Indian Epic Ramayana in New Dimensions in South East Asia

by Rohan L. Jayetilleke

One of the greatest epics of the world literature, with its origins in India, composed by sage Valmiki on the episode of Rama-Ravana and Sita, has now emerged as the powerful lyric binding the cultures of several nations in Asia.

Even today this epic of Rama fascinates audiences and is the inspiration for many performing and visual art forms, especially of South East Asia. Through all its South East Asian adaptations, Rama is revered as the model of dharma, Sita the model of chastity and Ravana of evil.

Dr. Nicanor Tiongson, a cultural historian in the Philippines suggested that Ramayana could showcase in a theatrical form, the spirit of corperation of ASEAN, 10 member Association of South East Asian Nations. Simply called 'Realising Rama,' this magnificent production became the flagship project of the ASEAN Committee Culture and Information and the region's first collaborative artistic orchestration.

The epic was assimilated and transformed by local history, geography and the traditions of life over the years, this epic being carried to other countries by the sea-faring Indian merchants Vaishyas, in ancient times became etched and naturalized in the cultural and social consciousness of the regions.

It was interpreted by the artists of these new regions - through oral and written literature, in music, dance and theatre and in architecture, painting, sculpture and the crafts. Today, Ramayana continues to enrich the cultural life of these regions.

'Realising Rama' brought together the minds of eminent artists, with various backgrounds and experiences to work in tandem to transform it to a genre of their own country. According to its artistic directors, 'Realising Rama' inquires into the theme of selfless leadership and situates this theme in the contemporary South East Asian context. This is the leadership what ASEAN countries need to combat their problems.

Allegorically the presentation of Rama is the ideal statesman who undergoes a process of self-purification, and overcomes the temptations of wealth and power. He transcends the ego, acts with wisdom and compassion, thereby attains a balance of heart (Sita) and mind (Lakshman) a quality necessary for a leader of the country and village.

With these new ingredients too built in, the traditional Ramayana theme remains inviolate.

Realise Rama begins with Lord Rama competing for the hand of Sita and goes through several artistic lavish scenes to the epilogue Rama Realised, where tempered by his ordeals and glowing with inner strength, Rama becomes the leader of the people 'Realising Rama' had its world premiere in Hanoi, Vietnam in December 1998, during the Sixth ASEAN Summit, and was subsequently showcased in other countries of South-East Asia. The production then had an extensive European tour in 2001.

Its objective as a high-impact programme that would promote cultural awareness of ASEAN both within and outside the region was achieved gloriously. It has been lauded for its innovative choreography and stunning production values and was hailed as an 'intelligent theatrical masterpiece that strikes the heart of being Asian.'

This has crystallised the common experiences of South-East Asia and given life to the unity and identity of the entire region. The Indonesian composer, Rahayu Supanggah, used the musical idioms found throughout Asia and played them on traditional instruments of the region. Thus ASEAN region's diversity in unity and not unity in diversity was manifested through Rama - Sita - Ravana episode of Indian origin.