Shadow puppetry is one of the ancient forms of storytelling art. The moving puppet shadows create visual astonishment and enjoyment while also communicating themes, embedded ideas, and information in an entertaining way. Many cultures have their own traditions of puppet shows and shadow puppetry. Kerala has its own ancient form of shadow puppetry known as Tholpavakoothu, which is now an internationally acclaimed art form. ‘Thol’ means skin, ‘paava’ means doll, and ‘koothu’ means dance, so it literally means the dance or play of dolls made of skin. Tholpavakoothu is popular in the regions of Valluvanad- Palakkad, Thrissur, and Malappuram districts and is traditionally performed as a ritual in the Bhadrakali temples of the region. In the temples, there is a designated performance space for the puppetry called the Koothumaadam, a hall within the temple premises.

Tholpavakoothu is presented by traditional families known by their surname, Pulavar. The word ‘Pulavar’ means scholar, as Tholpavakoothu was not just entertainment but also a cultural practice used for passing information, morals, and values. The performers were scholarly people who educated society through this storytelling art. Tholpavakoothu of Kerala narrates the story of the Ramayana, the Hindu epic written by the ancient Tamil poet Kambar, known as Kamba Ramayanam. The season for the puppetry shows was between the Malayalam months of Thulam to Edavom, from mid-October to May. However, today Tholpavakoothu has moved beyond the traditional Koothumaadams and is performed at public venues and platforms throughout the year, while the tradition remains alive in the temples by the families concerned.

Legend and Background
The legend behind shadow puppetry connects two episodes from Hindu mythology- the story of Bhadrakali and the story of the Ramayana. Goddess Bhadrakali was born from the third eye of Lord Shiva to kill the demon Darika. While she was engaged in battle with Darika, she missed the epic battle between Lord Rama (an incarnation of Lord Vishnu) and the demon king Ravana, as well as Rama’s victory in the war. To honour the Goddess, the chapter of the Ramayana is presented as puppet shows in her temples. The Yudha Kanda- the story of the war, is the major part of these performances, as it is believed that Bhadrakali attends these shows in the Koothumaadams to experience the epic war.

The text used for the play is the Kamba Ramayanam- the Tamil version of the Ramayana written by the 12th-century Tamil poet Kambar. The script of the play includes dialogues between the characters and verses from the Ramayana in ancient Tamil. The art form shows deep cross-cultural connections in language, percussion, and ritual aspects. The plays are presented in Malayalam-speaking areas in temples rooted in the ancient goddess-worshipping culture of Kerala, with supporting instruments being Kerala percussions. All these elements show that the art form has continuously evolved by infusing various cultural elements. The artist communities are also believed to have migrated from regions of Tamil Nadu to the Valluvanad region generations ago.

Presentation
Traditionally, the Pavakoothu plays are performed at night inside the Koothumaadam, for 7, 21, 41, or 71 days as temple rituals. The screen is a white cloth stretched horizontally, with wooden beams (called Vilakkumaadam) fixed at the back. Twenty-one oil lamps made of coconut shells, filled with coconut oil and cotton wicks, are placed behind the screen. There are 160 puppets representing 71 characters in different postures, such as standing, sitting, walking, and fighting for the Ramayana story. The shadow play on the screen is considered an ancestor of the popular medium of film/cinema, as it also follows the similar theory of playing images on a screen.

The puppets are made of leather-typically deer skin for noble characters and buffalo skin for evil characters. Puppets are nearly 80 cm in height and designed in different postures, with movable hands and some limb joints. The fingers of human characters who participate in dialogues are shaped into specific mudras (hand gestures). The figures are decorated with a certain number of holes, known as 'Veeralipattu,'. Number of holes differ for different characters. The Pulavars stand on the side, in front of the screen to render the songs and dialogues, while another team manages the puppet movements behind the screen. The major percussions used are the Ezhupara (a cylindrical drum made of jackfruit wood, with calf skin) and the Elathalam (cymbals). Additionally, the Shankh (conch), Chenda, Maddalam (drums), Chengila (gong), and Kurumkuzhal (short pipe instrument) are used for special situations, inorder to add dramatic effects to the play.

The Pulavars undergo extensive training in three languages- Malayalam, Tamil and Sanskrit and Puranas (Hindu literatures and epics). The tradition is passed down from generation to generation within the lineage of Pulavar community. The late hereditary artist Krishnankutty Pulavar from the community played a significant role in bringing the art form to public venues, leading to international acclaim and further research in the area. Koonathara, a village near Ottappalam in the Palakkad district, is where the traditional families are settled. The hereditary troupes perform annually in the temple Koothumaadams following the ritual conventions as their hereditary vocation. Besides the Ramayana, new stories and themes are also being experimented with in Tholpavakoothu by traditional troupes, who also provide training in making puppets and presenting puppet plays for art enthusiasts.