Jai Ram – an aesthetic feast

by Kalakeerthi Dr. Edwin Ariyadasa

The perennial “culture” of our vast, subcontinental neighbour, has for ever been a fond “cousin” of our own indigenous aesthetic tradition. As an affluent and affectionate elder ‘cousin’, the sumptuous Indian culture has lavished upon us, throughout history, a wide-ranging smorgasbord of spiritual and aesthetic treasures.

To our great delight, this cousinly gesture continues unabated today too. Treasures and luxuries of art, culture and aesthetics follow into our island home almost non-stop from the Indian sub-continent.

The most recent and an exceptionally brilliant instance of this delectable phenomenon, is the alluring dance drama Jai Ram, presented in Colombo, through a classic aesthetic collaboration between India and Sri Lanka. The venue was the Bishop's College auditorium.

Jai Ram, is the choreographed version of a segment of the globally renowned Indian epic Ramayana (Rama's Odyssey).

Central theme

The central theme of Ramayana is the superhuman antagonism between Rama – the divine hero of India and Ravana, the legendary. Ten - headed Lord of Sri Lanka (Lankeshvara) whose domain extended, according to legend, far beyond the confines of this island citadel.

The specific presentation held for me an intriguing and utterly surprising implication. ‘Ramayana’ depicts a deep-seated disaffection of mythical proportions between India and Sri Lanka. But the enchanting Jai Ram dance drama that held the audience spellbound in Colombo was the captivating outcome of a close, intimate and cordial collaboration between India and Sri Lanka in the aesthetic field.

The great epic Ramayana occupies a prominent niche in the cultural idiom of many Asian nations. The influence of Ramayana is intricately entwined with the lifestyle of India, Thailand, Indonesia and Sri Lanka.

In Sri Lanka, in recent times, the figure of Ravana has begun to assume the central position in a renewed cult, which is astonishingly widespread among the masses of the country. In the light of this development, Jai Ram tended to elicit a special appeal from the viewers.

The storyline of the dance drama Jai Ram, derives from the substance of the Sundara Kandam (The endearing canto) of Ramayana, the narration of which extends over 500 cantos.

The endearing (Sundara) canto is primarily a celebration of the unflinching devotion and loyalty of Hanuma to Divine Rama.

Sundara, dear one, is the affectionate moniker by which Hanuman's mother knew her beloved son.

In the mass-mind Hanuman is the solid, unwavering and steady epitome of moral uprightness. The total absorption commanded by the dance drama, Jai Ram, transformed the duration of the exquisite performance into an enduring moment borrowed form eternity.

The theatrical dance pageant casts its initial spell over the spectators with the delightfully choreographed entry of Lankan Emperor Ravana on stage. His panoplied arrival in the royal court, heralded by imperial dances and music inspired an environment of awe and solemnity. Suddenly, the atmosphere of imperial glory is shattered. Suparnika rushes in, wailing moaning and shrieking. Her face is blood-soaked. Ravana fumes in a towering rage, at the tragic fate inflicted upon his beloved sister by Rama and Laxman. He vows revenge, fuelling the epic battle between Rama's and Ravana's forces.

The choreographic and musical synthesis that enlivens the interpretations of the episodes entertains the spectators with a compelling range highly impactful variations.

Charm

Rama arrives on stage in an aura of divine charm and serenity in contrast to the dignified restlessness projected by Ravana.

The sylvan backdrop provided for the deer-chase and the subdued, reclusive feel created for the site of the hermitage, represent among a multiplicity of other riveting details – the assiduous craftsmanship, made available to production department. The Janus – faced (double-faced) portrayed of Ravana, enticing Sita, is a marked choreographic highlight.

Such events in the epic, as Ravana's abduction of Sita in his aerial chariot Pushpaka Vimana are part of the mass memory. And they have been so for ages.

But in Jai Ram, these well-known episodes, receive reincarnation, exuding alluring freshness. (In a lighter vein, as Ramayana records, Sri Lankans operated the first airline in human history, through the triumph is marred by the first passenger being a reluctant woman!).

The production earns ample kudos for its imaginative, sophisticated and innovative efforts. During clips from films and still photographs, with the backdrop to enhance its authenticity enabling the deepening of the aesthetic experience of the spectators was a thoughtful move.

The worthiest conquest, in the total production, was achieved by Shri Parshawanath Upadhye, the guru of dance gurus from India.

Scripting the dance drama, maestro upadhye turned in an exquisite performance as Hanuman, penetrating into the inner recesses of the hearts and minds of the spectators.

He enriched the classical role through a well-proportioned synthesis of seriousness and mischief.

Talents

A significant aspect of this production is the pooling of the talents and skills of India and Sri Lanka as due and apt.

This represents the unbiased and untrammelled dedication of producer – director Kalasuri Dr. Arundathie Sri Ranganathan who is bent on reading creative harmony, eschewing narrow, unproductive and unwholesome barriers, that mar the glorious beauty of human life.

The humane effort, made by Kalasuri Dr. Ranganathan, made it possible for Sri Lankans to relish an exquisite aesthetic feast.

Jai Ram is an eloquent display of the noble heights we can jointly scale if India and Sri Lanka continue to collaborate in the production of such memorable events.

And to bring about such lasting cultural triumphs, we are fortunate that we have such unofficial aesthetic ambassadors as Kalasuri Ranganathan.