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.
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