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The article reports about how along with performing artists across the globe, Indian puppeteers– traditional artists and those doing contemporary-style work– have been jobless due to the COVID-19 pandemic. It also mentions how traditional performers carry an additional burden under these hardships as they bear the responsibility of maintaining cultural heritage while looking out for their own survival.

The article focuses on puppetry, highlighting the puppet-and-actor troupe called Underground Railway Puppets & Actors (URT), which aimsto signal that tht group intended to continue the work of that great movement in their own way, with theater. Information about American abolitionist Harriet Tubman and the new sanctuary movement is presented.

The article focuses on puppets and puppetry, highlighting the Caribbean island within its popular tropical resort destination, lively reggae music, and omnipresent Ganga. Information about the author's experience of visiting Kingston, Jamaica as a Fulbright residency grant to revive and re-invigorate the art of effigy-making for the parading of giant puppet heads representing national heroes and cultural icons is presented.

The article focuses on puppetry, featuring Paperhand Puppet Intervention performances that use stilt dancing, large masks, shadow puppets, and a wide range of other objects made mostly from found materials to create pageant-play-extravaganzas. Information about summer production, original story and musical score, and winning a “Best of the Triangle” award is presented.

The article focuses on puppets and puppetry, highlighting the experience and views of the author about representations of African American identity and publications on how African Americans had represented themselves in literature and the visual arts. She also mentions about creating her own images by making video and dolls.

An interview with Drew Colby, a hand shadowgrapher, is presented. He offers information about his work, what puppetry means to him and how important it is to reach new audiences as well as his thoughtfulness and passion for the art form and for how important live theater can be for disenfranchised communities.

The article focuses on puppet and puppetry, highlighting an eye-opening Mamulengo puppet exhibit and Peter Schumann’s Bread & Puppet Theater. Other information about puppet festival, rebellion, and Mamulengo, which is a puppet form using humor to overcome the physical torments and psychological indignities of slavery, is presented.

The article discusses the work of David Bizzaro, a first-generation American Latinx actor and Emmy award-winning puppeteer.

The article presents information on puppet master Kevin Frisch who is struggling to make his art turn a profit. Kevin Frisch, the founder of Frisch Marionettes, has been creating and performing marionette shows in schools, libraries, and civic centers throughout the Cincinnati area in Ohio. But despite a long trail of satisfied customers, the survival of Frisch Marionettes is far from certain.

The article profiles Paul Eide, former editor of the "Puppetry Journal" and former president of the Puppeteers of America (PofA). It notes Eide's contributions to the PofA since he joined in 1985 including the organization's Membership Directory and Handbook and the publication of the "A Timeline of Puppetry in America." Eide also served as president of the Twin Cities Puppeteers (TCP) guild and established its website for the National Festival in St. Paul, Minnesota in 2005.

This article profiles I Nyoman Rajeg, a Balinese dalang or shadow-puppeteer. Rajeg grew up and was educated under the Dutch regime, lived through the Japanese occupation, participated actively in the independence movement, and subsequently has lived through the rapid and deep changes that have come to pass in his lifetime. And yet, for all the changes that have come to pass in his lifetime, Rajeg lives a life in the traditional performing arts of his culture that is well-founded and secure, a life moreover that is integral with the main fabric of the society in which he lives. Rajeg is a professional dalang. He and his four musicians and two assistants form a small troupe that has its base of operations in his houseyard. From there they go forth to perform, usually in the nearby vicinity. With his broad background in Balinese theatre, Rajeg has often been called upon to lead, teach, advise and perform with local associations devoted to presenting and preserving traditional forms of Balinese dance-drama.

The author offers information on how he makes the 30 feet marionette "David" for the opening of the new Vancouver Trade and Convention Centre (VCEC). He cited the steps in making the puppet like the creation of a puppet model and arrangement of the equipment. He added that the puppeteering team was made up of three puppeteers who control the head, shoulders, feet and elbows, and two riggers who handle the hands. He concluded that the model was a great introduction to the world of puppeteering.

The article profiles puppeteer Paul Vincent Davis. The puppeteer is still performing even after celebrating his 72nd birthday in January 2007. His latest production called "Here Come the Clowns" is at the Puppet Showplace Theatre in Brookline, Massachusetts. An overview of his techniques in puppet making is presented. It describes his technique as a hand puppeteer.

In this article, the author talks about how he started out in puppetry in 1976 as a marionettist and how he met Australian shadow master Richard Bradshaw, which led the way not only to incorporating some shadow scenes in their productions but also producing and performing complete shadow shows.

Discusses the topics tackled during the UNIMA Symposium at the 2005 Puppeteers of America Convention held on July 25, 2005. Presentation by Kathy Foley about puppetry and power in Southeast Asia; Details of the presentation by Sandy Spieler about puppetry; Issues on puppetry and politics as discussed by Emerson College's John Bell.

Presents an interview with puppeteer Bobby Box, who produced the show "Anne Frank: Within & Without." Details of how the idea for the show began; Support for the production of the show; Views on the risks involved with the show.

Presents an article on the 2004 Puppeteers of America Regional Festivals held in Asheville, North Carolina. Information on the festival's committee; Puppeteers present in the event; Challenges in organizing the event.

The article focuses on puppet playing and performances in the West Bank. It highlights the author's experience of being a puppeteer and his view about the power of art to shape culture and culture to catalyze political change, and having developed a practical understanding of what kinds of things save lives.

Features puppeteers. Jeff Kent's use of puppets in television and films; Materials used by Wayne Daigrepont for creating puppets; Source of puppeteers' inspiration.

An interview with puppeteer Enrico D. Wey is presented. Wey discusses the inspiration he derives from the novel "Agua Viva" by Clarice Lispector, how he based the score of a performance on the novel and the reaction of the performers to the technique. He also talks about the ways he wants to influence the audience and about race in performance.

The article reviews reality television (TV) shows including the "Faceoff" and "Jim Henson's Creature Shop Challenge," offers information on the Annual Entertainers Camp to be held in Columbus, Ohio on May 3, 2014, and discusses the museum construction of the Center for Puppetry Arts in Atlanta.

The article examines the difference between puppeteers and ventriloquists in the U.S. It mentions that while ventriloquists are enthusiastic in performing at almost anytime or anyplace, puppeteers prefer to perform at the right time with a show that needs more stage set up and lighting. It also notes that ventriloquists and puppeteers do similar jobs in making inanimate things come to life.

The article presents the comments of puppeteer Carroll Spinney on his life and works. Spinney, a Massachusetts native and Connecticut resident, says everything he is doing he dreamed of doing. Spinney gave his first puppet show when he was 8-year-old. Spinney reported that as a child he was very insecure with fellow children.

The article talks about puppet theater in which its primary purpose is to entertain people of all ages. Topics include humor which is the common denominator of this artistry, the building or making of puppets as an instrument for the entertainment service and to be a performer is the most important trait of a puppeteer.

Several letters to the editor are presented in response to the question asked on what words of wisdom should be given to someone just starting out on a career as a professional puppet performer?

The article focuses on the works of puppeteer and businessman John Payne in Asheville, North Carolina. Payne is known for his steel dinosaur puppet creations and massive kinetic sculptures exhibited as science museums. He also organized an exhibition which showcased the works of other local artists. Payne died on July 17, 2008.

The article features the commitment of the Puppet People in entertaining and delighting audiences with their puppet shows throughout the U.S. The group is established by Mark Carrigan and Michelle Smith-Carrigan with the aim of using their passion for puppets in giving people a reason to laugh and enjoy. They have performed various entertainment events using different styles including rod puppets, body puppets, marionettes and hand puppets.

The article focuses on the life and career of Velma Dawson, an American artist and creator of puppet Howdy Doody which was featured in national television show titled "Howdy-Doody Program." It discusses the career development of Velma as a puppeteer, as well as the creation of the puppet. Velma ended her showbiz career during the early 40s and focused on interior designing when she married John Dawson. She died on September 25, 2007.

Focuses on the career of gay puppeteer, Matt Scott. Career history; Skills of Scott for puppetry; Passion of the gay puppeteer for puppetry.

Profiles writer and puppeteer Peter Wynne-Wilson. Career history; Achievements; Role of Wynne-Wilson in the Writing Together Challenge in Great Britain.

Features the late puppeteer Peter Baird. Career background; Views of fellow puppeteers on Baird.

This section offers news briefs from West Coast Puppetry Guilds in the U.S. It notes that puppeteer and director, Sam Koji Hale met with the Orange County Guild of Puppetry to discuss developments on his live-puppetry film, "Yamasong: March of the Hollows." It mentions several projects and shows of the Great Arizona Puppet Theater (GAPT) including "The Little Red Hen," and "The Night Before Christmas." It cites the launching of the Northwest Puppetry Center at an old church in Seattle.

The article discusses the Sesame Place in Langhorne, Pennsylvania which is looking for talented performers to bolster its roster for the 2018 season. It states that Sesame Place is the only theme park in the U.S. which is fully devoted to the classic kids' television program “Sesame Street” and is a perfect place for people with talents.

The article offers the author's reflection on his life as a puppeteer. The author shares his encounter with a young girl that made him realized how lucky he is being in a profession where he can still perform despite the old age. He also believes that when people get pleasure from their work they can help them feel young.