The Black Lives Matter movement and the national dialogue about systemic racism and social justice led to creation of the new BIMP exhibition, says BIMP Director John Bell, who is a puppeteer, theater historian, and associate professor of puppetry. It is my hope that ‘Puppetry’s Racial Reckoning’ might extend our tough but fruitful discussions to the public and to open up a space for people who are willing to care for each other to learn and confront past injustices and talk about what matters today.” Punch and Judy hand puppets created by Fred Kneeland in the 1920s includes a Black minstrel figure, reflecting the immense popularity of minstrel shows (Ken Best/UConn Photo). “It was difficult to confront stereotypes embedded in puppets created by puppeteers admired for their artistry and wit, and to deal with racism in puppet characters many people have grown up loving. “It was imperative to examine representational practices in puppetry and search for ways to reckon with systemic racism,” says Jungmin Song, a London-based performance artist, in her curator’s statement for the exhibit. “Puppetry’s Racial Reckoning,” the current BIMP exhibition, demonstrates that puppetry is also a forum to address contemporary issues by helping to foster conversation and understanding about the complexities of race, prejudice, stereotypes, and systemic racism.
Ballard puppetry museum series#
Regular visitors to the Ballard Institute & Museum of Puppetry (BIMP), its Forum Series and Puppet Slams conducted with the UConn Puppet Arts Program understand the deep history of puppetry as a centuries-old form of storytelling that may include children’s entertainment, but is more often part of ritual ceremonies, thoughtful adult theatrical performances, political protest and reflections of worldwide culture.
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