PARI Contributors 

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<h2><a href="https://ruralindiaonline.org/en/articles/the-puppets-shadows-reflect-our-struggles/">‘The puppet&#39;s shadows reflect our struggles’</a></h2><p>Rajitha Pulavar started the first all-women tholpavakoothu puppetry troupe in Shornaur, Kerala</p><h5>September 25, 2024 | <a href="https://ruralindiaonline.org/en/authors/sangeeth-sankar/">Sangeeth Sankar</a></h5>

‘The puppet's shadows reflect our struggles’

<h2><a href="https://ruralindiaonline.org/en/articles/bodo-dancers-and-musicians-take-the-stage/">Bodo dancers and musicians take the stage</a></h2><p>Watch the Subunsri and Bagurumba dances from Assam&#39;s Bodo community, with musicians on the siphung (long flute), kham (drum), and serja (violin) in attendance</p><h5>September 12, 2024 | <a href="https://ruralindiaonline.org/en/authors/himanshu/">Himanshu Chutia Saikia</a></h5>

Bodo dancers and musicians take the stage

<h2><a href="https://ruralindiaonline.org/en/articles/people-respect-me-because-im-a-theatre-artiste/">‘People respect me because I&#39;m a theatre artiste’</a></h2><p>A Therukkoothu performer speaks about the challenges faced by transgender artistes as they pursue their passion for this ancient theatre form in Tamil Nadu</p><h5>June 22, 2024 | <a href="https://ruralindiaonline.org/en/authors/poongodi-mathiarasu/">Poongodi Mathiarasu</a></h5>

‘People respect me because I'm a theatre artiste’

<h2><a href="https://ruralindiaonline.org/en/articles/keralas-puppeteers-extend-their-art/">Kerala’s puppeteers extend their art</a></h2><p>To cater to the modern audience, tholpavakoothu puppetry has evolved a lot in the last two decades. A video documentary showcasing the transition of this art form through the years</p><h5>January 25, 2024 | <a href="https://ruralindiaonline.org/en/authors/sangeeth-sankar/">Sangeeth Sankar</a></h5>

Kerala’s puppeteers extend their art

<h2>Pili vesha folk art: dancing to the beat</h2><p>This vigorous folk dance is performed by young people in coastal Karnataka. Organised and funded locally, they are integral to festivities held around Dussehra and Janmashtami</p><h5>November 20, 2023 | <a href="https://ruralindiaonline.org/en/authors/nithesh-mattu/">Nithesh Mattu</a></h5>

Pili vesha folk art: dancing to the beat

<h2><a href="https://ruralindiaonline.org/en/articles/the-young-gayans-and-bayans-of-garamur/">The young gayans and bayans of Garamur</a></h2><p>A religious folk performance practised in the satras of Majuli, Assam</p><h5>November 18, 2023 | <a href="https://ruralindiaonline.org/en/authors/prakash-bhuyan/">Prakash Bhuyan</a></h5>

The young gayans and bayans of Garamur

<h2><a id="25325" linktype="page">In Chhattisgarh: Shaila nritya gets going</a></h2><p>This post-harvest dance is performed only by men and is full of colour and the sound of multiple musical instruments<br/></p><p></p><h5>October 23, 2023 | <a href="https://ruralindiaonline.org/en/authors/purusottam-thakur/">Purusottam Thakur</a><p></p></h5>

In Chhattisgarh: Shaila nritya gets going

<h2><a id="24749" linktype="page">Stories told in leather</a></h2><p>Tholpavakoothu puppet-making is a rare skill that calls for working with buffalo and goat skin to create divine figures. This art is now also being done by women in the Malabar region<br/></p><p></p><h5>September 14, 2023 | <a href="https://ruralindiaonline.org/en/authors/sangeeth-sankar/">Sangeeth Sankar</a></h5>

Stories told in leather

<h2><a id="25131" linktype="page">Portrait of an artist in Majuli</a></h2><p>Ramesh Dutta is a painter, a sculptor, a mask-maker and player of many instruments. His talents are on display in the many theatre activities held on this island in the Brahmaputra river in Assam<br/></p><p></p><h5>October 6, 2023 | <a href="https://ruralindiaonline.org/en/authors/prakash-bhuyan/">Prakash Bhuyan</a></h5><p></p>

Portrait of an artist in Majuli

<h2><a id="23952" linktype="page">Chadar Badni puppets at Santhal festival</a></h2><p>Tapan Murmu is a young Santhal Adivasi farmer in Birbhum who also performs with puppets during the harvest festival – an art he worries has few takers among his generation<br/></p><h5>July 21, 2023 | <a href="https://ruralindiaonline.org/en/authors/smita-khator/">Smita Khator</a></h5>

Chadar Badni puppets at Santhal festival

<h2><a id="22919" linktype="page">Tholpavakoothu puppetry is for everyone</a></h2><p></p><p>A film about shadow puppet theatre in the villages of the Malabar region of Kerala</p><h5>May 29, 2023 | <a href="https://ruralindiaonline.org/en/authors/sangeeth-sankar/">Sangeeth Sankar</a></h5><p></p>

Tholpavakoothu puppetry is for everyone

<h2><a id="22746" linktype="page">Raas Mahotsav and the satras of Majuli</a></h2><p>This annual festival in Assam is a much-anticipated event with performances held across many venues. Migration and fading interest from the younger generation is making it difficult to find performers<br/></p><h5>May 19, 2023 | <a href="https://ruralindiaonline.org/en/authors/prakash-bhuyan/">Prakash Bhuyan</a></h5>

Raas Mahotsav and the satras of Majuli

<h2><b><a id="22300" linktype="page">Delhi’s kathputli artists: puppeteers in limbo</a></b></h2><p>The kathputli artists of Delhi not only make puppets but also perform with them. The community has been struggling to regain momentum after they were moved out of their homes to a transit camp in 2017</p><h5>April 27, 2023 | <a href="https://ruralindiaonline.org/en/authors/himanshu-pargai/">Himanshu Pargai</a></h5>

Delhi’s kathputli artists: puppeteers in limbo

<h2><a id="21822" linktype="page">Ma Bonbibi’s pala gaan under threat</a></h2><p></p><p>Bonbibi pala gaan is among the many musical dramas performed by locals in the Sundarbans. Falling incomes have pushed many to migrate, leading to a dearth of artists to enact this folk theatre</p><h5>March 27, 2023 | <a href="https://ruralindiaonline.org/en/authors/ritayan-mukherjee/">Ritayan Mukherjee</a></h5><p></p>

Ma Bonbibi’s pala gaan under threat

<h2><a id="16019" linktype="page">Performing the snake goddess in Sundarbans</a></h2><p></p><p>Farmers and labourers from Rajat Jubilee village in West Bengal come together to perform the Manasa pala gaan, a traditional musical play dedicated to the snake goddess – and keep rural theatre alive</p><h5>October 18, 2021 | <a href="https://ruralindiaonline.org/en/authors/ritayan-mukherjee/">Ritayan Mukherjee</a></h5><p></p>

Performing the snake goddess in Sundarbans

<h2><a id="15812" linktype="page">Nats at Singhu: nearing the end of their rope</a></h2><p></p><p>Nat dancers move between their village in Chhattisgarh and the protest site at Delhi’s Singhu border, supporting the fight for farmers’ rights even as they themselves struggle to make a living</p><h5>September 28, 2021 | <a href="https://ruralindiaonline.org/en/authors/amir-malik/">Amir Malik</a></h5><p></p>

Nats at Singhu: nearing the end of their rope

<h2><a id="15149" linktype="page">Trans artists in Madurai: bullied, isolated, broke</a></h2><p></p><p>Harassed, shunned by family, losing livelihoods – trans folk in Tamil Nadu are seeing the worst of times</p><h5>July 29, 2021 | Reporting: <a href="https://ruralindiaonline.org/en/authors/m-palani-kumar/">S. Senthalir</a> | Photographs: <a href="https://ruralindiaonline.org/en/authors/m-palani-kumar/">M. Palani Kumar</a></h5><p></p>

Trans artists in Madurai: bullied, isolated, broke

<h2><a id="15119" linktype="page">In Madurai: the trauma of trans folk artists</a></h2><p></p><p>While the pandemic has devastated many folk artists across Tamil Nadu, trans women performers have been among the worst hit – with barely any work or income, and no access to aid or state benefits</p><h5>July 27, 2021 | Reporting: <a href="https://ruralindiaonline.org/en/authors/m-palani-kumar/">S. Senthalir</a> | Photographs: <a href="https://ruralindiaonline.org/en/authors/m-palani-kumar/">M. Palani Kumar</a></h5><p></p>

In Madurai: the trauma of trans folk artists

<h2><a id="15006" linktype="page">Jodhpur puppeteers: silent stage, stories untold</a></h2><p></p><p>In this video story, Premram Bhat and others speak of how their puppet shows, once popular in royal courts and at village events, are no longer in demand, and how the lockdowns have further hit their incomes</p><h5>July 16, 2021 | <a href="https://ruralindiaonline.org/en/authors/madhav-sharma/">Madhav Sharma</a></h5><p></p>

Jodhpur puppeteers: silent stage, stories untold

<h2><a id="14827" linktype="page">Quiet blows the kombu in Madurai</a></h2><p></p><p>Kombu artistes in Tamil Nadu are struggling without any income from temple festivals and public events during the Covid-19 lockdowns. But their worries are more about the declining art</p><h5>June 29, 2021 | <a href="https://ruralindiaonline.org/en/authors/m-palani-kumar/">M. Palani Kumar</a></h5><p></p>

Quiet blows the kombu in Madurai

<h2><a id="14690" linktype="page">Karagattam artistes: on a bad stage in Madurai</a></h2><p></p><p>Tamil Nadu&#39;s Karagattam performers, who depend on the art form for a living, are struggling without work and income – and they&#39;re anxious that the pandemic will end their dream of educating their children</p><h5>June 16, 2021 | <a href="https://ruralindiaonline.org/en/authors/m-palani-kumar/">M. Palani Kumar</a></h5><p></p>

Karagattam artistes: on a bad stage in Madurai

<h2><a id="13870" linktype="page">‘Dancing like flowers in a garland’</a></h2><p></p><p>At celebrations and commemorations during the winter months, young men and women from Chhattisgarh&#39;s Gond community travel together to perform the Hulki Mandri and Kolang dances, and sing Rela songs</p><h5>March 30, 2021 | <a href="https://ruralindiaonline.org/en/authors/purusottam-thakur/">Purusottam Thakur</a></h5>

‘Dancing like flowers in a garland’

<h2><a id="13603" linktype="page">Whipping and worship on Mumbai&#39;s streets</a></h2><p></p><p>Lakshman Katappa and his family, who belong to the Dhegu Megu SC community of Kodambal village in Karnataka and worship Goddess Mariyamma, dance and whip themselves to earn a living</p><h5>March 10, 2021 | <a href="https://ruralindiaonline.org/en/authors/aakanksha/">Aakanksha</a></h5><p></p>

Whipping and worship on Mumbai's streets

<h2><b><a id="11521" linktype="page">Daivas, dance and divine intervention</a></b></h2><p>In this centuries-old ritual event in Karnataka&#39;s Dakshina Kannada and Udupi districts, impersonators tell stories of forgotten heroes from Dalitcommunities, solve disputes, and provide catharsis</p><h5>July 30, 2020 | <a href="https://ruralindiaonline.org/authors/nidhi-shetty/">Nidhi Shetty</a></h5>

Daivas, dance and divine intervention

<h2><a id="7732" linktype="page">Terah Taali: the dance of the 13 cymbals</a></h2><p>Nirmala Devi, her daughter Tara, and their all-women group are accomplished dancers, known for their signature Terah Taali sequence. Every evening, they ascend the stage in Udaipur&#39;s Bagore ki Haveli</p><p></p><h5>September 20, 2019 | <a href="https://ruralindiaonline.org/authors/urja/">Urja</a></h5><p></p>

Terah Taali: the dance of the 13 cymbals

<h2><a id="7147" linktype="page">Charubala: joy and Jhumur, sorrow and song</a></h2><p>In Senabana village of West Bengal&#39;s Purulia district, 65-year-old Charubala Kalindi, who has danced as a nachni for decades, still whips up a high-energy performance along with her rasik and their troupe</p><h5>July 19, 2019 | <a href="https://ruralindiaonline.org/authors/abhijit-chakraborty">Abhijit Chakraborty</a></h5>

Charubala: joy and Jhumur, sorrow and song

<h2><a id="5509" linktype="page">Cycles, costumes, colour</a></h2><h5>October 23, 2018 | <a href="https://ruralindiaonline.org/authors/purusottam-thakur">Purusottam Thakur</a></h5>

Cycles, costumes, colour

<h2><a id="5501" linktype="page">Performing Ramkatha in a changed Ayodhya</a></h2><p></p><p>During the Dussehra month, the ragtag Ramkatha Singing Party dashes off from stage to stage, before returning to their day jobs, even as the retelling of the epic is engulfed by contemporary politics</p><h5>October 19, 2018 | <a href="https://ruralindiaonline.org/authors/joydip-mitra">Joydip Mitra</a></h5><p></p>

Performing Ramkatha in a changed Ayodhya

<h2><a id="5285" linktype="page">Heckled, harassed, still dancing</a></h2><p></p><p>For the female dancers in Mangala Bansode’s tamasha troupe in rural Maharashtra, work brings a steady income, but also entails sexual harassment, gruelling schedules, no privacy, and even childbirth on the move</p><h5>August 29, 2018 | <a href="https://ruralindiaonline.org/authors/vinaya-kurtkoti">Vinaya Kurtkoti</a></h5><p></p>

Heckled, harassed, still dancing

<h2><a id="4819" linktype="page">A rich night of Dashavatar improvisations</a></h2><p></p><p>In Dashavatar performances – a centuries-old theatre form of south Maharashtra and north Goa – plays of several hours, with only male actors, most of them farmers and labourers, keep audiences riveted till dawn</p><h5>May 8, 2018 | <a href="https://ruralindiaonline.org/authors/indrajit-khambe">Indrajit Khambe</a></h5><p></p>

A rich night of Dashavatar improvisations

<h2><a id="4527" linktype="page">Possessed by his art, a Bahurupi transforms</a></h2><p></p><p>Raju Chowdhury of West Bengal&#39;s Bishaypur village is a storyteller, a feverish singer, an impersonator. His income is modest, the work is hard. This film features his stunning dance as the imaginary Tara sundori</p><h5>March 23, 2018 | <a href="https://ruralindiaonline.org/authors/sinchita-maji1">Sinchita Maji</a></h5><p></p>

Possessed by his art, a Bahurupi transforms

<h2><a id="4517" linktype="page">Pulling the last of the strings</a></h2><p></p><p>Puppeteers in Prakasam district of Andhra Pradesh are struggling to keep their art form alive – with its rich tradition and history – despite no help from the state and the takeover of ‘entertainment’ by television</p><h5>March 21, 2018 | <a href="https://ruralindiaonline.org/authors/rahul-maganti">Rahul Maganti</a></h5><p></p>

Pulling the last of the strings

<h2><a id="4372" linktype="page">The art and the agony of Subhash Shinde</a></h2><p></p><p>PARI volunteer Sanket Jain aims to traverse 300 villages
across India and, among other stories, produce this feature: a photograph of a
rural scene or event and a sketch of that photograph. This is the fifth in the
series on PARI. </p>

<h5>February 19, 2018 | <a href="https://ruralindiaonline.org/authors/sanket-jain">Sanket Jain</a></h5><p></p><p></p><p></p>

The art and the agony of Subhash Shinde

<h2><a id="4132" linktype="page">Tamasha: transformed but still travelling</a></h2><p>Changes in technology, in audience tastes, shrinking performance spaces – have all impacted the tamasha. Troupe owners have mixed feelings – is the tamasha in danger or will Mangala Bansode&#39;s art form survive?<br/></p><h5>December 7, 2017 | <a href="https://ruralindiaonline.org/authors/vinaya-kurtkoti">Vinaya Kurtkoti</a> and <a href="https://ruralindiaonline.org/authors/shatakshi-gawade">Shatakshi Gawade</a></h5>

Tamasha: transformed but still travelling

<h2></h2><h2></h2><h2><a id="3848" linktype="page">‘Tamasha is like a jail that I want to stay in’</a></h2><p>The tamasha remains popular in rural Maharashtra, where many see it as a more stable form of livelihood than agricultural labour, though profits are lean and the schedule is gruelling. One of the biggest troupes is run by Mangala Bansode, who received a National Award in the Creative Arts category yesterday, October 9</p><h5>October 10, 2017 | <a href="https://ruralindiaonline.org/authors/vinaya-kurtkoti">Vinaya Kurtkoti</a> and <a href="https://ruralindiaonline.org/authors/shatakshi-gawade">Shatakshi Gawade</a></h5>

‘Tamasha is like a jail that I want to stay in’

<h2><a id="4025" linktype="page">Dancing to the dollu in Hesaraghatta</a></h2><p>Young women on the outskirts of Bengaluru excel at a Kannada drum-and-dance form long thought to be a skill for burly men. In the video here, watch the group perform with extraordinary energy and rhythm<br/></p><h5>November 14, 2017 | <a href="https://ruralindiaonline.org/authors/vishaka-george">Vishaka George</a></h5>

Dancing to the dollu in Hesaraghatta

<h2><a id="2487" linktype="page">Bahurupi: a family of many faces</a></h2><p>Bahurupi artists in West Bengal easily metamorphose into different characters during a performance, but are finding it hard to change their work roles with changing times<br/></p><h5>January 20, 2017 | <a href="https://ruralindiaonline.org/authors/ankan-roy-sagarika-basu">Ankan Roy &amp; Sagarika Basu</a></h5>

Bahurupi: a family of many faces

<h2><a id="2232" linktype="page">The dance of the false-legged horse</a></h2><p>Poikkal Kuthirai dancers of Thanjavur, Tamil Nadu, struggle to make a living from their ancient folk art form</p><h5>October 13, 2016 | <a href="https://ruralindiaonline.org/authors/aparna-karthikeyan">Aparna Karthikeyan</a></h5>

The dance of the false-legged horse

<h2><a id="1666" linktype="page">The Bhils of Alirajpur</a></h2><p>Across the villages of Alirajpur, many of them now denuded and barren and with few livelihood options, the Bhils struggle to retain their farming and cultural practices<br/></p><h5>July 14, 2016 | <a href="https://ruralindiaonline.org/authors/rohit-jain">Rohit Jain</a></h5>

The Bhils of Alirajpur

<h2><a id="1238" linktype="page">Drums, bagpipes and Choliya dance</a></h2><p></p><p>Choliya troupes in Uttarakhand integrate Scottish bagpipes into rural Indian music</p><h5>April 2, 2016 | <a href="https://ruralindiaonline.org/authors/yashashwini-ekta">Yashashwini Raghunandan &amp; Ekta Mittal</a></h5><p></p>

Drums, bagpipes and Choliya dance

<h2><a id="1131" linktype="page">Pung</a></h2><p></p><p>This traditional drum of Manipur&#39;s Meitei community is central to their culture, and to spectacular music and dance</p><h5>December 31, 2015 | <a href="https://ruralindiaonline.org/authors/anubha-sunzu">Anubha Bhonsle &amp; Sunzu Bachaspatimayum</a></h5><p></p>

Pung

<h2><a id="1113" linktype="page">Storytelling the Kattaikkuttu way</a></h2><p></p><p>Student artists in a unique school of education and theatre art in Tamil Nadu</p><h5>November 13, 2015 | <a href="https://ruralindiaonline.org/authors/namita-waikar">Namita Waikar</a></h5><p></p>

Storytelling the Kattaikkuttu way

<h2><a id="123" linktype="page">Hanging by a thread</a></h2><p></p><p>Delhi’s old colony ​of puppeteers ​is in a state of flux​,​ with threat​s​ to ​the ​land, housing and social structures​</p><h5>December 18, 2014 | <a href="https://ruralindiaonline.org/authors/urvashi-sarkar">Urvashi Sarkar</a></h5><p></p>

Hanging by a thread

<h2><a id="553" linktype="page">Kali dances - Navarasam</a></h2><p></p><h5>July 20, 2014 | <a href="https://ruralindiaonline.org/authors/aparna-karthikeyan">Aparna Karthikeyan</a></h5><p></p>

Kali dances - Navarasam 

<h2><a id="541" linktype="page">Kali dances - Karagattam</a></h2><h5>July 20, 2014 | <a href="https://ruralindiaonline.org/authors/aparna-karthikeyan">Aparna Karthikeyan</a></h5>

Kali dances - Karagattam

<h2><a id="539" linktype="page">Kali dances – Thappattam</a></h2><p>Watch Kali Veerapadran – perhaps the only male dancer who has mastered the classical dance form Bharatanatyam, as well as three ancient Tamil folk dance forms – in a riveting performance</p><h5>July 20, 2014 | <a href="https://ruralindiaonline.org/authors/aparna-karthikeyan">Aparna Karthikeyan</a></h5>

Kali dances – Thappattam

<h2><a id="527" linktype="page">Kali dances - Oyilaatam</a></h2><h5>July 20, 2014 | <a href="https://ruralindiaonline.org/authors/aparna-karthikeyan">Aparna Karthikeyan</a></h5>

Kali dances - Oyilaatam

<h2><a id="81" linktype="page">Kali: the dancer and his dreams</a></h2><p>&#39;I want to set up a dance school, I want to earn money, I want to look after my mother, I want to dance&#39;</p><h5>July 16, 2014 | <a href="https://ruralindiaonline.org/authors/aparna-karthikeyan">Aparna Karthikeyan</a></h5>

Kali: the dancer and his dreams

<h2><a id="519" linktype="page">Kali: The dancer and his dreams - Video</a></h2><h5>July 10, 2014 | <a href="https://ruralindiaonline.org/authors/aparna-karthikeyan">Aparna Karthikeyan</a></h5>

Kali: the dancer and his dreams – film

Centrestage in the countryside

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Mumbai

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<p style="line-height:1.2;margin-bottom:0pt;margin-top:0pt;" dir="ltr"><span style="background-color:transparent;color:#000000;font-size:12pt;"><span style="font-family:'Times New Roman',serif;font-style:normal;font-variant:normal;font-weight:400;text-decoration:none;vertical-align:baseline;white-space:pre-wrap;">Younger, media-saturated generations are growing up knowing little about their country, but a lot about the elites of a few metros and towns. For a narrowly-owned, commercially-driven media, the dumbing down of a nation is part of standard operating procedure. The last available data of the Centre for Media Studies (CMS, Delhi) show us that reports from New Delhi account for 66 per cent of news on the front pages of major dailies. The CMS data also found that just about 0.24 per cent of front page news came out of rural India. The TV channels are not much better.</span></span></p><p style="line-height:1.2;margin-bottom:0pt;margin-top:0pt;" dir="ltr"><span style="background-color:transparent;color:#000000;font-size:12pt;"><span style="font-family:'Times New Roman',serif;font-style:normal;font-variant:normal;font-weight:400;text-decoration:none;vertical-align:baseline;white-space:pre-wrap;">PARI exists to change that.</span></span></p><p style="line-height:1.2;margin-bottom:0pt;margin-top:0pt;" dir="ltr"><span style="background-color:transparent;color:#000000;font-size:12pt;"><span style="font-family:'Times New Roman',serif;font-style:normal;font-variant:normal;font-weight:400;text-decoration:none;vertical-align:baseline;white-space:pre-wrap;">We are a non-profit organisation. We publish under creative commons, and do not charge readers a subscription fee or put-up advertisements. Nothing is behind a paywall and we are completely free-to-access by anyone. We guard our independence and receive no direct grants from governments and corporations, nor any funding that could dictate our content. So, we are dependent on volunteer labour, donations from individuals, foundations and institutions that see value in independent and free media.</span></span></p><p style="line-height:1.2;margin-bottom:0pt;margin-top:0pt;" dir="ltr"><span style="background-color:transparent;color:#000000;font-size:12pt;"><span style="font-family:'Times New Roman',serif;font-style:normal;font-variant:normal;font-weight:400;text-decoration:none;vertical-align:baseline;white-space:pre-wrap;">PARI is changing the way Indian journalism reports and documents the rural.India is more than the elite of a few metros and towns. We report on rural lives and livelihoods, languages, communities, migrants and more. We need your help to pull off this most ambitious of Indian journalistic endeavours. The scale of this effort costs money. Donate generously - and spread the word about PARI.</span></span></p><p style="line-height:1.2;margin-bottom:0pt;margin-top:0pt;" dir="ltr">&nbsp;</p>

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