Seventh edition of Udaipur Tales showcases a mix of contemporary and traditional storytelling

F or most of us, stories spell comfort. Myths, legends, tales of adventure and valour told by grandparents at bedtime continue to offer succour well into our adulthood. Another layer is added to this when we experience folklore recounted by community elders or seasoned performers. Oral storytelling traditions are now being taken out of the domestic or community sphere to be celebrated at cultural festivals across the country. Take, for instance, The Spoken Fest, Kathakar or the 2024 edition of Gaatha Mumbai International Storytelling Festival. A mix of modern and traditional storytelling takes centre stage at Udaipur Tales as well, which has now returned with its seventh edition, taking place across venues in Rajasthan’s lake city till 11 January. The festival offers a moment of pause, an opportunity to look away from the screens and immerse ourselves in tales of all shapes and hues. This year, Udaipur Tales is bringing together genres ranging from contemporary, historical, mystery, thriller and folk, through sessions with performers like Divya Dutta, Arif Zakaria, Divy Nidhi Sharma, Danish Hussain, Vilas Janve, Jyoti Pande and more.

The edition features a selection of music and dance performances to broaden the definition of storytelling. To acknowledge the fact that storytellers can emerge under any circumstance, the festival has invited inmates from Udaipur’s Central Jail to share their stories and musical narratives. Another such initiative is Jamghat, in which people from all walks of life— homemakers, students, senior citizens— come forward with their tales, thus creating a vibrant tapestry of voices.

This year, two storytellers—selected by a jury—will be recognised for their longstanding contribution to the art of storytelling. The 2026 edition also features a rich children’s section, wherein storytellers from different parts of the country offer a diverse mix of narratives. The festival is open to school students, who throng the sessions in large numbers. The children’s sessions usually start with stories about the erstwhile Mewar kingdom of which Udaipur was the capital. In the past few editions, young listeners have been regaled with Russian folk tales, lore from indigenous communities, stories on themes of ecology, science fiction and disability. Last year, children gave a rousing applause to young performers—aged 9 and 11— from the Langa community of Jaisalmer, who performed alongside their father.

However, the festival seeks to break the notion that storytelling is only for children. Rather, over the past six editions, Udaipur Tales has seen a sizeable adult audience as well, with several listeners returning to the various editions. According to co-founder Sushmita Singha, listeners come from different age brackets and varied sections of society. What unites them is a penchant for stories with complex situations and well-developed characters. “We have also learnt that storytellers who try too hard tend to lose their connection with the listener. A story that connects with the listener’s feelings leaves a deep and lasting impact. Above all, we ensure an audience of approximately 300–350 listeners, so that the story, storyteller, and listener remain continuously connected,” elaborates Singha.

Given the short attention spans that one is seeing and the incessant consumption of digital media, how is the festival holding the attention of the listeners? Co-founder Salil Bhandari has seen that if the story and the storyteller’s style are impactful, there is no wavering of attention. In the past few editions, nearly 125-150 stories have been presented over sessions typically ranging be tween 30-60 minutes, and only in a handful of instances, a hold over the listeners was lost. Those experiences acted as learning moments for the team, helping them understand the qualities that made for a powerful immersive session. “While online media has its place, live story listening has a much deeper effect on the human psyche,” he adds.

In the past few decades, there has been a steady loss of intangible heritage, with storytellers within communities finding no takers from within the younger generation to carry the legacy forward. Migration of the youth to urban centres in search of better opportunities has further widened the chasm. Timeless stories and specialised storytelling styles run the risk of going extinct. To reverse some of the loss, the festival honours master storytellers, who have been working in this space for 15-20 years, indicating a serious engagement with the craft. An earlier edition honoured a set of bhopa and bhopi, traditional village storytellers specialising in the phad tradition from Rajasthan, dating back to over 200 years. “In the past, we also highlighted Wareleeba, a storytelling style from Arunachal Pradesh, besides showcasing folk traditions from Spain, Russia, Celtic cultures, South Africa, Shaman traditions, and many others,” explains Singha.

Besides traditional forms, the festival also showcases how contemporary styles of storytelling have been evolving. In Bhandari’s view, it’s best not to categorise or consciously define these performances as the stories may be ancient but are narrated in a contemporary style. There is also an effort to make the festival more inclusive. Sign language interpreters translate stories for children with special needs, and workshops are also conducted for the visually impaired students. “Storytelling and listening cannot be anything but inclusive. They are not confined by boundaries of any kind. At the festival too, we make a conscious effort to include everyone,” says Singha.