Tracing the origin of ritualistic folk dance

by Gopitha PEIRIS

It is very interesting and amusing to scrutinize the origin of low country dancing which is a traditional dance form in Sri Lanka in existence from time immemorial.

According to folk-lore and legendary tales, it is presumed that King Mahasammatha married Queen Manikpala. Vasvarthi Mara, the lord of death had accidentally seen the charming and pleasing Queen Manikpala and had decided to seduce her. On failure of his abominable and immoral attempt, Mara created a spotted viper instantly and hurled it on to Queen's bed. As a consequence she fell seriously sick and turned exceptionally unpleasant and unattractive. Having come to know of this pathetic and deplorable situation the King immediately consulted God Vishnu, brother of Queen Manikpala. The Brahamin advisors who flocked to the scene unanimously decided to perform a voodoo Suniyam Yagaya to cure the Queen.

A scene from a devil dancing ceremony

Accordingly God Vishnu met sage Oddisa and he prescribed the necessary ingredients for the offering. Finally sage Oddisa along with seven peers appeared at the location and conducted the voodoo and Queen Manikpala returned to normal state. Since then it is assumed that ceremonials of this nature were executed to avert and avoid evils afflicted by Demons, Devils and hobgoblins (Prethas).

The first dancing ceremony in our native land as documented in the historical chronicles had been conducted to heal illness caused by Kuwanna or Kuweni through her curse and black magic on the first King Vijaya. Reference is made in the historical annals that second ritualistic dance had been perform to remove the evil influences that were inconveniencing King Panduwasdeva of Vijithapura, the youngest son of Sumitta. Sumitta happened to be the youngest brother of first King Vijaya.

History

The conception or conviction of the existence of devils and evil spirits runs back to the times of the Buddha. Several versions or interpretations relating to the significant pestilence that took place at the city of Lichchavi (Visala city) are found in Pujawaliya and legendary narratives. There was a severe drought, famine and plague (Thun Biya) at the city. A horde of blood thirsty `Yakkhas' who seized the city massacred citizens and devoured their bodies. Some of the demons mentioned in ola leaves are Watuka, Kambili, Thalatu, Bummatu and Mahasohon. At this critical and crucial juncture, the Buddha was invited by King of Lichchavis Mahali to eliminate this calamity. Accepting the appeal The Blessed One along with Arahat Ananda Thera visited the affected region and chanted `Ratana Sutta' at the site presently identified as Kutagara Hall. Blessed Water (Pirith Pan) was sprinkled along thoroughfares or highways using His begging bowl. Then torrential rain poured down. The Enlightened One evacuated the devils, demons from the city and the catastrophe was thus averted.

In villages particularly in the Southern Province, there are demonologists (Yakdessan or Yakaduran). At a ritual dancing ceremony it is a common feature that a valetudinarian (Arthuraya) clad in white clean clothes is made to lie on a mat and covered with a white curtain (Kadathurawa) for a short while. The exorcist offers to devils, demons and hobgoblins fried meat and fish, a cockere and oil cakes which are placed on offering stands (Pideni) artistically adorned with shingles of banana tree, coconut fronds, arecanut flowers each assigned to a specific devil, demon or hobgoblin to induce his invisible presence at the festive shed.

The materials mainly utilised at a ritual are drums, masks, flambeaux (Pandam, villakku) mats, pestles, hand bells, ankle rings, pans of burning coconut shells and rosin. Ash-pumpkin, king coconut, rings of coconut kernel, plantains, lemon, curry of seven vegetables (Rathembula or Hathmaluwa) fried meat and fish, a cockerel, parched rice, fragrant flowers and betel leaves are some of the ingredients considered for offering.

Before commencement of the ritual a dancing ceremony an attractive and gorgeous structure or pavilion (Thovil Veediya) quite similar to a small pandal is erected at the victims's compound, strictly in accordance with the prescribed procedures recorded on ola leaves and print media, using sticks, banana shingles, coconut fronds, alocasia leaves (Habarala Kola) and arecanut flowers.At about 6.00 p.m., the ceremony commences by the beating of drums, lighting oil lamps and burning incense. Verses or stanzas are sung in a melodious tone by the exorcists in adoration of the Triple Gem and some chosen deities. Then the dance get off the ground with the item (Avasaraya) and proceeds till dawn on the following day under categorised items namely Deva Aradanawa, Disti Mantharaya, Hende Samayama, Hende Pideniya, Pideni Askirima, Maru Depavilla, Kapala, Pideniya, Kumara Pelapaliya, Sanni Dekma and finally blessings on victim/patient.

By daybreak on the following day, the exorcists recite stanzas and utter incantations to drive away any Devils, Demons and Hobgoblins supposed to hanging around at the premises of the victim. Some selected Deities are requested and pleaded by demonologists to share in the merit acquired by the family members of the victim and the participants. During this stage, it is also advocated by the Exorcist that the victim/patient is perfectly restored to health. victim/patient too acknowledges that he is back to normalcy.

Recovery

Even at this space era some victims/patients attempt to seek recovery of abnormal illnesses or ailments by way of performing a devil dancing ceremony which is supposed to posses a mysterious and miraculous influence.

When we meticulously scrutinise and analyse a devil dancing ceremony with a scientific and psychological angle, it would appear that saffron, lemon, leaves of mango tree, and rosin which are excessively being used by the Demonologist serve as effective germicides or disinfectants. So at the end of the course of ritual dancing ceremony, germs if any, at the Victim's dwelling will certainly get destroyed and exterminated. It is presumed that sound waves produced as a result of high drum beats have the potency to split, burst germs and microbes/bacteria.

Also the patient is made to realise by the exorcist that the particular demon responsible for his malady had been completely appeased and finally banished.

We are not in a position to disbelieve or disregard in toto the existence of devils, demons, and hobgoblins that we could not see with our naked eyes. Pretha Yoni and Asura Yoni are included in the 31 planes of existence expounded by the Buddha 2552 years ago. It is recorded in the scriptured that the Blessed One himself had met Demon "Alawaka Yakashaya".

A great deal of information relating to devils is included in Atanatiya Sutta. A Buddhist text in Pali known as Prethawattu contains a collection of tales about ancestor spirits, Prethas and Mala Yaksaya. Kumbandas are discussed at Nikaya Text at length.

It is undoubtedly a gesture of gratitude to denominate a few native and western scholars authors who have executed extensive research on the subject ritual dancing and have authored informative dissertations which had immensely contributed to induce an enthusiasm in the study of beliefs, rituals and ceremonials in the arena of traditional folklore.

They are Messrs John Gallaway, Hugh Nevill, O. Pertold, Paul Wirz, Don Juwanis Appuhamy, S. de S. Gunaratne, Professors Gananath Obesekera, Nandadewa Wijesekra, H.M. Gunathilaka, Gamini Delabandara, Ediriweera Sarachchandra and Tissa Kariyawasam.

We should greatly appreciate the distinctive and unique contribution rendered by Professor Jayasena Kottegoda Dr. Lionel Bentharage, Ariyaratne Kaluarachchi, S.H. Sauris Silva, Kalinga Obeywansa and Attorney-at-Law Chandrasena Daluwatta who have conducted in depth studies and practical performances with regard to renaissance and resuscitation of traditional ritual dance.

Also we must bestow our profound gratitude and honour specially upon Vice Chancellor and Senior Prof. Jayasena Kottegoda, Prof. Mudiyanse Dissanayake and other lecturers attached to the Department of Dance, Ballet and Modern Art, University of Visual and Performing Arts, located at Colombo 7 for their highly appreciable and commendable service rendered towards popularising the art of devil dancing and nurturing the students at the afored-mentioned university.

It is our bounden duty to commemorate and accord tribute and high regards to all departed demonologists in Benthara, Thunduwa, Amblangoda, Matara, Tangalla and Hambantota localities who were responsible for conserving this traditional dance form and handing over same from generation to generation.