Life of Gautama Buddha
in Devasthanakala
Paper cutting art
Shiva in
Devasthanakala Paper cutting art
Gitagovinda in Devasthanakala
Paper cutting art
Mahabharat in Devasthanakala Paper cutting art Durga in Devasthanakala Paper cutting art Krishna in
Devasthanakala Paper cutting art
Ragamala in
Paper cutting art

Paper cutting demonstrations by Prabal Pramanik

Portfolio on Devasthanakala Paper cutting art

Paper cutting art

Paper lace cutting art

Paper folding art

Paper assembling

Silhouette paper cutting

Books on Paper cutting &
paper folding art

Animation from paper cutting &
paper folding art

Published articles on paper cutting art


Gitagovinda in Devasthanakala
Paper cutting art

Life of Gautama Buddha in Devasthanakala Paper cutting art

Contact Address


Puppet-6.jpg (34596 bytes)


puppet8.JPG (31581 bytes)


puppet9.JPG (30749 bytes)


puppet10.JPG (51933 bytes)


puppet11.JPG (34182 bytes)


puppet12.JPG (37329 bytes)


puppet13.JPG (31029 bytes)


puppet14.JPG (20922 bytes)


puppet15.JPG (16528 bytes)


puppet16.jpg (16874 bytes)


puppet17.jpg (11546 bytes)


puppet18.JPG (34489 bytes)


puppet19.JPG (49111 bytes)


Puppetry and myself

Puppet-7.jpg (43774 bytes)

This essay chronicles the journey of an artist in the world of puppetry.
The journey began in childhood joy, fresh and pure, with the development of a personalized world created through imagination of an artistic soul.
The projects in self created puppet theatre were spontaneous, and in keeping with the world of dreams of that individual.
Money, social milage and other gross grains were insignificant in this world of creative delight.
New ideas, new innovations were incorporated in every new presentation and the world of the artist puppeteer spread from Kolakata to Paris.
Whenever any one used "anything" that may have ranged from a shadow to any object to impersonate any human being any other animal, and imposed a "character" on that shadow or object, the art of puppetry was displayed.
This art is visual and performing both. Like any other artist the puppetiers creates a world of make believe through his performance.
This art originated at the folk level and was maintained through folk traditions. At times, innovations by imaginative individuals added new ways of presentation enriching the tradition of puppetry.
In modern times there have been widespread experimentations that introduced new forms to the world of puppetry.
Modern forms of puppetry have introduced new areas sophistication through special effects lighting and sound allowing new dimensions in puppet theatres.
Story wise too, the character of modern drama has influenced the puppet theatre both thematically and presentation wise.
Psychological factor of modern drama and the thought provoking socio-political aspects have been presented through puppets in many contemporary shows and this new way of "staging" the puppets have produced different dramatic appeal.
Even traditional stories are at times presented in contemporary manner in modern puppet theatre. Even so, the strictly traditional puppets will always have their own aesthetic appeal and importance.
So, the art of puppetry can be strictly traditional or greatly innovative expressing individual styles.
Every sort of puppetry has its own charm and possibilities. My world of puppetry is very individual and gives me an immense scope of exercising my artistic freedom.
I made paper cutting figures from childhood and played about with my paper cutting figures creating my own dramatic presentations for my own pleasure.
It was a world of make believe that had its own characters and their stories. No one else except I had the right to enter this personal region created by a curious bond between imagination and reality.
I was an only child yet I never felt lonely as my paper cutting characters were so engaging. Each paper cutting has a separate existence.
So each piece had a separate character with the ability to move about, dance and enact any suitable drama.
When moved about with the help of strings or sticks, that figure become a puppet and could be presented in puppet shows.
Backgrounds could be created with paper cuttings too allowing an atmosphere for the rerepresented reality. Even the open sky, sunlight and other natural factors can create the necessary setting for the presentation.
As my experience with the world grew, my creative ideas gained a much broader base.
During my stay in U.K. I made a string puppet, a marionette to enact the stories I made up. These stories explored the psychic world of the individual character named "Fred Nerg" I had heard of that name from one of my friends.
This small string puppet and the stories that it enacted gave me the confidence of handling more complicated puppets.
I was only eleven years old at that time. Mother bought me some glove puppets too. I was very serious about my world of make believe and I knew the potential of this world in the world of reality even in my childhood.
After my return to India I held a show of shadow puppets featuring a Bengali folk tale at a Government teachers’ training college in Calcutta.
Folk tales have a great potentiality for presentation in puppet forms. The story I presented was from the famous Bengali book of folk literature titled "Thakurmar Jhuli". From this book my mother Dr. Kalyani Pramanik and myself selected a tale of the clever fox and the foolish crocodile.
Mother narrated the tale while I operated the puppets. My cousin helped to conduct the show.
As the people of Bengal have a rich tradition of puppetry and are oriented about artistic expressions, the show was greatly appreciated by a packed hall of spectators.
I experimented mainly with shadow puppetry and held a show of the prehistoric world with live fire spitting volcanos and pterodactyls flying.
Invited some people from the area where I lived to see my shows. I realized that the possibilities for imaginative innovation in the art of puppetry is endless and by letting my imagination flow, I discovered new horizons in creativity.
My shows on my own small puppet theatre were quite complicated. I presented a show featuring "Macbeth" by William Shakespere and invited local people to see the show. Each character of the classical play was represented with authenticity in the puppet presentation. With magical light settings created with coloured cellophane paper, I conducted the shows.
Each scene was very carefully planned and choreographed. I narrated the story myself while operating the puppets. The movements were realistic and special attention was given to details to create the necessary atmosphere in the puppet theatre.
I understood that I could create another world of my own in the small format of my shadow puppetry screen.
That world promised a sphere of endless creative imagination. When I came to Punjab I continued to experiment with creative puppetry. Shadow puppetry was the main form that I used for my shows.
In Chandigarh in March, 2001 I was invited to hold a one man puppet festival for eight days in Alliance Francaise.
I held a puppetry festival for eight days at Alliance Francaise in Chandigarh. I started adding elements of modern drama in puppetry. I made up themes and stories with the psychic effect of modern drama in some of my shows.
I produced puppet dramas based on French folk tale and on a theme that presented a story titled "The delusion of time.
I made that story based on the life of a French poet of medieval times. The dramatization was contemporary in style. I wrote the script myself.
Since the techniques of puppetry are absolutely traditional basically and the human factor has been involved in a very intense way ever since the birth of this art form, puppetry in modern times is a bridge between the ancient and the futuristic.
I had to keep my puppets simple and easy to use as I had to manipulate the puppets single handedly.
I held puppet show in The Academy of Fine Arts in Kolkata and the Academy sponsored the show.
This show featured "Mahishasura Mardini". Later held many more shows featuring "Mahishasura Mardini Durga" at different venues in India and abroad.
Iconographic presentations from Indian mythology offered a wide variety of subjects with great possibilities for creative innovations.
The audience in India are acquainted with those stories from mythology in a traditional manner through social customs and are able to enjoy and understand the dramas based on mythological themes.
Live music always make the best sound accompaniment but in the absence of live music I have to rely on sound tracks played in electronic or digital manner. Proper sound sycronization is always important in the puppet shows and live musicians can accommodate with the situations better.
As I always like to perform with the accompaniment of live music. In the Academy of Fine arts, for my show on Mahishasuramardini, I arranged for a group of musicians for that show.
I held later another show at the Academy again. This show was on Radha Krishna Lila. The show of Radha Krishna Lila is one of great lyrical beauty. Radha and Krishna in puppet forms with sakhis enact their eternal love story within the grove of trees.
For this presentation I used "coloured" shadow puppets. Music of the flute is superbly suitable for this special show. The lyrical beauty of the puppet presentation of Radha and Krishna creates a different world transporting the sensitive viewer to a different realm of joy.
This show was very popular and I gave different versions of it at venues ranging from rural India to sophisticated places such as Maisond’Lind at Cite.
I held several puppet shows in Delhi, Kolkata, Dharamsala in Himachal Pradesh, Chandigarh and Bhamlada in Punjab.
Most people had never been to a puppet show in the sub-mountainous area in the border of Punjab and Himachal Pradesh. So establishing a tradition of puppetry in this area is a challenging one indeed.
If I just thought that there villagers have no orientation about this form of art and had ignored them, there would have been no positive result. To introduce a "new" form of art and to create an attitude of art appreciation I had to be really optimistic and willing to continue inspite of difficulties.
Art appreciation is an innate feeling in a human being, so, relying on this factor, I charted my course in this challenging area for establishing the art form of puppetry here.
People who accept a form of art are more likely to express their dreams through the creative appreciation of that art form I am experiencing in and around Bhamlada the positive impacts of cultural appreciation. Creative interests have positive impacts on social psyche and personality development of the people exposed to art.
I plan to continue my puppet shows in a regular way to add a different meaning to the lives of people in this sub-mountainous region. I am experimenting with many different types of puppets.
I have started making stick puppets in my own way and these puppets will allow me to stage shows in my puppet theatre even in daylight.
What is so special about puppets? Puppets provide a source of pure joy for me personally and for my co-worker Mr. Arup Chandra, It is a joy that we share with the rural people of this area now.
This joy of any art form, when becomes an emotional necessity for the majority of the rural population here, the miracle of building an "art world" will be accomplished in this region.
There is no real development or progress without cultural consciousness.
The younger generation is likely to form a greater interest in cultural activities like puppetry and some may even like to form a "puppet team" with me.
The puppet theatre may even become a tourist attraction when conducted in a proper manner in regular.
The future will determine the social impact of puppetry here, while I enjoy the work of making the puppets and staging the shows.

by Prabal Pramanik


Next Shaddow Puppetry Page Click Here


Web design by Arup Chandra
Multimedia Studio, Bhamlada, Bhatwan, Punjab 145 022, India
Pictures and text copyright reserved by Prabal Pramanik