Origins and Early Collaborations

The story of Basil Jones & Adrian Kohler is one of artistic reinvention, a journey that began in the vibrant, yet politically charged landscape of Cape Town, South Africa. Meeting at the Michaelis School of Fine Art in 1971, their initial paths diverged – Kohler with a background in sculpture and a nascent interest in puppetry inherited from his mother, and Jones initially skeptical, even dismissive, of what he perceived as a lesser art form. However, fate, or perhaps artistic curiosity, intervened. The duo, alongside Jill Joubert and Jon Weinberg, founded the Handspring Puppet Company in 1981. Their early work focused on creating original plays for children, touring schools throughout Southern Africa. These formative years were crucial, not merely as a means of establishing a presence but as an immersion into the diverse cultural tapestry of the region. It was through collaborations with figures like Bill Curry that Jones began to appreciate the potent storytelling capabilities inherent in puppetry, moving beyond simple entertainment towards more complex narratives. The declaration of the State of Emergency in South Africa in 1985 proved a turning point, forcing a shift from school performances to television and ultimately, to productions aimed at adult audiences.

Breaking Boundaries: Political Theatre and Artistic Innovation

The mid-1980s marked a period of profound artistic evolution for Handspring. Their 1985 production of David Lytton’s *Episodes of an Easter Rising*, adapted by Esther van Ryswijk, was a watershed moment. This play dared to confront sensitive issues – the complexities of race relations and queer identity within the context of apartheid South Africa – through the medium of puppetry. It wasn't simply about telling a story; it was about challenging societal norms and sparking dialogue in a deeply divided nation. The production’s success, including performances at the 7th World Festival of Puppet Theatre in Charleville-Mézières, France, opened doors to further collaborations with prominent South African directors like Mark Fleishman, Malcolm Purkey, and Barney Simon. Handspring wasn't merely creating puppets; they were crafting a unique theatrical language that blended ancient craft traditions – inspired by the Bunraku puppeteers of Japan and the Bamana puppeteers of Mali – with modern dramatic themes. This fusion became their hallmark, characterized by meticulous attention to detail, technical innovation, and an unwavering commitment to exploring the human condition.

International Acclaim: *War Horse* and Beyond

While Handspring had garnered recognition within South Africa for its politically charged work, it was the commission of nine life-size horses for the National Theatre in London’s 2006 production of *War Horse* that catapulted them to international fame. The puppets weren't merely props; they were brought to life through a remarkable technique involving three puppeteers per horse, each responsible for animating specific aspects – the head, tail, legs, and breath. This emphasis on “breath” – a subtle yet profoundly impactful detail often overlooked in traditional puppetry – created an empathetic connection between the audience and the animals, imbuing them with a sense of sentience and emotional depth. *War Horse* became a global phenomenon, performed in over 100 cities worldwide to audiences exceeding eight million people, earning Handspring numerous awards, including Critics’ Circle Theatre Awards and Olivier Awards. However, their ambition didn't stop there. In 2021, the company embarked on an even more ambitious project: *The Walk*, a large-scale participatory public art piece featuring Little Amal, a 3.5-meter-high puppet representing a Syrian refugee girl.

A Legacy of Empathy and Social Consciousness

Basil Jones & Adrian Kohler’s enduring legacy lies not only in their technical mastery but also in their unwavering commitment to using puppetry as a vehicle for social justice and empathy. *The Walk*, with its journey across Europe, dramatized the stories of refugee children, prompting reflection on political divisions and humanitarian crises. Their work consistently challenges audiences to confront difficult truths, fostering dialogue and understanding through the power of storytelling. The Handspring Puppet Company’s influence extends beyond the stage; they established the Handspring Trust for Puppetry in Education, recognizing the transformative potential of art within communities. Through annual puppet parades and outdoor performances in Barrydale, South Africa, they have empowered young people to engage with critical issues – ecology, race, history, and theatre production – fostering a new generation of artists and activists. Their productions are not simply spectacles; they are invitations to connect with the world on a deeper level, to recognize our shared humanity, and to imagine a more just and compassionate future. Jones and Kohler’s collaborative spirit, coupled with their innovative techniques and profound artistic vision, has redefined the art of puppetry for the 21st century.