THOLU BOMMALATA

(A moving row of magic shadow-shapes)

Shivangi Kwatra
Tholu bommalata
 Introduction Drawing and Coloring Stage and Screen

Origin Types and Sizes Themes a

Mind-mapping Performance
Fixing the puppets

Preparation Manipulation Future P

of the puppet
 Content

Process Book Essence Swatches

and Stories Inspiration Board Material Exploration

Color Board Motif Exploration Utility

Prospects Material Board Form generation

Introduction

In the dark of the night, loud beats of the drum and cries of the war
horn fill the sweltering air, while glowing kings and demons fight
across the flickering light.As early as the twelfth century, the art of
puppetry flourished in Andhra Pradesh, narrating stories of divinity,
sometimes taking the divine dimensions itself. Stories from the great
epics Ramayana and Mahabharata were performed and went on for
several nights.The puppet shows had something for everyone divine
epics for the devout; and comic relief for the distracted. Puppetry is
still practiced today, especially during festival occasions, although
not many puppeteers practice this art nowadays. Leather shadow
puppetry of Andhra Pradesh is known as Tholu Bommalata, (Tholu
leather, Bommalata puppet dance). Two other kinds of shadow
puppetry are practiced in Andhra Pradesh, the Sutram Bommalata
(String puppets) and the Koyya Bommalata(Wooden puppets).
The leather puppets, because of their transparency and jewel like
glow, are most popular. Madhavapatnam, near Kakinada, DCPalli
in Nellore district, Nimmala Kunta in Anantapur district and
Narasaraopet in Guntur district are the main centers for leather
puppets.The leather puppet, which was traditionally crafted from
deer skin, is made from goat hide now. After a two week long
process of cleaning, the skin becomes translucent and ready for
the artwork. As with most crafts, in the painting of leather too,
chemical colours are replacing natural ones. Different characters
have their designated colours, for example, blue for Rama and
Krishna, green Anjaneya, yellow for rishis and so on.But apart
from the translucency and vivid colours, what gives these puppets
their brilliance, is the perforated designs drawn on the characters
to depict jewellery. Once surrounded by colour and viewed against
the light, they look like glowing jewels.
The sizes of the main characters range from 4 x 1 to 6 x 2.
Smaller puppets, around 1 in height, are also made, for supporting Today, the puppeteers have diversified into different products using the
characters as well as for selling to tourists. Some of the characters same craft; as puppet shows are not a mainstream medium of entertainment
are made in three different sizes for a sense of perspective as well anymore. The transparency and durability of the material makes it perfect
as prominence. As the character is shown to move away, a smaller for lampshades and screens, enlivening any dull, grey room.
puppet replaces the larger one and vice versa. Each puppet is
controlled by one person with the help of a bamboo stick attached
to the back and the performer also sings for the character he
manipulates. The movements of the puppets are very intricate, with
the larger puppets having up to 13 different movable body joints.
Fight scenes make the most of such complex movements and also
keep up the tempo of the performance. Fables from Ramayana
and Mahabharata that remain popular include tales of Lava Kusha,
Keechaka Vadha and Rama Ravana Yuddham. Photo Credit: MEDIASECIITH (Photographer). (2014, November 10). puppetry [digital
image]. Retrieved from https://studentsofiith.files.wordpress.com/2014/11/puppetry.
Mind - mapping of Tholu Bommalata
Source: Kwatra S., Log Book
Photo Source: Shaurya S.(Photographer). (2012,March
13). PunctureTexture. [Digital Image]. Retrieved from
https://s-media-cache-ak0.pinimg.com/236x/22/b5/
f1/22b5f11076739fc20c0c4fe5e73e77a0.jpg
Origin

The origin of Tholu Bommalatta in Andhra Pradesh has had a long history. According to Contractor
(1968) and Banham (1995), the oral tradition Jatakaand old scriptures suggests that the art form
originated in 200 B.C. when the rulers of Satavahana dynasty patronized it. Historians and art
critics suggestthat it spread to Java, Malaysia and Indonesia from Andhra Pradesh. Telugn literature
has information on Andhra Pradeshs shadow play. Sarma (1985) mentions the 12th century A.D.
commentator, NeelakanthaPandithas interpretation of roopopajeevanam (Mahabharata, XII-CCXCV-
5),was a shadow play in which leather figures were shown from behind a curtain. Later, the 13th
century A.D. Saivite poet, Palkuriki Somanatha in his work Panditaradhya Charitra, mentions leather
puppets. He gives evidence to prove that in the Srisailam temple festival, the Aare tribe also participated
along with other people and wooden and leather dolls show were staged onthe occasion of the festival
(Chandrasekar, 1961). most of them have ceased to perform now. The Aares themselves prefer to be
called Balijas or Balija Kshatriyas or Bondilis as they are called i n
Maharashtra. They are mostly wandering troupes, wandering nine
months a year from village to village, resting at each place for two
or three days. In recent years, however, they have settled down at different
places doing odd jobs. Many of them found that they cannot earn enough
through bommalata to sus-tain them and their families and so took to
other jobs. The main villages where these puppeteers have chosen to have
their permanent homes are numerous, ranging from m Sringavarapukota
in Vizag District to Bommalatalapalli in Bellary District. A group of about
forty fa milies belonging to the Aare puppeteers made Madhava-patnam
near Kakinada their per-manent home in 1937. Families in the Southern
parts of Andhra Pradesh do not have a permanent home and still prefer
wandering. The Aare Kapu Bommalata players of Andhra Pradesh have
merged themselves with the cul-tural tradition of the Telugu people,
while retaining their social identity. Their social customs are very much
akin to the customs of their ancestors of Maharashtra.
 Preparation

The wet hide of a goat is dipped in warm water and

cleaned with a sharp knife. Salt is not used on the hide.
Stretched on a cot kept outside the house, the cleaned,
softened and uniformly thin skin is allowed to dry. A
thin white cloth is kept on the hide to protect it from
excessive heat. Depending upon the size of the puppets
two to three animal hides are used. For large puppets,
three skins are needed and two for a medium size pup-
pets. Each puppet has three main parts - the head, the
body and the limbs.

Picture Source: Sharma K. (2011,

October 12). Parchment [digital
image]. Retrieved from https://
gaatha.com/2009/10/parchment.jpg
Drawing and Coloring
The outline of the figures or pattern is marked on this, depending on the pattern, round, oblong, triangular,
the prepared leatherusing charcoal, pencil or sharp and cross-shaped holes are punched in the skin using a
instrument by keeping the old puppet to get the right sharp chisel. Traditionally, vegetable dyes were used for
proportion. When old puppets are not available or coloring the figures. As the puppets were shown through
when there is a need to prepare new puppets, the figure oil lamps, the use of deep colours like red, green, black
is drawn from imagination on the leather. Different was preferred. Later, when petromax arid electric bulbs
patterns are drawn to represent jewellery, clothing etc. replaced the oil lamps, the coloration also has changed
The figure is then cut out according to the size. Following to light shades using chemical dyes. Today, the color
technology has been improved giving even shades of
Fixing the Puppets

The whole body and head of the puppet is supported by a bamboo

stick, which extends right down between the legs and a little lower
for the manipulator to hold the puppet. Another bamboo strip
runs across the shoulders for added support. All the sticks are
strongly tied down to the figure. The hand, which has joints, is
stitched on to the shoulders. Bamboo sticks are attached on each
of the hands at the center of the two palms of the puppet with a
loop and a cross sticks. These sticks are easily attached or removed
after the performance. The head, trunk, limbs and legs are stitched
at respective places to give a complete shape to the figure. The
dancing puppets are made for greater mobility. These will have
extra joints at the waist and the head, which is separately attached
on a stick, and connected with the main body by a loose string.
The feet are attached to the skirt. Such figures require two persons
for manipulation. The preparation of puppets is a creative work. It
Types and Sizes

The Andhra Pradesh Tolubommalatta puppets are the biggest among all the
traditional shadow puppets tradition in India. The regular size varies from 5x
3 to 6x 3-3x2. Important characters like Hanuman, Ravana, Rama, Surasa,
SurpanakaTypes
have different and Sizes
sizes and pattern since they are used in various sections
of the episodes during performance. Since the puppets are big in size, they are
divided into head, limbs and trunk and prepared from separate piece of skin. In
some cases,Tthe
he Andhra
head andPradesh Tolubommalatta
body together are made puppets arepiece.
on a single the biggest among
The size also all separate piece of skin. In some cases, the head and body together are
depends on thethe
traditional
size of the shadow
screenpuppets
used bytradition in India.
the artists. SarmaThe regular
(1985) sizethe
divides varies made on a single piece. The size also depends on the size of the screen
from
design of the 5x 3 toas6x
puppets, 3-3x2. Important
Northern charactersinlike
tradition prevalent theHanuman, Ravana,
coastal districts, Rama,
from used by the artists. Sarma divides the design of the puppets, as Northern
Surasa,
East and West Surpanaka
Godavari havewhich
districts, different sizes aand
requires pattern
larger since
screen they aretoused
compared the in tradition prevalent in the districts, from East and West districts, which
various sections
southern tradition, aroundof the
the episodes during
Rayalaseema areasperformance. Since the
which uses smaller puppets are
screen. requires a larger screen compared to the southern tradition, around the
big in size, they are divided into head, limbs and trunk and prepared from Rayalaseema areas which uses smaller screen.
Picture Source: Shankar. M. (2017, November 03).
Shadow Puppets [digital image]. Retrieved from https://
shankar.files.wordpress.com/2009/10/puppet.jpg
Manipulation
of
 Manipulation of the puppets

Andhra Pradesh puppets, due to its big size and design, require
more skillful manipulation. Most of the puppet characters have
multiple limbs made separately and joined by knots of thick
thread. The puppeteer holds the main stick attached at the back
of the puppet with one hand and manipulate its limbs with
another stick using the other hand, giving backward and forward
or up and down movements, while keeping it pressed close to
the screen. The sticks help the players to keep their hands and
body away from the screen projecting only the puppet shadows.
The players stand upright and manipulate the puppets. Some
characters like dancer has complex and maximum manipulation
as well as requires two players for manipulation. The troupe
consists of six to eight artists for performance. Two to three
artists for manipulation including a female member to project
the female character, while four to five artists sit behind the
screen to operate the musical instruments and one person looks
after the puppets and gives continuity to the narration. Overall,
the artists dance, jump, shout, sing, whisper and weep along
with the puppets giving complete life through action, speech
and mood to the puppets, which are projected on the screen.

Picture source: Praveena Makesh. (2016,

March 6). Abandonedart03[digital
image]. Retrieved from:http://
www.indiansinkuwait.com/press/
AbandonedArt03.jpg
Stage and Screen
The stage comprises a white curtain fixed to a bamboo frame. During the wandering days, the puppeteers carried all the materials like poles, cloth etc in a bullock
cart and erected the stage wherever the performance was held. The stage was set in the middle of the village in an open space or in a wide street within the village.
Bamboo or casuarina poles are erected on two sides as well as top and bottom with 10 x 6 or 10 x 8 dimension with 8 height. The front portion of the frame is
covered with a white cotton cloth, usually a dhoti or a saree. The bottom pole is raised about P/2 above the ground. The cloth is tightly tied to the poles on sides as well
as on top and bottom. A black cloth covers the lower portion from the ground to the raised portion. As the puppets are large, this slight tilt keeps the puppet intact
on the screen without shifting during manipulation. Since more than six persons stage the performance, adequate space is left behind the screen to accommodate
the performers and the accompanist. Usually two dhotis or sarees are stitched together to cover the entire screen. A black or dark colored cloth covers the two sides
of the stage. A good source of lighting with correct intensity is an important feature of a shadow play. The use of iron containers with handle in early seventies. Later
on, the oil lamps were replaced with petromax lights. Use of earthenware lamps placed behind the screen and lighted with castor oil. Today, all the puppeteers use
electric bulbs and sometimes - even focus light with high wattage. Since the puppets are boldly colored, theelectric lamps give a good illusion in the present times.
P

Performance

The performance and ends with a concluding mangalam song with

commences after the recitation of Gods name. The clown characters
customary lighting of like Bangarakka, Ketigaru and Jottu Poligadu play
incense sticks followed by an important and significant role in
a smallritual and a prayer for Tholubommalatta. According to Seethalakshmi,
the stage and screen, seeking the the clowns help to keep the audiences attention
blessings of Gods for good performance. alert and wakes them up periodically during
A series of invocation (prayer) follows long hours of shows. Now - a - days, the sponsors
next, first to Ganapathi then to Saraswathi have discontinued the use of clown puppets with
(goddess of wisdom). The comical sequence exaggerated genitalia and slapstick comedy due
proceeds next, which takes about 15-20 minutes to non-preference. However, the clown puppet
followed by the presentation of epic episode. Goldberg Bell sequence is still popular among the audience
(1984) mentions that the main episode constitutes seventy without the attached genitals. Some special
to eighty percent of the performance while the clown effects enthral the audience, a specialty of
puppets take rest of the time. Sorensen (1974) writes that Tolubommalatta. The Hanuman puppet
Photo Source: in the early seventies, nearly two hours are devoted to transferring into a small figure and
KIV(Photographer). PUPPET introductory ceremonies, addresses to the spectators entering the mouth of the big mouth
WITH GOAT SKIN [Digital Image].
and presentation of the theme. The performance demoness Surasa and coming out
Retreived from
http://kivonline.org/kiv_photographs. continues with a variety of modes including songs, after killing her, collapsible
php#!prettyPhoto[55]/0/ recitation, dialogue, conversation and monologue head of certain demon
puppets getting cut off during the days and sometimes even just
war sequence are some of the popular for one night. Along with the number
scenes among the audience. The of days, the duration (number of hours)
duration (number of days) of the of the performance also changed.
performance depends on the episodes The performance varied in
and choice of the patrons or sponsors. duration between four and
Ramayana is performed for six nights eight hours. Now episode
for narrating all the five episodes. of Ramayan and
Some troupes also perform for nine Mahabharat are
to ten days or even 15 days. In the compresssed
olden days, in the absence of other to 1-1.5
entertainment like cinema, television hours.
etc. the Tolubommalatta was the only
entertainment for the villagers. So,
the performance also lasted for a
longer duration. Slowly, due to
the development of other
modern media, the
performance
days also got
reduced to
one or
two
Themes and Stories
The puppet play performs stories from Ramayana and Mahabharatha. speak Telugu at home but memorize the narration through oral tradition.
Certain episodes like Pathala Havanamu, Mahiravana Charitra, Draupadi Sarma (1985) writes that the text for the narration is collated from different
Vastrapaharanam, Keechaka Vadha and Virataparva are the most popular sources at different times of the growth of Tolubommalatta. The older
ones among the audience. Today, some troupes have started using stories generation reproduces only the textual version memorized during their
based on forest protection, animal welfare and other social issues. The older younger days. The Tolubommalatta is well known for its songs based on
generation puppeteers have not attended any school due to their wandering different 'Ragas' though sung in a folk style. Today, sometimes, the old folk
nature. However, they narrate the episodes in Telugu language. They do not style is replaced by new songs mostly taken from popular cinema music.
This is due to the popular demand in villages. The episodes are narrated
with music, which starts with Nata Raga during invocation and ends with
Mangalam using Surati Ragam. Mukhari, Sivaranjani, Sriragam, Ananda
Bhairavai are other ragas used during the performance. The puppeteers
never undergo any formal training in classical Karnatic music however, Photo Credit: MEDIASECIITH (Photographer).
sing by repeating the same music from childhood. The talams or rhythmic (2014, November 10). puppetry [digital image].
notes used are Aadhi, Roopakam, etc. Retrieved from https://studentsofiith.files.wordpress.
com/2014/11/puppetry.jpg?w=676
 Future Prospects

The present condition of the puppet plays

and the puppeteers is disheartening. Their
deviance into more profitable professions is
understandable and, perhaps, desirable in the
absence of proper patronage both from the
people and the Government. But it is unfortunate
to allow a great art to be extinct and it is a sad
comment upon the cultural deviance of the people.
However, here are a few suggestions for the
retention, at least partly, of the glory and pomp
of this great art which flourished in this land for
ages. Firstly, the Government must come to the
rescue of the puppeteers and help them financially
so that they can devote their time to their art.
Secondly, the puppeteering art must change to
make itself more acceptable, by introducing
new themes of contemporary interest into the
puppeteers repertoire. Teaching with the aid of
puppets has won appreciation both from the pupils
and the educationists abroad. So, this method must
be adopted in our educational institutions also.
Existing puppeteers must be trained according to
the requirements of the new texts and make puppet
theatres a part of the school curriculum. This will
go a long way in reorienting the shows to suit
the present-day conditions and also help,
in a big way, the puppeteers to stick
to their profession. An academy of
puppetry could open up new vistas
for further research into the history
and development of the art, and would attempt instruction in a country like India which is humble way so that the puppeteers are able to
at synthesizing the various styles allowing free rich in its traditional cultural heritage. Such earn their own living and also help the tradition
borrowing of techniques from one style to the an academy would also sponsor specialized to continue as a live. tradition. Puppetry is an
other. Experimentation in fusing and synthesizing studies on manipulation methods, production artistic form of entertainment in its own right,
the different mass media of film and television techniques etc. and help develop the applied arts possessing a long and interesting history with
with the traditional folk media, especially the of modelling and preparing puppets. This will rich and varied potentialities for development.
puppet theatre, would perhaps go a long way in enable the puppeteers to earn their livelihood. To allow it to vanish will be at the cost of our
evolving a new medium of entertainment and In Andhra Pradesh alone this can be done in a own cultural heritage.

Picture Source: minimuscbe. (2014,

November 12). Shadow Puppets
[digital image]. Retrieved from
https://minimuscbe.files.wordpress.
com/2009/10/puppet.jpg
Process Book
 Boards
Boards
Boards
Color Board
Inspiration Board
Material Board
Essen

Essence
Final Essence: Shadow
Motif Eploration
Material Exploration
and Form generation
Swatches
Utility
 Tholu Bommalata, the shadow puppet play, is one of the
earliest Telugu folk theatre forms which contain the live potential
of a stage performance and the engaging luminosity of a colored
film. Etched in multiple colors, the mythological
and imaginary figures at once create a rare
combination of nearness and distance through
their translucence behind the wide screen- the
product being a series of aesthetically satisfying pictorial
designs coming to life through movement, song and word. The
shadow puppet, cut from a piece of flat, raw hide or stiff parchment of leather
is artistically designed to denote various mythological figures and has a long and
eventful history in recreating the Indian mythological stories for the common
mans entertainment.

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