Dancer-couple Nirupama and Rajendra revisit the Ramayana in ‘Rama Katha Vismaya’

From the thematic production ‘Rama Katha Vismaya’ presented by Nirupama and Rajendra in Bengaluru, recently.
| Photo Credit: Special Arrangement

The Ramayana, an ancient epic, has been retold through various art forms over the centuries, especially through classical dance styles such as Bharatanatyam, Kathak, and Odissi. In recent times, many dancers have continued this tradition by presenting Rama’s story to life on stage in fresh and engaging ways. One such production was ‘Rama Katha Vismaya’, a full-length performance, curated and presented by dancer-couple Nirupama and Rajendra. Staged at Chowdiah Hall in Bengaluru, the production featured nearly 60 artistes from the Abhinava Dance Company.

The duo framed the epic as a tale being narrated to Krishna by Yashoda as a bedtime story. When she reaches the sequence where Ravana abducts Sita, little Krishna suddenly leaps out of his bed and shouts, ‘Saumitri, bring my bow and arrow’, leaving Yashoda both startled and confused . According to Nirupama and Rajendra, this moment, drawn from Leela Sukar’s Krishna Karnamritam, where Krishna recalls his past life as Rama, inspired them to come up with this thematic production.

Colourful costumes (by Rajendra), vibrant lighting design (by Ajay Vijendra), choreography that incorporates diverse styles, musical score ranging from classical to folk, and grand sets and LED projections added to the appeal.

The presentation began with a group of girls wielding peacock feather fans and a group of boys holding bows and arrows, highlighting the common link between Rama and Krishna. Their dynamic formations and movements for this segment, leading to the introduction of Rama, were skillfully choreographed. A brief depiction of Rama’s previous avatars by Rajendra was interesting. And Nirupama explored her dramatic skills with conviction in her role as Soorpanakha.

At one corner 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 followed by Sita swayamvaram, the entry of Rama, Lakshmana and Sita into Dandakaranya forest, appearances of Soorpanaka, Maricha (the golden deer), and finally the abduction of Sita.

There were some interesting segments too. For instance, in the Sita abduction scene, the depiction of Ravana’s duality was done convincingly. Ravana is usually portrayed as arriving disguised as a sage seeking alms, only to disappear and reemerge in his majestic, royal form. But, here, the variation was creatively presented as two dancers appeared on stage and moved in perfect unison to convey the idea that the two personas were, in fact, one and not separate.

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The introduction of Ravana was yet another riveting visualisation. In utter darkness, glowing masks (used to indicate the ten faces of Ravana) began to swirl across the stage, before gradually settling into a formation behind the dancer — the embodiment of Ravana, the ten-headed king.

In ‘Rama Katha Vismaya’ a group dancers, dressed as flowers and birds, represented the Dandakaranya forest.
| Photo Credit:
Special Arrangement

  Even the scene about Rama’s exile was dealt with differently. Instead of the usual depiction of the sadness that engulfs the people of Ayodhya when Rama leaves for his exile, the dancers showcase the happiness and reverance with which Dandakaranya forest welcomes them when they enter it. However, the presence of a group of dancers, dressed as flowers, trees, birds and animals, who were constantly moving on stage was disturbing and looked a bit amateurish.

The production aimed to include elements that would attract a wide audience, but the core of Rama’s character and the narrative were lost amid a flurry of activity on stage. A moment of repose could have significantly elevated its impact.

Credits: Lyrics are by Ashtavadhani R. Ganesh. Music is by Praveen D Rao. He had combined varied sounds, and swara patterns in such a way that they match the pace of the choreography. But one wished for some moments of tranquility to offset the high energy levels, for greater impact. Direction and visuals are by Vinod Gowda, and . artistic direction and choreography by Nirupama and Rajendra.