LEGENDARY & STORIES

	Tolpava Koothu is the unique shadow puppet theatre form of Kerala. It is an ancient peculiar ritualistic art form dedicated to Bhagavati, worshiped by the people as the Mother Goddess. I t is chiefly to propitiate Bharakali (Mother Goddess) that Tholpavakoothu.Is performed in her temples  and the devotees believes that the goddess watches the performance and would be pleased by it. This belief is based upon the following legend. In the battle between Devas and Asuras, the Asuras were bitterly defeated by the former. In the prolonged battle, only four women were left alive. And they were Dhanapathy, Dheenapathy, Vanika, Maneeshika. Among them, Dhanapathy who was blessed by the boon of the Brahma gave birth to a son.  Long ago the creator, Brahma, blessed an asurastri (demoness) and as a result of his blessing she gave birth to a son named Darika. When this asuras (demons) boy grew up he became so strong that he turned out to be threat constant source of harassment to the gods and maharshis-sages and hermits, they approached lord Shiva for help. In order to Darika, shiva created the goddess Bhadarakali from the kalakoota poison lodged in his throat. A fierce fight ensured between Darika, and Bhadarakali, lasting serval days. Finally Bhadarakali killed Darika, while Bhadarakali was engaged in fighting Darika; Rama was fighting Ravana, so Bhadarakali was not able to see Rama and Ravan fight. That is why the Ramayana story is enacted in her presence through Tholpavakoothu
	Krishnankutty Pulavar Memorial Tolpavakoothu& Puppet Centre                                 Centre for Performances & Research in Traditional Shadow Puppet Theatre                                                                   Director: K.K.Ramachandra Pulavar P.O.Koonathara, Shoranur,-679523, Kerala, India|+91 466 222 7226, +91 984 653 4998, +91 953 963 6134    web:puppetry.org.in |tholpavakoothu.org|   Email: tholpavakoothu@gmail.com |puppetry@mykerala.net

                                       Play of light and shadows               

                                                                                   March13,2012

 

As the lamps were lit, the stage came alive with characters from mythology. The Tholpavakoothu that was performed at Vylloppilly Samskriti Bhavan, Thiruvananthapuram, was an ode to the skills of the artistes and their style of storytelling. Behind long white curtains, the nimble fingers of celebrated artistes of the Palakkad-based Krishnankutty Pulavar Memorial Tholpava Koothu Sanghom, breathed life into the leather puppets that were transformed into the characters of the Ramayana. A ritualistic performance dedicated to Bhadrakali, Tholpavakoothu, a form of shadow puppetry using leather puppets, is usually performed in Devi temples from January to May at specially constructed theatres called Koothu madom. Legend has it that Tholpavakoothu was performed at the request of Bhadrakali who was not able to witness the death of Ravana as she was busy fighting Darika. So the entire incident was enacted through puppetry. Abridged version The ritualistic performance, which usually consists of nine-hour performances spread over 21 days, was abridged into a one-and-a-half-hour drama. The event began with a kelikottu and an invocation by eight artistes, led by K.K. Ramandra Pulavar. The screen was gradually illuminated by 21 earthen lamps. The lamps were placed behind the puppets so that the shadows of the characters fell on the white curtain that served as a screen.. The artistes presented select incidents from the ‘Kambaramayana.’ The most striking scene was Sita’s abduction by Ravana. Mareecha’s appearance as a deer was cleverly enacted by the artistes. The viewers were transported to a magical world of magic and wizardry on account of the life-like movements of the puppet as it was made to gambol and frolic like a deer. The duel between Bali and Sugreeva also deserves special mention.

The viewers watched the action-filled scene with bated breath as the combatants fought with trees, swords, mountains et al. To add a touch of drama, fire was dexterously used behind the curtain to accentuate the battle scenes. The play ended with Ravana being defeated by Rama. The performance was accompanied by Sankrit songs and a Malayalam narration that had touches of Tamil as well. “Originally it was Chenthamil,” says Ramachandra Pulavar. So what is the relevance of puppetry these days in the world of art? “Children can easily relate to puppets,” answers Ramachandra. “Our stories usually are about good triumphing over evil; so there is a message in our stories.” Tholpavakoothu needs 160 puppets for the performance of the ‘Ramayana.’ So does that mean the art form is expensive to practise? Ramachandra smiles and points to the puppet of Rama, “This puppet is nearly 80 years old and is made from deer skin. We use natural dyes to give it an antique tone. See the design, just like the temple murals. Yes it is an expensive and tiresome job.” The artistes are trained for nearly six years before they venture into the field. All the puppeteers have to be trained in all branches of puppetry, including puppet-making. The troupe based at Koonathara in Palakkad, is “the only surviving Pulavar family in Kerala performing the shadow puppetry,” claims Ramachandra. In the age of television, a traditional art form like Tholpavakoothu is fighting a battle for survival. “We have already adapted the stories of Panchathanthra and incidents from the life of Gandhiji for stage.” The troupe will perform in Jerusalem next month. Source: The Hindu

“THOLPAVAKOOTHU”

The shadow puppet theatre of Kerala-India

Tholpava koothu is believed to have originated the 9^thor 10^th century A.D. this traditional puppet play of Kerala state is still being conducted annually in so many considered as a temple festival and it will last from 7days to 14,21,41,71 days .without any break according to the temple customs prevailing in each temple for 6 to 8 hours .the show start 10pm every night and will be continued till 5.30am. All theatres are being constructed adjacent to the temple of the goddess Bhadra kali. It is believed that the goddess will be pleased to watch the show and bless the devotes. This Tolpavakoothu is completely based on “Kamba Ramayana “and the language used in its performance is also Tamil. The fight between Sree Rama and Ravana and the fight between Bhadra kali and Darikasura (demon king) took place at the same time. And hence the goddess Bhadra kali could not see the war between Sree Rama and Ravana this was brought to the notice of lord Shiva in turn told her to go the earth and remain in temples. Being in the puppet show in which the fight between Sree Rama and Ravana will be shown.

Stage:  These are permanent high stages for the conduct of the show in all the Bhagvati temples. It is known as “Koothu Madam” meaning shadow play theatre. usually the length of “Koothu Madam” will be 42 feet and 8 feet in there will be curtain through out in front of the madam and the puppet show behind will conduct the shadow play with the help of burning oil wick lamps . Usually the curtain should face the deity of the temples. The upper portion of the curtain will be white in color and the lower part will be black. Puppets are held or mobilized between the lamps and the curtain so as to develop the sharp shadows on the curtain. The puppets are fixed on the screen. It is done using thorns of a native plant, The stage Kerala had over 200 puppet theatres in the past days. We still pre serve about 90 theatres for one to come out as an expert puppeteer. One has to go through a rigorous training of nearly 15 years. A puppeteer should be well educated in Ramayana, Vedanta, Astrology, Auyur Veda, and Temple architecture, Puranas, Agamas and Sasthras. He must have a good working knowledge of the languages like Malayalam, Tamil, and sanskirt, puppeteer is known as “Pulavar “. The name Pulavar it self is a title best owed on such a person who has gone through an intensive in puppetry  that includes an in-depth  knowledge of Tamil literature and especially Sanskrit .The name is thus used as a prefix  like sir, lord ,shree,like pandit in Sanskrit and Hindi. In ancient days the verses were written on palm leaves and their interpretations were orally transmitted from generations to generations. The Gurukula systems thus still preserved and the palm leaf Manu scripts are still prescribed in many puppeteers house.

Puppet making: Deer skin is used to make the puppets as it is considered as sacred and divine while making the puppets the hair of the skin is removed and the outline of the puppets is drawn over it. Then it will be cut carefully to size for setting proper facial expression with decorations to the puppets the different types of chisels are used this being dedicate job. It should be done with utmost care. Then flexible hands made of deer skins are attached to the puppet. A bamboo stick is fixed vertically along the puppet and lay holding this stick, movement of the play will be controlled according to the circumstances. There must be above 150 puppets made in different posture standing, fighting, sitting and lying etc to conduct this play based on “Kamba Ramayana”. 

To become a puppet show man one has to study for 15 years under a scholar. Natural colours are using for colouring the puppets. 

The instruments used:

      Chenda, madahalam, kuzhal, elathalam, conch, chilanka, and ezhupara are used ………….

Krishnankutty Pulavar Memorial Tolpavakoothu& Puppet Centre

Centre for Performances & Research in Traditional Shadow Puppet Theatre

Director: K.K.Ramachandra Pulavar

P.O.Koonathara, Shoranur,-679523, Kerala, India|+91 466 222 7226, +91 984 653 4998, +91 953 963 6134 |puppetry.org.in |tholpavakoothu.org

tholpavakoothu@gmail.com |puppetry@mykerala.net