Putul Naach: The Traditional Folk Puppetry of West Bengal

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

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

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

The origin of string puppets in Bengal is believed to be linked to the Kathputli, or wooden puppets, of Rajasthan. About a hundred years ago, a group of itinerant puppeteers from Rajasthan came to perform at a local fair in a village (now in Bangladesh) in undivided Bengal. Inspired by the performance, the locals adopted the form, and it quickly became a popular form of entertainment in the region. After the partition of India and Pakistan in 1947, most of the puppeteers relocated to villages in the Nadia district of West Bengal. Thus, string puppetry became an integral part of West Bengal's folk culture.

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.