Esala pageant Continuing an age-old tradition

…That they may honour these Gods, and procure their aid and assistance, they do yearly in the Month of June or July, at a New Moon, observe a solemn Feast and general Meeting, called Perahar. The greatest Solemnity is performed in the City of Cande…
The priest bringeth forth a painted stick, about which strings of Flowers are hanged, and so it is wrapped in branched Silk, some part covered, and some not; before which the people bow down and worship; each one presenting him with an Offering according to his free will. These free-will Offerings being received from the People, the Priest takes his painted stick on his Shoulder, having a cloth tied about his mouth to keep his breath from defiling this pure piece of Wood, and gets up upon an Elephant all covered with White cloth, upon which he rides with all the Triumph that King and Kingdom can afford, thro all the Streets of the City. But before him go, first some Forty or Fifty Elephants, with brad Bell hanging on each of them, which tingles as they go.
Next, follow men dressed up like Gyants, which go dancing along agreeable to a Tradition they have, that anciently there were hug men, that could carry vast Burthens, and pull up Trees by the Roots &c. After them go a great multitude o Drummers, and Trumpeters, and Pipers, which make such a great and loud noise that nothing else beside them can be heard. Then follow a Company of Men dancing along and after these Women of such Casts or Trades as are necessary for the services of the Pagoda, as Potters and Washer-women, each cast goeth in Companies by themselves, three and three in a row, holding one another by the hand; and between each Company go Drummers, Pipers and Dancers.
After these comes an Elephant with two Priests on his back’ one whereof is the Priest before spoken of, carrying the painted stick on his Shoulder who represent Alloutnuar Dio, that is, the God and Maker of Heaven and Earth. The other sits behind him holding a round thong, like an Umbrello, over his head, to keep off Sun or Rain. Then within a Yard after him on each hand of them follow two other Elephants mounted with two other Priests, with a Priest sitting behind each, holding Umbrellos as the former, one of them represents Cotterogam Dio and the other Potting Dio. These three Gods that ride here in Company are accounted for all other the greatest and the chiefest, each one having his residence in a several Pagoda.

 

 

This description by Robert Knox in ‘An Historical Relation of Ceylon’ is the earliest on the Esala Perahera in Kandy written by a foreigner. A sailor in the service of the English East India Company who was captured by the King of Kandy Rajasinghe II in 1660 Knox was detained for nearly 20 years. Thus the description relates to sometime during that period when the Perahera was restricted to the ‘devale’ processions.
Knox mentions that the King himself used to ride on horseback at the tail end of the procession but had given up the practice. The ‘priests’ referred to by Knox should be either ‘kapuralas’ of the devales or the ‘nilames’ in charge of them.
Until Upali Maha Thera from Siam (presently Thailand) prevailed upon King Kirti Sri Rajasinghe when the Maha Thera visited Sri Lanka for the restoration of ‘upasampada’ – higher ordination – in 1753 to change the format, the Perahera was a Hindu Saivite ceremony in the name of four deities – Skanda, Natha, Vishnu and Pattini. Thereafter the Dalada Perahera took precedence over the devale processions.
Since then the Dalada Perahera has become the most colourful Buddhist cultural pageant in the world. Held during the month of Esala (July/August) it attracts both Buddhists and non-Buddhists from all over the world and is arguably the biggest tourist attraction in Sri Lanka.
The origin of the Dalada Perahera dates back to the 4th century when King Sirimeghavanna (Kitsiri Mevan 301-331 CE) who was ruling in Anuradhapura decreed that the sacred Tooth Telic should be brought out from its enshrined place once a year so that the public could pay homage. The tradition continued when the Tooth Relic was taken from capital to capital following the sifting of the kingdoms. The Relic symbolised the sovereignty of the monarch and a temple was built to house the Relic in the palace premises. The king personally offered alms and conducted other forms of veneration to the Relic.
After the Dalada Perahera was introduced in the 17th century, the chiefs (nilames and disawas) marched in the procession in a particular order with their emblems and flags. Starting with the Maha Lekam with the ‘lekammitiya’ and writing stylus immediately followed by Gajanayake Maha Nilame with the Hasthuya Maha Kodiya (Elephant flag) and Kodithuwakku Nilame, 12 Disawas of different provinces marched.
The Disawas were followed by the Maligawa tusker bearing the Relic casket along with other elephants and Maligawa retainers. Next came the Devale Peraheras along with their ‘randoli’ each with its golden vessel and sword. The weapons of the deities were carried in caskets on elephant-back. The Rate Mahattayas were the next in line with their flags followed by palace officials also with their symbolic flags.
The two Adigars, the most powerful chieftains, attired in their traditional costumes marched next. The King too joined in person on the nights of the Randoli Perahera riding in a golden chariot drawn by eight horses.

 

After end of king’s rule

The complexion of the Perahera has changed with the end of the era when the King, the Adigars and Disawas departed. They have been replaced by the Maligawa and devale officials led by the Diyawadana Nilame, the lay custodian of the Tooth Relic.
The firing of the cannon at the Maligawa marks the start of the Perahera. The whip crackers then get on the streets as a signal that the Perahera will soon follow. The first in the procession are the flag bearers and the Peramune Rala riding the first elephant carrying the ‘lekammitiya’ – a register of the Maligawa lands and the tenants who owe service to the Maligawa.
The drummers playing different types of drums follow before the Gajanayaka Nilame rides the next elephant carrying a silver ‘ankusa’ in his hand as symbol of authority. The Kariya Korala who is responsible for the ceremonies connected with the Maligawa walks behind accompanied by temple officials, drummers and dancers.
The Maligawa tusker appears next proudly and majestically walking slowly on white ‘pavada’ carrying the golden casket symbolising the Tooth Relic. Two lines of dancers facing each other with the drummers in the centre perform as they move paying obeisance to the casket. The Diyawadana Nilame walks at the end of the Maligawa Perahaera with senior temple officials.
The processions of the four ‘devales’ ‘representing the deities Natha – the Guardian of the City, Vishnu – Protector of the Land, Kataragama – God of Victory and Pattini – Goddess of Purity march next each accompanied by the BasnayakaNilames of the respective ‘devale’ along with Nilames of minor ‘devales’ attached to various temples in and around Kandy. The Perahera ends with the ‘randolis’ of the ‘devales’ borne by retainers.
The festival ends with the water-cutting ceremony in the river at Getambe followed by the day Perahera.

A gorgeous spectacle There are elephants majestic in appearance and caparisoned with cloths of gold and trappings which make them look like gigantic jewels on the move. There are richly-dressed dancers who seem to defy the laws of motion. There are drummers whose resonant throbbing rises above the tinkling feet of the dancers, the sounds of conch shells and the crashing of brass cymbals. There are Nilames (custodians) of the devales attired in glorious garb like those worn by their ancestors. There is the fragrance of flowers and joss sticks. It is a gorgeous spectacle, which as it moves along the streets makes the crowds packed to capacity gasp, some in wonderment and others in awe. The devout raise their voices in invocation and homage. – Handbook for the Ceylon Traveller (Studio Times publication)