Stylistic Transformations of Kandyan Dance Costumes During the British Colonial Period in Sri Lanka (1796–1948): Analysing Cultural Adaptations and Influences

The study explores the evolution of Kandyan dance attire in Sri Lanka under British colonialism (1796-1948). It went from ritualistic clothing to performance dress to a secular garment provided to audiences at least once a year, especially during Kandy Dalada Perahera and select UK exhibits. Despite their indigenous roots, Kandyan dancing attire symbolised performance and cultural change throughout colonial rule. I have researched colonial exhibition archives, performance records, and my experience as a Kandyan dancer in Sri Lanka and the UK. This article examines how costumes changed as festivals moved from ritualistic spaces to public events like the Dalada Perahera, from functional symbolic and ceremonial embellishments to a spectacle that reflected the festival's new status as cultural heritage. In parallel, colonial display dresses were updated to suit Western tastes and sensibilities using current fabric and design while retaining some authenticity. Sustenance-cum-intervention is complexly presented here in its yin vs yang shape, held but not completely at bay and coherent within the overarching aesthetic of non-border capitalism, using cultural history and my observations to focus on Kandyan dance costumes as either preserved or evolutionary features. These findings demonstrate the complexity of balancing tradition, modernity, and identity in colonial and post-colonial cultural connections. Key words - Colonialism, Cultural Heritage, Authenticity, Symbolism, Modernity

Asela Rangadewa is a dance scholar who teaches contemporary and Oriental Ballet at the Department. He has been working as a traditional dancer, Oriental Ballet director, and choreographer for almost two and a half decades. Asela completed his BFA in Fine Arts Studies (with 1st class) at the Institute of Aesthetic Studies, University of Kelaniya. He received his MPA (Master of Performing Arts) from the University of Visual and Performing Arts, Sri Lanka. He recently completed an MA in Public Art and Performative Practices from London Metropolitan University. He was the Head of the department from 2015 to 2017 and the head of the UVPA's information unit from 2018 to 2020. His research interests include Dance choreography, Dance Movement Analysis, Dance Teaching/ Practice methods, Dance Anatomy, and Kinesiology. He was a member of the State Dance Panel of the Sri Lankan Arts Council member from 2010 to 2016.