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Lyceum International Schools delivered the 14th rendition of “Maathra”, at the Bandaranaike Memorial International Conference Hall, on the 11th October, exactly one year after its predecessor. With each performance, the bar is raised for quality and performance in artistry; each performance is an improvement on the previous one. Unarguably, it has grown to be the biggest school-based cultural dance spectacle in Sri Lanka, providing for its students across all branches of the school group, a platform for artistic expression through dance, music, costumes and stage-craft.
The tapestry, as always, is rich and intricate but familiar to the audience, interwoven as it is in local history, folk tales, religion, myth and legend. As this writer has said in an earlier instance, Maathra is not just about dance, theatre and music, but also reminds all Sri Lankans about who they are. With its depth, variety and inclusivity, Maathra overrides all ethnic and religious divides. Its appeal is universal. It is a performance in which tradition meets elegant innovation and culture is brought to life through the graceful rhythms of young performers.
Each rendition of Maathra has a central theme, a governing thread, which holds the performances together, despite the individuality of the separate items. This year it is “The Woman”, focusing, through historical personages, folktales and symbolic figures, on women and their roles, their identities, struggles and celebrations. In total, Maathra 14 is a gendered narrative, demonstrating a shift away from the more broadly culture and history-oriented tales of previous performances. The selection of individual items clearly reflects the primary purpose.
The performance opened proceedings with a rendering of “Pancha Nari”,one important segment in the quintet of the indigenous “Kolam” tradition, the others being Giridevi, Surambavalli, Naga Kanya and Narilatha. The “Pancha Nari” portrayed by the Lyceum Panadura branch was a special adaptation, designed to suit the theme of “The Woman”.
“Yasodhara”, in Buddhist literature, as the consort of prince Siddhartha Gauthama and the Buddha-to-be, is celebrated as the epitome of patience, selflessness and devotion, silently immersing her personal self in his journey of enlightenment. In a moving and reverential performance, the dancers of Lyceum Wattala paid tribute to an inspiring role model and one of the most revered women in Buddhist lore.
Parwathi, Lakshmi and Saraswathi, a divine trinity in Hindu mythology, as consorts of the Trimurti, embody strength, abundance and wisdom. Lyceum, Anuradhpura, with their “Tri-Devi” concept, celebrated these divinities with a performance which was a balanced, devotional blend of indigenous and classical South Indian dance traditions.
‘’Devi Anula”, by Lyceum Nugegoda, paid tribute to Sri Lanka’s first female ruler, who seized power ruthlessly and ruled in her own right, challenging the norms of the day in what was very much a man’s world.
“Sannaliyane”, by the Nuwara Eliya branch was a poignant theatrical act centered around the life of a “Sannaliya”, a humble tailor. It was a performance adapted to Pandit Amaradeva’s classically lyrical delivery of the same title, tracing a woman’s story; fragile yet enduring, strong and resilient and profound to the end.
“Senehase Murthi” by Lyceum Kurunegala was the story of a father nurturing his daughter, moulding her as a potter would lovingly shape clay on his wheel. “Maname”, by Lyceum, Panadura, offered a cleverly crafted vignette on Professor Ediriweera Sarachandra’s timeless masterpiece of the same title, a tale of love, loyalty and betrayal. ‘Liyathmabara” by the Ratnapura branch provided glimpses of the concept of universal femininity whilst ‘Mohini”, presented by the Lyceum alumni, brought to the boards the story of an ethereal enchantress, beautiful but otherworldly.
“Ehelepola Kumarihamy”, by the Gampaha branch depicted the harrowing but heroic story of the sister of Keppetipola Disawa and the wife of the Ehelepola Adigar, all very real figures in the more recent pre-colonial history of Sri Lanka. A story of a mother’s loss, her loyalty, and strength and dignity in bereavement was sensitively portrayed. In a startling counterpoint to Yasodhara, their first offering, in their second essay Lyceum Wattala depicted the fierce “Kali”, both loving and vengeful, a major figure in the Hindu pantheon.
The final offering, again by Lyceum Nugegoda, was a fitting finale; “Thanha, Rathi and Raaga”, the temptresses of Buddhist literature, portrayed more as the diversity which resides within the female personality, and less as disruptors of the Prince Gauthama’s journey towards enlightenment.
“Maathra” has evolved over the years, with choreographies becoming more original, blending the traditional and the contemporary and the stage effects being increasingly complex. Whilst its inspiration and origin resides in the vision of the Lyceum founder, Dr. Mohanlal Grero and his wife, Dr.Kumari Grero, the execution owes much to a core group of dedicated individuals. It is not possible to name all but a few merit individual mention. Amongst them are senior lecturers Ajith Kumara, Senani Hettiarachchi, Dilum Rodrigo, Janitha Dissanayake, Ms. Savindya Wedegedera, Ms. Lakmini Chandima and Ms. Andrea Melder. The exceptional choreography owed much to the Rasika and Nisha Kothalawala duo, who have masterminded the production from the very inception. They merit special mention. As always, the seamless progression of events and the professionalism of the young performers was a testament to the dedication and expertise of all those involved. Over 800 participants from 8 branches performed as one.
The significance of “Maathra” lies beyond spectacle. It is a celebration of Sri Lankan cultural tradition, history and folklore. Perhaps its most commendable feature is that an international school has dedicated itself with such an enduring passion, to the celebration of local culture.
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