The puppetry traditions are more than just entertainment; they are a reflection of India's deep-rooted cultural heritage, storytelling artistry, and spiritual beliefs.
Puppetry in India dates back to ancient times, with references found in scriptures and texts like the Mahabharata and the Natya Shastra, which mention various forms of puppetry used for storytelling and entertainment. Puppetry was not just an art form but also a medium for education and moral instruction, often used to convey stories of gods, kings, and common folk, blending entertainment with life lessons.
India’s puppetry can be broadly categorized into four types: string puppets (marionettes), shadow puppets, rod puppets, and glove puppets. Each type has evolved uniquely in different parts of the country, drawing from local myths, folklore, and artistic traditions.
String Puppet
String puppetry, or marionette puppetry, is a captivating art form that has been an integral part of India's cultural heritage for centuries. Controlled by strings attached to various parts of the puppet's body, this tradition brings stories to life through expressive movements and vibrant performances. Each region in India has developed its unique style of string puppetry, reflecting local culture, traditions, and storytelling techniques.
Kundhei
Kundhei, the traditional string puppetry of Odisha, is a unique and intricate form of storytelling that showcases the region's rich cultural and artistic heritage. Crafted from lightweight wood, the puppets are intricately sculpted and adorned with traditional Odishan costumes, vibrant colors, and detailed facial expressions. The puppets, measuring over 60 centimeters, are manipulated using three strings attached to a bamboo triangular control, allowing for graceful and dynamic movements. Performances often draw from Hindu mythology, particularly stories of Lord Krishna’s life (Gopalila), as well as episodes from the Ramayana and Mahabharata, along with local folklore. In southern Odisha, the puppets have articulated legs that touch the ground, while those from northern Odisha are legless, showcasing regional variations.
Traditionally, Kundhei puppetry was performed by the Ahir Gopal community, a caste of cowherds who passed down the craft through generations. The puppeteers, often assisted by a second person, work up to four or five puppets at a time, creating a vibrant narrative through synchronized movements. The performances are accompanied by a pakhawaj (a traditional drum) and sometimes a harmonium, with the puppeteer narrating and singing the story in Odia, concealed behind a dark cloth screen. Legend says that cows from Vrindavan, the birthplace of Lord Krishna, brought stories of his life to Odisha, inspiring the art form. Though it has become rarer over time, replaced by other regional puppetry traditions, Kundhei remains an essential and historical part of Odisha's performing arts heritage.
Kundhei Puppetry
Kathputli
Kathputli, perhaps the most renowned form of string puppetry in India, originates from Rajasthan. The term "Kathputli" is derived from two Rajasthani words: "Kath," meaning wood, and "Putli," meaning doll. These puppets are traditionally carved from wood and adorned with colorful fabrics and sequins, representing Rajasthani attire. Kathputlis have no legs and are often dressed in long flowing skirts, with heads and hands painted in bright colors and decorated with intricate details. The puppeteers, belonging to the Bhat community, manipulate the puppets using a series of strings attached to the head, shoulders, and waist. Kathputli performances are known for their humorous and satirical take on social and political themes, traditional folk tales, and historical events. Accompanied by traditional Rajasthani folk music and songs, these shows offer a vibrant spectacle of Rajasthani culture, reflecting the region's history, customs, and social commentary through the animated gestures of the puppets.
Kathputli
Bommalattam
Bommalattam, or puppet dance, is the traditional string puppetry of Tamil Nadu. This style combines elements of both rod and string puppetry, allowing puppeteers greater control over the puppet's movements. Bommalattam puppets are among the largest and heaviest in India, sometimes weighing up to 10 kilograms, and are typically about 1 to 4 feet tall. The puppets are manipulated by a combination of rods and strings, which allows for both intricate hand movements and large, sweeping actions. The performances usually depict stories from Hindu mythology, with a special emphasis on tales from the Ramayana, Mahabharata, and Puranas. The puppet shows are also part of rituals conducted to ward off evil forces, prevent epidemics, and end droughts by invoking rain.
Bommalattam
Gombeyatta
Gombeyatta is the traditional string puppetry of Karnataka, known for its elaborate and detailed puppets. This form closely relates to the state's classical dance and theatrical traditions, especially Yakshagana, a traditional theatre form that combines dance, music, dialogue, costume, makeup, and stage techniques. Gombeyatta puppets are typically made from wood and are elaborately painted to resemble characters from traditional Indian epics and folklore. They are highly stylized and have joints at the legs, shoulders, elbows, hips and knees. These puppets are controlled using five to seven strings attached to their head, hands, and legs, allowing for graceful and coordinated movements. Gombeyatta performances are rich in music and dialogue, with puppeteers not only manipulating the puppets but also providing voiceovers and singing traditional Yakshagana songs. The themes often revolve around Hindu mythology, with vibrant depictions of gods, goddesses, demons, and legendary heroes. Celebrated for its dramatic storytelling, vivid costumes, and the seamless blend of puppetry with Karnataka's theatrical tradition, Gombeyatta offers a unique artistic experience.
Shadow Puppet
Shadow puppetry, an ancient and captivating form of storytelling in India, uses intricately crafted leather puppets to project shadows onto a lit screen. This art form, known for its vibrant visual appeal, is performed in several regions, each with its distinct style and tradition. The puppets, often made from animal hide, are meticulously cut and painted, creating detailed characters that depict scenes from Hindu epics like the Ramayana and Mahabharata, as well as local folklore. These performances are typically accompanied by traditional music, songs, and narrations, and have been an important medium for religious and cultural education. Shadow puppetry in India reflects the region's rich storytelling traditions, blending art, myth, and performance.
Togalu Gombeyatta puppets demonstrating the war between the Pandava, Arjuna and his son Babruvahana
Togalu Gombeyatta
Togalu Gombeyatta is the traditional shadow puppetry of Karnataka. The term "Togalu" means leather, and "Gombeyatta" means puppet play, thus emphasizing its primary material—leather. These puppets are typically smaller in size, allowing them to be easily manipulated, and their sizes vary according to the significance of the characters they portray, for instance, large sizes for kings and gods and smaller sizes for ordinary folks or servants. These puppets are crafted from hide, usually of goats or buffaloes, which are meticulously carved and painted with vibrant colors. The perforations in the leather allow light to pass through, creating intricate patterns and details on the screen. The performances involve puppeteers manipulating the puppets behind a white screen with a light source behind them. The movements are synchronized with live music, dialogue, and narration, creating a dynamic visual experience. Togalu Gombeyatta performances predominantly draw from Hindu epics like the Ramayana and Mahabharata, along with local folklore and moral tales.
Ravan tries to kidnap Sita
Ravanachhaya
Ravanachhaya is a unique and delicate form of shadow puppetry from Odisha, known for its monochromatic silhouettes and exquisite craftsmanship. The name “Ravanachhaya” translates to “Shadow of Ravana,” and the performances traditionally narrate episodes from the Ramayana, with a particular focus on the antagonist, Ravana. Unlike other shadow puppetry forms that use vibrant colors, Ravanachhaya puppets are uncolored and jointless, crafted from deerskin. These puppets are intricately carved, with perforations outlining the figures and costumes, allowing light to pass through and create striking, detailed shadows.
What makes Ravanachhaya exceptional is its use of a single rod to manipulate the puppets, resulting in fluid and lifelike movements. Puppeteers use split bamboo sticks to hold the puppets and manipulate the shadows by adjusting the distance from the screen, thus magnifying or shrinking their size. A full performance can require up to 700 puppets, with multiple figures representing different emotional states of individual characters. Ravana’s puppet, in particular, is made significantly larger than Rama’s, casting a powerful, imposing shadow to heighten his dramatic presence. Accompanied by traditional music, the narratives are sung in local dialects, drawing from texts such as the Bichitra Ramayana by the Odia poet Biswanatha Khuntia.
The puppets are treated with deep respect—blessed before their first use and ceremonially cremated when they become too worn out, with their ashes scattered in a river. Though highly regarded as part of Odisha’s cultural heritage, the survival of Ravanachhaya is under threat due to declining practitioners and modernization, spurring preservation efforts to sustain this ancient tradition.
Tholu Bommalatta
Tholu Bommalatta, from Andhra Pradesh, is known for its vibrant and elaborate shadow puppetry. This tradition stands out for its large, colorful leather puppets and grand performances that can last all night, often during temple festivals and community celebrations. The puppets are made from translucent leather, usually of goats, and are painted in bright colors. Each puppet is meticulously cut, designed, and perforated to allow light to create vivid images on the screen. The puppets are typically larger than other shadow puppets, with some reaching up to 4 to 5 feet in height. Tholu Bommalatta performances are dramatic and engaging, with puppets manipulated by multiple rods, allowing for intricate movements. The performances are often rich with stories from the Ramayana, Mahabharata, and Puranas, focusing on themes of heroism, morality, and devotion. Puppeteers often improvise, adding humor, contemporary issues, and local flavors to the performances, making them relevant to the audience. Beyond being a form of entertainment, Tholu Bommalatta is considered a sacred performance that connects the audience with their cultural and spiritual roots, bringing blessings to the community.
Tholu puppet
Rod Puppet
Indian rod puppets are a fascinating form of traditional puppetry, distinguished by their use of rods rather than strings to manipulate the figures. These puppets are typically larger and sturdier than string puppets, with the main rod running through the body to control the head and additional rods attached to the hands for more lifelike movements. The rod puppets' fluid movements and expressive gestures make them highly engaging, and their ability to depict complex human emotions has kept this art form alive in rural communities.
Yampuri Puppet
Yampuri
Yampuri, a distinctive form of rod puppetry from Bihar, stands out due to its unique construction and performance style. Unlike other rod puppets, Yampuri puppets are crafted from a single piece of wood without any joints, which means their movement relies entirely on the skill of the puppeteer. The absence of joints makes the manipulation of Yampuri puppets more challenging, requiring the puppeteer to expertly maneuver the rods to bring the characters to life with fluidity and expression.
The performances of Yampuri typically draw from Indian mythology, focusing on stories involving Yama, the Hindu god of death, and other mythological figures. These narratives are often infused with moral lessons, humor, and philosophical insights, making them appealing to audiences of all ages. Yampuri puppets are characterized by their bold facial expressions, vibrant costumes, and exaggerated body proportions, which enhance the dramatic effect of the performances.
The craft of making Yampuri puppets is an art passed down through generations, with each puppet intricately carved and painted to represent various characters from traditional tales. The puppeteers, often members of hereditary artist families, perform at festivals, community gatherings, and other cultural events, preserving this ancient art form while adapting it to contemporary audiences.
Putul Nachh
Putul Nach, meaning "doll dance," is a traditional form of rod puppetry in West Bengal known for its large, intricately crafted wooden puppets. These puppets, often up to three feet tall, are controlled by rods attached to their heads and limbs, allowing for graceful and lifelike movements. Adorned in colorful, traditional Bengali attire and detailed with carefully crafted facial features and jewelry, the puppets vividly represent characters from local folklore, mythology, and epics such as the Mahabharata and Ramayana. The stories they enact often celebrate local heroes, gods, and legends, bringing cultural narratives to life in an engaging and captivating manner.
Performances of Putul Nach are set to complement traditional music and narration, which enhance the dramatic storytelling. Entire families participate in the creation and performance of these puppets, making it a true community endeavor. These performances, held during festivals and cultural events, continue to draw large audiences, especially in rural areas, who are captivated by the vivid storytelling and artistry. Despite the competition from modern entertainment, the dynamic and expressive nature of Putul Nach has helped preserve this cherished art form as an integral part of India’s cultural heritage.
Glove Puppet
Glove puppetry, also known as hand puppetry, is a traditional form of puppetry in India where the puppeteer uses their hands to control the movements of the puppets. The puppets are typically small, with the head and arms manipulated by the puppeteer's fingers, while the body is supported by the palm.
Glove puppet
Pavakoothu
Pavakoothu, also known as Pavakkathakali, is a traditional glove puppet form from Kerala, deeply influenced by the classical dance-drama Kathakali. This art form uses small puppets, typically about one and a half feet in height, which are adorned with elaborate costumes, vibrant face paint, and headgear reminiscent of Kathakali characters. The puppeteer's hand fits into the puppet's hollow body, with fingers operating the head and arms, allowing for expressive gestures that bring the characters to life.
Pavakoothu performances often depict scenes from Hindu epics such as the Ramayana and Mahabharata, accompanied by the rhythmic beats of traditional percussion instruments like the chenda and maddalam, along with vocal narrations and songs in the background. The puppeteers skillfully manipulate the puppets in sync with the music, imitating the stylized movements and dramatic expressions of Kathakali, making Pavakoothu a captivating blend of puppetry and classical dance traditions. This glove puppet tradition serves not only as entertainment but also as a medium of storytelling that preserves and conveys Kerala’s rich cultural and religious heritage.
Read More:
- Ghosh, Sampa, and Utpal Kumar Banerjee. Indian puppets. Abhinav Publications, 2006.
- Orr, Inge C. "Puppet theatre in Asia." Asian Folklore Studies (1974): 69-84.
- Orenstein, Claudia. "Finding the Heart of Indian Puppetry." Puppetry International 36, no. 2014 (2014): 16.
- Bradford Clark. “Putul Yatra: A Celebration of Indian Puppetry.” Asian Theatre Journal 22, no. 2 (2005): 334–47. http://www.jstor.org/stable/4137138.
- Weiger, Myra. “Puppetry.” Elementary English 51, no. 1 (1974): 55–65. http://www.jstor.org/stable/41388162.
