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THE WORLD IN THEIR HANDS: The Center for Puppetry Arts’ creative African-American ensemble are sharing art and inclusion with international audiences

ATLANTA VOICE — Their hands morph into talking, singing, dancing mop heads. Using recycled materials, African-American puppeteers Greg Hunter and Jimmica Collins know how to command a performance stage, capturing kids’ and their parents’ hearts with each gesture. It’s literally all in the hands, too.

Published

6 years ago

August 19, 2019

Oakland Post

Atlanta-based artists Greg Hunter and Jimmica Collins on set for the Center for Puppetry Arts’ 2019 production of ‘Beauty and the Beast.’ (Photo: Reginald Duncan / The Atlanta Voice)

By Candace Dantes

Their hands morph into talking, singing, dancing mop heads.

Using recycled materials, African-American puppeteers Greg Hunter and Jimmica Collins know how to command a performance stage, capturing kids’ and their parents’ hearts with each gesture.
It’s literally all in the hands, too.

“The process starts with the puppet,” said Collins, 27, who is starring as Beauty in Atlanta’s Center for Puppetry Arts’ rendition of “Beauty and the Beast.” “I find my voice, which this puppet’s voice is fun with sass. Then, I work on movements.”

Beauty’s groovy Mama is played by Hunter, who naturally draws from everyone’s Southern hairdresser, aunts, cousins and friends, to develop the urban-dwelling character.

The two puppetry artists’ leading presence in this 2019 summertime love tale signifies a cultural shift in who exactly is telling the world of puppetry’s stories.

African-Americans playing prominent roles both on the stage and behind the scenes isn’t taken lightly at the center — America’s largest nonprofit organization dedicated to the art of puppetry. It puts diversity and inclusion at the forefront of its productions and museum exhibits yearlong.

“What we do is universal,” said Hunter, also 27. “It’s not about us. It’s about bringing our puppets to life in a way that’s relatable to different cultures and people coming from different places.”

The Actors

The center’s main stage is where the magic happens.

For the past month, Hunter and Collins have given the popular musical a hip-hop spin in a puppetry style known as Czech black theater. The actors are clothed in all-black attire with a tight light only curtaining the puppets.

The two collaborate with a nearly 15-member crew of other puppeteers and stage/ musical/ lighting/ sound/ scenic designers to pull off the cleverly crafted, well-illuminated performance.

A real “quitting time” horn blows in one scene. In another, leaves actually look and sound like they’re rustling in the wind.

“From the sound to light effects, everything we perform is in sync,” said Collins, an experimental theater artist who also shows off her Baptist church singing vocals as Beauty. “Working together, we’re able to bring the puppets’ world to life.”

In fact, Beauty is so in tune with Mama that young audience members instantly laugh, turn to their own mothers and whisper, “That’s you, momma. That’s you!”

While Collins is in her fifth production at the center, this production is Hunter’s debut regarding his acting and singing chops. They both earn standing ovations and often random fist-led jumps from kid viewers.

“I play a character who says everything our moms say,” Hunter said.

Hunter said he learned of the center’s acting opportunities after participating in a Pinewood Atlanta Studios puppet-animated show called “Moon and Me.” Pinewood, located in Fayetteville, Georgia, is the second-largest purpose-built film and entertainment studio in North America and where many of the Marvel films have been filmed.

“I learned so much about how technical puppetry is,” Hunter said, “and that was something I wanted to continue. That’s how I ended up working here with such a great group of creative people.”

(Left to right) Education coordinator Liz Fagbile, teaching artist Paulette Richards and collections manager Yanique Leonard are a few creative staff members helping to tell puppetry stories in Atlanta. (Photo: Reginald Duncan / The Atlanta Voice)

The Architect

While Hunter and Collins headline the main stage, Yanique Leonard ensures Big Bird and Miss Piggy are fluffed and fancy for public showcasing.

The collections manager is responsible for the care of more than 5,000 artifacts — including 500 Jim Henson puppets.

“I’m all about preventative conservation,” said the 27-year-old, afro-wearing museum professional. “I have to make sure the puppets are comfortable in their cases and in the right environment for long-term preservation.”

With a background in public history and museum studies, Leonard also conducts in-depth research to give museum visitors documented stories connected to the puppets’ creation.

She works between the archives and center’s Worlds of Puppetry Museum, which includes Jim Henson and global collections.

Visit the global collection today and view marionettes from American masterpiece and opera, “Porgy and Bess.” The 1935 Broadway production featured classically trained, African-American singers.

“It’s a cool story who we acquired marionettes Sportin’ Life, Mingo and Peter the Honey Man from the New England Marionette Opera (NEMO),” Leonard said. “NEMO was America’s only opera company performed entirely with marionettes and that staged a full puppetry production of ‘Porgy and Bess’ in 1994. Five years later, the opera burned and more than 200 handcrafted marionettes were destroyed. Fortunately, frozen weather preserved these three puppets.”

Their new home: Center for Puppetry Arts.

Sammy Davis Jr. fans will appreciate marionette Sportin’ Life, who is sculpted after the legendary entertainer and star of the 1959 film.

“I get to care for and experience puppets the average person will never see,” said Leonard. “I encourage anyone to come into this field of study if they’re passionate about culture, history and stories we need to share with our communities.”

The Authorities

Three floors up from Leonard’s puppetry archive and library, Liz Fagbile teaches youth how to build their very own puppet.

“Depending on the show style the puppetry artists are performing throughout the year, I help create puppet projects around each theme,” said the 30-year-old education coordinator. “Some of these kids are experiencing a puppet for the first time in their lives. I’m contributing to an important memory in their childhood.”

After kids finish constructing their puppets, Fagbile provides a colorful curtain for family role-playing and photo ops.
What she’s realized in this position: Puppetry has no age limit.

“For 45 minutes to an hour, the kids aren’t the only ones getting into our learning activities,” Fagbile said. “At first, adults are kind of stand-offish. I encourage their curiosity, and that helps them get involved. They instantly get in touch with their creativity — sometimes reconnecting with talents they lost along the way.”

Outside the classroom, Fagbile orchestrates outreach programming, staff scheduling and the inventory for puppetry supplies.

“I started out as a volunteer five years ago,” she said. “I fell in love with this magical place. I’ve been able to expand my knowledge of puppetry, arts and entertainment.”

Education extends further with teaching artist and docent Paulette Richards. She has served as a docent in the Worlds of Puppetry Museum since 2015. Her introduction to Jim Henson’s animatronic puppets inspired the former English professor to create her own rudimentary robots as learning tools.

“It’s funny,” Richards, 56, said. “I’m really engaged in science, technology, engineering, arts and mathematics — known as STEAM education — in a way I would have never imagined. It’s taken me in so many directions.”
Richards’ work has traveled the nation. She has taught animatronic puppetry workshops at the center, Georgia Tech’s Hollis Innovation Academy and Puppeteers of America’s National Puppetry Festival.

This past year she served as co-curator of the “Living Objects African-American Puppetry” exhibit at the University of Connecticut’s Ballard Institute and Museum. The exhibit analyzed the uncomfortable legacy of blackface minstrelsy in American puppetry.

It also highlighted the work of contemporary African-American artists who use puppetry to reflect a more authentic African-American heritage.

“The research I conduct is crucial to the types of stories we tell or have others tell about our culture,” Richards said. “I want to make sure the stories that came from Africa to our porches and are now part of theater productions are accurate and representative of us.

The Center for Puppetry Arts understands this notion and has put people of color in a position to continue to contribute to puppetry as a whole.”

This article originally appeared in The Atlanta Voice.

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LIHEAP Funds Released After Weeks of Delay as States and the District Rush to Protect Households from the Cold

BLACKPRESSUSA NEWSWIRE — The federal government has released $3.6 billion in home heating assistance after a delay that left states preparing for the start of winter without the program’s annual funding.

Published

1 week ago

December 1, 2025

Stacy M. Brown

By Stacy M. Brown
Black Press USA Senior National Correspondent

The federal government has released $3.6 billion in home heating assistance after a delay that left states preparing for the start of winter without the program’s annual funding. The Low-Income Home Energy Assistance Program, known as LIHEAP, helps eligible households pay heating and cooling bills. The release follows a shutdown that stretched 43 days and pushed agencies across the country to warn families of possible disruptions.

State officials in Minnesota, Kansas, New York, and Pennsylvania had already issued alerts that the delay could slow the processing of applications or force families to wait until December for help. In Pennsylvania, more than 300,000 households depend on the program each year. Minnesota officials noted that older adults, young children, and people with disabilities face the highest risk as temperatures fall.

The delay also raised concerns among advocates who track household debt tied to rising utility costs. National Energy Assistance Directors Association Executive Director Mark Wolfe said the funds were “essential and long overdue” and added that high arrearages and increased energy prices have strained families seeking help.

Some states faced additional pressure when other services were affected by the shutdown. According to data reviewed by national energy advocates, roughly 68 percent of LIHEAP households also receive nutrition assistance, and the freeze in multiple programs increased the financial burden on low-income residents. Wolfe said families were placed in “an even more precarious situation than usual” as the shutdown stretched into November.

In Maryland, lawmakers urged the Trump administration to release funds after the state recorded its first cold-related death of the season. The Maryland Department of Health reported that a man in his 30s was found outdoors in Frederick County when temperatures dropped. Last winter, the state documented 75 cold-related deaths, the highest number in five years. Rep Kweisi Mfume joined more than 100 House members calling for immediate federal action and said LIHEAP “is not a luxury” for the 100,000 Maryland households that rely on it. He added that seniors and veterans would be placed at risk if the program remained stalled.

Maryland Gov. Wes Moore used $10.1 million in state funds to keep benefits moving, but noted that states cannot routinely replace federal dollars. His administration said families that rely on medical equipment requiring electricity are particularly vulnerable.

The District of Columbia has already mapped out its FY26 LIHEAP structure in documents filed with the federal government. The District’s plan shows that heating assistance, cooling assistance, weatherization, and year-round crisis assistance operate from October 1 through September 30. The District allocates 50 percent of its LIHEAP funds to heating assistance, 10 percent to cooling, 13 percent to year-round crisis assistance, 15 percent to weatherization, and 10 percent to administrative costs. Two percent is used for services that help residents reduce energy needs, including education on reading utility bills and identifying energy waste.

The District’s plan lists a minimum LIHEAP benefit of $200 and a maximum of $1,800 for both heating and cooling assistance. Crisis benefits are provided separately and may reach up to $500 when needed to resolve an emergency. The plan states that a household is considered in crisis if it has been disconnected from energy service, if heating oil is at 5 percent or less of capacity, or if the household has at least $200 owed after the regular benefit is applied.

The District’s filing notes that LIHEAP staff conduct outreach through community meetings, senior housing sites, Advisory Neighborhood Commissions, social media, posters, and mass mailings. The plan confirms that LIHEAP applicants can apply in person, by mail, by email, or through a mobile-friendly online application and that physically disabled residents may request in-home visits.

As agencies nationwide begin distributing the newly released funds, states continue working through large volumes of applications. Wolfe said LIHEAP administrators “have been notified that the award letters have gone out and the states can begin to draw down the funds.”

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Seven Steps to Help Your Child Build Meaningful Connections

BLACKPRESSUSA NEWSWIRE — Swinging side by side with a friend on the playground. Sharing chalk over bright, colorful sidewalk drawings. Hiding behind a tree during a spirited game of hide-and-seek. These simple moments between children may seem small, but they matter more than we think

Published

1 week ago

December 1, 2025

Oakland Post

By Niyoka McCoy, Ed.D., Chief Learning Officer, Stride/K12

Swinging side by side with a friend on the playground. Sharing chalk over bright, colorful sidewalk drawings. Hiding behind a tree during a spirited game of hide-and-seek. These simple moments between children may seem small, but they matter more than we think: They lay the foundation for some of life’s most important skills.

Through everyday play, young children begin learning essential social and emotional skills like sharing, resolving conflicts, showing empathy, and managing their emotions. These social skills help shape emotional growth and set kids up for long-term success. Socialization in early childhood isn’t just a “nice-to-have”—it’s essential for development.

Yet today, many young children who haven’t yet started school aren’t getting enough consistent, meaningful interaction with peers. Research shows that there’s a decline in active free play and peer socialization when compared to previous generations.

There are many reasons for this. Children who are home with a parent during the day may spend most of their time with adults, limiting opportunities for peer play. Those in daycare or preschool may have restricted free play, and large classrooms can reduce supervision and social coaching. Some children live in rural areas, are homebound due to illness, have full schedules, or rely on screens to fill their playtime. And for some families, finding other families with young children to connect with isn’t easy.

While these challenges can feel significant, opportunities for connection still exist in every community. Families can take simple steps to help children build friendships, create a sense of belonging, and strengthen social skills. Here are some ideas to get started:

Storytime sessions at libraries or local bookstores
Community offerings such as parent-child workshops, art, music, gymnastics, swimming, or sports programs
Weekly events at children’s museums, which may include art projects, music workshops, or science experiments
Outdoor exploration, where kids can play with peers
Local parenting groups that organize playdates and group activities
Volunteer opportunities where children can participate, such as pet adoption events or packing meals at a food bank
Classes for kids at local businesses, including hardware, grocery, or craft stores

Some of these community activities are free or low-cost and give kids the chance to build friendships and practice social skills. Parents can also model positive social behavior by interacting with other parents and encouraging their children to play with their peers.

These may seem like small moments of connection, but they can have a powerful impact. Every time your child shares a toy, plays make-believe with peers, or races a friend down the slide, they’re not just playing—they’re learning the skills that build confidence, empathy, and lasting friendships. And it’s good for you, too. Creating intentional opportunities for play also helps you strengthen your own network of parents who can support one another as your children grow together.

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Seven Steps to Help Your Child Build Meaningful Connections

Published

1 week ago

December 1, 2025

Oakland Post

By Niyoka McCoy, Ed.D., Chief Learning Officer, Stride/K12

Storytime sessions at libraries or local bookstores
Community offerings such as parent-child workshops, art, music, gymnastics, swimming, or sports programs
Weekly events at children’s museums, which may include art projects, music workshops, or science experiments
Outdoor exploration, where kids can play with peers
Local parenting groups that organize playdates and group activities
Volunteer opportunities where children can participate, such as pet adoption events or packing meals at a food bank
Classes for kids at local businesses, including hardware, grocery, or craft stores