KANDYAN DANCE
The origin of the dances of Sri Lanka lies with the indigenous people of Sri Lnaka, the Wanniyala-Aetto and "Yakkas" ("iron workers")- The Kandyan dances of the Hill Country, known as Uda Rata Natum
Kandyan dance takes its name from Kandy, the last royal capital of Sri Lanka, which is situated about 116 kilometres from the modern capital at Colombo.This is considered as the Classical Dance of Sri Lanka. In Sanskrit terminology it is considered pure dance); it features a highly developed system of (rhythm), provided by cymbals called "Thalampata". There are five distinct types; the Ves, Naiyandi, Uddekki, Pantheru, and Vannams.
Dance Styles
Kandyan Dance is a dance form that originated in the area called “Kande Uda Rata” (the Central hills region) which became Kandy in English. However, today it has spread widely to other parts of the country.History
According to the legend, the origins of the dance lies in dance ritual known as the Kohomba Kankariya, which is also known as Kohomba yak kankariya or Kankariya. Traditional dance masters believe that originally the King Malaya the king of "Malaya rata" and his two brothers performed the first Kohomba Kankariya. Some believes 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 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 Fudel 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.
Tänze (Uda Rata Natum) Ves Tanz "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.Kandyan dance highlights Sri Lanka's culture.Kandyan dance can be carried to the future as an example of Sri Lanka's miraculous culture.
Dances (UdaRata Natum)
Vannams
Originally a Vannam (or Wannam) was a kind of recitation. Most Vannams describe the behaviour of animals such as Elephants, monkeys, rabbits, peacock, cocks, serpents etc. Later dancers have used the Vannam as a background song for their performance. There are 18 Vannams in the Kandyan Dance form. Traditionally a dancer would have to learn to perform all of these Vannams before they would be gifted the Ves costume.
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 ("horse"), mayura ("peacock"), gahaka ("conch shell"), uranga ("crawling animals"), mussaladi ("hare"), ukkussa ("eagle"), vyrodi ("precious stone"), hanuma ("monkey"), savula ("cock"), sinharaja ("lion king"), naaga ("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.
Costume
The dancers wear an elaborate costume including a headdress. The dancer's chest is covered by a decorative beaded net. This costume is known as the Ves costume. The headdress incorporates a metallic front which makes the dancer look taller than he is. The complete costume also includes anklets that produce a metallic rattle each. The headgear in the Ves costume can only be worn by the males and can only be worn after a special ceremony called Ves Mangalaya in which the male dancer first wears the Ves costume and dances. Legend also says that if a female wears the headgear she will have a lot of bad luck or get very sick even the males if they have not performed at the Ves Mangalaya the same will happen to them(only males perform at the Ves Mangalaya and the females have a separate ceremony called Kalaveny Mangalaya.
Music
The Kandyan Dance is traditionally performed to percussion only. The most common drum is the Geta Beraya, which is only used in Kandyan Dance. To assist the dancer to keep rhythm a small pair of cymbals knows as the Thalampata is also used. The Vannams however have lyrics that are sung in tune with the movements of the dancer. These lyrics sing about the virtues of the animal that the Vannam is depicting. Another form of twin Drums called Tammettama used with cane drum sticks.
The Kandyan Dance is traditionally performed to percussion only. The most common drum is the Geta Beraya, which is only used in Kandyan Dance. To assist the dancer to keep rhythm a small pair of cymbals knows as the Thalampata is also used. The Vannams however have lyrics that are sung in tune with the movements of the dancer. These lyrics sing about the virtues of the animal that the Vannam is depicting. Another form of twin Drums called Tammettama used with cane drum sticks.
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Devil Dances
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 '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 '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. 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 in particular the younger-folk, in particular.
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 beginning 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.
Folk Dances
Apart from the classical dance forms there are also folk dances, which are associated with folk activities and festivities. Leekeli (stick dance), Kalageldi (pot dance) and Raban (a hand drum) folk dances are prevalent at the present time.
Dance drama
There is also in the low country a dance-drama called Kolam in which the performers wear masks depicting animals or people such as kings or high officials, and provides amusement and social satire. It has been suggested by scholars that Kolam may have developed from the ritual known as Sanni Yakuma and had later become a dance-drama independent of ritual elements.
Kandyan dance today
Even though originally only males were allowed train as dancers, there are now several schools which also train women in the Kandyan dance form. However there is no definite Ves costume for women, and many female dancers have adapted the male costume in different ways.
There are only a few performances of the Kohomba Kankariya now due to many social, economic and political reasons. The dance in its traditional form is still performed each year at the Dalada Perhahera in Kandy.
The Kandyan Dance was adapted for the stage by Chitrasena Dias in the 1970s. In several ballets he choreographed, he has used kandyan dance movements and features. In some ways his popularity also helped to reduce the caste barriers surrounding the dance, and made it more palatable to an urban, contemporary audience. To date one of the largest school for Kandyan dance is Chitrasena Dance School. Traditional and ritual Kandyan dance is still taught in some village dance schools like Madyama Lanka Nritya Mandalaya, Tittapajjala kalayatanaya in Kandy area.
Many contemporary dancers in Sri Lanka have borrowed from the Kandyan form for their work.
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