Raavan has remained the quintessential villain in our cinema. It’s time to look beyond the binaries and explore his multifaceted character
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Raavan's portrayal in Tamil cinema follows a trajectory of its own
Raavan is a significant but divisive figure in our mythology and history who has often gotten the short end of the stick in popular narratives
From designing his own string instrument to inventing the bow of the violin and creating the first ragas, Raavan was known as an artist par excellence
Raavan, a 2010 film by Mani Ratnam, questions the tenacity of the moral code and the politics of empathy
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The character of Raavan has resisted the imposition of a singular narrative of him
Will the competing images of Ram and Raavan influence India’s political future?
With many groups challenging the tradition of burning Raavan’s effigies, an interesting counter-narrative emerges
The ordinary Tamil carries the image of Raavan as an extraordinarily accomplished person coming to an inglorious end because of his irrational passion for a woman who detests him
Rejecting the notion of Raavan as a villain signifies a persistent need to challenge the dominant narrative while remaining part of it
The Asurs in Jharkhand, who hold Raavan and Mahishasur in high regard, have been protesting against burning their effigies
In some strands of Gond folk history, Raven is an administrative post similar to MLAs and MPs of modern-age democracy
Those who have come on stage to enact the king who abducted Sita perhaps know that the legacy of Raavan extends more than what a stage or a performance can hold
A poem by Meera Nair
In Sri Lanka, there is no mythological version of the Ramayana. Raavan’s world was more than that
As Raavan lay dying, Ram told Lakshman to learn from his defeats. Ram hailed him a great scholar and said there is no enemy or enmity when the war is over
From designing his own string instrument to inventing the bow of the violin and creating the first ragas, Raavan was known as an artist par excellence
Raavan, a 2010 film by Mani Ratnam, questions the tenacity of the moral code and the politics of empathy
Raavan has remained the quintessential villain in our cinema. It’s time to look beyond the binaries and explore his multifaceted character
Ashutosh Rana speaks to Outlook on his performance as Raavan in Humare Ram
In Mandore, a desert town, the loss of a son-in-law has survived all jubilation over the narrative of good over evil. The town still mourns the killing of Raavan.
The personification of Raavan as a Dravidian king and a symbol of resistance plays a vital role in Tamil Nadu’s political history
Inspired by the 12th-century Kamba Ramayanam by Tamil poet Kamban, Valmiki’s Ramayana and Shashi Raj Kavoor’s play Ekadashanana, a dance performance boldly challenges the traditional portrayal of Raavan.
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Mohan Agashe recounts his long and illustrious career, which has taken varied shades: as a psychiatrist, as a performer in plays, and as an actor in both art-house and popular cinema.
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Ashutosh Rana speaks to Outlook on his performance as Raavan in Humare Ram
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Ashutosh Rana speaks to Outlook on his performance as Raavan in Humare Ram
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Raavan's portrayal in Tamil cinema follows a trajectory of its own
Raavan has remained the quintessential villain in our cinema. It’s time to look beyond the binaries and explore his multifaceted character
Raavan, a 2010 film by Mani Ratnam, questions the tenacity of the moral code and the politics of empathy
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