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Ten Questions with Emily Morus-Jones

Emily Morus Jones with puppet visitors from Puppetry on the Pop Up Palladium.

Emily Morus-Jones is a Welsh born, London-based puppeteer and puppet maker who has labored with the likes of Sesame Workshop and Handspring Puppet Firm, in addition to excessive profile musical artists like Dua Lipa, Iron Maiden, Rag’N’Bone Man, and Ed Sheeran. When the COVID-19 pandemic started final yr, like so many different artists, her work dried up and he or she determined to return residence to assist her household in Northern Wales.

Whereas in lockdown she conceived of Puppetry on the Pop-Up Palladium as a form of digital puppet slam that might assist puppetry artists showcase their work and audiences find out about totally different types of puppetry within the consolation of their very own properties. Thus far the collection has featured a formidable line-up of puppetry artists which have included the likes of Ronnie LeDrew, Handspring Puppet Firm, Drew Colby, and Laura Bacon (Patsy Could of Britain’s Obtained Expertise fame).

Whereas preparing for the upcoming sixth installment of the collection Emily was sort sufficient to reply ten questions on Puppetry on the Pop-Up Palladium, her profession, the state of puppetry in Wales and the remainder of the UK and extra.

To start, I used to be actually curious to understand how you bought began in puppetry? What initially attracted you to the artwork type?

Emily: Jim Henson was as soon as quoted saying “Once I was a child, I by no means noticed a puppet present, I by no means performed with puppets or had any curiosity in them. I actually did that complete factor with the intention to get on tv as a result of my enthusiasm was tv and movie.” I undoubtedly match into this class. As a child I all the time actually appreciated puppetry – I used to be a HUGE Sooty and Sweep fan – however as a lady who comes from a small rural group in North Wales I by no means for a second thought it was one thing that I might really have the ability to do as a job!

I had no thought what I wished to do as a profession and didn’t get a lot assist or encouragement. I simply did all of the issues that I assumed you had been alleged to do, lastly graduating from Politics and Historical past in 2008 straight into the worst monetary crash in many years. Graduates of my yr had the worst employment prospects for 30 years (particularly politics and historical past grads!).

After a yr of working a number of jobs as a librarian, life mannequin and barmaid to pay the hire, I used to be depressed so I made a decision to heed my internal voice (one thing I now try for as customary protocol) and saved as much as go to Circus Faculty as a manner of doing one thing for myself, to assist with my confidence, and simply because it appeared enjoyable.

Circus work taught me that your life is your film so that you may as properly pursue the issues that talk to you as greatest you possibly can. I labored out a strategy to transfer to London that was reasonably priced for me, making it potential to pursue extra alternatives to work in TV doing issues like van driving, making props and costumes. This finally got here full circle once I met an organization that did plenty of circus stuff on a small function movie. They employed me to work on a 9ft monster for the band Iron Maiden, and when you’ve made a monster, you don’t need to return!

I stored on pursuing work in TV and movie in any capability I might and finally met Andy Heath (see earlier posts) from Discuss to the Hand making a pitch movie for a Kickstarter mission entitled The Truthful Cellphone. He took me on as assist constructing puppets for ABC Bear and on work expertise on the TV collection Yonderland – I owe an enormous quantity to him. Then the chance to use to be an intern on the Sesame Workshop/CBBC manufacturing The Furchester Lodge, and far to my shock (it was the second time I had utilized) I acquired the job! Having by no means puppeteered on display earlier than I used to be all of the sudden on set with Sesame Road performers – it was a baptism of fireside, on steroids, however a very unimaginable studying expertise.

Emily Morus-Jones (backside proper) with different puppeteers and Huge Fowl on the set of Sesame Workshop’s The Furchester Lodge.

From there on I simply stored on pushing to fulfill new folks and pursue new tasks – one of many cool issues about puppetry is that there’s all the time extra – extra to study, extra to make, extra methods to do it and that’s, in essence, what attracts me to puppetry. I like the variation I get to construct fascinating, bespoke issues, I get to carry out characters in a myriad of various methods, I get to sing, to behave, and take into consideration totally different worlds and the beings that exist in them. It’s the closest factor I can get to dwelling respiration fantasy which I like, and I get to not be me and specific some pure, unsolicited weirdness although this vessel that’s the puppet.

Q: You’ve labored on these nice tasks like The Furchester Lodge, and for/with main artists and administrators like Michel Gondry, Rag ‘N’ Bone Man, and Dua Lipa in a comparatively brief time period. Are you able to inform me extra about the way you broke into tv and video work?

Emily: Properly I believe I’ve pursued movie and TV for a really very long time, and am very enthusiastic about storytelling on display. I simply acquired fortunate in that I found this actually cool facet to the movie business that I’ve been in a position to chase. I knew I wished to work in TV after ending my diploma as we made a scholar TV present that I actually loved, I simply didn’t know HOW to get into the business as there wasn’t something just like the schemes and initiatives for younger folks (within the U.Ok.) that there at the moment are, and definitely not the web job websites that we now have now.

Once I graduated in 2008 the movie business was way more London centric. You had to have the ability to afford to maneuver to London and work at no cost to get the expertise you want for somebody to take an opportunity on hiring you which ones I couldn’t afford to do till I found methods across the extortionate rents to have the ability to reside there (London is famously one of many world’s most costly cities to reside in). London was additionally a really intimidating place to me, who had come from a small group within the countryside of North Wales and I nonetheless discover being there actually irritating.

I believe breaking into TV puppetry was a combination of extraordinarily onerous work the place I used to be keen to do something to get my hours up on-set, doing no matter I might – I spent a substantial amount of time driving vans for commercials for example. I additionally did programs at The Little Angel Theatre which helped me start to know about puppetry. I nonetheless do coaching programs each time I can to try to enhance and study extra. I simply completed finding out at The Curious Faculty Of Puppetry earlier than the pandemic hit which was an unimaginable expertise. That mixed with luck in that I taken on some nice children TV reveals as a runner/artwork division, then my van driving boss wrote a script that had puppets in it, which is what acquired me assembly puppeteers like Andy Heath and met some actually great mates and colleagues alongside the way in which.

Emily’s work could be seen the music video for Calvin Harris and Dua Lipa’s hit One Kiss.

Q: What’s the puppetry group like in Wales?

Emily: Properly on the entire I’d say there’s a fairly sturdy scene for such a small, dispersed nation – Wales has the U.Ok.’s oldest and solely function constructed puppet theatre known as The Harlequin Theatre in Colwyn Bay, which is ran by Chris Somerville. In South Wales there may be the award successful PuppetSoup who’re presently working with at residence and internationally to advertise and educate a selected Brazilian model of puppetry known as Teatro Lambe Lambe. There’s additionally Hijinx Theatre, they work with disabled performers and are presently engaged on discovering out how display content material could be made in an authentically inclusive manner for studying disabled and autistic actors, and what new processes is likely to be wanted to create inclusive storytelling, which is admittedly cool.

One of many nice issues about this mission is that I’ve acquired to find out about all these firms that I didn’t find out about earlier than equivalent to Vagabondi Theatre, Small World Theatre, Magic Gentle Productions and Puppet Theatre Wales who’re all doing their factor as properly and I hope to work with all of them sooner or later.

Q: Artists everywhere in the world are struggling proper now, however what’s it like for puppeteers within the U.Ok.? Has there been a lot assist for artists and the humanities in the course of the pandemic?

Emily: Pop-Up Palladium acquired funding from the Welsh Arts Council with out which it wouldn’t have been potential, so I really feel very lucky that the Welsh authorities determined to again my mission. I believe the Welsh authorities on the entire has been fairly good about supporting freelancers with additional grants however I additionally can not ignore the truth that my expertise has been leaning extra in direction of the exception relatively than the rule and there are various artists who haven’t labored for months and months.

There are additionally many individuals who didn’t qualify for the U.Ok. authorities assist schemes in place since you needed to have been self employed for no less than 3 years and incomes above a specific amount. (Folks) are slipping by way of the online finally as a result of Boris Johnson’s administration has a really fundamental/no understanding of what it’s wish to work as an artist on this nation and apparently don’t worth the humanities business even though we contribute £10.8 billion a yr to the U.Ok. financial system.

I believe the truth that excessive profile actors and the Movie and TV Charity have needed to begin up funds to assist freelancers in theatre, movie and TV tells you every thing you have to know – that stated, no less than they’ve been in a position to supply some additional assist.

The working lifetime of a puppeteer…Emily about to board Flight 666 on Iron Maiden’s well-known Ed Pressure One jet whereas engaged on the band’s Ebook of Souls world tour earlier in her profession.

Q: Right here in Canada, even in regular instances, making a dwelling in puppetry could be very difficult as a result of though we’re a really giant nation geographically, our inhabitants is comparatively small and really unfold out. It’s tough for artists to tour or acquire entry to a big viewers.

I’ve all the time been a little bit envious of puppetry artists within the U.Ok. as a result of you have got a strong community of festivals, theatres, organizations concerned in puppetry, and entry to a a lot bigger market. What do you assume the skilled prospects shall be like for puppeteers there as soon as the pandemic is over?

Emily: Within the 80s and 90s (there was once) an extremely wholesome community of small venues making it simple for artists to tour their work. Sadly they’ve been on the decline since 2000 and (the previous) 10 years of austerity hit a substantial amount of these venues actually onerous. I believe the largest casualty of the pandemic has been our small venues and theatres, and that’s going to have a big impact on artists throughout the board of UK Arts affecting every thing from the music business to theatre and comedy. I agree that we’re very lucky in having the ability to tour comparatively simply as our nation is relatively small to others, however it doesn’t actually work if all of the small venues that you’d ordinarily carry out in are bankrupted out of existence.

That stated, I believe there may be hope in that I believe on-line occasions are right here to remain in some type and that leaves alternatives for worldwide performers to hitch by which is tremendous thrilling. I additionally assume that puppetry particularly lends itself properly to out of doors arts and efficiency, so that is trigger for hope within the rapid future.

Emily’s Puppetry on the Pop-Up Palladium options well-known puppet characters, well-known puppeteers and up-and-coming expertise.

Q: Puppetry on the Pop-Up Palladium started final yr after the COVID-19 pandemic hit. What was your inspiration for it?

Emily: My considering behind the Palladium was that if I wished to discover ways to construct a puppet of some sort, or if I wished to discover ways to carry out a selected type of puppetry then there may be an abundance of alternatives – which is nice! I believe there must be recognition and kudos given to the generations of puppeteers who’ve labored actually onerous to make that so.

My cause for pursuing the Palladium was that it isn’t simple to get stage time with a puppet, notably when if you wish to be performing to an grownup viewers. So I wished to create an occasion, utilizing this new on-line medium that was all of the sudden all that was obtainable to anybody, to see if I might create a platform for folks to showcase their work and discover the viewers that was into it and attempt to open up this superb artwork type to a brand new viewers.

I additionally wished to create a possibility for myself to work alone puppetry efficiency and study new abilities in internet hosting the occasion as a result of – because the previous saying goes – puppeteering is like wanking, at its most pleasant when executed within the firm of others and possibly at its least stimulating when it’s executed by yourself in entrance of a mirror!

Q: You’ve had a very spectacular mixture of comparatively well-known puppet characters and puppeteers in previous editions, together with some youthful and up-and-coming artists. What’s your philosophy when curating the present?

Emily: Properly I knew that attempting to promote an occasion that was a very new format (on-line on zoom) to a brand new viewers (adults/older children that had been all in favour of puppetry-based leisure) was going to be actually robust – there’s simply too many new issues there to ask folks to take a punt on, particularly when you think about that previous to doing this I had by no means produced an occasion on of any sort earlier than in my life!

I needed to attain out to extra established artists to see if they’d take part in order that there can be one thing that was a identified amount to potential viewers members. Having stated that although, within the context of a pandemic, it felt mistaken to solely be giving alternatives to the individuals who had been already properly established and thus necessary to incorporate up-and-coming artists as properly. This really labored rather well, as a result of the artists which have had lengthy and profitable careers in puppetry need to see extra puppetry promoted to new audiences. They need to see up-and-coming puppeteers make successful of it and so had been solely too keen to supply their assist and take part which was a very heartening a part of the entire expertise.

I’m unsure that I’ve a selected philosophy when curating the present apart from attempting as greatest I can to place artists collectively that I believe can be ‘match’ for the majority of it after which throwing in a little bit additional that’s fully out of that consolation zone to supply one thing fully totally different and see what folks make of it.

Cardiff Animation Festival
Along with puppetry, the Pop-Up Palladium has additionally featured work from the Wales’ Cardiff Animation Competition.

Q: You’ve been collaborating on Puppetry on the Pop-Up Palladium with the Cardiff Animation Competition. How did that connection occur?

Emily: I completely couldn’t have executed any of this with out the assistance of Ellys Donovan and Lauren Orme who run Cardiff Animation Competition. There’s simply no manner I might have executed it with out them. I’ve by no means collaborated with animators earlier than so I’ve no foundation for comparability, however it by no means would’ve occurred to me that collaboration between these two mediums would’ve probably been an issue – perhaps it has one thing to do with each occasions being ran by girls and that prevalent female vitality being actually conducive to collaborations?

Over the pandemic, animators appear to have executed rather well as a result of they’re in a position to maintain working in isolation and I particularly bear in mind chatting to Lauren at first of lockdown and her saying to me that Cardiff Animation Competition had been on the lookout for teams that had been struggling to work with so it made good sense that a type of teams must be puppeteers who’ve seen their work dissipate due to the necessity for social distancing and the closure of theatre/display industries.

Q: Right here in North America, many individuals are likely to view puppetry and animation as fully distinct artwork kinds. I’ve seen that within the U.Ok. and the remainder of Europe puppetry and animation appear to extra fortunately coexist alongside one another, whereas generally there may be outright hostility from artists when they’re put collectively in festivals on this facet of the ocean.

What are your ideas concerning the relationship between puppetry and animation? 

Emily: Puppetry and animation are undoubtedly two separate, however complimentary artwork kinds. It’s very uncommon over right here for folks to work in puppetry AND animation however I do know that individuals in each fields are impressed by folks within the different – for instance; puppeteers could be impressed by the physicality and slapstick timing of cartoons and animators have used the puppetry of Jim Henson to raised perceive lip sync.

As with all potential divisions amongst teams, there may be extra that unites us than divides us. Each mediums are all in favour of visible, versus verbal, storytelling; each mediums attraction to adults and youngsters alike; each mediums are glorious at utilising slapstick and bodily comedy and each mediums try to create fascinating new worlds and characters.

I’m a fierce believer in collaboration over competitors and personally see no cause why these two factions ought to compete – they each have their energy and so all of it comes right down to a matter of aesthetic selection which is, to a point, dictated by issues like time, finances, and story arks however I believe more and more in movie productions Administrators are selecting to utilise a mix of each mediums which in my view produces nice outcomes. Each teams can study quite a bit from each other so why waste a lot vitality on being hostile to at least one one other? What do you actually acquire from doing that?

Q: Are there any artists that you simply’d wish to have on Pop-Up Palladium that you simply haven’t but?

Emily: I believe it will be nice to have a chat with Kevin Conflict about his work – I believe his contribution to puppetry is large, his groundbreaking work with Sesame Road is unimaginable and I actually hope he begins to look in direction of directing sooner or later. I believe it will be actually fascinating to have a dialog about illustration in puppetry with him as I believe it’s necessary to encourage additional range in puppetry (notably TV puppetry) and animation for that matter the place each girls and folks of color are under-represented. It’s altering, however it’s going to require a concerted effort to catch up. I might additionally wish to have a chat to the blokes behind Royal De Luxe in France and The Creature Know-how Firm in Australia as a result of their work is completely bonkers and I might love to seek out out extra about the way it happened.

On the entire I’m all the time looking out for people who find themselves creating thrilling, progressive work so hit me up!

Chapter Six of Puppetry on the Pop-Up Palladium takes place on-line Friday, February 4th, 2021 at 8:00 p.m. GMT (3 p.m. EST / 6 p.m. PST) and includes a stellar line-up that features Mavis Maves, Nod on the Fox, Folded Feather, Hugh Purves and the one and solely Louise Gold.

For tickets and extra info go to



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