Putul Naach: The Traditional Folk Puppetry of West Bengal

Traditional Putul Naach puppets of West Bengal held by performers during a folk puppetry show, showcasing Bengali puppet art and cultural heritage.

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.

The Puppeteers Behind Putul Naach:

The puppeteers or puppet groups are typically landless farmers or laborers who perform at fairs and festivals during the winter. This art form is itinerant in nature; they carry the puppets and other materials with them, packed into boxes or folded and rolled into cloth bags.

Themes of putul naach

Traditional Bengali Putul Naach puppetry performance depicting mythological and legendary themes.

The themes of Putul Naach performances are mostly based on myths and legends. However, over the past several decades, they have increasingly been influenced by the popular themes of the Jatra folk theatre tradition of West Bengal. Historical, social, and even political themes have begun to be incorporated. Music is still customarily performed live. Yet, many puppeteers, who found themselves unable to compete with the growing popularity of modern entertainment due to their simple themes, basic props, and traditional music, have abandoned their tradition and moved on to other occupations. As a result, patronage of this ancient folk form is conspicuously lacking.

Glove puppet or Bene Putul

Beni Putul or Bene Putul — Traditional Glove Puppetry of East Medinipur, West Bengal.

The roots of the glove puppet tradition, known as Beni or Bene Putul, lie in the district of East Medinipur in West Bengal. This solo art form has existed for over a hundred years, but sadly, today there are only a handful of traditional glove puppeteers struggling to keep their art and skills alive in the small village of Padmatamali in East Medinipur. Traditionally, Beni Putul puppeteers belong to a lower social group. In the past, they would go from door to door performing or visit local fairs and festivals. Squatting on their haunches, they would bring out two often well-worn puppets and enact scenes from the epics. The glove puppeteer serves as the narrator, singer, and actor, providing dialogue for both puppets while maneuvering them. Nowadays, lyrics are often laced with humor and sarcasm, and the music may include common folk tunes as well as popular Hindi or Bengali songs. There is no fixed format for the movements, and no stage is used.

Rod puppet Or Dang Putul

The traditional rod puppet form of West Bengal, known as Dang Putul Naach (Rod Doll Dance), dates back to the 14th century. This form of puppetry emphasizes drama over dance. It is heavily influenced by the Jatra tradition—a traditional theatre form of Bengal—evident in its costumes, themes, scripts, and enactments. The puppets have joints at the shoulders, elbows, and sometimes even at the wrists, but they do not have legs. The head is mounted on a central rod or pole that passes vertically through the torso and is then secured to the puppeteer's waist. Performances take place on a makeshift stage covered by a high curtain through which the puppet performance is visible. A group of musicians, seated beside the stage, provides vocal support and accompanying music. Both the music and dialogue are typically very dramatic, in line with the traditional folk theatre style. Some families have preserved this art for generations—up to 100 years or more. However, this form is now on the verge of extinction and is found mainly in the South 24 Parganas district of West Bengal.

String or Taarer Putul

Traditional Bengali string puppets (Taarer Putul) inspired by Rajasthan’s Kathputli, showcasing a male puppet in white attire and a female puppet in vibrant bridal costume, part of West Bengal’s folk culture.

The history of string puppets in Bengal, locally known as Taarer Putul, has a fascinating connection with the famous Kathputli tradition of Rajasthan. It is believed that more than a hundred years ago, a group of travelling puppeteers from Rajasthan visited a village in undivided Bengal, which is now part of Bangladesh. They performed their colourful wooden puppet shows during a local fair, amazing the villagers with lively storytelling, music, and dance through strings.The villagers were so inspired by this art form that they started making their own puppets using locally available materials like wood, cloth, and natural dyes. Gradually, this art was adapted to Bengali culture, folk tales, and local songs. Instead of Rajasthani stories, these new puppeteers began performing episodes from Bengali folklore, village life, epics like the Ramayana and Mahabharata, and even social messages that entertained and educated rural communities.

After the Partition of India in 1947, many of these skilled puppeteers migrated from East Bengal (now Bangladesh) to West Bengal, especially to the Nadia district. Villages such as Krishnanagar and nearby areas became known as centres of this craft. Over time, the performances evolved with unique costumes, vibrant jewellery for the puppets, and traditional Bengali music to match the local flavour.

Even today, Taarer Putul remains an important part of West Bengal’s folk culture, often performed during village festivals, fairs, and cultural programs. These string puppet shows are not only a form of entertainment but also a way to preserve stories, moral lessons, and the artistic heritage of Bengal.

Conclusion:

Putul Naach represents a vibrant tapestry of West Bengal’s cultural heritage, with each forms of puppetry—glove, rod, and string—showcasing a unique aspect of this traditional art. Despite the challenges posed by modern entertainment and changing times, these puppetry forms continue to hold a special place in the region’s folk culture. Preservation efforts and renewed interest in these art forms are crucial for keeping the tradition alive for future generations. The dedication of the remaining puppeteers and their ongoing contribution to the cultural landscape highlight the enduring significance of Putul Naach in West Bengal’s rich artistic legacy.