Monday, September 1, 2008

Masks

Classical Masks of Sri Lanka

The Yakun Natima - devil dance ritual of Sri Lanka



Sansho

Garra yakka mask, 9 3/4 inches

A MIDNIGHT ceremony. Crowds milling, bodies slick with sweat in the tropical night. Torches lining an earthen arena. A patient is dazed with illness, propped on a low seat. The rhythmic beat of drums. The smell of smoking resin. A figure enters, back first and the rhythm of the drums changes, intensifies. The figure whirls and the patient is suddenly presented with the face of his tormentor!

The yakun natima, or devil dance ritual of Sri Lanka, is nothing if not full of drama. Not just a charade or interval designed to entertain, the yakun natima is a carefully crafted ritual with a history reaching far back into Sri Lanka's pre-Buddhist past. It combines ancient Ayurvedic concepts of disease causation with deftpsychological manipulation. Lasting up to twelve hours, it mixes raucous humour with deep-rooted fears to create a healing catharsis for both patient and community.





Kolam natima mask of the
wolf-headed Mahasohona, the Great Cemetery Devil; depth 9 1/2 inches

But while the beating of the bereya drums, the torchlight, and the smoky resin contribute to the aura of the night's magic, it is the masked face of the edura, or exorcist/shaman, that personifies the power of the moment-the devil incarnate (1). It is the mask or vesmuna which localises the fears and anxieties of both patient and audience. To the Sinhalese, it is this face, carved of wood, with bulging eyes, protruding nose and gaping mouth, disfigured and fierce, which represents both cause and cure (2).

For the ethnographer, the traditional belief systems and practices surrounding the yakun natima and other

Huniyam yakka mask, the Black Prince of Sorcery, 10 1/2 inches

Masked dance rituals of Sri Lanka's southern coast provide a rich and fascinating field for research. For the collector, these ritual masks represent a sophisticated folk art form; beautiful and mysterious. Carved of wood and pigmented with natural hues and resins, these masks are infused with a spirit and animation which command attention. The patination of a ritual mask, darkened by years of use, and the repairs upon repairs of cherished examples bespeak their importance within their village communities. Within the context of the dance they are hypnotising. Taken out of that context and viewed on their own they are masterpieces of a rich folk art tradition (3).

To look at a complete collection of late nineteenth century ritual dance masks provides insight into the imagery and beauty that are the essence of these powerful spiritual talismans.

Crop fertility talisman,

8 1/2 inches

Sri Lanka

Lanka, the land foretold by the Buddha to be the stronghold of Buddhism in the time to come; Ceylon, a colonial outpost for the Portuguese, Dutch and British in succession; the Spice Isle, source of teas and spices which titillated the world; Screndip, an almost mythical paradise. Sri Lanka, home to some of the world's most beautiful landscapes and the scene of seemingly endless turmoil and bloodshed, has had many names and wears many faces.

The medical systems of the Sinhalese have been renowned since the first century B.C. when the northern capital in Anuradhapura boasted some eighteen hospitals. Traditional Ayurvedic principles practised for centuries-balancing internal humours to promote and modify health-are now being studied and implemented by many Western healthcare professionals. But predating these systems, and stretching far back into antiquity, there has been an alternative system of healing, a system based on early Vedic concepts of aetiology, in which diseases and ills of all sorts were believed to be caused by demons. Identified predominantly by the symptoms manifested by the patient, these demons could be summoned and exorcised in stylised ritual mask dances, or natima.

Rukada pregnancy talisman, 7 inches

Shaman

The various natima of Sri Lanka belong to that great Asian mask tradition which extends from the Indian subcontinent, across the high Himalayas, through the Southeast Asian archipelago, northwards onto the Siberian plains and into Korea. Within these diverse cultures the masked shaman plays a central role, bridging the gap between the natural and the omnipresent supernatural. Through various transformation rituals the shaman blurs these perceived boundaries, comforts his community, diverts evil and effectuates healing.

In Sinhalese society the edura works alongside the rest of society. He wears no special clothes, as a monk would, nor is he granted special status. He lives within the community with no divisions. It is only when his special services are required that the edura sets himself apart. Much of the preliminaries and ritualised aspects of the masked dance rituals are designed to distance the edura from the rest of society.


Dala sanni yakka mask, whoopingcough, 5 1/4 inches

Through a complex and sophisticated mixture of theatre and drama, which includes wearing special clothes, burning his own body and simulated death experiences, the edura creates a space where in his mind and in the mind of his fellow villagers he "becomes" something other and takes on the essence of and personifies the afflicting demon.

Most important to this transformation both visually and psychologically are the fantastic masks worn during these rituals. Representing specific demons and the maladies they inflict upon man, the masks allow the edura to embody, at least temporarily, demons which normally exist only on a supernatural plane. This personification allows for dialogue and, amidst frenzied dance and ritualised chants and speeches, provides an opportunity to discuss the troubles facing the individual and the community. The edura, cloaked in the power and visage of the demon, creates a visible and immediate link between the natural and the supernatural. As the embodiment of the afflicting demon he cites causes for disease, discusses immediate concerns for the community, and following the reception of a tribute, he promises to lift the illness: tindui nivarani ("it is done").

Naga sanni Yakka mask, nightmares, 9 inches

Sinhalese Cosmology

The cosmology of traditional Sri Lankan beliefs is a complex mixture of native Vedic gods, spirits, and demons, overlaid with imported Hindu and Buddhist deities, beliefs, and practices. This pantheon is vast, filled with hierarchies and sub-hierarchies which the uninitiated finds nearly impossible to grasp. The synthesis is a spiritual landscape where Buddha reigns supreme, but where the day-to-day is fraught with danger from the yakku (devils) and other malignant forces (vas) which seem all too ready to afflict man with scourges of every description. In this word, life is a constant struggle against these forces.

Central to this struggle are the natima devil dances-masked dance ceremonies to cure diseases, help failing crops (4), prevent drougth, and provide protection for troubled pregnancies (5). A cast of specific characters and dramas have developed over the centuries to counteract almost every affliction and ailment. The yakun natima, and the kolam natima (masquerade dance) represent two of the historically prominent forms these dance rituals have taken. Masks used in these rituals provide wonderful insight into the belief systems and practices which form the core of traditional Sinhalese beliefs regarding health.

Pita sanni yakka mask, bile, 6 inches

Yakun Natima

Of all the dance rituals, the yakun natima focuses most directly on healing. In Sinhalese thought diseases are either caused by the natural or the supernatural. In the case of the natural, traditional Ayurvedic and/ or medical avenues are pursued. In the case of the supernatural, or where the other systems fail, they have traditionally turned to the edura for aid through such rituals as the yakun natima.

In both cases, however, it is the cause rather than the symptom that must be addressed. And in the case of the supernatural it is the yakku demons that are the cause (6). Collectively, these disease-afflicting demons are known as the sanni yakku. They are a group of demons who, in past battles with the Buddha, were ultimately banished from earth. Living under the loose control of their king Vesamuni (from which the term for mask, vesmuna, is derived), the yakku are unable to appear physically upon the earth, but retain the power to afflict, and through the influence of the Buddha, to heal.

Kana sanni yakka mask, blindness, 5 1/2 inches

The Eighteen Sanni Yakku

Every demon has an identity, a story. Unlike among the Balinese, where demons often represent types (i.e., hero, villain, clown, etc.), the Sinhalese yakku represent individual demons whose lineages and exploits are recited and commemorated. The masks used in the various rituals are carved to represent particular demons and can, with some exceptions, be specifically identified. Although the yakku. seem limitless in number, there is a core group of eighteen which form the focus for the yakun natima rituals.

Known as the daha-ata sanni yakka, these demons represent specific afflictions, both mental and physical, which commonly afflict the Sinhalese villagers. Although the number eighteen has now become standard, indications are that this number has decreased over time. Nor are the identities of the eighteen consistent. Different areas, or even different communities within the same area, will count different demons among the list.

Kona sanni yanna mask, leader of the eighteen sanni yanna 9 inches

Paul Wirz, in his seminal work Exorcism and the Art of Healing in Ceylon (1954), lists the following demons and their effects: Kana-sanniya (blindness), Kora-sanniya (lameness/paralysis), Gini-jala-sanniya (malaria), Vedda-sanniya (bubonic plague), Demala-sanniya (bad dreams), Kapala-sanniya (insanity), Golu-sanniya (dumbness/muteness), Biri-sanniya (deafness). Maru-sanniya (delirium). Amuku sanniya (vomiting), Gulma-sanniya (parasitic worms), Deva-sanniya (epidemic disease, i.e. typhoid, cholera), Naga-sanniya (evil dreams particularly with snakes) (7), Murta-sanniya (swooning, loss of consciousness), Kala-sanniya (black death), Pita-sanniya (disease related to bile) (8), Vata-sanniya (shaking and burning of limbs), and Slesma-sanniya (secretions, epilepsy).

Surveys by individuals such as Alain Loviconi and E.D.W. Jayewardene, have demonstrated significant differences between various areas and the impossibility of creating a universally recognised list. One area might include 0lmada sanniya (babbling) and another area Avulun sanniya (breathing difficulties, chest pains). Contemporary ethnographers such as Obeyesekere have also noted the addition of certain more contemporary maladies to the list. For example Vedi sanniya as relating to gunshot wounds, dramatically reflecting the change in times and the adaptability of this indigenous system.

Kori sanni yakka mask, paralysis, 9 inches

Although there is no single, uniform list or all eighteen demons, certain demons do seem consistent and universal, such as Biri for deafness, Kana for blindness (9), and Golu for dumbness.

Presiding over these eighteen yakku is the demon known as the Kola sanni yakka (10), a composite demon containing and regulating the other eighteen. In the yakun natima it is appeasing the Kola and gaining his benediction that is most important. His origin story, as recorded by Wirz, is as follows:

A certain king left for a great war, leaving behind his queen. He was unaware that she was pregnant. Upon his return he found his wife to be in an advanced state and ready to give birth. A handmaid to the queen, through lies and deceptions, convinced the king that it was not his child but that of the war minister, who had remained behind. In a fury he ordered the queen tied to a tree and cut in two. The child managed to survive, living off the remains of his mother. As he grew, the child vowed revenge on the father.

Amuku sanni yakka mask, stomach
disorders, 7 inches

He gathered poisons from the different parts of the forest and formed them into eighteen separate lumps which transformed into demons. Kola sent these demons into the city and charged them to "capture humans and cause illness through wind, phlegm, and bile".

The havoc wreaked on the city was awesome. Buddha, sensing this, came to the city and, appearing overhead, ordered Kola and his demons to stop. Angered, Kola attempted to refute the Buddha, vehemently justifying his actions based on the grievous wrongs done to him. But with a "single glittering ray" Buddha subdued Kola and ordered his chiefs to use water to cleanse the city and wash away the demons. Kola persisted in trying to justify his actions and the Buddha ultimately relented, granting Kola and his demons the power to afflict, but charging that they must also heal these afflictions when tribute is paid.

Kolam natima mask of the golden woman with five bodies, 7 1/2 inches

Identities

Accounts and photographs of masked dancers with bulging eyes, tusks, and gaping mouths have long attracted ethnographers and the curious. The result is that European museums boast significant collections of wondrous masks carved of wood with exquisite artistry, depicting a phantasm of creatures. The masks of the yakun natima, befitting their function, are generally gruesome, with distorted faces, cobras (called naga) coiled like crowns atop their heads, eyes bulging and strong protruding noses with flaring nostrils. They are powerful carvings designed to inspire fear, awe, and a recognition of the presence of these supernatural beings in our daily lives.

Kolam natina mask of Hettiya the moneylender, 7 ½ inches

Although the identities of some demons are difficult to ascertain out of context, many masks can be readily identified by form and colour. Biri-sanniya, the demon for deafness, for example, is consistently depicted with a cobra emerging from one eye and covering the side of the face where the ear would be. This relates directly to the Sinhalese belief that the cobra has no ears and therefore must "hear" with its eyes. Kora sanniya, the demon for lameness/paralysis, is often depicted with the features of one side of the face drawn up, approximating the signs of a stroke (11). Amuku sanniya, the demon for stomach disorders and vomiting, is often depicted with a green face, wide open eyes, and a partially protruding tongue (12).

Kolam natina mask of the old man, 10 inches

The yakun natima and other masked dances of the Sinhalese are all based on the concept of appeasement. They acknowledge the influence and power of the yakka as both the cause and the cure. They recite their histories, extol their power, and pay tribute to their prowess. These ceremonies are designed to call forth the "essence" of the offending demon. Through sweet-talk and offerings or through cajoling and threats, the yakka is made to remove the affliction.

Kolam Natima

The kolam natima belongs to a different category of ritualised mask dance than the yakun natima. Today it is rarely practised and has been gradually losing its importance over the last hundred years. The early twentieth century writer Otaker Pertold commented that, even in his day, much of the original import of the dance had been lost, and that on the few occasions that it was still performed it was undertaken by laymen rather than edura or those specifically versed in ritual dances. Because some forty masked characters are involved in this elaborate drama, with commensurate offerings expected for certain devils and demons, Pertold cites the great expense involved in staging a full kolam natima as responsible for its gradual abbreviation.

Kolam natina mask of the old woman, 7 inche

As a ritual, the kolam natima broadly centres around pregnancy issues. The cravings and desires (dola duka) that often accompany a pregnancy were traditionally viewed with great suspicion, and were believed to be some sort of supernatural possession. The masked dance is thought to have been principally directed against these cravings and to protect the fetus in general.

The origin story and characters depicted in the kolam natima reflect some of this original intent:

The queen of a powerful king was pregnant. As her pregnancy neared term she developed an irresistible craving to see a masked dance performed. So intense was her desire that her health rapidly began to fail. 'She beseeched her husband, the king, to grant her this wish. The king asked his ministers what should be done, but no one knew what a masked dance was. In his desperation the king pleaded to the god Sekkria, asking that he should reveal what must be done. Hearing his plea, Sekkria instructed one of the four guardian gods, the God of Curiosity, to carve masks of sandalwood and place them in the king's garden with a book detailing what must be done. In the morning the gardener found masks distributed throughout the garden, some with the faces of devils, others of animals, and others of noble courtiers and ladies. The gardener rushed to the king and told him the news. He and the ministers gathered in the courtyard, discovered the explanatory text and a masked dance was performed immediately for the benefit of the queen.

Kolam natina mask of a monkey, 8 inches

It is assumed that the mask dance did the job, and that she suffered no more dola duka, and that the infant was a healthy one.

Near the final stages of the performance, as translated by Calloway in 1829, a pregnant woman enters the scene and after much anguish gives birth to a son, exclaiming: "The beauty of the child I have now got is like a flower. His prattle will be pleasant, and he will like much to chew betel [nut]." Care is urged for her son, and the demons and devils that threaten it are placated with offerings.

There is very little structure to the dance itself. Following a brief introduction and a retelling of its origins, the ritual consists primarily of a series of dances and walkthroughs by a set of characters; gods, humans, animals, and devils, each successive character being only loosely connected with what preceded. From the introduction at the court, we move out through the village catching glimpses of village life before moving into the woods, where the threats and ferocity of the animals give way to the terror of devils and demons.

Kolam natina mask of a Nanda Gara, 11 1/2 inches

Thus the impact of the kolam natima lies not in its great narrative strength but in the pure spectacle of the masks: the Lasquarine soldier who lost his nose in the great battle of Gampelle; the great Virgin of the Snakes with her radiant face surrounded by coiled cobras; the golden faced and seductive woman with five bodies (13); the greedy moneylender, Hettiya (14); the haggard old man (15) and old woman (16) dressed in rags looking for support from the young villagers; the innocent bullock attacked by a ferocious tiger and a pack of hungry jackals; cavorting monkeys with shaggy beards and gaping mouths (17); the awesome devil Nanda Gere with two devil faces on each side, with gnashing teeth and a body caught in his jaws (18), and Yamma Raksaya, the black-faced devil of death with his long tusks, demon faces flanking his own and coiled naga serpents crowning his head (19).

Kolam natina mask of Yamma Raksaya, 10 inches


Construction

Although a brisk trade in masks for tourists has developed in the Ambalangoda area of coastal Sri Lanka, the masks used in the various natima ceremonies were traditionally carved by the edura himself, infusing them with a particular power for the upcoming ceremony. While the edura in his normal walk of life might be a fisherman or farmer, rather than coming from an artisan class, the masks themselves often exhibit a great deal of skill and dexterity in their carving. This reflects the long apprenticeship period that has traditionally been required of all edura, studying under an established figure that may often be the father, uncle, or an elder family member.

Although some of the masks are quite large and complex in their structure, most of those traditionally used in the various natima ceremonies are considered threequarter masks. Strapped to the face, they extend from the middle of the forehead to just below the mouth. This type of lightweight construction makes it easier for the dancer to wear during the often spastic and exaggerated movements executed during a performance which could last up to twelve hours.

Three types of wood are listed as common to mask construction that could vaty depending upon the region and the immediate availability of materials; kaddra (strychnox mux vomica) was prized for its durability (20); eramadu (erythrina india and rukatiana (alsronia scholaris), the latter being considered inferior and known for breaking easily. Divided into blocks, the mask is gradually shaped from the wood. Once the final form is created, the wood is polished using leaves from the mota daliya boodadiya, or korosa trees. Prior to pain g, the polished wood is treated with a t(, clay sealant called allidyu that acts as a gesso and creates a better bonding surface for the pigments to follow.

Kolam Yamma Raksaya repainted with commercial paint, 10 inches

Although contemporary masks are often painted with commercial pigments, even some of the older masks when they have been repainted reflect this growing trend (21), traditional techniques involve the exclusive use of natural organic and mineral-based pigments. White was derived from makulu clay, green from the leaves of the kikirindiya plant, the ranavara tree, or the ma creeper, blue from the ripe fruit of thebovitiya (22), and yellow from hiriyal orpi ment), or yellow pepper. Black was obtained from charred cotton, and red from cinnabar or a red clay called gurru gal. To protect these pigments the edura would then coat the mask with a lacquer sealant called valicci which was derived from a combination of resins from the hal and dorano trees with beeswax. Hair and beards were simulated through the use of various dyed fibres, elephant hairs, and monkey skins applied directly to the mask.

Kolam natima mask painted blue with bovitiya fruit, 7 inches

Nineteenth century and earlier examples preserved in collections retain an amazing vibrancy of colour. An exceptional kolam natima mask of the demon Naga Raksaya was exhibited in the Universal Exposition of 1900 in Paris and is shown here (23). Collected during the middle of the nineteenth century, it is a marvellous example of the strength and durability of the natural pigments used, as well as illustrative of the extraordinary carving talents of the edura

Carved from a single piece of wood with only the small central naga and two ear pendants added, this mask reflects a master ful handling of materials. The painting itself is quite sophisticated with a banding pattern criss-crossing the nose, outlining the mouth and accentuating the eyes. The cinnabar red used for the face glistens through its lacquer sealant. The underbelly of the large central naga, as it executes a graceful arc over the face, is banded and appears very reptilian, as does the crown of three naga on his brow and the coiled naga pend-ants which serve as ears.

The masks of the yakun natima and other dance rituals of Sri Lanka represent a re-pository of a fast-fading culture. Sharing their heritage with a broad range of shaman- based mask cultures of Asia, these masks speak a language which is increasingly fall ing on deaf ears. As the role of the edura becomes increasingly marginalised in Sinhalese society, and education begins to transform traditional concepts of the interaction between the natural and the super-natural, the yakku and the various devils are gradually fading from popular con-sciousness. And while mask carving for tourists and dance performances for the outsider will persist, the fundamental spirit, potency, and vitality of both natima rituals and their masks will sadly be lost. It will therefore be primarily through the older examples, preserved in public and private collections, that future generations will able to recognise the force and the beauty of the devil dance masks of Sri Lanka.

Kolam natima mask of Naga Raksay, 18 inches


Low Country Culture.

Devil Dance

The "Devil Dances" are an attempt to respond to the common belief that certain ailments are caused by unseen hands and that they should be chased away for the patient to get cured. If an individual or a family is not doing well, the village-folk believe that it's because that person or the family is being harassed by unseen hands. A 'thovil' ceremony is the answer

The 'thovil' can be a simple ritualistic ceremony at home restricted to family and immediate neighbours or involving the whole village like the 'gam-maduva' or the 'devol-maduva' which is closely linked to the worship of gods. Masked dancers take part in at least two of the well-known 'thovil' ceremonies referred to as the 'Maha Sohon Samayama' and the 'Gara Yakuma'. The mention of 'Moha Sohona' frightens the people since he is believed to be the demon of the graveyards.

The performer disguises himself as a bear and wears a mask and a dress to resemble one. Often the 'thovil' involves the 'sanni' dances where all the dancers wear masks. The 'daha ata sanniya' refers to sixteen ailments with a demon being responsible for each one of them.

Dancers wearing masks take part in processions while at certain ceremonies, masks are used to depict different characters. Of later origin are the masks worn by children and teenagers at street performances during Vesak. Popularly known as 'olu bakko' for the simple reason that oversize masks are worn, these performances keep the younger-folk, in particular, entertained.

HISTORY AND THE ORIGIN OF THE SRI LANKAN HERITAGE OF DANCING

The primitive man had a close relationship with nature with an agriculture based economy. They lived in communities along the river banks. They had a close relationship with nature. Some of the things in nature became their gods. As man was afraid of over the unpredictability of mother nature.

E.G.floods, droughts & winds etc.... These forces of nature where thought of gods being mad. Hence deeloped rituals of sacrifices, & devoloped dances to please these gods. Concepts of dancing in Sri Lanka starts with kohomba kankariya in 14th century B.C. during the period of pandukabaya. people used dancing in retails, to get rid of natural disasters, sickness.etc.

during Anuradhapura period also there had been dancing as mahavamsa

(The great chronicle of Sri Lanka) speak of procession of the tooth relic. At the end of Polonnaruwa period lots Indian influence came in to our dancing.Kandy had an independent form of dancing yet with Hindu influence In the south during the period of king kavantissa (1st century B.C.) a dancing form was developed and their fore you can see lot of dancing and retails in the south .during the period of kotte also a dancing form developed and we now call it sabaragamuwa dance



Daha Ata Sanniya

The "Daha Ata Sanniya" is a traditional dance ritual held to exorcise 18 types of diseases from the human body. Though an extremely colourful and vibrant pageant, most Sri Lankans do not get the chance of witnessing it, due to the performance's exorbitant costs and the long duration.

The origin of this Shanthi Karmaya (blessing) took place in the times of ancient kings and was performed in the southern and western parts of the country. According to the story, while King Sankapala was at war, his wife who was pregnant had a sudden craving for a certain variety of mango. As she ate it, her maid of honour too had wanted a piece of the fruit, but had been refused by the Queen. Angry at this refusal, the maid cursed her and when the King returned after the war, told him that the Queen had conceived out of wedlock. The story was believed and the Queen was sliced in two with a sword. The baby was born and ate off his mother and so, a devil was born. As the story goes, lead by this devil,


18 other devils were created and they in turn came to towns and cities and began to spread in the form of diseases. It is to counter this type of sickness that the Daha Ata Sanniya originated.

'Daha Ata Sanniya" will be performed in two sections where the first part will consist of seven palis, while the second part will be performed as the 18 sannis.

The mask known as Dahaata Sanniya or ‘eighteen disease’ is studded with 18 diseased faces atop a pair of their gods and two spirits one the spreader of pain through disease and other the saviour is placed vertically apart. Prof. M.H. Goonatilleka explained that in folk religion this is in vogue.He explained that "Pritiatory magical and therapeutic effects of mask and attendant rituals of Sri Lanka are still not forgotten in the remote parts of the country. The dancer donning demon masks may not be aware of the significance of ritual transformation and the assumption of the role of the disease-causing demon."

Those eighteen masks are:

  1. Buta Sanniya which is associated with derangement, distortion and listlesness of limbs;
  2. Jala Sanniya relates with vomitting, dysentry etc;
  3. Gulma sannya refers to lack of appetite, swelling of the abdomen ;
  4. Kana Sanniya relates with blindness;
  5. Kora Sanniya and
  6. Bihiri Sanniya relate with Lameness and Deafness respectively;
  7. Vata Sanniya is related with Flatulence provoked by aerial humour;
  8. Slesma Sannya is associated with Phlegmatic diseases;
  9. Pneumonia is represented with mask Kola Sanniya;
  10. Maru Sanniya is wallowing and contortions in the eyes etc.
  11. Amukku Sanniya relates with running with the head tilted to the left trembling of the limbs;
  12. Golu is Dumbness;
  13. Vevulum Sanniya is associated with shivering and feats;
  14. Gini Jala Sanniya is about burning sensation,headache and fatigue;
  15. Pissu or Kapala Sanniya is related with madness and delirium;
  16. Demala Sanniya is also related with madness with distortion of the body;
  17. The Naga Mask is related with swelling of the faces and peeling of skins and
  18. Deva Mask is related with epidemics and infectious diseases

Sunday, August 31, 2008

Upcountry Culture

This Dance form flouished under the Kandyan Kingd and is today considered the national dance of Sri Lanka. There are four types: pantheru, naiyaki, udekki and ves. In addition there are 18 vannamas (representation in Dance of animal and bidrs). These includesthe gajaga vannama (elephant) and the mayura vannma (peacock). The Ramayana has provided plenty of material for the dances, especially Rama's dash to Lanka to save Sita, aided by the loyal Hanuman, but over the centuries other stories have been absorbed, including thoses about kings and heroes. Under the Kandyan kings, the dance became an integral part of the great Kandy Esala Perahera.




Drumming is very much part and parcel of music in Buddhist & Hindu temples in Sri Lanka. We had a Kandyan drum performance by professionals drummers from Sri Lanka for the Wesak concert.
It was a veritable display of colour and rhythm — the dancers caught our eyes with their colourful attires and their graceful and synchronised movements to the fast-paced and energetic beat of drums. We couldn't help tapping our feet and swaying our body to the rhythm of the drums.

Ves Dance

"Ves" dance, the most popular, originated from an ancient purification ritual, the Kohomba Yakuma or Kohomba Kankariya. The dance was propitiatory, never secular, and performed only by males. The elaborate ves costume, particularly the headgear, is considered sacred and is believed to belong to the deity Kohomba.

Only toward the end of the nineteenth century were ves dancers first invited to perform outside the precincts of the Kankariya Temple at the annual Kandy Perahera festival. Today the elaborately costumed ves dancer epitomizes Kandyan dance.

Uddekki dance

Uddekki is a very prestigious dance. Its name comes from the uddekki, a small lacquered hand drum in the shape of an hourglass, about seven and half inches (18 centimeters) high, believed to have been given to people by the gods. The two drumskins are believed to have been given by the god Iswara, and the sound by Visnu; the instrument is said to have been constructed according to the instructions of Sakra and was played in the heavenly palace of the gods. It is a very difficult instruments to play. The dancer sings as he plays, tightening the strings to obtain variations of pitch.

Pantheru dance


The pantheruwa is an instrument dedicated to the goddess Pattini. It resembles a tambourine (without the skin) and has small cymbals attached at intervals around its circumference. The dance is said to have originated in the days of Prince Siddhartha, who became Buddha. The gods were believed to use this instrument to celebrate victories in war, and Sinhala kings employed pantheru dancers to celebrate victories in the battlefield. The costume is similar to that of the uddekki dancer, but the pantheru dancer wears no beaded jacket and substitutes a silk handkerchief at the waist for the elaborate frills of the uddekki dancer.

Vannams


The word "vannam" comes from the Sinhala word "varnana" (descriptive praise). Ancient Sinhala texts refer to a considerable number of "vannams" that were only sung; later they were adapted to solo dances, each expressing a dominant idea. History reveals that the Kandyan king Sri Weeraparakrama Narendrasinghe gave considerable encouragement to dance and music. In this Kavikara Maduwa (a decorated dance arena) there were song and poetry contests.

It is said that the kavi (poetry sung to music) for the eighteen principal vannams were composed by an old sage named Ganithalankara, with the help of a Buddhist priest from the Kandy temple. The vannams were inspired by nature, history, legend, folk religion, folk art, and sacred lore, and each is composed and iterpreted in a certain mood (rasaya) or expression of sentiment. The eighteen classical vannams are gajaga ("elephant"), thuranga ("hourse") , mayura ("peacock"), gahaka ("conch shell"), uranga ("crawling animals"), mussaladi ("hare"), ukkussa ("eagle"), vyrodi ("precious stone"), hanuma ("monkey"), savula ("cock"), sinharaja ("lion"), naga ("cobra"), kirala ("red-wattled lapwing"), eeradi ("arrow"), Surapathi (in praise of the goddess Surapathi), Ganapathi (in praise of the god Ganapathi), uduhara (expressing the pomp and majesty of the king), and assadhrusa (extolling the merit of Buddha). To these were added samanala ("Butterfly"),bo (the sacred bo tree at Anuradhapura, a sapling of the original bo tree under which Buddha attained enlightenment), and hansa vannama ("swan"). The vannama dance tradition has seven components.

Sri Dalada Maligawa

The Sri Dalada Maligawa or The Temple of the Sacred Tooth Relic is a temple in the city of Kandy in Sri Lanka. It was built within the royal palace complex which houses the only surviving relic of Buddha, a tooth, which is venerated by Buddhists.


The relic has played an important role in the local politics since ancient times, it's believed that whoever holds the relic holds the governance of the country, which caused the ancient kings to protect it with great effort. Kandy was the capital of the Sinhalese kings [Calling all Kandyan kings Singhalese is a manipulation of facts. Most of the kings were Tamil Hindus from Nayak Dynasty of Madurai Tamil Nadu, south India. The last king of Kandy, entitled Sri Vickrama Rajasingha(n)1815, whose name is Kannusamy, was one of the Tamil Hindu kings from Madurai].

These Tamil kings made immense contributions to Buddhism and they were the pioneers of Dalada Maligava. Unfortunately, Sri Vicrama Rajasingha(n), for the reason of his non-buddhist Tamil origin, was betrayed to the British by Singhala Buddhist Adigar Ehelopola in 1815. Kings from 1592 to 1815, fortified the terrain of the mountains and made difficult to approach Kandy. The city is a world heritage site declared by UNESCO, in part due to the temple.

Monks of the two chapters of Malwatte and Asgiriya conduct daily ritual worship in the inner chamber of the temple, in annual rotation. They conduct these services three times a day: at dawn, at noon and in the evening.

On Wednesdays there is a symbolic bathing of the Sacred Relic with an herbal preparation made from scented water and flagrant flowers, called Nanumura Mangallaya. This holy water is believed to contain healing powers and is distributed among those present.

The Temple has sustained damage from multiple bombings by terrorists in the past.

The first deadly attack was carried out by JVP (Janatha Vimukthy Peramuna), a Singhalese Buddhists terrorist outfit which has now entered into parliamentary politics, split into JVP and NFF, in the late 1980s. On January 25, 1998, Liberation Tigers of Tamil Eelam (LTTE) terrorists carried out a deadly suicide attack inside the tample, killing 8 civilians and leaving 25 others injured, as well as significant damage to the temple structure.But has been fully restored each time.

Sri Dalada Museum

The latest institution added to the Dalada Shrine is the `Sri Dalada Museum '. Ever since the Tooth Relic shrine was established in Kandy, different grades of visitors and devotees, ranging from the Roylty and Heads of States to the poorest of the general public, have been offering various gifts to the Sacred Tooth Relic, and these were preciously protected in specially built store-rooms by the successive line of Diyawadana Nilames.

On the initiative of the ex Diyawadana Nilame, Neranjan Wijeyeratne, it was decided that these valuable artifacts be made available for public display. On the invitation of the Diyawadana Nilame , the Museum has now been beautifully designed and organized by Prof.Leelananda Prematilleke, the Archaeological Director of the UNESCO-Sri Lanka Project of the Cultural Triangle, together with his team of officers.

The Dalada Museum is located on the first and the second floors of the new wing called the Alut Maligawa set up by one of the past Diyawadana Nilemes, T.B.Nugawela. The display on the first floor consists of historical records from the time when the Tooth Relic was brought to Sri Lanka to the time of the British rule, the 1765 Dutch Plan of the Palace Complex, Lists of the Chief Prelates of the two monastic establishments of Malwatta and Asgiriya, who were responsible for the protection of the Tooth Relic, Lists of Kandyan Kings and the portrait busts and lists of the long line of Diyawadana Nilames, the Royal garments of king Kirti Sri Rajasimha, the Pingo used by the king in the Buddha-puja service, and the most recent discoveries of mural remains that were exposed due to the bomb blast caused by Tamil Tigers in January 1998. The photographic display includes some of the important sites where the sacred Tooth Relic was enshrined through the centuries and a large array of pictures depicting the immeasurable damage caused to the Dalada maligava due to the bomb blast.

Among the items on view on the second floor are historical artifacts used in the daily ritual ceremonies of the Tooth Relic shrine, caskets, Buddha statues and typical Kandyan gold and silver jewellery studded with precious gem stones,




all donated by the devotees. Also on view on this floor are some special exhibits of great historical and religious value. These include (a) the silver water pot offered by king Kirti Sri Rajasimha , (b) Silver hanging lamp offered by king Rajadhi Rajasimha, (c) the painted replica of Buddha's Foot Print sent by king Borom Kot of Thailand when he sent some monks to establish the Higher Ordination on Sinhala monks headed by Venerable Walivita Saranankara ( who became Sangharaja subsequently), (d) The unique Relic Casket containing bodily relics of the great Thera Moggliputta who headed The Third Dhamma Council held by Emperor Asoka in the 3rd century BC, etc. Other significant exhibits include ancient flags, coins, carved ivory tusks donated by Burma, commemorative carved plaques, etc.

Since the capture of the last king of Kandy, Sri Vikrama Rajasimha, in the year 1814,and the appointment of a lay custodian along with the two Mahanayakes as guardians of the sacred Tooth Relic, a long line of Diyawadana Nilames have served in this position. They are: