Arts

Glamour on stage at Navarangahala

Unique festival for children

by Ranga Chandrarathne

The children's theatre Festival which was held at Navarangahala recently, was unique on many accounts. It is, perhaps, the only drama festival dedicated to children in Sri Lanka. The festival was made up of two dramas; Himakumariya and Walaspaula.

The dramas were adaptations of Snow White and the Three Bears and suited for the intended children's audience. The overall success of the festival was manifested not only in terms of the well-trained children who took part in the dramas but also the large audience which filled up the Navarangahala.

Himakumariya and Walaspaula were written by veteran theatre personality Somalatha Subasinghe and were based on fairy tales. Somalatha herself directed Himakumariya while Walaspaula was directed by Dr. Chandana Aluthge. The significant aspect of Walaspaula is that it was intended not only to entertain the children but also to enhance their language skills through the instrument of drama. It is no doubt that drama is the most appropriate educational instrument to impart children with necessary language skills.

It is obvious that the negative trend of deteriorating standards in languages should be arrested in order to march ahead as a nation. For this matter, perhaps, the most appropriate stage at which a firm foundation of language skills can be laid is at one's childhood. Here at the festival intrinsic properties of drama has been exploited to the maximum to achieve that end.

Walaspaula was marked for its economy of dramatic situations. However, the most common feature of the text of the drama was that it contained rhythmic dialogues and songs which would have been a daunting task to translate it into aesthetically satisfying drama, especially aimed at children's audience. In order to overcome these challenges, it seemed that directors have exploited the intrinsic properties of songs and the well-defined movements on the stage. Distinctly songs appeal to the children's audience which was manifested by the high degree of attention the children paid to the dramas from the very commencement to the end.

However, Himakumariya which has all the ingredients of a fully-fledged drama has been produced in an entirely different style to that of Walaspaula. Through the productions the directors also attempted at creating awareness in children of appreciating music, diverse colours and rhythmic movements. The dramas are designed to instill in children an idea about the human relationships and hierarchical order in a family; from father, mother, and brothers and to sisters. It should be mentioned here that music scores used for the dramas were drawn from a classical base in a manner representing diverse traditions of music in Sri Lanka. If the intention of the directors was to introduce qualitative music and Sri Lankan dance forms and culture to the children's audience, it would be successful as the music and dancing forms were well-integrated into the dramas so that they will register in the subconscious of children. As children tend to recall the tunes and dancing forms with the stories of Himakumariya and Walaspaula. This is, indeed, one of the effective methods in training children to taste qualitative music and dance forms. Somalatha Subasinghe, Dr. Chandana Aluthge and Lanka Children and Youth Theatre Foundation (LCYTF) which was established by Parliamentary Act of 3 of 2007, should be commended for using drama as an effective tool of education, especially, in the most appealing manner.

Tharupathy Munasinghe composed music for Walaspuala while music for Himakumariya was by M.R. Chulasinghe. Tharupathy is a young talented musician and M.R. Chulasinghe is a matured music director who amassed wealth of experience in composing music for children's drama. Though children theatre is an effective tool of inculcating Sri Lankan values and culture in children, Government's attention has not adequately been paid to this vital sector. Though the music for Walaspaula is different in presentation to the music for Himakumariya, the music is based on traditional tones.

However, traditional tones have been fused with modern sounds and rhymes in Walaspaula. Music for Himakumariya is composed based on classical tradition and the director has tried to use diverse styles of music. For instance, for the dwarfs, Baila music form has been used as they tend to be ordinary folks. Baila, though considered as mean tradition of music, was originated from the flamingo tradition of music.

It can also considered as one of the modern folk music traditions such as Jazz, rock and Blues . Most of the instances in Walaspaula, music, rhythmic movements, colours and light have been used to put across ideas and concepts. This would have been a novel experience for children. One of the objectives of the directors is to make understand the children of society and day-to-day problems. These challenges are depicted in a symbolic manner through a subtle manipulation of characters and incidents in addition to exploiting properties of music, colours and movements on the stage.

It should be mentioned here that if not for the generous sponsorship of HNB Assurance, the organizers would not be able to bring the price of the tickets to an affordable level so as to ensure maximum participation of children for the festival.

Together for all

by Anushka Nanayakkara and Sajitha Prematunge

People and military personnel die so often these days that we tend to forget them eventually after the initial shock. But we realized one thing after we got back from Trincomalee on an assignment to cover the Navy Dockyard: the deaths of any military personnel hit us both very hard. Forgive me if you think that we are being a little melodramatic, but this is true. We experienced first hand what it meant to be a soldier, in the true sense of the word. What they had to go through from the day they joined the forces.

Our country has acquired many great victories at the battle front last year against the terrorists. Still with all these victories, our young military heroes; sons of Mother Lanka shed their blood to safeguard all four communities Sinhala, Tamil, Muslim and Burgher. Even terrorists have been less reluctant to surrender, as the Sri Lanka Navy is known to be one of the most respected and law abiding forces in the world. The Sri Lanka Navy is also known as the first line defence in our country. It is our duty to make the dreams of these heroes and their families' come true.

The silent force of the three forces - Navy is renowned for their discipline and tough training. But that's not all they are devoted to. There are approximately 40,000 in the Navy cadre and the Naval Welfare Society not only cares for their personnel but also the living relatives of the war heroes who have sacrificed their lives in the line of duty.

The Sri Lanka Navy; Sevavanitha Unit once again has taken a giant step as in the year 2006, by organizing a musical bonanza under the theme of 'Rata wata bandi ran weta'(Golden fence around the country).

The first step of the project - building 48 houses and completing other existing incomplete houses of war heroes - is already over. The main focus here was the relatives of the soldiers who lost their lives in battle. The second step, soon to be initiated, is to build 45 modern houses for disabled soldiers and relatives of war heroes who lost their lives in the battle. The required land will also be provided by the Navy and is to be situated in Kalutara.

Sri Lanka Navy understands the need of supporting the sailors and officers, families who have been killed in action, A musical evening, of which the profits will be donated for the building of houses, is scheduled to take place at the BMICH auditorium on January 13.

The evening will be filled with music provided by famous artists Like Latha Walpola, Indrani Perera, Rajiv Sebestian, Sunil Perera, Kasun Kalhara and Centigradez backed by the "cultural, western and naval programme band". More glamour will be added by the performances of the dancing troupe of the Sri Lanka Navy.

It's time for us to hold hands, to strengthen the golden fence by being together for all. Experience an evening with a star studded line-up of artists, together with our heroes.

[email protected]

Understanding complex grammar of choreography

Depends on one's intellectual capacity

Of classical Art, Ravi Bandu states that the ideas and concepts cannot be turned into a set of movements as in the exact manner. Some artists stated that they could not understand pieces of choreography in Nirmana ballet. It is either because they could not understand the concept behind the complex choreography or they could not understand both concept and the choreography.

Watching a dance is similar to listening to a symphony. Though the symphony is based on a deep philosophical idea, it may not convey the idea in the exact manner. For instance, Pradeep Ratnayake's composition "Wind" consists of diverse scores of music from equally diverse sources. Here Pradeep has recreated an idea of wind and its velocity. What Ravibandu did in Nirmana is to create choreographs based on ideas and poems. According to Ravibandu, dancing is an abstract medium and not an exact art. So the language of movements is not a universal language which can be understood by diverse personalities in the exact manner. It is experienced by different audiences in different ways. Understanding or not understanding a complex grammar of choreography is a question of one's intelligence and power of comprehension.

Perhaps, the choreographies in Nirmana may not be in conformity with conventional understanding and deep-rooted concepts on the part of some persons who said that they could not understand it. It is not necessary for each and every one to understand the complex grammar of choreography. However, everyone can enjoy choreography as a piece of beauty of movements under pleasant lighting with designed costumes against a properly made set.

For instance, a Vannama or up country classical dance has apparently no meaning. However, if a segment of Kohobakankariya, Yakannuma is condensed into a seven minute item of dance, the audience appreciates it on its artistic merit in terms of movements, combination of dance with the drum. So people do not ask about the origin of Yakannuma.

One's understanding of art differs from one medium to another and on diverse plains. For instance, literature, one may understand the superficial storyline without understanding the sub-text and idioms and metaphor and another many understand the storyline as well as symbolism encrypted in the story. This is same with music and even with painting. An artist wants to depict a woman in a melancholy mood. However, one may only see a beautiful woman without understanding the deep meaning behind the brush strokes. This characteristic can be seen in every media on different plains.

Especially in a medium like dance, a beauty of the body and movement, one may not necessarily understand the sub-text to appreciate a piece of dance. Ravibandu refuses the notion that there is no interest for serious art in the country. He attributed lack of interest in serious art to lack of exposure to serious art especially the provincial audience. As one who is used to listening to Jazz, may not, at once, like listening North Indian classical music.

However, he/she may develop an interest if they listen to classical music regularly. Due to the influence of various social, economic factors, the habit of watching dance performances has been diminished. Unlike in 60s and 70s, drama and dance performances do not circuit around the country but more or less are confined to Colombo.

Though not perfect as in Japan, in school syllabi, for instance, dance has been designed to train students to appreciate classical dance. Though the classical ballet has been introduced in the school curricula, there are practical constraints to realise the goals set out in the curricula. Teaching materials have not been provided for teachers of dancing. For instance, there is a lesson on Swan Lake, a Western ballet. However, at least, five percent of teachers have not watched even a video of Swan Lake. So the sources for appreciating drama have not been provided. There should be a system of training children to appreciate serious art.

Commenting on possible prone out of practical aspect from aesthetic subjects, Ravibandu stated that aesthetic subjects produce a sensitive person. This will affect the students' level of appreciation. The move to prone literature and history had a negative effect on the personality development of generation of students. However, now these subjects have been re-introduced, at least, as optional subjects. The first step towards realizing the objectives of aesthetic subjects should be to re-design the syllabi so as to train students to appreciate serious art. As an artist who engaged in creating fusion music, he is of the view that Sri Lankan audience like fusion music. However, fusion music should not be compared with classical music or any other tradition of music. In a fusion music composition, a musician borrows compatible element from diverse forms of music and put them together in an aesthetically satisfying manner. It is a good medium of music.

There are musicians who are equally well versed in classical music as well as in fusion music. There are others like Preme Joshua who are not well versed in either classical music or fusion music but compose pieces of fusion music. However, those pieces are superficial. Ravibandu rejects the notion that those musicians engaged in composing fusion music are immature.

An important component in a concert is to strike a balance between fusion music and classical music. One should also practice classical art in the same way he/she practices fusion music.

Ravibandu hails from a lineage of artistes, his father being Somabandu Vidyapathy, mother Malathi was also dancer. Ravibandu's maternal grandfather was Master Algama Kiriganitha. His paternal legacy peopled with talented dancers and temple painters. Before formerly being inducted into dancing Ravibandu had been pursuing paintings. He joined Chitrasena-Vajira dancing school which had been a turning point in his life. He was so engrossed in dancing that he eventually ended up being a professional dancer.

Ravibandu gratefully refers to Chitrasena, Vajira and his father as three key personalities who made him a professional dancer. During his studies at the Chitrasena-Vajira dancing school, he met pioneers in the field of art; Dr. Lester James Peiris, Amaradeva, Lionel Algama, Henry Jayasena, maestro Premasiri Khemadasa.

He is also greatly influenced by his father who was well versed in Western classics. So Ravibandu's works bear testimony to his extensive exposure to Western classical literature, Shakespearean drama and Greek mythology. For a short stint, Ravibandu studied history of Arts under the tutelage of Dr. Salaman Fonseka. Dr.Salaman Fonseka was also instrumental in creating an abiding interest of Western classical music in Ravibandu though he had already used to listening classical music. One of his areas of talent is drums. He not only learnt classical Kandyan drums but also traditions like Khwaj.

He is fond of making creations based on classical tradition. He is greatly influenced by the traditions of Kandyan and Khathakali dancing.

He studied Khathakali dance at Kerala Kalamandalam. Among his cerebrated creations are Hecubi, Ghandari and Kusumalatha, an anti-war ballet, Judas, a creation based on biblical story of betrayal of Jesus, are highly appreciated by deserving audience around the world.

In creating 'Judas', he was influenced by the dancing style of Chithrasena and the powerful images of Laurence Olivier. Ravibnadu is currently the Artistic Director of State Dance Ensemble. In addition he is also the Director of Ravibandu-Samanthi Dance Ensemble.

Aang Devpura

Aang Devpura, a satire will go onboard at Lumbini theatre on January 13, 2008 to commemorate Jagath Muthukumarana's thirty years career in the field of art. Muthukumarana commenced his career as a member of Dr. Gamini Hattotuwegama's street drama troupe.

The drama is woven around a story where an elephant is ravaging the cultivations in a village. The self-centered village headman turns a blind eye on the rampaging elephant and at last, he prays for the god to intervene in the matter. Though the God appears, it turns out that the God himself is the elephant and village headman in an agreement with the god, did not take any step to shoot the elephant despite the damage it causes to the cultivations.

As promised by the god, the village headman is sent to heaven while god who is craving for fleshly desires assuming the role of the village headman and faces numerous troubles during his stay on earth. The drama ends with a hilarious note when villagers who followed the village headman to heaven ended up being dumped into the village tank. They bathed in mud imagining that it is legendary Anottata Lake in heaven.(RC)

A Pilgrim to the Buddhist Himalayas at Galle Fort

Exhibition of Panoramic Photography by Jaroslav Poncar, University of Cologne, Germany organized by the Goethe-Institut Sri Lanka in collaboration with KODAK & ACME Colombo will be held at the Old Dutch Warehouse, Hospital Road, Fort Galle from January 16 to 20.

The exhibition is coincided with the Galle Literary Festival which is being held in Galle. The Exhibition is opened from 8.00 a.m. to 6.00 a.m.

Jaroslav Poncar born 1945 in Prague, has lived in Cologne since 1973 where he is a professor at Fachhochschule Kln (University of Applied Sciences Cologne).

His photographic projects took him to Africa, Arabia and to Asia, especially to the Himalayas, Ladakh, Bhutan, Nepal, Tibet, Mustang, India and Cambodia.

In 1976 he took for the first time a panoramic camera to the Western Himalayas - the antique Russian FT-2 - and since that time he specialized on panoramic photography.

He is the author of 19 splendid books with panoramic photography and of 11 documentary films on the same regions and particularly Buddhist cultural heritage. It is for the first time that Jaro Poncar came to Sri Lanka to inaugurate his exhibition and to go on a research trip in December 2007. But it wouldn't be the last time, as he said.

The exhibition "A Pilgrim to the Buddhist Himalayas" was compiled on the request of the Goethe-Institut Sri Lanka, German Cultural Centre in Colombo and shown under the auspices of the 50th anniversary of this cultural institute at the Harold Peiris Gallery (Lionel Wendt) in December 2007. All photographs were printed by KODAK at the photographic laboratory ACME. It is for the first time that Mr. Poncar has accepted to do prints of his work outside Germany - to his full satisfaction. The exhibition consists of 28 photographs including 4 panoramic views of 50 x 200 cm and 4 panoramic views of 80 x 320 cm.

Kala Pola on January 20

Sri Lanka's most popular open-air art gallery cum art fair, 'Kala pola' will he held at the lush exhibition ground of Viharamahadevi Park on the 20th January, 2008. This year's Kala Pola will feature over 300 artists and sculptors and their works. Kala Pola is modelled on Summer Art fairs in European capitals. For the 15th consecutive year, 'Kala Pola' is sponsored by the George Keyt Foundation. (RC)