A storm brews in the mind of Caliban, one of significantly different proportions to that which Prospero conjured in ‘The Tempest.’
“The Caliban we are looking at here is not quite the often incoherently savage, deformed figure as created by Shakespeare,” comments Dr. Asoka de Zoysa, referring to the more assertive Caliban of Aimé Césaire’s UneTempête- a post colonial rewrite of Shakespeare’s play of 1611. Based on this rewrite, Caliban becomes a more pivotal figure where he fights to break the shackles of colonialism.
Inspired by this rebellion, ‘Another Tempest’- a dance drama presented by the Arpeggio Creative Dancing Academy- puts into movement the struggle faced by Caliban, to be rid of the emotional baggage that is a result of colonialism.
“In Cesaire’s script, Caliban is heard to say to Prospero ‘You didn’t teach me a thing. Except to jabber in your own language so that I could understand your orders.’” Says Dr. Asoka. “It can be argued that in any translation, something of the original is lost, but it is also possible to bring in something new to the story, and this is what can be seen in ‘Another Tempest.’
No stranger to the somewhat tricky art of translating a drama, Asoka de Zoysa finds enjoyment in writing in new perspectives which do not destroy the voice of the original but also have their own identity.
“Even 64 years after gaining independence from colonial rule, I feel that we live with some heavy colonial baggage,” comments Dr. Asoka. It is all too evident in our mindset and some of our actions; and the task of bringing these ideas into dance- while daunting- has also been fascinating and enlightening.”
After centuries spent getting accustomed to the story of The Tempest told through iambic pentameter and Shakespearean soliloquies, later adapted to different writing styles, Another Tempest takes on the intriguing challenge of depending entirely on dance to not only tell a story but to dramatize the attitudes and struggles of the colonized in a post colonial context.
“Aimé Césaire was an active member of the Black Pride Movement known as ‘Negritude’ and was a strong advocate of the cause of breaking away from the colonial mindset,” explains Dr. Asoka. “He wrote two collections of poetry on Africa and the slave experience, and four plays.
His “Une
Tempête” is regarded as the most successful Francophone Drama, and in this dance drama production we have placed a great deal of importance on picking exactly the right scenes which would convey this; and then using choreography to its best effect in depicting these scenes.”
This is where expert choreographer Nilan Maligaspe comes in. He established the Arpeggio Creative Dancing Academy 20 years ago as a foundation for students from underprivileged backgrounds, and the academy focuses on the importance of choreography in narration. This production promises to be a testimony to this approach.
“We are extremely grateful to Professor Neloufer de Mel for introducing us to Césaire’s play, and for providing us with some valuable insights on Caribbean literature,” concludes Dr. Asoka.
‘Another Tempest’ features the students of the Arpeggio Creative Dancing Academy, choreographed by Nilan Maligaspe, with dramaturgy handled by Dr. Asoka de Zoysa. Tickets for the performance, priced at Rs. 1000, 500 and 300, are available at the Lionel Wendt and the Goethe Institut.
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