T.S. Murugan calls his clan a ‘ kalai kudumbam ’ (artistic family). As the third-generation exponent of the ancient folk art of Bommalattam puppetry based out of Kumbakonam, Mr. Murugan has grown up in a family steeped in the tradition for several decades.
“My grandfather, father, mother, younger brothers, my wife, and even my sons, have been performing Bommalattam , even though things have been precarious during the pandemic.”
The lockdown is just one of the more recent challenges facing this niche performing art, once an integral part of Tamil Nadu’s folk tradition.
Mr. Murugan’s family-run Sri Murugan Sangeetha Bommalatta Sabha is the last surviving puppet theatre troupe of its kind in Kumbakonam, a far cry from the days when at least four companies were kept busy by patrons in the small temple town, and several more entertained audiences all over Tamil Nadu.
“We were thriving when our troupe got booked for temple festivals or social occasions. But with the lockdown’s restrictions on public gatherings, we have lost the opportunity to showcase our art,” Mr. Murugan told The Hindu in a telephonic interview.
While the troupe would be busy with at least 15 engagements in a month during pre-pandemic days, it has been able to perform just two live shows in the past year. Once known primarily for its devotional themes, Bommalattam has modernised its repertoire with social plays, incorporating elements of variety hall entertainment and slapstick comedy to keep audiences engaged.
“Several artisans, puppeteers, tailors, carpenters and musicians depend on us for their livelihood. We have been relying on donations from philanthropists and educational institutions for our survival. It is a sad development for an ancient art that finds mention in the Thirukkural ,” Mr. Murugan said.
Mr. Murugan dropped out of school to join his father, Kalaimamani awardee T. N. Sankaranathan, a legend in the field, especially for his talent in adapting Carnatic music to the puppetry idiom. Mr. Sankaranathan, who passed away in 2019, learned the art from his foster father Mani Iyer, and was trained formally in music by ‘Violin’ Rajamanickam Pillai.
The parts of the Bommalattam puppets are typically made separately out of ‘kalyana murungai’ (Indian coral tree) wood, and then reinforced with moulding paste and paint before they are connected with the help of wires.
“We have both string and rod puppets in Bommalattam , weighing between 10-15 kilos. Some of these are operated with the help of a metal ring worn on the head by the puppeteer. Artistes need to be trained not just in puppetry but also music, singing and live performance,” said Mr. Murugan.
He rued the cancellation of many signature events in the Sabha’s calendar due to lockdown.
“We had been conducting programmes at Sri Saptharishishwarar Temple, Lalgudi, for 80 years from my grandfather’s time; we had to miss it this year due to the pandemic. The Illam Thedi Kalvi (Education at the Doorstep) scheme also left us out for the school remedial sessions; puppetry could have been easily incorporated into the curriculum, and more children could be trained in the art,” said Mr. Murugan.
To keep themselves in form, the troupe’s members rehearse often. Mr. Murugan trains young children in Bommalattam , and is open to the idea of going online. “We could stream our shows online with support from other theatre companies,” he said.
