Tuned to the Beraya beat

Drum festival to revive traditions and customs :

Bhagya SENARATNE

Like Domikitha kitha dom domikitha kitha dom the beat of drums vibrated in the air whilst under a starlight sky the other night at the Beraya Drum Festival organized by the Faculty of Livestock, Fisheries and Nutrition of the Wayamba University of Sri Lanka.

This event was organized in an attempt to promote and strengthen inter-community harmony. The drum session presented the participants with an opportunity to understand and enjoy the differences between the different cultures via music. Undergraduates and lecturers representing five universities in Sri Lanka were present for this festival: Universities of Jaffna, Eastern, Rajarata, Peradeniya and the host Wayamba University.

The Drum Festival was conducted by Professor Mudiyanse Dissanayake along with his troupe and Rohana Beddage. The session started with the lighting of the ceremonial oil lamp, which is a similarity in both the Sinhala and Tamil cultures. This was one such cultural resemblance the participants were able to empathise with.

Sinhala and Tamil

Starting the evening with the lighting of the oil lamp, the participants saw a variety of similarities, especially between the Sinhala and Tamil cultures. In the Sinhala culture, it is a tradition that before a drum festival, malyahan kavi are chanted to pay homage to God Vishnu and other Gods depending on the geographical location, also known as the 'Village God'. In the Tamil culture too they have the Vilakku or the lighting of the oil lamp prior to such a festival whilst reciting slokhas to pay homage to Gods Ganesh, Sarasvati etc.

Another interesting feature is that all auspicious events and ceremonies commence with the musical rhythm, of the magul bera a type of a drum from the up country area, which is unique to Sri Lanka. This is called the magul bera waadanaya. At this drum festival, this special episode was performed by a mixture of both the up-country and low-country drums, signifying two different geographical regions, but at the same time demonstrating unity through music.

Religion and drums

Drums are not new to Sri Lanka. It is said to have been a significant feature in the history of our country from as way back as the 5th Century AD. So much so that, similar present times, the drums were performed prior to all main events. It was considered a ceremonial instrument. It is recorded in our history that when Bhikkuni Sangamitta arrived in Sri Lanka with the sapling of the Sri Maha Bo tree in 236 AD, along with experts from thirty two fields of works such as

carpentry, masonry, sculpture and music. There were experts in drums amongst them as well.

The drumming culture which was popular to a certain extent prior to this grew in leaps and bounds in popularity after this. This resulted in customs such as the pancharurya wadayana, which is heard in the temples thrice a day. Similar to the Buddhists who have this type of drums recitals to pay respect to the Dhamma, the Hindus too have drums called Valinada within their Kovils to pay their respects to the respective Gods. Therefore, we see that there are similarities in the religious cultures of these two religions, and this understanding was ascertained by those present at the night of the Drum Festival.

There is also gaman hevisi which is generally heard during the perahera season. These drum tunes are especially played for the perahera. Religious pageants or processions, known locally as a perahera, have been part and parcel of Sri Lankan culture for centuries. Almost all religious places of worship that hold a street pageant do so annually, at around the same time or date each year.

Experiencing the drum

The night was a wonderful learning experience with regard to drums. There is a way in which the words are situated in a drum beat. By playing that string of words in that very precise manner, one is able to get the desired melody, like thath jith then nath. These are called 'musical drum words' and it is said, that it is extremely important for these words to be positioned is that very manner and not be changed whilst being played. Each drum has a set of unique beats to it.

Therefore one has to know the exact set of beats for that unique drum, prior to playing it. It is inappropriate to mix the drum beat of one drum with another. This is a task of memorizing the beats that has been practiced and passed from one generation to another by oral recitation. Even in the modern technologically savvy world, these traditions remain the same. It is a coordinated effort between ones hands and mind.

God and drums

It is recorded in ancient history and it is a popular belief that drums were used to pay homage to gods and deities began with the arrival of devol in Sri Lanka. There is an interesting story behind this tradition. It is said that when god Devol, an Indian god tried to enter Sri Lanka, he was not allowed entry in to our country by god Paththini. It is believed that he used a performance of drums as a means to enter the country, Sri Lanka. The Seenigama Devale which is located on the southern coast dating back to 235 BC is built dedicating to god Devol.

Saudam is another unique area where the drums are heard. There are 64 academic saudam, while one can make their own saudam to a drum beat. These are known as 'creative saudam'. Generally when performing saudam, it is accompanied by a drum beat.

Another interesting item displayed was the deva-yaksha (god and devil) concept. It is said, by using this method of evoking ideas of good and the bad in the minds of the youth during ancient days helped maintain discipline within the villages. For this one finds the thovil and poojas for the gods and demons. During these occasions too there is the use of drums. Therefore the participants saw the interconnection between the village life and the role the drums played in it. There are further areas which depict cultural similarities where drums are being used. One such area is naadagam (Sinhala) or naatakam (Tamil).

Unfortunately, the participants were only able to see cultural comparisons of the Sinhala and Tamil cultures. The Muslim culture was not depicted, because due to their religious restrictions they do not have a colourful drum tradition as the Sinhalese and the Tamils. However, the participants enjoyed understanding the similarities between the other two communities.

Having organized for the first time in the history of the university, the participants were able to witness the similarities between the Sinhala and Tamil cultures through the use of drums. Events like this promote interracial harmony and show people that we are similar in more ways than we give reason to believe. This is the first of a series of events organised by the Faculty under a project funded by FLICT.

Pictures by Ruwan de Silva

..................................

<< Artscope Main Page