Anuradha Ramkumar’s majestic production nets $25,000 for Sri Venkateshwara Temple
Venkat Raman
Auckland, November 1, 2024
The students of Nrithya Abhinaya School of Dance (aka Anuradha’s School of Indian Dances) excelled themselves, gratifying their Guru Anuradha (Anu) Ramkumar, an audience-packed Dorothy Winstone Centre at Auckland’s Girls Grammar School and a few thousand parents, friends, elders and well-wishers at Ayodhya Rama on October 26, 2024.
There was never a dull moment in the four-hour dance drama (including speeches and an auction) that was staged to raise funds for the proposed Temple of Lord Venkateshwara (an Avatar of Vishnu) on the outskirts of South Auckland. Anu exceeded her self-assigned target of $20,000.
Donating the entire proceeds (after production costs) – $20,101 and $4500 raised through the auction of a hand-painted portrait of the Lord, she rekindled the magnanimity of our people in communities who have pledged their support to Indra and Manasa Sirigiri, the principle promoters of the Project and the Trustee of the Temple.
The Resource Consent Process, which is now in its final stage, is expected to be completed next month, following which various activities will follow as per the wishes of our people.
Ayodhya Rama reinstated one indubitable fact: Despite prevarications, the rise of militancy and intolerance, Dharma will prevail. It also brought home the fact that the bounty of local talent, if harnessed appropriately, can elevate art and extol our time-honoured scriptures and epics.
Ramayanam (Ramayan) brings home the significance of performing one’s duty towards parents, fostering fraternal love, ensuring equity and equality, dedication to one’s spouse, unfettered life in exile, crafting strategic relationships, fighting injustice and deliverance from evil.
Two versions of the Grand Epic are authenticated by time- Valmiki Ramayan written by the Sage who lived during the time of Lord Rama and Goddess Sita (an Incarnation of Goddess Lakshmi) and observed their life and times (about 7000 years BCE). According to texts, Lord Rama was born on January 10 but His Birthday is marked as Sri Rama Navami in the Hindu month of Chaitra which occurs between March and April. The reason for this anomaly is the concept of ‘Precision of Equinox,’ where one day is adjusted every 72 years. Therefore, over 7200 years, the difference equates to 100 days between January 10 and April 15.
Abhishek Ravi as Lord Rama
Twenty-one-year-old Abhishek Ravi personified the Maryada Purshottam, an exclusive title accorded to Lord Rama. Reviewing his Arangetram (under the tutelage of Anu) on May 6, 2017 (at the same venue), we had said that born and raised in a family dedicated to human traits of compassion, friendship, social networking and religious fervour, Abhishek would go far in dancing if he chose it as his career.
Seven years on, we are gratified that the young man has graduated into several formats of dancing including versions of Broadway, Jazz, Contemporary and Hip Hop. The energy that he exudes as a Bharata Natyam dancer is apparent and almost contagious. His calibre as an artist who can elevate and levitate should be seen to be believed.
Abhishek was the star of the evening with his ability to evoke love, grace, sympathy, valour, and discipline among his brothers and later Lord Hanuman and the Vanara Sena (army of monkeys). Scene after scene, he was seen recapitulating the life and emotions of the Maryada Purshottam. Ayodhya Rama was in essence the evolution of Abhishek and if he was expected to excel in his own performances, he did not disappoint.
For a young man who is at sea the best part of the year (he entertains in cruise liners), landing the lead role of Lord Rama was propitious; in fact, there was no dispute.
The morning after, seated in an aircraft that took him to Sydney in preparation for his December to-December sail through the waters of Japan, Southeast Asia, and South Korea, he sent us a note:
“It was a wholesome and challenging experience to learn and perform the Ramayana in a ten-day timeframe. Being in the presence of my Guru (Anu) again meant the world to me, and coming home to be a part of a selfless project for a greater cause was an absolute joy. Dancing for my family and friends, as well as dancing with my dearest classmates was a full-circle moment. I cannot wait for the day that all the students who performed for this cause get to set foot into the Venkateshwara Temple upon completion knowing that we were able to give a part of ourselves to its process.”
Kavya Itla as Goddess Sita
Sita is a name that is mentioned almost subconsciously after Rama, for such was the devotion that he was the epitome of conjugal loyalty, pledging to the life of an Eka Patni Rama.
Kavya Itla, who performed the role of Sita to near-perfection, was diffident when Anu assigned her the role since the first-year student pursuing a Bachelor’s degree in Architecture at the University of Auckland was anxious about the looming examination.
But she realised that it was a boon.
“I was blessed to perform the role of Sita and being featured with Abhishek Ravi as Ayodhya Rama took the show to a higher level. I feel extremely fortunate to be trained and featured by my Guru Anuradha Ramkumar in a major production. It was an educative experience and I had a mix of emotions as the rehearsals progressed. I believe that all of us did our best to make it a memorable experience,” she said.
If Sita was a bundle of emotions, Kavya lived through all of them on stage. Her performance as the bride getting married to Lord Rama was one such- exalted with the knot tied by the Maryada Purushottam and the sadness of having to leave her parental home or perhaps the uncertainty that the future brings with it.
We have seen Kavya graduate and blossom as a performer par excellence.
Salomia Joby as Soorpanaka
Salomia Joby, who is a University of Auckland student (Second Year Computer Systems Engineer) was as delightful (not disgusting) as Soorpanaka (Shurpanakha), the sister of Sri Lankan King Ravana, one of the greatest devotees of Lord Shiva and adversary of Lord Vishnu.
Kamba Ramayanam describes Soorpanaka as a lovelorn and beautiful woman, contrary to Sage Valmiki who portrayed her as an ugly person with fingernails like winnowing fans. A not-so-popular version is that she was avenging the death of her husband Vidyutjihva, a Danava Prince killed by Ravana.
Anu’s competence as a Casting Director transcends religions and faiths and hence Salomia was seen as a correspondre parfait for Soorpanaka.
“I have been a student of Anuradha’s School of Indian Dances for the past six years and Ms Ramkumar is an epitome of an ideal Guru. The thought that I was being assigned a negative role did occur but my concern was to do justice. I have participated in the earlier productions of my Guru including Bha Ra Tha (staged on July 20 and July 21, 2024 at the same venue) and my confidence received a boost under her training and encouragement. I have learnt several dance formats including Bharata Natyam and Mohini Attam (under Anu) and hence felt very motivated. Not being a Hindu is no barrier to participating in the Great Epic of Ramayanam,” she said.
Salomia said that her mother (Shalini Joby), a trained dancer in her native Kerala and her father were a source of encouragement.
Shreshtha Maiti as Lord Hanuman
Sundara Kandam, the Fifth Book is the only section in Ramayanam in which Lord Rama is not the hero. That privilege is accorded to Lord Hanuman who personified devotion, strength and rectitude. Shreshtha Maiti, who performed the role, instantly became a source of admiration to the audience and was at one instance the most obedient servant of Lord Rama and at another a daring warrior capable of destroying an entire army.
Shreshtha, who works at a commercial bank, is no stranger to Anu or the stage. She was Baby Krishna in the 2008 production, Baby Hanuman in 2010, Karna and Shakuni in 2021 and was featured in Bha Ra Tha in July this year.
“Performing the role of Lord Hanuman in Ayodhya Rama was completing a full circle. The character and charisma of Lord Hanuman were empowering and Ms Ramkumar’s choreography and direction enhanced my strength,” she said.
Jey Ramamoorthy as Sabari
Writing on her Facebook Page, Jey Ramamoorthy, who moved many to tears in her role as Sabari, an elderly woman ascetic, known for her ardent devotion to Lord Rama, describes the Satvika Abhinaya employed by Anu.
“Satvika Abhinaya is one of the four essential types of expression in Classical Indian dance and drama, particularly in Bharata Natyam and other traditional forms. Rooted in conveying deep emotions, this is the art of expressing inner feelings and subtle emotions through facial expressions, breath control, and body language. This form goes beyond words and movements, aiming to bring out the actor or dancer’s internal, spiritual connection with the role. It is considered the most refined form of Abhinaya, as it embodies the essence of Bhava (emotion) and Rasa (mood) to deeply resonate with the audience. I am fortunate to explore this form with the guidance of my Guru,” she said.
Hananya Ravichandar as Ravana
Tweenager Hananya Ravichandar gave a convincing performance as Ravana. Her keenness to learn the art of Bharata Natyam and other dance forms taught by Anu has earned a free scholarship from the Anuradha School of Indian Dances.
“She is a highly dedicated student who deserves every encouragement. I hope that she will continue her career as a classical dancer,” Anu said.
Many other students contributed to the success of Ayodhya Rama. Notable among them were Sushma Kuncha, Hiral Pusarla and Yashini Kumar (who performed the role of Lakshmana).
Painting Auction
Among the hights of the evening was a sketch of Lord Venkateswara that Jey Ramamoorthy created within the recitation of an Annamacharya composition. Moments later, her hand-painted colourful portrait of the Lord with Open Eyes was auctioned. Priya Sreenivasan, who conducted the auction, skilfully carried the first bid of $101 to the final offer of $4500. That amount, along with $ $20,101, presented by Anu to Mr and Mrs Sirigiri, was the crowning moment of Ayodhya Rama.
With this dance production, Anu raised the bar of her School along with that of the Sirigiri couple and the Trustees of Sri Venkateshwara Devasthanam.
As they await the auspicious moment of Temple construction, students and admirers of Anuradha School of Dance can expect another major presentation by Anu next year.
All photographs appearing here are by Ramaseshan Thirumalai and Vikas Devarakonda
