Origin of Bali rituals and its evolution
Gopitha Peiris
Continued from November16
Some of the raw materials mainly utilized at a Bali ritual are drums,
flambeaus, rosin, arecanut cutter, metal hand bell, unused mat, rice
pounder, comb, mirror and a braid of hair. Heeressa Creeper, tholambo,
divikaduru, betel leaves, rice gruel, sandal wood, milk, incense,
camphor, dew water, fragrant flowers are some of the ingredients
considered for offerings.
On the scheduled date at sunset Bali ceremony commences by beating of
drums, lighting earthen oil lamps and burning incense. Verses, stanzas
and quatrains are sung in a melodious and mellifluous rhythm by Bali
performers in adoration of the Triple Gem and some chosen deities. Then
the dance gets off the ground and proceeds till dawn on the following
day or for further duration according to the particular Balis selected
for a specific occasion.
The violent and vigorous dance similar to that of devil dancing is
inconspicuous in Bali rituals. The mode of dancing in a Bali ceremony is
a slow rhythmic movement conveying expressions by face movements and
hand gestures of the Bali performer. But there are insignificant
differentiations in the procedures adopted by Bali performers in Kandy
district, Southern district and Sabaragamuwa province. It is uncertain
and unbelievable whether there exists a ritual in any quarter of the
globe where painting, decorating, drumming, singing and dancing are
incorporated in one single cultural event.
Wide variety of Balis according to historical chronicles
It is recorded in manuscripts pertaining to Bali rituals that there
are 9 for 9 planets (Graha Bali), 27 for the 27 constellations (Nekath
Bali), 12 for 12 mansions (Rasi Bali), 8 for 8 Rakshas, 4 for 4
directions and 5 for 5 birds. In case all planetary deities are to be
propitiated in one single act, the Bali with 80 flower chambers is
prescribed (Asu Gebe Mal Baliya). Anguththara Nikaya text describes five
balis viz. Gnathi, Atthi, Pubbapetha, Raja and Devatha. Moreover 13
varieties of balis are mentioned in the text Ramayanaya. In point of
fact the number of Balis are too numerous to cite in this article.
Analysis and observations
In consideration of the aforementioned legendary and documentary
factors it can be presumed that Bali rituals had been introduced by
North and South Indian Brahamins to our motherland and it must have
probably got merged or amalgamated with the traditional rituals already
existed during the distant past and with the Hindu offering practices
that prevailed. Mention must also be made here that during Kotte regime
Bali rituals had been transformed into appreciable and admirable
modifications.
It is a natural inclination that human mind longs for a strategy to
avoid illnesses, mental deficiencies, misfortunes and misadventures. It
is assumed that the performance of a Bali ceremony has the potency to
bring physical healing as well as psychological contentment to an
individual who had been afflicted by malefic effects of planetary
deities and associated demons.
Bali rituals had faded away to a great extent from present-day
society owing to laborious and arduous pre-arrangements to be executed
before a Bali performance, which is a very expensive exercise and also
dearth of proficient and efficient Bali performers in the country.
Another noteworthy factor is the logical mode of thinking based on
modern scientific theories by most of the present-time generation.
‘Mahinda Chinthanaya’ (2005 – pages 87 and 88) under caption ‘Enrichment
of arts and culture’ expresses that a special program will be launched
to safeguard and enhance the traditional arts and artistes. Hence it is
the obligation of authorities of the Ministry of Cultural Affairs and
National Heritage to initiate appropriate action to conserve this
aesthetic and artistic Bali ritual for the benefit of future
generations.
Eminent personnel who have immensely contributed to popularize Bali
rituals
It is a gesture of profound gratitude to cite a few western and
native scholars who had executed extensive research on the subject of
Bali rituals in Sri Lanka and had authored informative and instructive
monographs. They are Messrs Otakar Pertold, Beryl de Zoete, Robert Knox,
Dandiris de Silva Gunarathna, Dr W Arthur de Silva, Professors Nandadeva
Wijesekera, Jayasena Kottegoda (Vice-Chancellor, University of Visual
and Performing Arts), Mudiyanse Dissanayaka, Head of the Department of
Drama, Ballet and Modern Dance of the above-noted university, Vinny
Vitharana and Tissa Kariyawasam. Our highest gratitude should be
bestowed upon the celebrated and distinguished personages undernoted for
their outstanding contributions rendered towards regeneration of Bali
dancing. They are Messrs J E Sedaraman, S H L Fernando – retired
Lecturer at Kelaniya University, Ranganatha, Director of ‘Ranganatha
Cultural Centre’ – Warakapola.
We should also appreciate and admire the distinctive and unique
services provided by the following traditional Bali performers for the
renaissance and resuscitation of Bali rituals in Sri Lanka. They are
Messrs Hakmana Ganithage Dingoris Vidya Silpi, M H Gomis – Weligama,
Weerasangilige Aedin – Thunduwa, Panditha Nekathige Ayonis – Dickwella,
Babarende Silpage Saundiris, Pitiyagama Punchiguru, Thiththawela Ukkuwa,
Thiththapajjala Suramba, Amunugama Rajapaksa Ganitha, Alakegama Nandina
and Rambukwelle Guru. It is our bounden duty to commemorate and accord
glowing tribute to all departed Bali performers in upcountry, low
country, Sabaragamuwa Province who were responsible for preserving or
conserving this highly acclaimed traditional Bali ritual and handing
over same from generation to generation. |