Browsing by Author "Kumara, J. C. R."

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Improvisation of Sri Lankan temple music through digital media: (a study based on the evidence of musical elements of Kelaniya Raja Maha Vihara).
(International Conference on the Humanities (ICH), 2017 Faculty of Humanities, University of Kelaniya, Sri Lanka., 2017) Kumara, J. C. R.
The focus of this project is to identify the various aspects and factors of Sri Lankan music that can be found out in Kelaniya Raja Maha Vihara. Many researchers have generally examined the artistic elements of Buddhist temples mainly focusing on Paintings, Sculptures and Architectural elements other than many of other significant aspects of Sri Lankan culture that is evident in them. One such is the evidence of the use of musical instruments and their application on par with the contemporary Sri Lankan culture which have been portrayed through Painting and Sculpture and the daily customs bestowed on it. For example, Buddhist musical ensemble (hevisi), Processions (perahera), chanting (Pirith) have necessarily been accompanied by music. To date, these customs are performed at the temple and the Sculpture and Paintings of the temple provide ample evidence of its existence during the particular period. A detailed examination of the evidence of Kelaniya temple also provides some independent characteristics that resemble the ideological underlining to the indigenous music of Sri Lanka. The expected study will use the digital tuner system and audio records to identify the musical notes of the contemporary music styles. A field survey and a survey of literature will also involve in the methodology.
The musical culture of Ceylon Africans: A case study of Maanja tradition in the Sirambiadiya village, Sri Lanka
(Faculty of Graduate Studies, University of Kelaniya Sri Lanka, 2022) Kumara, J. C. R.; Narangoda, P.
The present research examines the musical culture of Ceylon Africans (Kaffir) in the Sirambiadiya region, in Puttalam district, in North-Western Province. They are a group of community descending from the post-colonial period of the country. Evidently, the Kaffirs of Sirambiyadiya village inherit a particular style of music called Maanja, demonstrating some unique characteristics that have also become part of Sri Lankan culture, especially by spreading the tradition of Baila Kaffirinha, which continue to be very popular in the country. However, the Kaffirs of Sirambiadiya call their music Maanja. These songs have only a few verses: five or six lines or less. These same lines recur in different tempo in their singing. The singing primarily starts in slow tempo and increases gradually indicating that the dance is incorporated into the ongoing music. They accompany some percussion instruments such as Dolak (Dolki or Dollakkiya), and Rabana as the principle beat keeper, yet they use with it some home utensils i.e., spoons, glass bottles, common furniture like polished coconut shells, along with some coins. The word ‘Maanja’ is derived from the Portuguese word ‘Marchas,’ kind of song sung in the Portuguese wedding ceremonies and festivities. Most of these Maanja songs are based on six-eight (6/8) beats. It is revealed that the Sri Lankan Maanja demonstrates some connotation to Portuguese Marchas in a very locally customized manner in which the Portuguese descendants of the country acculturated themselves while introducing the Portuguese cultural affinities vice versa. Thus, the themes of Maanja songs range from appreciating nature, childhood, livelihood of people, identified as child flying a kite, love, the sea, the birds, and devotional songs etc. Within such a background, the objective of the present research is to identify the evidence of musical ensemble of Kaffirs in Sirambiyadiya such as musical structures, playing techniques, singing styles, melodic patterns, performance settings, and the instruments to examine the independent characteristics of Maanja tradition within the particular socio-cultural background, by preserving the value of one of the diminishing cultures in Sri Lanka right now. It can be concluded that identifying the Maanja music tradition of Ceylon Africans in the Sirambiadiya region is significant for them to evolve as a minor music tradition, yet, unique to the country. The present study follows the qualitative research methodology including on site data collection with recorded music and interviews with the community, analysis, interpretation, and conclusion. Data is also collected from the field study, scholarly studies, library and archival surveys, and discussions.
Sri Lankan Music in Sigiri Graffiti
(In: Proceedings of the International Postgraduate Research Conference 2017 (IPRC – 2017), Faculty of Graduate Studies, University of Kelaniya, Sri Lanka., 2017) Kumara, J. C. R.
The aim of this paper is to identify the evidence of music in Sri Lanka that has been encrypted in Sigiri Graffiti. The graffiti on the mirror-wall in Sigiriya Rock belongs to a period ranging from 8th- 10th centuries CE, and with no doubts, they are an extant example of the social and cultural background of the period. Evidently, they were the visitors to the royal kingdom of King Kasyapa (477-495 CE) from different parts of the country, and they belonged to various strata of the contemporary society in Sri Lanka. Therefore, it can be assumed that the graffiti on the rock wall represents not only the thoughts and ideas they had of the figurines on the wall, but the melodic patterns and rhythms that regional community practiced on particular occasions. Thus, Sigiri Graffiti can be recognized as a cluster of such musical components of the contemporary society in Sri Lanka that may necessarily witness to the elements of authentic Sri Lankan music and provide a glimpse into the music of Sri Lankan people during a period immemorial. The unique characteristic of this music and the rhythms is the non-influential behavior from its neighbor: India, as it has always been come under discussion when it comes to Sri Lankan music. The samples and examples for the present study were selected from the Sigiri Graffiti, and from the texts written on the subject. The evidence and elements of the contemporary Sri Lankan music were obtained from the primary sources i.e. Mahavamsa, Culavansa and other texts, scholarly studies, and an examination of archeological information. The analysis proved that the lyrics and the rhythms embedded in Sigiri Graffiti are homogeneous to Sri Lankan society and the instrumenting, singing, impression of songs and dance etc. and also the prosody; the number of syllabic instants provides significance of music in Sri Lanka.