These leads are then complemented by three instrumentalists to play vaadhyas such as sruthi and cymbals, as well as an assistant for general support in supply and maintenance. “A troupe of shadow puppeteers consists of eight to twelve artistes, two females for singing and speaking for female roles, two males for singing and speaking for male characters”. Tholu Bommalata was the most popular of these.”
“The three kinds of puppet shows prevalent in Andhra were the leather shadow puppet shows called Tholu Bommalata, the string puppet shows called Sutram Bommalata and the wooden puppet shows called Koyya Bommalata. At present, Bondili (Bundeli) and Are (Maraatthi) transplants who assimilated into the Andhra population, practice the art.
Ancestrally, it was practiced by artistes among the Ata Gollalu (Shepherd) and Jangam (Saivite ascetic) communities. “It was popular during the reign of Satavahanas, Pallavas, Kakatiyas, Vijayanagara Kings and finally reached its zenith when Telugu Naik Kings ruled over Tanjore and Madura.” The authoritative Palkuriki Somanatha makes reference to it in his ‘Panditaradhya Charitra’. Nevertheless, this art form remained prominent in its homeland throughout the ages. The ancient connection of Trilinga desa to Burma (modern Myanmar) is well-known and documented, for example. The history of Tholu Bommalaata, therefore, is very ancient in Andhra, which was not just a receiver of Sanskritic High culture, but also transmitter to South East Asia.
Historians and art critics opine that it spread to Java, Malaysia and Indonesia from Andhra.” “Leather puppet shadow play is one of the most ancient performing folk art form known to Andhras from 3rd cen-tury B.C. Though all-India in its inheritance and practice, this art has been made distinct by the Andhras -true to their penchant for the grand and grandiose. Tholu Bommalaata, or leather puppetry, has long been a celebrated aspect of Telugu culture. The classical indic tradition has always made room not just for maarga (spiritual) or desi (regional), but also jaanapaadham (folk). The values, morals, and inspirational stories of a region are often best passed on not through the written word, but rather, through theatrical performance. The folk arts have long been a celebrated medium of transmitting a people’s language, identity, and yes, culture. It is for that reason that along with high culture or even general culture, there is mass culture. The net result is that the medium of communicating high culture becomes lost. Forgetting themselves, some sections of them propound their pitrs over the devas, and mahapaapa over Mahadeva. All too often, those self-appointed grandees of ‘good culture’ get lost in pedantry and self-praise.
ACP’s Continuing Series on Folk Arts covers the traditional artistry of leather puppets.Ĭulture is not simply graanthikam or even maandalikam, but also jaanapaadham. FebruFrom Telugu Aatalu we move to Tholu Bommalaatalu.
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