Fedelis Kyalo
In “A Journey Through Puppetry in Africa,” Fedelis Kyalo highlights the UNIMA Africa Commission’s efforts to promote puppetry as a cultural art form. The article discusses the “Tomorrow’s Puppets in Africa” training program and the “Pro-Vocation: Roots and Wings” conference in Cape Town, titled “An International Exchange on Puppetry Arts in Africa.” These events celebrated and explored African puppetry’s rich traditions and new ideas. They included three training courses, international meetings, a puppet festival, and an inter-African seminar, promoting collaboration and growth in puppetry across Africa. The attendees engaged in meaningful discussions and developed a ten-year plan to strengthen national puppetry centers, encourage more African nations to join UNIMA, and ensure ongoing support for this important art form.
Fedelis Kyalo is a well-known puppeteer, producer, director, playwright, and behavior change specialist, who has made important contributions to puppetry in Kenya and around the world. With a strong background in theatre, he promotes puppetry as a powerful form of artistic expression and a way to create social change. He takes part in performances, workshops and conferences globally, working with other artists to build a strong puppetry community. As the founder of Krystal Puppet Theatre Company, head puppeteer of the XYZ show, and director at Puppets254, as well as secretary of UNIMA-Kenya and vice president of the UNIMA Africa Commission, Kyalo focuses on improving puppetry for education and outreach in Kenya. He helps puppeteers develop important skills in digital production and storytelling to tackle social issues. He is currently producing Matata and Friends on Safari, this is an environmental conservation TV show, winner of a Wildscreen festival award and the Japan Prize. His work has been recognized for its significant impact, making him an influential figure in the puppetry world who inspires and connects artists across Africa and beyond.
One significant undertaking in this mission was the second training program, Tomorrow’s Puppets in Africa, which kicked off in May 2023, in several locations across Africa, culminating in the Roots and Wings Conference in November 2024 in Cape Town, South Africa. To understand these events, it is essential to examine first the successful training program, which laid the groundwork for the discussions and exchanges that would take place at the conference in Cape Town.
The motivation behind UNIMA’s efforts to sponsor events that support puppetry in Africa is rooted in a deep-seated desire to promote artistic expression, foster cultural dialogue, and provide opportunities for growth in a rapidly evolving landscape. UNIMA (the international puppetry organization, Union Internationale de la Marionnette) has consistently sought to uplift puppeteers across the continent, focusing on their artistic development and the innovative potential of puppetry as a medium.
Tomorrow’s Puppets in Africa: The Training Program
The original project that initiated the training program was Spotlight on Puppetry in Africa, a 2020-2021 collaborative initiative involving institutions such as Centre Djarama in Senegal and Ivoire Marionettes in the Ivory Coast, with support from UNESCO’s participation program. Building on this, UNIMA’s Professional Training Commission joined forces with UNIMA’s Africa Commission to propose the “Tomorrow’s Puppets in Africa” training program, originally titled “The Puppetry of Tomorrow in Africa: Dramaturgies and Digital Experiments.” This title, while intricate, encapsulated the program’s straightforward aim: to empower African puppeteers to embrace the future of their artform.
Leaders from participating countries in Southern, Eastern, Western, and Northern Africa took charge of the planning process. Each country selected participants from their own National Center, ensuring a gender balance in the teams. The goal was to have eight participants from each Center who had skills in puppetry, video and photography, editing, and puppet making, as these skills would all be essential for the project.
The project aimed to showcase the diverse talents and experiences of puppeteers from a number of countries and backgrounds. It included several training sessions in various regions, such as East Africa, North Africa, South Africa, and West Africa. Each session focused on workshops covering such topics as writing for puppetry, puppet construction, filming puppet scripts, using lighting and camera angles, movement, and experimenting with innovative performance styles. Participants in these regions had the chance to learn from experienced trainers, enhancing their skills and broadening their artistic horizons. The training sessions were facilitated by skilled trainers hailing from both Africa and beyond. African National Centers wishing to participate in these trainings had to apply and form groups. Each group was paired with a local mentor who coordinated with the remote trainers overseeing the sessions. By connecting artists, the project allowed them to share knowledge, exchange ideas, and learn from each other. Combining traditional puppetry methods with modern digital techniques, including using sophisticated lights and cameras, the project encouraged African puppeteers to discover new and exciting ways to engage and captivate their audiences.
Organizers sent out the call for participation and received a large number of applications. Even though the training was online, everyone was enthusiastic about taking part. Each National Center had a designated space where groups could watch presentations together and collaborate as a team. They were fully committed to making the most of this unique opportunity.
The Workshop Cycle
As February 10, 2023, approached, the starting date for the project, excitement grew among the puppeteers. They were eager to explore the new opportunities that lay ahead. The workshop cycle consisted of three training sessions spread over several months, which were coordinated by Emmanuelle Castang, from UNIMA International, and which allowed participants to work independently toward the final project goal. Between these training sessions, the main facilitator from the previous session held monthly meetings with participants to review their progress.
Uganda
The first training session on dramaturgy and scriptwriting took place from February 10 to 14, 2023, led by Polish trainer Malina Prześluga and Dennis Agaba from Uganda. Prześluga is a cultural Studies graduate from Adam Mickiewicz University and a playwright at the Animation Theatre in Poznań. She is the author of six books for children, including Ziuzia, a Book of the Year winner. Her plays are featured in Nowe Sztuki dla Dzieci i Młodzieży and Dialog and have been performed in various Polish theatres. Agaba is an experienced specialist in Performing Arts and Film, a creative writer, and a development communication consultant, with a BA in Drama with a focus on Electronic Media and Performing Arts from Makerere University in Kampala.
On the first day, Prześluga focused on listening to the participants to better understand their needs. The participants wanted to learn how to write scripts for theatre and TV as well as understand the scriptwriting process and the tools needed. This became the main focus of Prześluga’s training over the five days. Prześluga shared examples of her own theatre scripts to illustrate different styles and techniques of scriptwriting. Over five intensive days, Prześluga and Agaba provided close support to the participants. Each National Center developed two scripts during the five-day training but would ultimately choose one to be filmed at the end.
The scripts created were very diverse in tone and subject, ranging from funny sketches to dramas, many addressing issues affecting the creators’ countries. Some adapted traditional folk tales into modern stories, while others took up themes of social justice. Kenya developed a script about environmental conservation, featuring a man who faces a monster he unwittingly created by polluting the environment with plastic bags and bottles. Tanzania’s script told the story of a man who is tricked by a cat. South Africa had the most participants and produced several scripts. One of them, titled “Thula Thula,” is about an orphan who has a guiding angel that helps her overcome life’s challenges. A second script addresses issues such as electricity rationing and the theft of power cables. There was also a story about a boy who supports his parents by collecting and selling garbage. And a fourth script, “Break the Silence,” focuses on a man who loses his job and struggles to provide for his family. Ghana’s script discussed how young men often misbehave and lack respect for their elders. Uganda’s participants wrote about a boy who couldn’t reach a fruit but finally succeeds after many attempts. All of these scripts were short, lasting between three to five minutes. After this session, the training moved onto the next phase, which focused on puppet making and manipulation, led by Janni Younge.
South Africa
The second workshop, led by director and producer Janni Younge, Zoomed from South Africa from March 6 to 10, 2023. Younge runs Janni Younge Productions and is the president of UNIMA South Africa and the secretary of the UNIMA Africa Commission. Some of her well-known works include Hamlet, The Tempest, The Bluest Eye, Ouroboros,The Firebird, and Take Flight. She also won the Best Director award at the I Festiwal małych Prapremier in Poland.
The workshop participants learned simple and effective techniques for building puppets using paper and wood glue. They went through the process of designing a puppet’s head and shoulders and making its body from fabric. The training was hands-on, involving cutting, drilling, and applying glue. Although it was a tiring process, many participants had the chance to use tools they had never used before such as drills, a sandpaper machine, and a rivet machine.
Younge provided a clear and easy pattern for puppet construction, helping participants understand the basic principles. She also taught them about puppet movement using brown paper figures as examples. They learned about weight distribution and how to coordinate their movements with the puppets. Younge shared instructional videos to help with this part of the training.
Younge also introduced participants to a unique style of puppet based on those used in her modern adaptation of Shakespeare’s Hamlet. This kind of puppet is quite special—it doesn’t open its mouth and is manipulated using rods. One rod controls the back of its head, while another moves one of its hands. The puppet has only an upper body and can be operated by one person or several puppeteers working together. It is designed to be held slightly higher than a human head for effective performance. This style not only offers a new way to tell stories but also allows for greater flexibility in performances.
The five-day workshop was intense, and many participants put in extra hours to keep up. Leaders from the six participating countries ensured their puppets were completed on time, giving participants the chance to review video recordings of the sessions if they fell behind. By the end of the workshop, most National Centers had not fully finished their puppets. They all worked on the same style of puppet, which helped Younge to focus on one design. However, they needed more time afterward to finish their work before the final phase of training.
Kenya
The third training session took place from May 16 to 20, 2023, connecting Kenya with other National Centers. This workshop focused on puppetry for television and digital platforms, led by trainers Phylemon Odhiambo Okoth and me, Fedelis Kyalo. Okoth is an experienced puppeteer and community education specialist with over twenty years in communication and theatre. He has led several community puppet projects, including initiatives focused on AIDS awareness, environmental education, anti-corruption, voter education, and governance. He has worked with various national NGOs and international organizations, designing educational materials and training others in puppetry as a tool for social change. Additionally, he has initiated puppetry programs across multiple African countries and has participated in artistic exchanges in various countries around the world.
I helped prepare the National Centers for filming the scripts they created during Malina Prześluga’s workshop. The course provided an overview of puppetry in broadcasting, with about four hours of instruction each day over five days. It also included instructional videos to assist participants in continuing their work on their skits.
Participants learned how to prepare their scripts from Prześluga’s first workshop, breaking them into scenes and creating shooting schedules. They studied camera angles, lighting for puppetry, costumes, and the five basics of puppetry related to television.
The training aimed to help puppeteers interested in creating puppets for film or TV. Participants from South Africa, Kenya, Uganda, Tanzania, and Ghana successfully finished their short videos, showcasing great teamwork and creativity. However, Zambia was unable to complete their project. Due to unexpected circumstances, the team faced difficulties obtaining certain supplies, for example, lights and a camera, although workshop leaders had previously mentioned that the teams could use a cell phone as an alternative tool to film their videos. One of the teams in South Africa did use a phone when facing similar challenges. This introductory course taught puppeteers how to film simple puppetry using basic sets and available tools within their reach.
Tunisia
In the Francophone countries, a similar training occurred in Tunisia, focusing on digital writing for puppetry from February 10 to 14, 2023. Hassen Mouadhen led a class on script writing, focusing on creating scripts for digital and video content. Participants learned how to write engaging scripts. The class provided hands-on guidance in bringing scripts to life with video.
Burkina Faso and Togo
In Burkina Faso and Togo, training on puppetry dramaturgy for public spaces took place from May 10 to 16, 2023. This session was led by Athanase Kabré and Alessandra Amicarelli. Kabré, a well-known artist and puppeteer in Burkina Faso, is leader of La Compagnie du Fil theatre in Ouagadougou and president of the Burkinabe branch of UNIMA. He teaches French and has written many stories and plays. Amicarelli, a puppeteer and set designer, studied at the Brera Academy of Fine Arts in Milan, the National School of Puppetry Arts in Charleville-Mézières, and the Loris Malaguzzi International Institute in Reggio Emilia. Overall, these sessions aimed to sharpen skills in puppetry and related areas, empowering participants to create and innovate within their communities.
Building a Collaborative Community
The aim of this project was not only to develop individual skills but also to foster a collaborative community among puppeteers, to establish a supportive network where artists could inspire one another and collaborate on inventive projects. Importantly, courses in West Africa were conducted in French for French-speaking participants, while those in East and Southern Africa were delivered in English to address potential language barriers. Throughout the courses, participants engaged in hands-on activities and group discussions. They practiced their puppetry skills, explored new techniques as they shot their videos, and exchanged ideas on pushing the boundaries of their art. Mentors provided valuable guidance and encouragement, helping puppeteers refine their craft and think creatively.
As the project progressed, enthusiasm among the participants soared. They formed friendships and professional connections that extended beyond the training sessions. Many expressed their appreciation for the opportunity to learn from one another in such a supportive environment. They felt inspired to delve into new methods and ideas for their future puppetry work.
The sub-theme, “Dramaturgies and Digital Experiments,” highlighted an important need for African puppeteers: the skills to write scripts and share their creativity through videos beyond their local communities. After all, what is the use of a puppet if it can only entertain a pet cat?
UNIMA International organized a screening of five videos created by the participants, which were watched by audiences worldwide. After the screening, speakers praised the participants for creating amazing videos that addressed various issues in their communities, and they expressed excitement for the next steps in their puppetry journeys.
This hybrid project was more than just a series of training sessions; it was a lively celebration of collaboration, creativity, and shared passion for puppetry among talented artists from across Africa. The experience led to the development of the “4th Provocation: Roots and Wings.”
4th Provocation: Roots and Wings: Behind-the-Scenes Planning
Planning for the “4th Provocation: Roots and Wings” conference was no small task. It involved numerous Zoom meetings with dedicated individuals, some involved in the earlier workshops, like Janni Younge, Phylemon Odhiambo Okoth, and Alessandra Amicarelli, along with Tito Lorefice (member of UNIMA’s Professional Training Commission and vice president of UNIMA International), Aja Marneweck, Heidi Grunebaum, Premesh Lalu (three staff members at the Centre for Humanities Research, University of the Western Cape, where the conference would be held), Emmanuelle Castang (Program Manager at UNIMA International), Gilbert Agbevide (President of UNIMA Togo), and Badrissa Soro (President of UNIMA’s African Commission and President of UNIMA Ivory Coast). Being part of this lively group was exhilarating, yet I often felt a bit lost during our weekly meetings, as if I were a puppet without strings, floundering to keep up with the conversations. Thankfully, there was no pressure!
When the travel day to Cape Town, South Africa, arrived, on November 13, 2024, I could barely contain my excitement to finally meet face-to-face fellow puppeteers, many of whom I had only interacted with online. Traveling to Cape Town for the conference was an unforgettable experience. I arrived at the airport at 3 AM for my 5 AM flight from Nairobi, feeling excited as I prepared to connect with other puppeteers! I was lucky not to need a visa because Kenya has a bilateral agreement with South Africa that allows us to enter without one. However, many puppeteers from West Africa faced visa issues, so the organizers helped them obtain their travel documents.
Workshops and Learning Experiences
As we gathered for the workshops, it was great to meet again with old friends and new ones, all of whom I knew from our planning meetings. At the bungalow where we stayed, communicating during dinner was sometimes like playing a game of charades, especially when trying to get our French-speaking friends to translate for we English speakers. But one of the Africa Commission’s ten-year goals is to promote bilingualism among participants, so we were already on the right track! Over the course of the five days, we enjoyed various outings in Cape Town and sight-seeing trips. The personal experiences shared between puppeteers outside the workshop were as important for bonding and creating new friendships as the time spent in the workshops.
I attended the first workshop of the conference, titled “Exploring the Fruitful Relationships Between Text,” held from November 14 to 18, 2024. This workshop started a week before the main conference with only fifteen spots available and requiring an application to attend. A few of us arrived a week early to join. The theme of the workshop, led by Isabelle Matter, the director of the Théâtre des Marionnettes de Genève, was “Puppets and Objects.” This session attracted professional performing artists eager to explore the interaction between text, puppetry, and objects. Matter, who has a background in sociology, transitioned to theatre and puppetry, directing numerous productions inspired by classic texts, novels, and stories. Known for her collaborative approach, she frequently engages playwrights and authors to investigate fresh narratives and staging ideas.
The four-day workshop encouraged us to explore different manipulation styles and techniques. We began by experimenting with paper and then moved on to various kinds of puppets: hand puppets, glove puppets, and bunraku-style puppets. The fifteen participants were from various countries, and we lay down, shouted, did silent movements, and had a lot of fun as we learned from the talented Isabelle Matter, who created a great environment for creativity. It was exciting to see artists from different countries connect and collaborate, uncovering rich stories through the combination of words and objects. We used text materials, puppets, and other objects to create unique short plays.
THE HERDS Initiative
The Iyatsiba Lab, where we held our workshop, had large animal puppets made by the South African Ukwanda Puppet Group, which is connected to Handspring Puppet Theatre. The exhibition also displayed a few smaller animal models, showing how each part of the animal body was created. Most of these were designed and built in cardboard by Sipho Ngxola, Siphokazi Mpofu, and Luyanda Nogodlwana. These talented artists have experience in designing famous puppets such as “Little Amal” and the horses in War Horse, both created by Handspring Puppet Company. The animals are part of an exciting project called “The HERDS.”
THE HERDS is a significant upcoming public art project and climate action campaign designed to draw global attention to environmental challenges. In Spring 2025, life-size puppet animals will traverse city centers on a 20,000 kilometer journey from the Congo Basin to the Arctic Circle, showcasing the urgency of addressing climate change. Artists, educational institutions, and activists from Africa and Europe are collaborating to create a powerful display aimed at raising awareness and advocating for environmental action. The team behind this remarkable initiative is currently in discussions with potential partners in cities including Kinshasa (DRC), Lagos (Nigeria), Dakar (Senegal), Marrakesh and Casablanca (Morocco), Malaga, Madrid, and Barcelona (Spain), Marseille and Paris (France), Manchester and London (UK), Copenhagen (Denmark), Malmö and Stockholm (Sweden), and Trondheim (Norway).
Meeting the passionate team behind THE HERDS was truly inspiring. As of today the team has started rehearsals to kick start the journey in Kinshasha in April 2025. I had the opportunity to engage extensively with Sipho Ngxola, asking how puppeteers in Kenya could contribute to this initiative. I sincerely hope I can participate!
The Conference Begins
The conference kicked off on November 20, 2024, at the Iyatsiba Lab in the Centre for Humanities Research at the University of the Western Cape. Badrissa Soro from UNIMA’s Africa Commission, who was supposed to give the initial welcome, unfortunately could not make it because of visa delays. So, as the vice president, I got roped into giving the welcome speech instead.
The setup for the event was impressive, incorporating translation technology to ensure everyone could understand each other, although it occasionally misfired. Despite these minor hiccups, we still managed to grasp the key ideas being discussed. The atmosphere was vibrant, with participants enthusiastic to share their insights. As the conference progressed, it became even livelier and more engaging.
The first day featured a series of panels that addressed the first theme of systems and strategies for sharing knowledge.The first panel was titled “Programs in Puppetry Arts – Dynamic Pedagogies and Learning.” Each panelist presented unique perspectives from their own experiences, showcasing how puppetry serves as a meaningful form of expression and learning in their respective cultures. Professor Julika Mayer from Stuttgart, Germany, who connected online from Staatliche Hochschule für Musik und Darstellende Kunst, emphasized the transformative role of schools. In her university classes, she highlights the importance of being present and engaged in the learning process. For her, puppetry goes beyond just creating art; it is about guiding students to look deeply into their own experiences and their surroundings. Throughout her talk, she shared images with captions like, “Perception as political work,” encouraging students to shift their perspectives and pay attention to details they might otherwise overlook. This teaching method not only helps cultivate artistic skills but also fosters critical thinking and awareness among her students.
Following this panel, Marta Rau, Vice-Rector of the Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw, Branch Campus in Białystok (Poland), focused on the power of physical expression. She demonstrated how utilizing hands and body parts can effectively convey emotions and ideas in puppetry, without the need for words. Rau described exercises where students create characters using their own bodies or found objects, encouraging them to unleash their creativity. Her group projects often revolve around themes such as the seasons or elements of nature, promoting collaboration among students, while emphasizing discipline and attention to detail. This hands-on exploration lays a solid foundation for technical training in the future and helps ignite a passion for puppet theatre.
Habiba Jendoubi, Tunisian puppeteer and creator-director, then explored the rich historical context of puppetry in Tunisia, discussing its revival in modern times. She explained that puppetry, with its deep cultural roots, had faced a decline but was revitalized in the late twentieth century, thanks to supportive cultural policies. Today, puppetry is acknowledged in academic settings, with specialized programs created to teach this traditional art form. Jendoubi emphasized the significance of sharing knowledge and understanding history, ensuring that future generations appreciate and carry forward their cultural heritage.
Tito Lorefice, who heads UNIMA’s Professional Training Commission, discussed the evolution of puppetry education in his country, Argentina. He shared insights from his fifteen years of collaboration with playwrights to explore drama and puppetry in an innovative educational framework. His journey culminated in the establishment of a dedicated puppetry degree program at the National University of San Martín in Buenos Aires. Lorefice advocates that puppetry education should extend beyond technical skills to include critical discussions about social structures. He noted the importance of recognizing the diverse cultural backgrounds of students, which enhances learning and encourages intercultural dialogue.
The second panel was titled “Building New Formal Learning Pathways, Considering Local Contexts.” The speakers discussed the significance and evolution of puppetry in their regions. Anurupa Roy, puppeteer and director from India, highlighted the 3,000-year history of Indian puppetry, which includes twenty-three living forms or traditions. She emphasized the importance of contemporary puppetry’s revival and how it addresses challenges, such as class and caste issues. Roy introduced inclusive training programs that bridge rural and urban gaps, focusing on job creation and the use of puppetry in social work, activism, and public art. She announced future initiatives, such as “Foundation 2025,” to support puppeteers in India.
My own presentation followed. I discussed the role of puppetry in education and social change. I stressed puppetry’s ability to engage students, enhance creativity, and address community issues, such as health and gender equality. I shared examples of successful educational campaigns and emphasized the need for funding and resources, proposing innovations, such as community sponsorships. I called for expanded puppetry programs and a national festival to celebrate local talent.
Fabrizio Montecchi from Italy then shared insights based upon his role at Animateria, and advocating for a transdisciplinary approach to puppetry education that breaks down traditional barriers. He encouraged educators to develop methods that create deep connections between disciplines and to prepare for future complexities in puppetry. He was followed by Elena Muñoz, from Spain, who introduced the Centro del Títere, which focuses on preserving puppetry arts through education and workshops. This Spanish center in Alcorcón offers specialized training in various puppetry techniques and aims to integrate traditional practices with modern storytelling methods.
We then enjoyed an extract from the performance, Isasizi (Identity) by UNIMA South Africa’s Yobomi Youth, and a performance of Despicable Hehe by Conrad Coch, also from South Africa.
The second day began with the panel titled “Critical Engagements in Post-Graduate Practice, Pedagogy, and Research.” Jay Panther, South African curator, choreographer, and director of Siwela Sonke Dance Theatre and associate professor at the University of Cape Town, talked about different ways to study performance, including methods such as practice-as-research and mixed-mode research. He stressed how important the body is in telling historical stories, especially about European colonization in Africa. He believes that dance is a strong way to express complicated histories and memories through movement. Panther also shared information about the graduate program at the Centre for Theatre, Dance & Performance Studies at the University of Cape Town. This program combines hands-on work with academic study, which helps students link their ideas with what they do in performances. Notable students in this program, like Qondiswa James and Gabrielle Goliath, show the creativity encouraged by this kind of learning. Additionally, the Institute for Creative Arts (ICA) in Cape Town was introduced as a place for workshops that brings artists together to collaborate and share ideas.
Professor Marek Waszkiel, from Poland, spoke about how we can look at puppetry traditions through two different views: archaeological and historical. He pointed out that, while some old puppet styles are fading away, modern puppetry is finding new and inventive ways to express itself. Waszkiel also used the term “animant,” which means any object that an artist brings to life, highlighting the important role of the actor in making performance elements lively.
The panel showed how lively and evolving performance studies is, as well as the changing world of puppetry. Both Panther and Waszkiel’s presentations emphasized the importance of creative practices in changing cultural stories.
This was followed by a visit to the installation by Alessandra Amicarelli, Digital Animation lecturer for the ANIMATERIA program, and her presentation on the use of animated puppets in a digital setting. She demonstrated work from a workshop held before the conference with South African participants. The workshop explored how puppets, movement, and shadows interact with projected video imagery, creating a unique “theatre of drawing” on stage. The installation of her work in progress aimed at creating a space where visual animation, physical movement, and technology come together in a performance. She combined simple techniques, for example, hand drawing and natural materials, with advanced methods such as video mapping. The result was a small theatrical installation using silhouette cutouts to explore light, shadow, and video projections. It was amazing to see such multidisciplinary work come together!
I was not able to attend Panel 3 nor some of the other panels. Instead, I focused my energy on workshops.
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Yaya Coulibaly, master puppeteer and storyteller from Mali, led an insightful workshop, titled “The Role of Masks and Puppets in Bambara Society.” He shared his unique journey as one of the last traditional puppeteers, showcasing a selection of his impressive 25,000 puppets while explaining their manipulation techniques and the stories behind them.
Coulibaly also discussed his collaborations with notab le South African artists, Basil Jones and Adrian Kohler, highlighting the work of his own company, the Sogolon Puppet Troupe, in these projects. Among his remarkable creations were a string puppet of a boy with expressive features and a striking four-foot-tall yellow rod puppet. The workshop offered a captivating glimpse into the rich art of puppetry in Mali.
During the lunch break, The Theatre des Marionnettes de Genève from Switzerland delivered a delightful performance, titled Wafel and Bretzel. This whimsical adaptation re-imagined the classic tale of Hansel and Gretel by the Brothers Grimm. Featuring a playful twist, the story humorously questioned whether one could indulge in a delicious waffle without fear of repercussions. With its surprising puppetry and vibrant storytelling, this performance would surely have brought a smile to the faces of the Grimm brothers themselves!
The conference also included the exhibition, “The Puppets Have More Volume,” which presented a series of prototypes created by South Africa’s Ukwanda Puppet Theatre and various art collectives, showcasing collaboration in puppetry design, fabrication, and performance. Led by Luyanda Nogodlwana, Sipho Ngxola, and Siphokazi Mpofu, the work draws from both the Ukwanda archive and current projects. The exhibition highlights the characters Kudu, The Lion, and The Leopard, emphasizing the connections and differences between the various prototypes—both visible and invisible. It encourages viewers to consider these relationships as essential to understanding the concept of prototypes in a context of disruption. Although this was not a live performance, the exhibition reflected on the physical scale and materialism of the prototypes, acknowledging the sensory and choreographic complexity that puppetry offers.
My own film, Gone Fishing, screened at the conference, told the story of a coastal village struggling with climate change. Kazungu, a seasoned fisherman, sets out each day filled with hope but returns home empty-handed. The once-rich waters have become barren due to the strong East African Monsoon winds that have disrupted the marine ecosystem, driving fish away. Frustrated and desperate, Kazungu battles the relentless sea as dwindling resources threaten his way of life. The eventual loss of his only boat symbolizes the collapse of his dreams and livelihood. Determined to find a solution, Kazungu embarks on a touching journey that leads him to confront not just the changing ocean, but also the themes of resilience, community, and the hope for a sustainable future.
The second major theme addressed was “Collaboration, Mobilization, and Exchange.” I was not able to attend some of the related events that included Panel 1: “Mobilizing Skills and Resources Through Strategic Partnerships;” Marek Waszkiel’s presentation, “Between Tradition and Modernity: Where Are We?;” Panel 2: “Expanding Access Through Critical Relationships;” and the presentation, “Master in Theatre Arts at Accademia Dimitri” by Pavel Štourač, director of the academy’s specialization in theatre of materials, objects, and puppets.
As part of this theme, Janni Younge Productions also offered an extract of their production, Hamlet. This powerful new interpretation of Shakespeare’s Hamlet was brought to life through puppetry and physical performance. Haunted by the ghost of his father, Hamlet is called to avenge his murder. He struggles with the value of life and what it truly means to “set things right.” Caught between love and anger, he faces the urge for immediate revenge, while seeking ultimate justice in a world shattered by violence. The characters shift and change, revealing deep grief and passion. Hamlet’s internal battles are vividly expressed through the puppetry. Younge and the team performed a short excerpt, with only two puppeteers, for a show that requires a much larger cast.
There was also a performance of Recuerda/Remember, by La Tartana Teatro from Spain, which won the award for Best Animation at the Warsaw Puppet Festival 2022. Written by Juan Muñoz and Inés Maroto and performed by Juan Muñoz and Gonzalo Muñoz of the Spanish company La Tartana Teatro, this engaging show explored life, memory, and the passion of being a puppeteer. It reflected on childhood, the early days of the company, the influence of a teacher, and the dreamlike puppets that come to life. Key themes included love, loss, the passage of time, and the creative process. Juan Muñoz, along with a technician, shared his most cherished moments while surrounded by suitcases on stage. This intimate performance took the audience into the unique space of memory, where reality and fiction blend, and present moments intertwine with memories to create a heartfelt and honest story.
The third day began with the panel, “Integrated Training, Youth, Society, and the Environment,” followed by the workshop, “The Right Puppet for the Job,” in which Adrian Kohler, co-founder of Handspring Puppet Company from South Africa, shared his inspiring journey with Basil Jones. The session took the audience through the company’s history, from its humble beginnings to its current international success.
Kohler’s story began in Botswana, where he ran a theatre program from 1978 to 1980. He then joined the Medu Art Ensemble before returning to Cape Town in 1981. It was there that he and Jones founded Handspring Puppet Company. Initially, the company produced plays for children but, in 1985, they took a bold step and created their first adult show, Episodes of an Easter Rising.
Over the years, Handspring Puppet Company has continued to innovate and push boundaries. In 1999, they pioneered a new form of theatre that focused on animal characters. This led to the creation of iconic productions such as The Chimp Project (2000), Tall Horse (2004), War Horse (2007), Or You Could Kiss Me (2011), and A Midsummer Night’s Dream. Their most recent project, The Walk with Little Amal (2021), has also garnered international attention.
What made the workshop truly special was the visual storytelling. Kohler and Jones used pictures and videos to bring their journey to life. They also brought along many of the puppets from their shows, giving participants the unique opportunity to try them out and take photos. The hands-on experience allowed everyone to connect with the puppets and understand the craftsmanship and creativity that goes into bringing the figures to life.
The third theme addressed was “Artistic Practice as a Vehicle for Training and Research.” The panels under this theme covered the topics of “Interdisciplinary Dramaturgies: Performing Objects and the Body in Movement;” “Training for Puppetry and Visual Performance Directors – Approaches to Innovation;” and a panel from South Africa’s The Centre for the Less Good Idea, titled “The Ghost and the Less Good Idea: Thinking in Objects and Materials.”
While I was not able to attend any of the three above-mentioned panels, I did attend the presentation that followed, “Mapiko: History, Visuality, and Practice of a Mozambican Masking Tradition.” Mapiko is a traditional masking practice from northern Mozambique. During a workshop, Vintani Nafassi (a dancer), along with Paolo Israel (a history professor at the University of the Western Cape), and Rui Assubuji (from the Centre for Humanities Research), shared the history of Mapiko through pictures and videos. Nafassi demonstrated how the Makonde people of Mozambique played a significant role in the anti-colonial struggle for liberation, making Mapiko a symbol of revolution. The Mapiko mask dances are traditionally linked to initiation rituals, which have become part of the myth of the Mozambican nation. However, the practice of Mapiko is now at risk due to ongoing insurgency, which has led to displacement and disruption of social life. In the workshop, the presenters explored the legacy of this mask art form from three different perspectives. Paolo Israel discussed its historical transformation, Rui Assubuji focused on visual documentation from 2009, and Vintani Nafassi introduced the performance aspect of the masks.
The fourth day of the conference addressed the theme, “Reimagining Forms, Transforming Technologies,” with the panel, “Traditions in Transformation: Historical Forms in Shifting Contexts,” and a workshop from Pavel Štourač, theatre director, stage designer, and artistic director of Continuo Theatre in the Czech Republic, titled “Physicality of the Actor, Physicality of the Material.” The session focused on how actors can connect their bodies with different materials, particularly paper.
Participants worked in pairs, moving around the room to explore how paper can transform and respond to their movements. The workshop emphasized the relationship between the human body and inanimate materials, such as paper. Through practical activities, Štourač encouraged participants to consider important questions that could inspire their work as actors and puppeteers.
The workshop concentrated on body movement and the search for new, expressive forms. It aimed to help participants discover creative ways to use their bodies and materials in performance.
This was followed by the following panels, “Discovering and Teaching Puppetry Design” and “Digital Puppetry and Contemporary Visual Culture,” and the final workshop, “From Acting to Puppets,” by Juan Muñoz from La Tartana Teatro, in which he showed how puppets can add something special to theatre that acting alone cannot. Participants learned about different puppet-making materials and basic movement techniques. They practiced controlling puppets, using principles, such as weight, breath, and focus. Muñoz’s workshop aimed to inspire people to try out new things in theatre performance using puppetry.
Celebrating Learning and Exchanging Ideas
The conference was an incredible opportunity to celebrate learning and to exchange ideas. The enthusiasm of participants was infectious, reconfirming that communication transcends mere words. Each panel featured mesmerizing presentations that showcased the extraordinary work being done in participants’ home countries.
West African puppeteers’ PowerPoint presentations captured the audience’s attention, with their focus on traditional performances and street art. One standout moment was when legendary puppeteer Yaya Coulibaly shared with us that he owns an astonishing collection of 25,000 puppets! Yes! You read that correctly! While he couldn’t bring them all to Cape Town, the sheer number left everyone in awe.
East African artists emphasized educational puppetry during their presentations, which I had the privilege to chair. The spotlight was on how puppets were effectively utilized for television and community engagement. It was fascinating to witness how the various cultural and educational approaches shone through the training that passionate practitioners from Kenya delivered.
Most of the panel discussions were done with PowerPoints full of captivating pictures. We delighted in various performances and workshops, including a charming show from Mali about how cats and rats should coexist. You might think, “That sounds chaotic!” but the captivating storyline enchanted all who were present. Luckily, I sat next to a bilingual colleague who helped me understand cultural nuances, prompting the realization that learning French should be added to my to-do list!
As we approached the conference’s conclusion, discussions shifted to the future of the puppetry arts in Africa. We assembled heads of national centers and leaders from twenty-five different countries to formulate a strategy for our next steps. From November 25 to 27, we collectively crafted a ten-year plan aimed at fostering networks and new opportunities for African puppeteers. Planning is just as essential as performing!
A Visit to Handspring Puppet Company
The conference culminated in an exhilarating tour of the Handspring Puppet Company workshop. Founded in 1981 by the talented duo, Adrian Kohler and Basil Jones, this creative powerhouse has continuously pushed the boundaries of puppetry and contemporary performance. They have transformed significant social and political themes into unforgettable shows, including the famous War Horse and Little Amal.
As Kohler warmly welcomed us and shared more stories about their creative processes, I felt privileged to be among such puppetry legends. It was astounding to learn that their work has graced 295 cities across 30 countries! I couldn’t help but fondly recall my experience watching a film of War Horse during my days as an amateur puppeteer in Nairobi, where three puppeteers skillfully manipulated a horse puppet, leaving a lasting impression, almost as impactful as my time in Kohler’s workshop.
Overcoming Challenges and Collaborating
As we wrapped up our strategic meetings, in which brainstorming and group work were central, we faced the challenge of time constraints. Some discussions encountered minor bumps due to language barriers, but these moments sparked a wealth of creativity and teamwork. Everyone collaborated together to devise solutions for a brighter future for Africa. These interactions genuinely fostered a sense of community. After all our hard work, we accomplished what we set out to do. For the final evening, Janni Younge organized a fantastic farewell party in her home, where we indulged in delicious pilau (spiced rice). With others, I also enjoyed plenty of beer, knowing that it was my last night in Cape Town before my flight the following day.
As my fifteen days in Cape Town drew to a close, I felt mixed feelings of both happiness and hopefulness. The workshops, panel discussions, and performances made the conference an excellent time for learning and connecting with a myriad of talented individuals. As I reflect on my adventure, I feel pride for being a part of this energetic and vibrant puppetry community across Africa. Puppetry is such a powerful art form, and together we are shaping a brighter future—one laugh, one story, and one puppet at a time. This conference was more than just a gathering; it was a celebration of creativity, collaboration, and the unyielding spirit of puppeteers across the continent. I am deeply grateful to have been part of it. The journey into the world of puppetry in Africa is indeed a journey filled with boundless potential and extraordinary stories waiting to be told.
Many thanks to the UNIMA Africa Commission, UNIMA South Africa, the UNIMA Training Commission, UNIMA International, UNESCO, the Centre for Humanities Research, University of Western Cape, the Iyatsiba Lab, plus all of the sponsors of this multi-level event . . . And, of course, a huge thank you to all of the African National Centers for their incredible work in creating these amazing events. Thank you, all!
