Different kinds of puppetry have taken over different parts of India. In fact, many of these kinds of puppetry such as glove and shadow puppetry are still very much famous among the masses as puppeteers find it easy to recreate. But one such puppetry exists which despite having a rich history and being pretty distinct, is showing a decline. And that is rod puppetry. Practised mainly in West Bengal, Odisha and Bihar this form of puppetry is slowly getting erased from the mind of the people. Let’s dive deep into rod puppetry and rod puppets to discover what makes it so unique and why it is slowly dying out.

How Does Rod Puppetry Work?

Rod puppetry is considered an extension of glove puppetry but the key difference is the usage of rods over gloves. Normally three rods are used to manipulate these rod puppets. The main rod which balances the head is attached at the neck and the two other rods that manipulate the hands are attached to the main rod at the shoulder joints. The legs or the lower body of the puppets are hidden with the clothes of the puppet. Depending on the region in India they are based on they can be huge in size or small. The three states of India in which this form of puppetry is famous include; West Bengal, Odisha and Bihar.

West Bengal

Known as Putul Nach which literally translates to “Dancing Dolls”, rod puppetry takes the form of a huge human-like structure going as tall as 3-4 feet in certain regions. These huge rod puppets are dressed like the actors in Jatra. What’s interesting about the rod puppetry form in West Bengal is how the puppeteers manipulate them. Unlike traditional puppets where the puppeteers stay in one place and manipulate the puppets, here the puppeteers are hidden behind a head-high curtain and dance or move along the huge rod puppets to impart the same moves to the puppet. The entire process that the puppeteers follow is pretty theatrical. Normally it’s the puppeteers who voice out the dialogue and sing for the puppet but sometimes they are accompanied by a group of musicians who sit on the side of the stage.

Odisha

The rod puppetry form in Odisha is a bit different from its Bengali counterpart just like its Rasgullas. The rod puppets in Odisha are not as big as the ones found in West Bengal they range from 12-18 inches. The shoulders of these rod puppets are connected to the main body with the help of strings, not rods. Thus, this form of rod puppetry uses a mix of strings and rods, giving a different dimension to their rod puppets. The puppeteers in this case squat on the ground and behind a scene to manipulate the rod puppets. Most of the dialogues are sung to tunes of classical Odissi music. Rod puppetry is also known as Kathi Kandhe in Odisha.

Bihar

Known as Yampuri, the rod puppetry form in Bihar has its own uniqueness. For starters unlike its Odia and Bengali counterparts, these rod puppets are made out of wood and don’t have joints. Hence, it requires the puppeteer to be very flexible in their approach and be highly dexterous when handling these rod puppets.

How Can We Conserve Rod Puppetry?

Living in the era of the 5G internet it’s not surprising that why these traditional art forms such as puppetry are dying out. Rod puppetry being a tough speciality in the world puppetry makes it even more susceptible to cultural extinction. Plus the added burden of creating these huge rod puppets and having barely any audience to cheer them on due to the rise of electronic media also contributes to its low popularity. One way to conserve this beautiful art form is by incorporating it in electronic media such as broadcasting it on YouTube to help increase its reach and ensure that it continues to entertain and teach the future generation.

It’s easier to give up than fight at times. Fighting requires you to use up a lot of energy but giving up not so much. It’s easier to bend to the whims of the world than to fight against the tide. But what can one do when fighting back is the only option one is left with? Directed by Tushar Hiranandani, the film, Srikanth, tells the story of real-life highly successful Indian industrialist and MIT’s first visually impaired student Srikanth Bolla who just refused to settle as according to him running away is not an option as he can’t see where he is running to.

Srikanth: A Closer Look

A movie that captures the raw reality of the world with just the right amount of fiction is what aptly describes Srikanth. Starting from the moment Srikanth Bolla was born till he became a leading industrialist in India, all the tiny and major incidents in his life that made him what he is today are beautifully captured by director Tushar Hiranandani and beautifully executed by Rajkumar Rao who played the role of Srikanth Bolla in the film.

Being born and brought up in a tiny village to humble farmers in Andhra Pradesh to fighting with the Indian education system for his right to study the subject he wants to ensuring that blind people have equal opportunities to work like non-visually impaired people, Srikanth’s journey was filled with hurdles. Sometimes these hurdles were even more than what a person deemed as “normal” by society may face. These problems were not just problems that were caused by his blindness but problems that were created by a system which still thinks that differently-abled people are incapable of certain things although recent technical advancements that help them be at par with others have proven otherwise. 

Despite all these hurdles, the one thing that didn’t change about Srikanth Bolla is his attitude towards life. Never in his entire life did he decide to just end it although the world gave him more than enough reasons to on certain occasions. He marched forward and fought hard as according to him, running away for a blind person who couldn’t even see where he was running to was not an option. And by going against the tide he ensured others also didn’t fear away from doing the same.

The best thing about the film is that it captured reality in its true essence. It didn’t just highlight Srikanth Bolla’s perfections but also his imperfections. No matter how inspiring he was, at the end of the day he was still a human who is not immune to human flaws. What makes this film a truly exceptional biopic is how it highlights his flaws and how he got over them. 

Afterword

Life isn’t always fair. But whether to just sit and crib about it or to do something about it is in our hands. We won’t always succeed, but when we do history will forever remember us. Srikanth Bolla was one such man, he refused to play the cards that were handed to him by life for he knew he deserved much better. Apart from the movie Srikanth, if you are curious to know more about this legend, check out our article on him here.

Dr R Sathyanarayana was a disused musicologist and dance scholar from Mysore, India. He has left an indelible mark on the world of arts and academia. His illustrious career spanned decades, marked by scholarly contributions, prestigious awards and unwavering dedication to enriching Indian classical music and dance.

Dr R Sathyanarayana, born on May 9th, 1927, in Ramanagara, began his journey towards shaping the cultural landscape of India. His academic pursuits were diverse and impressive, ranging from a Master’s in Chemistry from the University of Mysore to multiple D.Litt degrees from esteemed universities such as Mysore University, Hampi University, and Gangibhai Hangal Music University of Mysore.

Dr R Sathyanarayana’s career was a testament to his unwavering passion for science and the arts. From 1949 to 1984, he served as a dedicated professor of chemistry at Sarada Vilas College, all the while imparting knowledge of Karnataka music. His interests extended beyond the classroom, as he authored numerous treatises on dance and music in Sanskrit, including notable works such as “Pundarikamala”. “Shruti: The Scalic Foundation”, and “Karnataka Sangeetha Vahini”.

Dr  R Sathyanarayana was honoured with prestigious accolades, including the Padma Shri civilian honour the President of India bestowed upon him in 2018. His influence earned him international acclaim as an eminent musicologist and danceologist.

Dr R  Sathyanarayana’s scholarly legacy lives on through his extensive work, comprising over 20,000 printed pages of research papers, books, translations and more. His profound impact on Indian classical Music and dance earned him accolades such as the Karnataka Rajyotsava Award, the Fellow of Sangeet Natak Akademi and the Rajya Sangeet Vidwan Award.

Dr R Sathyanarayana’s influence extended far beyond his academic achievements. He resonated deeply with the artistic community as a mentor and public speaker. He nurtured countless disciples and captivated audiences in creative circles, government-sponsored music festivals, and international seminars.

We honour the titan of Indian classical music and dance, Dr R Sathyanarayana’s enduring legacy. His contributions have enriched our cultural heritage and inspired generations of musicians, scholars and enthusiasts. Though he may have departed from this world, his melodies and teachings will continue to echo through the corridors of time, ensuring that his legacy remains eternally enshrined in the hearts of Indian classical artists.

Words were thought of as the mightiest of all weapons. But with time it so happened that those poets and writers who used to make life worth living started to fade in recognition. Going from a time when people used to arrange “Ghazal” meets and poetry recitations to being holed up at offices from 9-8 pm and barely having time to listen to such masterpieces, technology changed the way art is perceived and appreciated in the modern age. But a few old souls for whom words still hold the power to bewitch the mind like the sound of the Pied Piper of Hamelin, have finally managed to spread their message worldwide. With “Manch” by Tape A Tale, in Melbourne, Australia, from 13th-14th April 2024 Nayab Midha and Amandeep Singh took us back to those glory days of words with their words on a physical tour outside of India. 

Australia Tour

Thanks to the power of social media, the storytelling and poetry scene in India has been getting an ever-growing fan base. From small open mics to auditoriums filled with people, Indians have finally realised the beauty and power of words that used to hold an entire generation before them in a trance. The revival of this forgotten art did come with its own fusions to suit today’s time but that just goes to show the power of literature that breaks set established norms and categories for the sake of expression.

Taking this revival one step forward, Tape A Tale organised “Manch” a storytelling poetry and music event in Melbourne, Australia from 13th-14th April 2024, for all the Indian fans living abroad who were eagerly waiting to meet the young writers from India who reignited their love for poetry and storytelling. Taking the stage with their captivating tales and mesmerising words, Nayab Midha and Amandeep Singh kick-started the highly awaited event in the poetry storytelling scene. Both Nayab Midha (writer of the poem Khubsoorat) and Amandeep Singh are well-established poets and storytellers in India and carry the beacon of modern poetry and storytelling with them. They both have done solo tours in India titled “Rajkumari” and “Pluto”. Further to encourage the local artists, they shared the stage with a few local artists from Australia to help them get the exposure their brilliant work truly deserves. The local artist lineup included Shefali Malandkar, Aman Punia, Priyanka Rajwani, Kirti Rawat, Ravita Kamra and Akshay Sindwani.

What To Expect Now?

Two unforgettable days in Australia, marked just the beginning of this journey to spread the influence of words that is bound to release today’s sedentary and mundane lives and help them realise the forgotten glory of art. “Manch” by Tape A Tale was a one-of-a-kind tour that reassured millions who were hesitating to spread their written works such as poetry and storytelling to the world. With this international tour Tape A Tale managed to set the benchmark high for the scope of making such unconventional career options a reality. 

Refusing to cap creativity with just this one international tour “Manch” will be taking their international tour forward by organising it in the UK and Ireland, in London and Dublin between 24th-26th May 2024 with Nayab Midha, Amandeep Singh and Yahya Bootwala.

Book your tickets now!

When we hear Satyajit Ray, we are filled with a profound sense of awe and respect for the man whose works continue to inspire generations. Born on May 2, 1921, in the vibrant city of Calcutta, he emerged as a luminary in Bengali cinema, leaving an indelible mark on the global cinematic landscape.

Ray’s entry into the world of cinema was marked by a fortuitous encounter with French film director Jean Renoir during “The River” filming in Calcutta in 1949. This meeting, coupled with his exposure to Vittorio De Sica’s “Bicycle Thieves” in London the following year, ignited his passion for storytelling through film.

In 1955, Ray made his directing debut with “Pather Panchali,” a film that would not only revolutionise Indian cinema but also captivate audiences worldwide. Over the years of his illustrious career, Ray directed 36 films, ranging from feature films to short films and documentaries. Each of his creations bore the hallmarks of his unique vision, craftsmanship, and deep understanding of human emotions.

While Satyajit Ray’s work gathered widespread critical acclaim, it also faced its fair share of controversies. His films “Pather Panchali” and “Ashani Sanket” were harshly criticised for allegedly portraying poverty and distorting India’s image abroad. Yet, Ray’s unwavering commitment to authentic storytelling and cinematic excellence, despite these challenges, is truly inspiring.

One of Satyajit Ray’s most iconic achievements is the “Apu Trilogy”, consisting of “Pather Panchali”, “Aparajio”, and “Apur Sansar”. Time magazine recognised the trilogy as one of the “All-Time 100 Movies” in 2005, solidifying its status as a cinematic masterpiece for the ages.

Beyond his filmmaking, Satyajit Ray was a true Renaissance man. He composed music, wrote screenplays and authored numerous short stories and novels, many of which were beloved by children and adolescents. His writing, often filled with wonder and nostalgia, was a testament to his deep connection to his Bengali heritage and his innate storytelling ability.

Ray’s influence went beyond his native country, India. He is resonating with filmmakers worldwide. His visionary storytelling and unwavering commitment to artistic integrity have left an indelible mark on Wes Anderson, Martin Scorsese, François Truffaut and Christopher Nolan, among others. His legacy, a testament to the power of storytelling, continues to captivate audiences across the globe.