DBT Kappagoda, in Daily News, 4 April 2018, where the title reads thus “How Kandyan dancing began”
Kandyan dancing is popularly known as Udarata Natum derived its name from the traditional dance forms peculiar to the central region of Sri Lanka. The origin of Kandyan dancing can be traced back to the time of the Nayakkar rulers who ascended the throne of the Kandyan Kingdom 300 years ago.
In Kandyan dancing Vannam forms as a special feature. In Tamil and Telegu Vannam means a description. When the dancer performs he recites the Vannama and according to the description when he has recited and begins to dance displaying a Tandava style of dancing. The dancing is done in a rigorous way while describing the movement of the cobra (Naiyandi), elephant (Gajaga), peacock (Monera), eagle (Ukussa) showing the onlookers a description of the animal. In the course of the recitation, adoration to the Buddha and the great qualities he had possessed is highlighted.
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Susan Bayly in 1983, reviewing Caste Conflict and Elite Formation: The Rise of a Karava Elite in Sri Lanka, 1500-1931 by Michael Roberts Cambridge University Press: Cambridge, 1982.
The literature on the south Asian caste system is vast and contentious and the current war of words shows no sign of abating. This book conforms to current trends both in focusing on the experience of a single caste group under colonial rule, and also in adopting a polemical tone towards other historians. Roberts’ subject is the Karava population of Sri Lanka and his first aim is to explain why this group of poor fishermen and artisans managed to throw up a disproportionately large elite of businessmen, lawyers and other western-educated professional men by the end of the nineteenth-century. The discussion is set against the background of works on comparable Asian business communities such as the Marwaris and Parsis. An important theme, then, is the relationship between individual enterprise and the corporate structure of caste: did the Karava magnate class emerge because of, or in spite of, their roots in a hierarchical caste order? Continue reading
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The Sooriya Village Concert and Workshop Series presents, “What Is Baila?” conducted by Dr. Shihan de Silva Jayasuriya with illustrative accompaniments on Piano & Bongo!
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Listen to PODCAST by Steven E. Kemper introducing his book Rescued from the Nation: Anagarika Dharmapala and the Buddhist World (U of Chicago Press, 2015) from New Books in Buddhist Studies … in London ….. https://itunes.apple.com/gb/podcast/new-books-in-buddhist-studies/id458210899?mt=2&i=1000345817559
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The culture of Sri Lanka mixes modern elements with traditional aspects and is known for its regional diversity. Sri Lankan culture has long been influenced by the heritage of Theravada Buddhism passed on from India, and the religion’s legacy is particularly strong in Sri Lanka’s southern and central regions. South Indian cultural influences are especially pronounced in the northernmost reaches of the country. The history of colonial occupation has also left a mark on Sri Lanka’s identity, with Portuguese, Dutch, and British elements having intermingled with various traditional facets of Sri Lankan culture. Additionally, Indonesian cultural elements have also had an impact on certain aspects of Sri Lankan culture. Culturally, Sri Lanka, particularly the Sinhalese people, possesses strong links to both India and Southeast Asia.
The country has a rich artistic tradition, with distinct creative forms that encompass music, dance, and the visual arts. Sri Lankan culture is internationally associated with cricket, a distinct cuisine, an indigenous holistic medicine practice, religious iconography such as the Buddhist flag, and exports such as tea, cinnamon, and gemstones, as well as a robust tourism industry. Sri Lanka has longstanding ties with the Indian subcontinent that can be traced back to prehistory. Sri Lanka’s population is predominantly Sinhalese with sizable Sri Lankan Moor, Sri Lankan Tamil, and Indian Tamil minorities.
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This essay on the life and art of Neville Weereratne is based on interviews recorded in Melbourne in July 2014 and from material collected during fieldwork in Australia and Sri Lanka.
The artist and author Neville Weereratne died in Melbourne on 3 January 2018 at the age of 86. He was born in Colombo on 3 December 1931. A Sinhalese by descent and the youngest of five siblings, he began drawing at about the age of six. He grew up in a Roman Catholic family in Hulftsdorp, near to the Supreme and Magistrate courts, but their home was requisitioned by the civil authorities in World War 2 and so the family moved into a house in Dehiwela owned by the Peries family (Ivan and Lester).
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