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.