Volume 04 Issue 01
Satharasingha S.M Department of Kandyan Dance, Faculty of Dance and Drama, University of the Visual and Performing Arts, Sri Lanka.
Correspondence: – saranyasatharasingha99@gmail.com
Submitted: May, 08, 2026; Revised: June, 10, 2026; Accepted: June, 20, 2026
ABSTRACT: This research explores the ritualistic dance practices of the modern Vedda community, the indigenous people of Sri Lanka, to uncover the cultural and spiritual significance embedded within their movement traditions. The research highlights how the Vedda people’s ritual dances rooted in prehistoric practices and beliefs in ancestral spirits function as communal expressions of devotion, healing, protection, and survival. Drawing on historical chronicles such as the Mahavamsa, archaeological findings, and ethnographic data, the study contextualizes these dances within broader religious systems of demon worship and ancestor veneration. Through an in-depth analysis of key rituals such as Kiri Koraha, Hatme Dance, and Ne Yakun Pidima, this paper outlines distinct dance features, including pantomimic expression, trance possession, circular spatial patterns, body percussion, and organic rhythmicity generated through physical movement. The research also identifies symbolic gestures, the absence or minimal use of musical instruments, and the ceremonial involvement of the Kapurala (ritual leader) as defining traits of these performances. Furthermore, it examines the cultural fusion between Vedda traditions and mainstream Sri Lankan dance forms, showing how indigenous ritualistic movements have influenced Kandyan, Low Country, and Sabaragamu traditions. Ultimately, this study affirms the significance of Vedda ritual dances as vital expressions of indigenous identity, spirituality, and resistance to socio-cultural change, while offering insight into their impact on the evolution of Sri Lankan dance heritage.
Key Words: Vedda Ritual Dance, Indigenous Identity, Ancestral Worship, Cultural Fusion, Sri Lankan Dance Heritage.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 04 Issue: No. 01
Page : 1- 05
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
கலாநிதி தம்பிப்பிள்ளை மேகராசா முதுநிலை விரிவுரையாளர்,
தமிழ் கற்கைகள் துறை
கலை கலாசார பீடம்
கிழக்குப் பல்கலைக்கழகம், இலங்கை
Correspondence:- megarajaht@esn.ac.lk
Submitted: May, 30, 2026; Revised: June, 01, 2026; Accepted: June, 23, 2026
ABSTRACT: The history of the Eelam Tamil diaspora represents a significant socio-cultural phenomenon that has expanded the horizons of Tamil literature onto the global stage. Particularly after the 1980s, due to the ethnic and political conflicts in Sri Lanka, large numbers of Eelam Tamils migrated to various countries around the world. In their host countries, they initially encountered numerous challenges arising from linguistic and cultural alienation. Over time, however, they acquired proficiency in the languages of their adopted countries while simultaneously preserving their mother tongue and cultural identity. Alongside these efforts, they increasingly engaged in translation activities, thereby strengthening the relationship between world literatures and Tamil literature. In this context, it becomes essential to examine the translation initiatives undertaken by the Eelam Tamil diaspora. Accordingly, this study explores the translation activities of diaspora Eelam Tamils from both historical and analytical perspectives. The research is based on data gathered from translators, literary activists, and a range of relevant books, articles, and archival materials. The findings reveal that the multilingual environment created by diasporic life has enabled Eelam Tamils to emerge as significant contributors to the field of translation. Special attention is given to the nature and scope of the translation efforts carried out by Eelam Tamil writers living in countries such as Denmark, Germany, France, Canada, Australia, and the United Kingdom. The study demonstrates that diaspora Tamils have not only translated world literature into Tamil but have also introduced Tamil literary works to other languages. These translation activities have fostered intercultural exchange beyond linguistic boundaries and have served as a bridge connecting global readers with the history, lived experiences, and identity politics of the Eelam Tamil community. The study ultimately argues that, through these sustained translation efforts, the Eelam Tamil diaspora has begun to make a substantial and enduring contribution to both Tamil literary development and global cultural dialogue.
KEY WORDS: Tamil Diaspora, Eelam Tamil Diaspora, Translation Initiatives, Multilingualism.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 04 Issue: No. 01
Page : 1- 06
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
Dr. Alagiah Vimalaraj
Department of Dance and Drama, Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka.
Correspondence: vimalaraj72@gmail.com
Submitted: May, 06, 2026; Revised: May, 28, 2026; Accepted: June, 09, 2026
ABSTRACT: This study comprehensively examines the feasibility and significance of applying Katie Mitchell’s ‘Forensic Analysis’ method within the context of contemporary Tamil theatre direction. In the Tamil theatre tradition, long-standing emotional and intuitive approaches often lead to a loss of logical precision in characterization and scenic design. To address this issue, this study introduces Mitchell’s ‘forensic’ approach, which treats a play text not merely as literature but as data to be analyzed like a scientist. Crucially, this research is built upon a practical directing process wherein the researcher selected a specific play text, implemented the forensic analysis method during rehearsals, and provided structured training to the actors based on these parameters. Adopting an ‘Action Research’ methodology, this paper is structured around Mitchell’s ‘Four Pillars’ theory. Specifically, it analyzes how the processes of listing the unalterable facts of the text, building detailed character biographies, establishing the immediate circumstances prior to a scene, and dividing scenes into small logical intentions (intentions) were practically utilized during the production. The findings of this study demonstrate that the forensic analysis method liberates actors from generalized performances, delivering highly specific and authentic physicality. Furthermore, it guides the director to function as an ‘artist-scientist,’ meticulously crafting scenes based on textual data. Ultimately, this research logically establishes that such scientific analytical methods are indispensable for elevating the artistic standards of Tamil realistic theatre to an international level.
Keywords: Forensic Analysis, Katie Mitchell, Modern Theatre Direction, Tamil Theatre, Action Research, Realism.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 04 Issue: No. 01
Page : 1- 09
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
இவ்வாய்வு நவீன நாடக நெறியாள்கையில் கேட்டி மிட்செல் முன்மொழிந்த ‘தடயவியல் பகுப்பாய்வு’ முறைமையை, தமிழ் நவீன நாடகச் சூழலில் பிரயோகிப்பதன் சாத்தியப்பாடுகளையும் அதன் முக்கியத்துவத்தையும் விரிவாக ஆராய்கிறது. தமிழ் நாடக நெறியாள்கை மரபில் நீண்டகாலமாகப் பின்பற்றப்பட்டு வரும் உணர்வுசார் மற்றும் உள்ளுணர்வுசார் அணுகுமுறைகள், பல நேரங்களில் பாத்திரப் படைப்பிலும் காட்சியமைப்பிலும் தர்க்கரீதியான துல்லியத்தை இழக்கச் செய்கின்றன. இப்பிரச்சினைக்குத் தீர்வாக, ஒரு பிரதியை இலக்கியமாக அணுகாமல், அதிலுள்ள தரவுகளை ஓர் அறிவியல் ஆய்வாளரைப் போல அணுகும் மிட்செலின் ‘தடயவியல்’ முறைமை இங்கு முன்வைக்கப்படுகிறது. ஆய்வாளர் ஒரு குறிப்பிட்ட நாடகப் பிரதியைத் தேர்ந்தெடுத்து அதனை நெறியாள்கை செய்தபோது, இத்தடயவியல் பகுப்பாய்வு முறைமையினை நடைமுறையில் பிரயோகித்து நடிகர்களுக்குப் பயிற்சிகளை வழங்கியுள்ளார். அந்த நேரடி நெறியாள்கைச் செயல்முறைப் பதிவுகளின் அடிப்படையிலேயே இவ்வரங்க ஆய்வு கட்டமைக்கப்பட்டுள்ளது.
‘செயல்முறை வழி ஆய்வு’ எனும் முறைமையைப் பின்பற்றி அமையும் இக்கட்டுரை, கேட்டி மிட்செலின் ‘நான்கு தூண்கள்’ கோட்பாட்டினை அடிப்படையாகக் கொண்டு வடிவமைக்கப்பட்டுள்ளது. குறிப்பாக, பிரதியிலுள்ள மாற்ற முடியாத உண்மைகளைப் பட்டியலிடுதல், பாத்திரங்களின் விரிவான வரலாறு, மேடைத் தருணத்திற்கு முந்தைய ‘உடனடிச் சூழலை’ வடிவமைத்தல் மற்றும் காட்சிகளைச் சிறிய தர்க்க அலகுகளாகப் பிரித்தல் ஆகிய செயல்முறைகள் நெறியாள்கையின் போது எவ்வாறு பயன்படுத்தப்பட்டன என்பது இங்கு விரிவாக அலசப்படுகிறது.
இவ்வாய்வின் கண்டுபிடிப்புகள், தடயவியல் பகுப்பாய்வு முறையானது நடிகர்களின் நடிப்பைப் பொதுவான தன்மையிலிருந்து விடுவித்து, மிகவும் குறிப்பான மற்றும் நம்பகத்தன்மை வாய்ந்த உடல்மொழியை வழங்குகிறது என்பதை நிறுவுகின்றன. மேலும், நெறியாளர் என்பவர் ஒரு ‘கலை-விஞ்ஞானியாக’ மாறி, பிரதியின் தரவுகளின் அடிப்படையில் காட்சிகளைத் துல்லியமாக வடிவமைக்க இம்முறைமை வழிகாட்டுகிறது. இறுதியில், தமிழ் யதார்த்தவாத நாடகங்களின் கலைத் தரத்தை சர்வதேசத் தரத்திற்கு உயர்த்துவதற்கு இத்தகைய அறிவியல் பூர்வமான பகுப்பாய்வு முறைகள் இன்றியமையாதவை என இவ்வாய்வு தர்க்கரீதியாக உறுதிப்படுத்துகிறது.
K. A. D. Ranga Perera
Senior Lecturer Department of North Indian Music Faculty of Music Visual & Performing Arts University, Colombo Sri Lanka
Correspondence:- ranga.p@vpa.ac.lk
Submitted: June, 01, 2026; Revised: June, 17, 2026; Accepted: June, 28, 2026
ABSTRACT: This study investigates the necessity of embedding North Indian music history, particularly Hindustani classical traditions, within undergraduate curricula, and evaluates its impact on musicianship, pedagogy, and cultural literacy. Drawing on a qualitative framework, the research combines a systematic literature review with semi structured interviews conducted among educators and students from three Sri Lankan universities. The literature establishes theoretical foundations regarding the dual role of history in preservation and innovation, while interviews provide contextual insights into pedagogical practices, challenges, and student perceptions. Findings reveal that educators consistently emphasize the importance of historical study in enhancing interpretive authenticity, stylistic sensitivity, and pedagogical preparedness. Students, though initially resistant to abstract historical content, reported increased engagement when exposed to interactive strategies such as multimedia resources, storytelling of guru–shishya lineages, and experiential workshops. Comparative analysis across institutions highlights distinct emphases: stylistic authenticity at the University of Kelaniya, sociocultural reflection at the University of Sri Jayewardenepura, and pedagogical preparedness at the University of the Visual and Performing Arts. Challenges include reconciling oral traditions with academic frameworks, limited instructional time, and inadequate access to archives and scholarly resources. Despite these constraints, the study affirms that historical knowledge is indispensable for cultivating culturally literate, critically engaged, and pedagogically versatile musicians. It recommends curriculum reforms, resource investment, and collaborative initiatives bridging traditional practitioners and academics to harmonize oral heritage with scholarly discourse. Ultimately, the research underscores that history is not peripheral but a central pillar of holistic musicianship, ensuring both continuity and creative adaptability within the Hindustani tradition.
KEY WORDS: Cultural identity, North Indian music history, Preservation and innovation, Sri Lankan Universities, Undergraduate pedagogy
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 04 Issue: No. 01
Page : 1- 08
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
J. P. Tripathi
Assistant Lecturer (Vocal), Ma Sharada Institute of Music, Bilaspur, CG, India
Correspondence:- tripathi.p9019@gmail.com
Submitted: June, 01, 2026; Revised: June, 19, 2026; Accepted: June, 25, 2026
ABSTRACT:Indian classical music education, particularly within the Hindustani tradition, occupies a distinctive and culturally significant position in the higher education landscape of Sri Lanka. As digital technologies continue to reshape pedagogical practices across disciplines globally, the teaching and assessment of Indian classical music at university level faces an urgent need for thoughtful transformation. Despite growing student readiness for technology-mediated learning, higher education institutions in Sri Lanka have yet to develop coherent, institutionally supported frameworks that integrate digital tools with the traditional pedagogical foundations of Indian classical music. This gap between technological potential and institutional practice constitutes a critical challenge for the sustainability and relevance of Indian classical music degree programmes in the contemporary era. This study investigates the challenges, opportunities, and strategic pathways associated with the digital transformation of Indian classical music education in Sri Lankan higher education institutions, with particular reference to the University of the Visual and Performing Arts, Colombo. The primary objectives are to identify existing barriers to digital integration, examine the compatibility of technology-mediated pedagogy with the Guru-Shishya Parampara tradition, and propose a culturally sensitive reform framework applicable to the South Asian higher education context. Employing a qualitative, document-based comparative methodology, the study systematically analyses institutional curriculum documents, national education policy frameworks, peer-reviewed scholarly literature, and findings drawn from prior empirical research conducted at the same institution spanning the years 2021 to 2025. Findings reveal that while student attitudinal readiness for digital learning is demonstrably high, persistent structural barriers — including inadequate infrastructure, absence of faculty digital training, and curriculum inertia — continue to obstruct meaningful reform. The study concludes by proposing a four-pillar framework encompassing technology-integrated pedagogy, curriculum redesign, music industry linkage, and policy alignment as a replicable model for reform across comparable South Asian institutions.
KEY WORDS: blended learning, curriculum reform, digital transformation, Indian classical music, Sri Lanka higher education.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 04 Issue: No. 01
Page : 1- 06
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka
Dr. W.M.H.G.U. Indika Tikiri Bandara Weerakoon
University of the Visual & Performing Arts, Sri Lanka
Correspondence:- indikatikiri@gmail.com
Submitted: October, 07, 2025; Revised: November, 03, 2025; Accepted: November, 25, 2025
ABSTRACT:This study explores the cultural significance andcontemporary challenges of Pung drumming in Manipuri society.As an essential element of religious rituals, dance, and socialgatherings, Pung drumming serves as a bridge between spiritualdevotion, artistic expression, and social cohesion. The researchhighlights the drum’s central role in community events such asweddings, funerals, and festivals, where it communicates culturalnarratives and emotions through its rhythmic patterns. Despite itscultural importance, the study identifies several challengesthreatening the survival of Pung drumming, including declininginterest among younger generations, commercialization oftraditional arts, and limited formal training opportunities. Toaddress these issues, the study emphasizes the importance ofintegrating Pung drumming into formal education, promotingdigital documentation, and providing financial support for artists.Additionally, the study reveals a generational divide in theperception of Pung drumming, with older practitioners viewing itas a spiritual and cultural obligation, while younger generationsoften regard it as an optional art form. The findings suggest thatculturally responsive educational approaches are essential tomaking Pung drumming relevant to contemporary youth andensuring its sustainability. The study calls for collaborative effortsinvolving practitioners, educators, and policymakers to preserveand promote this important cultural tradition for future generations.
KEY WORDS: Pung drumming, Manipur society, Meitei culture, Sankirtana, cultural heritage, Manipuri dance.
Journal Title: Sri Lanka Journal of Aesthetic Studies (SJAS)
Frequency of Publication: Bi Annual (January and June)
Volume : No. 03 Issue: No. 02
Page : 1- 09
ISSN (Online) : 2989-0225
Name of the Publisher: Swami Vipulananda Institute of Aesthetic Studies, Eastern University, Sri Lanka