The Ramayana, one of India’s most significant cultural contributions, has transcended religious and cultural boundaries to become a global epic. While Valmiki’s original Sanskrit publication is the most influential among Indians, Lord Rama’s epic is available in at least 22 languages, including Chinese, Laotian, Thai, and Tibetan, with many languages offering multiple versions of the tale.
The story of Ramayana is enacted through the Ram Lila. It is a dramatic and musical retelling of the epic, typically performed during the festival of Dussehra in autumn.
Millions of Indians have engaged with the epic through popular comic books and a hit TV series, making the story of Rama, a prince’s exile and heroic journey back home, one of the world’s great epics. In this article, we explore the different renditions of the Ramayana in South Asia and the Ramlila on the global stage.
South Asian Renditions of Ramayana
Cambodia (Reamker)
The Reamker in Cambodia, influenced by Theravada Buddhism, features Rama as Phreah Ream and Sita as Neang Seda. It includes unique episodes like Hanuman’s encounter with the mermaid Sovann Maccha. A significant divergence from the original Hindu text is that after Sita’s trial by fire, she leaves Rama due to his lack of trust and seeks refuge with the sage Valmiki.
Indonesia (Kakawin Ramayana)
In Java, Indonesia, the Ramayana remains popular despite the country’s Muslim majority, reflecting its cultural legacy and Javanese tolerance. The Kakawin Ramayana is an Old Javanese poetic rendition of the Sanskrit Ramayana, composed in the kakawin meter. It is believed to have been written between the late 9th and early 10th centuries during the era of the Mataram Kingdom in Central Java. The city name “Yogyakarta” is a transliteration of Ayodhya. The Ramayana is performed through wayang kulit (puppet shows) that can last multiple nights. While the first half is similar to the original Sanskrit version, the latter half diverges significantly, featuring the Javanese deity Dhayana and his sons, the Punokawan or “clown servants.”
Myanmar/Burma (Yama Zatdaw)
In Myanmar, the Yama Zatdaw is a Jataka Story of Theravada Buddhism (Southern Buddhism), with Rama as Yama and Sita as Thida. Introduced during King Anawratha’s reign in the 11th century, it incorporates Thai influences from the Ayutthaya Kingdom and, to a lesser extent, Javanese and Malay elements. The performance is distinguished by its exuberant, acrobatic traditional Burmese dance and ornate costumes, making it unique among Ramayana versions.
Laos (Phra Lak Phra Ram)
In Laos, the story of Phra Lak Phra Ram is the national epic. It is viewed as a Jataka Story, recounting the Buddha’s previous lives. Phra Ram is seen as a previous incarnation of Gautama Buddha, embodying moral leadership and dharma. The Lao Ravana, Hapmanasouane, is considered an incarnation of Mara, the demon opposing Buddha’s enlightenment. The story is set along the Mekong River, a vital waterway in Southeast Asia.
Malaysia (Hikayat Seri Rama)
The Ramayana was introduced to Malaysia by Tamil traders. Despite the region’s later conversion to Islam, the epic remained popular due to its themes of righteousness, loyalty, and devotion. Between the 13th and 17th centuries, it was written as a hikayat, a form of Malay literature. The wayang kulit version focuses on Maharaja Wana (Ravana), portraying him as more just and loyal than Seri Rama, who is seen as arrogant and vain.
Thailand (Ramakien)
The Ramakien is Thailand’s national epic and a local adaptation of the Ramayana. Although the Ramayana arrived in Thailand as early as the 13th century, older versions were lost during the destruction of Ayutthaya in 1767. The current version, compiled by King Rama I, integrates the Ramayana into the topography of Siam. The name Ayutthaya is a transliteration of Ayodhya. The Ramakien is a masterpiece of Thai literature and the basis for all khon and nang dramas in Thailand today.
Ram Lila on the Russian Stage
The Soviet Union’s first stage performance of the Ram Lila took place in 1960 at Moscow’s Children Theatre. Gennady Pechnikov, a Russian theatre artist, took on the daunting task of co-directing the play and played Lord Rama in this historic performance. He continued in these roles for 40 years and gained international acclaim along with heaps of admiration in India.
Pechnikov’s reputation led to a personal friendship with India’s ambassador to the USSR, K.P.S. Menon, who arranged for Jawaharlal Nehru to watch a performance in 1961. Nehru praised Pechnikov, calling him “our Rama,” a compliment Pechnikov cherished deeply.
Pechnikov was awarded the Padma Shri Award in 2008, the fourth highest Civilian award in India.
“You are our Rama”
Jawaharlal Nehru to Gennedy Pechnikov after watching his performance
Despite the Ramayana’s popularity in Asia, it did not gain significant traction in post-Pagan Russia. Some scholars suggest it may have been introduced via Mongolia, as the Kalmyk people, with Mongolian roots, had a similar epic. The Ramayana was translated into Russian in 1948 by Indologist Alexander Baranikov. Today, the epic is available in Russia both as a children’s book and in more serious forms for those interested in Indian studies.
Following Pechnikov’s death in 2018, the Russian-Indian friendship society, Disha, has been striving to strengthen cultural connections by staging performances of the ‘Ramayana’.
Caribbean Ram Lila
In the Caribbean, particularly in Guyana, Trinidad and Tobago, and Suriname, Ramlila is a culturally and religiously significant event. This tradition was brought to the Caribbean by Indian indentured laborers between 1838 and 1917.
Trinidad and other Caribbean countries primarily perform the Ram Lila in the Lokadharmi style, also known as ‘Lila’. This style is community-based and performed in open-air settings. It is deeply rooted in Bhakti traditions and incorporates elements of katha (storytelling), kirtan (devotional singing), and bhajan (devotional songs). Lokadharmi emphasizes realism and incorporates everyday life and naturalistic elements into the performance, making it relatable and engaging for the audience.
Controversy regarding Ramayan’s identity
A.K. Ramanujan’s essay, “Three Hundred Ramayanas: Five Examples and Three Thoughts on Translation,” explores the diverse retellings of the Ramayana across different cultures and languages. Written for a 1987 conference at the University of Pittsburgh, the essay highlights the numerous versions of the Ramayana that exist in India and Southeast Asia, emphasizing that there is no single, authoritative version of the epic.
The essay became controversial when it was included in the history syllabus at Delhi University. In 2011, following protests from Hindu hardline groups who argued that the essay offended Hindu beliefs, the university decided to remove it from the curriculum. Critics of the decision viewed it as an act of unwarranted censorship and a setback for academic freedom.
‘Sita Sings the Blues’ controversy
Sita Sings the Blues is a 2008 American animated musical romantic comedy-drama film created by Nina Paley. The film uniquely blends the ancient Indian epic, the Ramayana, with the 1920s jazz vocals of Annette Hanshaw. ‘Sita Sings the Blues’ is from Sita’s point of view, showing how tough it was for her.
Hardliners panned the movie for its unfavorable portrayal of Lord Rama. But most critics praised it, saying it was a fresh take on an old story highlighting the true struggles of Devi Sita. She faced trouble despite being a Rajakumari of Janak and Maharani of Ayodhya, which was never discussed like this in a movie before.
Ram Lila in Sri Lanka
Ramlila is uncommon in Sri Lanka, a predominantly Buddhist country, but government-sponsored groups have performed it in India. In Sri Lanka, Ravana is respected rather than seen as a villain. Ramayana performances often start by depicting Ravana’s prosperous rule before introducing his sister Surpanakha with her bleeding nose. These performances blend Kandyan folk styles with South Indian dance forms like Bharatanatyam.
Because of the Ramayana’s continued popularity and cultural legacy all over Southeast Asia and the world, the Indian Council for Cultural Relations has, in recent years, spearheaded the International Ramayana Festival, where the many versions of the Ramayana are performed and celebrated.
Manbilas Singh is a talented writer and journalist who focuses on the finer details in every story and values integrity above everything. A self-proclaimed sleuth, he strives to expose the fine print behind seemingly mundane activities and aims to uncover the truth that is hidden from the general public. In his time away from work, he is a music aficionado and a nerd who revels in video & board games, books and Formula 1.
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