PALAKKAD: In the dim glow behind a white screen, leather puppets dance to ancient rhythms. Their gestures are precise, their shadows vivid, and their story - startlingly modern. This is not the tale of Rama and Ravana, as traditionally told. This is the story of a teenager battling addiction. This is Tholpavakoothu for today’s world.
The centuries-old ritualistic art form of Tholpavakoothu, once confined to the sacred koothumadams (mandapams) of Devi temples in Kerala, has found a powerful new purpose. No longer just a retelling of epics, it is now becoming a poignant messenger in the fight against substance abuse.
Traditionally performed during temple festivals, Tholpavakoothu (literally, leather puppet play) is known for its intricately crafted leather puppets, elaborate storytelling, and hypnotic musical rhythms.
Performances often stretch over three, with puppeteers narrating the Ramayana in a blend of Malayalam, Tamil and Sanskrit. But today, this ancient form is stepping out of temples and into public spaces - schools, colleges, and community halls - carrying with it stories that resonate deeply with the present. This transformation has been spearheaded by Rajeev Pulavar, a noted puppeteer and son of Padma Shri Ramachandra Pulavar - one of India’s most revered Tholpavakoothu artists.
“The shift from mythological to social themes wasn’t accidental,” he says. “It was a response to what we saw around us - young lives destroyed by alcohol and drugs. We realised that if we wanted to save our art, we also have to save our people.”
Rajeev developed an original story centred on a teenager caught in the spiral of addiction. Alongside he boy’s personal downfall, the narrative also traces the emotional trauma faced by his family. Since its debut on June 22, the performance has been staged more than 30 times across Thrissur, Ernakulam, and Alappuzha. “The reception has been overwhelming,” says Rajeev. “Young audiences especially were deeply moved. They see themselves or someone they know in the characters.”
Developed in collaboration with the departments of social justice and excise, more of the team’s performances are scheduled to start from Kottayam once the monsoon rains settle.Each performance involves seven artists managing more than 25 characters. During the day, they adapt the story into a string puppetry version suitable for schools and public meetings. By evening, the full shadow play is presented. The performance lasts roughly an hour,, but isflexible to the needs of the space and audience.
“The format may be ancient, but the messages are timely,” says Rajeev..
This isn’t the first time Rajeev and his team have harnessed puppetry for social change. Over the years, their repertoire has expanded to include stories about Mahatma Gandhi, the life of Jesus, the evolution of Kerala, India’s Independence movement, HIV/AIDS awareness, and even campaigns about Kisan Credit Cards.
Sticking to traditional roots, they continue to perform the classical Ramayana Charitham during temple festivals, ensuring the lineage and sacred essence of the art remains unbroken.
“Our goal is dual. We want to preserve the art, and we want the art to serve the people. It has to evolve to stay alive.” Rajeev concludes.