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A Bilingual Public Sphere of Visual Art Criticism:

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SCRAP BOOK OF CHANDRAJEEWA

by Laleen Jayamanne

AJ Gunawardena, writing for The Island as Jayadeva, had the following to say about Sarath Chandrajeewa and his work in the ’90s, especially haunting to read now because he wrote it just one year before his untimely death, in 1998.

“I have known Sarath Chandrajeewa long enough to know to appreciate the vitality of his dream. He is still young and the best years are ahead. His exposure to art instruction, first in the UK under the aegis of his mentor Tissa Ranasinghe, and currently in Russia from a somewhat different angle has appreciably improved his skills and has enlarge his horizons without weakening the umbilical links that bind him to the clean clay of Dankotuwa. I have great hopes for him”

. AJ/Jayadeva, Marginal Comments, The Island, June 1, 1997.

Edwin Ariyadasa, reviewing Sarath’s first solo exhibition, Creations in Terracotta (1990), expresses similar sentiments. Both articles, in English, were republished in the Scrap Book of Chandrajeewa, 1985-2010, edited by Malsha Fernando (2011). Professor Carlo Fonseka, launching the Scrap Book at the Sapu Mal Foundation, in 2011, entertained the audience by saying that the quality of Sarath’s art may be measured by the number of enemies he has. Alas! Professor Carlo didn’t live to see how this distinguished fraternity of specialists grew exponentially, thus magnifying Sarath’s net worth. This is probably a Sri Lankan first, which we love to boast about! Even now, rather late in life, Sarath’s capacity to work creatively, collaboratively, has not diminished. These two distinguished bilingual critics (AJ, a University Professor of English and Edwin, a bilingual journalist writing for Sarasawiya newspaper), belonged to a generation of public intellectuals whose critical output is exemplary for its analytical precision and concision, based on wide art historical and other knowledges, complex lived experience, as well as intuitive understanding and intellectual generosity of spirit. I believe that ethical conduct was an essential part of their critical praxis in contributing to a democratic public sphere of discourse. They were not after either popularity or social status and power, though they were both very popular writers who are remembered with affection, decades after their deaths.

Prof. Kusuma Karunarathna, in her recent short review of Lamentation of the Dawn (2022) by Sarath, (writing even while convalescing), also recalled AJ’s sense of values as a public intellectual. She said: “After reading Lamentation of the Dawn, I remembered Professor AJ Gunawardena. If he was alive, he would have definitely written a review for this.” She brought to mind AJ’s several roles as a public intellectual; a scholar of Theatre, a University professor, a script writer for Lester James Peries and a journalist. So, it’s not surprising that on the 10th anniversary of AJ’s untimely death, Nalaka Gundawardene, writing in Gound Views (09/19/2008), expressed the hope that his ‘original Marginal Comments, in The Island would one day be compiled into a book’. I wonder if that has happened? That would have been an easier task as all the pieces would be filed in The Island’s English language archive. Whereas, Malsha’s task was made very complex (no doubt), because the reviews and articles on Sarath and his work were spread across many newspapers and ephemeral publications in Sinhala and English, over two and a half decades.

What was special about AJ was that he had both a stellar international reputation by having edited the bumper Special Issue on Asian Theatre for the prestigious Theatre Studies journal, TDR (1968) at New York University, while being integrally connected to the local. In this he was not alone in his generation of scholars but working internationally at the time. Gananath Obeysekere, Michael Roberts, SJ Thambaiya and Neville Weerarathna (but all working overseas), come to mind immediately. Because both Edwin and AJ were bilingual, their knowledge base was not parochial and crucially, what they knew they understood deeply, which is to say, contextually and historically. They also believed in the pedagogic function of criticism and wrote a lively and accessible, well-crafted prose always aware of the addressee. Their focus was, refreshingly, not on themselves but on the object at hand, while their prose was shot through with humour.

My idea to write this piece (on the critical evaluation of Sarath’s work by some of Lanka’s outstanding critics and also lesser-known ones, of both genders), occurred to me while dipping into the SCRAP BOOK as a primary resource while writing a review of Sarath’s recent 6th solo exhibition, Visual Paraphrase (Barefoot Gallery, 2023, Nov-Dec). I felt the need to understand the critical reception to his oeuvre as a whole, and its local context across time, starting from 1990. No longer young, Sarath rarely exhibits his work (the small 2023 show was 18 years after his retrospective also at Barefoot Gallery in 2005), spending more time on his research and publication ventures and teaching children art.

I wish to examine the SCRAP BOOK as a historical resource, an archive of sorts, to suggest its value in understanding the mutation of critical discourses on the arts from the ’90s on. My belief is that the plethora of critical journalistic writings in the SCRAP BOOK, (some nameless but sharp and intelligent), by both women and men have something to offer now, which might enrich the critical public sphere of discourse on visual culture.

I write as an old academic critic and theorist of cinema, still active in research with some three decades of teaching in Australia, and just one year at the University of Ceylon Peradeniya, with a specialisation on the Sinhala Cinema from a feminist perspective. I also take this opportunity to announce the forthcoming publication of my Island Essays (2021-2023): Walk Like an Elephant (Colombo: Contemporary Arts and Crafts Association of Sri Lanka, 2024). There, I have also written about AJ and his wife Trilicia as public-spirited intellectuals in the piece, ‘Visionary Educators: Trilicia Gunawardena at the Government College of Art & Crafts’. In particular, there, I focus in some detail on Trilicia’s praxis as a visionary teacher of English as a second language and mentor to her students, among whom was a young Sarath. As all dedicated teachers do, she understood well Sarath’s naturally endowed, unusual creative gifts, as well as his personality, decisively guiding him at various crucial junctures, even after graduation. This visionary couple (among several others), have been Sarath’s guardian spirits when he faced unceasing hostility.

A Dynamic Public-Sphere of Art: The ’90s

I understand that the unique dynamism of the critical discourses of the ’90s (when Sarath began his series of solo exhibitions), was partly due to several factors that began to intersect simultaneously. I list some in no particular order: a nascent art market; the internet enabling artists themselves to display and source buyers without a dealer which itself would have stimulated production; the rise of local art galleries, collectors and art fares; the civil war and attendant volatility of the nation and the pervasive violence; the growth of a cultural NGO sector connected with foreign funding of art centres focusing on ‘Human Rights and the civil war’ related art projects; introduction of new materials and genres, discussions, publications and the formulation of art manifestoes of sorts; the entry of foreign art historians and curators with generous funding, responding to the new global topic, ‘Art and Human Rights’, sourcing research material in the global south for their new publications and exhibitions, essential for their career advancement in the global north; the introduction of aspects of ‘Continental Critical Theory’ into the vernacular (verbal), critical discourse. It was the beginnings of the complex effects of globalisation and ‘deregulation’, on the visual arts of Lanka which opened up new possibilities for artists/critics, who began, importantly, to speak for themselves instead of waiting for critics to do so. I cite these multiple factors as a distant, non-specialist observer, while only having read a book or two in English about these changes in Lanka, written by foreign writers but with local inputs. I have also listened to various lecture-discussions in Sinhala and English, recorded on YouTube and on websites of Art Institutions, following certain seminars randomly. I expect that some art historians are by now researching the ’90s systematically, with the advantage of contextual experience and the vital temporal hindsight that distance provides for the discipline.

Critical Writing by Female Journalists

We know that in Sri Lanka the majority of art and film criticism of the early post independent periods have been undertaken by men, some celebrated, (including the irreplaceable Regi Siriwardena), but this has clearly changed with the advent of feminism, as is clear from the SCRAP BOOK. I was pleasantly surprised to note the very large number of female journalists whose writings appear in the SCRAP BOOK. Perhaps because this is probably a relatively new feature in the cultural public sphere (I stand corrected), I shall focus more on their writing than on the established male names. Approximately, the ratio of female to male critics (in a mix of discursive reports, articles and long interviews), is as follows: 14 women to 20 men. Gender identity was not always provided and I can’t read gender when the last letter is an English ‘a’. These figures are remarkable given that the public intellectual forums appear still to be largely dominated by very vocal male critics/artists/academics, who some-times brook no criticism from the audience, whether it be by a young man or a woman. I have observed several times with astonishment, this unacceptable undemocratic behaviour of shutting down any criticism, but once in an important cultural institution as well. I have also registered a pattern of just citing certain continental cultural critics such as Walter Benjamin as an authority, in a manner that is quite mystifying, unedifying. It is as though the mere mention of the name, like a mantra, (of this most subtle of thinkers with his carefully crafted prose), bestows his ‘aura’ on the Lankan theorist waving a collection of his essays in the air.

There is no argument from authority in the work of the writers in the SCRAP BOOK, the best among them is well-researched, conceptually grounded and historically literate. They are not deferential to the ‘great artist’, they speak as equals, the playing field is level, as in cricket. The writers are all well prepared, they know what they are talking about and show a sense of intellectual curiosity and fascination with the aesthetic dimension of the art discussed and of its place within the long history of art in Lanka.

Sarath (with his art historical knowledge of the classical periods), is then able to map out important differences between the craftsmen of the feudal times of kings and the democratic polity of contemporary Lanka, in the fields of art and crafts subjected to market forces but also to authoritarian state patronage. Sarath is that rare craftsman/artist working unusually, in clay, painting and bronze, Lanka’s civilizational material culture and art, according to Ananda Coomaraswamy. The writers ask carefully thought-out questions which generate complex discursive responses from Sarath, who also knows his World art history well (including China, India and Japan), as well as theories of the European historical avant-gardes and their manifestoes. He is now editing and publishing a book in Sinhala, on the Russian painter Malevich, on abstraction. The interviewers are agile enough to follow a flow of ideas, clarify an argument as the dialogue expands and takes an unexpected turn. The book provides ways of understanding the complex formations of the ’90s art, its intricacies, which we learn was far more diverse than its ‘avant-garde’ ideologues’ accounts, presented as ‘The History’ of the present, to gullible foreign specialists and even some Colombo elite. Malsha has done a fine editorial job following the chronology of dates and yet arranging the pieces somehow, to make the pieces speak to each other, in our minds. The photographs also help. This kind of selection is the work of a skilled editor able to bringing together such a mixed bag of writings, across decisive periods of the artist’s life span, making the SCRAP BOOK a coherent text. It is also worth noting that there is a multi-ethic bunch of writers here.

I single out Chamila Somirathna’s long discursive interview (Rawaya – 2010, May 30), which concludes the book as its penultimate chapter, because her terms of reference are generative, with well researched and formulated questions signalling possible research pathways, should anyone care to take them up.

(To be continued)



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Putting people back into ‘development’ – a challenge for South

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In need of swift empowerment; working people of Sri Lanka.

Should Sri Lanka consider an 18th IMF programme? Some academicians exploring Sri Lanka’s development prospects in depth are raising this issue. It is yet to emerge as a hot topic among policy and decision-making circles in this country but common sense would sooner rather than later dictate that it be taken up for discussion by the wider public and a decision arrived at.

The issue of an 18th IMF programme was raised with some urgency locally by none other than Dr. Ganeshan Wignaraja,Visiting Senior Fellow, ODI Global London, one of whose presentations, made at the Regional Centre for Strategic Studies (RCSS), Colombo, was highlighted in this column last week, May 7th. An IMF programme is far from the ideal way out for a bankrupt country such as Sri Lanka but a policy of economic pragmatism would indicate that there is no other way out for Sri Lanka. Such a programme is the proverbial ‘Bird in the hand’ for Sri Lanka and it may be compelled to avail of it to get itself out of the morass of economic failures it is bogged down in currently.

While local economic growth possibilities are far from encouraging at present, such prospects globally are far from bright as well. Some of the more thought-provoking data in the latter regard were disclosed by Dr. Wignaraja. For example, ‘The IMF’s April 2026 World Economic Outlook projects global growth slowing to 3.1 percent in 2026; with downside risks dominating: prolonged conflict, geopolitical fragmentation, renewed trade tensions, bearing down hardest on emergent and developing economies.’

However, as is known, an ‘IMF bailout’ is fraught with huge risks for the people of a developing country. ‘The Silver Bullet’ brings hardships for the people usually and they would be required by their governments to increasingly ‘tighten their belts’ and brace for perhaps indefinite material hardships and discontent. For Sri Lanka, the cost of living is unsettlingly high and 20 percent of the population is languishing below the poverty line of $ 3.65 per day.

These statistics should help put the spotlight on the people of a country, who are theoretically the subjects and beneficiaries of development, and one of the main reasons, in so far as democracies are concerned, for the existence of governments. Placing people at the centre of the development process is urgently needed in the global South and shifting the focus to other considerations would be tantamount to governments dabbling in misplaced priorities.

Technocrats are needed for the propelling of economic growth but a Southern country’s main approach to development cannot be entirely technocratic in nature. The well being of the people and how it is affected by such growth strategies need to be prime focuses in discussions on development. Accordingly, discourses on how poverty alleviation could be facilitated need urgent initiation and perpetuation. There is no getting away from people’s empowerment.

In the South over the decades, the above themes have been, more or less, allowed to lapse in discussions on development. With economic liberalization and ‘market economics’ being allowed to eclipse development, correctly understood, people’s well being could be said to have been downplayed by Southern governments.

The development issues of Southern publics could be also said to have been compounded over the years as a result of the hemisphere lacking a single and effective ‘voice’ that could consistently and forcefully take up its questions with the global powers and institutions that matter. That is, the South lacks an all-embracing, umbrella organization that could bring together and muster the collective will of the South and work towards the realization of its best interests.

This columnist has time and again brought up the need for concerned Southern sections to explore the potential within the now virtually moribund Non-Aligned Movement to reactivate itself and fill the above lacuna in the South’s organizational and mobilization capability. In its heyday NAM not only possessed this institutional capability but had ample ‘voice power’ in the form of its founding fathers, with Jawaharlal Nehru of India, for example, proving a power to reckon with in this regard. The lack of such leaders at present needs to be factored in as well as accounting for the South’s lack of power and presence in the deliberative forums of the world that have a bearing on the hemisphere’s well being.

The Executive Director of the RCSS, Ambassador (Retd) Ravinatha Aryasinha, articulated some interesting thoughts on the above and related questions at a forum a couple of months back. Speaking at the launching of the book authored by Prof. Gamini Keerewella titled, ‘Reimagining International Relations from a Global South Perspective’, at the Bandaranaike Centre for International Studies, Colombo, Amb. Aryasinha said, among other things: ‘Historically, there is a precedent that has been realized by the Non-Aligned group of countries – unfortunately, rather than being reformed and modified at the end of the Cold War, it has been tossed away.’

The inability of the nominally existent NAM to come out of its state of veritable paralysis and voice and act in the name of the South in the current international crises lends credence to the view that the organization has allowed itself to be ‘tossed away.’ The challenge before NAM is to prove that it is by no means a spent force.

As indicted, NAM needs vibrant voices that could advocate value-based advancement for the global South. Moral principles need to triumph over Realpolitik. Such transformative changes could come to pass if there is a fresh meeting of enlightened minds within the South. Pakistan by offering to mediate in the ongoing conflict between the US and Iran, for instance, proved that there are still states within the South that could look beyond narrow self-interest and work towards some collective goals. Hopefully, Pakistan’s example will be emulated.

Along with Pakistan some Gulf states have shown willingness to work towards a de-escalation of the present hostilities in West Asia. This could be a beginning for the undertaking of more ambitious, collective projects by the South that have as their goals political solutions to current international crises. These developments prove that the South is not bereft of visionary thinking that could lay the basis for a measure of world peace. That is, there are grounds to be hopeful.

NAM needs to see it as its responsibility to make good use of these hopeful signs to bring the South together once again and work towards the realization of its founding principles, such as initiating value-based international politics and laying the basis for the collective economic betterment of Southern people.

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Artificial Intelligence in Academia: Menace or Tool?

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(The author is on X as @sasmester)

I have often been told by university colleagues how soulless and dangerous ‘artificial intelligence’ (AI) is to academia and humanity. They lament that students no longer read anything as they can now get various AI programmes to summarise what is recommended which is mostly in the English language to Sinhala or Tamil or get easier versions in English itself. They get their assignments and even dissertations fully or partially written by AI. And I am led to believe that universities do not have reliable detection software to assess plagiarism and academic fraud that have been committed using AI beyond the software freely available on the internet with their own limitations. This is due to financial restrictions in these institutions. Even these common malpractices have been done mostly with the aid of free AI programmes which are readily available, which means cheating in this sense is free and mostly safe. For teachers, this is a ‘menace’ in the same way ‘copying’ once was. But its implications are far worse.

But given the global investments made over AI, it cannot be wished away despite the enormous negative impact its use has on the environment, particularly due to its massive demand for energy. So, AI is with us to stay, and it has a considerable role to play in human civilisation even though like most innovations and inventions, this too carries its own burden of negativity. In this context, instead of demonising AI and lamenting its replacement of human agency and ingenuity, one needs to think seriously about how to deal with and engage with it reflectively and pragmatically as there is much it can offer if people are intelligent enough to make rational and sensible choices.

When I am making these observations, I am restricting myself to a handful of practices involving only writing both in university-based examination processes and in the fields of creative writing.

My initial introduction to AI was through the Research Methods class I used to teach in New Delhi. In 2022, this class was supposed to go to Dharmshala in Uttar Pradesh for fieldwork training, and we needed to write a funding proposal quickly. One of the students in the class, already familiar with ChatGPT introduced by OpenAI as a free programme in 2022, did the proposal with its help before the two-hour class was over. I edited it soon after and sent it off to the university administration for funding which we received. That stint of field work was completed in five days and was the most detailed work undertaken as a training programme up to that time in the university which had considerable output ranging from a documentary film to a detailed ethnography based on the findings.

While the technical details, the format of the proposal and its basic writing were done by AI due to the time constraints the class faced, its fine-tuning was done by me and a few students. AI could not then and even now cannot undertake that level of specificity without close human intervention. But the film, the ethnography and the actual process of research had nothing to do with AI. It was the result of human labour, thinking, planning and at times creativity and ingenuity. This was an early example of how AI could coexist in an academic environment if its technical usefulness was clearly understood and potential for excesses was also understood. But this was a time, easily accessible AI was just emerging, and we did not know much about it. But I was fortunate enough to have intelligent students in my class who gave me a crash course into this kind of AI use, which I followed up with my own reading and experimentation later on. As a result, I am keener now to see how it can be used for the betterment of academic practice rather than taking an uncritically demonising position, which I know will not lead anywhere.

But how is this possible? The lamentations of my colleagues about the abuse of AI in academic practice is not unfounded. It is a serious threat that remains mostly unaddressed not only in our country but almost everywhere else in the world too. This is mostly because the advancements of AI even in day-to-day free usage have far exceeded any thoughts for actionable codes of ethics to ensure its practice is sensible and ethical. At the same time, I cannot see why a student should not use AI to correct his spelling and grammar in assignments. I also cannot see why a student cannot seek AI’s help to secure research material from secondary sources available online which I have been doing for years. For instance, the originals of specific books and rare manuscripts might not be available in any repositories in our part of the world. In such situations, what AI might find us is all we have access to in a world where we are restricted in our mobility due to semi-racist visa regimes of failed empires and former superpowers as well as our own lack of ability to travel due to our own unenviable economic conditions. But unfortunately, the materials we need are often only available in research centers and libraries in those nations.

Similarly, when it comes to academic prose, it makes no sense now to take years to translate works from multiple languages to Sinhala and Tamil. This has always been a time-consuming, cumbersome and expensive process. Non-availability of Sinhala and English translations of core originals in languages such as English, French, German and so on has been a long-term problem for our country. But this can now be done well – at least from English to our languages – quite quickly and with a very low margin for error by using specific AI programmes which are meant to do precisely this. What this means is a quick expansion of knowledge in local languages which would have ordinarily taken years to achieve or might not have been possible at all. But still, this needs significant human intervention and time towards perfection. However, I do not think AI-based translations work as well for fiction and poetry or creative works more generally. But the ability for AI to emulate nuance and feeling in language is fast emerging. These are two clear examples of improving technical abilities in research and writing in which AI can be of help.

But looking for sources of information with help the help of AI or using it as a tool to undertake essential translations from one language to another is quite different from simply using it without ascertaining the accuracy of collected information, getting AI to do all your work without any reflection or without any hard work at all, including engaging AI to do the final product in a writing assignment — be that a term paper or a work of fiction. If one proceeds in this direction, as many unfortunately do nowadays, then, our ability to think and be creative as a species will become diminished over time and our sense of humanity itself will take a toll. This is what my colleagues worry about when they say AI is making younger generations soulless.

It is here that ethical practices on how to use AI responsibly without compromising our sense of humanity must play a central role. But these ethical practices must be formally written and taught, followed by viable programmes for detection and publication if unethical practices are followed. This needs to be the case particularly in teaching institutions as well as the broader domain of creative writing. After all, what is the fun in reading a novel or a collection of poetry written by AI?

It is time people began to think about what AI can do in their own fields without falling prey to its power and their own laziness. This brings to my mind Geoffrey Hinton’s words: “There is no chance of stopping AI’s development. But we need to ensure alignment; to ensure it is beneficial to us …” Similarly, as Yann LeCun observed, “AI is not just about replicating human intelligence; it’s about creating intelligent systems that can surpass human limitations.” In this sense, it is up to us to find our edge in creativity and common sense to find the most sensible way forward in using AI.

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Engelbert’s 90th birthday bash

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The legendary Engelbert Humperdinck, who is known for his hit songs such as ‘A Man Without Love’, ‘Release Me’, ‘Spanish Eyes’, ‘The Last Waltz’, ‘Am I That Easy To Forget’, ‘Ten Guitars’ and ‘I Can’t Stop Loving You’, turned 90 on 02 May, 2026, and there were some lovely Hollywood-related celebrations.

Before his birthday, Engelbert’s new single ‘I’ve Got You’ was released – on 23 April – and Engelbert had this to say: “‘I’ve Got You’ is especially close to my heart. It speaks to love, loyalty, and the quiet strength we find in one another”.

The main birthday event was held at The Starlight Cabaret, in Los Angeles, California, and Sri Lankan Raju Rasiah, now based in the States, and his wife Renuka, who are personal friends of Engelbert, were invited to participate in the celebrations, along with Ingrid Melicon – also a Sri Lankan, now domiciled in America.

The invitation said “An evening of music, memories and celebration. Let’s make it a night to remember!” And it certainly turned out to be a night never ever to be forgotten!

Invitees experienced a “magical entrance” with Engelbert’s name lighting up the screen and showing him performing his hit songs.

The invitees were also presented with a unique gift – a necklace with Engelbert’s face, engraved with the words “Remember, I Love You.”

Engelbert’s son, Bradley Dorsey, sang a tribute song ‘Only You’ for his dad, while Eddy Fisher’s daughters, Tricia and Joely, also got on stage to entertaining the distinguish gathering.

Engelbert didn’t perform but got on stage for the cutting of the birthday cake.

There was also a video compilation of birthday wishes from fellow celebrities, and the lineup included Gloria Gaynor, Micky Dolenz, Wayne Newton, Pat Boone, Lulu, Judy Collins, Deana Martin, Angélica María, Rupert Everett, Matt Goss, and more.

Birthday boy Engelbert Humperdinck

At 90, Engelbert is still performing. He’s on THE CELEBRATION TOUR for his 90th year, with over 50 international dates in 2026, including Australia, Germany, the US, and Canada. He’ll be at Massey Hall in, Toronto, on 06 October, 2026. He said: “The stage is my home… Canada has always been a highlight”.

He performed 60+ concerts, worldwide, in 2025, and says karaoke keeps his songs fresh: “Most of my songs are on karaoke because people love to sing them”.

 

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