Metaphysical representation of folk drama in educational structure: an Ethnographic Reading on Discourse of Bentota Kolam Drama

Profesor Jayantha Amarasinghe*

Saman M Kariyakarawana**

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.

* Profesor, department of Sinhala,University of Ruhuna,Mathara.** M.phil resercher, Department of Sinhala,University of Ruhuna,Mathara.

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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 (Saussare, 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

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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.

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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.

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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)

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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).

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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

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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,

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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

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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

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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.

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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.

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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,

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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

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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.

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This account has been given because at discussions held in connection with this study one statement contradicts the other.

REFERENCES:

Interviews:

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.

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____________(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. Saussure, Ferdinand de.,1966. Course in General Linguistics. Translated from french by

Wade Baski.London: Hill Book Company.

MAPS:

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PICTURES:

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Wilbert Galbadaārachchi sours:SMK)

Pic.3: Pathamasiri Weerasinghe, son of guru Adin, living at Thunduwa, Haburugala. (SMK)

Pic.5: Jinadasa Jayasekara living in Bentota

Pic.4: a poster of Kolam show held at Tower hall organized by Pathmasiri. He says that these are traditional Ambalangoda Kolam.

Map 1: Village headman’s divisions of Bentota Village council area.