| ||||
|
Amaryllis Arna Rennan Barra Bells of the North Morris Dancers Ben Fairbanks Bill Hinkley and Judy Larson Blackbirds Blanche Krbechek Bob Bovee and Gail Heil Bounxou Chanthraphone Bruce Bradley Band CAAM Chinese Dance Theater Carla Vogel Clairseach Creative Theatre Unlimited Dance Revels Moving History Danielle Daniel and Co. Debra Korluka Delores G. Matthews Det Norske Folkedanslaget Diane Jarvi Dolina Polish Folk Dancers Domácí Czech Folk Dancers Drei Groschen Klezmorim Elise M. Schebler Roberts Elizabeth (Becky) Weis Emeline Dziabas Cook Ervey P. Shelley Ethnic Dance Theatre Folk Orchestra, The Finn Hall/Minnesota Pelimannit Flanagan Irish Dancers Flickorna Fem Freshwater Pearls Puppetry Gao Hong Gladys J. Shelley Greenwood Tree Harlen Schmitgen HjerteDans Jim Busta Band John Filipczak and the Classics Joy Parker Karen Jenson Karen Mueller Karen Torkelson Solgård Kip Peltoniemi Konstantinos Papadakis Laura MacKenzie Leo and Kathy Lara Les Harkonen Group Les Schuft and Country Dutchmen Band Linda Breitag Linda Wade Koslowski Lipa Slovak Folk Dancers Mag McDermott Marcie McIntire Mariachi Flor Y Canto Mariachi Serenata Mary Klockeman Mary Reed Matt Vorderbruggen Band Melinda Brobeck Minnesota Chinese Dance Theater Minnesota Scandinavian Ensemble, The Minnesota Scottish Celtic Dance Association Monroe Crossing Montgomery Czech Singers Mooncoin Céilí Dancers Music-On-A-String Nancy Ellison Nordic Angst Norse Folk North Country Fiddle and Dance Paddy O'Brien Paul Wilson and Mary Abendroth Peter and Paul Wendinger Band Piper's Crow Que Huong Rachel Nelson Robayat Robert Hoover Rosemary Lang Roehl Ross Sutter Royal Scottish Country Dance Society Salamat Shakun Maheshwari Sister Cecilia Schmitt Skålmusik Tibetan American Foundation of Minnesota Valeriy Saakian Voices of Sepharad Walter Grittner Wee Willie Band - Bill Makovsky Wild Goose Chase Cloggers, The Zhang Ying |
Additional Information: Diane Rains, the founder of Freshwater Pearls, first became deeply involved in puppetry in 1985, when she apprenticed with two women who ran a puppet theater in Minneapolis. After a year of learning to operate puppets and run a performance, she set out on her own. In the late 1980s, she met her husband, musician Stu Janis, and the two collaborated to create several lively programs. "Professor Freshwater's Punch and Judy Show", one of the two programs that Diane and Stu currently offer, is a carefully researched, very funny version of the British Punch and Judy tradition. These shows date from the 13th and 14th centuries, and they have their roots in a mixture of Commedia dell'Arte and early English puppetry. In 1662, Samuel Pepys wrote about the show in great detail. Many of the characters, scenes, and techniques that he described are still a part of the living tradition as it is practiced in England, although other elements have changed as the form has evolved. Diane and Stu learned firsthand from many contemporary British puppeteers when they traveled to England in the late 1980s to produce a video documentary on Punch and Judy. There they were taught important traditions of costuming, puppet construction, movement, and speech. They were shown how to make a "swazzle", the device that creates Punch's distinctive voice. This technique is only shown to puppeteers who are considered serious about learning to do Punch and Judy. While the British style is at the heart of their performances, Diane and Stu have also learned about related traditions that have emerged as the show has spread to Germany, Indonesia, France, Turkey, Sweden, and other parts of the world. Diane is the U.S. contact for the Worldwide Friends of Punch and Judy, a group devoted to furthering this tradition. Diane also offers a solo show that combines Indonesian shadow puppet techniques with African folktales. Shadow puppetry is rarely seen in the U.S., so she often brings examples of traditional Asian puppets with her and describes the tradition. Freshwater Pearls Puppetry performs at festivals, libraries, schools, parties, historic sites, malls, ethnic events, and many other venues. When appropriate, they follow their performances with discussions about the puppets and their history. Diane also presents workshops and performances within the puppetry community. | |||