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How elephant poop becomes fancy paper in Sri Lanka

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A woman pours pulp onto a thin metal mesh

BY ZINARA RATNAYAKE

An elephant can defecate 16 times in one day—and its 200 pounds of dung can double as paper pulp.Grown-up elephants can eat more than 300 pounds of food—mostly grass, twigs, foliage, and tree bark—in a single day. In the same period, they may defecate 16 to 18 times, producing over 200 pounds of dung.

In Randeniya, a small village in the lower wetlands of Sri Lanka, elephant poop is a renewable resource. The sun-dried, deep-brown dung piles up like haystacks in a painting by Claude Monet.

Visitors could be forgiven for thinking that the poop is useless. But at Eco Maximus, a manufacturer in Randeniya, it takes on a second life.

Two women create a fabric-pulp sheet

More than 20 years ago, a man named Thusita Ranasinghe saw some dung and had an idea. “He thought he could make paper from it,” says the company’s brand designer, Susantha Karunarathne, with a smile. At his office inside the company factory, Karunarathne wears a green t-shirt which says elephantdung paper and shows off some of his recent journal designs. On a table nearby, a several women carefully design covers for multi-sized notebooks. On another, the finished product is packed and ready to be shipped. Today, Maximus creates a range of stationery and souvenirs, which are sold in the local market and in 30 other countries around the globe.

Eco Maximus was an early producer of elephant dung paper, and the first in Sri Lanka, and refining the manufacturing process involved a lot of trial and error. Elephant dung is brought in by nearby rescue centers, Karunarathne says during a tour of the factory.

Fresh elephant dung, semi-solid and green in color, smells. But after it dries under the hot tropical sun, the smell disappears. Collectors gather the deep-brown, fiber-rich piles in a piping-hot steam boiler. “We boil for one hour, to ensure that the dung is germ-free,” says Vibhatha Wijeratne, the factory manager, wearing a pair of yellow gloves as he shows me a pile of boiled dung.

In one corner of the factory, bundles of paper with crumpled edges are stacked upon each other. There are different colors—earthy tones, blues, tropical greens, and deep reds. Thousands of years ago, much of the writing in Sri Lanka was inscribed on stones. Later, the islanders wrote on leaves, such as the fronds of the palmyrah palm, locally known as the tal.

“Palmyrah leaves were boiled and sun-dried for writing, which was called pus kola (old leaves),” says bright-eyed Randika Jayasinghe, who teaches biosystems technology at the University of Sri Jayewardenepura.

Conventional papermaking began after Sri Lanka was colonized by the Portuguese, the Dutch, and then the British, who referred to the island as Ceylon. Most paper uses wood pulp as the main material, which is fibrous and rich in lignin and cellulose. “It is prepared by chemically and mechanically separating fibers from wood,” Jayasinghe says. “These chemicals are then released as wastewater.”

The problem is that nearly four billion trees are cut down every year to manufacture paper. Some are farmed, but others are logged from managed and old-growth forests. “Since paper is biodegradable, we consider it to be eco-friendly compared to plastics,” Jayasinghe says. But it comes at a significant environmental cost.

After the British left Sri Lanka in 1948, the local government opened 12 factories in the 1960s to utilize waste straw from rice paddies for paper-making. But by 1993, only two of them remained. One of them was managed by Shirani Fairbanks. “I walked into the Export Development Board in Colombo, and by accident, I saw a sheet of paper made from banana fiber,” says curly-haired Fairbanks, collecting a bundle of vibrant wrapping paper from her office table. “It inspired me to start Trickledown.”

Her company eventually moved beyond conventional paper making, when they began using waste material—tea refuse, banana skins, pineapple fiber—to make paper. “There’s a huge demand for elephant dung paper products in the market,” Fairbanks tells me. They have a unique aesthetic appeal, which many young people love.”

The company now sources paper from manufacturers around the country for their stationery, crafts and other products. One of them is Eco Maximus.

Back at the Eco Maximus factory, Wijeratne, the manager, shows off a 1,000-liter cement tank known as the beater. A rubber hose pipes water into the tank from a nearby tap, and an employee uses his bare hands to toss in steam-boiled dung, which now resembles a yarn ball made out of earthy fibers. “This is the pulp we use for inner pages of notebooks,” Wijeratne says. “One-third of this pulp is elephant dung, while two-thirds of it is offcut.”

Offcut is two things: leftover paper brought from warehouses in Colombo, and remains from Eco Maximus paper that has been leveled and cut into desired sizes. Finally, bucket of deep magenta liquid is added to the mixture. (Eco Maximus also makes paper from elephant dung alone, but its fibrous texture makes it unsuitable for writing or drawing.) In one of the last steps of papermaking, a woman pours a jug of pulp onto a thin metal mesh.

A bundle of paper awaits ironing

The mesh is dipped in water, and she uses her fingers to mix the pulp for a few seconds, leveling it on the mesh while the water trickles down. “This is for 150 GSM writing paper,” Wijeratne tells me, using the industry acronym for “grams per square meter.” (Printer paper is usually less than 100 GSM, while business cards can be as high as 400 GSM.)

Two women hold the mesh up and press it onto a slightly larger cotton fabric, which is laid flat on a table by a third woman. She then folds the fabric edges in and seals it, which creates a fabric-pulp sheet. Smiling and chatting, they soon make a pile of sheets.

“We use this machine to compress the water out,” says Karunarathne, pointing to a large electric machine. A middle-aged man manually controls the machine, which squeezes a bundle of fabric-pulp sheets as water drips down. “Now you can remove the cotton fabric, and let it dry.” Karunarathne takes me to a large section of the factory where colourful papers are neatly racked. Drying takes place under the asbestos roof, as direct sunlight could bleach the blues, tropical greens, earthy tones, and deep reds.

Finally, two cheery ladies stand by a large aluminum sheet iron, which smooths out the creases and rough edges one sheet at a time. “Ironing is the final step of raw paper making,” says Wijeratne. These paper sheets will be cut, leveled and turned into stationery.

The transformation of poop into paper is complete. Outside, in a neighbour’s garden outside the factory, it is about to start all over again. An elephant marches past, holding a clump of grass beneath his trunk. He leaves a pile of poop before he moves on. “It will be turned into paper tomorrow,” Karunarathne says, and laughs.

(BBC)



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Life style

What I Do, What I Love: A Life Shaped by Art, Wilderness and Truth

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In a country where creative pursuits are often treated as indulgences rather than vocations, Saman Halloluwa’s journey stands apart — carved patiently through brushstrokes, framed through a camera lens, and articulated through the written word. Painter, wildlife and nature photographer, and independent environmental journalist, Halloluwa inhabits a rare space where art, ecology and social responsibility converge.

His relationship with art began not in galleries or exhibitions, but in a classroom. From his school days, drawing was not simply a subject but an instinct — a language through which he learned to observe, interpret and respond to the world around him. Under the guidance of two dedicated mentors, Ariyaratne Guru Mahathaya and Gunathilaka Guru Mahathaya, he honed both skill and discipline. Those early lessons laid the foundation for a lifelong engagement with visual storytelling.

“His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes.”

That commitment eventually materialised in two solo art exhibitions. The first, held in 2012, marked his formal entry into Sri Lanka’s art scene. The second, staged in Colombo in 2024, was a more mature statement — both in content and confidence. Featuring nearly fifty paintings, the exhibition drew an encouraging public response and reaffirmed his place as an artist with a distinct visual voice.

His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes. There is restraint in his use of form and colour, and an underlying dialogue between memory and space. Yet, despite positive reception, Halloluwa speaks candidly about the structural challenges faced by artists in Sri Lanka. Recognition remains limited; fair valuation even rarer.

“This is not merely an artistic issue,” he observes. “It is a social and economic problem.”

In Sri Lanka, art is often viewed through the lens of affordability rather than artistic merit. Many approach a painting by first calculating the contents of their wallet, not the value of the idea or labour behind it. In contrast, he notes, art in Europe and many other regions is treated as cultural capital — an investment in identity, history and thought. Until this mindset shifts, local artists will continue to struggle for sustainability.

The decisive push toward wildlife photography came from Professor Pujitha Wickramasinghe, a close friend who recognised both Halloluwa’s observational skills and his affinity with nature. From there, the journey deepened under the mentorship of senior wildlife photographer Ravindra Siriwardena.

Both mentors, he insists, deserve acknowledgment not merely as teachers but as ethical compasses. In a field increasingly driven by competition and spectacle, such grounding is invaluable.

Saman Halloluwa

Wildlife photography, Halloluwa argues, is among the most demanding visual disciplines. It cannot be improvised or rushed. “This is an art that demands restraint,” he says.

Among all subjects, elephants hold a special place in his work. Photographing elephants is not merely about proximity or scale, but about understanding behaviour. Observing social patterns, movement, mood and interaction transforms elephant photography into a constantly evolving challenge. It is precisely this complexity that draws him repeatedly to them.

Halloluwa is cautiously optimistic about the current surge of interest in wildlife photography among Sri Lankan youth. Opportunities have expanded, with local and international competitions, exhibitions and platforms becoming more accessible. However, he issues a clear warning: passion alone is not enough

Sri Lanka, he believes, is uniquely positioned in the global nature photography landscape. Few countries offer such concentrated biodiversity within a compact geographical area. This privilege, however, carries responsibility. Nature photography should not merely aestheticise wildlife, but foster respect, aware ness and conservation.

Parallel to his visual work runs another equally significant pursuit — environmental journalism. For the past seven to eight years, Halloluwa has worked as an independent environmental journalist, giving voice to ecological issues often sidelined in mainstream discourse. His entry into the field was guided by Thusara Gunaratne, whose encouragement he acknowledges with gratitude.

An old boy of D.S. Senanayake College, Colombo, Halloluwa holds a Diploma in Writing and Journalism from the University of Sri Jayewardenepura and has completed journalism studies at the Sri Lanka Press Institute. He is currently pursuing an Advanced Certificate in Wildlife Management and Conservation at the Open University of Sri Lanka — a testament to his belief that learning must remain continuous, especially in a rapidly changing ecological landscape.

Outside his professional life, he enjoys cricket, rugby and badminton. Yet even leisure intersects with responsibility. He is a founding member and former president of the D.S. Senanayake College Old Boys’ Wildlife Forum, an active member of Wild Tuskers Sri Lanka, and a contributor to several independent environmental and wildlife volunteer organisations. In an era dominated by speed, spectacle and short attention spans, Saman Halloluwa’s journey unfolds differently. It is deliberate, reflective and rooted in values. Through art, he captures memory and form. Through photography, he frames life beyond human control. Through journalism, he asks uncomfortable but necessary questions.

“What I do, what I love” is not fashion here.

It is conviction — patiently lived, quietly asserted, and urgently needed in a country still learning how to value its artists, its environment and its truth.

By Ifham Nizam ✍️

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Shaping the future of style

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Pride, passion and professionalism

Ramani Fernando Sunsilk Hair and Beauty Academy

Ramani Fernando Sunsilk Hair and Beauty Academy marked their graduation of their latest cohort of aspiring hair professionals in a ceremony held at Kingsbury Hotel.

Senaka de Silva, creative force behind Ramani’s shows

For over two decades, the Ramani Fernando Sunsilk Hair and Beauty Academy has stood as a beacon of excellence in beauty education in Sri Lanka. Founded by industry icon Ramani Fernando, the Academy has built a reputation for producing highly skilled professionals who go on to make their mark in salons, both locally and internationally. As the newly minted graduates step out into the world, they carry forward not just certificates, but also the promise of creative authority and personal empowerment.

The chief guest for the occasion was Rosy Senanayake, a long-standing supporter of the Academy’s mission. Addressing the graduates her message echoed her enduring belief that the beauty industry is not merely about aesthetic but about. confidence, self-worth and future leaders.

Over months of rigorous training, these young professionals honed their skills in cutting colouring, styling and contemporary artistry readying themselves to set trends rather than follow them.

Each graduate walked the stage with confidence, their dedication signalling a promising future for Sri Lanka’s beauty and fashion industry! With this new generation of stylists preparing to raise the standard of professional hairstyling.

Ramani Fernando, addressing the audience reflected on the academy’s mission to cultivate not only skills but vision and confidence in every student.

She urged the graduates to embrace continuous learning to take risks with creativity .The world of beauty is ever evolving, stay curious, stay bold and never underestimate the power of your talent, she added emphasising the importance of confidence, discipline and passion in carving a successful career in shaping the future of style.

These graduates are stepping into a world of endless possibilities. They are future of the country, who will carry a forward legacy of creativity. Behind every successful graduate at Sun silk Hair Academy stands a team dedicated to excellence. While Ramani Fernando serves as a visionary Principal and it is Lucky Lenagala, her trusted person who ensures that the academy runs seemingly.

From overseeing training sessions to guiding students, through hands on practice, Lucky plays a pivotal role in shaping the next generation of hairstylists.

Kumara de Silva, who has been the official compere Ramani’s, Hair graduation ceremony, from inception has brought energy, poise and professionalism. The Sunsilk Hair Academy is a celebration of talent and mentor ship for the graduates stepping confidentially into the next chapter of their careers, ready to make their mark on Sri Lanka beauty landscape

A moment of pride Ramani with chief guest Rosy Senanayake

Statement in style

Gliding in romance and sophistication

Pix by Thushara Attapathu

By Zanita Careem ✍️

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Capturing the spirit of Christmas

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Romesh Atapaattu, overseas the magic behind every cut and style at Capello salons

During this season, Romesh Atapattu’s Capello Salon buzzes with a unique energy – a blend of festive excitement and elegance. Clients arrive with visions of holiday parties, office soirees, seeking looks that capture both glamour and individuality. The salon itself mirrors this celebrity mood. Warm lights, tasteful festive décor create an atmosphere where beauty and confidence flourish.

Romesh Atapattu himself curates the festive décor, infusing the space with his signature sense of style. His personal eye ensures that the décor complements the salon’s modern interiors.

As Colombo slips effortlessly into its most glamorous time of year, the Christmas season brings with it more than twinkling lights and celebrity soirees – it signals a transformation season at salons across the city. Capello salons are no exception.

At the heart of this festive beauty movement is Romesh Atapattu of Capello salons, a name synonymous with refined hair artistry, modern elegance and personalised style.

Christmas is about confidence and celebration. Romesh believes ‘People want to look their best without losing who they are”. Our role is to enhance, not overpower. This philosophy is evident in the salon’s seasonal approach.

Beyond trends, what sets Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role in creating the best for Romesh.

Stepping into Romesh’s salon during the Christmas season is an experience in itself. The space hums with festive energy while maintaining an atmosphere of calm sophistication.

The décor embraces the Christmas spirit with understated elegance. Tastefully adorned décor, beautiful Xmas tree, soft gold and ivory tones, and gentle hints of red are woven seamlessly into the salon’s contemporary design.

His staff, known for their warmth and professionalism also plays a key role in shaping the salon’s atmosphere—friendly, stylish and always welcoming. The Capello staff combine skill and creativity to deliver results that have a lasting impression.

Beyond trends, what sets Romesh Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role.

He is a professional who blends technical mastery with a deeply personal approach to style. His dedicated team of skilled professionals, operate with quiet confidence ensuring styles that create an atmosphere of trust, turning every appointment into a personalised and memorable experience.

(ZC) ✍️

Pic by Rohan Herath

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