Asia, although highly neglected by Western conformities, has always had a rich heritage of art and literature. This is majorly evident in the folktales that have managed their way into contemporary art. Shadow puppetry is one such ancient art form of storytelling. It uses flat articulated cut-out figures called shadow puppets. These puppets are held between a source of light and a translucent color screen. It has been an ancient art and a living folk tradition in China, India, Iran Nepal, Indonesia, Malaysia, Thailand, Cambodia and many more.
According to historians, the shadow puppets of southern India enjoyed the patronage of several dynasties, such as the Rashtrakutas, Pallavas, Kadambas, Chalukyas and Hoysalas, as well as the support of the rulers of Vijayanagara and Mysore. Imperial patronage was also extended to the Killekyata community, the traditional performers of the puppetry form. Records of this are found via an award granted to them in 1520 AD in the Bijapur Sultanate.
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Tholu Bommalata from Andhra Pradesh
Tholu Bommalata is the ancient traditional shadow theater of Andhra Pradesh. Literally, “atta” translates to “dance” and “Tholu Bommalu” refers to “leather puppets”. According to historical literature and records, the use of these puppets dates back to 200 B.C. under the Satavahana dynasty. The major works that fall under this storytelling tradition are the epics Ramayana and Mahabharata. Additionally, other sacred Hindu texts that are no longer commonly narrated in contemporary times. These old texts have been replaced by more relevant social and environmental themes, such as reforestation or the domestic lives of ordinary people. While anyone can manipulate the puppets, only a skilled sutradhar can bring them to life. Traditionally, the sutradhar is the head of the family, with each member performing a specific role: dancer, singer, narrator, and actor.
Tholu Bommalu are the largest shadow puppets in India. The puppets are made of leather, and the origin of the leather holds significant importance. Previously, deer leather represented gods, goat leather for saints or common people, and buffalo leather for demons. Today, however, goat skin is the primary material used. Considering the spiritual value attached to the gods and the impure means of sourcing the leather, numerous rituals are performed to purify the puppets before they are used to represent the spiritual deities. The puppets are highly regarded, and a proper funeral is conducted, where they are released into the waters of the Ganga River. Unfortunately, Tholu Bommalata is a dying art form. Only 9 active troupes today, compared to over 180 troupes active in 30 different Indian districts just fifty years ago.
Togalu Gombeyaata from Karnataka
Togalu Gombeyaata is a form of shadow puppetry practiced in Karnataka. It draws on epics, folktales, coarse humor, and high drama, as well as song and prose in its puppet plays performed through the night. Togalu Gombeyaata also shares historical and communal roots with Tholu Bommalata.
The Killekyata community derives its name from the eponymous character of a Togalu Gombeyaata performance, who provides an element of coarse comedy during a play. The community’s roots are traced to the present-day region of southern Maharashtra, from where groups of performers migrated to Karnataka, Andhra Pradesh, and Tamil Nadu.
The Togalu Gombeyaata figures are made of cattle skin and cast shadows on the screen during a play. Once the hide has been cleaned and tanned, it is chiseled along the outline of characters to create individual and composite puppets with rich details. A bamboo split, attached vertically along the center of the puppet, is used for manipulation. Traditional puppets, made of a single piece of deerskin, did not have articulated parts, demanding more skill and imagination from the puppeteer, which influenced the performance; the introduction of a principal character was accompanied by a detailed narration describing its physical features and attributes.
The repertory of Togalu Gombeyaata draws on the epics Ramayana and Mahabharata, the Puranas, and local folktales called Janapada Kathegalu. A performance is held between 10 pm and dawn of the following morning, beginning with an invocation to Ganesha and Saraswati. Songs and dialogues, often witty, are used alternatively, and musicians accompany the puppeteers on the flute, dhol, cymbals, mukhavina, pungi, and ektari. An overnight Togalu Gombeyaata performance requires at least fifty puppets, including figures depicting birds, animals, and scenes.
Togalu Gombeyaata, like other puppet art forms, is in decline. The number of active troupes has decreased, and the tradition is being preserved by a few generational puppeteers. T Hombaiah, Bellagallu Veeranna, and Gunduraju are master puppeteers who have performed nationally and internationally and received recognition from central and state organizations. Veeranna, who also practiced the folk theater form of Bayalata, has expanded the repertoire of Togalu Gombeyaata while maintaining the traditional aesthetic. He has introduced themes based on social issues, India’s independence struggle, and biographical plays on figures like Mahatma Gandhi and Shivaji Bhonsle I. Gunduraju, whose family has a 200-year legacy in Togalu Gombeyaata, has established a research and training center to preserve the related shadow puppet forms in Karnataka, Telangana, and Andhra Pradesh.
Tholpavakoothu from Kerala
Tholpavakoothu is a traditional shadow puppet play performed in Bhadrakali temples across the Palakkad, Malappuram, and Thrissur districts of Kerala. This art form, which originated in the 18th century, is also known as Pavakoothu or Nizhalattam. The performances take place on a special stage called a Koothumadam, located within the temple courtyard. The Tholpavakoothu art utilizes puppets crafted from deer skin to depict characters from the Kamba Ramayana. The show begins late at night and continues until daybreak, narrating the events from Lord Rama’s birth to his coronation as the King of Ayodhya. The language used is a blend of Malayalam and Tamil dialects.
The puppets, representing both noble and evil characters, are meticulously manipulated behind a white curtain lit by wick lamps. The chief puppeteer, known as the ‘Pulavan,’ leads the captivating performance. Today, Tholpavakoothu is primarily confined to the Ottapalam and Kavalappara regions of the Palakkad district.
Kerala’s rich cultural heritage is beautifully reflected in this art form, which seamlessly integrates Aryan and Dravidian cultural elements. Tholpavakoothu, performed along the banks of the river Nila, utilizes approximately 160 puppets for a full performance, which can last between 7 and 71 days, depending on the temple’s traditions. The puppeteers, often led by a Pulavar, undergo intensive training in both puppetry and the languages involved. The art form is preserved and promoted by dedicated troupes. Koonathara, founded by the renowned Tolpava Koothu artist, the late Guru Krishnan Kutty Pulavar is one such art form.
Chamdyacha Bahulya from Maharashtra
Chamdyacha Bahulya is a classic shadow puppet theater art from Maharashtra, India. In the local Marathi language, “bahulya” means “figure” and “chamdyacha” means “leather.” The village of Pinguli, where this art thrives, is known for its skilled puppeteers from the Thakur/Thakar Adivasi community. These folks are mostly fishermen and farmers by trade. Each puppet show involves a puppeteer-storyteller, an assistant, and two musicians playing the dholak and pakawatch, as well as the jodiwala and wata, while also providing vocals.
The full puppet set has 65 figures carved from colorful buffalo leather. These figures typically lack moving parts, except sometimes having a single movable arm attached by a leather pin. The puppeteer controls the figures by manipulating a wooden or bamboo rod running through them. The characters, like kings and gods, are depicted in the Mughal artistic style, with features like mustaches, beards, and baggy pants.
Performances start with a dancer figure at the court of the god Indra. This is followed by the storyteller Haridas who begins the tale in Marathi. The main puppeteer sings scenes from the Ramayana, Panchavati, and Ravana Badha in Tamil or Kannada. The musicians provide the spoken dialogue. These puppet shows take place on a permanent stage in the village, expanded around temples or sacred sites during religious festivals or major fishing/harvest events. Today, troupes and traditional families in Pinguli continue this Chamdyacha Bahulya art. Some master puppeteers are recognized for their important contributions both locally and nationally.
Ravanachhaya from Odisha
In the Indian state of Odisha, there exists a unique shadow puppet tradition called Ravanachhaya. As the name suggests, it tells stories from the Ramayana epic. This tradition was especially popular in the Dhenkanal and Talcher regions during the 19th and early 20th centuries. It even enjoyed the support of the local royal family. The origins of Ravanachhaya are somewhat mysterious. Some scholars believe it dates back to the 3rd century BCE. On the other hand, some link it to the Indonesian wayang kulit tradition, which is even older. There is also speculation that the name might reflect influences from Jain and Buddhist texts, which sometimes portray the villain Ravana in a more sympathetic light. However, the puppeteers themselves say the name was chosen because the hero Rama is believed not to cast a shadow. Even though earlier regional texts do not explicitly mention Ravanachhaya, they do refer to shadow puppetry more broadly.
Traditionally, Ravanachhaya was performed by the nomadic Charan people, who were traveling performers entertaining wealthy families. Despite its religious themes, it was not confined to temples and was a popular folk theater style. In the 20th century, the Vichitra Ramayana by Odia poet Vishwanath Kunthia became the main source text for Ravanachhaya performances. This blended classical and folk music. There is limited information prior to this record. A typical Ravanachhaya show might feature many different puppet characters, scenes, animals, and composite figures. It may go up to 700 puppets to tell the entire Ramayana story.