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Shihan DE SILVA JAYASURIYA King’S College, London
www.reseau-asie.com Enseignants, Chercheurs, Experts sur l’Asie et le Pacifique / Scholars, Professors and Experts on Asia and Pacific Communication L'empreinte portugaise au Sri Lanka : langage, musique et danse / Portuguese imprint on Sri Lanka: language, music and dance Shihan DE SILVA JAYASURIYA King’s College, London 3ème Congrès du Réseau Asie - IMASIE / 3rd Congress of Réseau Asie - IMASIE 26-27-28 sept. 2007, Paris, France Maison de la Chimie, Ecole des Hautes Etudes en Sciences Sociales, Fondation Maison des Sciences de l’Homme Thématique 4 / Theme 4 : Histoire, processus et enjeux identitaires / History and identity processes Atelier 24 / Workshop 24 : Portugal Índico après l’age d’or de l’Estado da Índia (XVIIe et XVIII siècles). Stratégies pour survivre dans un monde changé / Portugal Índico after the golden age of the Estado da Índia (17th and 18th centuries). Survival strategies in a changed world © 2007 – Shihan DE SILVA JAYASURIYA - Protection des documents / All rights reserved Les utilisateurs du site : http://www.reseau-asie.com s'engagent à respecter les règles de propriété intellectuelle des divers contenus proposés sur le site (loi n°92.597 du 1er juillet 1992, JO du 3 juillet). En particulier, tous les textes, sons, cartes ou images du 1er Congrès, sont soumis aux lois du droit d’auteur. Leur utilisation autorisée pour un usage non commercial requiert cependant la mention des sources complètes et celle du nom et prénom de l'auteur. The users of the website : http://www.reseau-asie.com are allowed to download and copy the materials of textual and multimedia information (sound, image, text, etc.) in the Web site, in particular documents of the 1st Congress, for their own personal, non-commercial use, or for classroom use, subject to the condition that any use should be accompanied by an acknowledgement of the source, citing the uniform resource locator (URL) of the page, name & first name of the authors (Title of the material, © author, URL). -
Silence in Sri Lankan Cinema from 1990 to 2010
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright SILENCE IN SRI LANKAN CINEMA FROM 1990 TO 2010 S.L. Priyantha Fonseka FACULTY OF ARTS AND SOCIAL SCIENCES THE UNIVERSITY OF SYDNEY A thesis submitted in total fulfilment of requirements for the degree of Master of Philosophy at the University of Sydney 2014 DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of higher learning, except where due acknowledgement has been made in the text. -
Caste in the Same Mold Again: Artisans and the Indignities of Inheritance in Sri Lanka
CASTE IN THE SAME MOLD AGAIN: ARTISANS AND THE INDIGNITIES OF INHERITANCE IN SRI LANKA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aimée Catherine Douglas December 2017 ©2017 Aimée Catherine Douglas CASTE IN THE SAME MOLD AGAIN: ARTISANS AND THE INDIGNITIES OF INHERITANCE IN SRI LANKA Aimée Catherine Douglas, Ph.D. Cornell University 2017 In a context of transforming expectations regarding the who, how, and what of heritage stewardship around the world, this dissertation examines caste’s revitalization through boundary work carried out by a variety of actors and across a range of practical and discursive moments. Through a wide selection of ethnographic vignettes, it analyzes such boundary work around caste from multiple vantage points to illustrate how this category of identification is reproduced in tension with and in the service of neoliberal processes that have shaped Sri Lanka’s “traditional craft industries” since the 1977 implementation of an “open economy policy.” Grounded in two years of ethnographic fieldwork in the country’s central province, the dissertation offers anthropological insight into what happens at the level of everyday experience when the logics of neoliberal economics and democratic egalitarianism become entangled with nationalist investments in heritage on the one hand, and the apparent specters of pre-modern preoccupations with hierarchy and honor on the other. In this majority Buddhist island country, caste among the Sinhalese has long been popularly rejected as an anachronistic and lamentable artifact of pre- colonial society, its public discussion generally avoided to an extreme (Silva and Hettihewage 2001:63). -
Art and Tradition of Sri Lanka Vol 11 Dance of Sri Lanka
ART AND TRADITION OF SRI LANKA VOL 11 DANCE OF SRI LANKA . ART AND TRADITION OF SRI LANKA VOL 11 DANCE OF SRI LANKA Dr. Priyanka Virajini Medagedara Karunaratne S. Godage & Brothers (Pvt) Ltd. Dedication First Edition : 2017 For my loving mother ART AND TRADITION OF SRI LANKA - VOL 11 Eminent agriculturist, creative idealist, who induced © Dr. Priyanka Virajini Medagedara Karunaratne creativity in my soul ISBN 978-955-30- Cover Design by: S. Godage & Brothers (Pvt) Ltd Page setting by: Nisha Weerasuriya Published by: S. Godage & Brothers (Pvt) Ltd. 661/665/675, P. de S. Kularatne Mawatha, Colombo 10, Sri Lanka. Printed by: Chathura Printers 69, Kumaradasa Place, Wellampitiya, Sri Lanka. Preface The Art Tradition of Sri Lanka volume II Dance of Sri Lanka is a unique piece of work. The page by page coverage is of the development of dance forms through Sri Lankan history sumptuous imagery and experts’ accessible guide to the dance tradition of the country. This will serve as a great text book for University students who involve in the appreciation of art traditions of Sri Lanka as well as academia. The use of forms of dance permeates every culture and tradition from the earliest times to the modern day. Combining aesthetic impact with cultural significance, the dance form adorns all types of surfaces from stone, wood and ivory and also covers some of areas of Buddhist and Hindu architectural sites. The Art Tradition of Sri Lanka Volume II dance of Sri Lanka reflects this ubiquity by presenting a biography of dance forms in a variety of forms – painted, architectural and carved dance forms are displayed in more forms. -
Tourism Governance for Sustainable Heritage Tourism in Sri Lankan
Tourism Governance for Sustainable Heritage Tourism in Sri Lankan Heritage Destinations Sivesan Sivanandamoorthy This thesis is submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Education and Arts Federation University Australia Ballarat, Victoria Australia Submitted in December 2016 ABSTRACT This thesis investigates tourism governance models for sustainable heritage tourism in Kandy, a world heritage city situated in central Sri Lanka. Additionally, it explains how the success of sustainable heritage tourism has underpinned sustainable livelihoods development from a socio-cultural perspective. The main objective is to find, identify and assess the influence of tourism governance on sustainable heritage tourism in Sri Lanka. Stemming from this approach is the development of a tourism governance model for sustainable heritage tourism in Kandy. This thesis is intended as a response to the challenges of adopting a sustainable livelihoods development approach. Accordingly, it investigates the role sustainable heritage tourism plays in host community development within the context of sociocultural, economic and environmental aspects in Kandy. Employing a qualitative methodological approach, this thesis is underpinned by an interpretive research philosophy. Research data was collected through field-based in- country interviews and open-ended questionnaires as this approach allowed respondents to offer more information and to include their feelings, attitudes and understanding of the subject. Research results from in-country fieldwork reveal that tourism governance models have a major influence on the viability of sustainable heritage tourism at Sri Lankan heritage destinations. Macro-scale and micro-scale factors were found to be influential in tourism governance models. Additionally, sustainable heritage tourism was found to be a persuasive factor in host community development. -
Chapter 6 Sectoral Situational Analysis
THE PROJECT FOR FORMULATION OF GREATER KANDY URBAN PLAN Final Report: Vol.2 Main Text CHAPTER 6 SECTORAL SITUATIONAL ANALYSIS 6.1 Transport 6.1.1 General Transport, specifically traffic congestion, is one of the major urban issues in Kandy. There are many factors that aggravate traffic congestion, including (i) the concentration of public facilities in the city centre which generates much traffic, (ii) a limited road network in the mountainous area, (iii) traffic congestion in the town centre mixed with through-traffic on the trunk roads to Kandy and daily traffic inside the city, (iv) traffic bottlenecks at bridges, (v) limited areas designated for parking in the city, and (vi) inappropriate traffic management. Various organisations such as Road Development Authority, Kandy Municipality Council, and Strategic Cities Development Project have conducted studies and implemented projects for the transport sector until recently. In this section, past and present transport plans and projects will be reviewed, and based on lessons learned and experiences, the transport sector’s development orientation that will be in conjunction with regional and city levels will be proposed. 6.1.2 Travel Behaviour in the Heritage Area, Kandy Based on the results of the interview survey, travel behaviour of 2,000 households in the Heritage Area is analysed, and this includes trip purpose, traffic distribution, and travel modes. (1) Trip Purpose The survey results show that the trip purpose of the largest share of respondents is commuting to place of work and business (66%). Meanwhile, some respondents commute to do shopping (14%), go to school (7%), and conduct or attend to business (7%). -
Traditional Knowledge and Traditional Cultural Expressions of South Asia
SAARC Traditional Knowledge and Traditional Cultural Expressions of South Asia Traditional Knowledge and Traditional Cultural Expressions of South Asia Edited by Sanjay Garg SAARC Cultural Centre, Sri Lanka General Editor G.L.W. Samarasinghe, Director, SAARC Cultural Centre Editor Dr. Sanjay Garg, Deputy Director (Research), SAARC Cultural Centre Editorial Team Soundarie David Rodrigo, Deputy Director (Programme), SAARC Cultural Centre Apsara Karunaratne, Research Assistant, SAARC Cultural Centre Nipunika O. Lecamwasam, Research Coordination Assistant, SAARC Cultural Centre Production Team Ishan Amaraweera, Computer Operations Officer, SAARC Cultural Centre Melani Malawaraarachchi, Computer Operations Assistant, SAARC Cultural Centre Printing: Vishwa Graphics, Pannipitiya Traditional Knowledge and Traditional Cultural Expressions of South Asia © SAARC Cultural Centre, Colombo 2015 All Rights Reserved. No material in this publication may be reproduced without the written permission of the publisher. ISBN 978-955-0567-15-7 Disclaimer: The views expressed and the information contained in the papers included in this publication is the sole responsibility of the author/s, and do not bear any liability on the SAARC Cultural Centre, Colombo. i C O N T E N T S List of Figures iv List of Tables xiv Preface by G.L.W. Samarasinghe xv Introduction by Sanjay Garg xvii Understanding Traditional Knowledge 1. Traditional Knowledge : Yesterday, Today and Tomorrow Daya Dissanayake 1 Traditional Healing and Wellbeing 2. Mind Management using Power of Cosmic Sound Vibrations Anurag Chhabra 20 3. Sri Lanka‘s Traditional Knowledge about Health and Wellbeing: History, Present Status and the Need for Safeguarding Nirekha De Silva 40 Traditional Living and Livelihood 4. Traditional Maldivian Houses – Unfolds the Maldivian Craftsmanship and Lifestyle Zaha Ahmed 57 5. -
STAGING SRI LANKAN DANCERS UNDER BRITISH COLONIAL RULE from the 1870S – 1930S
ABSTRACT Title of Dissertation: COLONIAL CHOREOGRAPHY: STAGING SRI LANKAN DANCERS UNDER BRITISH COLONIAL RULE FROM THE 1870s – 1930s Sudesh Bandara Mantillake Madamperum Arachchilage, Doctor of Philosophy, 2018. Dissertation directed by: Dr. Esther Kim Lee, School of Theatre, Dance, and Performance Studies. In textbooks the terms “Kandyan dance” and its equivalent in the Sinhala language “udarata nätuma” are used to describe the dance tradition that was predominantly practiced in the Kandyan region of Sri Lanka. Nationalist histories portray Kandyan dance as a continuation of a pristine tradition that was passed down from ancient Sinhala kingdoms. As the Sinhala nationalist discourse glorified Kandyan dance vis à vis its Tamil counterpart, it obscured the British colonial encounter with Kandyan dancers by leaving out a part of the rich history of dance. As I demonstrate in this dissertation, colonialism transformed to a significant extent the Kandyan dancescape of the British colonial period, particularly between the 1870s and 1930s. Therefore, this dissertation re-examines the history of the so-called tradition of Kandyan dance with the focus on the British colonial encounter with performers of the Kandyan region. As a Sri Lankan dancer, I try to trace and interpret the histories of dancers that were ignored or shrouded in silence in colonial and Sinhala national histories. As a historian, I interpret archival materials through textual and visual analysis while as a dancer, I interpret archival materials through my embodied knowledge -
Buddha in the Crown This Page Intentionally Left Blank Buddha in the Crown Avalokitesvara in the Buddhist Traditions of Sri Lanka
Buddha in the Crown This page intentionally left blank Buddha in the Crown Avalokitesvara in the Buddhist Traditions of Sri Lanka JOHN CLIFFORD HOLT New York Oxford OXFORD UNIVERSITY PRESS 1991 Oxford University Press Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Petaling Jaya Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin Ibadan Copyright © 1991 by John Clifford Holt Published by Oxford University Press, Inc. 200 Madison Avenue, New York, NY 10016 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Library of Congress Cataloging-in-Publication Data Holt, John, 1948- Buddha in the crown : Avalokitesvara in the Buddhist traditions of Sri Lanka / by John Clifford Holt. p. cm. Includes bibliographical references (p. ). ISBN 0-19-506418-6 1. Avalokitesvara (Buddhist deity)—Sri Lanka. I. Title. BQ4710.A84S724 1991 294.3 '4211 '095493 dc20 90-6835 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paper In Memory of Winifred Wick Holt This page intentionally left blank PREFACE Buddha in the Crown has been written primarily for students of religion. The argument I have set forth about the nature of religious change in Sri Lanka is one that need not be regarded as culture-specific, but one that can be tested in a number of other religio-historical contexts. -
Nrityagram Dance Ensemble & Chitrasena Dance Company
Nrityagram Dance Ensemble & chitrasena dance company: A Dance Village Odyssey Study Guide PreK- Grade 12 TABLE OF CONTENTS Theatre Etiquette 3 Nrityagram Dance Village 4 Nrityagram Dance Ensemble 5 Surupa Sen & Pavithra Reddy 6 About India 7 Hinduism 8 The History of OdissI 9-10 Odissi Technique 11 Bhangas 12 Mudras/Hastas 13 Bedhas 14 Costumes 15 Music 16 Vocabulary 17 Sri Lanka 18 Kandy 19 Kandyan Dance 19 Other Types of Kandyan Dance, Costumes, Music, Kandyan Dance Today 20 Chitrasena Dance Company 21 Activities 22-25 Grades PreK-3 22 Grades 4-6 22-23 Grades 7-8 23-24 Grades 9-10 24-25 Grades 11-12 25 Resources 26 Credits 27 “When you know what you want, the entire universe conspires with you to realize it.” - Protima Gauri (1948-1998), Founder of Nrityagram Dance Ensemble & Village 2 Theatre Etiquette Audience members are an important and unique part of live theater. Remember that anything you say or do as an audience member will be visible and audible to the performer onstage. Your behavior as a member of the audience will make this performance memorable and enjoyable for everyone. Remember to keep these things in mind: ❖ Leave your food, drinks, and gum in your classroom. ❖ Turn off all electronics. An unexpected beep or ring in the middle of the performance will distract the audience members and the performers! ❖ Remember to respond appropriately and at the correct times. Make sure you pay attention at all times, to let the performer know you are engaged in their performance. They will also let you know what is appropriate and what is not. -
BIOGRAPHICAL NOTE Vajira
BIOGRAPHICAL NOTE Vajira - The First Professional Female Dancer ofthe Sinhalese Style Marianne Niirnberger University ofVienna, Austria Abstract This article analyses the historical role of Vajira, the first professional female dancer of the "classical" Sinhalese style - the Kandyan dance. The focus is on how her life's work in training and presenting women on theatre stage in dances choreographed by her has largely influenced the modern culture of Sri Lanka. Vajira's extraordinary career is described, and her most important ballets, tours, and awards are named. The article describes in some detail some of her numerous contributions to modern dance training and highlights her role as teacher in the development of children's dance training techniques and children's ballet. Finally, it briefly presents the vision of the Chitrasena and Vajira Dance Foundation in 2014. Vajira, the "Inventor" ofthe Female Style ofKandyan Dance How does it feel to be the spouse of an icon? What does it mean to dance side-by-side with one of the most famous, interesting, and beautiful men of Sri Lanka on the stage? How does it feel to do so in Sinhalese culture, at a period in which stage dance is just being invented? In a culture that has many thousands of male ritual dancers of three indigenous styles, up-country, low-country and Sabaragamuwa, but not a single professional female dancer of any of these styles? A culture that in too many respects does not accept women as equal to men? Where women are said to be unable to attain the highest religious goal of enlightenment? Where ritual dance was a domain of males only? Where women dancing in Sinhalese style were believed to be ill, insane and possessed by demons? Vajira is that woman. -
Changing Conceptualizations of Rhythm in Sri Lankan Up- Country Percussion Music: from Rhythmic Contours to Metric Cycles
Changing Conceptualizations of Rhythm in Sri Lankan Up- Country Percussion Music: From Rhythmic Contours to Metric Cycles Eshantha Peiris T stands to reason that the ways musicians conceive of and categorize musical rhythms can I directly influence the way they perform them, and that these ways of thinking about rhythm can be culturally conditioned and driven by social pressures. The “up-country” drumming tradition of central Sri Lanka serves as a vivid example of how the spread and transformation of rhythm concepts has been enabled by particular social histories, and of how these changing concepts of rhythm have influenced the ways in which the music has been performed. In this article, I explore the historical trajectories of how rhythm has been understood in the Sri Lankan up-country tradition, comparing traditional conceptualizations with twentieth-century academic theories, and situating these ways of thinking within broader South Asian contexts. I adopt a cross-cultural, long-term approach to this exploration so that readers can assess for themselves the extent to which the encounter between South Asian performing arts and colonial modernity can be seen to represent rupture and/or continuity. Using Sri Lankan up-country percussion music as a case study, I demonstrate how traditional criteria for categorizing rhythms, such as the number of emphasized beats in a repeating rhythmic contour, allowed for rhythm cycles of different metric lengths to be considered culturally equivalent by performers. I also show how, after these metrically flexible rhythm categories were rationalized according to measurable time-units by twentieth- century musicologists, metrically different rhythmic frameworks that shared a common number of emphasized beats were no longer considered interchangeable.