Review of Ajay Rao, Refiguring the Ramayana (2015)

Citation of original publication: Lutgendorf, Philip. 2004 “(Too?) Many Ramayanas.” Journal of Vaisnava Studies, 12.2, 201-211.

Looking at Ramayana today as believed and discussed in contemporary India

… and Computers in …, 2008

For unknown times, the story of Ramayana is a part and parcel of Indian culture. Its popularity crossed the Indian boundaries and reached other south Asia countries. Critical study of Ramayana shows that although Ramayana is one epic but its versions different from place to place due to their local culture, environment and traditions. Ramayana is neither an "Itihasa" nor "Purana" but is an "Adikavya"-the first poem-a poet's fancy. Ramayana got its popularity as poem, folk theater, folk songs, folk stories, dance and paintings. Ramayana has been acclaimed very widely as a wondrous creation of literary endeavor which reflects human behaviors, ways of thinking, ideals, attitudes and imagination of extensive comprehensions revealed through poetry of a highly elevated style. For Historians it has lots of debatable points. .

The Timeless Appeal of the Ramayana, 2021

The Ramayana, the story of Rama’s life, is a great Hindu epic representing the rich cultural heritage of India. Rama and his journey had an indelible impact on the social and cultural life of Indians and the Hindus in the diaspora worldwide. The temples and places associated with Rama are still active pilgrim centres and Rama's life is celebrated in diverse ways even today. From ancient times, the influence of the story of Rama, while rooted in India, spread throughout Asia. Crossing barriers of geographical borders, languages and cultures, the Ramayana has been adapted and recreated in congruence with the local beliefs, social practices and cultural ethos. Throughout South-East Asia people accepted the eternal values of morality and justice as expressed in the Ramayana and the Ramayana became an integral part of the art, heritage and folk culture of those countries. An estimated 300 retellings and translations exist today and some notable ones are mentioned below. Numerous scholars have studied these indigenous renditions in comparison to the original version of the Ramayana composed by Sage Valmiki, thousands of years ago. Be it as a manifestation of God or simply as a legendary hero of myths and folktales, Rama is an immensely revered and inspirational figure to people in their daily lives across the Indian subcontinent and South East Asia. The Ramayana even today is widely celebrated in daily rituals and practices and through diverse mediums such as storytelling, art, music, theatre, masks, puppetry, paintings, sculptures and architecture.

1995

This collection of lessons was developed by teachers in an institute focusing on teaching about India and the Ramayana. Essays providing background information are "The Oral Tradition and the Many 'Ramayanas'" (Philip Lutgendorf) and "Bringing Ramayana into the Classroom" (Hazel Sara Greenberg). After an introduction by Susan Wadley, a Ramayana glossary, a piece called "The Ramayana! A 'Telling' of the Ancient Indian Epic," and maps of India, the sections include: (1) "How is Ramayana Part of the Great Storytelling Tradition?"; (2) "To What Extent Does Ramayana Introduce India and Its Culture?"; (3) "To What Degree Does Ramayana Help Us Comprehend Hindu Values and Religion?"; (4) "How Can Ramayana Help Us Gain an Understanding of Hindu Rituals?"; and (5) "How Does Ramayana Reflect Change Over Time and Space?" There are 25 units with lessons throughout the five sections. A glossary and maps accompany the lessons. (EH)

Zeitschrift für Indologie und Südasienstudien 32/33 (2015/2016), p. 203-232

On the Modernity of Ramayana Stories in Modern South India

Journal of Southeast Asian Studies, 2002

The Ramayana has long fostered a specialised field of 'Ramayana Studies' , and international conferences are held regularly. The largest body of work focuses on comparison of the Ramayana's textual and narrative manifestations within Asia, but more recent attention to its transmission as performance, primarily as oral tradition, has positioned textual versions of the Ramayana as a few written recordings within a myriad of varied performance traditions rather than as original Indian texts fostering performed derivations. Amin Sweeney's studies of orality, focussing on Malay performance traditions,