Imagine a time when stories didn’t unfold on screens but in the warm flicker of an oil lamp. A time when the rustle of palm leaves and the rhythmic beats of a dhol set the stage for ancient tales. Villages gathered, eyes wide with wonder, as shadowy figures danced on a white curtain, breathing life into gods, heroes, and myths.This was the world of Ravana Chhaya, Odisha’s ancient shadow puppetry tradition. Today, this beautiful art form is slipping away into memory, and its revival is not just important, it’s essential.
The Enigmatic History of Ravana Chhaya
The history of Ravana Chhaya remains wrapped in mystery, with scholars offering varied theories. Some trace its origins back to the third century BCE, while others suggest it may have influenced Indonesia’s Wayang Kulit shadow puppetry, which dates to before the tenth century CE.
The connection between Ravana Chhaya and Wayang Kulit becomes even more compelling when examining the cultural exchanges between Kalinga (ancient Odisha) and Southeast Asian countries like Java, Bali, Sumatra, and Borneo. Scholar Jivan Pani, an expert in performing arts, argued that the sea-faring navigators of Kalinga carried Ravana Chhaya to these regions. Over time, technical terms from Ravana Chhaya entered the language of Wayang Kulit, evolving into distinct forms but retaining their roots.
The similarities between these two shadow puppetry traditions are striking:
- Charma Rupa (leather puppet) became Carma Rupa in Wayang.
- Wandha Nrutya (emotion or mood of the characters) found its echo in Wayang performances.
- Suluk (sloka – rhythmic verse composition) and Wayang’s Suluk share linguistic and stylistic roots.
- Dalai Guru (trainer of artists) transformed into Wayang’s Dalang.
- Words like Gopura (temple gate), Alasa (graceful posture), and Melan (gathering of artists) reflect their Odia origins.
These connections point to more than coincidence. For over a thousand years, Ravana Chhaya and Wayang Kulit evolved side by side, preserving an ancient storytelling form across cultures and geographies.
There are also theories linking its name to Jainism and Buddhism, where Ravanaa is portrayed with more nuance. However, according to traditional puppeteers, the name was chosen because the protagonist of the stories, Lord Rama, is believed not to cast a shadow – an idea rooted in mythology and folklore.
While regional texts from the fifteenth to eighteenth centuries mention “Chhaya Natak” (shadow theatre), Ravana Chhaya itself remains absent from early documentation. The primary source text for its performances today is the Vichitra Ramayana, composed by Vishwanath Kunthia between the seventeenth and eighteenth centuries. Written in the lyrical Chhanda form, its verses are sung using a mix of classical and folk music, giving a unique musical depth.
The Delicate Craft of Ravana Chhaya’s Puppets
At the heart of Ravana Chhaya lies its exquisitely crafted puppets—small, fragile figures standing between 6 and 18 inches. Unlike colorful shadow puppets from other parts of India, Ravana Chhaya puppets are stark, black silhouettes made from untanned deer, sambar and mountain–goat hide. Their beauty lies in intricate perforations that detail facial expressions, costumes, and jewelry.
These non-articulated puppets don’t have moving parts. Their fluidity and life come from the skill of the puppeteer, who manipulates each figure using a vertical bamboo split attached to its center. Through clever positioning of light and movement, the puppeteer creates sweeping gestures that convey emotion and action.
A complete Ravana Chhaya Ramayana retelling can require up to 700 puppets, including multiple versions of key characters, animal figures, and composite designs. Each puppet is a masterpiece of craftsmanship, keeping alive an art form that takes years to perfect.
The Music and Performance of Ravana Chhaya
The magic of Ravana Chhaya doesn’t lie in its shadows alone, it’s the music that gives these silhouettes their heartbeat.
A traditional Ravana Chhaya troupe includes:
- The Lead Singer and Narrator – Often the group leader, they guide the story with lyrical narration.
- Puppeteers – Skilled artists who manipulate the puppets behind the screen.
- Musicians – Playing the Khanjani (a small percussion instrument like a Daf) and Daskathi (wooden castanets), providing rhythmic accompaniment.
The stage setup is simple yet evocative. A cube-shaped structure of bamboo poles supports a white cloth screen nearly 8 feet long, while thick straw mats hide the puppeteers.
Traditionally, an oil lamp placed a foot from the screen provided light, casting flickering shadows that enhanced the drama.
Today, electric bulbs often replace the lamp—but the essence of shadows dancing with light remains.
Every performance begins with a prayer to Lord Rama and Ganesha, followed by a musical prelude on the Khanjani.
Why Ravana Chhaya Is a Dying Art Form?
For centuries, Ravana Chhaya was a cherished tradition in villages like Seepur, Athamallik, Bhaluki, Kishore Nagar, and Odash. But outside Odisha, it remained largely unknown until the 1970s, when the Sangeet Natak Akademi began efforts to study and train Ravana Chhaya puppeteers.
Despite these efforts,it remains fragile. As digital entertainment takes center stage and traditional patronage fades, this ancient art form fights for survival.
Today, two major organizations are keeping the tradition alive:
- Ravanaa Chhaya Natya Sangha, Odash: Preserving the traditional repertory.
- Shrirama Institute of Shadow Theatre, Kutarimunda: Experimenting with contemporary themes and formats.
Without active preservation efforts, the shadows of Ravana Chhaya may soon fade into silence.
Artists Breathing New Life into Ravana Chhaya
Among those working to reinterpret Ravana Chhaya is Tapan Moharana, a multidisciplinary artist from Odisha. With a background in sculpture from Rabindra Bharati University, Kolkata, and international residencies, Tapan brings a contemporary vision to shadow puppetry.
Through his ongoing projects like “Man and Moon” and “Temple of Light”, he creates interactive shadow installations using paper and animal hide cutouts. His work allows audience participation, blending the traditional with the experimental and reflecting on social and ecological issues.
As part of his BEADS Design Residency, Tapan is exploring innovative, contemporary formats for Ravana Chhaya-inspired art objects. His work stands as a modern echo of shadow puppetry’s timeless messages, ensuring these ancient shadows continue to tell their stories for generations to come.
Why Ravana Chhaya’s Revival Matters?
Ravana Chhaya is more than just an art form—it’s a living, breathing cultural archive. It carries within it the myths, history, and craftsmanship of Odisha, passed down through centuries of storytelling. Its loss would mean the erasure of a unique artistic legacy.
But there is hope in innovation. Through digital media, educational programs, and collaborations with contemporary artists, the art can evolve and thrive. Schools, universities, and cultural organizations must integrate this tradition into their curriculums, ensuring that new generations embrace and reinvent it.
And artists like Tapan Moharana are already showing us the way. His work reimagines Ravana Chhaya for the modern world—making the case that this ancient art form still has powerful stories to tell.
Would you like to know more about Ravana Chhaya?
What stories would you like to see told in shadow and light? Share your thoughts, memories, or experiences with Ravana Chhaya and if you’re curious about how tradition meets innovation, keep an eye on Tapan’s evolving work.
References:
https://odishamuseum.nic.in/sites/default/files/upfiles/Vol.%20LIXI%201234.pdf
https://mapacademy.io/article/Ravanaa-chhaya/
https://iccr.gov.in/sites/default/files/Indian%20Horizons%20April-June%202013.pdf
http://pmml.nic.in/static/pdfs/1703054097593Binita_Devi_Final_report_compressed.pdf
