“Embodiment” has become a term of art in a number of fields in recent decades, and at points, Goodlander is at pains to make readers aware of the complex physical coordination that learning to perform entailed-not to mention the sheer stamina that performing this particular genre requires. Like many practitioners of performing arts, martial arts, and other physically demanding genres, she insists upon the bodily rather than cognitive dimensions of her training. First, she takes us through the often taxing steps that studying to become a dalang imposed upon her, primarily in the form of one-on-one lessons she had with an established male performer. Goodlander brings to her account a number of different approaches. In this book, she recounts her experiences as a fledgling dalang and as a researcher interested to see what a few women’s forays into a previously exclusively male domain might portend. In doing so, she followed in the foot-steps of countless young men-most of them sons of dalang, carrying on their families’ occupational specialization from time immemorial-but very, very few women. We came across shadow puppetry which fit our bill," said Madhumitha of LiLa Learning (function() ) Jennifer Goodlander received a Fulbright fellowship to go to Bali, Indonesia, where she apprenticed herself to a shadow puppeteer ( dalang). "We were looking for an ancient art form that would help in improving children's intelligence and grooming them better. Since the puppets they used were around 200 years old and were related to mythology, the centre helped the artistes make over 10 popular cartoon characters. A non-academic teaching centre in Erode has taken up the initiative to introduce the art form to the next generation and keep it alive.įive shadow puppetry artistes from Tirunelveli, who were brought to Erode by LiLa Learning Space recently to conduct a workshop for students. However, the popularity of shadow puppetry is on the wane. The art of shadow puppetry, practised only in the southern districts of the State at present, is one such medium. We are ready to teach students anytime," the veteran artiste said.įollow The New Indian Express channel on WhatsAppĮRODE: Narrating a story using visual elements captures the imagination of children and helps in their learning process. On the other hand, in Tamil Nadu, only one artiste mimics voices for all puppet characters. "In Kerala, more than 10 artistes sit behind the screen to give voices. Artistes here process the hide for more than 10 days so that the colours reflect well on the screen, Raju explained. The puppets used in Kerala are hard and difficult to colour. Though the art form is famous in Kerala and Andhra too, we in Tamil Nadu know a unique process of tanning and using colours," he said. We moved to Tirunelveli three generations ago. They told stories with shadow puppetry during the Maratha rule. Raju (71), an artiste who was awarded Kalaimamani in 2016, said his family has been practising shadow puppetry for more than four generations. As Covid-19 pandemic affected their livelihood, they are modifying the art form in order to revive it," said Madhumitha. "About 20 families in Tirunelveli region practice the art form. This help them to overcome stage fear, the tutors said. Children learn to create puppets and project their reflections using light from behind the screen. According to tutors, shadow puppetry is a combination of science and art.
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