Suggested Curriculum Areas
Reading/language arts, art, social studies
Students will develop new knowledge and an appreciation of traditional
stories, oral storytelling and shadow puppetry traditions in south India.
Students will learn and use elements and techniques of this traditional
Students will read a variety of literature from India, including folktales
and fables. Individuals or small groups of students will select a scene
or story to script, work together to design and craft shadow puppets
of characters and scenery, narrate a story, manipulate the figures,
give character appropriate voices, select or create appropriate music,
and choreograph sound effects and movement.
Shadow Puppetry is an ancient art form that
originated in India. The activities include an introduction to the tradition
of shadow puppetry, an exploration of stories, crafting shadow puppets,
developing and rehearsing scripts and a culminating performance.
Background information for teachers
The ancient art of shadow puppetry drama, in which shadow images of
elaborately handcrafted puppets are projected onto a screen, is over
one thousand years old. Originating in India, shadow puppetry traveled
to Southeast Asia and Turkey and is also part of the cultural traditions
of China and Japan.
Shadow puppets are flat puppets, usually made of leather, lightly pressed
on a translucent screen with a bright light behind. Traditional shadow
puppets are 2-dimensional and perforated to create interesting shadow
patterns. Split bamboo or cane sticks are attached vertically to the
puppets for handling and manipulation.
Before the coming of television and movies, shadow puppetry was a popular
form of entertainment and education in south India. Puppeteers would
travel from village to village with their families, household effects,
puppets, props, and musical instruments, to enthrall the villagers with
their shadow dramas. Shadow puppetry was a family enterprise, with fathers
passing down the oral stories and handmade puppets to their sons. The
shadow plays were often based on episodes from the ancient epic stories,
the Ramayana and Mahubarata. All performances are held outdoors after
sundown and can last well into the night or a series of nights.
Introduction to Shadow Puppetry:
Interview with Lakshman Rao, shadow puppeteer in Tamil Nadu,
India, July 2003
Having repeatedly heard leather shadow puppetry
in south India referred to as “a dying art on the brink of extinction,”
I was overcome with delight to be afforded the opportunity to spent
time with Lakshman Rao, a shadow puppeteer in Tamil Nadu, India. Through
a translator Lakshman spoke of his life and his art. An agile man of
about 50 years old, Lakshman and his wife have six children, a daughter,
16, and five sons, ages five to adulthood. Although his two grown sons
currently perform with him, due to the popularity of television, movies,
and other forms of entertainment, the opportunities for making a living
performing shadow dramas have dramatically declined. His sons have turned
to selling maps and bangles to supplement their income.
Lakshman, is a “thool paavai koothu
kalaigar,” a leather puppet drama master, as was his father and
grandfather. A puppet master is a virtual warehouse of oral stories
passed down from generation to generation. Well versed in the long and
complicated epic tales, a puppet master skillfully and dramatically
narrates the stories, manipulates the puppet figures, interprets characters
and voices of each, produces sound effects punctuating speech and movement,
sings, and cues the musical accompaniment. Furthermore, he creates figures
from hides of goats, incises patterns into the leather that create shadow
effects, hand paints the puppets with paints he creates from natural
sources, assembles the figures, and repairs aging and damaged puppets.
Lakshman demonstrated the labor intensive
process he goes through to create translucent puppets from goat skins
he purchases a local market. He sprinkles a skin with water, balls it
up, and puts it in an earthen pot with a cover. The pot is then buried
in the ground to keep the skin inside moist and pliable. A strong smell,
he indicated, is a good sign. After removing the skin from pit where
it was buried, with his hands he pulls off the goat hair. The skin is
stretched out on the ground and held taut with wooden pegs, where it
is left to dry. Using a wooden handled scraper with a metal blade, he
scrapes off any remaining hair from the skin. The paws, and other unusable
portions, are cut off. He rolls the skin, then flips it over and rolls
in the other direction, to flatten it out.
With a pointed stick he draws the puppet outline in charcoal. He then
goes over the fine black lines with a red dye and brushes off the charcoal
residue. For the next step, he holds a burning candle under an earthenware
pot until the bottom turns black, scrapes off the accumulation, and
with a cotton-tipped wooden stick, outlines the puppet with the black
soot. Next, he paints the other colors on both sides of the puppet figure.
During the performances the colors of the figures clearly show through
the thin cotton cloth backlit screens. After cutting out the figure,
he uses string to attach a branch to the base of puppet and each limb
of the puppet. The multigenerational collection of the Rao family goat
leather shadow puppets numbers over 500 characters.
Click on the
photos to see larger views
Photos taken by J. Freund and D. Roseland
During the performance the puppeteer sits
behind a screen fashioned from a white veshti, a rectangular length
of cotton cloth worn by men. When worn as a garment, a veshti is wrapped
around the waist and tucked into the waistband. To create a screen,
a rope is attached above and below the fabric to stretch it taut. Lakshman
points out a blue cloth frame he added around the veshti to resemble
the curtain at a cinema. The screen is backlit with a bright overhanging
lamp. While he, his wife, and their sons each portray character voices
and sing, Lakshman alone sits behind the screen and manipulates all
of the puppets and creates the sound effects. He demonstrates how he
ties a wooden shoe sole to his foot to make the sounds of walking and
for crashing sounds when puppets characters battle. He devised another
clever gadget from a plastic pipe drilled with holes, with cellophane
wrapped with string over the openings. He blows through an opening on
one end to create an airy buzz, the sound of the character Hanuman,
from the epic Ramayana, flying through the air.
After sundown Lakshman and his family set up their veshti screen, unpacked
their puppets, and invited us to enter the mesmerizing world of the
Whereas shadow plays in Java, Indonesia, known as wayang kulit, begin
and end with a tree shaped figure representing all forms of life, shadow
play performances in India open with a figure of the Hindu deity Ganesh.
As a sign of respect for the elephant headed Ganesh, god of wisdom and
remover of obstacles, the performance began with a song sung to him.
Musical accompaniment during the performance was provided by Lakshman’s
wife playing the harmonism, a keyboard instrument with an accordion
type box, and his son playing a mrdangam, a type of drum. A dolak is
another type of drum played during shadow puppet performances.
We were thoroughly entertained by the comic
antics of a “komali” or joker puppets. These characters
are used to provide comic relief and deliver political messages by poking
fun at politicians, or are used to prompt thought on social issues or
The story drama presented that evening was the “Kiskinda Kantam,”
an episode of the epic, Ramayana. Events surrounding the abduction of
Sita lead to this episode in which we meet the monkeys, Vali and his
brother Sugriva, and the loyal Hanuman. The heroic Rama befriends Hanuman
and Sugriva and slays the wrongdoer, Vali. Subsequently, Sugriva and
Hanuman assemble a huge army and set out to find Sita.
Throughout the performance I moved back and forth, watching the shadow
drama first from the side of the screen that captivated the audience,
and then from behind the screen where Lakshman single handedly brought
a cast of characters to life. The experience was enthralling, like being
invited to sit behind the curtain with the grand illusionist, the Wizard
Introduction to Stories
Folktales and fables featuring human
and/or animal characters can be readily scripted for shadow puppet dramas.
One of India's most influential contributions to world literature is
the Panchantra, a collection of Indian animal fables
traced back to over fifteen hundred years ago. Its’ self-proclaimed
purpose was to educate the sons of royalty. Consisting of five books
of animal fables and magic tales, the stories were traditionally passed
from generation to generation and served to instruct moral behavior.
Tales from the Panchantra are still widely retold to children today.
Shadow plays were often based on episodes from the ancient Hindi epics,
the Ramayana and Mahabarata. The Ramayana,
extolling the adventures of Rama, is one of the most beloved stories
of India. With origins in India over 2000 years ago, the tale of Rama
was carried initially by storytellers and has taken root throughout
much of Southeast Asia, including the countries of Indonesia, Malaysia,
Brunei, Singapore, Thailand, and Cambodia. The Ramayana has long been
a powerful theme in Indian visual and performing arts, literature and
religion. The story lives on today through shadow puppetry and other
art forms, such as poetry, literature, comic books, film, drama, and
Credited to the Indian poet sage Valmiki, the Ramayana was
written in Sanskrit in 1500 B.C. as a long poem of over 25,000 couplets.
The Ramayana has inspired poets for centuries, resulting in many versions
in the various languages of India, including: Hindi, Bengali, Assamese,
Oriya, Tamil, Kannada, Kashmiri, Telugu, and Malayalam. A version of
the epic was written by Kamban, a poet in the eleventh century A.D.,
in Tamil, a language spoken in south India.
The main plot of the tale begins with the noble prince Rama, winning
the hand of his bride, the beautiful Sita, in an amazing show of strength.
Groomed to inherit the throne, following an act of betrayal, the much
loved Rama is banished from his fathers’ kingdom to the forest
for fourteen years to wander in exile with Sita and his loyal brother,
By the first half of the epic, Sita is abducted
by the ten-headed demon king, Ravana, and taken captive on his island
kingdom. The villain king tries to force Sita to forget Rama as he tries
to win her love. Further episodes involve Rama and Lakshmana’s
quest to rescue Sita with the aid of the monkey king, Hanuman, and his
army. When Rama eventually succeeds to his father’s throne, people
are skeptical as to whether Sita was able to uphold her honor during
her abduction. Sita ultimately reclaims her virtuousness after successfully
enduring a trial by fire. Their reconciliation is followed by the heroic
couple’s return home and a lavish coronation that marks the beginning
of a prosperous and peaceful reign of Rama.
Countless versions of English translations
of the Ramayana exist, in print and online, from the scholarly and complex,
to the watered down and superficial. Seek out and select versions to
match the levels of your students.
Display image of Lakshman Rao, leather puppet drama master, from Tamil
Nadu, India, holding shadow puppet of folk dancer.
or read aloud background information about karagam, a folk dance of
south India. Use template of dancer provided in this unit to model
the making of a flat puppet with limbs united at joints.
Karagam is a rural folk dance performed balancing
a pot on the head to musical accompaniment. Traditionally, karagam
was performed by the villagers with water pots balanced on their heads
as a way to praise of the rain goddess Mari Amman and river goddess,
Gangai Amman. Karagam dancers once balanced earthen pots of sprouted
grains on their heads while performing intricate steps and elaborate
body and arm movements. Today the pots are made of bronze and stainless
steel and are decorated with cones of flower arrangements. A paper
parrot perched on top rotates as the dancer moves. Both male and female
performers, singly or in pairs, perform this dance throughout Tamil
Nadu, India. Acrobatics, such as dancing on a rolling block of wood,
climbing up and down a ladder or threading a needle while bending
backwards, are part of the performance.
Click on the
photos to see larger views
Karagam Folk Dancers
taken by J. Freund and D. Roseland
Materials needed for shadow puppet construction:
Template of karagam
dancer puppet, adapted by the author of this unit from a drawing made
for her by puppet master, Lashsman Rao.
Large tag board or
experiment with other materials, such as exposed x-ray film and thick
sheets of plastic laminate.
Hole punches in various
paints or markers.
Masking or plastic
tape or sewing needle and heavy thread.
Brass paper fasteners
Bamboo kabob skewers
or dowel rods sections or coat hangers or other rigid wire.
Optional: means to laminate puppets
Creating Shadow Puppet:
1. For demonstration purposes, use template provided to create a shadow
puppet out of tag board, x-ray film, or other materials. Use tracing
paper, carbon paper, or create an overhead transparency of template
and trace outline projected onto tag board taped to a wall. The puppet
can also be made with stationary legs.
2. Cut out puppet parts.
3. Make cuts and perforations in body with paper punches or exacto
knives. Protect the table a piece of corrugated cardboard. Holes in
body and clothing are for decoration as well as to allow light to
show through the parts to highlight details, such as a mouth or bangles
and to create interesting shadow patterns. Always have adult supervision
while working with sharp tools.
4. Paint or color the puppet parts on both sides so puppets can switch
directions during performance. If using tag board, puppets will be
more durable if laminated. Another option is to shellac. Always test
first to insure that colors don’t run.
5. Punch holes in the shoulders arms, legs, skirt, head, and headdress
6. Assemble by attaching paper fasteners through the holes at the
joints. Leave fasteners loose enough to allow the joints to move freely.
7. Fasten straight sticks, rods or wire
to puppet’s hand and body by sewing on with heavy thread, string,
or tape. Run a central rod or wire from the head down the body and
through one leg for at least six inches below foot to serve as a handle.
Before designing their puppet patterns,
provide ample opportunities for students to explore books and websites
for ideas on designing the particular character they chose. Encourage
them to pay attention to textile designs and embellishments as these
can really enhance the puppet figure’s visual interest. Provide
opportunities for students to experiment with materials and methods
Shadow Puppet Performance Practice
Provide opportunities for students to:
1. Practice manipulating puppets
2. Learn lines
3. Rehearse play
4. Become familiar working behind the screen.
5. Learn to project voice
6. Incorporate music, sound effects, props and scenery into performance.
In South India, a veshti, a rectangular length of cotton cloth wrapped
around a man’s waist and tucked into the waistband, would be
hung taut between two trees to create a screen. A suitable stage can
be constructed by stretching a thin white sheet over an appropriately
sized wooden frame and setting on long tabletop. Use an high intensity
overhanging lamp, clip on variety preferred. Alternatives include
a slide projector or an overhead projector.
Create a checklist as a scoring guide to assess the sequence and process.
retells a traditional tale using story elements of setting, characters,
and conflict/plot; demonstrates understanding of structure of story.
Writing: adapts a piece
of literature to a workable script through the use of dialogue and
movement; demonstrates ability to reflect and critique; Artistic dimensions:
demonstrates understanding of the stories and puppetry tradition through
music, theater, and visual arts;
Problem solving: demonstrates
creative and structurally sound design principles; Makes connections
to other discipline areas; Makes cross-cultural connections: notices
both commonalities and differences between stories from India and
stories from other cultural traditions; Uses a variety of materials
carefully and cooperatively with others; Human diversity: demonstrates
an understanding of the cultural expression.
Although a shadow puppet performance is a culminating activity of
this unit, bear in mind that it is not solely about performance, but
exploration and meaning making.
Kamat, K.L. “Leather Puppets of India.”
Kowalczyk, S. (2003) “Entering
the Story World through Shadow Puppetry: An Interaction of Literature,
Art, Music, and Drama,” Wisconsin State Reading Association
Shankar. Treasury of Indian Tales: Book 1.
Illus. by Debabrata Mukerji. 1993. 105p. Children's Book Trust, (81-7011-038-6).
Narayan R.K. (1987) The Ramayana. New Delhi: Vision Books.
Retelling of Tamil version by Kamban.
Schuman, J. M. (1982) Art from Many Hands. Worcester, MA:
Although the Asian arts chapter features the stylized wayang kulit,
Javanese shadow plays in Indonesia, this section contains very useful
background information, suggestions for staging, instructions for
puppet construction and building a framed screen. Includes many other
multicultural art projects.
Tejada, I. (1993) Brown Bag Ideas From Many Cultures. Worester,
MA: Davis Publications
Like the previous book, features Javanese shadow puppet construction.
Includes multicultural art project ideas using inexpensive materials.
Additional readings for students
Many versions of the Ramayana are readily available. Seek out and
select versions to match the levels of your students. Although out
of print, my middle school students enjoyed the following retelling
that simplified the original without losing the dignity and beauty
of the story.
Gaer, J. (1954) The Adventures of Rama: The Story of the Great
Hindu Epic Ramayana. Boston: Little, Brown and Company.
Krishnaswami, Uma. The Broken Tusk: Stories of the Hindu God Ganesha.
Illus. by Maniam Selven. 1996. 100p. Linnet, (0-208-2442-5).
Gr. 4-up. Seventeen tales about Ganesha, the much-beloved Hindu god
with the elephant head and the human body, are retold here with a
storyteller's flair. Provide background information and sources for
Jones, C. and Parameswaran, G. “Tales From India,”
Book Links, Dec/Jan 2000-2001 (v. 10 no.3) Includes an introduction
to storytelling in India and an annotated list of books that lend
themselves to traditional telling.
Gr. 3-5. Twelve folktales, well known in India today, told in a storyteller's
voice with a good deal of dialogue.
Shivkumar. Stories from Panchatantra, Book III. Illus. by Debabrata
Mukerji. 1993. 65p. Children's Book Trust, (81-7011-044-0).
Gr. 2-5. Collection of animal fables.
Spagnoli, Cathy, and Paramasivam Samanna. Jasmine and Coconuts:
South Indian Tales.1998. 175p. Libraries Unlimited, (1-56308-576-3).
Gr. 2-up. More than 45 short tales from South India, rich in dialogue
and easy to retell. Tales are presented thematically according to values,
such as, simplicity versus greed; respect for family and elders; hard
work and study; and wit and humor. Introductory sections give background
information on South India's history and culture. Includes useful information
for anyone reading or telling stories from South India.
For elementary and middle school. Provides a brief introduction to
characters from the Ramayana; Rama, the hero of the tale; Sita, Rama’s
loyal wife; Hanuman, a great monkey god with super natural strength
and powers; and Jatayu, a giant bird who attacks the demon Ravana
in his flying chariot. Includes templates and instructions for making
a shadow puppet of each.
Photos of painted shadow puppets and other puppets from India.
This site provides an introduction to the various types of puppets
from India and a profile of Indian puppeteers.
An excellent academic site with many related resources, especially
for students of various ages.
Ramayana in comic book form.
A very short version of the Ramayana for children.
Includes lesson plan and synopsis of the story of the Ramayana.
Includes lesson plan, Rama and the Ramayana: Lessons in Dharma . Includes
a short version of story the Ramayana.
This site links to internet resources that include Ramayana adaptations,
histories of the text, analyses and course plans.
Tales from India
Jones, C. and Parameswaran, G. “Tales From India,” Book
Links, Dec/Jan 2000-2001 (v. 10 no.3). Includes an introduction to
storytelling in India and an annotated list of books that lend themselves
to traditional telling.
Website Collections of Tales from the Panchatantra
Other Grade levels Lessons:
can be adapted for use with all grade levels.
Other discipline areas: world literature, world cultures,
drama, multicultural arts
Special needs students: Provide support as needed.
Connections to Standards:
English Language Arts
A.8.1 Use effective reading strategies to achieve their purposes in
A.8.3 Read and discuss literary and nonliterary texts in order to
understand human experience.
A.8.4 Read to acquire information.
B.8.1 Create or produce writing to communicate with different audiences
for a variety of purposes.
E.8.3 Describe the ways in which local, regional, and ethnic cultures
may influence the everyday lives of people.
E.8.10 Explain how language, art, music, beliefs, and other components
of culture can further global understanding or cause misunderstanding.
E.8.14 Select examples of artistic expressions from several different
cultures for the purpose of comparing and contrasting the beliefs
E.8.5 Use the visual arts to express ideas that can't be expressed
by words alone
G.8.1 Know that visual images are important tools for thinking and
I.8.5 Understand that art reflects the time and place in which it
I.8.6 Understand how creating or looking at art brings out feelings
I.8.7 Work independently and collaboratively to produce ideas and
works of art
J.8.3 Learn ways different cultures think about art
K.8.1 Connect their knowledge and skills in art to other areas, such
as the humanities, sciences, social studies, and technology
J.8.10 Develop the ability to reflect and talk about works of art