The dance of the drum

By Ruhanie Perera

Berahanda, a brand new ballet choreographed by Vajira (based on the drama Berahanda by Bandula Jayawaredene), is the mythical story of the origin of the drum - an integral part of the culture of Sri Lanka. It tells the story of God Sakra's courtship with a mortal girl and the son of this union, who created the first drum. 

The story opens with a vibrant scene of beautiful, young weavers dancing while working at their looms, when God Sakra arrives on his heavenly chariot drawn by horses. Entranced by the handsome stranger, the girls invite him to join them. 

Accepting the invitation Sakra stays on and finds himself drawn to one particular girl with whom (once separated from the others) he performs 'a dance of love'. Shortly after this he leaves, having revealed his true identity to his love. From this point onwards destiny wields her power over the course of events to come.

This young girl, now the mother of Sakra's child, petitions the goddesses of trees to look after her young son as she is dying. This is the child who, fascinated by the oxen, captures one and uses its hide to create the very first drum. His tale, though, is a tragic one: for the 'yakkas' enlisted, ironically, by God Sakra, condemn him to the 'lower depths' forever for his crime of killing the innocent animal. Informed by the grief-stricken tree goddesses that he was instrumental in condemning his own son, Sakra takes over the drum - his son's creation. 

Students of dance Geeth and Dilhani play the parts of God Sakra and his beloved respectively. They are joined by a host of other students playing the exuberant weaving girls, ravishing tree goddesses, 'yakkas', other mythical creatures and the dashing horses which draw Sakra's chariot and the terrified herd of oxen. Together they bring this enchanting tale to life through the medium of dance and mime. The decor and costumes created by Somabandu add to the effect.

The first part of the programme promises much as it will comprise traditional forms of dance. Adding her own spark of individuality to this section will be Upekha with the performance of Bera-Nada-Chalana, which was choreographed for her as a birthday gift by her mother last year. A rendition of drumbeats in the form of dance, Bera-Nada-Chalana, incorporates both Kandyan and low country forms of dancing. 

Says Vajira, "Nothing is possible alone", and she is grateful for all the support she has received over the years. The production of Berahanda is, in her opinion, yet again a joint effort of the dancers, their teachers and all those who have joined in to take on some task. "The most important is the man behind it all, our guru Chitrasena." 

These are dancers who have enriched our culture, given us a rich tradition and entertained audiences over the years with many a performance. Now the fourth generation of dancers is led by their gurus to take the stage once again at the Lionel Wendt on February 16, 17 and 18, signifying that one man's spark of inspiration is still very much ablaze.

Drawing out the best of sounds

After a lapse of some years, this concert featured a visiting conductor, Dr. James Ross, who was invited by the Symphony Orchestra of Sri Lanka in its efforts to improve its performing standards.

Dr. Ross, a young British conductor who wrote his doctoral thesis on French Opera winning the Sir Donald Tovey Memorial prize, was a scholar at Harrow School and Christ Church, Oxford where he read history. He is currently Music Director of the Oxford Christ Church Festival Orchestra, the Welwyn Garden City Music Society and Royal College of Paediatrics Chorus and Orchestra and Associate Conductor of the Midland Youth Orchestra in Birmingham. He also teaches music at Oxford University.

Why is there a need for a conductor, quite apart from inviting a visiting conductor, an exercise requiring both money and organisation? Can a conductor make any difference to the performance of the orchestra, more than just beating time to keep everyone together and bringing in players on cue? The standing ovation given to both the conductor and the orchestra, has had no precedent as far as I am aware, in the concerts given by the orchestra to date. The orchestra was the same, where lay the difference? It must surely have been in the conductor.

An ideal conductor is a synthesis of the "elegant" school fathered by Mendelssohn and the "passionate" school inspired by Wagner. A conductor, unlike an instrumentalist or singer, has to play on an orchestra. His instrument is the multitude of human instruments, each one a musician with a will of his or her own. He must make them play like one instrument, with a single will. He must have enormous authority, to say nothing of psychological insight in dealing with a large group. He also must be a master of the mechanics of conducting. He must have a profound perception of the inner meanings of music and an uncanny power of communication.

The chief element in the conductor's technique of communication is preparation. Everything must be made known to the orchestra before it happens.

The conductor must not only make his orchestra play, but must also make them want to play. He must exalt them, lift them, start their adrenalin pouring (as the leading cellist confessed happened to them). He must make them love the music, as he loves it. But perhaps, the chief requirement is that he be humble before the composer and never interpose himself between the music and the audience.

That he was able to get the response he required from the players willingly, one could see. That the audience appreciated the result could be judged by their spontaneous and prolonged applause. The only regret was that the concert was not longer, and another major work had not been included.

We, the audience, can only look forward to more concerts like this in the future, conducted by our own panel of conductors who would, I am sure, have learnt from this experience. We hope that Dr. Ross will come back in the not too distant future to share his expertise with the orchestra, western classical musicians and enthusiasts.

-Dr. Lalith Perera

A Taste of Sinhala

Talking about those unknown people

By Prof. J.B. Disanayaka

To refer to just a single person, it is used after the word 'ek' which means 'one':

ek kenek (one person, any person)

This word occurs after nouns that refer to members of one's kinship group:

amma kenek (a mother)

ta:tta kenek (a father)

malli kenek (a younger brother)

nangi kenek (a younger sister)

A relation, in general, is referred to as nae: kenek

mage nae: kenek (a relative of mine) 

This word also occurs after English nouns referring to people: doctor kenek (a doctor)

driver kenek (a driver)

waiter kenek (a waiter)

tailor kenek (a tailor)

It also occurs after a few adjectives: 

honda kenek (a good person)

o:nae kenek (any person)

usa kenek (a tall person)

In negative sentences, it occurs as 'kisi kenek' meaning 'no one'.

Kala Korner by Dee Cee

Talent galore!

The massive crowd that turned up at the Elphinstone was a clear indication that at a time when everyone agrees that the local music scene has reached low depths, there are still those who appreciate good music. They knew the concert would not be a mere rendering of some songs by popular artistes. The concert was different. A variety of creations by Khemadasa ranging from film music (beginning with 'Senasuma Kothanada' which gave a new twist to Sinhala film music at a time when South Indian music and musicians were dominating the scene) and music in teledramas to operas, tone poems and symphonies, were presented. 

Best documentaries

The festival opens with the two films which shared the first prize - Pakistan's 'Noone believes the Professor' and India's 'Thin Air' - both of which will be shown at 5.30 p.m. on the 13th. The sole entry from Sri Lanka to the Kathmandu festival - Sudath Mahadiulwewa's 'Sathveni Sandeve Geethaya' on the dwindling gypsies will be screened on Saturday.

House of inspiration amidst the hills

By Alfreda de Silva

Pictures of the place are beguiling enough and I regret that I missed the dramatic opening ceremony on July 31, 1999.

There had been the grandeur and spectacle of celebration at the opening rituals and colourful ceremonies. Distinguished scholars from many parts of the world were among the invitees.

Brendon had been fascinated by the romance of the tea country as a boy spending his holidays on his father's tea plantation in the Rakwana hills. It took him all of four years to get this place he has chosen in Haputale, geographically, scenically and climatically suited to his idea of setting up an international research centre. At an elevation of 4000ft. the area is clear and cool. The house is built of rock stone and is twelve thousand square feet in area, and has twelve acres of land planted with flowering plants and fruit. Lush green woods stretch beyond.

Pemberley House according to Brendon, is "a meeting place for individuals with the ability to produce change, with the focus on constructive development. It would specifically seek to attract individuals with a proven track record of achievement making a significant contribution to the society in which they live". This applies both nationally and internationally.

Brendon aims at establishing a museum or gallery to house his vast collection of books, pictures and manuscripts. He has such treasures as practically all the editions of Robert Knox, including the original edition of 1681 and Emerson Tennent's own copy of Knox.

He also has the magnificent 'plate books' like the Samuel Daniell, Prince Waldenev, O'Brien, Hamilton and Fasson, Ransonnet, Deschamps and others. In addition to these are lithographs of 19th century water colours and G.M. Henry's original drawings of the Birds of Ceylon. Twentieth century artists include George Keyt, Richard Gabriel, George Claessen, Ivan Peries, Stanley Kirinde, Manjusri and others.

An antiquarian map collection will form an attractive permanent exhibition. The lovely old spacious house has been fully renovated with furniture specially made to suit the colonial style of the house.

R.L. Brohier's Furniture of the Dutch Period of Ceylon has been invaluable to this undertaking. The gardens have been transformed with blue grass planted by hand, and the beautiful living areas of the house supplied with solar energy.

In this enormous undertaking Brendon has had constant support from his wife, Emeritus Professor Yasmine Gooneratne and their children Channa and Devika whose pursuits are in tune with their parents' goals. 

As the programme at Pemberley proceeds since its inception in 1999, and selected scholars enjoy the fruit of the founder's labour, and his generosity, more avenues have presented themselves for younger students to benefit by this unique programme.

A collaboration between Brendon and Fr. Mervyn Fernando's Institute of Integrated Education known as Subodhi, will this year open the doors of Pemberley to 25 to 30 outstanding O/Level and A/Level students. These will be carefully selected and will enjoy a living and learning experience in an inspiring setting. This will be vastly different from the average school atmosphere where they are trained for jobs and learn to reproduce crammed up lecture notes.

Incidentally, Subodhi is already a kind of half-way house that has set the students free. Where, according to Fr. Mervyn Fernando they move into education for life and leadership; into self awareness and changing values and attitudes; human rights, wider relationships, understanding issues like sexuality; taking responsibility and getting involved in poverty alleviation.

Brendon sees the visit of the youngsters to Pemberley as one in which they will experience the beauty and joys of the hill country around Haputale, Bandarawela and Nuwara Eliya.

There will be visits to the southern jungles and architectural remains in the Buduruvagala, Tissamaharama and Hambantota areas. 

Brendon had promised his father that he would come back to Sri Lanka and contribute something of his knowledge, substance and organisational skills to this country.

It is the place which has given him 'immeasurable pleasure' through its natural beauty and distinctive way of life. He declares: "It is also the country that has given me free education, despite my parents' ability to pay for it and enabled me to obtain the qualifications I have, and made it possible for me to work anywhere in the world as a professional."

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