Chandri's vision 

By Seneka Abeyratne 

There was a time when Chandri Peris used to dance regularly with Khema, a celebrity in her own right. The duo possessed a vast repertoire, which cut across traditional, modern and experimental dance forms, and kept local audiences spellbound with their brilliant performances. 

In the early 1980s, Chandri took over the Contemporary Dance Theatre, started by Indira Gunasekera and over the next few years, this forward-looking company made a name for itself by putting out some memorable productions. Chandri and Naomi were the leading stars and people still talk about the graceful pas-de deux they used to perform. With his big frame, powerful physique and solid technique, Chandri, the champion of innovation and experimentation, was always a hit no matter who he danced with. 

In the late 1980s Chandri receive a scholarship from the British Council to follow a teaching course at the Royal Ballet. After completing the course, he entered the Laban Centre in London to pursue an advanced degree in dance studies. The influence of his Master's thesis, "Choreography and Politics", was clearly evident in Ranga Tharanga III, which was performed at the Loinel Wendt a few years ago. At the Laban Centre he has been concentrating almost exclusively on choreography (classical as well as modern), but he also dances occasionally with small avant-garde companies in London..

Chandri is currently pursuing an MPhil./PhD. at the same institution and hopes to have the doctorate under his belt by mid-2002. The geographical focus of his dissertation, entitled "Traditional Dance Forms and Globalization", is Sri Lanka. But he is also looking at some other countries in the region (including India and Indonesia) in order to make a comparative assessment. Globalization, he finds, is a double-edged sword. In some cases, it serves to enrich the scope of traditional dance, while in other cases, it serves to corrupt or vulgarize the indigenous traditions. 

Chandri is impressed by the amount of research being done on traditional Balinese dance which according to him, is one of the most widely researched ethnic dance forms in the world constantly exploring social, cultural and spiritual themes through the integration of mime, theatre and dance into a complex form of story-telling. Chandri laments the fact that traditional Sri Lankan dance forms lack this creative, progressive element and that, by and large they have remained static. Chitrasena and Vajira have from time to time come up with innovative dance-theatre productions like "Karadiya", but in his view, these are sporadic or isolated attempts to break with the past rather than precursors of a new wave. "In Sri Lanka, traditional dance forms do not reflect the situation in the country" says Chandri. "Kandyan dancing is a form of story-telling. There was a time when it was so, but now it has got lost. Like theatre, dance should explore contemporary social, cultural and political themes. But Kandyan dancing hasn't evolved into dance theatre yet." 

But who knows what the future holds. Perhaps the day will come when a new generation of dancers and choreographers, imbued with a bold vision, will attempt to bridge the gap between theatre and dance and incorporate new elements of story telling into Kandyan dancing that reflect the current situation in the county. 

A love affair with the violin

By Nihal Wiratunga 

"His love affair" with the violin - first the oriental and later the western version, commenced early. It would appear that the shrill, yet gay and lively sounds of the oriental violin, played by his father, a talented amateur musician himself, fascinated him, and he yearned to lay his hands on the instrument. 

This passion was soon discovered and his father decided to have him taught when he was eight-years-old. He had a succession of teachers starting with one Cooray Mama, but he met his first real teacher, a Mr. Shelton Premaratne when he was 14-years-old. His natural flair for the instrument saw him developing on the "fast track", and soon performing with local oriental music groups, which played for the radio, film sound tracks and variety concerts. 

At 19 years of age, while playing in an oriental orchestra he had the good fortune to catch the eye of at that time, Sri Lanka's leading classical violinist, Douglas Ferdinand. This heralded the first turning point in his young life, for the maestro instantly recognized his talent and potential and decided to take him under his wing, even going so far as to make arrangements for him to live in his house, while putting him through what could be described as a " total immersion course" in violin playing. 

The next turning point in his musical development came when he was 22 and invited to play at the Khemadasa Birthday Celebration Concert in 1987. The concert was attended by a well-known Russian violinist and teacher from the world famous Moscow Conservatoire of Music - Prof. M. Amberszumyan. Dabare performed the Bach Sonata for the Unaccompanied Violin and Monti's Zardarsz. The rest is history. Dabare was invited to study at the Moscow Conserva toire and later proceeded to the equally prestigious Odessa Institute of Music from which he graduated with a Master's Degree. He returned to Sri Lanka in 1993. 

Since his return Dabare has been actively engaged in giving concerts. playing as a member of the Sri Lanka Symphony Orchestra, teaching and in his pet project - that of, training, playing and directing a classical ensemble of his own creation - The Krasna Chamber Ensemble. 

He is also keen to use his unique position as a gifted musician to propagate the acceptance, performance and appreciation of western classical music in the island. He feels strongly that there is much musical talent in the island, which he feels will never and blossom unless discovered and given the kind of helping hand he received. He is therefore attempting to help by teaching some poor, but talented students free of charge, although he can himself ill afford to do so. 

This speaks volumes for his humanity and innate generosity of spirit. 

He is also of the view that Sinhala oriental music will be enriched if local musicians are exposed to the western classics. A fusion of the two where possible could only further the development of local oriental music in his view. 

In 1996 he courageously formed the Krasna Chamber Ensemble (KCE) with meagre financial support, and much sweat. The ensemble has to date given two concerts and is certain to be a rising star in the local musical firmament, judging from their most recent performance. 

That he intends to make them, a vehicle to encourage and train young talent from the under-privileged segment of our society is made abundantly clear from the following paragraph extracted from his message as its founder-president. "Our focus will always be on the under-privileged talented young persons whose potential would be lost to the country unless opportunities are created. In a way therefore every performance of the Krasna Chamber Ensemble is a dedication to Douglas Ferdinand and all such musicians whose vision and humanitarianism will always serve as a beacon." 

Dabare's vision for the development of western classical music in this island also involves the hope that the state in partnership with the corporate sector and other music loving benefactors will in the near future come together to establish a Conservatoire of Music where the teaching of music could be done on an organized, structured and professional basis, thereby attracting gifted students from all parts of the island. 

Chopin's mazurkas: the soul of Poland

By Lalith Perera

It has been said of Chopin that if he was small in great things, he was nevertheless great in small things. His finest effects are of the simplest kind- a suspended resolution, a trick of rhythm, a pedal note suffice him to work new wonders. In his mazurkas and Polonaises, which were Polish dances, he expressed the soul of Poland. The mazurkas are, in Huneker's description, "ironical, sad, sweet, joyous, morbid, sour, sane and dreary". All this is a preamble to my short appreciation of the recent lecture given by Rohan Joseph de Saram entitled 'Chopin and the Mazurka'. 

The mazurka is a Polish national dance dating at least as far back as the 16th century originating in Mazovia (the province in which Chopin was born). It was first accompanied with vocal music. It is in moderate 3-4 time(occasionally 3-8) and there is a tendency to accentuate the 2nd or the 3rd beat, unlike the more familiar waltz which is also in 3-4 time with the regular persistent accent on the first beat. This point was subject to some discussion at the end of Mr. Joseph de Saram's lecture. 

Chopin, we heard, extended and developed the form, so that he showed that sometimes we could beat 4 beats to the bar, thus demonstrating the development of this simple dance form to express all the emotions stated before. It was the modality and the complex tonal principles of Polish folk music that inspired Chopin to harmonic innovations, to innovatory rhythmic structures and agogic accents- that is accents of phrasing- rather than strict metric qualities. 

This is evoked in Chopin's famous rubato, which we heard in plenty during the interpretations of Chopin's mazurkas by Mr. Joseph de Saram. Chopin composed his first mazurka while still a child but was 22 years old when his four mazurkas of Op.6 were published. The first mazurka in F Sharp Minor is a masterpiece and was performed by the Lecturer on the Upright Piano provided. The performer instinctively demonstrated the characteristic rubato. 

He showed us how the scholastic bonds of rhythm needed to be liberated if one was to truly understand the music. Teachers of the piano present, would, I am sure, have learnt more than their pupils the importance of letting their pupils the freedom to express the emotions behind the sounds. 

Chopin's first music teacher, Joseph Elsner, head of the Warsaw Conservatory, gave Chopin complete freedom to develop his own original talent. The teacher's name still lives on because of his famous pupil. All the right notes (the lecturer himself was occasionally guilty of a wrong note here and there), played at the right rhythm cannot produce a performance which moves one, without there being a soul behind it. 

The lecture demonstration, which was well attended, left the audience, I am sure, with the feeling of an evening well spent as was universally acknowledged. 

To me personally, it inspired me to write this short appreciation and to pursue a more detailed study of Chopin's mazurkas. We can only express our gratitude to the organisers of this lecture for giving us this opportunity and to Mr. Rohan Joseph de Saram for the education we received.

Abracadabra: Mark's amazing monologue magic

One-man theatre can be a daunting exercise, but not if by some abracadabra, its hidden insights are seized and exploited to the fullest. 

Mark Amerasinghe played his monologue against an almost empty stage, with suggested outlines of 'Mexico City' (a notorious bar in down town Amsterdam). Here the 'Gorilla', its surly proprietor, dispenses dreams with the stuff that brings both cheer and oblivion. This is the haunt of sailors, prostitutes, pimps and Amsterdam's sight-seers of the upper crust. 

Central to the scene is a once well-known and affluent Parisian lawyer, masquerading under the assumed name of Jean Baptiste Clemency, played by Mark. For him drinking at 'Mexico City' which is also his office, is every evening's pastime. 

For five consecutive evenings he regales his client or 'victim' with something that torments him - the story of his life. This is also a sort of introduction to the turn of affairs that has made him bequeath to himself the role of Judge Penitent 

The fact that he did not save a woman from drowning when he was able to do so haunts him. It is the climax of a whole range of disturbing experiences this famous lawyer has known on which he reminisces during his indictment of himself 

This self search is laid open to the audience with the intention of jolting them into a realization of one of Camus' concerns - the duality of human nature. It also draws attention to the importance of recognizing a sense of responsibility towards other human beings. 

The lights of the auditorium dim. The monologue begins. A snatch of soft music announces Mark's entrance in lounge suit and hat. He divests himself of coat and hat and sits at the bar to begin his evening of drinking. 

The imagined 'client' comes in and Mark's soliloquy cum self -condemnation begins. It is addressed to both client and audience in a soft, well modulated voice that is aware of the size of the auditorium to which it has to be projected and pitches it right there. 

His tone, in the clearly articulated words, is not that of a declamation. It is confidential, confessional, with diction clear and crisp, and phrasing and pausing well-timed and very natural. 

His intention is to make other people purge themselves of their guilt. Timely movements - a lift of the hand, a walk outside, and sincere facial expression colour the words. 

Where and when did his love of drama and clear good speech begin? He pays tribute to his teacher of singing - the eminent Mrs. R. A. Spencer Sheppard with whom he studied both song and speech. He remembers the importance she gave to breathing and the sustaining of it for clarity and resonance in a performance. 

Mark started his studies in singing after he passed out as a doctor in his twenties, and realizes how much the rudiments of his study have helped him in his interest in drama. 

In the university atmosphere of Peradeniya, there was plenty of scope for both singing and speech and he had many opportunities of experimentation with narration and monologue with Valentine Basnayake as pianist and motivator. 

Mark's recent acclaimed monologues staged in Colombo were Tolstoy's 'The Kreutzer Sonata' and 'The Little Prince' excerpts in English translation from the French of Antoine de Saint Exupery. 

He was accompanied at the piano with extracts from Fauré by Valentine Basnayake. 

These two monologues entertain with their blend of word and musical support. The more difficult one to put across is the wordy 'The Mirror'. 

Shorn of all adornment, musically and otherwise, it relied heavily on the human voice to play its many parts. 

Mark gave it a restrained moving and arresting performance which held the rapt attention of the audience. In its muted projection it displayed a prodigious memory. 

More Plus

Return to Plus Contents