“Dancing Puppets”
Detroit Institute of Arts
Detroit
In a small corridor on the lower level of the Detroit Institute of Arts is an unassuming exhibit that adds whimsy and charm to the small space. The “Dancing Puppets” exhibit, from the DIA's Paul McPharlin Puppetry Collection, features just three cases of – you’ve guessed it – dancing puppets. The ten marionettes on display date between the 1920s and 1940s and feature work by Frank Paris, Lilian Owen Thompson, and Grace, Inez and Mercedes Lauer (the Lauer Sisters).
Many of the puppets are based on celebrities, including film actress Greta Garbo, dancer Ada Forman, Olympic figure skater and actress Sonja Henie and performer Josephine Baker.
Garbo, a Lauer Sisters design, was depicted on roller skates, apparently creating a comedic effect in contrast to the actress’s private lifestyle. Atop a small staircase, Baker donned a cascading, two-piece ruffled dress, paired with poufy heels and a matching headpiece, reminiscent of the costumes of her early career days. Henie nearby – Paris’ other “Dancing Diva” – wore a patriotic skating dress. It featured long puffed sleeves, ruffled collar and a short flowing skirt, patterned with red and shite stripes and blue stars with a matching, plumed hat – very different than modern-day skating costumes. The two were part of a show called “Stars on Strings,” which depicted celebrities of the day.
My favorite of the collection was the Lauer Sisters’ Margo the Ballerina, mostly because I love ballet. But more than just being lovely, I was impressed at the technical accuracy of the body positioning, which is precise in ballet and often depicted incorrectly. The design of the pointe shoes was also spot -on – no over-laced, tied bows here!
All of the puppets were detailed with realistic body poses, elaborate costumes, expressive faces and even painted fingernails – maneuvered with a multitude of strings. It was clear each of the artists took the time to examine their subjects, their clothing and their talents closely to manifest an accurate portrayal in marionette form.
Between two of the cases, a short animation played that displayed different types of puppetry – stringed, shadow, hand, etc. It was charming, though I would have like to see video of the of the actual puppets – or those of their time – in action.
I would have liked more information and context in general to both the puppets and the artists. Where were these shows performed? To whom? When did they start, why did they stop? What was the process like to create them?
The DIA is filled with thousands of works from some of history’s most prominent and influential artists. The dancing puppets are presented as an amusing transition as visitors move from one gallery to the next. But art comes in many forms, and the creators of these marionettes were skilled artists in their own right and worth a closer look next time you find yourself at the museum.