pu p p e t e e r s am e r ci a b t e n - 2014 · 3.) place a first class stamp on the envelope. 4.)...

DAVID STEPHENS

Please take the time to vote!Voting is easy: 1.) Make your choices for the Board and mark the BALLOT.

2. Cut out the BALLOT and place it in an envelope.

3.) Place a First Class stamp on the envelope.

4.) Address the envelope to:

Puppeteers of America ElectionsPO Box 128Cedar Mountain, NC 28718

BALLOTS MUST BE POSTMARKED BY MAY 31, 2014Adult, Senior, University, Youth and Company classes can cast ONE Ballot. Couples and Family with two adults can cast TWO Ballots. Any reasonable copy of the Ballot is acceptable for the second vote and can be included in the same envelope.

Please note that ALL ballots are removed from the envelopes be-fore counting. The names or numbers on the envelopes are used ONLY to verify that your membership is current

Puppeteers of America, Inc. Board of Trustees BALLOT - 2014

PAMCORCORAN

JENNIFERSTOESSNER

KATPLEVIAK

RICKSTROT

You may vote for up to three candidates.

Email Ballots will be accepted.Email to:

[email protected]

Put BALLOT in the SUBJECT line.

List THREE candidates of your choice in the body.

You must include your name and membership number in the email.

Please mail BALLOT by MAY 31, to:Puppeteers of America ElectionsPO Box 128Cedar Mountain, NC 28718

PuPPeteers of AmericA BoArd of trustees

election newsletter - 2014

Email Ballots will be accepted.Email to: [email protected] the word BALLOT in the SUBJECT line. List three candidates of your choice in the body.

You must include your name and membership number on the envelope or in the email. Thank You.

IMPORTANT!!!! Write your name and membership number on the envelope. They will be used to validate your ballot.

Envelopes without member’s names or numbers cannot be counted.

Your membership number can be found on the mailing label on the ballot envelope.

CLARISSALEGA

NomiNatiNg Committee

The Nominating Committee, led by Nancy Clarke & Adrain Rose Leon-ard, Co-Chairs, with Brandi Hoffna-gle-Stephens, Jo Ann Kaminsky and Sunny Birkland has presented a slate of six excellent candidates to fill three Trustee positions on the Board. Thanks for a job well done.

PAM CORCORAN - Stevens Point, WisconsinPam started Corcoran Puppets almost 30 years ago after studying puppetry with Dorlis Grubidge and Heather McPherson at the University of Wisconsin - Oshkosh. In addition to building and performing shows she conducts artist-in-residence programs for all ages and abilities.

She has served as membership chair, programming chair, newsletter editor and president for Wisconsin Puppetry Guild. She was workshop coordinator for the PofA Re-gional 2000, and has helped coordinate and participated in Day of Puppetry events, and is currently serving as President of the PofA Board of Trustees.

She is a frequent guest artist with Eulenspiegel. Pam and husband, Tim, live with an assortment of pets - including dogs, cats, chickens, and sheep (felting materials!).

CLARISSA LEGA - Centerville, TennesseeClarissa Lega is Producer/Designer and Founder of Wood & Strings Theatre, a 25 year national puppet touring com-pany, located outside of Nashville, Tennessee. She is presi-dent of Artistree, Inc., which manages W&S, employs pup-peteers, builders, actors, and musicians, and designs and coordinates events for all the arts. Their annual tours per-form at arts centers, theaters, museums, colleges, fairs, and schools. Highlights among these are National Geographic in Washington D.C., Detroit Institute of Arts, and Tribeca Performing Arts in New York. The company has been com-missioned to build special puppets and productions for the Nashville Ballet, Nashville Public Library (now producing an International Puppetry Festival), Big Idea Entertainment (VeggieTales) and Dollywood USA. Clarissa has a BA de-gree in Theatre from Florida Atlantic University. She has been nominated twice for the Tennessee Governor’s Award for the Arts. She is a native of Colombia, South America.

KAT PLEVIAK - Chicago, IllinoisKat Pleviak has been a professional puppeteer and member of PofA since 2002. Currently, Kat serves the PofA as a board member, and is on the Archival and Scholarship commit-tees. She has an MFA In Youth Theatre and Puppetry from the University of Hawaii, Manoa (2009) and is the founder and Artistic Director of Sea Beast Puppet Company whose original puppet works include “The Shadow Puppet Con-spiracy”, “The History of Light” and recently, “Méfiez-Vous de la Vache-Garou” which won best in show at the Chicago Fringe 2013. Kat’s work has been seen at several festivals including Chi-cago Humanities (2014), Chicago Improv (2013 &14), Pot-latch Puppetry Festival (2009 &11), Port City Puppet Festi-val (2010), Illinois Story Telling Festival (2009 &10), O’Neill National Puppetry Conference (2013), and the UNIMA Congress (Perth, 2008). She has been published in the Puppetry Journal and is editor of the column “Time Machine.” and was a featured artist in Puppetry International’s issue of “40 under 40.” Kat is an ac-tive member in the Chicago Puppetry Guild. She very much hopes to continue serving the PofA for years to come.

DAVID STEPHENS - Atlanta, GeorgiaDavid Stephens’ life-long fascination with the art of pup-petry was sparked by watching Jim Henson’s Muppets. He began making his own puppet creations as a teenager. After obtaining his MA in Puppet Arts from the University of Connecticut in 2001, he created All Hands Productions. David manages a hectic tour schedule, and is also a pup-peteer on Sesame Street, performing ‘Anything’ Muppets. In 2008 and 2009, David was a featured puppeteer in “Jim Henson’s Emmet Otter,” a musical adaptation co-produced with Goodspeed Musicals. In 2004, Stephens’ “Billy Goats Gruff and Other Stuff” was awarded a UNIMA Citation of Excellence. In 2008, he received a grant from the Henson Foundation for “The Reluctant Dragon,” which had its de-but at ‘The Carriage House’ in 2012, and was awarded “Best Script Writing” at the 2013 Puppet Festival (r)Evolution held at Swarthmore College. David is grateful to the PofA, which he joined in 1992 at the age of 15, for exposing him to a broad range of global puppetry and for introducing him to his life-long puppetry mentor, Terry Snyder.

JENNIFER STOESSNER - Springfield, MissouriJennifer Stoessner is a puppeteer, playwright, actor, and educator. Her puppetry experience includes a season with Madcap Productions Puppet Theatre in Cincinnati, internships with Theodora Skipitares and the Jim Hen-son Foundation, and participation in the O’Neill National Puppetry Conference.

In addition to writing articles for the Puppetry Journal and Puppetry International, she has contributed chapters to the books Kermit Culture and The Wider Worlds of Jim Henson.

Originally from Cleveland, Ohio, Dr. Stoessner currently lives in Springfield where she teaches theatre at Missouri State University. Her present project is a puppetry and dance piece featuring eight dancer/puppeteers and mov-ing colored shapes.

RICK STROT - Waco, TexasRick Strot is a Senior Lecturer in the School of Education at Baylor University in Waco, Texas, where he directs the Eng-lish as a Second Language program. He has served as the POA Southwest Region Director for the past six years.

He teaches classroom puppetry techniques in his education courses and performs in local schools and museums with WareHouse Puppets. His inspiration for puppetry in edu-cation came from his work with Nancy Renfro in Austin, Texas, during the 1980s.

Rick has 18 years of experience as a bilingual elementary classroom teacher and is completing his second decade at Baylor University as a teacher educator. He served as a Peace Corps Volunteer in Colombia and currently directs the Baylor Education in Costa Rica study abroad program.

CLARISSA LEGA - Centerville, Tennessee

1. What do you think is the most important issue facing Puppeteers of America right now?

The organization has a good track record of uniting people with a passion for the art of puppetry. What is missing is greater outreach to a broader audience. The world becomes aware of puppetry when a “Lion King” or “War Horse” hits the news. Little attention is given to the hundreds of thousands of instances when puppetry is being used in live

PAM CORCORAN - Stevens Point, Wisconsin


The legal and organizational documents need to be re-writ-ten and approved by the membership so that P of A is up-to-date on current non profit regulations. This will allow PofA to apply for funding from foundations, to pursue a legacy program, and to be compliant with current laws gov-erning non profit organizations.

2. Which of PofA’s procedures or services needs to be improved or changed?

Now that PofA has an Executive Director, the organiza-tional tools, such as the Procedures, need to be exam-ined and revised to concisely reflect the mission and re-sponsibilities of committees and appointed positions.

3. What specific new projects might the P of A pur-sue, or which on-going projects need more emphasis?

Once legal paperwork is in order, major fundraising can be implemented for supporting Festivals, promoting puppetry to the public, providing support to guilds, and continuing to provide services to members through publications and the website.

4. What special abilities or skill are you able to bring to the job of Trustee?

I bring three years of experience on the Board of Trustees. PofA is at a time where continuity will help keep us mov-ing forward. I am a good listener, and I am good at problem solving.

5. In the next few years, which is the single most important service the P of A needs to provide for puppeteers? Actually, I would like to see us embrace the question, “How are my dues being used to promote the art of puppetry?” By promoting the art of puppetry to the general public, we can increase the job opportunities for working puppeteers, bring more high quality puppet shows to puppet enthusi-asts of all ages, and increase effective use of puppetry in schools and libraries.

performances, movies, and even the production of video games and animation. The more we tell the world the form is alive and vibrant, the more people will seek out experi-ences with Puppetry.


PofA should be taking a more active role in promoting the art of puppetry in the general media. PofA should seek oth-er publications or media for the dissemination of puppetry information. The UNIMA and PofA magazines have won-derful articles on the form and these should be sent out to other media to broaden the sphere of awareness. Secondly, the awareness of the Regional and Annual Puppetry Festi-vals needs expanding. Attendance by the general popula-tion does not seem to be a focus of these events. The more audiences the festivals can attract from the communities that host the events, the more they will gain in appreciation of the astounding artists that are featured.

3. What specific new projects might the P of A pur-sue, or which on-going projects need more emphasis?

Everyone has a special place in their hearts for their experi-ences with puppets. Could there be puppeteers in our ranks that could connect us with the larger entertainment world? Are there writers who know lists of publications that would welcome “behind the scenes” stories of puppet production? The members could be polled to see how each of us could find connections to the broader world.

4. What special abilities or skill are you able to bring to the job of Trustee?

I lend artistic perspective and experience along with solid skills in business management and collaboration with di-verse contributors, learned over 40 years in theatre arts and 25 years producing and managing a national touring pup-pet company. I have a deep understanding and apprecia-tion for the power of the puppet. I have worked as scenic artist and designer and puppet builder. My responsibilities with Artistree/ Wood & Strings Theatre include originat-ing ideas, determining the scope and direction of the pro-ductions while overseeing the management of the compa-ny. Arts-in-Education residencies are part of my expertise showcased at the Lincoln Center’s Arts in the Schools Insti-tute, Memphis, Tennessee. I have curated fine art exhibits such as “Some Times: Outsider Art” for Martin Methodist College, and “Fantastic Creatures” for Vanderbilt Univer-sity. As board member for the National Banana Pudding Festival, I write grants for and coordinate the entertain-ment drawing over 6000 people to a rural Tennessee county each year. I am President of the Tennessee Puppetry Guild, Board Member of the Grinder’s Switch Foundation, and a member of UNIMA and PofA for over 22 years.

5. In the next few years, which is the single most important service the P of A needs to provide for puppeteers?

DAVID STEPHENS - Atlanta, Georgia


I think one of the big issues the PofA faces concerns mem-bership. As an organization that prides itself on offering opportunities for enthusiasts to learn and professionals to commune, PofA must make itself known as a valued re-source to attract potential members.


While the PofA has made initial steps to enter the world of social media, I think increasing its presence would only benefit attracting potential members.

3. What specific new projects might the PofA pursue, or which on-going projects need more emphasis?

I would love to see the PofA making efforts to bridge the generation gap within its membership and proving it’s rel-evancy to working professional puppeteers. 4. What special abilities or skill are you able to bring to the job of Trustee?

I think I can offer insights as a professional, working pup-peteer. Some of the same struggles I encounter in that per-sonal endeavor also apply to the PofA at large.


I have been a member of PofA since I was 15; my first festival was in 1992. The PofA has always been a link to a commu-nity of artists and a resource for cultivating creative inspira-tion. Given the overwhelming amount of online resources, I believe the PofA has to find its place in a world where knowledge and expertise is as easy as a Google search.

CLARISSA LEGA - Centerville, Tennessee (Continued.)

Every puppeteer needs an audience; we are a performing art after all. We need the public to recognize these talented individuals and companies for their skill and unique repre-sentation of the imagination. The avenues for performance opportunities are changing and cyber space is the new fron-tier. Is PofA using this media to its fullest advantage? We should find out. Let’s ask our millennial generation puppe-teers and combine that with the experience of our seasoned veterans for their perspective. Let’s imagine a way to make puppetry a stronger and even more vibrant presence in the world

KAT PLEVIAK - Glen Ellen, Illinois


Our presence in the global artistic community at large. The key to growing our organization is by spreading our craft beyond our members to other fields of study so we can make new discoveries for the future of puppetry that build on our existing body of work.

2. Which of P of A’s procedures or services needs to be improved or changed?

The most important issue we are dealing with is the state of our By-laws, which do not stand up to modern legal stan-dards and structures. This is preventing us from fundrais-ing and growing into the large scale national organization we could be. A clear set of By-laws will give us the internal structure we need to be able to successfully evolve the way we operate, including the proper management of our val-ued volunteers, establishing paid positions, and develop-ing the services our members both need and want.

3. What specific new projects might the P of A pur-sue, or which on -going projects need more emphasis?

This past year I have taken on the role of the Archival Liai-son and have a number of ideas for projects that could help provide exposure and access to our organization’s history, including cataloging our archives, creating a digital copy of all past issues of The Puppetry Journal, and starting a current archival project in which puppeteers can send in articles, photos, or videos, of their current work. Today’s news is to-morrow’s history; let’s make it easier for our grandkids. For on-going projects I think the number one project that needs addressing is the re-imagining of the puppetry book store so we can offer this service once again.

4. What special abilities or skills are you able to bring to the job of Trustee?

The most important asset I have going into this election is that I have served on the board for the past year and have become very knowledgeable about the projects the board has been working on. I own and have operated my own

puppet company, Sea Beast Puppet Company, for the past five years and am very familiar with both the artistic and business sides of running a puppetry organization. I also have curated puppet slams for the past four years and through my company have sponsored out-of-state artists to perform for the Chicago public. I have a deep commitment to seeing the organization grow.


Festivals that physically bring us together as a community, present the best productions that American puppetry has to offer, and provide opportunities for professional develop-ment within the field of puppetry

5. In the next few years, which is the single most im-portant service the PofA needs to provide for pup-peteers?

I really think that the Puppeteers of America needs to be a means of interaction and exposure for us all. This will require the membership to share more deeply as well as the organization to respond. I think we can all feel like we are “small potatoes” in the scheme of a national organization and I would love to alleviate those feelings. Whether we work in commercial venues, community centers, churches, or the classroom, all of our work has merit.

JENNIFER STOESSNER -Springfield, Misssouri


I think that we need to remind our members of the value of the live contact this organization provides. When PofA was first established, it was to connect and stay connect-ed—providing its membership the names and addresses of people who were passionate about the art and craft of puppetry, people just like them. Today, we connect with each other via social media, see each other’s work elec-tronically, and can get news about puppetry from our computers and smart phones. This embrace of tech-nology is not foreign to puppeteers—we have been us-ing everything we can get our hands on for years—and I am always glad to see puppetry on the Internet. But, I think we have become accustomed to and comfortable with the distance between us and feel less determined to meet face to face and to see each other and our work live.


I think our new website is wonderful but wish there were a way to use it more effectively to manage communications. I think adding a place in the log-in for options in commu-nications means and frequency would be useful—I would regret missing anything important but also know the vol-ume of email we all receive and understand if people want to manage it.

3. What specific new projects might the PofA pursue, or which on-going projects need more emphasis? I would love to see an even more diverse group of people contributing to Puppetry Journal and Playboard. There are stories everywhere, waiting to be heard—I want them!! As a theatre historian, it amazes me how little primary evi-dence remains of even the most popular Broadway shows, let alone individual puppetry performances produced away from the City. As artists, we need to write about our work, for posterity as well as to reflect and build upon it. An increased number of articles about puppetry and pup-peteers—the processes, the productions, the philosophies—would grow the general public’s knowledge of puppetry practice and contribute to our collective body of scholar-ship. I am passionate about our story as puppeteers.


I am an organizer of data—I love spreadsheets! I love to write—fiction, non-fiction, and advertising copy—and am an excellent proof-reader for grant proposals. I have an excellent memory. I also love to know what my peers are doing—we are all important to puppetry and have a place in this organization.

RICK STROT - Waco, Texas1. What do you think is the most important issue facing Puppeteers of America right now? The support of the Board of Trustees for the execu-tive director of the organization is crucial to the successful growth of PofA. A continuing smooth process of transition to a staffed professional organization supported by and act-ing at the direction of the Board of Trustees is the issue that will have lasting impact on the future of the POA. 2. Which of PofA’s procedures or services needs to be improved or changed?

Some areas of procedure and services are being transfered to the national office. Once these new areas of responsibil-ity are established, changes might be considered to better serve our membership. Outreach to encourage new and re-newing membership should be strengthened.

3. What specific new projects might the PofA pur-sue, or which on-going projects need more emphasis?

Puppetry in Education and Therapy is a group that should receive continued support at the national and regional fes-tivals. Development of contributions to grant and scholar-ship funds is an area that should receive more emphasis.


I have experience working as a Board member on two Tex-as education associations as well as chair of University and Departmental committees at Baylor. I have been a puppet performer and workshop presenter for puppetry in educa-tion for over 25 years and served as the Southwest Region Director of PofA for the past six years.


The most important service the PofA needs to provide for puppeteers is to continue the excellent publications that communicate and celebrate the traditions and evolutions of the art of puppetry and to explore new avenues of commu-nication among puppeteers.

pu p p e t e e r s am e r ci a b t e n - 2014 · 3.) place a first class stamp on the envelope. 4.)...

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