05/07/2025
The Sacred Relic and Kandy Esala Perahera: Now and Forever a Cultural Legacy
The Kandy Esala Perahera, referred to as the Dalada Perahera, is the single most spectacular event in the country, which has a history and cultural heritage running back over two thousand years.
Held annually in Kandy, the Perahera represents a harmony of spirituality, artistry and civic pride. The celebration is not only a cultural event, it has also become an important tourism/economic event of the local area.
The festival is choreographed and includes a parade of dancers, drummers, and elephant acts reflecting the artistic aspect of the Sri Lankan culture.
With both local and foreign spectators watching, the spectacle is a magnificent pageant in honour of the Sacred Tooth Relic of the Lord Buddha.
This venerable tradition is said to have been commenced after the arrival of the Sacred Tooth Relic on the island in the time of King Kithsirimewan (301-328 A.D.). The Mahavamsa Chronicle states that to celebrate the event, the King, in a special declaration, officially exempted 900,000 of his subjects from paying taxes!
The public exposition of the Tooth Relic at Abhayagiri Viharaya annually created a continuing practice of adoration.
The Journey of the Sacred Tooth Relic
According to the Maha Parinibbana Sutta, there are four instances where the gods enshrined tooth relics. Among these, the left canine gained great veneration. Upon political disturbances in the Kaalinga kingdom, the princess Hemamala and the prince Dantha disguised the Relic.
They brought it down to Sri Lanka around 310 AD in the reign of the then King Kithsirimewan, the putative sovereign of the country.
Housed originally at the Isurumuniya Temple, the Relic has been venerated with grand processions and a series of ceremonies in the belief that it ensured timely rains and a bountiful harvest. The possession of the Sacred Tooth Relic was an indispensable symbol of sovereignty; no king was considered legitimate without the guardianship of the relic.
The Evolving Tradition of the Dalada Perahera
During the times of the Sinhalese monarchy (Anuradhapura, Polonnaruwa, Dambadeniya, Yapahuwa, Kurunegala, Gampola, Kotte Seethawaka and Kandy), the significance of the
Dalada Perahera was twofold: a function of a Buddhist rite and a function of state, namely, that of affirming the continuity of the Sinhalese King as the defender of Buddhism.
Revival Under King Wimaladharmasuriya I
The Esala Pegima was revived in Kandy in 1592 by Wimaladharmasuriya I, who brought the Tooth from the territory of Sabaragamuwa.
It was first situated within the temple known as Gedige Viharaya, and later in the newly constructed Temple of the Sacred Tooth Relic within the royal palace complex.
European Accounts and Devala Influence
The army of King Rajasinghe II captured Robert Knox, an Englishman who had observed the Perahera and recorded it as dedicated to Hindu deities.
During its early years, the Esala Perahera was mainly a Devala Perahera (a procession of the four ‘guardian’ gods Natha, Vishnu,Kataragama, and the goddess Pattini).
King Kirti Sri Rajasinghe's Reformation
The festival was further modernized by King Kirti Sri Rajasinghe in 1753. He initiated the tradition of Dalada Perahera walking ahead, with four Devala processions in successive order.
This arrangement persists, a hybrid of a Buddhist devotion and a Devala ritual - a product of the island nation of Sri Lanka’s rich syncretic culture.
The Dalada Perahera in Colonial Times and Today
British rule and abeyance (1815-1948). The British colonials took control of the country in 1815. They established a monarchy by abolishing the institution.
Still, British policy decreed that the perahera continue to be held and was placed under the custody of a Diyawadana Nilame (Chief custodian). In this way, the tradition remained in continuity, unbroken without a history.
The old style Dalada Perahera seemed to be not so much a cultural pageant but as of an opportunity to parade the power of the state. In fact those were martial formalities from which the May 29, 1828 procession, then under British Governor Sir Edward Barnes’s leave started.
Initially, the Esala Perahera consisted solely of the four devala processions—Natha, Kataragama, Vishnu, and Pattini.
King Kirti Sri Rajasinha, on the advice of the eminent prelate, Welivita Saranankara, Sangharaja Thero, included the Dalada Maligawa (Temple of the Tooth Relic) procession in the devale processions. Thus, the Esala Perahera became endowed with its Buddhist character.
The Kandy Esala Perahera nowadays is venerated not only by human beings, but also by gods and beasts, including elephants, to the beat of the Perahera Casket, which is believed to be a relic of the living presence of the Lord Buddha.
It is also recognized as one of the oldest continuous cultural festivities in the world, replete with unparalleled magnificence, pageantry, and dedication to faith.
For the local community, seeing the Perahera is a deeply pious act; for visitors, an unforgettable experience of the timeless soul of Sri Lankan culture.
The Perahera is to pay homage and make offerings to the gods of the four great devales from the Sacred Tooth Relic. It also works to conjure up blessings and fortune for the country and to pray to god for rain to rain for a good year.
The Perahera, populated by traditional dances, drummers, performances, and ancient ceremonies, has now become a celebration that showcases the distinctive cultural identity of Sri Lanka. The Golden Reliquary and the Perahera Reliquary
The temple’s name is a reference to the sacred tooth relic of the buddha: the Shrine of the Tooth relic (Sri Dalada Maligawa) is the holiest of buddhist sancta in Sri Lanka.
This venerable Sacred Relic is preserved in a two-meter-long casket and placed in seven caskets nested one within another, which in turn are secured one inside another and are accommodated in an inner sanctum of the shrine, known as the `Weda Hitana Maligawa’ (the room of the hanging chain).
Three of the seven caskets are provided with three special custodians. One of its keyholders is the Diyawadana Nilame, or the chief lay custodian, who is considered the most influential lay personality in the belief of Sri Lankan Buddhists.
The Chief Prelates of the Malwatte and Asgiriya monastic chapters maintain the other two keys.
There is a misbelief that the real Tooth Relic casket is paraded during the Perahera. But it’s not. In the Perahera is “a casket” (Perahera Karanduwa) reputed to contain the relics of Sariputta and Moggallana - the two chief disciples of the Buddha.
This Perahera Casket is also included in the same inner chamber on the left-hand side of the Sacred Tooth Relic.
Rituals and Traditions of the Kandy Esala Perahera (Dalada Perahera)
Kap Situweema: (Planting of the Sacred Kap Poles)
First, the astrologer attached to the Dalada Maligawa ascertains an auspicious date and time to begin the Perahera. After this, the Kap Situweema ritual is carried out at the four devales to gift the guardians of these devales the control of the Perahera.
‘Kap’ refers to a pole, while Kapkot is the verb for cutting/planting a pole. In ancient practice, a ceremony of laying a cornerstone or placing a symbolic staff often marked the inauguration of a significant construction project.
Consequently, erecting the Kap at the four devales serves to bestow divine favors and rays of protection with divine blessings from the merciful gods toward all engaged in the Perahera, and all its functions to be disposed without hindering.
Because of its importance, many related rites and offerings have developed around the Kap planting ceremony.
The ritual is practised only at the four devales and not at the Dalada Maligawa. There was a time when the preparation and distribution of the Kap was under the Upulvan Maha Devale in Aluthnuwara.
After the Maha Vishnu Devale building at Kandy was relocated to the Maha Vishnu Devale.
The age-old custom states that Kap is taken from a Jackfruit tree in the direction of East as per ritual. It is generally taken from an unfruitful jack tree, and the branch taken should be the thickness of three spans.
When the tree is chosen, a select team of fellers, men from the Vishnu Devale, goes in procession to the tree. The space surrounding the tree is cleaned, fragrant incense is burned, and scented water is sprinkled.
The bough is cut then with caution so that it falls towards the East, as tradition holds. Nine oil lamps are lighted around the tree, and nine betel leaves and nine varieties of flowers are bestowed.
The severed branches are now quartered:
The first portion is dedicated to Natha Devale
The continuation of the Vishnu Devale.
The third part to the Kataragama Devale
The fourth part to the Pattini Devale
Each Kap pole is then sent in procession to its devale, wrapped in white cloth. Auspiciously, the Kap is placed in a circular space in front of each devale, having been readied for it.
A canopy is set up, the place is decorated, and the Kap is planted in an already holed-up ground in consonance with astrology.
Three youthful coconuts (leli polgedi) are laid on either side of the Kap or surrounded by it, decorated with flowers, and three oil lamps are lighted on the opposite side.
The process of the Perahera is essentially to provide religious homage and offerings to the Sacred Tooth Relic, much of which is carried on the backs of elephants, the deities of the Four Great Devales situated in Kandy, Sri Lanka. Another important purpose of the
ceremony is to pray for rain and to offer it to Indra, the god of rain. Kap plant is considered the divine source of rain thus resulting the prosperity and happiness of the country.
Inner procession (Atul Perahera)
After the Kap Situweema, the short inner procession (Atul Perahera) is performed around each devale for five nights. The Inner Perahera starts at night and is held within the devale enclosure.
The Individual Practices among the Big Four Devales: Several differences in rites and practices are performed during Atul Perehara is based closely on the traditions of each of the four Great Devals.
Escorted by the first and second chief Kapu Mahaththayas (chief lay priests) of their respective devales, the respective sacred ornaments of the gods are invoked and paraded beneath a canopy in a perahera.
Priests carry the regalia around their particular devale three times in every procession held at night, to the loud chimes of Panchaturya drumming (so called because of the drum’s rectangular shape, four sides and five modes of pitch), and Hevisi drumming.
Parents in Kandy and its suburbs used to take their little ones previously to witness these initial Inner Peraheras conducted in the Devales.
It was like a blessing ceremony (Naembul Perahera) to prevent them from any misfortune and to have good health and a good life for the children in the future.
Upon completion of the five nights of the Inner Perahera, the Kap is transferred to the Getambe ferry point in the Diya Kapuma Mangallaya (Water Cutting Ceremony), where it is ceremonially drenched in the Kandy Lake waters to symbolise the end of this hallowed ceremony.
The Inner Perahera is the prelude to the tremendous public Perahera.
Seeking Permission to Begin the Procession
The Perahera cannot commence without the Diyawadana Nilame giving his official consent.
Accordingly, the top officials who organize the Dalada Perahera, led by the Kariyakarawana Korala (Master of Rituals), the Gajanayaka Nilame (Chief Elephant Keeper), the Kapuralas (Temple Priests), the Vidanes of surrounding villages, and certain other officials such as the Kamkanam Rala, Mohottalas, and Wattoru Ralas, who are also fully dressed in their costumes, assemble in front of the Diyawadana Nilame.
This encounter occurs at the Diyawadana Nilame’s office. The Diyawadana Nilame then gives his official consent and blessings to the officers in-charge of the Thevava duties of the
Dalada Maligawa, next, hands over the “Lekam Mitiya” (Official Registry scroll) to the Rala in the opening of the perehera, followed by the “Golden Ankusa” to the Gajanayaka Nilame.
These ritualistic ceremonies signify the beginning of the procession by offering the deity the sacred task to be held in procession.
Gun Salutes of the Perahera (Perahera Wedimura)
On each night, before the Perahera commences, there is a formal ritual involving three gun salutes.
The second gun salute signifies all processional groups: (Four Devales and Elephants) to come to the start position and prepare to leave for the Dalada Perahera.
The second gun is fired, and it signifies soon after the first. It says that the Perahera casket (containing the sacred relics) had been placed in the golden canopy (Ran Hilige) given to the procession. The Diyawadana Nilame is undertaking this task.
The third cannonade is made when the 1st elephant (Mangala Hasthiraja), who carries the sacred relic casket under the golden canopy, officially joins the tusker (main tusker) in front of the Maligawa. This is the cue for the procession to begin.
The Preparations for the Perahera - the Rites and the RitualsThe Ritual Preparations Before the Perahera
When the initial couple of rituals have been accomplished, the Diyawadana Nilame makes his way into the Upper Shrine, Fragrance Room (Gandhakutiya).
Before a Thevabhara monk and other prelates, his hands were ceremonially washed in sandalwood perfumed water, with the Pirith (Buddhist protective verses) recited.
Two officers, the Kariyakarawana Korala and the Wattoru Rala, laid two clean white cloths (Patlensu) over the Diyawadana Nilame’s hands.
Then, the Chief Monk is to hand over the Perahera Casket of the Chapter to the Diyawadana Nilame, solemnly delivering it into the hands of the Diyawadena Nilame.
Diyawadana Nilame then inserts the Perahera Casket into the golden enclosure (Ran Sivige) attached to the back of the central ceremonial tusker (Mangala Hasthiraja).
The Kavikara Maduwa (Court of poets) chant Buddha Guna (making mention of the good qualities of the Buddha), Dalada Guna (making mention of the good qualities of Dalada), and the Gepa Rala and Pallebe Rala robes attendants strew some flowers of Jehan and Pichi on both sides of the procession.
The Perahera Casket is ornate and flower-decorated, accompanied, in the parade, by the main tusker carrying the Casket itself under the cover of the great festival moonstone lantern (Sandakadapahana).
The Diyawadana Nilame and officials proceed at this point, to the Mahawahalkada steps of the temple.
Upon its arrival at the Golden Fence (Arches), the Kariyakarawana Korala presents himself, goes through the customary ritual of garlanding the Diyawadana Nilame, and then formally announces that the pageant is ready to move.
The gun salute rings out at this announcement, and the procession starts.
The two companion tuskers (Dala Elephants) will also walk on both sides of the chief tusker bearing the Perahera Casket during the perahera as an additional guard of honor and protective party for the main tusker.
Kumbal Perahera (The First Procession of the Festival)
On the fifth day, after the devale peraheras are finished, the Basnayake Nilame and other officials of the four devales proceed to Minneriya, where a golden casket which sits a golden armory, is carried in a golden Palanquins (Ran Sivige).
The golden casket is then carried by the chief elephant of the Dalada Maligawa, who is at the head of the procession.
From now on, the golden canopy bearing the Perahera casket is taken out in procession in the streets for five nights, and with it moves the totality of the Perahera. In the strictest sense of the term, this is what the Kumbal Perahera is.
According to the locals, this candlelit procession, which is conducted in the dark of the night, will help keep evil forces away and protect pregnant mothers and children from the harmful effects and bad omens.
The Diyawadana Nilame (chief lay custodian of the Tooth Relic) takes part in the Kumbal Perahera in a less extravagant way without the official robes in which he takes part in the Randoli Perahera and the final Perahera at the latter stages.
Drummers and elephants join the procession, but not in full traditional attire and ceremonial dress that will be used in subsequent processions. The processions of the four devales also occur in these five nights.
Further, the Kumbal Perahera allows dancers and drummers to perform in the Perahera for the first time. Partially because of this, the Kumbal Perahera is also known as the “incomplete” procession.
The term ‘Kumbal Perahera’ is thought to have been derived from an ancient ritual in which an individual with a freshly carved wooden pestle (kumbala) would precede the main Dalada Perahera into the streets. At least, that’s what popular legend has it.
The procession includes:
Rala (officers)
Gajanayaka Nilame (head of the department of elephants)
Kariyakarawana Rala (chief exorcist)
Diyawadana Nilame
Whip crackers
Flag bearers
Carriers of Sesath (fans of ceremony).
Torch bearers
Canopy bearers
Drums (Davul, Bera, Horana)
Dancers (various styles)
Pantheru players, and others.
The Kumbal Perahera is the first procession of the festival and is followed by pageants of increasing size over the following nights.
Randoli Perahera (The Golden Palanquin Procession)
After Kumbal Perahera, during the fifth (5th) night of the Kumbal Perahera, the vehicles carrying the sacred elements of the respective devales (Golden Palanquins / Ran Dolis) are paraded in the Dalada Maligawa premises.
From here on the Randoli Perahera goes on and for five nights the Perahera takes to the streets.
On the first night of the Randoli Perahera, the Veddah community, led by the Veddah Chief, also takes part in Puja (Special Buddha Pooja), and traditionally sacred Kohomba Kankariya (Honey) is offered to the Buddha.
In a mirror image, on the night of the last Randoli Perahera, the custodian committee of Ganadevi Kovil brings offerings to offer as a sign of religious solidarity before the procession.
They extend their respects to the Diyawadana Nilame in this ritualistic manner, which we still do today.
It is considered the finale of the Dalada Perahera and is more spectacular and significant than the Kumbal Perahera. This included more Hevies, more Hevisi drummers, Horana
players, dancers, and elephants, thus raising the profile of the procession to a larger and visually grander scale.
The last two Randoli Perahera parades are much grander and pageant.
The term Randoli Perahera originates from the era of Kandyan kings. It is believed to have been given the name by the royal palanquins (Randoli) that carried the queen’s gem-lit begging bowl in royal processions from which this practice originated.
Maha Randoli (The Grand Randoli Perahera)
The Randoli Perahara’s fifth and last night is the “Maha Randoli” or Grand Randoli Procession.
The return to the Dalada Maligawa on the last night of the Randoli Perahera is not along the same streets as on the nights before.
At dawn on this day the Perahera makes its way to the Cremation Grounds (Adahana Maluwa) where the Dalada Casket before being placed at the Gedige Vihara undergoes further important rituals of the climaxing rituals.
Diya Kapuma (The Water Cutting Ceremony)
On the last day over night randoli Perahera does not return to the Dalada maligawa the same way as it came as the previous nights.
In this day’s early hours, the Perahera is brought to the Adahana Maluwa (Royal Cremation Grounds), and the Dalada Casket is placed in the Gedige Viharaya by dawn.
They all start the Water Cutting Ceremony (Diya Kapuma Mangallaya). The processions of the four devales-Natha, Vishnu, Kataragama, and Pattini-proceed to the Getambe ferry point to conduct this age-old ceremony.
And the kap poles previously held at each of the four devales are uprooted and es**rted to Getambe. The Kap poles are ceremonially given back to the water (Signaling the end of the perahera season).
It has long been believed that villagers gather lore of the Kap, which drifts down the river, and plant pieces in their fields and home gardens. This brings good fortune, fertility, and rich crops for the year.
Day Perahera (Dawal Perahera)
The Day Perahera is held in the afternoon. During this period, the Dalada Perahera prepares at the Asgiriya Viharaya, and the processions of the Four Great Devales are formed.
At the given moment, usually heralded by the firing of a gun, the procession makes its way through the streets.
The Perahera moves along the streets and returns to the Dalada Maligawa quadrangle (Maligawa Chaturashraya). It goes round the shrine three times, as in the custom before withdrawing into the Maligawa. Once this is done, the devotees’ processions march back to their devales.
It is the Day of the Perahera.
Conclusion of the Perahera
It was a custom in ancient times to announce to the King when the Perahera was concluded. It remains symbolically observed even to this day in this ancient practice.
After the Perahera, the Diyawadana Nilame and the Basnayake Nilames of the Four Great Devalas proceed to the President’s House in Kandy and inform the President that the Perahera has ended successfully.
Prayers for Blessings and the Ritual of Dispelling III Omens (Vas Dos Haraima)
To rid of all bad and evil, which the people involved with the perahera may have been affected with (Vas Dos), a Waliyak Mangallaya or a seven-day Shanthikarma(ritual of peace and protection) is held at the Vishnu Devale.
It is performed outside the devale for a period of seven days.
In the ancient days, even the 'Bali Bath Deema (a ritual offering of food to the demons)" was i 4th Prayer Days for 7 days, as a part of this tradition. But this specific rite has all but disappeared today.
Curiously, the dancers and drummers who perform for the Dalada Perahera do not participate in the Waliyak Mangallaya. The ritual dance and drumming are exclusively done by members of two hereditary castes known to have existed since the time of the Sinhalese kings.
These two clans are affiliated with the Aluthnuwara Devale near Mawanella.
The members of these lineages were gifted land by the devale in the past, as a result of the duties which they performed. This is known to be a byproduct of a constitutional monarchy established by the feudal system as a service to the King.
Contents/Elements of the The Grand Randoli Perahera (In Sequence)
Security Vehicle
The security vehicle is the latest addition to the relatively modern Esala Perahera. Its task is to sweep the way before the procession and to provide security along the streets as the Perahera passes.
Whip Crackers (Kasa Karayo)
Leading the Perahera at the very front come men cracking their whips.
And first they prepare their shallats in this sort; they take h**p or reed, which they tayle small, and after they haue wrought it together, to the bignesse of a man’s little finger, of length seuen foot) They lose it & bear their punishment in their arms. The shank is are wrapped (in cloth or some other material) to provide greater ease of gripping.
In the past, when royalty undertook travel in public, the king’s retinue was usually preceded by whip crackers, who were supposed to clear the way and announce the imminent arrival of the king to the citizenry by the sound of the cracking whips.
Whip crackers in contemporary Buddhist ceremonial processions play a similar role-clearing the way of obstructions and announcing the procession’s progress.
An additional crucial ceremonial function in olden times was to appeal for rain. "The rainy season was supposed to be over, and the closing of the Dalada Casket door was supposed to ensure the pitter-patter of rain.
The loud, sharp crack of the whip was regarded as representing the sound and flash of lightning, and, thus, was metaphorically associated with summoning rain.
Ginibola Karuwan, Fireball Performers
The fireball artists contribute to the brightness and enhance the pageant, and as the Perahera proceeds, they add a touch of colour to the pageant.
They add to the excitement of the impending procession, and they catch the attention of the onlookers, thus directing them towards the sacred drama.
And in this way, they assist in creating the emotion (Buddhalambana Preetiya) of devotion in the spectators’ minds.
Buddhist Flags
Buddhist flags are paraded in the perahera, visibly identifying the parade as a Buddhist religious performance. Besides the Buddhist flags, there is also a country flag, suggesting the Perahera is recognised as a national cultural celebration.
District Flags, Drapes, Banners (Disa Kodiya)
Twelve district flags are paraded in the perahera, each representing one of the twelve traditional regions of the Kandyan Kingdom. Some of these are such flags as:
Harispattuwa - Sun Banner
Hathkorale - Lion Banner
Uva - Swan Banner
Matale - White Banner
Sabaragamuwa - This province’s Flag is Yellow Striped Banner.
Thun Korale - Double-Headed Eagle banner (Berunda Pakshiya)
Walapane - Peacock Banner
Udapalatha - Lotus Banner
Nuwara Kalaviya - the Elephant-Lion Banner (Gaja Sinha)
Wellassa - Tiger Banner
Bimthenne - Parrot Banner
Tammankaduwa - Banner of the Boar of the Wild
In addition, nine other banners are held, signifying the nine Rata under the system of local chieftainship (Rala patte). These nine banners symbolise:
Udunuwara
Yatinuwara
Kotmale
Thumpane
Dumbara
Hewahata
Uda Bulathgama
Patha Bulathgama
Harispattuwa
Traditionally, chieftains and their retainers would enter the Perahera with these district flags as a gesture of allegiance to the Kandyan Kingdom.
Although these officials no longer take part today, the custom of bearing the district flags continues to represent the historical governance of the Kandyan royal realm.
Brass District Banners (Pittala Disa Kodi)
These brass district banners can be linked to the district banners in above section. Together, they represent the three former regional divisions of the Kandyan Kingdom and also add grandeur to the pageant.
Sword Bearers (Kadu Genayanno)
The sword carriers are a regalia of protection and form an integral part of the Perahera formation as far back as ancient history. In former times, in the period of the Kandyan kings, to protect the king, swordsmen of the royal army would have es**rted him.
The practice is retained in the modern Perahera and represents the protection of the holy cortege.
Officer on Elephant (Hasthiye Pita Gaman Gannana Peramune Rala)
This component originated in the last days of the Kandyan Kingdom and depicts a procession of an official riding an elephant at the head of the Perahera.
The officer takes with him the silver casket (Ridi Manjusawa) containing the official documents and reports-the Duties of the Royal Officers, the property of the Dalada Maligawa, and the route of the Perahera.
The officer is wearing a white full-dress uniform with a white turban and head covering, underlining the dignity of his office.
Hevisi Drummers (Hevisi Karuwan)
Hevisi drummers - A troupe of Hevisi drummers (and theirs: drum, Cymbal, Flute, Clarinets) is a must in the entire perahera procession, amongst the other who dances and participate.
Davul (double-headed drum) Thammattama (twin drum) Horana (reed instrument) Thalampata (small cymbals) Kombuwa (conch shell) Hakgediya (conch) Gejji (ankle bells)
These minstrels accompany the procession with festive tunes, adding to the spiritual atmosphere, grandeur and majesty of the whole celebration. The music is simultaneously an offering and a message for conveying the procession’s movement.
A distinctive fact of the Dalada Perahera is that it encompasses all four Hevisi drummer traditions, all of which have been historically affiliated with the Sri Dalada Maligawa.
Amature signature Most famous were drumming settlements comprising families of renown, such as the Wellethota, Moladanda, Hewavissa Uduwela Kahalla and Udupihlliya for their high quality of drumming.
To this day families like Molagoda, Ihala Wela, Malagammana also are proud in sending their talented artistes to the Perahera to hold up the tradition of the unique music of the event.
Gajanayaka Nilame (Chief of the Elephant Procession)
The Gajanayaka Nilame, who holds the silver goad (Rajatamaya Ankusa), rides on an elephant and is considered the “leader” of the elephants in the procession. In ancient days, using elephants in religious processions and ceremonies went a long way back.
Elephants in the perahera symbolize rainfall (Vasibara Meghaya) and wealth.
Ancient chronicles of the Anuradhapura and Polonnaruwa periods have references to elephants and horses being paraded in the processions, emphasizing the significance of horses in ceremonial activities from past.
Horana Players (Horana Vadakayo)
The Horana is a reedpipe instrument of well-defined melodic function in the old Panchaturya ensemble. It does so by emitting the slurred, “hot” sound that is critical to the musical sound of the parade.
The Horana is also used in Hevisi drumming. Officially included in the Sri Dalada Maligawa Perahera in 2006, this element is a relatively new addition.
The Horana band plays devotional music, including the Jayamangala Gatha (Victory verses) and Gajaga Wannama, a sound that exudes a sense of piety and joy across the procession.
Chamara Dance (Chamara Natuma)
Chamara Dance: A dance performed by the people of the Indus River basin, who use it to participate in festival festivities.
Time-honored is the use of the Chamara (Yak’s tail) of spreading the fan and paying homage to the Sacred Tooth Relic, royal recluses and other nobles.
Eventually, this became a court dance with the Chamara in the hand. Although its configuration is a simple form of folk dance, both steps and the accompanying songs impart a fairly sophisticated rather than raw folk style.
Chamara dance is essentially a visual experience - its plain rhythms and balanced movements make it an attractive and respected item in the Perahera.
Lee Keli Dance Group (Lee Keli Kandayama)
Lee Keli is a very easy dance in its primitive tribal form. It is not other than a folk dance mainly for amusement, the drum for its rhythm is simple, its lyric is clear and its breakdown constructible, and its dance step is easy with rhythm.
Dancers bang wooden sticks (Lee) together in sync with the music, making sonic and visual patterns. The Lee Keli originates from the Udharata(Kandy) dance art. Traditionally, famous castes of the genre originated from Uduwela, Paranagama and Elwala.
Pantheru Dance Group (Pantheru Kandayama)
Pantheru Dance is a chief item in the Udarata dance. Other festivities and pageants such as Suvisi Vivaranaya, Sat Sathiya, and Pansal Iswa feature the participation of Pantheru dances.
The Pantheruwa is thought to have been designed based on the butterfly motif of the Goddess Pattini. The Geta Bera (traditional Kandyan drum) can be seen performed in this dance.
Pantheru. The dance in the performance is the most skilful of all devil dances. Costume Performers often appear in fanciful costumes, including:
A headcloth
Karavata Band
Kadukkanthodu (or ear ornament)
Valalu (bangles)
Pijama-style trousers
Reddha (cloth wrap)
-Pachchawadama
-Silambu (ankle bells)
Kalu Lensuwa (black scarf)
Hawadiya (waistband)
Pantheru. As the tradition dictates, the most popular Pantheru dance lineages were families from Urupola, Werekae, Alapalawala, Butawatta, Batugoda, Madagoda, Kadigamuwa, Batagalla, and Patha Hewahata.
Thalampata Dance Group (Thalam Kandayama)
The Thalampata is a type of folk dance. Dancers will take compact cymbals (Thalampata) and carry out well-chosen movements along with proper chanting and defeating the rhythm in the Geta Bera.
The style is very simple and easy to follow, as well as very basic with the steps and the few amount of choreography but at the same time, it has its own charm for the Perahera.
Hawadi Dance (Hawadi Dangaya)
The Hawadi Dance is a variation of the Lee Keli dance, a more complex and visually stunning form.
Its salient feature is that it weaves a pattern of sticks (Polu) and ropes (Lanu). While performing, the group circles a central pole (Kanuwa) and forms lovely geometric designs with the ropes.
Then, they pull the pattern apart again, dancing as they do, as a testament to their coordination and artistry.
This is another folk dance style that contributes high energy to the Perahera.
Naiyandi Dance Group (Naiyandi Kandayama)
Naiyandi is a Kandyan dance of the low country with Naiyandi costume, but without the solid headgear being worn only by experienced dancers.
The Geta Bera (a kind of traditional Kandyan Drum) is the accompanying instrument and passages of traditional verse exclusive to Kandyan dance accompany the performance.
There are always two such Naiyandi groups in the Perahera. This dance style is exclusive of the Kandyan dance that precedes the masked dances (Wes Natuma) as a priming of the performance.
The Naiyandi dance is also used to perform a preliminary ritual for the masked dance drama. Wardrobe The performers don the following costumes:
Avul Heraya [shoulder cloth]
Bandi Valalu (armlets)
Uraubahuwu (chest belt for decorative purposes)
Silambu (ankle bells)
Ruli Manthey was a hip ornament
Short trousers
Atiriya Reddha (over-skirt)
Pachchawadama (waist cloth)
Historically, leading Naiyandi dancers had been from Narampanawa, Alaotuwa, and Galdola. It is a form of the Kandyan dance tradition.
Sword Dance (Kadu Saramba)
The Sword Dance is a form of folk dance that has developed from the martial traditions of the Arabic or the Arabian peninsula (Kadu). It is currently performed as a popular folk dance with the beating of praise songs (Prashasthi) and war songs (Hatan Gee).
Hand Rabana (Ath Rabana)
Rabana: The Rabana is a popular traditional drum in Sri Lanka, which comes in three different types: Maha Rabana (the large Rabana), Ath Rabana (hand-held Rabana), and Viridu Rabana (the Rabana used for Viridu songs).
Performers also use their hands to play the Ath Rabana, and dancers demonstrate their proficiency by using various complex hand movements, including raising and rotating the drum and striking it in rhythm. This is one fine piece of work.
Traditional songs and praise verses accompany the playing of the Rabana. The dancers are always clad in a special costume that includes:
Short trousers
Black Cloth (Dumburu Reddha)
Mantheya (waist ornament)
Avul Heraya (shoulder cloth)
-Kadukkan (ear ornaments)
-Silambu (ankle bells)
Weval Dance (Weval Natuma)
The Weval Dance is a peculiar folk dance of the hold a dance of long palm fronds (Weval) in the hands. The dancers form images in the patterns of the palm fronds as they dance.
The group’s choreography is especially mesmerizing as dancers pass the long palm fronds to one another, creating enchanting shapes and mos that draw viewers in.
The Weval Dance is not accompanied by a particular singing or instrumental performance; its impression derives mainly from how the performers present their art.
Udekki Dance (Udekki Natuma)
The Udekki Dance It is danced to the sound of the udekkia kind of small drum with double head, which is a sacred musical instrument.
The dancers carry the Udekki in one hand which is played while singing hymns about the Buddha. Their costumes are a special attire that is worn for this type of dance.
Udekki Dance Udekki wielding down many kastuvicks arranged like new drop in a string showing some special meaning through Udekki Dance which is done to lots down as a part of the Perahera, these Udekki Dancers show the smoothness and mastery as their graceful and revered dance.
Thammattama Drumming Group (Thammattam Vadana Kandyanama)
The Thammattama is a principal instrument in Panchaturya and Hevisi forms of music. This drum group plays only with the Thammattama (a pair of twin flat drums), and thus forms a specialized outfit in the Perahera.
Debuting in 2006, this group has substantial musical depth and technical precision. This performance is very valuable in terms of music and cultural significance…
Notable Thammattama playing lineages are the Udunuwara, Arawawela, Hewavissa, Yakawela, and Ridigama families.
Pathuru Dance Group (Pathuru Natum Kandayama)
Pathuru Dance is a folk dance with wooden plates (Pathuru) in the hands.
Dancing to memorable songs accompanied by music and musical instruments, dancers use their hands and feet to strike a series of intricate rhythms on the plates.
The Pathuru dance is known for its creative dancing and acrobatics, with dancers producing dynamic patterns and rhythmic foot patterns of varied colors, which provide a lively contrast to the Perahera.
Wes Dance Group (Wes Kandayama)
The Wes Dance is considered the highest form of the Kandyan dance. The Wes Dance [demon dance] featuring the Wes costume with its beautiful signature head piece (Mudun Mal Kadu).
The Wes Dance is now danced in Sri Lanka and internationally as a symbol of Sri Lanka’s cultural identity.
With the fast rhythm of the Geta Bera drum, the master dancers perform the Wes Dance, which is chanted using Kandyan poetic verses. At the Perahera, two divisions take part in the Wes Dance beside the Dalada Casket and the venerated Diyawadana Nilame.
The Wes Dance is a special part of the Kandy Esala Perahera and it enjoys special privilege as it has been in the perahera since 1919.
Kariya Karawana Korala (Chief Procession Officer)
Its Role Amongst other functions of the Kariya Karawana Korala, one of the main tasks of this division is to carry the Perahera casket throughout the procession.
He wears a white cap (Sudu Hattaya) with a headwrap and a white turban (Sudu Thuppottiya), and he is considered a ceremonial leader in the Perahera parade.
Nagasingham (Nagasingham Ensemble)
The Nagasingham troupe enjoys a particular status from a musical point of view in Sri Daladamaligawa, especially during the Naanumura Mangallaya or other special religious festivals.
The group uses:
Nagasingham (type of trumpet)
Thabboruwa (drum)
Udekki (small hand drum)
Kaitalam (cymbals)
It is thought that the Nagasingham music resulted from the Hindu music usage.
The Royal Tusker Carrying the Casket, Accompanied by Two Elephants with Canopies
The Raja " The Great and the Glorious Royal Tusker who bears the Perahera casket under a canopy (Udu Wiyan Sahitha Pavada) for 50-odd years, and has evolved himself as a national asset.
It has since become the utmost duty of the holy and royal animal to es**rt the stone statue during the Perahera, with two side elephants (Dalae Athu), also canopy bearers.
Carrying of Two Buddhist Flags
Two Buddhist flags are hoisted in the front of the procession, indicating the Buddhist identity of the Perahera and its association with the Sri Dalada Maligawa.
Kavikara Maduwa (Poet's Pavilion)
The Kavikara Maduwa in the Sri Dalada Maligawa is active in the Perahera.
They chant poems and gatha (ancient verses) honoring the Sacred Tooth Relic, the perahera tradition, and its cultural heritage.
Flower and Lamp Bearers
Flower / Lamp Bearers- Flower and lamp bearers on foot follow carrying baskets of flowers and clay oil lamps. It’s an old ritual revived in the relatively modern era, and now has taken an interesting visual and spiritual place in the parade.
Diyawadana Nilame (Chief Custodian of the Sacred Tooth Relic)
19 Diyawadana Nilames (Chief Custodians) have held this post since 1814.
The incumbent 19th Diyawadana Nilame, Pradeep Nilanga Dela, is involved in the Perahera as superintendent of the administrative and ceremonial aspects of the festival on behalf of the Sri Dalada Maligawa.
Guards with Spears and Umbrellas
A ceremonial guard flanks the procession, armed with spears.
They are followed by flag bearers with white flags (Muthukuda) to show respect and honor to the Sacred Tooth Relic and the visitors of Perahera.
Two Burmese Flags (Buruma Kodi)
The flags of the Perahera are two Burmese flags representing the historical religious & cultural traditions shared between Sri Lanka & Burma.
Such flags also symbolise the international importance of the Sacred Tooth Relic and the world Buddhist community.
Village Headmen (Gamdahae Vidanevaru)
Currently, 9 Vidanevaru (village headmen) participate in the Perahera.
Today, 13 Vidanevaru ( riders ) accompany the procession in their official attire.
They immediately precede the Diyawadana Nilame, signifying their ancient status in the order of respect in the Perahera.
Procession of the Four Great Devalas
Following the Sri Dalada Maligawa Perahera, the processions of the Four great devala take place in the order:
Natha Devale
Vishnu Devale
Kataragama Devale
Pattini Devale
Among those shrines were Natha, Vishnu, and Pattini devales near the Dalada Maligawa premises in Kandy. Meanwhile, the Kataragama Devale is situated in the town center on Kotugodella Street.
Natha Devale and Pattini Devale are walled off inside the Inner Square.
These Four Devales processions are the most important events during the Four Great Festivals of the Dalada Maligawa. It has been the custom from the time of King Kirti Sri Rajasinha (1753 A.D.)
for the procession to follow the same route with the Dalada Maligawa in front and the Four Devales to follow in the order mentioned above.
Natha Devale
The Natha Devala’s Perahera is the first of the Devale processions, which occurs directly after the Dalada Maligawa Perahera. The deity is revered as Natha Deviyo by locals and is said to protect the future Buddha.
Legend According to history, King Vikramabahu III (1360-1375) created this city, SenKandagalapura, and built a Natha Devale on a site exorcised by a sensational legend of a white hare and a sivalinga.
It is the oldest building in Kandy, an older creation than the current Dalada Maligawa. The Natha Deviyo witnessed many historic royal rites such as the coronation of kings, the proclamation of kings, and the “ceremonial sword” rites.
The first portion of the sanctified Kap is presented to the Natha Devale at the Kap Situweema. Also, at the Water Cutting Ceremony, the first person to go into the water, at the Getambe ferry point, is the representative of the Natha Devale.
Color: Yellow
Vehicle: Swan chariot
In the case of Natha Devale, the order of Perahara closely follows the same pattern as Dalada Maligawa.
Vishnu Devale
Next in line is the Vishnu Devale, home to Vishnu Deviyo who protects Buddhism and bestows blessings and peace.
The character intermingle with Vishnu and is depicted in the ten avatars of Lord Vishnu. Worship: Most of the bigger and popular temples of Sri Lanka are dedicated to Vishnu; the Aluthnuwara temple is no exception.
Previously, the Kap used for the Perahera would have been supplied from Aluthnuwara Vishnu Devale. It was the main shrine for this purpose following the er****on of the Kandy Vishnu Devale.
Numerous royal ceremonies, including the Nalal Pataya (forehead band) or collar tying ceremony at the end of the coronation, took place at this shrine.
Kataragama Devale
The Kataragama Devale in Kandy is from the 14th century, and its current popularity developed in the 16th century.
It is consecrated to Skanda Kumara (Kataragama Deviyo), worshipped all over the island. His principal place of adoration is Ruhuna Kataragama.
Kataragama Deviyo has six faces and twelve arms and stands upon a peacock. The Kavadi Dance is one of the well-known dances performed during the veneration of the Perahera.
Pattini Devale
The Pattini Devale, which lies in the Dalada Maligawa inner square, is one of the oldest structures in the complex.
Pattini (also known as Pattini deviyo), a goddess famous for her purity and virtue, is widely worshipped, especially by women and children, for good health and fertility.
In myth, Pattini takes birth seven times - from water, flowers, snake tears, tree bark, dew, turmeric, and a mango.
There are people who come and pray to Pattini Deviyo when they have hidden diseases and leprosy, and for the welfare of their children.
The Pattini Devale Perahera is the final Devale procession in the Kandy Esala Perahera.
The minor deity Goddess Pattini is in a golden box in a golden shade overhead, held at the forefront of the perehara by an elephant.
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