Program 3 : Poetry and the Ramayana Participants: Arshia Sattar, Adishakti , Chhanda Shastra expert Sampanda Mishra, Sama Vedic Chanting Tolkapiyam expert MD Muthukumarswamy , Supriya Gandhi scholar of Islam and Koran poetry at Harved University , Contemporary Poet Jeet Thayil, Hindi Poet Shardhalu Ranade Gopal Sharman and his Ramayana for Dramatic Poetic text, Actor Alakanda Smarath/ Patsy Rodernberg for Performance of Heightened Verse{Shakespeare} Alok Bhalla Translator of heightened verse for the stage Ruth Padel translator of heightened verse for the stage Usha Nangiar Koodiyattam Vachika and the Ramayana An expert on the recitation of the Tulsi Ramayana. Harikrishnan Kathakkali Singer Ottan Tullal Poetry and Ramayana : Gopinath Prabha Rmakatha Kalapeksham Chanter - Radhakrishnan Kakasheri Kerala 1 Puppeteer each from: Kerala, Karnataka Andhra Maharashtra Orissa Tamil Nadu Shanta Gokhale theatre writer Sara Joseph contemporary writer on the Ramayana in Malayalam Radhika Bordia NDTV Karan Makhija –film maker Dev Makhija-film maker Program Assistant Nimy Ravindran Duration: 5 days Site: Adishakti Program Concept: - The Ramayana has always considered itself to be poetry in all the languages of its composition
- This poetry needs to be acknowledged in wider spheres, such as among Indian poets writing in English
- To acquaint ourselves with para-Ramayana poetry in other Indian languages
- To consider how poetry and heightened verse work on stage as well as to consider the creation of heightened verse for performance
- To consider the importance of recitation and to acquaint ourselves with traditional Indian theories and methods of recitation
The Process: - The program will bring together scholars and practitioners from different traditions within and without the Ramayana
- Performance and poetry cultures will be contextualized as well as placed outside the contexts which generate them
- Traditional Indian processes explored in the Chhanda Shastra and Tolkapiyam will be demonstrated and considered
• Adishakti will share its own experience and practice with breath and voice for performance • Contemporary poets will be asked to create new works that include inputs from the workshop and return with them at the Interpreters Meeting in Year 3 Benefits: • Recorded materials can be disseminated through CDs and DVDs • Potentially, the new poetry can be published • To make participants from diverse practice traditions and diverse contemporary situations aware of each other's works • To give performers a greater awareness of their craft and to enhance their performance skills • To allow translators and writers to see the techniques and processes that inform the spoken word on stage.
Program 4: Music and the Ramayana Participants: Arshia Sattar Adishakti Satyasheel Deshpande Musicologist& Archivist—Hindustani Music Gowri Ramanarayana—Carnatic Music, Gulzar/ Javed Akthar on film lyrics, Ashok Ranade, scholar of Indian film music, Sufiyana Kalam Singer Koranic Chanting Shubha Mudgal 5 and other practitioners of devotional music from various religious traditions, devotional folk singers, David Shulman for Ramayana folk songs in the Telugu tradition Narayana Rao for Ramayana folk songs in the Telugu tradition 5 Puppeteers Koodiyattam Performer Ottan Tullal Performer Kathakkali Performer Ramanatam Performer Karan Makhija –film maker Dev Makhija-film maker Program Assistant Nimy Ravindran Site: Adishakti Campus Duration: 4 Days Program Concept: • Since the Ramayana underpins so much Indian performance, the role played by music must be examined more closely. • The long tradition of folks songs by women that subvert the Ramayana tradition need to be explored • Traditional and contemporary devotional music can be seen in the light of each • The influence of films and film music on the devotional traditions can be highlighted The Process: • Through performance and discussion, the theory and practice of devotional music based in the Ramayana will be explored in various contexts – traditional performance, contemporary concert performances and film • Build on the inputs from the poetry and recitation workshops • Comparisons between different traditions of devotional music from different religions can be explored and their points of convergence and divergence discussed – for example, a comparison between sufiyana kalaams and bhajans, kirtans, etc. • Adishakti's theories and processes of breath and voice work will be shared with singers and vice versa Benefits: • Recorded music and performances can be disseminated to wider audiences on CDs • Bring together devotional music performers from different religions and traditions such that their practice and inspiration can be shared • Create links between film music (lyricists and composers) and vibrant living folk traditions • Enliven classical performances and compositions with an infusion from the folk traditions
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