The ‘Shikavanga Pattabishekam’ performed by the students of Anita Guha. , Photo Credit: Velkani Raj B
Over the years, the Ramayana has been re -designed by various dancers and choreographers, reflecting the prosperity and complexity of the classic.
As part of the Ram Navami celebrations, Bharatiya Vidya Bhavan organized the dance-drama ‘Avavanga Pattabheshkam’ by the students of Bharatjali of Anitha Guha.
This unique production was named ‘Avavanga Patabishekam’ by Anitha Guha and by Neveli Santhanagopalan with music and songs, the name of this unique production was named ‘Avavanga Patabishekam’ – a word used in Valmiki Ramayanam to describe Vatsalim by Rama by Rama.
The word ‘Avavanga Pattabhiskam’ is used in Valmiki Ramayanam to describe Vatsalim shown by Rama by Rama. , Photo Credit: Velkani Raj B
The dance drama choreographed using both Margam format and dramatic elements began with a double scene – Rama expressed his grief to Laxman and Sugriva discussed his plight with Hanuman. The scene was set in a slow Padam to portray Ram’s Virha Thapam.
Laxman is amazed to see his brother’s inconsistent kingdom. Hanuman, a person of humble, devotion and mischief, is sent by Sugriva to check the identity of two strangers. Hanuman questioned in a judicious manner whether he was Dev or Rishis, knowing well that he could neither be. It was followed by a vanam, where Laxman narrated a brief description of Bala, Ayodhya and Aranya Kandams. The scene ended with the ceiling of friendship between Ram and Sugriva.
The ‘Shikavanga Pattabishekam’ performed by the students of Anita Guha. , Photo Credit: Velkani Raj B
The battle between Valley and Sugriva, choreographed and performed by an alumnus of Kalakshatra by Thiruchelvam, was conceived by Valmiki as all elements. This is a fight without weapons, where two forests claim their strength. When Rama injured Valley, a shocking Valley inquires about the righteousness of the Act. Rama explains religion behind this.
The pattabishekam of Sugriva celebrated by Vanaras was presented through a Kadanakuthuhalm Thilana, where the highlight was the use of Mukula and Kapita Half Mudars.
Hanuman’s visit to Lanka is the beginning of Sundara Kandam. His simplicity was well depicted in facing and crossing all the obstacles in his way. The powerful guard of Lanka, and his death, was brought out dramatically. The interval of the rhythm added the value to the view by PR Venkatasubramanian faculty of Bharatanjali.
The grandeur and grandeur of Lanka is represented through a ‘Asura Mallari’ (a word coined by Anita), which successfully surrounds 4,000 verses of Valmiki’s view in Raga Rasikapriya.
Ravana’s grand entry marked by the rhythmic Naratta displayed the skills and accuracy of the dancer. Her official words push Sita into the sea of ​​despair and she tries to end her life. A glimpse of Asha comes in the form of Hanuman, which gives him the ring of Rama. In return, she gives her fan. Later, Hanuman moved to Lanka on March, ecstatic sings ‘Ini Ellam Jayam, Ini Ellam Sugam’.
The costumes designed by Anita Guha were subtle in the entire Kashkinda Kandam and took it to a bright color at the beginning of Sundara Kandam. Special mention is to be made from Compare Revathy Shankaran.
Published – 17 April, 2025 05:13 pm IST
