THOLPAVAKOOTHU by GOKULKRISHNAN

THOLPAVAKOOTHU

Leather Puppetry

Tholpavakoothu

THOLPAVAKOOTHU Leather Puppetry

GOKULKRISHNAN

Tholpavakoothu

Craft Publication on

THOLPAVAKOOTHU Leather Puppetry

Department of Fashion Communication National Institute of Fashion Technology, Bengaluru

Tholpavakoothu

Preface The First Art form in the world, Shadow play, It all started from there as humans slowly realizing that there is a lot more we can do with the shadows. This book is done as part of an Assignment which is in our course. So if any mistakes which might be there in this book please forgive. As Kerala is always a great place with lots of culture and tradition. Tholpavakoothu was one of the best craft or art form to work on. After knowing the Artisans and their life, the idea of the project was just not to make a book and publish it, the purpose is popularize however the book can. Like to promote the art form and try to add value to the craft. We will ensure that the book which we make will be available for the mass as one of the artisan has requested us. So the whole idea of this book is to let more people know more about what is Leather puppetry and promote the craft for its survival. The need to make the coming generation aware of something which has to be known to them.To bring out the needs of the artisans and their life into reality.

Tholpavakoothu

1. 2. 3. 4.

Introduction History Geography Local Essence (i) (ii)

Climate Demographics

5. Craft

6. Artisans Interviews a) K.K.Ramachandran b) National Award Journey c) Moments d) K.Rajeev e) K.Rahul f) Sudhir & Manoj

7. Puppets (i) (ii) (iii) (iv) (v) (vi)

Raw Materials Process Colours Features of God Different Postures Specialities of Rama

8. Intervensions (i)

Gandhi & Onam

9. Old Puppets (i)

Old Puppets comparision

10. Tools

Page 22-23 Page 24-25

Page 26-35

(i) Instruments (ii) Rituals (iii) The Show (iv) Stage (i)

Page 14-15 Page 16-17 Page 18-19 Page 20-25

Page 28-29 Page 30-31 Page 32-33 Page 34-35

Page 36-55 Page 38-55 Page 40-43 Page 44-45 Page 46-47 Page 48-51 Page 52-53 Page 54-55

Page 56-69 Page 58-59 Page 60-61 Page 62-63 Page 64-65 Page 66-67 Page 68-69

Page 70-73 Page 72-73

Page 74-95 Page 88-95

Page 96-97

11. 12. 13. 14.

Inspiration Tourism Mudras Conclusion

Page 98-99 Page 100-101 Page 102-109 Page 110-111

Bibliography

Contents 11

Tholpavakoothu

Aknowledgement First of All i would like to thank my Associate Proffesor Sanjeev C.M who Gave me the information about this Craft or Art form, also inspiring me to take up this project. Also there is two of my Friends(Saloni Gautam and Bhavya Malviya) who joined along with me to do the same project with all spirit, as their valuable feedbacks, the team work and also without their help which i couldnâ&#x20AC;&#x2122;t have made this happen. Now about the Artisans who was so kind and humble to share their great sea of knowledge and treated us like a family member is something that is really nice of them and way beyond inspiring. K.K.Ramachandran despite being a National Award winner, was so friendly with me and my friends. K.Rajeev is an inspiring person to look upon, he was so humble and was like a brother who keeps on sharing his huge ammount of knowledge even in busy times. I would really like to appreciate the Time they spared for us from their busy life. Also have to thank Mr.Ramachandran and family for being a wonderful host. Last but not the least i would like to thank my father(K.N.Krishnakumar) for being there with me and my friends throughout the Research , without him i donâ&#x20AC;&#x2122;t know how could i managed to do all those things. It was such a great experince that i really appreciate it to the maximum and will try my best to promote the craft in whatever way i can.

Tholpavakoothu

Introduction Tholpava koothu, the unique shadow puppet theatre form of Kerala, South India, is preserved as a family tradition by the Pulavars.It is an ancient peculiar ritualistic art form dedicated to Bhagavati, worshiped by the people of Kerala as the Mother Goddess. As a ritualistic art form, Tolpava Koothu is performed during the months of January to May at the especially costructed theatre called Koothu Madam in front of the Bhagavati temple.It is believed to have originated in the ninth century AD and uses Kamba Ramayana as its basic text. Tholpavakoothu is a compound word of three Malayalam terms, thol, meaning leather, pava, meaning doll, and koothu, meaning the play. It is believed to have originated in the ninth century AD and uses Kamba Ramayana as its basic text. The performance language uses Tamil, Sanskrit and Malayalam words. Like Mudiyettu and Patayani, Tholpavakoothu is also an art form that is dedicated to Bhadrakali. According to legend, Tholpavakoothu was performed at the request of Bhadrakali who could not witness Ravanaâ&#x20AC;&#x2122;s killing as she was fighting the demon Darika. Thus when it is performed in temples, an idol of the Goddess is usually placed on a pedestal in front of the arena where it is staged.

Tholpavakoothu

Histroy A Unique shadow puppetry Play Tholpavakoothu-kerala puppetry

Tholpavakoothu is a traditional art form performed at bhadrakali temples palakkad malappuram thrissur districts. Tholpavakoothu performed in temples at a permenent stage called koothu madamsin front of badhrakali temples. It is said to have originated in the 18th century is also known as pavakoothu (puppet play) or nizhalattam (shadow play). This entertainment art is performed on a special stage called koothumadam in the temple courtyard. Puppets (pavakal), usually representing four characters from the Ramayana, are arranged behind a long white screen, in front of bright wick lamps. The puppets made of deer skin are made to dance to songs from the Kamba Ramayana (the Tamil version of the epic). The performance starts late at night and continues up to daybreak. Tholpavakoothu, literally meaning 'leather puppet play', is a ritual art performed during the annual festivals in the Kaali temples of Palakkad district. The theme of the play is based on the Kamba Ramayana, narrated in a diction that is a mixture of Malayalam and Tamil dialectical variations. 16

The play covers the whole gamut of events from Lord Sree Rama's birth to his coronation as the King of Ayodhya. The shadow play is presented in the 'Koothumadam', a specially constructed oblong play house on the temple premises. The puppets are fashioned out of the hides of buffaloes and deer, the former for evil characters and latter for noble ones. Each puppet is of an average height of 80 cms and is cut out in different postures. The puppets are arranged behind a long white curtain stretched across the Koothumadom. Behind this, on a split bamboo pole, is placed a row of wick lamps burning inside coconut halves. The light from these lamps cast the silhouettes of the puppets on the curtain. The chief puppeteer is known as 'Pulavan'. At present this ritual art is confined to Ottapalam and Kavalappara in Palakkad district. Kerala has made a notable contribution towards maintaining and enriching the cultural heritage of India. It has evolved through the centuries a rich and diversified culture which has nourished and become an integral part of culture of India as a whole.

Introduction | History | Geography

Most of the Indian art forms their birth and growth to religion. They are therefore intimately connected with modes of worship. In ancient Kerala the religious practices of the people and their moral mode code were based upon derived from Dravidian culture . But gradually new religious practices and ideals entered Kerala from the North. The result was a blending of the Dravidian culture of the south and the Aryan culture of the north which, it is believed ,took place about three or four centuries before Christ as a result of this impact of Aryan religion and culture on the indigenous Dravidian culture of Kerala, Hinduism assumed a new form in Kerala. The influence of this blending of the two cultures, Aryan and Dravidian can be seeing in religious life of people but also in the arts. Among the ancient artform of Kerala tolpavakoothu or shadow puppet play occupies a prominent place. It is a fine example of the integration of Aryan and Dravidian cultures.

Introduction

Kavalapara Palace Shornur, Palakad Kerala

Tholpavakoothu

Geography, Map

History | Geography | Climate

Introduction

Tholpavakoothu

41 c Max Temp

Palakkad has a tropical wet and dry climate.

24 c

Lowest Temp

Temperatures remain moderate throughout the year, with exception in March and April being the hottest months.

Climate

Palakkad, Kerala A very high amount of precipitation is received in Palakkad, mainly due to the SouthWest monsoon.

July is the wettest month, and the total annual rainfall is around 83 inches (211 cm)

All Data on the CLimate taken from Google.

Tholpavakoothu

Local Essence About Palakkad

Palakkad , also known as Palghat, is a city and municipality in the state of Kerala in southern India, spread over an area of 26.60 km2 and is the administrative headquarters of the Palakkad District. In earlier times, Palakkad was known as Palakkattussery. Palakkad is the seventh most populous town in Kerala and lies near the Palghat Gap. Malayalam is the generally spoken language in Palakkad. The city is situated about 350 kilometres (217 mi) north of state capital Thiruvananthapuram and 54 kilometers south west of Coimbatore, and 66 km north east of Thrissur on the SalemKanyakumari National Highway NH 47. The commonly held belief is that the name Palakkad is a fusion of two Malayalam words, Pala, which was the name given for barren land during the Sangam period, and Kadu, which means forest. Palakkad is the gateway to Kerala due to the presence of the Palakkad Gap, in the Western Ghats. Malayalam is the generally spoken language in Palakkad as it is the official language. The town is blessed with many small and medium

rivers, which are tributaries of the Bharathapuzha River. Of the number of dams in Palakkad district, the largest Malampuzha dam is 12 km from Palakkad town. Palakkad has a tropical wet and dry climate. Temperatures remain moderate throughout the year, with exception in March and April being the hottest months. A very high amount of precipitation is received in Palakkad, mainly due to the South-West monsoon. July is the wettest month, and the total annual rainfall is around 83 inches (211 cm)

Transport Air

The nearest international airport is Coimbatore International Airport, which is about 62 km from Palakkad. There has been a proposal for a mini domestic airport at East Yakkara with respect to setting up domestic airports for enhanced air connectivity by the civil aviation ministry of India. 60 acres has been identified for the project at East Yakkara Palakkad.

Climate | Local Essence | Craft

Introduction

Railways There are two railway stations serving Palakkad - Palakkad Junction is a broad gauge railway junction (located at Olavakkode, which can be called a satellite town, about 4 km from the heart of the main town) and Palakkad Town railway station located in the heart of the Palakkad town. Close to Palakkad Junction is the office of Palakkad Railway Division. The cities of Coimbatore, Erode, Salem, Thiruvananthapuram, Kollam, Kozhikode and Ernakulam are connected by the broad gauge line. Train services to Pollachi, Dindigul and Madurai are through the broad gauge line through Palakkad Town station.

Road

Palakkad is well connected by roads. The National Highway 47 from Salem to Kanniyakumari via Coimbatore, Palakkad, Thrissur, Kochi, Alappuzha, Kollam and the Palakkad â&#x20AC;&#x201C; Kozhikode National Highway 213 via Malappuram pass through the district 23

Tholpavakoothu

Demographics

Religions in palakkad Religion Percent

Hindus

68%

Muslim

27.9%

Christians

3.8%

Others

0.3%

As per Census 2011, population of Palakkad in 2011 is 130,955; of which male and female are 63,833 and 67,122 respectively. Total literates in Palakkad city are 112,479 of which 56,065 are males while 56,414 are females. Average literacy rate of Palakkad city is 94.20 percent of which male and female literacy was 96.83 and 91.73 percent. Hindus form 68% of the population with 89098 members. Muslims constitute 27.9% of the population with 36620 members. Christians constitute 3.8% of the population with 5006 members. The metropolitan area of Palakkad includes Hemambikanagar, Marutharode, Palakkad municipality, Pirayiri, Pudussery Central, Pudussery West, and Puthuppariyaram. [11] Its urban / metropolitan population is 293,566 of which 143,650 are males and 149,916 are females. The literacy rate of Palakkad Metropolitan Area is 92.14%, much higher than the national average of 59.5%. Malayalam is the most spoken language.

Local Essence | Demographics | Craft

Introduction

Tholpavakoothu

Craft Performance and style

The Kavalapara Temple Theater (were they perform During the Temple Festival)

Tholpava koothu is believed to have originated the 9th or 10th century A.D. this traditional puppet play of Kerala state is still being conducted annually in so many considered as a temple festival .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. 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 wicklamps . Usually the curtain should face the deity of the

Craft

Demography | Craft | Instruments

Artist performing from behind the theater

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. The nights become alive with the shadow characters, music and drama in the Koothumadam. Koothumadam is the permanent theater where this are form is performed.

Koothumadams are found in Kali (Bhadra Kali) temples in and around Palakkad district of Kerala. The show starts around 10pm and lasts till 5am in the morning. The Koothumadam at the Aryankavu Bhagavathi temple at Koonathara region in Palakkad is very famous for its existance. Here the show lasts for 21 nights in adjacent to the Pooram festival which falls normally on 4th or 5th of April every year. The play is organized in such a way that the story of Rama from his birth to the Pattabhishekam (the crowning ceremony) is performed with the Rama Ravana yudha which is the important part of the play. 27

Tholpavakoothu

Instruments

There are certain rituals adhered to by these shows. Only when the temple flag is hoisted to do the puppeteers put up the white screen. Then a big brass oil lamp and hung in front of the stage as the auditorium light. Before the shw starts, in the villages, fireworks go off to announce the start, as also at the end of a performance. The big brass oil lamp is carried in a procession from the temple, with the performers following, to the vigorous beating of drums, the koli and chenda and the the rhythm of the bells, cymbals and gong. This procession circumbulates theatre thrice. The brass lamp is thenleft outside the screen and the players enter the stage to the martial beats of the chenda and koli. The stage is in

complete darkness drawing the audience to complete silence. Then the benedictory verses or thodym are chanted. Next the story tellers shout “Ya ha Arya” to the beat of drums and cymbals, which is repeated three times with voices ascending. From the main light in front, a bundle of oil soaked cotton wicks are lighted and taken backstage and placed in the fresh coconut shells filled with pulp and oil(the pulp helps to retain the oil leaving that light burning for a longer time) Gradually the charecters pinned with pal thorns to the screen become visible. Then the ‘kalanchindu’ songs in praise of the great poets are sung.

Craft

Craft | Instruments | Rituals

Chenda

Koli 29

Tholpavakoothu

Rituals

Craft

Instruments | Rituals | The Show

1. Lighting the lamps with big oil brass lamp 2. The Team doing the initial rhythms 31

Tholpavakoothu

The Show

The Actual performance starts with the invocation to Lord Ganesh and thier teachers or Gurus who are known as Padapavas. The sutradhar or leading Palavar who chant and speak their parts and thus unfold the story. After the battle with Ravana and his killing, a peculiar custom is observed . The play is halted for a day or two as the stage is supposed to have been desecrated by the bloodshed. The white performing screen is washed, dried and replaced ceremoniously while the stage floor is washed with water from

the river and freshly spread with cowdung. This is followed by a great feast to celebrate the investiture of shri Rama. This involves a gorgeous ceremony always in the early morning when a richly caprisoned elephant is brought to the beat of the drums and the orchestra rhythm, carrying water from river. In the Play as they observe the ritualistic aspects of the show and also of keeping the stage in two parts- the right side reserved fro the Godly characters and left for the evil characters, as in all Indian shadow plays.

Craft

Rituals | The Show | Stage

Top : The effect of fire explosion behind the screen Bottom: A fight scene between two characters with explosion 33

Tholpavakoothu

Stage

The Koothu Pava are the only Tradional Puppets in India, that have a regular permanent stage and theater which is built outside of temples dedicated to the Goddess Kali. They are constructed so as to face the image in the temple. Whenever performances takes place outside the temple grounds, as soon as the stage and screen are erected a stool is placed in front of the performing screen, for it is belived that Goddess Kali is present there to witness the show and takes delight in the slaying of Ravana, which she missed destroying the demon Devika at the same time. As said earlier the theater for

shadow play house is known as â&#x20AC;&#x2DC;koothumandapamâ&#x20AC;&#x2122; or the play house. The stage is constructed on a brick platform, covered on top and on the three sides like a log hut with straw matting. It is usually 7 to 14 m long. The screen is a white dhoti streched along the matting which is about 1.25 m in height hiding the puppeteers who stand inside to play. The bottom front matting is covered with black cloth as masking. The black, bottom half of the stage represents the earth, and the white screen above, the Heaven.

Craft

The Show | Stage | Artisans

Tholpavakoothu

Artisans K.K KrishnanKutty Pulavar and Team

Thol pava Koothu is preserved as a family traditions by the pulavars. The name pulavar itself is a title bestowed on such a person who has gone through an intensive training in puppetry and puppet making that includes an in-depth knowledge of Tamil literature and especially the epic. In order to promote this art form, Krishnan kutty pulavar Tholpavakoothu and puppet centre was established by the renowned Tholpavakoothu artiste late Guru Shri Krishnan kutty pulavar at Koonathara. Pulavar- learned scholar-is the respectful name given to the masters of a puppet troupe

by the villagers, more than an artiste the pulavar , as learned man has always been an adviser and guide to the villagers who often brought their problems to him,Tambi pulavar,Ila pulavar,Muthappa pulavar, lakshmana pulavar,Ravuni nair,Gopala paniker, sankunni pulavar,ramankutty pulavar, Sankaran narayanan,Ramsawmy pulavar,ponnusawamy pulavar,prabakara pulavar,ponnumani pulaar,thakamani pulavar,are the ancestors of the famous Koonathara family which goes back four generations in Tholpavakoothu.

Artisans

Stage | Artisans | Interviews

K.K.Ramachandran Pulavar

K.K.Ramachandra pulavar was born on 25-05-1960 to late Guru Shri: K.L.Krishnan kutty pulavar and Gomathy ammal. He was born into a traditional family with a rich historical background, he had studied Tholpavakoothu by his great guru/father from the age of six. He soon achieves all the aspects of Tholpavakoothu within the period of childhood. While he was going with his father he follows the tradional style of puppet performance even now also. He follow the 11th generation from the followers of guru were endowed the talented skills in this artform Chinathambi pulavar, Ela pulavar, Appanna pulavar, Lakshmana pulavar, Krishnan kutty pulavar. Guru Krishnan kutty pulavar took this artform from the temple primes to outside. It can

easily grow up in kerala and all around the world of puppetry. Ramachandra pulavar are also engaged in this artform with his new contributions and his own great effort to promote this artform in kerala ,Ever year from the month of December to June he was performed in 40 temples in 7,14,21,41,71 days and also he performed 500 staged every years out the temple primes in Kerala â&#x20AC;&#x201C;India ,and abroad. From 1978 I had assisted G.Venu who had played a major role in

Tholpavakoothu

What the Artisans have to say 39

Tholpavakoothu

Artisans

K.K.RAMACHANDRAN PULAVAR National Award Winner

Tholpavakoothu

When asked about the origin of puppetry, K.K.Ramachandran said that, First in the world nature was created then later man was created later culture and with the innovation of light(fire), when they stayed inside the caves during night or when it was dark, started seeing their shadows becasue of the fire they used to light up. Slowly they started noticing the movements of the shadows and realised so much more can be done with this and later evolved into shadow dance and theater dramas etc. So they might have practiced stories which praised the then lords, kings or cheifs etc. That is what is said to have happened as how the concept of shadow play originated. Actually what 42

Mr. Ramachandran has to say is, it canâ&#x20AC;&#x2122;t be said that this artform originated from a particular place in the world, since it can be from anywhere and also it has spread equally to everywhere. Itâ&#x20AC;&#x2122;s all about different intrepetations by different civilizations. Even though no one can say its their art form. He added that in the world only in kerala that shadow puppetry has a permanent theater to showcase their performance. Mr.Ramachandran said when asked how is the mural paintings has inspired in making the shape, colour and style of puppets, he was totally againts the concept of puppets taking inspiration from the mural paintings . He says that as

Interviews | K.K.Ramachandran | National Award Journey

shadow puppetry is the first art form before even mural paintings originated, he canâ&#x20AC;&#x2122;t agree to the fact that it took inspiration from mural paintings. He stongly belives that it should be the vice versa that mural paintings were inspired by the colours used and shape and structure of the puppets. He was also concerned about what is being in the internet, that puppets are inspired from mural paintings. He says that the reason may be mural paintings got popularised and puppetry did not because it was restricted to the temples. He states that it was only his father Krishnankutty Pulavar who initially took this art form out of the temples, before then it was just restricted to the temples and most of the people were not known to it. But they had to face some problems while taking it out of the temples as people argue that it will distroy the value of the culture. But Stood strong and was able bring this out for all the people because they were also against the fact that women were not allowed to see the show as people say it will spoil the purity of this ritual in the temple. But these artisans

Artisans

were totally against that and they want everyone to see the art form and gain something from this. He is worried about the craft being losing its value and was saying that its not getting the right promotion or the value it deserves. He also mentioned about the artisans being exploited by other people in many ways like people do come visit them, take all the infromation they want by promising a lot of things in return and then not even turing back , so he asked why should the artisans actually spend time with the people who exploit them. There should be some new ideas or ways in which the art form can be promoted more to a large extent, thus will motivate the artisans to continue this craft. Another common problem which is happening to almost all the craft is that the coming generation, is moving away from this and getting into other careers, he agrees that we canâ&#x20AC;&#x2122;t complain about that because at the end of the day you have earn the required money for living. So if they still have to continue practicing the artform it should be valued and promoted in the best way possible. 43

Tholpavakoothu

National Award Journey

Life time achievement and Excellence award from madras craft foundation "Dashina chithra Virdhu". Junior & senior fellowship holder from ministry of culture Govt of India. Scholarship from department from culture. Awards from foreign countries for performance. Participated in the international film festivals in kerala Balakandam & Aryuanakandam in English

translation Publishes a book "shadow puppet in kerala" by NFSC -2008 "Tholpavakoothu"published by kerala Basha institute. He was all excited to share the experience of Receiving the National Award. He won it in 2016. In the comming pages you can see the national award receiving moments at the Rashtrapati Bhavan.

K.K.Ramachandran | National Award Journey | Moments

Artisans

Tholpavakoothu

Achievement Moments

Artisans National Award Journey | Moments | K.Rajeev

Tholpavakoothu

Artisans

Moments | K.Rajeev

K.RAJEEV PULAVAR

Young talented artiste award Kerala Sangeet Natak academy 49

Tholpavakoothu

K.Rajeev

He is a nice Youngster who sincerely wants to take this art form to the next level. As Ramachandran said, todayâ&#x20AC;&#x2122;s generation is going away from all these things because its kind of losing its value. But Rajeev who is strong at heart and the one who has a greater vision on how the art form can be promoted across th world. He is filled with energy and all positive vibes, When asked he entered into the puppetry field was just because he was the son of Mr. K.K.Ramachandran.? The answer was that it was not just because of that, as a child he started liking puppets and his he says his grandfather Krishnankutty Pulavar has influenced him in his childhood, he grew up understanding about the art form and was slowly falling in love with the art form. Later he got start learn about the play from his grandfather and his father he gt into this art form. He also shared his new ideas on how he is planning to make this art form more attractive for the viewers. So to start wid one of those idea is that instead of the lamp they are planning to use LED lights or a non fluctuating light source, so that the deatails 50

on the puppets will be clearly visible and also the movements can be well understood, it might be more interesting for the viewers. Then he said about introducing new languages or the type of language which the current generation can relate to in a better way. Then he said about the idea of using projector, like the pupppets can be made in a smaller size and using the projector it can be projected on a larger bigger screen and thus more viewers can be accomodated and also some of the charaters will be played by real people on the stage , like they are thinking of blending both the puppets and real people so that it might add to the perfection of the play. He also added that one of those thing why he love doing this is that he can travel to different parts of the world. One of the very important thing they are trying to dois to inspire more youths to join the craft. Also he too showed his concern that people are misusing it and the craft is being not valued properly and only a very few students and researchers do help them and the rest just use them and leave them like that. The youth(Rajeev) with energy.

Artisans

Moments | K.Rajeev | K.Rahul

K.Rajeev pulavar is from the younger generation who holds the light of "tholpavakoothu" in hand,he is the son of K.K.Ramachandra pulavar. He had participated in the world Musiq & shadow puppet festival conducted in Thailand recently. Rajeev is one of the initiater who begun to introduce contemporary and secular themes to appeal to the youth,and Performances are no longer confined only to temples but are also held in secular venues such as colleges and other demanding occations.

Tholpavakoothu

K.Rahul

K.Rajeev | K.Rahul | Sudhir & Manoj

Rahul the second the son of K.K.Ramachandran was also so really passionate about the Art form and he is currently studying for Bsc Physics 3rd year. He had to compromise on studies at times and had to skip classes because the trips may get clashed between the classes. He also told us about the contemporaries the stories and intoduce new social issue stories. When asked whether he will pursue something in the field of physics? The answer was that he is into tholpavakoothu so he wants to continue this even after graduation, like doing the studies because itâ&#x20AC;&#x2122;s better to have a solid degree with you. The love for puppets started from childhood, around the age of 4 he started playing with all these old puppets as those were his childhood toys. Also his Grandfather(Krishnankutty Pulavar) used to recite songs from the play when he was a kid . As he grew up the intrest and passion also grew with him and now he is all determine to do whatever he can for improving the craft. He also was so proud about his father winning the National Award for leather puppetry. He Ended the conversation with a Smile.

Artisans

Tholpavakoothu

Artisans Sudhir

He is being called as Laxman, because he plays the puppet of laxman in the Ramayana Story Shadow play. The Real name is Sudhir. He was always fascinated by puppets from childhood, was excited about the thing of giving life to a puppet. As he lived near by the puppeteer’s house, he got to see and get an exposure to all these from childhood. Later he wanted to learn it properly, so he joined the troop in 2009 and started learning the art form with all due respect and passion. He has done diploma in electrical and has applied for jobs and also has been shortlisted for PSC test. Initially he didn’t knew anything in 54

detail about the art form evnen though he joined the troop. He used to go with the troop to all the places were do the show, also to temples. He had compromise his attendance and studies in college when he was studying, But he used to manage it. He is a perfectionist young blood in the troop, he was sad about the fact that sometimes they compromise the duration of the show for the comfort of the Guest, he says that do it with atmost sincerity and perfection as the craft is of so much value and big. Don’t do it for the sake of doing it, he added later. He is young man who respects the art form and thus this motivates him to do more for the craft.

Artisans

K.Rahul | Sudhir & Manoj | Puppets

Artisans Manoj Manoj is youngest in the troop, he is studying automobile engineering. When asked whether the college support to do this, his answer was like once they conducted a show in his college and after seeing the performance, all of them his friends, teachers and everyone in college was so supportive and appreciated his art form and also was encouraging him in all ways even though he has to compromise on his attendance and assignments. But he always

keeps tholpavakoothu as his priority, and he is happy about that. When asked about how the family supports, he said that they are all very supportive and encouraging, also he started and joined the troop in 2009, saw shows being done in temples. One main reason why he love to be a part this is that he gets to travel to a lot of places. Also he added that after graduation he wants to pursue this art form as his career.

Tholpavakoothu

Puppets

The Koothu Pava are 48 to 60 cm height and are always made of deer hide which is considered very holy. The skin is not treated to transperency like thick and crude, and the shadows presented are all in black. These puppets look drab and so are often painted with oil colours in green, blue, red or any shade so they appear distinctive and colourful whenever taken out in a religious procession. Otherwise, when normally seen these puppets do not have an appeal until one sees them as shadows in the play. Then they present an uncanny beauty. The peculiarity in designing is of the characters which are set in arectangular, oval, round or square environment. The puppets are very static, and

may have only one arm and hand which is mobile and of an exaggerated proportion to the character. They are held with one main stick with another stick which is detachable to the hand arm. They are , however, very richly perforated. While performing they are at times moved away from the screen to create an illusion. The manipulation of these puppets lies only in an up and down or side to side movement with gestifications of the mobile arm if any. But battle the beat of the chanda drum, ankle bells, a gong bows are made separately so they can be let off by the manipulators to make them appear as if the puppet is doing so. The feel is created .

Sudhir & Manoj | Puppets | Raw Materials

The Different Kinds of designs made on the puppets are, the Half-moon patterns, Full moon patterns, Veeralipattu and Flower designs. In Regard with the skin that is being used nowadays is buffalo skin, since they canâ&#x20AC;&#x2122;t arrange for dear as it is banned and sometimes they use Donkey and Goat skin. But as per the puppeteers the best skin is dear skin or at least the buffalo skin as it will last long and are thicker also. other skins of Goat and Donkey will be too much transperent in nature which will spoil the effect when the light is being introduced to it. The gaot skin absorbs colours better that other skins but as its quality is really bad they are not too much appreciating the use of Goat skin.

Puppets

Tholpavakoothu

Raw Materials Puppets and for Making the Colours

Puppets

a fine chisel. The eyes, noses, and lips, are also drawn on the puppet and cut out.oranaments and dress are drawn by drilling different kinds of holes in the skin for which special pointed chisels are used. Deer skin is used to make the puppets as it is considered as sacred and divine while making the puppets

Puppets

Puppets | Raw Materials | Process

Colours Puppets are painted with different colours, the original method of making natural colours was by boiling the wooden pieces of different woods, the result was good, strong, and lasting , these become very attractive when shades of other colours merge in them.

Natural Colours Which are Ready to use it on the Puppets

Teak Wood Used for making the Colour

Tholpavakoothu

Process The Making of The Puppets

Tools and the Leather Kept Outside Before Starting the Making

Puppets

Raw Materials | Process | Colours

Artisan Working On the Leather Using Tool (Uli)

Tholpavakoothu puppets are made of deerskin. The figures are drawn on the skin, cut out and embellished with dots lines and holes, When the skin is completely dehumidified all the hair on its removed by scraping the surface with a sharp â&#x20AC;&#x201C;edged piece of bamboo. Then on the puppet figure it willdrawn clearly on it and cut out with a fine chisel. The eyes, noses, and lips, are also drawn on the puppet and cut out.oranaments and dress are drawn by drilling different kinds of holes in the skin for which special pointed chisels are used. 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 â&#x20AC;&#x153;Kamba Ramayanaâ&#x20AC;?.

The puppets have to make gestures and movements in conformity with the narration or dialogue.

Tholpavakoothu

Colours Making Process

Cutting and Chopping Teak Wood

Boiling water to put the wood pieces

Puppets

Process | Colours | Features of God

Wood pieces made to boil in the water

After this it has to be kept for boilig around 10hrs or more to get the thick and perfect colour, which will settle down and can be directly used as the paint

Wood beign Boiled and slowly the color starts to settle down

Colour Starts to Show Up

Tholpavakoothu

Features of a God Character

The Puppets are almost 600800 years old, so the shape and style of the puppets are derived from the kind of behaviour the character possess. Like if they belong to the Gods or the Demons, for example if the character is Rama, the nose will not be pointy and the mudra will be representing peace. If they are

Sitting pose of Sita

the demons then they will have pointy noses. The features are actually contrasting according to whether they are a Demon or The God. When it comes to one individual puppet the shape and body language is decided by the qualities of that character or the factors which define them.

Puppets

Colours | Features of God | Different Postures

We take Rama as the example for illustrating the characteristics of the puppet, As itâ&#x20AC;&#x2122;s mentioned earlier in this section, the God characters have non-pointy noses as a major characteristics for differentiating them from the demons. They wonâ&#x20AC;&#x2122;t have long teeth.

A Rebulid Puppet of Rama 65

Tholpavakoothu

Different postures of the puppets So basically there are 3 postures for a puppet, one the standing, two the sitting and three the fighting posture. Also some of the characteristics differ for all three postures. That is for the standing posture it will one hand and side facing instead of being facing towards the front. Now the sitting pose, this one also has only one hand and the fighting pose, this one has two hands joined to the main body which is also so free moving because it should be so free to move in a battle scene. Also it is facing towards the front, not side faced.

Features of God | Different Postures | Specialities of Rama

Puppets

Tholpavakoothu

Specialities of Rama

Rama has the sitting and fighting pose, in the sitting pose he hands have a mudra which is depicting peace, then veeralipattu patterns on the puppet which is to depict Royalty and the grain patterns on the upper chest portion which tries to depict prosperity and success.

Different Postures | Specialities of Rama | Intervensions

Puppets

Mudra Depicting Peace Which on the sitting pose of Rama to Depict his state of chaaracter when he is probably not in the fightning pose.

Tholpavakoothu

Design Interventions

Apart from the Traditional Ramayana story and its characters, the troop has started to bring in some interventions into the design of the puppets and the script as well. Also they started creating new stories and characters as well. LIke with regard to improvising the existing story and characters, they initially has modfied the langguage accordingly that the modern Generation also gets to enjoy it and understand. But by doing this they have taken enough care that it in no manner will destroy the Art or Craft . They have shorten the length of the show, after realiseing that people are not ready to sit a full night to it , even though still in the festival seasons ,in the temples they do have long sessions becasue they respect the tradition and culture. But when they do it outside without losing the authenticity of the art they have their own setup and theater to showcase the performance. They are in the process of projecting it to a large screen using the technology of projection, by reducing the size of the puppets as well. Also their will be real people dressed up like the puppets and perform with the shadow of the real puppets. The use of LED lights or any non fluctuating source of light is being tried to be considered other than the Traditional Lamp, so that the puppets will be more Perfect and prominant for the eye of the Audience. Other than all these modification they do have introduced new stories like the story of Jesus, Gandhi and many soicial awareness concepts. Will see more about these new stories in the comming pages.

Specialities of Rama | Interventions | Gandhi & Onam

Interventions

The Story of Jesus, When the art was losing its value as people were not interested in the old traditional scripts and characters. The Troop decieded to bring in some new element to the art. Thus one of those stories which were introduced was the story of jesus, The team was successful in showcasing the performance in jerusalem.

Tholpavakoothu

Gandhi & Onam

Among the New Stories was Mahabali and onam, Onam is a major festival celebrated in the state of Kerala in India. It is also the State festival of Kerala with State holidays on 4 days starting from Onam Eve (Uthradom) to the 3rd Onam Day. Onam is a major Hindu cultural festival celebrated by people cutting across socio-economic and religious distinctions. The festival falls during the Malayalam month of Chingam (Aug - Sep) and marks the commemoration of home-coming of the King Mahabali and to pray to the fifth avtaar(incarnation) of lord Vishnu, known as Vamana(Dwarf). In Kerala, it is the festival celebrated with most number of cultural elements such as Vallam Kali, Pulikali, Pookkalam, Onathappan, Tug of War, Thumbi Thullal, Kummati kali, Onathallu, Onavillu, Kazhchakkula, Onapottan, Atthachamayam etc. Onam is reminiscent of Keralaâ&#x20AC;&#x2122;s agrarian past, as it is considered to be a harvest festival.

Intervensions | Gandhi & Onam | Old puppets

Interventions

Another New story was, The story of Gandhi, This show was performed in delhi and got great ammount of appreciation. The Team wants to educate everyone by narrating the stories in a more interesting way that people will like it as well as understand the story properly. Now the tropp is planning to portray the story of Sakesphere. The Discussions are progressing.

Tholpavakoothu

Old Puppets