Anitha Guha’s ‘Parishvanga Pattabhishekam’ highlighted the enduring appeal of the epic

‘Parishvanga Pattabhishekam’ performed by the students of Anita Guha.
| Photo Credit: VELANKANNI RAJ B

Over the years, the Ramayana has been reimagined and reinterpreted by various dancers and choreographers, reflecting the richness and complexity of the classic.

As part of Rama Navami celebrations, Bharatiya Vidya Bhavan had organised the dance-drama ‘Parishvanga Pattabhishekam’ by students of Anitha Guha’s Bharathanjali.

Conceived and choreographed by Anitha Guha and with music and lyrics by Neyveli Santhanagopalan, this unique production was named ‘Parishvanga Pattabhishekam’ — a term used in the Valmiki Ramayanam to describe the vatsalyam shown by Rama to Hanuman.

The dance drama, choreographed using both the margam format and dramatic elements, commenced with a dual scene — Rama expressing his sorrow to Lakshmana and Sugreeva discussing his plight with Hanuman. This scene was set to a slow padam to depict Rama’s viraha thapam.

Lakshmana is astonished to see his brother’s inconsolable state. Hanuman, a personification of modesty, bhakti and mischief, is sent by Sugreeva to check the identity of the two strangers. Hanuman discreetly enquires if they were devas or rishis, knowing very well that they could be neither. What followed was a varnam, where Lakshmana narrates a brief account of the Bala, Ayodhya and Aranya kandams. The scene ended with the sealing of friendship between Rama and Sugreeva.

The fight between Vaali and Sugreeva, choreographed and performed by Thiruchelvam, an alumni of Kalakshetra, had all the elements as visualised by Valmiki. It’s a fight without weapons, where two vanaras assert their strength. When Rama mortally wounds Vaali, a shocked Vaali enquires about the righteousness of the act. Rama explains the dharma behind it.

Sugreeva’s Pattabhishekam celebrated by the vanaras was presented through a Kadanakuthuhalam thillana, where the highlight was the use of mukula and kapitha hastha mudras.

Hanuman’s journey to Lanka marks the beginning of Sundara Kandam. His ingenuity in facing and crossing all the obstacles that come his way was depicted well. His encounter with Lankini, the powerful guard of Lanka, and her demise were brought out dramatically. The rhythm interludes by P.R. Venkatasubramanian, faculty of Bharathanjali, added value to the scene.

The grandeur and opulence of Lanka depicted through an ‘asura mallari’ (a term coined by Anitha) in raga Rasikapriya successfully encapsulated the 4,000 verses of Valmiki’s description of the scene.

Ravana’s grand entry, marked by rhythmic nritta, showcased the skill and precision of the dancer. His authoritative words push Sita into a sea of despair and she attempts to end her life. A glimmer of hope comes in the form of Hanuman, who gives her Rama’s ring. In return, she gives her choodamani. Later, Hanuman leading the march to Lanka, sings ecstatically ‘Ini ellam jayam, ini ellam sugam’.

The costumes, designed by Anitha Guha, were subtle throughout the Kishkinda Kandam and took on a brighter hue at the onset of the Sundara Kandam. Special mention has to be made of compere Revathy Sankaran.