Exploring Prehistoric Arts at Kurullangala

Exploring Prehistoric Arts at Kurullangala

by Bhagya Alwis

Sri Lanka is a country which has enriched with so many gifts from the nature, from the elegant beauty of natural waterfalls, sun shining beaches, tea fields, rain forests, endemic species, and ancient marvelous creations aged more than 5,000 years ago. Unfortunately most of these irreplaceable heritages are being destroyed by the self-centric people who don’t value those things, while others are not paying attention to deforestation and destroying cultural heritage sites, even the most of the government departments have not clearly identified the value of them and sustain those for next generations to come.


 
At present we don’t have strong idea why they did rock arts, they have painted those arts long time ago, the era we cannot even imagine, those are the days when the mammoths and sabre-toothed walks on the earth, our ancestors has lived inside the caves for shelter from the weather conditions, and predators. We do not have any clear idea how they have lived but we can imagine that they had very basic life style and they did not had writing language to write and share, they had primitive language consists of few sounds and gesture for communication. But they have painted various things on the caves walls most of the time celling of the cave, by using primitive colors which they have developed using plant extracts and animal blood.

 

Those paintings are very simple and most of the paintings are monochromic and few paintings have used several colors to draw. They have printed what they have saw in their day to day life, they have very few thinking capacity, because they were planning to live day to day life and survive, therefore they didn’t had much time for imagination, future planning. When compare the rock arts most of them consists Animals, Hunting, Humans or human handprints, various symbols and engravings.

I travelled to Ella, Uva Province with my friends to see the pre historic rock arts being drawn before 5,000 years ago at Kurullangala rock – A truly unique and remarkable place, which is a part of Punagala mountain range. Reaching to the top of mountain is extremely difficult and the mountain is covered with thick forest filled with thron trees and bushes, there is no proper way to climb to the top, our guide has climbed several time to this place, even he lose the direction several times due to the forest is growing rapidly. Not only that there are several venomous snakes living inside this forest and we felt the smell of snakes frequently on our way to top, and the vertical climbing of more than 75 degree angle of the rocks which have to climb with the support of tree roots. With the support of above factors it created perfect barrier to protect those arts, and keep human presence away from it and preserving the Kurullangala Mountains.

Above 1,200 meters from the sea level, the Kurullangala rock art tell us about the uniqueness of Sri Lankan prehistoric cave arts and the civilization had way before we imagine. When you see from the far you can easily see that the top layer of the cave has fallen down due to some kind of earth quick or erosion situation, that theory has supported by the facts that no one wants to live in a place there is no shelter and also the reach to this place, it took us about five hours to reaching to this place and I don’t think if anyone wants to live in a place like that where long travel involved with dangerous climbing’s, assuming with several hand printings on the rock wall we if this place a cave, then most probably we can come to a conclusion that there must be several cave arts was inside the cave celling and due to destroy of the cave we lost them.

It shares some similarity with the cave arts founded in different parts of the world, but these arts are unique from other rock arts founded in world, Kurullangala is currently claimed to be the largest rock art collection found in Sri Lanka, these arts are very simple and they have used one color for paint on the rock surface, which is red. This illustrates birds who are facing down to one direction. With the time and the effects of the nature this place has exposed to the direct sun, air and the rain due to peeling off the cave shelter of the wall above, now there is no more cave at the Kurullngala and these arts on the rock wall are endanger to vanish from the wall in near future.



Due to the exposure of nature, we cannot get the accurate carbon dated age for those arts, but when we compare this with the similar arts in the world these are unique from them and the artists want to express some important message to the generations up to come. We can clearly identify several left palm prints on the wall, which they claimed for proof of their arts. When we compare with other rock arts in the world those artist have also used left palm print on their drawing, they did it by placing hand on the rock and the color the surrounding area of the hand, but in the Kurullangala the artist have painted the hand first and then place it on the rock. It's started above 25 to 30 feet from the ground level and ending around 5ft from the base.
 
All the arts are facing downwards and I believe that they want to give some message, starting with smaller images land its getting bigger in each picture, like the evolution process, might be those people have worshiped the Birds or they came from another planet to earth. That is the puzzle they have left us to solve. I believe that they will draw this way before we expect, sometimes more than 20,000 years.

As mentioned earlier all the arts were illustrating animals, and there were no single human, most of the arts were birds similar to eagles and peacock or we can predict that they have drawn the picture of ‘Gurula’ the Sri Lankan Bird Devil (Gurulu Raksha) gives beauty, power and fame. Sri Lanka's devil-masks are said to be a throwback to primitive pre-Buddhist era. Not only that it contains arts of reptiles which is similar to crocodile, and faded art of deer or Sambar deer. When we compare those arts separately these rock arts have drawn according to the scale of living animals, for draw that way the artist has to see that animals on his own eyes and then he has stored them in his mind for this arts, and we can assume that there were lot of animals were living in this area at that time if he is not migrate from somewhere else.



There were some hunting tools were also illustrated on this rock art which are similar to Boomerang and Bow. We can identify that the artist is naturally talented and experience person by the way he has used his skills by placing circles, triangles, squares and several shapes on the arts to make those animals more attractive to the audience.



What we can do is raise some voice to save those treasured caves and sustain them for future generations to come, while trying to solve the misty behind it. Unfortunately the relevant departments have not taken necessary actions to conserve these arts up to date, if these conditions will stay for some more years to come then these arts will vanish from our sight and only those photographs will stay with us, giving the guilty feeling why we didn’t act on it. As a world citizen we should protect those history, it belongs to everyone regardless of where it located.

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THE ADVENTURE OF A LIFETIME WITH DOLPHINS

THE ADVENTURE OF A LIFETIME

by Sanuj Srimal Hathurusinghe

Image by Rajitha Jagoda 

I woke up from my light sleep to witness early golden rays of sunlight refl ecting on the surfaces of the salt evaporation ponds and vast pomegranate fi elds out from the van window. We had already turned from Palavi junction towards Kalpitiya and we were closing in on our destination, Dolphin Wadiya. Dolphin Wadiya, Kalpitiya is located in Kandakuliya, close to the tip of the Kalpitiya Peninsula. We got off there around seven in the morning and our tour guide Maduraj Fernando (everyone called him Raju for short) was already waiting for us. There were 12 of us in our group and Raju had arranged two boats for us. The plan for the day was to go dolphin watching fi rst and snorkelling before camping on Baththalangunduwa Island for the night. Dolphin season in Kalpitiya is said to be from November till April and we were feeling rather optimistic about our chances of witnessing the marine mammals as we arrived in Kalpitiya on the first Saturday of the month December.

 Only after confirming we had packed every necessity in our boats did we head out to sea. Some pilot whales had been spotted recently and we had our fingers crossed the whole journey in hopes of seeing some. We must have ridden for about an hour when we were greeted by a fishing boat coming back home. The fishermen were gesturing towards us and Raju acknowledged. The fishermen delivered good news, not about whales being ahead but some dolphins. Confirmed, we were all on our toes for the rest of the ride looking ahead to catch the first glimpse of the adorable mammals. After eight nautical miles into the sea we saw some disturbance ahead on the surface. As we got closer, the movements of the iconic dorsal fins and flukes became apparent and in no time we were in the middle of a pod of dolphins. “These are called bottlenose dolphins, one of the rarest dolphins found in Kalpitiya. By the size of it, this pod must be about 300 large” came Raju’s voice from the back of the boat. Everyone must have registered the fact but none of us bothered to reply or even to take our eyes off the dolphins for a second to acknowledge Raju as we all were mesmerized by the rhythmic surfacing of the dolphins.

Dolphins swam around us in all directions. Except for one friend and Raju, everyone else in the boat was there for the first time. It was so hard to keep one’s eyes on one small pod of them. Once the pod submerged there was no telling when and where they would resurface again, which made it extra difficult to take photographs. Some would shout “There!” and we would look at that direction. Then another would yell “Over here!” and all eyes would follow that direction. This parade went on for some rounds and after realizing that it was fruitless to sway the boat back and forth rushing to either side without catching a proper glimpse, we got back to our seats and started enjoying the spectacle individually.

Soon the pod swam away and it got harder and harder to keep track of them. Raju then led the boat to a different location where we were sure to spot dolphins. Again we were lucky enough to find another pod of dolphins, a much larger one this time, in a place about two and a half nautical miles away from the shore line. This time around it was a pod of spinner dolphins, a bit smaller and much darker ones in comparison to the bottlenose ones we saw earlier. Other than us, there were another couple of tour boats and some fishing boats as well. The dolphins lurked around the fishing boats in large numbers to snatch small fish off the fishermen’s bounty. Spinner dolphins, unlike bottlenose dolphins, were much agile and weren’t afraid to get close to the boats. They were much aerobatic too when compared to the bottlenose ones. Even little spinner dolphins would leap out of the water. Some would do back flips and some would leap and spin while being airborne.

Dolphins were there in abundance. According to Raju, the pod must have had over 2,000 spinner dolphins. While I was savouring every mesmerizing movement I could witness, ones with cameras too were busy capturing every movement through their lenses. The scene was a spectacular one. There were dolphins regardless whichever direction you turned and they were busy being aerobatic. We must have spent about an hour dolphin-watching and after the cameras and our own eyes had their fill we decided to bid farewell to the dolphins and headed towards the Bar Reef of Kalpitiya.

The Bar Reef is famous among snorkelers and scuba divers around the world for its rich bio diversity. It is considered the largest coral system of the country with the greatest biodiversity of any reef in the waters nearby. Or so I’d read beforehand.

The first time snorkeler me geared up and jumped into the water with high hopes of witnessing a flamboyant complex of corals and fish. Blue tang and clownfish could be easily spotted thanks to me watching Finding Nemo multiple times. Other than that, fish varying in size, shape, colour and numbers could be spotted such as surgeonfish, parrotfish, butterfly fish, damselfish, angelfish and triggerfish. There even was an octopus, which was camouflaged so well I sure would have overlooked if it wasn’t for my friend who pointed it to me, and a long, scary looking moray eel. Most of the names I got to know later thanks to our tour guide Raju but I couldn’t help but wonder the reef didn’t fulfil the high expectations I had of it. The corals didn’t look lively and weren’t as colourful as I hoped they would be. Many types of fish were present but they lacked in numbers. When I asked out of curiosity, Raj revealed the present state of the Bar Reef. “The reef is dead. We noticed the corals dying in April and informed the authorities. But the condition worsened so quickly and life disappeared from the reef in no time” said Raj. According to Raj the sudden spike in the temperature in April might have been the cause of coral dying. We left the Bar Reef and headed to Baththalangunduwa Island wondering how much of an extravaganza it could have been had the corals been alive and kicking.

Baththalangunduwa is a strip of an island just off the tip of the Kalpitiya peninsula. Our camping site was the narrow strip of sand towards the south of the island where no one lived and only mangroves were present. We first went to the wider part of the island where people lived to buy essentials. The island itself was a small one with little population. Nevertheless, a school, a church, a police station and single shop were there and fishing or drying the fish seemed to be the main life line of all the families there. Fish, spread out in the sunlight to dry, could be seen almost everywhere and strangely enough, none of the crows on the island seemed to be interested in grabbing the drying fish.

After buying drinking water and some fish for barbequing, we reached the camping site and pulled the boat further into the beach away from the reach of high tide. Then we started making preparations to spend the night. Leaving cooking to Raj and the other experts of our group, I helped with erecting tents and collecting firewood for the campfire. As the evening grew darker and darker, stars popped out in the sky one by one eventually covering the whole cloudless sky. With no city lights around, the stars shone vigorously and had our full attention. Although I’m not one who knows all the star constellations, the sheer beauty of the panoramic starry night sky fascinated me so much I lay down on the sand and observed the sky making my own constellations.

The more we got into the night the chillier and damper it became, apparent by the cold breeze and gradually dampening sand. The campfire we set proved to be the ideal antidote for the chill. We gathered around the fire and had our dinner. Rice with lentils curry, pol sambol and barbequed tuna proved to be the killer combination as it tasted heavenly. Someone brought out a conga and then it was time to sing. After we had sung every Jothipala song we knew and our voices had gone did we one by one crawl and cocoon ourselves inside the tents and go to sleep.

The next morning, we returned to the peninsula marking the end of what I felt as the best outing I had experienced in a very long time. While I was still on the island after packing everything to return, sipping hot milk from a plastic cup and glaring at the sea aimlessly, a solitary sting ray leapt out of the water not so far from the beach while flapping its fins as if to fly and landed on water before it disappeared. The happening managed to make me smile and with that as a high note I bade farewell to Baththalangunduwa Island and to the dolphin-watching trip which to me felt like an experience everyone should experience at least once in their life.
Originally Published on Ceylon Today
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A CIRCUS WITH A TWIST

A CIRCUS WITH A TWIST 

by Sanuj Srimal Hathurusinghe

Image by Rajitha Jagoda

Upon hearing the word ‘Circus’ the general in most people’s minds is of big cats leaping through fiery loops, death-defying equilibristic acts on tight ropes, knife throwing and red-nosed clowns with a pie in one hand and a honking horn in the other. Although animal-involved circus shows are quite unheard of in Sri Lanka, with the possible exception of snake charming and monkey dancing of gypsy people, what we have witnessed in movies and media have led us to believe that animals and circuses work in tandem.
But the modern circus has evolved way past using animals and cheap laughs and has become a contemporary performance art. Unlike the traditional circus, animals are not used in the contemporary circus which tends to focus more on overall artistic impact, character and story progression whilst using lights, costumes, music and traditional circus skills in order to convey the content in a thematic way. To us Sri Lankans, the idea of the contemporary circus is quite new and hardly any shows could be found locally. The closest I’ve ever come to experiencing contemporary circus is watching a movie made by the reputed Canadian theatrical entertainment company, Cirque du Soleil. The story was about a young woman’s quest in finding an aerialist but the plot escaped my mind shortly after the movie started as it was showered with breathtaking stunts and circus acts.


For many of us enjoying such a performance has been limited to the big screen but all hopes of Sri Lankan theatre and circus lovers, which basically is everyone, for a live show has finally come true as we are presented with the rare opportunity of witnessing a live contemporary circus performance here in Sri Lanka.

Cirque Lanka, a unique fusion of traditional Sri Lankan dance and music with a European new circus, takes place at Viharamahadevi open air theatre every evening. In collaboration with eight local dancers and drummers from Rivega Dance Studio, eight foreign performers originally from Prague, Czech Republic perform the Ramayana story with live music, drummers, traditional masks, acrobats, aerial acrobatics and fire effects and yet, in a highly artistic and poetic manner which captures the total attention of the audience.

The show starts when it is already dark outside. The darkness is manipulated by lighting a few torches on either side of the open air theatre at the opening act and setting the perfect tone for other acts to follow. The show starts off with a local dancing act and the more we get into the performance, the more of the stunning, circus movements are revealed. Rama and Lakshmana perform an immaculate and almost lyrical acrobatics act. Hanuma’s aerial straps act and Rawana’s Cyr wheel performance too is poetic yet acrobatic but the cynosure of the evening had to be the fire show and the aerial silk performance of Rama and Sita and the fire show of Ravana. Stunning aerial acrobatics performed while hanging from the fabric, dangling close to the roof of the stage with no safety measures was both astonishing and breath-taking at the same time. The fire show must have captured the most eyes as it illuminated the whole arena. Ravana working magic with a fire twirler and a fiery cube was evenly matched with fire effect-flame throwers who released flames to synchronize with the music.


Unlike Cirque du Soleil movies I have seen, the Cirque Lanka performance is not over-riddled with extravagant circus acts. The story of Ramayana and the acrobats work together in a fine blend never over shadowing each other. The performance is a work of art rather than a showpiece with only spectacles to offer. The limited space of the open air theatre is cleverly manipulated by the performers keeping the audience turning constantly in their seats. The performance starts off with performers entering the stage from either sides of the theatre. The open area between the stage and the first row of seats was a hotspot for activities as the performers came off the stage from time to time. Ravana who even walked among the audience looking at each of them menacingly with a fire twirler and a stern expression on his face might have been somewhat scary for the little kids but nevertheless was entertaining for the general audience. All foreign performers are experts in the field and are members of a new circus centre in Prague which concentrates on contemporary circus. Veronika who was Sita for the day has studied physical theatre as a subject before she went to Finland to attend a circus school. It’s her love of theatre and for circus that have driven her towards the contemporary circus. Jonas who was Lakshmana for the day has always loved movement in general. While in the States he got to know of the possibility of merging traditional circus movements and performance art. After coming back to Prague he joined the newly opened circus centre in hopes of pursuing contemporary circus. “We both are engaged in projects of the centre and we both teach subjects there as well” said Veronika.

 
Despite the show looking flawless and spectacular, it has taken a heavy toll on the performers. What to us feels like a mild evening is extra hot and humid and sweaty for the foreigners. “When we left Prague, it was already snowing there. The hot and humid environment here is really challenging and is hard getting used to” said Jonas. “The equipment behaves differently here. Everything aerial is stickier than it used to be and every partner is slipperier that they used to be” remarked Veronika. Because of this and because they are performing every night, only six out of eight foreign performers take part in the act everyday leaving two to have a much needed rest. “Because we leave two to rest each day, everyone has to master more than one role. I played Lakshmana today but some days I play Rama too. Veronica sometimes plays Hanuma and the girl who played Hanuma today plays Sita some days” said Jonas. According to Veronika having multiple performers playing the same role on different days has its own merits. Since two performers never are the same, the complexion of the overall performance shifts accordingly. “It is better to see the performance more than once because it never is the same when different performers play the same role” said Veronika.
The local dancing and drumming aspect of the show is provided by the members of Rivega Dance Studio. A group of eight - four boys and four girls, perform daily in the show. To Poorna Kasun who is a professional dancer of Rivega Dance Studio, working with foreign artists is both exiting and educating at the same. “We do traditional dancing as well as contemporary art forms in our dance studio. There is always something new to be learned even from foreign dance arts” said Kasun. According to Kasun it was their YouTube videos seen by the likes of Veronika and Jonas which had prompted them to pick Rivega Dance Studio as partners in this production. While it is all fun and smooth-going now, Kasun reflects on the hard times they had to face when they only had nine days prior to the start of the show to choreograph and master the whole routine.

Nevertheless, the show is now complete and it sure is a unique and all new experience for the locals in Colombo. The performance has something for everybody. It has history, it has theatrical element to it. Music, local drums and traditional dance could also be found. To top it all off, there are circus acts and of course, fire. The unique and never-seen-before infusion of traditional dance and music with contemporary circus is a must-see for everybody as it holds something for each and every one.
Published on Ceylon Today

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ලක්දිව බැබලවූ ඉංජිනේරුවන් 7 දෙනෙක්.

1. රේවත විජේවර්ධන (Rewatha Wijewardhana)

2. ප්‍රමිලා සිවප්‍රකාශ පිල්ලෙයි සිවශේකරම්
   (Premila Sivaprakasha Pillei Siwashekaram)

 3. යසන්ත රාජකරුණානයක (Yasantha Rajakarunanayake)

4. සෙල්වදුරෙයි මහාලිංගම් (Selvadurei Mahalingam)

5. ඒ. එන්. එස් (A N S Kulasinghe)

6. සරත් ගුණපාල (Sarath Gunapala)

7. ඩී. ජේ. විමලසුරේන්ද්‍ර (D J Wimalasurendra)

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Wait for it...

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