|
|
 |
 |
 |
| Wednesday, 16 July 2003 |
 |
|
 |
Features | |
| News Business Features Editorial Security Politics World Letters Sports Obituaries
|
A student's tributeThe dancer without a peer by Gwen Herat The peerless height of her immortal praise
Historians of performing arts can trace dancing to what they call pre-history and whether our archives possess documentary proof or not, Kandyan dancing has been there over centuries. It has sprung from the repository which is the Kohomba Kankariya. It is believed to have been performed over 2,500 years ago and considered a spectacular beauty whose ritual is embedded in mythology. Kohomba Kankariya received royal patronage from successive kings of the Kandyan kingdom as a result of little or no western influence. Around 1815, with the invasion of foreign influence and their culture, Kandyan dancing was slowly being pushed back into repertory. A century later, the Sinhalese feeling for their own culture and tradition, resurrected this wonderful art and slowly but gradually, took its pride of place in our own heritage and culture with many ups and downs. Then there emerged the 'kolam' and low-country dance in its wake. Kandyan dancing bears a striking resemblance to the Kathakali dance from our neighbouring India, especially the magnificent head-wear and fabulous ornamental jewellery. The choreography for Kathakali dates back to centuries so much like our own Kandyan dancing that is based on the symbolism of mythology, religion and awakes our spiritual curiosity each time there is a performance. Lord Shiva and Krishna make their appearance through Kandyan dancing. Mythology In Kathakali form, we see Arjuna as a symbol of truth in Bhagavadgeetha and many more from the ancient Hindu epic Mahabarata. Here, I am trying to illustrate the mythology that is relevant to both Kandyan and Kathakali dance. However, Kandyan dancing is more in keeping with national ballads and are easily danced in their authentic creativity. They have been passed down the generations to the present and heavily rested on Vajira, the symbol of perfection, sculptured in her body, wiry and sharp culminating over 50 years of true dedication. As though carved out of jade that history presumed and from the modern jet age Vajira has materialised into our preciously celebrated prima ballerina. But all this would have been a dream if not for Vajira (and Chitrasena) who gracefully over decades of love and dedication, transformed to reality the very essence of Kandyan dancing. Kandyan ballet is much more than truth or a heavily-scored Tchaikvosky. It is an image often perpetuated by the media and the ignorance of this art if not for Vajira's intervention. She is a testimony to the immaculate craftsmanship of this performing art which the audience have come to embrace. Very often, Vajira accommodates the old and the new to produce a simple but striking ballet like Rankikili. A wonderful and terrific choreographer, she is responsible for the new impetus and the healthy new image. In her choreography, Vajira would never sacrifice the tradition nor the vigorous image Kandyan dancing is made of. She has to uphold these traditions at a time when cheap and tawdry form of entertainment is seeping over television to mislead the young aspirants who at times get carried away. For me, it is such a nauseating sight to see groups of young damsels dancing to each and every pop song rendered by a singer. What purpose it serves, beats me. Not relevant to the song, score and or rhythm, they simply dance to fill the screen. It has become an eye-sore for people who appreciate and are knowledgeable about dance. It also robs the spotlight from the singer.
One of the greatest dancers Asia has produced, she is a national heroine. I have watched her drumming and it marvels to understand the super vigour that goes into this diminutive, small icon. The joy of dancing is in her with a delightfully striking personality. Vajira is a dream to watch on stage. This virtuoso dance whose inspiration is drawn from her husband, Chitrasena works hard until perfection is achieved. Her techniques are irreproachable. Vajira executes her steps with such aplomb that it leaves the young awe-struck. She dances the tremendously difficult steps that are rare but with sensation which is the signature to her superiority. It is well exploited as she stands on equal terms with Chitrasena on the stage and a proud nation smiles on them. They cannot be separated for they will never find an alternate partner. They are and were like a pair of scissors. Together, they are simply brilliant. Vajira, somehow reminds me of Martha Graham, one of the greatest dances and choreographers of our time. I met Graham at the New York City Ballet during a performance of The Mapel Leaf Rag, backstage where I was to meet Rudolf Nureyev. I missed him; thanks to the 'usually late' aircraft that jeopardised my trip from London to New York. Watching Grahams frail but dynamic personality at 93 years amazed me. Graham talked about Nureyev and I talked about Vajira and Chitrasena. When I returned to Sri Lanka one week later, Graham died leaving me the task of writing her memoriam. Now, recalling Graham's fiery, selfless dedication to her beloved art, it makes me think how close Vajira is in her gusto towards perfection and infinite finish to ballet. Mapel Leaf Rag was a contemporary ballet executed with great perfection and timing that was difficult as the dancers had most of the time to depend on bare boards and props to support their movements and to think that Graham at 93 was able to perfectly choreograph, send a clear message to today's young choreographers around the world. Dancer Her dancing career evolved from 1946 at a difficult time when a female dancer was regarded as inextricable from a male domain. Gracefully, she worked her way, at times separating herself from Chitrasena to build up her own syllabus. When Chitrasena started creating contemporary theatre out of tradition, he was in a way making room for the emotional life of a female dancer. He saw one in the horizon as a big as a shining star, waiting for the curtain call, in a small pretty little teenager. Of course, Vajira had to go through the same mill as all other students at the start. She was scared at times when Guru would beat her to extract perfection but in her heart, she knew he meant well for her. She danced to the requirements of the school curriculum until she stood side by side with Chitrasena who had the magnificent physique in contrast to her little demure, childlike figure. They continued to dance in all ballets produced and as Vajira says, 'Without Chitrasena, we would have been nothing', a beautiful and emotional expression from a grateful student who rose to capture the hearts of a nation. Vajira danced and danced. She was so imbibed in her beloved art, she ate with dance, slept with dance, lived with dance and continue to live with dance. A phenomenon was born to take everyone by storm. Choreographer With her excellent command of ballet techniques, choreography has infused intellectual form of art into the choreography of the ballets that came under her wings. Nothing was spared in her quest to perfection; costumes, music, steps, rhythm, stage-setting, lighting effects, etc that make up the perfect choreographing perfect. She had the knack to extract the best from each dancer. She studied every single performing artist as to their individual excellence and also shortcomings that went out to make a ballet perfect and the choreographer satisfied. Very few dancers can claim to be choreographers whether Kandyan, Indian or Western. Vajira had reached the standard acquired by dancers like Martha Graham, Ninette de Valoise, Anna Sokolow, Twyla Tharp, Mary Skeaping, Janine Charrat, and Doris Humphrey, etc. Teacher This is her best role. If not for her determination to pass down her knowledge to the following three generations, Kandyan dancing would not have survived to what it is today. Together with Chitrasena guiding her, Vajira has trained thousands of young dancers at their academy. Among them are her two daughters, Upekha and Anjali. Vajira (and Chitrasena) must be very proud that Upekha has been able to don her mother's mantle and take forward what she strived so much to build and complete. Mother In spite of a life that was so demanding, Vajira experienced the joy of motherhood, a dream of any woman. She has two daughters and one son named Upekha, Anjali and Anu whom she reared with love and affection. Wife This is a role she played to the hilt. Behind every successful man is a woman but here, behind every successful man is a successful woman. These two greats have a biography that will fill the pages of history. It started off as a fairy tale. The 18-year-old Vajira's marriage with Chitrasena was as romantic as many of the ballets she danced. The thespian of a Chitrasena with his handsome dark looks, like a character out of a Shakespeare drama, stole the young Vajira's heart to take her on a long journey of a wonderful brilliant career. While remaining the chaste, dutiful and caring wife that symbolises women of the East, she embarked on her spectacular career. Together, they are a fine example how a family can work, live, love and cherish each other. Symbol She inspires all women in our country not only as a dancer but as the symbol of clean womanhood. Nothing has spoilt her as she remains the simple loving woman who dare to defy any infringement on her beloved art. Dance is soul and it is her spirit and that spirit lights up the day. She still moves like a frightened deer and with those liquid large eyes probing into the inner spirit of her numerous students and friends. She walks in beauty, a beauty with a tranquillity she has acquired over 50 years of dancing. Vajira is an extraordinary woman and no writer can complete a chapter on her life. There is so much to write about her. So much is there unwritten about her that it will only take a biographer to take stock on her life and dance. Though I never made it in Kandyan dancing, yet I am privileged to have come under her wings eve for a brief period. Contact with her (and Chitrasena) was a dream for a lifetime.
|
|
News | Business | Features
| Editorial | Security
Produced by Lake House |
Kandyan dancing can dip itself to classical ballet like the Swan Lake
which has a shade of Nala Damayanthi derived from it. The swans, Nala as
Prince Siegfired and Damayanthi as Odette/Odile, is a happy blender.
Though many a critic had tried to analyse the Pas De Deux to be superior
in Nala Damayanthi than in Swan Lake, I wish not to make my comments as I
too danced in Nala Damayanthie as a pre-teenager as a swan and was too
young to understand the roles compared. But this I can say, Vajira is far
more complete and wholesome than Margot Ponteyn as a ballerina. Vajira has
the ability to sink her own personality to the role she danced. Very
often, she is radiant, vivacious and passionate. Her wonderful supple back
and long eloquent arms are her main characteristics they play up during a
performance. She could hold herself aloof whether she danced solo or with
Chitrasena, her magnetic expressions capturing every move, step, jump or
pirroute.
