Convinced that the life history of Ramana Maharishi cannot be covered in a single production, sisters Sarada and Ambika (Dr. Kameshwar) have embarked on a seven-part series on the subject on the lines of Ramayana and Bhagavata Saptaham. The result is ‘Arunachala Ramana – Bala Kandam – the Story of Ramana, an inner journey into Ramana’s life – Part I’ produced by RASA (Ramana Sunritya Alaya Trust), Chennai, headed by Dr. Ambika Kameshwar and RMCL (Ramana Maharishi Centre for Learning, Bangalore). Bhagawan Ramana has been a recurring theme of RASA for the past 36 years, accounting for 125 productions. The first one was in 1982 “Ramana Evening” by RMCL.
The play began with a family visiting Tirucchuzhi Kshetra, “paadal petra sthalam” as Sundaramoorthy Nayanar had visited and sung on the Lord — this was enacted during the course of the play — and a local lady narrating the glory of the Kshetra and the temple of Bhoominatha. It gains importance also as the birth place of Bhagawan Ramana Maharishi. The Sthalapurana is depicted in the background through dance and music showing the dancing Siva and how he arrested a deluge and let it into the temple tank.
At a later point, a link to the Ramayana was shown. Sage Gowthama, after cursing Ahalya, who calls him a senseless sage, wanders around with a disturbed mind; he goes to Chidambaram to witness the dance of Siva but is told to go to Tirucchuzhi; in the meantime Ahalya’s curse has been removed by the touch of Rama’s feet and they both go to Tirucchuzhi and watch Siva’s dance on Arudradarisanam (Thiruvadirai) day. Another link was to the birth of Venkataraman — Ramana as called by his father’s Telugu speaking friend. Ramana was born to Sundaram and Azhagammal on star Punarvasu, also the star of Lord Rama, at the moment when Nataraja enters after the dance on Thiruvadirai.
Chided by his father for being mischievous, young Ramana runs into the temple to hide. The audience gets a taste of philosophy as goddess Sahayaambal narrates how everything emerges from light, that has a connection with Ramana. A woman present at the birth of Ramana claimed that she saw a bright ray of light at that moment. His mother often said that she felt like a fire burning in her womb when she was carrying him. These find references in the dance drama.
Even as a toddler and as a young boy, Ramana proved that he was different from others. For instance, towards the end of the play, a lady initiates Azhagammal into the chant of “Aham Brahmasmi.” While she is meditating with that chant, young Ramana sits next to her and chants along. He even mentions the Advaita philosophy playfully, leaving the mother wondering how he knew it at the tender age.
Ramana’s father Sundaram was considered to be an embodiment of knowledge and charity (Dharma). He was so respected that his house is known as ‘Sundaramandiram. In the play, when the time comes for him to pass away, Dharmaraja (Yama) himself appears and Sundaram merges into Him. After the funeral, Ramana wonders why his father did not feel the pain when burning... was the body really his father’s... leading him to start asking himself, “Who am I?”
Most of the story and philosophy were perceived through music and dance. The narrative interludes of philosophy point to Maya or illusion and the Advaita principle of the Paramatma being within the Jeevatma.
A well-mounted production, it could be a little more compact. The costume and stage settings were praiseworthy. The lip sync for the pre-recorded music as well as speech was commendable, but for occasional lapses. The voices for various characters sounded rather similar. The ending had a nice touch with the entire cast sitting and chanting Bhagawan Ramana’s name. Sarada played the role of the lady, who takes the group to Tirucchizhi, the blind woman and Dharmaraja. Ambika was Goddess Sahayambal and Azhagamma. Both and the other actors, including the toddlers, were quite convincing.
Resource material
Information had been sourced from books such as Tirucchuzhi Mahatmyam by Viswanatha Swami, Timeless in Time by A.R. Natarajan, Self Realisation by B.V. Narasimha Swami, Ramana Leela by Krishna Bhikshu and Mother Azhagamma by G. Kameshwar. The cast comprised actors from RMCL and Arpita (Academy for Research and Performance of Indian Theatre Arts), a wing of RASA. Music was sourced from the archives of Ramananjali, composers being Sulochana Natarajan, K.S. Raghunathan, Dr. Rajkumar Bharathi and Dr. Ambika Kamaeshwar. The songs were by Sundaramoorthy Nayanar, Ramana Maharishi himself and a few others including Sarada and Ambika. The script was by Sarada, the concept, direction and presentation by both the sisters.
