Tholpavakoothu

Tholpavakoothu (thol = skin, pava = doll/puppet, koothu = play) is a unique shadow puppet theatre form of Kerala, preserved as a family tradition by the community of Pulavars. Dedicated to the Bhagavathy, it is performed during January to May in specially constructed theatres called Koothu Madam in front of the Bhagavathy temple. The performance usually lasts the whole night and is both a popular entertainment and a religious offering. The puppet plays are based on the Kamba Ramayanam and the language used is a dialect of Tamil mixed with Sanskrit and Malayalam words. The belief is that the story of Ramayana is staged so that Bhagavathy (goddess) can watch the story, especially Rama's victory over Ravana, which she missed as she was herself busy fighting Darika.

The puppets are made of deer skin and held by a thin stick in one hand with the limbs being manipulated by a thinner stick held in the other hand of the puppeteer. The puppets are held behind a screen so that the story is revealed through shadow play. The screen is illuminated by 21 lamps made of coconut shells filled with coconut oil and cotton wicks. The complete version of Kamba Ramayanam requires about 160 puppets representing 71 characters in four categories (sitting, standing, walking, fighting) besides puppets for nature, ceremonial parades and battle scenes. These are placed equidistant on the vilakku madam behind the curtain. The main accompaniments are ezhupara (a cylindrical drum made of jackfruit wood and covered with calf skin on both ends) and ilathalam, while the conch, chenda, maddalam, chengila and kurumkuzhal are used on special occasions. The performances last 7, 14, 21, 41 or 71 days depending on the particular temple traditions. Tolpavakoothu is still performed in more than 100 temples in Palakkad, Thrissur and Malapuram districts.

There is only one family of Pulavars in Kerala who continue the tradition of tholpavakoothu, and also train new artistes – the descendants of the award winning Guru Krishnan Kutty Pulavar who is credited with the revival of the art form. They have also branched out by introducing new plays and characters based on contemporary issues and performing outside the koothu madam.