Amrita Sher-Gil Cultural Centre

Budapest, Hungary

A 10. Színházi Olimpia keretében, a Bábművészeti Világtalálkozó részeként, a MárkusZínház szervezésében másodszor rendezik meg a Karakulit Nemzetközi Árny-Játék Fesztivált Pécsett április 19-23. között. A fesztiválon több mint tíz európai és ázsiai ország társulata mutatkozik be, köztük India is - Keralából érkezik a Krishnan Kutty Ramachandra Pulavar család, hogy betekintést nyújtsanak a tradicionális templomi árnyjáték műfajába.

Mr. Ramachandran P. K. K. Kutty vezetésével a hat fős csoport Budapesten is bemutatkozik egy kis ízelítővel, amelyre szeretettel várunk mindenkit.

Helyszín: 1025 Budapest, Búzavirág u. 14.

Időpont: 2023. április 18., 17.30

’Krishnan Kutty Ramachandra Pulavar családja 12 generációra visszamenôleg ôrzôje és követôje egy ôsi hagyománynak. Családi tradícióként örökíti át az indiai Kerala állam egyedülálló templomi árnyjátékát a Tholpava Koothut. A tol-pava-koothu összetett szó, jelentése: bôr-báb-játék, egy tradicionális, rituális mûvészeti forma. Az árnyjáték a tamil eposz, a Kamba Ramayana-ból kiválasztott verseire épül.

Az elôadások tamil dialektusban szólalnak meg nagyszámú szanszkrit és malayalam szóhasználattal. A bábokat szarvasbôrbôl készítik, a vásznat kókuszolajmécsesekkel világítják meg. Az elôadás különös zenei kísérete dobokkal, cintányérokkal és dudasípokkal szólal meg. A tholpavakooothu elôadásai a Baghawati templomok mellé épített speciális színházi épületben, a koothu madamokban zajlanak januártól májusig terjedô idôszakban. Az elôadások este 10 körül kezdôdnek és pirkadatig tartanak. Míg az átlag közönség számára egyszerû szórakozást jelentenek ezek az elôadások, addig a hívek vallási áldozatnak tekintik. Felajánlásokat tesznek a történet bizonyos epizódjainál, hogy a bábos imádkozzon értük, a jólétért, aratásért, a gazdagságért, jó házasságért…’

(Forrás: https://karakulit.hu/programok/ramayana-in/)

***

Within the framework of the 10th Theater Olympiad, as part of the World Puppetry Meeting, organized by the Márkus Theatre, the Karakulit International Shadow Play Festival will be held in Pécs for the second time between April 19-23. The festival will feature troupes from more than ten European and Asian countries, including India - the Krishnan Kutty Ramachandra Pulavar family will come from Kerala to give an insight into the genre of traditional temple shadow play.

Led by Mr. Ramachandran P. K. K. Kutty, the six-member group will give a glimpse of their art in Budapest too, performing in Amrita Sher-Gil Cultural Centre, to which we warmly welcome everyone.

Venue: Amrita Sher-Gil Cultural Centre, 1025 Budapest, Búzavirág u. 14.

Date & time: 18 April, 2023, 17.30 pm.

*****

THOL PAVAKOOTHU- A TEMPLE ART

Introduction

Puppetry is a form of theatre/performance that involves manipulation of puppets in animate objects, often resembling some type of human or animal figure. They are animated or manipulated by a human called ‘Puppeteer’. It is a very ancient form of theatre which dates back to the 5th century BC in Ancient Greece. In ancient southern region of India, the religious practices of the people and their moral code were based upon and derived from Dravidian Culture. But gradually new religious practices and ideals entered south from the north. The result was a blending of the Dravidian Culture of the south and the Aryan culture of the north which it is believed took place about three or four centuries before Christ. The influence of this blending of the two cultures, Aryan and Dravidian can be seen not only in the religious life of the people but also in the arts. Among the ancient art forms of Kerala Tholpava Koothu or Shadow Puppet theatre occupies a prominent place.

A temple art form

Tholpavakoothu, a form of shadow puppet play traditionally performed in Devi temples in North Kerala, has been long consigned to oblivion. We do not know exactly when Tholpavakoothu began to be performed all that we can say it is very ancient and 1200 years old art form. It is believed that the man who first incorporated verses from the Kamba Ramayana in to the literary composition for Pavakoothu was Chinnathampi Vadhyar who belonged to Puthur village of Palghat. He came from a family famous for its scholars, astrologers and Ayurvedic physicians. Chinnathampi was a scholar who had studied the Ramayana and since he was deeply interested in the epic he went, one day, to a Brahmin’s house to listen to the recitation of the Kamba Ramayana. He believed that Tolpava Koothu would be the best medium for presenting the narrative to ordinary people. It was he who thus brought the Kamba Ramayana into Pava Koothu. As a result, Koothu became more popular.

The explanations given by the puppeteers are often in a mix of prose and verse and they are delivered in a tone appropriate to context. Sound scholarship in Ramayana is not only qualification for a Tholpava Koothu performer. He must be well versed in puranas and shastras and also be competent enough to speak fluently on topic. “Pulavar” is the horrific title given to given to scholar- cum-performer who has in depth knowledge of Tholpava Koothu. In the earlier time women never participated in this art form. But later and nowadays women started to involve in this art form actively. Thol Pavakoothu puppets are made of deer hide, puppets are colored in natural colors. The figures are drawn on the skin, cut out and embellished with dots, lines and holes. The arms of the puppets are provided with movable joints. The expression on the faces of the puppets, we notice close resemblances between them and the figures in natural paintings. The lamps are lit in the Bhagavathi Temple as the dusk falls swiftly. It is not too many days to the temple festival or “Pooram”. The cool breeze that accompanies nightfall is a welcome relief after the heat of the summer day.

After the Pujas for the day are over and the temple is closed, the crowds of people do not disappear. The sound of the chenda and cymbals shatters the quiet of the night as a man bearing a flaming torch accompanied by the oracle and the drummer proceeds to the theatre or Koothu Madam. The oil lamps are lit inside the theatre and the chenda and madalam join in sounding their percussive melody. The sound of chilanka, belled anklets rises above them all to declare the start of another episode of the stories from the epic Ramayana. The oil lamps behind cast muted ochre light on the thin, white, cotton curtain. The actors hidden below the edge of the stage, rise up from below the edge of the stage. The filigreed silhouettes of their translucent deerskin bodies identify them. They shine with muted hues like luminous jewels in a mist. They move as the guiding hands of the puppeteers manipulate them to portray stories of valour in the fight between good and evil. If you were witnessing the unique art of Tolpavakoothu or Shadow Puppet Theatre some decades ago, this would be true. But the tale will be quite different today. The crowds will be rather less like crowds and the colour of the puppets won’t shine through the thicker goatskin leather used today. This esoteric art was once confined to temples but of recent with appropriate encouragement from the right quarters it has been brought out into the open and is now performed on other stages. This theatre shares more similarities with the shadow puppetry of Indonesia than with that of other nations.

Myth behind performance of Tholpavakothu

The Devas and Asuras were bitter enemies. In one battle the Asuras were decimated. The only survivors were four of their women. Of them, Dhanapathy did severe penance to get the boon from Brahma. She was blessed with a mighty son Dharikasuran. With all the boons that Brahma had given him he was a very formidable force. One boon was that only a woman who has the blessings of Brahma could kill him. With the intent to conquer all three worlds he attacked the Devas. He also    unleashed    terror    among the Sanyasis and     Munis, sages and saints.   The Devas and the Munis fled to Lord Shiva for help. Shiva sent his daughter Bhadrakali to do the job. She was the perfect choice. On her birth she had been blessed by all the gods including Brahma. She beheaded the Asura after a fierce battle and presented the head before a delighted Shiva. Shiva told Bhadrakali that Dharikan’s end occurred at the same time as the death of the Asura king Ravana at the hands of Lord Rama. A great desire to witness the story of Sri Rama and his battle with Ravana grew in her mind. When she told Shiva about her wish, he advised her to go to the land that Parasurama had reclaimed from the sea - Kerala. There she should dwell among the people, blessing them with prosperity and they would enact for her, on the temple premises the stories from the Ramayana, stories which destroy all evil just by their telling. That was some time back in the mythical past. Tolpavakoothu or the Shadow Puppet Theatre of Kerala traces its origins more than two thousand years back. The genesis if this art lies even further back in the misty past. The stories were written in Sanskrit then and the art was known as ‘Olapavakoothu’ or palm       leaf      puppetry. The puppeteers of Tolpavakoothu are called Pulavar, a Tamil word meaning Scholar. The man who leads the performance is an accomplished man, having deep understanding of the Sastras, Puranas, Epics, Astrology and Ayurveda, among other traditional knowledge. Above all these Pulavars are committed and consider it their social obligation to guide people to a truthful and righteous life. A unique feature of this art form is that it is the only theatre in the world which has a stage, the Koothu Madam dedicated for it. This building is never used for any other purpose. The Ramayana stories are from the version by the Tamil poet Kambar. Tolpavakoothu is part ritual and part moral instruction through entertainment. It is inseparable from life in Kerala. The puppeteer’s art demands besides knowledge of the scriptures, narrative skills in delivery and diction and expertise in puppet manipulation. Tholpavakoothu is normally performed over 21 evenings, each episode of the story is a continuation of the last. It is regarded as part of the ritualistic worship of the goddess. It used to be regularly performed in about 80 temples in Palakkad and neighbouring districts. Today it is performed in  some  70  temples.  Tolpavakoothu is the preserve of a few Pulavar families who perform this ritualistic art form dedicated to Bhagavati, the Mother Goddess. This ritualistic art form is performed from January to May.

KOOTHUMADAM

The Koothumadam or the theatre where the Shadow plays are performed is erected within the temple grounds, but away from the sanctum. It is a long open fronted building. The stage is positioned about 1.5m above the ground. It is constructed according to certain mathematical principles and is based on ancient conventions. It is called the ‘Nalpatheeradi kalari’ which literally means the ‘42 foot stage’. A thin white cotton sheet is stretched in the front of the stage; below this is fixed a black cloth. The white sheet represents heaven and earth whereas black symbolizes the netherworld, Pathalam. These sheets are known as Ayapudava. The open theatre space occupies almost the whole upper part of the facade. During the performance it is covered completely by the screen. A wooden beam known as the Vilakkumadam with 21 hollows carved in it is hung in position behind the screen. Coconut half-shells are placed in it. Filled with oil and with a cloth wick they function as lamps to light up the screen. The puppets are positioned between the Vilakkumadam and the Ayapudava. That is, the puppeteer holds them up before the row of lamps such that they cast their shadows on the white screen. Almost as long as the building, the Vilaku Madam hangs from the roof. Since Tholpavakoothu is performed for the Goddess, there is a small temple, opposite the Koothumadam. The Devi watches the show from here with her relatives.

PAVAKOOTHU

In the past, 20 to 26 performers would be present within the Koothumadam to ensure an efficient performance. Now however, their number has been drastically reduced to two or three persons. In the old days the performance would start at 9pm and go on till 6 or 7am the next morning. Nowadays performances are from 10pm till 4am. During that ‘golden era’ more than 200 Koothumadams functioning actively at various temples in Kerala. Normally Pavakoothu is performed for 7, 14, 21, 41 or 72 days before the annual temple festival or Pooram/ Vela. There are a few temples where Koothu i performed after the festival. Today, that era is merely a golden memory and only 108 temples present Tolpavakoothu regularly. Just the stories from the abduction of Sita Devi from Panchavati to Sri Rama Pattabhishekam (the Coronation of Sri Rama) are staged here. The Ramayana has six Kandas (chapters) - Balakandam, Ayodhyakandam, Aranyakandam, Kishkinthakandam, Sundarakandam and Yudhakandam. The Ariyankavu temple, near Koonathara, Ottapalam is the only venue where all six Kandas are performed,            over a period of 21 days.

The Puppeteers arrival is greeted with the sound of drums. Later in the evening a hanging lamp – Thooku Villaku is brought from within the temple to the Koothumadam and lit there. Then a Thayambaka, an ensemble performance by the chenda, a cylindrical drum takes place. The puppet masters prepare the theatre for the screen. The Priest of the temple hands the fresh, black Ayapudava and two brass pots of rice to the most senior Pulavar, who then asks the gathered people three times if he may put up the Ayapudava. After receiving three positive replies the screen is tied in place. After that eleven coconuts are halved and the halves filled with oil.

When all preparations are done the Mada Pulavar enters the temple and after observing all the prescribed rituals he receives the command from the oracle to commence the play. Accompanied by the oracle and drummers on chenda, the Mada Pulavar goes around the temple. After this the ritual known as ‘Koothumadam Kottikayaral’ takes place where the ensemble of performers is ceremoniously accompanied by drummers on the chenda to the Koothumadam. Now the puppeteers take up their positions behind the screen within the building.

‘Kalarichinthu’ is next wherein the Pulavar reverentially sing hymns in praise of the Gods beginning with Ganapathi and then Saraswathi, Shiva, Vishnu and Murugan. After this the senior puppet master lights a wick from the ‘Thooku Villaku’. Entering the Koothumadam he proceeds to light the wicks in the oil filled half coconuts. Now the theatre is lit up from within and ready for the performance. After that they chant slokas to the Goddess at whose temple they are performing. Then they thank the inhabitants of the area, in particular the family that had served them food. The last ritual is known as ‘Sadhya Vazhthal’ or praising the feast. They also chant a benediction – the blessings of the Goddess upon the land and its people. The rituals continue and the junior Pulavar bow to their seniors; then together they bow down to their puppets. The Tolpavakoothu now commences and to the music of drums and cymbals the hands of the puppeteers manipulate the puppets to enact the story that is narrated by the senior Pulavar.

Every night these rituals from the ‘Koothumadam Kottikayaral’ on are repeated for the appointed number of  days.  Each  night  a  new  episode  of  the  epic  story  of  Ramayana  is  told.        On the last night the Coronation of the victorious Sri Rama is enacted. Before that performance there is a ritual when the sacred arrow of Sri Rama or Ramasharam is handed to the head Pulavar. This shaft is fashioned from Palmyra wood by a person of the Kurupu community. During the scene of the coronation of Sri Rama this is placed in his hand. With that Koothu is concluded for the year at that temple. However the rituals are not over. The black Ayapudava that was tied across the theatre building is removed and returned to the temple along with the Ramasharam. The white Ayapudava is divided and distributed among the puppeteers. The temple committee now seeks the advice of the Pulavar on some crucial matters or problems. The role of the puppeteers is seen to be greater than that of mere performers; they are also considered divine advisors and mediators. At the end of this session they all share and chew betel leaves and nuts to signify an auspicious conclusion to the Koothu of that year. The Pulavar depart with their puppets to the next temple where they are to perform.

Kerala has made a notable contribution towards maintaining and enriching the cultural heritage of India. It has evolved through the centuries a rich and diversified culture which has nourished and become an integral part of culture of India as a whole. Most of the Indian art forms their birth and growth to religion. They are therefore intimately connected with modes of worship. In ancient Kerala the religious practices of the people and their moral mode code were based upon derived from Dravidian culture. But gradually new religious practices and ideals entered Kerala from the North. The result was a blending of the Dravidian culture of the south and the Aryan culture of the north which, it is believed, took place about three or four centuries before Christ as a result of this impact of Aryan religion and culture on the indigenous Dravidian culture of Kerala, Hinduism assumed a new form in Kerala. The influence of this blending of the two cultures, Aryan and Dravidian can be seeing in religious life of people but also in the arts.

As a part of the geographical region Tholpavakoothu is fully consists in the areas of the river Nila (Bharatha puzha). In1979 a shadow puppetry troupe headed by Krishnankutty Pulavar participated in an international puppet show in Russia. It was the first time a puppetry troupe from Kerala has been to an international show. In 1980 a museum was setup in Germany in the name of Krishnankutty Pulavar by Michael Mishcheve, a German who visited Krishnan Kutty Pulavar that year. He gave Michael an array of puppets and he turn built a museum in his name in Germany. Nowadays this art form is spreaded to various areas. Now his successors are propagating it worldwide by adopting literary and social themes. The puppetry adaptation of Shakespeare’s ‘Othello’, ‘Krishna Charitham’ and ‘Gandhi Charitham’ has won wide appreciation. Along with these, this art form it revealed social campaigns like issues such as election awareness and educational themes. An active group led by the son of Krishnan Kutty Pulavar Padmashri Ramachandra Pulavar and his team is struggling to keep the art form alive.

While the younger generation in India are not aware of the possibilities of Tholpava Koothu. It has become a hot research topic in many foreign universities. Professors and students from California University, Boston, New York University as part of their research they visit India to watch and learn Tholpava Koothu. This subject has lot of aspects for Research. By the development of this art form we attain a scope of development in Tourism also. It also enriches our cultural and social traditions. At the same time as a History student, can find out the hidden factors.