The rise of Ravana

Recently, a Kathakali performance in Thiruvananthapuram began with an elaborate debut of valiya (full size) Ravana in ‘kurum kathi’ make-up, with all traditional paraphernalia such as a colourful canopy above and two hand-held decorative fans on both sides of his face. His multiple roars filled the gaps during the percussion and reverberated in the auditorium.

What followed was Ravana’s ‘thantetaattam’ (literally, a dance revealing his self-confidence), which delineated his indefatigable self-esteem and placed him on a par with valiant heroes in the universe.

“I feel deeply gratified, especially on account of the unique boons I received from Brahma, the creator. I did not beg for them; I earned them through my incomparable valour, evident even in the penance I undertook to propitiate him,” says Ravana during his soliloquy.

He recalls how during his stay in Madhuvan, he was enjoying a pleasant nap on his mother’s lap when he was woken up by her tears that fell on his face and chest. The cause of her agony was Ravana’s weakness in comparison with the enviable affluence of her co-wife’s son Vaisravana, renowned as the richest in the world. She saw him traversing the skies pompously in his air-craft.

“I consoled her with a solemn vow that I would better him in every respect. Then I proceeded to Gokarnam, along with my younger brothers Kumbhakarna and Vibhishana to undertake the most arduous penance to acquire unparalleled strength through the blessings of Brahma,” continues Ravana.

Thereafter, Ravana’s reminiscence merged with experience, which became indistinguishable from his thinking.

The recital portrays 10-headed Ravana’s arduous penance and how he cuts off his heads, one by one, to propitiate Brahma.

Finally, when he is about to cut off his remaining head too, Brahma appears before Ravana and grants him the boons that makes him invincible to everyone other than a human being.

Subsequently, he learns that Kumbhakarna and Vibhishana had, in his opinion, wasted their lives by earning, respectively, unquenchable sleep and complete devotion to Vishnu, his arch-enemy. Undaunted, Ravana then makes up his mind to fight it all alone and bring to his clan enviable glory.

Ravana in ‘Udbhavam’ (short form in Kathakali parlance for the episode Ravanodbhavam, penned by Kallekkulangara Raghava Pisharoty) thus brings to light milestones in the making of the mighty King Ravana.

On the Kathakali stage, it is, unquestionably, the role that needs a great deal of stamina on the part of the actor as well as the percussionists. Ravanodbhavam is therefore slated for staging only if a consummate thespian is available to don the role and excellent orchestral support can be assured.

It is in this context that the portrayal of Ravana’s penance by a young artiste like Arjun Subrahmanyan is to be evaluated. Arjun’s presentation was flawless on account of his diligence and perseverance.

Arunjith and Prabin, alumni of Kalamandalam, essayed the roles of Kumbhakarna and Vibhishana respectively. Connoisseurs felt that Arunjith could have injected some humour into the context by means of his hard-earned boon of insatiable sleep.

Margi Nandakumar, ably supported by Kalamandalam Baiju, filled the few quatrains and padams relevant to the recital with the necessary vigour.

Kalamandalam Krishnadas and Margi Ravindran, lead percussionists, were carefully supported during the portion dealing with the penance by Kalanilayam Sayi Krishnan and Sadanam Krishnaprasad respectively. The percussion-unison (‘melam’) that rose to its crescendo during all the four stages of period of time (‘kaalam’) kept the aficionados spellbound.

The chenda, played dexterously by Margi Krishnadas, was in sync with every movement of Ravana’s limbs, including his piercing eyes, and even with several flashes of his thought. Margi Ravindran complemented the robust sound of the chenda.

The programme was held under the aegis of Drisyavedi.