A lone figure kneels beneath a shaft of light, hands clasped in prayer. The image is reminiscent of India’s most enduring epics, but dancer-choreographer Rukmini Vijayakumar’s latest work focuses on a different side of Sita – of a mother raising two children on her own. Through her productions Sita and Abducted (priced at ₹980), Vijayakumar examines women’s experiences from two distinct perspectives, with both set to be staged back-to-back this weekend. One imagines Sita’s life in Valmiki’s ashram after her separation from Rama. The other draws on conversations with survivors of abuse and examines the emotional aftermath.
Sita began with a desire to tell the story from Sita’s point of view. “There’s a whole reminiscing of her life with Rama while dealing with Lava and Kusha. It’s a bit humorous too, like the everyday experiences of a mother raising young boys,” she says. The production uses Bharatanatyam to move between Sita’s memories and her attempt to understand the course her life has taken. Instead of concentrating on major events from the Ramayana, the work spends time with everyday emotions and family relationships.
This is a recurring element in much of Vijayakumar’s work, her starting point usually being emotion. “When I create work, it has to be something that moves me. Even when working with a traditional or puranic story, I connect to it primarily through emotion,” Vijayakumar shares. Using the example of Tamil poet-saint Andal, Vijayakumar often finds herself asking questions about what a character might have felt in a particular moment, how family members responded to them and what thoughts may have occupied their minds.
Abducted addresses a social issue that Vijayakumar believes remains widespread despite greater public discussion. Developed over the past two years, the production grew from conversations with women who shared their experiences of abuse, as the Bhajarangi star shares, “Instead of depicting those stories literally, the work takes an abstract, non-narrative form. How do you feel when you’re cleaning yourself? The first drop of water as it touches you, what does it feel like? Can you ever wash away the dirt that has stuck under your skin?,” she asks.
Unlike Sita, which relies on spoken dialogue and theatrical storytelling, Abducted is driven by movement. Vijayakumar remains silent for most of the performance, using physical expression to communicate experiences that are often difficult to put into words. She says the production eventually moves toward resilience and strength. Although it is not a retelling of the Ramayana, she sees a connection between the work and Sita being taken away against her will.
Having created theatrical works like The Goddess and recently being seen in Odyssey of Love, Vijayakumar says interpretations of mythological figures require both creative freedom and an understanding of the philosophy behind them. “There’s poetic licence. But in order for it to exist, there has to be a deep understanding and respect for the philosophy that lies behind this,” she says.
Vijayakumar hopes Abducted encourages conversations that are difficult within families and communities. “There was the #MeToo movement when people spoke out. Out of 10 women in a room, eight would have experienced some kind of sexual abuse,” she shares. Pointing out that listening can make a difference, she adds, “Sometimes that’s all it takes to help someone.”
(‘Sita’ will be staged on Sunday, at 5pm, followed by ‘Abducted’ at 7.30pm at Sabha, Kamaraj Road)