The cultural fabric of Sri Lanka has been colourfully woven with tradition and laced with ancient superstition. In this tapestry of ethno-religious ideology, we come across tales and legends. Some are piously attributed to divine deities and others are fearfully affiliated to supernatural elements from a darker realm.
When we analyse and begin to understand superstition in the background of ancient culture, we cannot totally reject it in the gaze of modern science. Rather these ancient beliefs and customs must be understood, respectfully giving thought to the bygone eras from which they stemmed and blossomed into ancient Sri Lankan society. Today, in this digitally-dominated time, we are at liberty to interpret these centuries’ old rituals, hopefully sustaining the essence of vintage Sri Lanka.
Wooden face masks are an interesting facet of Sri Lankan art. Among the famous locations for these bright and beckoning masks, Ambalangoda stands out as a hotspot for both tourists and locals. It has been ingrained within the belief system of many Sri Lankans that hanging these masks at the entrance of houses wards off evil or that deadly covetous gaze. When we pass construction sites, even in Colombo, it is common to see these masks hung on a pillar or one section of the rising building. I have seen miniature masks suspended in vehicles for good luck, among other purposes. The mayura raksha (peacock mask) is considered to herald prosperity. So, where does our fascination with these masks come from? Some suggest masks date back to the 15th century. Others observed that the Veddah people used face and body painting in dancing rituals to venerate dead ancestors. Perhaps this also influenced the wooden mask custom.
One of the common healing rituals, centred on these masks is the Daha Ata Sanniya (18 masks). In this ancient ceremony, one of 18 masks is used to cleanse and restore an afflicted individual from 18 maladies. These conditions are as follows
1. Butha – spirit-related insanity
2. Jala – vomiting and dysentery
3. Gulma – loss of appetite and swelling of the abdomen by parasites
4. Kana – blindness
5. Kora – lameness and paralysis
6. Bihiri – deafness
7. Vahata – rheumatism
8. Slesma – phlegm-related diseases
9. Kola – pneumonia
10. Gedi – boils and skin diseases
11. Amukku – trembling of the limbs
12. Golu – dumbness
13. Vevulum – fits and shivering symptoms
14. Gini Jala – burning sensation and fatigue
15. Kapala – madness
16. Maru – delirium and death
17. Naga – nightmares about death
18. Deva – infectious diseases and epidemics caused by divine wrath.
Most human ailments would fall into these categories.
Most of these healing rituals associated with the 18 masks, take place at night, where a shaman (healer) wears the desired mask and engages in chants and ritualistic dances. In a sense, it is an exorcism rite, but not in the sense of Western exorcism. In villages, this is a moment when close relatives and friends gather to observe the sanni yakuma (devil dance) which is supposed to ward off demons and malevolent spirits. The dance routine involves flame-throwing and also some uncouth speech to intimidate the demon. On a few occasions, I have heard accusations that the exorcist consumes liquor, in some remote villages. This tends to tarnish the rituals’ essence. In terms of healing, there is no guarantee that the demon will not return.
I have learnt that within the realm of demons, they too have a leadership or command structure. At the top of this hierarchy is the Maha Kola Sanni yaka (chief demon). There is an oral legend regarding the creation of this demon. Centuries ago, there was a pregnant queen. Her husband had suspected her of adultery and in a rage commanded that she be executed. In the last minutes of her life, the beautiful queen gave birth to a son. The orphaned child is said to have eaten the mother’s corpse. He grew up to be Maha Kola Sanni yaka who had a deep hatred towards his father and created the 18 illnesses to inflict on humans.
When a cleansing ritual is done to appease or challenge this yaka, the shaman (called yakendura in Sinhalese) conducts the proceedings. The dancer at the ritual wears a large mask which is unique. This heavy mask is adorned with miniature images of the other 18 masks - nine on each side. The patient (victim) makes an offering to the dancer, trying to appease the Maha Kola Sanni yaka. Those who have some knowledge of our rural dance forms will know that the dancing ritual of these ceremonies is a classical dance form from the Ruhunu region. Even today, it is taught to students of Performing Arts.
The masks are all handmade. Craftsmen select wood from the kaduru tree which is light and durable. The other trees used are diyakanduru and rukkaththana. The woodcarver must connect to the character in the desired mask. The evil is expressively depicted in these masks. Each of the 18 masks is crafted to denote the malady it is used for. The mask related to deafness depicts a cobra (a deaf creature) on the side of the face.
The mask for dumbness shows a wide open mouth with no tongue. The mask without eyes denotes blindness. There is a green mask with a hanging tongue to show its use for vomiting-related ailments. The mask for high fever and malaria is shown with a fierce red colour. Some have added a few flames to show the level of high fever. These ancient designs show us that amidst their superstitions, these ancient villagers did understand the symptoms of various diseases. We have a heritage of Ayurveda medicine in Sri Lanka, and one wonders if these ancient people engaged both the village veda mahathmaya (physician) alongside the exorcist to heal their diseases.
All masks are not related to demons. The kolam masks are comical and entertaining. The oral tradition says the masks were made for a pregnant queen - the wife of King Maha Sammaha. The designs were sent to the royal garden by the god of craftsmen Vishvakarma. The raksha masks have their own story. They are reflected in 24 forms. As with all Sri Lankan cultural art forms, the mask makers and dancers are a vanishing clan. Masks will be sold to tourists, but the real heritage of this vibrant art form must be sustained.
In conclusion, the cure for ailments has enhanced with all kinds of medicine and the habit of now e-channelling doctors. The requirement for the daha ata sanniya (18 mask ritual) is becoming less and will become obsolete in the next decade. Hopefully, the comical and non-demonic kolam dance forms with its vivid masks will remain, for cultural entertainment. After all, light dispels the darkness.
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