Midweek Review

Breaking the Cocoon: The Duality and Unity of a Dancer’s Body

Published

5 years ago

2020/12/23

By Dr Saumya Liyanage

Dance is an elusive art form. It is elusive in the sense that any type of dance form uses the human body as its expressive tool, and the art and the artist are one and the same. Dance is in a way similar to the actor’s art because the dancer uses her body as the means of expression. The actor and the dancer share this common ground where their art and the artistic tool are nonetheless inseparable and tightly intertwined. In order to understand the meaning of dance, one may need to separate the dancer’s body from dance but as stated the inseparability of the dancer from dance poses ontological questions as to who the dancer is and what dance is. Therefore, marking a boundary between the body and the work of dance is always blurred.

It is difficult to explain why people dance and how dance is differentiated from non-dance. Celeste Snowber writes that whether we dance and move our bodies, or whether our bodies are static and still, we always dance. She further argues that ‘we are all dancing and as we are all living, whether it is walking or running, swimming or hopping, jumping or being still. There is a dance of blood and fluid circulating in our bodies, and the expressivity of gestures is a daily activity’ (Snowber cited in Leavy, 2018, p. 247). In this analysis, Snowber broadly defines and blurs the distinction between dance and non-dance challenging us to rethink the way we define dance in the contemporary context.

Yet, Sri Lankan dance scholarship is still practised and confined within a particular school of thought that favours dance as a refined, codified body of movement. The learning of dance needs assiduous practice and dedication under a specific training regimen. Moreover, the dancer’s body should be physically trained and aesthetically beautiful to be able to perform and bring meanings to spectators. Hence traditional dance training and performance is purely cultivated through guru-shishya parampara (Teacher-disciple model) where the repetition and execution of learnt scores are supremely important. Very little space is allowed for the novice to explore physical possibilities beyond the regimented body. However, I am not skeptical about the skills and capacities that a traditional dancer possesses. Yet, this long assiduous practice and the regimentation of bodies along with cosmic teaching pertaining to demons and deities would undoubtedly affect and discipline not only the learner’s physicality but their thought process as well. Therefore, these pedagogical systems do not allow the learner to explore various expressions or movement culture.

In this article, I am going to discuss about an emerging dancer and choreographer Kanchana Malshani and her recent work titled, Talking Silambu performed, at the Royal Taprobanian cultural hub in Navinna, Maharagama. In this piece of dance work, Kanchana raises several questions worthy of discussion through the current practice of dance pedagogy in Sri Lanka and ontological questions of what dance is, and who a dancer is. Further her work explores how dance can be a self-exploratory journey for those who seek alternative avenues through breaking their links to traditional forms and regimented bodies.

Kanchana

Kanchana Malshani has studied traditional Sri Lankan dance forms from various teachers since her childhood until she graduated from university. Kanchana is a graduate from Sripalee campus, University of Colombo and received a First Class honours degree. Being a student of traditional Sri Lankan dance forms such as Kandyan, Sabaragamuwa and Low country dance, Kanchana has developed her own style through her engagement with contemporary and experimental Sri Lankan dancers such as Venuri Perera and Umeshi Rajeendra. Learning and working with Venuri Perera and her influence on Kanchana’s reincarnation as a contemporary dancer is immense; in her ‘second life’ as a choreographer and dancer, she is being mentored by Venuri Perera. Her recent incarnation as a contemporary dancer signifies that she as a dancer needs a different life and expression within dance scholarship. Her recent work, Talking Silambu, shows a clear rebellious individuality that seeks to break the traditional codification and rebirth as a free bodied woman.

In 2017, Goethe Institute organised a Choreography Lab with dancer Venuri Perera, in Kalpitiya Sri Lanka. At this particular dance lab, Kanchana learnt contemporary dance from Yuko Kaseki, a Japanese Bhuto dancer, and Mahesh Umagiliya. Further, she learnt from Prof. Sandra Mathern-Smith, Professor of dance at Denison University, the USA, who has travelled several times to Sri Lanka as a Fulbright scholar. Her intervention in popularising and mentoring Sri Lankan dancers included a group of students at the University of the Visual and Performing Arts, Colombo, Sripalee campus, was also a turning point in her dance career. Dance teachers like Deepak Kurki Shivaswamy, Preethi Athreya, Maria Colusi have also helped Kanchana develop her skills. After receiving a half scholarship to visit a two-week-long dance camp at Sanskar Dance Festival India, she has been able to work with teachers such as Vittoria de Ferrari Sapetto and Roberto Olivan. Apart from her dance training, Kanchana has been working with one of the English Theatre companies, Stages Theatre, led by writer and director Ruwanthie De Chickera in Colombo. Kanchana may have undoubtedly learnt the value of being an artiste and professionalism in theatre through working in an actors’ ensemble at Stages Theatre.

Dance and Contemporaneity

The term ‘contemporary dance’ signifies specific meanings to dance specialists than non-specialists of dance. There are certain qualities that set contemporary dance apart from other genres. Contemporary dance can be distinguished from modern and other forms of dance because of its shift from the traditional narratology, dancer’s perspective, and breaking away from some of the dance prejudices to integrate text, words, digital and intermedial elements to it. One such difference is that contemporary dance work departs from traditional third person singular narrative to first person singular self-expression. This first person perspective allows the dancer to reflect her own auto-biographical material.

Yet, these auto-ethnographic or auto-biographical narratives finally gets transformed into a political idiom.

Further contemporary dance deconstructs the aesthetic body celebrated in traditional dance and questions and dissects the skin of the dancer by opening up the inner flesh of the body. André Lepecki further identifies the uniqueness of contemporary dance from other genres because of its ‘ephemerality, corporeality, precariousness, scoring, and performativity’ (Kwan, 2017, p. 39). Thus, contemporary dance does not stick to a particular form, style or a structure. Instead it integrates various techniques, styles, and influences even from traditional dance forms to use the body as a political tool and the self as the centre of expression.

Talking Silambu

In this dance work titled, Talking Silambu, a twenty minute long piece of choreography, Kanchana appears in a non-traditional lose attire while wearing two Silambu (Silambu is a type of anklet made out of brass which Kandyan dancers wear when they perform) In the first instance, we hear the sound of Silambu as Kanchana’s legs begin to move. Yet, her dance body starts movement towards the audience while mixing traditional Kandyan dance codification with free body movement. It is clear that she performs half Kandyan and half improvised body movements in the score. In other words, her body movements are choreographed through semi-Kandyan codification mixed with free style movements. When the dance intensifies, she removes her Silambu, holding them in her hands and begins to shake them with vigorous body movements while throwing her body in various directions. At this point, Kanchana uses a trans-like act depicting trans-performance inherited particularly in low country devil dance. In this work, it is clearly demonstrated that her body is struggling with Silambu and trying to remove its connection to the body. This struggle culminates in the final phase of the dance work by indicating she runs away from the codified body and becomes a free woman. In this work, Kanchana demonstrates her discontent with the previous life as a traditional dancer and her struggle to break her affinity to the codified structure and beautification of the body in Kandyan dance. In a short conversation I had with Kanchana, she mentioned as particular rebirth that occurred at a dance camp organised by the Goethe Institute Colombo:

“I have been trained as a traditional dancer since my childhood but for the first time, working with this Japanese Butoh dancer, Yuko Kaseki, I learnt how to speak from my body. For many years I was living in a cage-tradition where I was entrapped. Living in this cage, I have performed what others wanted me to do. But in this dance lab, I found myself speaking to my own body and speaking through the body. I don’t want my body to be beautiful and aesthetically refined. I don’t want to display precision and codification of my body. I want to show how ugly I am and how vulnerable my body is.” (Kanchana, M., Pers. Comm. Dec. 2020).

Against the grain

In the traditional dance pedagogy, the dancer’s body is understood as a vehicle via which the dancer’s symbolic meanings are conveyed. There is a clear division between the inner and outer faculties in the dance body, and the dancer’s role is to bring forth those inner feelings to the onlooker via her body movements. This conceptualisation of the dancer’s body as a split between inner and outer is a complex issue pertaining to dance. Knowingly or unknowingly the dancer divides her body into body and mind and this Cartesian division has influenced the dancer to theorise the body and her craft.

Living in an ocular centric world, the dancer’s outer body is a place where womanhood is exploited for commercial purposes. From state-sponsored national festivals to television advertisements selling instant noodles or carbonated drinks, the dancer’s outer skin is commodified. Writing about Sri Lankan neo-dance traditions, propagated and performed at high profile delegations, product launches and in TV commercials in the country, I have written elsewhere that ‘women’s bodies succumb to the surgical knife of the choreographer whose male sexual desires are displayed on those bodies. Hence, no difference can be made between a choreographer and a cosmetic surgeon, whose expertise on women’s bodies, especially breasts and buttocks, are surgically transplanted and enhanced by incisions, stitches and staples’ (Liyanage, 2016). Amidst this commodification of female bodies in Sri Lankan dance arena, Kanchana’s attempt is to break away from this commodified, sexualised, and mechanised body to establish a non-codified and unified body of self-expression.

Here it is important for contemporary dancers to understand the value of the ‘living body’ or the ‘lived’ body that is celebrated in the vast literature of phenomenology and dance theory in the contemporary dance literature. In the dominant dance cultures from stage performances to digital and visual representations, the dancer’s skin is the most valued and emphasised. Now, with the contemporary dance turn, the dancer’s living or lived experience has come forth. Kanchana as a dancer now understands that her body is not a place for others to communicate vague meanings but a living entity where her own selfhood is reflected and displayed. It is a challenge for a dancer like her because the dominant female body has already been already established by key dance authors of the country. These dance authors have created a symbolic and sexualised female body for live and digitised performances. This symbolic and sexualised female body consists of the idealised female body for the male viewer. Kanchana is challenging this idealised body that is dominant in the real and digital world.

Dancer and Danced

The key juncture where the lived body differs from the symbolic body is that the symbolic body that is propagated in the media and elsewhere is the body that is not presented as a place for knowledge. Let me explain this further. In the traditional dance pedagogy, the dancer’s body is a place where meanings are generated and shared. In other worlds, the codified body is a canvas or a display where the onlooker extricates meanings. This codified, symbolic body is not presented to us as a place for knowing or sensing. Kanchana’s work and the work of other contemporary dancers suggest that we should understand the body as a place of sensing and knowing. This marks an epistemological turn in dance making and its reception. Dance, or the dancer’s body, has not been considered a place for ‘knowing’ in Sri Lankan dance pedagogy. Most often, a dancer narrates someone’s story or represents a third person singular perspective of the dance.

What Kanchana and the contemporary dance body suggest is to make a shift from the third person singular narrative to a first person singular perspective. This ‘I’ or the first person perspective allows the dancer to narrate her own stories and engagement with the social, cultural and political terrains. Further, a dancer as the author of her own work marks the departure of the dancer as an employer for a particular author. What Kanchana does in Talking Silambu is that as a dancer she tries to incarnate herself and narrate a story of searching a breakthrough and liberation. In this performance, her body works as a site of struggle and seeks the unity of her body and soul.

Conclusion

Understanding the body as a sensing and perceiving entity is still an alien concept to dance pedagogies in universities and private schools. Furthermore, dance can be a self-expressive and auto-ethnographic inquiry and is also a far-reaching idea for our students. Hence, the mainstream dance pedagogy produces dancers who dance without self-motivation to satisfy the audience who come to see symbolic representation of the body. Yet a handful of dancers who are eagerly exploring other avenues for dance expressions are also facing complex issues that their artistic interventions are not fully accepted in the mainstream dance scholarship in the country. Moreover, dancers like Kanchana have chosen a non-popular pathway to pursue their future dance careers and already faced deadlocks, as their artistic practices are not being accepted or sustained by institutions or organisations. Yet Kanchana is determined to break her cocoon to be incarnated as a hybrid moth.

Acknowledgements

The author wishes to thank Himansi Dehigama and Sachini Senevirathe for their assistance in preparing this paper. Further the author’s gratitude goes to dancer Kanchana Malshani.

References

Kwan, S. (2017). When Is Contemporary Dance? Dance Research Journal, [online] 49(3), pp.38–52. Available at: https://www.cambridge.org/core/journals/dance-research-journal/article/when-is-contemporary-dance/8D44743A01A1ECC8100C5E65C1142DC2 [Accessed 4 Oct. 2019].

Leavy, P. (2019). Handbook of arts-based research. New York: The Guilford Press.

All News Advertisement

Midweek Review

Opp. MP’s hasty stand on US air strikes in Nigeria and Sri Lanka’s foreign policy dilemma

Published

6 days ago

2026/01/14

Sahan Weerasooriya

Somaliland's President Abdirahman Abdullahi Mohamed (right), posing for a photograph with Israel's Foreign Minister Gideon Saar, at the Presidential Palace in Hargeisa (Pic released by the Somaliland Presidential Office on 06 January, 2026)

Israel’s recognition of Somaliland on 26 December, 2025, couldn’t have taken place without US approval. The establishment of full diplomatic ties with Somaliland, a breakaway part of Somalia, and Israeli Foreign Minister Gideon Saar’s visit to that country, drew swift criticism from Somalia, as well as others. Among those who had been upset were Türkiye, Saudi Arabia and the African Union.

The US-backed move in Africa didn’t receive public attention as did the raid on Venezuela. But, the Somaliland move is definitely part of the overall US global strategy to overwhelm, undermine and belittle Russia and China.

And on the other hand, the Somaliland move is a direct challenge to Türkiye, a NATO member that maintains a large military presence in Somalia, and to Yemen based Houthis who had disrupted Red Sea shipping, in support of Hamas, in the wake of Israeli retaliation over the 07 October, 2023, raid on the Jewish State, possibly out of sheer desperation of becoming a nonentity. The Israeli-US move in Africa should be examined taking into consideration the continuing onslaught on Gaza and attacks on Lebanon, Iran, Syria, Yemen, and Qatar.

Many an eyebrow was raised over Opposition MP Dr. Kavinda Jayawardana’s solo backing for the recent US air strikes in Nigeria.

The Gampaha District Samagi Jana Balawegaya (SJB) lawmaker handed over a letter to the US Embassy here last week applauding US President Donald Trump’s order to bomb Nigeria on Christmas Day. The letter was addressed to President Trump

( https://island.lk/kavinda-lauds-us-president-trumps-actions-to-protect-christians-in-nigeria/)

The former UNPer who had been in the forefront of a high-profile campaign demanding justice for the 2019 Easter Sunday terror victims, in an obvious solo exercise praised Trump for defending the Nigerian Christian community. The US bombing targeted Islamic State Terrorists (ISIS) operating in that country’s northwest, where Muslims predominate.

The only son of the late UNP Minister Dr. Jayalath Jayawardana, he seemed to have conveniently forgotten that such military actions couldn’t be endorsed under any circumstances. Against the backdrop of Dr. Jayawardana’s commendation for US military action against Nigeria, close on the heels of the murderous 03 January US raid on oil rich Venezuela, perhaps it would be pertinent to seek the response of the Catholic Church in that regard.

President Trump, in a wide-ranging interview with the New York Times, has warned of further strikes in case Christians continued to be killed in the West African nation. International media have disputed President Trump’s claim of only the Christians being targeted.

Both Christians and Muslims – the two main religious groups in the country of more than 230 million people – have been victims of attacks by radical Islamists.

The US and the Nigerian government of President Bola Tinubu reached a consensus on Christmas Day attacks. Nigeria has roughly equal numbers of Christians – predominantly in the south – and Muslims, who are mainly concentrated in the north.

In spite of increasingly volatile global order, the Vatican maintained what can be comfortably described as the defence of the national sovereignty. The Vatican has been critical of the Venezuelan government but is very much unlikely to throw its weight behind US attacks on that country and abduction of its President and the First Lady.

Dr. Jayawardana’s stand on US intervention in Nigeria cannot definitely be the position of the main Opposition party, nor any other political party represented in Parliament here. The National People’s Power (NPP) government refrained from commenting on US attacks on Nigeria, though it opposed US action in Venezuela. Although the US and Nigeria have consensus on Christmas Day attacks and may agree on further attacks, but such interventions are very much unlikely to change the situation on the ground.

SL on US raid

Let me reproduce Sri Lanka’s statement on US attacks on Venezuela, verbatim:

“The Government of Sri Lanka is deeply concerned about the recent developments in Venezuela and is closely monitoring the situation.

Sri Lanka emphasises the need to respect principles of international law and the UN Charter, such as the prohibition of the use of force, non-intervention, peaceful settlement of international disputes and the sovereignty and territorial integrity of states.

Sri Lanka attaches great importance to the safety and well-being of the people of Venezuela and the stability of the region and calls on all parties to prioritize peaceful resolution through de-escalation and dialogue.

At this crucial juncture, it is important that the United Nations and its organs such as the UN Security Council be seized of the matter and work towards a peaceful resolution taking into consideration the safety, well-being and the sovereign rights of the Venezuelan people.”

That statement, dated 05 January, was issued by the Foreign Affairs, Foreign Employment and Tourism Ministry. Almost all political parties, represented in Parliament, except one-time darling of the LTTE, Illankai Thamil Arasu Kadchi (ITAK), condemned the US attacks on Venezuela and threats on Cuba, Colombia and Iran. The US is also targeting China, Russia and even the European Union.

Dr. Jayawardana requested coverage for his visit to the US Embassy here to hand over his letter, hence the publication of his ‘love’ letter to President Trump on page 2 of the 09 January edition of The Island.

There had never been a previous instance of a Sri Lankan lawmaker, or a political party, endorsing unilateral military action taken by the US or any other country. One-time Western Provincial Council member and member of Parliament since 2015, Jayawardana should have known better than to trust President Trump’s position on Nigeria. Perhaps the SJBer felt that an endorsement of US action, allegedly supportive of the Nigerian Catholic community, may facilitate his political agenda. Obviously, the Opposition MP endorsed US military action purely for domestic political advantage. The lawmaker appears to have simply disregarded the growing criticism of US actions in various parts of the world.

The German and French response to US actions, not only in Venezuela, but various other regions, as well, underscore the growing threat posed by President Trump’s agenda.

French President Emmanuel Macron and German leader Frank-Walter Steinmeier have sharply condemned US foreign policy under Donald Trump, declaring, respectively, that Washington was “breaking free from international rules” and the world risked turning into a “robber’s den”.

US threat to annex Greenland at the expense of Denmark, a founding member of the North Atlantic Treaty Organisation (NATO) ,and the grouping itself, has undermined the post WWII world order to such an extent, the developing crisis seems irreversible.

Focus on UAE

Indian Army Chief Gen. Upendra Dwivedi visited the United Arab Emirates on 05 and 06 January. His visit took place amidst rising tension on the Arabian Peninsula, following the Saudi-led military coalition launching air attacks on Yemen based Southern Transitional Council (STC) whose leader Aidarous al-Zubaid was brought to Abu Dhabi.

In the aftermath of the Saudi led strikes on Yemen port, held by the STC, the UAE declared that it would withdraw troops deployed in Yemen. The move, on the part of UAE, seems to be meant to de-escalate the situation, but the clandestine operation, undertaken by that country to rescue a Saudi target, appeared to have caused further deterioration of Saudi-UAE relations. Further deterioration is likely as both parties seek to re-assert control over the developing situation.

From Abu Dhabi, General Dwivedi arrived in Colombo on a two-day visit. Like his predecessors, General Dwivedi visited the Indian Army memorial at Pelawatte, where he paid respects to those who paid the supreme sacrifice during deployment of the Indian Army here – 1987 July to 1990 March. That monument is nothing but a testament to the foolish and flawed Indian policy. Those who portray that particular Indian military mission as their first major peace keeping operation overseas must keep in mind that over half a dozen terrorist groups were sponsored by India.

Just over a year after the end of that mission, one of those groups – the LTTE (Liberation Tigers of Tamil Eelam) -assassinated Congress leader Rajiv Gandhi, the former Premier who sent the military mission here.

India never accepted responsibility for the death and destruction caused by its intervention in Sri Lanka. In fact, the Indian action led to an unprecedented situation when another Sri Lankan terrorist group PLOTE (People’s Liberation Organisation of Tamil Eelam) mounted a raid on the Maldives in early Nov. 1988. Two trawler loads of PLOTE cadres were on a mission to depose Maldivian President Maumoon Abdul Gayoom on a contract given by a disgruntled Maldivian businessman. India intervened swiftly and brought the situation under control. But, the fact that those who had been involved in the sea-borne raid on the Maldives were Indian trained and they left Sri Lanka’s northern province, which was then under Indian Army control, were conveniently ignored.

Except the LTTE, all other major Tamil terrorist groups, including the PLOTE, entered the political mainstream in 1990, and over the years, were represented in Parliament. It would be pertinent to mention that except the EPDP (Eelam People’s Democratic Party) all other Indian trained groups in 2001 formed the Tamil National Alliance (TNA), under the leadership of Illankai Thamil Arasu Kadchi (ITAK), to support the separatist agenda in Parliament. Sri Lanka’s triumph over the LTTE, in May 2009, brought that despicable project to an end.

The Indian Army statement on General Dwivedi’s visit here, posted on X, seemed like a propaganda piece, especially against the backdrop of continuing controversy over the still secret Indo-Lanka Memorandum of Understanding on defence that was entered into in April last year. Within months after the signing of the defence MoU, India acquired controlling stake of the Colombo Dockyard Ltd., a move that has been shrouded in controversy.

Indian High Commissioner Santosh Jha’s response to my colleague Sanath Nanayakkara’s query regarding the strategic dimension of the India–Sri Lanka Defence Cooperation Agreement following the Indian Army Chief’s recent visit, the former was cautious in his response. Jha asserted that there was “nothing beyond what is included” in the provisions of the pact, which was signed by President Anura Kumara Dissanayake and has generated controversy in Sri Lanka due to the absence of public discourse on its contents.

Framing the agreement as a self-contained document focused purely on bilateral defence cooperation, Jha said this reflected India’s official position. By directing attention solely to the text of the agreement, the High Commissioner indicated that there were no unstated strategic calculations involved, aligning with the Sri Lankan Foreign Minister’s recent clarification that the pact was not a military agreement but one that dealt with Indian support.

Nanayakkara had the opportunity to raise the issue at a special media briefing called by Jha at the IHC recently.

Julie Chung departs

The US attack on Venezuela, and the subsequent threats directed at other countries, including some of its longtime allies, should influence our political parties to examine US and Indian stealthy interventions here, leading to the overthrowing of President Gotabaya Rajapaksa, in July 2022.

The US Embassy in Colombo recently announced that Julie Chung, who oversaw the overthrowing of Gotabaya Rajapaksa, would end her near four-year term. Former Indian High Commissioner in Colombo Gopal Baglay, who, too, played a significant role in the regime change project, ended his term in December 2023 and took up position in Canberra as India’s top diplomat there.

Both Chung and Baglay have been accused of egging on the putsch directly by urging Aragalaya time Speaker Mahinda Yapa Abeywardena, on 13 July, 2022, to take over the presidency. Former Minister Wimal Weerawansa and top author Sena Thoradeniya, in their comments on Aragalaya accused Chung of unprecedented intervention, whereas Prof. Sunanada Maddumabanadara found fault with Baglay for the same.

The US Embassy, in a statement dated 07 January, 2026, quoted the outgoing US Ambassador as having said: “I have loved every moment of my time in Sri Lanka. From day one, my focus has been to advance America’s interests—strengthening our security partnerships, expanding trade and investment, and promoting education and democratic values that make both our nations stronger. Together, we’ve built a relationship that delivers results for the American people and supports a free, open, and secure Indo-Pacific.”

The Embassy concluded that statement reiterating the US commitment to its partnership with Sri Lanka and to build on the strong foundation, established during Ambassador Chung’s nearly four-year tenure.

Sri Lanka can expect to increasingly come under both US and Indian pressure over Chinese investments here. It would be interesting to see how the NPP government solves the crisis caused by the moratorium on foreign research vessel visits, imposed in 2024 by the then President Ranil Wickremesinghe. The NPP is yet to reveal its position on that moratorium, over one year after the lapse of the ban on such vessels. Wickremesinghe gave into intense US and Indian pressure in the wake of Chinese ship visits.

In spite of US-India relations under strain due to belligerent US actions, they are likely to adopt a common approach here to undermine Sri Lanka’s relations with China. But, the situation is so dicey, India may be compelled to review its position. The US declaration that a much-anticipated trade deal with India collapsed because Indian Prime Minister Narendra Modi hasn’t heeded President Trump’s demand to call him.

This was revealed by US Commerce Secretary Howard Lutnick in the ‘All-In Podcast’ aired on Thursday, 08 January. The media quoted Indian spokesman Randhir Jaiswal as having said on the following day: “The characterisation of these discussions in the reported remarks is not accurate.” Jaiswal added that India “remains interested in a mutually beneficial trade deal between two complementary economies and looks forward to concluding it.”

Sri Lanka in deepening dilemma

Sri Lanka, struggling to cope up with post-Aragalaya economic, political and social issues, is inundated with foreign policy issues.

The failure on the part of the government and the Opposition to reach consensus on foreign policy challenges/matters has further weakened the country’s position. If those political parties represented in Parliament at least discussed matters of importance at the relevant consultative committee or the sectoral oversight committee, lawmaker Jayawardana wouldn’t have endorsed the US bombing of Nigeria.

Sri Lanka and Nigeria enjoy close diplomatic relations and the SJB MP’s unexpected move must have caused quite a controversy, though the issue at hand didn’t receive public attention. Regardless of the US-Nigerian consensus on the Christmas Day bombing, perhaps it would be unwise on the part of Sri Lanka to support military action at any level for obvious reasons.

Sri Lanka taking a stand on external military interventions of any sort seems comical at a time our war-winning military had been hauled up before the Geneva Human Rights Council for defending the country against the LTTE that had a significant conventional military capacity in addition to being “the most ruthless terrorist organisation” as it was described by the US Federal Bureau of Investigation. The group capitalised on experience gained in fighting the Indian Army during 1987 July-1990 March period and posed quite a threat. Within five months after the resumption of fighting, in June 1990, the LTTE ordered the entire Muslim population to leave the predominantly Tamil northern province.

No foreign power at least bothered to issue a statement condemning the LTTE. MP Jayawardana’s statement supporting US military action in support of Christian community should be examined in Sri Lanka’s difficult battle against terrorism that took a very heavy toll. Perhaps, political parties represented in Parliament, excluding those who still believe in a separatist project, should reexamine their stand on Sri Lanka’s unitary status.

By Shamindra Ferdinando

Midweek Review

Buddhist Iconography

Published

6 days ago

2026/01/14

Sahan Weerasooriya

A Buddha statue from Mathura with a single curl, 2nd cent. CE

Seeing a new kind of head ornament on a recent reproduction of the iconic Avukana Buddha statue, made me ponder how the Enlightened One would have looked in real life, and what relationship that may or may not have with Buddhist iconography. Obviously, there is no record or evidence of any rendering of the Buddha made by an artist who saw him alive, but there are a few references to his appearance in the Pali Sutta Pitaka, that affirms, as he himself has said, Buddha was nothing other than a human being, albeit an extraordinarily intelligent one (Dhammika 2021).

Before enlightenment, Siduhath Gotama was described as having black hair and a beard. One account describes him as “handsome, of fine appearance, pleasant to see, with a good complexion and a beautiful form and countenance” (D.I,114). Venerable Ananda has said, “It is wonderful, truly marvelous how serene is the good Gotama’s presence, how clear and radiant is his complexion. Just as golden jujube fruit in the autumn is clear and radiant … so too is the good Gotama’s complexion” (A.I,181). If Venerable Ananda’s comparison is correct, Gotama must have been of what is called ‘Wheatish’ complexion common in present-day North India, which is described as typically falling between fair and dusky complexions, exhibiting a light brown hue with golden or olive undertones (Fitzpatrick scale Type III to VI).

The Buddha is also described as a slim tall person; slim, perhaps, as a result of practising asceticism before enlightenment and spartan life thereafter. As he aged, he also suffered from back pain and other ailments, according to Sutta Pitaka.

Artists’ imagination

We need not argue that the depictions of the Buddha we see across countries, in various media, are the imaginations of the artists influenced by their local cultures and traditions. The potentially controversial aspect regarding Buddhist iconography is the depiction of his hair, which is almost universal. There are several references in the Sutta Pitaka, where various Brahmin youths derogatorily referred to the Buddha as “bald-pated recluse” (MN 81). There is no reason to believe that he would have been any different from the rest of the Bhikkhus who had and have clean shaven heads. In fact, when King Ajatasattu visited the Buddha for the first time, he had trouble identifying the Buddha from the rest of the sangha, and an attendant had to help the king.

In early Buddhist art, the Buddha was represented by the wheel of dhamma, Bodhi tree, throne, lotus, the footprints, or a parasol. For example, in the carvings of Sanchi temple built in the third century BCE, the Buddha is depicted by some of these symbols, but never in human form. Depiction of the Buddha in human form has started around the first century CE in two places, Gandhara and Mathura. In both places, the Buddha is depicted with hair, and not as a “bald-pated recluse” the way the Sutta Pitaka depicts him.

Figure 1. Bimaran Casket

No scholarly agreeement

So, the question is who started this artistic trend, was it the Gandhara artists under the Greek influence or the Mathura artists following their own traditions? There is no scholarly agreement on this; Western scholars think it was the Greek influence that made presenting the Buddha in human form while Ananda Coomaraswamy presents another theory (Coomaraswamy 1972).

The earliest dateable representation of the Buddha in human form is found on the Bimaran casket found during the exploration of a stupa near Bimaran, Afghanistan in 1834. It has been dated to the first century CE using the coins found along with it, that also depict and refer to the Buddha by name in Greko-Bactrian. This reliquary, a gold cylinder embossed with figures and artwork, is on display at the British Museum (Figure 1). Under the Hellenistic influence, it must have been natural for the Gandhara artists to represent a revered or divine figure in human form; Greeks have been doing it for millennia. The standing Buddha figure is depicted wearing the hair in the form of a knot over the crown. In other carvings from the same period, most male figures are shown with the same hair style. Also, it appears that both Spartan men and women tied their hair in a knot over the crown of the head, known as the “Knidian hairstyle” (Wikipedia). The Gandhara sculpture is famous for the Hellenistic style of realism (Figure 2).

Figure 2. Gandhara statue from 1-2
century CE

Coomaraswamy’s reasoning

Coomaraswamy reasons that the Bhakti movement – the loving devotion of the followers towards the deities, is the reason for the emergence of Buddha figure in Mathura. We cannot say for sure if the Gandhara art induced the Mathura artists to break away from their tradition of aniconic symbolism. What is clear is that they have been influenced by the trend to elevate religious leaders to divinity, to impress the followers and compete or to outdo the practices of other religions. This tradition, which predates the Buddha, has introduced the concept of the thirty-two characteristics or marks of great personalities.

It is this trend that has introduced divine interventions and other mysticisms to Buddhism and culminated in famous poems as Asvagosha’s Buddhacharithaya and exegeses as Lalithavistara a few centuries later and continues to date. Instead of following realism as the Gandhara artists did, Mathura artists have followed this tradition and incorporated the thirty-two characteristics of a great person into their representation of the Buddha figure.

Some of these marks are described as “… there is a protuberance on the head, this is, for the great man, the venerable Gotama, a mark of a great man; the hair bristles, his bristling hair is blue or dark blue, the color of collyrium, turning in curls, turning to the right; the tuft of hair between the eyebrows on his forehead is very white like cotton; he is golden in color, has skin like gold; eyes very blue, like sapphires; under the soles of his feet there are wheels, with a thousand rims and naves, complete in every way…(DN 30, M 91). Thus, the tradition of adding the protuberance referred to as Usnisha to Buddha statues started.

Buddhist traditions in different forms

This practice has been adopted by all Buddhist traditions in different forms. The highly effective outcome of incorporating these great marks into the statuary is that it has created a globally recognisable symbol that is independent of the artist’s skills, cultural affiliation or the medium used. Without such distinct features, we would have difficulty in distinguishing the depictions of the Enlightened One from those of other monks or other religious leaders such as Mahaveera. Nevertheless, in addition to its spiritual aspect, Buddhist iconography has been a flourishing art form, which has allowed human talent and ingenuity to thrive over millennia.

Let us not forget that artistic expression is a fundamental right. Interestingly, the curly hair on the Buddha statues made the early European Indologists to think that the Buddha was an African deity (Allen 2002).

Sri Lankan Buddhist art

Sri Lankan Buddhist art is said to be related to Amaravathi style; all Sri Lankan statues are depicted with curling hair bristles turning to right. The presence and prominence of the usnisha on local statues vary depending on the period. Toluvila statue, prominently displayed at the National Museum, is considered the earliest dateable statue in Sri Lanka. It is dated to 3rd or 4th century CE, has a less prominent usnisha and lacks the elongated ear lobes; it is said to be influenced by the Mathura school.

Since Dambulla temple dates to third century BCE, one wonders if the magnificent reclining statue in Cave 1 could be earlier than the Toluvila statue. There are several bronze statues from Anuradhapura period without usnisha. Towards late Anuradhapura period, usnisha is beginning to be replaced with rudimentary Siraspatha, which represents a flame. This addition evolved over time and became a very prominent feature during the Kandyan period and replaced the traditional usnisha completely (Figure 3).

Figure 3. Kandyan era statue with
Siraspatha

Incomparable workmanship

Then the question is how does the Avukana statue, which belongs to the early Anuradhapura period, have a siraspatha that is not compatible with the style of the period or the incomparable workmanship of the statue itself? I have come across two explanations. According to the Sinhala Encyclopedia, the original siraspatha was destroyed and a cement replacement was installed in recent times, likely in the early 20th century.

The other version is that the statue never had a siraspatha like many other contemporary stone statues. For example, the Susseruwa (Ras Vehera) statue, which is identical in style, and likely a contemporary work, does not have a siraspatha. During the Buddhist revival, a group of devotees from a Southern town felt that the lack of a siraspatha on such a great statue as a major deficiency, and they ceremoniously installed the crude cement ornament seen today.

This raises the question: which is more valuable, preservation and protection of archeological treasures or reconstruction to meet modern expectations and standards? For example, what would have been more impressive, the Mirisavetiya Stupa as it was found before the failed reconstruction attempts, or the current version that is indistinguishable from modern concrete constructs? Even though, one can assume it was done in good faith. What if the Mihintale Kanthaka Chetiya were covered under brick and concrete to convert into a finished product? Would it increase or decrease its archeological value?

Differences between reality and iconography

None of that should matter in following the Buddha Dhamma. In theory. However, when the influence of Buddhist iconography is deeply rooted in devotee’s mind, it is impossible to imagine the Buddha as a normal human being, with or without a clean-shaven head and a brown complexion. The failure to see the difference between reality and iconography or art, poetry, and literature can be detrimental as it could distort the fact that Dhamma is the truth discovered by a human being, and it is accessible to any human, here and now. That is responsible, at least in part, for the introduction of mysticism, myths, and beliefs that are rapidly sidelining of Dhamma.

How often do we think of Enlightened One as a humble mendicant who roamed the Ganges Valley barefoot, in the beating sun, and resting at night on the folded outer robe spread under a tree. Sadly, iconography and other associated myths have driven us too far away from reality and Dhamma.

Up until I was six years old, we lived in a place up in the Balangoda hills that had a kaolin (kirimeti) deposit. The older students in the school used it for various handcrafts, but for the youngsters, it was playdough, even though we had never heard of that term. After witnessing an artist working on a Buddha statue at the local temple, my friend Bandara and I made Buddha statues of all types and sizes. If any of them were to survive for a few thousand years at the site where the schools stood, future archaeologists may wonder if a primitive tribe existed there (of course carbon dating will show otherwise). Like that, looking at some of the thousands of statues that pop up on every street corner, the purpose of which varies, sometimes I wonder if they were made by a civilisation that was yet to finesse the art of sculpture or by kids having access to kirimeti. No wonder birds take liberty to exercise their freedom of expression.

by Geewananda Gunawardana