Abstract:
The art of dance makes a fair contribution to the richness of Sri Lankan culture. This dance art, divided into three parts: Upcountry, Lowland, and Sabaragamu, is widespread in Kandy, Satkoralaya, Satarakoralaya, Kurunegala, and Anuradhapura. In this Upcountry dance tradition, a Yakdessa evolves into an expert dancer through the grand masking ceremony. The study examines the practices performed by a Yakdessa, by the teacher, or by both groups. The study attempts to collect data on the rituals of the head masking ceremony in this up-country dance tradition. Library study method and field study method were used for that. Under the library study method, secondary data of literature, such as research papers and research works, were studied. In the field study method, areas such as Anuradhapura - Galenbidunuwewa area, Satarakoralaya, and Kurunegala – Alavwa have been studied. Participatory and non-participatory observation methods are used, and interviews with 50 experts in the field have been done. The thematic analysis method was used, and the conclusions were reached using a comparison framework. Therefore, before the ceremony of Yakdessa's debut, one should avoid eating meat and fish for more than three months to protect the path of purity and prepare to wear the set of ornaments of God Kohombaa on his head. Later, it was also learned that the teacher performs madu pe, tota pe, bathing the yakdessas, halfly dressing them up in mask clothes, hagal pe, putting on the mask, debuting them, removing doshas, performing a Bali, and chanting Pirith. As a result of the study, it was possible to identify that in the process of a Yakdessa becoming a mask dancer, the teacher's role, the role played by parents and Buddhism are inseparable.
