New Haven, Connecticut looks to be on Irene's agenda this weekend. This'll be my first hurricane as a coastal resident. I've got to take at least one trip down to the sea before things get too wild, then I'll burrow down with some projects and poetry. Starting with this.
I can tell by the way the trees beat, after
so many dull days, on my worried windowpanes
that a storm is coming,
and I hear the far-off fields say things
I can't bear without a friend,
I can't love without a sister
The storm, the shifter of shapes, drives on
across the woods and across time,
and the world looks as if it had no age:
the landscape like a line in the psalm book,
is seriousness and weight and eternity.
What we choose to fight is so tiny!
What fights us is so great!
If only we would let ourselves be dominated
as things do by some immense storm,
we would become strong too, and not need names.
When we win it's with small things,
and the triumph itself makes us small.
What is extraordinary and eternal
does not want to be bent by us.
I mean the Angel who appeared
to the wrestlers of the Old Testament:
when the wrestler's sinews
grew long like metal strings,
he felt them under his fingers
like chords of deep music.
Whoever was beaten by this Angel
(who often simply declined the fight)
went away proud and strengthened
and great from that harsh hand,
that kneaded him as if to change his shape.
Winning does not tempt that man.
This is how he grows: by being defeated, decisively,
by constantly greater beings.
This is a photograph by Gregory Colbert. Years ago his photos of people with animals were all over the commuter trains to New York. You could stare at them the entire trip and become lost. They were part of a traveling exhibition called Ashes and Snow. I'm so glad to see it is still going, and the website has expanded into an audio/visual/video experience. I'm putting in the permanent link list, I hope you visit.
As promised, the giant puppet "tutorial" in one giant post. Are you ready?
There are lots of ways you can make a big puppet, and lots of ways you shouldn't. I discovered a few of both during a recent build. I also found some fixes to my mistakes, so you can use this as a companion guide to your own build. For more thorough resources on the web try the Puppeteers Cooperative's 68 Ways to Make Really Big Puppets, and the Hillsborough Arts Council parade puppet instruction site. Most importantly, like all puppets, you can start with traditional methods, but it usually comes down to doing what works for that particular puppet because with so many variable factors, they all have a unique mind of their own. Puppet building takes a willingness to experiment and make mistakes, and the ability to change course depending on what unfolds.
I've built giant animal puppets for large groups of puppeteers to operate together, but I'd yet to build a traditional upright human puppet with the back pack system for one person as famously used by Bread & Puppet, and I've wanted to try one for a long time. I envisioned a fleshed out conical body, not just hanging fabric you often see on parade puppets. I wanted it over 10 feet tall.
With 2 weeks to build before the scheduled performance, I decided to use an existing big papier mache head I'd built spontaneously several years before. The head was a bit heavy, about 2 feet tall with a chicken wire armature and lots of paper layers (straight up flour and water and newspaper mix). But I'm strong and in good shape, so I figured I could take it for a 2 hour performance.
I'm also pretty bent on using existing materials. This is what I'd gathered up from around my house including the head:
OK, so half of this wasn't from around my house, including the walker and ratan. Let me tell you about the walker...
Ultimately, I wanted a metal frame backpack like you're suppose to use. I'd been trying to score one for years at the Goodwills, but no luck. In desperation this time, I looked around for anything similar. One thing that was plentiful were old walkers, and they too were light weight and super strong metal frames. And turned upside down, they had four hollow channels to insert poles into if desired. With a little padding and added straps, how could this not work? This was BRILLIANT! For six bucks I brought home a revolutionary idea in giant puppet building. (Well we'll see about that.)
The other acquired material was ratan. I'd seen my co-builder Jen on Luna's Sea use it for her seahorses and giant angler fish. I needed to stay as light as possible to compensate for the heavy head, so off to the ratan supply store, I picked up some bundles, and on the advice of the store owner, a 10 foot ratan pole for the spine instead of bamboo as is traditionally used. (Keep this point in mind.)
I began work, starting with the ratan torso. I'd watched Jen make elaborate and well planned jigs to shape her structures, by wetting the ratan and letting them dry around the nails. I, being not so planning-oriented, figured I'd wing it. Using cord and fabric strips I tied the wet ratan into basic S shapes. I measured nothing.
This did work, the ratan took on the new form beautifully. That was exciting. I began "sketching" out a torso by free-form gaffer-taping the ratan together. Again, no measuring. I ended up with something that looked pretty good and sturdy, though very flexible. It seemed the tape alone even was good enough.
Knowing I'd want something to sew the costume onto, I took eggshell bedding foam, and cut to shape over the ratan like skin, using fabric glue at the seams. I do not have a photo of this, because I quickly realized this was no good. The tightening of the thick foam over the ratan torqued it, because my ratan was too thin and not structured enough, and, I then realized, completely asymmetrical because eyeballing it was not enough. I ended up with a giant, lumpy gob of a torso. No amount of fabric could hide it, and it probably wouldn't fit in my car to transport, a factor I'd forgotten to consider.
Back to the drawing board and time ticking, I decided I didn't have time enough to learn proper ratan. I went to an old hoop skirt abandoned from a giant octopus project. This time I pre-planned out the steps starting with a solid foundation.
I got a wooden board for shoulders and drilled a big hole for the spine pole to fit through, and two more holes at each end where the arms would attach. I hung this from my ceiling with a pulley system, to make the work easier. This was a huge help. Then I draped the hoop skirt over the board. Not feeling there was enough volume in the chest this way, I added 2 white flexible PVC plumbing tubes, which I attached onto the boards by wiring them down through drilled holes, with wood glue for extra hold. Then I gaffer taped them to 4 spots on the hoop skirt. This also gave more stability to the hoop skirt which has a lot of swing. This time I measured everything, the length of the tubing, where they attached on the boards and the skirt, down to the millimeter.
Next, scraps of foam staple gunned down to bulk out the shoulders and hide the shape of the rigid board.
Then I sewed thin foam panels around the upper torso (not the bulky eggshell this time), just enough to prevent fabric of the eventual dress blowing against the hard shape of the tubing.
Here I put the head nearby to see how my head-to-torso proportion was doing. Another challenge in making a big puppet, especially when you're in a small space, is getting a complete view of the whole. It's probably best to build outside when possible. The puppet being taller then my room, I resorted to laying out all the pieces on the floor and climbing on a ladder to get a distant enough view to tell me how my proportions were, and that still wasn't always a good gauge.
Hoisting the torso up on the pulley, and getting to work on the ladder, I started draping some disassembled Goodwill dresses and other scrap fabric onto the form, using just pins as I continued adjusting until I got the effect I wanted.
Once all was pinned in place, I put the body over the ladder so it would be steady as I hand sewed the fabric on. The upper part of the dress sewed directly onto the foam and stapled onto the board at the top, the under skirt stitched onto the lowest hoop in the hoop skirt.
The body now well on its way, I went back to that walker.
The walker needed shoulder straps, to start. I'd tried some heavy cotton straps, but in order to put on, it needed to be lose to get into, then tightened once on. I realized an old regular back pack would do the trick, and just rebuckled its straps onto the walker. Then I added hollow foam pipe insulation anywhere the metal would contact my back. Then I gaffer taped the rattan pole on, just to see if it would work, and went for a test run outside with just the head on the top of the pole.
Terrible! The head was so top heavy, the rattan pole so flexible, and the walker so unsecured to my back that the whole structure kept bending and tipping side to side, nearly taking me with it. Modifications desperately needed. First, I shortened the rattan pole by a foot, (taking the full puppet from 12 to 11 feet tall), then drilled a piece of wood onto the walker as a third crosspiece to attach the ratan spine to. Then I gaffer taped the backpack onto the walker, and added 2 leather belts to go around my waist and chest, anchored onto the bottom 2 rungs of the walker with- you guessed it: gaffer tape.
But the second test run with the head was not much better, it still swayed far too much to be safe, and endangered my back. It was clear the ratan was not the material for the spine. Bamboo has far less flexibility and would have been the right choice. With just one 6 foot piece of bamboo at hand (too short to replace the ratan), I gaffer taped that to the ratan just up to where the shoulders would sit. That did it. The third test run was tolerable, though I still was in for a workout for my back during the 2 hour gig and adding weight. But I was out of time to replace the ratan altogether.
Now, how to get the body on, and keep it on the pole at the right level?
I found these two shelf brackets, thinking I'd use them temporarily for a test run with the body. But gaffer taped on, they actually did really well holding the shoulder board up, so they stayed. No need to even attach onto the shoulder board, it stayed right where it needed to because of the foam in the body, and could easily come off for travel. Just some foam taped over the sharp ends for safety.
And here is the full back pack structure. Almost as tall as my ceiling while sitting on the ground. Time to go out for another test run, but first a break to sit down and do some less intense decorating.
The giant white head as it was, with torn and tied cotton strips for hair, and a silver crown cut from an insulation sheet. As much as I love all white sculptures, this will need color to make a splash, and I'm going with a sea theme.
I got the hair simmering in a dye pot on the stove with blue and green mix Rit dyes. Then with acrylic and sequins, did up her face.
Then I rough cut 2 very simple hand shapes out of 4 inch thick blue foam insulation, with minimal low relief paper mache sculpting so it would dry fast, because time was ticking. Then outside for another test run. One clearly-too-long arm in place (simply 2 lengths of pool noodles thread with rope, thickened with bubble wrap taped around, and tied to the hole in the shoulder board.) BUT, it was all working this time, however scrappy so far.
Last I added the lower skirts, a patterned green sheer that would act as a scrim, so that I could see out but hard for people to see in. I left a window at face level, and lined the rest of the sheer with metallic silver to hide my body. Chopped some length off the pool noodle arms, and painted the hands. I stuck thin, 5 foot bamboo poles into the bottom of the hand, almost straight in, near where the rope is tied to make a wrist. I cut small slots in the underskirts for the poles to go through, from my hands to the puppet hands. This was always awkward, and I have to research more solutions. Or maybe this is just big puppet awkwardness.
And with some glitter seaweed added to her crown...
...we were ready to go! Jen's angler fish from Luna's Sea was going to be her companion, great because this was a street fair and not a passing parade, we needed a shorter and more agile puppet to connect to the smaller people in the crowd. Off we went, packed up good for the 1 hour highway trip to Torrington.
Here she is assembled and waiting in the alley. She'll get another 3 feet taller once I'm strapped inside. Getting her on takes a big wall like this, a strong helper like Jen, a good back, and roller derby leg muscles.
And here she is up and performance ready. My head is right at the top of the the lime green fabric.
The giant and the angler on the fair midway:
This was a challenging 2 hours inside the giant. I was lucky there was not a lot of wind, as on her own she was a constant fight to keep upright. My back was never not correcting side to side, and forward to back swaying. As I got more confident, now and then I'd lean forward and kneel down, to connect with kids, but this was an extravagant move my muscles paid for the next day. Having never been in one of these with a properly built back pack system, I don't know close this is to normal strain. But I'd definitely suggest trying to score a frame back pack! The walker I think still has a lot of potential for some other forms of puppets, but I wouldn't go with it for another one of these.
No matter how challenging the build (this ended up taking me a week of full time work), the reward is always in the performance. One more video, this time from the inside.
Another thing I've wanted to try making forever, and it was trickier then I thought. I started working on a paper doll of my friend and go-go partner Dot Mitzvah more then two years ago, and finally finished it for her tonight. So much trial and error! My studio was covered with little paper bits this week.
Making pictures for no reason on anything nearby cultivates a real joy of drawing. This was the craft paper packaging from one of the ink on wood paintings I sold at Koffee. Sharpee markers and a white out ink pen.
My derby sister Wender Bender took this shot of our fellow rollergirl Faith this week, when we were having a skate-a-thon on a go-kart track. It says so much with so little.
A walk in my favorite place in New Haven, Edgerton Park, always brings messages from the more subtle worlds, answers to pressing questions, and a peacefulness as still as its mirror fountain. Last week there I met a small brown praying mantis. Maybe only the third I've ever run into in my life. I filmed him (or her) with my iPhone (below). The quick turn of its head when I get too close cracks me up.
Some animal encounters feel more meaningful then others. When they do, I try to figure out their qualities that I might benefit from by developing in myself by reading scientific entries as well as spiritual ones. I found this on a shaman practitioner's site: "
I considered the attributes of the Praying Mantis – devotion, stillness, patience and Divine Timing. A Mantis waits motionless for its prey to draw near and then strikes with impeccable speed and accuracy. Mantis knows what Mantis wants and is willing to wait for just the right time before making a move."
She has a lot more to say about praying mantises, but this part was most relevant to the reason I was at the park that day. The mystical marriage is an alchemical reference:
Another expression of the Mystical Marriage is the integration of the spiritual and mundane life or the inner and outer worlds. We all have busy schedules and for many spiritual goals and ideals are put right at the bottom of the to-do list. When things get busy it is easy to skip our yoga or meditation class and forget that we promised ourselves to give up smoking, forgive the ex or find a job that really utilizes our talents. When our daily life reflects our spiritual values, when we act and speak from our inner truth and our habits and behaviour reflect this, then we have really integrated our spiritual and mundane worlds. Some sensitive souls find the mundane world extremely difficult to live in and tend to retreat into their own private world of dreams, thoughts and visions. Whilst this can develop a deep and rich inner life, there comes a time when that richness must find an outer expression, must be allowed to bloom and add colour to one’s daily living or it will create only fantasy. The ability to realize your dreams, that is to turn them into something real, workable or solid is a good indication that your inner and outer worlds are in balance. Finding your true calling in life, where your daily work uses your talents and abilities to the fullest and where your personal beliefs, ideals and values are put into practice and reflected in those around you, shows that your spirtual and mundane lives have become one.
Thanks, little mantis, and Misha Hoo. I'll take your advice. Starting right here.
I've had only a vague memory of something I saw on TV as a kid that made a deep impression and stuck with me. Typing a few words into google: "tv show airplane bomber tire draw 80s landing" brought it right up. Amazing Stories, episode "The Mission". 1985. 26 years ago. And in 2 seconds it's on my screen on youtube. This is a miracle. Really. We take this for granted now, but this instantly accessible collective memory we've grown in such a short time is mind blowing.
A WWII bomber crew has lost their landing gear in battle. They are running out of fuel, and the gunner is stuck in the basket underneath the plane, sure to be scraped to a pulp upon landing. He's an artist, and he begins furiously drawing. They are about to shoot him him to spare him a hideous death, but he begs the captain (Kevin Costner!) to try engaging the landing gear once more and out comes 2 giant yellow cartoon wheels, big, patched and puffy. They land, Kevin Costner touches one of the wheels which blubs and sparkles. The gunner is in a trance in the basket. Understanding the tender magic at work, the captain commands silence as they gently pull out the gunner still in a trance. Safely away, they slap him awake and the wheels disappear, the plane crashes to the ground. Of course I love this. It's high 80s fantasy, when outright joy and optimism were displayed without apology. And because an artist is able to manifest his imagination through drawing (not unlike my other favorite 80s masterpiece, Xanadu.)
But, I also love it because it's not so much fantasy. Things like that happen every day. We're surrounded by the impossible happening, we just don't notice because it's so commonplace. The impossible happens when someone has such immense fortitude in their desire and belief for it. It doesn't happen when we think it can't, or when we have too many small desires dividing our attention. The gunner had only one big thought in his mind: wheels. Impending death made no room for anything but that. His imagination was completely filled by wheels.
My natural tendency to look at everything everywhere all the time (like, oh, say googling 1980s tv shows) can have its benefits, but it's a drawback when it goes unchecked. This year I'm actively working on focus, and finding a balance between being a rain storm and being a fountain at the right times, and deciding which thing I want to be a fountain for. This is an art that will take a lifetime to never perfect. But I'm keeping this clip handy to remind me.
I just added a new job description (or life description?) to the Antinomia sub header above: mermaid. I've been mermaiding so regularly, it deserves a place there. Tonight in Torrington I broke out a 3rd bag of "Big Value 400 Pack" toy plastic gold coins, which means I've given away almost 1,000 to about 1,000 kids since New Year's Eve.
Being a silent mermaid statue provides plenty of time for observation and reflection, and I'm learning a lot. People put lovely and interesting things in my box- the money is nice but even nicer are thoughtful offerings like painted shells, mermaid earrings and hershey kisses. Inevitably something strange I never could have expected happens with every outing. Tonight I found myself at the center of a performance by what seemed like 100 dancers at a street festival. Did they choreograph knowing I'd be there? Was it a glitch in performance booking they had to work around? I don't know, but the view of a sea of joyous kids rotating around me like the Kaaba is a vision I won't forget. And burned into my heart is Stevie, a little girl who kept returning to Luna's Sea, the last time dressed as a mermaid with a doll she'd named Luna in hand. I've had some of the best and deepest conversations of my life with Stevie, with just a few spoken words exchanged.
Below: now that I've made a dressing room out of an alley, and a make-up table out of a garbage can, does that officially make me a street performer? (I hope so.) Below below: it was such a beautiful day, I made an outdoor studio on my porch to work on tail maintenance.
A seasonal trip home to Vermont, which included the now mandatory porch lunch with my mum at Harlow's farm, because they have a good gluten free selection, including incredible chocolate chip cookies. I love it there so much! I found an intriguing manure wagon with puppet potential on the way, did some weeding in mum's lovely garden (which is full of queenly cleomes now), watched an old movie with uncommon dialogue, caught a big beetle, paid my respects to Lady Chair between the trees (almost gone now), and paid a visit to a pretty little mermaid statue on the way home.
If you have enough dilemmas, sometimes they'll solve each other. This giant marching bass drum has been an obstacle: too big to store anywhere, too awesome to give up. The living room was also lacking a coffee table. Voila! Bass drum coffee table. The glass from a porch table fit just right as a top, and everyone is enjoying laying around the new fixture, which can be picked up anytime for spontaneous marching band incidents.
The second floor was taken over as a three-room work-room for the last half year, first with Luna, then assorted art shows, and most recently, (which made even walking through nearly impossible): giant puppet building. This is the first week since February I've had a break from projects to be able to put it back in order. I've missed the giraffe, the zebra, and the beautiful refinished floor, which survived the abuse. My two most kick ass sewing machines have even found a place they can be constantly admired. For some reason I can't yet take down the list of puppet tasks for Luna still on the living room door. I think I need to keep at least one toe dipped in the pool of chaos. Too much order makes me uneasy.
My first go-go partner and fellow puppeteer of aquatic persuasions, Kim Mikenis, got married to her sweetheart Kevin last Friday at the Mystic Aquarium. Someone caught the mariachi band serenading the beluga whale, this video is quite marvelous:
The giant puppet I've been working on all week was set loose on Torrington, CT last Thursday. She was so troublesome! I thought I had the construction well planned in my mind, but the execution was mistake, correction, mistake, correction, with every step. (I'll post a how-to of the process, including the how-not-to parts.)
I wore her for a painful 2 hours at the street fair, while Jen McClure, my co-puppet builder, wore the Angler fish she made for Luna's Sea, which breathed bubbles. This was a whole new experience, trying to connect with people while being completely hidden in a puppet with limited articulation. These giant puppets are really meant to be quick-big-splash parade puppets, not one-on-one interaction puppets. But I was determined, and sacrificed my back to kneel down and bend forward so kids could high-five me. That was successful for the most part, other then for my back!
But she more satisfied my desire to make ornate tents, and my inclination continues to be that some smaller puppet happening goes on within her, as if her skirt is a proscenium. There's lots more to be worked out with that.
One amusing coincidence: I spotted my book, Magic Hoofbeats, in a rack through my skirts. It was the stall of two lovely Barefoot Books ambassadors, Melanie Cote and Marsha Miles, who took these first two pictures.
Even though I couldn't teach giant chicken puppet building at Common Ground camp this year because of Luna, I still ended up making giant puppets, this time for the weekly Torrington street fair. I try to get out, but the giant puppets keep pulling me back in. Here's me in an 11 foot sea-spirit-in-progress stepping out into the world for the first time yesterday. My tiny feet are comedic. More to come on her, she's been a demanding lady.
The front and full interior of the Peaceable Kingdom glow in the dark birthday card. They're placing this on an existing background and adding glow ink. I can't wait to see this.
Some fairies for the Peaceable Kingdom glow birthday card. These came out bright and cheerful even despite the sleepless 40 hour painting marathon after a flash flood wiped out my original. Ouf.
I've been spending way a lot of time making promo videos for Luna's Sea. The show has its own YouTube channel now, Giant Pink Octopus. (I like to pretend I pawn all this work off onto my puppet cast, I feel somehow less overwhelmed!) Here is a new one, much better then the first. I still have a lot to learn, but I'm enjoying figuring these out.
We aren't selling as many tickets as expected, but the reaction from our audience is far beyond what I'd dared hope for. The kids have been completely engaged for all 40 minutes, which I wasn't sure was possible for such a broad age range. I'm getting emails from parents saying their children keep talking about Luna. I'm busting butt to keep this show alive, because I know it's got the wings to fly.
