia, the Republic of Indonesia, the Lao’s Peoples’ Democratic Republic, Malaysia, The Union of Myanmar, the Philippines, the Republic of Singapore, the Kingdom of Thailand, and the Socialist Republic of Vietnam, gathered in Jakarta on the 1st day of December, 2006, after due consideration, had declared the establishment of an association for regional cooperation in the field of puppetry among the ASEAN member countries, to be known as the ASEAN Puppetry Association (APA), henceforward referred to as “the Association”. Representatives of nine of the ten ASEAN member countries had signed the declaration document establishing the Association, henceforward reffered to as “the Declaration”, and the delegates from Myanmar, as Non-Governmental Organisation, not on behalf of the Government of the Union of Myanmar, had signed a document acceding the Declaration, henceforward reffered to as the Association.

Pursuant to the Sixth Dictum of the Declaration, namely “That other matters related to the Association which have not been sufficiently delineated in this Declaration shall be documented at a later date by consensus among the members of the Association, “representatives of the said national puppetry associations/secretariats, puppetry artists, enthusiasts, experts, and observers who have signed the Declaration and the Accession, gathered in Jakarta on the day of two thousand and seven hereby establish the following Articles of the ASEAN Puppetry Association (APA).

INTERNATIONAL PUPPETRY SEMINAR & FESTIVAL 2011

Seminar and Festival Opening Ceremony

ASEAN Puppetry Festival Committee

The 4th meeting of APA was officially opened by Presidium Chairman Drs. Solichin and declared that 4th APA Meeting attended by Brunei Darussalam, Cambodia, Indonesia, Laos, Malaysia, Philippines, Singapore, Vietnam. Myanmar and Thailand were not present.

Before the start of the meeting all delegates observed a moment of silence in memory of Pak Tupuk Sutrisno. The Presidium Chairman also highlighted the creation of peace in the SEA region through puppetry; the election of APA Board members; and the finalization of the ASEAN Puppetry Book.

In his opening speech, the presidium Chairman of APA, Drs. H. Solichin, stated that we do not realize that APA, formed in December 2006, has been running for five years. Many activities have been done in efforts to preserve and develop the puppetry traditions and simultaneously to strengthen friendship and cooperation in ASEAN. He said that we should continue to organize good cultural activities as a means of helping to create peaace in the region. The ten ASEAN member countries have agreed to develop puppetry as an item of ASEAN identity.

The 4th APA Meeting in Kuala Lumpur also arrived at an agreement in using a cultural approach in resolving disputes which may happen in the ASEAN region. Such an approach enhances a quiet atmosphere away conflict.

APA, as an asset of ASEAN, should continue to be developed and not to stand still or recede. Therefore, members have to work towards implementing the decisions of APA Meetings. Consolidation of APA should be carried out continuously, and puppetry activities should be increased in order that our organization keeps on developing and getting stronger.

Election of Meeting officers

Mr. Danny Liwanag representative of the Philippines from Roppets Edutainment Production Inc.

The Board of APA Presidium elected Mr. Suparmin Sunjoyo and Mr. Danny Liwanag as Chairman and Co-Chairman respectively and Mrs. Amihan Ramolete and Mr. Hari Suwasono as Rapporteurs of the meeting.

Delegates from different countries to the APA Seminar and Festival

All the delegates starting with Brunei Darussalam (Mr. H. Abdul Hakim); Cambodia (Mr. Sopheap Tep); Indonesia (Mr. Hari Suwasono); Laos (Mrs. Phannaly); Malaysia (Prof. Dr. Ghulam-Sarwr Yousof); the Philippines (Mr. Danny Liwanag); Singapore (Dr. Chua Soo Pong); and Vietnam (Mrs. Phan Lan Huong) expressed their heartfelt thanks to Mr. H. Solichin for his dedication as the presidium Chairman from 2006-2011. The appreciation also goes to Malaysia and University of Malaya for organizing and providing the facilities for the 4th meeting of APA.

Festival Performances

 Philippines

Juancho Lunaria (Wanlu) Ventriloquist from Roppets Edutainment Production Inc. the official Representative of the Philippines to the ASEAN Puppetry Festival with his baby puppet

Singapore

Singapore Performance by Frankie Malachi and his group Mascots and Puppets Specialists (MAPS)

 Indonesia

Indonesian Delegate to the ASEAN Puppetry Festival in Malaysia

contact us at 9127748 / 4391471 / 6688644 / 09175228100 / 09189370604

email us at roppetspuppet@hotmail.com

look for Sheila or Antonio

Because of the change of trends in the Philippines, Bumble bee was a full blow in the market. In birthday parties, many clients uses the transformer theme for their party, thats why Roppets came up of the idea of fabricating the first and the only Bumble bee mascot that has the height of 6.5 feet and the closest and uses good quality materials to achieve the perfect design of Bumble Bee.

So what are you waiting for! grab the opportunity to have Bumble Bee on your birthday parties! The Best Bumble Bee mascot in the Philippines!

roppetspuppet@hotmail.com
roppetspuppet@yahoo.com
09175228100

GETTING STARTED

If the thought of using puppets brings similar kinds of apprehension, relax. Those things do not need to happen.

Let’s begin by considering the following guidelines for successfully using puppets to communicate with your students.

First, keep simple! No need for stages, props and scenery. Select an easy to make puppet. Perhaps you’ll choose a simple rod puppet to use in the same way you show a picture. If the thought of being the voice for a puppet makes you feel uncomfortable, let your puppet use hand gestures and nod or shake his head vigorously to convey his thoughts. Perhaps, your puppet is too shy to speak. Students and audience will be eager to assist this shy puppet in helping you understand what he wants. As you feel increasingly comfortable with the puppet, have it speak a few words. Don’t worry about creating another voice for the puppet; just use your normal voice. After you have gained some experience, pitch your voice high or low to match the puppet character. Use the puppet for several sessions. Get comfortable with one puppet before you go on to other types of puppets.

Give your puppet an identifiable personality. He can be shy, outgoing, happy, sad, regal and dignified, pompous, the country type, a grouch, etc. Or, the puppet can have a few favourite words that he usually says. Students and audience will soon know what to expect when they see the puppet and will look forward to his part of the session.

After a while you may be ready to use two puppets at one time. Or, let a student manipulate one puppet while you manipulate the other for an impromptu dialogue.

MATCHING THE PUPPET TO THE ACTIVITY

The effectiveness of using a puppet is increased when the puppet is appropriate to the activity in which it’s used.

To choose a puppet for an activity;

1. What is the purpose of the story or activity? Will the puppet enhance the story or clarify a hard to understand concept? Puppets must not overshadow the story or concept so that students remember only the puppet.
2. What is the mood of the activity or story? Is it a quiet, thoughtful activity or a loud,  noisy one? Be careful not to select a boisterous, obnoxious character for a quiet, serious subject. Puppets must fit the mood of the activity, otherwise they detract from what you want to accomplish.
3. Will the character in the story or activity pray or accept Jesus Christ as Saviour? Many people find attributing spiritual characteristics to animal puppets in appropriate. It is better to select a human puppets to express the realities of the Lord Jesus.
4. What puppet action is involved in the story or activity? If the activity is one in which the puppet has lots of dialogue, then select a puppet with mouth that moves. If the puppet needs to pick up or carry an object, then use a hand puppet. A string puppet is appropriate when the actions involve walking.
5. Where will the puppet be used? In a small room or in a large auditorium? Puppets need to be easily seen by the audience. Finger Cap puppets are excellent for use in a small room. However, in a large auditorium use puppets large enough to be seen and recognized from a distance.
6. What is the age of the audience for which the puppet will be used? In a puppet play for young children, use finger or hand puppets. A puppet with a large mouth may be frightening.
7. Who will be manipulating the puppets? Adults, elementary-age students or teenagers? Keep in mind the physical maturity of the students as you select puppets.

SUGGESTED ACTIVITES

Begin your use of puppets by selecting an activity from the following suggestions. Don’t worry about the professional quality of your performance! However, your imagination and enthusiasm are essential.

Welcoming Students

Younger primaries will enjoy having a puppet greet them at the door. Have the puppet make personal comments such as “Jeff, we missed you last Sunday,”. The puppet can also sing a welcome song as students enter the room.

Welcoming Visitors

The puppet can ask the new student his name, address, the school he attends, etc. Often newcomers find it easier to talk to the puppet than the adult behind the puppet! The puppet can briefly explain the session schedule to the visitor. Use the puppet to introduce the new student to other group members. If visitors are welcomed when all students come together, the puppet can introduce other members of the staff. Or, give the visitor and a class member each a puppet. The class member’s puppet can interview the visitor, asking his name, what he likes to do, etc. The visitor uses his puppet to answer questions.

Making Announcements

Most people (children and adults) are notoriously casual listeners! Because puppets are great attention getters, they provide an effective tool to communicate information that might otherwise be ignored. The format for making announcements might be a conversation between leader/teacher and the puppet. Either the puppet or the adult could be ignorant of the information. The information may need to be repeated several times before the puppet or adult understands. By this time, the students will be trying to help give the right information. Another time the puppet reads the announcement and another puppet interrupts and asks questions. A puppet can also Pantomime the subject of the announcement  while the students try to guess the activity the puppet is acting out.

Giving Directions

Students often accept directions faster from a puppet than from an adult. Use a puppet gain the immediate attention of the group. Then let the puppet give clear, concise directions. For example at the conclusion of a large group time, a puppet can dismiss each Bible study class or individual students. The puppet can give assignments to the class or announce the change from one segment of schedule to another. When students are ready to select Bible learning activities, let the puppet explain the choices.

Using Music

Puppets can quickly catch students’ interest in music activities. For example, use puppets to illustrate the words of a song. For example, use puppets to illustrate the words of a song. For younger children, use “ things God Made” Rod puppets as the group sings a song. Let students each hold a rod puppet. When you sing the word that the puppet illustrates, the student holds up his puppet illustrates the following songs in this way.

Older elementary age students will enjoy having the teacher use a puppet to teach a new song. For example, the teacher use a puppet to teach attempts to teach the song to the puppet, but the puppet has trouble learning the song. After observing the action several times, the students should be able to sing the words to the song. Or, the teacher sings part of the song and omits words that the puppet attempts to remember. Usually, the students will try to help the puppet. Or, the puppet can sing the song and omit words for the students to sing. A puppet can also be used to lead singing. A rod puppet such as Sock Rod Puppet is ideal for this activity. After students have observed this use of puppet several times, let a student manipulate the puppet and lead a song.

SCRIPTS

After you have used puppets for several activities suggested in the previous section of this book, consider a puppet play. Keep your first play simple! As you proficiency increases, you will want to add scenery, props, music and sound effects to your production. However, for this initial sffort use simple one-piece rod or shadow puppets.

Plan to use this same script again to present a more elaborate play with stage, scenery, props and each puppet character speaking his own part. Use hand puppets such as Basic Felt Hand Puppet or Felt Hand Puppet with a Styrofoam or papier mache  head. Hand puppets will be able to perform the action indicated in the script by italics.

After you feel at ease using hand puppets, try these scripts with other puppets such as advanced rod or string puppets.

Regardless of the type of puppet you use, when the script calls for a crowd scene, use a Crowd Figure Puppet.

HOW TO MAKE PUPPETS / PUPPET STAGES / SCENERY

Basic Tools and Supplies

Scissors                        Coping Hand saw                    Serrated Knife

Paper Punch                Crewel Needles                       Reg. Needles

Felt pens                      Plastic Cirlce Templet             Compass

Stapler and staples     Pencils                                     Blade

Knife                            Ruler                                       Yard stick

Straight pins                Clothespins                              Rubber band

Brushes                       Glue                                         Tape

Construction paper     Tracing paper                         Newspaper

Wax paper                  Cardboard                               Yarn

Ice cream sticks          Wire                                        Styrofoam

Felts                             Sequins                                    Beads

Button                         Socks                                       Gloves

Nylons                         Lace                                         Feathers

Fake fur

Instant Puppets

Fist Instant Puppet

Draw facial features on the side of the hand, eyes on the pointing finger and lips on the thumb.

Pencil Instant Puppet

Spread glue on point of pencil and insert into ball. Draw facial features o n ball with felt pen or crayon. Or, put glue on straight pins and insert into ball for eyes and mouth. Glue yarn to ball for hair.

Magazine Picture Instant Puppet

Glue pictures to lightweight cardboard and cut out Glue mounted pictures to ice-cream stick or tongue depressor.

Construction Paper Puppets

Finger Cap Construction Paper Puppet

Trace puppet pattern onto construction paper. Cut out. With crayons or felt pens draw facial features. Form a circle with tabs, glue or staple ends together. Place completed puppet on finger.

“This is Me!”Construction paper Puppet

Draw, and then cut a figure from construction paper. Add yarn for hair, fabric for clothing details and buttons for eyes. Use manicure scissors to cut two finger holes. Insert fingers into holes for puppet’s legs.

Folded Construction Paper Puppet

Fold 3 × 8 inch (7.5×20 cm) strip of construction paper into four equal sections. For handles, glue one 1/2×3-inch (1.25×7.5 cm) strip of construction paper to fold No. 2; glue remaining strip to fold No.3. Draw either animals or people. Use small pieces of construction paper to make facial features and clothing details. Glue features to puppet.

To make curly hair, tightly wrap 1/4×3-ich (.7×7.5 cm) strips of construction paper around a pencil. Or, make straight hair by fringing a strip of paper.

Make arms and legs by accordion folding 1×12-inch (2.5×30 cm) strips of paper. Draw and cut out hands and feet from construction paper, tape to strips. Then tape accordion folded strips to puppets.

Girl/Boy Construction Paper puppet

Trace puppet paper puppet onto construction paper, cut out. Fold mouth and body into four sections as indicated on pattern. With crayons or felt pens, add facial features. Add yarn for hair. Attach with tape arms and legs. Tape handles to puppet. Manipulate.

Bird Construction Paper Puppet

Use pattern and make as directed for Girl/Boy Construction Paper Puppet.

Clothespin Puppets

Clothespin Puppet

Glue wooden bead to top of clothespin. Slip clothespin over the edge of a drinking glass while glue dries. Then glue chenille wires to side of clothespin for arms. Use felt pen or paints to draw facial and clothing details. Add yarn for hair. To make stand, fold a 1×3-inch (2.5×7.5 cm) strip of lightweight cardboard.

Biblical Clothespin Puppet No. 1

Twist chenille wire around head of clothespin for arms. Put cotton ball on head of clothespin. Cover cotton and top of clothespin with a 3×3-inch (7.5×7.5 cm) piece of fabric. To hold cotton and fabric in place, wrap a rubber band around neck several times. Or tie with string. Use felt pen to draw facial features. Use pattern to cut costume from felt. Slip costume over puppet’s head; tie a piece of fabric around neck (if needed) before putting costume on puppet.

Optional- sides of costume may be sewn together with needle and thread.

Biblical Clothespin Puppet No. 2

Twist chenille wire around neck of clothespin to form arms. Use felt pen to make facial features.

To make wig and/or beard, tie 10 to 14 strands of yarn in center. Glue to puppet. Arrange yarn and trim.

Make costumes by using patterns to cut garments outlines from appropriate costume or fabric. Cut hands from felt and glue to edge of sleeves. Glue sleeves around chenille wire arms. Glue undergarments around figure. To hold garment in place while glue dries, insert straight pins through garment and into clothespin. Glue outer cloak to figure. Use pieces of trim, fabric or felt to make additional clothing details. The costume will help puppet to stand.

Singing/Talking Clothespin Puppet

Round the ends of construction paper to make oval shape. Fold paper to make mouth. Draw facial details. Apply glue to back of face along fold. Insert folded paper into clothespin. Allow glue to dry.

Wooden Spoon Puppets

Wooden Spoon and Construction Paper Puppet

Cut features from construction paper and glue to spoon. Draw additional details with felt pen or crayons.

Painted Wooden Spoon Puppet

Paint face on the back of spoon.

Wooden Spoon Puppet with Arms

With felt pen or crayons draw facial features on spoon. For hair glue yarn or feathers to spoon. Spread glue around handle neck, twist chenille wire in glued area for arms. Bend wire to form hands.

Wooden Spoon Puppet with Costume

With felt pen or crayons, draw facial features on spoon. Add yarn or feather for hair. Grip the spoon a. drape the handkerchief or fabric over the extended thumb and finger in front of your hand. Place rubber band around thumb, behind spoon and then aroundfirst finger.

Ice Cream Spoon Puppets

Draw facial features with felt pen or crayon. Or, cut features from construction paper and glue to spoon. Add yarn for hair. Use cotton for beard. Wrap a chenille wire around spoon for arms.

Paper Plate Puppets

Paper Plate Rod Puppet

Cut facial features from construction paper. Glue to back of the paper plate. Draw other features with felt pens or crayons. Tape ice cream stick or tongue depressor to back of puppet.

Paper Plate Puppet

Staple or glue together the fronts of two paper plates. Leave an opening at the bottom large enough for hand. Draw facial features from construction paper and glue to plate. Use yarn for hair. To manipulate puppet, insert hand in the opening.

Tube Puppets

Rod Tube Puppet

Trace arms pattern onto felt; cut out. Glue to sides of tube. Glue one piece of dowelling to each hand.

Singing Tube Puppet

On the inner tube, glue and tape dowel to the inside on the bottom edge. Use paper punch to punch three dots for eyes and nose. Glue to the inner tube. From the construction paper cut two mouth pieces and necktie. Glue smaller mouth piece to outer tube; glue larger piece to inner tube. Glue tie to outet tube, glue larger piece to inner tube. Glue tie to outer tube. Glue larger piece to inner tube. Cut hair from black paper and glue to top of inner tube.

Box Puppet

Large Cereal Box Puppet

Cut flaps from box top. Wrap construction paper around box Crease paper on corners of box. Vut corners on top edge of construction paper. Fold on creases. Glue paper to box, Glue buttons to box for eyes. Cut a hole for nose large enoughto fit finger. Cut other features from construction paper and glue to box. Or, draw features on box with felt pens or crayons.

Milk Carton Puppet

Staple top of carton closed cover carton with construction paper or self-adhesive vinyl. With a pencil draw a line 2 inches from top edge around carton on three sides. Bend carton back on uncut side to form the hinge for puppet’s mouth Reinforce hinge with a piece of masking tape. Tape washer to inside of top section of carton.

Trace mouth lining pattern onto light weight cardboard, cut out. Fold lining on broken lines. Cease tabs on broken lines. Spread glue on the underside of lining tabs and insert into the carton for mouth. Tape edges to hold lining in place while glues dries. To open and close mouth

Sock Puppets

Worm Sock Puppets

Glue eyes and fringe ball for nose on sock. Insert hand into sock and form shape for puppet’s face.

Instant Sock Puppet

Turn sock wrong side out. Tie a large knot in sock. Turn sock right side out. The toe section and knot becomes the puppet’s head. Place a rubber band loosely around puppets neck. Draw facial features with felt pen. Cut a finger hole on each side of sock. If holes ravel, spread glue around edges; let glue dry.

Bird Sock Puppet

Make mouth according to director for Method 3. Trace two ill patterns onto lightweight cardboard, cut out. Crease bill pieces in half as indicated on pattern. Place a piece of wax paper inside both mouth sections of sock. Glue a bill piece to top and bottom of mouth section. Remove wax paper. Use felt pen to draw nostrils on bill. Cut eyes from felt and glue to puppet.

Paper Bag Puppets

Stuffed Paper Bag Puppet

Tear newspaper into 2-inch (5cm) strips. Stuff one half of bag with newspaper strips. Keep stuffed part of bag as wrinkle free as possible. Spread glue around top edge of tube. Insert tube up into bag. Tie a piece of string around bag and tube.

Cut facial features from construction paper and glue to puppet. See “animal features” for patterns.

Frog Paper Bag Puppet

Fold paper plate in half and glue to under flap of paper bag. Let glue dry. Trace eyes and legs patterns onto green construction paper, cut out. Fold eyes on broken lines as indicated on pattern. Color center of eyes with black pen. Glue eyes to top edge of paper bag. Glue upper legs to inside fold of paper bag. To form feet and knees on lower legs, fold or broken lines as indicated on pattern. Glue lower legs to inside of bag along lower edge.

Boy/Girl Paper Bag Puppet

Trace head, arms and legs patterns onto construction paper, cut out. With felt pens or crayons, draw facial features on head piece. Glue head to flap of paper bag. To form feet and knees fold legs on broken lines indicated on pattern. Glue arms to sides of bag and legs to lower edge. Draw clothing details on bag.

To make boys and girls on different races, used appropriate colored construction paper for head, arms and legs, draw appropriate facial features, hair and clothing details.

Biblical Man/Woman Paper Bag Puppet

Trace head and feet patterns onto construction paper, cut out. Use arm pattern from Boy/Girl Paper Bag Puppet to cut arms from construction paper. With felt pens or crayons, draw facial features on head piece. Glue head to flap on paper bag. Glue arms to sides of bag. To form feet, fold on broken lines indicated on pattern. Glue feet to lower edge. Draw clothing details on bag.

To make a variety of biblical characters, draw different clothing details, attach cotton or yarn beards or mustaches, etc.

Shadow Puppets

Screen

Use knife to cut flaps off box. Cut an opening in bottom of box, leaving a 2-inch (5cm) frame on each side.

On the inside of box, cover opening with fabric. Staple in place. Fabric must be kept taut. Place screen on table. The screen needs to be weighted or clamped to table so it will not tip over. Place several heavy books or a brick for weight in the box. Or, clamp box to table with C clamps.

Place bright light behind screen so it will shine on screen, but not show the shadow of puppeteers.

Simple Figures

Enlarge s figure pattern and trace onto black construction paper. Cut out figure. The figure may be left in one piece or made with movable parts. To make an articulated (moving) figure, cut out separate pieces to make figures. On each piece include area indicated by broken lines. Punch holes where indicated on pattern. Fasten figure pieces together with paper fasteners so pieces move freely.

To attach rod,(plastic straw), tape a piece of masking tape to each side of rod and to figure. This procedure allows rod to fold flat for storage. A rod needs to be attached to each part which puppeteer wants to control. Feet are left free to dangle. Use rods to hold figure close to screen.

Additional Figures

To make figures other than those suggested in this book, experiment drawing figures freehand. Draw figure first on newspaper, then transfer figure to a more permanent material. It is important that each shadow puppet have a clear profile. Figures do not have to be accurately drawn, nor be in correct proportion to each other. Rather than drawing features, use figures from coloring and story books for patterns. Or, look through your Sunday school curriculum visuals for appropriate figures. Use them for patterns; or attach a rod and use them as figures.

Shadow puppets can be made from materials and in colors other than black construction paper. Colored lightweight cardboard, aluminium foil, tracing paper or parchment paper may be used successfully. When using lightweight paper, strengthen the paper to withstand use. First, draw pattern onto the paper. Then use felt pens to add color. Place paper between two pieces of clear, self-adhesive vinyl. Color will show on the screen.

Hand Puppets

Basic Felt Hand Puppet

Trace puppet pattern onto 8×10-inch (20 x 25 cm) piece of felt, cut out. On the outside, sew sides of puppet together.  Cut facial features from felt and glue to puppet. Either animal or people puppets can be made from this pattern.

Felt Hand Puppet with Stuffed Head

Use pattern for Basic Felt Hand Puppet to trace body onto felt; cut out. Sew sides together. Cut the two head pieces from contrasting felt; sew together, leaving small opening. Stuff lightly with cotton. Sew up opening; then sew head to body piece. Cut facial features, hair and clothing details from felt and glue to puppet.

VARIATION- Changeable Heads

Rather than sewing head to body piece, sew a piece of Velcro to front  of body piece and a piece of Velcro to the back of head piece, sew a piece of Velcro to front of body piece and a piece of Velcro to the back of head piece. The same body can be used for several puppets by just changing the heads.

Moving Mouth Hand Puppet

Trace two body piece patterns onto 12 X 22-inch930x44 cm) felt, extending pattern as suggested, cut out. Cut one felt mouth. Place folded mouth piece on top of felt body, aligning edges. On body pieces together, stopping at ‘X’ marks. Open mouth section of body pieces and pin mouth piece to the inside.

Close mouth section and sew sides of body pieces together on sewing machine. Stop at ‘X’marks and backstitch several times. Open mouth section and sew around mouth, stopping at fold of mouth each time and backstitch, fold body piece out of the way and continue sewing around mouth.

Cut facial features from scraps of felt. Place a piece of wax paper inside head of puppet; glue features to head.

Wigs can be made from yarn and glued to puppet. Make eyes from fringe balls or from two egg sections cut from an egg carton. To make caterpillar, use 2-inch (5cm) pieces of chenille wire for legs.

Profile Moving Mouth Hand Puppet

Trace two body and arm patterns onto 14 x 16-inch (35×40 cm) piece of felt, cut out. Sew darts together on each body piece. Place right side of body pieces together, matching mouth sections and darts; sew. Turn body piece right side out. Press.

Cut a mouth outline from pink felt and from cardboard. Fold cardboard mouth in half. Mark the top center and bottom center as indicated on pattern. Open mouth section of body piece as wide as possible. Open cardboard mouth flat and insert inside of mouth of body piece. Match the center marks with seams at top and bottom of mouth. Spread glue around the cardboard mouth. Carefully full pull approximately ¼ (7cm) to ½ (1.25 cm) inch of felt from mouth section of body pieces over cardboard mouth, press into glue. Let glue dry.

To attach pink felt mouth to cardboard mouth, spread glue over entire cardboard mouth and the felt edge from body piece. Glue arms to each side of puppet.

Cut facial features from felt and glue to head of puppet. Or use fringe balls for eyes and nose. Use yarn for hair.

Hand Puppet with Separate Head

Trace two body patterns onto felt, cut out. Saw sides together. Clip curves. Turn body piece right side out and press stitching.

Use scissors to make a hole in Styrofoam ball large enough for index finger. Place hand in completed felt body. Push Styrofoam head onto felt covered index finger.

Hand Puppet with Separate Head and Hands

Trace two body/costume patterns onto fabric, cut out. Sew together on the wrong side. Press seams. Turn right side out.

To make hands, trace with a pencil the pattern onto a doubted piece of felt. Do not cut out. Use sewing machine to sew on pencil line. Cut out. Stuff hands lightly with cotton balls.

Trace two wrist piece patterns onto lightweight cardboard; cut out. Bend cardboard into shape. A slip cardboard on your fingers (one for your second finger and one for your thumb). Adjust for size. Then fasten edges with masking tape. Insert cardboard wrist into felt hands. Lift up edge of felt and spread with glue. Press felt to cardboard wrist. Place a piece of masking tape over felt hand edges. Insert completed hand and wrist into the arm of fabric body. Turn under raw edges of armhole and hand sew armhole to felt hand.

Make a felt-covered Styrofoam ball head according to directions in “Puppet Heads” section. Trace neck pattern onto lightweight cardboard, cut out. Slip onto your index finger. Adjust for size. Then fasten with masking tape. Use neck pattern to cut a piece from felt. Glue felt to cardboard neck. Spread glue around the top edge of cardboard/felt neck. Insert neck into hole in head; let glue dry. Turn under the raw edges of neck opening with needle and thread, secure gather with a knot. Hand sews gathered edge to felt on cardboard neck. Insert hand into puppet.

Wigs

Paper Wigs

Cut paper into narrow strips. These strips can be curled or braided. To curl paper, wrap strips tightly around a pencil. Or, hold part of paper strip between closed blades of scissors and thumb. Pull scissors gently but firmly along to end of strip. To make a large curl, wrap paper strips around a broom handle.

To attach curls to head, cover top of head with a piece of paper the same color as curls, then glue curls onto paper so head is covered.

To make bangs, fringe a piece of paper and glue to head. Trim to the desired length.

A wig can also be made simply by fringing paper, then gluing to puppet.

For braided paper wig, cut three long, narrow strips of paper. Tape, glue or staple the three strips together at the top. Then braid as for hair. Tie with a piece of ribbon or yarn.

Yarn Wigs

Wigs can be made from various weights of yarn. Each weight creates a slightly different effect. For example, large bulky yarn can be used “as is” or brushed out to create a large and full wig. Smaller size yarn gives a dainty effect. Yarn with wool content can be curled by dampening yarn, then wrapping it round a pencil or piece of dowel. Secure ends with masking tape and let dry. When dry, carefully remove from pencil or dowel. For large curls, wrap dampened yarn around a broom handle or a large piece of dowel.

If the wig will be a different color from the puppet’s head, cover head with a piece of felt the same color as wig. Then the puppet’s head will not show through the yarn. Also, less yarn is needed.

Yarn wigs can be made several ways:

Method 1

Place a strand of yarn across head of puppet to measure for length of wig. Add several inches to allow for trimming, if necessary.

Measure and cut approximately 30 to 50 strands of yarn, to the appropriate length. Tie yarn in the middle of the lengths. Try wig on head of puppet. Spread yarn so wig covers sides and back of head. When satisfied with the effect, remove and spread glue on head. Place wig on head again and spread yarn evenly around head. Use straight pins to hold in place while glue dries. To make bangs, glue shorter pieces of yarn to front of head. Trim yarn to the appropriate length.

Method 2

Wrap yarn around a 4×6-inch (10×15 cm) piece of cardboard. For longer hair, lengthen cardboard piece to more than 6 inches (15 cm). Cut one end of yarn and remove from cardboard. Lay yarn evenly over a strip of 1x-6-inch (2.5 x 15 cm) piece of fabric or felt. Sew the middle of yarn to fabric or felt strip. Glue strip to the head of puppet. Trim yarn. Some yarn strands may have to be glued to head to hold them in place. Use straight pin to hold yarn while glue dries.

Bangs or wig for a partially bald man can be made similarly. However, instead of sewing yarn in the middle of strip, sew yarn to the edge of strip.

Method 3

Rather than gluing wigs directly to puppet’s head, wig can be first sewn ort glued to a foundation. To make the foundation, cut off the toe of a sock. Sew the yarn wig to sock. Place toe of sock over puppet’s head. Tack or glue foundation in place on puppet’s head.

To give height to hair style or make a bun on top of head, place a wad of cotton on top of puppet’s head. Arrange yarn over the cotton so cotton is not visible. Glue yarn in place.

Costumes

Instant Costumes

An instant costume for a hand puppet with a separate head can be made from a man’s handkerchief, a head scarf or a piece of lightweight fabric and a large rubber band. Place handkerchief over extended fingers. Wrap rubber band around thumb and behind index finger and around second finger, place puppet head on index finger.

Another instant costume can be made from a glove. Cut off two fingers from glove. Tuck in what remains of cut fingers and sew closed. Trim can be added to costume for a girl or buttons for a boy.

Costumes Construction

Basic Costumes

A basic costume pattern can be used to make a variety of different costumes simply by using different fabric and by adding buttons or trim.

The same skirt pattern can be used for a girl or mother’s costume.

A simple vest and a few trimmings result in two totally different outfits.

When several puppets are needed for various plays, use the same puppets with different costumes. For example, a puppet can be Mary in one play and an n angel in a next day by simply changing the costume.

To make costuming easier, place puppet on a puppet stand.

Patterns

To make your own pattern, place a piece of newspaper against puppet to determine overall pattern shape. Repeat this process several times, trimming paper until effect is achieved. If you cut away more of the pattern than you intended, simply tape on the necessary paper. Repeatedly place paper pattern against puppet as you work. Be sure to leave ¼-inch (7cm) seam allowance.

Fabrics

Lightweight, flowing fabric works best for costumes. Avoid heavy fabric or large, bold prints. Also the costume must not bind or impede the movement of the puppet.

Costume Ideas

The parts and pieces of many costumes can be glued pinned, or even stapled together, making sewing unnecessary. Some costumes can be glued or sewed directly to body of puppet.

Glue decorative trim to a puppets body; attach a headpiece to puppet’s head to make a biblical woman.

To make a robe and outer garment for a biblical man, use pattern to cut from fabric, sew sides together. Place robe on puppet. Attach head piece to puppet’s head.

When using the same puppet for different characters, make separate costumes. For those removable costumes, use hooks and eyes or Velcro in place of button or buttonholes.

Many outer garments and hats can be made out of a half circle of fabric. For example, to make a headpiece, place a half circle of fabric on the head of a puppet and secure to head with straight pin. Place a crown on puppet’s head for a queen. To make a hood or cape, fasten under chin. Or, tie a piece of yarn around neck.

Cut armholes in half circle for coat. Tack down edges around neck. To make a cape, cut a neck shape. Use similar process for a short cape or collar.

Headbands and Crowns

Use construction paper, lightweight cardboard, gold foil paper, pieces of costume jewelry, decorative braid or trim to make bands and crowns. First, measure around puppet’s head and add 2 inches (5 cm). Cut band or crown from one of the above materials. Overlap edges and staple together. To make crowns, glue foil to cardboard. Cut crown shape. Glue braid, trim or jewelry for decorations.

Hats

Hats can be made from felt, sturdy fabric or lightweight cardboard. Always cut a pattern from newspaper before cutting shape from fabric. Measure the diameter of the puppet’s head, then cut pattern. Several kinds of hats can be made from geometric shapes. For example, a half circle can be made into a girl’s bonnet. Glue a piece of ribbon across half circle.

A quarter circle can make a pointed hat. Sew edges together, turn up lower edges and add a tassel for a clown hat.

Cut hat from velvet, add fur around edges and a ball of fur to the tip for a Santa’s hat. Or, cut hat from a jersey fabric to make a night cap.

To make a woodman’s hat, cut a quarter circle from green felt. Fold in half. Fold up lower edges. Sew center back edges together to the folded up edges. Add feather or other decorations.

Cut off the point of the cone shape to make other kinds of hats. Trace around top part of hat and cut out a circle. Add 1/2 –inch (1.25 cm) margin to circle. Cut slits around margin. Fold slits downward. Spread glue on slits and place in top edge of hat. Add decorations.

Hats can also be made by turning over hat and cutting off pointed end. Add brim and decorations.

A full circle can be used to make several kinds of hats. Make a grandmother’s cap by sewing a gathering stitch around the edge of circle about 1 inch (2.5 cm) from edge, depending on the size of circle. Pull up thread to fit puppet’s head.

To make a man’s brimmed hat, cut large circle for hat brim. Measure around puppet’s head. Use this measurement to cut a circle from center of brim. Save cut out center of brim for top of hat. Decide how tall you want the crown on your finished hat and add about 2 inches (5 cm). The width of the crown will be the measurement around puppet’s head plus inches (5cm). Cut crown piece from material. Roll crown into a tube shape, overlapping edges; staple edges. Cut 1-inch (2.5 cm) slits around the top and bottom edges. Fold up slits on bottom edge. Spread glue on bottom slits. Pull brim over the tube and press brim into the glue on bottom slits. Fold top slits downward. Use circle cut from center of brim to glue to top of hat.

By varying the size of brim, the height of the hat, the placement of the top part of the hat and decoration, several kinds of hats can be made using the same directions.

A sock hat can be made by cutting off the ankle section from a sock. Gather the raw edges together with a running stitch. Pull thread up tight and tie a knot. Make a yarn tassel and sew to gathers on top of hat. Turn up the ribbed section of sock.

Accessories

Eyeglasses

Bend chenille wire, lightweight wire or jumbo paper clips into the shape of eyeglasses. Colored cellophane may be glued to lens frame.

Jewelry

Parts of discarded jewelry can be used for puppet’s necklace, earrings and/or pin.

Rod Puppets

Simple Rod Puppet

Glue figure to lightweight cardboard (for reinforcement); cut out. Glue or tape an ice-cream stick or tongue depressor to back of figure.

Crowd Figure Rod Puppet

Trace figure onto white paper. Use felt pens or crayons to draw facial and clothing details. Glue figure to cardboard; cut out. Tape or glue a stick or tongue depressor to back or figure.

Use Crowd Figure in Puppet plays when several figures need to be on the stage at one time.

Musical Notes Rod Puppets

Trace pattern onto lightweight cardboard; cut out. Glue or tape ice-cream stick or tongue depressor to the back of each figure.

Musical Instruments Rod Puppets

Trace patterns onto cardboard; cut out. With felt pens or crayons draw in details. Glue or tape an ice-cream stick or tongue depressor to the back of each figure.

“Things God Made “Rod Puppets

Trace patterns onto construction paper; cut out. Or, cut figures from felt and glue to poster board. Cut out poster board. Glue touch-and-feel items to figures. For example, glue cotton to cloud, foil to moon and feathers to birds.

“How I Feel” Rod Puppet

Child draws with felt pens or crayons a face on cardboard to portray his feelings- sad, glad, etc. Cut face out and glue or tape to tongue depressor. Hair can be cut from yarn and glued to puppet.

Girl Cardboard Rod Puppet

Trace puppet patterns onto poster board or lightweight cardboard; cut out. Punch holes where indicated on pattern. To fasten puppet pieces together, insert paper fasteners in holes. With felt pens or crayons draw facial features. Make a wig from yarn and glue to puppet. Use fabric or felt and other trim to make clothing details; glue to puppet.

Tape dowel to back of puppet. Punch a hole near the top edge of both cardboard strips. Attach strips to hands with paper fasteners.

Boy Cardboard Rod Puppet

Trace puppet patterns onto poster board or lightweight cardboard; cut out. Punch holes where indicated on patterns. To fasten puppet pieces together, insert paper fasteners into each hole. Cut two strips of ½ x 13-inch (1.25×32.5 cm) poster board or lightweight cardboard. Punch a hole near the top of each strip, and another hole about 6 ½ inches (16.25 cm) from the first hole. Attach top hole on strip to fastener on arm. Attach knee fastener to the second hole on strip. Repeat for other arm and leg. Tape dowel to back of puppet. With felt pens or crayons draw facial features. Glue on yarn for hair. Cut clothing details from fabric and glue to puppet, add buttons to shirt.

Manipulate puppet. When puppet’s arms are raised his leg also raises.

Sock Rod Puppet

Cut off the toe of one sock. Pull toe piece over Styrofoam ball. Spread glue on one end of ¼-inch (7 cm) dowel and push into ball. Tie string around sock and dowel to form neck. Cut facial details from felt and glue to head. Sequins may be used for eyes. Glue on yarn for hair.

Cut heel from both socks. Insert a cotton ball into each heel section. Spread glue on the end of the both 1/8-inch (.3 cm) dowels and insert into heel sections. Tie string around sock and dowel to form hands and arms.

Fold fabric in half. Sew sides together, leaving a slit on each side. Also, leave a hole for neck and arms.

To manipulate puppet, hold two rods (dowels) in one hand and the third rod in the other hand.

Mop Rod Puppet

Use the point of scissors to make a hole completely through styrofoam ball. Insert mop handle into hole and carefully push ball to the top of mop. The ball becomes the head of puppet; yarn of the mop will be the puppet’s hair.

Cut a 2×6-inch (5×15 cm) strip of felt. Spread glue around handle under ball. Wrap felt strip around glued area; glue down end of strip. This felt strip will keep ball from slipping and provide a surface on which to sew costume. Tie up part on yarn for hair. Cut facial features from felt and glue to ball. Use pattern to cut four hand pieces from felt. Glue two hand pieces together, leaving bottom open as indicated on pattern. Repeat process for remaining pair of felt hands. Spread glue on tip of one dowel and insert between felt hands. Repeat similarly for the other hand.

To make costume, fold fabric in half. Sew sides together, leaving holes for hands and slits on each side. Cut a small hole for neck on folded edge. Insert mop handle into neck hole. Bring fabric up around felt strip on handle. Sew neck of costume to felt strip. Insert dowels (with hands) into armholes. Sew felt hands to fabric costume.

To manipulate puppet, hold mop handle and one dowel in one hand. With your other hand move remaining dowel.

Plastic Bottle Rod Puppet

Use dowel to make hole (for neck) in Styrofoam ball. Remove dowel and cover ball according to one of the methods suggested in “Puppet Heads” section. Do not cover hole made for neck.

Thoroughly wash and dry detergent bottle. The bottle forms the body of puppet. Use the point of scissors to make a hole in the bottom of bottle large enough for the dowel to fit and move easily.

Spread glue on one end of dowel and insert into hole in completed head. Place other end of dowel in the neck of bottle and out the hole in bottom of bottle .

To hold dowel in place, spread glue around dowel approximately 1/8 -inch (3 cm) from bottom of bottle. Wrap ½ x 6-inch (1.25×15 cm) strip of felt in glued area. Spread glue on felt as you wrap so felt stays in place.

To make arms, generously glue a 1 ½ x 8-inch (3.75×20 cm) strip of felt to each side of bottle. Let glue dry thoroughly. Use pattern to cut hands from 4-inch (10 cm) square of felt. Glue hands to arms, let glue dry.

The bottle may be used as the costume by adding trim, small pieces of felt or lace and/or buttons. Or dress puppet in a separate costume. See “Costumes” for construction ideas.

To make rods for hands, cut two 12-inch (30 cm) pieces of wire from coat hanger. Use pliers to bend a loop on both ends of wire. Sew loop to each felt hand.

Manipulate arms by moving wire rods. Head may be turned from side by turning dowel.

String Puppets (Marionettes)

String Puppet Controls

All string puppets (marionettes) need a control to hold the strings. Here are three types of controls.

One-Piece Control

Use 12-inch (30 cm) ruler or a 12-inch (30 cm) length of ¼ -inch (.7 cm) doweling.

Two-Piece Control

For a simple, lightweight puppet, make this control from two tongue depressors or ice-cream sticks. Glue one on top of the other to form an airplane shape.

For a heavier puppet, make controls from two pieces of wood, each 6 inches (15 cm) long and 1 inch (2.5 cm) wide and approximately ¼ inch (.7 cm) thick. Use a coping saw to make grooves will help to hold the strings in place. Glue the pieces together.

Three-Piece Control

Use three pieces of wood, each 6 inches (15 cm) long and 1 inch (2.5 cm) wide and approximately ¼ inch (.7 cm) thick; also one spring-type clothespin. Use coping saw to make grooves on the three pieces of wood with four grooves on the top of the piece with one groove. This arrangement forms an airplane control. Glue clothespin onto control. Clip the piece of wood with two grooves into clothespin.

Animal String Puppet

Using animal patterns from “Shadow Puppets” cut animal outlines from lightweight cardboard . Punch holes in cardboard. T o attach legs, put one front leg on front side of body; insert paper fasteners through hole in leg and body, then through other front leg. Repeat for bag legs. Attach fasteners so legs move freely. Use felt pens or crayons to draw features on animals. Tape two pieces of string (the length of string will depend on the height of the puppeteer and if puppet is to be worked on table or floor) to back of animal, tie other end of string to ruler or dowel.

Camel- to make a tail, use a 1-inch (2.5 cm) piece of string. Fringe one end of string and tape other end to the end of camel.

Caterpillar String Puppet

To make antenna, twist chenille wire around first fringe ball. Cut facial features from felt. Use a toothpick to spread glue on felt pieces; glue pieces to ball (with antennae). Tie on end of 12-inch (30 cm) length of string around first ball, tie other end to dowel. Repeat procedure with fifth, eighth and end ball.

To make caterpillar inch along, dip the two dowels in different directors at the same time.

Boy/Girl String Puppet

Outline puppet pattern pieces on poster board. Cut out pieces; punch holes where indicated on pattern. Tie puppet pieces together with 5-inch (12.5 cm) lengths of string. Leave enough space between pieces so they will move easily. With felt pen draw facial and clothing details. Or, cut clothing details from fabric. Glue fabric and buttons to puppet. Make wig from yarn and glue to puppet.

Lay puppet on a flat surface with arms at sides. Beginning with the head, securely tie one end of string to hole; tie the other end of string to ruler or piece of wood. Continue similarly for hands, then feet. Hold up puppet and make any necessary adjustments in strings.

Move puppet by holding ruler in one hand and using other hand to manipulate strings.

Newspaper and Bottle String Puppet

Cut newspaper into eight 4×23-inch (10×57.5 cm) strips, six pages thick. Roll newspaper into tight rolls and fasten with masking tape. Prepare four rolls for arms and four rolls for legs.

Thoroughly wash and dry detergent bottle. The bottle forms the body of the marionette. Glue a piece of bias tape on each shoulder. Place a piece of masking tape over bias tape to hold at bottom of bottle.

To make arms, fasten two newspaper rolls together with bias tape strips and masking tape. Leave approximately ½ inch (1.25 cm) between rolls.

Trace hand patterns onto cardboard and felt; cut out. Cut two felt pieces for each hand.

Glue a felt hand to each side of cardboard hand; let glue dry. Wrap tab on hand piece around newspaper roll arm. Secure with masking tape. Cover bottom roll of newspaper arm and the tab from cardboard hand with a 3×3-inch (7.5×7.5 cm) piece of felt; glue in place. Let glue dry. Repeat for other arm. Tape arms to bias tape strips at shoulders of puppet.

To make legs, tape a piece of bias tape on each side of two newspaper rolls.

Trace hand patterns onto cardboard hand; let glue dry. Wrap tab on hand piece around newspaper roll arm. Secure with masking tape. Cover bottom roll of newspaper arm and the tab from cardboard hand with a 3×3-inch(7.5×7.5 cm) piece of felt; glue in the place. Let glue dry. Repeat for other arm. Tape arms to bias tape strips at shoulders of puppet.

To make legs, tape a piece of bias tape on each side of two newspaper rolls. Repeat for other leg. For feet, use knife to cut egg-shaped Styrofoam in half. The rounded part will be the top of foot. Use knife to make a hole in top of foot large enough for newspaper leg. Spread glue in hole and place leg in hole; let glue dry. To give weight to feet, glue a metal washer to bottom of each foot. Trace around bottom of Styrofoam feet. Attach legs to bias tape strips at bottom of bottle.

To make head push a 4-inch (10 cm) Styrofoam ball onto the neck of bottle to make a hole in ball; remove ball. Tie a 25-inch (62.5 cm) piece of button/carpet thread to hairpin or paper clip. Spread glue on other end of pin or clip and insert into the top center of ball. Make sure thread on head is left hanging free and is not cut off or covered with felt or papier-mache while making head. Spread glue around neck of bottle. Place completed head on bottle.

Glue and tape a 36-inch (90 cm) piece of button/carpet thread to the bottom edge of the top section of each leg.

Trace costume pattern onto 18×36-inch (45×90 cm) piece of fabric, cut out. Sew sides together. Place costume on puppet.

Use 8×14-ich(20×35 cm) piece of fabric for head scarf. Note where the head string is located. Thread head string in needle and pull thread through head scarf so the thread is on the outside. Remove needle.

The same procedure must be done for leg strings. Lay puppet on a flat surface. Make sure costume is straight and smooth. Thread needle with leg string and run up through costume so the strings are on the outside.

Thread needle with a 36-inch (90 cm) piece of button/carpet thread and insert needle through hand near thumb. Remove needle and tie a knot in string near hand. Repeat for other hand.

Make a two-piece wooden control as directed in “String Puppet Controls”.

To string puppet, lay puppet on a flat surface. Pull head string up to groove on controls. Tie a knot loosely. Repeat for hand and leg strings. Have someone hold puppet while you check the position of strings. If the puppet does not hang properly, untie knot and make adjustments. When satisfied with the strings, tie knots tightly; place a piece of tape over knots to hold strings in place.

To achieve a walking action in puppet, slowly rock controls from side to side.

Silly Bird String Puppet

To make neck of bird, tie a 10-inch (25 cm) piece of yarn to a paper clip. Insert paper clip into 5-inch (12.5 cm) Styrofoam egg. Tie the other end of yarn to another paper clip. Insert paper clip into the 3-inch (7.5 cm) ball.

To make legs, tie a knot in the center two pieces of 10-inch (25 cm) yarn (knots from bird’s knees). Tie a paper clip to both ends of yarn. Insert one end to body of bird for legs.

To make feet, cut- 2-ich(5 cm) styrofoam egg in half with separated knife. The cut surfaces are the bottom of feet. Glue a metal washer to the bottom of each foot for weight. Use pattern to cut yellow felt feet; glue to bottom of foot. Insert paper clip from legs into top of each foot.

Use pattern to cut beak from orange felt. Fold beak in half. Spread glue on fold and press to head. For nostrils, spread glue on straight pins and insert in beak near fold. Cut eyes from felt and glue to head. To give the head weight, insert a metal washer in bottom of ball.

Make a three-piece wooden control as directed in “String Puppet Controls” section.

To string puppet, tie a 35-inch(87.5 cm) piece of carpet/button thread to a paper clip. Insert paper clip in the top center of bird’s body.

Tie another 35-inch(87.5 cm) piece of thread to another clip and insert in the top center of head. Tie two more pieces of thread to two paper clips and insert a clip in each foot.

Tie strings to controls.

When you are satisfied with position of all strings, remove paper clips, one by one, and spread glue on them and return to holes.

Feathers may be added to head and for tail and wings.

To make a walking action, gently rock controls from side to side. Hold head section separately and move to give the effect that bird is looking around.

Why do puppet works?

If puppetry isn’t magic, how then does it work? Why are puppets so effective in creating an atmosphere for learning? How can lifeless pieces of foam and material capture the attention of people regardless of age?

The answer is multi-faceted. Many dimensions of the successful chemistry of puppetry can be seen in the experience of displaying professional-quality hand puppets at various education and church conventions. In the hand of a skilled puppeteer, puppets assume life-like qualities. This puppet personality attracts a great deal of attention by those present. Observers of this scene will notice that the puppet generally gains the attention of its audience immediately. He will also note that the audience is actively enjoying the entertainment value of the performance. A very important but intangible factor is the involvement of the audience with the puppet itself. The spectator finds himself caught up in the performance and often identities in some fashion with the puppet characters; this suggests the closeness of the elements of fantasy which is present in puppet shows, these characters must be believable.

These factors are considered individually to more fully explain the unique chemistry of puppets.

ATTENTION- The ability of puppets to gain the full and undivided attention of an audience is perhaps the greatest reason why puppets are so successful in relating instructional or purely entertaining material. The other factors mentioned above would be impossible to attain if the puppets did not have the audience’s attention. At the same time, elements such as entertainment, fantasy, and involvement all contribute to the ability of the puppet to gain and maintain undivided attention.

Novelty is certainly one element in this ability. Quality puppet performances are not commonplace occurances and this variation from everyday experience is a decided advantage for the puppet. The Filipino public has been oversaturated with media campaigns of all description. Students are thoroughly familiar with typical teacher-student interaction which generally defines contemporary education. We have become a culture which knows what to expect next; we are often familiar to the point of immunity.

But we are not familiar with puppets. We are not acquainted with their abilities and personalities. And because they are different, we notice them. We attend to them in a way in which we are not accustomed. We are immediately ready to listen to what they say. And because we listen more carefully to what they say, we are more open for learning to take place.

This does not mean, however, once the novelty of puppets wears off, that they will no longer serve as useful teachers; because the reasons listed above explain only why the audience initially pays attention to the puppets. The uniqueness of puppets lies in the fact that they have been seen hundreds of times.

Convention registrants will venture back to the puppet displays each day the exhibit is open. They return to be entertained, to enjoy themselves. For puppets, worked by experienced and capable puppeteers, are among the most entertaining characters in the world today. Later chapters will more fully develop the ability of puppets to provide entertainment but brief treatment can be provided here. Comedy, drama, musical numbers, pantomime- all are included in the repertoire of puppets, and the entertainment aspect of puppet performances is capable of being individually tailored to the specific audience. Parody and nature are two particularly effective humorous uses for puppets and there is never any want of material for scripts. Famous persons, news events, television programs, and many more sources are available for script material. Using material with which the audience is vaguely familiar, but which is presented in a new and different format, allow the puppets added believability as they imitate their more famous human personalities.

FANTASY is also a big factor in the ability of puppets to successfully relate to their audiences. The motion picture industry tapped this formula in thenumerous disaster pictures of the early and mid 70’s. Puppets allow a healthier fantasizing in a humorous vein. Not only does the audience identify with a particular puppet or puppets, and become involved in the performance, but they also relate to the unseen puppeteer back stage. The ability of the puppeteer to turn a lifeless dummy into an entertaining personality is an ability which is almost universally envied. Watching someone else create a new life through puppetry is like watching another person sit down to your favorite dessert: you feel a tremendous urge to join in. And so the captivating personality on stage, with its clever quirks and mannerisms, soon becomes manipulated not by the real puppeteer, but by the spectator. “I can do that”, is the thought, and there is vicarious enjoyment from performer to audience. Convention participants invariably want to “hold” the puppets and make them work. And, for a few brief moments, they leave the particular realities of their world as they “play” with their puppets. The attraction of the puppet is graphically illustrated, and few people exsist who can resist their magnetism.

This fantasizing and identification with both puppet and puppeteer is an excellent example of the active involvement which exists for the spectator during a thousands of hours in front of their television sets with little or no involvement whatever. You can watch television while eating, conversing, or reading the evening paper. Because the show commands your attention. You become involved. And it is in this environment of total attention that quality learning can best occur.

Another factor which must be present in quality puppet productions is the element of REALITY. The puppet play, while enabling the audience to fantasize, must contain a spark of believability. The puppet must be seen as more than the sum of its inanimate parts. It must present a character or personality which is believable. A good example of this is the success of the Sesame St. characters. Although their conversations are highly humorous and entertaining. They often reflect incidents which are familiar to the lives of most people. If puppet shows were nothing more than cute nonsense, they would not be effective vehicles of instruction because they would lack this important link in maintaining audience attention; believably is important.

Puppets are also useful in other areas of learning besides formal instruction. For individuals with learning or emotional difficulties, puppets is always an interesting experience: they become actively involved in the performance. But one puppet activity can create opposite reactions in individual members of the audience. If the puppet suddenly turns and stars to converse with a particular person, their response will be one or two: either they will shy away in embarrassment, or they will eagerly enter into conversation.

The puppet in this picture is engaged in a conversation with the facilitator. Such talks can present useful information to class and discussions in a unique way

Why these responses? The first person becomes self conscious at being so involved in the puppet show that the puppet would notice and turn to him. The individual, then, is not fully aware if this involvement is “adult” as seen by himself and his peers, and because of this uncertainty he retreats into a more detached position. It is not unlike a father getting “caught” playing with his son’s new electric train. The second individual is not threatened by dialog with a puppet. On the contrary, the situation is completely relaxed and open, and candid comments may result. It is this second individual who reflects the use of puppets as a theatrical tool. Because the circumstances are completely non-threatening for these individuals, they can speak through puppets without feeling inadequacies which they may have placed upon themselves. Psychologists and Psychiatrists use the technique of psychodrama to create a non-threatening environment in which individuals can relate without fear; providing these persons with puppets may produce the same result. Although the person provides the voice, it is the puppet in a very real sense who is speaking.

Stuttering is a case in point. This speech impediment is sometimes related to poor self image or an inferiority complex. A person who stutters for this reason may be able to speak perfectly if he is speaking for or through a puppet. Because the puppet becomes the visible personality, and because the puppet has no personality conflicts, there is no reason to feel threatened when speaking for the puppet.

Persons speaking through puppets may also tend to assert themselves more than if they were speaking for themselves. And individuals listening to puppet may also tend to accept more from a puppet than they would from another human being, even though they realize that a human is, in fact, speaking. These responses to puppets are all possible because puppets are not as frightening as people. And because they don’t threaten, it is often much easier for puppets to achieve an atmosphere conducive for quality education and therapy.

Why do puppets work? In the final analysis, it is probably an intangible blend of all of these things. Certainly their novelty is greatly responsible for initially gaining the attention of an audience. From this point, it is up to the puppet to establish its character with the audience. They turn the charm, they entertain, they are lovable; and; puppets are fun.

But there is another reason why puppets work, and it is the most important reason. Puppets are only as successful as the puppeteer. Professional puppetry requires hard work by the puppeteer. In this regard, puppetry is no different than any other field of human endeavor. The time tested formula of hard work equaling success holds true. The grace of the ballerina or Olympic gymnast was not achieved overnight. Professional athletes dedicate themselves to long hours in the solace of the practice field in order to excel before millions of spectators in the real competition. Similarly, the puppeteer must diligently apply himself in rehearsals if his performance is to be judged acceptable. There is no immediate reward for repeatedly practicing the mechanics and fundamentals of puppetry. But the puppeteer who truly desires to give the best possible puppet show will find much satisfaction in the audience response at actual performances.

Yet mastering the techniques of puppetry is not enough. The puppeteer must involve himself in his work. He must be able to create his own personality, or new ones, inside the foam body of his puppet. And that is where the fun begins. The secret world of Walter Mitty can come alive in anyone when they put on their puppet and start performing. This is a necessity! The puppeteer must develop a special relationship with the puppet that results in the puppet appearing to be a natural, expressive, loveable personality. And when this happens puppet work.

Attention, involvement, entertainment, believability, fantasy: all contribute to the successful technique involved in professional quality puppetry. Coupled with a creative puppeteer who brings the puppet to life in stimulating and entertaining fashion, these qualities form the chemistry which makes puppet work.

Sound complicated? It isn’t really. Anyone can do it with practice. So keep reading, learning and practicing what you learn. And come further into the puppet world.

A Description of Puppets

The word puppet means different things to different people. This is because the term encompasses several different objects, all of which are called puppets.

Tali Galaw marionette group performing a marionette show in a morning television show umagang kay ganda

Few people, for example, are aware that the first puppets were actually shadows.

Shadow puppets, although not popular in this country at the present time, are believed to be the oldest form of puppetry with their early beginnings in

China. The exact age of this art is unknown. In shadow puppetry, the stage is darkened except for one light source which serves to cast shadows on the screen. Obviously, these primitive beginnings had several limitations for performing when contrasted to today’s methods.

With the shifting of cultural centers to the Greek and Roman Empires, references is also found to puppets as part of the performing arts. The existence of

marionettes as early as 300 B.C. is indicated in remarks by Horace. He speaks of one who moves like a wooden puppet pulled by wires. Of course, marionettes are still quite popular today and represent the only form of puppetry for many serious puppeteers. Unlike hand puppets, marionettes are manipulated from above the stage through the use of guide wires connected to the various bodt parts. The full body of a marionette allows it to actually walk during the performance instead of making the audience imagine that the puppet is walking on its own legs, as is the case with hand-held puppets.

The ancestors of the present day hand-held puppet were the glove puppets. These were an extremely popular form of puppet and variations of this form are still found today. Many schools have the students construct socks puppets in craft activities; this is an outgrowth of the basic glove puppet. However, in its endeavor to give evermore natural and realistic performances, puppetry has become quite sophisticated. In so doing, the glove puppet has given way to the life sized hand puppet. The popularity of this type of puppet in schools and churches has increased dramatically since its introduction.

The hand-held puppet presently appears in distinct styles: the rod puppet, the rod-arm puppet, and the human hand and arm puppet. In operation, the heads and mouth of these puppets are identical. The basic difference is in the method of manipulating the arms, onto which a metal rod is attached. The rod itself is approximately 24 inches long with small loop at the end. A vinyl wristlet is attached to the arm of the puppet, just above the hand. This wristlet has a small opening through which metal rods extends, and it is secured by re closing loop. With both rods securely attached to the arms, the puppeteer manipulates the arms of the puppet simply by moving the rods for whatever gestures are desired.

The human hand and arm puppet does not utilize rods. Instead, the puppeteer actually inserts his arm and hand into the puppet and his arm and hand become the arm and hand of the puppet. Gloves the color of the puppet’s skin are used to create the correct color for the hands. This puppet is a tremendous addition to the art of puppetry; it allows gestures and manipulations which significantly affect the realism of the puppet production.

The history of puppetry has generally been a history of entertainment. Only recently have the instructional advantages of puppetry been recognized.

Only one puppet description  is missing: the description of your puppet as you bring it to life – its temperament, personality, gestures, voice and all the rest. Providing this description is what makes puppetry fun!

The Puppet Director

In athletics, planning for success begins long before the start of actual competition. Coaches map strategy and organize how they expect to accomplish their goals. Similarly, successful businessmen extensively research a project and carefully plan each component in order to ensure operating efficiency. Puppetry is no different.

Good direction is essential for professional quality puppetry. And the central person involved, obviously, is the director. Puppetry is more than one individual

with his puppet; to perform quality puppet productions, it is necessary for a team of people to work together just as in most other forms of entertainment. The director must provide the proper amount of guidance to ensure that the puppet team works well together. This is not always an easy task.

The director is combination of manager, teacher, promoter, drill sergeant, mother, coach, administrator, psychologist, and referee, all wrapped up in a

Mr. Danny Liwanag, Director of Roppets Edutainment Production Inc. Philippines

Major personality, with patience of Job and the endurance of a distance runner. Because many people who are attracted to puppetry are teenagers and young adults, the director must be able to work well with this age group. He must be knowledgeable in the art of puppetry and be able either to think creatively or to assemble a group of creative individuals to provide material for performance. The puppet director, being in charge of the entire operation, must be a responsible individual; one who can delegate responsibility, and one who can exercise sound judgement.

Determining the scope of the director’s job is easier if an examination is made of the various functions which must be accomplished by the director. Central to these duties is the scheduling of rehearsal time. Rehearsals must be well-planned and executed if they are to accomplish their purpose of preparing puppeteers to perform high-quality puppet production. The ability of a puppet team to perform well in puppet shows is directly related to the effort applied during rehearsals. Athletics team often stress the basics or fundamentals of their sport during practice sessions. The emphasis on these fundamentals, and the repetition of them until they are well-learned, reflects the non-glamorous side of athletics (or puppetry). But the teams which excel in the basics are those which perform well when “the chips are down.”

Manipulation: The Mouth

The puppet Director is the central force in the organization and smooth functioning of the puppet team. But the puppeteer is the central factor in the performance itself. The puppeteer is, after all, the one whose abilities are required to animate the puppet and entertain the audience. Several different functions of the puppeteer will be discussed but the most important is manipulating the mouth properly. Because mouth manipulation is one of the most basic aspects of puppetry, improper manipulation is quickly noticed by the audience and detracts seriously from their enjoyment.

An elementary, yet often over-looked principle of correct mouth manipulation is holding the puppet properly. Many beginning puppeteers are unable to accomplish good lip sync and mouth manipulation because they do not know exactly where their hands should be placed inside the puppet head. The accompanying drawings help illustrate the correct position for the hand. You will notice from the drawings that the four fingers should be in the roof of the mouth and the thumb should be below, in the jaw. Both the fingers and the thumb should rest on the cloth-covered mouth, not the foam covering it. If the hand of the puppeteer is small; it may be necessary to insert a piece of polyfoam in the upper or lower mouth cavities to make a snuggly fitting puppet. Once the puppet has been properly fitted, the puppeteer can begin manipulating it.

Opening and closing a puppet mouth involves the use of arm and hand muscles which are not ordinarily used. This will cause fatigue, even in shorter performances, until the puppeteer gets used to manipulating puppets. Practicing lip sync with the arm straight up will help build these muscles and this practicing should be done with both hands since the good puppeteer must be able to work puppets with either hand.

The key to good mouth manipulation is accurate synchronization of the spoken work and the opening of the mouth. Particular care should be made to opening the mouth on the first syllable of the first word of each sentences. This helps create a good impression for the rest of the sentence. Missing the synchronization at this crucial point is clearly noticeable to the audience and dramatically reduces the quality of the show. When opening the mouth, keep in mind that it is the lower jaw which drops during speech- the upper lip does not go up. This is a serious weakness in beginning puppeteers. Begin to practice this movement without the puppet so you can make sure your thumb drops while the fingers remain parallel to the ground. This is not a natural tendency and will require a great deal of patience and practice. But that practice will pay off in a puppet which looks natural when it speaks. A good exercise to help the beginning puppeteer master this technique is simply to put the hand under a table top or some other stationary object and repeat the dropped thumb motion. Intersperse this exercise with another where the puppeteer does not use any stationary objects but has his hand and arm extended above his head. This is necessary to more closely simulate actual performance conditions.

Another mistake commonly made by beginning puppeteers is biting word, closing the mouth with each word instead of opening it. This tendency must be watched closely by both puppeteers and director to ensure that only correct manipulation is performed. Quality puppet teams should never be troubles by this mistake. Both of these technical points, the dropped thumb and mouth opening instead of closing, are important considerations for manipulating the puppet in a natural manner.

When people talk, they do not open their mouths as wide as possible for every word. Neither should puppets. Since the goal of the puppeteer is to create a “natural” personality in his puppet, the mouth should be open wide only if the scripts calls for it, such as yawns, yells, or exaggerated expressions. This gives the puppet a special impact when the mouth is opened wide.

Some beginning puppeteers have a tendency to move their puppets around too much during performances. This detracts from the puppet that is “speaking” and confuses the audience. Only the puppet that is actually speaking should be moving its mouth. While the other puppets need to be responsive to the speaker, they cannot be so animated in mouth or body that they take the audience’s attention away from the speaker.

Another aspect related to manipulating the mouth is maintaining eye contact with the audience. This is imperative if the puppet that is speaking is going to appear believable to the audience.

Lip sync is the key to quality puppetry, but it involves more than just moving the hand in a particular fashion. It takes practice and familiarity with the script being presented. No puppeteer can lip sync well if he is not acquainted with the script and able to anticipate upcoming words. The tape must be listened to repeatedly to learn both the dialog and the pauses. As an additional help, the puppeteers should have the script directly in front of them during the actual performance. The scripts can be attached to the stage and in this way they serve the same function as cue cards for an actor. But no puppeteer should ever attempt to read the scripts without being thoroughly familiar with the tape itself.

Mouth manipulation is lip sync, and lip sync is practice. Puppeteers who take pride in their work will accept nothing less than perfection in lip sync for their puppet productions.

Manipulation: Rod Arms

The importance of accurate lip sync by the puppeteer cannot be overstressed. But lip sync by itself is not enough to bring the puppet to life. Human speakers have particular mannerisms and make various gestures when speaking. Puppets should be the same way; they should develop arm movements which complement personality to the audience. This is possible with the use of rods attached to the puppet arms.

The rods are narrow metal strips, approximately two feet long and the thickness of a clothes hanger. They have small grip on one end and a loop on the other. The loop end is attached to a vinyl wristlet, so it is concealed by a long sleeved shirt or blouse. The diagram illustrates how this is done. Once the rods are properly connected, the puppeteers can begin practicing various arm and hand movements.

Beginning puppeteers should never attempt to operate both arms at the same time; good puppetry comes in stage! With one hand operating the mouth, the second hand should be used to operate one arm until the puppeteer has reached the level of proficiency required to use both arms simultaneously. When using just one arm, let the other arm and rod hang down at the puppets side. The puppets are manufactured in such a way that the arms hang naturally. The puppeteer can then concentrate on operating the other arm and should strive to develop and perfect as many movements as possible. When this is done, he should practice alternating the arm used in the performance.

In other words, if the puppeteer used his right hand inside the puppet, his left will be free to operate both rod arms, one at a time. By having the puppet scratch his head with one hand and point with the other one, the performance appears more realistic and the audience enjoyment is greater. All the puppeteer needs to do is gently drop one of the rods and pick up the other. Switching from one arm to the other allows both the beginning and experienced puppeteer to give puppets a human-like quality through the use of gestures. As in all phases of puppetry, this maneuver requires practice before the puppeteer becomes comfortable and the transition from one arm to the other is a smooth one.

After the puppeteer has mastered the art of manipulating one rod arm at a time, he may begin practice on working both rod arms with his free hand. This is not a difficult as it might first appear, but must follow the proficient use of the two rods should be held in the hand. Notice that the rods are held above the handles and rest in the fingers, not the palm of the hand. Specific movements resulting from manipulating both rods can only be learned by experimentation and practice. One basic gesture which can be done rather easily is that puppet clapping his hands, the result of pressing the thumb and index finger together.

Manipulation: Human Hand and Arm

Human hand and arm puppets provide a new dimension in realistic puppetry. These puppets allow the puppeteer to insert his arms into the puppet and provide the opportunities for human movement which do not exist with rod arm puppets. For the most complete operation of the human hand arm puppet, two puppeteers are necessary. Discussion of human hand and arm puppets will be divided into usage by one and two puppeteers.

SINGLE PUPPETEER. One puppeteer is capable of operating the human hand to manipulate the puppet and inserts the free arm into the puppet to become the puppet’s arm. The puppeteer wears a glove which matches the skin color of the puppet and this glove hand extends out of an especially sewn shirt or blouse. The gloved hand goes through the elasticized sleeve and extends out the non elasticized opening. The elasticized sleeve is then pulled up the puppeteer’s arm toward the shoulder. The regular sleeve has two Velcro patches which allow the sleeve to be cuffed tightly at the wrist. The foam arm of the puppet is designed to join the puppeteer’s forearm and usually rests on or near the puppeteer’s elbow. Human hand and arms puppets, like their rod arm counterparts, are designed in such a way that arms not being used or manipulated hang naturally to the side of the puppets.

The Puppet Personality

How often have you heard the phrase “ It’s so unlike him to do that? “ Have you ever stopped to realize why such statements are made? Essentially, they are made because a person says or does something which is inconsistent with the pattern of behavior which, through experience, has become expected of him. People develop personalities, patterns of behavior, by which they are identified. Puppets should do the same.

Puppets need to have their own distinct personalities; they need to develop a consistency of character so their audiences know basically what to expect. It is confusing to audience, particularly younger ones, to have a puppet character perform in different roles.

One important aspect of the personality, often overlooked, is the individual mannerisms of the puppeteer. Each puppeteer has a particular style which is different from that of other puppeteers and this style is reflected in the operation of the puppet. Ideally, the same puppeteer will always operate the same puppet character so the character develops a consistent style and identity with the audience. Head movements, arm gestures, mannerisms, lip sync techniques; all these functions need to remain essentially the same as the puppet develops its identity with the audience.

A second function of personality is that of the voice. Inexperienced puppeteers and puppet teams often think nothing of using three or four voices for one puppet. This should not be done. A determination about voice should be made when the puppet personality is being developed; once a puppeteer or other person has been selected to speak for the puppet, the role should be made permanent. It is sometimes amusing to watch voice tracks dubbed into performances of well-known performers – its novel – but only because the real voice is firmly established in the minds of the audience. Do not allow your puppets to have different voices speaking for them. It only makes the puppet’s job of relating to the audience that much more difficult. Related to this function of personality is the puppet’s vocabulary. If a puppet character is being developed to represent a college professor, the vocabulary of his scripts should be more extensive than that of an uneducated laborer puppet. This is a subtle point, but one which good puppet teams will want to follow.

The puppet personality is a critical factor in the success of the puppet production. It is through these personalities that the audience will relate to the production and what is being said. Often, the ability of the audience to identify a particular personality characteristic will allow learning to occur without regard to what is being said. A viewer can see in the selfish personality of a puppet traits similar to his own – and resolve to change them. Such an impact is possible from the development of the puppet personality alone. The puppet with widely divergent character traits to allow maximum flexibility in programming.

For some, the development of a new personality within a puppet is not an easy thing. Others excel at it. But it is certain that all puppeteers must accomplish this at least to a minimum extent if they are to be successful. This is one of the truly “fun” parts of puppetry. Although it will require practice to perfect the personality, the dull routine of rehearsals is not an active factor. The development of the personality lies in the creative reaches of the mind; in the imagination of the puppeteer. At first it may not be easy- you may feel somewhat inhibited. But as you develop this particular skill, you will find it to be one of the most satisfying in puppetry…

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Bubble Factory is a production of Roppets Edutainment Production Inc. A unique kind of Bubble show composed of female bubble artists in themed costume performing complicated bubble formations while dancing to the beat of selected musical theme. Plenty of bubbles created in one act while it moves together with the music. Thematically arranged music edited to suit the taste of the audience. See the longest bubbles and a kid placed inside a big bubble.

This concept of having three all girl performers was conceptualized and pioneered by Roppets. The Bubble Factory is the first and only Bubble Show in the Philippines that has themed costume, lights, smoke machine with dance and choreography in the Philippines. Bubble factory started by Mr. Danny Liwanag, Director of Roppets, got the idea of having a bubble show here in the Philippines with a touch of an artistic concept. Combining the art of dancing and the art of bubble making, Bubble factory was born with a unique performance.

After suggesting this show to direct clients and at the same time, party shops, Bubble Factory was a hit for birthday parties, events, mall shows and school tour. Then, Bubble factory started to be famous in the field of entertainment for kids. Usually, clients request is a bubble show that put the kids and adults inside the giant bubble, now, after the bubble factory changed the trend, clients request themed bubble show that only the bubble factory is well known for it in the field of children’s entertainment.

Bubble Factory started with a simple costume, a uniformed costume for the 3 performers, and only had one theme. Now, Bubble factory offers a wide range of themed costumes for clients to suit their theme for birthday parties and events. Bubble Factory has 14 themed costumes namely;

Cheering

Best for sporty type of themed party or High school musical theme, cars, and Hollywood party.

Hawaiian

One of the first themed costume of Bubble Factory. Great for Luau parties, beach, pool party, summer and Hawaiian theme.

Tropical

Also one of the oldest themes of Bubble Factory, same as the Hawaiian, Tropical theme has a touch of a upbeat music and a faster dance.

Pop Disney

Costume and songs came from the Disney characters for teens like camp rock, hanna Montana, and other Disney shows. Best for pop rock themes, Disney, Hanna Montana, Camp rock themes etc.

Broadway

The Concept started from a Broadway musical show and bubble factory adapted the concept and music to bubble show. Now, Broadway theme is more upbeat and more appealing to kids with a new costume and music. Best for broadway theme party.

Safari

Safari theme by the Bubble factory is more like a jungle theme. Performers wear a brown up and down uniform set of a safari hunter. Music and dance is thematically arranged to a safari bubble show. Best for Safari, Madagascar, jungle, forest and animal themed party.

Halloween

Halloween themed Bubble Show is suited for Halloween parties because of its costume, music and dance. Best for Halloween and scary party.

Star

Star theme by the bubble factory was categorized as the star theme because of the music that came from the songs of Disney that has a star in their lyrics and choreography, name of the bubble and dance is connected to stars. Best for Disney themes, Star, fairy, nature and princess.

Play House Disney

Well-known characters like Goofy, Daisy duck and Minnie mouse, Bubble Factory got the idea of having a play house Disney theme for a bubble show performance. Using the music of their theme songs and costume, this themed bubble show is more appealing to kids ages 1 year old to 7 years old. Best for playhouse Disney theme, Disney, Minnie mouse theme, daisy and Goofy.

Outer Space theme

One of the most unique and distinctive theme of Bubble factory is the outer space or intergalactic theme. Using trance clean music and reflectorized costumes, bubble factory produced one of the best selling theme for bubble show.

Latin

A one of a kind bubble show that performs bubble tricks using latin music and costume. Best for latin theme parties and carnival or circus theme.

Arabian

One of the best art is dancing the belly dance, using this concept for bubble show, remarkable feedbacks was accepted. Using Arabian Music and belly dancer costumes, bubble factory made one of the best theme bubble show in the field of shows for kids.

Western

Using the concept of the wild wild west, in terms of costume and music, kids will love these one of a kind bubble show. Best for wild wild west theme, cowboy, Indian theme, farm, barn and animal theme parties.

Christmas

All music are all Christmas songs and at the same time, the costumes. Dancing and performing bubble tricks to the tune of our favorite Christmas songs, bubble factory made a twist for a performance during Christmas season.

Roppets edutainment production inc.

9127748 / 4391471 / 6688644 / 09175228100 / 09189370604

The group performs in different schools and museums in Metro Manila. Offering a high quality theater to everyone, especially those in places and people who rarely have opportunities to see live performances is one of the groups concern.

For several years, Tali Galaw produces hundreds of marionette puppets with Filipino heroes as characters and selling these products in support to the 100 Centennial Celebration of the Philippines. Its mission is to promote the marionette puppetry all over the country and Filipino culture abroad.

A Delegate of the Philippines to the First ASEAN Puppetry Festival held in Jakarta, Indonesia last December 2006 and a participant to the First International Marionette Festival in Hanoi, Vietnam last February 2008.

Tali Galaw Marionette Theater is a member and was the lead organization of the Puppeteers Association of the Philippines.

Tali Galaw Performances

Tali Galaw International Performances

1st ASEAN Puppetry Festival Jakarta Indonesia 2006

2nd ASEAN Puppetry Festival Jakarta Indonesia 2007

1st International Marionette Festival Hanoi Vietnam 2008

International Yunlin Puppetry Theater Festival Taiwan 2008

Tali Galaw Marionette Theater Stage

Structural Framework and Lights of the Puppet Stage

½ inch PVC Pipes

Wooden Platform with cloth

(3) Backdrops

Cloth (Covering of the puppet stage)

(4) Par 38 Blue and Red Lights

(1) Halogen

Dimensions of the Puppet Stage

Length =          90 inches

Width  =          64 inches

Height =          87 inches

Viewing Screen Dimension

Length =          90 inches

Height =          87 inches

Tali Galaw Synopsis

Pilipinong Sayaw

Igorot Dance

This traditional dance is popular in the Visayan mountains.  It shows the resourcefulness of our ancestor in making a ritual dance.

Singkil Dance

A popular dance of the Maranao people of Lake Lanao which performed during celebrations and other festive entertainment.

Tinikling

This is the most admiring traditional dance of the Filipinos, a couple dancing on bamboo pipes will moving as a chirp sound of birds in the field.

Ipinaglaban na kalayaan

This is a short presentation using the art of puppetry that explains how the Filipinos attained independence and survived the foreign invasion.

Ibong Adarna

A one kind Filipino folk tale that explains the story of a unique bird that can save the kingdom and the health of the king of Berbanya.

Pistang Pinoy

This one of a kind puppet presentation illustrates the gathering of Filipinos yearly, it is called Fiesta.

Kapaligiran

Explaining the importance of the environment and what people can do to help preserve our environment.

Buto Buto Band

A dance number of skeletons with comedy act and singing.  This is a funny show for kids.

News Paper Clippings

Sunday Inquirer Magazine

“Tali Galaw”, Marionette Puppet Show and the first and only Filipino String Puppet Production features three educational stories: “Ipinaglaban na Kalayaan,” highlighting the Filipinos fight for freedom from the time of Lapu Lapu to the Japanese Occupation; “Mahal ko ang Kapaligiran” and “Ibong Adarna”, every Friday, 10am, at the Karapatan Hall, Museo Pambata, Roxas. Blvd.”

Philippine Daily Inquirer

“PUPPET SHOW AT PASKUHAN VILLAGE. In celebration of the Philippine Centennial, the Paskuhan Village will be featuring a 3 story string puppet show on June 12, 1998, 4pm at the Kamagong Amphitheater, Paskuhan Village, San Fernando, Pampanga. Danilo Liwanag, founder and director of the first and only Filipino String Puppet Group, Tali Galaw, together with his 5 puppeteers, will perform live, other stories to be shown are “Ibong Adarna” and “Mahal ko ang Kapaligiran”.

Philippine Daily Inquirer Lifestyle Section

”The National Commission for Culture and the Arts and Puppeteers Association of the Philippines present “Tali Galaw” a marionette show, on Feb. 10, 17, and 24 2001 at the Museo Pambata, Roxas Blvd., Manila.”

Philippine Daily Inquirer

“HEROES ON STRINGS!” Puppet figures resembling Filipino heroes and heroines are among the hottest items on sale at the Centennial Bazaar in Luneta Park”

Entertainment Top Blogs

In his speech, Department of Education Region IX director Walter O. Albos congratulated the Shrine City for successfully hosting the annual national multi-sports event in celebration of the 150^th birth anniversary of the Philippine’s national hero Dr. Jose P. Rizal. He said words are not enough to express gratitude to all the people who have made the week-long sports event possible.

President Benigno Simeon C. Aquino III, who went on an official travel outside the country, extended his message saying “your theme, “Enshrining School Sports in the National Shrine serves to highlight your humble beginnings alongside the progress you have since made in your respective disciplines.”

Students from the 17 athletic delegations who have energetically participated in the seventeen events held in the city, Dipolog City and the Municipalities of Piñan and Polanco were given inspirational messages from TV personality, PBA analyst-commentator and master of ceremonies Patricia Hizon, as well as by motivational speaker and sports personality BJ Manalo.

Another TV personality gracing the closing of the nationwide event was the Pop Star Princess Sarah Geronimo who sang at the main grandstand her greatest hits to the delegates and visitors in a musical extravaganza with the special participation of the all-girl-group Mocca Girls which was followed by the spectacular fireworks display over the JRMSU campus.

Among the officials attending the closing program were DepED Secretary Armin A. Luistro, Assistant Secretary Tonisito M.C. Umali, Abdurajik M. Kanni, Region IX PESS chief, ZaNorte 1^st district Representative Seth Frederick P. Jalosjos, Governor Rolando E. Yebes, Dapitan City Mayor Dominador “Jun” G. Jalosjos Jr. and the Palarong Pambansa Executive Committee chairman and former Representative Romeo “Nonong” G. Jalosjos.

Meanwhile, National Capital Region Athletic Association (NCRAA) bagged student athletes as the Over-All Champion accumulating a grand total of 572.7 points over Western Visayas, Calabarzon and Central Visayas.

Mayor Dominador Jalosjos Jr. and former Congressman Nonong Jalosjos thanked Bro. Armin Luistro, DepEd undersectaries, assistant secretaries, regional directors, superintendents, heads of public and private elementary and secondary schools in the whole province of ZaNorte and the good people of Dapitan for their unwavering commitment in making the 2011 Palarong Pambansa in the city a huge success.

Roppets was very happy and proud to be the official fabricator of the Hornbill mascot and also the manufacturer of the stuff toy give-aways, the Hornbill.

It is a great pleasure to welcome your excellencies the Ambassadors of the ASEAN Member States and of friendly neighbor States, dignitaries, cultural experts and puppetry artists to this 1st ASEAN Puppetry Festival 2006.

The art and culture of puppetry or wayang exists in various forms in the countries of ASEAN, and forms a part of the Cultural heritage of ASEAN as defined in the ASEAN Declaration on Cultural Heritage signed in Bangkok on 25th July 2000, namely, significant cultural values and concepts, oral and folk heritage… traditional arts and crafts… performing arts, the written heritage and popular cultural heritage.

We recall that quite some time ago there had been an official recommendation to establish an association to develop and promote ASEAN puppetry in order to promote linkages and networks, as contained in the report of workshops of the role of puppetry as a traditional Media held on the 8th – 11th of September 1998 under the auspices of the ASEAN Committee on Culture and Information (ASEAN COCI)

The puppetry of ASEAN is a unique cultural heritage and is indeed an important part of the cultural identities of the ASEAN Member States. The puppetry of two ASEAN Member States have been declared Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO, namely,the Sbek Thom Khmer Shadow Puppetry of Cambodia (2003) and the Wayang Puppet Theatre of Indonesia (2003). Puppetry may well serve as an attractive draw card for “Cultural Tourism” among our ASEAN countries.

This 1st ASEAN Puppetry Festival presents a unique opportunity for all the participants and audiences to witness performances of varieties of traditional and contemporary puppetry found in the ASEAN Member States. The ASEAN Puppetry Symposium should also present a valuable opportunity to evaluate the present condition of puppetry in each of our states, and at the same time encourage us to work together on an ongoing basis to preserve and develop this valuable cultural heritage, which is in some areas regretably  threatened with extinction due to the pressure of various modern entertainments.

I believe this Festival will serve to inspire us all to preserve the noble values contained within puppetry and other items of our traditional cultural heritage, for the pleasure and guidance of present and future generations of our peoples. Furthermore I hope the festival will be successful and beneficial to strengthen cooperation in the social and cultural field.

Jakarta, 23rd November 2006

Minister of Culture and Tourism of the Republic of Indonesia

Ir. Jero Wacik, SE

FOREWORD BY THE MINISTER FOR FOREIGN AFFAIRS OF THE REPUBLIC OF INDONESIA

As our ASEAN Leaders declared during their Ninth Summit in Bali in 2003, one of the three pillars of the envisioned ASEAN Community is the ASEAN Socioeconomic Community, the other two being the ASEAN Security Community and the ASEAN Economic. All the pillars are equally important, mutually supportive and mutually reinforcing.

Through the ASEAN Sociocultural Community we hope to raise the quality of life of the people of our region by building an ASEAN identity and promoting the ASEAN cultural heritage.

It is in this spirit that I congratulate and commend the Indonesian National Wayang Secretariat (SENA WANGI) for organizing the First ASEAN Puppetry Festival, which will be held in Jakarta from 29 November to 3 December 2006.

Puppetry is a part and parcel of the ASEAN cultural identity. Since ancient times puppet plays have been a major form of entertainment in our region. It has also been a medium of social education. The Indonesian population planning programme succeeded because, among others, it made excellent use of the form of puppetry called Wayang Kulit.

The ASEAN Puppetry Festival is therefore an initiative in the framework of the ASEAN Sociocultural Community, which focuses on the virtues and attractions of our region, and promotes the growth of an ASEAN cultural identity. I hope that it will lead to the birth and growth of an ASEAN Puppetry Association so that three will be more endeavours like this Festival.

To the delegations from ASEAN countries that have enthusiastically joined the Puppetry Festival, I bid you all a hearty welcome. And I wish you every success in this and all your future undertakings.

Jakarta, 23rd November 2006

Minister for Foreign Affairs of the Republic of Indonesia

Dr. N. Hassan Wirajuda

FOREWORD BY THE GENERAL CHAIRMAN OF SENA WANGI

It is with thanks to Allah SWT that we welcome this 1st ASEAN Puppetry Festival which is being held from 29th of November until 3rd of December 2006 in Jakarta Indonesia, attended by representatives of the 10 ASEAN Member States. This ASEAN Puppetry Festival is being organized for the first time. We hope that such cultural activities of an international scale can continue to be organized periodically in subsequent puppetry festivals.

As an expression of mankind’s artistic feelings, almost all nations possess wayang or puppetry. Such is also the case among the ASEAN Members States, wherein the art and culture of wayang or puppetry has grown and developed since ancient times in a wide variety of forms, scenarios and styles of performance. All these varieties of puppetry are beautiful and contain a wealth of moral messages regarding the noble things in life. For this reason, this cultural potential in the ASEAN sub-region needs to be developed on an ongoing basis, so that it may become a cultural force towards enhancement of cooperation between the ASEAN countries. Both now and in the future, puppetry may be utilized to cultivate friendship and collaboration betweennations through a cultural approach or friendship through culture.

As the organizer of the 1st ASEAN puppetry festival, SENA WANGI is happy and proud that the ASEAN Member States have so enthusiastically stated their readiness to participate in this puppetry festival. This readiness and active participation of all the ASEAN countries constitutes a strong basis to build increasingly closer and more beneficial collaboration for the welfare of the peoples of ASEAN. We express our thanks and deepest appreciation to all participants in the festival. We have worked hard together in the hope that this 1st ASEAN Puppetry Festival may go on safely and successfully, free from impediment. May the One Supreme God bless our joint efforts. Thank you.

Jakarta, 29th of November 2006

Drs. H. Solichin

FOREWORD BY THE COORDINATOR OF THE ORGANIZING COMMITTEE OF THE 1ST ASEAN PUPPETRY FESTIVAL 2006

We hope that the efforts of SENA WANGI to preserve and develop wayang or puppetry will not merely position the art and culture of puppetry as a pillar of national culture, but that puppetry will furthermore also play a role as a cultural vehicle and mouthpiece to uplift the quality and standard of humanity.

It is our intetion that these efforts will be increased, not only on a national scale, but also on subregional, regional and international levels.

The organizing of this 1st ASEAN Puppetry Festival 2006 in Jakarta from 29th of November till the 3rd of December 2006 comprising puppetry performances, a symposium and proposed declaration of an ASEAN Puppetry Festival are efforts on a sub-regional level with the intention of linking up the puppetry of indonesia and of ASEAN, with the ASEAN committee on Culture and Information. (COCI). By these efforts, the vision, mission and general goals of SENA WANGI may achieve more optimal success.

We hope that social and cultural collaboration between the ASEAN Members States will motivate success of the programs of ASEAN, both in the social and cultural fields as well as in other fields.

This festival has been organized in collaboration between our Festival Organizing Committee here in Indonesia and our fellow puppetry artists and experts in neighboring countries, who have kindly come from a far to participate in the festival. We have also been supported by officials from the governments and embassies of the participating ASEAN Member States. Upon this occasion, I wish to express our deepest thanks to all of you who have collaborated so nicely to make this Festival a success. May all of you enjoy the Festival.

Jakarta, 23rd of November 2006

1st ASEAN Puppetry Festival 2006 Organizing Committee

Ambassador Tupuk Sutrisno, SH

Coordinator

THE ASEAN COUNTRIES AND THEIR PUPPETRY

Brunei Darussalam

Negeri Brunei Darussalam does not presently possess the culture of puppetry or wayang. However, Brunei Darussalam does have varieties of beautiful culture and arts. Brunei Darussalam has graciously consented to send its observer to attend the 1st ASEAN Puppetry Festival, for which the Organizing Committee expresses its deepest thanks.

CAMBODIA

Sbek Thom puppetry from Cambodia

The Sbek Thom is a Khmer shadow theater featuring two-metre high, nonarticulated puppets made of leather openwork. The Sbek Thom, along with the royal ballet and mask theatre, is considered sacred. Performances dedicated to the divinities, could only take place on specific occasions, three or four times a year, such as the Khmer new year, the King’s birthday or the veneration of famous people. The shadow theatre was weakened after the fall of Angkor in the last century. However, it has evolved beyond a ceremonial activity to become an artistic from, while retaining its ritualistic dimension.

The puppets are made from a single piece of leather in a special ceremony for each character. Shiva and Vishnu, for example, are cut from the hide of the cow, which died accidentally or naturally and are finished in a single day following a special ritual. The hides are dyed with a solution made from the bark of the Kandaol. The artisan draws the desired figure on the tanned hide, then cuts it out and paints it before attaching it to two bamboo sticks which enable the dancer to control the puppet.

The performances traditionally take place at night in the open air beside a rice-field or pagoda. A large white backdrop is held between two tall bamboo screens in front of a large fire or, nowadays, projectors. The shadow of the puppets silhouette is projected onto this white screen. The animator brings the puppet to life wit precise and specific dance steps that produce a range of movements. The performance iss accompanied by an orchestra and two narrators. Performances from the reamker, the Khmer version of Ramayana, might last several nights and require up to 160 puppeteers for a single session.

INDONESIA

wayang sandosa from indonesia

Wayang is a cultural creation of the genius of the Indonesian people. Wayang has been known since at least the 10^th Century, and has developed throughout the history of Indonesia down to the present day. From ancient times until now, wayang has been an oral and intangible culture of very high artistic merit. The resilience and development of wayang has been tried and almost all areas of Indonesia are familiar with wayang. No less that 100 wayang have grown and developed. Most of the varieties of wayang too appearing. Examples of varieties of wayang which continue to develop and be enjoyed by large audiences include Wayang Kulit Purwa Wayang, Purba Bali and Wayang Golek Sunda. Wayang Banjar an example of a style of wayang which is fading, while Wayang Palembang is threatened with extinction.

Wayang performances are a beautiful combination of five elements; namely, Performing Arts, Musical Arts, Literary Arts, Creative Arts and Philosophical and Education Arts. Wayang is present in this complete form which includes its aesthetics, ethics and philosophy. Ethical values in wayang are not limited in their usefulness only to personal life, but also encompass broader aims for the life of community, nation and state.

Philosophical values constitute the content and main strength of wayang performances. Wayang is not merely an entertainment, but also contains moral guidance and advice. Wayang performances are referred to as wewayanane ngaurip, because they reflect or symbolize human life from birth to death. Wayang is not merely a shadow play; but rather, some things fare more broad and deep. This is because wayang illustrates human life along with all varieties of problems which it must face.

MYANMAR

Myanmar marionettes

The earliest evidence of myanmar traditional marionette in Inwa Period dated A.D. 1444. It might have come into being since time in emoral. Myanmar Marionettes are suspended with strings. The number of the strings sttached to a Marionette ranges from at least 12 to the number of the most 60. Marionette is higher in the status and the creation of this art is also considered to be sacred accomplishment. The 28 puppets were formed to depict the 28 Ru-Pas (physical forms) which consists of 4 bu-ta-ru-pas (elements) and 24 u-pa-da-ya-ru-pas (attachment) mentioned in the ah-bi dhamma, the Buddhist teaching embodies in the third basket of ti-pi-ta-ka-ti means three and pi-ta-ka means basket in Pali language. The 4 ministers marionettes that represent the 4 elements and the other 24 puppets are two nat votaresses, one horse, two elephants, one tiger, one monkey, one parrot, two ogres, one zawgyi (alchemist), one dragon, one garuda (mythical bird) one diva (good spirit), one king, one price, one princess, tow prince regents, one astrologer, one hermit, one old man and woman and two court jesters. Myanmar marionette theatre is an important part of our cultural heritage and needs to be preserved and promoted for the benefit of posterity. Now a days, Myanmar marionette is being taught as one of the ceremonies and festival. The nationwide Myanmar Traditional Performing Arts Competitions have been annually held since 1993 and marionette competition has taken one of the items. The young and old artistic puppet amateurish and proffesional have participated in all levels. The University of Culture, the first of its kind ever established in Myanmar was inaugurated on the 24th day of September, 1993 to sustain Myanmar cultural education and heritage. In fact this establishment is an epoch-making event in the history of Myanmar Culture. Today with influence of globalization Myanmar puppet performance admitted has lost much of its artistry and popularity. Decadence has set in and many are already tolling knell. As an organized form of entertainment  it has lost its popularity in urban areas. But the spirit dies hard. There are many artistes scattered all over the country each holding fast to his art and puppet. In additions the state holds the Myanmar Traditional Cultural Performing Arts Competition annually that provides the opportunity for revitalization of drama presentation by the puppetry troupes.

MALAYSIA

Malaysia Shadow Puppetry

Traditionally four different styles of shadow play have been active in the Malay Peninsula. These are wayang kulit purwa, wayang kulit gedek, wayang kulit Siam. The first three of these forms are derivates of others from Indonesia or Thailand, while wayang kulit Siam is generally regarded as more “indigenous” than the rest. The history of the first three of these forms is fairly well-known due to their recent introduction into the Malay Peninsula. Several opinions have been expressed regarding the possible origins and history of wayang kulit Siam, the oldest and most important of the Malay wayang kulit styles, which demonstrate obvious Javanese and Thai influences.

Due to various factors, in particular economic and religious, there has been a serious decline in the number of active puppeteers (dalang) in recent decades. Under certain pressures, puppeteers have also begun to bring innovations into wayang kulit gedek and wayang kulit Siam. There have also been attempts to create new styles of wayang kulit. On the whole, however, there is, as yet, no serious effort in Malaysia to preserve the shadow play, and its very existence is, is, therefore, seriously threatened.

PHILIPPINES

Marionette Puppetry from Tali Galaw

Puppetry in the Philippines started since the time of Dr. Jose Rizal, our national hero, when he staged the play entitled  “CARILLO” or shadow puppetry. Rizal used a carton and a stick and he placed this at the back of a white cloth.  Then he used a candle light at the back of the puppets.In the town of Angono, the giant puppets are well known. These are made of Paper Mache and bamboo sticks. They are using these in celebrating the feast of St. Clementine every last Sunday of November.

Aside from the traditional puppetry, there were puppet groups formed since 1972 up to present. These groups were inspired by the different puppetry art in other countries and those children programs seen on the movies and television.

puppets are effective medium for kids’ educational entertainment presently often used in TV commercials in advertising a certain product. Also in field trips, school tours and mall shows. In the Philippines, children are well amazed by the magic behind the puppetry art.

Types or Style of Puppetry found in the Philippines

I.  Hand Puppet

Puppets made of foam and cloth. The puppeteer’s hand is inserted in the neck holding the flap to open the puppet mouth. Manipulations are limited to the mouth, neck, arms and hands. Sometimes, movements of the eye, eyebrows, ears, nose and hair are included. Puppeteers perform from below. The common position of puppeteer is kneeling down or standing up.

Some of the Hand Puppet groups in the Philippines are:

Roppets Puppet Production

These are the samples of their puppets. The group performs in birthday parties, malls, school tours, field trips, Barangay and other special events.  (Effectiveness of puppets in advertising and promotion) The group is considered tobe one of best groups who performs puppet shows in the Philippines and was awarded as Most Outstanding Educational Entertainment Company of the year 2001 by the National Consumer Council and who’s who in the Philippines. Now it has five (5) branches all over the Philippines.

II. Rod Puppetry

Puppets are similar to that of Japan’s “Bunraku”. Puppets are manipulated through a rod. Movements are the head, arm and feet.

Giant Puppetry

Life size puppets made of foam. Sometimes the head is made of fiber glass. Puppeteer is inside the puppet. Movements are walking, dancing and jumping.

Roppets puppet Production

III.  Stick Puppetry

A nursery type of puppets made of cardboard and sticks. Manipulation is through the movement of sticks. Puppeteers perform from below.

IV.  Shadow Puppetry

Puppets are made of animal skin and sticks. Puppeteer performs from the back of a white cloth with light at the back of puppets.

V. Black Theater

Puppets made of foam, rope, cloth, fake fur, wig and stuffing. The whole body can be manipulated. Puppeteers perform from behind, using black light to illuminate the design and color of puppets.

Teatro Itim

VI. String Puppets

Puppets made of wood, rubber, steel, fiberglass or polystuff. Manipulations are through strings. Movements are the head, arms, hand and feet. Puppeteers perform from above.

There are string puppets made in the northern part of the Philippines by the Ifugaos. Materials are yarn and thread.

Iskul Bus Pambatang Palabas

A puppet group which aim is to uplift the social, moral, environmental, health and spiritual values of children. Aside from bringin the puppet show to churches, community and school, thye group is also involved in the radio ministry. On 1998, Iskul Bus won the KBP Alay sa Kabataan Awards as Best Children’s Radio Program.

Fancy Magic Show

Perform a unique type of magic show. The magician is a puppet.

Tali Galaw

The first and only String Puppet Production in the Philippines. The production has made an original string puppet for the Filipinos. The body, head, arms and feet are made of bamboos. Costumes are the traditional clothes of Filipinos interpreted in abstract design.

Tali Galaw has been performing in museums, schools and cultural events.

Since the production is engaged in the manufacturing of string puppets, it also participates in special product selling during events like bazaar, product exhibits conducted by the Department of Trade and Industry, held in parks and open spaces.

Tali Galaw in its commitment in preserving and developing string puppetry, is conducting seminar on puppet making sponsored by the Technological Livelihood Research Center of the Philippines.

Efforts being made to preserve and Develop Puppetry in the Philippines

The Puppeteers Association of the Philippines has been conducting seminars and workshops in schools, churches and art venues. The Association also distribute to its members reading materials about updates in puppetry of other countries like U.S., Europe and Asia.

1. Puppet groups maintain and develop the production of various kinds of puppets for presentation purposes.
2. Organizing school tours, field trips and other shows for the interest of children and adults.
3. Regular performances on televisions and theaters to preserve the life of puppetry art.
4. Training of new puppeteers of all ages.
5. Campaign tore-instate the subject of Humanities in the College level and include puppetry as medium for cultural education.
6. Expanding into putting up more branches inprovinces.
7. To publish the first Book of Puppetry in the Philippines.
8. Contribution of the publishing of Encyclopedia of Puppetry released in France, last 2004.

Tali Galaw Synopsis

1. PISYAW (Pilipinong Sayaw)

A 2-part musical play. One is the Tiniklingdance. The other is the Ifugao. These are some of the few well-known traditional danes in the Philippines.

The music in the tinikling dance is played by a “rondalla”, a group of instrumentalist playing a “bandurya”, a small eight string guitar, together with Spanish guitars and cello bass guitar.

Two persons are holding two bamboos on opposite sides. As the music play, the bamboos are pounded on the ground every 2nd and 3rd beat of the ¾ bar and close the bamboos every 1st beat of the bar. Dancers hop into the bamboos.

The second part is the Ifugao dance. A traditional dance in the Cordillera Mountains, northern part of Luzon by tribal groups. A ritual dance as a form of worship to their Gods called Anitos.

2. Pistang Pinoy

A musical play portraying the Filipinos’ celebration of feast in the “barrio”. Scenario and things you can see during “Fiesta”.

3.  Fantastic Bones

A musical comedy featuring a band of skeleton puppets singing to the tune of “I Feel Good” by James Brown.

SINGAPORE

singapore puppetry

Cultural traditional has great vitality. It adapts to the challenges of time.

Pupppet theatre, one of the oldest performing art forms in Chinese history, has many faces in Singapore. The shadow play, the string puppetry, the wire puppetry, the rod puppetry and glove puppetry were introduced to Singapore at different times in the 19th century. Like Chinese opera, the different forms of puppet theatre share a common repertoire  based on historical events, legends, myths and folk tales but differ in the language of performance, musical style and material condition.

Of all these forms, shadow play is the oldest where shadows of pierced and painted leather puppets are cast onto a screen lighted by a lamp. Although the oldest among the puppet theatre, shadow play is the less commonly seen form in Singapore. However Yin Lu, a professional puppet artiste from shanghai, helped to revive the ancient shadoe play piece in Singapore in 2001 with a group of teenagers and they created a shadow play piece in English besed on the story of “Monkey King and the White Bone Demoness”. They were later invited to the Puppet Theatre Festival in Malaysia.

Similar to Wayang Golek of Indonesia, is the Teochew wire puppetry. In its golden days, several Teochew wire puppet theatre troupes competed to adapt Teochew opera movies from China to win over audiences Madam Koh Ah Lak, key member of the leading group in the 60′s, the Yuan Zheng Fen troupe, recalled that they were able to attract hundreds of spectators when they premiered ” Fire at the Riverside Pavilion” in the early 60′s. The puppet, about 12 inches tall, is supported by a rod on the back while two thin rods control the arms. “There are now so few people commissioning the wire puppet troupes to perform for religious ceremonies. Only four groups are still invited to perform occasionally.

THAILAND

Puppetry of Thailand

The Hun Lakorn Lek disappeared from Thai culture over 50 years. Only recently, in 1985, did Mr. Sakorn Yangkeawsot, otherwise known as Joe Louis, revived and adapted the puppets and their performance for future generations to come.

Mr. Sakorn was born in 1924, the son of Mr. Kui and Mrs. Chuan Yangkeawsot. Both of his parents are Kohn and Lakorn stage performers. Mrs. Plang gave him the name Sakorn after a character in the play Phraapiemanee literature where his parents were performing.

VIETNAM

Vietnam Water Puppetry

Water puppet is an original folk art, a thousand year old wonder. Sung Thien Dien Linh Stele located in Doi temple, Duy Tien town, Ha Nam in 1121 was written with water puppet to congratulate the king on his longetivity.

Water puppet has attached with the life of Vietnamese farmers, the working life has been shown originally in water puppet such as; ploughing, raking, transplanting, catching duck, catching frog, fishing… Working live, spirit life, upright dreams full of humanity such as: boating returning sword, fairy dance, phoenix dance, the four mythical animals (dragon, unicorn, tortoise, phoenix)… a naive, unaffected, plain and romantic world outlook.

Vietnam water puppet is evaluated to be uncomparable on the world. Since 1984, artists of Vietnamese Water puppet is evaluated to be uncomparable on the world. Since1984, artists of Vietnamese Water Puppet Theatre performed in most of continents: European: Britain, France, Swiss, Switzerland, Denmark, Germany, Poland,Czech Republic and Russia… Asia: China, Japan, Taiwan, Singapore…

Water puppet is always preserved, a precious pearl that need to be kept and developed. In early pears of 21st century, artists of Vietnamese Water Puppet Theater had continuously created, life pace, breathe today has been blown in water puppet finely but it still keeps the original point.

Historical topic “Tran Saint”, Andersen’s fairy tales, and “Dream of Teu and Kanguroo” are bought in water puppet. Especially in 2006, “The soul of Native Land” by director Vuong Duy Bien- a water puppet works combining traditional with modern art harmonizing with each other sweetly and simply. This is an experiment-a reckless creation which is highly appreciated. Hopely, “The soul of native land” masterpiece is an important point for the historical turning point of water puppet in the early 21st century. Inheriting traditional folk water puppet of the nation, artists of Vietnamese Water Puppet Theatre still long for creation to add to the glistening treasure.

ASEAN PUPPETRY SYMPOSIUM IN 1ST ASEAN PUPPETRY FESTIVAL 2006

Mr. Danilo Liwanag Philippine delegate, discussing the status of the world of puppetry in ASEAN countries especially in the Philippines.

ASEAN Delegates after the Symposium to the 1st ASEAN Puppetry Festival Jakarta, Indonesia

Philippine Group(from left to right): Antonio Liwanag, Danilo Liwanag, Dennis Panag and Casius Ramirez together with Mr. Gaura Mancacaritadipura Former SENA WANGI Secretary.

ASEAN Delegates visited the Vice Presidents Palace with performance of Wayang by the Indonesia.

Closing and Awarding of the 1st ASEAN Puppetry Festival in Jakarta Indonesia

Philippine Representative Antonio Liwanag receiving the Certificate of Participation to the 1st ASEAN Puppetry Festival