Anitha Guha’s ‘Parishvanga Pattabhishekam’ highlighted the enduring appeal of the epic

Over the Years, The Ramayana has been reimagined and reinterpreated by various dancers and choreography, reflecting the richness and complexity of the classic.

As part of rama navami celebrations, Bharatiya Vidya Bhavan Had Organized The Dance-Drama ‘Parishvanga Pattabhishekam’ by students’ by students of anitha guha guhana guharathanjali.

Conceived and choreography by anitha guha and with music and lyrics by Neyveli Santhanagopalan, this unique production was named ‘Parishvanga Pattabhishekam’ describe the vatsalyam shown by rama to hanuman.

The term ‘Parishvanga Pattabhishekam’ is used in the Valmiki Ramayanam to describe vatsalyam shown by Rama to Hanuman. , Photo Credit: Velalankanni Raj B

The dance drama, choreographed using bot the margam format and dramatic elements, commenced with a dual Scene – Rama Expressing His Sorrow to Lakshmana and Sugreva Discussing His Plight Whith Hanumon. This Scene was set to a slow padam to depict rama’s viraha thapam.

Lakshmana is astonished to see his brother’s inconsolaable state. Hanuman, a personification of modesty, bhakti and mischief, is synt by sugreeva to check the identity of the two strangers. Hanuman discreetly enquares if they were devas or rishis, knowing very well that they could be Neither. What followed was a varnam, where lakshmana narrates a brief account of the bat, Ayodhya and Aranya Kandams. The Scene Ended With the Sealing of Friendship Between Rama and Sugreeva.

‘Parishvanga Pattabhishekam’ performed by the students of anita guha. , Photo Credit: Velalankanni Raj B

The fight between Vaali and Sugreeva, Choreographed and Performed by Thiruchelvam, an alumni of kalakshetra, had all the elements as visualized by valmiki. It’s a fight without weapons, where two vanaras assert their strength. 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 presented through a kadanakuthuhalam thillana, where the highlight was the use of Mukula and Kapitha Hastha Hastha Mudras.

Hanuman’s Journey to Lanka Marks The Beginning of Sundara Kandam. His Ingenuity in Facing and crossing all the obstacles that come his way to depicted well. His encounter with lankini, the powerful Guard of Lanka, and Her DEMISE WERE BROUST OUT DRAMATICALY. The rhythm interludes by pr Venkatasubramanian, Faculty of Bharathanjali, Added Value to the Scene.

The Grandeur and Opulence of Lanka Depicted Through an ‘Asura Mallari’ (a term coined by anitha) in raga raga rasikapriya successfully encountered the 4,000 verses of Valmiki’s’ description of Valmiki’s description.

Ravana’s Grand Entry, Marked By Rhythmic Nritta, Showcased the skill and precision of the dancer. His Authoritative Words Push Sita into a Se Sea of Despair and She Attempts to End Her Life. A Glimmer of Hope Comes in the Form of Hanuman, Who Gives Her Rama’s Ring. In return, she gives her choodamani. Later, Hanuman Leading the March to Lanka, Sings Ecstatically ‘Ini Ellam Jayam, Ini Ellam Sugam’.

The Costumes, designed by anitha guha, was subtle through Special mention has to be made of Compere Revathy Sankaran.