Strings Across Borders: Dialogues On Puppetry

Puppetry is one of the most ancient forms of theatre. The art form breathes life into wood, metal, cloth, or paper, animating dolls into vivid personas. Blending craft, music, and drama, it can be playful, yet it has often served as a powerful medium to speak truth to power. Across time and geography, puppetry has travelled alongside human civilisation. The history of puppetry is, in many ways, the history of humanity itself: it spans across and documents hundreds of years of dynasties changing, technologies evolving, and societies transforming. Yet, despite these shifts, it remains rooted in fundamental human experiences—of storytelling, belief, and shared imagination.

India-Indonesia Cultural Exchange

It is within such cultural histories that Indonesia offers a compelling context. Indonesia is often described as a tapestry of cultures—shaped by centuries of maritime trade, migration, war, and conquest. The archipelago carries layered identities where indigenous heritage, Chinese influences, and Hindu, Buddhist, and Islamic philosophies intertwine.

Where traditions converge, puppetry emerges as a language of connection. With this spirit of multiculturalism, an India–Indonesia cultural exchange unfolded in December 2025, using puppetry as its most expressive bridge. The programme unfolded across two interconnected events: ‘Strings Across Borders’ at Bannabagram Baul Ashram and ‘Shared Worlds: India–Indonesia Colloquium on Oral Traditions and Cultural Memory’ at Netaji Bhawan, Kolkata. This wonderful collaboration took place with Asosiasi Tradisi Lisan (ATL), led by Pudentia Purenti. As an organisation dedicated to safeguarding and documenting oral traditions of Indonesia, it amplifies the work of researchers and cultural practitioners.

Wayang Potehi: Glove Puppets of Indonesia

At the heart of the exchange was Wayang Potehi, a form of glove puppetry brought to Indonesia from China in the eighteenth century. The word wayang refers to imagined figures or shadows, while potehi—derived from the Chinese budaixi—literally means “cloth sack performance.” Performed with richly costumed glove puppets, Wayang Potehi is both intimate and expressive, allowing subtle movements to convey complex emotions.

Preserved largely by Sino-Javanese communities in East Java, Wayang Potehi extends far beyond the conventional stage. It continues to thrive as a ritual tradition within temple spaces, where performances are both offerings and acts of cultural continuity. The history of Wayang Potehi is also marked by resilience. During periods of political restriction under dictatorship, when Indonesian-Chinese cultural expressions were suppressed, these performances continued quietly, often in secrecy. This legacy adds another layer of meaning—each performance reaffirms a collective identity. Today, a new generation of puppeteers is working with dedication to revive and sustain this form. Among them is renowned puppeteer Toni Harsono, leader of the Fu He An troupe, who brought these traditions to life during his visit. His performances utilised classic stories such as Journey to the West, where a young Buddhist monk takes a pilgrimage to India, and the legend of Guan Yu from the late Han dynasty.

A Journey Through Indian Puppetry

The Indian side of the exchange was equally rich. At Bannabagram Baul Ashram, Bengal’s Chadar Badar and Putul Naach traditions shared the stage, revealing how puppetry in India ranges from ritual performance to folk entertainment, from village courtyards to modern theatres.

Chadar Badar is a unique form of Santhal puppetry, where the puppets are operated under a canopy-like structure. What unfolds beneath this canopy is folk education, storytelling, and community memory brought to life. Through an inventive lever system, hand-carved wooden puppets dance in unison to the rhythms of the dhamsa, madol, and khorkoto. Several artist clusters around Ausgram, Purba Bardhaman, include dedicated artists, bringing this heritage to life at the event.

Putul Naach artists from Nadia highlighted the string puppetry traditions of Bengal. With handpainted backgrounds of homes and forests, and puppets representing everyday people to animals, Putul Naach bound the audience in fond nostalgia and laughter.

This diversity was also beautifully expanded in the lecture-demonstration by Sangeet Natak Akademi awardee Sudip Gupta and Shreeparna Bhanja Gupta, who took audiences at Netaji Bhawan on a journey across India’s puppetry landscape. From the lyrical Putul Naach of Bengal, to the witty glove puppets of Gulaabo Sitaabo from Rajasthan, and the stylised puppets of Pava Kathakali from Kerala, the presentation showed how each region moulds puppetry according to its language, music, beliefs, and aesthetics.

The events revealed puppetry not as a single art form, but as a family of traditions: each distinct, yet united by stories, craftsmanship, and imagination. Audiences could also find common ground between the forms, be it Wayang Potehi, Chadar Badar, Putul Naach, or Gulaabo Sitaabo. Visual and auditory spectacle aside, puppetry is also utilised across cultures as a medium for social messages—often through humour and satire.

Colloquium on Oral Traditions: Scholars, Stories, and Cultural Memory

Besides occupying its space in theatre, puppetry is also an important oral tradition—transmitting cultural knowledge and values through storytelling. From lullabies and mythic tales to rituals, oral traditions go unnoticed and underappreciated as a form of intangible cultural heritage. When these practices are not passed on within communities and different generations, they may be forgotten, lost forever.

At Netaji Bhawan, the colloquium, ‘Shared Worlds: Oral Traditions and Cultural Memory’ on December 4 deepened this dialogue. Through their scholarship, Indonesian researchers from all over the archipelago explored how oral traditions function as living knowledge systems. These systems not only transmit cultural knowledge, but also operate as an implicit pedagogical tool, i.e. indirectly teach younger generations about social and moral values.

Javanese Puppetry by Eko Suwargono: How can puppet shows be a masterclass in leadership? By weaving lessons about government and ethics into every performance, puppetry helps a community decide what values they want to live by and keeps those traditions alive for the next generation.

The Manguni Myth by Clartje Awulle: For Minahasan communities, the legend of the Manguni owl goes beyond the myth. As a divine omen from the gods, it is a signal for harvests or future danger. However, it also becomes a moral compass, providing a shared set of social rules and surveilling communities.

Nias Marriage Traditions by Ni Wayan Sumitri: Wedding celebrations among the Nias people are special, in that they preserve a rare form of language as part of their rituals. This practice, while dwindling, maintains their roots to Austronesian cultures of the past.

The “Thousand-Legged” House by Donna Sampaleng: Imagine a Thousand-Legged House! Building the Arfak people’s Rumah Kaki Seribu is intense work: it also gives children an important lesson on building character and the importance of collective strength.

Across different presentations, a common pattern emerged: oral traditions are not frozen in time. They evolve, adapt, and respond—however, they also serve important functions in society. Puppetry, myth, and narrative were shown to be tools for teaching values, strengthening social bonds, and maintaining cultural continuity.

Shared Threads

Together, these days of performance, discussion, travel, and informal interaction revealed a simple truth: cultures may differ in form, but they meet in emotion. Whether through a cloth puppet in a temple in East Java, or a wooden puppet in a Bengal village, stories continue to help people understand who they are and where they belong.

Strings Across Borders and Shared Worlds reminded everyone present that cultural heritage lives most fully when it is shared, celebrated, and carried forward together. Here, cultural exchange emerges as a powerful tool. Through sharing the diversity of our traditions, it can build new relationships, and generate a mutual appreciation between cultures.

Chief Guest M.K. Singh, reflecting on the years he spent working in Indonesia, recounted tales of watching Wayang Kulit puppetry performances. He spoke about how myths like the Ramayana and Mahabharata are reinterpreted, blending with local cultures into something unique and beautiful.

In a world increasingly divided, these puppets — guided by hands, voices, and memory — quietly proved that storytelling still has the power to connect nations, generations, and hearts.

Key Takeaways-

How is tourism changing, and in what ways is it working with culture and communities?
How can indigenous groups learn from global best practices while also being aware of the pitfalls of cultural tourism?

These were some of the key questions explored at the International Webinar on the Future of Cultural Heritage Tourism: A Responsible Approach, held on March 11, 2025. The webinar was one of the highlights of the project, ‘Documenting and Safeguarding the Intangible Cultural Heritage of Nagaland’, by Contact Base supported by German Consulate, Kolkata. Voices of tourism stakeholders, leaders, curators, policymakers and academicians from Nagaland, Europe and beyond came together for this webinar, to discuss a responsible approach including, UN Tourism’s vision for cultural tourism, diverse community tourism practices from WINTA, and good practices from the ‘Living Journeys in Europe’ project, and local perspectives from Nagaland. The discussion focused on the importance of community leadership and indigenous heritage in cultural tourism, emphasizing sustainable practices.

The webinar was introduced by Madhura Dutta from Contact Base, stating the main tenets of responsible cultural tourism and sharing findings and good practices from Nagaland that demonstrate community led cultural tourism experiences including community museums; unique initiatives of heritage practitioners championing safeguarding and promotion of their own cultural assets; and village based cultural tourism initiatives showcasing heritage icons of ethnic identities, local cuisine and other ICH forms. Strategies of good tourism were also presented in terms of village-based community led governance, participatory management of local landscapes, and effective use of GI for promoting local tourism. Setting the context to the webinar was followed by the active deliberations of the speakers. Watch the session. (here)
Sharing Global Perspectives: Tourism with Indigenous Leadership Igor Stefanovic (Technical Coordinator of the Ethics, Culture, and Social Responsibility, UN Tourism) reminded that cultural tourism cannot thrive without equity. Indigenous communities, he stressed, must not only be included but lead tourism initiatives. He urged governments and stakeholders to create legal frameworks, invest in skills, and support Indigenous entrepreneurs. He reminded everyone of the 2007 UN Declaration on the Rights of Indigenous Peoples, a cornerstone that insists on respect, dialogue, and fairness. “Tourism mustn’t just be about numbers,” he urged. “It must be about dignity.” He drew examples from across Asia and the Pacific, where Indigenous communities had built their own paths forward—protecting biodiversity, creating governance structures, and reviving cultural practices—all while welcoming visitors on their terms. He proposed a holistic approach to Indigenous tourism that involves strengthening local economies by ensuring indigenous leadership, and equitable benefit-sharing while advocating for preservation of cultural practices. Listen to his insights  here.

Jean-Philippe Le Moigne (World Indigenous Tourism Alliance) spoke of Indigenous tourism codes of ethics in Dominica and Chile, where local ownership and cultural authenticity are central. He emphasized multi-stakeholder partnerships, action plans, and training to take Indigenous tourism to global markets without losing its essence. He spoke of the Larrakia Declaration (2012), a guiding light that places Indigenous control at the core of tourism. He stressed the need for training local communities, developing a clear action plan, and using international partnerships to promote these cultural experiences to global markets. This approach would help ensure that Indigenous tourism practices are sustainable, respectful, and economically beneficial.  Here is what he shared. Click to listen.
Tamara Nikolić Đerić (Senior Curator of the Ethnomuseum-Association, House of Batana, Croatia) shared learning from European initiatives like Italy’s Tocatì Festival Belgium’s Carillon Culture, Sweden’s Storytelling Network of Kroneborg, and Poland’s Nativity Scene tradition. She discussed the Mediterranean Diet pilot in Rovinj-Rovigno, where the Ecomuseum Batana plays a role in preserving traditional food practices. She addressed challenges like over-tourism, regulatory constraints, and identity loss, while also pointing to opportunities in stakeholder collaboration, traditional food promotion, and quality service enhancement. Click to listen her full talk.
Nagaland Speaks: Festivals, Forests, and Futures From within Nagaland, three distinct voices carried lived realities:
Thangi Mannen, who once served as Tourism Secretary, looked back to the first Hornbill Festival in 2000. From a modest local event during its inception at Kohima Local Ground, it has grown into a global stage. The sight of a log drum pulling ceremony or the sound of the beating log drum have now been witnessed by thousands. While talking about the responsible approach  Mannen talked of a balanced tourism model that promotes cultural heritage while ensuring the conservation of biodiversity. She suggested that sustainable tourism should protect both the cultural and natural environments of Nagaland, ensuring long-term benefits for the local communities. Here is her complete talk.
Veyielo Doulo, now the state’s Director of Tourism, shared both achievements and challenges. Nagaland has prioritized tourism as a key sector under its State Industrial Policy (2000), attracting around 125,000 domestic tourists and 2,000–5,000 foreign visitors annually. He talked about the state’s vision on cultural preservation, green tourism, and economic empowerment of local communities through initiatives like, Swadesh Darshan & PRASHAD, community-based tourism (homestays, handicraft workshops), and digital marketing strategies. He shared about the Inner Line Permit (ILP) system which regulates entry to protect local traditions. He also mentioned the persisting challenges like infrastructure gaps, limited training opportunities, and environmental concerns.  Still, places like Khonoma Green Village stand as living proof that green tourism is possible. Explore the perspective of Nagaland’s Tourism Director. (https://youtu.be/mmWE6SvQ2pg)
Limalenden Longkumer, Convenor of the Mopungchuket Tourism Board, told the story of his ancestral Ao village, Mopungchuket. It is home to one of Nagaland’s oldest museums and libraries, but what makes it remarkable is its people’s will. From setting up a community-reserved forest to pioneering waste management, they’ve been carving their own model of community-led tourism since 2001. Limalenden called for multi-stakeholder support to enhance upskilling, economic backing, and collaboration. He advocated for authentic experiential tourism that preserves heritage, boosts local ownership, fosters pride, and supports economic growth. Listen to his story here.

Limalenden Longkumer, Convenor of the Mopungchuket Tourism Board, told the story of his ancestral Ao village, Mopungchuket. It is home to one of Nagaland’s oldest museums and libraries, but what makes it remarkable is its people’s will. From setting up a community-reserved forest to pioneering waste management, they’ve been carving their own model of community-led tourism since 2001. Limalenden called for multi-stakeholder support to enhance upskilling, economic backing, and collaboration. He advocated for authentic experiential tourism that preserves heritage, boosts local ownership, fosters pride, and supports economic growth. Listen to his story here.

Prof. Rajindra Puri, Environmental Anthropologist at University of Kent, reminded everyone that culture is not just for visitors—it is also for children, for the next generation. Tourism, he argued, should never replace cultural transmission within communities. He cautioned against over-dependence on tourism and called for resilience. He also warned that the authentic representation of cultural practices is often compromised as demand for cultural tourism grows, calling for careful monitoring to prevent distortion. Lastly, he underscored the importance of multi-level collaboration among stakeholders and local communities, encouraging alliances that ensure sustainable and holistic development. Here’s how Dr. Puri reflected.
Bridging the discussion, Amitava Bhattacharya, Founder of Contact Base, stressed the importance of educating tourists to prevent exploitation of people, traditions, and resources. He highlighted the delicate balance between public and private community spaces when hosting visitors, and the necessity of building direct market linkages for Indigenous products. Here is the Q&A session, where our speakers addressed specific concerns,  and the ending note,

Looking Forward
Cultural tourism in Nagaland will thrive when it is inclusive and community-led—through museums, traditional homes, local food, and GI-tagged products that showcase heritage while boosting livelihoods. But it must also be ethical: tourists need to respect Indigenous privacy and understand cultural significance to avoid exploitation. Challenges remain, from post-COVID recovery to the risk of over-commercialization at the Hornbill Festival, which, while a cultural showcase, must balance promotion with preservation. The way forward lies in linking culture with conservation, empowering communities through supportive policies, and ensuring tourism grows without losing authenticity. The voices from this webinar remind us that cultural tourism is not just about where we travel, but how we travel. For Nagaland, the path ahead lies in promoting its Indigenous products, strengthening community festivals, protecting forests and traditions, and ensuring that tourism tells the people’s story—not someone else’s version of it. As cultural tourism grows worldwide, the message is clear: the most memorable journeys are those where visitors don’t just take photos, but carry home respect, understanding, and a piece of the host community pride.