How Ramayana is a cultural bridge between India and Southeast Asia

The appeal of the Ramayana crosses geographical boundaries and styles. So what could be a better way to mark the 60th anniversary opportunity of diplomatic relations between Singapore and India, compared to ‘Ramayana: celebrating shared heritage’.

The Consulat-General of the Republic of Singapore in Chennai was presented in Kalakshetra on 8 and 9 August. ‘Ramayana: Celebrating a shared heritage on August 8 and 9 in the Kalashatra of Chennai on August 8 and 9. The concept of this cross-cultural performance was done by Aravishth Kumaraswamy, Amparas Dance Company’s artistic director, Singapore in collaboration with Osmman Abdul Hamid, Era Dance Theater, Artistic Director of Singapore. The artists included dancers from Singapore and India. Famous Bharatanatyam dancer and teacher Urmila Satyanarayanan played the role of Sita.

‘Ramayana: Celebrating a shared heritage on August 8 and 9 in the Kalashatra of Chennai on August 8 and 9. , Photo Credit: Shrinath

Tamil Nadu Information Technology and Digital Services Minister Palanwell Thiaga Rajan was a guest of honor on the inauguration day. The head of the Branch Secretariat of the Ministry of External Affairs in Chennai, S. Vijayakumar was also in attendance.

Singapore’s Consal-General Edgar Pang said: “Production celebrates close cultural and people’s relations between Singapore and India.”

According to Arvintha Kumaraswamy, “As an artist vested in Indian dance and music, I get deep inspiration from this regard that is inspired by cooperation between people, traditions and artistic voices from all over the region.”

The presentation was made special, it was also a place – Kalakshatra. This is where the Ramayana dance plays of Rukmini Devi, the founder of the institute, have attained the status of the cult.

Selected episodes from Epic were presented in a unique way. , Photo Credit: Srinath M

Some select episodes of the epic were presented in a unique way – through a group of Apsara. The production began with a lively depiction of Rama’s childhood and attractive personality, set for the developed verses of Tulsidas’s ‘Thumk Chalatha Ramchandra’ and ‘Hanuman Chalisa’. Both these songs stood outside for their group choreography.

The leading episodes for the fight between Rama and Ravana stood outside for their visual appeal. , Photo Credit: Srinath M

The focus then shifted to the forest, where Rama and Laxman discovered the Sita encounter in search of Hanuman. The spotlight then turned to Hanuman because the story discovered its journey to Lanka, which with his poignant meeting with Sita in Asokavan and his fierce work of establishing the city. This sequence ended in the fight between Rama and Ravana.

Choreography, dress and jewelery, light design and music added adequate appeal and vibrancy in production.

Jishanu Gopi played Hanuman with punishment and cleverly. , Photo Credit: Srinath M

Hanuman’s episode was a dramatization tour tour, in which Jishanu Gopi played a role with remarkable punishment and clever. Urmila Satyanarayanan expressed Sita’s emotional state with restraint and sensitivity, while the touching rendering of Savita Narasimhan captured the mood. However, some subtlety in Urmila AhariyaEspecially in the context of Ashokwan, the characterization could increase the characterization. Mohan Prayer Thavaraj as Ravana had an impact with his dress and jewelery. Vafi Sofiana, a great dancer of Era Dance Theater, as a Trijada, beautifully integrated the Javanis style into Bharatanatyam Katha, which adds texture and elegance to the scene.

Rajkumar Bharati’s Soundscape Javani has been a melodious fusion of the gumane music and Indian classical. Singer Abhishek Raghuram, Savitha Narasimhan and G. Srikanth was supported by a large dress of musicians under the clever music direction of Sai Shravanam.

The light design by Surya Rao flowed well with the choreography by Mohanprayan Thavarajah, Jayanti Subramaniam and Usman Abdul Hamid.

This retailing Ramayana’s retail came out as a panoramic view spectacle, which was holding the attention of the audience from beginning to end.