A Diaspora Ramayana in Southall, Greater London

Richman, Paula

doi:10.1093/jaarel/67.1.33

Cited by 2 publications

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“…For an analysis of how the feminist principles of the group shaped the play, see Richman (1999). Other elements also appear in the history of Ravana's depiction, but they play little role in the dramas discussed, so I have not listed them here.…”

Section: Discussionmentioning

confidence: 99%

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Ravana in London

Richman

2007

Cultural Dynamics

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The Ramayana, one of Hinduism's two pre-eminent epics, portrays the heroic Rama as an exemplar of proper behavior, but demon king Ravana as deviant in culinary, sexual, and political deeds. Representations of Ravana have been theorized as functioning to (1) dehumanize (mostly Muslim) enemies as aliens or (2) condemn treatment by plantation owners in indentured labor colonies. This article analyzes representations of Ravana in three London plays to see how South Asian diasporic performances depict the demonic. In a feminist Ramlila in Southall, Greater London, Ravana symbolizes racism in Britain. In a family entertainment at the National Theatre, Ravana is composed of ten 'multicultural' heads. In a Tara Arts production where Rama meets Odysseus, the external enemy (Ravana), matters less than the internal one (the suspicions men harbor about their wives). These examples suggest that, in diaspora contexts, representations of Ravana can generate multiple, complex, and sometimes contradictory meanings. Key WordsBirmingham Repertory Theatre multiculturalism (Britain) National Theatre (Britain) Ramayana Ramlila Ravana Southall Tara Arts When members of a community migrate, their narratives often travel with them. Whether a narrative remains meaningful depends, however, on the capacity of the story to illuminate situations that settlers encounter when they move to a new place. Although 'the' Ramayana is deeply identifi ed with India, today the story is retold in many far-fl ung countries where people from South Asia have settled. Yet that does not mean that Rama's story will express the same meanings in each place. Instead, the story is retold and reinterpreted in ways that relate to the local circumstances of 19(2/3): 165-192.

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Section: Discussionmentioning

confidence: 99%

“…This article focuses on the anti-racist message depicted on Ravana's heads. For an analysis of how the feminist principles of the group shaped the play, see Richman (1999). 11.…”

Section: Acknowledgementsmentioning

confidence: 99%