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Datu (Baybayin: ᜇᜆᜓ) is the title for chiefs, sovereign princes, and monarchs [19] in the Visayas [20] and Mindanao [21] regions of the Philippines. Together with lakan ( Luzon ), apo (central and northern Luzon), [ 22 ] sultan , and rajah , they are titles used for native royalty, and are still used frequently in Mindanao, Sulu and Palawan.
The word vannam comes from the Sinhala word varnana ('descriptive praise'). Ancient Sinhala texts refer to a considerable number of vannam that were only sung; later they were adapted to solo dances, each expressing a dominant idea. History reveals that the Kandyan king Sri Weeraparakrama Narendrasinghe gave considerable encouragement to dance ...
The titles of the paramount datu also changed from case to case, including: Sultan in the most Islamized areas of Mindanao; [2] [page needed] lakan among the Tagalogs; [2] [page needed] Thimuay Labi among the Subanen; rajah in polities which traded extensively with Indonesia and Malaysia; or simply Datu in some areas of Mindanao and the Visayas.
"Naturales" (natives) depicted in the Boxer Codex, specifically marked and identified as Tagalogs.. In early Philippine history, the rank of lakan denoted a "paramount ruler" (or more specifically, "paramount datu") of one of the large coastal barangays (known as a "bayan") on the central and southern regions of the island of Luzon.
Sometime between 1521 and 1570, Ache succeeded his mother and became Paramount Datu of Maynila, assuming the title of Rajah. [8] By the time of the next historical accounts on Ache in 1570, his co-ruler was his nephew, Sulayman, who also held the title of Rajah.
He was also permitted to work as a dance teacher while studying at the school. [7] Later, he entered the Vidyalankara Pirivena to learn the Sanskrit language and literature from Rambukwella Sri Siddhartha Thero. [5] In 1938, at the age of 18, he was appointed as the dance teacher at Nalanda College, Colombo. [8] [17]
With the arrival of Europeans and urbanisation, the Sinhalese began to view theatre as a serious and secular art. At first, urban dramas were derivative borrowing heavily from English drama, or from Parsi theatre musicals (nurti) and Bombay and South Indian operatic plays (nadagam). These catered to a small audience and drew the ire of strict ...
Ancient Sinhala texts refer to a considerable number of vannam that were only sung; later they were adapted to solo dances, each expressing a dominant idea. History reveals that the Kandyan king Sri Weeraparakrama Narendrasinghe gave considerable encouragement to dance and music.