‘Tholpavakoothu’
Epic stories that come to life with shadow puppetry.
Etymology:
Tholpavakoothu is considered to be a part of the larger Koothu tradition in Kerala, which encompasses various forms of performing arts, including dance, drama, and music. The Koothu tradition has been practised in Kerala for centuries and has influenced the development of Tholpavakoothu. In Malayalam, Thol means leather, pava means doll and koothu means play. An ancient ritualistic art form, Tholpavakoothu or shadow puppetry using leather puppets is a ritual art popular in certain districts of Kerala, such as Palakkad and Malappuram.
Tholpavakoothu primarily focuses on stories from the Indian epic Ramayana. The performances are usually conducted in temples as a part of religious rituals and can last for several days.
The origin of shadow puppetry in Kerala, can be traced back to ancient times. Although the exact origins are not well-documented, there are several theories and beliefs surrounding the development of this art form in Kerala. Kerala has a history of trade and cultural exchange with neighbouring regions, including Tamil Nadu and Sri Lanka. It is possible that the shadow puppetry traditions from these regions influenced the development of Tholpavakoothu in Kerala, or vice-versa.
Story-line in the Tholpavakoothu puppet presentation:
Tholpavakoothu focuses on stories from the Indian epic Ramayana, particularly the story of Rama’s victory over the demon king Ravana. The performances follow a specific sequence of events and can last for several days, sometimes even weeks. The storytelling is rich in detail and stays true to the traditional version of the epic, which adds to the authenticity and uniqueness of the art form.
Tholpavakoothu performances are deeply rooted in the religious and cultural traditions of Kerala. They are primarily conducted in temples — specifically in the Bhadrakali temples — as a part of religious rituals and offerings to the goddess. This connection to religious practices adds a spiritual dimension to the art form, making it unique.
Behind the scenes:
It all begins with what looks like a maze of an interesting, aesthetic mumbo jumbo — as a rectangular box is being put up and elevated. But this itself is the central orientation on which the full presentation depends upon.
For about ninety-five minutes or so, the team works back and forth with a group of people bringing in about 8 feet metal rods which are about six to eight in numbers. This is to engage a rectangular frame and its joining junctions which are about three to four in number. At the same time, in the other corner, another group of people from the team bring in about 3 litres of coconut oil. This is because the lighting is provided by 21 lamps lit in coconut halves or earthen lamps placed behind the puppets, causing their shadows to fall on the screen. The lamps are placed equidistantly on a specially constructed wooden beam called a vilakku madam.
Some other members hold the wooden sticks of a puppet for its final check and at the other end, the wicks would be placed in the mud lamps, which would be put-up right behind the frame.
This structure has a black cloth (curtain) covering the 3/4th of the structure, as a base and the top frame with a white cloth (curtain) fastened in a way that the 1/4th of the structure creates a frame ready for showcase.
The programme begins with the supporting artists, assistants and main artists (dressed in a traditional Kerala white mundu) brought out to the opening invocation with an ekaarti/arti which is either a brass, silver, bronze or copper plate/tool that holds wicks made out of cotton and camphor on it. It is lit as a Ganapati sloka is being recited (who is considered a vighnaharta, the remover of all obstacles) which simultaneously supports the chanting with the Chenda beats (rhythmic drumming on a percussion, which is a traditional vertical drum, being played by striking of the sticks).
The highlighting episodes are presented which take the story of the epic swiftly further, without any dull moment for the audiences. The song, music and narration add to the holding up of the sequences very well.
The art and the artists:
Recent shadow puppetry show was hosted as a monthly lecture series by the IGNCA, RC Thrissur at SOS Children’s village, Thrissur. For this, (Padma awardee) Shri K.K. Ramachandra Pulavar who belongs to the 12th generation performed along with his elder son Shri Rajeev Pulavar who is currently very active in the field. Shri Chinathampi Pulavar was one of the primary artists from the family generation of artists of the Pulavar family community. Shri Krishna kutty Pulavar was the 11th generation followed by Shri Ramachandra Pulavar.
A lot goes into keeping the tradition alive and generations of artists are to be respected for their consistent efforts. Tholpavakoothu is one such beautiful art form, which not only appeals as a platform for entertainment but also holds a rich history of the culture of Kerala and the essence of the story telling from the region.
-Dr. Manasi Pandya Raghunandan
Classical dance artist & educationist | Co-founder, Abhivyakti Cultural Trust, Bangalore | Regional Director, Indira Gandhi National Centre for the arts, R.C Thrissur | Official Delegate, CID UNESCO, France.
Photo credits: Sh. Rajeev Pulavar
