Threesome brings credit to classical dance

Kalabhooshanam Chelvatamby Maniccavasagar

DANCE: A distinguished and an appreciative audience packed the New Kathiresan Hall, Bambalapitiya recently to enjoy a concert of classical dances (Thrimadhura) presented by Ashwini Vandhitha, Harinni Amrritha and Anuganga, students of veteran dance teacher Kalasuri Vasugy Jegatheeswaran.

Kalasuri Shelton Premaratne was the chief guest while Dr. Chandrashekar Chandiliya, Senior Consultant Physician, Appollo Hospital, Colombo was the guest of honour.

In fact, dance and music are the great pride of our cultural scene today and these two major art forms have stood the ravages of colonialism and foreign rule and emerged unscathed. Art is an instrument of culture and is an international language in which mind can speak to mind, heart to heart where limbs are dumb.

Feelings

The dance programme which commenced with Sathyam, Sivam, Sundaram (Truth, God, and Splendour) and followed with Shakthi Vandhana (Devotion to Goddess Shakthi) captivated the hearts of the audience.

In fact Sakthi is the embodiment of power. She is the supreme power by which the world is made to function. Lord Shiva without Sakthi is all stillness. Shiva is the word, but it is Sakthi which moves him to words.

Indeed, Bharatha Choodamani Bharatha Bhooshana Thilakan Kalasuri Vasugy Jegatheeswaran has done this dance composition with meticulous care and thoroughness. Besides, Ashwini Vandhitha, Harinni Amrritha and Anuganga completed their Arangetram under the able guidance of Kalasuri Vasugy Jegatheeswan a few years ago.

The "Gajaga Vandana" a fusion of Sinhala and Tamil traditional dance forms centred on Lord Ganesha was really interesting to watch. Lord Ganesha is one of the powerful Gods in Hindu pantheon and He always removes the obstacles of human beings when they pray to him with devotion.

That might have been the reason devotees invoke the blessings of Lord Ganesha before they embark on new venture.

Nateswara Anjali (a dance in praise of Lord Nataraja where the greatness of Lord Shiva is portrayed and "Kavuthvam" which is a traditional dance) was a regular feature of temple rituals in ancient times and now it is coming back to the limelight.

This is a dance form with rhythmic syllabus combined with lyrics in praise of deities. The dancer Anuganga Kulendran has performed it extremely well and got the applause from the audience.

The Rasabava (Introducing Expressions) done by Harini Amrritha Visvanathan really enthralled the audience. Indeed, she is eminently suited for this dance performance since she possesses the required blend of glamour appeal which are essential for a dancer. She excelled in her facial expression, manual gesture and deft footwork.

Her performance with freshness and precision was a pleasure to watch. She really captivated the audience with her tremendous agility, involvement and concentration.

Napur, a dance based on Moghul style by Ashvini Vanthitha held the attention of the audience. Though, she is slightly big made for her age, she negotiated the complicated and rhythmic changes with effortless agility covering the stage with dynamism and grace.

The dance Krishna Swagatham, a dance from welcoming Lord Krishna followed by Kanda Kumara, a dance in devotion to Lord Kataragama performed to a Sinhala lyric.

The dancer sings in earnest prayer imploring Lord Kataragama to come to her. She imagines him as a child with chiming anklets and a dangling spear, filling her heart with ecstasy by the golden beauty of his heavenly form and charming smile from his cherished blossom lips.

The dance depicting the preaching of the Buddha towards peace drew the attention of the audience. The great Buddhist King Asoka is a good example to us in nation building. King Asoka attributes his own interest in Dharma to repentance for the violence and cruelty of the Kalinga war.

The change of heart brought about by his reflections on war inspired him to the preaching of the Buddha and made him to embrace Buddhism.

Pure rhythm

The classical dance programme invariably concludes with Thillane, in which the expression of pure rhythm is the most important feature. The music arrangements for Gajaga Vandanam by Channa Wijewardena and Jananath Warakagoda were indeed excellent. They have done it with meticulous care and thoroughness.

Mrs. Iriene Bastiampillai, a senior officer of the Bank of Ceylon, Mr. Jayashiri Wijeratne and Mr. S. Visvanathan, Director Tamil Service of Sri Lanka Rupavahini Corporation, and a world renowned TV announcer and former member of the Carnatic Music and Bharatha Natya panel of the Arts Council of Sri Lanka compered the dance programmes remarkably well.

Indeed, Kalasuri Vasugy Jegatheeswaran deserves our congratulations for having given tremendous training for all these three students and made them to perform all the difficult dance techniques with commendable measure of competence and indeed it is an accepted and acknowledged fact that her "Natya Kala Mandir" today stands not merely as an institution a kingdom of mathematical wisdom, but also as a resilient tradition and an indomitable spirit destined to remain strong and sound for millennium.

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