Anusha David spotlights the hottest styles and statements in and around Sri Lanka – from political leaders to celebrity CEOs, masters of the game to fashion icons and stars of the silver screen and stage. Here are society’s leaders talking about the determination, vision, smarts, competence and professionalism. Today, she speaks to Vajira, Upeka, Heshma and Thaji, the wife, daughter and granddaughters of Chitrasena.
Vajira, Upekha, Anjalika, Heshma, and Thaji, the wife, daughter and granddaughters of the legendary Chitrasena need no introduction. They have brought fame to our island home with their art. They have persevered despite all odds to carry on the sacred dance form and ensure its continuance. The Chitrasena Dance Company is Sri Lanka’s oldest and most prestigious dance company. Established in the 1940s by Guru Chitrasena, who was instrumental in bringing Sri Lanka’s traditional dances from the village rituals to the modern stage, his legacy lives on to this day, thanks to the dedication of his family.
Speaking to Vajira
How old were you when you took your first dance steps?
My first dance steps were taken when I was in school; I must have been about seven years old. I was at a school in Kalutara which was my birthplace and Kalutara Balika Vidyalaya was my first school. In fact Chitrasena used to come to my school to teach dancing and there were a lot of society ladies who wanted to learn dancing from him so they came to that class too.
What motivated you to make dancing your lifelong passion?
It was not my intention to make dancing my career, neither was it my passion. It was my mother who pushed me all along and made me take this path. It was her passion that I fulfilled. In those days girls had no recourse to the performing arts. All they did was attend regular school. My mother was passionate about dancing and it was she who decided that dancing should be my career.
How old were you when you first met Chitrasena?
I was about 11. He was my guru from that time onwards. From time to time I also went to Sripalie. My mother had heard that a certain Mr. Wilmot Perera who was a very wealthy gentleman, had travelled all over India and started this school of music and dancing called Sripalie in Horana, so I was sent there to study dance between the ages of 11 and 15. While I was at Sripalie I took part in their performances and danced the role of Jaliya Kumara in Vessanthara.
What was your first main role?
It was in 1948 in the Pageant of Lanka. That was my first appearance in a public auditorium. I was a deer in Ramayana, while Sita was played by Iranganie Serasinghe, Chitrasena was Ravana. Each segment of the pageant was handled by different people, Chitrasena was in charge of this particular segment. At that the time Tower Hall was running like a proper theatre. In fact the Chitrasena family owing to the fact that Chitra’s father was a prominent actor, had a permanent row of seats at the Tower Hall to view performances.
What was your all-time favourite role?
The role of the Swan in Naladamayanthi. I put my heart and soul into it. I was given the chance to choreograph my section entirely. Though Chitra created Naladamayanthi in 1949, he handed over the recreation of the Swan scene to me in the 1963 version. I also created several children’s ballets including Ran Kikili which I created for Upeka. Latterly Chitra gave me a free reign at the school and let me get on with things. I had the freedom to run the school and choreograph. I also had the opportunity to experiment which is vital for any artiste. My first children’s ballet ‘Kumudhini’ was created in 1951, followed by ‘Chandali’.
Speaking to Upeka
Why did you give up dancing so early?
Not early, I danced till I was 60. I wanted to spend more time teaching and seeing to the school. I also found it difficult to dance the leading roles as time went on. It was getting too strenuous and tiring. Also to oversee rehearsals and then get on stage and dance the lead role was a huge effort. Heshma created Kuveni for Thaji and me and after the second performance I realized it was time to quit. I wanted to leave the stage while I was at my peak, not when I was faltering. I wanted people to remember me at my best. It was a quick decision.
Were you forced into taking up dance as your career or was it a natural progression?
It was natural. None of us were ever forced to dance. We grew up living, breathing and eating dance. We lived in the school. The school was downstairs and we lived upstairs; we couldn’t have not danced. My sister Anjalika and I started dancing at the same time. We were in the same class. My mother treated us the same as any other student. She was a strict disciplinarian. At some point I realized that dancing was my passion and that it would be my lifelong career.
Describe life growing up as the daughter of Chitrasena.
He was a very strict father. No boyfriends were permitted. However both our parents were very involved in their work so our whole life really revolved around the dance. It was more or less like one large extended family as all the dancers lived at the school as well. It was a constant scene of rehearsals, making costumes, experimenting with props and sets, creating music scores. Our house was a hive of activity. However our father always kept a strict eye on us no matter how busy he was. He always encouraged us to read. I was very interested in the lives of famous people and he encouraged me to read autobiographies of famous people like Charlie Chaplin, Gandhi and of course Isadora Duncan. My father was a great talker and he would constantly talk about his life, his experiences, his travels, and I learnt a lot by just listening to him. I did not know how my life would turn out; I just went into dance as a matter of course.
What do you see as your father’s greatest legacy?
My mother. If she hadn’t come into his life I don’t know what would have happened. Aside from paving the way for the first female professional traditional dancer, he also established the Chitrasena School of Dance and the first professional traditional dance company. He established Dance Theatre in this country, if not for him it would have died along with the ritual. He always said the ritual would not last, so he in one sense rescued our dances and gave it a new life. Introducing the female dancer however, is most important I feel as subsequently generations of female dancers have followed my mother; myself, my sister, my nieces; so yes that is his greatest legacy.
When did the Chitrasena troupe first venture overseas and to which country?
It was to Russia in 1957. My brother had just been born, he was just three months when both my parents left to tour Russia. My parents were constantly travelling with the company, in fact I can’t remember a time when they didn’t tour.
Of all the countries you have performed in, which one has been the most appreciative?
Well, all the European countries were extremely appreciative, actually everywhere we toured the audiences were amazing, but I personally feel that India, South India in particular has been the most appreciative. As a country they are very knowledgeable about culture and dance forms and I could feel the appreciation emanating from the audience every time we have performed. During my very first overseas tour which was to Germany in 1971, we had over 15 curtain calls! When I performed in Paris with the Theatre du Soleil the audience was extremely appreciative. Having said that, everywhere we went the audiences have responded very well not only to our dancing but also to our drumming.
What was your favourite role?
My first major role was when I danced my mother’s role in Karadiya in 1975. I loved dancing all my mother’s roles but the role that was created for me in Kinkini Kolama in 1978 holds a very special place. However, when I first danced my mother’s role in Karadiya alongside my father, well that was a turning point in my life. Dancing on the same stage as my father; I don’t think anyone else has been that fortunate except for my mother. The Dance of Shiva was also created for me in 1984. My father was constantly creating dances . While driving, he would suddenly come up with an idea, or while listening to music! My father was a perfectionist. When it came to creating a dance he would let us get on with it but if there was something he didn’t like we would have to re-choreograph the entire sequence. I remember during the creation of Kinkini Kolama, we would have rehearsed one particular scene at least 50 times. I remember feeling as though I had been put through the mill!
Speaking to Heshma
As the artistic director of the company who and what are your influences when it comes to choreography?
Well definitely both my grandparents work. In the beginning I would say it was more my grandmother. She used to get me to work with her on choreographing sections of her children’s ballets, then in some of the shorter creative items and later even the adult ballet sequences. She encouraged me to create work with dance school students from the time I was about 14. After my grandfather passed away I think I gained more confidence to venture forth on my own and I tend to revisit a lot of his work for inspiration. Also, in recent times I have been drawing a lot of inspiration from the world renowned dance company Nrityagram, especially the work of choreographer Surupa Sen.
How long does it take to choreograph a new ballet?
Well, don’t quite know the answer to that, when it’s ready we produce it. Going by the work we have done I would say a minimum of nine months on average. But it depends on what the production is. For instance Kumbi Kathawa took five years, and Art of Chitrasena took six months, Dancing for the Gods took nine months. When we collaborated with India it took three years of getting to know the work ethic of Nrityagram and familiarizing ourselves with each other’s techniques and nine months of production time.
Do you find that the younger generation is passionate about our traditional dance forms or is it difficult to recruit new students?
I wouldn’t say they are not passionate but they find easy ways out very quickly which is very unfortunate. For Art there is no easy way out, neither are there shortcuts. There is no sick day for an artiste nor is there a break time. Unless you really want to immerse yourself in dance the way my grandparents did, you really can’t perform at the level we require. We still haven’t found people who are willing to dedicate themselves to dance fulltime. We get a lot of part time dancers, but I wish we would get people who are willing to follow their heart. They do have it but they are not single minded about it as yet. The only person I have come across who is totally focused on dancing is Thaji.
What would you say about the lack of male dancers in this country?
It’s not that there is a lack of male dancers. It’s just that people don’t commit themselves and stay in it. There are plenty of talented male dancers out there who can become professionals, but there is no commitment. A lot of our dancers especially the male dancers feel that dancing is not viable; that economically dance will get you nowhere. They can’t support a family, they can’t live comfortable, regular lives, etc. However the point is that if you are passionate about becoming a professional dancer you cannot lead a regular life. You have to want to be irregular in one sense. To find people who would wholeheartedly commit themselves and dedicate themselves to the dance; well that switch is yet to happen.
Speaking to Thaji
“If there is a more immediately captivating dancer than Thaji Dias, I have yet to see her or him” – said Deborah Jones of The Australian in January this year. What motivates you?
I thinks it's just purely the love for dance. Seeing my whole family immersed in it, trying so hard to preserve the dance form and keep it going despite all odds; but most of all it’s the sheer love of dancing that drives me.
As the granddaughter of the legendary Chitrasena you are perceived to be his natural successor – How do you propose perpetuating the tradition of dance in Sri Lanka?
It’s all about handing it down to the next generation. I would continue teaching and would try to create another generation of dancers to carry on the tradition of dance the way all of us have done and are doing so in our day to day lives. I hope to inspire others by my performance and would work towards preserving the dance forms the way we do.
Would you want your children to follow in your footsteps?
Of course I would. However as we were never forced into it, I would never force my children to take up dancing, but at the back of my mind I would hope that they would follow and continue the tradition.
What would your advice be to any aspiring young dancer?
I think if you are a dancer, you should do it with all your heart and be true to yourself and to what you are doing . Also continuous practice is essential . Dancing is not something you can give up and then come back to it when you feel like it. You always have to be in practice. You have to understand that practice is key. Your body is your vehicle, you have to keep it trim and tuned.
Interviewed by Anusha David
Interview photographs for Daily Mirror Life by Nisal Baduge
0 Comments
gOB says:
Sep 10, 2015 at 12:00 amwow. what a legacy.