A feminist retelling of the Ramayana by Ramya Ramnarayan

Ramya Ramnarayan presenting ‘Pengal Potrum Raaman’ at Krishna Gana Sabha.
| Photo Credit: Special Arrangement

A masked, dramatically attired Soorpanakha (Ramya Ramnarayan) enters with strong movements in ‘Thakkukku dhikkukku’ (Adi). She catches sight of Rama and is mesmerised (‘Lavanya rama’, Poorna Shadjam, Rupaka, Tyagaraja). The moment of wonderment was underlined by the poignant tone of the song and enhanced by a beautiful violin capsule. She is not able to take her eyes off Rama and compares her physique with his.

Rajkumar Bharathi (music composition) tuned the Valmiki verse ‘Sumukhi durmukhi’ in Devagandhari, introducing high and low octaves to indicate his and her features. 

Ramya played only one character most of the time, and in this case, it was Soorpanakha. We could see her looking at Rama and even after she is mutilated by Lakshmana, and runs to Khara, all she can say while her face is dripping blood is, ‘I saw Rama’.

Dushyanth Sridhar presented ‘Pengal Potrum Raaman’ a Katha-Nrithyam along with senior dancer Ramya Ramnarayan.
| Photo Credit:
Special Arrangement

‘Pengal Potrum Raaman’, a ‘Katha Nrityam’ by Ramya Ramnarayan and Dushyanth Sridhar, presented new facets of the women from the Ramayana who were impacted by Rama’s actions, some of whom inadvertently play key roles in the tale — Kaikeyi, Soorpanakha, Tara and Mandodari. They all had one thing in common — adoration for Rama.

It was an interesting concept, well-researched, referencing both the Valmiki Ramayana and the Kamba Ramayanam. The dancing was interspersed with mini-upanyasams, courtesy Dushyanth. He connected all the dots, so you heard the entire Ramayana, with interesting details. 

The lyrics were the hand-picked verses from both the Valmiki and Kamba versions, in addition to compositions by Tyagaraja and Bhadrachala Ramdas. The music was sensitively tuned by Rajkumar Bharathi, adding to the theatrical value. Soundscape design was by Sai Shravanam.

In ‘Pengal Potrum Raaman’, Ramya Ramnarayan and Dushyanth Sridhar presented new facets of women from the Ramayana who were impacted by Rama’s action.
| Photo Credit:
Special Arrangement

Ramya’s theatrical route, with dialogues, orchestration and costumes (Sandhya Raman), was entertaining. She is a seasoned dancer and remains agile and energetic. 

While Ramya’s portrayals were well-rehearsed and had enthusiasm throughout, one felt she skipped exploring the deepest moments of her protagonists — an injured Soorpanakha still excited about Rama, Tara seeing her dead husband, rising above anger and venerating Ramal. Women conquering their inner demons is as much of an event.