SABARAGAMUVA DANCE

SABARAGAMUVA DFANCE Primitive man lived in communities alone the rivers. they had agriculture based economy. they had a close relationship with the nature. some of the things in nature became their Gods From the beginning the man was afraid of over abundance of nature. E.G. : floods, drought and wind etc…they thought that there are super natural powers behind these and started offering things. as a results different dancing forms developed.

Concept of dancing in Sri Lanka starts with “Kohombakankariya”in 4th century   B.C. during the period of pandukabhaya. people used dancing in retails, to get rid of natural disasters, sickness …etc. during Anuradhapura period also there had been dancing as Mahavamsa (The great chronicle of Sri Lanka) speak of procession of the tooth relic. At the end of polonnaruwa period lots of  Indian influence came in to our dancing. Kandy had an independent form of dancing yet with Hindu influence. In the south during the period of king kavantissa(1st century B.C.) a dancing form was developed and there fore you can see  lot of dancing and retails in the south. during the period of kotte also a dancing form developed and we now call it “Sabaragamuwa dance "

Today you can find three main dancing form in Sri Lanka 1)     Kandyan dancing 2)     Low country dance 3)     Sabaragamuwa dance 4)     Baratha Natyam Only men take part in Kandiyan dancing and the drum called  “udarata beraya” or “gataberaya” accompany the dance. Low country (pahayharata) dance has a lot of dramas in it “maru sanniya”, “giri devi”, “shanthi karma” are some of them. ”kolam” too comes under this but with masks. The drum called “pahatha rata beraya” or"yak beraya” or “thovil beraya” accompany the dance. In sabaragamuva dancing mainly men take part and ladies too allowed “sindu mathraya, gaman mathraya, yakpada mathraya, patu thala mathraya are some of them. The drums called “daula” or “thammattama” accompanied the dance and also have baratahanattyam in Sri Lanka

KANDYAN DANCE

KANDYAN DANCE

According to the legend, the origins of the dance lies in an exorcism ritual known as the kohobakakakariya, which was originally performed by Indian shaman who came to the island.

According to legend, the Indian shamans came to the island upon the request of a king 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 Toothand 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 KandyPerahera 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.

 

Naiyandi dance

Dancers in Naiyandi costume perform during the initial preparations of the Kohomba Kankariya festival, during the lighting of the lamps and the preparation of foods for the demons. The dancer wears a white cloth and white turban, beadwork decorations on his chest, a waistband, rows of beads around his neck, silver chains, brass shoulder plates, anklets, and jingles. This is a graceful dance, also performed in Maha Visnu, (Vishnu) and Kataragama Devales temples on ceremonial occasions.

Uddekki dance

 

Uddekki is a very prestigious dance. Its name comes from the Uddakki, a small lacquered hand drum in the shape of an hourglass, about seven and half inches (18 centimeters) high, believed to have been given to people by the gods. The two drumskins are believed to have been given by the god Iswara, and the sound by Visnu; the instrument is said to have been constructed according to the instructions of Sakra and was played in the heavenly palace of the gods. It is a very difficult instruments to play. The dancer sings as he plays, tightening the strings to obtain variations of pitch.

Pantheru dance

 

The pantheruwa is an instrument dedicated to the goddess Pattini. It resembles a tambourine (without the skin) and has small cymbals attached at intervals around its circumference. The dance is said to have originated in the days of Prince Siddhartha, who became Buddha. The gods were believed to use this instrument to celebrate victories in war, and Sinhala kings employed pantheru dancers to celebrate victories in the battlefield. The costume is similar to that of the uddekki dancer, but the pantheru dancer wears no beaded jacket and substitutes a silk handkerchief at the waist for the elaborate frills of the uddekki dancer.

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 most well known among these are the Hanuma Vannama (Monkey), The Ukusa Vannama (Eagle) and the Gajaga Vannama (Elephant).

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 ("hourse"), mayura ("peacock"), gahaka ("conch shell"), uranga ("crawling animals"), mussaladi ("hare"), ukkussa ("eagle"), vyrodi ("precious stone"), hanuma ("monkey"), savula ("cock"), sinharaja ("lion"), 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 only 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 & can only be worn after a special ceremony called ves mangalaya in which the male dancer first wears the ves vostume 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 mangalya).

 

 

KATHAK DANCE

                             Kathak Dance

The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast, ending with a dramatic climax. A short dance composition is known as a tukra, a longer one as a toda. There are also compositions consisting solely of footwork. Often the performer will engage in rhythmic play with the time-cycle, for example splitting it into triplets or quintuplets which will be marked out on the footwork, so that it is in counterpoint to the rhythm on the percussion.

All compositions are performed so that the final step and beat of the composition lands on the 'sam' (pronounced as the English word 'sum' and meaning even or equal, archaically meaning nil) or first beat of the time-cycle. Most compositions also have 'bols' (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance. This recitation is known as padhant. Some compositions are aurally very interesting when presented this way. The bols can be borrowed from table (e.g. dha, ge, na, 'ti' 'na' 'ka' 'dhi na') or can be a dance variety (ta, thei, tat, ta ta, tigda, digdig, tram theyi and so on).

Often tukras are composed to highlight specific aspects of the dance, for example gait, or use of corners and diagonals, and so on. A popular tukra type is the chakkarwala tukra, showcasing the signature spins of Kathak. Because they are generally executed on the heel, these differ from ballet's pirouettes (which are properly executed on the toe or ball of the foot). The spins usually manifest themselves at the end of the tukra, often in large numbers: five, nine, fifteen, or more, sequential spins are common. These tukras are popular with audiences because they are visually exciting and are executed at great speed. Other compositions can be further particularised as follows:

1. Vandana, the dancer begins with an invocation to the gods.
2. Thaat, the first composition of a traditional performance; the dancer performs short plays with the time-cycle, finishing on sam in a statuesque standing (thaat) pose.
3. Aamad, from the Persian word meaning 'entry'; the first introduction of spoken rhythmic pattern or bol into the performance.
4. Salaami, related to Ar. 'salaam' - a salutation to the audience in the Muslim style.
5. Kavitt, a poem set on a time-cycle; the dancer will perform movements that echo the meaning of the poem.
6. Paran, a composition using bols from the pakhawaj instead of only dance or tabla bols.
7. Parmelu or Primalu, a composition using bols reminiscent of sounds from nature, such as kukuthere (birds), jhijhikita (sound of ghunghru), tigdadigdig (strut of peacock) etc.
8. Gat, from the word for 'gait' (walk) showing abstract visually beautiful gaits or scenes from daily life.
9. Lari, a footwork composition consisting of variations on a theme, and ending in a Tihai.
10. Tihai, usually a footwork composition consisting of a long set of bols repeated thrice so that the very last bol ends dramatically on 'sam'.