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Around the globe, dances that originate in village, temple, and court rituals have been adapted and transformed to carry secular meanings and serve new national purposes. In stage performances, dance competitions, and festivals worldwide, dance has become an emblem of ethnicity and an index of national identity. But what are the “backstage” stories of those dances chosen to bear such meanings, and what have been the consequences for their communities of origin? In Dance and the Nation, Susan A. Reed brings to light the complexities of aesthetic politics in a multi-faceted exploration and analysis of Kandyan dance in Sri Lanka.
    As the national dance of Sri Lanka, Kandyan dance is identified with the majority Sinhala ethnic group and heavily supported by the state. Derived from the kohomba kankariya—an elaborate village ritual performed by men of the hereditary drummer caste—the dance was adopted by the state as a symbol of traditional Sinhala culture in the post-independence period. When state officials introduced the dance into the school curriculum, it was opened to individuals of all castes, and high-caste women have emerged as prominent teachers and performers. Reed’s evocative account traces the history and consequences of this transition from ritual to stage, situating the dance in relation to postcolonial nationalism and ethnic politics and emphasizing the voices and perspectives of the hereditary dancers and of women performers.
    Although Kandyan dance is related to other south Asian dance forms, it is unique, distinguished by an elegant, energetic style, and lively displays of acrobatics and agility. The companion DVD includes unparalleled footage of this vibrant dance in ritual, stage, and training contexts, and features the most esteemed performers of the Kandyan region.

Special Citation book award, Society for Dance History Scholars

Winner, Outstanding Publication Award, Congress on Research in Dance

Formations of Ritual was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

Yaktovil is an elaborate healing ceremony employed by Sinhalas in Sri Lanka to dispel the effects of the eyesight of a pantheon of malevolent supernatural figures known as yakku. Anthropology, traditionally, has articulated this ceremony with the concept metaphor of "demonism." Yet, as David Scott demonstrates in this provocative book, this use of "demonism" reveals more about the discourse of anthropology than it does about the ritual itself. His investigation of yaktovil and yakku within the Sinhala cosmology is also an inquiry into the ways in which anthropology, by ignoring the discursive history of the rituals, religions, and relationships it seeks to describe, tends to reproduce ideological-often, specifically colonial-objects.

To do this, Scott describes the discursive apparatus through which yakku are positioned in the moral universe of Sinhala, traces the appearance of yakku and yaktovil in Western discourse, evaluates the contribution of these figures and this ceremony in anthropology, and attempts to show how the larger anthropology of Buddhism, in which the anthropology of yaktovil is embedded, might be reconfigured. Finally, he offers a rereading of the ritual in terms of the historically selfconscious approach he proposes.The result points to a major rethinking of the historical nature not only of the objects, but also of the concepts through which they are constructed in anthropological discourse.

David Scott teaches in the Department of Anthropology at the University of Chicago.