dancing and powerful footwork, leaps, and whirls. An expert in understanding how traditions evolve over time, the diasporic artist strives to change perspectives, striking a balance between traditional dance and a continually evolving artform. “Ceylon (colonized by the British from 1848 until 1972), was considered the brightest jewel in the Queen’s crown,” says Nayar. “While in land mass Sri Lanka is very small, the richness of its culture and the hospitality of its people continue to make it a very attractive place. Art forms change when another culture is imposed on a native one, or due to internal strife. What happened in Sri Lanka is similar to what happens in other places in the world.” Mandala aims to look at the situation both from this point of view and another perspective as well. Nayar recalls that many colonized nations were represented at the 1893 World’s Fair and it was Chicago’s first exposure to many parts of Asia and Europe, as well as those countries’ first exposure to Chicago. Many opinions and judgments were formulated as a result of the World’s Fair. The contradiction at the very heart of the event was familiar: on the one hand, the negative effects of colonialism and putting foreigners on display for the amusement of others; and on the other hand, the benefits of expanding horizons for the native artists and the local audiences. “How do we move forward from the experience of colonialism, and how it manifested at the Fair?” asks Nayar. “Chicago has changed, the world has changed, and Chicago has changed the world.” Clashes between Sinhala and Tamil cultures within Sri Lanka have compounded the effects of colonization. The traditions of both cultures are represented in native dances, yet their dances are distinct and the effects of colonial and nationalist histories can be seen in recent artworks. “This is why it’s important to study dance history,” says Mantillake. “By examining dance history under pre-colonial, colonial, and postcolonial conditions, we can trace alternative histories that have been erased by colonial and nationalist histories.” According to Nayar, Sri Lanka is still deeply rooted in its own traditions, but there is a younger population that wants to explore and move forward. The challenge that Mantillake faces is a familiar one for artists keen to nurture tradition and innovate at the same time. “The strong bond between the dancer and the ground is also unique in Sri Lankan dance,” says Mantillake. “Although it has changed, I still see the groundedness of the dancer playing a major role. Finding the balance between preserving the tradition and creation is tricky. Through my research, I have found that adaptability, while keeping its
energy is one of the salient features of Sri Lankan dance. Therefore, to me, working with artists who practice different movement patterns is an enriching experience.” “We feel very fortunate that we have a large vocabulary of South Asian and Southeast Asian dance and music forms, which we can deconstruct and use to create something really exciting,” says Nayar. “We are not lacking in material, so it is a very energetic group of artists, very motivated to create modernity out of the traditional South Asian. We are walking on the edge with being the pioneers, but somebody has to do it.” “In order to break a structure and move out of it, you have to know the music and dance deeply,” says Nayar. “All of the artists are extremely well trained in classical forms. These are very thoughtful innovations, where we have the cultural consultants in from the parent countries to guide us (in this case, Mantillake). It’s a matter of great pride for the underrepresented communities in Chicago, whether it’s Sri Lanka or Indonesia. They are really small communities, but it’s a matter of great importance and, for Chicago itself, it makes for a more vibrant canvas of what the city represents.” Though this is the first cultural exchange for Mandala, Nayar has done two such exchanges in the past with India, also funded by the MacArthur Foundation. She hopes to do more in the future and to continue work with the respective consulates and with Indonesia and Thailand. Mandala consistently offers programming featuring global artists and does outreach with the Chicago Park District and public libraries. The small, not-for-profit organization is supported in part by the MacArthur Foundation, the Chicago Community Trust, and the Field Foundation. “I hope Chicagoans come out and see the work and the relevance of the work,” says Nayar. “Change has to begin at the grassroots.” --Opening spread: Masks & Myths promo image. Photo: Tom Rossiter; Pages 66-67: Mandala Sri Lanka visit. Photos: Connor Torres.
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