I realize that it has been some time since I last posted. Before I delve into something completely new, however, I wanted to dip my toe back in by actually posting a link to something that I wrote a couple of years ago, a seemingly much more sombre coda to my dissertation that was published in the peer-reviewed section of Puppetry International.
Much has changed in the domain of Canadian puppetry since I successfully defended my dissertation, From the Inside Out, from the Outside In: Devising in Canadian Puppet Theatre, in 2015. We now appear to have slid into a discernible trough. The Puppets Up! International Puppet Festival, hitherto hosted by the small Ontarian community of Almonte for twelve summers, was cancelled for the first time in 2017, and its organizers have indicated that it most likely will not be resurrected in the future. Meanwhile, venerable organizations such as the Ontario Puppetry Association struggle to remain relevant in the wake of funding cuts, neoliberalism, and a burgeoning variety of free online resources. That said, waves and troughs are not new developments in this context, and the quietude of such a lull can prove advantageous in its own right: there are budgets to be adjusted, priorities to be set, and many other tedious yet critical (not to mention frequently contentious) tasks that, during busier times, one can always find excuses to put off. Existing and potential strategies for adapting to this new organizational and artistic environment have therefore been at the centre of my recent research in this area.
At this point, I think that I should let the article speak for itself. I have posted higher resolution versions of some of the images here. I certainly would welcome (thoughtful) discussion in the comment section below of any of the issues that I address in the article!