How this Tholpavakoothu institute in Thrissur is giving a major fillip to the art form
Dusk settles in. A cotton cloth is stretched across the stage. Behind it, 21 lamps flicker with flames swaying and occasionally flaring. That is when the story of Maya Sita, an illusory double of Sita from later Ramayana adaptations, begins to unfold.
Ram’s exile from Ayodhya, his encounters with Mareech and Shoorpanakha in the forest, his alliance with Bali, the final battle with Ravana, and Sita’s trial by fire — each moment plays out through puppets.
This is Tholpavakoothu. Eight artistes from Harisree Kannan Tholpavakoothu Kalakendram, a shadow puppetry institute in Koonathara, Thrissur, perform from behind the screen at the University College Literary Festival 2026 in Thiruvananthapuram. Led by senior artiste Lakshmana Pulavar, the performance brings together three generations of puppeteers, including his son Sajeesh Pulavar and five-year-old grandson, Sreeshan S.
Artists from the Harisree Kannan Tholpavakoothu Kalakendram
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SPECIAL ARRANGEMENT
A former mechanical engineer, Sajeesh, says, “Tholpavakoothu is an art form that has been practised by my family for generations. When I found that it was on the verge of extinction, I realised it was my duty to find ways to sustain it.”
Sajeesh Pulavar
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SPECIAL ARRANGEMENT
Performed in Bhadrakali temples, especially those in Palakkad, Thrissur and Malappuram districts, Tholpavakoothu is said to have originated in the 9th or 10th century. Traditionally, it is performed for seven, 14, or 21 days between January and May. The performances take place in structures called koothumadams, where 2,100 verses from the Kamba Ramayana (an adaptation written by Tamil poet Kamba) are enacted. According to legend, the tradition celebrates Goddess Parvathi recreating the Rama-Ravana battle for Kali, who was fighting demon Darika at that time.
Tholpavakoothu has been fighting an uphill battle for suvival due to a dearth of practitioners. “Because of this limitation, we had to reduce the movement of the puppets. Earlier, we used to have 10 performers; now there are just two. It is difficult to move the puppets, sing the verses, play the chenda and other instruments,” says Sajeesh.
The art form moved out of the temple in the 1980s, says Sajeesh. “Under Krishnankutty Pulavar’s leadership, they performed a few shows abroad, with the help of an academic, G Venu, who played a key role in popularising Tholpavakoothu by finding stages for the art form.”
There used to be a lot of groups in Palakkad that performed Tholpavakoothu, says Lakshmana. “Each of them had 10 members. Gradually, these groups disappeared as they could not find work. So, when people started leaving, we started receiving more enquiries about performances.”
Lakshmana Pulavar holding the leather puppet of Ravana.
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SAKEER HUSSAIN
Lakshamana opened Harisree Kannan Tholpavakoothu Kalakendram in 2002. He says, “We started a centre which makes it possible for students to come and learn the art form.” Currently, there are eight students at the institute.
Tholpavakoothu has undergone changes with time. “Earlier, the plot was limited to Kamba Ramayana verses. However, over the past few years, we have been performing shows to generate awareness about the Swachh Bharat Abhiyan campaign, menstrual health, elections and prevention of forest fires, among others. We also perform English and Malayalam renditions of the Ramayana and a visual representation of Edasseri Govindan Nair’s Poothapattu. While the traditional shows at temples last up to 10 hours, these are smaller shows of about 90 minutes,” says Sajeesh.
The puppets have also undergone a transformation over time. Initially, they were made from a type of palm frond, and the art form was then called Olapavakoothu. Later, deer hides gifted to the designated puppet makers by rulerswere used. “Back then, artistes were not allowed to make the figurines. However, today, we make our own puppets using goat and ox skins, which are dried, shaped, coated with enamel and painted with acrylic ,” says Sajeesh.
In 2020, Lakshmana won an award from Kerala Folklore Akademi for his contribution. In 2022, the Ravana and Hanuman puppets he made, were displayed at an international exhibition in South Korea. In 2024, he was awarded the Heritage Award from the UNIMA Heritage Commission, an international body dedicated to cataloguing, preserving, and promoting worldwide puppet heritage.
The inclusion of women has been another major change. “Earlier, women didn’t perform this art form, because they were not allowed at the koothumadams inside the temple. We include them in stage shows and puppet making,” says Lakshmana. Six performers, including Lakshmana’s wife Padmini K and Sajeesh’s wife Krishnendu K, are part of this women-only crew.
“Currently, efforts are being made for Tholpavakoothu to be recognised by UNESCO,” says Sajeesh. When asked about the present state of the art form, Lakshmana rues, “Artistes are pursuing other occupations because of the failing popularity of the art form. However, we believe people can make a living out of it if they choose to pursue it.”
Published – April 03, 2026 08:00 am IST
