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THE WORLD IN THEIR HANDS: The Center for Puppetry Arts’ creative African-American ensemble are sharing art and inclusion with international audiences

ATLANTA VOICE — Their hands morph into talking, singing, dancing mop heads. Using recycled materials, African-American puppeteers Greg Hunter and Jimmica Collins know how to command a performance stage, capturing kids’ and their parents’ hearts with each gesture. It’s literally all in the hands, too.

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Atlanta-based artists Greg Hunter and Jimmica Collins on set for the Center for Puppetry Arts’ 2019 production of ‘Beauty and the Beast.’ (Photo: Reginald Duncan / The Atlanta Voice)

By Candace Dantes

Their hands morph into talking, singing, dancing mop heads.

Using recycled materials, African-American puppeteers Greg Hunter and Jimmica Collins know how to command a performance stage, capturing kids’ and their parents’ hearts with each gesture.
It’s literally all in the hands, too.

“The process starts with the puppet,” said Collins, 27, who is starring as Beauty in Atlanta’s Center for Puppetry Arts’ rendition of “Beauty and the Beast.” “I find my voice, which this puppet’s voice is fun with sass. Then, I work on movements.”

Beauty’s groovy Mama is played by Hunter, who naturally draws from everyone’s Southern hairdresser, aunts, cousins and friends, to develop the urban-dwelling character.

The two puppetry artists’ leading presence in this 2019 summertime love tale signifies a cultural shift in who exactly is telling the world of puppetry’s stories.

African-Americans playing prominent roles both on the stage and behind the scenes isn’t taken lightly at the center — America’s largest nonprofit organization dedicated to the art of puppetry. It puts diversity and inclusion at the forefront of its productions and museum exhibits yearlong.

“What we do is universal,” said Hunter, also 27. “It’s not about us. It’s about bringing our puppets to life in a way that’s relatable to different cultures and people coming from different places.”

The Actors

The center’s main stage is where the magic happens.

For the past month, Hunter and Collins have given the popular musical a hip-hop spin in a puppetry style known as Czech black theater. The actors are clothed in all-black attire with a tight light only curtaining the puppets.

The two collaborate with a nearly 15-member crew of other puppeteers and stage/ musical/ lighting/ sound/ scenic designers to pull off the cleverly crafted, well-illuminated performance.

A real “quitting time” horn blows in one scene. In another, leaves actually look and sound like they’re rustling in the wind.

“From the sound to light effects, everything we perform is in sync,” said Collins, an experimental theater artist who also shows off her Baptist church singing vocals as Beauty. “Working together, we’re able to bring the puppets’ world to life.”

In fact, Beauty is so in tune with Mama that young audience members instantly laugh, turn to their own mothers and whisper, “That’s you, momma. That’s you!”

While Collins is in her fifth production at the center, this production is Hunter’s debut regarding his acting and singing chops. They both earn standing ovations and often random fist-led jumps from kid viewers.

“I play a character who says everything our moms say,” Hunter said.

Hunter said he learned of the center’s acting opportunities after participating in a Pinewood Atlanta Studios puppet-animated show called “Moon and Me.” Pinewood, located in Fayetteville, Georgia, is the second-largest purpose-built film and entertainment studio in North America and where many of the Marvel films have been filmed.

“I learned so much about how technical puppetry is,” Hunter said, “and that was something I wanted to continue. That’s how I ended up working here with such a great group of creative people.”

(Left to right) Education coordinator Liz Fagbile, teaching artist Paulette Richards and collections manager Yanique Leonard are a few creative staff members helping to tell puppetry stories in Atlanta. (Photo: Reginald Duncan / The Atlanta Voice)

(Left to right) Education coordinator Liz Fagbile, teaching artist Paulette Richards and collections manager Yanique Leonard are a few creative staff members helping to tell puppetry stories in Atlanta. (Photo: Reginald Duncan / The Atlanta Voice)

 

The Architect

While Hunter and Collins headline the main stage, Yanique Leonard ensures Big Bird and Miss Piggy are fluffed and fancy for public showcasing.

The collections manager is responsible for the care of more than 5,000 artifacts — including 500 Jim Henson puppets.

“I’m all about preventative conservation,” said the 27-year-old, afro-wearing museum professional. “I have to make sure the puppets are comfortable in their cases and in the right environment for long-term preservation.”

With a background in public history and museum studies, Leonard also conducts in-depth research to give museum visitors documented stories connected to the puppets’ creation.

She works between the archives and center’s Worlds of Puppetry Museum, which includes Jim Henson and global collections.

Visit the global collection today and view marionettes from American masterpiece and opera, “Porgy and Bess.” The 1935 Broadway production featured classically trained, African-American singers.

“It’s a cool story who we acquired marionettes Sportin’ Life, Mingo and Peter the Honey Man from the New England Marionette Opera (NEMO),” Leonard said. “NEMO was America’s only opera company performed entirely with marionettes and that staged a full puppetry production of ‘Porgy and Bess’ in 1994. Five years later, the opera burned and more than 200 handcrafted marionettes were destroyed. Fortunately, frozen weather preserved these three puppets.”

Their new home: Center for Puppetry Arts.

Sammy Davis Jr. fans will appreciate marionette Sportin’ Life, who is sculpted after the legendary entertainer and star of the 1959 film.

“I get to care for and experience puppets the average person will never see,” said Leonard. “I encourage anyone to come into this field of study if they’re passionate about culture, history and stories we need to share with our communities.”

The Authorities

Three floors up from Leonard’s puppetry archive and library, Liz Fagbile teaches youth how to build their very own puppet.

“Depending on the show style the puppetry artists are performing throughout the year, I help create puppet projects around each theme,” said the 30-year-old education coordinator. “Some of these kids are experiencing a puppet for the first time in their lives. I’m contributing to an important memory in their childhood.”

After kids finish constructing their puppets, Fagbile provides a colorful curtain for family role-playing and photo ops.
What she’s realized in this position: Puppetry has no age limit.

“For 45 minutes to an hour, the kids aren’t the only ones getting into our learning activities,” Fagbile said. “At first, adults are kind of stand-offish. I encourage their curiosity, and that helps them get involved. They instantly get in touch with their creativity — sometimes reconnecting with talents they lost along the way.”

Outside the classroom, Fagbile orchestrates outreach programming, staff scheduling and the inventory for puppetry supplies.

“I started out as a volunteer five years ago,” she said. “I fell in love with this magical place. I’ve been able to expand my knowledge of puppetry, arts and entertainment.”

Education extends further with teaching artist and docent Paulette Richards. She has served as a docent in the Worlds of Puppetry Museum since 2015. Her introduction to Jim Henson’s animatronic puppets inspired the former English professor to create her own rudimentary robots as learning tools.

“It’s funny,” Richards, 56, said. “I’m really engaged in science, technology, engineering, arts and mathematics — known as STEAM education — in a way I would have never imagined. It’s taken me in so many directions.”
Richards’ work has traveled the nation. She has taught animatronic puppetry workshops at the center, Georgia Tech’s Hollis Innovation Academy and Puppeteers of America’s National Puppetry Festival.

This past year she served as co-curator of the “Living Objects African-American Puppetry” exhibit at the University of Connecticut’s Ballard Institute and Museum. The exhibit analyzed the uncomfortable legacy of blackface minstrelsy in American puppetry.

It also highlighted the work of contemporary African-American artists who use puppetry to reflect a more authentic African-American heritage.

“The research I conduct is crucial to the types of stories we tell or have others tell about our culture,” Richards said. “I want to make sure the stories that came from Africa to our porches and are now part of theater productions are accurate and representative of us.

The Center for Puppetry Arts understands this notion and has put people of color in a position to continue to contribute to puppetry as a whole.”

This article originally appeared in The Atlanta Voice.

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COMMENTARY: The National Protest Must Be Accompanied with Our Votes

Just as Trump is gathering election data like having the FBI take all the election data in Georgia from the 2020 election, so must we organize in preparation for the coming primary season to have the right people on ballots in each Republican district, so that we can regain control of the House of Representatives and by doing so, restore the separation of powers and balance that our democracy is being deprived of.

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Dr. John E. Warren Publisher, San Diego Voice & Viewpoint
Dr. John E. Warren, Publisher San Diego Voice & Viewpoint Newspaper. File photo..

By  Dr. John E. Warren, Publisher San Diego Voice & Viewpoint Newspaper

As thousands of Americans march every week in cities across this great nation, it must be remembered that the protest without the vote is of no concern to Donald Trump and his administration.

In every city, there is a personal connection to the U.S. Congress. In too many cases, the member of Congress representing the people of that city and the congressional district in which it sits, is a Republican. It is the Republicans who are giving silent support to the destructive actions of those persons like the U.S. Attorney General, the Director of Homeland Security, and the National Intelligence Director, who are carrying out the revenge campaign of the President rather than upholding the oath of office each of them took “to Defend The Constitution of the United States.”

Just as Trump is gathering election data like having the FBI take all the election data in Georgia from the 2020 election, so must we organize in preparation for the coming primary season to have the right people on ballots in each Republican district, so that we can regain control of the House of Representatives and by doing so, restore the separation of powers and balance that our democracy is being deprived of.

In California, the primary comes in June 2026. The congressional races must be a priority just as much as the local election of people has been so important in keeping ICE from acquiring facilities to build more prisons around the country.

“We the People” are winning this battle, even though it might not look like it. Each of us must get involved now, right where we are.

In this Black History month, it is important to remember that all we have accomplished in this nation has been “in spite of” and not “because of.” Frederick Douglas said, “Power concedes nothing without a struggle.”

Today, the struggle is to maintain our very institutions and history. Our strength in this struggle rests in our “collectiveness.” Our newspapers and journalists are at the greatest risk. We must not personally add to the attack by ignoring those who have been our very foundation, our Black press.

Are you spending your dollars this Black History Month with those who salute and honor contributions by supporting those who tell our stories? Remember that silence is the same as consent and support for the opposition. Where do you stand and where will your dollars go?

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Why Black Parents Should Consider Montessori

BLACKPRESSUSA NEWSWIRE — I have found that there are some educational approaches that consistently provide a safer, more enriching, and more affirmative environment for Black children. The Montessori method, developed by Italian physician Maria Montessori and introduced to the U.S. in the early 20th century, is one such approach.

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By Laura Turner-Essel, PhD

As a mother of four children, I’ve done A LOT of school shopping. I don’t mean the autumn ritual of purchasing school supplies. I mean shopping for schools – pouring over promotional materials, combing through websites, asking friends and community members for referrals to their favorite schools, attending open houses and orientations, comparing curriculums and educational philosophies, meeting teachers and principals, and students who all claim that their school is the best.

But keep in mind – I’m not just a mom of four children. I’m a mom of four Black children, and I’m also a psychologist who is very interested in protecting my little ones from the traumatic experience that school can too often become.

For Black children in the United States, school can sometimes feel more like a prison than an educational institution. Research shows that Black students experience school as more hostile and demoralizing than other students do, that they are disciplined more frequently and more harshly for typical childhood offenses (such as running in the halls or chewing gum in class), that they are often labeled as deviant or viewed as deficient more quickly than other children, that teachers have lower academic expectations of Black students (which, in turn, lowers those students’ expectations of themselves), and that Black parents feel less respected and less engaged by their children’s teachers and school administrators. Perhaps these are some of the underlying reasons that Black students tend to underperform in most schools across the country.

The truth is that schools are more than academic institutions. They are places where children go to gain a sense of who they are, how they relate to others, and where they fit into the world. The best schools are places that answer these questions positively – ‘you are a valuable human being, you are a person who will grow up to contribute great things to your community, and you belong here, with us, exploring the world and learning how to use your gifts.’ Unfortunately, Black children looking for answers to these universal questions of childhood will often hit a brick wall once they walk into the classroom. If the curriculum does not reflect their cultural experiences, the teachers don’t appear to value them, and they spend most of their time being shamed into compliance rather than guided towards their highest potential, well…what can we really expect? How are they supposed to master basic academic skills if their spirits have been crushed?

Here’s the good news. In my years of school shopping, and in the research of Black education specialists such as Jawanza Kunjufu and Amos Wilson, I have found that there are some educational approaches that consistently provide a safer, more enriching, and more affirmative environment for Black children. The Montessori method, developed by Italian physician Maria Montessori and introduced to the U.S. in the early 20th century, is one such approach.

The key feature of Montessori schooling is that children decide (for the most part) what they want to do each day. Led by their own interests and skill levels, children in a Montessori classroom move around freely and work independently or with others on tasks of their own

choosing. The classroom is intentionally stocked with materials tailored to the developmental needs of children, including the need to learn through different senses (sight, touch/texture, movement, etc.). The teacher in a Montessori classroom is less like a boss and more like a caring guide who works with each child individually, demonstrating various activities and then giving them space to try it on their own. The idea is that over time, students learn to master even the toughest tasks and concepts, and they feel an intense sense of pride and accomplishment because they did it by themselves, without pressure or pushing.

I think that this aspect of the Montessori method is good for all kids. Do you remember the feeling of having your creativity or motivation crushed by being told exactly what to do, when to do it, how to do it, and why? The truth is that when presented with a new challenge and then given space, children actually accomplish a lot! They are born with a natural desire to learn. It is that spirit of curiosity, sense of wonder, and excitement to explore that Montessori helps to keep alive in a child. But that’s not the only reason that I think Black parents need to consider Montessori.

Fostering a love of learning is great. But more importantly, I think that Montessori students excel at learning to love. It begins with Montessori’s acknowledgement that all children are precious because childhood is a precious time. In many school systems, Black children are treated like miniature adults (at best) or miniature criminals (at worst), and are subjected to stressful situations that no kids are equipped to handle – expectations to be still and silent for long periods, competitive and high-stakes testing, and punitive classroom discipline. It’s easy to get the sense that rather than being prepared for college or careers, our children are being prepared to fail. Couple this with the aforementioned bias against Black children that seems to run rampant within the U.S. school system, and you end up with children who feel burned out and bitter about school by the time they hit 3rd grade.

In my experience, Montessori does a better job of protecting the space that is childhood – and all the joy of discovery and learning that should come along with that. Without the requirement that students “sit down and shut up,” behavioral issues in Montessori classrooms tend to be non-existent (or at least, the Montessori method doesn’t harp on them; children are gently redirected rather than shamed in front of the class). Montessori students don’t learn for the sake of tests; they demonstrate what they’ve learned by sharing with their teacher or classmates how they solve real-world problems using the skills they’ve gained through reading, math, or science activities. And by allowing children a choice of what to focus on throughout the day, Montessori teachers demonstrate that they honor and trust children’s natural intelligence. The individualized, careful attention they provide indicates to children that they are each seen, heard, and valued for who they are, and who they might become. Now that’s love (and good education).

As a parent, I’ve come to realize that many schools offer high-quality academics. Montessori is no different. Students in Montessori schools gain exposure to advanced concepts and the materials to work with these concepts hands-on. Across the nation, Montessori schools emphasize early literacy development, an especially important indicator of life success for young Black boys and men. Montessori students are provided with the opportunity to be

successful every day, and the chance to develop a sense of competence and self-worth based on completing tasks at their own pace.

But I have also learned that the important questions to ask when school shopping are often not about academics at all. I now ask, ‘Will my children be treated kindly? Will they be listened to? Protected from bias and bullying? Will they feel safe? Will this precious time in their lives be honored as a space for growth, development, awe, and excitement? Will they get to see people like them included in the curriculum? Will they be seen as valuable even if they don’t always ‘measure up’ to other kids on a task? Will they get extra support if they need it? Will the school include me in major decisions? Will the school leaders help to make sure that my children reach their fullest potential? Will the teacher care about my children almost as much as I do?’

Consistently, it’s been the Montessori schools that have answered with a loud, resounding ‘Yes!’ That is why my children ended up in Montessori schools, and I couldn’t be happier with that decision. If you’re a parent like me, shopping for schools with the same questions in mind, I’d urge you to consider Montessori education as a viable option for your precious little ones. Today more than ever, getting it right for our children is priceless.

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LIVE from the NMA Convention Raheem DeVaughn Says The Time Is Now: Let’s End HIV in Our Communities #2

Set against the backdrop of the NMA conference, Executive Officers from the National Medical Association, Grammy Award Winning Artist and Advocate Raheem DeVaughn, and Gilead Sciences experts, are holding today an important conversation on HIV prevention and health equity. Black women continue to be disproportionately impacted by HIV despite advances in prevention options. Today’s event […]

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Set against the backdrop of the NMA conference, Executive Officers from the National Medical Association, Grammy Award Winning Artist and Advocate Raheem DeVaughn, and Gilead Sciences experts, are holding today an important conversation on HIV prevention and health equity.

Black women continue to be disproportionately impacted by HIV despite advances in prevention options. Today’s event is designed to uplift voices, explore barriers to access, and increase awareness and key updates about PrEP, a proven prevention method that remains underutilized among Black women. This timely gathering will feature voices from across health, media, and advocacy as we break stigma and center equity in HIV prevention.

Additional stats and information to know:

Black women continue to be disproportionately affected by HIV, with Black women representing more than 50% of new HIV diagnoses among women in the U.S. in 2022, despite comprising just 13% of women in the U.S.

Women made up only 8% of PrEP users despite representing 19% of all new HIV diagnoses in 2022.

● Gilead Sciences is increasing awareness and addressing stigma by encouraging regular HIV testing and having judgment-free conversations with your healthcare provider about prevention options, including oral PrEP and long-acting injectable PrEP options.

● PrEP is an HIV prevention medication that has been available since 2012.

● Only 1 in 3 people in the U.S. who could benefit from PrEP were prescribed a form of PrEP in 2022.

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