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Puppetry, as an ancient mode of mass communication, holds immense potential even in this high-tech era. The age-old folk art of puppetry is a synthesis of various arts: sculpture, design, music, mime, dance, theatre, and the puppet itself. It is the crystallization of the puppeteer's imagination and magic. Puppetry is one of the liveliest and successful folk theatrical forms in India. It is among the most sophisticated enactments, with boundless possibilities for revolution and creation.

Advantages of Puppetry as a Communication Medium In this article, you will explore the power of puppetry as a communication medium. From captivating children to addressing sensitive topics with adults, puppetry provides a unique and versatile approach to storytelling and education. This article highlights its key advantages, including its ability to engage audiences, tackle delicate issues safely, and foster creativity and teamwork. The advantages of puppetry as a communication medium arise from the following factors: (a) Puppets are Moving: Puppets come to life as characters—a hero to cheer, a villain to boo, a tragic figure who can move us to tears, or a comic figure who will make us laugh. With a van, a portable stage, some battery-powered amplifiers, and a few people for the ride, they can travel even to areas inaccessible to mass media. Not only do they adopt local customs and costumes, but they also help neighbors get accepted as friends.

Shadow puppetry in India, a time-honored tradition of narrative and amusement, showcases a rich cultural heritage. From the intricate Togalu Gombeyatta of Karnataka to the vibrant Tholu Bommalata of Andhra Pradesh, the captivating Ravanachhaya of Odisha, and the traditional Chamdyacha Bhaulye of Maharashtra, each regional variation tells stories steeped in history and tradition. These performances not only entertain but also communicate significant messages to rural communities, making them an integral part of festivals, rituals, and celebrations.

In West Bengal, folk puppetry is known as Putul Naach , where Putul refers to both dolls and puppets in Bengali, and Naach means dance. The traditional forms of puppetry in West Bengal include: Glove Puppetry (known locally as Bene or Beni Putul ): Puppets are worn on the hand, allowing the puppeteer to control them with their fingers. Rod Puppetry (referred to as Dang Putul ): Puppets are manipulated using rods for movement. String Puppetry (called Taar or Shutor Putul ): Puppets are controlled by strings, a style influenced by Rajasthan. While rod and glove puppets are indigenous to West Bengal, string puppetry was introduced from Rajasthan.

A set of Rajasthani Kathputli Puppets from different parts of India each have their own distinct identity. Rajasthani string puppets are known as Kathputli. Kathputli is a traditional folk art form that involves puppet performances based on popular legends and is carried out by skilled puppeteers. The popularity of this puppet tradition in Rajasthan is so strong that the name Kathputli evokes images of Rajasthan and its rich folklore. The term Kathputli is derived from two Rajasthani words: 'kath,' meaning wood, and 'putli,' meaning a doll. Thus, Kathputli refers to a wooden doll.

Puppetry is an ancient art form in India, blending storytelling, performance, and craft. This article celebrates the contributions of four renowned Indian puppeteers—Suresh Dutta, Ranganatha Rao, Dadi Pudumjee, and Ramdas Pandhye. These masters have not only preserved traditional puppetry but have also introduced innovative techniques, bringing the magic of puppetry to global audiences. Discover their remarkable journeys, achievements, and the unique styles that define their legacy in Indian puppetry.

The genesis of puppetry in India lies in folk theatre. The term Sutradhar , or puppeteers, commonly used in traditional theatre, refers to the narrator and literally means "holder of the strings." Puppeteers bring inanimate objects to life, making them perform and interpret scripts with the same degree of integrity as actors. They work with a variety of different puppets, and some puppeteers even make their own. Producing a puppet play can place enormous demands on the puppeteer, who must cope with poor physical conditions, such as working in unusual positions on, under, or above the set, while also operating a variety of puppets. They must deliver scripted dialogue in character while managing often unwieldy puppets.

Themes in Indian Puppetry Puppetry is the mother of folk theatre. For ages, puppetry has been one of the most popular sources of entertainment in India. Puppet shows are viewed and liked equally by children and adults, providing mirth to both. India, with its rich history of creativity, has slowly become renowned in the timeline of Indian 'natya' with the emergence of puppetry as a typical visual art form. In Indian puppet shows, dolls come alive, simulating life and reality while giving meaning to the creator’s ideology. It is one of the most sophisticated enactments with boundless possibilities for creative revolution.

India, as the homeland of puppetry, has four traditional types of puppets. These traditional puppets derive their repertoire, costumes, and music from the folk theatre of their respective regions. The presentation of puppet shows involves the creative collaboration of many individuals. The types of puppets are differentiated based on the various methods used to manipulate them.

Puppetry is a traditional folk theatrical form of India. The word "puppet " comes from the French word ‘poupée’ or the Latin ‘pupa’, both meaning ‘dolls’. In Sanskrit, puppets are termed ‘putrika’, ‘putraka’, or ‘puttalika’, all of which are derived from the root putta , equivalent to " putra  "(son) . It is derived from ancient Indian beliefs that puppets have life. Although puppetry involves the manipulation of puppets—inanimate objects, often resembling some type of human or animal figure—they are animated or manipulated by a human called a puppeteer or sutradhar.