On the auspicious culmination of Chaitra Navratri in Ram Navami, celebrated dancer and Padmashree awardee Shovana Narayan, along with 19 members of her repertory ASAVARI, presented a special dance performance titled “RAM AAGAMAN” on Tuesday, April 9th, 2024 at Kamani Auditorium, Copernicus Marg, New Delhi
This event was held in association with Dr. Smita Srivastav (Chairperson “CONFLUENCE”), Co-Curator “Bharat Mahotsav” and Dr. Palka Grover (President, New Delhi Social Workers’ Association) and showcased the time span beginning with Shri Ram’s birth to Sita’s disappearance in the womb of Mother Earth. Initial opening announcement was done by Simran, an actress who had specially flown here to be part of the evening and rest of the announcements were done by Sadhna Shrivastav.
Decorated by the presence of luminaries, Hon’ble Smt. Sangita Saxena (First Lady of Delhi – wife, Lt Gov of Delhi – Minister of State), Hon’ble Smt. Meenakshi Lekhi (Ministry of Culture, Govt of India), Dr Sachchidanand Joshi (Member Secretary, IGNCA Chairperson) and Dr. Sandhya Purecha (Sangeet Natak Akademi) amongst others, the production delved into depths integrating cultural geography and visual arts through deep conversation on the topics: “Following the Footsteps of Sri Ram in Punjab” by Lady Kishwar Desai and “Darshan of Sri Ram in Hand-Held Paintings” by Dr. Alka Pande, where she states, “Sri Ram epitomises Bhakti, on thinking deeply about Ram Agaman I wanted to deconstruct Ram in today’s context – a pillar of righteousness. The DARSHAN of Sri Ram in Hand-Held paintings, embodies the experience of ‘Seeing’ which is in itself part of Bhakti, it is a deep connection that is created between the deity and devotee, an inner pilgrimage and also a beautiful way to liberation. As a symbol of devotion in that Darshan Universe, Ram’s unshakeable dedication to duty, truth and morality stand as pillars of Hinduism as a religion.”
As Lady Kishwar took the audience through the path taken by Sri Ram in Punjab and beyond, she made insightful remarks as, “We don’t normally connect Shri Ram or his journey with Punjab however if you trace your way back to when India was larger than what it is, you see references coming from Punjab before it was divided, made to Valmiki, Shri Ram and Sita, very much to Bharat, Luv & Kush and most importantly Kekayi who belonged to this part of the land.”
She further added, “Thousands of years ago people of Punjab were worshippers of the Sun God and were familiar with the rites and rituals of the Surya Vanshis and with landscape changing so drastically due to the partition you see references and temples as old as 1200 years that were built on the paths they took during the exile, still existing in Lahore, Multan and Sindh which are now in Pakistan.”
With its unique treatment and point of view, “RAM AAGAMAN” focused on less familiar incidents in Ram’s life: such as Ram’s intense prayer to Goddess Durga for victory in the battle at Lanka and his offering of one of his ‘lotus eyes’ to her; effect of his arrival on step-brother Bharat and his wife Mandvi who had ruled undisturbed for 14 years even though as ‘regent’ and on the common citizen.
Gratified with her rendition of the arrival of Lord Ram, the Prince of Ayodhya, Guru Shovana Narayan remarked, “The production is differently treated and centres on the effect Lord Ram’s arrival had on people: such as on Sita, maid Manthra, step-mother Kaikeyi, brother Bharat, on Ravana, the King of Lanka and on the washerman of his kingdom. His arrival stirred up series of emotions, whereby the absence or the presence of ‘Ramatva’ (noble, sense of duty and accountability) became evident. I am certain that our rendition of Sri Ram through various emotions will give some food for thought to the audiences.”
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