The Ramayana, an historic epic, has been retold by varied artwork varieties over the centuries, particularly by classical dance kinds resembling Bharatanatyam, Kathak, and Odissi. In current instances, many dancers have continued this custom by presenting Rama’s story to life on stage in contemporary and partaking methods. One such manufacturing was ‘Rama Katha Vismaya’, a full-length efficiency, curated and offered by dancer-couple Nirupama and Rajendra. Staged at Chowdiah Hall in Bengaluru, the manufacturing featured practically 60 artistes from the Abhinava Dance Company.
The duo framed the epic as a story being narrated to Krishna by Yashoda as a bedtime story. When she reaches the sequence the place Ravana abducts Sita, little Krishna instantly leaps out of his mattress and shouts, ‘Saumitri, bring my bow and arrow’, leaving Yashoda each startled and confused . According to Nirupama and Rajendra, this second, drawn from Leela Sukar’s Krishna Karnamritam, the place Krishna recollects his previous life as Rama, impressed them to give you this thematic manufacturing.
Colourful costumes (by Rajendra), vibrant lighting design (by Ajay Vijendra), choreography that comes with various kinds, musical rating starting from classical to folks, and grand units and LED projections added to the attraction.
The presentation started with a gaggle of women wielding peacock feather followers and a gaggle of boys holding bows and arrows, highlighting the frequent hyperlink between Rama and Krishna. Their dynamic formations and actions for this section, resulting in the introduction of Rama, have been skillfully choreographed. A quick depiction of Rama’s earlier avatars by Rajendra was attention-grabbing. And Nirupama explored her dramatic abilities with conviction in her position as Soorpanakha.
At one nook of the stage, Yashoda continued her narration to Krishna — the rakshasas, disturbing the rituals, being vanquished by Rama and Lakshmana, the breaking of Shiva Danush by Rama adopted by Sita swayamvaram, the entry of Rama, Lakshmana and Sita into Dandakaranya forest, appearances of Soorpanaka, Maricha (the golden deer), and lastly the abduction of Sita.
There have been some attention-grabbing segments too. For occasion, in the Sita abduction scene, the depiction of Ravana’s duality was finished convincingly. Ravana is normally portrayed as arriving disguised as a sage looking for alms, solely to vanish and reemerge in his majestic, royal type. But, right here, the variation was creatively offered as two dancers appeared on stage and moved in good unison to convey the concept that the two personas have been, in reality, one and not separate.
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The introduction of Ravana was one more riveting visualisation. In utter darkness, glowing masks (used to point the ten faces of Ravana) started to swirl throughout the stage, earlier than steadily settling right into a formation behind the dancer — the embodiment of Ravana, the ten-headed king.
In ‘Rama Katha Vismaya’ a gaggle dancers, dressed as flowers and birds, represented the Dandakaranya forest.
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Special Arrangement
Even the scene about Rama’s exile was handled in a different way. Instead of the ordinary depiction of the disappointment that engulfs the folks of Ayodhya when Rama leaves for his exile, the dancers showcase the happiness and reverance with which Dandakaranya forest welcomes them once they enter it. However, the presence of a gaggle of dancers, dressed as flowers, bushes, birds and animals, who have been always transferring on stage was disturbing and regarded a bit amateurish.
The manufacturing aimed to incorporate parts that may appeal to a large viewers, however the core of Rama’s character and the narrative have been misplaced amid a flurry of exercise on stage. A second of repose may have considerably elevated its impression.
Credits: Lyrics are by Ashtavadhani R. Ganesh. Music is by Praveen D Rao. He had mixed various sounds, and swara patterns in such a manner that they match the tempo of the choreography. But one wished for some moments of tranquility to offset the excessive vitality ranges, for better impression. Direction and visuals are by Vinod Gowda, and . inventive route and choreography by Nirupama and Rajendra.
Published – June 03, 2025 06:21 pm IST
