Guwahati: A gathering of 24 puppetry artists from 10 groups across Assam took place in Guwahati for Charcha Café 2026, an event centred on the revival of the traditional art form Putola Naas.
The programme, organised by Roots to Branches Foundation (R2B) in collaboration with NAAT Foundation, brought together puppet show directors, theatre owners, performers and musicians to discuss challenges and possible solutions for sustaining the practice.
Participating groups included Ma Manasa Puppet Theatre, Basudev Putola Naas, Asomi Puppet, Asom Puppet Theatre, Pallabi Puppet Theatre, Praseen Srimanta Sankardev Putola Naas Dol, Sagarika Puppet Theatre, Antaranga, Arnav Puppet Theatre and Puppet People Assam.
Many of the artists present have been associated with puppetry for over two decades. Discussions, facilitated by Mrinal Gohain and Enakshi Dutta of R2B, examined the current condition of Putola Naas and traced its historical roots, including links to the era of Srimanta Sankardeva.
References to puppetry in ancient texts such as the Mahabharata were also discussed.
Once a significant part of community life, Putola Naas is now facing a steady decline. Artists identified financial constraints as a major concern, noting that organising performances involves considerable expenses such as puppet-making, artist payments, logistics and maintenance. Despite these challenges, many continue their work driven by passion rather than stable income. Dhiren Thakuria from Pallabi Puppet Theatre called it a “sad reality.”
At present, only around 10 to 13 active puppetry groups remain in the state. Pradip Deka from Sagarika Puppet Theatre reflected on the situation, stating, “We cannot leave this art form, and we cannot sustain ourselves through it either.”
Artists spoke about the difficulty of continuing in the field while managing financial pressures, describing it as both an emotional and economic struggle.
Traditional performances based on religious texts often require large casts and higher production costs, prompting several groups to shift towards contemporary narratives with fewer characters. However, scriptwriting for puppetry remains a specialised skill, with limited training opportunities available.
Participants also discussed the need to broaden audiences beyond children and adapt storytelling styles to appeal to diverse groups. A proposal was made to form a state-level association of puppetry artists to improve access to government schemes, insurance and institutional support. Suggestions included introducing structured training in scriptwriting and performance techniques.
The event also saw the launch of a baseline report by NAAT Foundation titled Mapping Traditional and Contemporary Putola Naas: A Study of Puppetry Groups in Kamrup and Nalbari, Assam (First Phase Report 2025–2026).
A panel discussion involving officials from the state’s cultural department and puppetry artists examined existing support systems and gaps. Information on schemes such as artist pensions, scholarships and cultural programmes was shared, while artists pointed to issues such as irregular work opportunities, limited funding access and low visibility of the art form.
The programme concluded with a Putola Naas performance titled Muktir Path Nohoi Eyia, presented by NAAT Foundation, attended by nearly 60 participants from civil society organisations. The event ended with discussions, exchange of experiences and a shared commitment among participants to support and sustain the traditional art form.
Organisers stated that the initiative sought to bring together artists, civil society, media and government stakeholders to encourage collaboration and support the future of Putola Naas in Assam.