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THEY DANCED FOR THE GURU
By Charmaine Vanderkoen Mendis
“They danced and they danced and they danced”- Upeka, Ravibandu, Anjalika, Janaki, Umi, Thaji and cast with Vajira herself making a cameo appearance. They danced to immortalize the words of their guru, husband, father, grandfather…Chitrasena, who when asked by a friend what he would say of his life on earth, at the pearly gates, said “I will say I danced and I danced and I danced”. They did him proud last weekend, his pupils and his family. The performance was conceived and directed by grand daughter Heshma as a birthday tribute to the legend that is Chtrasena.

A spectacular opening item of percussion with throbbing drums that caused a sympathetic reverberation from deep within the heart set the right mood for the evening. To echo the words of Radhika Coomaraswamy, the guest speaker for the evening, my own response to this item was to evoke “a sense of national pride”. This is really ours.

The drum medley was followed by an excerpt from “Karadiya”, a Chitrasena choreographed masterpiece. The deep resonance of Amaradeva’s haunting voice singing “Hoiya, hoiya..” brought goose bumps and tears simultaneously and zoomed me back to 1961 when the ballet was first performed with Chitrasena in the lead role of the tyrannical Mandadirala which was Chitrasena at his best. Forty five years on the ballet is as fresh today as it was on opening night but it will be hard to replace the original Mandadirala.

The charismatic and timeless Upeka danced two of her best known items. One from “Kinkini Kolama” as the “mad” Upul and the other her classic Bera Nada Chalana which showcased her unique talent.

Here Vajira’s excellent choreography called for a high degree of technical skill with change of style, mood and rhythm all in the one item. She switched with seeming ease from Kandyan to Low Country, confirming how good a dancer she really is.

Anjalika was again the 16-year-old Nonchi Akka. What greater compliment can I pay her? Today her daughter is the choreographer and Artistic Director and Executive Administrator of the Chitrasena Kalayatanaya.

Geeth and Dilhani were the essence of grace in their sensuous and lyrical duet, a carefully chosen excerpt from Berahanda. If perfection can be achieved in dance I would say they very nearly achieved it. It was soul satisfying and visually most beautiful.

The creative choreography of Heshma in Vilapaya and Guru Maga was directly related to Chitrasena’s absence. Vilapaya was a mourning of the passing of their Guru. Danced by a cast of male dancers it was a sombre item with the effective use of the body movements of traditional Kandyan technique in the idiom of modern dance. Unfortunately the sound quality of the music was jarringly uncomfortable and detracted from the overall effect.

Guru Maga brought on stage three generations of dancers, students and family members of Chitrasena including his wife Vajira conveying their commitment to him to continue his work and make his dream a reality.

If I were to single out one dancer who would ably carry on the legacy she is heir to, it would be Thaji the youngest grand daughter of Chitrasena and Vajira. She is the embodiment of grace, with technical skill and an engaging stage presence. It is obvious that she has distilled in her the talents of her family.
My wish for her is that she stays with the Dance and does not get distracted by the influences of the world we live in today to pursue another dream.

The final Theiya with Ravibandu and Upeka leading was really a celebration of all that Chtrasena stood for and was danced with infectious joy. I could almost see and feel Chitrasena on stage leading them on. I am sure the dancers felt that too.

This Tribute – a dream beset by many constraints became a reality only because of the determination and dedication of a grateful family. Overall it was an inspired and moving performance that paid homage and celebrated a life that was entirely devoted to the Dance. That life was Chitrasena.

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