Midweek Review

Suzuki Method in Sri Lanka: Introducing an Actor Training System

Published

4 years ago

2020/12/30

By Saumya Liyanage Introduction

In 2019, the Faculty of Graduate Studies, University of Visual and Performing Arts initiated a project titled ‘Suzuki Actor Training Workshop’ with a performance maker and actor trainer Dr Deborah Leiser-Moore from Melbourne, Australia. The objective of this workshop was to introduce a novel approach to actor training through the least explored performer training system in Sri Lanka known as ‘Suzuki Method’ conceived and developed by a well-known Japanese theatre director Tadashi Suzuki. The Suzuki method has been used and taught in many Universities and theatre institutions in the world and this approach to actor training was first popularized in America, Australia, and Europe in the early 80s. However, this approach of actor training was not known to Sri Lankan academia or theatre schools. The dominant performer training paradigm has been the Stanislavski or Method, derived from Stanislavski’s system or later the version of Method acting derived through American actor training tradition. This domination has been a widespread phenomenon in major actor training schools in the world. Yet, in the early 80s and latter part of the decade, the Suzuki method has become one of their major disciplines in actor training curricula, especially in Australia and America. This Suzuki actor training workshop was the first attempt to introduce Tadashi Suzuki’s methodology to a Sri Lankan group of actors.

Tadashi Suzuki

As a theatre student reading for Master’s degree at Flinders University South Australia in early 2002, I was first introduced to Suzuki’s approaches to actor training. My thesis supervisor Prof. Julie Holledge introduced Suzuki’s key texts as I was reading various actor-training methodologies and preparing for writing the thesis. At the time the Suzuki method was one of the popular approaches to actor training in many theatre schools and theatre ensembles in Australia. Suzuki had visited Australia several times and had worked with Australian actors to share his ac

tor training method and his philosophy of theatre. Further his writings and theoretical and methodological promises of actor training have been widely discussed in theatre forums and symposia in Australasia. I first read his key text The Way of Acting (1986) to learn this master’s approaches to theatre, body, and performance. In addition, several key journal papers written by eminent theatre scholars who had practical experience of his theatre making were also my starting point (Allain, 1998, Allain, 2003, Allain, 2019, Goto, 1989a, Kim, 2013). These writings which offered in depth descriptions and analyses of the efficacy of Suzuki method further opened up my horizon to think through Suzuki and his theatre works.

Tadashi Suzuki, an 81-year-old Japanese theatre director first started his theatre career in the 1950s during his undergraduate days at Waseda State University, Japan. As a student theatre activist, with his writing collaborator Betsuyaku Minoru and 12 amateur actors, he founded the Free Stage (Jiyu Butai) theatre group an

d produced theatre works that reflected the ‘turbulent era of his time’ (Goto, 1989, p. 103). As such, Suzuki’s ideas on theatre and the philosophy of actor’s role in theatre were somewhat reminiscent of European avant-gardes such as Antonin Artaud or Jerzy Grotowski. As Artaud and Grotowski rejected the text and its domination in the theatrical experience, Suzuki was also of the view that the centre of the theatrical experience should be the actor and the actor’s co-presence with the audience. His experimentations of theatre works since early 60s to date have emphasised the actor’s body and voice as the kernel of theatrical experience.

He had the conception of finding new ways of doing theatre when he first visited France to take part in an international theatre festival. After returning, Suzuki and his group had found a mountain farmhouse located hundreds of kilometers from Tokyo, and had converted it into a theatre house. Since then Suzuki has explored his actor training and theatre works in Toga Little Theatre in Japan. Toga is a remote village in Japan where Tadashi Suzuki started his theatre practice and still functions as the centre of his theatre and actor training explorations.

Why Suzuki?

I thought of introducing the Suzuki method to Sri Lankan theatre actors for several reasons. I have observed that Sri Lankan theatre and especially its performance practice are diminishing with elaborate technology and stage craft. Further, the actor’s body and its capacity are also marginalized for the sake of proscenium dialogical dramatic acts that we experience in contemporary theatre. Older versions of psychological realism still dominate in theatre and the actor’s capacity, voice, and physical expressions have gradually been forgotten. As I have frequently argued, the ‘primal ritual’ of theatre and actor’s art need to be re-established in order to reinstate a sustainable theatre experience between theatergoers and actors. For theatre audiences in Sri Lanka, whether it is English, Tamil or Sinhala speaking theatres, theatre experience has become a mere proscenium arched framework where people watch daily popular political jargons and obscene jokes brought to entertain them. It is pity to see that the actor’s art has never been in such a poor state where actors on stage perform like marionettes in television soap operas.

The distinction between television screen and theatre is narrowed to a place where a nuclear family saga or political jokes are the core of experience.

In this sense, the Suzuki actor training method is a unique approach to actor training among other performer training pedagogies. It is unique because it focuses on the actor’s development of lower body, stillness, stamina and the presence of the body on stage. On the other hand, it is an innovative actor training method that emphasises the animal-energy in theatre. As Suzuki argues, pre-modern theatre in Japan and elsewhere employed animal-energy to create theatre and stagecraft, and theatre technologies were merely created through human engagement. Suzuki uses this term animal-energy to discuss how raw human engagement is used in traditional theatres such as Noh and Kabuki in Japan and also kuttiyattam and Kathakali dance drama in India or Balinese theatre in Bali, Lombok or in East Java. Talking about his actor training system Suzuki further explains:

As the theatre, either in Europe or in Japan, has kept up with the times and has come to use non-animal-energy in every facet of its activities, one of the resulting evils is that the faculties of the human body and physical sensibility have been overspecialized to the point of separation. Just as civilization has specialized the job of the eyes and created the microscope, modernization has “dismembered” our physical faculties from our essential selves (Suzuki, T., 2002, p. 3)

As this quotation depicts, Suzuki discusses his discontentment of the current practice of the human body on stage and further discusses how the human race has extended technological innovations to replace perceptual organs. For instance, he explains how the human eye is replaced with the microscopic apparatuses to see what the human eye cannot capture through its naked eye. However, Suzuki’s lament with the modern technology and its domination of human cognition is not a new conceptual position. Since the inception of the industrial revolution, many scholars and philosophers have addressed this issue and notably, the intervention of technology and its impact upon human life was a heated debate.

The invasion of intermedial applications in modern and contemporary theatre is something that we cannot ignore. This intermediality has replicated the natural human body and its performativity on stage by elevating digital and visual power over the human body and theatre at large.

However, the importance of Suzuki’s criticism is that he intends his actors to find true selves and the corporeal presence on stage. In line with this argument, Suzuki has invented a method which emphasizes the lower part of the human body—legs—and its connection to the floor. (This idea of focusing on the lower body and its connection to the earth was not new to Sri Lankan dance practice. However, with the advent of visual medium and digital technology the performer’s focus has been shifted from the floor to the upper body).

The basic activities that Suzuki has formulated to train actors is a series of various stomping methods and walking patterns that allow actors to work as individuals and in groups. In this stomping method, actors are intended to hit the floor vigorously and continue stomping for at least half an hour while keeping their upper bodies still. Therefore, the actor’s endurance and stamina are tested with these rigorous exercise routines. Stomping further allows the actor to see how his/her upper body reacts to the lower body when legs are hitting the ground. The challenge of maintaining the balance, the centre of gravity and energy flow through the pelvic area to the ground, and its equal force towards the upper body is constantly been measured and tested in this actor training method.

Deborah Leiser-Moore

With the concept of eradicating daily routine and mundane habitual behaviors, I had several conversations with Australian actor/director Deborah Leiser-Moore, and finally decided to conduct a week-long Suzuki actor training for a group of selected Sri Lankan actors in mid-2019.

I first met Deborah during my stay at La Trobe University Melbourne while reading for my PhD. I was assigned to teach a few undergraduate classes Asian performance traditions and at the time Deborah was a hired lecturer at the Department of Theatre, La Trobe University Bundoora, Victoria. She wanted to take part in my workshops and later I found that she was going to conduct a series of workshops on Suzuki actor training for undergraduate theatre programme. Associate Prof. Rob Conkie introduced me to Deborah and she invited me to take part in her workshop on the Suzuki method. For the first time in my career as an actor, I was exposed to the Suzuki method which was physically challenging and psychologically draining when I underwent training.

Deborah has studied the Suzuki method and gained first-hand experience of working with the master actor trainer and theatre director Tadashi Suzuki and his actors in Waseda Little Theatre (Waseda Shogekijo) in Japan. In addition, she has studied the work of Ettiene Decroux, and his corporeal mime, and has worked with Richard Schechner’s Rasaboxes. Deborah is a performance maker and actor who has created many solo performances and has performed them in several theatre festivals around the world. She has worked as a sessional lecturer at many Australian Universities such as La Trobe, Wollongong, Sydney, Monash, and University of Western Sydney where she has taught and developed course contents, supervised theses, and theatre productions.

Suzuki Method in Sri Lanka

The Suzuki actor training workshop, conceived and developed by Dr Saumya Liyanage and Dr Deborah Leiser-Moore, was mainly focused on the actor’s ‘Present’ in the given moment, developing stamina and deconstructing daily habit body and cultivating a sense of presence and focus on the body and text. The participants were selected through an application process and the workshop was limited to twenty-five actors of both genders. The week-long workshop was designed to work with actors throughout. Deborah conducted her actor training workshop quite similar to what she has learnt during her Apprenticeship in Toga, Japan.

Young and enthusiastic actors and a few dancers were selected to take part in this unique performer training workshop and every moment of working with Deborah was a joyful experience for Sri Lankan actors. These selected actors were either graduates or had professionally worked in the Sinhala or English theatre. Among these actors, there were a few dance graduates who were keen to explore performance genres. However, the Suzuki method is a rigorous and a physically demanding actor training system. Many of the actors were physically and psychologically drained during workshop hours. Sri Lankan actor training taking place in a few university theatre departments and ad-hoc theatre workshops conducted by individuals mainly focuses on theatre exercises derived from European or American teaching and are also very much confined to theatre games. The Suzuki method however, which is fully focused on the actor’s body and the culture of training and its impact upon the actor’s body, is completely different from what Sri Lankan actors have experienced. I believe that the actors who worked with Deborah have questioned themselves, the capacities of their bodies, the connection between the body and their cognitive operations, and interrelation between actors, which would have been a novel eye opener for them.

Conclusion

Deborah wanted to conclude the Suzuki actor training week with a performance demonstration. The actors enthusiastically worked with Deborah to compile what they had learnt throughout the week-long session and later integrated a text written by Prof. Peta Tait with whom they discussed practice-based research and its contemporary development in postgraduate studies in Australia and other countries. Prof. Tait and Dr Deborah also conducted several postgraduate seminars focusing on how performance practice could be a research insight for students who wish to pursue research degrees in theatre and performing arts. I would like to conclude this piece of writing with Prof. Tait’s poem that we used in the final performance demonstration.

I watch the sea below.

I fly further and further – between sky and sea.

The flight takes over my soul.

I can’t feel my body

The island appears beneath as if by magic.

An island silenced by war.

I could never dream up this brilliance.

How could I imagine this richness that leaps at the senses?

War moves people across impossible distances

With a spin of fate, it makes us someone else

Fighting off a force waiting to steal away our lives.

But my war is a strange one.

Where’s the enemy?

Then all goes still and silent

Peta Tait @ Longing

Acknowledgements

The Author of this paper wishes to thank Dr Deborah Leiser-Moore, Emeritus Prof. Peta Tait, La Trobe University Australia, and Associate Prof. Rob Conkie, Dept. of Theatre, La Trobe University, Australia for supporting this actor training project. Further, the author’s gratitude goes to the following people: Natasha Hilary, Samal Hemachandra, and the staff of the FGS, UVPA Colombo who managed the project. Himansi Dehigama and Sachini Senevirathne helped copy editing this paper.

Reference list

Allain, P. (1998). Suzuki Training. TDR/The Drama Review, 42(1), pp.66–89.

Allain, P. (2003). The art of stillness : the theatre practice of Tadashi Suzuki. New York: Palgrave Macmillan.

Allain, P. (2019). Physical actor training 2.0: new digital horizons. Theatre, Dance and Performance Training, 10(2), pp.169–186.

Goto, Y. (1989a). The Theatrical Fusion of Suzuki Tadashi. Asian Theatre Journal, 6(2), p.103.

Kim, J.K. (2013). Suzuki Tadashi’s Intercultural Progress in South Korea. Asian Theatre Journal, 30(1), pp.207–222.

Tadashi Suzuki and Steele, K.H. (2015). Culture is the body : the theatre writings of Tadashi Suzuki. New York: Theatre Communications Group.

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Midweek Review

How Prof. Dewasiri’s FB post brought about Speaker Ranwala’s exit

Published

5 days ago

2024/12/18

Sahan Weerasooriya

By Shamindra Ferdinando

Prof. Nirmal Ranjith Dewasiri was the first to question the National People’s Power government over Speaker ‘Dr.’ Asoka Sapumal Ranwala regarding his academic qualifications.

Dewasiri’s shock query caught the NPP by surprise. The academic questioned the government on his social media account on 05 Dec. The Parliament unanimously appointed Ranwala as Speaker of the Tenth Parliament on 21 Nov.

Dewasiri demanded that the government compel Speaker Ranwala to resign in case the parliamentarian deliberately provided false information. If the Speaker declined to do so, appropriate measures should be taken to remove him, Prof. Dewasiri declared, while finding fault with the new entrant for (i) falsely claiming to have a degree and (ii) believe he could hold such an important position regardless of the deceit perpetrated by him.

Prof. Dewasiri emphasized that the second fault was far worse than the first. One-time spokesperson for the Federation of University Teachers Association (FUTA) and advocate of the Yahapalana administration warned the government of far reaching consequences as it was badly exposed.

The government obviously didn’t take Prof. Dewasiri’s social media post seriously. Perhaps the top leadership felt that the issue at hand wouldn’t attract much public attention. However, the Opposition, both in Parliament and outside, launched an all-out attack.

The SJB declared its intention to move a no-confidence motion against the Speaker. In spite of the NPP having an unprecedented 2/3 majority in Parliament, the ruling party feared to face the Opposition move. The NPP could have easily routed the combined Opposition in Parliament, but to defend an obvious wrongdoer would have ruined President Anura Kumara Dissanayake’s (AKD) parliamentary group as they came to power, less than three months ago, promising to correct all the shenanigans that had been going on in the country, under the guise of democracy, since independence.

Beleaguered AKD had no option but to ask Speaker Ranwala to step down. The NPP could have avoided a lot of flak if the party acted immediately after Prof. Dewasiri’s disclosure. If not for the intervention made by the academic and a vociferous critic of wrongs done by the previous regimes, particularly to academics, Ranwala would still have been the Speaker.

The utterly dispirited SJB wouldn’t have inquired into Ranwala’s credentials under any circumstances. Thanks to Prof. Dewasiri, the Opposition received a mega opportunity to question the very basis of the NPP’s presidential and parliamentary election campaigns.

The SJB and new Democratic Front (NDF) had been rejected by the electorate to such an extent, even if they challenged Ranwala over his educational qualifications, the people may have ignored the issue as the rantings of a frustrated Opposition still licking the wounds of their routing at the polls. Prof. Dewasiri’s disclosure obviously delivered a knockout blow to the government.

Ranwala resigned on 13 Dec., just over a week after Prof. Dewasiri’s bombshell revelation. It would be pertinent to mention that just before the announcemnt of the Speaker’s resignation, President AKD told government media bosses that he wouldn’t protect any wrongdoer.

Having asked the electorate to reject unscrupulous political parties that had ruined the country, the NPP couldn’t have risked its political project to save Ranwala, one-time President of the Ceylon Petroleum Common Workers’ Union, until he was sent on compulsory retirement in March 2023 by the then Minister of Power and Energy Kanchana Wijesekera. The Wickremesinghe-Rajapaksa government accused Ranwala of obstructing fuel distribution services.

The NPP couldn’t have been unaware of Ranwala’s bogus claim. If Ranwala deliberately deceived the NPP, he should be dealt with harshly. Perhaps Ranwala should be asked to resign his parliamentary seat forthwith for deceiving the whole country, to pave the way for the NPP to fill that Gampaha District vacancy thereafter. Having vowed to clean up Parliament, the NPP cannot, under any circumstances, protect any wrongdoer.

But, corrupt political parties shouldn’t think for a moment that they can capitalize on the Speaker’s issue. The people rejected the SJB, NDF and SLPP (Sri Lanka Podujana Peramuna) twice this year as they earned the wrath of the people. It would be a grave fault on their part if they believed Ranwala’s ouster could strengthen their campaign against the government.

The NPP should, without delay, set the record straight. The issue is whether Ranwala deceived the NPP with regard to his doctorate, or the party knew all along that their CPC trade unionist didn’t have the academic qualification which he proudly flaunted.

House tricked

Premier Dr. Harini Amarasuriya and Foreign Minister Vijitha Herath, together, accompanied Ranwela to the Speaker’s chair. The Opposition accepted the appointment. The Premier proposed Ranwala, while Minister Herath seconded that proposal.

Premier Amarasuriya, Opposition Leader Sajith Premadasa, and Leader of the Sri Lanka Muslim Congress Rauff Hakeem congratulated National Executive Committee member Ranwala on that occasion.

One-time member of the Biyagama Local government body, Ranwala twice represented the JVP in the Western Provincial Council. According to Parliament website, Ranwala holds a degree in Chemical Engineering from the University of Moratuwa and a doctorate in Biochemistry from Waseda University, Japan.

To make matters worse for the NPP, the Opposition challenged Deputy Speaker Dr. Rizvie Salih’s specialist tag. Salih answered his critics. His FB post explained his nearly 40-year career, with 12 years with the public sector, though he is not a specialist.

The Deputy Speaker told Parliament, on Tuesday, that he is not a specialist and never used the title in his official letterheads, visiting cards and prescriptions. ” I have categorically told that I should not be called a specialist in propaganda material during elections,” he said. In other words, he had found fault with those who handled the propaganda campaign for the NPP

Interested parties also challenged the doctorate of Justice Minister Harshana Nanayakkara, another first time entrant to Parliament.

The controversy over Nanayakkara’s doctorate took an unexpected turn when the Parliament claimed that the doctorate had been inadvertently mentioned by Parliament. Let me reproduce the clarification issued by M. Jayalath Perera, Director Legislative Services / Director Communication (Acting), Parliament: Clarification Regarding the Title of “Dr.” mentioned before the name of the Minister of Justice, Attorney-at-Law, Hon. Harshana Nanayakkara, on the Parliament website.

“I would like to emphasize the following points in relation to reports published in the media regarding the title of ‘’Dr.’’ mentioned before the name of the Minister of Justice and National Integration, Attorney-at-Law, Harshana Nanayakkara, in the directory of Members of Parliament on the Parliament website.

“It is important to note that Hon. Harshana Nanayakkara has not indicated holding a doctoral degree in the information provided to Parliament. The appearance of the title “Dr.” before the Minister’s name was a result of an error in entering the relevant data. Accordingly, steps have been taken to rectify this mistake.

“I express my deepest regret for the inconvenience caused to the Minister of Justice and National Integration, Attorney-at-Law, Hon. Harshana Nanayakkara, in this regard.

“Also, the process of re-checking and updating the information of all Members of Parliament on the Parliament website is currently underway.”

But those who cannot stomach the NPP’s victory ask why didn’t Nanayakkara get that corrected himself if he was not entitled to be called “Dr.”? However, the Justice Minister lodged a complaint with the CID on Monday (16). The investigation can help ascertain whether some interested party conspired to discredit the NPP.

That clarification issued by Parliament meant that Ranwala provided false information to Parliament. According to Jayalath Perera, the parliamentary staff entered the relevant data provided by lawmakers, hence the only mistake on their part pertained to the Justice Minister’s data.

Power Minister Kumara Jayakody, too, lodged a complaint with police seeking an investigation into what he called an organized attempt to discredit him by challenging his academic qualifications. Both Nanayakkara and Jayakody speculated about the possibility of those who had been rejected by the people and their associates and supporters being involved in the high profile campaign.

The NPP cannot afford to disappoint 5.7 mn people who voted for AKD at the presidential election and 6.8 mn at the general election. The NPP increased its voter tally from 5.7 mn to 6.8 mn within a couple of weeks whereas the SJB was reduced to 1.9 mn votes from 4.3 mn at the presidential poll. The NDF was reduced to just 500,000 votes from 2.2mn at the presidential election while the SLPP increased its tally from 340,000 to 350,000. The Opposition is in disarray and in a pathetic situation.

Ranwala’s fiasco has sort of given the Opposition false hopes of a quick comeback. The forthcoming local government polls will show the ground situation. The NPP must keep in mind that in addition to the Ranwala affair, the failure on its part to provide sufficient relief to fuel and electricity consumers as promised has caused much public anger. Having repeatedly alleged that the previous government couldn’t substantially reduce fuel prices as the then Minister Kanchana Wijesekera pocketed the money, and having made those claims against the previous Minister in charge of the subject, the NPP brought down the price of a litre of Octane 92 by just 2 rupees much to the public’s resentment.

The pathetic handling of the rice mafia, too, didn’t do the NPP any good. Throughout the polls campaigns, the NPP repeatedly assured that the rice mafia would be appropriately dealt with and prices brought down and stabilized. The NPP also promised that rice wouldn’t be imported at all though imports would meet the tourist sector requirement. That much touted promise, too, was broken. However, the electorate, the writer is certain, doesn’t see any point in once again pinning their hopes on the utterly corrupt and dishonest lot rejected at the presidential and parliamentary polls.

Why Parliament shouldn’t defend wrongdoers

During the general election campaign, AKD explained why Parliament shouldn’t protect wrongdoers. The President said that the Yahapalana Parliament (2015-2019), during Karu Jayasuriya’s tenure as the Speaker, defeated a no-confidence motion moved against Ravi Karunanayake over the Treasury bond scams, especially after he told the Presidential Commission of Inquiry that probed it, he could not remember the person who gave him a luxury penthouse at Kollupitiya. Then in 2023 the Wickremesinghe-Rajapaksa government defended Keheliya Rambukwella when a no-faith motion was moved against him over corruption in the health sector procurement, the President said.

Having said so, AKD couldn’t have defended Ranwala in case the SJB handed over a no-confidence motion against him. In fact, the NPP has created an environment that may prevent those exercising political power from coming to the rescue of wrongdoers under any circumstances.

During Ranwala’s very short stint as the Speaker, he had the opportunity to receive several foreign dignitaries. Press releases issued by Parliament following those meetings referred to Ranwala as Dr. Ranwala.

South Korean Ambassador Miyon Lee paid a courtesy call on Speaker Ranwala on 04 Dec. at the Parliament complex. Secretary General of the Parliament Mrs. Kushani Rohanadeera, was also present on the occasion. This happened the day before Prof. Dewasiri exposed the NPP parliamentarian.

Ranwala, not aware of what was coming, addressed the newly elected members on 25 Nov., in Parliament, where he emphasized the responsibility on the part of newcomers (he, too, was a newcomer struggling to handle responsibilities for want of parliamentary experience) to familiarize with parliamentary procedures. Speaker Ranwala said that public expectations couldn’t be met unless they learnt about parliamentary procedures. Ranwala was addressing the inaugural session of the orientation programme for lawmakers.

The Parliament website quoted Speaker Ranwala as having emphasized the importance of organizing such workshops, noting that a thorough understanding of parliamentary traditions, constitutional frameworks, standing orders, and related parliamentary procedures is crucial for serving the people through the diverse debates conducted within Parliament.

Chinese Ambassador in Colombo Ambassador Qi Zhenhong was the first envoy to pay a courtesy call on Ranwala at the Parliament. The Chinese Ambassador conveyed the greetings of the Chairman of the Standing Committee of the National People’s Congress of the People’s Republic of China (Speaker of the Parliament of the People’s Republic of China) Zhao Leji, to the newly elected Speaker of the Tenth Parliament during the meeting.

The Chinese envoy was followed by Indian High Commissioner Santosh Jha. Jha paid a courtesy call on the Speaker on 28 Nov. at the Parliament.

The United Nations Resident Coordinator in Sri Lanka, Marc-André Franche, met Speaker Ranwala on 04 Dec.

In the wake of Prof. Dewasiri’s shocking disclosure, Speaker Ranwala received a high-level US delegation led by Assistant Secretary of State for the Bureau of South and Central Asian Affairs Donald Lu. The meeting took place on 06 Dec.

The delegation included Ms. Anjali Kaur, Deputy Assistant Administrator of the Bureau for Asia at USAID, and Mr. Robert Kaproth, Deputy Assistant Secretary for Asia at the US Department of the Treasury.

According to a press release issued by Parliament the meeting focused on Sri Lanka’s reform priorities and the critical role of the House in advancing the people’s mandate for accountability, transparency, and inclusive governance.

Ambassador of the United Arab Emirates to Sri Lanka Khaled Nasser AlAmeri was the next to pay a courtesy call on Speaker Ranwala. That meeting took place on 09 Dec. amidst a stepped-up campaign against Speaker Ranwala. The NPP seems to have operated on the premise that the controversy over the Speaker’s credentials would gradually fade away. But, the media pressed the Cabinet spokesperson Dr. Nalinda Jayatissa over the simmering serious issue. That controversy sort of overwhelmed the NPP that worked so hard to portray all other political parties, other than them, as corrupt to the core.

In fact, the NPP had nothing else but to depend on what it called a new clean political culture. Having impressed the electorate with nothing but promises and assurances that it would do the right thing, it couldn’t have a blatant liar as the Speaker.

If not for the political culture that had been introduced by the NPP, in the wake of Aragalaya in 2022, the false declaration made by Ranwala wouldn’t have been an issue at all. The people would have simply accepted it as just another lie. Our inefficient and useless Parliament had been so disgraceful in its conduct and encouraged public resentment that a Speaker’s false claim wouldn’t have caused a public furore.

The NPP’s failed bid to storm Parliament during the final push against President Gotabaya Rajapaksa should be examined taking into consideration the pathetic state of our Parliament. Some of those unscrupulous men who represented Parliament over the past two to three decades brought about the Parliament’s collapse. Instead of taking remedial measures, political parties allowed the deterioration to continue, unabated. Nothing can be as ridiculous as conducting student parliaments all over the provinces. What the Parliament really expected to achieve by promoting student parliaments at a time the very basis of the parliamentary system is under threat due to overall failure of the political party system.

Parliament must take appropriate measures to restore public confidence in the highest institution in the country. Ranwala’s affair proved beyond doubt that the Speaker, who is also the Chairman of the Constitutional Council, could manipulate the system. No one and no political party should be above the law. War-winning Sri Lanka had suffered unbearable losses for want of proper parliamentary control over public finance over the years.

Let us hope the NPP has learnt a hard lesson at the onset of AKD’s five-year term that would help the party to navigate choppy waters. The daunting challenges faced by a bankrupt country should prompt all political parties, represented in Parliament, to reach consensus on Sri Lanka’s response to the deal with the IMF, signed by Ranil Wickremesinghe. The issue the Parliament must grapple with is how to transform the sick national economy to make it possible for us to start repaying foreign debt in 2028 without making most of us absolute paupers, but many Lankans are already in dire straits economically.

The Parliament can begin by making the Supreme Court judgment on the economic crisis that led to Gotabaya Rajapaksa’s removal available to new members of Parliament. Of the 225 MPs, 162 are new entrants. The Supreme Court in Nov. 2023 issued a symbolic ruling that Rajapaksa brothers – including two ex-Presidents – were guilty of triggering the worst financial crisis by mishandling the economy.

In a majority verdict on multiple petitions filed by academics and civil rights activists, a five-judge bench of the Supreme Court ruled that the respondents, who all later resigned or were sacked, had violated public trust. But that verdict should be examined along with massive foreign loans taken by the Yahapalana government during the 2015-2019 period at high interests that contributed massively to the crisis.

Let there be no holds barred examination of the economic crisis and exposure of all responsible, regardless of their status. However, that wouldn’t be a reality unless the legislature fulfils its basic obligations in terms of the Constitution.

Let us also not lose sight of hidden hands, especially from the West who make matters worse through their cloak and dagger operations worldwide as also was put into operation here during Gotabaya Rajapaksa presidency, like even cutting off worker remittances from our banking system thereby we couldn’t even scrape together a few million dollars to clear even a shipment of cooking gas. They have done similar jugglery to so many other countries, even in our neighbourhood, as has been the case already in Bangladesh and Pakistan. Modi should not feel all that smug as we do not know what plots are being hatched against him.

Remember the uncompromising Aragalaya activists who were threatening to die for a system change in the country, but disappeared into thin air no sooner Ranil Wickremesimnghe was installed in the seat of power with the ouster of Gotabaya Rajapaksa by extra parliamentary means.

Midweek Review

Seeking cultural transmission between bodies

Published

5 days ago

2024/12/18

Sahan Weerasooriya

Mavin Khoo in an Odissi Solo to live music. © Foteini Christofilopoulou (L) / Taji Dias performing low country dance (14th Dec 2024) at Chitrasena Dance Company. Photo credit: Saumya Liyanage 2024 (R)

From Chitrasena to Akram Khan:

by Saumya Liyanage

Akram Khan is a world-renowned dancer, choreographer and the founder of Akram Khan Company (AKC) in the UK. He has been an impactful dancer and choreographer who was initially trained as a Kathak dancer during his apprenticeship under various Kathak Gurus in Asia and elsewhere. He and his dance company have created numerous dance productions that surpass the traditional boundaries. Akram Khan is a recipient of top awards including two Laurence Olivier Awards, the Bessie Award (New York Dance and Performance Award), the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award, the Fred and Adele Astaire Award, the Herald Archangel Award at the Edinburgh International Festival, the South Bank Sky Arts Award, and ten Critics’ Circle National Dance Awards for his company.

With the initiative of the British Council in Colombo, the Akram Khan Dance Company contacted me a few months ago. The Legacy International Project Manager of the AKC, Varsha Kumar sent me an email informing me of an exciting project the dance company wanted to initiate in Jaffna. It was an upcoming collaboration between Akram Khan Company supported by the British Council Colombo to conduct an intense dance exchange workshop. This initiative facilitated a five-day intensive cultural transmission of Bharatanatyam dance conducted by Mavin Khoo, the artistic associate of the Akram Khan Company with a selected group of youth from Jaffna.

The idea was to continue and sustain the traditional dance forms and explore how they could be sustained and continued further through innovative practices. Mavin Khoo visited Jaffna for the first time to initiate this cultural transmission project with the hope of conducting this intense workshop on Bharatanatyam. Mavin Khoo, trained as a traditional dancer in Bharatanatyam in Malaysia, is a choreographer and the creative collaborator of Akram Khan. Mavin holds an MA in Choreography from Middlesex University and was a faculty member of the Dance Studies Department, School of Performing Arts at the University of Malta in 2014. He has been working as the rehearsal director of the Akram Khan Company and is exploring traditional dance and its contemporary relevance as a mode of human agency and provocation.

It is an ongoing work that the AKC initiated and this collaboration will continue further in future. Here is something interesting about what happened when Khoo, Varsha and their team came to Colombo after finishing the Jaffna Classical Intensive project. The British council director Edward Orlando invited me to a networking lunch in Colombo, where Khoo and Varsha were present. At lunch, I met some of the Sri Lankan dance community representatives. They included versatile dancers such as Upeka Chitrasena, Heshma Wignaraja, and Kapila Palihawadana. We shared our thoughts and ideas about dance and future collaborations during lunch. After this session, Upeka Chitrasena invited us to visit Chitrasena Dance Company. Akram Khan Company focused on helping peripheral dance groups to sustain and continue their traditional dance heritage and encouraged them to expand their possibilities of innovations, and the Chitrasena Dance Company in Colombo is also dedicated to preserving and continuing Sri Lankan traditional dance practices for posterity.

Dance as Ekstasis

: Chitrasena (1921-2005)

: Akram Khan

I am not a dancer, but I have been interested in dance and dance theatre throughout my academic career. Dance and theatre share many elements and it is the body that is central to the dancer and actor’s work. A few days ago, at the Faculty of Medicine, a session was conducted by the Centre for Meditation Research on how movement facilitates happiness and wellbeing. With my research collaborators, Kanchana Malshani and Chamanee Darshika, I demonstrated how movement is central to our understanding of the self and the world. The key question that I posed at the seminar is that movement allows us to understand our body, time and space and allows us to understand how we could connect with other bodies. Movement is the primal element of the body of the animated being.

What fascinates me here is that actor/dancer experiences time and space and the Other, in a different way than we experience the same phenomena on the daily basis. Dance scholar and Philosopher Sheets Maxine-Johnston argues that Man comprises temporality within himself, for he is such an ekstatic being. He is always at a distance of himself, always in flight” (Sheets-Johnston, 2015, pp. 16-17). This statement clearly indicates how the dance and dance experience override the objective time and space. Greek etymology of the word ekstatic means how one emancipates from her/his own self and transcends for the daily reality. In this sense, the moving body of the dancer, as I witnessed at the Chitrasena Dance Company, shows that dancers’ “being” is not in the daily reality when they intensely move their bodies in the space and time with the complex drum ensemble. Hence, I argue that our understanding about time and space is constructed through the physiological and mathematical understanding of time and space. The other is understood in a way that we as selves are constructed and defined through various lingual and cultural discourses. In this sense, the dancer/actor surpasses these constructed boundaries when the body becomes animated through dance and acting.

We sat at the Chitrasena Dance Company in the afternoon of Dec., 14 2024, and Khoo and Varsha were scheduled to leave Colombo a few hours later. An intense and galvanising performance was unveiled at the bare stage of Chitrasena Dance Company with Thaji Dias and the dance ensemble with seven master drum players. One after the other, a series of traditional dance repertoires unfolded before our eyes. Particularly Thaji Dias’ mesmerising and electrifying bodily motility of Kandyan, Low Country and Sabaragamuwa styles blended with intense rigor and precision. It was evident that some of the dance repertoires that Thaji and the lead male dancer performed were somewhat improvisational, bringing key elements of Kandyan dance into an ecstasy of performance. Both dancers seemed to be connected with each other through somatic means, communicating with facial and bodily gestures to trigger certain dance repertoire to perform together. I witnessed that both dancers were kinesthetically and sensorially joined through learned repertoires to perform a new interpretation of Kandyan dance form.

Cultural Transmission

These traditional dance performances triggered several important questions related to the dance body and cultural transmission of somatic knowledge. First, when Heshma, the artistic director and choreographer of Chitrasena Dance Company introduced a particular dance repertoire developed and choreographed by Vajira Chitrasena, she articulated this as a cultural transmission of choreographic knowledge which came through two generations of dancers. This statement triggered several important questions related to dance historiography. When Chitrasena and Vajira choreographed their works, it may have been done through the embodied knowledge that they possessed through what they learnt and mastered from the traditional Gurus. However, Chitrasena and Vijira may have understood that replicating traditional dance and its repertoire would not add any innovation to their dance interventions. My interest was drawn to this phenomenon and the question emerged on how these individual dance artists have distilled the traditional Kandyan dance to modernist choreographic works through adding innovative elements to their newly founded body notations.

Researchers who are working on the intangible cultural heritage mainly focus on how traditional dance and heritage can be transmitted. They are mainly concerned about how these traditions are continued and sustained through contemporary dance ensembles. However, the intangible heritage discourse has least focused on how these dance traditions have been changing through time and how these new elemental changes have been transformed and transmitted to the next generation of dancers. During our encounters with dance choreographer and artistic director of Chitrasena Dance Company, Heshma discussed how they “do” dance. Her articulation of “doing” dance rather than talking about dance explains how they transmit knowledge of somatic elements of dance through bodies. She said, “We rarely talk … we do not use language but we do dance”. One of the challenges posed by these issues is that the corporeal learning and embodied knowledge cannot be objectified in the researcher’s eyes. They are somatically embedded in the dancers’ bodies and are sedimented within their dance repertoires. A meticulous observation, analysis and categorisation will be required for someone to understand and identify how these dance elements have been changed and embedded in the dancer’s body. As I believe, new dance ethnographic research would be useful for researchers to extricate those elemental dance repertoires to understand how contemporary dancers’ bodies embody dance heritage in their somatic memories.

Conclusion

Akram Khan and his creative associate Mavin Khoo explore the possibilities of preserving traditional dance forms while seeking opportunities to revive them through innovative practices. The Chitrasena Dance Company working in the field of traditional Sri Lankan dance ambitiously is in search of a new era of Sri Lankan dance while passing the Chitrasena -Vajira dance heritage to the next generation of dancers and choreographers. Both companies share similar objectives in dance preservation and innovations within the highly contested Global cultural domains. Khan, Khoo, Chitrasena, Vajira, Thaji and other dancers embody a vast knowledge of somatic practices akin to their own dance traditions. Yet, these ekstatic bodies transcend the daily constructed selves, which carry the somatic knowledge of dance that are waiting to be disseminated in the bodies of the next generation of dancers. These areas of dance-ethnography should be further developed to understand the embodied knowledge and the somatic practices infiltrated through the generations of dancers and drummers. New dance-ethnography, dance historiography and new methodologies should be developed and applied to deepen our understanding of dance as an explicit knowledge of human expressions, emotions and ecstasy.

References

Sheets-Johnston, M. (2015). The phenomenology of dance. Philadelphia (Pensilvania, Estados Unidos) Temple University Press.

Company, Akram Khan. n.d. “Our Biographies.” Akram Khan Company. Cog. Accessed 2024. https://www.akramkhancompany.net/about-us/our-biographies/.

Nürnberger, Marianne. 2014. “Vajira – the First Professional Female Dancer of the Sinhalese Style.” Sri Lanka Journal of Humanities 40 (0): 99. https://doi.org/10.4038/sljh.v40i0.7232.

Raheem, Mirak. 2022. “Vajira: The Pioneering Female Dancer.” South Asian Dance Intersections 1 (1). https://doi.org/10.55370/sadi.v1i1.1475.

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Saumya Liyanage is an actor and professor in Drama and Theatre, currently working at the Department of Theatre Ballet and Modern Dance, Faculty of Dance and Drama, University of Visual and Performing Arts, Colombo, Sri Lanka. saumya.l@vpa.ac.lk

The author wishes to thank Himansi Dehigama for her assistance in preparing this article.