This watering can was made in 1977 by the Greek puppeteer and popular artist Abraam (Antonakos) in Melbourne for his performances at the Astor Theatre in Melbourne in 1977. It was a late improvisation made back stage just prior to the performance. He then left it, and most of the rest of the collection with Dimitri Katsoulis who used them in all his subsequent performances in Victoria and in South Australia from 1978 to 1991. However, the watering can was used only once out of necessity by Abraam and never by Dimitri. Dimitri Katsoulis migrated to Australia in 1974 to escape a regime that repressed Greek artists. He had trained in Greece with theatre and film companies as an actor and technician. A master of the traditional Greek shadow puppet theatre, his performances explored contemporary issues such as the isolation of migrant women and children. Unable to obtain funding and support, he returned to Greece in 1991, leaving his entire collection to the people of Victoria. It includes 32 shadow puppets and around 170 props, set backdrops and technical tools and stage equipment. Dimitri has since returned to Melbourne and assists the Museum to continue to document this rich art form within both local and international contexts.

The watering can was attached to the hand of Karaghiozis, a character in the centuries-old Greek Shadow Puppet Theatre (Karaghiozis) tradition. In the comic play 'Karaghiozis the Servant', Karaghiozis is holding a watering can and uses it to beat up the prospective suitors that old man Stavridis has notified to come to his house to meet his daughter. Eleni bribes the servant Karaghiozis to beat up and chase away the prospective suitors that come and say that they like her. She has arranged with Karaghiozis that when she tells each suitor to go outside and wait for the betrothal, Karaghiozis will go out and give them a beating instead of the engagement ring they were expecting.

Information supplied by Greek Shadow Puppet Theatre master Dimitri Katsoulis, 2007.

Physical Description

A piece of thick brown cardboard cut in a watering can shape. It has a container and spout, but no handle. On one face the original sketch marks, in ballpoint, are visible. A piece of red and white paper has been attached to the same face using brown packing tape. A hole has been cut on one side to attach a supporting rod.


This collection of puppets, props, stage sets, and technical tools and equipment relating to traditional Greek Shadow Puppet Theatre is unique in Australia and rare in international public collections. The history of Greek Shadow Puppet Theatre, its puppet characters and the methodology of its performance has been recorded in partnership with the puppet master to whom the collection belonged. The collection is highly significant both as documentation of an important cross-cultural, centuries-old art form, and as an example of the transnational migration of cultural activity between Greece and Australia. It is a collection which was created and performed in Greece and Australia from the mid to late twentieth century, by two puppet masters, who transported the tradition between two countries. Abraam Antonakos came to Australia in 1977 to perform the puppet theatre and then deposited the puppets with Dimitri Katsoulis, who had migrated to Australia in 1974. Dimitri's story becomes one of migration experience, cultural maintenance and adaptation, and finally return migration and the discontinuance of this cultural art form in Australia.

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