Introduction
A perception is created when we think of the northwestern region of India, especially Rajasthan, renowned for the art of puppetry. In Bengal, a distinctive style of puppetry can be observed, popularly known as ‘Taalpatar Sepai.’ What makes this old indigenous toy of Bengal unique is the method of using the dried palm leaves and the motivation behind making these puppets. By understanding the symbolism behind this craft, an attempt is made to explore the cultural relevance of one of the oldest forms of puppetry, both in India and Bengal.
The Historical Significance
The Sepoy Mutiny of 1857, also known as the First War of Independence, is recalled as an unsuccessful yet significant attempt to fight against the British oppressions against the Sepoys. Highlighting the discontent of Indian soldiers and other Indian populations against the colonial rules, this event breaks the silence for tolerance against oppression.
As Taalpatar Sepai originates from this significant event, it also became a symbol for resistance, a key takeaway from the Sepoy Mutiny of 1857 in Bengal. The tenure of Mahtab Chand, the Raja of Burdwan (1832-1879), witnessed the emergence of the mutiny in the region of Burdwan, creating a great mark in both Indian and Bengal history in the modern period.
A Toy with Symbolism
William Tayler (1808-1892), a serving civil servant under the East India Company, was involved in the suppression of the 1857 Sepoy Rebellion as he became the commissioner in 1855. His measures of suppression met with resistance from the local population, which led to the failure of his operations. Unfortunately, he was declared suspended by his superiors and was demoted to a lower rank.
Taalpatar Sepai represents the failure of the British Sepoys (Indian soldiers). Initiating as a symbol of mockery, it gradually turned into one of the oldest forms of puppetry. In the context of colloquial language, the term “taalpatar sepai” is used to denote someone ineffective in their role. Highlighting the hypocritical nature of addressing a weak and rickety person and bragging about his/her strength, most of the classic characters included a soldier or policeman in uniform.
The Making Process
A craft demanding patience and creativity, this puppet was widely made in rural Bengal. The Taal (palm) leaves were sun-dried and cut into sections, giving the shape of human body parts, each joined with bits of thread. The physical features of each character would be drawn with great detail using a paintbrush, mainly following the Patachitra art form originating from Odisha. With each distinctive feature and facial expression representing the moods of the character, a regular pattern was followed to create the figures. After the paint dried, a stick was attached to the back of the toy, along with strings attached for movement.
Cultural Relevance in Bengal Society
Taalpatar Sepai, due to its cheap pricing and acclaimed popularity from the modern period, is one of the most sold indigenous toys, with the target audience being mostly children. Considered as a gift item, this toy can be utilized for display in any area or space, given its portable nature. The cultural relevance of these puppets can be seen through movies and literature, mostly in Bengali. Proving its iconic legacy, a renowned Bengali musical band is also named “Taalpatar Sepai.” However, with the emergence of smart gadgets and the growing influence of Westernized toy industries, the nostalgia for indigenous toys, such as Taalpatar Sepai, is slowly diminishing, leading to a great loss, both economically and culturally.
An Attempt at Restoration
Though on the verge of extinction, some artists continue to protect their cultural heritage by following the old legacy of making indigenous arts and crafts. The artisans in Birbhum, for example, are still dependent on the art of making Taalpatar Sepai as a form of economic gain. Commercialization takes a great picture here as these indigenous toys are now used to sell nostalgia at fairs and haats (weekly markets). The artists believe that with strategic positioning and aggressive marketing, essential tools for business prosperity, the market of the Taalpatar Sepai can be revived in Bengal again.
The attempt of art institutions such as the Kolkata Centre for Creativity and Chalachitra Academy should also be appreciated, as they are transferring the knowledge of Taalpatar Sepai through various workshops and exhibitions. Figures like Prof. Aloke Kumar are contributing to the promotion of legacy through their art of storytelling and presentation, both at the regional and national levels. Madan Mohan Dutta (the son of Dolgobindo Dutta) continued to keep the legacy of his father and his mastery over the art of Taalpatar Sepai intact, marking another contribution to the restoration of this craft.
Conclusion
With an attempt at the restoration of our lost childhood, Taalpatar Sepai marks a significant part of our Bengali cultural heritage. Relevant for its unique features and symbolic representation of resistance, this puppet reflects its significance in the history books. Though neglected due to the growing influence of Western culture, Taalpatar Sepai, through its relevance in Bengali vocabulary, continues to live in the legacy, respectively.
References
https://www.slideshare.net/slideshow/talpatat-sephai-presentation-2pptx/258761741