Historically the United States, with the exception of ritual performances by indigenous Americans, did not have a distinct puppetry tradition, utilizing instead the imported techniques of its immigrant population. In the twentieth century, puppeteers began to explore puppetry's capabilities, producing challenging and innovative theatrical work in a distinctly American style. Puppetry was given a stage as popular broadcasting content on the newly invented television. In this media environment, Jim Henson pioneered new techniques, becoming the most famous puppeteer in history. His success enabled him to serve his field as a spokesman and sponsor. In 1982, he established the Jim Henson Foundation, a non-profit organization to support puppetry artists. The Jim Henson Foundation is the only organization in the United States devoted to funding puppet theater and its mission reflects Jim Henson's commitment to the community of artists who make American puppetry the vivid panorama it has become. Without the Foundation, puppetry in the United States would not be experiencing the explosion of creativity and exposure it currently enjoys.
To present a picture of puppetry in the United States and Henson's work, a brief history of puppetry in America as well as an in-depth scrutiny of Jim Henson's career is provided. The dissertation explains the creation of the Jim Henson Foundation and its grant-making procedures, including case studies and interviews with grant recipients and the Foundation's board of directors as evidence of the contribution that Foundation grants make to contemporary puppet theater. The dissertation explores the creation and productions of the International Festival of Puppet Theater, an event that brought puppet theater to a wider audience in the United States. The Festival performances, coupled with complementary programming, increased puppetry's visibility, affording performers the opportunity to develop their distinct voices. The Jim Henson Legacy, an organization that makes Henson's art viewable through screenings and exhibitions, is profiled as it testifies to the continued role of Henson's work in stimulating American puppetry. The dissertation concludes with an examination of puppetry's present position as a popular theatrical medium and considers the possibilities for the art during the twenty-first century.