In Myanmar, it's ' Thiri Rama ,' in Thailand, ' Ramakien ,' and in Indonesia, ' Kakawin Ramayana .' From Russia to America, the Ramayana has taken on new names and faces, proving that this ancient Indian epic is more than just an exported tradition - it's a cultural remix. And it can just as easily don new costumes on stages worldwide.
Russian Retellings: Baryshnikov Evengii, a 25-year-old theatre artist in Moscow who has been part of Russian Ramlila productions, says the characters of the Ramayana feel very familiar to him. "In the image of Rama, I see echoes of our Russian heroes such as Ilya Muromets, a brave, selfless warrior devoted to his people. Indian mythology and Russian folklore contain similar themes, such as the struggle between good and evil and love for the homeland," he says.
Few know the Soviet Union held its first stage performance of Ramayana way back in 1960 at Moscow's Children Theatre. Gennady Mikhailovich Pechnikov, a renowned Russian actor, co-directed the Russian adaptation and portrayed Ram, holding this role for 40 years and earning international acclaim. It is said he became a life-long vegetarian to play Ram. After Pechnikov died in 2018, a Russian-Indian friendship society known as Disha has worked to revive cultural ties through performances of the 'Ramayana'. The 'Disha Ramlila' was shown in Ayodhya last year. "Our productions are not more than 25 minutes long, depicting all episodes from the swayamvar to Ram's return from exile," says Rameshwar Singh, founder of Disha, who went from JNU to the Soviet Union in the 1980s to pursue his PhD in Russian but chose to stay, marrying a Russian artist and becoming a citizen.
Caribbean Chronicles: In Guyana, Trinidad and Tobago and Suriname, the Ramlila remains a culturally and religiously significant event. The tradition was brought to the Caribbean by Indian indentured labour between 1838 and 1917. Indrani Rampersad, a fourth-generation Indian from Trinidad and a scholar of Hindu culture and Ramayana traditions in the indentured diaspora, differentiates between two styles of Ramlila - 'lokadharmi' and 'Natya'. The version performed in Trinidad and other Caribbean countries is primarily in the 'Lila' or lokadharmi style, which is a community-based, open-air form of storytelling rooted in Bhakti traditions incorporating elements of katha, kirtan, and bhajan.
"Blacks and Muslims are also characters in some of these Ramlilas. But it is not approached as a drama. It is a sacred space within a sanctified space marked by bamboo fences, almost like a mandir. The audience stands outside the fence. The ritual element is very strong. It is not rich people staging a show for money. There are no tickets," explains Rampersad, who contrasts this with the Natya style prevalent in India's urban centres, where Ramlila is performed on proscenium stages. This theatrical style is influenced by British traditions. "But for the diasporic community in the Caribbean, it is a way to preserve Indian cultural identity, where much like Ram in exile, it helps them to restore dharma (order) in their new lands," adds Rampersad
Southeast Asian Saga: In countries like Indonesia and Thailand, performances aren't restricted to Navratri. "In places like Uluwatu Temple in Bali, the Ramayana is performed every day, drawing tourists from around the world. You won't find this anywhere in India," says Cokorda Putra, a lecturer at the Hindu University of Indonesia in Denpasar. Beyond his academic role, Putra is also a trained dancer, known for bringing to life characters such as Kumbhkaran and Ravana. "I cherish this role of Ravana because it exudes authority and power - qualities that, as ordinary humans, we all aspire to," Putra says.
The kingdom of Thailand's 'national book' is the Ramakien, a local adaptation of the Ramayana. The country's rulers, from the Chakri dynasty, are traditionally named 'Rama', showing strong cultural links to the ancient tale. The Thai version is a royal court tradition rather than a public festival. "While the Indian Ramlila emphasises devotion to Rama, in Thailand, the Ramayana story has evolved into a classical form of entertainment, reserved for royal and public ceremonies," says Nareerat Phinitthanasarn, a lecturer at Thammasat University and a seasoned performer of Ramakien productions. Thai adaptations of the Ramayana, such as Khon and Lakhon, have long been seen as high art, enjoyed not only for their storytelling but also for their intricately choreographed movements. While Ramlila in India is often male-dominated, with men playing even female characters, Thailand has embraced gender equality in these performances. Female actors, including Phinitthanasarn, take on significant roles, including that of Rama himself.
Lanka Legends: Although Ramlila is rare in Sri Lanka, where the majority of the population is Buddhist, govt-sponsored groups have performed in India. For them, Ravana is a revered figure rather than villain. Performances of the Ramayana often begin by portraying Ravana and his prosperous reign before his sister Surpanakha enters the scene with her bleeding nose. "More than Sita, I'd much rather play Mandodari, Ravana's queen. Even though she's on stage for just 15 minutes, she's powerful, poised, and artistic. When Sita arrives, Mandodari doesn't lose her cool," says Kalpi Jayaratne from Colombo, who often plays 'Seetha'. Sri Lankan performances showcase Kandyan folk styles alongside South Indian dance forms like Bharatanatyam.
Across cultures and continents, the performance of the ancient epic proves that it can be a vehicle for building new bridges. Bala Sankuratri, who has helped bring several international Ramlila troupes to India, sums it up: "It is not just a retelling of a story. It is a cultural force that unites us all."
Russian Retellings: Baryshnikov Evengii, a 25-year-old theatre artist in Moscow who has been part of Russian Ramlila productions, says the characters of the Ramayana feel very familiar to him. "In the image of Rama, I see echoes of our Russian heroes such as Ilya Muromets, a brave, selfless warrior devoted to his people. Indian mythology and Russian folklore contain similar themes, such as the struggle between good and evil and love for the homeland," he says.
Few know the Soviet Union held its first stage performance of Ramayana way back in 1960 at Moscow's Children Theatre. Gennady Mikhailovich Pechnikov, a renowned Russian actor, co-directed the Russian adaptation and portrayed Ram, holding this role for 40 years and earning international acclaim. It is said he became a life-long vegetarian to play Ram. After Pechnikov died in 2018, a Russian-Indian friendship society known as Disha has worked to revive cultural ties through performances of the 'Ramayana'. The 'Disha Ramlila' was shown in Ayodhya last year. "Our productions are not more than 25 minutes long, depicting all episodes from the swayamvar to Ram's return from exile," says Rameshwar Singh, founder of Disha, who went from JNU to the Soviet Union in the 1980s to pursue his PhD in Russian but chose to stay, marrying a Russian artist and becoming a citizen.
Caribbean Chronicles: In Guyana, Trinidad and Tobago and Suriname, the Ramlila remains a culturally and religiously significant event. The tradition was brought to the Caribbean by Indian indentured labour between 1838 and 1917. Indrani Rampersad, a fourth-generation Indian from Trinidad and a scholar of Hindu culture and Ramayana traditions in the indentured diaspora, differentiates between two styles of Ramlila - 'lokadharmi' and 'Natya'. The version performed in Trinidad and other Caribbean countries is primarily in the 'Lila' or lokadharmi style, which is a community-based, open-air form of storytelling rooted in Bhakti traditions incorporating elements of katha, kirtan, and bhajan.
"Blacks and Muslims are also characters in some of these Ramlilas. But it is not approached as a drama. It is a sacred space within a sanctified space marked by bamboo fences, almost like a mandir. The audience stands outside the fence. The ritual element is very strong. It is not rich people staging a show for money. There are no tickets," explains Rampersad, who contrasts this with the Natya style prevalent in India's urban centres, where Ramlila is performed on proscenium stages. This theatrical style is influenced by British traditions. "But for the diasporic community in the Caribbean, it is a way to preserve Indian cultural identity, where much like Ram in exile, it helps them to restore dharma (order) in their new lands," adds Rampersad
Southeast Asian Saga: In countries like Indonesia and Thailand, performances aren't restricted to Navratri. "In places like Uluwatu Temple in Bali, the Ramayana is performed every day, drawing tourists from around the world. You won't find this anywhere in India," says Cokorda Putra, a lecturer at the Hindu University of Indonesia in Denpasar. Beyond his academic role, Putra is also a trained dancer, known for bringing to life characters such as Kumbhkaran and Ravana. "I cherish this role of Ravana because it exudes authority and power - qualities that, as ordinary humans, we all aspire to," Putra says.
The kingdom of Thailand's 'national book' is the Ramakien, a local adaptation of the Ramayana. The country's rulers, from the Chakri dynasty, are traditionally named 'Rama', showing strong cultural links to the ancient tale. The Thai version is a royal court tradition rather than a public festival. "While the Indian Ramlila emphasises devotion to Rama, in Thailand, the Ramayana story has evolved into a classical form of entertainment, reserved for royal and public ceremonies," says Nareerat Phinitthanasarn, a lecturer at Thammasat University and a seasoned performer of Ramakien productions. Thai adaptations of the Ramayana, such as Khon and Lakhon, have long been seen as high art, enjoyed not only for their storytelling but also for their intricately choreographed movements. While Ramlila in India is often male-dominated, with men playing even female characters, Thailand has embraced gender equality in these performances. Female actors, including Phinitthanasarn, take on significant roles, including that of Rama himself.
Lanka Legends: Although Ramlila is rare in Sri Lanka, where the majority of the population is Buddhist, govt-sponsored groups have performed in India. For them, Ravana is a revered figure rather than villain. Performances of the Ramayana often begin by portraying Ravana and his prosperous reign before his sister Surpanakha enters the scene with her bleeding nose. "More than Sita, I'd much rather play Mandodari, Ravana's queen. Even though she's on stage for just 15 minutes, she's powerful, poised, and artistic. When Sita arrives, Mandodari doesn't lose her cool," says Kalpi Jayaratne from Colombo, who often plays 'Seetha'. Sri Lankan performances showcase Kandyan folk styles alongside South Indian dance forms like Bharatanatyam.
Across cultures and continents, the performance of the ancient epic proves that it can be a vehicle for building new bridges. Bala Sankuratri, who has helped bring several international Ramlila troupes to India, sums it up: "It is not just a retelling of a story. It is a cultural force that unites us all."
