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Arts
Kala Korner by Dee Cee Remembering an old friend 'Ihave included my impressions of you in the book. Please come for the launch', a separate note inside the invitation said. The sender was Somawira Senanayake. He was launching his autobiography, 'Api Tavamath Sansare'. Naturally I was curious to find out what this accomplished writer had to say about a nonentity like me. True we were colleagues at Lake House but after I quit looking for greener pastures, we had rarely met. The picture has changed with my getting back to a little bit of writing. We meet often now, at book launches and other cultural events. By the time he joined the 'Navayugaya', I had moved out of the 'Dinamina', to the 'Observer'. But my close contact with the then Navayugaya editor, the late Wimalasiri Perera and his team made me go across and have a regular chat. That's how I came to know Somawira. In fact I was writing a regular column to the 'Navayugaya'. As soon I entered the crowded J. R Jayewardene Cultural Centre for the launch, I picked up a book and while the speeches were going on, I glanced through the pages, impatient to see what he had written about me. It was a relief when I found that he had made reference to a few incidents where I had advised him to continue his studies (he was then a graduate of the Vidyodaya University). That was the time when not many fellow journalists at Lake House cared much for university types. So if anyone thought of advanced studies, he was laughed at by the others. A few of us however, always encouraged anyone who was keen on further studies. And it's nice to find Somawira showing his gratitude by mentioning our names - not once but several times. He is also very appreciative of the 'Kala Korner' which he feels gives the English reader a chance to get an idea of what's going on in the field of Sinhala arts and literature while giving a place to deserving artistes. Thank you Some, for your kind words! Yeoman service As Professor Bellawila Wimalaratana Nayaka Thero said, at a time when there is absolutely no concern for Sinhala grammar, and a total bankruptcy is seen in language and literature, Somawira is trying use the language correctly. The Ven. Thero referred to TV news as a good example of how there is no respect for grammar or pronunciation. To Professor Sunil Ariyaratne, Somawira's creations are aimed at saying something beneficial to society, not the other way round. He reminded us how, breaking new ground, Somawira's novel, 'Yashorawaya' was accepted by the Vidyodaya University for the thesis when he read for his Master's Degree. All credit to Professor A. V. Suraweera who pioneered the new approach of accepting a creative work for the M.A, he said. At a time when the quality of teledramas plummeted, Somawira resurrected the medium with meaningful creations, he said. In a light-hearted speech, Minister W. J. M. Lokubandara spoke of his longstanding relationship with Somawira. The large crowd that turned up for the launch symbolised the deep appreciation of the good work done by a simple, unassuming man. Get down
to work The other nominees too have made a name for themselves in their own fields - renowned dramatist Henry Jayasena, accomplished actress Anoja Weerasinghe and illustrious musician Arundathy Renganathan. They must get down to do a job of work, rather than get bogged down in administrative red tape, as it normally happens. In the earlier Council, maestro Premasiri Khemadasa left in disgust saying that he was not going to serve in a Council where much of the time was spent on how to collect the travelling allowance! The arts have been a neglected field in the last few years although so many panels in the Arts Council are supposed to be looking after every aspect. Firstly, the new Council should study the feasibility of having so many panels - 17 of them in all. Cut down the panels, get the right people in, and see that they do a proper job. Fun
and frolic in world of cats Barbara Sansoni,
the writer and artist wields a subtle pen, turning words into moods,
emotions and pleasures, time and place. Her exquisite illustrations
gave me a sense of deja vu, a going back to her elegant home, so
long ago and then again many times. Barbara's innate
sense of humour sparkles through this book and illuminates her fine
line drawings filled with colour. These are magnificent examples
of the artist's skill. The characters of the animals are not only talked about but also displayed. We are told that among those who can cha - cha - cha are "Gigi the Poodle, the cow-next-door, the Amber Puss and the Garden, Cat and even the two small tortoises." We see the way in which Tikiri Banda and Missy Fu relate to each other and the other animals and the inter-action between them and Dominic and Simon and Missy Fu's father, the humans around them. Gregory, the general factotum in the Missy Fu household, takes her to market on Fridays when he buys fish. She eats this before he gets home. So he buys brain one Friday. She eats that too and it acts on her like an injected dose of cleverness, although some mistake it for madness. Tikiri Banda lives with Dominic and wants to go to school. So Dominic asks him to get four cats together. Each of them is supposed to bring a book, a pencil and a rubber. It's hilarious. Missy Fu comes in with her father's T square, drawing board, rubber and tracing paper. She gets all her sums wrong and someone eats her rubber. When her father discovers the loss of his work papers she is ordered back at once. Naturally she is punished. There is cricket on the lawn under the araliya trees. The aggressive Missy Fu plays in her own style and leaves in a huff when she is bowled out. There is Big Cat's School of Dancing where Tikiri learns the Twist. And then again, pushed by Missy Fu, he tries to learn the cha - cha - cha. He only succeeds when he holds Missy Fu's tail, at her suggestion and follows the music. He is well into the spirit and swing of it and dancing wildly, without realizing that Missy Fu is now rotating in the air above him. He has totally forgotten her. Missy Fu's furious reaction to this is to be expected. She breaks everything in his house. Giving shape to this is an illustration full of life and rhythm - the gramophone playing, the golden skinned Tikiri cha - cha - ing dreamily, absent-mindedly, while Missy Fu rotates helplessly, like a Catherine wheel angrily near the rafters. It brings this scene to pulsating life. The Garden Cat's wedding is a grand occasion. It is also a scream - another opportunity to show off in spite of being warned that no one should look grander than the bride. Simon is at the organ and Dominic is ready to give away the bride when they see the bridesmaid, Missy Fu, complete with steeple hat and pink organza dress. Her veil is 80 inches wide and 90 inches long. Barbara's illustration shows the arrogant Missy Fu and the disapproving cat groom. The climax of the story is that Missy Fu, who had grown round and fat, has two kittens the size of humming birds. Simon plays his guitar, Dominic plays his drum, and everyone sings. This story was written for the Daily Mirror as a weekly feature, with illustrations for children by Barbara Sansoni in 1956. Fred Silva, the Editor and Chandra Silva, the sub-editor, of this paper encouraged her greatly in those her freelance days. This is an elegant publication. Nelum Harasgama Nadarajah designed the layout of this enchanting book, which children will enjoy.
Collett to perform here Andrew Collett's contribution to western classical music has been well recognized back home where he regularly plays with the Rosamund Chamber Orchestra. Collett is reputed to have the grandeur and breadth of vision, necessary to be a Beethoven interpreter as he has the ability to portray tragic passion or supreme calm. According to Brian Schlotel who reviewed Collett's Beethoven recital at the United Reformed Church, "The 32 variations in C minor were played with fire and brilliance, each tiny masterpiece well characterized". His inspired performances that have revealed deep felt emotions have won him a number of piano competitions and prizes. His recent presentation of Beethoven's Appassionata Sonata was judged a magnificent performance and spoke of his evocative style. Within a span of a week he did three recitals at the Guilford Festival, which displayed his wide range in 18th, 19th and 20th century music. Originally from Surrey, south of London, Collett trained at the Trinity College, London where he did a four-year programme, specializing in classical piano. For the last 10 years he has been teaching children up to age 13 at the Down's End School at Leatherhead, Surrey. He also has private classes for adults and has been keen on assisting those with special needs. Some of his students are dyslexic or have Down's Syndrome and there is also an 18-year-old car crash victim who has lost his memory. A famous British pianist Christian Blackshaw and Collett's teacher, Antony Peebles who has done more concerts than any other pianist (in 146 countries) have been a source of inspiration for Collett. He also received tremendous encouragement from his parents who urged him to practise as much as possible. Collett recalls that he began experimenting with notes on a piano when he was 4. His preference leaned towards classical rather than the romantic. Nevertheless, it has not stopped him from appreciating other music. He does listen to pop, has been in a band and now has his own recording studio. As for composing his own music and making his own CDs, he may do so in the future. "During the past 10 years, a renewed interest in classical music in Britain has brought people back to the concert halls," explains Collett. There are an awful lot of good young pianists who are drawing huge audiences, he says. Currently, one of the most popular radio stations there, is the Classical FM that plays orchestra music. Here in Sri Lanka, he finds people very enthusiastic about music. He loves the rhythm of the Sri Lankan music and plans to buy a number of CDs, besides playing golf, before returning home. While attending a service at the Colombo Cathedral last Christmas, Collett was very impressed by the structure of the building and had expressed his desire to play there. Delighted that he will be able to do so now, he looks forward to playing most of his favourite pieces. Entry is by programme priced at Rs 300. These will be available after April 10 at No. 6, Flower Road, Colombo 7 and at the Cathedral on April 20. |
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