The Sanniyakuma shanthikarmaya ( Ritual

 

​The Sanniyakuma Shanthikarmaya, belonging to the Pahatharata (low country) tradition, is a vibrant and unique cultural performance. It is characterized by an all-night sequence of pudapooja (offerings and rituals), and is especially distinguished by its ranga särasili (stage decorations), ranga vastrabharana (costumes and ornaments), and the use of masks. The legends associated with Sanniyakuma reveal that one should strive to build a righteous Buddhist society by moving away from wicked intentions that are contrary to Buddhist practices.

​The Narrative of the Sanniyakuma Shanthikarmaya.

​

Two ancient narratives, the story of Dhang Udiya and the story of Sankhapala, are heard in the Sanniyakum Yagaya (ritual). The Sankhapala story holds the main place in the literature of the Sanniyakuma Shanthikarmaya and exhibits highly dramatic features. The Sankhapala story is used to exemplify the teachings contained within Buddhist practices and the Buddha's Dhamma. It emphasizes that jealousy, hatred, and revenge are contrary to Buddhist practices, highlighting the Buddhist teaching that hatred is not appeased by hatred. The legend states that Dhang Udiya, who falsely begged for dhang (alms) in the name of the Buddha, was reborn as a pretha (hungry ghost) in a stone form after death. It is also highlighted here that those who live by deceit will either face various afflictions in this life or be reborn in apaya (hell). The Dhang Udiya story has been popularized in an attempt to reinforce the notion that one's mouth emits a foul odour from lying.

​The Order of Rituals and Offerings .(Pudapooja Piliwela)

​

The Sanniyakuma Shanthikarmaya exhibits unique characteristics in the Bentara and Matara schools of performance. In the Bentara tradition, the athuraya (patient) is brought to the yaga mandapaya (ritual arena), made to recall the Triple Gem (Thunuruwan), lamps are lit, and the patient is made to sit on the athura pandalama (patient's pavilion), reminding them of the eradication of suffering. In the Matara style, no flower and lamp offerings are made to the Thunuruwan; instead, lamps are lit in the Sooni-yam Veediya for the Sooni-yam Deviyan (deity). In the Bentara style, the mal asna (flower altar/throne) is danced for the deities Natha, Vishnu, Kataragama, and Pattini, but this dance is not seen in the Matara style. During the evening rites (Handa Samayama), in the Matara style, kathirikaka (a type of offering stand) containing pideeni tatu (offering trays) prepared for Kalu Yaka, Reeri Yaka, Abhimana Yaka, and Thota Yaka are placed before the athuraya, and a screen (kadathira) is drawn. In the Bentara style, a kadathirawa is drawn after placing the pretha tatuwa (Pretha offering tray) and the pideeni mässa (offering platform) prepared for Kalu Yaka, Reeri Yaka, Abhimana Yaka, Thota Yaka, and Sooni-yam Yaka before the athuraya. The items Pandam Pada (torch verses) and Pandam Iratti Näteema (torch couple dance) are seen in both styles.

​Dance, singing , and Instrumental Music Components.

​

Drumming is essential for the flow of the pudapooja sequence in an all-night Shanthikarmaya and for establishing the connection between ceremonial moments. The rhythmic patterns generated by the drum give life to the movements of the dancers and help generate rhythm and emotional quality. The drum rhythms (bera pada vadanaya) in the Thunyamaya (three-watch period) of the Sanniyakuma can be classified as: drumming based on chanting, drumming based on dancing, drumming done as a ritual offering, drumming associated with dramatic moments, and drumming associated with the portrayal of occult forces. Drumming connected to moments where dance is given prominence without chanting falls under dance-based drumming, and it provides the necessary vitality to the dancer's various movements. Aghatatmaka bera pada vadanaya (percussive drumming) is used as a background to the anaghatatmaka (non-percussive/non-rhythmic) chanting such as yantra, mantra, sanna, and yadini.

​Dramatic Instances

​

When presenting dances like Yak, Sanni, and Pali on stage, the drumming is traditionally based on the movements performed by the actor to reflect the characteristics embedded in each character. During character introductions through dialogue, the sound of the drum is used to highlight the emotional state. For example, when Kalu Yaka (Black Demon) enters the stage and rhythmically says "dakka, dakka, dakka, dakka" (saw, saw, saw, saw) to indicate that he has seen the athuraya and approaches them, the drum is also played in a manner that conveys the semantic meaning of those words. In both styles, pali (a type of dance) is presented with the relevant masks, chanting, and dialogue, as an invitation to summon the Sanni demons.

​Costumes, Masks, and Stage Decorations (Ranga Särasili)

​

The ranga vastrabharana and masks are capable of intensifying the emotional power of the demon and sanni characters that traverse the Sanniyakum Yagaya. For example, the use of the colour red for the costumes and masks of Reeri Yaka (Blood Demon) intensifies the character. In the three apparitions of the Sooni-yam Yakshaniya (demoness)—the young woman, the pregnant woman, and the mother holding a child—it is important to portray the character using costumes and masks appropriate for each moment to bring life to these female roles. The main performance area is the Sanniyakum Veediya, also known as Kapala Veediya or Sankhapala Veediya. It is created with seven arches (thorana), with the main arch decorated with ramba pathuru (plantain strips), gokkola (tender coconut leaves), and other items. In addition to the main performance area, stage decorations and equipment such as the mal yahana (flower altar), pillu veediya (effigy street), kapala kooduwa (skull cage), kathirikaka, and pideeni mässa are decoratively prepared using ramba path and gokkola.

The Bali shanthikarma (Ritual )

 

The Bali ShanthiKarma is the foremost ritualistic offering performed within the Sinhala Buddhist tradition of Sri Lanka, aimed at warding off planetary misfortunes (graha apala) and seeking peace and well-being . Broadly, the term 'Bali' is used in the Digha Nikaya to refer to a gift (tax) given to the king, and elsewhere, as an offering made to the gods. It has also been described as a compulsory tax payable to the royal treasury on behalf of the king. In the society of the Buddha's time, the term 'Bali' was used in contemporary literature to denote either a voluntary gift to the king or a compulsory tax. Buddhist literature mentions that Bali pooja were offered to spirits , cobras, demons , and deities , and the offerings made to gods, demons, and planets were known as Bali Kamma. The Maha Suthasoma Jathakaya states that protection can be gained by offering the Five Balis (Pancha Bali) and that Balis were offered to deities to cure illnesses. The Five Balis found in Buddhist literature include Gnaathi Bali, Pretha Bali, Raaja Bali, Aththi Bali, and Dheva Bali. Therefore, 'Bali' is an act performed with the intention of offering a gift , and it is their belief that beneficial results are obtained from it.

Historical Information Related to the Origin of the Bali ShanthiKarma.

Although there is evidence that Bali rituals existed before the Kotte era, a popular legend in all three traditions holds that Shri Rahula Thero and Vidagama Thero, who lived during the Kotte Kingdom period, were involved in the origin of the Bali in Sri Lanka. According to the legend, during the time of Thotagamuwe Rahula Thero, a Brahman pundit named Ramachandra arrived from India and travelled all over the country performing Bali Poojas. To prevent this, Rahula Thero devised a strategy and asked him to perform a Bali. On the following day, Rahula Thero, observing the ritual, called his pupil, Vidagama Thero, and asked him to bring the Olu-leaf manuscripts written on Bali. The pundit was made to understand that a similar ritual (Bili kramayak) existed in Sri Lanka and that his services were not needed. Following this, the Bali Yaaga, which had been performed according to the Brahmanic method, was formally arranged by Vidagama Thero with the inclusion of the virtues of the Buddha . Determined to artistically refine the Bali system, which was based on the Indian Brahmanic sacrificial method , with Sinhala Buddhist features, Vidagama Thero added new elements not present in the Brahman Bali Yaaga. These included Budhu guna kavi (verses on Buddha's virtues) for singing based on numerous  , molding and colouring Bali figures from clay, and incorporating dance  and drumming . This Bali Yaaga, which originated in the Kotte period with Buddhist characteristics, evolved into its current state after being passed on to the ritualists (Aeduran) of the Up-Country (Udarata), Low-Country (Pahatharata), and Sabaragamu traditions, resulting in a blend of their respective inherent characteristics.

Reasons for Performing the Bali ShanthiKarma.

The common feature of performing the Bali Shanthi Karma is the appeasement of the planetary influences (Graha) through ritual offerings and seeking peace and blessings  to mitigate the inauspicious effects predicted based on an individual’s planetary positions in their horoscope . It is considered the main ritual  for the planets. The Bali Shanthi Karma is popular among people to dispel the inauspiciousness arising from planetary influences after birth, as well as various misfortunes and afflictions  that occur when the five Great Elements (Pancha Maha Bhoothayan)—Apo, Thejo, Vaayo, Pathavi, and Aakaasha—move to different positions. It is prescribed that a Bali should be performed based on the nature of the afflictions in the patient's planetary position, such as Maha Dhashaa, Anthar Dhashaa, and Eraashtaka Dhashaa. A specific feature in prescribing Balis is the adherence to odd numbers. If the patient is undergoing an inauspicious Maha Dhashaa, a main Bali is prescribed for it, along with Balis in series like 3, 5, 7, 9, etc.. Furthermore, Balis such as the Gaba Seth Baliya are performed to bless expectant mothers and alleviate negative psychological states and difficulties. Some people also perform a Bali Shanthi Karma at the end of a maiden performance to ward off planetary misfortunes, gain protection, and achieve mental peace, and to obtain rain, Balis such as Subhootha Baliya / Varshaadhipathi Baliya are performed.

Rituals of the ShanthiKarma.

While there are various distinct characteristics in the rituals of the Bali Shanthi Karma across the Up-Country, Low-Country, and Sabaragamu traditions, overall, a similarity in the pattern of the offering procedures  is observed. Prior to constructing the Bali pavilion (Bali Maduwa), a series of preparatory rituals are performed, including: planting the Bali post (Bali Kapa), fixing the dates, deciding on the materials, constructing the Bali pavilion, preparing the Bali platform (Bali Maessa), sourcing the clay for the Bali sculptures, sculpting and colouring the Balis, setting the eyes , and drawing the curtain (Kadathuraa Aendheema). At the start of the ritual, the Bali Adura (ritual performer) is ritually purified (Pee Veema), the patient (Aathuraya) is brought to the ritual grounds, lamps are lit for the Triple Gem led by the Buddha, and a lamp offering  is made by the patient to the deities and planets. Maidens  are seated on a mat on either side of the patient to invoke blessings , and the five precepts  are undertaken. This is followed by Mangul Bera Vaadanaya (auspicious drumming), singing of Namaskaara Shloka (obeisance verses), and invoking blessings for the patient by singing verses from the Shaanthi Rathna Maalaya. The Bali Adura lights lamps beside every Bali and begins the ritual after seeking permission from the teachers. The main rituals include opening the curtain by chanting Kadathira Kavi to reveal the Balis, showing the Balis to the patient while chanting Bali verses, chanting Sirasapaadha Kavi, chanting Grahapanthi Kavi (verses for the planetary rows) to pay homage to the planets, and the departure of the deities and planets . Finally, the ceremonial disposal of the Bali (Bali Igilleema) and sending the patient home  takes place.

Singing and Musical Components.

In the Bali Shanthi Karma, prominence is given to singing, and all three traditions use distinctive vocal and melodic patterns  along with the relevant traditional musical instruments. The repertoire of songs associated with the Bali Shanthi Karma is vast. Among the vocal components, the chanting of the virtues of the Buddha  is central. Also important are the Graha Panthi Kavi (verses inviting the nine planets, describing their direction, vehicles, colour, and food), Sirasapaadha Kavi (verses sung to remove misfortunes affecting the patient from head to toe), and Kadathuraa Kavi (verses chanted to remove the curtain between the patient and the Bali arrangement). In addition, Bali Madupuraya verses (on the decorations of the Bali pavilion), Aembum Kavi (verses describing the nature of each Bali), and Hing-hathara Kavi (verses describing the four Hings: Yama, Vaayu, Kaala, Murthu) are chanted. Since singing is given priority over instrumental music, the tradition of regulated drumming is known as Bali Bera. During the ritual, the Bali Adura moves, giving priority to the chanting, holding a small rattle (ath miniya) in the left hand and an areca flower cluster  in the right. Blessings are invoked for the patient at the end of every verse.

The Riddi Yaagaya Ritual

 

The Riddi Yaagaya is a traditional ritual performed to bring relief to individuals who are sick or afflicted by unfortunate circumstances. This ritual is primarily conducted to dispel diseases and malevolent influences affecting women, to provide protection from evil spirits , and to invoke blessings for fertility, prosperity, and longevity. The main deity worshipped during this 'yaagaya' is the goddess 'Riddi'. The ritual can be held on various occasions and includes other minor rites  such as 'Bili Pīdīma' (offering of sacrifice) and 'Doḷaha Peḷapāliya' (a procession).

The Riddi Yaagaya consists of singing , dancing , and musical components . The main dance forms are the 'Udukku Narthana' and 'Pahatharata Narthana' (Low Country dance). The specific singing  and  Dancing  vary according to the occasion, being performed for purposes such as worshipping deities, the 'Doḷaha Peḷapāliya', and praying for prosperity. The primary musical instruments used are the 'Udukkiya' and the 'Thammæṭṭama'.

The main objectives of performing the Riddi Yaagaya are to make offerings to the goddesses, to cure diseases, to remove misfortunes and calamities , to gain protection from enemies and dangers, to purify from malevolent influences  to pray for fertility, to bless expectant mothers, and to enhance the prosperity of the people. Throughout the different stages of the 'yaagaya', prayers are offered and offerings are made for these diverse purposes.

There is also a legend  associated with the Riddi Yaagaya. It narrates that the ritual is performed to seek the help of the goddess named 'Riddi' in curing various women's diseases and afflictions, and to obtain salvation from 'bhūtha', 'prētha', and 'yaksha dōsha'. According to some stories, the goddess Riddi has been revered since ancient times for her power to heal diseases and bestow blessings. Based on this legend, the performers of the 'yaagaya' seek to obtain blessings by making offerings to the goddess.

Various decorations and ritual items  are used for the Riddi Yaagaya. The location where the ritual is held is cleaned and decorated with various flowers, leaves, wood, fruits, and grains. The preparations include setting up a 'Pūjāsana' (altar), 'Thōraṇa' (arch), 'Manḍapaya' (pavilion), 'Kumāra Maḍuva' (prince's pavilion), 'Mal Yahana' (flower bed), 'Riddi Yahana' (Riddi's bed), and preparing an ornate 'Kumārikā' (maiden/figure). Decorations used for the 'Kumāra Maḍuva' include 'Kālpittiya', 'Panāva', and 'Kalpa Vrukshaya' (wish-fulfilling tree). Items such as 'Mal Vaṭṭiya' (flower basket), lamps, flags, 'Kiribath' (milk-rice), fruits, 'Pinidiya' (dew-water), 'dummala' (incense), and fragrant smoke are also used for the 'yaagaya'. The ritual items and decorations are considered offerings to the deities, and they are often adorned with flowers and leaves that are golden, red, or white in colour.

In this manner, the Riddi Yaagaya is an ancient 'shāntikarma' that is performed to cure diseases, pray for well-being and prosperity, and appease the goddesses, making it an important cultural element.

The Kirimadu Shanthikarmaya (Ritual)

 

​The Kirimadu Shanthikarma is a significant ritualistic festival dedicated to the God Kataragama, primarily centred in the Sabaragamuwa province of Sri Lanka. This ceremony was initiated with the core objectives of protecting the cattle population (gava sampatha), bringing prosperity to the villagers, and warding off diseases . In ancient times, rural folk depended on the blessings of the deities for their farming and daily lives. This ritual was essential to gain the blessings of the retinue of gods accompanying God Kataragama, prominently including Mangara Deviyan. A key goal was to affirm the prosperity and collective unity  of the village.

​

​The folklore that forms the basis of the Kirimadu Shanthikarma is connected to God Kataragama's arrival in Sri Lanka. The story of God Kataragama first arriving in Lanka and subsequently marrying Valli Amma is crucial here. God Kataragama performed the Kiri Koraha Pooja (Milk Pot Offering) to please Valli Amma and the indigenous tribes . This ritual is meant to pay homage to all of God Kataragama's consorts, including Valli Amma. This tradition has been maintained without change from ancient times to the present day.

​

​The primary component of the Kirimadu Shanthikarma is its unique set of decorative arrangements . These decorations can be divided into two main parts: 1. Mal Yahanawa and 2. Kirimaduwa. The Mal Yahanawa (Flower Shrine) is a stage-like area set up and beautifully decorated to place offering items for the gods. It is adorned with coconut leaves, flowers, and other ritualistic materials . The Kirimaduwa (Milk Ritual Enclosure) is the main performance space of the ceremony, where the Kiri Koraha (Milk Pot) is placed around the Mal Yahanawa, divine statues are kept, and the gods are venerated . The purpose of these decorations is to please the gods and receive their blessings . Singing  and instrumental music  are indispensable elements of the ritual.

​

​The Kirimadu Shanthikarma is not merely a religious activity; it is a powerful cultural tool that reinforces the unity and social harmony  of a village. During the organization and execution of the ritual, villagers invariably work together collectively , help one another, and provide material and labour contributions. This fosters solidarity  and harmony  among the villagers. Furthermore, the ritual instils values such as devotion , respect for elders , and the protection of tradition  in the next generation. The common aspiration of everyone is to pray for the removal of diseases and the attainment of peace , which brings the community together around a shared purpose. Thus, the Kirimadu Shanthikarma is a living ritual that preserves the village's cultural heritage and communal bond .

📝Written by Pasindu Amantha

The Valiyak Mangalya Shanthikarmaya

  

The Valiyak Mangalyaya Shanthikarmaya (Valiyak Festival Rite) is a unique spiritual and cultural remedy prevalent in Sri Lankan folk culture, primarily performed for the deities Vishnu and Kataragama.
​The Valiyak Mangalyaya Shanthikarmaya is held without fail for seven nights following the conclusion  of the Kandy Esala Perahera. Specifically, it commences on the day after the final Randoli Maha Perahera concludes, after the water-cutting (Diyakapana) ritual in the early morning and the final day Perahera in the afternoon. This Shanthikarmaya, which is performed at the Vishnu Devalaya, is known by several names, including Valiyak Thōthraya, Hathda Valiyakkuma, Valiyak Næṭīma, and Valiyak Mangalyaya.
​
The dancers and drummers who participate in the main Dalada Perahera do not take part in the Valiyakuṇa. Instead, only artistes from two specific lineages , said to have existed since the time of the Sinhala kings, participate. The performers who take part in the Valiyakkuma Næṭīma must observe a vow of Pē Vīma (abstinence) for seven days, avoiding meat, fish, and defilements (kilī).

​The Valiyakkuma is performed to achieve several objectives. The main objective is to remove any ill effects (apala upadrava) that may have occurred due to the Perahera, providing protection for everyone involved. This includes the high-ranking officials (nilamēvarun) who spearheaded the organization of the Esala Perahera, the entire staff  associated with the Dalada Maligawa, all attending spectators, and the artistes, performers , elephants, and tusker  who contributed to the procession. By offering seven days of rites to the main deities, they seek to dispel all adverse influences caused by these contributions.
​

The secondary objectives  include removing the imbalances and ailments resulting from the agitation of people's emotions and psychological distress, as well as dispelling external influences like graha dōsha (planetary defects) and dishṭi dōsha (evil eye) to bring about prosperity .
​Regarding the current state of the Valiyak Mangalyaya historically, after the Perahera concluded, the Diyawadana Nilame would inform the Great King  that the Perahera was successfully completed. From that day onward, the king would attend the Valiyakkuma held at the Maha Vishnu Devalaya for seven days.
​

The decorations and ritual components of the Shanthikarmaya are highly important. The principal decorative offering for the deities is a large flower altar (Vishāla Mal Yahanāva). Additionally, Pūjā Vaṭṭi (offering baskets) and offerings like kiri bath (milk rice), fruits , and flowers must be prepared for the Ālaththi Ammāvaru (ritual ladies).
​The dance and singing components play a significant role. The central theme of the Valiyaka Mangalyaya is the story of Kataragama Deviyan marrying Valli Devi . The Gāyana Anga include reciting kavi (poems) and varnanā (praises) extolling the virtues of Kataragama Deviyan. This dramatic presentation aims to divert the patient's fear and agitation, promoting mental revitalization and solace. Furthermore, the dance movements are believed to depict the līlāvan (divine play) of the deities, imparting a healing influence on the patient's thoughts and physical activities.
​

When examining the current nature of this Shanthikarmaya, it appears that its scale and duration have been reduced compared to the past. The Shanthikarmaya, which once spanned several days, is now shortened, likely due to a scarcity of skilled practitioners and resources. Nevertheless, the Valiyak Mangalyaya continues to be a potent tool for promoting Sri Lankan identity and providing mental and spiritual healing . Its true value lies in its ability to address and remove agitation of the mind with a foundation in folk psychology.
          
  
📝Written by Pasindu Amantha