The Legacy of Togalu Gombeyaata

Togalu Gombeyaata, a puppet show unique to the state of Karnataka, India. It is a form of shadow puppetry. Togalu signifies ‘leather’ and Gombeyaata signifies ‘doll, dance, or performance’. In karnataka, this art of shadow puppetry first received royal patronage in the 2nd century. Then by Rashtrakutas in the 10th century, followed by Vijayanagara Empire in 15th century. The peak of Togalu Gombeyaata was during the Vijayanagara Empire. After this, an influx of Turkish Puppetry happened during the establishment of Bahmani Kingdom. 

The puppets used in Togalu Gombeyaata are made of leather. Goat and deer hides (skin) are generally used for making these puppets since they have the characteristic of transparency and can easily absorb colors. However, it’s important to note that animals weren’t specifically killed for the creation of the puppets. This practice generally used the hides of animals that have died naturally or were slaughtered for other purposes, such as meat. In recent years, there are efforts and movements towards using synthetic and plant-based leather substitutes to create these puppets. This shift aims to preserve the art form while reducing its impact on animals. 

There are two distinct types of Togalu Gombeyaata based on the size of the figures. Chikka Theatre uses the smaller figures (between 20 to 30 cm high) and Dodda Theatre uses the larger-sized figures (between 30 to 120 cm in height). There are different regional variations within these two types of theatre that have different manipulation techniques, different music, and also different morphology of figures that are designed to replicate various sculpted or painted elements found in local temples. 

Togalu Gombeyaata performances take place in a reserved space outside the villages and also in the courtyard of certain temples. The shadow puppetry of Southern India has been referenced in several historical texts, from Tilakmanjari in the eleventh century to Panchadasi dated fourteenth century. Scholars state that shadow theatre in Southern India enjoyed the patronage of several dynasties, such as the Rashtrakutas, Pallavas, Kadambas, Chalukyas, Hoysalas, as well as the support of the rulers of Vijayanagara and Mysore.  

The puppeteers have the status of Travelling Entertainer-Educators, and their repertoire is based on fragments from the Mahabharata, the Ramayana, the Puranas, and also various folk tales. The puppeteers are from the Killekyata Tribal Group that came from Maharashtra at least two centuries ago and settled in different regions of Southern India, particularly in Karnataka, Andhra Pradesh, and Tamil Nadu. They still speak Aare Marathi, a dialect based on archaic (old) Marathi, which is not understood by the population of the southern states. During the Togalu Gombeyaata performances, puppeteers speak in Kannada but include certain songs or exclamations in Aare Marathi. The Killekyata community derives its name from the eponymous (self-titled) character of a Togalu Gombeyaata performance, who provides an element of coarse comedy during a play. 

The community of Killekyatas attach a very high level of importance to the puppets they create. They believe that these dolls/puppets are the soul & lifeline of their existence. It is not viewed as a mere means to perform a show, which they refer to as ‘Uttaranga’. They firmly believe that the stage of manufacture of these dolls that’s referred to as ‘Poorvaranga’ or ‘Siddatharanga’ is of equal importance if not more. 

Though Togalu Gombeyaata continues to hold cultural significance and is still practiced, its prominence has declined in modern times. Various cultural organizations, artists, and government initiatives like the Sangeet Natak Akademi, Indira Gandhi National Centre for the Arts, Karnataka Chitrakala Parishath, etc are working towards keeping the tradition alive.