Puppetry of India: Historical References & Different Forms

Introduction

Puppetry of India is a time-honored tradition, steeped in rich cultural heritage and artistic expression. Across the diverse regions of the country, puppetry thrives as a dynamic art form, captivating audiences with its colorful characters, lively performances, and enduring stories.

Historical References of Puppetry of India

• The excavation sites at Harappa and Mohenjo-Daro have yielded puppets with sockets attached to them.
• It finds  mention in Silappadikaaram (composed around the 1st – 2nd Century BC) 
• Natyashashtra mentions Sutradhar (holder of strings ) as producer-cum-director of the human theater.

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Classification: Puppetry of India can be broadly classified into four categories: 

• String Puppets (Marionettes)
  • The puppeteer exerts control by attaching strings to small openings in the hands, head, and back of the puppet’s body. 
    • They have jointed limbs that allow greater flexibility, making them more articulate. 
  • The puppets are carved from wood, and oil colours are applied to give them lifelike features. 
  • Limbs are fashioned from small wooden pipes, the body is adorned with vibrant outfits and miniature jewellery is affixed to give it an authentic feel. 

Different Forms of String Puppets of India

• Shadow Puppets
  • Shadow puppets are flat figures, cut out of leather, which has been treated to make it translucent. 
  • They are pressed against the screen with a strong source of light behind it. 
  • The manipulation between the light and the screen make silhouettes or colourful shadows.

Different Form of Shadow Puppetry of India

• Rod Puppets
• • Rod puppets are an extension of glove-puppets, but often much larger and supported and manipulated by rods from below. 
  • This form of puppetry now is found mostly in West Bengal and Orissa. The puppets of Orissa are smaller than those from Bengal.

Different Form of Rod Puppetry of India

Glove Puppetry of India

• Glove puppets, are also known as sleeve, hand or palm puppets. The head is made of either papier mache, cloth or wood, with two hands emerging from just below the neck. The rest of the figure consists of a long flowing skirt. 
• The movements are controlled by the human hand the first finger inserted in the head, and the middle finger and the thumb are the two arms of the puppet.
• The tradition of glove puppets in India is popular in Uttar Pradesh, Orissa, West Bengal and Kerala. 
• In Uttar Pradesh, glove puppet plays usually present social themes, whereas in Orissa such plays are based on stories of Radha and Krishna. 
• In Orissa, the puppeteer plays on the dholak with one hand and manipulates the puppet with the other. The delivery of the dialogues, the movement of the puppet and the beat of the dholak are well synchronised and create a dramatic atmosphere.

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Conclusion

• Puppetry of India is not merely entertainment but a vibrant reflection of the country’s cultural diversity, artistic ingenuity, and timeless storytelling traditions. 
  • From the colorful streets of Rajasthan to the shadowy stages of Tamil Nadu, Indian puppetry continues to captivate audiences with its enchanting performances, preserving the legacy of a cherished art form for generations to come.

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