Latest news with #TheRamayana
The Hindu
04-07-2025
- Entertainment
- The Hindu
Yakshagana artistes and their battle between the contemporary and classic
From the coastal villages of Karnataka to international borders, the traditional dance-drama art form Yakshagana, has traversed and evolved over the decades, with changes in its elaborate costumes, headgear, stage structure and even the themes of its performances. Mainly practiced in Udupi, Shivamogga and Chikkamagalurur in Karnataka, and Kasargod in Kerala, Yakshagana combines dance, music, and improvised speech for storytelling on stage. Shridhar Hegde Keremane, a Yakshagana artiste of the Idagunji Mahaganapati Yakshagana Mandali troupe, says, 'My great grandfather, Shivarama Hegde, established our troupe in 1934 in Honavar. Since then, many changes have been incorporated — for instance, my great grandfather introduced time-limited shows in practice.' For the longest time, all Yakshagana performances would be performed by men in open fields, lasting a whole night from dusk to dawn. Now, there are shows ranging anywhere from five minutes to five hours in airconditioned auditoriums at any time of the day, some even being performed by women artistes. Embracing new narratives However, one of the biggest shifts in contemporary Yakshagana was when artistes decided to use narratives outside the context of The Ramayana and The Mahabaratha. Sharanya Ramprakash, a trained Yakshagana artiste and theatre maker says, 'Instead of a mythological story, a Yakshagana performance might centre around Bahubali with elements from contemporary life. Or even if they use stories from the epics, they are contemporised.' She believes this is one way in which this art form remains relevant today. 'I believe a form that listens to the contemporary beat of today will not die. With changes in society, Yakshagana performances are improvised through its speech and narratives.' Shridhar begs to differ, saying this attempt to contemporise disrespects the traditional art form. 'There are troupes which see this art form as an industry, they look at ticket sales rather than creativity or original ideas.' He adds, 'Even if a performance is repeated at the same place with the same story and cast, people will still watch it. That is because even though the story is the same, the dance and speech will be improvised.' Can tradition and the contemporary coexist? Priyanka K Mohan, a Yakshagana artiste and art curator with Suarita Arts Collective feels both traditional and contemporary forms of Yakshagana should be practiced. She was introduced to the artform by her father, K Mohan, founder of Yaksha Degula, a Yakshagana school founded in 1980 in Basavanagudi. 'Most of our work is based on traditional texts but 20% of our performances bring innovation without disrespecting the art form. Some of our performances deal with contemporary issues such as dowry, HIV, the right to vote and to education.' She adds, 'At the end of the day, all art forms communicate through stories. Initially, when people did not have access to formal education, theatre was a tool to spread awareness. If we don't tell new stories now, you won't always be able to connect with more people and eventually, the art form will die out.' Priyanka says, people claiming to be Yakshagana artistes without under going formal instruction, are being disrespectful to those who have spent years training. Learning Yakshagana, Sridhar says, is like learning a new language. 'You have to spend time to understand its roots, stories and practices.' Troupes that pair film songs with Yakshagana performances, Priyanka says, in unacceptable. 'Neither is making a Yakshagana artiste, in his complete attire walk between a bride and groom.' No matter how relevant contemporary stories are, Priyanka says, we still need to perform traditional texts because wisdom and knowledge is passed on through them. 'Each of us promote this art form by educating ourselves on what constitutes a genuine Yakshagana performance.'
The Hindu
05-06-2025
- Entertainment
- The Hindu
Viewing Shoorpanakha from beyond the myth and its margins
Rejected and reviled — a deadly combination in a woman scorned and an encapsulation of how Shoorpanakha from The Ramayana has been viewed down the ages. Well, every villain has an origin story and Shoorpanakha: A Search is hers. Presented by Parshathy J Nath, this piece not only looks at the woman within the demon princess, but also sheds light on the fiends and divas that dwell within each of us. There is scant mention of Shoorpanakha in mythology and the ones that occur, show her in a most unflattering light, which makes the choice of her as a central character in any performance an interesting one. Parshathy says Shoorpanakha's story stayed with her because it was a traumatic experience. 'I realised that men treating her with triviality was something most women, myself included, have undergone. More than her nose being mutilated, I believe it would have been far more humiliating to have her emotions made light of and be subject to suggestions that she offer her love to others.' Parshathy emphasises that Shoorpanakha is 'not a rant against men', though it happens to women in India more often than not given the patriarchy and dating culture prevalent here. 'I wanted to explore this binary of Shoorpanakha and Sita, and how societal standards for beauty seem to follow a stereotype.' At home on stage Parshathy's love story with the theatre began with her first school audition at the age of 10. 'I was instinctively drawn to theatre; it was not a class or discipline my parents foisted on me — perhaps that is why I was able to explore it to my heart's content,' says the artiste, who began training in classical dance and vocals at the age of six. 'I can still recall the wonder I felt at the transformation that unfolded on stage.' Though she continued to script and direct plays while in college, her passion took a step back as life and a career got in the way, says Parshathy. As a journalist, she would write about others' plays debuting in the city, all the while yearning for the stage lights herself. 'In 2017, I participated in a play after a gap of six years and realised how much I had missed it,' she says, adding it was the trigger that brought her back to the theatre. 'I was 27 years old at the time and I remember thinking, 'If not now, then when?' I knew I had to make a choice and that if I waited longer, I might lose the drive to act.' Parshathy quit her job as a journalist and went into theatre full time — working with various directors and enrolling at the Ninasam Theatre School in Karnataka in 2019. 'Studying at Ninasam was life changing; I got to live and interact with theatre practitioners from rural Karnataka. We would heat water on wood, I picked up Kannada there and I ended up training for a Yakshagana performance.' Germ of an idea The seeds for Parshathy's piece on Shoorpanakha were sown while studying at Ninasam Theatre School in Karnataka and she says the feedback from her mentors gave the play its present shape. 'Around that time I attended a Yakshagana performance by Sharanya Ramprakash titled Akshayatra that intersected gender and class, and was multi-layered in depth. It opened my eyes to the many possibilities of this art form.' 'When we think of a play, it is usually the imagery that first comes to mind and I initially envisioned Shoorpanakha as a classical piece with Bharatnatyam and Carnatic music, especially as the protagonist is a mythological character.' However, since 2021, Parshathy says her depiction of this characterhas been evolving along two lines — of delving deeper into Shoorpanakha's psyche and of unlearning her body language as a classical dancer in order to fully embody the part she has to play. 'My stint at Adishakthi opened new ideas of crafting a performance piece with my entire body language responding to my training in koodiyattam, kattaikkuttu and other art forms.' 'If I didn't do that, I wouldn't be able to do justice to the role since Shoorpanakha was a free-spirited, forest dweller. My experiences in life are vastly different and limited to a classical body language,' she says. In order to reimagine the character, Parshathy researched Malayalam and Kannada literature only to find minimal references. 'Yet, performative traditions such as koodiyattam, had an entire episode detailing Shoorpanakha's life.' Parshathy undertook koodiyattam training under Aparna Nangiar as well kattaikkuttu with P Rajagopal and Hanne M de Bruin. She also learnt to play the mizhavu (a percussion instrument) with Kalamandalam Rajeevan and Harihara Guptan. 'Its sound played a crucial role in the performance, figuring as almost as another character'. Additionally, she learnt to sing oppari and how to play the parai with Gangai Master and Manimaran. With light music inspired by folk traditions, Shoorpanakha: A Search which is an hour-long performance includes an original oppari composition by Pa Thriuvenkatachami, crafted specially for this piece produced by The India Foundation For Arts under their Arts Practice programme Shoorpanakha: A Search will be presented at the Kerala Sangeetha Nataka Akademi in Thrissur on June 6, at Ranga Shankara in Bengaluru on June 11, and at the Medai in Chennai on June 22. Information on the tickets priced at ₹299 are available online.
Hans India
18-05-2025
- Entertainment
- Hans India
A blend of tradition and modernity
Translation is largely a creative and technical process. In fact, it is an age-old literary and cultural activity that has enriched both ancient and modern Indian literatures. Ancient texts like 'The Ramayana', 'The Mahabharata' and 'The Bible' are popular in translation. Regional literatures, in particular, are also available in translation. Inarguably, translation acts as a bridge between the past and the present and establishes a cultural link between one language and another. English, among other languages, has made such activity possible. This critical book, deftly edited by eminent Indian scholar P. V. Laxmiprasad, explores the different dynamics of the poetry of acclaimed Indian poet Raamaa Chandramouli. As a litterateur, Chandramouli has donned many hats and made remarkable contributions to different genres of literature. Besides being a poet of extraordinary merit and potential, he is also a novelist, storywriter, scriptwriter, and a shrewd literary critic. His poetry has been translated into English by academicians, professors, and scholars of great repute. His chief collections—'As the Window Opens', 'Fire and Snow', 'Whither and Other Poems', and 'Inferno'—immortalise him in the realm of literature. 'The Poetry of Raamaa Chandramouli' is all about the zest for life and its absence. It is abundantly rooted in the ceaseless struggle between the rich and the poor; the ruler and the ruled; poverty and wealth; individual and society; tradition and modernity; and traditional occupations and technology in life. The poet has been a true mirror to his times, depicting society with utmost candidness. His significance as a poet is also evident in the way he addresses the crucial issues of two generations of readers. Another hallmark of his poetry is his deep knowledge of technical education and classroom pedagogy. As a Professor of Mechanical Engineering, he is gifted with the prowess to delve deep into the subtle aspects of the world. A restless traveller in his poetic journey spanning over two decades, Chandramouli has attempted to shed light on the social milieu against all odds, thus embarking upon an ideal and visionary world bereft of all evils and sins. The efforts of P. V. Laxmiprasad as the editor of this book are indeed commendable and must be wholeheartedly acknowledged. Chandramouli moves from life to literature in search of invisible meaning. His poetry reflects an existential quest to unravel the metaphysical meanings of life. Poets are seers and visionaries. Poetry without images and symbols is merely prosaic and thus fails to resonate with readers. Much to our gratification, Chandramouli's poetry is replete with soul-stirring poetic features. It conjures vivid images on the landscape of the mind—ethereal, original, and breathtakingly beautiful. These images are largely evocative and warm the cockles of the readers' hearts. The poet touches on a few nostalgic reminiscences of his native place, reflecting his profound sensibility and deep sensitivity. He conveys subtle expressions through refined imagery and delicate symbols. The poet in Chandramouli is a true visionary, a mystic, an ideal citizen, a champion of women's rights, a crusader for peace, and an advocate of life and its values. Thus, he can be aptly deemed a profound philosopher of worldly wisdom. Tradition and modernity coexist in his poetry, endearing him to the apostles of the Muse from both generations.
The Hindu
21-04-2025
- The Hindu
Retreat like the royals at Fort Rajwada in Jaisalmer
Jaisalmer is arid and parched. Desert brush dot the sands that seem to stretch endlessly. In the city, the barrenness is equally pronounced, which makes the first glance of Fort Rajwada even more impressive. The gates loom large and majestic and the driveway curves past green lawns to stop at ornate double doors, intricately carved in sterling silver. Once you step through them you travel back in time to the land of maharajas, flying carpets and caparisoned elephants. Except, this fort has only been around for two decades. Vinay Khosla, managing director, Fort Rajwada, explains, 'This is a built fort, one among the few hotels of this size constructed in 1999, with an intent to replicate the historic forts of the region.' He adds that it changed hands in 2017, and once it came into their possession, they began upgrading it as a hotel. First, there is the traditional welcome, complete with aarti, tikka and a garland of marigolds. Next, a warm towel materialises on a salver and honestly, it is a little hard to pay attention to these ministrations when the foyer is so captivating. Every visible surface exudes opulence — chandeliers, lush carpets, elaborate wallpaper, plush upholstery and carved stone pillars. The inner doors, again sterling silver, open out into a courtyard walled off with turrets at each corner. A huge marble fountain is flanked by walkways and nooks to the different wings of the fort that house the rooms. Each wing sports a different motif (rosette, geometric, and the like), which is mirrored throughout — from the accents on the room's furniture to the smaller fountain in the centre of that wing. The attention to detail is astounding. Four poster beds, wood and rattan panelling, burnished brass fittings and cut glass lights, add to the continued feeling of stateliness. Once you have settled in and shaken off your travel weariness, the hotel provides sightseeing trips into the city where one can marvel at its stunning historic architecture, and indulge in sampling local wares, arts and crafts. Back at the Fort, arrangements are made for bonfires, folk singers and puppet shows in the evening for the entertainment of guests. Indigenous materials The overall colour scheme at the fort is gold, cream and beige, offset by warm wood and bright home decor. 'For the exteriors, Jaisalmer stone or sandstone indigenous to the region has been used; its hue is why we are called the Golden City. Inside, we've used Botticino and Red Levante, both Italian marble, while the lobby is done up in white Makrana, an exquisite white stone mined in Rajasthan,' says Vinay. Though their wallpaper has been created by multiple award-winning designers, Vinay says the walls and ceiling of their reception area have been done by hand. 'Artisans from various regions of our country, including Shekhawati, took about three years to complete their work in our hotel.' A brightly-coloured 20x20 mural depicting scenes from The Ramayana dominates one wall of the foyer. 'We believe these 35 frames showing different instances from the epic will help guests understand our festivals and the celebration of good over evil,' says Vinay. With a room count of 99, the living spaces in Fort Rajwada have been designed to make guests feel at home. The Elephant and Monkey Lounges complete with well-stocked bookshelves, faux fireplace and antique Persian carpets (monogrammed by the craftsmen), give guests the freedom to socialise in an elegant sitting room. Indian miniatures from the Company School — art done during the time of the East India Company, when European painters came to India with their techniques — line the corridors and a huge Tanjore work of art adorns the landing. Past the first glance 'Service providers are also service receivers,' says Vinay, explaining how they updated the hotel. 'Every product has a life cycle or a shelf life. If the same product is being stretched beyond its use it won't make economic sense in the long run.' According to Vinay, Fort Rajwada deploys sustainable methods for the upkeep of the hotel. 'Stone paint has a limited commercial life, so for us to enhance longevity, various tools and equipment are used on a regular basis.' Being a desert, almost every commodity in Rajasthan is hard to come by and is therefore more dearer than it would be elsewhere in the country. Thankfully, the Fort runs an effective rainwater harvesting and waste composting system. 'With the hotel industry contributing to the world's carbon emissions, it's time for us to take sustainability measures and adopt more eco-friendly business practices,' says Vinay. The writer was in Jaisalmer on the invitation of Fort Rajwada Getting there The best time to visit Jaisalmer is between October and March. As it is a defence airport, flights are limited but one can travel by road from Jodhpur in 4.5 hours. With well-paved roads sporting barely a pothole, even the most sensitive of car sick souls, will not have complaints. Sightseeing in Jaisalmer Jaisalmer Fort, Patwon Ki Haveli and the Jain Temples within the Fort are the main attractions. Many other edifices built using similar styles will captivate those with an interest in history and architecture. Desert safaris and camel rides and camping will appeal to those willing to rough it out. The Jaisalmer War Museum, Desert Culture Centre & Museum, Longewala War Memorial and Thar Heritage Museum beckon history buffs. Gadisisar Sagar Lake, Kuldhara Abandoned Village, Akal Wood Fossil Park and Desert National Park are some other attractions apart from stores selling antique ware and handicrafts of the region.
