When we think of the Indian mythological epic of Ramayana, we often direct our likeness to the headline characters of Rama, Sita, Lakshmana whose experiences guide us through many values and lessons. But for Chennai-based Indian classical danseuse Sandhya Rajkumar, who is currently in New York, Urmila’s character and tale have set some precedents that resonated with her personally. Thus rises the creation of the natya-drama Urmilayanam — Ramayana in the eyes of Urmila. Ahead of her show in Chennai, we speak with the immensely qualified bharathanatyam dancer, who has directed the project and is essaying the role of the titular character.
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What urged you to take this story up?
Urmilayanam is based on a book called Urmila — Mouna Sudar. A Tamil poem was written by PV Rajakumar in the year 1996. He is a great novelist, poet, and translator who primarily writes in Tamil and English. He has been publishing short stories on women from epic novels depicting the story through their eyes which fascinated me to research Urmila and translate it into a natya-drama. I chose his book as the lyrical base of the natya-drama which was then made into a musical composition by Mullaivasal Chandra Mouli.
What is Urmila’s most striking feature?
Urmila is a royal princess of Mithila, known for her courageous and smart nature, who was overshadowed by her adopted sister Sita; known for her divine and calm characteristics; who ultimately became the queen of Ayodhya. Urmila is a great painter, a skilled fighter, and an opinionated princess. She was a feminist who questioned any political aspect which was against justice for a woman. Her bold nature aided her to dedicate her life to the kingdom and help Bharat rule the country while Rama, Sita, and Lakshmana were in exile. Urmila’s love towards Lakshmana is beyond any love story we have read in novels. As I read the poem, I was very surprised by how a strong character was overlooked in Ramayana. She was at the core which held Ayodhya together when the mighty king and queen were away and I really wanted to showcase her perspective.
What are the nuances of adapting a book into an Indian classical natya-drama?
It is honestly a difficult process as the book was elaborate on showcasing her lifestyle, agony, and separation. To present it in a 90-minute performance with so many other characters in the frame seemed challenging. But Rajakumar gave me ideation of how it can be put more precisely to deliver the story on a happier note, as well as adding the intensity of sorrow involved in her life. His words flow beautifully in Tamil describing the love she had for Lakshmana and the agony she went through in the separation. It helpedme conceptualise her emotions.
Were there any notes that you and Chandra Mouli exchanged around the music?
Being one of the well-known Carnatic violinists and music directors in town, the music for the project has been well made by him. I required a rowdra piece in between to showcase the emotions of Urmila as written in the book. That was enabled in the soul-stirring composition by using mridangam, percussions, and violin. He has depicted the emotions with his music to be lucid for the audience.
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How has your expertise in the bharathanatyam dance form allowed you to choreograph this project further?
I have been learning bharathanatyam since the age of four, and I have performed in several reformed sabhas and festivals under my guru AG Narthana and Dr Sumathi. As a 25-year-old, I am a newbie in the industry to work on such a massive project with an experienced crew. I took up this project with the encouragement I received from my family and guru.
Entry free. July 30. 6 pm.
At Bharatiya Vidya Bhavan, Mylapore