A Raksha mask is a mask that Sri Lankans use a lot in festivals and cultural dances. Raksha means “demon” and the masks are apotropaic which means that it is intended to ward off evil. They are painted in vibrant colors, with bulging eyes and protruding tongues and they depict various types of demons. Raksha masks are thefinal aspect of the Kolam ritual, and they are a tribute to the Rakshasas, a race that earlier ruled Sri Lanka and could assume 24 different forms. But only a few of these forms are performed, some of which are Naga Raksha (cobra mask), Gurulu Raksha (Mask of the Bird) and Maru Raksha (Mask of the Demon of Death).
This ritual has been created to heal the sick, and so this is how the Raksha masks were created. The Raksha masks were first made for the uses of those rituals. The witch doctor wears these masks to imitate the imaginary faces of the devils which were known as the cause for the disease. The doctor then dances to the rhythm of the drum and wore the demons away. Raksha masks were and are also used to perform Raksha dances in Kolam Maduwa. According to legends, Sri Lanka was earlier ruled by a race called Rakshasas whose king was Ravana of the Ramayana. Now the Raksha masks are used in a lot of festivals, cultural dances and are also sold to the tourist trade and institutions for display.
Different types of masks have different meanings. Some of these types of masks are religion, ritual, secular, exorcist and exorcist with ritual overtones. These masks also have different uses to them like healing or spiritual uses. They are made to represent different types of demons. The masks can be different shapes and sizes, but the looks of the masks depend on the ritual or dance it is used in.
Mask carving is a local tradition at the southern coastal region of Sri Lanka in Ambalangoda. Ambalangoda is known for their traditional mask carvings and dancing. The present institution known as Ariyapala & Sons which passed through their fifth generation mask carving and dancing is very cultural in Ambalangoda.
The Raksha masks are nearly entirely made out of a light, soft wood called kadura, which is smoke-dried before the mask is carved, with a hollow inside so you can put the mask on your face. Other material are used for additional details. The teeth are made from shells and the eyes from glass. Often the eye openings are left bare to allow the wearer’s eyes to be seen, and this gives an appearance of real life to the mask. Color had an immense importance and there are prescribed color-schemes or masks. The older masks are found in the color or red, yellow, black, white and sometimes a dark green obtained from mixing yellow and black. Blue was used very rarely.
The color of the masks usually represent the color of the demon which they believed it looked like. The masks often had the same shape style, which was long, narrow and pointy. Facial expressions on the mask are quite strange. Some would look foolish whilst others intimidating. Intimidating masks would have sharp, pointy teeth with bulging eyes while foolish masks would have less intensifying eyes and smiling with human-like teeth.
Fire
The Ginidella Raksha mask is a Raksha mask which is means its job is to ward off evil. This mask is representing the emotion anger which is why the colors are red, orange, and yellow. The patterns on the ears are warding off all evil. The patterns on the ears and the face really draw your attention which the Sri Lankan people found really important.
Snake
The Naga Raksha mask, also known as the Snake Demon, uses a lot of colors and patterns to it. The most noticeable and attractive pattern is the hair which is shaped into cobras, therefore the name Snake Demon. It has a very long Tung to smell its enemies and the teeth to eat them which in this case are the Sri Lankan people.
Peacock
The Peacock mask is supposed to bring peace and harmony, therefore the bright beautiful colors white, and blue. A peacock is also know to bring peace and harmony. This mask also wards off evil spirits and ghosts.
There were different types of masks that had different meanings. These types of masks are:
1. Religion/magical
2. Ritual/spiritual
3. Secular/spiritual
4. Exorcistic
5. Exorcistic with ritual overtones
The masks have different uses to them, like spiritual or Healing uses. THe masks of Sri lanka(no matter what they are used for) are made to represent different types of demons. The difference in the masks is color and aesthetics.
One mask can have a face of a bird, another can be a face with big teeth and tongue sticking out. The looks of the mask depends on which ritual/dance it is used in
The masks come from originally from South East India. Not only Sri Lanka has strong Indian cultural influences, but also Cambodia, Burma, Indonesia and Thailand do.
The Sinhalese further developed the masks into their own characteristic styles. Sinhalese people, an ethnic group which is native to the island of Sri Lanka. Nearly 75% of Sri Lanka’s population are Sinhalese with over 15 million people.
Sri Lanka is well-known for worshipping demons, hence they created a variety of devil masks for ungodly practices. Masks in Sri Lanka are also based on mythological, animal-spirit and human figures for the sole purpose of rituals.
Sri Lankan Traditional Devil Dances / Demon Dance Exorcism
“Lady, Poya night, Devil dance, Lady like see?”
It was our appoo (house servant) who spoke, I had commissioned him to a acquire all information concerning the holding of such rites, made up of barbarism, superstition and genuine Oriental occultism.
Yes, “Lady” would “like see.”
-A Devil Dance in Ceylon – New-York tribune, December 03, 1899
Sri Lankan Devil Dancer
A MIDNIGHT ceremony. Crowds milling, bodies slick with sweat in the tropical night. Torches lining an earthen arena. A patient is dazed with illness, propped on a low seat. The rhythmic beat of drums. The smell of smoking resin. A figure enters, back first and the rhythm of the drums changes, intensifies. The figure whirls and the patient is suddenly presented with the face of his tormentor!
The yakun natima, or devil dance ritual of Sri Lanka, is nothing if not full of drama. Not just a charade or interval designed to entertain, the yakun natima is a carefully crafted ritual with a history reaching far back into Sri Lanka’s pre-Buddhist past. It combines ancient Ayurvedic concepts of disease causation with deftpsychological manipulation. Lasting up to twelve hours, it mixes raucous humour with deep-rooted fears to create a healing catharsis for both patient and community.
But while the beating of the bereya drums, the torchlight, and the smoky resin contribute to the aura of the night’s magic, it is the masked face of the edura, or exorcist/shaman, that personifies the power of the moment-the devil incarnate (1). It is the mask or vesmuna which localises the fears and anxieties of both patient and audience. To the Sinhalese, it is this face, carved of wood, with bulging eyes, protruding nose and gaping mouth, disfigured and fierce, which represents both cause and cure (2).
For the ethnographer, the traditional belief systems and practices surrounding the yakun natima and other Masked dance rituals of Sri Lanka’s southern coast provide a rich and fascinating field for research. For the collector, these ritual masks represent a sophisticated folk art form; beautiful and mysterious. Carved of wood and pigmented with natural hues and resins, these masks are infused with a spirit and animation which command attention. The patination of a ritual mask, darkened by years of use, and the repairs upon repairs of cherished examples bespeak their importance within their village communities. Within the context of the dance they are hypnotising. Taken out of that context and viewed on their own they are masterpieces of a rich folk art tradition (3).
To look at a complete collection of late nineteenth century ritual dance masks provides insight into the imagery and beauty that are the essence of these powerful spiritual talismans.
The masks used in the exercise of so called demon dance exorcism are so grotesque, the dance itself is utterly devilish to the breakneck pace of the explosive drums, the whole exercise would halt the march of folly of evil itself, the long strides of the devil himself. If so the, the aim achieved (didn't we say, we aim to please), all would be in fine fettle, every thing would be in ship shape, all chicks in fine fettle & all would be happy & jolly. It cannot get any sweeter, isn't it?
The “Devil Dances” are an attempt to respond to the common belief that certain ailments are caused by unseen hands and that they should be chased away for the patient to get cured. If an individual or a family is not doing well, the village-folk believe that it’s because that person or the family is being harassed by unseen hands. A ‘thovil’ ceremony is the answer.
The ‘thovil’ can be a simple ritualistic ceremony at home restricted to family and immediate neighbors or involving the whole village like the ‘gam-maduva’ or the ‘devol-maduva’ which is closely linked to the worship of gods. Masked dancers take part in at least two of the well-known ‘thovil’ ceremonies referred to as the ‘Maha Sohon Samayama’ and the ‘Gara Yakuma’. The mention of ‘Maha Sohona’ frightens the people since he is believed to be the demon of the graveyards.
The performer disguises himself as a bear and wears a mask and a dress to resemble one. Often the ‘thovil’ involves the ‘sanni’ dances where all the dancers wear masks. The ‘daha ata sanniya’ refers to sixteen ailments with a demon being responsible for each one of them.
Dancers wearing masks take part in processions while at certain ceremonies, masks are used to depict different characters. Of later origin are the masks worn by children and teenagers at street performances during Vesak. Popularly known as ‘olu bakko’ for the simple reason that oversize masks are worn, these performances keep the younger-folk, in particular, entertained.
The simple version of the devil dance ritual usually starts in the morning with the building of the stage, decorations and preparation of the costumes. The performers build an intricate stage before which the dancing commences. The stage consists of a wall made of freshly cut natural materials such as coconut palm tree and banana tree trunks. Depending on the region and the available materials the stage may also be coated with clay mud. The dances are accompanied by drummers which also herald the begin of the ritual. The distinctive sound ensures all neighbors turn up to take part. The full ritual usually lasts until the morning, with the dancers consuming betel-nut juice and drinking coke to stay awake. Dances can however also go on for multiple days.
Legend of the Rakshasas
Legend has it that Sri Lanka was once ruled by a race called the Rakshasas. The Rakshasas could turn themselves into cobras. The cobras would capture the enemies of the Rakshasas and turn them into slaves.
Wooden Raksha masks are used to recount the tales of the Rakshasas in a comical Kolam Dance performance.
Cannabis Dances with the Devil
Few have heard of, fewer still have witnessed, Cannabis Dancing with the Devil…
For thousands of years a dance rooted from sacred rites has been performed to fight off demons and even the Devil himself…
Cannabis’s role in the Devils Dance? Only to help communicate to different worlds/realities, compelling the Demon…
Performed by a Kattadiya (Ceylon Priest) dawning a ornate devilish mask, the dance of the devil begins…
Devil Dancers, Sri Lanka 1910
In ancient Ceylon (present day Sri Lanka), the Kattadiya appears as the pulse of drums begin the Devils Dance…
Like a being possessed, the Kattadiya dances around flailing in his quick movements to the rhythmic beating of the drums. The Kattadiya is joined by more devil dancers dawning mask’s of evil looking intent…
Sometimes lasting more then 12 hours, the beating drums and dancing intensifies only stopping for the Kattadiya to perform his ritual’s.
Hooniyan Kerema (notice the plumes of narcotic smoke) “a pumpkin was cut in halves, the Kattadiya meanwhile commanding the last departing demon to enter therein and take up his abode…. After a few minutes the pumpkin was flung into the sea.”
“Dummala, a species of very inflammable rosin, the gum of the Sal tree, Gungah, Indain hemp, and other drugs and narcotics best not to mention, in chetties were placed around the patient, who presently became wellnigh obscured by their fumes.”
-A Devil Dance in Ceylon – New-York tribune, December 03, 1899
Sanni Yakun Neteena aka Sanni Yakuma or “woman made sick by an obsessing demon”
When a person is possessed by a Demon, a Sanni Yakuma is performed in the Devil Dance.
The Sanni Yakuma starts late into the night at the frenzy of the Devils Dance…
Wrapping a thread blessed by a virgin around the person, a concoction of narcotics (whose main ingredient is Cannabis) are lit around the patient laying on their back, engulfing the room in fumes.
As a curtain of cannabis infused fumes rise around the patient, both the Kattadiya and possessing Demon can now communicate…
ht Tibetan Devil Dancer
“The patient was certainly changed- a different being apparently. All that defiant, evil glare was gone from her eyes… Her first expression was one of astonishment, bewilderment indeed for a second or two, then her impulse was to go and seek seclusion. But to this the Kattadiya objected. She must remain in a humble, suppliant posture until the following was intoned in a jargon half Tamil, Half Singhalese:”
“O Brahma, Siva, Vishnu, O Walia, come! Come, Hanumantu: Come, all ye gods. Ye demons, be bound, be confined, be conquered. Be subservient to our will. By the power of Vishnu I compel ye: I and the higher gods (devas) are one. O Demon Reeri Yakseya, be bound by this charm: by our will I command.”
-A Devil Dance in Ceylon – New-York tribune, December 03, 1899
Devil Dance, yakun natima of Sri Lanka (notice the smoking ‘incense’ the devil is offered and takes a big inhale of at 2:19…
The Dance of the Devil can be found in cultures spanning around the world cut off from each other for thousands of years…
High up in Tibet the practice has some of its oldest roots. The Ancient Aztec would Dance with the Devil in the Oaxaca mountains in Mexico. And even the Native American Apache’s dare to Dance with the Devil in the Arizona desert…
With so many beliefs, customs and practices around the world, Cannabis again connects us all…
https://i2.wp.com/www.thecannachronicles.com/wp- Characters in Tibetan dance drama ‘Milarepa’ or ‘devil dance’ at Labrang Monastery 1932/1933
Ambalangoda is a coastal town located in Galle District, Southern Province of Sri Lanka. Amabalangoda is the town is renowned for the manufacture of wooden masks and puppets and is famous for its ancient devil masks and devil dancers. It is approximately 107 kilometres (66 mi) south of Colombo
The traditional arts of mask making and puppetry cling to their last refuge in Ambalangoda in the South.
‘Raksha’ and ‘Sanni’. The origins of Raksha and Sanni masks run far into history. Rakshas are exotic demons, with bulging eyes and bloodthirsty, protruding tongues. Some are crowned with seven-headed serpents and others have parrot-like beaks of ‘gurulas’ (a race of mythical birds). All have been carved and brilliantly lacquered to produce a striking effect, with something majestic about them despite their demonic nature. These Raksha masks are used in festivals and ceremonies.
Ambalangoda masks are carved out of the light, Balsa-like Kaduru wood. Before the carving begins, the wood is smoke-dried for a week. Then work begins with chisel and mallet. Both in carving and painting, the artisan obeys ancient scriptures, which give stringent guidelines.
Puppetry, or rukada, was not born in Ambalangoda, but it was in this town the craft reached its supreme height in Sri Lanka. Podi Sirina Gurunnanse was a legendary puppeteer of Ambalangoda. It was Gurunnanse who produced the Ehelepola play, based on the tragic story of the aristocratic family. At the peak of his career, he performed before the Duke of Edinburgh, Queen Victoria’s son, when he visited Ceylon in the late 19th century. A cast of 47 puppets was used in the performance, and the royal duke gave Gurunnanse a gold medal and a cash prize of five hundred rupees.
Calloway, John, Kolan Nattannawa, A Cingalese Poem, London, 1829
Jayewardene, E.D.W., Sinhala Masks, Colombo, 1970
Loviconi, Alain, Masques et Exorcismes Ceylon Paris, 1981
Obeyesekere, Gananath, “The Ritual Drama of the Sanni Demons: Collective Representations of Disease in Ceylon” in Comparative Studies in Society and History, 1969
Pertold, Otaker, Ceremonial Dances of the Sinhalese, Prague, 1930
Wirz, Paul, Exorcism and the Art of Healing in Ceylon, Leiden, 1954
Mask making is a popular tradition in Sri Lanka. Many Sri Lankan mask artisans ply their trade along the Western, South Western and Southern coasts of the island. Of these, the Ambalangoda area on the South Western coast of Sri Lanka is renowned for its talented artisans. Ariyapala and Sons is an important landmark in the town of Ambalangoda that famed for its history and expertise mask carving and culture. And the best place to get your fill of mask lore is the Ambalangoda Mask Workshop and Museum is Sri Lanka.
The AmbalangodaMask Workshop and Museum is Sri Lanka: About Ariyapala & Sons
This institution which has remained in the Wijesuriya family for five generation serves as a cultural center with a small library, mask workshop and mask museum. The center was named after one of the Wijesuriya family ancestors Ariyapala Wijesuriya Gurunnanse who was one of the most famous master craftsmen of Sri Lanka.
With the disappearance of the traditional beliefs that form the basis of the Sanni Yakuma (devil dance) and the increase of digital media causing a lack of interest in traditional plays (Kolam Dance) the Sri Lankan traditional mask culture has practically disappeared. Once treasured by museums and private collectors, mask carving is on the decline with the only remaining aspect being a cottage industry focused on tourism.
Of the formerly famed old families of mask master craftsmen, only the Wijesuriya (Wijesooriya) family continues to uphold the tradition of mask making and cultural plays. In addition, in order to create a lasting footprint for Sri Lankan heritage they have taken upon themselves the task of making all the 120 Sri Lankan traditional mask designs.
At the Museum, visitors can leisurely keep a watch of traditional mask craftsmen busy at work and they can also view the masks put on display. These masks portray various vibrant characters such as demons, gods, heroes and villains who appear in traditional mask dances. You will have the opportunity to be lost in a world of bygone charms.
The Museum
The mask museum has many displays of masks and other items such as primitive tools used to make masks. Though the entire 120 masks cannot be displayed due to lack of space, two entire collections belonging to the Sanni Yakuma ritual, and the Kolam Dance are displayed here.
The Library
The mask library is the only one of its kind in Sri Lanka. It has anthropological records on the history of mask making and the traditional performances for which masks are used in Sri Lanka. It is a treasure trove of knowledge for history lovers and has to be visited
Ambalangoda and its mask museum are fun and unique places to visit with sunny white beaches and interesting cultural quirks.
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