LION MASH DEVIL DANCE SRI LANKA

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

DEVIL DANCE SRI LANKA

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.

MASK DANCE, DEVIL DANCE SRILANKA

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).

SURPA DEVIL DANCE SRI LANKA

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).

MASK AND SRI LANKA

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.

MASK OF SRI LANKA

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.

MASKED DANCE IN SRI LANKA

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.

SRI LANKA DEVIL

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.

SRI LANKA DEVIL DANCE

Sri Lankan low country dance - the Devil Dance. This dance shows the typical costume and dancing style of the low country. There is a marked difference both in the costumes and in the dancing style of the low country when compared to that found in other regions of Sri Lanka.

DEVIL DANCE SRI LANKA

The Buddhists of Sri Lanka still believe in supernatural beings and the healing power of magical rites. Their devil dancing is the expression, however, of pre-Buddhist beliefs.
The devil dance is performed to cure a person gripped by disease, insanity, or bad luck believed to be caused by some malignant spirit and to propitiate demons and deities to bring good fortune. …

DEVIL DANCE SRI LANKA

Masked Dance

There are four folk-drama forms:kolam,sokari, nadagan and pasu. Best known is the kolam (Tamil for costume or guise). Kolam has many characters - one estimate puts them at 53 - many of which are grotesque, with exaggerated deformities. These are the demons, who may have a cobra emerging from one nostril, bulging eyes or tusks.Performance are traditionally held at the New Year, over a period of thress to five nights. Included in the coast of performersare singers, two drummers and a master of ceremonies. The Whole thing kicks off with songs in praise of the Buddha. The master of ceremonies. The whole thing kicks off with songs in praise of the Buddha. The master of ceremonies then explains how the kolam began (an including king's wife had carving while pregnant to see a masked dance-drama).

Devil Dance

Traditionally, devil dancing is performed to free a person from demons, evil spirits or just plain bad luck caused by malignant spirit. The devil dancers themselves belong to a low-caste community and specialise in this art form. There are many types of devil dance. One, the sanni yakku, is performed to exorcise the disease demon. The demon is represented by a range of characters including a pregnant woman and a mother. Other ances include the kohomba kankariya, which is performed to ensure prosperity, and the bali, which is performed for the benifit of havenit beings.

AMBALANGODA

A half hour's drive from Bentota is Ambalangoda, home of the traditional mask-makers, devil dancing and of puppet shows. The gaily-colored masks are usually worn by dancers performing exorcism ceremonies and reflect the craftsman's skill. They range in height from a few inches to three feet and make wonderful wall hangings.

The town is a center for a still-thriving form of southwest-coast folk art: mask carving and dancing. The two are inextricably linked.
There are two totally different types of dance-dramas in the area: kolam, uplifting and instructional, and sanni yakuma, a form of ritual healing through exorcism. Kolam plays always require the figures of the king and queen, since they are said to have invented the mask dances. The royal couple wear very elaborate, high masks, and move accordingly with slow dignity. They form a framework for various funny, serious or didactic Buddhist dance-dramas, usually set in a village environment.

The sanni yakuma actually belongs to the area of traditional medicine. If a sick person does not get better after either Ayurvedic (traditional treatment using herbal medicines) or taking Western medicines, this is thought to be due to demons who interfere with the relationship between the sick person and his social environment, thus causing illness. The ritual, in which not only the performance of various dances but also cleansing ceremonies play an important role, consists of luring the demons, appeasing them (paying!), and finally driving them away. The leader of the 18 sanniyas, or illness demons, is called Maha Kola. His mask face is frightening; it also bears the 18 sanniyas, nine on the left and nine on the right, each of them representing a different illness. In addition, each individual sanniya has its own characteristic mask. You can buy an informative booklet about masks and dances at the museum.

DEVIL DANCE

Southern Lanka


Often called the low country has the ‘Devil Dance’, known as ‘Devol Natuma’. This dance is based on the belief that there are a number of mysterious benevolent and malevolent beings who have to be constantly placated and pacified. The ceremonies are performed by special priests and are associated with the Goddess Pattini and the dance rituals are supposed to eliminate a variety of ailments. Like the other two forms, drumming constitutes an important part of this dance and as well consists of 216 drum beats and 32 Talams. The ritualistic ‘demon dances’ are of great interest to a student of exorcism. The Risiyaka personified in this dance is blood thirsty