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

The Ramayana has been retold through Various Art Forms. Classical dancers, in particular, have been inspired to interpret the epic in their own unique way. Hence, in recent times, we have come across human engaging works based on the Ramayana. The latest is from Bengaluru-Based Dancer-Couple Nirupama and Rajendra, Whose Production ‘Rama Katha Vismaya’ was staged recently at Chowdih Hall in Bengaluru. It featured near 60 artistes from their abhinava dance company.

The duo presented 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 Shots, ‘Saumitri, Bring My Bow and Arrow’, Leaving Yashoda Both Startled and Confushed. , According to nirupama, this moment, drawn from leela sukar’s Krishna karnamritamWhere krishna recalls his past life as rama, inspired them to come up with this production.

Colourful Costumes (by Rajendra), Vibrant Lighting Design (By Ajay Vijendra), Choreography that incorporates diversie 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 boys and arrows, highlighting thecomon Link Between Rama and Krishna. Their dynamic forms and movements for this segment, leading to the introduction of Rama, was skillful Choreographed. A brief depiction of rama’s previous avatars by Rajendra was interesting. And Nirupama Explred Her Dramatic Skills With Conviction in her role as Soorpanakha.

At one corner of the stage, yashoda continued narrating the story to krishna. She Tells Him About How Rama And Lakshmana Vanquish the Rakshasas, The Breaking of Shiva Danush by Rama Followed by Sita SWAYAMVARAM, Rama, Lakshmana and Sita Going Into Dandakaranya Forest Soorpanakha, Maricha (The Golden Deer), and Finally the Abduction of Sita.

Some of the episodes were visualized well. For instance, in the sita abduction Scene, the depiction of Ravana’s duality was done convincingly. Ravana is usually portrayed as Arriveing disguised as a sage seeking alms, only to disappear and remerge in his majestic, form. But, here, the variation was creatively presented by two dancers as they appeared on stage and moved in perfect unison to convey the idea that the two persons were, in fact, in and the same.

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The introduction of Ravana was riveting. 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 Dancer, 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, The Dancers Showcased The Happy and Reverence with Where will Dandakaranya Forest WalComemesaM. However, a group of dancers, dressed as flowers, trees, birds and animals, constantly moving on stage was disturbing.

The production aimed to include elements that would enhance the appeal, but the core of rama’s character and the narrative was lost a flurry of activity on stage. Some moments of repose also have significantly elevated the impact.

Lyrics were by shatavadhani r. ganesh. Music was by Praveen D Rao, Who Had Combined Varied Sounds and Swara Patterns to Suit The Match The Match The High-On-Energy Choreography. Somemes a leisurely pace would help the audience connect with the emotion in the story better. Direction and Visuals were by Vinod Gowda, and Artistic Direction and Choreography were by Nirupama and Rajendra.