Saturday, June 4, 2016

Dahaata Sanniya (The Eighteen Sanni Yakku)

Dahaata Sanniya
 (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.

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.
 


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.

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. Amuku sanniya, the demon for stomach disorders and vomiting, is often depicted with a green face, wide open eyes, and a partially protruding tongue 


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.

Sokari drama

Sokari drama



Sokari, Kolam and Nadagam are some of the most popular cultural dramas in Sri Lanka. From these, Sokari is the most popular because it was very close to the day-to-day life of villagers. This is an independent cultural event which is also conducted to bless the people.

The main purpose of performing this drama is to give priority to the religious connection between people, bring prosperity and provide some fun to the people.

This type of drama is very popular in hill country areas such as Badulla, Hanguranketha, Matale and suburbs. Its origin differs from province to province. According to Professor Ediriweera Sarathchandra's book Sinhala Gami Natakaya, the origin is as folows:



In the country named Kasi, there was a man named Guruhami. He got married to a beautiful woman named Sokari and hired a servant named Pariya. They started moving from country to country in search of a job.

At some point, they decided to come to 'Sinhala Deshaya' (Sri Lanka). They left their home at an auspicious time and after passing seven oceans, arrived in Sri Lanka.

First of all, they went to worship Sri Pada. Then, they went to a village named Thambaravita where they decided to settle down and build a house. Then, Guruhami went to the village in search of some rice, but because he didn't know the language, he faced a lot of difficulties. However, he managed to find some rice, but suddenly realised that there was no water to cook it with. Thus, he had to go to the village again.

This time, a dog which lived in the house of the village doctor, bit Guruhami. He somehow managed to come home . He lay down and rested a while. Pariya, who thought that Guruhami was dead, tried to use the opportunity to get closer to Sokari. Sokari got angry with Pariya,and ordered him to call the doctor.

When Pariya went to the doctor, the doctor refused to pay a visit unless Sokari herself came and asked him to see the patient.

Then, Sokari went and brought the doctor. The doctor treated Guruhami until midnight, and left the house with Sokari at dawn.

Guruhami, who was heart-broken, complained to God Kataragama about the tragedy. Then, he was given a sign to find Sokari. Guruhami traced her to the doctor's place. He took her back home and beat her, but after sometime, he forgave her and advised Pariya to take care of Sokari from then on.

Where and how it is staged

Usually, Sokari is staged in a 'kamatha' (in the paddy field). A pestle is kept in the middle of the stage and a lantern is lit on it to light up the place. The place where the drama is staged is marked with cords.

A 'malpala' is prepared on a side. 'Gurunnanse' is there with a book, while a horane player, thalampota player and drummer help the Gurunnanse to read the story.




He introduces all the characters and when he introduces them, they come and dance around the pestle.

Characters of the drama

1. Guruhami

2. Sokari

3. Pariya-Rama

4. Doctor

5. Soththana

6. Hettiya

7. Carpenter

8. Matchmaker

9. Snake charmer

10. Kali amma

Language and communication used...

All conversations in the drama include a mix of Tamil and Sinhalese. They use words with double meanings most of the time. Similar funny phrases are used in the 'Daha Ata Sanniya', 'Kola Sanniya', 'Kohomba Kankariya' and 'Gammadu'. Some events in the above dramas are very similar to those of Sokari'.

This is a very interesting cultural drama which was staged more often during the good old days. But it is very rarely seen nowadays. Some of our old cultural rituals are dying out now and that's why we are carrying these articles to increase your awareness about them.


Devol Madu Shanthikarma


Devol Madu Shanthikarma




Devol Madu Shanthikarma which is also known as Gammaduwa, is a ritual Which is done By Srilankans to praise the God to Bring peace and prosperity to our country and Hoping that All hearts will be full of good by chasing the evil out of the minds. This ritual is done by perfoming Low-country style Dancing through out the night till morning. This event has lots of dancing perfomance Some wearing masks and Some following its elegant cultural figures, 
           

Eating fire..  
 The Festival starts with reminding Fire, and thanking it. This type of dancing is really color full and its very risky and needs years of good practice to perform these spiritual dancing.

In this mass event they use srilankan traditional drums like "Yak bera"
Which is used to keep the beat up and running while the dancer performs his serious dancing styles throughout the event.

These Are the  proud Culural events in Srilanka. If you are around Do not Miss these Valuble experiances and respect them as a true Srilankan..


Pahatharata Kolam dance


Pahatharata Kolam dance


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.

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.


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.



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; the greedy moneylender, Hettiya the haggard old man  and old woman  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; the awesome devil Nanda Gere with two devil faces on each side, with gnashing teeth and a body caught in his jaws , 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 

Saturday, February 20, 2016

The legend of the Kohomba Kankari

The legend of the Kohomba Kankari
  • Kohomba Kankari is the main religious item in the Kandyan dance.

Around 2500 years ago, the land of Lala in North India was ruled by a king named Sinhabahu and his wife, Sinhavalli. They had many children, the eldest of whom was named Vijaya.

Vijaya was an extremely mischievous and wilful young man. His father pardoned him many times for his unlawful acts, but finally the King got tired of his behaviour and put him on a boat with 700 of his companions and sent the boat adrift on the ocean. For many days the boat sailed, before finally reaching Sri Lanka.

The Kuweni hide the Persons of Vijaya when they wont to water for them, at embarked Sri Lanka Vijaya with seven hundred people. Vijaya met Kuweeni, when he wont to find his men. After their conversation with each other , Vijaya married Kuweeni and he became the king of Sri Lanka They have had tow  children called Jeewahaththa and Dissala.



Vijaya, however, was not happy with Kuveni and abandoned her and their two children. He then married a beautiful princess from Madura (India), who had arrived on the island by ship.

Kuveni was killed by the Yakkas for her betrayal, and her two children escaped into the forest. The time at Kuweni's kill she angry with Vijaya.

 After the death at Vijaya prince Panduwasdew became the king at Srilanka. The king Panduwasdew  one day  frightened form nightmare. Then asked form cunning advisers have sed that it wos a punishment of kuweni.

At last god "Shakra" and "Asura" called "Rahu" talk about that how to resolve that problem and they decated  the prince of Malaya should to prepare  a yaaga called "Kohmba  Kankari"

Friday, January 29, 2016

Sabaragamuwa Dance

Sabaragamuwa Dance 

 
             The Ratnapura District and several area  of the Kegalle District Sabaragamuwa Dancing  methord have scattered. The Klonne Koralaya, Dekoralaya, and kukulu koralaya are the main regiooms , witch popularte  as the Sabaragamuwa dance.     
             The main musical instrument  is  the Dawula, only instrument playing dual action nowdays.  (hand and Kadippu) "Pahan Madu Shanthikrmaya" is the main  "Shanthikarmaya" at the Sabaragamuwa Dancecing method. The main dressing set is cold Sabaragamuwa Dressingns or "Saman Devi Andum Kattalaya".



Saturday, January 9, 2016

Vannam

Vannam

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 (poems 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 interpreted in a certain mood (rasaya) or expression of sentiment. The eighteen
classical vannams are gajaga ("elephant"), thuranga ("horse"), 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: dog dance, cat dance, lion dance, ostrich dance, parrot dance, etc.

Low Country Dances (Pahatharata Netum)

Low Country Dances (Pahatharata Netum)

Dances in low country are highly ritualistic. This form of dance is performed to appease evil spirits which cause sickness and is thus called 'Devil Dance'. The dancers wear masks depicting many characters varied in forms of bird, demons, reptiles, etc. There are 18 main dances related to pahatharata style known as the Daha Ata Sanniya held to exorcise 18 types of diseases from the human body.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 'tovil' ceremony is the answer.


The 'tovil' 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 'tovil' ceremonies referred to as the 'Maha Sohon Samayama' and the 'Gara Yakuma'. The mention of 'Maha 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 'tovil' involves the 'sanni' dances where all the dancers wear masks. The 'daha ata sanniya' refers to eighteen ailments with a demon being responsible for each one of them.

Dancers wearing masks depicting different characters take part in processions while at certain ceremonies. 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

The simple version of the devil dance ritual usually starts in the morning with the building of the stage, decorations and preparation of the costumes. The performers build an intricate stage before which the dancing commences. The stage consists of a wall made of freshly cut natural materials such as coconut palm tree and banana tree trunks. Depending on the region and the available materials the stage may also be coated with clay mud. The dances are accompanied by drummers which also herald the begin of the ritual. The distinctive sound ensures all neighbours turn up to take part. The full ritual usually lasts until the morning, with the dancers consuming betel-nut juice and drinking coke to stay awake. Dances can however also go on for multiple days.