Midweek Review
Breaking the Cocoon: The Duality and Unity of a Dancer’s Body
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.
Midweek Review
Gotabaya’s escape from Aragalaya mob in RTI spotlight
The Court of Appeal declared on 09 March, 2026: “On the facts currently before us, the application of the exemption contained in Section 5 (1) (b) (i) of the Act is unsustainable. There is a little logical connection between the requested statistics in this information request (that do not pertain to the personal details of individuals) and national security. We see that asserting that national security is at peril, is not a “blanket or unreviewable justification” for withholding information. It should be noted that any restriction must be strictly necessary, proportionate, and supported by a “demonstrable risk of serious harm to the State.” In the case in hand, the Petitioner failed to establish a clear nexus between the disclosure of naval voyage expenditures and any genuine prejudice to national security under Section 5(1)(a) of the Right to Information Act. In the absence of specific evidence, the reliance on security is characterised as a “generalised assertion or mere assertion” cannot be a panacea, we hold it is insufficient to meet the statutory threshold.”
By Shamindra Ferdinando
The deployment of SLNS Gajabahu (P 626), an Advanced Offshore Patrol Vessel (AOPV), on the afternoon of 09 July, 2022, to move the then President Gotabaya Rajapaksa, being pursued by a violent aragalaya mob, to safety, from Colombo to Trincomalee, is in the news again.
The issue at hand is how much the deployment of the vessel cost the taxpayer. In response to the Right to Information (RTI) query, the Navy has declined to reveal the cost of the AOPV deployment, or those who were given safe passage to Trincomalee, on the basis of national security.
SLNS Gajabahu, formerly USCGC Sherman (WHEC-720), a United States Coast Guard Hamilton-class high endurance cutter, was transferred to the Sri Lanka Navy on 27 August, 2018, at Honolulu. The vessel was recommissioned 06 June, 2019, as SLNS Gajabahu (P626) during Maithripala Sirisena’s tenure as the President. (Last week, US Special Envoy for South and Central Asia, Sergio Gor, who was here to deliver a message to President Anura Kumara Dissanayake, in the company of Navy Chief of Staff Rear Admiral Damian Fernando, visited SLNS Gajabahu, at the Colombo port.)
What would have happened if the then Navy Chief, Vice Admiral Nishantha Ulugetenne (15 July, 2020, to 18 December, 2022) failed to swiftly respond to the threat on the President? Those who spearheaded the violent campaign may not have expected the President to flee Janadhipathi Mandiraya, as protestors breached its main gates, or believed the Navy would intervene amidst total collapse of the ‘ground defences.’ Ulugetenne accompanied the President to Trincomalee. Among the group were the then Brigadiers Mahinda Ranasinghe and Madura Wickramaratne (incumbent Commanding Officer of the Commando Regiment) as well as the President’s doctor.
The circumstances leading to the President and First Lady Ayoma Rajapaksa boarding SLNS Gajabahu should be examined taking into consideration (1) the killing of SLPP lawmaker Amarakeerthi Atukorale and his police bodyguard Jayantha Gunawardena by an Aragalaya mob, at Nittambuwa, on the afternoon of 09 May, 2022 (2) the Army, deployed to protect Janadhipathi Mandiraya, quite rightly refrained from firing at the violent mob (3) efforts made by the top Aragalaya leadership to compel the then Premier Ranil Wickremesinghe to quit. Subsequently, it emerged that pressure was brought on the President to remove Wickremesinghe to pave the way for Speaker Mahinda Yapa Abeywardena to become the President and lastly (4) arrest of Kegalle SSP K.B. Keerthirathna and three police constables over the killing of a protester at Rambukkana on 19 April, 2022. The police alleged that they opened fire to prevent a violent mob from setting a petrol bowser, barricaded across the railway line there, ablaze.
Now, swift action taken by the Navy, under extraordinary circumstances to prevent possible threat on the lives of the President and the First Lady, had been challenged. The writer felt the need to examine the evacuation of the President against the backdrop of an attempt to compare it with President Wickremesinghe’s visit to the University of Wolverhampton in September, 2023, to attend the awarding of an honorary professorship to his wife Prof. Maithri Wickremesinghe.
The 09 July intervention made by the Navy cannot be, in any way, compared with the public funds spent on any other President. It would be pertinent to mention that the President, fleeing Janadhipathi Mandiraya, and the withdrawal of the armed forces deployed there, happened almost simultaneously. Once a collective decision was made to vacate Janadhipathi Mandiraya, they didn’t have any other option than rushing to the Colombo harbor where SLNS Gajabahu was anchored.
Overall defences in and around Janadhipathi Mandiraya crumbled as crowds surged in the absence of an effective strategy to thwart them. As we recall the law enforcers (both military and police) simply did nothing to halt the advance of the mob right into Janadhipathi Mandiraya, as people, like the then US Ambassador Julie Chung, openly prevailed on the hapless administration not to act against, what she repeatedly termed, ‘peaceful protesters’, even after they, in a pre-planned operation, meticulously burnt down more than hundred properties of government politicos and loyalists, across the country, on 9/10 May, 2022. So they were, on the whole, the proverbial wolves in sheep’s clothing working with the Western regime change project here as was previously done in places like Libya and Iraq and more recently in neighbouring countries like Pakistan, Bangladesh and Nepal to install pliant governments.
After the 9/10 incidents, President Rajapaksa replaced the Commander of the Army, General Shavendra Silva, with Lt. Gen. Vikum Liyanage.
RTI query
M. R. Ali of Kalmuinai, in terms of Section 34 of the Right to Information Act No. 12 of 2016 (read with Article 138), has sought information, in September 2022, regarding the deployment of SLNS Gajabahu. The Navy rejected the request in November 2022, citing Section 5(1)(b)(i) of the RTI Act, which relates to information that could harm national security or defence. Obviously, the release of information, sought by that particular RTI, couldn’t undermine national security. No one can find fault with Ali’s decision to appeal to the RTI Commission against the position taken up by the Navy.
Following hearings in 2023, the Commission issued a split decision on 29 August, 2023. The RTI Commission upheld the Navy’s refusal to disclose items 1 through 5 and item 8, but directed the Navy to release the information for items 6 and 7, specifically, the cost of the travel and who paid for it.
However, the Navy has moved the Court of Appeal against the RTI directive to release the cost of the travel and who paid for it. Having examined the case in its entirety, the Court of Appeal held that the Navy, being the Public Authority responsible for the deployment of the vessel, had failed to prove how they could receive protection under 5(1)(b)(i) of the Right to Information Act. The Court of Appeal affirmed the order dated 29/08/2023 of the Right to Information Commission. The Court dismissed the appeal without costs. The bench consisted of R. Gurusinghe J and Dr. Sumudu Premachandra J.
There hadn’t been a similar case previously. The Navy, for some strange reason, failed to highlight that the failure on their part to act swiftly and decisively during the 09 July, 2022, violence that directly threatened the lives of the President and the First Lady, thwarted a possible catastrophic situation.
The action taken by the Navy should be discussed, taking into consideration the failure on the part of the Army and Police to save the lives of MP Atukorale and his police bodyguard. No less a person than retired Rear Admiral and former Public Security Minister Sarath Weerasekera alleged, both in and outside Parliament, that the Army failed to respond, though troops were present in Nittambuwa at the time of the incident. Had the Navy hesitated to evacuate the President and the First Lady the country may have ended up with another case similar to that of lawmaker Atukorale’s killing.
The Gampaha High Court, on 11 February, 2026, sentenced 12 persons to death for the killing of Atukorale and his security officer Gunawardena.
Let me stress that the costs of presidential travel have been released in terms of the RTI Act. The deployment of SLNS Gajabahu, at that time, has to be examined, taking into account the eruption of Aragalaya outside President Rajapaksa’s private residence at Pangiriwatte, Mirihana, on the night of 31 March, 2022, evacuation of the resigned Prime Minister Mahinda Rajapaksa from Temple Trees, after protesters breached the main gate on 10 May, 2010, and the JVP/JBB-led attempt to storm Parliament on 13 July, 2022. Mahinda Rajapaksa and wife Shiranthi took refuge at the Trincomalee Navy base, chosen by Gotabaya Rajapaksa as sanctuary a few months later.
US Ambassador Julie Chung tweeted that Washington condemned “the violence against peaceful protestors” and called on the Sri Lankan “government to conduct a full investigation, including the arrest and prosecution of anyone who incited violence.”
The US fully backed the violent protest campaign while the direct involvement of India in the regime change project later transpired. As far as the writer is aware, this particular request is the only RTI query pertaining to Aragalaya. Evacuation of Mahinda Rajapaksa took place in the wake of a foolish decision taken at Temple Trees to unleash violence on Galle Face protesters, who were also besieging Temple Trees.
Defence Secretary retired General Kamal Gunaratne told a hastily arranged media conference that the former Prime Minister was at the Naval Dockyard in Trincomalee. The media quoted him as having said: “He will be there for a few more days. We will provide him with whatever security he needs and for as long as he wants.” Mahinda Rajapaksa remained in Trincomalee for over a week before attending Parliament.
Navy’s dilemma

Gotabaya
At the time information was sought under the RTI Act, Ulugetenne served as the Commander of the Navy. Vice Admiral Priyantha Perera succeeded Ulugetenne on 18 December, 2022. Following VA Perera’s retirement on 31 December, 2024, President Anura Kumara Dissanayake brought in the incumbent Kanchana Banagoda, as the 26th Commander of the Navy.
On the basis of the RTI query that dealt with the deployment of SLNS Gajabahu to evacuate President Gotabaya Rajapaksa and First Lady Ayoma, one can seek information regarding the expenditure incurred by Air Force in flying Mahinda Rajapaksa and his wife from Colombo to Trincomalee and back, as well, as Gotabaya Rajapaksa, his wife and two bodyguards leaving the country on Air Force AN 32 on 13 July, 2022. On the following day, they flew to Singapore on a Saudi flight.
Ali, in his representations, stressed that his objective hadn’t been to determine the legality of the Navy’s actions but to exercise his right as a citizen and taxpayer to oversee public spending. He questioned the failure on the part of the Navy to explain as to how revelation of specific information would “directly and reasonably” harm national security. In spite of the RTI Commission directive, the Navy refrained from answering two specific questions as mentioned by justice Dr. Sumudu Premachandra. Question number (6) How much money did the Sri Lanka Navy spent for the travel of former President Gotabhaya Rajapaksha in this ship? And (Question 7) Who paid this money? When did they pay?
Both the RTI Commission and Court of Appeal quite rightly rejected the Navy’s position that the revelation of cost of the deployment of vessels poses a significant threat to national security. That claim was based on the assertion that such financial data could allow third parties to calculate sensitive operational details, such as a ship’s speed, fuel consumption, and operational range. The Navy claimed that the disclosure of sensitive information could reveal supply dependencies, logistics constraints, and fueling locations, making the vessels vulnerable to sabotage or economic warfare.
The Navy sought protection of RTI Act’s section 5(1)(b)(i). Following is the relevant section: “(b) disclosure of such information– (i) would undermine the defence of the State or its territorial integrity or national security;”
The Navy appears to be in a bind over the RTI move for obvious reasons. With the ultimate beneficiary of Aragalaya at the helm, the Navy would find it extremely difficult to explain the circumstances SLNS Gajabahu was deployed against the backdrop of direct threat on the lives of the then incumbent President and the First Lady. The truth is desperate action taken by the Navy saved the life of the President and his wife. That is the undeniable truth. But, the current political environment may not be conducive to say so. What a pathetic situation in which the powers that be lacked the courage to lucidly explain a particular situation. As stressed in the Supreme Court judgment of November 2023, the Rajapaksa brothers – including two ex-Presidents – were guilty of triggering the country’s worst financial crisis by mishandling the economy.
In a majority verdict on petitions filed by academics and civil rights activists, a five-judge bench ruled that the respondents, who all later resigned or were sacked, had violated public trust. The regime change project took advantage of the attack ordered by Temple Trees on 09 May, 2009, on Galle Face protesters, to unleash pre-planned violence on ruling party politicians and loyalists.
If not for the courageous decision taken by Prime Minister Ranil Wickremesinghe, in spite of his private residence, at Kollupitiya, being set ablaze by protesters on the night of 09 July, 2022, to order the military to thwart the JVP/JJB march on Parliament, two days later, and evict protesters from Galle Face soon after Parliament elected him the President on 20 July, 2022, saved the country from anarchy. Although Wickremesinghe, without restraints, encouraged Aragalaya, he quickly became the bulwark against the anti-State project that threatened to overwhelm the political party system.
Obviously, during Wickremesinghe’s tenure as the President, the SLPP, that accommodated the UNP leader as the Head of State, appeared to have turned a blind eye to the RTI query. Had the SLPP done so, it could have captured public attention, thereby making an attempt to influence all involved. In fact, the case never received media attention until journalist and Attorney-at-Law Nayana Tharanga Gamage, in his regular online programme, dealt with the issues at hand.
Before leaving Janadhipathi Mandiraya, the President has warned the military top brass, and the IGP, to prevent the destruction of the historic building. However, no sooner, the President left, the military top brass vacated the building leaving protesters an easy opportunity to take control. They held Janadhipathi Mandiraya until Gotabaya Rajapaksa resigned on 14 July 2022 to pave the way for Ranil Wickremesinghe to become the President.
It would be pertinent to mention that President Gotabaya Rajapaksa only moved into the Presidential Palace (Janadhipathi Mandiraya) after massive protest outside his Pangiriwatte private residence on 31 March, 2022, underscored his vulnerability for an attack.
Midweek Review
Village tank cascades, great river quartet and Cyclone Ditwah
This past November and December Ditwah showed us how dark, eerie and haunting catastrophes cyclones can be. Past generations have suffered as shown in 1911, the Canberra Times reporting the great flood of Ceylon on December 30 of that year. It killed 200 people and left over 300,000 homeless. Half century later, on December 25, 1957, a nameless cyclone brought severe rain to the North Central Province (NCP), and the Nachchaduwa reservoir breached, unloading its full power of volume into Malwatu Oya, a mid-level river flowing through the city of Anuradhapura, nearly washing away its colonial-era bridge near the Lion Tower. A cyclone paid a visit to the Eastern Coast of Sri Lanka on November 17-23, 1978.
Half a century later, Ditwah came with swagger.
Quartet of Rivers
Cyclone Ditwah unleashed disaster and tragedy, terrorising every breath of hundreds of thousands of people. These cyclones come spaced by a generation or two. How the Great River Quartet of Mahaweli, Kelani, Kalu, and Walawe, and their attendant mid-level streams, behaved before Ditwah masks the reality that they are not the loving and smiling beauties poets claim them to be. During the Ditwah visit, our river Quartet showed its true colours in plain sight when wave after wave of chocolate rage pushed uprooted forests creasing islands of floating debris and crashed onto bridges, shattering their potency into pieces. These rivers are nothing more than a bunch of evil reincarnations cloaked in ruinous intentions.
The River Quartet and its mates woke up to the first thunder of Ditwah. They carried away villages, people, property, herds of cattle, and wild elephants to the depths of the Indian Ocean. While we continue to dig out the dead buried in muddy mountainsides, dislodged from their moorings during this flood of biblical proportions, how our rivers, streams, and, particularly, the village tanks handled the pressure on their own will be the core of many future discussions.
The destruction and tragedy caused by this water hurt all of us in many ways. But we all wish they were only a fleeting dream. Sadly, though, the real-life sight of the pulverised railway bridge at Peradeniya is not a dream. This section of the rail line was stripped of its modesty and laid bare. It hung in the air, literally, like strands of an abandoned spider’s web on a wet Kandyan morning. It was a reminder to us that running water is a masked devil and should not be considered inviting. It can unleash the misery with a chilling ending no one wants to experience in a lifetime.
Tank Cascade Systems (TCS)
Although the Ditwah cyclone covered Sri Lanka from top to bottom with equal fury, the mountainous areas and floodplains of our River Quartet surrendered soon. However, the village tanks in the Dry Zone – Northern, North Central, Northeast, and Eastern provinces – weathered that onslaught, sustaining only manageable damage. They collectively mitigated the damage caused by over 200 mm of rain that fell across the catchment areas they represented. Thus, the tank, the precious possession of the village, deserves to be titled as a real beauty.
Let me introduce the village tanks systems our engineering ancestors built with sophistication and ingenuity, a force like Ditwah hardly made a dent in groups of these tanks called Tank Cascade Systems (TDS). Many of the village tanks in the Dry Zone, covering 60% of Sri Lanka’s land area, stand in groups of TDS, separated as individual bodies of water but sharing water from one or more dedicated ephemeral streams. R.W. Ievers, the Government agent for North Central Province in the 1890s, noted that these tanks were the result of “one thousand years of experiment and experience,” and “ancient tank builders took advantage of the flat and undulating topography of the NCP to make chains of tanks in the valleys.” Colonial Irrigation Engineers of the early 20th century also recognised this uniqueness. Still, they could not connect the dots to provide a comprehensive definition for this major appurtenance of the village.
Although these tanks appear to be segregated ecosystems, a closer look at the peneplain topographic map of Sri Lanka shows that each stream feeding them ultimately flows into a larger reservoir or river, jointly or independently influencing the mechanics of regional water use and debouching patterns. This character is the spirit of the dictum of King Parakramabahu centuries earlier: “let not a single drop of water go to waste into the sea without being used by people.” Villagers knew that each tank in their meso-catchment area was related to other tanks on the stream it was in ensuring maximised use of water.
With their embodied wisdom, our ancestors centuries ago configured the placement of individual tanks that shared water from a catchment area. But not until 1985, following a careful autopsy of the pattern of these small tanks in the Dry Zone, Professor Madduma Bandara noticed a distinctive intrinsic relationship within each group of tanks. He called a group of such tanks a Cascade of Tanks. He wrote, “a (tank) cascade is a connected series of tanks organized within a micro-catchment of the Dry Zone landscape, storing, conveying, and utilising water from an ephemeral rivulet.” In short, it is a “series of tanks located in succession one below the other.” Dr. M.U.A. Tennakoon shared the names of the villagers in Nuwarakalaviya used for this configuration of tanks: Ellangawa. On a map, these tanks appear as hanging on a string. Thus, Ellangawa can be a portmanteau, a blend, of these two words.
There are over 475 such cascading tank groups in the Dry Zone. On average, each cascade typically supports four tanks. One cascade, Toruwewa, near Kekirawa, has 12 tanks. According to Professor Madduma Bandara, a cascade of tanks held about 20-30% of the water falling on its catchment area. As I will show later in this essay, the tank cascades behave like buddies in good times and bad times. By undertaking to build a vascular structure to collect, conserve, and share water with communities along the stream path, our ancestors forewarned of the consequences of failing to undertake such micro-projects where they chose to live. The following are a villager’s thoughts on how to retool this concept to mitigate the potential for damage from excess water flow in a larger river system.
To villagers, their tank is royalty. Its water is their lapis lazuli. Therefore, they often embroidered the title of the village with the suffix wewa (tank) or kulam (tank, in Tamil), indicating the close connection between the two. It is the village’s foremost provider and is interdependent. That is why we have the saying, “the village is the tank, and the tank is the village.”
A study in 1954/55 found that there were 16,000 tanks in Sri Lanka, of which over 12,500 were operational. Out-of-commission tanks were those that fell into disuse after the original settlers abandoned them for a host of reasons, such as a breach in the bund, fear of plague or disease, or superstition. Collectively, they supply water to an area larger than the combined area of the fields served by the major irrigation reservoirs in the country at the time.
In some villages, an additional tank called olagama, with its own acreage of fields, receives water from the same stream or from another feeder stream which joins the principal stream above or below the main tank. In the event the main tank is disabled, often the olagama tank can serve as the alternate water source for their fields.
Cultural and Engineering

A graphical representation of the tank cascade system. Image courtesy of IUCN Sri Lanka.
A tank cascade is also an engineering undertaking. But village tank builders were not engineers with gold-trimmed diplomas. They were ordinary folks, endowed with generations of collective wisdom, including titbits on the physics of water, its speed, and its cruelty. Village pioneers responsible for starting the construction of the tank bund, gam bendeema, placed the first lump of earth after marking off home sites, not immediately below the future bund, but slightly towards one end of it, in the area called gammedda, or the elevated area the bund links to, gamgoda.
Engineering of a tank cascade has a cultural underpinning. It is founded on the feeling of solidarity among the villages along an ephemeral stream. In practice, it was a wholesome area with small communities of kin below each tank sorting out their own affairs without much intervention of the ruling class. For example, during heavy rains, each village in the chain communicated with the villages below the volume in its tank and the projected flow of the stream. When the tank reached its capacity and water began to spill over the spillway, the village below must take measures to protect its tank bund. If it breached, villagers up and down the cascade helped each other repair it.
They were aware that an earthen dam was susceptible to failure, so they used their own town-planning ideas. They avoided building residential zones directly under the stream’s path, generally at the midpoint of the dam. Instead, they built their triumvirate of life – tank, field, and dagoba (stupa) – keeping safety and practicality in mind. Dagoba was always on a higher ground, never supported by beams on a stream bank like what Ditwah revealed recently. We now know what happens to dagobas built on sagging beams by deceptively serenading riverbanks when thunder waters and unworldly debris came down hand in hand.
From top to bottom, the Tank Cascade showed the engineering instinct of the builders and accessory parts that helped its smooth functioning. There was the Olagama and Kulu Wewa associated with a system. Tank builders had an idea of the volume of water a given stream would bring in a year. In conjunction with this, the bunds of the Olagama and Kulu Wewa are built small. In contrast, the bunds of the tanks that formed the lower rung of the cascade are relatively larger. The idea behind this was that, in the event of a breach in an upstream tank, the downstream tanks could withstand an unexpected influx of water.
During the Ditwah’s death dance, the Mahaweli River did not have this luxury as it marched downstream from Kotmale dam. There were not enough dams to tame this river, and its beastly nature was allowed to run wild until it was too late for many.
The embodied imprints of experience inherited from their ancestors’ helped villagers design the tank’s physical attributes. In general, a tank supplied by this stream had a dam of a size proportional to the amount of water it could store for the fields. Later, as the village added families and field acreage increased, villagers raised the bund and the spillway to meet increased storage capacity. This simple practice guarded against eventualities like uncontrollable floods between villages. Excess water was allowed to flow through the sluice gate and the spillway, reducing the pressure on the bund. Had we applied this fundamental practice on a proportional scale to a large stream, i.e., oya or river, it would have lessened the destruction during a major rainstorm, ilk of which Ditwah brought.
With my experience living in a village with its tank, part of a TCS of five tanks, I wish large rivers like the Mahaweli had a few small-scale dams or partial diversions mimicking a rudimentary TCS so that the Railway Bridge at Peradeniya could have avoided the wrath of hell and high-water bringing muck and debris along its 46 km descent from Kotmale, where its lone dam is. I am glad I have company here. Professor Madduma Bandara noted 40 years ago, “much water flows through drainage lines due mainly to the absence of a village tank-type storage system.” Mahaweli turned out to be that drainage line this past November, holding hands, sadly, though, jubilantly, with the designs of Ditwah. Recently, former Head of Geo-Engineering at Peradeniya University, Udeni Bandara Amarasinghe, highlighted the importance of building reservoirs on other rivers to control floods like those we experienced recently.
Check Dams & Macroscopic Control
Within the TCS, the check dams, Kulu Wewa or Kele Wewa – forest tanks above a working tank held back sediments generated by upstream denudation. They controlled the volume and water entering the main tank. Kulu Wewa provided water for wild animals and checked their tendency to raid crops below the main tank. The difference between Kulu Wewa and Olagama was that, because of its topographical location, Kulu Wewa was occasionally used as a source of water for crops when the main tank below it became inoperable due to a breach or was undergoing repairs or used up its water early.
Based on these definitions, each working tank in the TCS also acted like a check dam for the one below it. Furthermore, if a tank in the cascade ran out of water, other tanks in the cascade stepped in. They linked up with the tanks above through temporary canals made by extending an existing minor canal, wella, or the wagala, excess water pan, of an upstream field.
The tank bund tamed and kept in check the three attributes of a stream – water velocity, volume, and its destructive power. By damming the stream, the villagers broke fueling momentum of it. They rerouted it via the spillway at the end of the bund, a form of recycling. Water from some spillways is diverted along a large niyara-like (field ridge) lesser dam, built along the wanatha (flanks) of the field, until it empties into the atrophied stream below the field.
Simultaneously, by controlling the release of water through two sluice gates on the bund, goda and mada horowwa, and directing it to the two flanks of the field, ihala and pahala wanatha, villagers succeeded in tamping down the pressure on the bund. Water from the neutered stream is thus redirected from all three exit points. It must now continue its journey along the wagala, to which field units (liyadi) also empty their excess water. This water is called wel pahu wathura.
After going through this process, the momentum of the ephemeral stream water is passive by the time it reaches the tanks in the lower parts of the cascade, often a kilometer or two downstream. This way, a line of tanks along the stream’s axis now shares the responsibility of holding back its full potential, limiting its ability to cause damage.
Such a break of momentum was lacking in the Four Great River Quartet and their lesser cousins. For the long-term solution to prevent damage from future cousins of Ditwah, we must consider this ingenious water-control method for rivers on a macroscopical scale.
Reservoirs

1957 and 2025 Cyclones Flood Marks written above window and below on the wall of a house by the banks of the Malwatu Oya in Anuradhapura.
As Ditwah-type floods occurred in 1911, 1957, 1978, and 2025, with a bit of luck, we can expect to have a few more decades of recess to work on cascading edifices along rivers, such as dams or diversions, before the next flood comes with roguish intentions. The Accelerated Mahaweli Diversion Program (AMDP), started in 1978, took 30 years to complete and now has over a dozen reservoirs between Kandy and the Dry Zone coastal belt, holding back its might. These reservoirs held their ground while Ditwah rained hell, so consulting the TCS’s ingenuity, though seems antiquated, is a good investment.
As soon as Cyclone Ditwah began to make noise, word spread that releasing water from a few of them on the Mahaweli and Kelani rivers could have made a difference. The problem with the Kelani River basin in Western Province and the Mahaweli basin in Central Province above Kandy is that, despite their combined population being nine times that of the NCP, they only have six reservoirs. On the contrary, the NCP has twice as much in the lower Mahaweli River basin, built under the AMDP. Furthermore, the NCP also has many ancient reservoirs it inherited from our ancestors. A string (cascade) of large reservoirs or minor dams in the hill country could have helped break the river’s energy which it accumulated along the way. G.T. Dharmasena, an irrigation engineer, had already raised the idea of “reorienting the operational approach of major reservoirs operators under extreme events, where flood control becomes a vital function.”
Unique Epitaphs for the Cyclones
The processes discussed above could have prevented the destruction of the railway track at the Peradeniya bridge, the image of which now stands like a pictorial epitaph to the malicious visit of the Ditwah and a reminder to us, “what if…?” or “what next…?”
As mentioned at the beginning of this essay, when the 1957 Cyclone dropped heavy rain on the NCP, a Railway Department employee at Anuradhapura made an exceptional effort to keep the memory of that saga for posterity with an epitaph still visible 70 years later. This person memorialised his near escape from the Malwatu Oya flood. As the river roared past over the railing of the bridge near the Lion Pillar roundabout, this employee, probably trapped in his two-storied house near the roundabout, day-stamped the visit of the flood with a red line on the wall of his house to mark the height it reached to trap him.
Three meters from the ground, right between two archtop windows facing the road to Sri Maha Bodhi, he wrote, “Flood level” in Sinhala, Tamil, and English. Right below it, at the end of the faded line, he added, “1957-12-25.”
As Cyclone Ditwah came along, the current resident of the house was not going to break this seven-decade-old tradition. After the flood receded this time, this duty-bound resident drew a line in blue ink and wrote at its end, ‘2025-11-28’, his contributing epitaph reminding us of infamous day Ditwah showed her might by driving the river off its banks. (See picture)
He added a coda to his epitaph – the numeral “8” in 28 is written in bold!
Lokubanda Tillakaratne is the author of Rata Sabhawa of Nuwarakalaviya: Judicature in a Princely Province – An Ethnographical and Historical Reading (2023).
by LOKUBANDA
TILLAKARATNE
Midweek Review
Whither Honesty?
In the imperiled IOR’s ‘Isle of Smiles’,
The vital ‘National Honesty Week’,
Has sadly gone unobserved,
In an unsettling sign of our times,
That honesty is no longer the best policy,
For neither smooth-talking rulers,
Taking after posh bourgeois predecessors,
Nor perhaps sections of the harried ruled,
Now sensing tremors of a repeat implosion.
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