Arts

Chalana:

Delicate fusion of diverse traditions

Reviewed by Ranga CHANDRARATHNE

Being conversant with many traditions as diverse as the stars in a galaxy, the members of the Arakavila Dance and Theatre Group have embarked on an odyssey, in search of the authenticity in the movement of the body which is here used as a vehicle of emotions. It is this odyssey that will take them to Edinburgh where they would demonstrate true sprit of Sri Lanka interspersed with many traditions of dancing to an international audience.

It was a dance of the highest order. The members of the troupe have achieved a remarkable precision and harmony that has hardly been witnessed in contemporary Sri Lankan theatre. Steps of one matches with another in a poetry of motion calculated to the very inch. It is the Chalana (movements) of the body that make a tapestry of choreography on the stage, once under floodlight and once against the blue shade.

Chalana, the fundraiser for the Arakavila Dance and Theatre Group was recently held at the Elephinstone Theatre. The DVD of the concert is also for sale and funds thus raised will be utilised primarily to bear the travelling and other logistical expenses in UK where they will participate in the Edinburgh Fringe Festival and for the construction of the theatre.

The entire production is made up of different dance items and pieces of theatre. It is a delicate blend of theatre and dance. For instance, elements of theatre, perhaps, for the first time, are used to introduce the actors and different pieces that unfolded on the stage. The entire production is designed in such a way that incidents that occurred in the house hold of a Teacher have been enacted at change over of one scene to another.

Apart from introducing dancing items to the audience and taking up change over time from one item to another, hilarious events that unfolded at the teacher's house (Teacher of Dancing, Gurunnanse), serve to give an overview of the traditional environment of teaching dancing in ancient Sri Lanka.

In ancient milieu, teaching of dancing was done by clans of dedicated teachers belonging to diverse traditions of dancing. The dialogues between teacher (Gurunnanse) and senior student reveal many aspects of dancing including accurate spell of dancing movements and basic theoretical knowledge of dancing. It is one of the creative ways out from traditional announcing at dance recitals. The announcer often keeps the audience in a lullaby with vacuous statements. Most of the scenes are highlighted issues in the field of arts. Issues such as deterioration of traditional forms of arts, alien influence were the focus of the short pieces of theatre.

The Choreographer Janaki Hill should be commended for the employment of such techniques which in addition to breaking the monotony of the presentation, would help give the audience the zest of theatre. Although Chalana is different on many accounts from contemporary theatre productions, a fact that it stands out among many productions is sheer blend of traditions.

Dance items were choreographed based on different traditions. For instance traditions of dancing such as Up-Country, Low Country as well as Kathak and Baratanatyam have been used in composition of items of dance. Some of the dance items were based on martial art. It is rare to have such elements amalgamated in a production of this nature as far as contemporary productions are concerned. Pieces of choreography in ballet tradition have also been included in the production.

One of the singular aspects that strikes the audience is that at no point in the choreography diverse traditions are intermingled. Instead, what the director had done was to incorporate different traditions of dancing into the production, complementing one another. For instance piece of dance based on ballet was done in following the authentic style of ballet.

It should be mentioned here that members of the troupe have done their homework well. This rigorous rehearsing was manifested in many ways; excellent choreography which was noticeable throughout the rehearsal, coordination among members of the troupe and versatility in diverse traditions of dancing. Conversant with diverse traditions of dancing on the part of the members is very important in a production of this nature. Most of the members though young had studied drama and theatre and knew subtle characteristics of diverse traditions of dancing.

For instance, the item of dance which was based on martial arts, was one of the attractive pieces of dance. Some of the trances in martial arts were reproduced on the stage as part of the choreography. This was a rare piece where elements of martial arts were well integrated into the complex grammar of choreography. Each member had to perform certain trances and acrobatics whilst keeping harmony with the rest.

At the height of the performance, members formed into groups and were engaged in acrobatics. One of the salient features of this item was a delicate fusion of diverse traditions. For instance, some of the acrobatic elements in the Up Country tradition of dancing had been integrated into the piece. For the music, Up-country as well as low country drums were used.

One troupe performed to the rising tempo of the drums. In addition to providing background music, drums also served an important purpose. That was to keep tempo on the movements. Though the use of traditional drums of Sri Lanka was not uncommon feature in choreography, the principal difference here was that drums were used in piece based on martial arts.

Dance item in Baratanatyam was also an interesting piece. Here two girls danced on the opposite sides of the stage. This was one of the colourful pieces of choreography which was marked for its costume excellence. Chalana is one of the projects of Arakavila Dance and Theatre Foundation. The troupe consist 18 members. Samantha Wijesinghe assisted Janaki Hill in choreographing the play. Shehara Ratnayake and Sita Maddegoda helped to design the costumes.

The piece of Choreography which depicts the agony of a widow of a soldier was realistically re-created by Janaki Hill and guest Artist Kapila Palihawadana. Kapila Palihawadana depicted the role of a soldier in a fantasy like ballet. It was the reflection of agony on the part of the soldier's wife and longing for sex.

Chalana excels on many counts including its innovative costumes and apt lighting and stage management. Janaki Hill should be commended for the master choreography and the training of the members of the Arakavila Dance and Theatre Group. The members of the troupe were outstanding in their performances. In terms of dancing, Kapila Palihawadana, Suchitha Mangala, Kosala Harshini, Ruksala Roshani, Nilantha Sanjeewa, Lakshani Sadarenu played their allotted roles convincingly. Though the item of Bharata Natyam was played by Kosala Harshini, Ruksala Roshani, they were able to depict it with authentic flavour. The music scores were aptly integrated with the concert.

All in all, Chalana presents a fusion of talents and is a novel theatrical experience for Sri Lankan theatre goers. Chalana gave the troupe much-needed on the stage exposure before it embarks on its tour to Scotland to take part in the Edinburgh Fringe Festival.

Pix by Sagara Lakmal de Mel

All under one sky!

By Ananda KANNANGARA

The members of the Interact Club of Visakha Vidyalaya, Colombo and a group of students from Maharani Gayathri Devi School in Jaipur, India recently met in Colombo as a part of their annual students exchange program.

The objective of the program was to boost the cultural and educational ties of schoolchildren belonging to different communities. The program was arranged by the India-Sri Lanka Foundation of both High Commissions.

The week-long program was organised by the Interact Club of Visakha Vidyalaya under the leadership of project Chairperson Naveka Karunaratne, while the nine member Maharani Gayathri Devi school contingent was led by Aturva Motwani. The Indian delegation was welcomed by the members of Visakha Interact Club and the teachers in-charge on their arrival at the BIA and accompanied to the school hostel. They were accommodated at the school hostel during their visit.

At the beginning they were taken to several important religious places, such as the Temple of the Tooth (Dalada Maligawa) in Kandy. Gangaramaya Buddhist temple in Colombo, the Kotahena Hindu temple and the Kovil.

The Young Asia Television (YATV) interviewed the students and the teachers of both schools. The Indian delegation was also briefed about the school and was shown the school premises. The various aspects of our education system were also explained to them. A joint meeting of the two interact clubs was also held.

The Indian students also got a rare opportunity to visit the Sri Lankan Parliamentary complex at Sri Jayawardanapura, Kotte.

A cultural show was organised by the Visakha Interact Club and students from several other schools including Royal College, Ananda College also attended. The delegation was also invited to the Indian High Commission by High Commissioner Alok Prasad and Deputy High Commissioner Vikram Misri. Thereafter the delegation was hosted to dinner at the residence of the chairperson of the Visakha Interact Club. Club Chairperson Naveka Karunaratne told the `Sunday Observer' that the students exchange program between Visakha Vidyalaya and Maharani Gayathri Devi School was memorable. At the departing ceremony the children of both schools exchanged pleasentaries. The Indian delegation too offered their most sincere thanks and gratitude to Visakha delegation by presenting them with a token of appreciation. She also thanked the Master-in-charge of Indian delegation Sush Kochee and also the teachers Mrs. Kumudini Basnayaka, Mrs. Lakshmi Perera and Kamani Suraweera for their invaluable support extended to make the tour a success. "On their return, the Indian delegation had also met the Sri Lankan High Commissioner in India to brief about their tour in the country,". She said the Visakhian Interact Club contingent also expects to visit India shortly.

[Arts diary]

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