Exploring the Art of Puppetry in India: A Rich Historical Legacy

India is a land rich in cultural and artistic traditions, with puppetry playing a significant role in storytelling and entertainment throughout its history. From the ancient tales of the Silappadikaram to the contemporary films of Lipika Singh Darai, puppetry continues to captivate audiences with its unique charm and cultural significance. This article delves into the various types of puppetry in India and their key aspects, offering insights into a timeless art form.

Introduction to Puppetry in India

The earliest reference to puppetry can be found in Tamil literature, with the epic poem Silappadikaram, which dates back to the 5th-6th century AD. The poem tells the story of a young merchant named Kovalan and his love for his wife and a courtesan, narrated through the manipulation of strings. This early mention highlights the deep-rooted tradition of puppetry in Indian culture. Puppetry, as described in the Natyashastra, is fundamentally linked to the manipulation of strings, with the term 'Sutradhar' meaning the one who holds the strings. This ancient treatise on dramaturgy, written sometime between 2nd century BC and 2nd century AD, does not directly refer to puppetry but establishes the foundation for its practice.

Types of Puppetry in India

Glove Puppetry (Pavakoothu)

In Pavakoothu, which originated in Kerala during the 18th century, glove puppets are manipulated using the fingers. The play incorporates influences from Kathakali, a famous classical dance-drama of Kerala, adding an extra layer of cultural significance. Glove puppetry often features giant bullies with red faces or fiery characters with white faces, each with symbolic meanings. The performances are enhanced by music, and the making of musical instruments is an integral part of this tradition.

String Puppetry

String puppetry is prevalent in various regions of India and includes several distinct forms:

Kathputli

Kathputli, the traditional marionettes of Rajasthan, are known for their oval eyes and intricate designs. These puppets are made of light wood and are more versatile and articulate than other string puppets due to their additional joints.

Kundhei

Kundhei are the string puppets of Odisha. These puppets, made of light wood, have no legs but wear flowing skirts and are more flexible due to their articulated joints. Their costumes closely resemble those worn by actors in the traditional Jatra theatre.

Gombeyatta

Gombeyatta, the string puppets of Karnataka, are designed to resemble the characters of Yakshagana, the traditional theatre form of the region. These puppets are styled both in appearance and movement to depict the dynamic characters of this art form.

Bommalattam

Bommalattam, the string puppets of Tamil Nadu, are the largest, heaviest, and most articulate of all traditional Indian marionettes. They combine techniques from both rod and string puppets, making them a unique and captivating form of Indian puppetry.

Rod Puppetry (Ghati Kandhe in Orissa)

Ravanachhaya, the rod puppets of Orissa, are in one piece with no joints. They are not colored and throw opaque shadows, making them smaller in size compared to other forms of rod puppets. This art form is characterized by its theatrical excitement and rich tradition.

Shadow Puppetry (Togalu Gombeyatta in Karnataka, Tholu Bommalata in Andhra Pradesh)

Shadow puppetry in India includes two distinct forms:

Togalu Gombeyatta

Togalu Gombeyatta is the shadow theatre of Karnataka. These puppets are small in size and vary in size according to their social status, with large puppets representing kings and religious characters and smaller puppets representing common people or servants.

Tholu Bommalata

Tholu Bommalata is the rich shadow theatre of Andhra Pradesh. These large, jointed puppets throw colored shadows on the screen, adding a mesmerizing visual effect.

Exceptional Traditional Puppetry: Gulabo-Sitabo

Situated in the northern region of India, particularly around Lucknow, Gulabo-Sitabo is a unique form of glove puppetry. This declining tradition depicts the comedic relationship between the domineering Gulabo and the submissive Sitabo, both married to the same man. The stories have their roots in folk culture and have been performed using glove puppets since the 17th century.

Conclusion

From the ancient tales to modern-day productions, Indian puppetry has evolved and adapted to different regions and cultural contexts. Each form of puppetry carries its unique stories and traditions, making it a vital component of India's rich cultural heritage. As filmmaker Lipika Singh Darai's film 'Backstage on Odisha's Fading Forms of Puppetry' attests, there is a renewed interest in preserving and celebrating these arts. With their intricate designs, cultural significance, and intrinsic link to music, puppetry in India continues to enchant and inspire audiences worldwide.