Tholpavakoothu is a form of shadow puppetry unique to central Kerala, in southern India. It is performed in permanent temple theatres as a form of ritual primarily honouring the Goddess of Bhadrakali. It enacts the Hindu epic Ramayana in a version based on the Tamil Ramayana of Kambar. A highly flexible narrative allows a typical cycle of Tholpavakoothu to extend between seven and twenty-one nights, depending on the performance commissioned and sponsored locally. After remaining largely unknown to the West, until the twentieth century, recent scholarship has established its ancient beginnings, while also highlighting the absence of a detailed account of the art in performance over centuries of its existence.\nMr. Vipin V was born into a traditional family with a rich historical background. With his father for Guru/ teacher, he started a dedicated study of Pavakoothu. He soon achieved extraordinary skills in all aspects of the art form within a short span of time. It is believed that Chinnathambi Pulavar who lived 2000 years ago was the first prominent performer of Tholpavakoothu.

Lkhon khol of Wat Svay Andet continues today because of its significance in the community’s beliefs and identity, but over the last decade it has been experiencing difficulty. Despite of having some support from the state, NGOs, and the community itself, the troop has faced some challenges, such as the lack of dance costumes, ornaments, masks, stages, and musical instruments. Furthermore, the number of performers has been gradually decreasing due to aging and a lack of natural talent, and the younger generations show little interest since the performances generate no income and they are busy with their studies or working.\nTraditionally, the lkhon khol is transmitted orally within a family and through informal, master-apprentice relationships. Community leaders, masters, and the temple patriarch also encourage younger generations to learn lkhon khol skills to ensure that the art form remains part of the community’s living cultural practice.\nApprentices have historically learned their preferential skills at their masters’ house at night, a time they were free from their agriculture work. While the same practice continues, recently amateurs are learning their art skills in groups during the day on Sundays or occasionally Thursday at the temple compound.