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| Sunday, 22 February 2004 |
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The 'anthill' opens with Subha Saha Yasa The newly built Punchi Theatre of Namel and Malini Weeramuni will be ceremonially opened on Feb. 29 with a performance of Simon Navagaththegama's Suba Saha Yasa.
Principal artists in the performance are Sriyantha Mendis, Vijaya Nandasiri, Nihal Fernando, Srinath Maddumage, Kusum Renu, Samadara Ariyawansa, Amaradasa Talgahagoda, Wasantha Vittachchi, Deepika Abeygunarathne, Rathna D. Nambuge, Susil Perera, Premakumara Dissanayake, Gunapala Elabodaarachchi, Kumara Thirimadura, Ravindra Ariyarathna, Upul Mahanama and Shantha Udayakumara. Make-up is by Wasantha Vittachchi, Stanley Omar provides the music. Stage management is by Asoka Zoysa and Stage Setting is by Lionel Bentarage. Costumes by Dhanapala Bogodage and Kamalkanthi Bogodage. ##### Neelan Tiruchelvam Commemoration: Sublime dancing of Ananda Shankar Jayant by TENNYSON RODRIGO
The sixtieth birth anniversary of Neelan Tiruchelvam was aptly commemorated on January 29 with an exalting dance recital at the Bishop's College Auditorium. The evening belonged entirely to Ananda Shankar Jayant, a devoted exponent of classical South-Indian dance and a choreographer of new creations based on the vocabulary of traditional dance. Just as it is difficult to know the time and form of primordial man, the origins of dance and music are mysteriously embedded in the cultural antiquity of mankind. Myths and legends of India and other countries tell us that music and dance have been closely interwoven with gods, goddesses and divine worship. It's no wonder then that Ananda Shanker Jayant's program symbolized the overwhelming profusion of deities in the sacred lore of Hindu culture. From my perspective at least Ananda's Bharata Natyam segment wasn't in the traditional format that starts with Alarippu and ends with the Tillana. Instead, she focused on Bhakthi (devotion) and a portrayal of the quintessential attributes of a galaxy of deities - Ganesh, Shiva, Murugan and of course the promiscuously flirtatious and mostly mischievous Krishna. And with some subtlety, Ananda gently reminded the audience that in this male-dominated galaxy she had not failed to address the gender issue. Goddes Durga, born fully-grown with eighteen arms, thousand eyes and thousand names was perhaps more telling than a token representation. The dance performance was more than just quality entertainment. As I reflect on it, there were three distinct aspects that captured my imagination: a grand integration, technical and presentational excellence, and the paramountcy of the occasion. Ananda at once integrated her domain by connecting the sacred with the secular. As tradition demands, with Pushpanjali (the offering of flowers), she addressed the divine, paid respects to the orchestra and the audience. The symbolism it seemed was an invitation to participate in and share with her the sum and substance of the occasion: a dedication to Neelan Tiruchelvam. The recital consisted of over two hours of non-stop, tireless dancing - six items of Bharata Natyam in the first half and three items of Kuchipudi in the second. Ananda's explanatory narratives before each item were brief and succinct. She delivered them with remarkable clarity of speech and voice. Fleeting flourishes of Mudras and Adhinayas (hand and facial gestures) floated synchronously with the words in her storyline. While pointing out that there was no essential difference between Bharata Natyam and Kuchipudi, Ananda seeks 'abandon' and 'friendliness' in Kuchipudi. To the layman however the two seemed indistinguishable in their overall impact. The sculptured, angled and statuesque postures, symmetry of movement, the rhythmically arresting footwork and the delicately theatrical Abhinayas were much in evidence in both forms. All those aspects were executed with sensitivity and technical excellence. In keeping with the occasion, composure, solemnity and dignity prevailed over ostentation and virtuosic athleticism. The costumes were elegant and not overly dazzling. The orchestra was minimal but totally supportive - the tampoura's drone was effective (though via speakers) and sound amplification was balanced. The vocalist, violinist and the mridangam player provided good collaborative orchestration. The Ragamalikas were modulated seamlessly and the vocal item that filled the interval was high-class Karnatic music. The subdued applause was natural expression of the shared mood. There was a brief diversion (if that is the word) when Ananda included a routine to display some intricate footwork-control. She stood on a 12-inch brass plate and seesawed on its edge while her footwork and ankle bells duplicated the Jatis (rhythmic patterns) drummed on the mridangam. In the context of everything else she did, that exercise seemed slightly discordant if not mundane. Hinduism and Islam are radically different in belief, ritual, and culture. Yet, historically, music and dance in India has been an enlightening nexus that had fostered tolerance, peace and amity between the two belief systems. The Bhagti movement enthroned universal brotherhood irrespective of religion. Dasi Attam, the classical temple dance of South India (which is the contemporary Bharata Natyam) was popular entertainment in the courts of Muslim rulers. Kuchipudi itself is an evolution of a religious dance-drama of the Bhagti followers of Andhra Pradesh. All that tradition of tolerance and cultural symbiosis was not lost on Ananda. And in contemporary times, the singing colossus and Bhajan exponent M. S. Subbhalakshmi stands tall as a peerless symbol of national integration in India. Drawing inspiration from all this history and particularly Subbhalaksmi's song, "Ode to Peace", Ananda's last offering was for "Peace on Earth for Posterity". The dance that followed touched the hearts and minds of all in the audience and a feeling of oneness enveloped the auditorium. The celebration of Neelan Thiruchelvam's birth anniversary in this manner was edifying. All those who knew Neelan, and others who might have reflected on what he stood for, will find comfort in the expressive aptness of the evening's performance. In an environment where memories of shatteringly traumatic events tend to fade away surprisingly fast, the International Centre for Ethnic Studies' continual commitment to remember Neelan in ways such as this is indeed uplifting. The writer is a member of the Western Music Panel of the Sri Lanka Arts Council). ##### Sudu Kalu Saha Alu to be screened in Sweden Sudath Mahaadivulwewa's film Sudu, Kalu Saha Alu has been selected for screening at the Gotebords Film Festival in Sweden. The film is about the lives of the inhabitants of a village near the frontline of Sri Lanka's ethnic war, after they return to their devastated homes. Goteborg Film Festival is the leading international film festival in Scandinavia and is supported by the Swedish Film Institute as the official national festival. The festival has become the most important venue for the Scandinavian film industry and representatives from film and television companies. ##### Paintings exhibition
Kumara's work, in subtle way reflects the rural atmosphere to which he was born. The tranquillity of nature and the environment and the simple lives of the rural folk, their aspirations and sorrows are reflected the painting. The human figure and the wanderings of the human mind form the pivot of most of Kumara's work. |
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The
performance will take place at 3.30 p.m. and 6.45 p.m. at the unusual
building, the design of which was inspired by an anthill. Punchi Theatre
is located at 37, Cotta Road, Colombo 8, next to Lido Cinema. It hopes to
provide new facilities and opportunities for the betterment of Sri Lankan
arts.
An
exhibition of paintings by Kumara Ratnayake opens at the Lionel Wendt Art
Centre, Colombo on Feb. 27 and continues till the 29th.
