History of Kandyan Dance

In Kandyan dancing Vannam forms as a special  feature. In Tamil and Telegu Vannam means a description. When the dancer performs he recites the Vannama and according to the description when he has recited and begins to dance displaying a Tandava style of dancing. The dancing is done in a rigorous way while describing the movement of the cobra (Naiyandi), elephant (Gajaga), peacock (Monera), eagle (Ukussa) showing the onlookers a description of the animal. In the course of the recitation, adoration to the Buddha and the great qualities he had possessed is highlighted.

Kandyan dancing is popularly known as Udarata Natum derived its name from the traditional dance forms peculiar to the central region of Sri Lanka. The origin of Kandyan dancing can be traced back to the time of the Nayakkar rulers who ascended the throne of the Kandyan Kingdom 300 years ago.

The books written on this form of dancing namely Nrutiya Upata, Bere Daul Upata and Saranga Male do not refer to the existence of books on Kandyan dancing. But with the coming of the Nayakkar rulers, it was made possible for the dancers, musicians and craftsmen to make their presence in the Kandyan kingdom which resulted in the creations and innovations in the field of arts and crafts. Dancing then became a regular feature in the royal court. The dancers and singers sang Prasasti or eulogies extolling the king’s virtues. At times kings were compared to Ananga when the verses were sung and dancers then performed to the rhythmic beat of the drums before the king and his courtiers.

Rhythmic watch

The popular drum – Geta bere became the accompaniment to singing and dancing. Verses were sung to keep pace with the rhythmic movements of hands and legs when they moved in keeping with the beat of the drums. The Tandava form of dancing which is essentially masculine became popular making Kandyan dancing more rhythmic and pleasing to watch. It also created the correct tempo for singing and dancing. The dancers were able to move to and fro in keeping with the drumming.

In viharas too during Tevava time drumming became a vital part of pooja when homage was made to the image of the Buddha. Talam pota and Pantheru that accompanied provided perfect timing to singing and dancing. In rituals like Bali and Thovil drumming formed an integral part of reciting verses when appeals were made to deities or devils In the text Nrutiya Upata mode of dancing not mentioned. It is said that Maha Ishvara and other deities had helped to foster the art of dancing.