Facebook Twitter Instagram
    India Art Review
    • Dance
    • Music
    • Art
    • Heritage
    • Theatre
    • Books
    • Films
    • Team
    Facebook Twitter Instagram
    India Art Review
    Home»Heritage»Pulikkali’s Evolution from Obscurity to Onam Spectacle
    Heritage

    Pulikkali’s Evolution from Obscurity to Onam Spectacle

    G S PaulBy G S PaulSeptember 1, 2023
    Pulikkali
    Share
    WhatsApp Facebook Twitter LinkedIn Email Telegram

    Unveiling the artistry of Pulikkali, Kerala’s unique tiger dance tradition

    Animal mimetic dances and flesh painting may be considered primordial art forms, but the way they are combined in Pulikkali (Tiger dance) may have no parallel in the world. On the fourth day of Onam, Swaraj Round around Thekkinkadu maidan, the nerve center of Thrissur, is virtually inundated by ‘tigers’ of all colors. Inspired by the exciting rhythm of tripuda from the indigenous percussion ensembles and encouraged by fans, including tourists from abroad, they exhibit hair-raising feats apart from mimicking the animal.

    According to the late patron V. Sankara Menon, the play in Thrissur has a history of more than a century. A consummate artist by profession, Menon is credited with introducing realistic painting in Pulikkali. The play was originally introduced by Tamil-speaking Muslims as part of Muharram festivities, he had explained.

    Legend has it that Ali, son-in-law of Prophet Mohammed, who was a great warrior and is portrayed by the Islamic faith as a guardian, possessed the vigor of a tiger. However, with the passage of time, the Muslims apparently lost interest in the play. The Konars and Chettiars of Tamil origin inhabiting the town took it up thereafter as they were used to Puliattam, the Tamil version of the play held during the Pongal festival.

    The choreography of Pulikkali is essentially about mimicking a tiger. However, the influence of Kalarippayattu, the martial art of Kerala, is very discernible. The artists accomplish acrobatic feats on two rods supported by men, often climbing up bamboo poles and imitating the movements of the tiger.

    The portrayal of a tiger by the artists has been near-perfect over the years. Apart from instances of mimicking the blood-thirsty animal, there were performers who could lift a full-grown goat by biting it by the neck. Such cruel practices, however, died out in recent years.

    Behind the stripes

    Painting an artist who plays the tiger is a protracted and exacting exercise that demands perseverance from both sides, the painter and the painted. On the eve of the third day of Onam, the rumble of drums starts echoing from every nook and cranny of the town, heralding the hectic and elaborate preparations for the next day’s performance.

    The makeshift green rooms fill up by 9 pm as select artists are stripped and clean-shaven. Tempera powder mixed in varnish is poured into earthen bowls, and the first coat of white is applied. Designs representing the tiger in its various forms, such as the leopard, the Bengal Tiger, the Black Panther, and the zebra-like stripes of the royal tiger, appear on the body by dawn after the first coat has completely dried.

    Newcomers to the game may feel queasy initially due to the smell of the paint. They are made to lie down on banana leaves. Once the painting is complete, water is sprinkled occasionally on the body to counteract the excessive heat generated by the body.

    Female artists

    Painters are highly regarded in Pulikkali circles. While performers prefer to be painted by master painters, painters often have the final say, as their artistry is better reflected on well-built physiques. Interestingly, a sort of sentimental attachment between the painter and the artist develops.

    Although Pulikkali is a non-ritualistic folklore, a strong sense of tradition and ritual persists during the preparations and performance. The painting exercise seldom begins without the traditional oil-wick lamp being lit. Artistes seek the blessings of their ‘creator,’ the painter. A visit to the nearby temple is a prerequisite before the play starts. Members of all teams break coconuts at the feet of Ganapathy at Naduvilal, a strategic point in the Swaraj Round during the exposition of the play.

    Tiger dance

    Jesters are a common element in various theatre forms of Kerala, both classical and folk. In Pulikkali, the jester assumes the role of a saaippu (foreigner), portraying the humorous character of a hunter by aiming his gun at every tiger in his team, including the kuttippuli (tiger cub).

    Courtesy: Kerala Tourism

    Once dismissed as an obscene exercise, Pulikkali has gained significant popularity in recent times. District authorities have imposed certain restrictions on the style and duration of the presentation. Financial support from Thrissur Corporation, the Tourism Department, and the Ministry of Culture in Delhi adds to the enthusiasm of the organizing teams. Although predominantly a male activity until a few years ago, Pulikkali has also attracted a few female artists in recent years, adding to its appeal.

    Pulikkali fans come from all walks of life, transcending religious, caste, and creed boundaries. Keralites working in Gulf countries often return during this period with the specific intention of participating in this annual event. Onam is a highly anticipated festival, symbolizing prosperity, and Pulikkali contributes significantly to its charm.

    Artistic Expression Cultural Diversity Cultural heritage Folk Art Kerala Tradition Onam Festival Pulikkali Tiger Dance Tiger Mimicry Traditional Painting
    Share. Facebook Twitter LinkedIn Email Telegram WhatsApp
    Previous ArticleMusicophilia, the Piano Fest
    Next Article Smart VFX: How AI Is Empowering Visual Effects
    GS Paul
    G S Paul

      GS Paul is an eminent art columnist and critic. He has been writing for national dailies such as The Hindu for more than three decades. Currently, he is the Editorial Advisor of India Art Review.

      Related Posts

      Parisha Vadyam

      Parisha Vadyam: Where Kerala’s Percussive Legacy Began

      May 6, 2025
      Stone

      Sculpting Stories in Stone

      March 17, 2025
      Thiruvathirakali

      Thiruvathirakkali: A Dance Form Celebrating Kerala’s Female Traditions

      January 13, 2025

      Leave A Reply Cancel Reply

      Author In Focus VK Karthika

      Pathaan

      Pathaan: A Triumph of Love Over Hate

      V K KarthikaMarch 31, 2023

      Pathaan breaks the typical stereotype of Islamic Terrorism.

      Avatar

      Eastern Ethos Lifts up Cameron’s Avatar Sequel

      V K KarthikaJanuary 31, 2023

      Eastern ethos and laws of the nature are set to get a new tech-driven meaning as Cameron is planning two more sequels.

      Yazh

      Reviving Yazh, the Indian Harp

      V K KarthikaNovember 28, 2022

      Without Tharun, Yazh, an ancient instrument would not have taken birth in modern times

      Tholppavakoothu

      Girl Power up in Puppetry

      V K KarthikaSeptember 30, 2022

      Rajitha Ramachandra Pulavar and her team gave a new meaning to Tholppavakkooth and the body politics went in for a change in 2021

      Nanjiyamma tribal singer of Attappady

      Why the National Award for Tribal Singer Nanjiyamma Matters

      V K KarthikaAugust 27, 2022

      India witnessed a debate on the ‘purity of music’ when tribal singer Nanjiyamma won the National Award.

      EVENTS

      Sooryakanthi festival

      Sooryakanthi Dance Festival From Nov 28- Dec 1

      India Art ReviewNovember 25, 2024

      Memorial Awards and Dance Performances in Chennai

      India Art ReviewNovember 25, 2024

      Tribute to Yamini Krishnamurthy

      India Art ReviewAugust 13, 2024

      Kuchipudi Drama

      India Art ReviewMay 24, 2024

      Have You Read These?

      Youth

      The Fountain of Youth

      Vineeth AbrahamMay 16, 2023

      What will happen when a bookworm set out to clean his library? One of the…

      The Elephant Whisperers

      Poetics of Fostering the Animal: The Elephant Whisperers

      Babu Rajan P PMay 1, 2023

      With the decline of natural habitats, human-elephant conflict has seen a surge, often leaving the majestic creatures as unwitting participants. “The Elephant Whisperers” documentary pays homage to the conservation endeavors aimed at preserving these habitats and raising awareness among communities about the perils of anthropocentrism.

      1899 and the Virtual Studio: Futuristic Filmmaking

      IAR DeskMarch 12, 2023

      1899, the new web series from the creators of German masterpiece Dark, will be filmed entirely in a virtual studio. Here’s all you wanted to know about ‘Volume’ and why it matters to futuristic filmmaking.

      Yazh

      Reviving Yazh, the Indian Harp

      V K KarthikaNovember 28, 2022

      Without Tharun, Yazh, an ancient instrument would not have taken birth in modern times

      A ‘Lyrical Dance’ Tribute to Edassery’s Poem

      G S PaulNovember 8, 2022

      Choreographic ingenuity of Vinitha Nedungadi created alluring visuals of the sublime poetic imagination of Edassery in Anthithiri.

      vijayakumar menon

      Vijayakumar Menon Taught Kerala How to Appreciate Art

      Renu RamanathNovember 3, 2022

      The only wealth Menon amassed during his solitary journey was that of art. When Vijayakumar…

      About
      About

      India Art Review is a dedicated digital journal of art and culture, based in Chennai and with representatives in Kerala, Delhi, the UAE, Canada and the US.

      We're social, connect with us:

      Facebook Twitter Instagram YouTube LinkedIn Telegram
      People in Art
      ML Vasanthakumari MLV: The Doyenne of Melody, Laya and Vidhvatta

      MLV: The Doyenne of Melody, Laya and Vidhvatta

      July 3, 2021

      Sanul Kuttan : Integrating Diverse Techniques

      May 5, 2021
      Pasumarthi Rathiah Sharma: A Protagonist of Yakshagana Bani of Kuchipudi

      Pasumarthi Rathiah Sharma: A Protagonist of Yakshagana Bani of Kuchipudi

      April 29, 2021
      Kalamandalam Vasu Pisharody: Beauty of Restrained Kathakali

      Kalamandalam Vasu Pisharody: Beauty of Restrained Kathakali

      March 10, 2021
      Must Reads
      Mangad Natesan

      Remembering Carnatic Musician Mangad Natesan

      May 3, 2024
      P K G Nambiar

      PKG Nambiar(1930-2023): The Man who Redefined the Role of Vidooshaka

      May 10, 2023
      Kanak Rele

      Dr. Kanak Rele (1937-2023): A Revolutionary in Dance 

      February 22, 2023
      Pandit Shivkumar Sharma

      Adieu, Pandit Shivkumar Sharma

      May 10, 2022
      Facebook Twitter Instagram YouTube RSS
      • Home
      • About
      Copyright © 2022. India Art Review

      Type above and press Enter to search. Press Esc to cancel.