Trailblazers of Fine Arts...:
She belongs to a new generation of artistes
Face to Face by Ranga Chandrarathne

Kaushalya Fernando
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Jackson Anthony's venomous attack on Kaushalya's acting once
condemned her as an actress who is willing to expose 'ugly nudity, and
categorised her as one among a group of actors including Hemasiri
Liyanage, W.Jayasiri, Mahendra Perera and Saumya Liyanage.
He also condemned this group's application of the media, as those
films were not aesthetic creations, but creations based on delirious
thoughts. It is surprising to hear a person who had worked with
progressive directors like Dharmasiri Bandaranayake and the late
Sugathapala de Silva making such petty and baseless remarks on serious
and ground-braking creative work.
Career
Kaushalya did not want to comment on the adverse remarks. In her
trailblazing career, she has acted in many stage dramas including 'Vikurti',
'Katandara Dekak' by her mother Somalatha Subasinghe, 'Punthila' a play
directed by a Finnish theatre director and Sugathapala de Silva's 'Marat
Sade' for which Kaushalya won Special Award of the Jury.
Among the stage plays she acted are Dharmasiri Bandaranaike's 'Dhawala
Bheeshana' for which she won the best actress's award, Somalatha
Subasinghe's 'Antigone', 'Dona Kathirina', 'Yadam' and 'Nambukara
Vilasiniya'.
In most of these stage plays, Kaushalya won either Best Actress's
Award or Best Supporting Actress's Award. For Asoka Handagama's 'Dunhida
Addara' and 'Sanda Dadayama', Kaushalya won the Best Actress's Award and
the Best Actress's Critic's Award. Handagama's 'Diyakata Pahana', Sudath
Mahadiulwewe's 'Wanaspathi', Bertram Nihal's 'Isuru Gira' were some of
the other teledramas she acted in.
The films in which Kaushalya has played lead/supporting roles are
Asoka Handagama's "Sanda Dadayama" (Moon Hunt) and "Me Mage Sandai"
(This is my Moon), Satyajith Maitipe's "Boradiya Pokuna" (Scent of the
Lotus Pond) and Vimukthi Jayasundara's "Sulanga Enu Pinisa" (Foresaken
Land).
Kaushalya's debut direction on stage, "Sanda Langa Maranaya" (Blood
Wedding) won several awards, including the Best Play of the Year at the
National Drama Festival 2005.
She is young, attractive but simple in demeanour. Unlike most of the
actresses of her generation, she readily mingles with strangers. Dressed
in plain attire with almost a bare neck, Kaushalya is very much ordinary
in her real self. Instead of a heavily dolled-up countenance, she
identified herself with a disarming simplicity that would make any
estranger at home, with her.
She belongs to a new generation of artistes dedicated to explore the
horizons of contemporary Sinhala films, drama and theatre. Perhaps, she
is not one of the conformist stars in the distant murky sky, but one
among the man on the streets. It is this genre of artistes who have
embarked on an odyssey, redefining the conservative boundaries of the
contemporary Sri Lankan Art and culture in an earnest effort to salvage
it from the present quagmire of stagnation.
Nostalgic memories
Awakening her nostalgic memories of her schooldays at Sujatha Girls'
School, Kaushalya says with a mischievous smile, that those two years
were the most interesting years of her schooldays she spent under the
American Principal Mrs. Clara Motwani.
The class consisted of only 20 students and the Management headed by
the American Principal maintained a carefree and friendly atmosphere at
the school, providing ample room for children to engage in a host of
creative work.
As the class was small in number, the teacher knew each and every
student, personally. It was here at Sujatha, hat Kaushalya learnt her
alphabet of theatre work. When she was in grade four and five, she wrote
script, donned costumes and produced dramas for the class.
However, this atmosphere changed when she was admitted to St. Paul's
Girls' School. The change over from Sujatha to St. Paul's was her
mother, Somalatha Subasingha's decision. Somalatha Subasinghe wanted her
daughter to mix herself with students from diverse social strata. She
thought that Sujatha had homogeneous students, exclusively from the
upper middle-class and affluent families.
It was an entirely different atmosphere that Kaushalya encountered at
St. Paul's. A class consisted of 40 students; most of them had passed
the year five scholarship and it was a proverbial rat race. As there was
little room for students' creativity at St. Paul's, Kaushalya took to
athletics.
For a short stint, she engaged in the track-and-field events and
trained herself under a coach. Following a minor accident, Kaushalya's
athletic career came to a halt, prompting her to pursue her interests in
drama and theatre.
Kaushalya stumbled upon a dilemma when she passed her O/Ls with
flying colours, as the Principal insisted her to study bio-science,
against her wishes. The principal went a step further by calling her
mother Somalatha Subasinghe.
Following a short elucidation by Somalatha, it was decided that
Kaushalya should further her academic pursuits in the Arts stream.
She read Sinhala, Sociology and English at the University.
It was also another coincidence that she was asked to teach at the
Department of English by the Head of the Department, Prof. Siromi
Fernando. When violence broke out in the university, she went to Gujarat
for six months, receiving special training in Drama and Theatre.
From 1991 to 1999 she had been teaching at the University of Colombo.
By the time, she was heavily involved in the local theatre, acting in
Dharmasiri Bandaranaike's Dhawala Bheeshana and Sugathapala de Silva's
Marasad. She observed that English was a problem for the students from
rural areas.
It has still not been solved, and most of the graduates could not get
employment largely due to the lack of the knowledge of English. She
attributed that this was the rootcause for insurgency, and the students'
involvement in it. Today's middle class think that English is the be all
and the end all.
Reminiscences
She reminisces vibrantly the time her father spent in Jaffna, as the
last Sinhala Government Agent (GA). Those days, she had been living in a
rented house in Rajasinghe Mawatha, in Wellawatte. Shuttling between
Wellawatte and Jaffna, and living with Muslims and Tamils, she didn't
feel isolated or estranged at all, in mingling with them.
She remembers how her father Lionel Fernando attempted to build a
cultural bridge between the North and the South. For the first time, a
Sinhala film festival was held in various townships in the North and the
East.
The State Dance Ensemble conducted by Mr. Makuloluwa, was brought to
the North under Mr. Lionel Fernando's patronage, to shrink the
prejudices. She also recalled that her father had made arrangements to
create a market in Colombo for agricultural produce like onions, chilies
etc. from the North.
This had a cushion-out effect on the Jaffna population that has been
afflicting from social evils like castism. Unfortunately, this respite
prevailed only for a short period. This oppressive milieu coupled with
economic hardships compelled the youth to take to arms against the then
establishment. The movement thus born later became a racial issue.
However, these plans were shoved off by the short-sighted
politicians. Suddenly, the government called back her father to Colombo,
closing that chapter.
She could still remember her grandmother's funeral that took place in
Jaffna. It was the most elaborate funeral that Jaffna had ever
witnessed. The road from the GA's residence to the cemetery was washed
and carpeted with a layer of white sand.
A free trishaw service from the Jaffna railway station to their house
was arranged by three-wheeler drivers, to fetch the crowd from Colombo.
Kaushalya had to face violence in the Sri Lankan university system
instigated by the students who were involved in the insurgency. Once,
when insurgents were killed by an accidental blast, a hit-list was
discovered, and on top of the list, were the names of her friends.
Recollections
Speaking about the happy evenings she spent with the artistes of the
day, she recalled that, almost every evening was an assembly of artistes
including Dharmasena Pathiraja, Daya Thennakoon, Piyasena Ahangama and
Wimal Kumara de Costa who were boarded in her house, joined the
interactive discussions.
Those were the generation of artistes who were with the people, and
film makers like Dharmasena Pathiraja were considered as peoples'
artistes with Marxist orientation. The atmosphere at her home was filled
with discussions on Fine Arts and Culture.
Tissa Abeysekara, Dharmasena Pathiraja, Sugathapala de Silva, and
Darmasiri Bandaranayake were her Gurus in the Theatre and Cinema, where
she performed in plays directed by them. Asoka Handagama, Satyajith
Maitipe, Dharmasiri Bandaranayake, were the artistes, besides her
parents, who always served the progressive cause, and shaped her
philosophy of life.
On the other hand, she enjoys immensely the hard-life she leads as an
artiste of the common man, and the hardships that she underwent when
works of art were taken to remote villages. The dramas were staged in
remote schools without even the bare necessities.
She always yearned to be with the people, and was often reluctant to
be identified with her screen characters. Kaushalya says that, so far,
her acting on the silver screen had not been adversely criticised or
looked down upon by viewers, albeit some cursory remarks made by the
critics. It was only one actor, who heavily relied on his screen image,
who had venomously attacked Kaushalya by name, in interviews that he had
given to Sinhala newspapers.
Perhaps, this is due to his mean understanding of the medium,
complete ignorance of diverse dictions of film (it is doubtful whether
he would have considered it as a medium of cheap entertainment) or the
sinister intention of nipping in the bud the talented actress's career,
together with the novel tendency in film-making.
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