Wonderland Puppet Theater Symposium. The Ballard Institute and Museum of Puppetry, University of Connecticut, October 25-26, 2024.
The article summarizes the presentations of the two-day “Wonderland Puppet Theater Symposium” organized by The Ballard Institute and Museum of Puppetry, with support from the University of Connecticut, in October, 2024. This exhibition explored the fifty-year interracial collaboration of two pioneering puppeteers, Alice Swann and Nancy Schmale, in the late twentieth century. The symposium investigates the works, influences, and societal challenges faced by Alice Swann and Nancy Schmale, who lived in the Concord Park community inspired by Martin Luther King, Jr.’s vision of “beloved community,” while highlighting their contributions to puppetry, the civil rights movement, the women’s movement, and educational media alongside the continued relevance of these societal issues today.
Rahul Koonathara is currently pursuing graduate studies at the University of Connecticut in the Department of Comparative Literature and Cultural Studies under the guidance of Professor Matthew Isaac Cohen. Koonathara actively practices the traditional style of Indian tholpavakoothu shadow puppetry while experimenting with contemporary puppet practices and conducting academic research on puppetry arts. He holds a Master’s degree in Comparative Literature & Cultural studies from the University of Connecticut, a Master’s degree in Folklore Studies from University of Calicut, and a Bachelor’s degree in Physics from the University of Calicut. He also completed a certificate program in acting from the National School of Drama, Bangalore.
From August 21, 2024 to December 15, 2024, the Ballard Institute and Museum of Puppetry hosted an exhibition, curated by Dr. Paulette Richards, titled Wonderland Puppet Theater: Visions of the Beloved Community, showcasing the interracial work of two women puppeteers, Alice Swann and Nancy Schmale, a Black and a White puppeteer, respectively. In conjunction with the exhibit, in October 2024, the Ballard, with support from the School of Fine Arts, Humanities Institute, African American Cultural Center, Women’s, Gender, and Sexuality Studies, and Robert T. Leo, Jr. Fund for Excellence in the Dramatic Arts at the University of Connecticut, Storrs, conducted a two-day symposium on the intersections of puppetry, activism, and social justice. Through the life history of Alice Swann and Nancy Schmale, two housewives who, in 1961, started the Wonderland Puppet Theater in the community of Concord Park, Philadelphia. The aim of the symposium was to explore critical questions about the power dynamics faced by women and people of color in creating children’s media by examining how contemporary media aligns or diverges us from Dr. Martin Luther King, Jr.’s vision of “beloved community,” a society rooted in equity, inclusion, and shared prosperity. Speakers highlighted the women’s ability to pursue creative and artistic careers, particularly in historically marginalized communities. The symposium also explored the enduring issues of residential segregation, the current state of the desegregation process, potential advancements in policymaking, and the vision of creating equitable, integrated neighborhoods.
The “Wonderland Puppet Theater Symposium” opened with a tour of the exhibition, led by Dr. Paulette Richards and Dr. John Bell. The tour began with Richards posing the question, how might residential segregation be connected to the art of puppetry? Richards recounted how, while working on her book, Object Performance in the Black Atlantic, she discovered that object performance had significant ties to the development of African Americans during the period of enslavement. She noted that traditions of object performance, familiar to African captives on the continent, were largely suppressed in the United States. Over subsequent generations, memory of these traditions eroded, leaving little trace in the US. In the absence of a strong folk tradition, African Americans had limited exposure to puppetry and object performance. Richards explained that during the eighteenth and nineteenth centuries, avenues to experience such performances, such as street shows, were often inaccessible to enslaved or marginalized populations. As a result, African Americans faced considerable barriers in reclaiming or reviving object performance traditions.
The exhibition honored the longstanding partnership and legacy of Swann and Schmale, and presented puppets from the collection of Jeff Swann, Swann’s son, who has dedicated himself to preserving their contributions to puppetry. Their journey not only sheds light on the art form’s cultural relevance but also highlights puppetry as a means to confront and reflect on issues of race, community, and legacy. Swann and Schmale developed and performed pieces, like Aunt Maggie’s Quilt, The Carnival of the Animals, The Dance Contest, The Magic Onion, Peter and the Wolf, Punch & Judy, The Sorcerer’s Apprentice, and The Valiant Little Tailor. The exhibition was a great success in showcasing this unique puppet collection and repertoire and engaged puppet enthusiasts eager to learn about the techniques and styles Wonderland Puppet Theater used in their puppet making and performance process.
After the tour, the symposium presentations began. Richards gave the keynote address, which helped contextualize how housing, racial issues, and performing arts have interconnected historically in the US, and recounted the history and importance of Wonderland Puppet Theater. She began by talking about how, when she was young, her own family moved into a home in Suitland, Maryland, a neighborhood undergoing rapid demographic shifts. The Fair Housing Act, which was signed into law by President Lyndon B. Johnson in 1968, as a memorial to Dr. Martin Luther King, Jr., aimed to end racial discrimination in housing sales and rentals. As a child, Richards watched White neighbors leave after her family’s arrival, their departures symbolic of a larger pattern of exclusion and division in housing. This lived experience shaped her understanding of housing inequities and the economic systems that perpetuate segregation, a realization that only deepened as she witnessed gentrification as an adult. The concept of “beloved community” offers an antidote to these divisions. First articulated by Dr. Josiah Royce, a founding member of the Fellowship of Reconciliation, the vision was later expanded on and popularized by King. For King, “beloved community” meant a world free of poverty, prejudice, and militarism, a place where reconciliation and love create equity and shared prosperity. In a society grappling with segregation and inequality, Swann and Schmale’s work embodied the ideals of inclusion, collaboration, and social justice that resonated with King’s “beloved community.”
This vision came to life in Concord Park, an intentionally integrated community founded in 1956 by housing rights activist Morris Milgram. Established amidst a post-World War II housing crisis in Philadelphia, Concord Park reflected intentional efforts to create King’s “beloved community” through a 55% White and 45% people of color demographic balance. This quota system, implemented to attract White buyers while ensuring Black families’ inclusion, addressed challenges such as securing mortgages for Black homeowners and overcoming resistance from lenders. Within this space, Nancy Schmale and Alice Swann used puppetry as a summer activity to engage with children and promote social unity, bridging racial divides, and captivating the community. Their work as family-oriented individuals contributing to meaningful causes highlighted the profound impact of puppetry as both entertainment and as a tool for fostering connection and representation.
Alice Swann, a certified kindergarten teacher, and Nancy Schmale, her neighbor, first met in the mid-1960s when Schmale approached Swann to enroll her five-year-old daughter in Swann’s home-based kindergarten in Concord Park, Philadelphia. At that time, the community lacked basic amenities like recreational centers and libraries, so neighbors often came together to provide resources and activities for themselves. Swann and Schmale quickly became friends and began collaborating on various projects to create summer activities for the children in their community. Schmale saw Bil and Cora Baird’s puppet play, The Magic Onion, which was featured in an issue of Woman’s Day magazine, and persuaded her neighbor to collaborate with her to put on their own puppet show, even though neither of them had any experience performing with puppets. Hoping to stage the Magic Onion script, Swann wrote to Baird, who kindly informed them that performing it for profit would require paying royalties. In response, they decided to form a non-profit organization where all earnings beyond expenses would go to charity. Their favorite cause was UNICEF, the United Nations International Children’s Emergency Fund. This choice was significant in an era when children commonly collected donations for UNICEF. In 1961, the idea took shape of creating a puppet show as a summer entertainment for kids with adults, particularly teachers, who were free during the summer, joining in. The early stages of their project required some trial and error. Their first puppet stage, made from flimsy materials, fell apart during a performance, but they soon replaced it with a sturdier version made from heavy refrigerator boxes, though it was difficult to transport.
Despite these early hurdles, the first performance was a tremendous success and sparked the idea for an ongoing puppet venture. Over the years, Swann and Schmale performed as part of what became known as The Wonderland Puppet Theater. They toured libraries, schools, scout troop events, and community gatherings across the Greater Philadelphia area as well as internationally. Their shows included performances at specialized institutions, such as schools for the blind, and featured a variety of puppet characters. One particularly popular show was The Dance Contest, where puppets performed to contemporary music, showcasing waltzes, tangos, and country-western dances.
Swann and Schmale’s partnership in puppetry continued for about twenty years, providing joy and entertainment while supporting charitable causes. Their dedication to community enrichment and creative collaboration left a lasting legacy. Over time, their puppet performances reached new heights and led them to perform in front of legendary puppeteer Jim Henson. For this performance of The Sorcerer’s Apprentice, they incorporated innovative special effects, including a cauldron designed to simulate water. During the performance, the intricate backstage choreography hit a snag; something bumped the cauldron, causing it to crash to the floor. They felt completely mortified. Unsure of what to do, they froze, but Jim Henson calmly encouraged them to keep going. They took his advice and carried on, not just with that performance, but with their careers as well. They eventually took their show to the Puppeteers of America (PofA) Festival in Ontario, Canada, showcasing their work on an international stage. The community spirit that had always supported their endeavors was evident here as well. For instance, a friend of a friend who worked in a toll booth helped secure some of the materials needed for the show. Swann and Schmale were members of the Puppeteers of America Guild in the Philadelphia area, but they also joined the Puppetry Guild of Greater New York. Despite performing professionally in various prestigious stages, they were also housewives managing busy households. Swann had five children, while Schmale had two. When they first started their puppet company, Swann’s youngest child had not yet been born, meaning they were managing six children under the age of ten. Rehearsals often took place in Swann’s garage, where their children and neighborhood friends would serve as the audience.
Richards emphasized that showcasing this exhibit at the Ballard Institute and Museum of Puppetry honors the huge efforts of Alice Swann, Nancy Schmale, and the Concord Park community as trailblazers in social justice activism through art. Their work serves as a powerful reminder that even small acts of creativity can play a significant role in building a more just and compassionate society.
On October 26, the morning panel, titled, “‘The Marriage Agreement’: Women Artists Navigate Gender Divisions of Labor,”consisted of three presenters, Dr. Nancy Naples, Dr. Alissa Mello, and Jacqueline Wade.
The first presentation was kicked off by Naples, professor at the Department of Sociology and Women’s, Gender, and Sexuality Studies at the University of Connecticut, with a paper titled,“Women’s Community Activism and Collective Care Work,”which exploredhow Blackwomen’s activism in the United States evolved through multiple waves, each responding to the unique social, economic, and political challenges of its time. Naples explored the similarities between Levittown and Concord Park, highlighting the struggles women art practitioners might face in sustaining their work during those challenging times. Community activism and collective care work have been integral to the women’s movement across these waves of US history.
Naples examined how women organized, mobilized, and navigated obstacles across three distinct waves of activism from the 1930s to the early 2000s. She explored the intersection of education, healthcare, housing, and segregation, highlighting the growing divide between Black and White women during the early stages of these movements. From the 1930s to the early 1960s, American women’s activism entered “a period of abeyance”, marked by limited public organizing but laying significant groundwork for future waves. The Great Depression (1929-1939) and World War II (1939-1945) greatly impacted the lives of American women, especially as economic hardship restricted job opportunities. For Black women, the limitations were compounded by racial discrimination, with both employers and co-workers often excluding or targeting them, particularly in war-related industrial plants. Race discrimination is still visible, and the portrayal of the ideal woman continues to be from a White-oriented perspective. In the post-war years, returning soldiers reclaimed many industrial jobs, and women were often pushed out of the workforce or relegated to lower-paying positions. The issue of housing segregation also intensified. In New York City, for example, Levittown was developed between 1946 and 1951 in Nassau County as one of the first mass-produced suburban communities. While intended to provide affordable housing, Levittown systematically excluded Black families through discriminatory practices, reinforcing racial segregation. These societal restrictions set the stage for the second wave of women’s activism, as activists sought to address inequalities in work, housing, and public life. Naples argued that there are a lot of parallels between Concord Park and Levittown.
The third wave of feminism, spanning from the 1990s to the early 2000s, brought forth new challenges and strategies. Women of color played a pivotal role in this wave, addressing the racism that had been largely overlooked during the second wave. Cyber activism emerged as a vital tool, alongside creative, guerrilla-style tactics, such as poster campaigns and surprise exhibitions, to spotlight issues of race, gender, and economic inequality. Despite these dynamic efforts, funding disparities remained a critical issue, with women of color receiving significantly less financial support than their White counterparts. From the “period of abeyance” to the third wave, women mobilized to address issues that ranged from economic inequality and racial segregation to reproductive rights, sexual harassment, pay equity, legal rights, family rights, political rights and responsibilities. While their efforts have often been marginalized in mainstream narratives, these grassroots initiatives laid crucial foundations for future movements. There were growing tensions in the women’s movement, too, as lesbian, working class, and women of color began to articulate how their own issues and identities have been left out of feminist activism and ideology. The study of grassroots warriors highlights the limitations of the wave metaphor in capturing the activism of low-income women and women of color. Activists engaged in vital community work, addressing issues such as access to health care, affordable housing, and representation in education, which they viewed as essential actions rather than political acts.
Next, Mello, a professor at the University of Exeter, delivered a presentation titled “A Woman’s Place,” which explored the contributions and challenges of women in Punch and Judy performances, a historically male-dominated art form. Historically, Punch and Judy has been a patriarchal performance tradition, driven by male puppeteers and primarily performed for male audiences. Since 1738, the casting of Punch has been central to its identity, with the character becoming deeply entrenched in British culture, appearing in comics, films, operas, and other genres, initiated by Charlotte Charke. Women have played significant roles in evolving this art form, both creatively and as performers, despite the community being traditionally defined by male practitioners and historians. Mello highlighted how, in the late twentieth century, female puppeteers in the UK began shifting the field, challenging gender norms within the Punch and Judy tradition. This shift is reflected in the growing sense of community among puppeteers, even as the form remains rooted in patriarchal traditions.
In the Victorian era, Punch and Judy performances underwent a radical transformation, moving from the streets into middle class parlors and becoming tied to Christmas holiday entertainments. This period also saw women joining the ranks of Punch and Judy puppeteers, not through traditional pathways (apprenticing with established performers, called “professors”), but by observing and emulating performances. Illustrations from this time depict women puppeteers alongside others, signaling a gradual shift in their participation. By the late nineteenth and early twentieth centuries, more women had entered the field as “professors,” contributing to the evolution of Punch and Judy not only as a cultural practice but also as a platform for challenging traditional gender roles. Mello examined the unique roles women have played in shaping this traditional British puppet theatre while addressing broader questions of gender dynamics and cultural expectations in the field. Many were surprised, even shocked, to see a woman performing in the booth, as the notion of women taking on central roles in Punch and Judy has long been culturally dismissed. Mello’s work interrogates these traditional ideas about “who performs what” within the Punch and Judy tradition and highlights the cultural disconnect that occurs when women step into roles historically dominated by men.
Mello further emphasized the historical and symbiotic relationship between artists in describing the work of notable Punch and Judy artists she had interviewed, like Glyn Edwards and Mary Edwards, both pivotal members of the Punch and Judy community. Glyn is a founder of the Punch & Judy College of Professors and Mary is the niece of John Wright, founder of the Little Angel Theatre. Mary, renowned for her craftsmanship, created puppets for Glyn’s performances, building hundreds of puppets for sale to contemporary audiences. Her puppets, described as both stunning and meticulously crafted, are cherished by performers and collectors alike. While working with the company, Mary had to give up her day job due to its rigid schedule. The couple managed their finances from independent performances, with Glyn also working as a television actor.
Mello’s work sheds light on the critical, yet often overlooked, role of women in transforming this iconic British performing art, making it a richer and more inclusive tradition. These efforts underscore the ongoing challenges faced by women in the industry, who must navigate the dual demands of artistry and caregiving. How can independent artists reconcile systemic barriers with the practical need to balance work and life? Mello also explores the tensions female artists often face, particularly when balancing the demands of independent artistry with the realities of the industry. The expectations surrounding traditional artforms, the roles individuals occupy, and the processes of acknowledgment generate significant tensions. Reflecting on these situations, Mello raised important questions about how we can acknowledge and untangle the gender, economic, industry-related, and cultural expectations that shape the lives of female puppeteers and deconstruct them.
Jacqueline Wade, a filmmaker and puppeteer, presented the paper, “An African American Woman’s Spaces in Puppetry and Beyond,” in which she detailed her unique journey as an African American puppeteer and director navigating a predominantly White puppetry community. She directed the film, In Black, which was presented in this symposium and helped the audience to understand the potential and challenges of Black puppeteers. The film explores the efforts, struggles, and contributions of Black puppeteers to the American puppetry landscape, offering a powerful narrative about both artistic expression and the broader struggles around representation, identity, and cultural expectations. For example, during her collaborations with White puppeteers to create a puppet, Wade encountered significant challenges that exposed gaps in understanding and representation. The lack of sensitivity and awareness around Black representation resulted in designs that she felt reinforced harmful stereotypes, such as exaggerated features, which conflicted with her vision of authenticity. This experience illuminated the persistent challenges of working in a predominantly White puppetry community, where cultural misunderstandings often arise. As a Black woman in this field, Wade has had to navigate instances of being overlooked, dismissed, or misunderstood by White colleagues. She often felt the burden of educating herself and her team on the nuances of culturally sensitive puppetry, as there were few mentors who understood the unique challenges faced by people of color in the industry. Wade also expressed frustration with the industry’s hierarchical structure, noting that Black bodies and their creative labor are frequently undervalued, while White puppeteers often occupy positions of financial and cultural power. Her journey reflects the broader systemic issues within the industry and underscores the need for greater equity, inclusion, and cultural sensitivity in puppetry and beyond.
When asked about the state of Black puppetry today, Wade acknowledged the ongoing challenges and visible divides within the field. While puppetry has the potential to serve as a powerful tool for storytelling and inclusion, Black puppeteers continue to face significant barriers in gaining recognition, respect, and equitable pay. She highlighted the struggles of Black Canadian puppeteers, who often find it difficult to secure platforms in an industry that has historically centered Eurocentric narratives. Wade emphasized the importance of acknowledging Indigenous and traditional forms of puppetry, as well as creating international spaces for diverse voices within the puppetry community. These experiences have profoundly influenced not only her approach to puppetry but also her perspective on community, mentorship, and the complexities of navigating an art form that simultaneously holds the potential for inclusivity while perpetuating exclusionary practices.
For Wade, puppetry is more than an art form, it is a lifesaving endeavor and a safe haven where diverse stories can be told, and marginalized groups can find representation. Despite the challenges she has faced, she finds solace in the puppetry community and remains committed to mentoring others. Wade actively works to create inclusive programs, using puppetry to engage audiences of all ages, particularly children, with stories that foster empathy and understanding. Her experiences prompt critical reflections on the role of puppetry in society and the systemic issues that persist within the field. Wade questions why puppetry, despite its rich history and theoretical depth, often remains undervalued and relegated to the bottom of the hierarchy in performance studies. Wade argues for greater acknowledgment and respect for the contributions of Black puppeteers and other marginalized artists who have been instrumental in shaping the art of puppetry.
The second panel discussed the broader topic, “Children’s Media: Literature, Television, and Theater.” The speakers were Dr. Vibiana Bowman, Dr. Katharine Capshaw, and Khalilah Brooks.
Bowman, presented “Puppetry and Early Commercial Children’s Television,” highlighting the complex interplay between puppetry and societal hierarchies, focusing on issues of race, class, and gender in performance. Traditionally viewed as entertainment for children, puppetry has historically excluded people of color from its mainstream narrative, reinforcing broader societal hierarchies. Bowman’s research examined why Philadelphia, in particular, embraced performers of color, reflecting the city’s diverse demographics and its role as a microcosm of the United States’ racial history.
The use of puppets in children’s television programs was also shaped by practical and economic considerations. Puppets allowed for creative flexibility: one actor could voice multiple characters thus eliminating the need to hire child actors. This efficiency made puppets a cost-effective solution, but also a symbol of neutrality; puppets could transcend markers like class, race, age, and gender, depending on how they were used. Bowman highlighted the contributions of Jim Henson, who began his career creating puppets for commercials. By the time Sesame Street debuted in 1969, Henson considered that puppets were not limited to amusement for children: he believed everything on the screen had a potential to contribute to the puppet performance. Bowman’s presentation concluded by urging the puppetry community to acknowledge its historical shortcomings and continue leveraging the medium’s unique ability to navigate complex issues of identity, inclusion, and societal values.
The next speaker was Capshaw, from the Department of English at the University of Connecticut, who presented a paper titled, “Black Children’s Theater of the 1970s: Representation and Transformation.” Capshaw highlighted how the subject of Black children’s theatre remains largely underexplored, particularly within scholarly frameworks of Black cultural studies. She emphasized that children’s theatre, in general, is often overlooked by theatre historians and scholars. Capshaw argued that Black children’s theatre of the 1970s is a unique and significant category that deserves recognition and further study. She encouraged the audience to reflect on its role in representation and transformation within Black communities, particularly in fostering cultural identity and creative expression. The period witnessed explosive creativity, particularly in Black women’s puppetry. It has been argued that Black women’s writings and traditional archives have been almost entirely erased from historical records. Over the past several years, there has been a renewed effort to recover this legacy through the discovery of scripts, interviews with artists, and the documentation of 1970s plays, half of which were written by women. Looking at these records reveals that scripts written for children’s musical shows blended elements and structures from traditional theatre while simultaneously experimenting with contemporary narratives inspired by activist movements. Their content addresses significant issues, such as the objectification of Black communities by the White community, as well as the dispossession of Black landowners.
One notable figure, Yusef Iman, an interdisciplinary artist, musician, dancer, playwright, and actor, was closely associated with the Black Arts Repertory Theatre. In 1968, Iman brought a group of Black children on stage for a television program hosted by Roxie Roker titled, Inside Bed-Stuy (1968), which powerfully showcased the voices and emotions of Black children on stage. He published several manuscripts, including the controversial poem, “Love Your Enemy,” in 1969. The speaker concluded with a video recording of Inside Bed-Stuy, (1968), emphasizing the profound impact and resonance of the children’s words. Capshaw considers that this was a critical moment when these productions emerged alongside the Black arts movement, carrying its cultural energies and spirit. It was a time of productive entanglement between protest, poetry, ritual, and public performance elements rooted in the civil rights movement. Civil rights activism, with its unfinished project of emancipation, often intersected with performance as an activity, blending protest with public articulation of ideas in powerful ways.
The final presenter for this panel was Khalilah Brooks, a Canadian puppeteer, actress, author, producer, entrepreneur of Bam Children’s Entertainment Inc., who created a television series for children called Aunty B’s House. Brooks presented a paper titled, “Diversity in Canadian Puppetry and Children’s Media.” She recounted that Indigenous communities would create small puppet-like figures as part of their storytelling, a vital way to keep their stories and cultural heritage alive. When Europeans arrived in Canada, they adopted and adapted these storytelling techniques, incorporating marionette puppets in other tales. This fusion marked the beginnings of Canadian puppetry as we know it. By the 1930s, puppetry began to gain more recognition, and by the 1950s, it had developed into a rich and established tradition. The Canadian Puppetry Association was formed during this time, helping to foster and expand the art form. Puppetry soon made its way into Canadian television, where it grew in popularity especially with children’s programs.
Brooks shared her life journey, marked by these questions: “How do I get into this career? How do I start my own puppet company? What should I do to succeed?” Her answers to these wonderful questions offered inspiring words that were encouraging to the emerging puppetry scholars in the audience. Brooks mentioned that pursuing her goals was challenging, especially as a person of color. One of the struggles she faced was that there were very few people working in the field in Canada who looked like her. In fact, she had never met another Black female puppeteer in Canada. Brooks was not only building her business but also taking care of her family, including her mother. As there was little to no funding for puppetry, especially for people of color, Brooks started by offering one-person puppetry performances to schools. The principals were hesitant at first, but they trusted her and gave her her first opportunity to perform. After her first performance, the school followed up and booked five more shows. They even referred Brooks to other schools, which helped her generate a lucrative income. Brooks ended up performing consistently, doing six shows in a day. This process taught her valuable lessons in marketing and professionalism.
The afternoon session focused on residential segregation, featuring presentations by Dr. Stephen L. Ross from the Department of Economics, and Dr. Jeffrey Ogbar from the Departments of History and American Studies, both from the University of Connecticut. Ross discussed “Housing Discrimination and Racial Segregation In Housing,” while Ogbar explored “Housing, Community, and Residential Boundaries in 1960s Philadelphia, the City of Brotherly Love.” Together, they provided an in-depth analysis of racial segregation, housing inequality, and the socio-economic barriers African Americans face in the real estate market. The panel examined the persistence of housing discrimination, its historical roots, and its ongoing impact on communities today.
Ross opened the discussion by outlining the evolution of housing discrimination in America, particularly in the 1940s through the 1960s. He explained how segregation was systematically reinforced during this period through zoning laws and restrictive covenants that prevented African Americans from moving into predominantly White neighborhoods. Housing prices for African Americans were often inflated, and Black buyers faced premiums at artificially higher prices when purchasing homes in certain areas. This made homeownership more difficult and expensive for African Americans, contributing to economic disparity. Scholars like David Cutler, Edward Glaeser, and Jacob Victor explored the price premiums paid by African Americans for housing compared to White Americans, providing evidence of discrimination. This study, which assessed housing prices every twenty years, revealed that African Americans consistently paid more for housing, particularly after World War II and into the 1950s. This price premium persisted into the 1970s. The presenter argued that while segregation was still evident, by the 1970s and 1990s, some barriers had been dismantled. The study highlights that while some discriminatory barriers may have been weakened, the enduring effects of segregation still influenced housing prices.
Ogbar expanded on the role of the post-World War II economy, particularly the GI Bill, in shaping housing opportunities. Although the GI Bill provided transformative educational and housing opportunities for veterans, many Black veterans were unable to access these benefits due to racial discrimination. This exclusion further widened the wealth gap between White and Black families, as homeownership is a significant wealth-building tool in America. Ogbar discussed how predominantly White communities were often designed intentionally to exclude minorities. This design encompassed not only housing but extended to education and healthcare, creating a comprehensive barrier that limited upward mobility for African Americans and other people of color.
The panel also touched on “redlining,” a practice that emerged in the 1930s and designated Black neighborhoods as hazardous or high-risk, making them ineligible for federal investment and low-cost mortgages. This practice, as described in Richard Rothstein’s book, The Color of Law, was not only discriminatory but had long-lasting effects on the economic stability of Black communities. Ogbar presented data showing how redlining impacted property values in these neighborhoods, making housing unaffordable in the long term. He also pointed out that while redlining practices have been technically outlawed, their effects linger, with African Americans still disproportionately affected by higher mortgage rates and lower property values.
Today, the average cost of a home has skyrocketed, making it increasingly inaccessible for minority communities. Ross emphasized that while segregation levels have decreased from their peak fifty years ago, progress has been slow, and housing remains a significant barrier for many. The session highlighted the rising Hispanic population, which has seen a decline in segregation levels but faces similar economic and social barriers. The audience posed thought-provoking questions about contemporary segregation and the legacy of these discriminatory policies. In the interaction session, Ogbar and Ross discussed potential solutions and ongoing efforts to address housing inequality. They highlighted the importance of policy reform, investment in marginalized communities, and educational programs that address the socio-economic barriers faced by minorities.
The Wonderland Puppet Theater Symposium explored how art, community, and activism intersect to foster meaningful social change. Through the inspiring legacy of Alice Swann and Nancy Schmale, the symposium highlighted the power of puppetry as a vehicle for inclusivity and social justice, bringing out the parallel of activist movements in different puppet traditions across the globe. Swann and Schmale’s work in Concord Park, an intentionally integrated community, stands as a testament to the potential of creative collaboration to bridge divides and build equity. The ongoing struggles of housing segregation faced by Black women and Black puppeteers, in their lives generally and in their careers, was well addressed through this symposium.
