AAKHYAN - The lost art of leather puppetry CRAFT CLUSTER DOCUMENT
By: Ananya Bhandari, Anushri Sahu, Avinash Kumar Kesari, Nishant Kumar, Prapti Das, Sarveshtha Sona, Snigdha Rawat and Yash Tomar Copyright Š 2013 National Institute of Fashion Technology Ministry of Textiles, Government of India. All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means - electronic, mechanical, photocopying, recording and scanning or other wise in any form without the written permission of the copyright owners. Printed and published in Hyderabad, India
CERTIFICATE This is to certify that the following students of Fashion Communication (2011-15), National Institute of Fashion Technology, Hyderabad have carried out the craft cluster initiative in Nimmalakunta, Andhra Pradesh regarding the craft of leather puppetry during the period of three days (24th to 26th July). A document, a photo gallery, a video documentary, a promotional brochure and a power-point presentation were prepared as part of the inititative. Ananya Bhandari Anushri Sahu Avinash Kumar Kesari Nishant Kumar Prapti Das Sarveshtha Sona Snigdha Rawat Yash Tomar
Mr. G.M.Reddy
Assistant Professor Mentor and CIC, NIFT, Hyd
Mr. Sudip Ghose
Assistant Professor Centre Co-ordinater FC, NIFT, Hyd
Dr. N.J.Rajaram Director NIFT, Hyd
ACKNOWLEDGEMENT The completion of this document would not have been possible without the combined efforts of our experienced and knowledgeable lecturers who have taught us through the years at NIFT. We express our gratitude to Asst.Professor Mr. G.M. Reddy who accompanied us to the cluster at Nimmalakunta in Ananthpur district. It was under his guidance and mentorship that we could successfully plan and carry out our required tasks to complete our survey comprehensively. We would like to greatly express our appreciation towards the craftsmen and their families for taking out their valuable time for us. We highly appreciate the patience and willingness of the artisans to teach their craft to us. We feel deeply obliged and grateful to our college, NIFT Hyderabad for providing us this opportunity to visit the cluster and experience this magnificent craft, first hand.
CONTENTS •
Copyright declaration
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Certificate
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Acknowledgement
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Introduction - Nimmalakunta - Travel details - Craft History - Then and Now
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Life of the artisans - Lifestyle and culture - Artisans we met
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Process
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Raw materials and tools
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Products and pricing
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Market analysis
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SWOT analysis
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Design observations - Promotion - Graphics
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Personal Experiences
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Glossary
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Bibliography
I
ndia is said to be the home of puppets, but it is yet to awaken to its unlimited possibilities.Tholu Bommalata, Andhra Pradesh’s shadow theatre puppets not just have exuisitive craftmanship but also the medium to pass on the age old stories of Ramayana and Mahabharata, a tradition that has been carried out through the generations.
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. Tholu Bommalata is the shadow puppet theatre tradition of Andhra Pradesh state of India. Its performer are wandering entertainers and peddlers that pass through an Indian village during the course of a year- offering to sing ballads, tell fortunes, sell amulets, perform acrobatics, charm snakes, weave fishnets, do tattoos, mend pots. It is an ancient custom by which – for centuries before radio, movies, and television- the knowledge of Hindu epics and local folk tales, not to mention news, spread to the most remote corner of the subcontinent. Tholu Bommalata literally means the dance of leather puppets (tholu – leather, bommalata – puppet dance).
NIMMALAKUNTA
GEOGRAPHY Situated in the state of Andhra Pradesh, Dharmavarm is the third biggest town in Anantpur District. The place is reknowned for its production of silk sarees. The temples are important pilgrimage centres. Puttaparthi, the birth place of Sathya Sai Baba is at a mere 42km from here. Nimmalakunta is a small village, 13 kms from the Dharmavaram Mandal. It comes under Pothulanagepalle Panchayat and lies in the Rayalaseema region. It is situated 48km South from district headquarters at Anantpur and 406km from Hyderabad. The pin code of Nimmalakunta is 515651 with postal office in Medapuram. DEMOGRAPHY Dharmavaram is a Mandal of Anantpur District. It has a total of 52 villages and 22 panchayats. The total population is 1,47,176 living in 32,186 houses. Nimmalakunta has around 100 families staying in the village. The total area is 2,000 hectares. The language spoken by majority of the population is Telugu. CLIMATE The period from December to February is cool and pleasant. The weather is quite hot during the summers, which extends from March to May, with highest day temperature rising to 42째 C. It is followed by monsoon.The highest rainfall is in the months of August and September. FESTIVALS The festivals celebrated in this area truly reflect the Telugu culture. Theru Pandaga, Ugadi and Vinayaka Chavithi are the major festivals which are celebrated with much enthusiam and extravagance. DRESS The dressing style is very traditional - with women wearing sarees and chudidaars (youth). Amongst men, shirt with lungi is worn by majority whereas the younger generation prefer trousers with shirts.
TRAVEL DETAILS
The journey from NIFT campus to Nimmalakunta was a long one. The trip was rescheduled due to the local body elections in Dharmavarm. The journey began on 23rd evening from NIFT campus. Taking autorickshaws to Kukatpalli for Rs 10 each, we boarded the bus at 9:00. The bus fare costed Rs 450 each. The overnight journey from Hyderabad to Dharmavaram was fun, courtesy the movie being played in the bus. The excitement of the trip was enough to keep us awake till long. We finally slept and woken up by the bus conductor at around 6:00 in the morning. With sleepy eyes, we proceeded to Satya Lodge. Three rooms were booked for a group of eight students. Settling down did not take much time. Some preferred to utilise the remaining time in sleeping while others relaxed and talked. At 8.30, we had our breakfast of masala dosa and headed for our first destination, the Sai nagar colony in a suburb of Dharmavaram. The autorickshaw journey was short and exceptionally cheap. On our way, we could not help noticing the clean streets and peaceful environment. Sai nagar colony is a small but well built area of the town. It is now a hub of puppet makers who dwell here and work to earn their livelihood. Around 30 families have settled here. The women peeping out of their houses, the kids playing on the road, the artisans busy with painting lampshades, this part of the city was just like any other normal locality. We were ushered to the community centre where we met some artisans. After spending 4 hours with them, interviewing and learning, we left for Nimmalakunta. The drive from the town to this village was easy. Taking a huge auto for Rs 120, we boarded for the village. Within 15 minutes, we reached our destination.
Nimmalakunta is a small village with the settlement of about 100 families. The village has a well- built school, electricity supply and all other basic necessities. The family members work not just for livelihood but for their passion towards this craft. The village boasts of its craftsmanship and holds to its credit two award winners, a National award winner and a Rashtrapati award winner. The process of meeting artisans, seeing the products, studying their environment continued forth. We left for Dharmavaram in the evening. The next day began with the same rush to get ready and leave on time. The destination was Mr. Mohan’s workshop, where he worked on making some very unique and amazing silk sarees. The varieties included scented sarees, sarees with lights and musical sarees. We then headed to Vamsi Krishna Handlooms which was located in Dharmavaram itself. The auto ride costed Rs 80. Seeing the complicated, intricate and skilled work from the people was inspiring. We realised there is a lot more to a plain silk saree that we usually overlook. We returned by evening to the lodge, taking an autorickshaw. The next day was the return journey from Dharmavaram, again by bus. The fare was the same Rs 450 per person.
W
hen held against the light, they shine like jewels on fire. The artisans proudly display their age-old craft for all to see.They share stories of their forefathers and the by-gone eras, when the puppet theatres ran their shows.
CRAFT HISTORY The art of leather puppetry is a part of Indian folk tradition. It is enriched in the Indian culture, ethos and values therefore attracting worldwide attention. The ancient art is deeply rooted in the soil of this land. It has been imparting a fair idea of age-old myths and legends to the common folk. It is presumed that due to the firm belief that human beings should not adorn the roles of gods and goddesses leather puppets have gained singular importance. Puppet tradition reached its peak during the patronage of Sathvahanas (2 A.D.), Rashtrakutas (10 A.D.) and Vijayanagar (15 A.D.). Folk art is considered the source of all arts. The varied art forms of India have won world wide recognition. The art of leather puppetry has a history of nearly 15 centuries. It has extended its influences to many far eastern countries, representing our glorious culture in those parts. The art of leather puppetry has two distinct variations: visual aspects and its performing counterpart, together completing each other and continuing to enrich its purpose. The puppeteers of Andhra Pradesh have kept its art alive for ages, helping people understand and appreciate its rich historical and mythological ramifications. Many people have become a part of the culture and their names have become synonymous with the craft. Through an edict in 1208 A.D.,the village was gifted the title of ‘Bommalaiah’. This reflects the high status and recognition of leather puppetry during that period. In 1521, bommalata kala was among the ones close to the king, Sri Krishna Dev Rai. Most of these forms have a characteristic individuality of their own, manifesting an idiom peculiar to the land with various art forms like music, dance, drama, painting, sculpture and other crafts in our ancient and medieval literature. It is unfortunate that many of these art forms have either completely disappeared or are on the verge of disappearance.
THENANDNOW The puppetry shows are now-a-days held during the festivals season only in the village and its outskirts. Very few people practice the art these days. The puppet theatre is evolving with time, with epics getting interwoven with popular myths and tales. Performances that would go on for 6 nights for Ramayana and 18 nights for Mahabharata are now reduced to just an hour’s show. The Sangeet Natak Academy and Ravindra Bharti invites these artists to perform at some functions. Leather puppets are still made in the small hamlet of Nimmalakunta, in Anantpur District. Mr. V. Shankar a resident of this village and a puppet maker says, “There were 60 families initially and only 30 families are involved in this art. Puppetry is dying a slow death, so we now make show pieces for homes like wall hangings, door panels and lamp shades.� With the onset of the electronic media, the traditional leather puppetry as an art form is slowly losing its sheen, affecting the livelihood of those whose lives have been devoted entirely to it. Especially the invention of television leads to ruination and desolation of the leather puppetry show. The issue has stretched far, and the market has seen a decline in the demand of the puppetry show as well as the craft in last few decades. Now, the eye-catching leather puppets double up as wall decorations. The fact that the product is now a decorative and/or utility item in a modern world has also brought some changes. The move to make lampshades instead of leather puppets alone is one such strategy to remain responsive to the changing market. However, design inputs will have to be kept in mind constantly each time the different markets being targeted.
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he intricate details and patterns keeps you intrigued and you can’t help but wonder - how many years, how much hard word and passion would have gone into it. The fierce passion that burns in the eyes of these artisans.
LIFESTYLE
& CULTURE
Small houses, colourful walls and neat surroundings. Kids playing in the streets with a dull noise of rushing vehicles on the highway, women clad in sarees and gajra, sitting in verandas colouring or making lampshades and men wearing kurta and dhoti or pant-shirt busy drawing beautiful motifs on the off-white base. One can’t help but notice the kind of dedication they have for their craft. This quiet little habitat is their home, workplace, livelihood. These artisans are simple people with a taste for simpler living. They have all the basic amenities they need - well constructed cement houses, school, electricity, and other resources. What they lack is the due recognition to the hard-work they put in. Their normal schedule includes getting up early, praying, sending their children off to school and having a good meal. The rest of the day they devote to their work. Getting acknowledgement for their work makes them happy - their eyes twinkle with pride when they show their various awards. The women in Dharmavaram don’t engage in talks much - they sit in a corner silently beading the wall hangings or punching holes in the lampshades until when spoken to - they are surprisingly expressive and talk about their children, flaunt some english numbers they know and giggle when they get it right. They are not confined to their houses, the whole neighbourhood is connected and each house is their own. The families are usually joint families with an elder man as the head of the family. Work is worship to them, evident from the fact that even if they are involved in farming, making leather puppets is still a passion.
MR. SINDHE SRIMALU National award winner
MR. D.CHALAPATI RAO The ‘Shilp Guru’
MR. D.VENKATRAMANA MR. S.ANJANEYULU Senior artisan, Nimmalakunta
Rashtrapati award winner
F
rom rough, hairy animal skin to bright, colourful leather products - everything you need to know. The process is lengthy and takes months together to finish one product but these artisans neither tire nor forsake their art and tradition.
PROCESS
LEATHER MAKING PROCESS The basic raw material, i.e. the goat hides or the sheep skin is brought from the nearest market for about 300/- varying on the size. After the skin is brought, it is thoroughly washed and cleaned in hot water. The cleaned skin is then soaked in a pit of lime water for 10 days. This process softens the upper surface, which is then vigorously cleaned or scraped with a chisel to get a smooth surface. Then the leather is soaked in limewater again, but this time kadaka powder is added to it. This powder imparts a light brown colour to the leather. The leather is then left for drying for as long as a week, depending on the weather conditions - after which, the leather is ready for designing and making the products. MAKING OF PUPPETS AND OTHER 2-DIMENSIONAL PRODUCTS The dried sheets of leather are smoothened on which the artisans draw. They use a bamboo stick known as lekhni for drawing the basic outlines of the design. The black colour used for outline is made from the gum of neem tree mixed with soot. The drawing is done on both the sides of the leather. This ink dries instantly. The holes are then peirced in the leather to ornament and let the light pass through. After this process is over, they use brushes and colours to colour the drawings of the puppets’ parts. When the colours dry, the parts are cut out and attached to the other parts with threads to facilitate movement. The entire structure is finally attached to thin sticks which help them to showcase the puppet shows. MAKING OF LAMPSHADES AND OTHER PRODUCTS USING IRON FRAMES In this process, the leather is first cut into shapes required by the product. Then they are mounted on an iron frame tightly. The two ends of the leather are attached with the help of Feviquick or sewn together using a thread made of leather. After this, the artisans start working on the basic drawing on the outer surface of the product. They use the same bamboo sticks and the same black ink to make the drawings. When the drawings are over, they make the holes on the surface with the help of chisels. After punching the holes, the products are coloured. Once the colouring is done, they attach the required utilities (e.g. lamp holder in a lampshade; clock machines to the wall clocks). With this the product is ready.
RAW MATERIAL ANDTOOLS The artisans at Nimmalakunta and Sainagar Colony use the same tools for the making of the puppet and other products. Goat hide and the sheep skin are the common materials used in this process. Sometimes buffalo hide and dearskin is also used in this exclusive craftwork. Other materials used are waterproof natural and artificial colors, hammer, chisel, needle, scissors, paint brush and mould (for the lamp shades). Raw materials and tools are easily available in Dharmavaram, Anathapuram, Narsaraopet and Hyderabad. The main tools and their uses: • Basic iron structures or moulds to give shape to the lampshades and other products. • Scissors to cut the leather into required shapes. • Feviquick to attach two pieces of leather. • Needle and leather thread to sew two pieces of leather. • Bamboo sticks (lekhni) and a mixture of soot with gum of neem tree to make the basic drawings on leather. • Paint brushes and natural colours or synthetic colours from the Dharmavaram silk weavers, for the colouring of the designs. • Chisels namely, Gundupogu and Chiranum are used to punch the holes onto the leather to make it more attractive as it enhances the passage of light through the transluscent leather surface.
PRODUCTS & PRICING In contemporary times, the eye-catching leather puppets are wall decorations. The designs used are contemporary as well as traditional in its origin yet modified for utility. The designs used in their craft are heavily decorative. Some of the products developed by the artisans for the utility purpose are: Puppets, lampshades, wall hangings, mirrors, bookmarks, key holders, tissue holders, coasters, room poartitions, tables, table-top decorations, candle stands, clock etc. The products are reasonably priced for what these bright, happy products are worth. The price, more often than not, includes the transportation charges as well - as it is a tedious task to carry these huge products around. Puppet price ranges from Rs.200/- to Rs.7,500/-(5.5ft) Lampshades price ranges from Rs.200/- to Rs.4,500/Wall Hanging price ranges from Rs.300/- to Rs.4,000/Wall clock price ranges from Rs.500/- to Rs.700/Room divider price ranges from Rs.2,000 /- to Rs. 6,000/Apart from these, any product that can run wild in your imagination can also be brought to life. The artisans are keen to take in orders, and can create and alter according to your whims and fancies.
MARKET ANALYSIS The Indian handicrafts industry is highly labor intensive, cottage based and decentralized. The industry is spread all over the country mainly in rural and urban areas. Most of the manufacturing units are located in rural and in small towns even though its main market lies in the cities of India and abroad. Handicraft industry is a major source of income for rural communities - employing over six million artisans including a large number of women and people belonging to the weaker sections of the society. The advent of other modes of entertainment caused a decline in patronage of this art. Puppeteers have channeled this art into the making of decorative lampshades, partition screens and other small utilities. This helped expand the market, without disturbing the basic traditional character. The creators of these puppets have discovered lampshades on leather to be the best medium to not only keep their traditions and art alive but also serve as a source of livelihood. Though the medium of expression has changed, the form and methods continues to be the same as earlier. The beautiful, colourful spectrum of lampshades depicting episodes from folklore of Ramayana, Mahabharata, Krishna-leela and a host of other characters continue in the narrative visuals. In the present day, leather craft of India has become a big industry and caters not only to local but also to the foreign needs. Leather puppets and lampshades are sold through exhibitions, emporiums (such as Lepakshi) and other crafts stores. According to the craftsmen, the government needs to play a more proactive role in marketing and in providing infrastructural support such as setting up exclusive showrooms. They believe that the export potential exists but has not beem to tapped enough.
S.W.O.T ANALYSIS STRENGTHS •Designs can be changed as well as cutomized according to the customer. •Handicraft industry requires low capital investment. •Usually in this field artisans are not pressurized and can work, as they like. •There is less competition among the artisans. •They get a helping hand from the government. •Exhibitions act as a good platforms for private buyers. •Usually there is no middle man, so a direct contact with the local artisans easily be built.
WEAKNESSES •Local artisans are unaware about the domestic, national and international market trends and their requirements. •Because of the inadequate information of new technology available to them, they lack behind in updating themselves. •Due to lack of promotion, buyers are very few in number. •Their business is limited to a few exhibitions and private patrons only. •Even now, many communities do not prefer buying products made out of leather.
OPPORTUNITIES •There is rising demand for handicraft products in developed countries such as USA, Canada, Britain, France, Germany, Italy etc. •Development of domestic tourism sector, which can help in promotion of the craft. •Incorporating this craft as a part of hotel industry or multi- national firms to create awareness among the national and international crowd. •In advancement of e-commerce and Internet; through select distribution channels to market and sell the craft products.
THREATS •As we can find the availability of cheaper and better quality products, the artisans have to suffer with less profit. •With higher pay in other sectors and better job opportunities, artisans change their lifestyle. •For better lifestyle, youth opting for other careers. •Constant upheavel of internet and televsion has lead to non-interest in arts like theatre and puppet shows.
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e saw. Listened. Learned. Unlearned. Let our minds soar free, and finally sat down to brainstorm. What could we make of it? How do we solve their problems? Can we promote it better? Or may be, learn from their graphics?
PROMOTION The first thing that comes to our mind when we think of new-age promotional strategies is the internet - social networking. Word of mouth, hits, shares, likes, tweets, retweets, page views - they decide where your stand. It is the most steadfast way to make people listen what you have to say. We instantly hit the facebook to make a page promoting the craft of leather pupptery in Nimmalakunta. (https://www.facebook.com/nimmalakuntaleatherpuppetry) For a wider audience, we took to the trusted blog building site, Blogger, by Google. (http://nimmalakunta-charmakari.blogspot.in/) Coming to other ways of promotion, we have developed a brochure and a promotional documentary - the brochure is directly inspired by the shadow puppets with a movable puppet included inside and the documentary aims at promoting the craft by letting the world see the passion and hardwork that goes into making of this craft. The documentary and the brochure can be also be distributed together in CD format. The main objective is create interest and awareness in people regarding the craft.
FACEBOOK PAGE
BLOG
BROCHURE&CD
GRAPHICS Since this craft is mainly based on graphics, this was a rich option to explore and study. The graphics on the products we studied varied from artist to artist - there were traditional Inidan motifs, marratives from Ramayana, Mahabharatha and other fables, geometrical and contemporary motifs and patterns. The last bit took us with surprise, followed by joy. We were delighted to discover such a wide range of variety present in this craft. We also observed the translucent effect of the leather is the main attraction of the products these artisans create. Regarding this factor, there can be a number of opportunities for more products and graphics, such as: •Sun-catchers •Tea-light stands •Candle holders •Lanterns •Bioscopes •Transparent tube torches •Wind-chimes •Garden accessories •Summer umbrellas •Decorative umbrellas •Journals •Book jackets •Pouches •Wallets etc
EXISTING GRAPHICS
DEVELOPED GRAPHICS
THE
SHOWMAKERS
Our experiences and insights on the craft cluster initiative
ANANYA BHANDARI E
ven before we set out for the cluster, I was excited about the place and it’s craft. ‘Tholu Bommalata - A dance of leather puppets’, what part of it doesn’t excite you? The narrative visuals, the DRAMA, bright, inviting graphics -- it was enough to make anyone long to know more about them. To bring back some of that cheeriness back with them, in form of the products they make. I’m a stranger to the language of this land even after staying here in Hyderabad, for what seems like ages -- but I had no trouble understanding what was going on around me. The artisans, expressive to the sole and eager to show-off their art hurried in and out, bringing out their age-old treasury piece by piece for all of us to see. I felt like I was caught in the middle of this beautiful storm where the art just kept unfolding all around me. I was left to wonder, that if this is a dying craft now, how grand a maneuver it would have been in its golden days? There is just so much to learn and experience in this world, that it feel sometimes that one lifetime is not enough. I sometimes feel glad that I took up Fashion Communication in an institute like NIFT which has given me countless opportunities to discover the world and find myself, through all these little-not-so-little assignments they give us so much of.
ANUSHRI SAHU R
eciprocating the feelings of Columbus as he discovered new places is what I would define my experience to be, except we had a purpose, to learn and to contribute to this beautiful craft of leather puppetry. There were times when the whole village used to get together and enjoy these shows, and here we are now, with all the modern gadgets to entertain us but none to connect us to our roots. Try teaching a kid about what Ramayana or Mahabharata is, say through books, and he wouldn’t care. How is it then our grandparents knew so much about them at such an early age? Maybe it was not taught to them. It was child’s play, courtesy these amazing puppet shows. The art is not dead though, it has just transformed itself into products which are more commercially viable. The leather products with traditional graphics are a feast to the people who appreciate art. What is more interesting is the extreme hardwork and the long procedure implemented to make the products. The craft might not be known to many, but the satisfied calm expression on the artisans’ face while they work is enough to tell that they love what they do and if motivated, would continue to do it over the coming generations. Witnessing a sheet of leather turning into a whole new product was a lifetime experience for me, which I could never have gained by walking past an exhibiton stall selling the same product. I now know the worth of it. I feel I am a part of it, a part of their struggle to keep alive their traditional craft. I no more intend to be a spectator, rather a contributor to their field. A journey of a lifetime it has been!
AVINASH KUMAR KESARI P
uppets, puppets , puppets‌‌ I was really excited when I come to know that our group is going to Nimmalakunta (the land of puppets ) . I completely enjoyed this trip of ours to the wonderful puppet village along with my groupmates and my mentor MR. G.M. Reddy sir. The artisans were really hard working and very dedicated to their work. I was also feeling very happy and proud to meet two National Award winners from the same village nimmalakunta. They were really helpful and they showed their entire process of puppetry. As a whole, it was a really good experience that I had at both Dharmavaram and Nimmalakunta.
NISHANT KUMAR N
immalakunta famous for its leather puppets and dharmavaram for its silk sarees trip along with my groupmates and my mentor MR. G.M. Reddy sir. An age old art which prevailed years back, but over the period of time it has taken aback due to lack of constant appreciation and government capabilities to promote such art.The artisans were really hard working and very dedicated to their work. The people were really interested in sharing their culture. I was also feeling very happy and proud to meet National Award winners from the same village nimmalakunta. They were really helpful and they showed their entire process of puppetry. As a whole, it was an different experience that I had at both Dharmavaram and Nimmalakunta.
PRAPTI DAS L
earning to the fullest and gathering a whole lot of information, is what I call my personal experience. With the first step into the Sai colony of Dharmavaram, I started learning and knowing all about the beautiful world of leather puppetry. The smell of leather in the air of the place, made me feel that I am also a part of that culture. I had the wonderful opportunity to know and experience so much about the world around the art of leather puppetry. I had very little idea about the variety of products that can be made from a simple goat skin leather. I was really surprised to see how skillfully and beautifully the artisans do their work. When they were showing us the products and the puppets which they make out of the leather, I had only one word to say – “WOW”. I was also feeling very happy and proud to meet two National Award winners from the same village, Nimmalakunta. I was so happy to see the enthusiasm of the artisans to teach us the technique which the use for the initial drawing on the leather. We also came to know all about their history and present scenarios. I would also like to take this opportunity to thank G.M. Reddy sir, for helping us by translating whatever they were saying, into English, and making our learning better and easier. As a whole, it was a really good experience that I had at both Dharmavaram and Nimmalakunta.
SARVESTHA SONA T
he moment is memorable right from the time I boarded the bus till I came back to Hyderabad. The moment I reached Dharmavaram I went to the Lodge that we had booked,Satyai Lodge. The craft work of Dharmavaram and Nim- malakunta, leather puppetry was so interest- ing that there were instances when we lost track of time and the whole day went by. We thoroughly enjoyed ourselves, learning the craft from the craftsmen and getting a chance to interact with them and there fami- lies. Not only did we learn about their craft work but also observed their way of living and their unity. The entire family used to sit together and work. At last I always recall as neat and clean; very hygienic village, a little introvert but friendly at times. I want to conclude saying “knowledge is everywhere.�
SNIGDHA RAWAT I
t is hard to imagine that, there was a time when there was no source of entertainment like cinema, TV, malls, video games, phone but only the puppet shows held at various corners of the village every evening. Yes, im talking about the beautiful leather puppets coming from the Nimmalakunta village in Anantapuram district, Andhra Pradesh.The puppets so amusing, demanding for attention are huge and filled with vibrant colors and made out of leather hence called the leather puppets. They depict the mythological epics of Ramayana and Mahabharata and when held against the light, they shine like fire jewels. The experience of visiting this place was overwhelming and very satisfying. The amount of hard work they put in is an effort to save their tradition and cannot be compensated with anything less. I completely enjoyed this trip of ours to the wonderful puppet village, Nimmalakunta along with my group mates and mentor Mr. G.M. Reddy Sir. Thank you NIFT and my mentor for taking us to this corner of Andhra Pradesh which is so rich in its traditions. Dharmavaram sarees, I cannot guess about the guys but they were definitely a treat to all the young girls eyes! Such pretty colors and innovative work on them will surely take me back to that place.
YASH TOMAR A
n age old art which prevailed years back, but over the period of time it has taken aback due to lack of constant appreciation and government capabilities to promote such art. It was my trip to nimmalakunta with a group of my classmates along with our mentor Mr G.M. Reddy sir that we went through this project of ours. It was heartening to see all the families doing such a wonderful job with such dedication to still prevail this age old art of leather puppets. The people were really interested in sharing their culture. They want their art to prosper and be known all over the world. Seeing so many president award winners in one same village is commendable. It was a very wonderful experience that I had in nimmalakunta and dharmavaram.
GLOSSARY B Bommalu - Puppet Bommalata - Puppet dance C Charma - Leather Charmakari - Art done on eather Chiranam - A tool used to pierce leather Chisel - A metal tool with a sharp beveled edge, used to cut and shape stone, wood, or metal. E Epic - A long narrative poem. Ethos - The ideas or beliefs of a particular person or group. G Gaatha - Story, usually an epic, told by many. Gundupogu - A tool used to punch leather in different shapes.
H Hathora - Hammer. Hoary - The grayish white, having grey hair , old and original. K Kajal - Carbon soot. Koyya Bommalata - Dance of wooden puppets L Lekhni - the bamboo stick used to draw outlines with black. M Motifs - Decorative design or figure. Mythological - Characters which exist only in stories. N Neem - A semi-evergreen tree widely found in India. It has many medicinal uses. O Opaque - An object that doesn’t allow light to pass through.
P Punching - Is a process of making shapes on paper, leather or metal for ornamentation. Puppet - A model of a person or animal which can be moved either by strings or by a hand inside it. Piercing - Making a hole in something with a sharp object. R Ramifications - Complex result of an action or even. Riveting - A short metal pin or bolt for holding together two metal plates. S Shivarathri - A festival to celebrate lord Shiva’s birth. Sutram bommalata - Dance of string puppets. T Tholu Bommalata - Dance of leather puppets Translucent - Allowing light to pass through diffusely. Transparent - An object one can see through with clarity. V Vinayaka Chavithi - A festival to celebrate the rebirth of Lord Ganesha.
BIBLIOGRAPHY This cluster document has been compiled by surveys,field visits and internet sourcing of information and visuals. 1. Craft clusters in Nimmalkunta and Sai Nagar Colony, Dharmavaram in Anantapur district,Hyderabad. 2.Web pages include: •http://www.gaatha.com/blog/?p/201 •h t t p : / / p a g e s . r e d i f f . c o m / d h a r m a v a r a m - - a n a n t a -
pur/592896
• http://www.onefivenine.com/india/villag/Anantapur/
Dharmavaram
•http://www.onefivenine.com/india/villages/Anantapur/
Dharmavaram/Nimmalakunta
• http://www.indianetzone.com/44/historical_monu-
ments_anantpur_district.htm
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