Heli Rangara

Unity of dance and drum rhythm
 

by E.M.G. Edirisinghe

Right on the dot at 7 p.m. to the deafening sound of traditional drums, the curtain at Lionel Wendt Auditorium opened exposing the ritualistic decorations and structures ready for performance of traditional dance rhythms of Sri Lanka.

A rare feat of melodious combination of dance and drum rhythms in vigorous beat that captivated the hearts of an eager and appreciative audience of all shades had a memorable evening with Lak Uruma Art Foundation presenting an ensemble of artistes who mesmerised the audience wiht sound and rhythm, major contribution of the presentation being the drum accompaniment of Susantha and Prasantha brothers.

The recital with 12 items, did not restrict itself to pure traditional dances and vocals. The performances drawing from foreign folk dance forms too, combined wiht our own traditional base to give innovative and melodious compositions to the audience.

The opening recital Yahan Dekma in customary prayer seeking the blessings of the Triple Gem commenced the dance ritual wiht a slow rhythmic pace which gradually picked up the momentum to increase its speed to spin around before reaching the climax that left the audience stunned.

Robust dance

The next item Asne based on the story of Kuveni as depicted in Kohomba Kankariya drew much enthusiastic spectator reaction with the robust dance sequence which was intended to make a dream come true of their father, with Mohan dominating the centre-stage flanked by the two sisters. Vocal recital projected from back-stage was rendered with a vibrant strain accompanied by resounding resonance.

Then the low country drums burst into deafening beats in a novel recital rhymed in superb blend of rhythm and sound. The final drumming with the players spinning tall with oozing vigour and energy coupled with grace created a magnificent image that enthralled the audience who responded with appreciative thunderous applause.

A harmonious blend of Kandyan, Latin American and folk dance Cross Over was choreographed to introduce a novel sense and experience to drama. Sath Sathiya dance form was a glimpse of Sabaragamuwa traditional dance that came alive on stage.

Three drummers accompanied by three female dancers with davula playing to provide the melody in consonance with their lively performance made in unison with brisk friskers captured the imagination of everyone. An innovative choreographed item using Kandyan dance rhythms and drum beats, was the spirit of Heli Rangara which literally means "Sinhala traditional dances."

Suriya Chandana Warnanawa commenced with a tuneful call from the sonorous conch-shell arresting the attention of the audience to this ingenuous creation based on the low country Bali ritual players in a motion to pay homage to the Sun and Moon gods.

It started with a solo dance with much glitter gradually gathering weight. The drumming produced a varying beat and rhythm with a stunning reverberating effect.

An innovative musical concert based on a Nepalese folk song set for the playing of maddal bera, was a refreshing experience with the dance rhythm of early Sinhala Nadagama plays being enlivened in the receptive audience.

The maddala with the support instruments such as the flute, geta bera and the violin, tuning the melody it created heightened its effect to pitch a climax in splendid cheer within a cherished musical atmosphere.

Dance recital

Strange Land is a dance recital manifesting a development within the traditional parameters of Kandyan dance form. Its scintillating character was framed by a fusion of modifications of the elements drawn from western ballet and the Russian folk dances.

It was a solo performance by Mohan whose creative thinking had a generous visual effect on his own performance. Sounds of drumming was deeply set to an unusual rhythmic beat that spelled a quicker heart-beat.

Elegantly lined up percussionists (11 in all) leaping, spinning and swirling to make varying formations of pleasing splendour and audio-friendly drumming with superbly timed delightful diversions.

It issued the spirit of Geta Bera in superb group performance of rhythmic Kandyan classical percussion. The unity of rhythm and drum beat was delicately balanced and rhymed, and incidentally it concluded with the warmest and loudest applause of the audience.

Seeking the blessings of Sriya Devi through a prosperous performance of low country ritualistic dances, Sri Kantha came on stage as a feminine presentation replete with vigour and vibration, with its core strength being the fascinating moving dance rhythm showing their devotion to Sriya Devi being more submissive and humble the dancers assumed stiff stance and a slow measured movement.

Fitting finale

Percussion the last item of the evening was a fitting finale to a grand musical sequence that carried the audience to a striking experience of drum and rhythm, and dance forms.

A novel experimental recital of immaculate drum beats using a newly created large drum called Kala Bera together with thammattama. Kala Bera an invention through the combined effort of several artists exuded a subdued but loud echo that mesmerised the audience.

The absorbing sound of drum beat gently ceased eventually to be stilled at pin-drop silence and then to progressively regain momentum to develop into a deafening height of sound that almost drowned the audience with undiluted rupturous break into sound created by robust percussionists. In the meantime this event marked the launch of the inventive Kala Bera.

The musical and dance combined recital which is a commendable artistic exercise of Mohan, Susantha and Prasantha has produced a rare mix of rhythm which gripped an enthraled gathering with an elevated taste and an enlightened sense of traditional art. A remarkable evening of joy enhanced and inspired by our own cultural spirit of a reflection of our dance forms, drum beats and folk songs.

A contented audience overjoyed by a variety of presentations, left the theatre with generous thanks to a group of artists who were innovative enough to assimilate what had been culled selectively from the foreign folk theatre with the fabric of our traditional dance forms.

However, they continue to carry the flag of our national cultural tradition as enshrined in the performing arts which are preserved in our cultural and spiritual content, in its pure pristine glory.

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