Introduction
The term kathputli comes from two words- katha meaning story, and putli meaning doll or puppet; while the origins of the first kathputli are said to have been in Rajasthan, the artform occupies a distinct space in the cultural and social landscape of Delhi, with its unique visual and storytelling style drawing several connoisseurs from all across the city.
These wooden puppets, expertly handled by skilled puppeteers, have always been a key part of Indian folk entertainment. They are known for their colorful costumes, lively shows, and deep storytelling traditions. In Delhi, Kathputhli has become more than just a fun way to pass the time; it is a lively symbol of heritage, culture, and community spirit.
Origins of the Craft
The exact historical origins of puppetry in India remain ambiguous. Some scholars trace mentions of puppeteering in the ancient myths, where the first puppeteer was created by Brahma for entertaining his wife Saraswati, but subsequently banished to earth, thus leading to a lineage of nat puppeteers; according to another legend, these dolls caught the fascination of Shiva and Parvati who entered these dolls and began an enchanting dance, but following their departure, the artisans crafted strings to control the dolls and keep them lifelike.
Several literary texts such as the Mahabharata, Panini’s Ashtadhyayi, Patanjali’s Yogasutra and some texts from the Tamil corpus include mentions of puppetry and marionettes moved by strings. Archaeological evidence such as small toys carved from wood, ivory and stone from the Harappan sites indicate some form of puppetry being present in Indian history from the ancient times. In fact, the German scholar Richard Pischel argues that even Western puppet traditions can trace their inspirations from Indian puppetry.
Artisans from Delhi’s Kathputli Colony
The Kathputli Colony near Shadipur Depot is a hub of performers and puppet makers (also snake charmers, magicians, acrobats, singers, dancers and so on), whose engagement with the craft goes back to nearly five decades. The first puppeteers belonged to the Bhottada community, who originated from Rajasthan and would frequently perform in Delhi; overtime, some of the migrants set up tents in the area and established permanent settlements with the expansion of the city.
The puppeteers, known as “Putliwalas,” showcase a real knack for making the puppets come to life using strings, rods, or even their own hands. They turn characters into lively figures through their stories, with further enhancements through music, singing, and dialogue, making them engaging and interactive for the audience.
Some organisations associated with these artists include the Bhule Bhisre Kalakar Cooperative and the Sangeet Natak Academy which provided them with crucial work for their craft. Numerous festivals hosted in the capital such as the Ishara international Puppet Theatre Festival, exhibitions such as Chhaya (hosted by the Management of Art Treasures of India) have been central in gaining recognition for the creative and performance skills of this community.
Through her influential collection Losing Kathputli, Australian photographer Inger Vandyke comments, “For me, Kathputli was more than just a slum. It was a community woven together by threads of artists’ families; migrant workers from Gujarat and Rajasthan; ragtag groups of children wandering the streets and alleyways filled with colour and light.”
Main Themes
Image Source: Rajiv Sarkar and Prof. Ravi Poovaiah
Mythological retellings remain a favoured topic for puppet shows, which also include royal genealogies, romances, heroic and fairy tales, thus being crucial for the ritualistic-religious space of the city. A strong connection between puppetry and other arts such as the theatre, dance-drama and visual-art traditions can also be seen. Kathputli performances are also held during festivals, marriages, family or community celebrations and for warding off evil or to herald the monsoon showers.
Types of Kathputlis
Image Source: Rajiv Sarkar and Prof. Ravi Poovaiah
There are mainly four types of puppets that feature in Delhi’s kathputli scene:
Shadow puppets – are usually two-dimensional paper or leather cutouts, which are controlled with thin sticks or rods.
String puppets – these are made of wood with the legs covered by long decorative skirts; they are moved around with the use of strings in turn tied to a triangular or horizontal frame, or in some cases, looped around the puppeteer’s fingers. According to some sources, string puppets predate Indian classical theatre.
Rod puppets – similar to the structure of shadow puppets, this type employs sticks as the main body or trunk of the dolls which are usually three-dimensional and vividly painted.
Hand or glove puppets – perhaps the earliest type, the movements are controlled with the manipulation of the puppeteer’s fingers, usually the thumb, forefinger and the middle finger.
Current Status
Image Source: ruralindiaonline
In a time of digital media and a wide variety of entertainment platforms, there is a noticeable decline in the public interest towards the craft of puppetry making and performances. Seen as a fairytale craft, romanticised in stories but neglected in reality, artists struggle to keep their dedication to the craft alive. In the Kathputli colony in Shadipur, the residents have their own battles with government officials and demolition drives. Vandyke states that in a state driven by economic profit and urban development, cultural heritage and preservation has taken a backseat in terms of urban priorities.
Nevertheless, significant restorative and preservative efforts have been undertaken from various sectors to ensure that the art of kathputli and its underlying craft of storytelling remains central to the city’s cultural space. Sanjay K. Roy, Managing Director of the Ishara festival, notes how such events not only celebrate this ancient art form, but also foster cross-cultural understanding and artistic appreciation.
Cultural and Social Significance
Image Source: ruralindiaonline
The employment of puppet shows as a medium for education and communication, conveyed through the varied and complex expressions of the painted puppets and the elaborate gestures enables the puppeteer to disseminate political and religious ideologies, while also providing a platform for entertainment. The considerable leeway within a puppet show for improvisation and artistic liberties allows for the incorporation of current realities and events, facilitating crucial social commentary.
Ranjana Pandey and her group Jan Madhyam (founded in 1980 in New Delhi) concentrate on themes linked to the needs of women and children. According to Dadi D. Pudumjee, a pioneering figure in the puppetry tradition in Delhi, “Post-COVID, there has been a renewed interest. At a recent talk at the Amarnath Sehgal Museum, someone asked me about puppetry’s place in the age of AI. My answer? This art form continues to thrive because it is live, tangible, and deeply human.”
Additionally, puppet shows also serve as important spaces for community leisure and interaction. As Kamaladevi Chattopadhyay articulates in her work, Handicrafts of India, “As a medium, however, puppetry has a few equals and scores many advantages over human performances in moving and holding audiences. It suggests rather than instructs because of an innate subtlety. It can indulge in exaggerations or distortions without being coarse or vulgar.”
Sources:
1. https://www.ruralindiaonline.org/en/articles/delhis-kathputli-artists-puppeteers-in-limbo/
2.https://www.hindustantimes.com/htcity/htcity-delhi-junction/play-of-shadow-puppets-in-delhi-pull-strings-of-indias-rich-folk-art-101724316404912.html
4. https://www.mentalfloss.com/article/69099/inside-new-delhis-colony-wooden-puppets
5. An Introduction to Indian Puppetry | Sahapedia
6. Delhi: A puppetry festival bringing global traditions to life
7. https://www.atlasofhumanity.com/kathputli