• Nippon Dance School’s Prof. Sriyani Rajapaksha on tomorrow’s event and the Sabaragamuwa dance tradition

Sri Lankan dance traditions have unique identities, with different styles, steps, costumes, and rituals. The three main classical styles are Kandyan, low country, and Sabaragamuwa. In addition to this, there are also folk dances, Western dances, and Indian dances. And bringing a variety of dance styles to one stage this weekend is “Sanchalana 2023”, to be presented by the Nippon Dancing School at 4 p.m. tomorrow (30) at the Panibharatha Theatre of the University of the Visual and Performing Arts (UVPA), Colombo.

Speaking to The Daily Morning Brunch about “Sanchalana 2023” as well as Sri Lanka’s traditional dance styles was Prof. Sriyani Rajapaksha, who is not only attached to the Nippon Dance School but is also attached to the Department of Sabaragamuwa Dance of the UVPA’s Faculty of Dance and Drama.

‘Sanchalana 2023’

According to Prof. Rajapaksha, the Nippon Dancing School is attached to the Sri Lanka Nippon Educational and Cultural Centre, which awards scholarships for school and university students in collaboration with Japan. The organisation covers areas like education, culture, and sports, and offers support for bright students from underprivileged backgrounds. Prof. Rajapaksha is a member of the executive committee of the Sri Lanka Nippon Educational and Cultural Centre.

The Nippon Dancing School was established through the Sri Lanka Nippon Educational and Cultural Centre. In addition to dance training, the students of the school perform in Tokyo annually.

“Sanchalana” is being presented for the eighth time, Prof. Rajapaksha said, adding that close to 150 students will be performing tomorrow under four age categories, starting from pre-schoolers, going up to university students.

“The dance show will have Kandyan, low country, and Sabaragamuwa dance traditions as well as Indian dance, creative dance, and instrumental dance. A combination of these dances will be presented at ‘Sanchalana 2023’,” Prof. Rajapaksha shared.

There is much anticipation for the event, especially since it is returning after a four-year hiatus. Since “Sanchalana 2018”, the country has faced various challenges, from the Easter Sunday attacks to the Covid-19 pandemic to the economic crisis. This put the dance concert on hold. It also put on hold dance classes. At first, online classes were held for Ordinary Level and Advanced Level students. However, at the request of parents, online classes were later held for younger students as well.

“This year, we thought of having the show in January, but due to the country’s economic situation, parents couldn’t bear the expenses involved with a show like this, as things like clothes and the venue cost money,” Prof. Rajapaksha said. While this posed a serious challenge, Sri Lanka Nippon Educational and Cultural Centre Chief Secretary and Ethul Kotte Mahindarama Chief Incumbent Ven. Meegahathenne Chandrasiri Thera provided sponsorship for the event, easing these challenges.

Prof. Rajapaksha explained that price increases have affected costumes, makeup, and various other necessities required for a dance performance. The parents of the students taking part had a limited capacity when covering these costs but supported in whatever way they could. However, Prof. Rajapaksha said she was able to utilise the university community, which has supported her immensely, with students designing costumes and those who rent costumes doing so for free or a nominal fee.

This support has allowed the Nippon Dancing School to hold its eighth “Sanchalana” concert tomorrow. “We make an open invitation to all as this is not a ticketed show,” Prof. Rajapaksha said, adding: “We are returning after a four-year hiatus. ‘Sanchalana’ is firstly held to showcase the talents of the students and ensure they get the benefits of performing on stage. There is also a benefit to the audience. Typically, traditional dance is presented at one event, creative dance at another. At our event, you will see a variety of dance traditions.”

Drawn to Sabaragamuwa dance

Prof. Rajapaksha is Sri Lanka’s first female professor in dance. She joined UVPA as a student on 20 October 1984. At the time of joining the university, she had only studied Kandyan dance. However, her teachers Podi Appuhamy and Bogahawatte advised her to specialise in Sabaragamuwa dance. She followed their advice and learned the Sabaragamuwa dance tradition from university lecturer Wickramasinghe Bandara and external university lecturers like Punchi Nilame, Babanid, and Lionel.

“I became a university lecturer on a permanent basis in 1993 and had a Bachelor in Fine Arts. Then I obtained a Master of Philosophy from Kelaniya University and a Doctor of Philosophy (PhD) from Sri Jayewardenepura University,” she said.

Prof. Rajapaksha explained that her research area was the Sabaragamuwa region, through which she learned Sabaragamuwa dance rituals that were not included in the university syllabus at the time. They were later included.

“Despite Sri Lanka having male professors in dance, there was no female professor until 2017. I became Sri Lanka’s first female professor in dance on 10 March 2017,” she shared, adding that it is only in 2023 that Sri Lanka is seeing more female professors in dance, with two appointed this year.

Recognition of Sabaragamuwa dance

When asked if the Sabaragamuwa dance tradition receives due recognition in Sri Lanka, Prof. Rajapaksha said that today, it is in a place that one could find satisfactory. She explained that in the past, Sabaragamuwa dance wasn’t given as much prominence.

In the 80s, Sabaragamuwa dance performances were held at the John De Silva Memorial Hall, Colombo 7. There was a lull in performances until 2000, when Prof. Rajapaksha herself directed several shows titled “Sakarartha”, in which university students performed.

This increased interest in Sabaragamuwa dance in the university as well. “There are several dance shows and talent competitions on television. In the past, these leaned heavily towards Western and Indian dances, but now, they give a stage for local dance traditions as well. This applies to most television channels, and we can be satisfied with the place they give local dance traditions. In this context, Sabaragamuwa dance is also featured in these dance competitions, so the three local dance traditions are at a good place now,” she shared.

At UVPA, students can major in Sabaragamuwa dance, learning different traditions the first year and focusing on this particular dance tradition thereafter. “When I was studying, we had six students specialising in Sabaragamuwa dance. Now, the number of students majoring in Sabaragamuwa dance has increased to 40-50. So it can be said that Sabaragamuwa dance is seeing significant interest,” Prof. Rajapaksha said.

This interest crosses borders, with students in countries like Australia, Japan, and Italy earlier being primarily taught Kandyan dance or low country dance. However, in the past 3-4 years, Prof. Rajapaksha said she has seen Sabaragamuwa dance also being taught and performed overseas.

This interest can be incorporated into tourism as well. Prof. Rajapaksha shared that Sabaragamuwa is not an area that gets focused much on in tourism promotional campaigns, with most tourists visiting Kandy, Sigiriya and Dambulla, Anuradhapura, and so on. 

“However, the Ratnapura District, where Sabaragamuwa dance is centred, has a lot of waterfalls, for instance, as well as tourist attractions like the Maha Saman Devalaya. If you take Balangoda, there are locations linked to even the Rama-Ravana legend,” she said adding that the Sabaragamuwa dance can also be highlighted in this context.

Prof. Rajapaksha explained that traditional dance rituals like “shanthi karma” (exorcisms or blessing rituals) still take place in the Sabaragamuwa region. However, not many are made aware of these.

Tradition as a foundation

Prof. Rajapaksha also highlighted the importance of tradition when studying Sri Lankan dance, saying university lectures alone aren’t sufficient, and students must also be exposed to field research and visits, interacting with traditional dancers.

“However, this doesn’t mean that the Sabaragamuwa dance has not become creative. The traditional aspect remains, but separately, there is also a creative aspect to suit the stage or entertainment performances,” Prof. Rajapaksha said.

She explained that the “dawula”, for instance, is a drum with a distinct sound that is meant to be played in an outdoor setting. However, with the use of recordings, students are trained to incorporate it into indoor performances as well. There is thus an adaptation to dance in a creative or entertainment setting, but Prof. Rajapaksha emphasised that the traditional teachings must remain as a foundation.

“What has happened today is that there is an attempt to make everything creative, and there is no traditional aspect. This isn’t how it should be. There should be a foundation for anything, and this applies to dance as well. You need to make traditions a solid foundation and go toward the creative side; this allows us to do a better job.”