Evening begins to fall. A cotton cloth is spread on the stage. Behind it, 21 lamps flicker with flickering and sometimes flaring flames. Then the story of Maya Sita begins to unfold, which is a confusing dual story of Sita from the later Ramayana adaptations.
Rama’s exile from Ayodhya, his encounter with Marich and Shurpanakha in the forest, his alliance with Bali, the final battle with Ravana, and Sita’s ordeal – each moment is played through puppets.
This is Tholpavakoothu. Eight artistes from Harishree Kannan Tholpavakuthu Kalakendram, a shadow puppetry institute in Koonathara, Palakkad, perform from behind the screen at the University College Literary Festival 2026 in Thiruvananthapuram. Led by senior artiste Lakshman Pulawar, the performance has brought together three generations of puppeteers, including his son Sajeesh Pulawar and five-year-old grandson, Srishan S.
Harishree Kannan Tholpavakuthu Kalakendram Artist | Photo Credit: Special Arrangement
Sajeesh, a former mechanical engineer, says, “Tholpavakuthu is an art form that has been practiced by my family for generations. When I discovered that it was on the verge of extinction, I realized it was my duty to find ways to preserve it.”
Sajeesh Pulwaar | Photo Credit: Special Arrangement
Performed in Bhadrakali temples, especially in Palakkad, Thrissur and Malappuram districts, Tholpavakoothu originated in the 9th or 10th century. Traditionally, it is performed for seven, 14 or 21 days between January and May. Performances take place in structures called Koothudams, where 2,100 verses from the Kamba Ramayana (an adaptation written by the Tamil poet Kamba) are enacted. According to legend, this tradition celebrates Goddess Parvati re-enacting the Rama-Ravana battle for Kali, who was fighting the demon Darika at that time.
Tholpavakuthu is fighting an uphill battle for survival due to shortage of physicians. Sajeesh says, “Because of this limitation, we had to reduce the movement of the puppets. Earlier, we used to have 10 artistes; now there are only two. It is difficult to move the puppets, sing verses, play chenda and other instruments.”
Sajeesh says, in the 1980s the art form moved out of the temple. “Under the leadership of Krishnankutty Pulavar, they did a few shows abroad with the help of G Venu, an academic, who played an important role in popularizing Tholpavakoothu by finding a platform for the art.”
Lakshman says, there used to be many groups in Palakkad that performed Tholpavakoothu. “They each had 10 members. Gradually, these groups disappeared because they couldn’t find work. So, when people started leaving, we started getting more inquiries about performing.”
Laxman Pulavar holding the leather puppet of Ravana. | Photo courtesy: Sakir Hussain
Lakshman opened Harishree Kannan Tholpavakuthu Kalakendram in 2002. “We started a center that makes it possible for students to come and learn the art form,” he says. At present, the institute has eight students.
Tholpavakoothu has changed with time. “Earlier, the storyline was limited to Kamba Ramayana verses. However, in the last few years, we have been doing shows to create awareness about the Swachh Bharat Abhiyan campaign, menstrual health, elections and forest fire prevention. We also do English and Malayalam renditions of the Ramayana and visual presentations of Edassery Govindan Nair. poothapattu. While traditional shows in temples last for 10 hours, these are shorter shows of about 90 minutes,” says Sajesh.
Puppets have also changed with time. Initially, they were made from a type of palm leaf, and the art form was then called Olapavakuthu. Later, deer skins were gifted by the rulers to designated puppet makersExperiments were conducted. Sajeesh says, “At that time, artists were not allowed to make idols. However, today, we make our puppets using goat and bull skins, which are dried, shaped, coated with enamel and painted with acrylic.”
In 2020, Lakshman won an award from the Kerala Folklore Academy for his contribution. In 2022, the Ravana and Hanuman puppets made by him were displayed in an international exhibition in South Korea. In 2024, she was awarded the Heritage Award from the UNIMA Heritage Commission, an international body dedicated to cataloging, preserving and promoting puppetry heritage around the world.
Another big change is the inclusion of women. “Earlier, women did not perform this art as they were not allowed into the koothudams inside the temple. We involve them in stage shows and puppet making,” says Lakshman. Six artistes, including Laxman’s wife Padmini K and Sajeesh’s wife Krishnendu, are part of this all-female troupe.
“At present, efforts are being made to get Tholpavakoothu recognized by UNESCO,” says Sajeesh. When asked about the current status of the art, Lakshman said, “Due to the decline in popularity of the art, artists are taking up other professions. However, we believe that people can earn their livelihood from it if they want to take it up.”
published – April 03, 2026 08:00 AM IST