Shadow puppetry1/30/2024 Villagers, while keen to watch the performance, do not contribute enough to generate income for 8-10 people. However, his journey is fraught with difficulty. National Award-winning puppeteer Sindhe Chithambara Rao, whose puppets fill the Sarmaya collection, says his troupe still receives a sizeable audience from villages, and government and cultural forums. Today, as economic and cultural shifts take place, Tholu Bommalata is staying afloat by appealing to global interests or national programs for heritage preservation. The text uses a simple style of dwipada meter, which can be recited as a poem or sung with musical instruments, and features a scene-by-scene narrative, as well as detailed information on colours in which the puppets must be painted. This script was titled the Ranganatha Ramayana and was written in Telugu. Under the Kakatiya dynasty in Andhra Pradesh, poet Gona Buddha Reddi was commissioned by his father Vithala Natha to write a script for a play, based on the oral version of Valmiki’s Ramayana, to be performed exclusively by shadow puppeteers. Later, religious texts like the Bhagavata purana, Ramayana and Mahabharata began to be narrated in poetic verse. Traditionally, the plays were performed in Bhajana, a form of congressional worship involving song and dance. As the Vijayanagara empire and Bahmani Sultanate fell, royal patronage to the tradition shrank significantly, and performances became restricted to temple villages, as is still prevalent today. We see a lack of references from the 16th to 20th centuries in shadow puppet performances. In the mid-14th century, the establishment of the Bahmani Sultanate increased the influx of an Islamic population in the region, which in turn led to the wonderful influence of Turkish puppetry on the art form, lending us colourful garments and sumptuous jewellery, as well as long beards on male puppets. Part 5: Daniel will facilitate in-class sharing of student performances, and then brainstorm with students other areas of the curriculum that could be explored using shadow puppetry.Īs shadow puppetry is a highly accessible art-form that appeals to both teachers and students, it is very likely that this “taste of shadow puppetry” will lead to many more explorations long after the formal mini-residencies have concluded.Tara, the Queen of Kishkinda and wife of King Vali and later Sugreeva from the Ramayanaīetween the 13th and 15th centuries, under the Vijayanagara Empire, shadow puppetry reached its peak. Part 4: Daniel will facilitate small-group rehearsals, helping students to practice their shadow puppetry presentations. Part 3: Daniel will introduce the rehearsal process to students so that they can bring this curricular area “to life” behind the shadow screen. Part 2: Daniel will help students create shadow puppets that can be used to explore a pre-determined curricular area that students are learning about in class. Part 1: Daniel will introduce the history and art of shadow puppetry to the class, including foundational shadow theater techniques. Modeled on an Arts Integration approach to teaching and learning, participants first practice shadow theater techniques, which they then use to create performances that demonstrate their understanding of specific curricular content. Multi-session residencies allow students to delve deeper into the worlds of both shadow puppetry and curricular content. Make shadow puppets, learn performance techniques, rehearse behind the shadow screen, dim the lights, and share your performances!Ī workshop is one session, while a residency unfolds over a multi-session schedule. With over 20 years sharing shadow theater in classrooms around the country, Firelight’s Creative Director Daniel Barash is now offering both virtual and in-person workshops, residencies and special events that are perfect for families, schools, libraries, rec centers, scouts, and even special events.
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |