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.

                                                                                                                                                                    
                                             
                                                    

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Kandyan dance

Kandyan dance

              According to the legend, the origins of the dance lies in dance ritual known as the Kohomba kankariya (named for the deity Kohomba), which is also known as Kohomba yak kankariya or simply kankariya. Traditional dance masters believe that originally the king of a place referred to as "Malaya Rata", and his two brothers, performed the first Kohomba kankariya. Some believe that this "Malaya Rata" was located in India.

According to legend, the three shamans came to the island as a result of a trick of the god Śakra in order to cure the king, Panduwasdev, who was suffering from a mysterious illness. The king was said to be suffering from a recurring dream in which a leopard was directing its tongue towards the king, believed to be as a black magic of Kuweni, the first wife of the king Vijaya. After the performance of the Kohomba kankariya the illness vanished, and many natives adopted the dance.

It was originally performed by dancers who were identified as a separate caste under the Kandyan feudal system. They were aligned to the Temple of the Tooth and had a significant role to play in the dalada perahera (procession) held each year by the temple.

The dance waned in popularity as the support for the dancers from the Kandyan kings ended during the British period. It has now been revived and adapted for the stage, and is Sri Lanka's primary cultural export.

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 19th 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, which highlights Sri Lanka's culture.

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Traditional Dances of Sri Lanka

Traditional Dances of  Sri Lanka 

 Classical Dances

There are three main styles of Sri Lankan classical dance:

•     The Kandyan dances of the Hill Country, known as Uda Rata Natum
•     The low country dances of the southern plains, known as Pahatha Rata Natum
•     Sabaragamuwa dances, or Sabaragamuwa Natum.

Kandyan dance takes its name from Kandy, the last royal capital of Sri Lanka, which is situated about 120 kilometers from the modern capital at Colombo. This genre is today considered the classical dance of Sri Lanka. In Sanskrit terminology it is considered pure dance (nrtta) it features a highly developed system of "tala" (rhythm) provided by cymbals called "thalampataa". There are five distinct types; the ves, naiyandi, uddekki, pantheru, and vannams.

The three classical dance forms differ in their styles of body-movements and gestures, in the costumes worn by the performers, and in the shape and size of the drums used to provide rhythmic sound patterns to accompany the dancing.

The drum used in Kandyan dancing is known as the Geta Bera, the drum in Ruhunu (low country) dancing as the "Yak Bera", and drum in Sabaragamu dancing as the "Davula" (the word Bera or Bereya in Sinhale means "Drum") The Geta Bera is beaten with the hands as is also Yak Bera, while the Davula is played with a stick on one side and with one hand on the other side; the Geta Bera has a body which tapers on both sides while the Yak Bera and the Davula both have cylindrical bodies.

The main distinguishing feature between Kandyan and Sabaragamu dancing, and Ruhunu dancing, is that Ruhunu dancers wear masks.

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