Kathputli - Group 3

Brush (Koochi):

Koochi is mostly used to apply a base coat to the puppet
women in the family. Palm leaves are used to make them.

Brush for painting:

Paint Brushes are used to create the eyes, mouth, and other
fine details. These brushes can be found in stationary stores.

Stone of Whet:

This is where the tools are sharpened.

pg 51

RAW MATERIALS

Raw Materials: Puppets are made from a variety of materials
that come together to create a beautiful, vibrant puppet.
These are the raw materials that were utilised to make
the puppets:Wood is the most basic raw material in the
process of puppet manufacturing since it is needed to
make the puppet’s face and upper torso. Aardu or mango
wood is used by the artisans. Aldoo wood is chosen over
mango wood because it is soft, light, and inexpensive.
The wood is purchased from a local market for between
Rs. 500 and Rs. 600 per quintal. Big logs are cut into small
pieces of 7-8 inches in length using a cutting machine.
Decorative Clothes: Artists make 2 sorts of puppets: one
for sale and the other for performance. The puppets
that are produced for performances are wrapped in a
new cloth that is highly adorned. These katla textiles
have been brought here (place where clothes are sold).

Clothes from the past:

Used and old fabrics like sarees, as well as other
materials, are adorning puppets made for sale.
These tailored cut pieces are bought from tailors.

Gotta (Ribbon):

The puppets are enhanced with splendid, sparkling gottas
obtained from a nearby market. Contingent upon the
quality, the value goes from Rs. 10 to Rs. 200 for each mete

Jewelry:

The puppets are decorated with small jewels. Beads,
chains, and many small shining bright things are used to
make these jewellry. These jewellry are handmade by
the women of the home according to the specifications.

pg 52

pg 53

pg 54

Chaan (Waste rags):

These are the brown rags that are used to stuff the puppets.
They are bought from rug manufactures for Rs. 10- Rs. 20
each sack.

Cotton waste:

Cotton is used as a filler.

Nails:

Nails are used to secure most of the puppet’s accessories,
such as jewellery, linen, and strings. Small nails with broad
heads, purchased from a local hardware store, are used.

Threads:

Strong threads are used to stitch the puppets’ clothes and
to produce the strings.

Sand paper (Regmaal):

Sandpaper is used to smooth/polish the face’s surface.
The surface is usually finished with 60 and 100 number
Regmaal.[11]

pg 55

PROCESS

Kathputlis are believed to have a soul of its own while they are made and their
characters give a fulfilment to a purpose. “The word ‘putli’ being derived from the
Sanskrit root ‘Putta’, equivalent to Putra (son). The puppets are believed to be the
articulation of life and thought”.[13]

1 The making of puppets requires meticulous detailing. Handmade work still

remains the backbone of the puppet making process.
“The process has been conducted by both men and women.”

2 Rajasthan puppeteers have their own unique approach. Most of the puppets

are (approx) 1 meter in height and a single piece of timber/khejri wood is carved
out as a wooden doll. They have a huge nose and large eyes and their eyes are
seen as sharp and elongated which are stylized similar to the miniature paintings
in the 18 CIRCA AD. The puppet’s bottoms are made up of cloth or cotton to give
them free movement. The body is prepared with bright clothing and vibrant
decorations. They articulate the movement to legs being traced without making
them show how intricate the craft is (unless it is an animal or horse riders)

The process can be categorized into the following steps:-
1. Wood carving
2. Detailing
3. Cloth making
4. String attachment

pg 56

pg 57

pg 58

WOOD CARVING

The artisans use “aldoo ki lakadi”(“khejri”), the staple
wood found across all the dry areas of rajasthan and
carve out the thick skin of the wood using tools like
chorsi (“chisel of different kinds, depending upon the
thicknessofthewood”).Forthefirststep,artisansprefer
to use the flat shaped chisel with a wide surface area.
Then the artisan divides the wood and carves the
face using a hammer and small cross cut chisel for
extra details in the face like mouth, nose, eyebrows
etc. The facial expressions and decoration shows
a very close resemblance of miniature paintings
in Rajasthan from 18th century AD (circa) such as
bani thani, Radha and krishna and many more. The
carving process takes approximately 3 hours or
more. It is difficult to identify that the puppet’s head
being carved resembles which gender as the facial
features given to male and female do not have a lot of
difference. The difference is visible when the artisans
determine the clothing and the flow of the puppets.

pg 59

DETAILING

After the completion of the face being completely carved, from cutting
out of wood into a complete, detailed face, the puppet is rubbed with
sand paper. Sand papers are used to avoid rough edges created by
tools while carving. The sandpapers used in school projects are seen to be
used by artisans as they are budget friendly and have lower grit power, giving
the wood a more fine texture. After this, “koochi” (the primer before the base
coat) is applied. It takes 1 hour to dry properly, then the first coat of white paint
is used for the painting process. After the pale white coating is dried up, the
puppet is set for leaning towards the intricate details of the painting like matching
the skin tone of the face, colouring the eyes with white tones and winging
the eye as well as colouring the inner eyelids as black. The lips are painted
in a bright shade of ruby red colour. To denote if the puppet is a female, they
put a bindi (tika) of black colour right in the middle of her forehead. The facial
features such as cheeks do not require colouring to be visible as the carving
is done in such a manner where the line between eyes and cheeks are visible.

pg 60

pg 61

pg 62

CLOTH MAKING

Once the upper portion of the puppet has been made with precision and sheer
diligence, artisans move further by focusing on their colourful and vibrant
clothing style. They use recycled cloth and cotton to stuff the dolls as well as
the bottom half of female puppets.The cotton is used to give female puppets
more free flow movements for their dance acts, mostly performed by females.
Each puppet is dressed like their characteristic feature and role given to them in
play, like a snake charmer would wear something pale like white with a colourful
shrug and dhoti of the same colour at the bottom or for a female kalbelia dancer,
the exact black costume with colourful border lines and shimmery laces is made
for the audience to grasp a puppets’ role during a play as quickly as possible.
Most women take zeal and enthusiasm in this process. The puppets are also
ornamented with handmade jewellery designed by the same artisans to make
their appearance more vivid and look like they belong to the rajasthani royalty.

pg 63

STRING ATTACHMENT

The puppets without the strings would be like a tree without any leaves,
lifeless and nonfunctional. The strings are an integral part of the stage
performance. They act as a bridge, connecting the hands of the performer or
an artisan to the puppet. There are a few types of string attachments, based
on the comfort of the street performer. In the first one, two wood logs intersect
together and form a cross with two to three strings attached on each point
and the performer can manipulate the puppet by moving the wood in the
direction which is proportional to the puppet’s movements.This technique is
mostly done by street performers in Udaipur and Bikaner. In the second one,
the artisan only attaches bare strings to it as many performers find using their
own fingers more underlying towards their comfort zone. They tie each strand
of the puppet by circling the thread around their each finger. The last one is
by using a single piece of log wood, half of the size of puppets’ height and
attaching string in left to right direction for easy guidance for street performers
understanding. All of the attachment types are made for the benefit of the
artist over the puppet. One of the most important factors which contribute to
the functionality of the puppet is the location of the string attachment. The
strings are made up of cotton yarn which is capable of withstanding the heavy
wood and the weight of the kathputli. In this craft the major silver lining lies:
it is the strings which give way, the ordinary to do something out the box.[12]

pg 64

pg 65

pg 66

PRODUCT

category

pg 67

PRODUCT CATEGORY

As we all know India is a diverse country, we have more than four different puppetry crafts
spread all over the nation, but the puppets of Rajasthan have their own great remarkable
style and grace with bright colourful costumes with the peculiar nose, oval-shaped stylised
eyes, arched eyebrows and thin lips. Kathputli is an ancient performing art and craft on stories
based on kings like Amar Singh Rathod, Prithviraj Chauhan, Jahangir, Shah Jahan etc, they
have various characters with differentiable attire. For example, the moustache of the Rajput
puppet has their unique style. The beard of the Rajput puppet has cut/divided beard whereas
Muslim puppet have sharp beard. The Muslim female dancer is easily identified by wearing
a heart-shaped top. Other popular puppets characters are magicians, jugglers, musicians,
two-faced people, horseback / camelback rides, courtiers, warriors ( both rajput and Muslim).
They also create changes in the Kathputli design and character as they are narrating
some social consciousness to create attention on topics like AIDS, polio, child marriages,
etc. So according to the story, puppets are designed as little girl-child, mother, father etc.
In the present time of covid, to create social awareness shows have been performed.

pg 68

pg 69

S.No NAME PRODUCT IMAGE SIGNIFICANCE

01. Anarkali This character is based on Emperor
Amar Singh Akbar’s favorite dancing girl .

02 Rathod The pointed cap shows mughal
03 Anarkali (mughal) influence in accessories.

pg 70 Amar Singh Rathore was the king of
Marwar, a small town in Rajasthan. The

facial features of a long moustache
and face structure resembles the

actual king.

She is a famous dancer. Notice the
shape of the turban worn by her - it

resembles her mughal roots.

04 Bindani This is a typical Rajasthani bride.
Notice she is wearing an orangish - red
05 Amar Singh color which is worn by the brides in the
Rathod
Hindu religion.
06 Camel
This character is often used for a villain
07 Chittaur Maharaja or a person who is two faced.

As kathputli is of rajasthani origin,
camel puppets are a common model.

This is the king of Chittaur, a small town
in Rajasthan. The facial features of a
long moustache and face structure
resembles the actual king.

pg 71

08 Dancers She is a traditional kalbeliya dancer
09 Four faces - a dance form from rajasthan. The
10 Mughal Rani costume of kalbeliya is black with
11 Ganesha
colorful embellishments.
pg 72
This is often used to represent
a powerful character. It includes four
faces chiseled out of one piece of
wood.

This is a princess from the Mughal
Period. Notice her nose ring and turban

style resembles the fashion of that
time.

This is a character from the Hindu
mythological stories. Ganesha is
considered a God in the Indian

scriptures.

Grandfather (big This was a puppet made out of sponge.
12 puppet) It is a 6 feet tall puppet which is often
worn by the showman. The material
13 Gujjar used is for light weightedness and easy

14 Hanuman Ji performance.

15 Jadugar This is a typical Rajasthani bride.
Notice she is wearing an orangish - red
color which is worn by the brides in the

Hindu religion.

This character is often used for a villain
or a person who is two faced.

As kathputli is of rajasthani origin,
camel puppets are a common model.

pg 73

16 Jaisalmer Raja This is the king of Jaisalmer, a small
17 Jungle Maharaja town in Rajasthan. The facial features
18 Jogi of a long moustache and face structure
19 Panch puppet
resembles the actual king.
pg 74
This character is the king of the jungle.
Notice the headcare and facial features
are similar to a person who belongs to
a tribe.This puppet is 80-90 years old.

.

A jogi or a sanpera is a character which
enchants snakes.He can make them
dance and move at the tune of his
“been” - an instrument he plays.

Panch puppet means a hand puppet.
This is worn on the hand of the

puppeteer. He controls the puppet with
his fingers and wrist movement.

20 Parrot Puppetry often involves non - human
characters in its shows. Birds were also
21 Peacock
a part of the same.
22 Raavan
Peacock is the national bird of India
23 Rajasthan Folk and is often seen in Rajasthan. It
dancers is used in many of the acts bya
puppeteer.

Raavan is a character from the
mythological story of Ramayana. He
was the 10 headed evil villain in the

scriptures.

These are the traditional folk dancers
in Rajasthan. They adorn the famous

bandhani sari which is famous in
Rajasthan.

pg 75

24 Rajasthani Female This is a traditional Rajasthani woman.
25 Rajasthan ki gujr Notice how she is wearing colorful
26 Rajvado ka raja
27 Saanp clothes which are common in the dry
state of Rajasthan.
pg 76
This character is a Rajasthani wife. She
wears a maang teeka, which is often
worn by a married female character in

rajasthan.

This is the king of Rajavdo, a small
town in Rajasthan. The facial features
of a long moustache and face structure
resembles the actual king. The size
of this puppet face is approximately 2

feet.

Saanp literally translates to snake in
English. It represents the majestic

reptile as its name suggests.

28 Sitar badat Sitar Badat is a musician
29 Chomu raja character. He plays the string
30 Snake Charmer instrument Sitar.

This is the king of Chomu, a small town
in Rajasthan. The facial features of a
long moustache and face structure
resembles the actual king.


These are also called
jogi(male) and jogan(female). These
are considered the incarnations of

Lord Shiva - a mythological God.

pg 77

pg 78

MARKET
RESEARCH &

Government intervention

pg 79

MARKET RESEARCH

In many parts of the world, the handicraft sector has been the bridge of perseverance of artistic
and cultural traditions and being a source of employment and financial stability for many. The
handicraft artisans of India are known for their perfectionof craftsmanship,excellence of design
and form and an unsurpassed sense of creativity.”The Indian painstaking work industry is divided
with in excess of 7,000,000 local craftsmans and more than 67,000 exporters/send out houses
advancing territorial workmanship and craftsmanship in the homegrown and worldwide business
sectors.”“Indian Crafted works industry is considered as the second most elevated business
supplier in the nation after horticulture. The business expanded to 76.17 lakh in 2010-11 from 65.72
lakh in 2005-06 according to the Working Gathering Report on Craftsmanship for the twelfth
long term plan. Out of 74.17 lakh, females alone establish 47.4%, SC and ST and comprise 24.7%
and 2.3% individually. The fares of painstaking work (barring hand tied floor coverings) rose from
Rs 387.00 crores in 1986-87 to Rs 18639.14 crores in 2014-15.”Large populations are engaged with
this sector, directly or indirectly. India is one of the significant providers of handiworks to the world
market. The Indian handiworks industry is an exceptionally work-serious cabin based industry
and decentralized, being spread all around the country in provincial and metropolitan regions.
India exported handicrafts worth over 126 billion Indian rupees in fiscal year 2020. Since the
Coronavirus pandemic, numerous nations have made a fast move to ensure the public and its
economy. The Coronavirus pandemic has injured the world economy. The accommodation industry
has been confronting probably the most obscure time in 2020.Drastic measures held the hand of
the handicraft sector, especially in our country.We are all well versed with the fact that kathputli
craft sales is directly proportional to the tourism sector. The tourism sector is one of the sectors
most affected by the coronavirus (COVID-19). The impact was revealed from data from the World
Travel and Tourism Council. Due to the ban from travelling, the sales have indirectly affected the
handicrafts sector. The travel industry business has almost imploded since the World Health
Organization (WHO) set up the worldwide Coronavirus pandemic. This guideline has additionally
influenced little and medium-sized undertakings. Since the public authority’s guidance to
quarantine is a critical need of handholding support for web based promoting, plan and indexing.
Like never before, craftsmans need health care coverage and government backed retirement now.
If the obstacles are crossed, then the handicraft sector can transition back to 2015 or even higher.

pg 80

pg 81

pg 82

GOVT INTERVENTION

Craftsmen face problems such as a lack of capital,
limited technological penetration, a lack of market
knowledge, and a weak institutional framework.
Over time, a considerable number of artisans have
relocated to cities in search of low-wage, low-skilled work.
The government's National Handicraft Development
Programme is being implemented by the Office
of the Development Commissioner to solve these
difficulties as well as develop and promote the sector
(Handicrafts).In her presentation of the Union Budget
2021, Finance Minister Nirmala Sitharaman also
proposed a duty-free import exemption as an incentive
to handicraft exporters in order to grow the sector.
HerearefourinitiativestosupportIndianartistsandhandicrafts.

AMBEDKAR HASTSHILP VIKAS YOJNA

The initiative fosters community empowerment by
organizing craftsmen into self-help organisations under the
Dastkar Shashktikaran Yojna component of this scheme.
Following that, the implementing agency will write a
diagnostic study report (DSR) in proposing additional cluster
interventions.The implementing agency will be in charge of
overall project management as well as the implementation
of various interventions to make bulk production and
sourcing of goods more efficient.The implementing agency
will, among other things, select a cluster manager for this
purpose.A 25-day workshop is held under the design and
technology upgrade subsection to build new prototypes to
meet the tastes and preferences of contemporary markets,
while also bringing in new processes and technologies
for increased manufacturing.Apart from that, assistance
is available in the form of an integrated design and
technology development project, design prototype aid
for exporters and entrepreneurs, and commercial market
information.Human resource development, infrastructure
and technology support, healthcare, and other services
are also offered by the Ambedkar Hastshilp Vikas Yojna.

pg 83

MARKETING SUPPORT AND SERVICES SCHEME

This section of the programme assists artisans with domestic
marketing activities, such as financial help for organising or
participating in marketing events in India. In addition, support
was provided for the rental of built-up space at events
hosted by other institutions. Aside from that, craft awareness
and demonstration programmes are held.Financial aid is
available for promotional activities abroad, market studies,
craft exposure programmes, cultural exchange programmes,
and other activities. Artisans can also get help with their
compliance, social, and welfare issues.The marketing and
support services component aids in the organisation of
domestic buyer-seller meetings, which connect local artists
with big Indian customers, guaranteeing the integrated and
inclusive growth of Indian handicrafts. Buyer-seller meetings,
workshops, seminars, and other events are occasionally
held outside of the United States.Publicity and brand
development, which emphasises Indian handicrafts in print
and electronic media, as well as on the web, is another aspect.

MEGA CLUSTER SCHEME

The programme uses a mega cluster-based approach
to scale up infrastructure and production chains
in unorganised handicraft centres that haven’t
kept up with modernisation and other changes.
Job creation and improved living standards
for existing artisans are among the goals.
The Handicrafts Mega Cluster Mission (HMCM) or central/
state corporations will be tasked with developing the
mega clusters as and when they are announced in the
Union Budget, or as required by the diagnostic report.
A maximum of 3% of the project budget must be set aside
for producing baseline data or reports against which
project performance can be assessed at the conclusion.
The overall amount of money needed will be determined
by the report. The project’s maximum duration is four years.

pg 84

pg 85

pg 86

RESEARCH AND DEVELOPMENT SCHEME

The strategies developed are based on periodic review and
research undertaken by a government-owned research
and development team. The effort was started to get
feedback on the economic, social, artistic, and promotional
elements of different crafts and craftsmen in the industry.
Surveys and research are undertaken on certain crafts
for which there is a lack of knowledge, as well as issues
like availability of raw materials, technology, and more.
Approaches to provide financial aid for the
development of legal, paralegal, standards, audits,
and other paperwork leading to artisan product
labelling and certification are being researched.[14]

pg 87

pg 88

SWOT

analysis

pg 89

STRENGTH-

• The greatest potential for what Kathputli was built is that they have always been a source of
entertainment for people. In ancient times, when people didn’t have any technology, they were
compelled to grow up while watching the famous folktales of Gulabo-Sitabo, Akbar-Birbal etc. Their
costumes, their act, the glimpses of the aura of colours displayed in the motifs of their disguise, their
character, traits, everything made people aware, interested and was an escape for them from reality.

• The craft of Kathputli is not only a performance of wooden carved human forms, but
it also illustrates the life of ancient kings and nobles of history. These performances
executed by the artisans through the puppets have preserved the folk tales and ballads
of Salapat Khan, Amar Singh Rathore, Krishna Leela, Akbar, Madhubala, Anarkali etc. The
core strength of Kathputli is that it has kept these old Legends still alive in their shows, and
those stories are being passed to successive generations in the form of performance art.

• The illusion and allure of the colours, characters and stories of the ancient Legends not only attract
the local people, but it has also enchanted the tourists who come from all parts of the world to get
a glimpse of the culture and heritage of this beautiful Indian craft of kathputli. The temptation of the
music, ‘dholak’ and the dance of the puppets with flawless movements and costumes is something
that has always attracted the tourists and researchers who come in search of traditional culture.

pg 90

pg 91

WEAKNESS-

• One of the drawbacks of Kathputli is that it is also used for black magic in some parts of India.
Usually seen, read in books and televisions, (Kathputli being used by the occultist to possess
a human’s soul so that they can operate the person’s movements through puppets). This
practice of black magic while using kathputli has been performed since ages which has led
few people to fear stepping on it or bringing it home or even watching their show sometimes.

• Due to the current fast-paced global market scenario, these artisans are facing a lot of issues
in costing and inventory management. Since the craft is dying at a much faster pace with fewer
emerging artisans with each successive generation, the number of workers working under
the craft is decreasing, which in turn leads to the mechanical production of the craft items.

• The commercialisation of the craft, added with the major shift in the source of the
entertainment sector, has led to the decline of the art of puppetry associated with this
craft. Nowadays, this craft is highly commercialised, due to which it has lost its true
essence and has now become just a showpiece without any sentiment or emotional

pg 92

pg 93

OPPORTUNITIES-

Various government policies are taking their toll on the development of this craft.
• PoliciessuchasAmbedkarHastshilpVikasYojnahelpsartisansinstreamliningtheirproductionprocess

and sourcing along with further assistance in infrastructure and human resource development.
• Mega cluster scheme helps artisans form infrastructure and production chains in

unorganised handicraft centres that haven’t kept up with modernisation and other changes.
• Many yojna’s (schemes) introduced by the government have helped the artisans streamline their

whole business plan and have helped in uplifting the craft in the contemporary market of India.

pg 94

pg 95

THREATS-

• Kathputli artisans wish to have a simple and decent life to carry forward their art and
culture. Since 2020 the pandemic has made their life miserable. The whole nation
was unexpectedly shut down; their lives were dependent upon this craft, even though
they had no money for food or any other necessities. In Jaipur, there were 500 families
of Kathputli artisans; out of that, only 200 are left now who are practising the craft.

• Due to the lack of opportunities to carry forward their craft, they had no other way to change their
occupation for their livelihood. Funds and help are reaching out to the artisans at a certain level.

• The tourism industry was shut down, the demand for craft and shows are at peak in
tourist season due to the pandemic they are left with no shows, no place for sales.

• The other major possibility to craft recognised globally and nationally is
through International fairs, crafts workshops, competitions and exhibitions,
which all are at a pause. Artisans are unable to get a place to perform their art.

In today’s digital world, everyone is encircled with mobiles, tablets, social media, YouTube; the stream
of entertainment has changed. People are stuck in homes with their gadgets. Unaware about the
rich cultural art forms. Being an Indian, one should be aware and proud of our culture and should
respect and appreciate the potential and skills of every artist who is struggling to create an impression.

pg 96

pg 97

GI
CERTIFICATION

A geographical indication (GI) is a name or sign used on certain products which
corresponds to a specific geographical location or origin (e.g. a town, region, or country).
GI’s have been defined in GIs have been defined under Article 22(1) of the WTO Agreement
on Trade-Related Aspects of Intellectual Property Rights(TRIPS) Agreement. A GI is
registered for an initial period of ten years, which may be renewed from time to time.

Like other intellectual properties rights (example: Copyright, Patent, Trademark etc.),
Geographical Indication Tag also provides similar rights and protection to holders. The GI
tag ensures that none other than those registered as authorised users (or at least those
residing inside the geographic territory) are allowed to use the popular product name.[15]

Fake handicrafts and handlooms posed a major threat to the livelihood of
thousands of craftsmen, which is one of the reasons the GI Act came into place
in 2003. Fake Pashmina shawls, Kashmiri carpets, and even Ganesha statues with
a variety of eye shapes were flooding the Indian market from both within and
beyond the nation. Imitation goods were likewise on the market in other countries.
GI aims to increase producer revenue, prevent product misappropriation, protect
traditional knowledge, and improve rural development by assisting producers with
differentiating their products from others on the market by stamping them “original.”

pg 98

pg 99

KATHPUTLI

Of Nagaur

pg 100