Traditional Leather Shadow Puppetry of Kerala-Tolpava Koothu

The Tholpavakoothu, known as a shadow puppet theatre in the Malayalam language, is an ancient traditional art form that is still actively performed in the districts of Palakkad, Thrissur, and Malappuram in Kerala, India. It is a matter of satisfaction to note that this particular traditional art form continues to thrive and is not considered extinct, unlike in other regions of India where its performance is few, with only a few exceptions. Regrettably, it is evident that the traditional temple art in Kerala is facing the threat of extinction. This is mostly due to the limited number of families who possess the necessary expertise in this ancient art form and continue to perform it as a ritualistic and customary activity within the temple premises.

I had the privilege of engaging in a personal interaction with Sri Ramachandra Pulavar, hailing from Shoranur. The individual in question is the offspring of Sri Krishnakutty Pulavar, who holds the distinction of being the sole survivor or final survivor within his generational cohort. Sri Krishnakutty Pulavar, together his ensemble, delivered a remarkable rendition centered on the theme of "Gandhi" in the English language. This performance took place during the Thrissur International Theatre Conference in the year 2010. According to the individual, this particular artistic expression is commonly thought to have its origins in the 9th or 10th century A.D. The ritual is conducted within the period spanning from December to June, coinciding with the Pooram season, at various temples prior to the veneration of the deities "Bhagavathi" or 'Bhadra Kali'. There is also a belief that she attends the play in a shadowy manifestation. The performances often commence at 10 p.m. and persist until daybreak. Tholpavakoothu is a traditional art form that draws its inspiration from the epic narrative of 'Kamba Ramayana'. The language employed in this performance is a fusion of Sanskrit, Malayalam, and Tamil.

Kerala, often referred to as Parashurama Kshetram, is widely regarded as a sacred territory associated with divine beings or a celestial realm. According to the mythological narrative, it is believed that the deity Lord requested the revered Goddess Bhagavathi to journey to Kerala Bhoomi, a sanctified territory formed by the divine entity Parashurama from the vast ocean, and establish her presence within a temple situated in that region.

The initial construction of puppets involved the utilization of deerskin material. Following the prohibition on the utilization of deer skin, goat skin has emerged as a viable alternative. Once again, the process of washing, thatching, and crafting puppets is carried out manually by the artists and their families. The Ezhupara is a cylindrical percussion instrument crafted from jackfruit wood and features calfskin coverings on both ends. Additionally, cymbals are commonly utilized as the primary accompaniment for this instrument. In order to acquire expertise, individuals must engage in a demanding training regimen lasting approximately 10 to 15 years in order to master this particular discipline. The whole rendition of the "Kamba Ramayana" employs approximately 160 puppets, which symbolize a total of 71 distinct characters. These puppets are categorized into four main groups based on their postures: sitting, standing, strolling, and fighting. Additionally, supplementary puppets are utilized to portray elements of nature, war sequences, and ceremonial processions. The screen is illuminated by a total of 21 lamps, which are constructed from coconut shells and filled with coconut oil. These lamps are equipped with cotton wicks and are evenly spaced along the Vilakku-madam, a wooden beam located behind the curtain. The duration of the performance varies depending on the specific temple custom, ranging from 7 to 71 days. A duration of 21 days is often recognized as a typical or conventional benchmark.

Moreover, it is essential for a puppeteer to possess extensive knowledge in Ramanayana, Vedanta, Astrology, Ayurveda, temple building, Puranas, agamas, and philosophy. Additionally, a proficient understanding of Malayalam, Tamil, and Sanskrit is also necessary. The designation of "Pulavar" is conferred upon individuals who have undergone rigorous training in the art of puppetry and have acquired a profound understanding of Tamil and Sanskrit literature.

The preservation of this skill as a family heritage by Sri Ramachandra Pulavar is a commendable endeavor that reflects his understanding of its relevance and importance. A multitude of scholars, educators, and artists are drawn to the state of Kerala, where they engage in a demanding regimen of instruction in the art of shadow puppetry under the tutelage of Sri Ramachandra Pulavar. He possesses a lesser degree of familiarity with individuals of Indian origin, although enjoys a greater level of popularity among individuals from foreign countries.

The art form's enduring appeal lies in its steadfast adherence to ancient practices, which have remained unchanged over time. The proceedings commence with a customary prayer and the ceremonial act of illuminating lamps, followed by the storytellers... Once more, it has been observed that within the context of traditional dress, the practice of this art form is predominantly carried out by individuals of the masculine gender. The individuals adorned themselves in customary attire consisting of a white dhoti, a lower garment, while leaving their upper body uncovered. .

Based on a recent observation, it has been noted that women and girls from families involved in traditional puppetry are actively engaging in the creation and manipulation of puppets, therefore contributing their assistance in these activities. This phenomenon is quite remarkable. In contrast, the state of Andhra Pradesh, known for its association with shadow puppetry, has a notable presence of women engaged in the craft of puppet-making and manipulation, a phenomenon that is comparatively rare in the state of Kerala.

 Nevertheless, the participation of women in the traditional Tolpavakoothu was limited. In the Temples, women have historically been granted the opportunity to participate with their male counterparts in performances. This practice continues to be upheld in contemporary times. However, it is noteworthy that women have traditionally not been engaged in the process of preparing leather hinds and designing figures. .
There has been a substantial alteration in this. In contemporary times, the female members of the Tolpavakoothu community are not just engaged in the performance with their male counterparts, but also play an active role in the comprehensive process of leather puppet production, commencing from the initial stages. Smt. Pushpalatha Pulavar and Ranjitha Pulavar exemplify traditional households that have perpetuated traditional standards and rituals. .