small scale figure of human or other living beings could legitimately be included in a study of toys,” commented Dr Birendra Nath Dutta on puppetry. But this art form that was once a popular entertainment medium in rural Assam has lost its charm with the advent of the new media.

A glance at the origin and evolution of folk theatre reveals that this theatrical tradition is interlinked with human civilization from very early times. Human beings had developed potential artistic qualities through songs, dances and many religious rituals to express their emotions, hopes and aspirations right from the Vedic period. Bharat Muni, the first dramaturge, codified the art and craft of drama and performance in his famous treatise Natyasastra.

Inspite of their different regional or local origin on the basis of language and culture, one can notice many common features in the varied folk forms of India. In traditional theatre, age-old forms, customs and the desire to improvise are intermingled. These theatre forms are not episodic. There is always continuity in their theme, structure and presentation. There is also scope for improvisation and incorporation of new references, leading to subtle extension in the story line. There is a direct and intimate audience involvement. Traditional theatre forms have a common distinguishing feature: the element of ‘simplicity’.

“Puppetry is the most prominent division of theatre in India”. (Balwant Gargi, Folk, 29). Puppetry is close to the hearts and minds of the people, as it has a personal and intimate appeal, along with a familiar format and content, because of the colloquial dialects used. But, ironically, puppetry as a popular folk art is not given its due in the arena of performing arts in India by many schools of experts. Scholars agree on one hand that India is the birthplace of puppetry, but on the other, with reference to performing arts, they marginalize its importance by terming puppetry as “child’s play”.

Though puppeteers and puppet-scholars of North East India have been engaged in the revival of regional puppets, however, this art form is mostly unknown to the rest of the country. It is believed that Srimanta Sankaradeva brought puppets into Assam from Orissa, thus taking puppetry back to the early fifteenth century. The disciples of Sri Sankaradeva started practising this art form at the various Satras which were set up at Majuli- the largest river island in the world. Locally designated as Putula-Bhaona or Putula-Naach, the first performance organised at the Satras of Majuli was called Chinyajatra Naat, where a combination of both Gayan and Bayan i.e song and dance, was used and the performance was given on Bayumondal Raag, Basanta Raag etc.

Puppetry in Assam was deeply rooted in its religious ethos. The performance of the Putula Naach showcased stories from the Ramayana and the Mahabharata. Themes like Ram-Banvas, Sita Haran, Marichar Dwara Hiran Rup Dharan etc were enacted on stage with life – like puppets. The response of the public towards the shows was also quite positive. But, with the advent of new media and the mobile theatre industry incorporating modern technology for making its performances more attractive, the popularity of the puppet shows started declining. What was earlier an indispensable component at the fairs and festivals of Raas, Paal Naam, Janmastami, started losing ground because of public apathy. And, as a consequence, this art form is at present facing total extinction at Majuli, which was its birthplace.

Though the government of Assam has established a puppetry division under the Directorate of Cultural Affairs, Assam for propagation, preservation and development of this great art form in the year 1987, along with a Puppet section at Srimanta Sankaradeva Kalakshetra under the guidance of Chobin Rajkhowa and Archana Talukdar, the results are not satisfactory. The department started with organising, training, holding festivals and seminars by inviting experts and taking keen interest in the popularisation of this art form. However, these activities are at present on hold. The Satradhikar of Chamauguri Satra – Kosh Kanta Deva Goswami (recipient of the Sangeet Natak Akademi Award), Majuli says that “if we want to save the age old culture and art forms of our State, then we must all unitedly fight for their revival. And the younger scholars should engage themselves in research works in this area, so that awareness can be created among the masses.”

Zebin Hazarika, in her project entitled Revival of Puppetry in North East India, sponsored by the Ministry of Human Resource Development in the year 2000, has laid emphasis on the string puppets of North East India, which is almost on the verge of being an extinct art form. “Puppets have been replaced by Muppets, and Rongmon – the mascot of the 33rd National Games which was held at Guwahati, was designed keeping the dying nature of puppets in mind”, says Hazarika. Abani Kanta Sharma – an accomplished artiste of Ruby Puppet Theatre of Dhakhala village at Bijoynagar of Kamrup District says “…what initially was a passion has now become a means of livelihood, but the going is not at all smooth.”

Government-sponsored work is sporadic, as the public hardly has any information about the existence of this art form in our State. The secret of this art form is to be found in the magic which ensues when an inanimate object creates an emotional connect with a human spectator. May this magic never die.

Moushumi B Chowdhury