The air is thick with drumbeats and commitment as masked entertainers sway in a hypnotic rhythm, their vibrant outfits catching the sunlight in bursts of scarlet, saffron, gold and emerald. Deep, rhythmic beats echo through the mountains, pulsing through the rich fields of Saloor Dungra, a small village stashed in the heart of Uttarakhand’s Garhwal region. I follow the music, half drawn by interest, half pulled by something deeper– a sense that I am about to witness not simply a festival, however a living tapestry in the mountain hamlet where snow-kissed peaks cradle centuries-old customs. Ramman Utsav unfolds as a spiritual phenomenon, part ritual, part theatre, and entirely entrancing.
As I stand in the middle of the event, seeing the masked dancers come alive in choreographed accuracy, it seems like entering a vibrant tableau of a spiritual and cultural pageant, with neighborhood rituals, standard folklore, processions bring town divine beings, mythical plays, and ethnic music and dances. Drenched in colour and layered with symbolism, Ramman Utsav is a custom that has been practised for over 500 years. Nevertheless, it’s an ancient spiritual celebration that goes back to the 8th century, when Shri Adi Shankaracharya concerned the region and recognized Jyotirmath and Anirmath.
Ramman Utsav is thought to be an offshoot of the Bhakti Movement, and it took the kind of a yearly religious routine theatre portraying a condensed form of Ram Katha. There are no dialogues, but just dances that illustrate the Birth of Ram and Lakshman, Sita’s Swayamvar, Vanvas, the Killing of the Golden Deer, Sita’s Abduction, and the Burning of Lanka, besides the Final Coronation.
In addition, it likewise features scenes including Narasimha Devtaa, Ganesha, and Pandavas, besides dances like Gaanna Gunni Nritya, Suraj Ishwar Nritya, Ganesh Kalinkya Nritya, Pandav Nritya, to name a few. There are agrarian communities and characters, historical events and indigenous folklore that are depicted in the dances as well, like Mwar-Mwarin, Baniya-Baniyan and the Khyalari Dance and the Maal Nritya and Kurjogi.
Celebrated in the yard of the guardian divine being, Bhumiyal Shetrapal Devta, I am mesmerised by the dynamic energy and the entrancing rhythm as I feel that the very soul of the mountains is dancing before me. The ritual performance of the village divine being takes centre stage, swaying in a trance-like movement echoing the heart beat of the land. The colours dazzle, the chants increase, and the air hums with reverence. Ramman Utsav is not simply a celebration– it’s a communion with the divine, carried out by a neighborhood that showcases faith in every beat and breath.
More than simply a celebration, Ramman Utsav is a UNESCO Intangible Cultural Heritage, identified by UNESCO, a distinct spectacle of a ritual theatre that mixes efficiency, prayer, and storytelling. Rooted in the oral customs of the Garhwal region, the festival is celebrated in April around Baisakhi and is celebrated for nearly a fortnight, mainly in the Himalayan villages like Saloor -Dungra, Dungri Barosi and Selang, besides another 15 hamlets in the area and culminates in the grand pageant.
The Masks of Ramman Utsav are an important part of the festival and are locally handmade by the villagers from the wood of the Bhojpatra(Himalayan Birch) and Kemu (mulberry )there are over 18 masks, some of them like that of the Narasin Devtaa weighing 25 kgs, which are held in respect and worshipped before the celebration. A few of them are made to dance in the temple facilities before the festival, invoking the divine beings too. While the vibrant costumes are a highlight, it’s the make-up utilizing natural dyes, turmeric and honey that provides the characters their identity.
The chants and songs are divine, and there is a range of musical instruments used, like the drums called Dhol and Damau, Jhanhjar and Manjira or the cymbal and trumpets called Bhankara. The singing and chanting are by the standard bards.
The whole performance is choreographed in 18 Taals, each portraying a particular dance and a scene from the Ramayana. Every beat is repaired, even for particular performances, and there is a regional villager who records the same as well.
While the first 7 Taals portray the Birth of Rama and Lakshman, the Eighth Taal is described as the Ardhanga Dance by Sita, where there is a reference to the kind of Mahadev called Ardhanareeswarar as half male-half female, representing the unity of Shiva and Parvati. The Ninth Taal showcases the lively Swayamvar or Sita.
In between the remaining Taals are illustrated by regional folk dances with cultural symbolic representations. We meet interesting characters in the Mwar-Mwarin Dance. It illustrates the rancher going back to his wife, and on the way, he needs to ward off attacks from wild animals and is healed by magical herbal treatments.
The next is the Baniya-Baniyan and the Khyalari Dance. The dances depict the traders from Tibet and their tryst with the locals, as well as how they are often waylaid by robbers.
The Maal Nritya by the warriors and wrestlers are next, where we see the historical Gorkha war portrayed, where 2 sets of warriors dressed in red and white phase a mock war with guns and guards. The Malla Yudd is lastly interrupted by the Kurjogi, a performer using a thick layer of briar, and he disrupts the dance by throwing the tough seeds and shrubs on the audience.
We return to the Ram Katha in the 16th Taal, where Rama slays the Golden Deer, while the 17th Taal depicts the Kidnapping of Sita and Lanka Dahan or the Burning of Lanka, while the 18th Taal is all about the Crowning Ceremony, with flowers being showered upon the audience.
In the end, we see an effective dance by Narasimha or Nrisingh where the magnificent spirit empowers a regional who carries out the dances before bring the marionette of Prahlad.
Lastly, the drapes are down, however not before the last efficiency of the Bhumiyal Devtaa, where it is thought that the regional dancers enter a trance when the spirit descends upon them. The Devis and Devtas of the Devbhoomi likewise participate this Dance of the Divine Beings as Ma Nanda, Ma Bhagwati. Tyun Devta and Vishwakarma carry out as well.
As the Bhumiyal Devtaa sways, other characters in dynamic masks swirl and elaborate bathrobes perform olden routines with hypnotic energy. As drums thunder and the bhankora pierces through the Himalayan air, the event spills across the magnificent yard like a lively, vibrant dream.
Travel Tips for Ramman Utsav Area: Saloor Dungra town, Chamoli District, Uttarakhand.
When: Typically held in April (specific date varies according to the Hindu calendar).
What to Expect: A day-long ritual theatre of music, dance, storytelling, and worship. In some cases it is held all night long 
How to Reach: The nearby town is Joshimath. From there, it’s a drive and a brief walk to the village.
Responsible Travel: This is a sacred routine. Gown decently, ask before photographing, and support the regional neighborhood.