Metaphysical
representation of folk drama in educational structure: an Ethnographic Reading
on Discourse of Bentota Kolam Drama
Saman
M Kariyakarawan
Abstract
Language comprises
signs. The sign is divided into two parts i.e. concept and sound form. In
writing visual sound forms are used. Those sound forms can produce figures of
concepts in our mind. In this conceptualization it is not necessary to have a
direct relation between the relevant object or objective nature and the
concept. Accordingly the relation between the realm of concept and the physical
world is arbitrary. It is according to this Saussure’s concept that
Metaphysical academic discourse on Kolam drama is examined. The research
involved herein relates to matching of the metaphysical series of concepts of Bentota
contemporary Kolam with its reality.
“They say even in Bentota
there are Kolam dramas” is a statement Sarachchandra made in
1968, and subsequently followed by many an individual without verifying its
truth. But no all night full Kolam drama has been staged since 1963. Dramas
they call “Tītar cum Kolam” was there in Bentota in 1970s. It is
impossible to identify them as Kolam. The present study discloses the
inconsistency between the discourse of Bentota Kolam Drama and its
reality. This research is carried out on the basis of information collected by
means of snowball method through discussions held with veteran residents of
Bentota, artists involved in drama; individuals took part in old Kolam
dramas and through the experience itself of the present co-writer who has been
living in Bentota for about 40 years. This study which is an ethnographic
investigation pays particular attention to experience of individuals. Data
found in this study open to multifarious reading is thus not focused only on
the object of the study. According to what has been found through the
information collected there has not been a full performance of Kolam
drama staged in Bentota since 1963. During the period 1963 to about 1980
parts of performance of Kolam along with Noorti or some times for
the purpose of contests or else as a part of Kassapa Dalada Perahera
(procession of the Tooth of kassapa thero) have been produced. By 1989 Bentota
Kolam was confined to Nāga rāssa performance. Bentota Kolam
after 1989 died out. Though there are two Kolam artists still living in Bentota
and are engaged in staging them they do not continue the characteristic Bentota
Kolam tradition. The method they adopt is a picturesque style
characteristic of Ambalangoda.Though various students are still in the
habit of making contributions on a Bentota Kolam drama it had already died some
6 decades ago and what is found today is just its remnants only.
Key words: Bentota, Berava
caste, Kolam, Kommala, Govigama caste,Sarachchandra.
Approach
Once
phenomena and movements of the physical world are translated into language they
become a part of culture. Language assists man to understand the material and
immaterial world and to control them. In consequence language becomes one of
the major implements of culture. Let us consider, two of the most important
characteristics of the language i.e.,
1. Language is a system of signs
2. Lack of logical relation between signs of language
and substance or movements belong to those signs.
As Ferdinand De Saussure has shown (Saussure,1999: 66-67) language is a process of
inventing names. Assigning a name to every substance, movement, concept,
thought and feeling is the process of inventing names. The name thus given can
be called as the sign. The sign is also divided into two, i.e. concept and
sound image. A sound image can instantly create concept in mind. But it differs
as per context. For instance, whatever concept is created in the mind the sound
figure “Ibba” (tortoise) depends on what context it is used. If context is
marked as “The tortoise steps into the water” then the concept forms will be “a
quadruped amphibian”. The Sinhala “Ibba” is used also for Padlock. So
meaning of the word “Ibba” depends on its context.
The
second feature of language is having the relation between sound figure and
concept been arbitrary. It is a consensus that occurs in a culture. Everybody
who speaks Sinhala unanimously agrees and calls a particular object as “gasa”.
According to the English man’s consensus that object is called “tree”. So it is
the arbitrariness due to which there are various sound images for one
particular concept. Moreover, there is no relationship between concepts made by
man or between objects on which signified concept is based. Therefore, what we
call language is a thing which somewhat mislead you, a thing which make you go
astray. To turn something into language means to make its reality subject to
definition. There may not be whatsoever a relationship between its definitions
and the reality. By employing language a given phenomenon can be subjected to a
reading which in reality has whatsoever nothing to do with that particular
event. This can be identified as the creative quality of the language.
Literary
studies were esteemed as a disciplinary technique in 19th & 20th
Centuries. Even in Sri Lanka almost in every field of learning various academic
researches and studies were carried out. Knowledge produced at a certain period
through data collected out of field work becomes obsolete within a short time.
It is a characteristic common to all studies of humanities. The reason for such
nature is the dynamic condition inherent in humanity. In order to prevent from
knowledge going obsolete constant fieldwork in those disciplines should be
continued. Those researches should be carried out systematically and
accurately. It is important that researchers also should be done by matured
scholars.
“Literary
studies” done through near reading of literature produced on the basis of
previous researches are not reliable. The secondary knowledge produced out of
stuff referred to above already used and defined seems to be more prejudicial.
Thus stuff produced by so called researchers based on texts written by pioneers
in folk dramas of Sri Lanka such as Sarachchandra is to a great extent
misleading. Re-creations done through
language by their very nature give false impressions and for a third party to
re-create yet another creation based on that particular re-creation is really a
laughingstock which is infect the object of the current research. With a view
to deconstructing academic discourse on the Bentota Kolam is being done
through this chapter employing ethnographic sources.
Research
problem
Many an academic study done on Kolam
makes mention of the fact that the Kolam drama occurs in Bentota.
The author of this study however has never seen or heard that there exists the Kolam
in Bentota where he has been born and bred. But two studies published in
year 2000 too say that the Kolam art is found in Bentota. These
contemporary scholars depend on the studies carried out by pioneer researchers
of the Kolam.
The major academic problem that is
intended to solve through this study is this dilemma. Namely had there been a Kolam
tradition in Bentota? If there had been one when did it disappear? Does Kolam
drama still occur in Bentota? To what extent is the body of knowledge
pertaining to Kolam introduced by the pioneer researchers accurate? What
is the repercussion of the absence of up-to-date knowledge in respect of the
topic in question? These are the issues that this study intends to solve. It is
the influence of the cultural campaign of the Middle class moulded in 40-60
decades and which subsequently exerted in turn on the study of culture and in
particular on the sphere of folk drama which forms the essential foundation of
the present study.
The investigation comes into contact
with the aftermath of the cultural campaign heralded in 1956 which paved the
way for the creation of the so called academic discourse known as folk drama
and the nature of its underlying prejudicial effects.
Study
area
This exploration is based on the
Bentota (or Bentara) Village committee
area (Map7.1) of the Divisional Secretariat of Bentota in Galle
District, Southern Province of Sri Lanka. The area is bounded by the Bentara
River in the north by the river Deddu in the east by Induruwa
Village Committee area in the south and by the Indian Ocean in the
west.
Literary
Reviews
It was through his work titled “the
Sinhala Gämi Nātakaya” (Sinhalese Folk Play) that Ediriweera Sarachchandra
who had been engaged himself in the task of creating an indigenous tradition of
Sinhalese dramatic art associated with the folk play has introduced the Gämi
Nātaka to the study of dramatic art. It
was published in 1968. The work titled “The Sinhalese Folk Play” came out in
1952 was republished by him in 1966 under the title “The Folk Drama of Ceylon”.
What he published under the title “the Sinhala Gämi Nātakaya” in Sinhala in the
1968 comprised the very same material found in previously mentioned two works
but in a reoriented form. This book strictly had to do with the study of
dramatic art and dramaturgy. In the work especially discussed topics were the
characteristic features found in the Grämīya Sāntikarma (rural rituals),
dramatic Pelapāli (parades) embodied in rituals, Kolam (mockery), Kavi nādagam
(kind of play accompanying verse), the Sokari (a kind of dance), the Nādagam
and rūkada (puppetry) etc.
Sarachchandra has added to
the Sinhala version what he had not expressed in 1952 and 1966. While describing
the places where the Kolam occurred at that time he says “among the groups who keep on
performing the Kolam it is the two groups from Ambalangoda and the one from
Udupila, Mirissa I now”
(1999:95).
Whilst giving an account of Kolam groups in other areas he says thus: “Ändi sinno Gurunnānsē of
Pokunuwita also has a set of Kōlam (Kōlam Kuttama) and a group. Further it is
said that there are “Kōlam Kandāyam” (Kolam groups) even in Bentara and
Nākulugamuwa”(do: 95). Accordingly what can be
gathered from his statement is that the reference he made to the existence of
Kolam in Nākulugamuwa and Bentota is mere hearsay. This rumor of Kolam
expressed by Sarachchandra has
aroused a serious solicitude among the succeeding scholars. The work titled
“Kōlam Nātaka Sāhitya” (“The literature of Mockery drama”) of M. H.
Goonatilleke published in the same year, i.e. in 1968 discloses even the names
of many a kolam artists living in Sri Lanka. He gives a long description
of the regions and villages where the Kōlam has been spread.
“The
Kōlam is restricted to lowlands. Even out of them the under mentioned regions
are of special importance. Southern Province and Western Province Kolam Nätum
(mockery dramas) have been very common since ancient times in the districts of
Galle and Matara in Southern Province and Kalutara and Panadura Districts in
Western Province. Even in some of the regions of the Colombo district, this
kind of drama was present.
Villages
famous for Kōlam dance are given below:
Bentara
Kōmmala
Bentara region
Suddagoda
In addition to Bentara, regions such
as Mirissa, Ambalangoda, Raigama Kōralaya and Alutgama region, Vigada region,
Gampaha area have
been given by him. Even the names of artists in each of these regions have been
given. He also presents the list of names of those artists who were in Bentara.
Even some names of famous Kolam dancers from Bentara are given
below.
“Nandā
Gurunansē and Enda Gurunnanse of Bentara
Amarasena Gurunnanse of Suddagoda. Dāni Gurunnanse of Bentara A. Jayasekara of
Kommala Dabicha Gurunnānse, K. Ōgiri Gurunnānse of Mīgama K. Saranēlis Fernando
of Mīgama L. V. Pinda Gurunnānse of Mīgama” (1967:10)
It proved impossible to trace and
identify some of these persons. Though reference is made to a person called A. Jayasekara
on the other hand no mention is made to the three Thēmis Jayasekara,
Jinadasa Jayasekara and Sirisena Jayasekara who are associated with Kōlam
dance. And Vilbert Galbada Arachchi says that Amarasa Gurunnānse did
not take part in Kolam. (2014.05.17) hence this list is contradictory.
It is possible to conjecture that
the account given by M.H. Goonatilleka of the Kōlam drama in Bentara
would have been prepared by one without visiting the locality and obtaining some
information from a certain artist. In spite of the fact that mention is made to
Amarasē Gurunnānsē who was famous in that locality on the other hand no
reference has been made to equally famous Sudda Gurunnānsē who tack part
in Kōlam. Moreover, this work doesn’t contain any mention of the
talented Davonis Gurunnānsē, the mask maker of Suddagoda. Almost
all the important artists of Bentara who were responsible for the Kolam
art have been omitted from Goonatilleke’s list. 1967 was the period of decline
of the Kolam art in Bentota. Although many of those artists who
had taken part in Kolam were still alive at that time no researcher has
put in writing information obtaining from such important persons. K. G.
Amarasekara studying Kolam in the year 2002 mentioned the three
names of villages Suddagoda, Kōmmala and Tundūwa treating them as
localities where up to recent part there had been Kolam. (Amarasekara,
K. G. 2002:23). He notes that by the time he was engaged in the study he found
no performance of Kolam in progress (do: 24). Tunduwa and Suddagoda
are two traditional villages of Berava (Drummer) caste. In both these
villages Kolam artists had lived.
But in spite of the above fact it
was only the Jayasekara family of Kōmmala which had possessed a set
of Kōlam. The group which organized and performed Kolam drama at Bentota
were only Themis of Kōmmala and the Jinadasa Jayasekera.
Even he wrote of Amarasekara’s descriptions of Kolam just through
unconfirmed reports.
Ariyaratne Kaluarachchi
publishing a book on Kolam drama in 2006 repeating the same form of
words of M. H. Goonatilleka says that there is Kolam drama in Bentota.
(Kaluarachchi, A 2006:6) Jayasena Kottegoda studying Kolam drama
in the year 2006 too says that the Kolam drama is found even in Bentara
(2006).
As nobody has yet authoritatively
intervened in so as to carry out an investigation into the history and the
present state of Kolam Drama of Bentota it is hoped that the
present study will fulfill that need. Furthermore, it is also hoped that the
present step will help bring to an end compilation of information which tend to
mislead especially the beginner with regard to the topic Kolam drama of Bentota.
Methodology
of study:
Discussions held with those artists who
took part in Kolam dramas of Bentota both in the past as well as
in visual entertainments accompanied by Kolam subsequently staged and
again discussions held with a still living few important eyewitnesses of both
kind of shows referred to above are presented here in their own words.
This can be treated as a methodology
employed in ethnographic studies. The study area of this research happens to be
the place where the researcher of the present study has lived for the last 40
years. It is an unusual exploration and it serves in both capacities as a
member himself has become a participant. There are two professional artists of
dancing who still make performance. Discussions held with those two artists are
also included here. Snowball method was employed to pick up those who were
interviewed. Snowball method is the way of interviewing appropriate individuals
based on the information furnished by the first person and so on. Accordingly
it is the first person which suggests the second person to be interviewed. The
characteristic feature of this method is that the body of information gathered
gradually increases like a snowball. Not only the information gathered through
discussions but also other details not so relevant yet important to the study
in some respects have been shown but separately. All the information pertaining
to the study, i.e. results of discussions, facts collected by means of literary
sources, details gathered from web sites and telephone conversations have been
accurately and qualitatively analyzed.
Qualitative
Discussions:
Discussion
1:
Prasanna Abeywardana (69 years) 2014:
02.08 Galbada, Aturuwella, Former President of all Ceylon Grāma Niladhāri
Association, English educated and represents upper Middle class. “I got my
appointment as Grama Niladhāri of Bentara - Pahurumulla Division when Mr.
Karannagoda was the D. R. O. in 1963. Mr. Karannagoda was a true benefactor of
the rural development movement. He held a handicraft exhibition of the Rural
Development Movement at the college grounds of Gamini Maha Vidyalaya Bentota.
It accompanied a cultural show. A cultural programme called “Kalāmuluva” (Art
Circle) was held at the college ground of Gamini Vidyalaya. At this show
artists from localities called Tunduwa and Suddagoda made dance performances.
Among those dances were “Yak nätum” (Devil dances). In 1966 Mr. M.V.D.
Chandraratne, the D.R.O. launched a programme to uplift the artists. Those
programmes comprised lectures and performances. It was Bolin Gurunnānse of
Dampällagoda (in Dope G.S. division) who presented folk dances at those
programmes. Many an artist from Suddagoda took part in it. During my time
except a few “Rāssa Nätum” (dancing performed by those disguised themselves as
demons) I have not seen a full performance of a Kolam nätuma (mockery dance in
its entirety).
Discussion
2:
D.
Erālis (69 yrs) 23.02.2014 Suddagoda, Bentota of the
Beravā (drummer) caste. Though he represents the class of the poor and that of
the illiterate he is an exceptionally gifted artist.
It was Themis Jayasekara who
collaborated with Kolam at Bentota. He died 30 years ago. His son Jinadasa
Jayasekara died about 5 years ago. Sirisena Jayasekara who died was a victim of
1989 violence1. Those who worked together producing Kolam are
no more. Kolam dances were presented at the fun fair organized by Mr.
Karannagoda at Gamini School Bentota in 1960s. There were only a few Yak Nātum
(devil dances) like Garā yakā (Devil called Garā), Nāga kanyā (Virgin Nāga snake)
etc. I also carved masks for 15 years. It was from Batuwita that the
Kolam masks were brought to Kōmmala. There are sets of Kolam in Batuwita. When
I was about 25 a Kolam was staged at Randombē Temple, Ambalangoda. It was
performed by Ariyapāla Gurunnānse. I remember the performance of Alavaka (devil
dance) staged at Vanavāsa Temple, Bentota in about 1960. While the monk chanted
the Alavaka Sūtra (one) who disguised himself as Alavaka (demon) performed the
dance. In Suddagoda there were very many dancers at that time. K. S. Fernando
worked at the Radio Ceylon. He died about 15 years ago. Herbert Dayāsīla, the
son of Amarasa Gurunnānse was the disciple of both Sinda Gurunnānse of Tunduwa
and Nanda Gurunnānse of Suddagoda. Nanda Gurunnānse was a good master of Bali
(ritualistic offering to planets). There were numerous disciples of Amarasa
Gurunnnānse. Among them Edin Gurunnānse, K.S. Fernando, Saraneris, Bolin and
Sēdiris were the leading figures. Sediris was nicknamed Cooray. When he makes
jumps he turns like a top. Because of it, those days when a woman conceived
pots were offered on behalf of the semi god Kalu Kumāra. Once the child is born
and the day he/she is given the first meal of rice (Sanniyakumak natala) having
performed a devil dance called “Sanniyakuma” a “Kumāra pidēnna (an oblation) is
offered to the divine being called Kalukumāraya. A gurunnānsē who performed a
devil dance in 1960s was paid Rs. 300/-. A devil dance cost about Rs. 30000/-.
The owner of the house where the dance was performed got an invitation printed
and everybody known to him was invited. Invitees were offered tea. Even the
rice was offered to those who were present as spectators in villages (villages
of Tamil Gattara caste) such as Mahavila and Bondupitiya. Inhabitants of
Ittäpāna performs a Pānmaduvak (ritual of lighting lamps) when the crop cutting
and threshing is over. Still the Pānmaduwa is performed at every Ähäla Poya
(Full Moon day of the month July) at the Devāle near the Bo tree in Dedduwa
Junction. Every inhabitant in this village caught an epidemic when they once
failed to perform the ritual consecutively, for two years.
Discussion
3:
Diminguvāchāri Norbert
(63yrs) 25.02.2014. Suddagoda, Bentota. Berava (drummer) caste, a skilled mask
carver and drummer.
My teacher is Erā Gurunnānse. The
teacher of Erā Gurunnānse is Asa Gurunnānse. I have played drum for Kōlam drama
of Ambalangoda. Sudda Gurunnānse played the drum for the set of Kolam for
Ariyapla Gurunnānse of Ambalangoda. He also played the drum for Kolam dances of
Kōmmala, Bentota. Those days there were so many famous Gurunnānsēs. Some of the
leading Gurunnāses included Sudda Guru, Disā Guru, Panikkala, Sirimāris and
Sēmāris. Sēmaris Gurunnānse was even one of my teachers. Both Erāks Gurunnānse
and I myself are disciples of Sēmāris Guru. Jayanetti ancestry of Velipänna is
descended from Sirimāris Gurunnānse who went there from here. Disā Gurunnānse
went and settled down at somewhere Matugama. Amarasa Gurunnānse is one from
Galle. He came here settled down and went on with his profession. These artists
had work almost every day. Those days it was Simā Gurunnānse who cast
horoscopes. He also made snana (traditional herbal shampoo) to cure
malefic effects of Rāhu (The planet with cobra’s head) and Kētu (cobra’s tail).
For malefic effects of the planets “Bali ambala Santikarma Karanava” – ritual
images were moulded and ceremonial dances were performed. It was following the
Ven. Ariyadhamma Thera of Pānadura since 1980s that the “Bodhi-pūja”- offerings
to the Bodhi trees were introduced for malefic effects of the planets instead
of the above astrological practices. Those days when “Baliyak kalāma”- a ritual
image was molded and offered to the deities- the “ädura” (exorcist) was paid
about 50 cents or Rs. 2/=. On days when
there is no work sambur heads and deer horns were carved and sold. It was since
1960s that the “tovil”- devil dances were introduced by way of (in the form of)
displays. Those days yaknatum (devil dances) were not performed as displays.
It was when I was about 13 that a
Kōlam was performed in Kōmmala. Kolam dances were held on the ground of Gāmini
(college) Bentara somewhere in 1960s. Kolam dances were organized by Jinadasa
Jayasekara. The Kōmmala pirisa –group-was of Govigama caste. The bera (drum)
was played by people of our caste. At the beginning it depended on caste. It
was “the olī” (a law caste) who had the right to perform ves (crown used
for Canadian dance) in –Garā madu (huts of the devil Garā). Later (the
tradition) it changed. I saw a full Kolam dance in its entirety at Kōmmala. In
the olden days there had been Kolam in Kōmmala.
Discussion
4:
Wilbert
Galbadaārachchi (63 yrs) 17.05.2014. Kōmmala, Bentota.
An old Kolam artist who belongs to Govigama (Farmer) caste.
There was a set of Kolam here in the
possession of Themis Jayasekara. Jinadasa Jayasekara was his son. Till about
2005 those masks were at Bentara. Chamila, the eldest daughter of Jinadasa
Jayasekara took those masks to Kurunegala. She said that she was keeping them
in her house as curiosities. Jinadasa Jayasekara died about 5 years ago. His
funeral took place at his daughter’s. Those days a good number of people joined
in Kolam, In 1940-50s when Themis Jayasekara was participating in Kolam he went
from place to place playing the art. Full performance of Kolam was done even
here. It was frior to the 1963 flood that a full performance in Bentara was
staged for the last time. Then I was about 12. I also performed characters such
as Kāpiri Kolama and Anabero Kolama. Jinadasa Jayasekara acted canats such as
Lenchinā and Nāga Rāssa. Sudda Gurunnānse and Sēmaris Gurunnānse beat the drum.
Amarasa Gurunnānse did not participate in Kolam done here. It was Dēvaminige
Aranolis who played Jasaya. Pänis Tilakaratne played Hencha. It was Richel
Bäddevitana who played the Arachchi. Before 1960 these dramas were acted in
Temis Jayasekara’s garden. In late 1960s during Poson Full Moon Day (Month of
July) Festival lighting a Lamp was commenced on the ground of Kōmmala. If the
lamp went on for seven days seven dramas also were performed. They included
dramas such as Kolam dances. Sandakinduru, Jasa Lenchina. They were performed
on a stage erected on the ground using loudspeakers. Those days the masks were
brought from Himbutugoda, Pitigala. Mr. Thomas Adlin Kapumahattaya, officiating
priest of the Depānama Dēvālaya of Hōkandara used to come here those days to
perform Kolam dance. Women’s parts were taken by him. Aranolis and Thomas
Jayasekara played the Gurulu Rāssa (mythical bird called Gurulu in the form of
a demon). These spectacles were performed during the Poson (June) festival
(June) from 1960s to 1970s. Women acted in them. Younger sister of Sīla
Paranarnāna performed in them. Another woman also from Dedduwa performed. Roles
of Bisava (queen), Kumāri (Princess), Kinduri (Mermaid) all taken by women.
In 1989 Sirisena Jayasekara
performed Nāga Rāssa near his house. One of his daughters wore the mask (Rāssa)
demon. Within a short time the girl caught leukaemia, eyes julted out died
deformed. Everybody was of the opinion that it was the result of evil effect.
The mask Gurulu Rassa is a very powerful one. We did not perform the Gurulu
Rassa in the display organized at the time of DRO Mr. Karannagoda of Bentara in
1961 at Gamini (College). The Rāssa mask was on the wall. Several other masks
were used. After a little while we heard a snake blow. Lo! the blow comes from
the mask Gurulu Rāssa! The mask was carefully removed from the wall, to see
that nothing is inside. But the mask keeps on blowing. The tone is very sharp.
The māma (uncle) (Themis Jayasekara) took a “pandurak” (a coin), washed it and
wrapped it up in apiece of cloth and gave a solemn promise to god to the effect
that though Gurulu Rāssa was not performed this time for absence of a suitable
person it will be acted in the Mahā Kasyapa Daladā Perahära of the Galapātha
Temple during the Äsala Poya. Then only did the blowing cease. Very rarely one
can play Gurulu Rāssa. An inexperienced one even if wore the mask would take
only two turns. At the third time the mask will strike the ground.
It was from Bentara that Dayānanda
Gunawardana took Jasa Lenchina. Jasa Lenchina was taperecorded using the voice
of the artists taken from here to Radio Ceylon. Bentara Kolam accompanied only
the low-country drum. Trumpet was not used. Aile also was not tied. Mal yahana
(Bed with flowers stretched on) was prepared. It was commenced by worshipping
the Buddha. It was done for fun/amusement. Jinadasa Jayasekara went to
Polonnaruwa in 70s. Next younger generation was not competent enough to perform
Kolam.
Discussion
5:
D.
K. O. K. Sriyālathā (58 yrs) 12.03.2014. Galtuduwa,
Gonagala pura Of Gavigama (farmer) caste. Admirer (woman) of Kolam belonging to
lower Middle class. She has seen Tītar (Theatre) performed in Bentara in 1960s.
I remember Kolam displays staged by Jinadasa Jayasekara and others on the “Bōl
Pittaniye” (Volleyball ground) in Kommala (pic.7.1) in 1960s. Every Poson Poya
they made the Lantern on the Kōmmala ground. On the last day of the Lantern
show a Kolam dance was staged. There were dancer of both kinds those wearing
masks and those with no masks. Women also took part. One girl called Nānalatha
played Lenchina. Jinadasa Jayasekara played Kindura. Kindura and Kinduri did
not put on masks. In these shows instruments such as Dolki and serpina rehearsals were held in a desolate place
enclosed with coconut leaves. It is said that Jayasekaras living in Bentara
were at the beginning known as Hettiārachchi’s. They took the name Jayasekara
when the English at a subsequent date was giving honorific titles. Jinadasa
Jayasekara used to make performance of Viridu (kind of verse like recital) over
the Radio Ceylon. In about 1980s a pirit chanting was held an alms giving was
offered and the performance was thus given up. Though Jinadasa Jayasekara went
to Polonnaruwa somewhere in 70s at Poson festivals he used to come back. He was
a very handsome man. Even his voice was exceedingly deep.
Discussion
6:
D.
S. Ponnamperuma. (90 yrs) 25. 02. 2014. Sooriyagoda,
Bentota. The most senior educated citizen (agewise) living in Bentota today. He
is a retired English teacher who represents the Middle class Govigama caste.
My father taught at Both Aturuwella
Vidyalaya and Gamini (Vidyalaya) Bentara. He had even a Mudaliyar title. He
died in November 1956. My father had masks and a Magul Beraya (a drum used on
auspicious occasions) in his possession. They included Hevā Kōlama 2 masks of
Lion, 2 masks of Nāga Rāssa. Though my father was of Govigama caste he could
both play the drum and dance very well. He had learned those arts. He was in
close association with Amarasa Gurunnānse of Suddagoda.
I remember that those days on the
land called Nīlisigewatta where the temple stands thatched huts were erected
wherein mockery dances were performed. I saw them in my childhood. I cannot say
whether what I saw were Kolam or otherwise. I cannot remember even who did it.
Only thing I can remember is that those were mockery dances performed wearing
masks. When we were grown-ups we had no time/occasion to watch them.
My father loved arts. Before 1935
Mr. S. L. T. Kapukotuwa was invited to the school at Aturuwella and for him a
“Dahaata Sanniya” (18 sannis) was performed. Kapukotuwa studied together
with my father at the Tranning College in 1935.
Tourism was introduced at Bentara in 1972. Electricity was given to 25
houses in Bentara. One of them was my house. Bentara Rest House was built by
the Dutch. At Gamini Primary Vidyalaya there was a Datch church built in 1755.
Now it is demolished. Even since those days Bentara has been a suitable spot
for tourist industry.
Discussion
7:
Patmasiri
Weerasinghe. (57 yrs) 06. 11. 2013 and 11. 02.
2014, Tunduwa, Haburugala. He is a son of Ēdin Gurunnānse famous artist He
belongs to Berava (drummer) caste, a professional Kolam dancer of Middle class.
I am having my own Kolam group. What
we perform only a few parts of the pre-performance. We do not play Kolam
stories. After playing Kolam such as the Anabera and Nonchi Kolama, Polis
Kolama, Nāga Kanya, Nāga Raksha and Gurulu Raksha, Hewā Kōlama, Jasa Lenchina
Kolam, Arachchi Kōlama and Mudali Kolama some parts of the Sanniyakuma (a kind
of devil dance) are also performed. What we do is a show/performance of Kalu
Yakā (Black devil) Daru Nälavilla (Lullaby), “Gini sisila (Cool Fire). My group
consists of artists B. A. Nihal, Manoj Ranjan Moonasinghe, Sujith Maitripāla,
Lasantha Pradeep Kumara, Vikum Lankara Jayasekara, Dumindu Nilanka Gurusinghe,
Shathish Upendra Lankādeva, Santha Samarawickrama, and H. N. Chāmara Pradeep
Kumara. Stage direction, production and co-ordination was done by Priyantha
Ranjan. It is the house of Drama (Institution)of Borella which organized the
performance. We have already staged about 10 displays. My group is paid Rs. 80,000
to meet all the expenses. The performance depends on tickets. One performance
was staged at Tower Hall Theatre
on 4 November 2012. Another show was stayed at the auditorium, Dhammissara
Vidyalaya, Nāththandiya on 24 Sep. 2012. They proved a triumph at Anuradhapura
the hall was jam-packed and many were standing. At the beginning I had no masks
in my possesstion. It is from an artist called Rūpas from Ambalangoda I
borrowed the masks. Now I have got my own masks. We receive requests for shows
during aulfural festivals. We receive move requests for children’s shows. I
have taken part in several foreign tours also. Sometimes I do performance at
hotels for foreign guests. The field is economically not a loss.
Analysis:
It was in 1967 that Sarachchandra and M.
H. Goonatilleke expressed their opinions on Kolam of Bentota. All night full
Kolam performance for the last time was staged at Bentota in the year 1963. Not
tying aile and
use of merely the law country drum are the characteristic features of the Kolam
dancers of Bentota. From 1965 up to end of 1970 the parts of pre-performances
of Kolam drama have been acted in concerts and in the Mahā Kasyapa procession.
Plays what they had concurrently with Poson (Buddhist religions festival of the
month June full moon Poya) Lantern of Kōmmala can more aptly called not as mask
drama or Kolam (mockery) but as Nūrti alias Tītar (Sinhala corruption of
theatre). In those plays role of women were taken by women themselves and
musical instruments such as sarpinā and dōlkiya had been used. They mostly
comprised dances/dancing with no masks. The third stage of the mask drama of
Bentota is the Nāga Rāssa Nätum (dance) organized in 1989 or in Sirisena
Jayasekara’s time. Professional dancing performed by artists such as Patmasiri
and Kumudu Kumara at tourist hotels and on performing stages can be treated as
the fourth stage. Patmasiri calls his own Kolam drama as Ambalangoda Kolam
drama. Patmasiri has no knowledge/understanding of features of Kolam drama
native to Bentota. He knows Kolam by descent and education. Artist Kumudu
Kumara is also the same. On that account these two artists cannot be taken as a
result of the uninterrupted continuation of the Kolam drama of Bentota. Except
for the fact that they have been residing in Bentota there is no justifiable
reason for them to be treated as two men responsible for the Kolam drama of
Bentota. Men and women interviewed here have little or no knowledge of Kolam
drama of Bentota. What is evident from this is that Kolam drama had been by
1950 treated as a disgraceful folk art. This discussion manifests how these
arts came to learned and appreciated by 1950 decade disregarding the caste
issue. The study also identifies the development of these arts by state
intervention in organizing concerts and holding competition on the one hand and
through such action re-establishment of them in a different context on the
other hand. Through an analysis of these facts we can reach the following
conclusion.
Conclusions:
Kolam drama of Bentota had been there
by the decade 1950 in the form of a folk play under the control of Themis
Jayasekara. By the decade 1960 it changed hands and now under Jinadasa
Jayasekara it changed into a Tītar-like drama. Nāga Rāssa Nätum performed by
Sirisena Jayasekara in 1989 was the last Kolam drama held in Bentota by way of
entertainment. Though there are artists who took part in Kolam drama still
living in Bentota they do not adhere to Kolam drama tradition of Bentota. After
1989 nothing connected with Kolam drama took place in Bentota. Information
already furnished by various researchers and authors about Kolam art of Bentota
are false facts presented without verifying the statements. By today the folk
drama called Kolam survives neither among the people of Govigama caste nor
among that of Berava caste at Bentota. It can be concluded that by today the
Kolam tradition of Bentota has been annihilated.
NOTES:
1.
Civil
war in southern area of Sri Lanka in the period during 1987-1998. It was
handled by yang followers of Janatha Vimukthi Peramuna.
2. Jinadasa Jayasekara was a Grade
“A” Singer of indigenous verses, Viridu (a type of ballads) and recitalist of
verses of National Broadcasting Corporation and worked also as a clerk at the
National Broadcasting service. He was one of the secretaries of Evening Service
of the Sri Lanka Broadcasting Corporation in 1970 and he was also the News
Editor of the Pulatisi Ravaya Broadcasting Service. He who worked as a Regional
Correspondent of the Lankādipa newspaper got married Sunanda Vijelatha
Munasinghe, the novelist. He died somewhere on 19.12.2009 and at the time of in
death he had been living in Hospital Junction, Nissanka Malla Mawatha,
Polonnaruwa. This account has been given because at discussions held in
connection with this study one statement contradicts the other.
REFERENCES:
·
Interview had with Mr. Prasanna
Abeywardane (69) at his residence at Galbada, Induruwa on 08/02/2014. He worked
as village headman of Bentota from 1960.one of the former chairman of all
Ceylon Village headman’s Association.
·
Interviews had with Mr Pathamasiri
Weerasinghe (57) of Thunduwa, Haburugala,Son of Traditional Guru Adin,a
contemporary Kolam artist on 06.11.2013 and 11.02.2014.
·
Interviews had with Mr. Nobert,Master
Mask carver and tom-tom artist of Suddagoda,Bentota on 25.02.2014.
·
Interviews had with Mr.D.S.Ponnamperuma
(90) of Suriyagoda, the most senior and the knowledgeable person living at
Bentota at present on 24.02.2014.
·
Interviews had with Traditional Guru
Eralis (chanter) of Suddagoda,Bentota on 23.02.2014.
·
Interviews had with Mrs.D.K.O.K
Sriyalatha(58)Born in Kommala but now living at Galthuduwa on 12.03.2014.
·
Interviews had with Mr Wilmat Galbadaarachchi (63)of Kommala,
Bentota, presently alive only one person who engaged with bentota kolam on
17.05.2014.
Telephone
Interviews:
·
Interviews had over the phone with
Mr.Kumudu kumara(38)Profesional Dancer and Tom-Tom- Beater of
Arachchimulla,Bentota on 25.02.2014.
Books
· Sarachchandra,E.(1999)Sinhala
Gemi natakaya(Sinhala adaptation of The Folk Darma of Ceylon,1966),3rd
edition, Maradana: S.Godage publication.
·
Goonatilleka, M.H .(1968).
Kolam nataka sahithya.Maradana:Rathna publications.
·
____________(1980)Kolam,
Sinhala encyclopedia, Vol.8.Ed.Dharmadasa.K.N.O, Department of cultural
affairs.
·
Sarachchandra.E.R,1966,The
Folk Drama of Ceylon,2nd edition.Ceylon:Dep.of Cultural Affairs.
· Perera,Ranjith,1995,Maname
manaranjitha manakalpitha,Theertha, Spring
edition, Colombo:Vibhavi Institute,29-47pp.
·
Amarasekara.K.G,2002.Kolam
Nataka puranaya, Etlanta Priters, Outhers publication.
·
Kaluarachchi,A. 2006, Kolam
nataka wimasuma, Authors’ publication.
·
Kottegoda,J.2009,Kolam gemi
natakayak nowe, 2nd edition, Boralesgamuwa: Authors’ publication.
