The stage dims in a cluster of oil lamps – the flickering glow that has illuminated Tholpavakoothu, Kerala’s ancient shadow-puppet tradition, for centuries. But this time, instead of the echoes of the familiar verses of Kamba Ramayana in the courtyards of Bhadrakali temples in Palakkad, Thrissur and Malappuram, a vibrant sonic improvisation has come to the fore. Bengaluru-based singer, composer and sound artist Amata Bob does not invoke gods, but ‘inner shadows’.
‘Shadow Play’ premiered on 22 January at BLR Habba 2026 at Panchavati, Amphitheater. This unexpected encounter between experimental sound and ritual puppetry was created in collaboration with Pentholpaavakuthu, an all-female shadow puppetry group from the Tholpaavakuthu Puppet Center in Shoranur. The group is led by veteran shadow puppeteer and 11th generation master shadow puppeteer K.K. It is done by Rajitha Ramchandra Pulawar, daughter of Ramchandra Pulawar.
Tholpavakoothu is believed to have originated in the 9th or 10th century. Rajitha’s grandfather, Krishnan Kutty Pulavar, is credited with democratizing this art form. Traditionally, Tholpavakoothu was entirely a male domain – performed over several nights in Bhadrakali temples, but Pentholapaavokoothu marks a revolutionary turning point, when the women of the Pulavar family, encouraged by their elders, reinterpreted the art form with a contemporary feminist grammar, taking it beyond just being artistic.
Rajita admits that entering the male-dominated field was not easy. She says, “Earlier, women were only backstage, but the initiative and support of the Kerala government helped us. The Padmashree given to my father gave us recognition and inspired us to launch Pentholpavakuthu.”
For Amata, the collaboration is personal. “As women and artists, we have faced resistance from society and our families. The shadow becomes a way of acknowledging the part of us that is not given space,” says Amata, who discovered Tholpavakoothu through an online documentary and reached out to the artists.
Let’s see who holds the string. Photo Credit: Special Arrangement
Invited to Shoranur, he witnessed an all-night temple performance, which included ritual lamps, the smell of oil, and the dynamic activity of puppets behind a screen. “Even the sound of fire became part of the soundscape,” she recalls.
The ‘Shadow Play’ involves 15 puppets – a mixture of newly created pieces and repurposed pieces, which are controlled by a group of five to eight female puppeteers. “We created four new puppets especially for this story, but we are also reusing old puppets to make it more eco-friendly,” explains Ashwathi Rajeev, team coordinator of Pentholpavakuthu.
Inspired by experimental music, this narrative tells the story of a woman who struggles before reaching the pinnacle of self-discovery. Historically, Tholpavakuthu was staged as a literary and ritual performance of the Kamba Ramayana, often lasting 7, 21 or 72 nights in a temple courtyard called Koothumadam.
Rajitha Ramachandra Pulavar, founder of Pentholpaavkuthu, says, “There was no television or social media. People used to come to watch it every night, but that is not the case anymore, yet it is staged with the same reverence and sincerity.” The Pulavar family began introducing new themes – women empowerment, Jesus Christ, Panchatantra, AIDS awareness as well as experimenting with 3-D animation and contemporary staging. Making Pentholpavakuthu in 2022 was a step towards making it resonate with today’s audience and times.
If Tholpavakuthu provides the silhouette, Amata literally brings the sound. He and his collaborator Shekhar Sudhir use folk-inspired instruments, experimental violin and natural percussion sounds. ‘Shadow Play’ unfolds with six original compositions by Amata, depicting a young woman’s journey from home to self-realization. “It’s about integrating the shadows within, a concept I echo from Jungian psychology. From family tension to social ills and ultimately radical acceptance, the narrative reflects the lived experiences of both partners. I believe the art we practice is a healthy expression of the shadow, the oppressed and repressed aspects of ourselves,” she adds.
The puppets themselves are artefacts made from goat and buffalo hide, hand-crafted with motifs inspired by nature and society. Rice-grain punch respects farmers; Drum-shaped salutes to the musicians; Lunar crescents and leaf patterns evoke forests. “Everything is handmade and each design and pattern has a significance. Ram’s puppets will always have Veeralipattu (geometric patterns that symbolize royalty) punch,” says Rajitha.
At its core, ‘Shadow Play’ is a conversation between ritual and experimentation, sound and shadow, tradition and autonomy. It shows what happens when women join contemporary storytelling in an art form rooted in temples and epics.
published – January 22, 2026 06:12 PM IST