Sasanka Perera
(Initially published in The Island, 20 November 2024: https://island.lk/ramayanizing-sri-lanka-by-courtesy-of-srilankan-airlines/#:~:text=Today%2C%20we%20know%20Lanka%20as,of%20Ravana’s%20Lanka%20well%20within)
SriLankan Airlines’ five-minute commercial promoting the so-called ‘Ramayana Trail’ in Sri Lanka is being accepted very naively as an enticing and heartwarming advertisement by Sri Lankan and Indian viewers across social media. Predictably, the video has also gone viral. It shows a young child being educated about aspects of the Ramayana legend by his grandmother, while zooming in on locations in Sri Lanka where local mythology has made associations with some narratives of the Ramayana. Beyond the rave reviews of the commercial in Sri Lanka and India, an astute observer would in fact see it as a very problematic rendition, for one simple reason. That is, when viewed from the perspective that it is paid for by SriLankan Airlines, a government entity funded by local taxpayers, what is said and promoted, in effect, would be through the voice of the state and the government. Therefore, for instance, when the granny tells the child, “all the places in Ramayana are real. Today we know Lanka as Sri Lanka”, in one careless and ill-thought-out fell swoop, SriLankan Airlines has given credence to belief as evidence, myth as history, fiction as fact, asserting Ramayana’s Lanka as present-day Sri Lanka when numerous Indian renditions of the story locate parts of Ravana’s Lanka well within contemporary India.
Admittedly, the commercial will certainly attract Indian tourists and pilgrims, particularly from the northern parts of the country. The question that comes to mind however is whether this is the only way to promote the trail? Many of my friends have already made the trip without the nudging of the new advert. The advert also begs the question, whether local sensitivities and cultural meanings linked to the Sanskrit epic were ever considered when it was conceptualized, or at any point even after in the process. More importantly, who gave the final seal of approval?
The hegemonic narrative in the commercial is what one might call a ‘North Indian Brahminic’ approach to the Ramayana, which erases other versions of the epic including the Ravana-centric myths in Sri Lanka itself. Unfortunately, it is this hegemonic narrative that has been making the rounds for some time in India with Rama as its protagonist and Ravana as the absolute villain, the all-evil-encompassing antagonist. In this rendition, it is no longer simply an ancient epic or a story of innocence and faith, but a contemporary political narrative with considerable cultural power, authority and reach, performed and used by the state itself. This narrative feeds directly and indirectly into the somewhat imperialist designs of certain contemporary Indian political forces so aptly encapsulated in the hegemonic political concept of ‘Akhand Bharat.’ However, in real life, understandings of the Ramayana have never been this simple or linear.
The title of Prof A.K. Ramanujan’s seminal essay, ‘Three Hundred Ramayanas: Five Examples and Three Thoughts on Translation’ offers a clear indication into the many versions of the Ramayana and the complex narrative traditions of both India and lands beyond where aspects of the epic have become part of local myths, folktales or performance traditions. Interestingly, Prof Ramanujan’s essay was dropped from the Bachelor of Arts in History (Honors) degree program at Delhi University in 2011 amidst considerable agitations lead by Akhil Bharatiya Vidyarthi Parishad, a right-wing students’ organization, precisely because its contents complicate the way in which the political narrative that is the Ramayana today is presented.
It is truly unfortunate that the narrative given prominence in the Sri Lankan Airlines advert stems from this dominant, parochialized and utterly politicized version of the Ramayana which sweepingly demonizes Ravana. This broad-brush demonization reaches its peak in India during Dussehra, the festival during which effigies of Ravana are burnt to symbolize the vanquishing of evil (Ravana) by good (Rama). However, interestingly, in many of India’s tribal areas, the narrative is closer to that in Sri Lanka, where Ravana is seen as a hero, and importantly as a source of knowledge and ethics. In 2017, in the Katol area in the State of Maharashtra, tribal people forced the local administration to stop the burning of Ravana effigies during Dussehra. In Nashik, also in Maharashtra, tribal folklore suggests that the area was part of Ravana’s kingdom and was governed by his sister Surpanakha along with her husband. This understanding of Ravana’s kingdom is nowhere near Sri Lanka as promoted by SriLankan Airlines. In some tribal Gond villages in Maharashtra, Ravana is worshiped as a god, clearly evident during Dussehra. He is also worshiped in many other locations including, Mandsaur and Ravangram in Madhya Pradesh; Bisrakh in Uttar Pradesh; Kangra in Himachal Pradesh; Mandya and Kolar in Karnataka, and Jodhpur in Rajasthan. Similar practices are seen in the tribal areas of Chhattisgarh, Jharkhand and West Bengal as well.
In Tamil Nadu in India’s south, there are many people who align themselves with ‘Dravidian’ ideologies, promoting Ravana as a politico-cultural icon. One source of motivation for this stems from the manner in which Ravana is eulogized for his valor in Kambaramayanam – the Tamil version of the Ramayana – even though here too, the main premise of the hegemonic account is maintained. The more obvious source for this reverence is Ravana Kaaviyam written by Pulavar Kuzhandhai and published in 1946. It is a 20th century attempt to deconstruct the Ramayana based on the argument that the mainstream Ramayana was an attempt to establish the supremacy of the ‘Aryan race’ who lived in northern India, over the ‘Dravidians’ in the south. Here, Ravana is seen as a ‘Dravidian’ king, and in essence very similar to the Sinhala renditions of Ravana. In both these popular Sinhala and Tamil versions, he is presented as a noble king, epitomizing justice, courage and compassion, and also a wise person and scholar. While categories such as ‘Dravidian’ and ‘Aryan’ as ethno-cultural references as opposed to linguistic references are not part of my academic vocabulary, the attempted deconstruction is nevertheless interesting as it also offers a glimpse into the manner in which 20th and 21st century hegemonic North Indian politics are understood by some sections in the country’s south.
What is evident is that a counterculture movement is currently mobilizing tribal and Dalit communities in several Indian states such as the above to vindicate Ravana and ‘rescue’ him from the negative light in which he has been portrayed in the current dominant version of the Ramayana, the one SriLankan Airlines has blindly based their commercial on. Due to this blindness, these interesting and telling complexities and intriguing political and cultural references have no resonance whatsoever in the SriLankan Airlines advert.
I come again to the question posed at the beginning of this essay: is this the only way to do such a promotion funded by the Sri Lankan government? Cannot the state-funded national carrier attract Indian tourists and pilgrims by presenting the places the local tourism industry and Indian tour and pilgrimage operators want these travellers to visit by offering the local interpretation? After all, Sri Lanka does not have a performance tradition of the Ramayana and hardly any concrete memories of the epic and its numerous episodes as a specific text. Instead, fragments of these exist scattered on the landscape throughout the island as places where specific incidents related to the Ramayana had supposedly happened. These manifest through several local folk tales and myths where Ravana is ever present as a local hero and Rama is virtually absent except when contextually required. Moreover, some of these places refer to many other stories too, which have been historically more prominent locally than the Ramayana-related narratives. However, right now, the Ramayana ‘stories’ are given considerable local and national prominence as a rational economic decision taken by people in these areas in the interest of tourism which translates into simple commercial gain. This is understandable.
The question is, what prevented SriLankan Airlines from beginning its advert with the famed flying machine of Ravana known in Sinhala as ‘dandu monaraya’ (and in India as Pushpaka Viman), often referred to in influential local interpretations as the first of its kind, and predating the Wright Brothers’ invention? Is it a lamentable lack of imagination and creativity, or sheer ignorance? After all, the logo of Air Lanka, the predecessor to SriLankan Airlines, found its genesis in this story, which continues to date in a different form. This way, potential tourists could have been shown the same locations referred to in the current advert, but viewed from the sky, as if one were flying in the ‘dandu monaraya’ like Ravana may have done in mythical times. This would also be very similar to the way ancient Sri Lankan poets of the sandesha tradition described local landscapes and built environments from the point of view of a bird in flight taking a message to a king, a Buddhist monk or some other such personality. Salalihini Sandeshaya and Hansa Sandeshaya written in the 15th century during the Kotte Period come to mind.
In this manner, the core places in the ‘Ramayana Trail’ could have been flagged for tourist and pilgrim interest while maintaining a distinct sense of local culture and identity that SriLankan Airlines should ideally be marketing. This is not to make Indian tourists and pilgrims cast aside their own beliefs, narratives and interpretations when visiting Sri Lanka. That is their right and not in any doubt. The crux of the matter is, why would SriLankan Airlines be so north Indian and Brahminic, and willingly succumb to the dominant and exclusivist version of the Ramayana promoted by the Indian state and many ordinary people to the exclusion of all other narratives in India itself? By doing so, SriLankan Airlines is taking itself, the government, the state and by extension all of us Sri Lankans, right into the bosom of the Indian state’s cultural and political colonialism typified by the concept of ‘Akhand Bharat’ as noted earlier. If picked up by opposition forces in the politically polarized Sri Lankan society, the advertisement can become a political statement, which has the potential to create needless rifts within Sri Lanka itself.
But then again, one cannot expect these complexities to be understood by the decision makers at SriLankan Airlines who obviously are far removed from the local cultural terrain as well as existing cultural hegemonism emanating from across the Palk Strait. The national carrier, in its haste to soar, as well as absence of foresight and lack of enlightenment of local culture has imprisoned Sri Lanka in a hegemonic North Indian politico-cultural narrative. This is also a sign of lacking national pride despite constant and oftentimes annoying rhetoric. One can only hope, the Sri Lankan government will revisit how this was done in the first place and ensure this kind of culturally crude reductionism of our own traditions and folklore does not take place in the future in state-sponsored activities carried out with public funds.
I cannot but be reminded of a quote by Voltaire when reflecting on the manner in which politics of this kind flow, emerge, and reemerge in Sri Lanka while nothing is ever learned: “It is difficult to free fools from the chains they revere.”