Powlasthya kula shiromani, Shiva charan is sharana bhaktagrani
Saamagana sushiromani, athmalinga sambhavita mahimagrani
Dhasha Disha Digvijaya maanitha, Dashagreeva parishobitha
Chathurveda parangata, Chaduranga virajit
Kailasa giri dharana buja Shekara
Shree Shree Shree Lankadipati Raveneshwara바카라
(The best in the clan of Pulasta, the greatest devotee of Shiva
Maestro of Samaveda, the one who got the Atmalinga바카라
Conqueror of all directions, the one who flows with 10 heads
Scholar of the four Vedas, the winner of battles바카라
The one who lifted the Kailasa mountain on his shoulders
Victory to the king of Lanka바카라Ravaneshwara)
Popularly regarded in most parts of India as a demon god with 10 heads, Kannadiga artiste Surya Rao chooses the untold tale of Raavan바카라s 11th head, to lead the opening sequence of his enthralling multimedia format dance-drama production 바카라Ravana: The Untold Story of the Eleventh Head바카라.
Inspired by the 12th-century Kamba Ramayanam by Tamil poet Kamban, Valmiki바카라s Ramayana and Shashi Raj Kavoor바카라s play Ekadashanana, this performance boldly challenges the traditional portrayal of Raavan. It provokes curiosity about the mysterious 11th head of this multifaceted figure while also extolling the protagonist바카라s virtues.
But is there really an untold story about Raavan바카라s 11th head, concealed in lesser-known scriptures or obscure folk tales? The audience in a tony, suburban Mumbai theatre on a rainy Sunday evening eagerly awaits with bated breath, for an onstage revelation to this almost mystical question.
In the solo 40-minute act blended with elements from traditional dance forms, namely Kuchipudi, Bharatnatyam and Yakshagana, Rao plays the protagonist, Raavan, spending his last night on earth after an embittered slugfest on the battlefield with Rama. Standing at the gates of Vaikuntha, Raavan contemplates the defining moments of his life before embarking on to his final avatar. Conflicting voices echo in his mind: one urges him to fight Ram, another advocates surrendering for a chance at swarga loka (heaven), while a third shames him for the bloodshed of his own kin. Amidst this din, he reflects on the years he has spent on Earth.
He recalls meeting Ram, his ultimate foe바카라for whom he even conducts a yagna in Lanka, despite being fully aware that Ram has arrived to slay him. As an ardent devotee of Shiva and the only Brahmin scholar in Lanka, Raavan officiates the ceremony, tying a holy thread to Ram바카라s wrist and granting him the auspicious moment to start the war, marking the arrival of his own death. He reminisces about his passion for music and his invention, the Rudra Veena, that he devised to please Lord Shiva. The melodies drawn from the veena remind him of his courtship with Mandodari, a nymph cursed to live as a frog until he kissed her. He also thinks of his sister Shurpanakha, now disfigured and humiliated, and the pain that fuelled his vow for vengeance against the humiliation.
In Hindu mythology, Raavan is killed annually on Vijayadashmi or Dussehra, symbolising the triumph of good over evil. Traditionally portrayed as a villain in Tulsidas바카라s Ramayana and Ramanand Sagar바카라s popular televised version of the epic, he is often overshadowed by Ram바카라s calm elegance. However, Rao바카라s performance au contraire offers a fresh perspective, introducing Sundar Raavan바카라a handsome, majestic, noble king. With a beatific smile and powerful, controlled dance moves, Rao brings to life a multifaceted Raavan, as a learned scholar, musician, lover and warrior.
바카라Ram became a God after killing Raavan. If there was no Raavan, there would be no Ram,바카라 says Rao with a twinkle in his eye, while explaining the philosophy behind the play.
Inspired by Yakshagana folk theatre, which he began performing at the age of four in Karnataka바카라s Hubli district, Rao, alongside scriptwriter Keerthi Kumar, presents a captivating interpretation of Raavan as a young, valorous yet flawed hero. Yakshagana, originating around the 15th century among farming communities in Karnataka and Andhra Pradesh, combines song, classical dance, costumes and improvised dialogue. Traditionally performed from November to May, these nightlong shows depict various episodes from the Ramayana, Mahabharata and other mythologies.
Rao has always been fascinated by Raavan바카라s character, which has lingered in his mind since childhood, drawn by the large headgear, colourful makeup and elaborate costume. 바카라I used to imagine how a man could walk with 10 heads,바카라 says Rao. It was only later that his mother and grandmothers revealed the mystery, explaining that the 10 heads are figurative, symbolising the diverse traits of 10 individuals within a single body.
바카라He had a multifaceted personality and had several great qualities. He was not just an evil demon, who abducted Sita. He was a master in all the 72 art forms; he was a physician and knew about medicine. The various perspectives in scriptures and folk tales have shaped our thoughts in bringing this production on stage,바카라 adds Kumar.
Yakshagana scholars emphasise that performers of the folk art recreate stories rather than simply translating them into literary forms of stories and songs. This approach leads to new, more intriguing interpretations of characters like Raavan, Shurpanakha, Vaali, Kamsa and Duryodhana, typically seen as wicked. In Yakshagana, these figures are depicted as flawed humans facing curses, often portrayed as pratinayaks or anti-heroes. In their narratives, Raavan often emerges as a feminist and champion of the downtrodden, while Shurpanakha advocates for women바카라s liberation and Vaali is celebrated as the protector of forests.
바카라Yakshagana is a dynamic form of a living theatre. Here, actors have the liberty to establish a character with intelligence through debate and narration,바카라 says veteran artist and scholar Malpe Laxminarayana Samaga. 바카라This allows actors to impersonate characters with intelligence and minds of their own, including the ones with negative aspects.바카라
In Yakshagana, characters from the Mahabharata and Ramayana are portrayed in nuanced shades, reflecting satvic, rajasik and tamsik gunas (pure, energetic and vengeful values). Some exhibit more goodness than evil, while others embody a worldly or spiritual perspective, according to Kumar. Demons and asuras are seen not as purely evil, but as cursed souls repenting for past misdeeds.
This tradition of depicting anti-heroes incorporates virodh bhakti or something that challenges the hero바카라s inherent divinity. Notably, Raavan experiences a moment of divine revelation on the battlefield when Ram reveals his true form as Vishnu. At this pivotal moment, Raavan bows in reverence to Vishnu바카라s Vishvaroopa, acknowledging the divine grace, yet chooses to fight when Ram returns to his human form.
바카라Ultimately, the picture we get is that Raavan is not completely wicked. Yakshagana, like Shakespearean literature, port rays characters with a little bit of goodness and wickedness. No human is completely bad or good,바카라 says Samaga.
He further surmises that philosophically, Yakshagana showcases the large-heartedness and open thinking prevalent in Indian mythology, which pushes us to look for goodness even in the most evil people. 바카라After watching Yakshagana performance, the narration makes many people reconsider Raavan as a hero,바카라 he says with a smile.
At the end of Rao바카라s spellbinding performance, the audience remains seated, eagerly anticipating the revelation about the 11th head. A moment of epiphany strikes the theatre as Rao and Kumar reveal that the 11th head represents 바카라Raavan바카라s inner conscience바카라. Through this head, the protagonist articulates his actions and justifies his decision to confront Ram, leaving the audience in awe.
Could it be that Raavan abducts Sita not out of lust but to lure Ram to Lanka, fully aware that his death is destined at Ram바카라s hands? The murmurs in the audience spark various interpretations. And yet, there is one particularly loud confession from the audience, which is met with thunderous applause. It is a voice that confesses: 바카라It has made us respect Raavan.바카라
