Features
Imagining New Natures: collaborations with Ena
The title of my article is the name of the exhibition held in the Barefoot Loft Gallery from October 27 to November 17. What met the eye and brilliantly stunned the mind as one surveyed the exhibits was a kaleidoscopic display of batiks in their brilliant colours and shapes to suit the purposes they were designed for. There were large banners, wall hangings, flags, drawings and paintings, also reddas – lungis
The evocative title of the exhibition ‘Imagining new natures’ calls for clarification. The exhibition directs the visitor to “re-imagine nature with its intersections among Sri Lanka’s varied ecologies as a metaphor for the ways that Ena de Silva and her collaborators reflected on societal and environmental changes in a post-independent Sri Lanka.” The exhibition is meant to show the modern landscape that emerged after 1948 in heightened art and cultural progression which reflected social and environmental changes – the new nature of Ceylon/Sri Lanka. “The works presented share not only in an innovative spirit of discovery but also elevate our understanding of the independent contributions of six artists in the forging of a Sri Lankan modernism.”
Ena de Silva
The exhibition brings to a close the celebration and commemoration of a century of Ena Aluwihare de Silva’s contribution to the modern cultural and artistic heritage of the country. Born in 1922, she died in 2015, after a uniquely outstanding presence in the art world.
“Ena embodies in her personality and her work what is now often called ‘feminine power’. She was called ‘Lady of the Banners’ after her creations were hugely hung in hotels like the Oberoi Colombo, Bentota Beach Hotel and Mahaveli Reach Kandy. She first came into prominence – a very beautiful young woman – as Queen of Lanka in Arthur Van Langenberg’s Independence Day celebratory Pageant of Lanka in 1950. Photographs of her appeared often in the social pages of the daily press.
“Over a period of 60 years, Ena de Silva Fabrics redefined aesthetics for textile arts in South Asia. Ena and her collaborators departed from historical conceptions of craft by challenging the use, representation and value of batik.”
The collaborators
Paintings, designs, templates for batik textiles ranging from table linen to huge tapestries, and sketched ideas of five collaborators, were included in the exhibition. As Amila de Mel told me when I consulted her when writing this article, there were many more than the five persons mentioned who cooperated with Ena – mostly from Aluwihare – but too many to name.
The five collaborators whose work was exhibited along with Ena’s were Laki Senanayake, Anil Gamini Jayasuriya, Ismeth Raheem, Hema Dharmasena and Padmini Jayasinghe. Items from their work were included because they were connected with Ena’s batik ‘industry’ either intimately or fairly closely. Together they produced ideas and a wide range of designs.
Late Laki Senanayake, recognized iconic artist and sculptor, was one of Ena’s earliest and closest collaborators and her first business partner. His paintings of plants and animals inspired many of Ena’s batiks.
Anil Gamini Jayasuriya, her son, was recognized as an inspired artist as a child. Thus, from very early on, he was involved in her batik production, and was one of her principal designers. He was even more responsible than his mother, to my way of thinking after the exhibition and reading much on Ena, for the massive tapestries that hung in hotels or were exhibited in business places which had designs from old flags of the country and reflected his keen appreciation of nature and wild life.
Ismeth Raheem is an architect but also heavily involved in painting and design. He worked with Ena de Silva Fabrics to produce large batik murals for the interiors of his buildings.
Ena knew Hema Dharmasena from very long ago. Recognizing her artistic bent, Ena encouraged her so that she became a major collaborator in Ena de Silva Fabrics at Kotte. The late Padmini Jayasinghe was a trained art graduate who was a collaborator of Ena’s and is believed to have contributed to the design of many of the flags and banners in traditional style. She was an art teacher at Royal College, Colombo.
In partnership with these artists and several others, the batik industry grew and spread wide. At the beginning, more as a hobby perhaps, Ena designed many fabrics with her son and Laki, working in the courtyard and studio of her Geoffrey Bawa designed house in Kollupitiya. She opened a shop selling material, clothing and soft furnishing in Kollupitiya, supplied by many batik workshops she started. And thus the elevation of the aesthetic of the country.
Furthermore, employment was given many and a means of earning a livelihood. Starting from the display of banners in local hotels, Ena Batiks were commissioned by international buyers. With the expansion of her workshop in Matale – the Matale Heritage Centre – she proceeded to revive the traditional skills of wood carving, brass-casting and embroidery. The centre was renamed the Aluwihare Heritage Centre after Ena’s death to honour her family and ancestral village.
The Ena de Silva Foundation
was launched recently by Ena’s daughter – Anula Kusum Gilmour Jayasuriya with Trustee Architect Amila de Mel. The aim of the Foundation is to preserve, maintain, collect and archive Ena’s work and to continue her legacy as well as support the livelihood of the crafts people who are part of, or connected to the Aluwihare Heritage Centre.Amila has been a prime mover and indefatigable worker in preserving The Aluwihare Heritage Centre, Ena Aluwihare de Silva’s art, skills and innovative batiks as part of the cultural heritage of Sri Lanka.
Features
‘There are no private universities in Sri Lanka’ – some considerations for higher education reform
Academics involved in education policy like to say that there is no such thing as a private university in Sri Lanka. The only ‘universities’ in the country are state universities; anything else offering degrees is a private higher education institution (HEI). This position is technically accurate. Yet, in the discourse and imagination of the public, private universities are very real – people teach in them, students register in them, families pay fees, and such degree holders enter job markets in Sri Lanka and outside.
For decades, activists concerned for public higher education have ignored or resisted looking at private HEIs, as if such scrutiny would taint them. Others have worked in both types of institutions, carrying practices from each to the other. The apex body governing state universities, the UGC, has, meanwhile, ignored the concept of conflict of interest and appointed individuals in private higher education in committees and leadership positions. It is unsurprising then that some of the ideologies informing private higher education appear in reform agendas in the state sector.
This is a good time then to consider the varying types of private HEIs around us, and to take a look at some of the issues within them in the hope that higher education reform agendas will include private, as well as state higher education.
What is a ‘private university’?
First, some clarifications. In the public imaginary, a ‘private university’ is typically an institution that provides a foreign or local degree for which the student makes a payment. But this broad classification encompasses a host of diverse institutions and types of degrees which I detail below.
The Non-State Higher Education Division (NSHE) of the Ministry of Education has recognised 295 degrees by 32 institutions. Most of these are private companies and include a handful of established, well-known private HEIs that are ‘university like’. The degrees are local degrees conferred by the institutions accredited by the NSHE Division. While private HEIs conferring local degrees must be accredited by the NSHE Division, there appears to be no legal consequence for not doing so. In addition, there are several permutations of the private degree that miss the net of this Division and the Standing Committee on Accreditation and Quality Assurance (SCAQA) that assists this Division.
For one, degrees conferred by foreign universities offered, via these same private HEIs, are not vetted by the NSHE Division. Secondly, there is a growing plethora of private HEIs which have either no physical presence locally or only a dubious presence. The University Grants Commission has notified the public, through their website, that foreign universities listed in the Commonwealth Universities Yearbook and the World Higher Education Database are recognised, but refrained from giving any other details – which degrees? Offered by what modes? These details are not known. Some of the foreign universities in the lists may be legitimate entities in their own land but the degrees conferred locally, in their name, may not adhere to curriculum or teaching specifications of the NSHE Division or the UGC.
Another troubling phenomenon is the ‘top up degree’, which appears to work on the same principle as that of a pre-paid mobile connection: if I have a Diploma or an HND of a sort, I am eligible to complete a course of study which provides me with a degree, usually from a foreign university. The idea that someone who does not initially qualify for a degree programme should be able to work their way towards one is a progressive notion. This is the concept that open and distance learning (ODL) was based on initially, but which is now sadly exploited. ODL models are expected to provide opportunity for learning for those who may be excluded from traditional learning institutions. In Sri Lanka, however, we have seen ODL become a marketplace offering easy to obtain, for-fee qualifications by institutions with little commitment to superior teaching and learning.
Finally, a perusal of the many types of private HEIs and their varied degrees bring to mind another question – how should the private degrees, provided by state institutions (that are not educational institutions), be regulated? Who should do so?
All of these create a host of problems for the public – for hopeful students and parents and trusting employers. For the higher education sector, recruitment of academic staff, too, has become difficult due to this plethora of ambiguous higher education qualifications, as I discussed in a previous Kuppi article (‘Recruiting academics to state universities’).
Some issues in private HEIs – a bellwether for change in state universities
In this second part of this article, I will discuss some aspects of work in private HEIs – albeit the more established institutions – given that such issues may appear in reform agendas in future.
Across state universities, all permanent staff of a specific category are paid according to the same criteria. The picture is not so clear when it comes to private HEIs since they are different entities legally, typically companies. Private HEIs have salary scales and financial incentives that are different to each other. The more established private HEIs reportedly have attractive renumeration packages, possibly a reason for academics of state universities migrating eagerly to such institutions during sabbatical years and on retirement. This may not of course be the case with other less established, or improperly registered HEIs of which we know little. Academic staff of these more accepted private HEIs seem to value the high financial remuneration they receive (in comparison to state universities) as something that makes their work rewarding.
Attractive remuneration is important to sustain the good life and is at times seen as the institution’s way of encouraging good work. Yet, this has implications for the future of the institution: to continue to deliver on promised financial packages, institutions must continue to have large profit margins. One strategy has been to enroll multiple cohorts of students per year, even up to three or four intakes per year. This can result in exploitative work conditions, since staff must cater to all these cohorts in that same year. If there is inadequate staff, employees are further burdened. On the other hand, if there is a sudden drop in enrolments (degrees can go out of fashion) unexpected layoffs occur. Similar to other sectors that employ short-term contract staff – including state universities – in private HEIs, too, individual teachers, who are on short term contracts that need regular renewal, can feel pressured to work under difficult or exploitative conditions.
At the same time, even in the more established private HEIs, work norms differ from those of state universities in that they include promotional work that keeps the institution’s name in the eye of the public. The Marketing (or similarly named) unit comes up in conversations as one of the most important departments. It appears to weigh in on decision-making related to the number of staff, the amount of re-sits per exams, and other pedagogically important matters. This is a worrying example of how financial rationales interfere with pedagogically or academically sound processes, resulting in problematic results in the classroom. On the plus side, junior colleagues, who had experience in both state and private HEIs, also felt that they faced less harassment in private HEIs – primarily due to the private HEIs ability to take swift action in reported cases of harassment. This is a real indictment on state institutions and their reluctance to address chronic issues of harassment in our universities.
Yet, while we hear much about problems in state universities, we hardly hear of problems that staff in private HEIs face. One rationale for a lack of public expressions by staff is that expressions of discontent might lead to trouble given the importance of reputation for private HEIs. The worry about reputational damage is a growing concern in state universities, too, as evidenced by social media policies and internal conversations on reputational damage, consequent to negative publicity. Institutional worries of reputational damage are harmful in the long run since these impact not only freedom of expression by student and staff, but also research that is possible in and about the education sector.
Some thoughts at the end…
A close look at the private higher education sector is important given its strong presence in the country. Impending reform needs to regulate this diverse array of higher education offerings in the private sector, as well as the state institutions that offer privately-funded options of higher education (a topic for a separate Kuppi on its own). It is time we carefully considered how to build a whole system of higher education out of this broken mess.
Kaushalya Perera is a senior lecturer at the University of Colombo.
Kuppi is a politics and pedagogy happening on the margins of the lecture hall that parodies, subverts, and simultaneously reaffirms social hierarchies.
Features
Ready for solo spotlight
Singer Nish Peiris is set to take the next big step in her music journey.
The talented vocalist, who has been seen and heard in the scene here for a short while, and was also featured with the now-defunct band, Inner Vision, has announced that she will be fully committing to her solo career, after completing her degree this year.
“I’m finishing my degree this year, and after that I’ll be fully committing to my solo music career,” Nish told The Island.
“I’ve already got a few tours lined up for next year, so I’m really excited for what’s ahead.”
Fans, no doubt, will remember Nish for her smooth voice and stage presence, and the good news is that she is now ready to chart her own path and bring new music to audiences at home and abroad.
With tours already planned for 2027, the year 2026 promises to be an exciting year for the young artiste as she steps into the spotlight on her own.
We wish Nish every success in this new chapter!
Features
Exclusive musical evening for Sri Lankans in Toronto
While Sri Lankan music lovers, in Dubai, are eagerly looking forward to being a part of the action on Saturday, 25th July, with Rajiv Sebastian in the limelight, Sri Lankans, in Toronto, Canada, are equally excited and are anxiously awaiting the arrival of Sri Lanka’s famous singer/entertainer Sohan Weerasinghe.
Having done the needful with The X-Periments, the legendary performer has now embarked on an exciting new chapter – a solo career – and Toronto, Canada, will see him do the needful, on Friday, 31st July, 2026, from 8.00 pm to 12.00 am, at the Angus Glen Golf Club.
Reports indicate that it’s a ‘sold out’ event – naturally with Sohan in the spotlight.
Having built his reputation through years of unforgettable performances, and hits that became part of our musical fabric, Sohan is ready to bring his own vision, sound, and stories directly to the audience, in Toronto, Canada, backed by the phenomenal Toronto Ceymphony Live Band.
Says Gamini Hemalal, who has been instrumental in reviving the Sri Lankan entertainment scene, in that part of the world:
“The countdown begins for the most exclusive musical event of the summer! Join us for a premium night of incredible music, elite hospitality, and a lavish buffet as the legendary Sohan Weerasinghe takes the stage live in Toronto!
“This is a high-end event, designed for those who appreciate exceptional entertainment and great food.”
Gamini, who is also a member of the Toronto Ceymphony Live Band, mentioned that it’s going to be an intimate musical evening with the celebrated Sohan Weerasinghe.
From packed auditoriums to intimate shows, Sohan continues to prove why he remains one of Sri Lanka’s most beloved entertainers.
For decades, Sohan Weerasinghe has been a household name in Sri Lankan entertainment.
Known for his captivating smooth voice and charismatic stage presence, Canada will experience it all on Friday, 31st July.
Next on the list of events, Gamini Hemal is working on, is Halloween night and he says “what we plan to do will be very interesting and unique … with a surprise guest star, as well!”
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