The puppetry art of India

Think of puppets and one invariably thinks of childhood, that excitement each one of us felt as a child upon witnessing puppets in a fair or an exhibition remains unparalleled even today. Puppetry however is much more than a mode of entertainment for children. Since mythological times puppetry has been a popular medium of communication, education, and entertainment.

It is impossible to date the birth of the Indian art of puppetry, but mythological and historical evidence suggest that puppets have been around in India since ancient times. But what is puppetry? Simply put it is the art of storytelling with the aid of dolls, often two or three-dimensional - along with music and sound effects.

Varying styles and types of Puppetry

Like everything else in India, puppets come in multiple forms. Glove, shadow, rod, and string puppetry form the backbone of the art while the styles vary from region to region and state to state. In the northern state of Bihar, puppets are almost life-sized, in Bengal they can weigh up to ten kilos, but in Karnataka and Andhra Pradesh, they are paper-thin. In Rajasthan, they are made with wood and fabric, in Tamil Nadu they are made of leather, in Bengal with terracotta, and Odisha with wood.

Geographies, language, music, and culture play a significant role in determining the local forms of puppetry, as do hyper-local demographic preferences. Despite the differences, they can all be strung around a common theme - faith. Tales from Ramayana, Mahabharata, and the Puranas are the most common stories narrated through puppetry. Native language, regional context, and local dialect ensure the stories remain relevant to the audience, and the message, if any, is delivered effectively.

String Puppets

The most common form of puppetry across India remains string puppetry. Performed with the help of strings that are attached to the limbs and head of the puppet, it is also the most expressive. The strings are pulled by the Sutradhar from behind the screen and the dolls dance and sway to his instructions. The more the strings the harder and more complicated is the performance. Various forms of this technique can be found spread across the length and breadth of the country.

In Rajasthan, for example, string puppets come decorated with tinsel and are called kathputli. They can be seen dancing to the local tunes in touristy spots enchanting locals and visitors alike. In West Bengal where they narrate local tales and stories of goddess Durga’s valor, they are called Putul, and the technique called suter putul nach; they are mostly seen in fairs and festivals, and in rural areas. In Odisha, the string puppet, gopalila kundhei, is used to depict the tales of Lord Krishna, and in Maharashtra, known as kalasutri bahulya, they come small and are invoked with cymbals and drums on stage to tell stories of the Ramayana. Karnataka (yakshagana gombeyata), Tamilnadu (bommalattam), Kerala (nool pavakothu), Andhra Pradesh (koyya bommalata) and Telangana (keelu bommalata), and sutram bommalata) also have their respective versions of the string puppets.

Shadow Puppets

The most fascinating form of puppetry - shadow puppetry, happens with two dimensional, flat puppets. Made of animal hide, which is first treated and then painted with natural dyes, made with traditional motifs and depict popular characters like Ravana, Rama, Shupnakha and Mahabharata, and Ramayana's most popular stories.

Shadow puppetry is more prevalent in the southern states; their styles are quite similar but with subtle differences. Some, like the ones in Karnataka called Togalu Gombeyatta, are made with one large piece of leather, some, like those in Maharashtra, come with joints. The joints enable swifter and more graceful movement and agility of the puppet, which the single piece may lack. Large groups of men and women sing traditional folk songs to the beats of mridangam and chimes of the cymbal while the Sutradhar brings the stories alive on screen. Also performed in Andhra Pradesh and Telangana the Tholu Bommalata puppets are known for their energetic performances enacted mostly after dark when the sound, light, and visuals work in perfect tandem to create a mesmerizing atmosphere. In Odisha the shadow puppets are smaller and made with deerskin; mountains, chariots, and trees form an integral part of the story, and their detailed imagery and lyrical shadows bring to life the scenes from the epics.

Glove Puppets

How a limp, mute doll can come to life by just a little movement of the hand is what glove puppets demonstrate perfectly. Played out in parts of Uttar Pradesh, Kerala, Odisha, and Bengal, they work on a simple technique: the puppeteer inserts his hands in the cavity of the puppet’s head and arms and manipulates the whole story. The Gulabo-Sitabo puppets of Uttar Pradesh usually play out social themes with entertaining and humorous overtones, in Odisha, they enact the stories of Radha and Krishna; it is the glove puppets of Kerala, however, that are most enchanting. These large, Kathakali style dolls, called Pavakoothu, are between 1-2 feet in height have elaborately painted wooden faces and detailed fabric dresses. Like Kathakali, they also depict stories from the two epics and dance to the enchanting music of chenda, chengiloa, ilathalam, and shankha. Watching a Pavakoothu performance is often as mesmerizing as watching the Kathakali performance.

Rod Puppets

An extension of the glove puppet - the rod puppets are often much larger and manoeuvred by a rod instead of the hand. Bengal’s putul nach and Bihar’s yampuri are the most famous versions of these. In Bihar, the rod puppets are made of wood in one piece. The movement, since there are no joints, requires greater dexterity on the part of the puppeteer.

The Bengali rod puppet comprises of large dolls and borrows its style and stories from Jatra, Bengal’s traditional theatre. They are highly theatrical. Made with elaborate consumes, glittering headgear, and typical Bengali mask style faces, they have a bamboo-rod tied to the waist. The puppeteers stand behind a head-high curtain and sing and dance even as they maneuver the puppets. The musical groups that accompany the shows play out rhythmic local tunes on harmoniums, drums, and cymbals and the whole performance has an air of festivity around it.

While puppetry had almost died in the post-colonial era, thanks to the efforts of individual, cultural bodies, and local artisans, the art has not only been revived but is also gaining popularity in urban centers. Modern-day puppetry is also extensively used in education (for the differently-abled), communication (in urban villages & women-centric groups), and for entertainment.