Abstract:
During a performance of a collaborated dance which I choreographed using Kandyan
(Udarata) and Bharata Natyam dance forms, I realized many similarities between the nuances
of the two dance forms and the elegance of its appearance when performed together. The
Kandyan dance form which is hailed as the most prominent Sri Lankan traditional dance
form, is mostly performed and studied most often by Sinhala Buddhists due to its theological
imprints. Bharata Natyam too, which is one of the most celebrated Indian Classical dance
forms, is mostly followed prestigiously by those of the Hindu religion. The mélange of these
two dance forms brought the dancers of my team together. My study was mainly with regard
to the pre-conceived attitude that certain artists/creative performers of Sinhalese and Tamil
ethnicities have which makes it difficult to use their constructive and productive energy
to work together. However, my study will show that a mélange of Kandyan and Bharata
Natyam dance forms framed as a contemporary fusion dance form, in order to be taught,
studied and followed, and where both Bharata Natyam and Kandyan dancers can contribute
to one another’s cultures, ethnicity-wise, will bridge this vague chasm between the two
ethnic groups. A comparative observation on either of the dance forms mentioned above,
on personal experiences, were pursued in order to gather findings, and to suggest the fusion
dance form as a potential category of art which can be utilized in aesthetic education, while
drawing away ethnic prejudice.
