From the Land of the Rajas:

Creativity in Rajasthan

Puppetry in Rajasthan is part of a larger tradition of traveling story-tellers; these include bards who recite the Pabuji epic with a long scroll (par) and priests who travel with a box of folding panels (kavad).  While both of these deal with the sacred, the puppet performances are most definitely secular.  Rajasthani puppeteers also serve as genealogists for their patron castes.

The main group of Rajasthani puppeteers, the kathaputli (“story-puppet”) Bhats, use string puppets to enact the stories of various heroes and heroines.  The size of the troupe may vary, but it usually consists of a man, who is the main puppeteer, and a narrator-singer, who is generally his wife.  Larger groups may be filled out with an assistant and musicians for the dholak drum, cymbals, and the harmonium.

The puppeteer manipulates the black strings attached to the puppets’ head (made of mango wood), waist, and hands.  The lower body is covered in long skirts and therefore does not have attached strings; the arms are stuffed with cloth to give them a rounded, human appearance.  Since these puppets usually represent Rajput kings, their visual models are the common depictions of royalty in miniature paintings:  swords, turbans, crowns, beards, and moustaches.  For the popular animal puppets, only their necks are movable.

Kathaputli stages are usually quite minimal and improvised.  The puppeteer may stand behind a curtain stage or between two up-ended charpai cots.  The lighting is similarly variable:  coconut lamps, torches, or electric bulbs.  The puppeteer uses the strings to show off his skill in depicting life-like swordsmanship, dancing, juggling, and acrobatics.  Throughout the performance the puppeteer holds in his mouth a reed-like bamboo instrument.  Called a boli, its shrill sound interprets what the puppets say.

Performances blend moralistic tales and religious themes with the life histories of heroes.  As the Bhats were once patronized by the rulers, their ballads feature kings and royal life.  The most common puppet play deals with the heroic exploits of the historical Rajasthani king, Amar Singh Rathor.  The action begins with a court scene; the traditional curtain has arches creating the backdrop of a palace.  First, each of the maharajas attending the court are introduced.  Key scenes include a dancing girl and a snake charmer.  Finally, all the puppet characters fight, leaving alive only the hero of the ballad.  Relatively little time is spent on the story; most of the performance is an opportunity for the puppeteer to show off his skills.

Puppet show
Photo by Shalini Ayyagari, Jaisalmer, 2005–06

(R) Camel and rider puppet
Photo by Shalini Ayyagari, Jaisalmer, 2005–06

(L) Ganesha puppet
Photo by Shalini Ayyagari, Jaisalmer, 2005–06