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 1
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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.
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.