From OH DEER to O what a DANCER
Somalatha Subasinghe
As a young schoolchild I remember seeing the ballet Ravana by
Chitrasena where a deer darted across the stage. It was so real and
effective. That was none other than Vajira herself. That is how I
remember Vajira all the time. My memory goes back next to another such
mesmerizing performance of the swan by Vajira in Nala Damayanthi. She
was in it body and soul.
Hailing from Kalutara Vajira. Her mother was a teacher. Her father an
Accountant, worked at the Town Council, Kalutara. Vajira’s mother
herself had a love for dance but could not pursue due to the early
demise of her own father. She encouraged Vajira to learn dancing having
observed the special talent of the little girl Vajira. Then Vajira was
playful and could not be disciplined into a regular class. The mother
never gave up her effort.
Vajira’s mother arranged a dance class to be held in her own home by
Chitrasena for a few girls in the neighbourhood and Vajira’s own elder
sister. Vajira still could not be seriously involved. She just ran in
and out of the class.
Chitrasena was the son of Seebert Dias, who was an actor himself who
produced the first Shakespearean play in Sri Lanka. His house was a
cultural centre of sorts. He encouraged young Chitrasena to go to the
villages and master the traditional Kandyan dance. Chitra was an avid
follower of his contemporary Uday Shankar, the celebrated Indian dancer
and choreographer. He was influenced to relate stories through dance.
Having learnt the traditional Kandyan dance Chitrasena went to
Shanthinikethana in India to further his dance experience.
Vajira attended Kalutara Balika Vidyalaya where her mother was a
teacher. The mother convinced the principal of the school to introduce
dance as a subject in the class. This compelled Vajira to follow dance
classes. She learnt under Ananga Lal Athukorala and Nimal Welgama. She
was not yet enjoying dance that much. But she happened to take part in
concerts by her school. Her Teacher who had so much hope for her
suggested for her to send to Sripali, Horana that was run on the fashion
of Shanthinikethana. But it being Second World War period the parents
brought her back home. She was back in Kalutara Balika and took part in
the performance of Vessanthara performed at the Kalutara Town Hall.
She played Jaliya which made her realize how joyful dancing was. This
experience inspired her greatly to learn dancing.
Chitrasena was quick to realize Vajira’s potential. Vajira and her
sister came to Colombo. Staying at Chitrasena’s parents’ home Vajira
attended Methodist’s College and gave up studies after the Junior
Certificate. Earlier she attended Chitrasena’s dancing class after
school. Now she was fully involved. She had all the time to learn
dancing. She was such a relentless student that she was an example to be
followed by others.
1948, the year of independence was memorable for Vajira. She was the
‘deer’ in Chitrasena’s Ramayana in the Pageant of Lanka. That was her
maiden public appearance.
Later she danced the role of deer in Chitrasena’s ballet Ravana and
the snake maiden in Vidura.
Chitrasena had found his protege in Vajira and instilled in her
motivation and drive to dance that dance became her life. In Sri Lankan
culture, females were not taking upto stage performances. Vajira was the
first. Chitrasena educated her in everything about dancing and how to
conceive a production, stage positioning, stage craft etc. he encouraged
her to read literature on dance giving her books on renowned dancers
like Anna Pavlova of Russia and Martha Graham of America. In 1949, was
the first Kandyan dance item that broke ground for female dance to be
established in Sri Lanka. It was performed by Vajira. The late Somabandu
Vidyapathi, the famous artiste created a specially designed Kandyan
dance consume for Vajira.
Chitrasena and Vajira worked intensively together in creating refined
beautiful dance and performed around the country that they became
well-known in Sri Lanka.
Vajira immersed herself in dancing and her commitment was spiritual.
Working closely together in creating through the art form they both
identified themselves with the natural development of human feeling took
place. In 1950, the Maestro Chitrasena married his brilliant pupil
Vajira.
Vajira’s most valuable contribution other than her creations is the
transforming of the masculine Kandyan dance to a very feminine dance
form. She mastered the original style of Kandyan dance from traditional
masters. She realised that elements of femininity came to her dance
naturally. With her grace, elegance, expression of emotions in
performing she made and indelible stamp on the Kandyan female dance
style. It gave a new dimension to the Kandyan dance. Vajira entered the
stage at the correct time when Sri Lankan Society was prepared to
receive dance as a sophisticated performance.
1952 is again memorable for Vajira, when she made her debut as a
soloist in the main role in the ballet Chandalika, produced by
Chitrasena. Also in the same year, her first children’s ballet
Himakumariya was produced. She excelled in children’s ballets; to her
credit are eleven ballets for children and seven ballets for adults and
three ballets created together with Chitrasena.
Trained movement
She enthralled the audience dancing the lead roles in all the ballets
by the Chitrasena, enjoying every minor movement of the training.
She was also a Dancing Instructor in several schools in Colombo. She
was the teacher at the Kalayathana for number of decades to hundreds of
students. She also created series of exercises and rhythmic movements to
train the formative stages of the dancer’s body. This is a most
important contribution to the technique of Kandyan dancing.
1961 was a land mark when the first pure ballet Karadiya was produced
by Chitrasena. It was the first time where no verbal rendering was used
to explain the situations in the ballet whereas in the ballets before
songs were used to support certain acts and emotions.
This ballet was created by Chitrasena for Vajira to play the main
female character expressing the feminine aspects of the story.
Chitrasena played the male character opposite her. Chitrasena encouraged
her to create her own movements and to do her own choreography as the
oppressed woman.
This ballet was supported by a lively cast trained by the
Kalayathana. It was received as a magnificent work of art by critics and
audiences. Chitrasena while creating this ballet also taught his group
theatre and stage craft.
She became a mother in 1951 when Upeka, the elder daughter was born.
She did not stop teaching or performing on the stage when bearing
children till six month period was completed. Her mother and her sister
helped her in bringing up the children. Her mother who loved to see her
dancing used to bring the little children and sit at the rehearsals.
Because of the tremendous support by her mother and the sister the
children were never a burden. Two years later, Anjalee the younger
daughter and in 1957 Anudatta, the son were born. Dance became a natural
routine of the family. She managed it so well.
Vajira’s achievements and contribution came on in the form of ballet
she created herself. Ballet Chandalika she created herself where she
played the mother and her daughter, Upeka played the daughter’s role was
a feat for the audience.
Vajira who had learnt and mastered the art of choreography at a young
age gained much with Karadiya. She directed and produced Bera Handa in
2001. It was a great success.
Specialised teachers
Having noticed the dwindling number of male dancers in the country,
Vajira, decided to select 10 adult males and gave them 2 ˝ year course
of dance under herself and specialised teachers.
Chitrasena and Vajira are responsible for producing the next
generation of professional dancers in Sri Lanka.
Upeka continued the great tradition by being the principal dancer of
the Chitrasena Dance Company. She led the dance company on tours in
1986; younger daughter Anjalika is also an accomplished dancer, teacher
and choreographer and created her first ballet, Koombi Kathawa in 2007.
The son Anudatta was the Technical Director of the Dance Company for
many of the productions. Daughter-in-law Janaki was a dancer/teacher and
dance company manager. Granddaughters Heshma, Umadanthi and Thaji the
third generation continue the great legacy. In addition, many students
from the Chitrasena Kalayathanaya have established their own schools and
dance companies and so bordering the vision of Chitrasena and Vajira.
Key students are Ravibandu and Samanthi Vidyapathi, Channa Wijewardana
Khema, Tanya de Silva and Visha de Silva.
Vajira in her career performed in many countries. Her first overseas
tour was to the USSR in 1957 as a lead dancer in the ballet Samavijaya
(triumph of peace) at the Youth Festival sponsored by World Peace
Council. Vajira was the first Cultural Ambassador to foreign countries
in Europe, England, Canada, Australia, and many other Asian countries
including India.
Kandyan Dance, the heritage of Sri Lanka became known to the World.
She has captivated audience including Royalty, Presidents, Prime
Ministers other dignitaries with a mastery of art. Here I would like to
quote a few lines from Izvestia 1963, a daily newspaper in the USSR by
Anna Ilupina.
“The impossibility of conveying in words the living charm of the
dance is self evident. All we can say of Vajira is that the mastery lies
beyond praise. Every gesture of her slender hand every glance of her
beautiful oval eyes, every movement of the slender legs and slim body is
full of inexpressible grace.”
I like to quote here again the Late Karean Breckenridge in Nritya
Pooja 1986, a tribute to Chitrasena’s 50 years of dance.
“It may be held that Chitrasena’s greatest contribution to the
Sinhala dance is his wife Vajira. After all Vajira began her life as a
dancer as his pupil and has matured into Ceylon’s outstanding dancer and
prima ballerina under his tutelage. The matter however would be
controversial for we have to consider Vajira the artist independently.
Vajira the present exponent of the lasya roles is the indefatigable
teacher herself subtle choreographer of children’s ballets.”
Vajira’s stage career lasted from 1948 to 2006 for which she has
received many awards. In addition to the honorary doctorate from the
University of Performing Arts Sri Lanka she was awarded Kalashoory in
1988, International Women’s award in 1998. In 2005, she was awarded
Kalabooshana by the President. On the 7th of March 2013 she was
felicitated by the Parliament of Sri Lanka.
In 2005, Chitrasena passed away. But his objective and the dream is
being firmly carried on by his beloved wife Vajira and family. His
dedication and sacrifice has not been in vain. There are four
generations of Chitrasena – Vajira family continuing the tradition.
Vajira is the Matriarch guiding and protecting the legacy of Chitrasena.
She is broadening the commitment of Chitrasena with her own creatively
and independent contribution.
Believe it or not she is still teaching at 81 years.
At the felicitation to Vajira on her 81st B’day at the Indian High
Commission. |