Putul Naach: The Traditional Folk Puppetry of West Bengal

In the cultural heartland of West Bengal, an ancient art form continues to enchant and educate — Putul Naach. Literally meaning "puppet dance" (putul meaning puppet or doll, and naach meaning dance), this folk tradition brings to life stories, legends, and everyday life through handcrafted puppets. These puppets don’t just move; they speak, sing, and express a range of emotions, capturing the very soul of Bengal’s rural creativity.

🎭 A Rich Variety of Puppet Styles

Putul Naach is not just one single style. It includes a variety of traditional puppet forms, each with its own identity and cultural history. The major forms of puppetry in West Bengal include:

• Glove Puppetry (known locally as Bene or Beni Putul): In this form, the puppets are worn like gloves. The puppeteer inserts their hand inside the puppet and controls its movements using their fingers. This allows for expressive and detailed hand gestures during the performance.

• Rod Puppetry (referred to as Dang Putul): This is one of the oldest forms of puppetry in Bengal. In Dang Putul, the puppets are attached to rods. The puppeteer uses the rods to manipulate the arms, head, and sometimes even the legs. This form is usually performed on raised platforms, with dramatic storytelling and folk music.

• String Puppetry (called Taar or Shutor Putul): This form of puppetry, influenced by Rajasthan, uses strings to control the puppet's movements. Though not originally from Bengal, it has been adapted into local performances over time. The puppeteer controls the puppet from above using multiple strings attached to various parts of the puppet’s body.

📝 While rod and glove puppetry are indigenous to Bengal, string puppetry was introduced from Rajasthan and gradually became part of Bengal’s cultural mix.

🎭 The Puppeteers Behind Putul Naach: Life on the Move

In rural Bengal, the art of Putul Naach is kept alive by dedicated puppeteers — most of whom come from humble, marginalized backgrounds. Many are landless farmers, daily wage earners, or rural artisans, for whom puppetry is not just a performance but a way of life.

🧵 The Life of a Puppeteer

These puppeteers travel from village to village, especially during winter fairs and festivals, carrying everything they need on their backs. Their tools include:

• Cloth-wrapped puppets
• Portable wooden stages
• Traditional musical instruments like dhol, ektara, and cymbals

Their performances are vibrant and full of life — with music, jokes, and dramatic storytelling that engage audiences of all ages. Each show becomes a community experience, connecting people with the stories and traditions of Bengal.

 🌾 Challenges Faced by the Artists

Despite their creativity and dedication, most puppeteers receive little recognition or financial support. With the rise of television, cinema, and mobile entertainment, traditional art forms like Putul Naach are struggling to survive. Many puppeteers have left the craft behind to find more stable income.

Yet, a few families continue to preserve the legacy, passing down the techniques, songs, and stories from one generation to the next. Their resilience keeps this ancient art form alive — though they need support to thrive in the modern world.

 🎭 Themes of Putul Naach: From Myths to Modern Messages

Putul Naach has always been deeply rooted in mythological stories and folk legends. Traditional performances often retell tales from the Ramayana, Mahabharata, and other local legends. These stories connect with rural audiences and pass down values, morals, and cultural heritage from generation to generation.

Over the past few decades, the themes of Putul Naach have evolved. Today, many performances are influenced by Jatra, the popular folk theatre of West Bengal. This has brought in new historical, social, and even political topics to puppet storytelling. Puppeteers now explore issues such as:

• Village disputes

• Social injustice

• Political satire

• Historical freedom movements

🎶 The Role of Music
Music in Putul Naach has traditionally been performed live, using folk instruments and local rhythms. However, the charm of live music is fading, as many puppeteers struggle to attract modern audiences who prefer flashy visuals and digital entertainment.

🧤 Glove Puppetry of Bengal: The Story of Beni Putul

Glove puppetry, locally known as Beni Putul or Bene Putul, is a traditional solo puppet art form from East Medinipur district in West Bengal. This unique style has existed for over a hundred years and holds a special place in Bengal’s folk culture.

In this form, the puppeteer wears the puppet like a glove on one hand and uses their fingers to bring the character to life. What makes Beni Putul special is the intimate connection between the artist and the puppet — there is no stage, no curtain. The performer simply squats on the ground and becomes the narrator, singer, and actor, voicing both puppets with humor, emotion, and powerful storytelling.

🪕 Traditional Meets Modern

Beni Putul performances often blend traditional Bengali folk songs with modern melodies, including popular Hindi or Bengali songs. The stories include epic tales, local legends, and social messages, often spiced with humor and satire to engage audiences of all ages. There is no fixed format or choreography, giving each performance a raw and spontaneous energy.

🎭 Struggles of a Dying Art

Sadly, only a few glove puppeteers remain today. Most of them come from lower socio-economic backgrounds and perform in village fairs or go door to door. In villages like Padmatamali in East Medinipur, some passionate artists still try to preserve this dying art form despite the lack of support, resources, or recognition.

Modern entertainment — such as mobile phones, television, and cinema — has reduced the popularity of glove puppetry. Without regular patronage, many traditional artists have been forced to give up their craft and seek other means of livelihood.

🪆 Rod Puppetry of Bengal (Dang Putul Naach): Drama on Sticks

Rod puppetry, known locally as Dang Putul Naach (Rod Doll Dance), is one of the oldest and most dramatic forms of traditional puppetry in West Bengal, dating back to the 14th century. This ancient art form is heavily influenced by the Jatra tradition, a vibrant form of Bengali folk theatre. The resemblance is visible in the puppets’ costumes, themes, dramatic dialogues, and stage presentation.

🧵 How It Works

Rod puppets are usually large in size and jointed at the shoulders, elbows, and sometimes even at the wrists—but they have no legs. The head is mounted on a long central rod that passes vertically through the torso and is tied to the puppeteer's waist. These puppets come alive through expressive movements, vivid facial makeup, and colorful clothing.

🎭 The Stage and Performance Style

Performances take place behind a high curtain or screen. The puppeteers, hidden from the audience, skillfully move the puppets while standing or sitting behind the screen. A live group of musicians sits nearby, providing traditional folk music and dramatic dialogue delivery that enhances the theatrical feel of the performance.

🎶 A Blend of Music and Storytelling

Rod puppet shows often depict epic tales, social stories, or mythological events. The music is bold and expressive, matching the energy of folk theatre, while the dialogues are typically loud and dramatic to engage rural audiences.

🏡 A Heritage Passed Through Generations

Some families in the South 24 Parganas district of Bengal have preserved this puppetry tradition for more than a hundred years. Unfortunately, Dang Putul is now on the verge of extinction, with only a few remaining troupes continuing this unique form of cultural storytelling.

🎭 String Puppetry or Taarer Putul – A Legacy of Strings and Stories

The history of string puppets in Bengal, known as Taarer Putul, is deeply rooted in both local tradition and cultural exchange. It is believed that over a century ago, travelling puppeteers from Rajasthan visited a village in undivided Bengal (now in Bangladesh). Their performance of colourful wooden Kathputli shows during a local fair mesmerized the villagers with lively storytelling, music, and dance, all brought to life through strings.

Inspired by this fascinating art form, local artisans in Bengal began crafting their own string puppets using wood, cloth, and natural dyes. Over time, this Rajasthani tradition blended beautifully with Bengali folk culture, and performers began showcasing episodes from Bengali folklore, village life, and even epics like the Ramayana and Mahabharata. These performances also carried social messages, educating and entertaining rural audiences.

🏠 Post-Partition Revival in West Bengal

After the Partition of India in 1947, many skilled puppeteers migrated from East Bengal (now Bangladesh) to West Bengal, particularly to districts like Nadia and Krishnanagar. These regions soon became major centres of the Taarer Putul tradition. Puppets were further refined with Bengali-style costumes, vibrant jewellery, and traditional local music.

Even today, Taarer Putul remains an important cultural symbol. It is still performed during village fairs, festivals, and local cultural events, keeping alive the spirit of Bengali storytelling. These shows are more than just entertainment—they are a vibrant way to preserve moral lessons, folk tales, and Bengal’s rich artistic heritage.

📌 Key Features of Taarer Putul

• Originated from Rajasthan’s Kathputli tradition

• Developed a distinct Bengali style over 100+ years

• Puppets made with local materials like wood and cloth

• Stories adapted to Bengali folk tales, epics, and social themes

• Mainly preserved in Nadia, Krishnanagar, and surrounding regions

• Performed during melas, festivals, and rural events

🧵 A Tradition That Still Speaks

Taarer Putul is not just an art form—it is a living history, passed down through generations. These string puppet performances continue to connect people to their roots, values, and shared stories.

🧵 A Struggle for Survival: The Decline of Putul Naach in Bengal

Putul Naach, the traditional folk puppetry of Bengal, is slowly disappearing. While the puppets—made of wood, cloth, or papier-mâché—may seem lifeless, the stories they tell are full of meaning and emotion. Yet, this once-vibrant art form is now struggling to survive in the modern world.

🎭 Why Is Putul Naach Dying Out?

Many factors have led to the decline of this ancient tradition. One of the main reasons is the lack of government support. Very few financial grants, performance platforms, or training programs are available for puppeteers. Most modern cultural institutions remain disconnected from these grassroots artists.

📉 A Decline in Patronage

Due to their simple stage designs, traditional music, and old storytelling themes, puppeteers often cannot compete with modern forms of entertainment like television, movies, and smartphones. With fewer audiences and limited income, many artists are forced to leave their ancestral art behind to seek better-paying jobs.

🌱 Efforts to Revive the Art

Despite the challenges, all hope is not lost. Some NGOs and cultural organizations are taking steps to revive Putul Naach. They are organizing folk festivals, workshops, school programs, and awareness campaigns. These initiatives, although small, are beginning to spark interest among the youth and bring recognition back to this vanishing heritage.

✨ The Road Ahead

The survival of Putul Naach depends on community support, government intervention, and cultural pride. By promoting performances, funding artists, and educating future generations, this beautiful tradition can be preserved for years to come.

🏁Keeping the Strings Alive

Putul Naach is not just a puppet show — it is a living expression of Bengal’s oral traditions, folk music, and cultural values. In every puppet's movement and every folk tune lies the heartbeat of a community that has passed down stories for generations.

🎭 Despite the rise of modern entertainment like television, cinema, and mobile content, Putul Naach continues to hold a unique place in the cultural landscape of West Bengal. Each form of this traditional art — glove puppetry, rod puppetry, and string puppetry (Taarer Putul) — reveals a different layer of Bengal’s folk heritage.

🌟 However, this art form is struggling to survive. Many puppeteers have been forced to leave their craft due to lack of financial support and declining audience interest. Yet, there is hope. NGOs, cultural organizations, and local festivals are working to revive this beautiful tradition through awareness programs and community support.

🪢 By celebrating, preserving, and promoting Putul Naach, we do more than save a dying art form — we honour the soul of Bengal’s folk genius. Supporting these puppeteers means keeping alive the stories, music, and emotions that define Bengal’s identity.

💬 Let us come together to ensure that the strings of Putul Naach never go silent.

Please do read my other blogposts, link below:⏬

ORIGIN OF PUPPETRY IN INDIA

DIFFERENT TYPES OF PUPPETS FOUND IN INDIA

THEMES OF PUPPETS SHOWS IN INDIA

FAMOUS PUPPETEERS IN INDIA.

ROLE OF PUPPETEER IN PUPPETRY SHOWS

KATHPUTLI-THE TRADITIONAL FOLK ART OF RAJASTHAN

PUTUL NAACH(DANCE):THE FOLK PUPPETRY OF WEST BENGAL

SHADOW PUPPETRY IN INDIA

ADVANTAGES OF PUPPETRY AS A MEDIUM FOR EDUCATION AND COMMUNICATION

PUPPETRY AS MEDIUM FOR DEVELOPMENT AND EDUCATION

EXPLORING THE COMPLEX CHARACTER OF NOBITA NOBI IN DORAEMON

MY VISIT TO ALIPORE JAIL MUSEUM

EXPIRED DOMAIN ABUSE