Over the years, the Ramayana has been reimagined and reinterpreted by varied dancers and choreographers, reflecting the richness and complexity of the basic.
As half of Rama Navami celebrations, Bharatiya Vidya Bhavan had organised the dance-drama ‘Parishvanga Pattabhishekam’ by college students of Anitha Guha’s Bharathanjali.
Conceived and choreographed by Anitha Guha and with music and lyrics by Neyveli Santhanagopalan, this distinctive manufacturing was named ‘Parishvanga Pattabhishekam’ — a time period utilized in the Valmiki Ramayanam to explain the vatsalyam proven by Rama to Hanuman.
The time period ‘Parishvanga Pattabhishekam’ is utilized in the Valmiki Ramayanam to explain vatsalyam proven by Rama to Hanuman.
| Photo Credit:
VELANKANNI RAJ B
The dance drama, choreographed utilizing each the margam format and dramatic components, commenced with a twin scene — Rama expressing his sorrow to Lakshmana and Sugreeva discussing his plight with Hanuman. This scene was set to a sluggish padam to depict Rama’s viraha thapam.
Lakshmana is astonished to see his brother’s inconsolable state. Hanuman, a personification of modesty, bhakti and mischief, is shipped by Sugreeva to verify the identification of the two strangers. Hanuman discreetly enquires in the event that they have been devas or rishis, understanding very nicely that they could possibly be neither. What adopted was a varnam, the place Lakshmana narrates a short account of the Bala, Ayodhya and Aranya kandams. The scene ended with the sealing of friendship between Rama and Sugreeva.
‘Parishvanga Pattabhishekam’ carried out by the college students of Anita Guha.
| Photo Credit:
VELANKANNI RAJ B
The struggle between Vaali and Sugreeva, choreographed and carried out by Thiruchelvam, an alumni of Kalakshetra, had all the components as visualised by Valmiki. It’s a struggle with out weapons, the place two vanaras assert their energy. When Rama mortally wounds Vaali, a shocked Vaali enquires about the righteousness of the act. Rama explains the dharma behind it.
Sugreeva’s Pattabhishekam celebrated by the vanaras was offered by way of a Kadanakuthuhalam thillana, the place the spotlight was the use of mukula and kapitha hastha mudras.
Hanuman’s journey to Lanka marks the starting of Sundara Kandam. His ingenuity in dealing with and crossing all the obstacles that come his method was depicted nicely. His encounter with Lankini, the highly effective guard of Lanka, and her demise have been introduced out dramatically. The rhythm interludes by P.R. Venkatasubramanian, school of Bharathanjali, added worth to the scene.
The grandeur and opulence of Lanka depicted by way of an ‘asura mallari’ (a time period coined by Anitha) in raga Rasikapriya efficiently encapsulated the 4,000 verses of Valmiki’s description of the scene.
Ravana’s grand entry, marked by rhythmic nritta, showcased the talent and precision of the dancer. His authoritative phrases push Sita right into a sea of despair and she or he makes an attempt to finish her life. A glimmer of hope is available in the type of Hanuman, who offers her Rama’s ring. In return, she offers her choodamani. Later, Hanuman main the march to Lanka, sings ecstatically ‘Ini ellam jayam, ini ellam sugam’.
The costumes, designed by Anitha Guha, have been refined all through the Kishkinda Kandam and took on a brighter hue at the onset of the Sundara Kandam. Special point out needs to be made of compere Revathy Sankaran.
Published – April 17, 2025 05:13 pm IST
