Explore Hiriketiya

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Life and Culture
of Hiriketiya

Hiriketiya Story

Hiriketiya translated to Bunch of Sea Spray (Hiri-Spary of water, ketiya – bunch) was not famous for surfing before 2010. Nevertheless, it was famous and frequently visited by village folks. The main purpose was to use the nearby lagoon to ferment coconut husks. After about three months of submerging raw green coconut husks in lagoon water, the husks turn brownish/blackish and allows coconut coir be extracted from the husk.

This process of extracting coconut coir is still tedious. Mothers and daughters get together to take the fermented husks out of the water. The lagoon water is dark and murky. The husks have become soft, but it still has thick residue surrounding coir. The ladies sit down in front of a rock, put a husk on the rock and beat it with a wooden rod till all the residue is beaten away. The remaining coir is spread in the sunshine to dry. The dried coir is bundled in jute sacks, and brought home on their heads.

At night the ladies roll out coir into a bundle, put a rock on one side of the bundle, and sit on a jute sack about three feet away from the coir bundle. They pull a coir yarn of about three feet, begin to weave a rope by hand. There is rhythm to the weaving, which we still hear in a distant melancholy dream.

Some ladies use a crude machine to weave coir ropes. The machine is a two-unit ensemble, both are made with bicycle rims attached to handles. When handles are turned, rims turn, and a rubber cable going around the rim connects two timber spindles attached with iron hooks. Two ladies carry small bundle of coir each, and draw a yarn out of it by attaching one end of the bundle to one of the iron hooks. Another lady or a child spins the bicycle rim –

using the handle which spins coir into two threads of yarn. The ladies walk backwards toward the second piece of machine kept about fifty feet away.

After they reach the second machine, which has only one turning spindle. Both yarns are attached to this one spindle, and spun together to make a rope. Finished ropes are made ready for sale by wounding them into coils. They sit on the floor with legs extended. With one end of the rope in one hand, they wrap it between heel of the foot and the hand placed above the knee. One coil contains twenty-four such rounds.

A buyer visits each home collecting the coils. The buyer makes bundles of fifty coils, and sell them off to a bigger buyer in a larger town. Income earned from selling coir ropes was a major part of household income in Hiriketiya.

Sometime in 2010, few Australians discovered Hiriketiya Beach. Villagers were astounded to see them bravely swimming into the open sea, which the villagers ever feared. The folklore in Hiriketiya says that anyone venturing into the sea from the mid section of the beach will risk the loss of life, and each year the sea will take life of one person who dares to swim in the open section of the sea.

When we were young, our parents sternly advised us not to swim in the open beach. We used to swim in the two ends of the beach, which has protective reef barrier. The foreign tourists have been swimming into the sea for the last decade, and no accident has happened. Foreign visitors to the Hiriketiya Beach have grown exponentially.

Hiriketiya translated to Bunch of Sea Spray (Hiri-Spary of water, ketiya – bunch) was not famous for surfing before 2010. Nevertheless, it was famous and frequently visited by village folks. The main purpose was to use the nearby lagoon to ferment coconut husks. After about three months of submerging raw green coconut husks in lagoon water, the husks turn brownish/blackish and allows coconut coir be extracted from the husk.

This process of extracting coconut coir is still tedious. Mothers and daughters get together to take the fermented husks out of the water. The lagoon water is dark and murky. The husks have become soft, but it still has thick residue surrounding coir. The ladies sit down in front of a rock, put a husk on the rock and beat it with a wooden rod till all the residue is beaten away. The remaining coir is spread in the sunshine to dry. The dried coir is bundled in jute sacks, and brought home on their heads.

At night the ladies roll out coir into a bundle, put a rock on one side of the bundle, and sit on a jute sack about three feet away from the coir bundle. They pull a coir yarn of about three feet, begin to weave a rope by hand. There is rhythm to the weaving, which we still hear in a distant melancholy dream.

Some ladies use a crude machine to weave coir ropes. The machine is a two-unit ensemble, both are made with bicycle rims attached to handles. When handles are turned, rims turn, and a rubber cable going around the rim connects two timber spindles attached with iron hooks. Two ladies carry small bundle of coir each, and draw a yarn out of it by attaching one end of the bundle to one of the iron hooks. Another lady or a child spins the bicycle rim using the handle which spins coir into two threads of yarn. The ladies walk backwards toward the second piece of machine kept about fifty feet away.

After they reach the second machine, which has only one turning spindle. Both yarns are attached to this one spindle, and spun together to make a rope. Finished ropes are made ready for sale by wounding them into coils. They sit on the floor with legs extended. With one end of the rope in one hand, they wrap it between heel of the foot and the hand placed above the knee. One coil contains twenty-four such rounds.

A buyer visits each home collecting the coils. The buyer makes bundles of fifty coils, and sell them off to a bigger buyer in a larger town. Income earned from selling coir ropes was a major part of household income in Hiriketiya.

Sometime in 2010, few Australians discovered Hiriketiya Beach. Villagers were astounded to see them bravely swimming into the open sea, which the villagers ever feared. The folklore in Hiriketiya says that anyone venturing into the sea from the mid section of the beach will risk the loss of life, and each year the sea will take life of one person who dares to swim in the open section of the sea.

When we were young, our parents sternly advised us not to swim in the open beach. We used to swim in the two ends of the beach, which has protective reef barrier. The foreign tourists have been swimming into the sea for the last decade, and no accident has happened. Foreign visitors to the Hiriketiya Beach have grown exponentially.

Hiriketiya

Story of Wewagawa,
The Location of Our Villa

In Sinhalese language Wewagawa means ‘by the lake’.   About fifty years ago, there has been a lake in the neighboring land.  Villagers have bathed in the lake, and water lilies have blossomed. The human footprint has devastated the lake, and it is now a dry land.

Story of Dodampahala

Hiriketiya is a part of the Dodampahala village. The name Dodampahala means ‘Orange Emerged’. The folklore says that when villagers were digging a well for water few hundred feet from our villa, a golden orange had emerged. Villagers named the area after this event.

June Religious Festival

The Buddhist name for the Month June is ‘Poson’. In the year 250 BCE, on the Full Moon Day of Poson, Buddhism was brought to Sri Lanka from India. The Emperor Ashoka (273-232 BCE, 218 years after Buddha) sent his son, Mahinda or Mihindu, who had become a monk (or a disciple of Buddhism), with five other accompanying monks, (Itthiya, Uttiya, Sambala and Bhaddasaala, Saamanera Sumana), and one lay deciple, Bhanduka, with the message of Buddhism. At that time King Devanampiya Tissa was ruling Sri Lanka.

Mahinda Thera (or Monk Mahinda), came to Mihintale, a large rock near Anuradhapura, and waited under a mango tree for the rendezvous with King Devanampiya Tissa.

King Devanampiya Tissa was on a hunting expedition, and was running after a deer, when he heard his name being called ‘Tissa, Tissa…’

No one in Sri Lanka would dare call the King by his name, so the King was astonished to see a group of monks in yellow robes calling him.

After the initial exchanges of introductions, Mahinda Thera tested the level of intelligence of the King asking the following set of questions.

June Religious Festival

Pointing at the mango tree the monk asked …

E

What is the name of this tree?

5

The King replied ‘it is a mango tree …

E

Are there other mango trees besides this tree?

5

The King replied ‘there are many mango trees …

E

Are there yet other trees besides this mango tree and other mango trees?

5

The King replied ‘yes, there are many, but those are not mango trees ..

E

Besides those mango trees and non-mango trees, are there any other trees?

5

The King replied ‘yes, it is this mango tree..

Pointing at the King the monk asked …

E

Do you have any relatives?

5

The King replied ‘yes there are many relatives …

E

Are there people who are not your relatives?

5

The King replied ‘there are many such people …

E

Are there yet other people who are neither your relatives and non-relatives?

5

The King replied ‘yes, that is myself ..

Mahinda Thera was pleased with the high level of intelligence of the King and preached him Buddhism.
For More Information please visit:
https://www.accesstoinsight.org/lib/authors/perera/wheel100.html
https://journals.sfu.ca/cjbs/index.php/cjbs/article/viewFile/60/57

To celebrate this event, the ancient temple of Kemagoda, situated only a few miles from our hotel, organizes a possession on the full moon Poya day of Poson (the Month of June). It is partly religious, partly cultural and partly, well,… free spirited … We are planning to have few paintings of this possession on display at our hotel.

Art

Art in the Hotel

We plan to develop a rich display of art in our hotel depicting life and culture of Sri Lanka and South Asia.

1. In each room we plan to have a portrait of a folk dance, and a link to a video of the dance.

1 . Welcome Dance

2 . Suramba Walliya

3 . Roo Rese

4 . Gajaga Wannama

5 . Pooja Dance

6 . Mayura Wannama

7 . Riddi Bisaw

8 . Saraswati Dance

2. In the hallways we will display the Poson Possession and facets of culture in Hiriketiya
3. In the lobby we will have a Statue of the ‘Celestial Dancer’. An original statue of the same kind is displayed at the Metropolitan Museum of Art in New York (MET). Met explains the statue as …

Celestial dancer (Devata)

mid-11th century

Central India, Madhya Pradesh

The Hindu temple is conceived as a heavenly abode for the presiding deity. The building’s stepped, indented, and towering exterior evokes the mountains of Indra’s heavens, home to the assembly of gods as well as celestial beauties, dancers, and musicians. This life-size sandstone sculpture is an extraordinary rending of a heavenly celebrant performing in honor of the gods. The dancer’s face and body are treated according to prescribed canons of beauty. Her body is contorted in an improbably pose, her legs projecting to her right while her upper torso and head turn sharply left. The extreme flexion reflects dance positions (karunas and sthanas) described in the Natyasastra, an ancient dramatic arts treatise. It is understood in Indian aesthetics that such positions enhance the appreciation of beauty.
Art in the HouseOnTheBend - Explore