Brahma Gana Sabha witnessed the premiere of “Sri Ram Mādhurya” on 3 January this year, during their Marghazi Dance Festival. This groundbreaking production seamlessly blended the classical traditions of Kathak and Carnatic music with literature in various languages, exploring the nuanced emotions of love between Ram and Sita.

Sunil Sunkara, a Kathak artist and scholar, recipient of the Bismillah Khan Yuva Puraskar by the Sangeet Natak Akademi, led the performance. Known for his extensive research on the temple traditions of dance in India, Sunil has earned the Nritya Nipun from Bhatkhande Sangit Vidyapith, Lucknow, and an MA in Kathak (awarded the Acharya Parvatikumar Gold Medal) from Kavikulaguru Kalidas Sanskrit University, Ramtek. Trained under Gurus Renu Sharma, Saswati Sen, and the legendary Pt Birju Maharaj at Kalashram, Sunil is currently pursuing his PhD at the Sri Sri Centre for Advanced Research in Kathak under Puru Dadheech and Vibha Dadheech. As the Dance Academic Head of the World Forum for Art and Culture (WFAC), under the aegis of Gurudev Sri Sri Ravi Shankar ji, Sunil is celebrated for his storytelling prowess in Kathak, where he revives lesser-known characters and narratives.

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Collaborating with Sunil was Vanitha Suresh, a renowned musician, educator, and arts promoter from the USA. A disciple of Sangeet Samrat Chitravina N Ravikiran and Acharya Pitaamaha Chitravina Narasimhan, Vanitha has performed extensively in India and abroad. She is the founding director of SciArt Services, Melharmony Foundation, and Arohana Arts Academy, and is known for curating interdisciplinary collaborations and ensemble events.

Exploring Ram Mādhurya Bhakti

Between the 5th and 15th centuries CE, the development of Ram Mādhurya Bhakti literature coincided with the evolution of Kathak traditions. Historical references, such as the kuśīlavas in the Ramayana and the charans described by Sarangadeva in the 12th-century treatise Sangeet Ratnakara, point to the enduring role of the Kathik community. This tradition follows the dictum: “Katha Kare So Kathik Kahave”—one who performs a story through singing, dancing, rhythm, and narration is a Kathak artist.

Puru Dadheech, an eminent Kathak scholar, highlights the extensive literary corpus of Ram Mādhurya Bhakti as a testament to its deep resonance within the Kathak tradition. While the Krishnaite rasik tradition has been widely studied, the equally rich rasik devotion to Ram and Sita, centered on their intimate relationship, remains relatively underexplored. Sunil’s ongoing research delves into these facets, which were uniquely reflected in this presentation.

Performance highlights

Dharma defines their love

The presentation opened with an invocation to SitaRam through a stotra believed to be written by Hanuman himself—Ayodhyā pura netāraṃ mithilā pura nāyikām. Sunil portrayed Hanuman’s devotion as he imagines Sita and Ram in his heart, offering sandalpaste to Ram and kumkum to Sita, before composing the stotra. Sunil explained how Mādhurya Bhakti for Ram and Sita is always framed by their larger dharma. Their love was never self-centered but was rooted in a shared mission, even during prolonged separations. Vanitha’s composition, blending ragas like Nattai, Arabhi, Gowla, Hamsanadam, Sahana and Shree, beautifully supported this narrative.

An infinite glance

The second segment featured a Tamil Pada Varnam in Raag Kalyani, written and composed by Chitraveena Ravikiran. It depicted Ram and Sita’s first meeting in the Pushpa Vatika, where their eyes conveyed lifetimes of love. Sunil’s abhinaya (expressive storytelling) brought to life the poetic dialogues: Kan Shollum Kadai Ariyayo (Ram’s eyes speak a thousand verses) and Nayana Kaviyame Oviyame (Sita’s eyes are the most beautiful poem ever written). Vanitha, along with the Pathangi Brothers (vocals), Sanjay Suresh (violin), Nandan Kashyap (mridangam) and Sarvajit Krishna Mohan (tabla), created a richly textured musical landscape.

Virah: A poignant separation

The emotional centerpiece explored the pangs of separation. Sita, seated in the Ashok Vatika, reminisced about her youth in Thyagaraja’s iconic Telugu composition, Chinna Nade Na Cheyi Pattitive (Raag Kalanidhi). The scene transitioned into a dream sequence, portraying Sita’s wedding, with joyful songs like Sita Kalyanam Vaibhogame and Anandam Anandam Anandame. Sunil engaged the audience by distributing flowers and akshata, recreating a wedding atmosphere.

This joy abruptly ended as Sita awakened, drenched in tears. The narrative shifted to Ram in Ayodhya, searching for Sita in the forest, brought to life by Tulsidas’s Hey Khaga, Mrig, Hey Madhukar Shreni. The poignant moment concluded with Luv and Kush reminding Ram of Sita’s indispensable role in his success through Thyagaraja’s Ma Janaki Cetta Battaga Maharaja Vaitivi.

Jhoola: A joyous finale

The presentation concluded with a vibrant Jhoola, celebrating the Sawan Jhoola Utsav of Ayodhya. Sunil performed a composition by Uma Trigunayat—Jhoolan Mein Piya Jhoole, Sukumari Siya Jhoole—set in Raag Desh, bringing the evening to a climactic close with intricate footwork and spinning pirouettes. His final portrayal of the Jhoola through subtle eye movements left the audience spellbound.

A mesmerising experience

“Sri Ram Mādhurya” was a masterful synthesis of dance, music and literature. Sunil’s innovative choreography and Vanitha’s musical brilliance offered a profound exploration of Ram and Sita’s divine love. This production was not merely a performance but a deeply spiritual experience that resonated with the audience, leaving them with joyful smiles.

The writer is a noted young dance scholar and impresario

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