The Kandyan Vannam
 

by Derrick Schokman

Classical Kandyan dance forms find expression today in the Ves Netuma, Naiyandi, Udakki and Pantheru.

We are quite familiar with these massed dances, as they are regular features in the Kandy Esala Perahera and other important religious processions.

Vannam, on the otherhand, which is also a major classic Kandyan dance form, is no more than a name to many of us. It is a poetic form of solo dance that is not quite common.

My first introduction to the Vannam was in 1948 when Nittawela Guneya, already world famous as a Ves dancer, was called upon by the government to perform the Thuranga (Horse) Vannama at the Independence Day celebrations in Colombo.

This Vannama gives a vivid description of Prince Siddharta stealing away from the palace, the royal family and worldly possessions in his pursuit of Buddhahood.

Riding his horse Kantaka and accompanied by his courtier Channa, the Prince reached the Ganges.

This did not deter them because Kantaka, with his master on his back and Channa hanging on to his tail, took a flying leap to land safely on the other side of the river.

The Vannama ends with the drumming of the horse's hooves gradually receding as the Prince rode into religious history. Guneya's amazing leap from the top of the three-tier stage on which he was performing, won the admiration and loud applause of the VIP audience in attendance.

Classic 18

There are altogether 18 classic Vannam. Each one presents in song and dance a dominant subject drawn from nature, history, legend or folk religion.

The Kavi or poetry sung to music in the dance, is said to have been composed by an old sage named Ganithakara in association with a Bhikkhu of the Malwatte Chapter.

The various moods of the subjects portrayed: wonder, valour, compassion, anger, whatever, contained in the composition of the Kavi, cannot always be interpreted in dance form, and the dancer may therefore have to rely on mime in some instances.

Among the classic 18, the Gajaga Vannama enjoys a special place. It described the Sacred Elephant in the abode of the gods, his majestic gait, and frolics in the celestial lotus pools.

The Mayura Vannama was also popular, describing the beauty of the Sacred Peacock, which is the chariot of the Kataragama god Skanda. So was the Galaka Vannama, which is about the conch shell that is blown at all important ceremonial functions and religious festivities.

This vannama is inspired by the music of the conch, which is compared to the mystic resonance of the Veena played by God Sakra. During his reign, the Kandyan King Viraparakrama Narendrasinghe greatly encouraged music and dance. In his Kavikaramaduwa, next to the Assembly Hall in Kandy, song and poetry contests were regular features.

pomp and pageantry

He has accordingly been accorded a special vannama - the Udhara - which describes all the pomp and pageantry associated with royalty, as he rides the state elephant through the streets receiving the homage of the people.

Other vannams in the 18 not stated above are Naiyadi (cobra), Sinharaja (lion), Savula (cockbird), Ukussa (Hawk), Hanuma (monkey), Musaladi (Hare), Uranga (Crawling animals), Ganapathi (God), Surapathi (Goddess), Vyrodi (Iswara) and Eeradi (Arrow).

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