Going behind ‘The Unwavering Mind’
The giant grandfather of a banyan tree, which looms like a benevolent woodland spirit at the Sudarshi Centre, spills its deep cool shadow over lithe young dancers poised for a change.
Pix by M.A. Pushpa Kumara
For many of the past productions by Nilan Maligaspe, of the Nilan Creative Dance and Drama Academy (NCDDA), the Banyan was the perfect rehearsal prop- a conduit into the world that those ballets depicted. For those were dance performances based on a legendary world- the world of the old Sinhalese founding myths- and brought to life the traditional genesis story in ballet- including Vijaya Kuveni (who met under a Banyan) and Sinhabahu- where those early Aryan myths were rendered into majestically choreographed mystical grandeur.
This year, however, Nilan pirouettes into a timeless, universal space without such exotic cultural trappings- a work sewn together of contemporary dance and some low country with the storytelling magic of Kathak.
“The Unwavering Mind” is a metaphysical tale of good and bad- of how the bad is always quick to tempt and seduce yet how- with determination- one can always regain one’s primeval innocence.
The metaphorical saga is made up of dancers playing ‘minds’. It is a challenge to portray the eternal struggle between the good and the bad- in abstract- purely through dance and expressions- but at the same time highly rewarding as it is capable of driving a pivotal message to audiences anywhere, from Colombo to Timbuktu as it were.
Pathum Wirasinghe is the lead- playing the original ‘bad’ mind that dramatically slays the ‘good’ body in the opening scene and escapes into society, thus corrupting the whole fabric of humankind.
Unlike many in the cast Pathum was a complete novice at twenty when he joined the academy, yet was able to discover the rhythm that obviously vivifies his graceful frame.
Manodya Senanayake, who forms part of the cohort of dark minds corrupted by the original sinner, says the drama was illuminating to him- a practical lesson on how to sieve the good from the bad.
Hashan Madushanka Dissanayake, who plays another frontline ‘bad’ mind is confident that Sri Lanka has never seen something like this before- a mélange of dance styles telling the ultimate moral tale.
Sanjeewa Paranamana had the daunting task of creating the music. When in keeping time with deep inner states of mind, the melodies should have that depth and vibrancy.
Manodya Senanayake
Madusanka Disanayaka
Pathum Weerasinghe
Sanjeewa Paranamana
Often, in music, there are many layers running in tandem- the topmost layer seems to warble a question; the next layer runs simultaneously giving the answer while another layer with no apparent connection is woven in for good measure. “But here, that first ‘questioning layer’ is absent; ‘the answer’ comes to the surface,” thus peeling off the outer layer to expose the usually more subservient inner one of the mind, says Sanjeewa who is constantly present at rehearsals to perfect the interplay of step, poise and rhythm.
While he had to conjure music to connect with the sounds of the psyche, he also used local folk music- especially those used in thovil exorcisms- which with its haunting possessive beats was a ritualistic precursor to the music therapy of today, says Sanjeewa.
So ‘The Unwavering Mind’ promises to be a modern ritual of healing (within the timeless Wendt which is conducive to such ethnic experiments) while being a moral story that dances strikingly into your psyche- a mesmerizingly choreographed extravaganza to blow your senses- only to reorder them and reorient them, the wholesome way, by the time for the curtain calls.
“The Unwavering Mind” will go on the boards at the Lionel Wendt on October 12 from 7pm. Tickets available at the theatre will be priced at Rs 1500, Rs.1000, Rs.750 and Rs.500.
