![]() ![]() It is impossible to automate the complete performance.”īut, Sajesh said they were getting queries to exhibit similar robotic puppets in other museums also.Ī query was received from the authorities of Nedumbassery airport also for the same, he added.Īs part of diversification initiatives, his team recently did the adaptation of “Poothapattu”, the iconic poetry by Edasseri Govindan Nair, in the format of shadow puppetry. It is a 21-day performance lasting a total of 210 hours involving over 180 puppets. “We can never ever bring the entire tholpavakoothu in the format of robotics. However, the artist is very much conscious that technology has its own limitations and robotics cannot be taken to the temple grounds during the time of live performances. Even those who have no knowledge about tholpavakoothu, are talking about it now. But, it is for the first time that a robotic puppet of ours is exhibited in a museum. The application of robotics was an idea developed solely to catch the attention of the audience and revive their interest in the art form, he said.Ī post shared by SAJEESH PULAVAR of our leather puppets are put on display in museums across the country. There we will apply all techniques and tricks to make the audience glued to our performance,” the artist explained. But, while performing in stages, we have freedom to experiment. “As people are doing it as offerings in temples, we can not deviate even an inch from the conventional format at the shrines. It was the glorious period of the traditional artform but eventually people’s interest in it dwindled in the flood of new modes of entertainment and changes in cultural values, he said.īringing innovations in the format of tholpavakoothu is a challenge as it is a ritual art based on the rendering of Ramayana- the “Kamba Ramayana, the Tamil version of the epic, he said. ![]() A still from Tholpavakooth in Palakkad district of Kerala. My younger brother and I grew up seeing our father and grandfather going to one temple after the other to perform puppetry during the season,” he told PTI. Part 5: Daniel will facilitate in-class sharing of student performances, and then brainstorm with students other areas of the curriculum that could be explored using shadow puppetry.Īs shadow puppetry is a highly accessible art-form that appeals to both teachers and students, it is very likely that this “taste of shadow puppetry” will lead to many more explorations long after the formal mini-residencies have concluded.“I belong to the thirteenth generation of the pulavar community in our family. Part 4: Daniel will facilitate small-group rehearsals, helping students to practice their shadow puppetry presentations. Part 3: Daniel will introduce the rehearsal process to students so that they can bring this curricular area “to life” behind the shadow screen. Part 2: Daniel will help students create shadow puppets that can be used to explore a pre-determined curricular area that students are learning about in class. Part 1: Daniel will introduce the history and art of shadow puppetry to the class, including foundational shadow theater techniques. Modeled on an Arts Integration approach to teaching and learning, participants first practice shadow theater techniques, which they then use to create performances that demonstrate their understanding of specific curricular content. Multi-session residencies allow students to delve deeper into the worlds of both shadow puppetry and curricular content. Make shadow puppets, learn performance techniques, rehearse behind the shadow screen, dim the lights, and share your performances!Ī workshop is one session, while a residency unfolds over a multi-session schedule. With over 20 years sharing shadow theater in classrooms around the country, Firelight’s Creative Director Daniel Barash is now offering both virtual and in-person workshops, residencies and special events that are perfect for families, schools, libraries, rec centers, scouts, and even special events.
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