Bharata Natyam and Akram Khan in Jaffna

“I am beyond excited to embark on the Third Edition of our Classical Intensive residency. Each iteration is specifically curated and developed by Akram and our team – to ensure that we create an immersive space of refuge and love for Indian Classical Dance, and the tradition that underpins its spine.
Our third series is being designed for a collective of Bharatanatyam artists in Sri Lanka, and will be delivered in the northern city of Jaffna. With a history and culture that is rich with creativity and artistry, it is surely the perfect ground for us to unite in our love for Bharatanatyam.”
– Mavin Khoo
AKC Classical Intensive – Jaffna | 9-13 December 2024
Supported by the British Council Sri Lanka
Images by Arun Pradeep from AKC Classical Intensive Edition Two: Seeking Satori
 

https://www.facebook.com/photo/?fbid=1168378654651022&set=pcb.1168379147984306

Midweek Review

Seeking cultural transmission between bodies

From Chitrasena to Akram Khan:

by Saumya Liyanage

Akram Khan is a world-renowned dancer, choreographer and the founder of Akram Khan Company (AKC) in the UK. He has been an impactful dancer and choreographer who was initially trained as a Kathak dancer during his apprenticeship under various Kathak Gurus in Asia and elsewhere. He and his dance company have created numerous dance productions that surpass the traditional boundaries. Akram Khan is a recipient of top awards including two Laurence Olivier Awards, the Bessie Award (New York Dance and Performance Award), the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award, the Fred and Adele Astaire Award, the Herald Archangel Award at the Edinburgh International Festival, the South Bank Sky Arts Award, and ten Critics’ Circle National Dance Awards for his company.

With the initiative of the British Council in Colombo, the Akram Khan Dance Company contacted me a few months ago. The Legacy International Project Manager of the AKC, Varsha Kumar sent me an email informing me of an exciting project the dance company wanted to initiate in Jaffna. It was an upcoming collaboration between Akram Khan Company supported by the British Council Colombo to conduct an intense dance exchange workshop. This initiative facilitated a five-day intensive cultural transmission of Bharatanatyam dance conducted by Mavin Khoo, the artistic associate of the Akram Khan Company with a selected group of youth from Jaffna.

The idea was to continue and sustain the traditional dance forms and explore how they could be sustained and continued further through innovative practices. Mavin Khoo visited Jaffna for the first time to initiate this cultural transmission project with the hope of conducting this intense workshop on Bharatanatyam. Mavin Khoo, trained as a traditional dancer in Bharatanatyam in Malaysia, is a choreographer and the creative collaborator of Akram Khan. Mavin holds an MA in Choreography from Middlesex University and was a faculty member of the Dance Studies Department, School of Performing Arts at the University of Malta in 2014. He has been working as the rehearsal director of the Akram Khan Company and is exploring traditional dance and its contemporary relevance as a mode of human agency and provocation.

It is an ongoing work that the AKC initiated and this collaboration will continue further in future. Here is something interesting about what happened when Khoo, Varsha and their team came to Colombo after finishing the Jaffna Classical Intensive project. The British council director Edward Orlando invited me to a networking lunch in Colombo, where Khoo and Varsha were present. At lunch, I met some of the Sri Lankan dance community representatives. They included versatile dancers such as Upeka Chitrasena, Heshma Wignaraja, and Kapila Palihawadana. We shared our thoughts and ideas about dance and future collaborations during lunch. After this session, Upeka Chitrasena invited us to visit Chitrasena Dance Company. Akram Khan Company focused on helping peripheral dance groups to sustain and continue their traditional dance heritage and encouraged them to expand their possibilities of innovations, and the Chitrasena Dance Company in Colombo is also dedicated to preserving and continuing Sri Lankan traditional dance practices for posterity.

Dance as Ekstasis

I am not a dancer, but I have been interested in dance and dance theatre throughout my academic career. Dance and theatre share many elements and it is the body that is central to the dancer and actor’s work. A few days ago, at the Faculty of Medicine, a session was conducted by the Centre for Meditation Research on how movement facilitates happiness and wellbeing. With my research collaborators, Kanchana Malshani and Chamanee Darshika, I demonstrated how movement is central to our understanding of the self and the world. The key question that I posed at the seminar is that movement allows us to understand our body, time and space and allows us to understand how we could connect with other bodies. Movement is the primal element of the body of the animated being.

What fascinates me here is that actor/dancer experiences time and space and the Other, in a different way than we experience the same phenomena on the daily basis. Dance scholar and Philosopher Sheets Maxine-Johnston argues that Man comprises temporality within himself, for he is such an ekstatic being. He is always at a distance of himself, always in flight” (Sheets-Johnston, 2015, pp. 16-17). This statement clearly indicates how the dance and dance experience override the objective time and space. Greek etymology of the word ekstatic means how one emancipates from her/his own self and transcends for the daily reality. In this sense, the moving body of the dancer, as I witnessed at the Chitrasena Dance Company, shows that dancers’ “being” is not in the daily reality when they intensely move their bodies in the space and time with the complex drum ensemble. Hence, I argue that our understanding about time and space is constructed through the physiological and mathematical understanding of time and space. The other is understood in a way that we as selves are constructed and defined through various lingual and cultural discourses. In this sense, the dancer/actor surpasses these constructed boundaries when the body becomes animated through dance and acting.

We sat at the Chitrasena Dance Company in the afternoon of Dec., 14 2024, and Khoo and Varsha were scheduled to leave Colombo a few hours later. An intense and galvanising performance was unveiled at the bare stage of Chitrasena Dance Company with Thaji Dias and the dance ensemble with seven master drum players. One after the other, a series of traditional dance repertoires unfolded before our eyes. Particularly Thaji Dias’ mesmerising and electrifying bodily motility of Kandyan, Low Country and Sabaragamuwa styles blended with intense rigor and precision. It was evident that some of the dance repertoires that Thaji and the lead male dancer performed were somewhat improvisational, bringing key elements of Kandyan dance into an ecstasy of performance. Both dancers seemed to be connected with each other through somatic means, communicating with facial and bodily gestures to trigger certain dance repertoire to perform together. I witnessed that both dancers were kinesthetically and sensorially joined through learned repertoires to perform a new interpretation of Kandyan dance form.

 

Cultural Transmission

These traditional dance performances triggered several important questions related to the dance body and cultural transmission of somatic knowledge. First, when Heshma, the artistic director and choreographer of Chitrasena Dance Company introduced a particular dance repertoire developed and choreographed by Vajira Chitrasena, she articulated this as a cultural transmission of choreographic knowledge which came through two generations of dancers. This statement triggered several important questions related to dance historiography. When Chitrasena and Vajira choreographed their works, it may have been done through the embodied knowledge that they possessed through what they learnt and mastered from the traditional Gurus. However, Chitrasena and Vijira may have understood that replicating traditional dance and its repertoire would not add any innovation to their dance interventions. My interest was drawn to this phenomenon and the question emerged on how these individual dance artists have distilled the traditional Kandyan dance to modernist choreographic works through adding innovative elements to their newly founded body notations.

Researchers who are working on the intangible cultural heritage mainly focus on how traditional dance and heritage can be transmitted. They are mainly concerned about how these traditions are continued and sustained through contemporary dance ensembles. However, the intangible heritage discourse has least focused on how these dance traditions have been changing through time and how these new elemental changes have been transformed and transmitted to the next generation of dancers. During our encounters with dance choreographer and artistic director of Chitrasena Dance Company, Heshma discussed how they “do” dance. Her articulation of “doing” dance rather than talking about dance explains how they transmit knowledge of somatic elements of dance through bodies. She said, “We rarely talk … we do not use language but we do dance”. One of the challenges posed by these issues is that the corporeal learning and embodied knowledge cannot be objectified in the researcher’s eyes. They are somatically embedded in the dancers’ bodies and are sedimented within their dance repertoires. A meticulous observation, analysis and categorisation will be required for someone to understand and identify how these dance elements have been changed and embedded in the dancer’s body. As I believe, new dance ethnographic research would be useful for researchers to extricate those elemental dance repertoires to understand how contemporary dancers’ bodies embody dance heritage in their somatic memories.

Conclusion

Akram Khan and his creative associate Mavin Khoo explore the possibilities of preserving traditional dance forms while seeking opportunities to revive them through innovative practices. The Chitrasena Dance Company working in the field of traditional Sri Lankan dance ambitiously is in search of a new era of Sri Lankan dance while passing the Chitrasena -Vajira dance heritage to the next generation of dancers and choreographers. Both companies share similar objectives in dance preservation and innovations within the highly contested Global cultural domains. Khan, Khoo, Chitrasena, Vajira, Thaji and other dancers embody a vast knowledge of somatic practices akin to their own dance traditions. Yet, these ekstatic bodies transcend the daily constructed selves, which carry the somatic knowledge of dance that are waiting to be disseminated in the bodies of the next generation of dancers. These areas of dance-ethnography should be further developed to understand the embodied knowledge and the somatic practices infiltrated through the generations of dancers and drummers. New dance-ethnography, dance historiography and new methodologies should be developed and applied to deepen our understanding of dance as an explicit knowledge of human expressions, emotions and ecstasy.

 

References

Sheets-Johnston, M. (2015). The phenomenology of dance. Philadelphia (Pensilvania, Estados Unidos) Temple University Press.

Company, Akram Khan. n.d. “Our Biographies.” Akram Khan Company. Cog. Accessed 2024. https://www.akramkhancompany.net/about-us/our-biographies/.

Company, Akram Khan. n.d. “Our Biographies.” Akram Khan Company. Cog. Accessed 2024. https://www.akramkhancompany.net/about-us/our-biographies/.

Nürnberger, Marianne. 2014. “Vajira – the First Professional Female Dancer of the Sinhalese Style.” Sri Lanka Journal of Humanities 40 (0): 99. https://doi.org/10.4038/sljh.v40i0.7232.

Raheem, Mirak. 2022. “Vajira: The Pioneering Female Dancer.” South Asian Dance Intersections 1 (1). https://doi.org/10.55370/sadi.v1i1.1475.

 

–––

Saumya Liyanage is an actor and professor in Drama and Theatre, currently working at the Department of Theatre Ballet and Modern Dance, Faculty of Dance and Drama, University of Visual and Performing Arts, Colombo, Sri Lanka. saumya.l@vpa.ac.lk

The author wishes to thank Himansi Dehigama for her assistance in preparing this article.

NR

More Posts - Website

Follow Me:
LinkedIn