Just like any other feature of this diverse country, puppetry in India is multifaceted as well. The origins of Indian puppet theatre can be traced back thousands of years ago. It has several mentions in ancient texts like the Mahabharata and religious scriptures like the Bhagavad Gita. Certain sources also show that Indian puppetry was in fact, the predecessor of stage theatre itself.
The core themes found in any form of Indian puppetry revolve around the Ramayana, Mahabharata, and Puranas just like other major art forms like dance or music. Sometimes they might be of current issues, moral values, or comedies. Each Indian region has its own version of puppetry and hence they follow the respective regional language while narration. However, some Pan Indian groups use Hindi or Sanskrit.
Indian Puppetry Tradition
Like most occupations in ancient times, puppetry was also a family tradition. From a young age, the children act as apprentices to the family elders and learn the art. They move along with their family to different places, performing their art.
Types of Indian Puppetry
There are four major forms of puppetry in India- string puppetry, rod puppetry, shadow puppetry, and glove puppetry. A brief description of these four types along with important puppetry styles is given below.
String Puppets
These puppets are commonly known as marionettes and as the name signifies, the puppets are held and manipulated by strings. While some puppets require only three strings, some may require up to twenty strings. The number of strings usually varies with each version. String puppets are usually made of lightweight materials like wood. These string puppets are popular throughout the country, with each region having its own version.
Kathputli
The most popular and predominant form of Indian puppetry is Kathputli which is native to Rajasthan. Kathputli in Rajasthani means a wooden doll. All the puppets used are completely made from wood and dressed in cotton clothes. The clothes are reflective of the traditional Rajasthani attire. It is held by a metal string from the top of its body.
There are references for this form of puppetry that can be traced back around a thousand years ago. No event in Rajasthan, be it a festival, a fair or public gathering is complete without an act of Kathputli. Along with acts from popular mythology, Kathputli mainly narrates the stories of Rajputs and is accompanied by dramatic music.
Yakshagana Gombeyata
Yakshagana is the ancient theatre form that is native to Karnataka. The puppetry division of Yakshagana is called Yakshagana Gombeyata and was widely practiced and popular in the coastal region of Karnataka. The puppets are dressed in the same fashion as that of the real-life Yakshagana actors.
The Yakshagana puppets are generally eighteen inches. They made of light wood, and are adorned with rich fabrics, sparkling headdresses, and jewelry. Most of the acts are derived from the Mahabharata. The story is narrated through a song sung by the vocalist according to which the puppeteers manipulate the strings. Yakshagana Gombeyata is highly reflective of the culture and folklore of the native people.
Tarer Putul Nach
This puppetry is the traditional puppet theatre of West Bengal wherein the puppeteers travel in large groups similar to a circus. The Tarer Putul Nach puppets are around forty centimeters high. Their clothing bears resemblance to that of the Jatra actors. Jatra is the musical and folk theatre of Bengal.
Each puppet has six strings while a special acrobatic puppet called Bhanumathi requires eighteen strings. Tarer Putul Nach act is accompanied by musical instruments like flute, gongs, harmonium, and cymbals. The narration is in Bengali and for performances outside Bengal, they include Hindi songs as well. Each show has a duration of around thirty minutes.
Kalasutri Bahulya
The Kalasutri Bahulya puppetry form belongs to Maharashtra. The puppeteers were originally migrants from Gujarat and Rajasthan. The puppets are small but elaborately decorated with huge headdresses, ornaments, and attire.
Most of the Kalasutri Bahulya performances include scenes from the Ramayana. There are interludes that are comic or religious in nature with appearances of Lord Ganesha or Goddess Saraswathi. A single musician accompanies the group and he sings as well as plays an instrument.
Bommalattam
Bommalattam means ‘the dance of the dolls’. This Indian puppetry form is native to Tamil Nadu and employs the techniques of rod and string puppets. It is believed to have a history of more than four thousand years. It has been mentioned in the ancient texts of Thirukkural.
Bommalattam puppets here are around four feet high. These are the largest and heaviest puppets used among all the forms. All the strings are connected to a band, that is worn as a crown by the puppeteer. Bommalattam was patronized by several kings, especially in the court of Thanjavur. Bommalattam is actually a mixture of rod and string puppetry.
Nool Pavakoothu
This is the oldest form of puppetry that originated in Kerala. It was dominant in the Ernakulam region. Nool Pavakoothu puppetry form was practiced by the Nair community and all the performances were carried out in Malayalam. The shows were usually held in temples during special occasions and festivals.
There are usually two sets of puppets in Nool Pavakoothu. The small puppets represented figures and characters from the epics, which was the main act and the bigger puppets were depictions of the comic characters Vidushaka – Koru and Unnaikan which were used as comic interludes.
Gopalila Kundhei
This puppet form is the native string puppetry from Orissa. As the name suggests, Gopalila Kundhei puppets were used to narrate the story of Lord Krishna. The puppets were around sixty centimeters high and were carved from wood.
Usually, in the southern part of Orissa, the Gopalila Kundhei puppets were made with legs, and in the north, they did not have legs. The puppeteers were from the caste of cow herders. Local legends in Orissa say that the stories that are enacted were narrated by the cows that came from Vrindavan, the birthplace of Krishna.
Shadow Puppets
Shadow puppets are widespread in South India which is often considered as the motherland for this art. The shadow puppets are made from leather and it is treated to make it seem translucent. For some versions, the shadows are black and for some, it is manipulated to make it seem colored, like red or green.
Tholu Bommalata
Tholu Bommalata in Telugu means ‘the dance of leather puppets’. It is the shadow puppet theatre of Andhra Pradesh and Telangana including some parts of Karnataka. This form of puppetry is characterized by its unusually large figures held by palm stems and most of the acts are based on scenes from Ramayana and sometimes from Mahabharata.
Tholu Bommalata is not just about puppetry; it includes music, dance, art, and storytelling. This art form is the occupation of wandering entertainers who not only narrate stories but also tell fortunes, sing ballads, sell jewelry and also do tattooing.
Togalu Gombeyatta
It is the Karnataka version of shadow puppetry. The Togalu Gombeyatta puppets here vary in size according to the character they depict. For example, the puppets are larger for religious figures and kings and comparatively smaller for common people.
Ravana Chhaya
It is the shadow puppet version of Orissa. The name refers to Ravana, the demon king from Ramayana and all the themes revolve around stories from Ramayana. The troupe is usually of eight members – four puppeteers and four musicians. Ravana Chhaya puppets are twenty to twenty-five centimeters high. They are made from animal skin. In this puppetry, deerskin was used for Gods and stag skin for demons. Regular characters were cut from goat or sheepskin.
Glove Puppets
Glove puppets or hand puppets involve the puppeteer wearing the puppet on his hand, like a glove and manipulating it using his fingers. These puppets are usually made from wood, papier mache or cloth to make it lightweight and easy to operate.
Pavakoothu
Pavakoothu is the glove puppet theatre of Tamil Nadu. Most of the acts involve themes of the victory dance of Goddess Lakshmi after overthrowing the demons. The puppets are quite small and are made from paper and straw. The performances include musical instruments like drums and the narration takes place in Tamil. Pavakoothu is usually performed during religious festivals in the temple premises.
Pava Kathakali
As the name hints, Pava Kathakali is the puppet version of Kerala’s acclaimed dance-drama form of Kathakali. The puppets resemble miniature versions of Kathakali performers and are generally six to forty centimeters high. Their clothes are made of wool and cotton. Their faces are elaborately painted to highlight the features. They are adorned with gold painted ornaments, bright stones, and peacock feathers.
The Pavakathakali themes are similar to those of Kathakali and usually revolve around the Mahabharata. An interesting feature about this art form is that though the performances took place in Kerala and in Malayalam, the performers belonged to the Telugu speaking community in the Palghat region of Kerala.
Benir Putul
This form of glove puppetry is popular in West Bengal and the eastern part of India. The puppeteers belong to lower castes of rickshaw pullers or palanquin bearers. The name Benir Putul refers to the braiding of hair and this is because the movements of the puppets are similar to the twists and turns involved while braiding. The Benir Putul puppets are around twenty-five centimeters high and are dressed in long skirts and trinkets. Popular themes include Krishna – Radha and Madan – Puti, who are a married couple that constantly argues.
Sakhi Kundhei
This form is native to Orissa especially in the region of Cuttack. Like most other forms of puppet theatre here, Sakhi Kundhei as well narrates the stories of Krishna and Radha. Sometimes, Oriya poetry is also narrated and enacted. Usually, a single puppeteer along with a musician carry out the performances. The Sakhi Kundhei puppets are made from wood and dressed accordingly to represent each character. The Radha puppet is called Chandra Badani, which means a face like a moon and is dressed in long gowns and trinkets.
Gulabo – Sitabo
Gulabo – Sitabo is the traditional glove puppetry found in Uttar Pradesh. It is named after its two heroines – Sitabo, who is an overburdened housewife and Gulabo, who is the mistress of Sitabo’s husband. The puppets are of paper-mache and dressed in shining trinkets and gowns. The scenes are narrated in a sing-song fashion that is similar to the speaking style of that area. The scenes are sometimes improvised to fit in with the local humor and lifestyle.
Rod Puppets
Rod puppets were prevalent in the eastern part of India and Tamil Nadu. West Bengal and Orissa are famous for this form of puppetry. In this style of Indian puppetry, the puppets are controlled with the help of a rod hence this classification.
Putul Nautch
Putul Nautch or Putul Nach is the rod puppetry form of West Bengal. It is also popular in the eastern states of Tripura and Bangladesh as well. The puppets are sometimes extremely large measuring more than a meter and weigh around ten kilograms. These puppets are similar to the Bunraku puppets from Japan.
The Putul Nach puppets are manipulated by using rods that are held together by the puppeteer around his waist. Usually, a troupe of Putul Nautch performers includes ten puppeteers and four musicians. Each performance requires around forty puppets and lasts for an hour.
Kathi Kundhei Nacha
Kathi Kundhei Nacha is the rod puppet form of Orissa. The puppets are manipulated by wooden rods. The puppets are around sixty centimeters high and are decorated to resemble the actors of the Orissa Jatra theatre. It is usually performed on a stage with painted backgrounds and curtains. Along with the puppeteers, there is a musical troupe as well that includes drums and reed instruments. Each Kathi Kundhei Nacha performance begins with an invocation and includes drama, music, and dance with themes from the Puranas.
Yampuri
Yampuri is the rod form that is found in Bihar. It is believed to have reached Bihar from Uttar Pradesh and Madhya Pradesh. The puppets are made of wood and have no joint; they have a single rod attached at the bottom. The puppets are moved around using this rod. The themes of Yampuri form revolve around Yama, the God of Death, and his messenger, Chitragupta; hence the name Yamapuri which means the abode of the God of Death. The narration takes place in Hindi and its main aim is to educate people on the consequences of evil deeds.
Conclusion
Indian Puppetry has been one of the most ancient forms of entertainment in the Indian subcontinent. With each passing century, several forms and versions of puppetry evolved and were mainly communicators of Hindu mythology and moral values. They acted as sustainers of folklore, culture, and tradition. However, they have been fading in the past century.
Several cultural organizations have been trying to revive the Indian puppetry art form but the attempts have been barely successful given the current digital generation. However, we must contribute in any way we can to preserve the rich art forms of our country while keeping up with global changes.