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How This Demon Dance Banishes Illnesses

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Drummers perform the kohomba yak kankariya, an ancient Sri Lankan dance said to banish the illness-causing spirit of a vengeful queen

in Sri Lanka’s Remote Jungles

by Zinara Ratnayake

The kankariya dance all started with a legendary demon queen named Kuweni. As dusk falls, the thumping sound of drums echoes through the jungles of central Sri Lanka. Elaborately dressed dancers spin and swirl as their ornate silver headpieces gleam and bright red ribbons trail behind them. Their chests rise and fall beneath silver-beaded breastplates and two large mango-shaped earrings adorn their ears. The dancers carry candle-lit, hollowed-out coconuts and chant verses inviting gods and demons to their ritual. Sweet-smelling smoke from jasmine incense fills the air, obscuring the view of a banana bark altar with pictures of various Buddhist deities. As hundreds gather, the dancers tell the sad tale of the mythic, magical queen Kuweni.

This is kohomba yak kankariya. Several times a year, often in April, Sri Lankans in the country’s mountainous, central region hold this ritual to cure illnesses, prevent diseases from spreading, and seek blessings from the supernatural world. While today the ceremony tells Kuweni’s story, whose name is sometimes spelled Kuveni or Sesapathi, in ancient times, the ritual was believed to have lifted the illness-causing curse Kuweni had placed on the province.

According to legend, Kuweni was born in the sixth century BC to a yakka king who ruled Sri Lanka. The Sinhala word yakka is derived from the Pali word yakkha (Pali is a liturgical language often used in Buddhist texts) and the Sanskrit term yaksha, which translates to “demon.” Dipavamsa, the oldest historical account of Sri Lanka, describes yakka as a disorderly tribe of demons who eat human flesh and fight with each other. Although her father was a demon, Kuweni may not have been one herself.

Then Prince Vijaya, a legendary Indian prince, and 700 of his followers invaded demon-controlled Sri Lanka. Kuweni appeared before the prince disguised as a hermit spinning cotton. Vijaya soon promised to marry Kuweni and make her his queen. Trusting him, she betrayed her father and demon brethren and helped the prince slaughter them. Only a few of the yakka escaped into the Sri Lankan jungles.

Queen Kuweni was said to stalk the nightmares of King Vijaya’s nephew, Panduwas, in the form of a powerful leopardess.

After Vijaya took power, he broke his promise to Kuweni and married a South Indian princess, establishing the Sinhalese people who today make up the majority of Sri Lanka’s population. Jilted and angry, Kuweni cursed Vijaya and his successors before the remaining yakka killed her out of revenge.

Later, when Vijaya’s nephew Panduwas arrived in Sri Lanka to take the throne as his uncle’s successor, Panduwas began to suffer from a mysterious illness. He couldn’t sleep. Night after night, Kuweni, in the form of a leopard, appeared in his dreams and tried to kill him. Sleep deprivation drove Panduwas insane. Kuweni finally had her revenge.

In his book Kohomba Kankariya: The Sociology of a Kandyan Ritual, social anthropologist Sarath Amunugama wrote that Kuweni’s leopard is “a symbolic representation of the fatal lie that was uttered by Vijaya to Kuweni to facilitate his conquest.” Panduwas suffered due to his uncle’s lie to the queen, wrote Amunugama.

When Lord Sakra, the ruler of heaven in Buddhist cosmology, sees Panduwas unjustly suffering for his uncle’s deceit, he tells an Indian king about a ritual that will cure the ailing Panduwas. The king performs the ritual, and Panduwas recovers. Later on, the king instructed a local prince named Kohomba to perform the ritual any time it was necessary to repel Kuweni’s illness-fueling ire. Since then, the ritual, called kohomba yak kankariya in honour of the prince, is performed any time a mysterious illness descends upon the community.

Today, folk priests—village priests who conduct ancient rites such as the kankariya—continue to perform the ritual dance whenever local communities are plagued with diseases, such as chickenpox. One such priest is 29-year-old Abheeth Shilpadhipathi, whose father and grandfather taught him the kankariya. Recently, when Shilpadhipathi drummed in a kankariya, it was to ward off the Covid-19 pandemic that plagued the country. Originally, the ceremony would’ve lasted for about seven days, but today it takes less than a day.

“Before [the kankariya] begins, the chief [folk] priest pledges to the gods their intention in conducting the ceremony,” Shilpadhipathi says. In the past, individual families performed a kankariya to cure diseases, but because it’s an elaborate, expensive event, families rarely host them anymore. Buddhist temples and large social groups now conduct them annually or seasonally both as a healing and fertility ritual and sometimes just to keep the tradition alive. “People do it to show their gratitude for a good harvest or good fortune,” says Shilpadhipathi.

A Hindu priest holds a lit coconut oil lamp in front of statues of Prince Vijaya (left) and Kuweni (right) at the Sri Subramaniam temple in the southern Sri Lankan town of Matara.

People also perform the kankariya ritual to bestow good health, wealth, and even good school grades, says Sanushki Athalage, choreographer at Thaala Asapuwa, a Sri Lankan Dance Academy in Victoria, Australia, where they teach the kankariya along with other traditional dances. “It is also about giving and being selfless in return for a prosperous life. It is a beautiful concept that brings larger communities together in a common goal,” Athalage says.

Buddhism in Sri Lanka is a complex system that incorporates “shrines, rituals, and priests” who negotiate with a vast pantheon of gods, deities, and demons, says Amunugama. Sri Lankan Buddhists believe that prayers and rituals, such as the kankariya, are a way to seek blessings and build good karma.

Religious ceremonies are also a way to prevent meddlesome demons from interfering in people’s lives. Kuweni isn’t the only entity that can cause illnesses. Local folklore is full of demons who hunt humans and make them ill. When someone becomes sick, local priests are called in to identify the specific demon causing the illness. Once identified, the priest summons and vanquishes the demon in a dance or ritual, similar to the kankariya.

One popular ritual performed in southern Sri Lanka is the Daha Ata Sanniya, which is sort of a catch-all ritual that can cure illnesses caused by 18 different demons.

Rituals like these are “performed to relieve anxieties around mysterious diseases,” says Athalage. “When families are anxious, they seek blessings and help from higher powers to cure something that they don’t understand.” For the villagers, this “excursion into the supernatural” will help them live a “relatively untroubled life,” wrote Amunugama in his book. These rituals are a way to understand the incomprehensible, like why a loved one falls ill.

Although Kuweni caused illnesses like other demons, Shashiprabha Thilakarathne, a folklore scholar at the University of Moratuwa in Sri Lanka who researches Kuweni, explains that the demon queen might’ve been human. “It’s difficult to say who she is. Folk literature tells us that she has supernatural powers. Sometimes she could even take the form of different animals,” Thilakarathne says, explaining that her “magic” made “Vijaya’s weapons fall on demons’ bodies.”

But in the last few decades, Kuweni has appeared as a character in pop culture, from television dramas to songs and plays. Kuweni has become relatable—her motives clearer. Today Vijaya is often recast as the villain and Kuweni as the maligned anti-hero. She has shifted from a female demon spawn who cursed Sinhalese people to an embodiment of the modern woman, Thilakarathne explains. She is a wife, daughter, and mother. While Kuweni shares many traits with traditional yakka, she also stands out from them. She’s demon-like, but not a demon herself.

“Kuweni, as I understand, is a model we can apply to our modern society. At one point, she’s a daughter, then a lover and parent. She goes through many different challenges in life,” Thilakarathne says, “she represents us.”(BBC)



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What I Do, What I Love: A Life Shaped by Art, Wilderness and Truth

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In a country where creative pursuits are often treated as indulgences rather than vocations, Saman Halloluwa’s journey stands apart — carved patiently through brushstrokes, framed through a camera lens, and articulated through the written word. Painter, wildlife and nature photographer, and independent environmental journalist, Halloluwa inhabits a rare space where art, ecology and social responsibility converge.

His relationship with art began not in galleries or exhibitions, but in a classroom. From his school days, drawing was not simply a subject but an instinct — a language through which he learned to observe, interpret and respond to the world around him. Under the guidance of two dedicated mentors, Ariyaratne Guru Mahathaya and Gunathilaka Guru Mahathaya, he honed both skill and discipline. Those early lessons laid the foundation for a lifelong engagement with visual storytelling.

“His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes.”

That commitment eventually materialised in two solo art exhibitions. The first, held in 2012, marked his formal entry into Sri Lanka’s art scene. The second, staged in Colombo in 2024, was a more mature statement — both in content and confidence. Featuring nearly fifty paintings, the exhibition drew an encouraging public response and reaffirmed his place as an artist with a distinct visual voice.

His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes. There is restraint in his use of form and colour, and an underlying dialogue between memory and space. Yet, despite positive reception, Halloluwa speaks candidly about the structural challenges faced by artists in Sri Lanka. Recognition remains limited; fair valuation even rarer.

“This is not merely an artistic issue,” he observes. “It is a social and economic problem.”

In Sri Lanka, art is often viewed through the lens of affordability rather than artistic merit. Many approach a painting by first calculating the contents of their wallet, not the value of the idea or labour behind it. In contrast, he notes, art in Europe and many other regions is treated as cultural capital — an investment in identity, history and thought. Until this mindset shifts, local artists will continue to struggle for sustainability.

The decisive push toward wildlife photography came from Professor Pujitha Wickramasinghe, a close friend who recognised both Halloluwa’s observational skills and his affinity with nature. From there, the journey deepened under the mentorship of senior wildlife photographer Ravindra Siriwardena.

Both mentors, he insists, deserve acknowledgment not merely as teachers but as ethical compasses. In a field increasingly driven by competition and spectacle, such grounding is invaluable.

Saman Halloluwa

Wildlife photography, Halloluwa argues, is among the most demanding visual disciplines. It cannot be improvised or rushed. “This is an art that demands restraint,” he says.

Among all subjects, elephants hold a special place in his work. Photographing elephants is not merely about proximity or scale, but about understanding behaviour. Observing social patterns, movement, mood and interaction transforms elephant photography into a constantly evolving challenge. It is precisely this complexity that draws him repeatedly to them.

Halloluwa is cautiously optimistic about the current surge of interest in wildlife photography among Sri Lankan youth. Opportunities have expanded, with local and international competitions, exhibitions and platforms becoming more accessible. However, he issues a clear warning: passion alone is not enough

Sri Lanka, he believes, is uniquely positioned in the global nature photography landscape. Few countries offer such concentrated biodiversity within a compact geographical area. This privilege, however, carries responsibility. Nature photography should not merely aestheticise wildlife, but foster respect, aware ness and conservation.

Parallel to his visual work runs another equally significant pursuit — environmental journalism. For the past seven to eight years, Halloluwa has worked as an independent environmental journalist, giving voice to ecological issues often sidelined in mainstream discourse. His entry into the field was guided by Thusara Gunaratne, whose encouragement he acknowledges with gratitude.

An old boy of D.S. Senanayake College, Colombo, Halloluwa holds a Diploma in Writing and Journalism from the University of Sri Jayewardenepura and has completed journalism studies at the Sri Lanka Press Institute. He is currently pursuing an Advanced Certificate in Wildlife Management and Conservation at the Open University of Sri Lanka — a testament to his belief that learning must remain continuous, especially in a rapidly changing ecological landscape.

Outside his professional life, he enjoys cricket, rugby and badminton. Yet even leisure intersects with responsibility. He is a founding member and former president of the D.S. Senanayake College Old Boys’ Wildlife Forum, an active member of Wild Tuskers Sri Lanka, and a contributor to several independent environmental and wildlife volunteer organisations. In an era dominated by speed, spectacle and short attention spans, Saman Halloluwa’s journey unfolds differently. It is deliberate, reflective and rooted in values. Through art, he captures memory and form. Through photography, he frames life beyond human control. Through journalism, he asks uncomfortable but necessary questions.

“What I do, what I love” is not fashion here.

It is conviction — patiently lived, quietly asserted, and urgently needed in a country still learning how to value its artists, its environment and its truth.

By Ifham Nizam ✍️

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Shaping the future of style

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Pride, passion and professionalism

Ramani Fernando Sunsilk Hair and Beauty Academy

Ramani Fernando Sunsilk Hair and Beauty Academy marked their graduation of their latest cohort of aspiring hair professionals in a ceremony held at Kingsbury Hotel.

Senaka de Silva, creative force behind Ramani’s shows

For over two decades, the Ramani Fernando Sunsilk Hair and Beauty Academy has stood as a beacon of excellence in beauty education in Sri Lanka. Founded by industry icon Ramani Fernando, the Academy has built a reputation for producing highly skilled professionals who go on to make their mark in salons, both locally and internationally. As the newly minted graduates step out into the world, they carry forward not just certificates, but also the promise of creative authority and personal empowerment.

The chief guest for the occasion was Rosy Senanayake, a long-standing supporter of the Academy’s mission. Addressing the graduates her message echoed her enduring belief that the beauty industry is not merely about aesthetic but about. confidence, self-worth and future leaders.

Over months of rigorous training, these young professionals honed their skills in cutting colouring, styling and contemporary artistry readying themselves to set trends rather than follow them.

Each graduate walked the stage with confidence, their dedication signalling a promising future for Sri Lanka’s beauty and fashion industry! With this new generation of stylists preparing to raise the standard of professional hairstyling.

Ramani Fernando, addressing the audience reflected on the academy’s mission to cultivate not only skills but vision and confidence in every student.

She urged the graduates to embrace continuous learning to take risks with creativity .The world of beauty is ever evolving, stay curious, stay bold and never underestimate the power of your talent, she added emphasising the importance of confidence, discipline and passion in carving a successful career in shaping the future of style.

These graduates are stepping into a world of endless possibilities. They are future of the country, who will carry a forward legacy of creativity. Behind every successful graduate at Sun silk Hair Academy stands a team dedicated to excellence. While Ramani Fernando serves as a visionary Principal and it is Lucky Lenagala, her trusted person who ensures that the academy runs seemingly.

From overseeing training sessions to guiding students, through hands on practice, Lucky plays a pivotal role in shaping the next generation of hairstylists.

Kumara de Silva, who has been the official compere Ramani’s, Hair graduation ceremony, from inception has brought energy, poise and professionalism. The Sunsilk Hair Academy is a celebration of talent and mentor ship for the graduates stepping confidentially into the next chapter of their careers, ready to make their mark on Sri Lanka beauty landscape

A moment of pride Ramani with chief guest Rosy Senanayake

Statement in style

Gliding in romance and sophistication

Pix by Thushara Attapathu

By Zanita Careem ✍️

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Capturing the spirit of Christmas

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Romesh Atapaattu, overseas the magic behind every cut and style at Capello salons

During this season, Romesh Atapattu’s Capello Salon buzzes with a unique energy – a blend of festive excitement and elegance. Clients arrive with visions of holiday parties, office soirees, seeking looks that capture both glamour and individuality. The salon itself mirrors this celebrity mood. Warm lights, tasteful festive décor create an atmosphere where beauty and confidence flourish.

Romesh Atapattu himself curates the festive décor, infusing the space with his signature sense of style. His personal eye ensures that the décor complements the salon’s modern interiors.

As Colombo slips effortlessly into its most glamorous time of year, the Christmas season brings with it more than twinkling lights and celebrity soirees – it signals a transformation season at salons across the city. Capello salons are no exception.

At the heart of this festive beauty movement is Romesh Atapattu of Capello salons, a name synonymous with refined hair artistry, modern elegance and personalised style.

Christmas is about confidence and celebration. Romesh believes ‘People want to look their best without losing who they are”. Our role is to enhance, not overpower. This philosophy is evident in the salon’s seasonal approach.

Beyond trends, what sets Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role in creating the best for Romesh.

Stepping into Romesh’s salon during the Christmas season is an experience in itself. The space hums with festive energy while maintaining an atmosphere of calm sophistication.

The décor embraces the Christmas spirit with understated elegance. Tastefully adorned décor, beautiful Xmas tree, soft gold and ivory tones, and gentle hints of red are woven seamlessly into the salon’s contemporary design.

His staff, known for their warmth and professionalism also plays a key role in shaping the salon’s atmosphere—friendly, stylish and always welcoming. The Capello staff combine skill and creativity to deliver results that have a lasting impression.

Beyond trends, what sets Romesh Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role.

He is a professional who blends technical mastery with a deeply personal approach to style. His dedicated team of skilled professionals, operate with quiet confidence ensuring styles that create an atmosphere of trust, turning every appointment into a personalised and memorable experience.

(ZC) ✍️

Pic by Rohan Herath

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