80 dancers perform this drama(read the detailed description here) with a rare subject dealing with Bhakthi, Sringara and Siksha. Our mythology mentions that other than Ishwara (Lord) the Siva, there are few others who have gained the title of “Ishwara”. The demon king Ravana, the ruler of Lanka, also receives the title. What makes this villainous character to be addressed as ‘Ishwara’?
All Ravana’s acts exemplify his Rakshasa descent, and cannot be judged by the then moral standards applicable to normal human beings. Yet we approach him as our fellow being. We praise him high for his deepest devotion for Lord Siva, valour and his tremendous knowledge of music. At the same time, we blame his rivalry with Lord Vishnu and all his deceitful deeds done against Rama. Through the time, it is made clear that we the humans seemed to have forgotten that Ravana was a great Rakshasa and started evaluating his character as if he was one of us.
He is handsome, an obedient son to his mother, he is valiant, he is one of the best devotees of Siva, an incomparable musicologist, a romantic lover, powerful figure of the three worlds - thus we see all the desired qualities of a Hero in him. We point out that though being one of the favourite devotees of Siva, Ravana’s nature drove him to start his downfall by being indifferent to Vaishnavites and casting his eyes on other women. Eventually, Ravana achieves “Saayujya” in the hands of Rama.
Faturing the scenes from Kailasagiri, the abode of Lord Siva filled
with joy on witnessing the diving dance of Shakthi and Shiva, till the
reunion of Parvathy with Parameshwaran in marriage. The dancers enact the scenes like Dhakshayaini's anger, her avatar as
a daughter Parvathy to Himavan and Menai, the kings and queen of
Himalayas. The spectators see the destruction by fire and
resurrection of Kama, the encounter between Kamadhahanam, Siva's
disguise as an old Brahmin, and Parvathy. This classical Indian dance ballet depicts
Parvathy's severe penance to marry Lord Siva, the great and grand
Mappillai Oorvalam, the grandeur of the marriage of Parvathy and Siva. The lyrics by Sri Kaasal Mathi, the music by Sri Bala Balabharathy. This Bharatanatyam-based ballet was choreographed and performed for different number of dancers.
This traditional Indian dancedance drama brings our the essence of “Balakandam” of the epic Ramayanam. The heroic activities of the child Sri Rama, who was considered to be Beyond MahaPurusha, the embodiment of Kshatriya are highlighted. The story unfolds thePutra Kameshi Yagna – to beget a son - performed by Dasartha, the king of Ayodhya . Lord Mahavishnu's incarnation as Sri Rama, the joyous celebration of the birth of prince by the natives, the Gurukula initiation of Sri Rama with his three brothers are some of the episodes.
Brahmarishi Vishwamithra's request to send Sri Rama the beloved son of Dasaratha and the pangs of separation felt by the king touch the heart of everyone else.
Journey through the forest by the tree sages, Sri Rama and Lakshmana, Manthropadhesam, the destination of the demoness Thataka, the protection of the sages sacrifice, Ahalya Chapa Vimochanam are the scintillating scenes enacted. Sri Rama's marriage with Sita Devi, the daughter of King Janaka in all its grandeur is the feast for eyes and ears.
Lyrics: Sri Kadhal Madhi
Music Direction: Sri. Balabharathi
Twenty-two students of Sridevi Nrithyalaya led by their Guru Smt. Sheela Unnikrishann performed Balaramayanam at the Rashtrapathi
Bhavan in the presence of our President Dr. A.P.J Abdul Kalam on 3 August 2005 in New Delhi .
The programme commenced at 2 pm. The President thoroughly enjoyed the dance drama and praised the choreography. He congratulated all the participants for their excellent performance. “For all of us, those were some of the most memorable moments in our lives,” says Sheela Unnikrishnan.
The famous song Jayam Pugazhum punya kathai from the film Lava Kusa is was chosen to present the Mahakavyam “Ramayanam” in a nutshell- as a Bharathanatyam-based dance ballet/ dance drama. The twin sons of Sri Rama, described the various incidents and miracles that happened in the life of Sri Rama. The mellifluous music and the choreography enthrall the art lovers.(see the video clip)
The personification of Sixteen Bheeja Manthras as Sri Maha Shodasi – the ultimate Shakti with her Upanga Devathas in her Darbar symbolizing various powers and the execution of their duties, the value of goodness over evil forces, the benefits one begets, when his goddess is worshipped – and the simplified version of light concept Sri Vidhya are presented in the form of a Bharatnatyam-based dance ballet. (see the video clip)
The life history of this Yogin is being narrated in the form of a story song and presented as a Bharatanatyam-based dance drama. The innate desire to overcome the Samsara Bhandha, the struggles, he encountered, the power of Nama Smaranam and the eternal love of his devotees, are some of the scenes which fixed place in the production.
