Features
She danced her way to stardom
One of our finest women dancers, Upeka Chitrasena, has enthralled audiences at home and those across our shores with her brilliance. The queen of dance who turned 70 on May 21 has now taken the mantle of a guru but is still remembered and loved for her inimitable vitality on stage.
by Randima Attygalle
The flower and the deer she played in the children’s ballet, Vanaja. 63- years ago, created by her mother Vajira Chitrasena, signaled where Upeka Chitrasena would eventually go. When this prima ballerina who needs no introduction announced her ‘retirement’ a few months after she turned 60, her fans grieved. Her final performance, Dancing for the Gods in 2011 evoked mixed emotions. While some demanded an ‘encore’ as a last hurrah, others didn’t hide their disappointment that this much-loved danseuse was calling it a day. “Although it was a spur of the moment decision, it was the right thing to do at the right time. I had had it all; I traveled the world and danced in some of the world’s finest theaters before great audiences. I have absolutely no regrets,” reflects Upeka who turned 70-years a few days ago.
The first born child of Chitrasena- revered as Sri Lanka’s finest male dancer and Vajira, the uncontested queen of Kandyan dance and the country’s first professional woman dancer, Upeka was brought up to prove herself; nothing was offered on a platter. The precise ‘line’ and ‘form’ which made the Chitrasena-Vajira idiom were drilled into Upeka the hard way. Be it Rankikili, Nala Damayanthi, Karadiya or Kinkini Kolama, each a milestone in its own way, as Upeka puts it, she was put on trial by her parents to rise to her true potential.
“My mother who continues to inspire me and the next generation as one of the most brilliant choreographers we ever had, enabled me to reach for the stars. Yet no preferential treatment was ever given to me as her daughter; in fact, I had to do much more than the other students,” smiles Upeka.
Upeka calls herself a ‘spectator’ today, being a teacher who “sits, watches and corrects” her students. Yet she is celebrated for her virtuosity on stage. With her twirls and leaps coupled with infinitely delicate movements, Upeka evolved a style of her own, combining her parents’ seemingly contrasting styles. “My formative years were spent dancing along with my parents, hence there was a strong influence from them both,” she says. Nevertheless she went on to discover her own genius by mastering low country dance as well.
While constant style correction by her hard taskmaster gurus had made her a demanding teacher today, she gives nothing but her best to her students. Having been on the same stage with her father made her “perfect her trade”, she says. Playing the lead female role in Karadiya beside her father in 1975 marked her coming-of-age as a dancer. Apprehensive about filling the shoes of her mother who had been playing that role for many years, and nervous to perform next to her larger-than-life father, Upeka was virtually tossed into the deep end by her mother. “It was her idea that I should get experience in Karadiya playing her role.”
Kinkini Kolama
, a ballet choreographed for her by her parents, not only launched Upeka as a solo artiste but also found her her life’s partner. On an invitation from Chitrasena, Cedric de Silva, a young professional who had just returned after a long stay in the US was in the audience mesmerized by the young dancer on stage. Cedric came looking for her backstage and the rest is history! “He didn’t know what he was getting into!” laughs Upeka.
They have been married for 42 years now and Upeka feels blessed to have Cedric beside her. “Our lives as artistes have always been very demanding with every family member getting involved. My husband supported me in every possible way to indulge me in my passion and continues to do so,” she beams.
It was the famous ‘Colpetty House’ of her parents – an artistic hub of dance, theatre and more yesteryear which fanned the flames of dance in Upeka. “We virtually lived and breathed dance there. From a very young age my siblings (Anjalika and Anudatta) and I were exposed to the best local and touring foreign artistes visiting my parents there.” As a soloist, her sister could “fill the stage with her style,” remarks Anjalika Melvani. Of all the performances the two sisters did together, the ballet Nala Damayanthi is the most cherished, remembers Anjalika. “My sister and I took the two lead roles. She was Princess Damayanthi and I was the Chief Swan. These particular roles were danced by two sisters even in my mother’s time – it was her younger sister Vipuli who was Damayanthi and my mother, the Chief Swan. I think it was the most challenging and emotional experience for me.”
Since Upeka gave up dancing and took on the mantle of teacher, it has been Nrityagram- India’s first modern Gurukul for Indian classical dances founded by Protima Gauri Bedi which has “kept her going.” The Artistic Director and choreographer of Nrityagram, Surupa Sen offers her and the Chitrasena Dance Company constant inspiration today, she says. Samhara where the Chitrasena’s collaborated with the Odissi dancers of Nritryagram Dance Ensemble from Bangalore was a critical turning point for the ‘younger dance company’ led by its principal dancer, her niece Thaji (Thajithangani Dias – younger daughter of her brother Anudatta). The ‘communal experience’ of the Colpetty days fuelled by Nrityagram, had driven the Chitrasena Kalayathanaya to set up a guru gedera where all gurus in the Chitrasena family, especially Vajira and Upeka can once more live and breathe dance with their pupils. “The pandemic situation botched our life-long dream, which I fervently hope we will be able to realize soon,” says Upeka wistfully.
The next generation of custodians- Heshma (daughter of Anjalika), Umi (Umadanthi- eldest daughter of Anudatta) and Thaji do justice to their visionary grandfather’s words, “the new is the extension of the old.” Upeka beams with pride and adds, “my father always said that dance is sacred and we have been struggling to keep it alive. Now the baton is being passed on to the next generation.”
Although it’s not an easy path, ‘the new generation of Chitrasena women’ can continue the trailblazing tradition together, says Upeka who takes immense pride in her gifted nieces for their unconditional commitment to the Dance Company. “They are all conscious of our heritage and strive to add to the achievements of their ancestors. I’m so very proud of them.” She humbly admits that the new generation offers her constant wonderment and inspiration. An artiste can never cease to learn, she says.
It was Heshma Wignaraja, the Art Director of the Chitrasena Dance Company, who had the good fortune of seeing and dancing with her grandparents, and also becoming part of the Dance Company during the time her aunt Upeka led it. “My aunt didn’t simply carry the torch. She elevated the level of work produced even in the toughest of times. She became the muse for both my grandparents.”
“While achchi cast her in more traditional solo items, seeya found the most perfect character roles for her that displayed the range of her abilities. I couldn’t have learned any better, through my childhood and youth.”
Upeka’s commitment to this legacy is what has allowed the new generation to continue the Chitrasena tradition today, says Heshma noting that most can’t remain committed to the seriousness of Chitrasena’s art. ” She wouldn’t tolerate anything less. “
Her aunt who is a second mother to all of them gives “without limits and loves them unconditionally,” notes Umi Dias who administers the Chitrasena Kalayathanaya. “Her discipline and commitment to whatever she does is a great inspiration. I was lucky enough to travel with her on tours and I have learned so much by just being with her and watching her lead the Chitrasena Dance Company.”
If the big bright red pottu is this prima ballerina’s trade mark, or rather her ‘third eye’ as she dubs it, the resonance of the traditional Sri Lankan drum is her very own heartbeat. She cannot do without either. During these testing times, Upeka misses her much loved beats. “Nothing can compensate for them,” she adds. As a teenager Upeka followed the life and career of Protima Gauri Bedi- the Indian model turned Odissi exponent. Upeka’s signature pottu was inspired by her.
Reading about artistes, particularly dancers is one of Upeka’s joys. The autobiography of the American dancer Isadora Duncan, My Life, offers her new perspectives ever since she was introduced to the book by her father. . The nature lover in Upeka surfaced as a result of her husband’s interest and she enjoys bird-watching, nature trails and safaris with him.
How would she describe herself in just three words, I ask this ‘queen of dance’ in conclusion. “I need just one word – dancer!”, she responds.
(Photo credit: Luxshman Nadaraja, Studio Times, Chitrasena-Vajira Dance Foundation Archives and family archives)