The Ramayana, one of the two pre-eminent Hindu epics, has played a foundational role in many aspects of India's arts and social norms. For centuries, people learned this narrative by watching, listening, and participating in enactments of it. Although the Ramayana's first extant telling in Sanskrit dates back to ancient times, the story has continued to be retold and rethought through the centuries in many of India's regional languages, such as Hindi, Tamil, and Bengali. The narrative has provided the basis for enactments of its episodes in recitation, musical renditions, dance, and avant-garde performances. This volume introduces non-specialists to the Ramayana's major themes and complexities, as well as to the highly nuanced terms in Indian languages used to represent theater and performance. Two introductions orient readers to the history of Ramayana texts by Tulsidas, Valmiki, Kamban, Sankaradeva, and others, as well as to the dramaturgy and aesthetics of their enactments. The contributed essays provide context-specific analyses of diverse Ramayana performance traditions and the narratives from which they draw. The essays are clustered around the shared themes of the politics of caste and gender; the representation of the anti-hero; contemporary re-interpretations of traditional narratives; and the presence of Ramayana discourse in daily life.

Dance in India has been deemed sacred because of its innate capacity to visualise and actualise the deepest philosophical concepts through gestures, movements and the art of suggestion. Immediate collective transcendence is possible only through dance when the dancer disappears and melts away in the dance and when the audience is transported to the realm of 'rasa srishti', the pure aesthetic delight. Any attempt to transcribe and describe dance through words is bound to remain incomplete as dance is a visual art. In India it has sat atop a pyramid of various art forms which have had an oral and written history. As dance in India freely uses literary and poetic works taken from all vernacular languages, its repertory is rich beyond imagination. Vocal and instrumental music provides a constant accompaniment to translate ideas contained in these literary texts. Profusion of intricately carved sculptures on temple-walls have kept the forms alive even through dark periods of unsympathetic foreign rule. Dance has inspired a wealth of stone, metal and wood carvings, frescoes, murals and miniature paintings as well as textiles reflecting a panorama of dance movements. Special ornaments in gold, ruby, emerald, diamond or silver used by dancers have had a tradition of being crafted by hand. The art of decorating hair with different kinds of arrangements of flowers and fragrant leaves according to seasonal availability and suitability was specially taught as an additional accomplishment of a dancer. This book points at many such ideas and urges the reader to take a plunge in the ocean of ambrosial knowledge, which is called 'natya vidya'.