In Myanmar, it’Thiri Ram,’in Thailand,’Ramkien,’ and in Indonesia, ‘Kakavin RamayanFrom Russia to America Ramayana has taken on new names and faces, proving that this ancient Indian epic is more than just an exported tradition – it’s a cultural remix. And it can just as easily wear new costumes on stages around the world.
Russian retellings: Baryshnikov Ivangi, 25-year-old theater artist in Moscow who has been part of the Russian Ramlila The productions say that the characters of Ramayana seem very familiar to them. “In the image of Rama, I see echoes of our Russian heroes like Ilya Muromets, who was a brave, selfless warrior who was devoted to his people. Indian mythology and Russian folklore have similar themes, such as good and evil. Between conflict and love for the motherland,” he says.
Very few people know that the Soviet Union staged the first stage performance of Ramayana in 1960 in the Children’s Theater of Moscow. Gennady Mikhailovich Pechnikov, a renowned Russian actor, co-directed the Russian adaptation and played the role of Ram, playing the role for 40 years and earning international acclaim. It is said that to play the role of Ram he became a lifelong vegetarian. Following Pechnikov’s death in 2018, a Russian-Indian friendship society known as Disha has worked to revive cultural ties through performances of ‘Ramayana’. Last year ‘Disha Ramleela’ was shown in Ayodhya. “Our presentations are no more than 25 minutes long, depicting all the episodes from the swayamvara to Ram’s return from exile,” says Disha founder Rameshwar Singh, who came to India in the 1980s to pursue a PhD in Russian language. Went to Soviet Union from JNU, but decided to stay by marrying a Russian artist and becoming a citizen.
Caribbean History: In Guyana, Trinidad and Tobago and Suriname, Ramlila remains a culturally and religiously important event. This tradition was brought to the Caribbean by Indian indentured laborers between 1838 and 1917. Indrani Ramprasad, a fourth-generation Indian and scholar of Hindu culture and Ramayan traditions among the indentured diaspora in Trinidad, distinguishes between two styles of Ramlila – ‘folkdharmi’ and ‘natya’. The version performed in Trinidad and other Caribbean countries is primarily in the ‘leela’ or folkloric style, a community-based, open-air form of storytelling rooted in bhakti traditions incorporating elements of katha, kirtan and bhajan.
“There are black and Muslim characters in some of these Ramlilas. But it is not seen as drama. It is a sacred space within a sacred space marked by a bamboo fence, almost like a temple. The audience is outside the fence. The ritual element is very strong. It is not rich people staging a show for money,” explains Ramprasad, who compares it to the theatrical style prevalent in India’s urban centres. Where Ramlila is staged. This theatrical style is influenced by British traditions. “But for the expatriate community in the Caribbean, it is a way of preserving Indian cultural identity, where, like Rama in exile, it helps them restore dharma (order) in their new land,” says Ramprasad. .
Southeast Asian Saga: In countries like Indonesia and Thailand, demonstrations are not limited to Navratri only. “In places like Uluwatu temple in Bali, the Ramayana is staged every day, drawing tourists from all over the world. You won’t find this anywhere in India,” says Kokorda Putra, a lecturer at the Hindu University of Indonesia in Denpasar. Beyond his academic role, Putra is also a trained dancer, known for bringing to life characters like Kumbhakaran and Ravana. “I treasure this role of Ravana because it exudes authority and power – qualities that we all aspire to as normal human beings,” says Putra.
The ‘national text’ of Thailand is the Ramakien, a local adaptation of the Ramayana. The country’s rulers of the Chakri dynasty are traditionally named ‘Rama’, indicating a strong cultural connection with the ancient legend. The Thai version is a royal court tradition rather than a public celebration. Narirat Phinithanasaran, a lecturer at Thammasat University and a veteran performer of Ramakien productions, says, “Whereas the Indian Ramlila emphasizes devotion to Rama, in Thailand the story of the Ramayana has evolved into a classical form of entertainment, performed at royal and public ceremonies. is reserved for.” Thai adaptations of the Ramayana such as Khon and Lakhon have long been viewed as high art, enjoyed not only for their storytelling but also for their intricately choreographed movements. While Ramlila in India is often male-dominated, with men even playing female characters, Thailand has embraced gender equality in these performances. Female actors, including Finnithanasaran, play important roles, including the role of Rama himself.
Lanka Legends: Although Ramlila is rare in Sri Lanka, where the majority of the population is Buddhist, in India government-sponsored groups perform it. For them Ravana is not a villain but a worshipable person. Performances of the Ramayana often begin by depicting Ravana and his prosperous reign, before his sister Surpanakha enters the scene with her nose bleeding. Kalpi Jayaratne says, “More than Sita, I would love to play Ravana’s queen Mandodari. Even though she is on stage for just 15 minutes, she is powerful, balanced and artistic. When Sita comes, Mandodari does not lose her temper.” From Colombo, who often plays ‘Sita’. Sri Lankan performances showcase Kandyan folk styles along with South Indian dance forms such as Bharatanatyam.
Across cultures and continents, the performance of the ancient epic proves that it can be a medium for building new bridges. Bala Sankurathi, who has helped bring many international Ramlila troupes to India, puts it succinctly: “This is not just a retelling of a story. It is a cultural force that unites us all.”
