By Uditha Devapriya
The female dancer’s form figures prominently in Sinhalese art and sculpture. Among the ruins of the Lankatilake Viharaya in Polonnaruwa is a series of carvings of dwarves, beasts, and performers. They surround a decapitated image of a standing Buddha, secular figures dotting a sacred space. Similar figures of dancing women adorn the entrance at the Varaka Valandu Viharaya in Ridigama, adjoining the Ridi Vihare. Offering a contrast with carvings of men sporting swords and spears, they entrance the eye immediately.
A motif of medieval Sinhalese art, these were influenced by hordes of dancers that adorned the walls of South Indian temples. They attest to the role that Sinhala society gave women, a role that diminished with time, so much so that by the 20th century, Sinhalese women had been banned from wearing the ves thattuwa. Held back for long, many of these women now began to rebel. They would soon pave the way for the transformation of an art.
In January 2020 the government of India chose to award the Padma Shri to two Sri Lankan women. This was done in recognition not just of their contribution to their fields, but also their efforts at strengthening ties between the two countries. A few weeks ago, in the midst of a raging pandemic, these awards were finally conferred on their recipients.
One of them, Professor Indra Dissanayake, had passed away in 2019. Her daughter received the honour in her name in India. The other, Vajira Chitrasena, remains very much alive, and as active. She received her award at a ceremony at the Indian High Commission in Colombo. Modest as it may have been, the conferment seals her place in the country, situating her in its cultural landscape as one of our finest exponents of dance.
Vajira Chitrasena was far from the first woman to take up traditional dance in Sri Lanka. But she was the first to turn it into a full time, lifelong profession, absorbing the wellsprings of its past, transcending gender and class barriers, and taking it to the young. Dancing did not really come to her; it was the other way around. Immersing herself in the art, she entered it at a time when the medium had been, and was being, transformed the world over: by 1921, the year her husband was born, Isadora Duncan and Ruth St Denis had pioneered and laid the foundation for the modernisation of the medium. Their project would be continued by Martha Graham, for whom Vajira would perform decades later.
In Sri Lanka traditional dance had long turned away from its ritualistic past, moving into the stage and later the school and the university. Standing in the midst of these developments, Vajira Chitrasena found herself questioning and reshaping tradition. It was a role for which history had ordained her, a role she threw herself into only too willingly.
In dance as in other art forms, the balance between tradition and modernity is hard, if not impossible, to maintain. Associated initially with an agrarian society, traditional dance in Sri Lanka evolved into an object of secular performance. Under colonial rule, the patronage of officials, indeed even of governors themselves, helped free it from the stranglehold of the past, giving it a new lease of life that would later enable what Susan Reed in her account of dance in Sri Lanka calls the bureaucratisation of the arts. This is a phenomenon that Sarath Amunugama explores in his work on the kohomba kankariya as well.
Yet this did not entail a complete break from the past: then as now, in Sri Lanka as in India, dancing calls for the revival of conventions: the namaskaraya, the adherence to Buddhist tenets, and the contemplation of mystical beauty. It was in such a twilight world that Vajira Chitrasena and her colleagues found themselves in. Faced with the task of salvaging a dying art, they breathed new life to it by learning it, preserving it, and reforming it.
Though neither Vajira nor her husband belonged to the colonial elite, it was the colonial elite who began approaching traditional art forms with a zest and vigour that determined their trajectory after independence. Bringing together patrons, teachers, students, and scholars of dance, the elite forged friendships with tutors and performers, often becoming their students and sometimes becoming teachers themselves.
Newton Gunasinghe has observed how British officials found it expedient to patronise feudal elites, after a series of rebellions that threatened to bring down the colonial order. Yet even before this, such officials had patronised cultural practices that had once been the preserve of those elites. It was through this tenuous relationship between colonialism and cultural revival that Westernised low country elites moved away from conventional careers, like law and medicine, into the arduous task of reviving the past.
At first running into opposition from their paterfamilias, the scions of the elite eventually found their calling. “[I]n spite of their disappointment at my smashing their hopes of a brilliant legal and political career,” Charles Jacob Peiris, later to be known as Devar Surya Sena, wrote in his recollection of his parents’ reaction to a concert he had organised at the Royal College Hall in 1929, “they were proud of me that night.”
If the sons had to incur the wrath of their fathers, the daughters had to pay the bigger price. Yet, as with the sons, the daughters too possessed an agency that emboldened them to not just dance, but participate in rituals that had been restricted to males.
Both Miriam Pieris and Chandralekha Perera displeased traditional society when they donned the ves thattuwa, the sacred headdress that had for centuries been reserved for men. But for every critic, there were those who welcomed such developments, considering them essential to the flowering of the arts; none less than Martin Wickramasinghe, to give one example, viewed Chandralekha’s act positively, and commended her.
These developments sparked off a pivotal cultural renaissance across the country. Although up country women remain debarred from those developments, there is no doubt that the shattering of taboos in the low country helped keep the art of the dance alive, for tutors, students, and scholars. As Mirak Raheem has written in a piece to Groundviews, we are yet to appreciate the role female dancers of the early 20th century played in all this.
Vajira Chitrasena’s contribution went beyond that of the daughters of the colonial elite who dared to dance. While it would be wrong to consider their interest as a passing fad, a quirk, these women did not turn dance into a lifelong profession. Vajira did not just commit herself to the medium in a way they had not, she made it her goal to teach and reinterpret it, in line with methods and practices she developed for the Chitrasena Kala Ayathanaya.
As Mirak Raheem has pointed out in his tribute to her, she drew from her limited exposure to dance forms like classical ballet to design a curriculum that broke down the medium to “a series of exercises… that could be used to train dancers.” In doing so, she conceived some highly original works, including a set of children’s ballets, or lama mudra natya, a genre she pioneered in 1952 with Kumudini. Along the way she crisscrossed several roles, from dancer to choreographer to tutor, becoming more than just a performer.
As the head of the Chitrasena Dance Company, Vajira enjoys a reputation that history has not accorded to most other women of her standing. Perhaps her greatest contribution in this regard has been her ability to adapt masculine forms of dance to feminine sequences. She has been able to do this without radically altering their essence; that has arguably been felt the most in the realm of Kandyan dance, which caters to masculine (“tandava“) rather than feminine (“lasya“) moods. The lasya has been described by Marianne Nürnberger as a feminine form of up country dance. It was in productions like Nala Damayanthi that Vajira mastered this form; it epitomised a radical transformation of the art.
Sudesh Mantillake in an essay on the subject (“Masculinity in Kandyan Dance”) suggests that by treating them as impure, traditional artistes kept women away from udarata natum. That is why Algama Kiriganitha, who taught Chandralekha, taught her very little, since she was a woman. This is not to say that the gurunannses kept their knowledge back from those who came to learn from them, only that they taught them under strictures and conditions which revealed their reluctance to impart their knowledge to females.
That Vajira Chitrasena made her mark in these fields despite all obstructions is a tribute to her mettle and perseverance. Yet would we, as Mirak Raheem suggests in his very excellent essay, be doing her a disservice by just valorising her? Shouldn’t the object of a tribute be, not merely to praise her for transcending gender barriers, but more importantly to examine how she transcended them, and how difficult she found it to transcend them? We eulogise our women for breaking through the glass ceiling, without questioning how high that ceiling was in the first place. A more sober evaluation of Vajira Chitrasena would ask that question. But such an evaluation is yet to come out. One can only hope that it will, soon.
The writer can be reached at email@example.com
UK support for govt.’s pragmatic reconciliation process
By Jehan Perera
The government would be relieved by the non-critical assessment by visiting UK Minister for South Asia, United Nations and the Commonwealth, Lord Tariq Ahmad of his visit to Sri Lanka. He has commended the progress Sri Lanka had made in human rights and in other areas as well, such as environmental protection. He has pledged UK support to the country. According to the President’s Media Division “Lord Tariq Ahmad further stated that Sri Lanka will be able to resolve all issues pertaining to human rights by moving forward with a pragmatic approach.” The Minister, who had visited the north and east of the country and met with war-affected persons tweeted that he “emphasised the need for GoSL to make progress on human rights, reconciliation, and justice and accountability.”
Prior to the Minister’s visit, President Gotabaya Rajapaksa had announced in Parliament that his government had not violated nor would support “any form of human rights violations.” This was clearly an aspirational statement as the evidence on the ground belies the words. Significantly he also added that “We reject racism. The present government wants to safeguard the dignity and rights of every citizen in this country in a uniform manner. Therefore I urge those politicians who continue to incite people against each other for narrow political gains to stop doing so.” This would be welcome given the past history especially at election time.
The timing of Lord Ahmad’s visit and the statements made regarding human rights suggest that the forthcoming session of the UN Human Rights Council in Geneva, commencing on February 28, loomed large in the background. The UN High Commissioner for Human Rights will be presenting a written report on that occasion. A plethora of issues will up for review, including progress on accountability for crimes, missing persons, bringing the Prevention of Terrorism Act in line with international standards, protecting civil society space and treating all people and religions without discrimination.
The UK government has consistently taken a strong position on human rights issues especially in relation to the ethnic conflict and the war which led to large scale human rights violations. The UK has a large Tamil Diaspora who are active in lobbying politicians in that country. As a result some of the UK parliamentarians have taken very critical positions on Sri Lanka. Lord Ahmad’s approach, however, appears to be more on the lines of supporting the government to do the needful with regard to human rights, rather than to condemn it. This would be gratifying to the architects of the government’s international relations and reconciliation process, led by Foreign Minister Prof G L Peiris.
In the coming week the government will be launching a series of events in the North of the country with a plethora of institutions that broadly correspond to the plethora of issues that the UNHRC resolution has identified. War victims and those adversely affected by the post war conditions in the North and livelihood issues that arise from the under-developed conditions in those areas will be provided with an opportunity to access government services through on-the-spot services through mobile clinics. The programme coordinated by the Ministry of Justice called “Adhikaranabhimani” is meant to provide “ameliorated access to justice for people of the Northern Province.”
Beginning with Kilinochchi and Jaffna there will be two-day mobile clinics in which the participating government institutions will be the Legal Aid Commission, Office for National Unity and Reconciliation, Office for Reparations, Office on Missing Persons, Department of Debt Conciliation Board and the Vocational Training Authority to mention some of them. Whether it is by revising 60 laws simultaneously and setting up participatory committees of lawyers and state officials or in now launching the “Adhikaranabhimani” Justice Minister Ali Sabry has shown skill at large scale mobilisation that needs to be sustained. It is to be hoped that rather than treating them as passive recipients, the governmental service providers will make efforts to fulfill their need for justice, which means that the needs of victims and their expectations are heard and acknowledged.
It will also be important for the government to ensure that these activities continue in the longer term. They need to take place not only before the Geneva sessions in March but also continue after them. The conducting of two-day mobile clinics, although it will send a message of responsiveness, will only be able to reach a few of the needy population. The need is for infusing an ethic of responsiveness into the entirety of the government’s administrative machinery in dealing with those problems that reaches all levels, encompassing villages, divisions, districts and provinces, not to mention the heart of government at the central level.
The government’s activities now planned at the local level will draw on civil society and NGO participation which is already happening. Government officials are permitting their subordinate officials to participate in inter-ethnic and inter religious initiatives. It is in their interest to do so as they would not wish to have inter-community conflicts escalate in their areas which, in the past, have led to destruction of property and life. They also have an interest in strengthening their own capacities to understand the underlying issues and developing the capacity to handle tensions that may arise through non-coercive methods.
Many of the institutions that the government has on display and which are going to the North to provide mobile services were established during the period of the previous government. However, they were not operationalized in the manner envisaged due to political opposition. Given the potency of nationalism in the country, especially where it concerns the ethnic conflict, it will be necessary for the government to seek to develop a wide consensus on the reconciliation process. The new constitution that is being developed may deal with these issues and heed the aspirations of the minorities, but till that time the provincial council system needs to be reactivated through elections.
Sooner rather than later, the government needs to deal with the core issue of inter-ethnic power sharing. The war arose because Sinhalese politicians and administrators took decisions that led to disadvantaging of minorities on the ground. There will be no getting away from the need to reestablish the elected provincial council system in which the elected representatives of the people in each province are provided with the necessary powers to take decisions regarding the province. In particular, the provincial administrations of the Northern and Eastern provinces, where the ethnic and religious minorities form provincial majorities, need to be reflective of those populations.
At the present time, the elected provincial councils are not operational and so the provincial administration is headed by central appointees who are less likely to be representative of the sentiments and priorities of the people of those provinces. In the east for instance, when Sinhalese encroach on state land the authorities show a blind eye, but when Tamils or Muslims do it they are arrested or evicted from the land. This has caused a lot of bitterness in the east, which appears to have evaded the attention of the visiting UK minister as he made no mention of such causes for concern in his public utterances. His emphasis on pragmatism may stem from the observation that words need to be converted to deeds.
A video put out by the UK Foreign, Commonwealth and Development Office confirms a positive approach with regard to engaging with the Sri Lankan government. In it Lord Ahmad says “the last three days illustrated to me that we can come together and we can build a constructive relationship beyond what are today with Sri Lanka. We can discuss the issues of difference and challenge in a candid but constructive fashion.” Lord Ahmad’s aspiration for UK-Sri Lankan relations needs to be replicated nationally in government-opposition relations, including the minority parties, which is the missing dimension at the present time.
Yohani…teaming up with Rajiv and The Clan
I know many of you, on reading this headline, would say ‘What?’
Relax. Yohani, of ‘Manike Mage Hithe’ fame, is very much a part of the group Lunu.
But…in February, she will be doing things, differently, and that is where Rajiv and the Clan come into the scene.
Rajiv and his band will be embarking on a foreign assignment that will take them to Dubai and Oman, and Yohani, as well as Falan, will be a part of the setup – as guest artistes.
The Dubai scene is not new to Yohani – she has performed twice before, in that part of the world, with her band Lunu – but this would be her first trip, to Oman, as a performer.
However, it will be the very first time that Yohani will be doing her thing with Rajiv and The Clan – live on stage.
In the not too distant past, Rajiv worked on a track for Yohani that also became a big hit. Remember ‘Haal Massa?’
“She has never been a part of our scene, performing as a guest artiste, so we are all looking forward to doing, it in a special way, during our three-gig, two-country tour,” says Rajiv.
Their first stop will be Dubai, on February 5th, for a private party, open-air gig, followed by another two open-air, private party gigs, in Oman – on February 10th and 11th.
Another attraction, I’m told, will be Satheeshan, the original rapper of ‘Manike Mage Hithe.’
He will also be a part of this tour (his first overseas outing) and that certainly would create a lot of excitement, and add that extra sparkle, especially when he comes into the scene for ‘Manike Mage Hithe.’
Yohani and her band, Lunu, last performed in Dubai, a couple of months back, and Satheeshan, they say, was the missing link when she did her mega internet hit song – live, on stage.
There was a crowd to catch her in action but it wasn’t a mind-blowing experience – according to reports coming our way.
A live performance, on stage, is a totally different setup to what one sees on social media, YouTube, etc.
I guess music lovers, here, would also welcome a truly live performance by Yohani de Silva.
In the meanwhile, I’m also told that Rajiv Sebastian plans to release some songs of the late Desmond de Silva which he and Desmond have worked on, over the years.
According to Rajiv, at this point in time, there is material for four albums!
He also mentioned that he and his band have quite a few interesting overseas assignments, lined up, over the next few months, but they have got to keep their fingers crossed…hoping that the Omicron virus wouldn’t spike further.
We all know Trishelle as the female vocalist of Sohan & The X-Periments, so, obviously it came to me as a surprise when it was mentioned that she is a highly qualified Bharatanatyam dancer, as well.
What’s more, she has been learning the skills of Bharatanatyam, since her kid days!
And, to prove that she is no novice, where this highly technical dance form is concerned, Trishelle, and the disciples (students) of State Dance Award winning Bhartanatyam Guru, Nritya Visharad Bhashini, Thamesha Herath, will be seen in action, on January 29th, at 4.00 pm, at the Ave Maria Auditorium, Negombo.
Said to be the biggest event in Bharatanatyam, this Arangethram Kalaeli concert will bring into the spotlight Avindu, Sithija, Mishaami, Nakshani, Venushi, Veenadi, Amanda, Sakuni, Kawisha, Tishaani, Thrishala (Trishelle), Sarithya, Hewani, Senuri, Deanne and Wasana.
In addition to her singing, and dancing skills, Trishelle has two other qualifications – Bachelor in Biomedical Science, and Master in Counselling Psychology.
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