Features

Eugenio Barba’s Living Archive & Floating Islands – II

Published

3 years ago

2023/07/3

“A living memory is a living library, a living museum: a place of metamorphosis.
The past as proof of the impossible that has become possible. ” Eugenio Barba

by Laleen Jayamanne

(First part of this article appeared in The Island of 28 June 2023)

Formation of Odin Teater, 1964

Back in Norway, in 1964, Barba tried to enter the drama school to study directing but when rejected, along with several actors, together, they formed a small theatre group called Odin Teatret, and began to rehearse a play immediately. During this work, the group received an invitation from Denmark to do theatre there. The Mayor of a small rural township, called Holstebro, invited them to come and live there and do theatre for the community. They were offered a regular salary and a farm, with an old cowshed, to convert it as they wished, to a theatre work-shop space. Such were the strange beginnings of what became the world-renowned institution, the Nordisk Theatre Laboratorium and Odin Teatret of Denmark, turning the provincial town of Holstebro into a unique community, making global theatrical history.

A Third Theatre

In 1976, in Belgrade, Yugoslavia, Barba delivered a short keynote address, titled Third Theatre, at the Belgrade International Theatre Festival, on a UNESCO platform. The Third Theatre speech was quickly adopted as a manifesto by a broad base of theatre groups, especially in Latin America, and enabled networking across countries with a common vision. It was also in Belgrade, in 1961, that Marshal Tito launched the famous ‘Non-Aligned Movement’ of the recently de-colonised Asian and African countries. Lanka and India also participated in this event which had the high ideal of not taking sides in the emerging Cold War launched by the US and the Soviet Union. It’s, therefore, reasonable to think that the choice of Belgrade for this theatre event was not entirely coincidental, given that the idea of Third Theatre explicitly addressed theatre folk who lived in, what was then called, the ‘Third World’, a term referring to the newly independent nations. Barba has also reminded us that the French Revolution created the ‘Third Estate,’ the free press. So the idea of ‘thirdness’ was conceptually rich with new potentials. This is the historical origin of what Barba now calls Floating Islands, the numerous nameless theatres of the world.

The idea of the Third Theatre has been the subject of many scholarly debates and writings, some of it a bit arid, scholastic. But, to put it simply, according to Barba, the First Theatre is the institutionalised professional theatre, with its permanent buildings and infrastructure, contracted trained actors and a business model of providing the performance of canonical and new plays on a regular basis. The Second Theatre is what came to be known as Experimental Theatre that came out of the European avant-garde movements of the 20th Century, starting with the Soviet experiments. Many Drama Schools in America have Experimental Theatre Wings which teach students techniques derived from these traditions and newly devised ones, too.

Now, Third Theatre is neither of these and springs up like mushrooms, says Barba, when there is a felt need, an urgency and desire to present a performance to whoever might want to watch it, even on a street corner. They are done by people for whom doing theatre is what is essential for them and they stay together with a group for this very reason. Often, it’s not possible to make a living doing this, so they do paid work and make theatre in their free time. Some train all day, creating a practice and perform, if they have some means of living, without full time work.

This is a very open, quite precarious idea of a way of living which is almost unthinkable, without theatre. I think that the robust ’60s theatre in Lanka was done by people (mostly middle or lower-middle-class), who may be called amateurs, lovers of theatre, not Third Theatre. Perhaps Gamini Hattotuwegama’s Street Theatre group was a Third Theatre.

The International School of Theatre Anthropology (ISTA)

The only other book of Barba and Savarese I want to mention here is their best-selling, The Dictionary of Theatre Anthropology: The Secret Art of the Performer, which has now gone into several editions. This and Five Continents are, I think, indispensable texts if one wants to be educated about global theatre history and theory in what they call EURASIA in the long Twentieth Century. In their theatre history, they prefer to use the concept of ‘Eurasia,’ rather than the usual simplistic categories of ‘East and West’. In this way they focus on the exchanges that have occurred between geographical zones for well over a century. This Eurasian history will become more popular and intelligible to the many nations of the emerging multi-polar world, working against the US-led unipolar capitalist world dominant after 1989 after the dissolution of the Soviet Union.

The idea of the International School of Theatre Anthropology was launched in 1980 in Bonn, Germany. Barba had invited some of the great masters of classical Asian dance-drama to set up exchanges and demonstration of their techniques and practices.

He had also invited a group of Italian historians of theatre to document the proceedings and some of them have stayed on and worked with Barba over the decades. The Italian scholarly community, dedicated to the study of theatre in Universities, seems to be very robust. ISTA gathers regularly to carry out workshops and performances. In the early days, Masters of Japanese Noh Theatre, Balinese dancers, and an Indian Odissi dancer, were invited. Together they have created ambitious theatrical events, such as Ur Hamlet (a proto-Hamlet text), on the grounds of the infamous haunted Elsinor Castle in Denmark, the site for Shakespeare’s play. The different Asiatic classical performances were integrated as part of the open-air spectacle.

The main pedagogic aim of ISTA was to explore how the actor’s body was prepared, strengthened and trained in a precise way, from a very young age, in the great classical theatrical dance forms. Barba discovered that there were a series of, what he named, ‘pre-expressive forms’ of actions that all performers worked on, common to all Eurasian actors. This basic unity of purpose was possible because of the nature of the human anatomy and the nervous system. They developed a series of exercises that could be repeated, internalised and transmitted as the preparatory training for all actors, that they could then build on to develop their unique, idiosyncratic styles.

The dancer-actor I followed at Odin was the late Sanjukta Panigrahi, an Odissi dancer, because she also appears in Kumar Shahani’s film Bhavantharan (1992), a tribute to her guru Kelucharan Mohapatra. She has spoken of her sense of disorientation on encountering a different set of demands and techniques at Barba’s workshops. She, who trained also with Rukmini Devi, the pioneer of Bharathanatyam, at the tender age of 10, took up the challenge to not only demonstrate her exercises but also to participate in Barba’s performances. She said how difficult it was to learn to move differently, to unlearn, so to speak, routines memorised from early childhood.

The Odin actors rarely perform pre-existing plays, instead, they develop their own theatre pieces through a very long process of training and composition of the body, materials, ideas, language, music, song, anecdotes, stories and so on.

Recently, they did a spectacular show at a Theatre Olympics in Budapest, Hungary, called Resurrection (2023), and a performance in Paris called Thebes in the Time of Yellow Fever (2022), with Oedipus Rex in mind but also the painter Van Gogh who explored colour, yellow especially. The floor was layered with reproductions of Van Gogh’s yellow flower paintings. While the title recalls Oedipus Rex and the plague in Thebes as punishment for the crime of incest, Thebes in the Time of Yellow Fever was done at the end of the Covid-19, which plagued the world and appears to be also about creativity under duress. So, their work seems to be made of images, rather than plots, both very free and imaginative and also very rigorously composed. Images of these productions are again on YouTube and also on the Barba-Odin Teatret website, for anyone curious to see them.

Banishment, 2022

In December 2022, Barba was forced to resign from the Danish Theatre Laboratorium he established in 1964. At that time his Odin Teatret legally separated itself from the Nordisk Theatre Laboratorium which was the umbrella institution. Over nearly six decades they had built there a theatre and rehearsal spaces, a research library, a printing press and much else, but the new neoliberal management was impatient and wanted to make saleable shows with quick turn over. Barba’s work and life, thanks to the State subsidy, were built in resistance to this logic of capitalist consumer culture.

He was refused a small sum of money required to publish the third issue of the Journal of Theatre Anthropology, which again is on the website for free. Essential reading for those interested in Barba’s theatre, it is multilingual, in French, Italian, Spanish and English. He was also refused money to continue the annual summer festival of international theatre groups, performing for the Holstebro Township, whose identity now is integrally linked with the Odin Teatret. Their Festuge, a thematic global theatre Festival mounted every three years, is of considerable magnitude drawing in the entire community; schools, churches, the police, hospitals, nursing home, the library, the beach, etc. There is a superb film of this, as well. I am not sure if Barba could mount a festival of such scale without the support of the Nordisk Theatre Laboratorium. One festival was dedicated to theatre done by children’s theatre groups of the world. However, Barba continues to live in Holstebro, which is where his home is.

There is a set of 10 lecture demonstrations for free online, outlining key concepts of Theatre Anthropology and methods of training in different classical Asian theatre cultures. The way a South Indian father trains his little son is a marvellous lesson in how repetition works in mastering the ragas, tuning the ear. Seated cross-legged on the floor, the little boy’s utter focus and effort and the father’s immense patience and care, accompanying him with the harmonium, is moving and at times made me laugh. It was funny in the way small children’s earnest, massive effort to imitate adults are funny. But it’s the sense of rigorous training and utter dedication to a craft that shines through.

Resurrection, 2023

While being brutally pushed out from the theatre institution Barba and his band of theatre folk have created over a lifetime was undoubtedly traumatic for all, it must have been especially hard on Barba at 85. But Italy rose up with open arms to receive her illustrious son and Barba landed running, doing performances, lectures, workshops and promoting of other artists and human rights groups, through their Barba/Varley Foundation in Rome. He is rehearsing two new plays, as well.

Odin had bought a plot of land in the Holstebro cemetery for their theatre folk who wish to be buried there. Exiting stage left, Barba says lightly, ‘No one can chase us from there!’But I still hear the German Jewish writer Walter Benjamin saying (just before committing suicide on the Spanish border, fleeing the Nazis), ‘not even the dead will be safe any longer’. Alas! Lankans who suffered the 25-year civil war know this to be still true. (Concluded)

(Here’s the link to Eugenio Barba’s Course on Theatre Anthropology, in 10 Lessons: https://www.youtube.com/playlist?list=PLK8iTIUPsd3jHl8NZFDsW7tEDHuMPbRZt)

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Related Topics:Banishment Concluded Eurasia harmonium Olympics The International School of Theatre Anthropology

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Features

Sections of US media looking power straight in the eye

Published

3 hours ago

2026/10/1

Sahan Weerasooriya

President Trump addressing the media at the White House.(BBC)

Some fundamental freedoms seen to be at the heart of democracy in the US – religion, speech, the press, assembly and the right to petition the government – are at risk of being undermined at present by the country’s Executive President. However, the latter is being legally challenged on this score by some sections of the US media and the citizenry of the country could take heart from this notable defense of media freedom.

In fact this is good news for the world of democracy. The push back is coming from organizations such as CNN, ABC, CBS, Fox, NBC who constitute the nucleus as it were of the US media and their solidarity no less than their resourcefulness calls for commendation.

Following a recent White House decision to suspend CNN from what was referred to as ‘participation in presidential pool coverages’, the other media organizations mentioned refused to replace it in the pool. Their position was that the public had a right to receive ‘accurate and independent information about the government.’

Earlier, the White House decided to bar MS NOW and Politico from entering its premises following the restrictions imposed on CNN. The organizations were accused of publishing “FAKE NEWS’ , ‘Fiction’ and ‘lies’ in respect of the administration. These organizations lost no time in initiating a federal lawsuit accusing the central administration of violating their rights guaranteed by the First Amendment.

However, the latter litigating organizations could now consider themselves as having been vindicated because the federal court hearing their case has ordered the Trump administration to temporarily restore White House press access to journalists from the mentioned media institutions. Notably, the court has declared that the ban is ‘likely unconstitutional’. The case is proceeding.

The mass media of the most vibrant democracies of the West ought to be no strangers to such inspirational acts of solidarity and exemplifications of independence but there are lessons here for the democracies of the South that could stand them in good stead. Minus the right of a people to be informed, the rest of fundamental rights featuring in Southern Bills of Rights and legislation of the kind are bereft of substance and meaning.

It is informed decision-making on the part of a citizenry that makes for democratic vibrancy and on this score many a Southern democracy fails. While Southern publics generally demand of their governments continuous economic well being and substantive material benefits they are not equally desirous of being informed and knowledgeable.

This lacuna in the consciousness of many Southern publics enables their governments ‘to get off the hook’, so to speak and govern, or more often misgovern, their countries with impunity. Among other factors, this species of mass ignorance makes it possible for governments to dismantle democracy and rule in perpetuity.

Accordingly, an educated and constantly informed public is an essential precondition for the flourishing of democracy and independent media are integral to this process. Minus an independent mass media sector that meets the knowledge needs of the people responsibly, democracy is as good as dead.

Needless to say, those sections of the US media that are currently taking the Trump administration to task over its media curbs are acutely aware of the cruciality of these fundamental knowledge requirements.

The hope of democratic opinion worldwide and locally is likely to be that media independence would thrive in the manner in which it is flourishing in the most vibrant and accountable democracies of the West.

Southern countries such as Sri Lanka that lay claim to democratic credentials, but are democracy-deficient in many ways, need to be particularly cognizant of these requirements. The publics of these countries need to go the extra mile to ensure the thriving of an independent but responsible mass media sector.

In fact it is veritably a matter of life and death. It is only an independent media sector that could, while ensuring the existence of an informed public, impress on the latter the need to protect and perpetuate its fundamental rights. In the absence of these campaigns, such publics could be eventually having on their hands governments that boast of ruling in perpetuity.

Taking a leaf from the sections of the US media referred to independent media organizations in Southern states need to act in solidarity as well. They would need to act on the basis of the principle that acts of victimization suffered by members in their fold at the hands of governments, for instance, are in fact inimical acts directed at their collectivity and which call for united remedial action. In short, no independent mass media institution could see itself as ‘an island’.

Besides some general guidance on the importance of media independence and solidarity, the message coming from the US with regard to media praxis is that power must be stood-up to unblinkingly. The mentioned sections of the US media are primarily in a struggle to ward off encroachments on their independence in the areas of policy and practice by the political executive, that is the President.

The latter would ride rough-shod over the media in the absence of robust opposition by the media itself to inimical executive action of this kind.

While media independence needs to be seen as crucial to democratic development, an obligation is cast on the media to ensure that it uses such independence responsibly and constructively.

The worst that could afflict a media sector is for it to fall prey to the clichetic ‘freedom of the wild ass’. In fact recurring irresponsibility on the part of the media could lend credence to the perception that a tightly regulated media is best for a country. It is a short step from this misguided view to the position that political authoritarianism is best for a state. That turn of events would be of course catastrophic for a democracy.

The issues discussed thus far point to the need for a broad discourse among Southern democracies in particular on what is best for them in this connection. Given the risks underscored earlier for Southern countries in particular a broad discussion on the matters at hand, which includes the public, emerges as a must for Sri Lanka. Besides, media solidarity within democratic countries and internationally is a must.

Features

What lessons can be learned to improve quality of Sri Lanka’s Grade 6 syllabus

Published

3 hours ago

2026/10/1

Sahan Weerasooriya

Prime Minister Dr. Harini Amarasuriya

by Prof. M. W. Amarasiri de Silva

Following public controversy over an inappropriate web link found in an English study module, the Sri Lankan government formally deferred the full rollout of the Grade 6 curriculum reforms to January 2027. In the interim, state schools will maintain the existing syllabus, reverting to standard eight-period daily timetables and previous textbooks to ensure uninterrupted instruction. Prime Minister and Minister of Education Dr. Harini Amarasuriya emphasized that this temporary pause allows the Education Ministry to thoroughly review all instructional materials, fix editorial flaws, and conduct scientific impact assessments across pilot schools prior to nation-wide implementation.

To address the oversight, an expert committee evaluated the flawed materials, completed necessary amendments, and finalised discussions to resubmit corrected modules for printing. Beyond revising written texts, the Ministry established a broader preparation roadmap—allocating funds for extensive teacher training programs set to begin mid-year, alongside scheduled informational briefings for parents, teachers, and students. Prime Minister Amarasuriya reaffirmed that none of the valid first-term modules were completely discarded or scrapped, preserving state resources while systematically rebuilding public trust and strengthening quality assurance protocols.

In this respect, this article reviews the current grade 6 syllabus comparing it with similar syllabi of India and the USA, with a view to make recommendations for the upcoming grade 6 syllabus revision.

Architecture of nation’s future

Education is the quiet architecture of a nation’s future. It is the unseen scaffolding upon which generations build their character, their intellect, and their capacity to contribute meaningfully to society. In Sri Lanka, the Grade 6 syllabus occupies a particularly important place in this architecture. It is the bridge between primary learning and the more demanding intellectual terrain of secondary education. It is the moment when children begin to move from learning basic facts to understanding concepts, from memorising information to applying knowledge, and from passive reception to active engagement. Yet, despite its importance, the Grade 6 curriculum in Sri Lanka has long struggled with issues of breadth, depth, relevance, and pedagogy. As global education systems evolve, Sri Lanka must examine what lessons can be learned from international models—particularly India and the United States—to strengthen its own curriculum and prepare students for a rapidly changing world.

The first lesson Sri Lanka can learn is the value of conceptual clarity. India’s NCERT curriculum, especially in Mathematics and Science, is globally respected for its logical progression and conceptual depth. Indian students are introduced early to the idea that mathematics is not merely a set of procedures but a language of reasoning. They learn why a ratio works, not just how to compute one. They understand the structure of an equation, not merely the steps to solve it. In Science, they explore the properties of materials, the structure of plants, and the principles of motion with a clarity that encourages curiosity rather than rote memorisation.

Sri Lanka’s Grade 6 syllabus, while competency-based, often leans heavily toward content coverage. Students are expected to learn many topics, but the time allocated for each is limited, and the teaching culture often emphasizes memorisation over understanding. If Sri Lanka wishes to improve the quality of its syllabus, it must embrace the idea that fewer topics taught well are better than many topics taught superficially. Conceptual mastery builds confidence, and confidence builds lifelong learners.

Lesson from the US

A second lesson comes from the United States, where the curriculum is built around skills rather than content. American students in Grade 6 are expected to read complex texts, analyse arguments, write essays supported by evidence, conduct experiments, and engage in collaborative projects. The emphasis is not on how much they know but on what they can do with what they know. This skills-based approach encourages critical thinking, creativity, and independence—qualities essential for success in the modern world.

Sri Lanka’s syllabus, by contrast, often rewards students for reproducing information rather than interpreting it. The exam culture reinforces this tendency, as students are assessed primarily through written tests that measure recall. To improve the syllabus, Sri Lanka must integrate more opportunities for students to think, question, debate, and create. The classroom should become a space where students learn to solve problems, not just memorize solutions.

Another important lesson comes from the breadth of Sri Lanka’s own curriculum. One of the strengths of the Sri Lankan system is its inclusion of cultural and religious education. Subjects such as Buddhism, Hinduism, Islam, and Christianity provide moral grounding and cultural identity. Art, Music, Drama, and Health contribute to holistic development. These subjects remind students that education is not merely about academic achievement but about becoming a balanced human being. However, breadth without depth can become burdensome. Grade 6 students in Sri Lanka often juggle more than ten subjects, each with its own textbook, competencies, and assessments. This creates pressure not only for students but also for teachers, who must rush through content to meet syllabus requirements. The lesson here is not to reduce cultural subjects but to integrate them more meaningfully. Religious education can be taught through ethical discussions, community projects, and reflective writing. Art and Music can be connected to history, literature, and social studies. Health can be linked to science and physical education. Integration reduces overload while enriching learning.

Another lesson from India

India offers another valuable lesson in the form of standardised textbooks. NCERT books are used across the country, ensuring consistency in quality and content. They are written by subject experts, reviewed rigorously, and updated periodically. Sri Lanka’s textbooks, while generally well-structured, vary in quality and often lag behind modern pedagogical standards. Some are dense, text-heavy, and lacking in visual aids or real-world examples. To improve the syllabus, Sri Lanka must invest in high-quality textbooks that are engaging, accessible, and aligned with contemporary educational research. Textbooks should not merely transmit information; they should inspire curiosity. They should include stories, diagrams, experiments, and activities that make learning enjoyable and meaningful.

The United States provides a lesson in inquiry-based science education. American students conduct experiments, build models, observe natural phenomena, and engage in engineering design challenges. They learn science not as a set of facts but as a process of discovery. Sri Lanka’s science curriculum includes experiments, but many schools lack the resources, laboratory facilities, or teacher training to implement them effectively. Improving the syllabus requires improving the ecosystem around it. Schools need laboratories, equipment, and teacher development programs that empower educators to teach science through inquiry. A syllabus is only as strong as the environment in which it is taught. ***

International models

Another area where Sri Lanka can learn from international models is language education. In India, students often learn three languages—English, Hindi, and Sanskrit or Urdu. This heavy language load has its challenges, but it also produces students with strong linguistic skills. In the United States, English Language Arts emphasises reading complex texts, writing arguments, and analysing literature. Sri Lanka’s English curriculum, while improving, still struggles with uneven implementation across schools. Many students reach secondary school without adequate proficiency in English, limiting their access to global knowledge. To improve the syllabus, Sri Lanka must strengthen English instruction through better teacher training, more reading opportunities, and a shift from grammar-heavy teaching to communication-focused learning. At the same time, Sinhala and Tamil instruction should be modernised to include creative writing, literature appreciation, and critical reading.

Social Studies is another area ripe for improvement. Sri Lanka’s curriculum includes History, Geography, and Civics, but the teaching often emphasises memorization of dates, definitions, and facts. India’s Social Science curriculum, while also content-heavy, provides clearer conceptual frameworks. The United States, however, excels in teaching civics and citizenship. American students learn how governments function, how laws are made, how communities solve problems, and how citizens participate in democracy. Sri Lanka can strengthen its Civics curriculum by incorporating more discussions on governance, rights, responsibilities, and community engagement. Students should learn not only the structure of government but also the values that sustain it—justice, equality, and participation.

One of the most important lessons Sri Lanka can learn is the value of reducing exam pressure. In both India and Sri Lanka, exams dominate the educational landscape. Students are judged primarily by their ability to perform on written tests. The United States, while not free from assessment challenges, uses a wider range of evaluation methods—projects, presentations, portfolios, and continuous assessment. These methods allow students to demonstrate learning in diverse ways. Sri Lanka should consider adopting a more balanced assessment system that values creativity, collaboration, and practical skills alongside academic knowledge.

Technology integration is another area where Sri Lanka can improve. The United States incorporates digital literacy, coding, online research, and digital citizenship into the curriculum. Sri Lanka’s ICT syllabus is well-structured, but implementation varies widely. Many schools lack computers, internet access, or trained ICT teachers. Improving the syllabus requires improving infrastructure. Students must learn to navigate the digital world safely and effectively. They must learn coding not as a luxury but as a basic skill. They must learn to evaluate online information critically, a skill essential in an era of misinformation.

Teacher training

Teacher training is perhaps the most critical lesson of all. A syllabus is only as effective as the teachers who deliver it. India invests heavily in teacher training through national programs, workshops, and online platforms. The United States emphasises professional development, peer collaboration, and instructional coaching. Sri Lanka must strengthen its teacher training programmes, ensuring that educators understand not only what to teach but how to teach it. Teachers should be trained in inquiry-based learning, differentiated instruction, formative assessment, and classroom management. They should be empowered to adapt the syllabus to the needs of their students rather than follow it mechanically.

Sri Lanka must learn the lesson of relevance. A syllabus must prepare students not only for exams but for life. It must teach them how to think, how to communicate, how to solve problems, and how to work with others. It must prepare them for a world where knowledge is abundant, but wisdom is scarce. It must help them navigate a future shaped by technology, globalisation, environmental challenges, and social change. To improve the syllabus, Sri Lanka must ask: What kind of citizens do we want to produce? What kind of thinkers? What kind of leaders? The answers to these questions should shape the curriculum.

Lastly, improving the quality of Sri Lanka’s Grade 6 syllabus requires learning from both international models and local strengths. From India, Sri Lanka can learn the value of conceptual clarity and standardised textbooks. From the United States, it can learn the importance of skills, inquiry, and creativity. From its own traditions, it can preserve cultural education, moral development, and holistic learning. The goal is not to copy another country’s system but to build a uniquely Sri Lankan curriculum that is modern, relevant, and empowering. A curriculum that honours the past while preparing students for the future. A curriculum that nurtures thinkers, creators, and compassionate citizens. A curriculum worthy of a nation with immense potential and a proud educational heritage. If Sri Lanka embraces these lessons, the Grade 6 syllabus can become not just a bridge to secondary education but a foundation for national progress.

Features

Three magical nights at Colombo Fashion Week

Published

3 hours ago

2026/10/1

Sahan Weerasooriya

Melloney Dassanayaka is certainly a familiar name here, and abroad, as well, having represented Sri Lanka at the Miss Universe 2024 pageant, held in Mexico.

A former National Basketball player, she is also involved in several projects, beneficial to the community, including financial literacy for single women-headed families in the country.

A banker by profession, Melloney hold a Bachelor’s Degree in Business Administration.

Melloney with Asanka de Mel of Lovi Sri Lanka

This extremely talented old girl of Holy Family Convent, Bambalapitiya, was in the limelight, once more, when she was seen on the ramp at Colombo Fashion Week.

It was her very first experience, at this prestigious event, and she loved every minute of it, she said, and, what’s more, she was featured on three consecutive days.

According to the itinerary, on day 01 she walked for Lovi Sri Lanka; day 02 Rizwan Beyg (Pakistan designer), Arsath Furkhan (Indian designer), Haoyi Yan (Chinese designer) and Samant Chauhan (Indian designer); and on day 03 Vaishali Shandangule (Indian designer).