Bridge India, in partnership with StoryHour UK, is presenting an enchanting cultural celebration in honour of Diwali. At the heart of StoryHour UK's offerings stands the renowned Ramayana Puppet Show a cherished narrative that unveils the profound tale linked to the Diwali festival, creatively brought to life through intricately crafted puppets.
This show, celebrated across diverse audiences, has earned acclaim for its ability to encapsulate the essence of this classic narrative. It has graced screens at several Indian embassies in Europe, London schools, and is accessible in six languages. Notably, esteemed figures such as Indian Member of Parliament Shashi Tharoor and author Amish Tripathi have lauded this performance.
The event will feature a screening of the puppet show and live demonstrations by skilled puppeteers, showcasing pivotal scenes from the Ramayana.
Producer Neelima Penumarthy speaks to Asian voice about the upcoming show and the art of puppetry.
Can you tell us about the inspiration behind presenting the Ramayana story through a puppet show in the UK?
Primarily, the inspiration for delving into the Ramayana story stemmed from my two sons, who engaged with skits and storyboards related to it during their school years. That exposure laid a foundational context for sharing the narrative, particularly because people were introduced to the story at a rudimentary level, especially in the lead-up to Diwali,.
Moreover, puppetry, as an art form serves as a medium for storytelling. I noticed that puppets have a distinct ability to immerse the audience in a storyline. While people or cartoons alter expressions to reflect changing situations, puppets, with their static expressions, surprisingly draw the audience deeper into the narrative. It's this immersion, where viewers start attributing emotions to the puppet, that struck me as a powerful way to convey a story.
What unique elements or artistic styles will the puppet show incorporate to represent the Ramayana narrative?
My show is a concise 15-minute live performance and it's intended to introduce this Indian epic to the world. To achieve this, I've chosen to maintain a straightforward narration. The story commences with the four princes, progressing to the pivotal wedding of Rama and Sita, followed by the forest exile and Sita's abduction. A brief yet impactful battle ensues, leading to the reunion of Rama and Sita, culminating in their journey to Ayodhya, illuminating the origins of Diwali.
I've deliberately simplified the narration to make it easily accessible to a global audience, with a particular focus on those familiar with Indian culture. I aim to connect cultures through my work and want everyone to understand why Diwali is celebrated in India without complicating the narrative.
Given the 15-minute duration, how did you decide, which scenes and characters would make the cut?
During the puppet production, I could only extend to six puppets. The decision-making process for the characters became a critical aspect then. Certain characters like Rama, Sita, Lakshmana, Ravan and Hanuman were the obvious choices. For the sixth character, Shurpanakha's role as the catalyst and turning point towards Sita's abduction marked the limit of our puppet cast.
Upon finalising these characters, the challenge was to structure the narrative around these six key figures visually. It was essential to segment the extensive story into cohesive parts that flowed smoothly from one character to another. Depicting unseen characters like Mantra or Bharat in the narration without a visual representation would not have done justice to the story. Therefore, the entire 15-minute presentation focuses on these specific six characters.
What goes on behind the scene when it comes to story-telling with a puppet?
Puppeteering involves a meticulous and demanding process. Unlike human performers who naturally emote, puppeteers act as the conduit for transferring emotions through the puppeteers they are handled by, making the rehearsal process equally, if not more, demanding compared to performances with human actors.
The intricacy arises from not only the puppeteer's own movements but also in synchronising the movements of the puppet they control. Achieving graceful puppet movements or coordinated actions often necessitates the involvement of at least two, if not three, puppeteers to manipulate a single puppet. This synchronisation and harmony among multiple puppeteers to control a single puppet require a level of precision that surpasses the demands of human performances.
How will this production resonate with audiences unfamiliar with the Ramayana story?
Since 2018, when I started staging the Ramayana, I've had people from all walks of life and age groups attend shows. Whether it is the live shows, or the screening, the new format that I have, which is very mature experience. So they all are aware. Now the world is aware of the body as a festival that Indians celebrate, right? So they all have some basic understanding, even if they do not when they come in, they're so enamoured by the puppets, that they are drawn into the story. Like, for example, I recently was at a screening on Trafalgar Square and people from different walks of life and age groups attended. There were these tiny under five-year-olds who were all seated in the front row and wouldn’t budge
There are also some people who are absolutely engaged with and enthralled by the music. We’ve also taken the show to care home as well to hospitals, and people there are all absolutely enthralled. They love it.
How did the COVID period impact your puppet show, and what changes did you implement to ensure wider accessibility and engagement with your audience?
During the COVID period, I transitioned my puppet show to a 15-minute filmed version for convenience. This film allowed for wider access, as I've been screening it since COVID restrictions eased in 2021. I accompany these screenings with a puppet installation, enabling interactive sessions discussing the characters with the audience, making it more engaging and cost-effective compared to live shows. Additionally, I collaborated with students from various European schools to create multilingual versions of the film in French, German, Spanish, Italian, and English. This initiative allows people across Europe to experience the story in their preferred language. I'm open to sharing live demonstrations and further promoting the art of puppetry, as it's an art form that requires more recognition and support, both in India and globally.
