Article by Kay Yasugi

On Thursday 7 August 2025, the National Museum of Australia hosted a special evening honouring the life and legacy of Mr Squiggle creator Norman Hetherington – a master puppeteer, gifted cartoonist, and one of Australia’s great storytellers. The event was held in conjunction with the museum’s major exhibition Mr Squiggle and Friends, which has quickly become a much-loved destination for puppet enthusiasts, artists, families, and curious visitors from around the country.

The panel, hosted by Alex Sloan AM, featured Norman’s daughter and longtime presenter of Mr Squiggle Rebecca Hetherington, his grandson Tom Hetherington-Welch, and museum curator Danielle Cassar. Together, they reflected on Norman’s extraordinary life and the enduring impact of his work.

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A Life of Creativity, Boldness and Kindness

Norman Hetherington (1921–2010) began his creative journey during the Depression era, building puppets from salvaged materials and dreaming of becoming an artist. He entertained troops during WWII through Army Entertainment (after being spotted for his lightning-fast sketching skills), and post-war, he realised his dream of working for The Bulletin magazine – a vibrant creative hub at the time.

Remarkably, Norman sold his first cartoon to The Bulletin at the age of just 16. He would go on to land a full-time role at 24, where he had the chance to work alongside renowned artist Norman Lindsay, who encouraged Norman to develop a drawing style that was instantly recognisable. It was advice he took to heart, with a line and style that became familiar to generations of Australians.

But Norman would become a household name for his groundbreaking children’s program Mr Squiggle, a gentle and imaginative puppet with a pencil for a nose. First aired in 1959, the show blended Norman’s passions for puppetry and cartooning, and spanned over four decades with more than 10,000 televised squiggles. Norman voiced and operated all the puppet characters, created the sets, and worked closely with his wife Margaret (“Peggy”) who wrote all his scripts, as well as his daughter Rebecca in later years. 

He was also the founding president of UNIMA Australia and designed our original koala logo – a legacy still warmly felt today.

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A National Treasure

In 2024, over 800 items from Norman’s Sydney studio – including puppets, props, drawings, and personal archives – were transferred to the National Museum of Australia. The result is Mr Squiggle and Friends, a richly layered and interactive exhibition that has struck a deep chord with visitors of all ages.

Since opening in July, the exhibition has attracted more than 45,000 visitors, exceeding even the museum’s popular Pompeii exhibition. It’s heartening to think that more people have come to see a puppet with a pencil for a nose than the destruction of an ancient civilisation.  It’s easy to see why – The exhibition is imbued with warmth, humour, nostalgia, and an unmistakable sense of Norman’s character: his gentleness, imagination, resourcefulness, and quiet brilliance.

Observing and Sketching the Magic

As a visitor and fellow puppeteer, I found myself deeply moved — not just by what was on display, but by the interactions and emotions the exhibition evoked in others. I spent time sketching some of the exhibits: Mr Squiggle, Blackboard, Bill Steam Shovel, Gus the Snail, and several of Norman’s other puppets. 

A highlight for me was sketching Norman’s repair kit—a lovingly preserved toolbox that included spare foam tongues for Bill, oil bars for Squiggle’s nose, and even cornflour tins used to create steam effects for Rocket and Bill.

While I sketched (which took time), I witnessed some really touching moments: grandmothers seeing Mr Squiggle again for the first time in decades and introducing him to their grandchildren, then heading over to the big screen to watch old episodes together. I saw mums and dads doing the same, guiding their kids to the interactive drawing area, where children could do their own squiggles on touchscreens or with classic crayons and paper.

It was also lovely to see children playing with interactive puppet stations, featuring birds made from everyday household items—dishwands for tails, funnels for beaks, loofahs for feathers—a beautiful nod to Norman’s creative ethos of making something magical from the simplest things.

I was especially delighted to see original illustrations from Norman and Margaret Hetherington’s picture book Mr Squiggle and the Preposterous Purple Crocodile. I even purchased a copy — one more treasure from an exhibition that clearly has been lovingly and carefully curated.

This is not just a Canberra event – for many, it has felt like a puppet pilgrimage. Enthusiasts and artists from across the country have made the journey to reconnect with a beloved figure from their childhoods, and to celebrate a man whose gentleness, imagination and humour shaped generations.

The exhibition itself is imbued with warm nostalgia. Norman’s spirit can be felt in every line, sketch, and character on display. 

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Movement, Memory and Motion Capture

One exciting new development shared on the night was a collaboration with UNSW’s Transmissions Project, where Norman’s grandson Tom wore a motion capture suit to record the original movements of the puppets. This innovative project preserves not just the physical puppets, but the way they were performed – capturing the essence of how Norman brought them to life.

Tom noted (with excitement and pride) that he got to wear the very same suit actor Willem Dafoe used. But more importantly, it’s a step toward ensuring that future generations understand puppetry not just as a visual art, but as one of performance and gesture.

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A Personal Reflection

It was an honour to attend the event and hear Rebecca and Tom speak so warmly and candidly about Norman, affectionately known as “Normie.” Their stories offered not just insight, but a sense of closeness to a man who gave so much through quiet brilliance. I was especially grateful to share the experience with fellow UNIMA Australia member Marianne Mettes, a Canberra local who has been delivering puppet workshops alongside the exhibition.

At this exhibition, I also met Matthew Brown (@robotgoosestudios), a Television Puppetry Historian based in Melbourne. Matthew generously shared his beautiful photographs from the exhibition with me (view Matthew’s photos here), and has since become a new UNIMA Australia member — we warmly welcome him to our community.

One special moment was taking a photo with Rebecca, Tom, Marianne, and my own puppet ‘Normie the Koala’ – inspired by the UNIMA logo Norman once drew. I also picked up a signed copy of the NMA’s exhibition magazine, which is filled with gorgeous images and thoughtful articles about Norman’s life and work.

And in exciting news – that signed magazine was given away to one lucky UNIMA Australia member – Kerrie Fuller (NSW)! Kerrie’s name was drawn during our AGM on 30 August. Kerrie will receive the magazine, a Mr Squiggle tote bag and a poster. 

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Visit Before It Closes

This is not just a celebration of Mr Squiggle – it’s a tribute to an artist whose legacy reaches far beyond a television screen. Norman Hetherington embodied creativity, humility and joy, and this exhibition is a glowing testament to his impact.

Mr Squiggle and Friends is free to attend and runs until 13 October 2025 at the National Museum of Australia in Canberra. Whether you’re a lifelong fan or new to the world of puppetry, it’s a must-see.

👉 Visit: www.nma.gov.au/exhibitions/mr-squiggle-and-friends

• Article written by Kay Yasugi, General Secretary and Councillor – UNIMA Australia
• See more photos and videos from the exhibition on Kay’s instagram: https://www.instagram.com/kay_yasugi/

Article by Peter J Wilson & I Made Sidia

Over the past 30 years, my creative relationship with Balinese master puppeteer I Made Sidia has blossomed into a unique and enduring collaboration. Our shared passion for storytelling, ritual, and theatre has taken us across continents, across cultures—and into a deeply rewarding artistic friendship that continues to evolve. We are both dalangs (puppeteers) and directors.

My fascination with Bali began in the early 1980s, when I travelled to Indonesia to learn more about Wayang Kulit, the traditional shadow puppetry of the archipelago. The depth of ritual, the integrity of form, and the sheer theatricality of Balinese performance ignited something profound in me. I knew then that I wanted to build lasting creative connections with artists from this culture.

Like my own fascination with Balinese puppetry, Made Sidia has long held a deep curiosity about puppetry traditions beyond Indonesia. Travelling with his father to various European countries early in his career, he was exposed to a wide range of puppetry styles—an experience that expanded his creative vocabulary and inspired new ways of thinking about performance. These encounters planted seeds for future innovation. Over the years, he was also invited to the United States and several countries across Asia, where he deepened his appreciation for Western puppetry techniques and storytelling forms. These international experiences awakened in Made a strong desire to explore how traditional Balinese puppetry could converse with, and even influence, contemporary global practices—an openness that has enriched his artistry and made our collaborations all the more dynamic.

Our first major collaboration came in the late 1990s when I was in Bali developing a new theatrical concept with Australian director Nigel Jamieson and composer Paul Grabowsky. We were looking for a dalang and musicians to help shape a cross-cultural work. That’s when I met Made Sidia. His depth of knowledge, clarity of his Balinese performance, and generosity of spirit struck me immediately.

That project became The Theft of Sita, a bold, contemporary reimagining of the Ramayana. Both Made and I performed as puppeteers in the production, but it was his guidance and deep cultural insight that gave the work its true heart. His support in maintaining the spiritual and artistic integrity of the Wayang Kulit tradition was essential. He taught us the structure and nuances of the form—the histories of the characters, their symbolic roles, and how they fit into the larger cosmology of the Ramayana. His presence ensured that what we were creating wasn’t just inspired by Balinese tradition—it was rooted in it.

The show premiered in Adelaide and went on to tour internationally for three years. During that time, as part of a close-knit team of four puppeteers, our bond deepened. We weren’t simply co-performers—we were learning each other’s creative languages, discovering common ground between our cultures, and building the foundation for what would become a lifelong artistic dialogue. That project marked the beginning of something far greater than a single show: it sparked a shared journey of collaboration, trust, and mutual inspiration that continues to this day.

In 2004, Made visited Melbourne to lead a series of masterclasses at the Victorian College of the Arts (VCA), where I was teaching. He introduced students to the world of Balinese mask, Wayang, and storytelling. His presence was transformative—he opened a new door for young performers, offering them a living connection to ancient forms, charged with fresh energy and meaning. Over six weeks, his residency culminated in an end-of-semester performance: a 25-minute shadow play exploring moments from the Ramayana, woven into the students’ final year showcase. It was a triumph—testament to his artistry and generosity. Even now, two decades on, I meet students who speak with deep reverence for the impact of those teachings. Made left a lasting impression—one not just of craft, but of spirit.

Then in 2009, while I was in Bali, Made and I began conversations that would lead to our most ambitious work to date: Bali Agung: The Legend of Balinese Kings. Commissioned by Bali Safari & Marine Park, it would become a spectacular fusion of traditional performance and theatrical storytelling—featuring over 150 performers, live animals, puppetry and a mix of traditional and contemporary music.

I was staying at Made’s home when he invited me to the Safari Park to see a short piece based on the Ramayana. After the performance, he gestured toward a large green shed—an empty structure intended to become a theatre. Inside, we found a dusty concrete bowl of a space, raw and waiting for purpose. We stood in that space and dreamed. Back at his sanggar that evening, Made shared the story of King Jaya Pangus—a tale deeply familiar across Bali, yet largely untold on a grand stage. Something sparked. I sat down and scribbled six scene ideas—just for fun, just to see what might be possible. Made’s eyes lit up.

A few days later, Made introduced me to Hans Manansang, the GM of the park, who was instantly taken by the vision. Within weeks, he and the park’s leadership flew to Australia. I had assembled a creative team just in case things may move forward – contracts were signed to bring Bali Agung to life in mid-2010 on the Bali Theatre stage.

Made brought the spiritual and cultural depth of Bali—his understanding of tradition, ceremony, and nuance became the soul of the piece. I brought the scaffolding—the structure, the staging, the direction, the narrative flow. Together, we wove something that felt both ancient and fresh. At the very heart of the show was Made’s Balinese heart—the steady pulse that grounded the work and gave it authenticity.

Bali Agung has run for over 15 years and continues to resonate with audiences. It remains one of the most meaningful collaborations of my life—a meeting of minds, cultures, and dreams. The magic lay not just in the scale of the show, but in the trust and creative fire we shared.

We continued our creative journey through several productions at the Safari Park—The Tiger Show, The Elephant Show, and the immersive nighttime spectacular Afrika Fire. While each show explored a different theme, at their core was always a strong Balinese narrative thread. Culture was never just decoration—it was the beating heart of everything we created.

Beyond the stage, our collaboration deepened through training and exchange. I led workshops with students at his Sanggar Paripurna, where the energy and discipline of his troupe continually inspired me. At the same time, Made’s artistic reach extended far beyond Bali. Over the years, he travelled multiple times to Australia—teaching the intricacies of Wayang and Balinese mask across Darwin, Sydney, Melbourne, and Perth. His presence in those spaces brought something rare and essential—a living tradition shared with generosity and depth.

In 2016, Made and I travelled to Jakarta for Pearl of the South Sea, a marine theatre piece I had written for the newly opened Jakarta Aquarium. Made came on board to assist with choreography and puppetry training. While the show leaned into a Javanese myth and aesthetic, Made’s deep familiarity with the cultural layers of Indonesia—from Bali to Java and beyond—meant he could step into the world of the piece with ease and insight. His versatility and respect for each region’s traditions made him an invaluable bridge. Seven years on, the show is still running—testament to the strength of the work and the creative foundation we laid together.

We also collaborated on the Opening Ceremony of the Bali Games in 2017—an ambitious fusion of local performance, storytelling, and ceremonial grandeur. Having worked on many large-scale arena events, I felt confident we could create something memorable. The challenge was finding the right subject—the cultural heartbeat of Bali—and shaping it into a visual narrative that could fill a stadium. This is where Made shone.

He introduced the concept of Dewata Nawa Sanga—the Nine Guardian Deities of Balinese Hinduism, each watching over a cardinal direction. It became the spiritual spine of the ceremony. Together, we built a show where every moment was rooted in Balinese mythology—gods and symbols came to life in epic scale. Puppetry expanded across the stage, dancers emerged from every corner of the arena, and 150 men thundered in with a powerful Kecak. It was breathtaking.

The Opening was a triumph—an arena filled with over 400 performers, celebrating athletes from Bali’s nine regencies. It was the perfect blend of Made’s cultural depth and my experience in theatrical staging. A vivid, living ceremony that honoured both tradition and spectacle.

In 2018, Made and I developed a new theatrical work titled Siwa Nataraja—a bold reimagining of the Siwa legend, approached from an entirely fresh perspective. Rather than retelling the story in the expected way, we explored what happens behind the veil of myth, delving into the unseen forces and inner realms of the narrative. The result was a visually rich, high-energy performance that burst onto the stage of Puri Kantor in Ubud with colour, movement, and ritual intensity. This production celebrated the heart of tradition while joyfully subverting its form—turning it on its head to create something uniquely spectacular. It was a fearless blend of reverence and innovation, and stands as one of our most striking and adventurous collaborations to date.

In 2023, I wrote and directed Varuna, an immersive underwater theatre experience created for the Bali Marine Park. Inspired by the Hindu god of the sea, the show explored the story of Varuna as protector of the oceans—a powerful force seeking harmony amidst rising tides and human disruption. The narrative followed a young boys journey beneath the waves, guided by sea spirits and creatures in his search for his mother. Along the way, he learns the delicate balance between nature and mankind.

The show blends myth, movement, music, and aquatic spectacle. Dance was at its core—contemporary choreography weaving through the watery world with grace and intention. Puppetry featured heavily too, but not in a traditional sense; we used new theatrical techniques to bring sea creatures to life—schools of jellyfish floating in dreamlike motion from above, their bodies lit from within; a luminous seahorse that carries the boy deeper into the ocean; and a wise old sea turtle who becomes his first companion on the journey. Each puppet, each movement, revealed a layer of the ocean’s story.

As the boy dives further, he isn’t just exploring the sea—he’s searching for his lost mother and, unknowingly, his purpose. It’s in the deep where he begins to see the decay—plastic reefs, choking coral, shadowy figures of pollution monsters that feed off waste and chaos. 

The playful crab he meets offers lightness, but even its world is threatened. Slowly, the boy realises he’s been brought here for a reason—not just to search, but to protect. Guided by the creatures and the spirit of Varuna, the god of the sea, he begins to understand that only by facing the pollution monsters and cleansing the oceans can the balance be restored. It becomes a story of awakening—a call to action wrapped in beauty, puppetry, and powerful theatrical magic.

Crucial to the production were the dalangs and performers from Made Sidia’s Sanggar Paripurna. Their training in traditional shadow and movement brought a discipline and authenticity to the stage, but here, we worked together to adapt those traditions into a contemporary form—reimagining shadow play for a modern marine setting. Their contribution was extraordinary: grounded in heritage, yet open to reinvention. The result was a show that felt deeply rooted in Balinese performance, yet utterly fresh in its theatrical style. Varuna continues to run successfully, captivating audiences with its rich visuals, heart-driven storytelling, and the pulse of the sea.

What defines our partnership is not only the body of work we’ve created, but the deep trust and artistic alignment we’ve nurtured over three decades. Our collaboration has never been transactional—it’s been built on mutual respect, shared curiosity, and a deep commitment to listening and learning from each other’s cultural foundations. This trust allows us to take risks, to experiment, and to enter the creative unknown with confidence, knowing we are always working towards something greater than ourselves. We’ve never tried to fuse traditions for novelty’s sake—rather, we’ve sought to elevate each other’s forms through dialogue, through genuine exchange, and through a shared belief that when traditional and contemporary theatre meet with care, the result can be profound.

Over the years, we’ve discovered a common visual and theatrical language—not just in style, but in spirit. That language is built on rhythm, imagery, symbolism, storytelling, and the unspoken joy that comes when artists truly connect. We delight in the making—the building of worlds from shadow and light, from myth and metaphor. There is real joy in our process: the laughter in rehearsal, the sparks of new ideas, the satisfaction of watching an audience moved by something we shaped together. It has been a journey of creative companionship, and one we are committed to continuing.

Together, we will keep finding ways to bridge cultures, support emerging voices, and tell stories that matter—stories that resonate across time, across place, across generations. Our shared intention is to continue creating new work that honours tradition while also imagining bold, future-facing possibilities. We remain passionate about mentoring young artists, facilitating international dialogue, and showing that when artists from different worlds come together with humility and vision, the results can be extraordinary.

In essence, our collaboration is about honouring where we come from—while constantly imagining where we might go next. The journey isn’t over. In fact, it feels like we are just getting started.

PETER WILSON & I MADE SIDIA

Article by Peter Ball

This page about The Clovelly Puppet Theatre is from Puppets of Australia by Norman Hetherington (1974)

I had a favourite park that was about a kilometre from where I grew up in Clovelly, Sydney, and as a child of the sixties, I could wander that far from home unescorted.

The steep-sided gully that formed the park made perfect slopes for sliding downhill on scraps of cardboard until your skin itched from the grass seed. It also had one of the biggest swings in the area that seemed to reach for the sky. However, sitting high on the bank, dominating the park, was the mysterious and colourfully painted tin shed of the Burnie Park Puppet Theatre (also known as the Clovelly Puppet Theatre).

I had previously avoided it as there was an old lady in there and she reminded me of a witch, something we feared as kids. But one day I noticed that for a few pennies you could join in a craft activity on Saturday afternoon. While there, I discovered that the old lady, a Mrs Edith Murray, was rather kind and interesting and she needed new volunteer puppeteers to train up. Well, how could I resist?

The memories are a bit of a blur now, but I recall the tin shed was maybe ten by four metres roughly and without windows(?) just double opening doors on one side. There was a stage at one end with curtains and a marionette gallery behind. There were tables or benches set up in the remaining space, depending on the activity. I think it was alternating craft one weekend and puppet theatre the next and the entry fee was miniscule, like three-pence or similar. I very much doubt that the wonderful Mrs Murray ever made a red cent of profit from it.

The space behind the stage was quite something. It was barely a metre wide and jam-packed with stuff to make and maintain puppets on a tiny workspace, under a bare electric lightbulb swinging from above. It even felt cramped for me, as a child of around eight or nine.

We would meet on Friday nights and rehearse the next puppet play and also sometimes repair or make props or puppets as needed, under the sharp eye of our mentor. Things had to be done properly!

However, she also nurtured and respected our creative input, despite us being children. One time, while on a break, I made up a science fiction story and told the other kids. I was then and still am, a storyteller. Edith quietly slipped into a child-sized seat nearby with a notebook and pen and silently made notes. When the break was over, she announced, “That is our next play we will produce!”

What followed was so much work that I seriously regretted ever bringing the damn story up! She typed up the full play, and we all worked hard to create the props and puppets and rehearsals and eventually got to perform it to great applause. It was a most incredible experience for a child to take part in the entire creative process from scratch and I shall never forget it. Most adults in those days just sent the kids outside to play, and would rarely ask their opinion or input.

There is one other significant memory from that time. Mrs Murray as we called her, invited me and one or two other kids to accompany her on a full day out to some ritzy mansion overlooking the harbour. I think it was the governor’s house, maybe? We were to perform a puppet play using hand puppets with a portable plywood theatre. Apart from the folding theatre, which was large and heavy, we also had boxes and suitcases of puppets and curtains etc as well. Edith didn’t have a car, so we had to take public transport, which was quite a mission for two kids and a senior lady loaded up as we were.

I have vague recollections of a lawn party on the expansive grounds of a mansion over-looking the harbour, where we set up our theatre and performed for the children present. That was the only time anyone ever paid us to perform.

At some point, the call of the surf beckoned, and I ceased going to the theatre but never forgot it.

For her time, I remember Edith Murray as a woman who saw the potential in children and didn’t believe that they ‘should be seen and not heard’. She is remembered with warmth and kindness.

Peter Ball

May 2025

Peter Ball reached out to UNIMA Australia with this lovely article he had written, with fond recollections of the Clovelly Puppet Theatre in the 1960s in Sydney, NSW. We thank him for this article, and for writing about Edith Murray, who we hold in special regard for UNIMA Australia. In 1968, Edith Constance Murray, now regarded as the founder of UNIMA Australia, helped for the organisation of a Convention of the Australian puppeteers organised in Adelaide. Puppeteers came from around Australia. In November 1969 the General Secretary of UNIMA gave Edith permission to form an centre and that began operating in 1970. Norman Hetherington was the first President, Edith Murray, his secretary.

Read Edith Murray’s bio written by Richard Bradshaw here: https://adb.anu.edu.au/biography/murray-edith-constance-15065

Congratulations to Duckie L’Orange – our 2025 Ross & Rose Hill UNIMA Australia Scholarship recipient!

An Australian-born, Berlin-based whirlwind of creativity, Duckie blends puppetry with clowning, drag, immersive installations and community arts to create hilarious, challenging, and deeply unique performance works for both kids and grown-ups.

From the Sydney Opera House to Fusion Festival, from Kalimantan to Copenhagen – Duckie has wowed audiences worldwide with her wild and wonderful characters. Whether it’s performing pretend surgery, co-hosting steampunk carnivals, bringing dinosaurs to life, or roving at Expo 2020 Dubai, she brings a mix of chaos, comedy and craft wherever she goes.

With the support of the scholarship, Duckie will develop a brand-new short-form feminist comedy cabaret piece for adults. The piece will be brought to life with a specially commissioned puppet designed by acclaimed Sydney-based maker Alli Sebastian Wolf. We can’t wait to see this important, provocative, and side-splitting new work come to life!

Follow Duckie to see it unfold:

www.duckielorange.com

@duckielorange

#UNIMAAustralia#Puppetry#DuckieLOrange#FeministPuppetry#RossAndRoseHillScholarship#PuppetCabaret#AlliSebastianWolf#UNIMAScholarship#WeirdWackyWonderful

On 6-10 January 2025, puppetry enthusiasts from across Australia gathered at Into-Arts Studio in West Ryde, Sydney, for an unforgettable 4.5-Day Puppet Building Masterclass led by the incredible Katherine Hannaford (@misskhannaford). This sold-out event brought together participants from Melbourne (VIC), Sydney (NSW), Central Coast (NSW), Bathurst (NSW), Adelaide (SA), and Sunshine Coast (QLD) to create their very own foam and faux fur bunny puppets.

Watch this 10 minute video showing highlights from each day:

With Katherine’s expert guidance and the support of UNIMA Oz committee members, the workshop was a perfect blend of creativity, craftsmanship, and community. Here’s a recap of each day:

Day 1: Designing Characters and Starting Patterns

Katherine kicked off the workshop by sharing her puppetry journey and explaining the process behind her bunny puppet design. Participants chose faux fur through a fun lucky dip and some “trading time” to swap colours. They sketched their characters, explored a nearby charity shop for inspiration, and began cutting the patterns for their puppets.

Day 2: Sewing the Fur Pieces

Sewing day was a deep dive into hand-stitching techniques, as participants tackled the task of assembling their fur pieces. Katherine and “fairy godmother” Kay Yasugi (@kay_yasugi) provided expert tips and much-needed assistance. Though time-consuming, this step was essential in bringing the puppets to life.

Day 3: Foam Cutting and Puppet Arm Rods

On foam day, Katherine introduced participants to different types of foam used in puppet construction. She taught bevel (angled) cutting techniques and demonstrated how to assemble foam pieces. Participants also crafted their own professional puppet arm rods.

Day 4: Armature Hands, Details, and Creative Accessories

As the puppets neared completion, the group worked on assembling armature hands, attaching wire to bunny ears, and gluing foam pieces together with contact adhesive. Katherine performed “nose surgery” to bolt on bunny noses, while Kay opened a “puppet salon” for decorating eyes with long lashes and zombie features. Each puppet’s personality began to shine, from a Taylor Swift-inspired bunny to a punk rabbit with safety pin earrings.

Day 5: Finishing Touches and the Bunny Birthday Party

The final day was a whirlwind of activity as participants raced to complete their puppets. They inserted suede-lined mouth plates, arms, and legs, added polyfill stuffing, and attached finishing details. Katherine ensured everything came together beautifully, while Kay worked magic in the “puppet salon.”

Two participants, Hugh and Matt, completed their bunny’s head and ears before leaving for their flight, taking cupcakes for the journey. After lunch, the group pushed through to finish their puppets and celebrated with a bunny birthday party. Snacks, carrot-themed treats, and heartfelt thank-you cards made the finale truly special.

Acknowledgments

This workshop would not have been possible without the incredible efforts of Katherine Hannaford (@misskhannaford), Kay Yasugi (@kay_yasugi), and our UNIMA Oz committee members Alex (@oneorangesockproductions), Tahlia (@brain_eating_cosplayer), and Susie. Huge thanks to Christopher Ragg for the initial idea and support, and to Into-Arts Studio (@intoartsstudio) for providing such a wonderful creative space.

We also acknowledge the Wallumettagal people, the traditional custodians and first storytellers of the land where this workshop was held. We pay our respects to their Elders past, present, and emerging.

Join UNIMA Australia

This workshop was proudly supported by UNIMA Australia, an organisation dedicated to connecting and supporting puppetry practitioners and enthusiasts in Australia and worldwide.

As a UNIMA member, you’ll enjoy:

• Access to a vibrant puppetry network
• Invitations to events and workshops
• Discounts on workshops and programs
• Access to the Members Only digital archive of recordings
• Puppetry job opportunities and eligibility for scholarships and grants

👉 Become a member today! https://www.unima.org.au/membership/

Follow Us Online

This journey was documented on our social media platforms, where we’ve had over 22K views in the last 30 days! Follow us to see more puppetry magic:
📸 Instagram: @unimaoz
🌐 Facebook: UNIMA Australia

We hope to see you at the next UNIMA Oz event!

In October 2024 I travelled to Yogyakarta on the island of Java to undertake a residency with Papermoon Puppet Theatre with Jesse Hamilton from Pico’s Puppet Palace. In total the residency went for 3 weeks instead of 4 as originally planned as this is what worked with the logistics of everything involved and my budget. I was headed there to work on a creative development of a new show using a new style of puppetry that I didn’t normally make and work with in my company Pico’s Puppet Palace. We were also booked to perform our show ‘Pico and the Golden Lagoon’ at the biennale international puppet festival ‘Pesta Boneka – Seeds of Hope’ that took place at the end of the residency. I had chosen Papermoon for a variety of reasons but mainly because I was interested in their neutral palette they used in making the puppets, their use of natural materials and fibres and their non-verbal shows.

During the residency I worked on making masks and two smaller rod puppets. I started the foundation with terracotta. I then covered these moulds with cling wrap and papier-mâché. After the papier-mâché was dry I dug out the terracotta. I also started to make details on the faces with paper clay. It was a very time consuming project (of course) and in hindsight I think I was a little too ambitious it what I could achieve in the time I had. Even though I was at the studio 6 days a week for most of the day, time just flew.

Inside the Papermoon studio there were collections of all their different styles of puppets made over the years. You were welcome to pull them out and study them and play around with them. During the residency Papermoon were also rehearsing themselves and making new puppets and sculptures and so it was great to also take time out from my own project and just sit back and observe their process.

There were two other artists at the residency house and studio at the same time as us from the U.S.A and from New Zealand. This was also a great sharing opportunity, because although we were all working on individual projects we lived together and worked together at the studio and so were able to share ideas and experiences and also learn from each other. This relationship also ended up in a performance collaboration at the festival as part of one of their performance installation pieces.

As part of the residency there was a condition to do some kind of exchange, workshop or presentation to the public. We were invited to a local village to perform with Pico’s Puppet Palace at the Ngaran Kite Festival called ‘Humans on Planet Earth’. This was a great experience and the local community loved Pico. We also got to see some amazing traditional kites flying in the air, watch a Gamelan performance and play a Javanese traditional bamboo instrument with Government Officials for the opening of the festival, on a stage that was set up in the middle of the rice fields.

We also did a field trip to a local Wayang Puppet Masters Studio and House. Here we were introduced to the Gamelan and shadow puppets and history of his family and artistic experiences balancing both modern and traditional approaches. Later in the week we traveled to the Yogyakarta Museum to see a 2 hour performance of the Gamelan and shadow puppets, normally an overnight experience.

I think one of the highlights of the residency was the festival Pesta Boneka. Originally we were just going to be spectators at the festival but after applying we were later invited to perform ‘Pico and the Golden Lagoon’. This festival was amazing. 25 countries were represented at the festival and over 100 artists from all over the globe came together to perform, part take in workshops and live and breath all things puppets. Our performance went great, but I also found it invaluable the experience of seeing so many different styles and approaches to puppetry that my head is so full of ideas and inspirations. It was also a great opportunity for networking and I do believe future things will come out of this experience, as there are conversations in the pipeline.

The residency supported me to reach some of my goals I had towards the creation of my new puppetry piece. I was able to try out some new making techniques as well as trialling new manipulation techniques too. However, I didn’t get as much done as I had anticipated as I mentioned before. Before embarking on this residency I had so many ambitions and goals I wanted to achieve, but practically when in the studio and in the making process I was humbly reminded that these discoveries take time and to be patient and have a longer vision. After seeing so many shows at the festival I did gather a bunch of ideas I want to include in the new performance. This new show still has many more creative developments ahead but this experience in Indonesia definitely boosted the depth and experience of creation for me as an artist. It was great to be out of my own personal studio at home and be surrounded by other creators and artists in a multicultural context. The Yogyakarta culture reminded me to be patient but also at the same time willing to jump into spontaneity and make anything work in any situation despite the obstacles. That community and group work are the strength. To not stress too much but keep working until the dream is created. This is something valuable I was reminded of during the residency that definitely helped me with my new show.

Overall it was a very enriching experience and the first official puppet residency I had done overseas with a company. Thanks so much for believing in me and supporting this with the scholarship.

Thank you Thank you Thank you.

BUDGET

Residency cost $1800

Flight $1250

Materials $50

Visa $50

Travel Insurance $120

Food $100

Incidentals $100

Total = $3370

INCOME

UNIMA scholarship $2500

Own contribution $870

TOTAL = $3370

*notes

The budget altered slight compared to the original draft. The visa ended up being cheaper as I needed a different visa than I first thought. Materials and incidentals were way cheaper than I had budgeted. Most of the materials were supplied by Papermoon and the few extra things I bought were in expensive.

On 18th August 2024 at our UNIMA Australia Annual General Meeting, we were pleased to award Life Memberships to Richard Hart and Julia Davis from Dream Puppets. They recently relocated from Melbourne to South Australia and zoomed in, with a special appearance from their camel puppet, Kassius Kamel.

Richard and Julia have made significant contributions to the puppetry community and UNIMA Australia.

Richard Hart joined UNIMA Australia in 1994/1995, quickly assuming the role of Treasurer from 1995-1997 and Secretary from 1997-1999, then again in 2002-2008. He was President from 2014-2020, which means he has served on the Committee for 17 years! 

He played a crucial role in maintaining Australian puppetry media, contributing to the production of the Manipulation magazine before transforming the UNIMA Australia newsletter into a magazine. His efforts helped increase membership and sustain regular puppetry publications, including the first email newsletter, UNIMA OZ. He was the Artistic Director of Tarrengower Puppet Festival 2012 and Maldon Puppet Carnival 2014 (VIC). Richard continues his role as the UNIMA Australia Representative for the UNIMA Asia-Pacific Commission, further supporting our regional connections. 

Julia Davis worked on the Australian Puppeteer Magazine from 2002-2009 and was a major contributor for her editing and proof-reading. Alongside Richard, she was instrumental in establishing the independent O.P.E.N (Oz Puppetry Email Newsletter), which operated outside of UNIMA and gained notable success. 

Both Richard and Julia’s dedication to supporting puppetry and navigating the challenges of arts organization politics has been invaluable.

Their contributions, including their work with Dream Puppets, have significantly enriched the puppetry landscape in Australia. Their life memberships are a testament to their longstanding commitment and impact on the field.

Dennis Murphy was our special guest speaker for UNIMA Australia’s World Puppetry Day on 21st March, 2024.
At the end of his Artist talk, we awarded Dennis with a Life Membership to UNIMA
Australia, in appreciation of his contribution to Australian Puppetry.
Congratulations Dennis!

His gift to us was an incredibly extensive bibliography of Puppet Character Comedy, which you can download here below. Thank you so much Dennis!

Download Bibliography of Puppet Character Comedy compiled by Dennis Murphy