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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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An evening where health say as one

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Rajiv and Clan kept the evening alive with their vibrant music

By Zanita Careem

Music, laughter and a generous spirit filled Raflfles Hotel Colombo as Heart to Heart sing along brought together a vibrant gathering for an evening of melody, friendship and giving. The elegant ballroom reverberated with familiar lyrics as guests joined in, sang along and simply let their hair down. Adding to the infections atmosphere was the talented Rajiv and Clan, whose lively performance kept the energy soaring and had the gathering singing to some much loved favourites.

Keeping the evening moving with plenty of wit and warmth was the compere Mirzab Sherifdeen who ensured there was never a dull moment between the music, laughter and spontaneous sing-along moments, Guests were also treated to prizes galore adding an extra element of excitement to an already festive evening. There was cheers as winners stepped forward to collect their prizes, while friends and families aplauded and celebrated every winning moment.

Yet beneath all the sparkle was the meaningful purpose of Heart to Heart Trust Fund, founded by Dr. Rajitha Y de Silva and Dr. Ruwan Ekanayake, bringing people together in support of a cause built on compassion and care.

The dedications and the volunteering was evident throughout the evening with their commitment adding a special warmth to this special event.

Adding to the evening’s indulgence was a sumptous spread of cuisine by the Raffles, Hotel with an enticing selectiom that kept guests happily returning for more. From savoury favourites to tempting desserts, the food complemented the festive mood perfectly.

As the final song faded and the evening drew to a close, there was a quiet sense of gratitude. Behind the music, laughter, prizs and beautiful memories was a cause built as compassion, a cause that has continued to touch lives through the dedication of Dr. Rajitha de Silva and everyone who has stood beside him in the journey of Heart to Heart.

And as guests left Raffles Hotel with the last melodies still lingering in the air the most beautiful note of the evening remained – the sound of hearts earning for hearts. At the very heart of Hearts to Heart is Dr. Rajitha whose compassion has become the soul of the initiative. Dr. Rajitha’s work reminds us that medicine is not only about repairing what is broken. It is about giving people the courage to believe in tomorrow. And perhaps that is the greatest gift he offers. This spirit was beautifully reflected throughout the evening.It was a beautiful evening of music, friendship and generosity, with every contribution going towards a worthy cause- keeping alive a legacy built one one simple but powerful belief that every heart deserves a chance to beat on.

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Meet the author rewriting the rules of children’s fiction

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Representation matters:

By Ifham Nizam

“There are no books written about pirates with prosthetic limbs, sporting blades, or racing wheelchairs—that is, until now,” says award-winning international children’s author Jann Weeratunga, whose Polly’s Piralympics series is challenging conventional ideas about who gets to be the hero in children’s literature.

For Weeratunga, representation is not simply about placing a disabled character somewhere in a story. It is about putting that character at the centre—leading, competing, winning, making friends, overcoming challenges and, most importantly, having adventures on their own terms.

Her books are designed not merely to be read, but to be experienced. Through interactive pages, children can colour, draw, write and respond to the stories, leaving something of themselves behind as they explore themes, ranging from disability and bullying to friendship, resilience and family.

At the heart of her growing literary brand is Polly’s Piralympics, a series in which disability is not presented as a limitation, but as part of a character’s identity and adventure.

The inspiration came from an unexpected moment during the closing speech of the 2012 London Paralympic Games by Sir Philip Craven. He recalled a young boy looking at an illustration of a pirate with an eye patch, a hook, a parrot and a wooden leg.

When his mother asked who the figure was, the boy replied that because the man had only one leg, “he must be an Olympian.”

The story moved Weeratunga deeply.

That moment of innocent perception—where disability was associated with sporting achievement rather than limitation—sparked the idea of Polly and her extraordinary Piralympic world.

In the series, Polly, a bird-napped African parrot, finds herself bullied in a Scottish pet shop before being rescued by Captain Hake. Their shared one-eyed view of the world becomes the beginning of an unusual friendship. Captain Hake teaches Polly the ways of a pirate, while Polly creates the Fellowship of Pirates and the Pirates Paralympics.

Soon, pirates from around the world are competing in events ranging from three-legged races and climb-the-rigging gymnastics to walk-the-plank diving and even a MasterChef competition.

It is an imaginative world, but behind the humour and adventure lies a serious message about inclusion and leadership.

Weeratunga recalls one school visit that brought home to her exactly why the books mattered.

A student with a prosthetic leg embraced her and said: “Thank you for writing these books for me, Auntie.”

The words left her overwhelmed.

“That was why I had written these books,” Weeratunga reflects.

Her journey towards becoming an author, however, began long before Polly sailed into the world of children’s fiction.

Earlier in her life, Weeratunga was a Scout Leader in the UK, where volunteering became a way of life. She subsequently spent a decade in Sri Lanka, falling in love not only with a Sri Lankan, but with the country itself.

After her husband died just four years into their marriage, she joined five other women to establish a small school in Senarathwela to teach English to those who wanted to learn. Many of her pupils, subsequently, found employment at the newly opened Victoria Golf Course.

When she returned to Sri Lanka in 2025 and revisited the village and golf course, she found a landscape transformed by new roads, homes, shops and businesses. But the people she had taught remained.

“The village is unrecognisable, with new roads, homes, shops and businesses, but my dear pupils were still there as Caddies, Caddy Master and Golf Pro. I was so proud of them,” she says.

Her connection with Sri Lanka deepened further during one of the country’s darkest moments.

On Boxing Day 2005, while holidaying in the UK with her recently widowed mother, Weeratunga was woken by the words: “Something terrible has happened in Sri Lanka.”

She rushed to the television and witnessed the devastating aftermath of the Indian Ocean tsunami.

That very day, she established a non-profit organisation to raise funds and take relief to Sri Lanka. With support from local McDonald’s franchises, schools in Ferndown, the Mayor of Ferndown, freight companies and her friend Mr Wijekoon, a local Grama Niladhari, she helped rebuild lives in Arugam Bay.

The experience was hands-on and deeply personal. A family’s home had been swept away, and days were spent persuading surfers to help construct a future for her adopted family.

A Montessori was established on the hill, within the Buddhist temple grounds, while evenings were spent crafting, building and working with a small but effective generator.

Meals of rice and curry, prepared by the family’s sisters, using provisions donated from Senarathwela, brought the long days to a close.

When Weeratunga returned to the family, in 2025, she was able to see how far they had come.

Jann Weeratunga

Today, living in South Africa, she continues to draw inspiration from the landscape around her.

“Travelling—it leaves you speechless and then turns you into a storyteller,” she says, echoing the famous words attributed to Ibn Battuta.

And storytelling has become her way of opening conversations with a new generation.

While Polly’s Piralympics remains the flagship of her children’s publishing brand, Weeratunga’s wider collection explores a range of issues that matter to children and parents.

Terry and the Bully gives children practical and empowering ways to stand up for themselves, transforming a difficult subject into a story through which young readers can explore courage and self-confidence.

In Evie Visiting Grandma, children encounter the sensitive experience of visiting a loved one who now lives in a residential home. Rather than avoiding a potentially difficult subject, the story gently opens the door to conversations about ageing, family and change.

Terry the Toucane explores another universal childhood experience—the challenge and beauty of being different. Its central message is simple: being different should never prevent us from developing deep and lasting friendships.

Then there is Captain Bluebird, a resilient and entertaining adventure exploring what happens when Captain Bluebird receives a brand-new ship.

Across the collection, Weeratunga combines entertainment with meaningful life lessons, while her interactive approach gives children an opportunity to become participants rather than passive readers.

They can colour illustrations, draw pictures and respond to pages, making each reading experience personal.

That approach also gives the books an added value for parents and educators. They can become conversation starters—helping adults discuss subjects that children may find difficult to raise directly.

For Weeratunga, this is part of the larger purpose of her work.

Her books seek to fill a gap in children’s literature where diverse characters are not simply included for the sake of inclusion, but are given agency, personality and leadership.

In Polly’s Piralympics, disabled characters are not watching from the sidelines. They are the stars.

They lead.

They compete.

They win.

They champion their own adventures.

And that, ultimately, is the brand Weeratunga is building: children’s stories in which every child can find a place, a voice and perhaps even a little courage to become the hero of their own story.

Representation matters.

For young readers in Sri Lanka, Weeratunga’s books are now available through Sarasavi Bookshop, Vijitha Yapa Bookshop, M. D. Gunasena and Expo Graphics, Battaramulla.

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Taste of Ceylon leaves a lasting flavour

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The scene at Taste of Ceylon

Taste of Ceylon opened its doors at Beira Kitchen, Courtyard by Marriott Colombo, on September 3rd; a festival of Southern, Central, Uva and Northern regional food, brought together on one table.

Four Regions, One Unforgettable Table

Each night, guests moved between four distinct culinary worlds. From the South came the deep, coconut-rich flavours of malu abulthiyal and Negombo pork curry with pineapple, alongside a lively fish polla roti action station. The Central province brought Kandalama lake fish, black octopus curry and carrot kalupol; dishes rooted in the region’s lakes and forests. Uva’s table leaned rustic and warming, with village chicken stew, prawn curry with murunga, and a coconut pittu drawing steady queues. And from the North came bold, unmistakable flavours of Jaffna crab curry, Jaffna mutton curry, and a dosai action station that quickly became one of the evening’s most talked-about corners.

Layered around the four regional stations was a spread that told its own story of Sri Lankan hospitality, from belimal herbal welcome drinks and a bread corner stretching from curry leaves rolls to kurakkan viyana rolls, to a dessert corner where watalappan, wood-apple coconut wandu and king coconut jelly sat alongside a full spread of traditional Sri Lankan sweets like kokis, athirasa and aluwa.

What the guests had to say

The feedback on opening night carried a common thread: guests were struck by just how different each region’s food tasted, side by side, on the same table. What could easily have blurred into “just Sri Lankan food” instead came through as four distinct culinary identities; the fire of the North, the coastal warmth of the South, the earthiness of the Central hills, and the rustic comfort of Uva, each unmistakably its own.

A Word from the team

Reflecting on the festival, the team at Courtyard by Marriott Colombo shared that Taste of Ceylon was designed from the start to be more than a menu. It was meant to be an experience guests could travel through, one region at a time, without leaving Beira Kitchen. Judging by the response over the four nights, that’s exactly how it landed.

There were many rave reviews and as the Taste of Ceylon experience at Beira Lake drew to a close, the flavours, aromas and vibrant spirit of Sri Lanka lingered on.

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