The Art of Shadow Puppetry in India

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.

Traditional Indian Shadow Puppetry

Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment that uses flat articulated cut-out figures (shadow puppets) placed between a light source and a translucent screen or scrim. The puppets' cut-out shapes sometimes include translucent colors or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A skilled puppeteer can make the figures appear to walk, dance, fight, nod, and laugh.

This tradition of shadow puppetry survives in Odisha, Kerala, Andhra Pradesh, Karnataka, Maharashtra, and Tamil Nadu. Although shadow puppetry in these regions has distinct identities, languages, and dialects, they share a common worldview, aesthetics, and themes.

👉The narratives are mainly based on the epics of Ramayana and Mahabharata, Purans, local myths and tales.

Togalu Gombeyatta – Traditional Shadow Puppetry of Karnataka:

The shadow puppet art practiced in Karnataka is called Togalu Gombeyatta. The size of the puppets used is relatively small. The size of the puppets generally defines the social status of the character: the larger the puppet, the greater the social status of the character. For example, large-sized puppets are used for kings and religious characters, while smaller-sized puppets represent servants and common people.

Tholu Bommalata – Traditional Shadow Puppetry of Andhra Pradesh:

The shadow theatre of Andhra Pradesh, Tholu Bommalata, is known for its strong and rich tradition. The shoulders, waist, elbows, and knees of the puppets are jointed and are colored on both sides. The puppets are large in size. The themes for the shows are usually drawn from the epics Mahabharata and Ramayana or from the Puranas. The background music for the theatre shows is influenced by the classical music of the region.

Ravanachhaya – Traditional Shadow Puppetry of Odisha:

The shadow puppet form practiced in Odisha, known as Ravanachhaya, is one of the most theatrically exciting forms of shadow puppetry in India. The puppets do not have joints and are made from a single piece. They are not colored on either side, resulting in opaque shadows on the screen. Manipulating and moving the puppets requires great dexterity due to the lack of joints. The puppets are designed in bold, dramatic poses and are made from deer skin. Besides human and animal characters, various props such as mountains, trees, chariots, and houses are also used. The puppets create very sensitive, lyrical shadows on the screen. Ravanachhaya puppets are relatively small, not more than two feet tall.

Chamdyacha Bhaulye – Traditional Shadow Puppetry of Maharashtra:

Maharashtra’s Traditional Shadow Puppetry

The shadow puppetry in Maharashtra is known as Chamdyacha Bhaulye, meaning "puppets made of leather." This tradition is almost extinct, with only one group of traditional Chamdyacha Bhaulye puppeteers located in Kundal Village, Ratnagiri district of Maharashtra. Like Ravanachhaya, Chamdyacha Bhaulye deals exclusively with the Rama legend and features puppets with no jointed limbs, casting black-and-white shadows. Many puppets depict group figures or single characters with highly stylized settings.

The stage of Chamdyacha Bhaulye resembles a cubicle. Only one puppeteer squats inside the stage and manipulates the leather puppets in the order of their presentation. On the left side of the stage, in full view of the audience, sit the vocalist and other musical accompanists who sing the traditional text.

Conclusion:

Shadow puppet plays are also reflected in various pictorial traditions in India, such as temple mural paintings, loose-leaf folio paintings, and narrative paintings. Dance forms such as the Chhau of Odisha literally mean "shadow." Shadow theatre is usually performed on platform stages attached to Hindu temples. These shadow puppet plays communicate significant messages to the rural community, besides providing entertainment. The performance begins with an invocation on a ritually set-up stage in a village square or temple courtyard. Shadow puppet performances are part of festivals, celebrations of special occasions and rituals, and are sometimes staged to ward off evil spirits.

However, shadow theatre is slowly dying because people prefer "modern entertainment" like movies and television.