Museu da Marioneta

The mask theatre from Sri Lanka dates back from primitive times, and its origin is lost in the dawn of times. Its roots lie upon a complex set that shapes the Singhalese culture, and whose cosmology results from the combination of native religious beliefs – with its spirit and demon gods – with the divinities, beliefs and practices of Hinduism and Buddhism.
Within this spiritual framework there is a close connection between the earthly world and the supernatural world ruled by the supreme Buddha, and where the demons – the Yakku and the Rakshas – are also present and interfere directly with the daily lives of men. The Rakshas are thought to be superior to the demons and – according to the legend – would be the native inhabitants of the Island of Lanka. King Ravana, who kidnapped Sita, the wife of Rama, the core character of the Hindu epic, the Ramayana, ruled them.
With the help of Sugriva, king of the monkeys, and of Vihibishna, brother of Ravana and one of the rare good-hearted rakshas, Rama defeated Ravana and his army, and saved Sita. Following this victory Vihibishna was proclaimed king of Sri Lanka.
The Rakshas could take various shapes, but the most frequent was the snake to scare the enemies.
Sri Lanka’s traditional mask plays – that are currently in decline – can be divided into two groups: the Kolam, popular entertainment plays for the community, and the Tovil – demon dance – of which the most famous is the Sanni Yakkuma, from the South of the country (sanni = diseases; yakka = demon, plural Yakku).
One of the pillars of the Singhalese traditional beliefs is that diseases are caused – and consequently also healed – by demons.
A mask with the other 18 miniature demons on both sides quite often represents the demons’ chief. The name given to the demons’ chief is not clear, and several designations – Maha Kola, Mahasona e Daha Ata Sannyia – have been found. Sometimes this last designation does not mean the mask but the ritual itself, when meaning the demons as a whole.
The Sanni Yakkuma dance ritual – used for therapeutic purposes – is divided into three major moments: wearing the adequate mask, the expert invokes the demon to appear where the patient is and hands him the offers. He then forces the demon to promise he will step away and leave the patient’s body. This will happen after performing a dance.
After this ceremony the patient will regain his balance and be healed.
Sanni Yakku masks are not always easy to identify due to their similarities and due to the fact that their description and designation quite often varies. In some cases, however, they are easily identifiable due to their shape and colour. It is the case of the demon that causes deafness that is represented by a mask with a snake coming out of one eye and covering the ear; or of the demon that causes stomach pains and bowel problems, frequently represented by the green colour and – sometimes – with its tongue partially sticking out of its mouth.
Each actor usually manufacturers his own masks, and they are true professionals. They are experts trained in dance and music. They begin their training at an early age with an older and more experienced actor – usually a family member – who teaches them both the techniques and tricks of this such a complete and complex type of art, in which dance plays a major role.

These masks are usually quite creepy due to their deformed faces, wide-open eyes, big noses and wide nostrils.
They are carved to inspire fear and the recognition of the existence of supernatural and devilish beings within the daily life.
The masks usually cover the actor’s face from the middle of his forehead to the beginning of his chin. They are thus easier to wear during the long shows with exaggerated and spasmodic motions that may go on for several hours.
Given its light, soft, and easy to carve type of wood, an indigenous tree – the “Kaduru” or sandal – is the one generally used in the manufacturing of the different types of masks.
Kolam theatre

The Kolam theatre is one of the oldest popular shows from the Southern coast of Sri Lanka – very difficult to watch nowadays – that does not use the masks solely for ritualistic purposes. It is a public entertainment show, which includes jokes, episodes from the history of the country, and mythological themes, using a wide variety of human, animal and devilish masks.
Although Kolam performances drifted away from the original rituals, there seems to be no doubts regarding the fact that they were born from the Singhalese mental and spiritual framework. Some people believe the Kolam derived from the Sanni Yakuma, and became a dance-drama independent from ritualistic elements.
The fact is that – probably influenced by the Nadagama theatre – it turned into a playful performance independent from those ritualistic elements including, however, the mythological references – the presence of the king and queen, the raksha dances (snakes’ dance)….
The Kolam theatre combines two levels. The first is a mythological one, linked to the queen’s pregnancy and the devilish desires that rule her body – personified by the snakes that will have to fight the Gurulu, her ancestral enemy. The second is a more secular one, and it depicts daily life episodes and the history of the Island.
The Kolam presents a group of more or less defined characters, which include the royal couple, different dignitaries and civil servants – such as Mudliar, responsible for the province’s administration, and Arachchi, chief of the village and his assistant – soldiers, peasants, animals, and demons.
The show starts with the preparation of the premises and the arrival of the King and his Queen who watch the whole dance.
The Kolam show has a wide repertoire with stories and dramas that allow a wider choice and diversity.
The play may follow a script, and the characters are introduced by the narrator – at the sound of drums – within a given order, but a prologue without any direct relation whatsoever to the story, which will be told, may also occur.
All actors are men, and dialogues will be short because the masks are one-piece masks and do not allow an adequate voice placement and projection.