Guru Pooja
Celebrating Upeka’s 50 years of dance:
Ranga Chandrarathne reviews
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The evening of dancing dedicated to
Upeka was not only a symbol of her trailblazing career but also an
amalgam of talents of the day. The universal homage thus paid by Upeka’s
students, and best of performers in the country was not along for the
recognition of her role as teacher, performer but for a person who is a
torchbearer of tradition to the posterity. The celebration definitely
showed the delicate merge of age old traditions with modernity yet
without loosing its intrinsic characteristics.
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The dimly lit auditorium of the Chithrasena Kalayathanaya at
Narahenpita was packed with students and well wishers to pay homage to
Upeka Chithrasena who celebrated her 50 years on stage. The torches at
the top of the sticks were planted around the auditorium perhaps
remembering the age old traditions of dancing which are still alive
thanks to few dedicated practitioners like Upeka Chithrasena.
The feeble glow that emanated from the torches readily mingled with
the flood lights focused on the dancer on stage as if to suggest that
the age old tradition is well adapted to modern stage and in other words
to indicate a delicate fusion of tradition with modernity.
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Picture by Alefiya Akbarally |
The celebration commenced with Ridmashirvada, a blessing in drum
recital by the Ravibandu-Samanthi Narthanayathanaya. The piece was
composed by Ravibandhu Vidyapathy. For this Ravibandhu has used
traditional drums, Dawula and Thammattama and Horanawa in its purest
form. This piece evoked sentimental memory of Chithrasena as Ravibandhu
was a student of the Kalayathanaya. The item was followed by a
multi-media presentation on fifty years of Upeka’s dancing.
Choreography
Saraswathie, a dance invocation of goddess of Saraswathie first
choreographed by Vajira Chithrasena for Upeka in 1992, was by Umi to the
music by Kolithabhanu Dissanayake. Kolitha also sang for the piece. Drum
Composition for the piece was by Ravibandu Vidyapathi and Upula
Madushanka.
This was one of the beautiful pieces of choreography which
demonstrated the splendour of body movements and sheer beauty of
dancing. Saraswathie the goddess of arts perhaps would have been the
best tribute for a guru who has been bearing the torch of tradition for
posterity.
Samaya is a piece of choreography especially composed for Upeka by
Jonathan Hollander in collaboration with Upeka. The piece was a
juxtaposition of the chaos and violence of the civil strife with the
peaceful and serenity of dance and transcend to the scene of
destruction.
The drum composition for the piece was by Piyasara Shilpadhipathi and
Ravibandu Vidyapathi. The contrasting of chaos with order and serenity
brought out serenity in dance. The next item was Ridmaranga, an excerpt
of pure movements from a Kandyan dance ritual. Thaji danced for the
piece.
This was choreographed by Vajira for Upeka. Drum composition for the
piece was by Piyasara Shilpadhipathi. This was one of the items where
the superior beauty of Kandyan dance was demonstrated.
Vbhanga (in two minds), contemplation on the language of a female
Kandyan dancer which was choreographed by Heshma and Thaji, Subha,
Harini, Ruwini and Gayani performed. It is the intricate language of
Kandyan dance that captured the imagination demonstrated in this piece.
Female dancer’s femininity and elegance of body movement were the
hallmark of this composition.
Ruhunu Bera was item where the distinct low country drum rhythms were
played on traditional low country drums. Susantha, Prasanna, Udaya and
Priyanga played low country drums for the piece. Among other things,
this piece amply demonstrated the sheer piercing sound of the low
country drums and the drum composition was by Vajira and Piyasara
Shipadhipathi.
Nawarasaya was a depiction of nine moods: love, comical, furious,
heroic, compassion, fear, disgust, wonderment and peace in terms of a
fine choreography. It was choreographed by Anjanika and Chamilka, Amandi,
Heshini, Savini, Roshani, Kushani, Sayuri and Thishani performed for the
piece. This was marked for costume design and sheer depiction of diverse
moods. Coordination among the dancers and hard practice was evident from
perfection of movements and the ease with which they performed the
piece.
Captured
Kandyan duet captured the two aspects of Sri Lankan classical dance;
Thandava (Masculine) and Lasya (Feminine). The piece was choreographed
by Vajira and the drum composition was by Piyasara Shilaphipathi, Udaya
and Iroshan. Thaji and Kushan played the female and male roles
respectively.
This was nothing but the two aspects of the classical Kandyan dancing
which constitutes its unique balance and beauty. It was obvious that
dancers enjoyed every moment on the stage, the male dancer synchronising
well with his female counterpart.
Folk Song s sung by Sriya, Kinkini and Nadee, are a profile of the
vast repertoire celebrating the cycle of life. Songs carry the very
signature of the nation. They were the songs composed by ordinary folk
and handed over from one generation to another. Significant aspect of
this genre of songs is that thy do not posses fixed notation. So the
same songs are sung in diverse parts of the country with diverse tunes
yet they have distinct Sri Lankan characteristic.
Theiyya the last piece of the concert demonstrated the Kandyan dance
techniques. As they were the fundamental techniques of Kandyan dance
which form its character, this item was performed by highly skilled
dancers.
Born and bred in a family of artists and growing up in an environment
surrounded by leading artistes of the day, dancing has been part and
parcel of Upeka Chitrasena’s life. She recollects with nostalgia the
sheer excitement and the sublime joy she derives from being on the stage
and to dance to the mesmerizing beat of the drums.
It is a subtle conversation with her drummers that Upeka enjoys most.
By sheer dint of perseverance and hard practice Upeka carries the torch
from her legendary parents to posterity with a rich legacy of
traditional Sri Lankan dance forms.
Apart from excellent choreography and exposition of diverse
traditions of dancing, the evening of dance dedicated to Upeka
Chithrasena to mark the completion of fifty years for her trailblazing
career in dancing, was marked for its authenticity. It is not an
exaggeration that Upeka has not only evolved her own style in dancing
but also has been a teacher performer. She is one who can still
demonstrate what she teaches for her students.
Lighting and sound were also managed well so as to make the evening a
memorable occasion. |
