Features
Let’s understand what a masterpiece is and how it originated
Text of a lecture conducted by Bhagya Rajapakse.
Venue: Sri Lanka Archive of Contemporary Art, Architecture and Design, Jaffna on November 2025
Tamil Interpreter: Jasmine Nilani Joseph
Special Thanks: Prof.T.Sanathanan and Prof.Sarath Chandrajeewa.
(First part of this article appeared in The Island yesterday)
What constitutes a piece of art, a masterpiece?
There are three common elements that act as crucial in elevating a piece of art to the level of a masterpiece.
1. A Work of Art That Did Not Exist Before.
2. A Work of Art that is Not Bound by Time.
3. A work of art that Establishes a Benchmark for future generations of artists.
Something new and unconventional always catches our attraction.
Exceptional creativity, craftsmanship, and innovativeness
provide impetus for an artist to create something new and unconventional.
This is how originality comes in.
How would we define exceptional creativity, craftsmanship, and innovativeness?
Let’s understand this with a few examples.
On one occasion someone inquired of Michelangelo about how his sculpting process goes.
And the immediate answer of Michelangelo was, “I saw the angel in the marble and carved until I set him free.”
In the subject of marble sculpting, the meaning of creativity for Michelangelo was to remove the unwanted chunks and pieces from the marble block and save the figure he imagined on it. In his words, it’s liberating the figure from the marble that imprisons it.
Any masterpiece by Michelangelo was a clear and prime example that demonstrates how exceptional creativity, craftsmanship, and innovativeness converge in a single piece of art.
Another example is the 1942 sculpture by Pablo Picasso, ‘Bull’s Head.’
It’s nothing more than a merger of a bicycle seat and a bicycle handlebar. In this sculpture., Picasso converts two ordinary, unrelated objects into a unique and evocative structure within which unrelated objects form a correlated entity. A BULL’S HEAD.
That’s all about Picasso’s exceptional creativity, craftsmanship, and innovativeness.
Let’s move to another example.
What can one do with a few discarded machinery parts found in a scrap metal store, an iron rod, some wood blocks, and some copper strips?
A creative as well as innovative mind could do a lot more.
By bringing all these components into one single unit, sculptor Sarath Chandrajeewa gave life to something extraordinary. That is the 2023 abstract monument titled ‘Motion and Stillness.’
In this monument the artist embodies one of the most profound concepts in the world.
Motion and stillness is a concept found in physics and philosophy as well as spiritual approaches.
The existence of the whole world depends on the dynamic interplay between motion and stillness.
Motion signifies change and transformation, while stillness symbolises ‘rest’ or ‘pause,’ which ensures the continuity of motion.
One hundred years ago, in 1925, English poet Fredegond Shove
wrote a poem bearing the same title, ‘Motion and Stillness,’ as well as the meaning.
“The seashells lie as cold
as death.
Under the sea,
The clouds move in a
wasted wreath.
Eternally;
The cows sleep on the
tranquil slopes.
Above the bay;
The ships are like
evanescent hopes.
Vanish away.”
This is a moment where the same concept is embodied in two different forms of art by two different artists of two different eras and of two different countries. It’s just about being creative and innovative.
The most important thing to be noted here is that Sarath Chandrajeewa was unaware that there is a poem written a hundred years ago that holds the same title and meaning as his abstract monument does.
Art is universal; it manifests in numerous forms, conveying the same meaning and message over the centuries and beyond.
That is the reason why some works of art are considered timeless. The inherent nature of a masterpiece is that it is not bound by time and space. Instead, it transcends the boundaries of time and space. Mediums can be changed, and styles can be changed, but the core essence of any great work of art remains constant.
Works of art that transcend spatial and temporal boundaries have set precedent for aspiring artists throughout history.
All artists follow in the footsteps of the previous masters in any field of art. The masters of early days and their masterpieces act as models of excellence for other artists.
For instance, Paul Cézanne was a monumental figure for Pablo Picasso.
Picasso was greatly influenced by Cézanne’s work.
Picasso deliberately turned human faces into mask-like forms in his paintings. This was quite evident in his 1907 masterpiece, ‘Les Demoiselles d’Avignon.’ He probably got this idea from Cezanne’s 1894-1905 masterpiece ‘Bathers.’ The faces of the human figures seen in ‘Bathers’ were seemingly carved from wood.
“Cezanne is my one and only master. He was like the father of us all.” That was how Picasso admired and respected Cezanne.
Cezanne’s approach of breaking down forms and restructuring them in an abstract manner provided the foundational inspiration for Pablo Picasso and George Braque when co-founding ‘Cubism.’
Revolutionary moves taken by artists by radically changing the existing styles are always recorded by history. And their fearless approaches to art elevate their work to the state of masterpiece.
‘Cubism’ was one such revolutionary move that radically changed the landscape of art by challenging traditional perspectives and representations.
‘Cubism’ at the beginning of the 20th century shook the foundation of visual art. It was initially faced with incomprehension and rejection by the public as well as art critics.
The fragmented appearance given to the then conventional depictions by ‘Cubism’ was not well received by many.
French art critic Louis Vauxcelles first ridiculed this new style by Picasso and Braque.
In 1908, after seeing Braque’s exhibition, Vauxcelles dismissed the work by saying, “This style has reduced everything to little cubes.”
This was how this revolutionary style got its name, ‘Cubism.’
Similarly, ‘Impressionism,’ which emerged in France in the second half of the 19th century, left the viewers indifferent towards the new approach.
The first ‘Impressionist’ exhibition was held in Paris in 1874.
Claude Monet is considered a pioneer and father of the Impressionist movement.
In the 1874 exhibition, Monet’s masterpiece ‘Impression, Sunrise’ was among the exhibits.
After visiting the exhibition, French art critic and journalist Louis Leroy referred to Monet’s ‘Impression, Sunrise’ as a mere IMPRESSION rather than a finished work.
Thereafter the entire approach was named ‘The Impressionism.’
At the end of 1940, American artist Jackson Pollock established an unusual and unique abstract art technique.
In this technique he laid a canvas on the floor. Then dripped, poured, and splashed paint onto it using sticks and cans. Sometimes he rode the bicycle on the canvas, which was covered with paint.
Pollock’s revolutionary idea was to get rid of the traditional use of the ‘PAINT BRUSH’ and the role of the ‘LINE.’ He was adamant that the ‘LINE’ should not dominate the canvas any more. So, he said goodbye to the Brush and the Line, and both were given freedom from the task of painting.
But Pollock’s works were not immediately appreciated.
Art critic Harold Rosenberg gave the name ‘The Action Painting’ to this new technique initiated by Jackson Pollock.
The term ‘Drip Painting’ was coined by Time Magazine in 1956, and the magazine gave Pollock the nickname ‘Jack the Dripper.’
However, through ‘Drip Painting,’ Pollock set a precedent that influenced artists for generations.
Masterpieces are not immediately accepted by the public, and in the first run, those were highly criticised by the ‘experts’ in the field.
Because masterpieces challenge the accepted norms in any field of art.
The public as well as the critics are initially shocked by the shapes, techniques, styles, or subject matters set by the radical artistic approaches.
It is common for many works of art to be appreciated after the artist died.
Their work stands as timeless and priceless masterpieces posthumously.
In some cases works of art gain much popularity and continue to last because of the concept they carry as well as the location they are being placed in.
One hundred and eight years ago French artist Marcel Duchamp challenged the established perception of art by bringing a signed urinal into an exhibition space as a work of art titled ‘Fountain.’
Duchamp argued that the artist’s intention, idea, and the context made something art.
The context within which a work of art is placed is capable of changing the value of the work and the way others look at it.
Duchamp’s intention was to challenge the then-existing traditions of art to reconsider the nature of originality, authorship, and the way of defining art.
‘Fountain’ is considered the founding piece, and Duchamp is considered the founder of conceptual art.
The urinal titled ‘Fountain’ was not just a mass-produced commodity but a medium carrying a concept.
A commodity was converted to a work of art just by changing its context.
‘Fountain’ was discarded soon after it was submitted to the Society of Independent Artists’ Exhibition in New York in 1917.
The work known today as ‘Fountain’ is a replica authorised by Duchamp.
But the concept it carried keeps revolutionizing modern art to this day.
Another work of art that faced much controversy, praise, rejection, and ridicule predominantly on social media platforms in the recent past was ‘Comedian,’ a work by Italian artist Maurizio Cattelan in 2019.
It was all about a fresh yellow banana affixed to a white wall with ash grey duct tape.
The ordinary banana we daily see on the racks of fruit stores became extraordinary after changing its context.
As soon as the banana was placed within a high-profile exhibition space, hundreds of people gathered at the gallery to see this awe-inspiring banana.
It was no longer the banana we see in the market or just a nutritious fruit, but a concept.
According to the artist, ‘Comedian’ was interpreted as a work of art that signifies commodification of contemporary art.
The satirical commentary passed through a banana by Cattelan, in a way, pushes the viewer to re-evaluate their preconceived notion about what constitutes art and how its value is being determined in a consumer society.
‘Comedian’ was sold to three buyers on three separate occasions, and four editions of this art piece have been exhibited in 4 different locations: Florida, South Korea, New York, and France.
In 2019 the first two editions were sold at a price of $120,000, and in 2024 another edition exhibited in Sotheby’s Collection in NY was sold at $6.2 million.
When a banana rots or when someone has eaten the banana while it’s being exhibited, the artist simply replaces it again and again, and then it continues to be an original piece of art. But the concept it carries goes on to last for ages.
Speaking about bananas, this ordinary fruit has been a medium of carrying concepts in many countries, in many contexts, by many artists.
In 1967 American visual artist Andy Warhol launches a banana design screen printed on laminated plastic. This was featured on the pop album cover ‘The Velvet Underground and Nico.
Reviews say that this famous banana design by Warhol reflects his fascination with consumer culture and showcases how a primary object, such as a banana, symbolizes the rise of mass production and distribution.
In 2004 English artist Agnus Fairhurst creates a massive installation of peeled bananas. This nine-foot-long bronze peeled banana carried the concept that “Bananas are sensual, but they quickly decay.”
In the same year, 2004, Sri Lankan artist Sanath Kalubadana, through his installation ‘Dinner Table,’ expresses his disagreement over the horrors and destruction of the war in the medium of a table of food with bananas burnt to cinders.
In 2008, Austrian graphic designer Stefan Sagmeister creates a gigantic installation, ‘Banana Wall,’ with the phrase ‘Self-Confidence Produces Fine Results’ spelled out in green bananas placed among yellow ones.
Nearly ten thousand bananas are said to have been used in this installation. I quote a fascinating Facebook post by content creator ‘Ivan’ here to read out what he has said about this Banana Wall.
“It wasn’t just about shock value; it was about time, change, and transformation. Over the days and weeks, the banana slowly ripened, turning from bright yellow to spotted brown, and eventually to deep black. The scent of the room shifted too, from sweet tropical to something far less pleasant. Visitors returned again and again to see how the wall evolved, turning the space into a breathing piece of art.
If a work of art is to last for ages, it must be received by the public constructively.
Any extraordinary piece of art or a masterpiece has its unique way of initiating a silent dialogue with the viewer.
The masterpiece transmits the message of who they are, using an iconic visual language enriched with artistic elements.
The rhythm of the visual language of a masterpiece is complex. But not complicated.
No masterpiece is easy to understand and is full of complexities. But it never confuses the viewer.
Complexity is intriguing, and complication leads to confusion.
If a work of art confuses the viewer, he or she will no longer be in favor of it. That’s exactly where the silent dialogue between the masterpiece and the viewer comes to an end.
One of the most complex masterpieces in the world is Pablo Picasso’s ‘Guernica.’
Its powerful symbolism is not everyone’s cup of tea.
So, there were many arguments among the public as well as experts about what some symbols really mean.
Responding to this discourse, Picasso said, “It isn’t up to the painter to define the symbols; otherwise, it would be better if he wrote them out in so many words. The public who look at the picture must interpret the symbols as they understand them.”
Despite all the underlying complexities, people from all over the world spend millions to go to faraway countries to see the great pieces of art with their bare eyes.
Why?
Because every extraordinary piece of art has its own charisma and aura, which no replica of the same work can possess. It is the charisma and aura of Mona Lisa, David, Girl with a Pearl Earring, Guernica, and many more that draw millions of people to their countries to see them firsthand.
They are not just paint patches on canvases or stone figures. They are living beings. They have their own rhythm of breathing, they never die, and they remain immortal, as do the extraordinary masters who made them.-
Features
The invisible crisis: How tour guide failures bleed value from every tourist
(Article 04 of the 04-part series on Sri Lanka’s tourism stagnation)
If you want to understand why Sri Lanka keeps leaking value even when arrivals hit “record” numbers, stop staring at SLTDA dashboards and start talking to the people who face tourists every day: the tour guides.
They are the “unofficial ambassadors” of Sri Lankan tourism, and they are the weakest, most neglected, most dysfunctional link in a value chain we pretend is functional. Nearly 60% of tourists use guides. Of those guides, 57% are unlicensed, untrained, and invisible to the very institutions claiming to regulate quality. This is not a marginal problem. It is a systemic failure to bleed value from every visitor.
The Invisible Workforce
The May 2024 “Comprehensive Study of the Sri Lankan Tour Guides” is the first serious attempt, in decades, to map this profession. Its findings should be front-page news. They are not, because acknowledging them would require admitting how fundamentally broken the system is. The official count (April 2024): SLTDA had 4,887 licensed guides in its books:
* 1,892 National Guides (39%)
* 1,552 Chauffeur Guides (32%)
* 1,339 Area Guides (27%)
* 104 Site Guides (2%)
The actual workforce: Survey data reveals these licensed categories represent only about 75% of people actually guiding tourists. About 23% identify as “other”; a polite euphemism for unlicensed operators: three-wheeler drivers, “surf boys,” informal city guides, and touts. Adjusted for informal operators, the true guide population is approximately 6,347; 32% National, 25% Chauffeur, 16% Area, 4% Site, and 23% unlicensed.
But even this understates reality. Industry practitioners interviewed in the study believe the informal universe is larger still, with unlicensed guides dominating certain tourist hotspots and price-sensitive segments. Using both top-down (tourist arrivals × share using guides) and bottom-up (guides × trips × party size) estimates, the study calculates that approximately 700,000 tourists used guides in 2023-24, roughly one-third of arrivals. Of those 700,000 tourists, 57% were handled by unlicensed guides.
Read that again. Most tourists interacting with guides are served by people with no formal training, no regulatory oversight, no quality standards, and no accountability. These are the “ambassadors” shaping visitor perceptions, driving purchasing decisions, and determining whether tourists extend stays, return, or recommend Sri Lanka. And they are invisible to SLTDA.
The Anatomy of Workforce Failure
The guide crisis is not accidental. It is the predictable outcome of decades of policy neglect, regulatory abdication, and institutional indifference.
1. Training Collapse and Barrier to Entry Failure
Becoming a licensed National Guide theoretically requires:
* Completion of formal training programmes
* Demonstrated language proficiency
* Knowledge of history, culture, geography
* Passing competency exams
In practice, these barriers have eroded. The study reveals:
* Training infrastructure is inadequate and geographically concentrated
* Language requirements are inconsistently enforced
* Knowledge assessments are outdated and poorly calibrated
* Continuous professional development is non-existent
The result: even licensed guides often lack the depth of knowledge, language skills, or service standards that high-yield tourists expect. Unlicensed guides have no standards at all. Compare this to competitors. In Mauritius, tour guides undergo rigorous government-certified training with mandatory refresher courses. The Maldives’ resort model embeds guide functions within integrated hospitality operations with strict quality controls. Thailand has well-developed private-sector training ecosystems feeding into licensed guide pools.
2. Economic Precarity and Income Volatility
Tour guiding in Sri Lanka is economically unstable:
* Seasonal income volatility: High earnings in peak months (December-March), near-zero in low season (April-June, September)
* No fixed salaries: Most guides work freelance or commission-based
* Age and experience don’t guarantee income: 60% of guides are over 40, but earnings decline with age due to physical demands and market preference for younger, language-proficient guides
* Commission dependency: Guides often earn more from commissions on shopping, gem purchases, and restaurant referrals than from guiding fees
The commission-driven model pushes guides to prioritise high-commission shops over meaningful experiences, leaving tourists feeling manipulated. With low earnings and poor incentives, skilled guides exist in the profession while few new entrants join. The result is a shrinking pool of struggling licensed guides and rising numbers of opportunistic unlicensed operators.
3. Regulatory Abdication and Unlicensed Proliferation
Unlicensed guides thrive because enforcement is absent, economic incentives favour avoiding fees and taxes, and tourists cannot distinguish licensed professionals from informal operators. With SLTDA’s limited capacity reducing oversight, unregistered activity expands. Guiding becomes the frontline where regulatory failure most visibly harms tourist experience and sector revenues in Sri Lanka.
4. Male-Dominated, Ageing, Geographically Uneven Workforce
The guide workforce is:
* Heavily male-dominated: Fewer than 10% are women
* Ageing: 60% are over 40; many in their 50s and 60s
* Geographically concentrated: Clustered in Colombo, Galle, Kandy, Cultural Triangle—minimal presence in emerging destinations
This creates multiple problems:
* Gender imbalance: Limits appeal to female solo travellers and certain market segments (wellness tourism, family travel with mothers)
* Physical limitations: Older guides struggle with demanding itineraries (hiking, adventure tourism)
* Knowledge ossification: Ageing workforce with no continuous learning rehashes outdated narratives, lacks digital literacy, cannot engage younger tourist demographics
* Regional gaps: Emerging destinations (Eastern Province, Northern heritage sites) lack trained guide capacity
1. Experience Degradation Lower Spending
Unlicensed guides lack knowledge, language skills, and service training. Tourist experience degrades. When tourists feel they are being shuttled to commission shops rather than authentic experiences, they:
* Cut trips short
* Skip additional paid activities
* Leave negative reviews
* Do not return or recommend
The yield impact is direct: degraded experiences reduce spending, return rates, and word-of-mouth premium.

2. Commission Steering → Value Leakage
Guides earning more from commissions than guiding fees optimise for merchant revenue, not tourist satisfaction.
This creates leakage: tourism spending flows to merchants paying highest commissions (often with foreign ownership or imported inventory), not to highest-quality experiences.
The economic distortion is visible: gems, souvenirs, and low-quality restaurants generate guide commissions while high-quality cultural sites, local artisan cooperatives, and authentic restaurants do not. Spending flows to low-value, high-leakage channels.
3. Safety and Security Risks → Reputation Damage
Unlicensed guides have no insurance, no accountability, no emergency training. When tourists encounter problems, accidents, harassment, scams, there is no recourse. Incidents generate negative publicity, travel advisories, reputation damage. The 2024-2025 reports of tourists being attacked by wildlife at major sites (Sigiriya) with inadequate safety protocols are symptomatic. Trained, licensed guides would have emergency protocols. Unlicensed operators improvise.
4. Market Segmentation Failure → Yield Optimisation Impossible
High-yield tourists (luxury, cultural immersion, adventure) require specialised guide-deep knowledge, language proficiency, cultural sensitivity. Sri Lanka cannot reliably deliver these guides at scale because:
* Training does not produce specialists (wildlife experts, heritage scholars, wellness practitioners)
* Economic precarity drives talent out
* Unlicensed operators dominate price-sensitive segments, leaving limited licensed capacity for premium segments
We cannot move upmarket because we lack the workforce to serve premium segments. We are locked into volume-chasing low-yield markets because that is what our guide workforce can provide.
The way forward
Fixing Sri Lanka’s guide crisis demands structural reform, not symbolic gestures. A full workforce census and licensing audit must map the real guide population, identify gaps, and set an enforcement baseline. Licensing must be mandatory, timebound, and backed by inspections and penalties. Economic incentives should reward professionalism through fair wages, transparent fees, and verified registries. Training must expand nationwide with specialisations, language standards, and continuous development. Gender and age imbalances require targeted recruitment, mentorship, and diversified roles. Finally, guides must be integrated into the tourism value chain through mandatory verification, accountability measures, and performancelinked feedback.
The Uncomfortable Truth
Can Sri Lanka achieve high-value tourism with a low-quality, largely unlicensed guide workforce? The answer is NO. Unambiguously, definitively, NO. Sri Lanka’s guides shape tourist perceptions, spending, and satisfaction, yet the system treats them as expendable; poorly trained, economically insecure, and largely unregulated. With 57% of tourists relying on unlicensed guides, experience quality becomes unpredictable and revenue leaks into commission-driven channels.
High-yield markets avoid destinations with weak service standards, leaving Sri Lanka stuck in low-value, volume tourism. This is not a training problem but a structural failure requiring regulatory enforcement, viable career pathways, and a complete overhaul of incentives. Without professionalising guides, high-value tourism is unattainable. Fixing the guide crisis is the foundation for genuine sector transformation.
The choice is ours. The workforce is waiting.
This concludes the 04-part series on Sri Lanka’s tourism stagnation. The diagnosis is complete. The question now is whether policymakers have the courage to act.
For any concerns/comments contact the author at saliya.ca@gmail.com
(The writer, a senior Chartered Accountant and professional banker, is Professor at SLIIT, Malabe. The views and opinions expressed in this article are personal.)
Features
Recruiting academics to state universities – beset by archaic selection processes?
Time has, by and large, stood still in the business of academic staff recruitment to state universities. Qualifications have proliferated and evolved to be more interdisciplinary, but our selection processes and evaluation criteria are unchanged since at least the late 1990s. But before I delve into the problems, I will describe the existing processes and schemes of recruitment. The discussion is limited to UGC-governed state universities (and does not include recruitment to medical and engineering sectors) though the problems may be relevant to other higher education institutions (HEIs).
How recruitment happens currently in SL state universities
Academic ranks in Sri Lankan state universities can be divided into three tiers (subdivisions are not discussed).
* Lecturer (Probationary)
– recruited with a four-year undergraduate degree. A tiny step higher is the Lecturer (Unconfirmed), recruited with a postgraduate degree but no teaching experience.
* A Senior Lecturer can be recruited with certain postgraduate qualifications and some number of years of teaching and research.
* Above this is the professor (of four types), which can be left out of this discussion since only one of those (Chair Professor) is by application.
State universities cannot hire permanent academic staff as and when they wish. Prior to advertising a vacancy, approval to recruit is obtained through a mind-numbing and time-consuming process (months!) ending at the Department of Management Services. The call for applications must list all ranks up to Senior Lecturer. All eligible candidates for Probationary to Senior Lecturer are interviewed, e.g., if a Department wants someone with a doctoral degree, they must still advertise for and interview candidates for all ranks, not only candidates with a doctoral degree. In the evaluation criteria, the first degree is more important than the doctoral degree (more on this strange phenomenon later). All of this is only possible when universities are not under a ‘hiring freeze’, which governments declare regularly and generally lasts several years.
Problem type 1
– Archaic processes and evaluation criteria
Twenty-five years ago, as a probationary lecturer with a first degree, I was a typical hire. We would be recruited, work some years and obtain postgraduate degrees (ideally using the privilege of paid study leave to attend a reputed university in the first world). State universities are primarily undergraduate teaching spaces, and when doctoral degrees were scarce, hiring probationary lecturers may have been a practical solution. The path to a higher degree was through the academic job. Now, due to availability of candidates with postgraduate qualifications and the problems of retaining academics who find foreign postgraduate opportunities, preference for candidates applying with a postgraduate qualification is growing. The evaluation scheme, however, prioritises the first degree over the candidate’s postgraduate education. Were I to apply to a Faculty of Education, despite a PhD on language teaching and research in education, I may not even be interviewed since my undergraduate degree is not in education. The ‘first degree first’ phenomenon shows that universities essentially ignore the intellectual development of a person beyond their early twenties. It also ignores the breadth of disciplines and their overlap with other fields.
This can be helped (not solved) by a simple fix, which can also reduce brain drain: give precedence to the doctoral degree in the required field, regardless of the candidate’s first degree, effected by a UGC circular. The suggestion is not fool-proof. It is a first step, and offered with the understanding that any selection process, however well the evaluation criteria are articulated, will be beset by multiple issues, including that of bias. Like other Sri Lankan institutions, universities, too, have tribal tendencies, surfacing in the form of a preference for one’s own alumni. Nevertheless, there are other problems that are, arguably, more pressing as I discuss next. In relation to the evaluation criteria, a problem is the narrow interpretation of any regulation, e.g., deciding the degree’s suitability based on the title rather than considering courses in the transcript. Despite rhetoric promoting internationalising and inter-disciplinarity, decision-making administrative and academic bodies have very literal expectations of candidates’ qualifications, e.g., a candidate with knowledge of digital literacy should show this through the title of the degree!
Problem type 2 – The mess of badly regulated higher education
A direct consequence of the contemporary expansion of higher education is a large number of applicants with myriad qualifications. The diversity of degree programmes cited makes the responsibility of selecting a suitable candidate for the job a challenging but very important one. After all, the job is for life – it is very difficult to fire a permanent employer in the state sector.
Widely varying undergraduate degree programmes.
At present, Sri Lankan undergraduates bring qualifications (at times more than one) from multiple types of higher education institutions: a degree from a UGC-affiliated state university, a state university external to the UGC, a state institution that is not a university, a foreign university, or a private HEI aka ‘private university’. It could be a degree received by attending on-site, in Sri Lanka or abroad. It could be from a private HEI’s affiliated foreign university or an external degree from a state university or an online only degree from a private HEI that is ‘UGC-approved’ or ‘Ministry of Education approved’, i.e., never studied in a university setting. Needless to say, the diversity (and their differences in quality) are dizzying. Unfortunately, under the evaluation scheme all degrees ‘recognised’ by the UGC are assigned the same marks. The same goes for the candidates’ merits or distinctions, first classes, etc., regardless of how difficult or easy the degree programme may be and even when capabilities, exposure, input, etc are obviously different.
Similar issues are faced when we consider postgraduate qualifications, though to a lesser degree. In my discipline(s), at least, a postgraduate degree obtained on-site from a first-world university is preferable to one from a local university (which usually have weekend or evening classes similar to part-time study) or online from a foreign university. Elitist this may be, but even the best local postgraduate degrees cannot provide the experience and intellectual growth gained by being in a university that gives you access to six million books and teaching and supervision by internationally-recognised scholars. Unfortunately, in the evaluation schemes for recruitment, the worst postgraduate qualification you know of will receive the same marks as one from NUS, Harvard or Leiden.
The problem is clear but what about a solution?
Recruitment to state universities needs to change to meet contemporary needs. We need evaluation criteria that allows us to get rid of the dross as well as a more sophisticated institutional understanding of using them. Recruitment is key if we want our institutions (and our country) to progress. I reiterate here the recommendations proposed in ‘Considerations for Higher Education Reform’ circulated previously by Kuppi Collective:
* Change bond regulations to be more just, in order to retain better qualified academics.
* Update the schemes of recruitment to reflect present-day realities of inter-disciplinary and multi-disciplinary training in order to recruit suitably qualified candidates.
* Ensure recruitment processes are made transparent by university administrations.
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
Talento … oozing with talent
This week, too, the spotlight is on an outfit that has gained popularity, mainly through social media.
Last week we had MISTER Band in our scene, and on 10th February, Yellow Beatz – both social media favourites.
Talento is a seven-piece band that plays all types of music, from the ‘60s to the modern tracks of today.
The band has reached many heights, since its inception in 2012, and has gained recognition as a leading wedding and dance band in the scene here.
The members that makeup the outfit have a solid musical background, which comes through years of hard work and dedication
Their portfolio of music contains a mix of both western and eastern songs and are carefully selected, they say, to match the requirements of the intended audience, occasion, or event.
Although the baila is a specialty, which is inherent to this group, that originates from Moratuwa, their repertoire is made up of a vast collection of love, classic, oldies and modern-day hits.
The musicians, who make up Talento, are:
Prabuddha Geetharuchi:
(Vocalist/ Frontman). He is an avid music enthusiast and was mentored by a lot of famous musicians, and trainers, since he was a child. Growing up with them influenced him to take on western songs, as well as other music styles. A Peterite, he is the main man behind the band Talento and is a versatile singer/entertainer who never fails to get the crowd going.
Geilee Fonseka (Vocals):
A dynamic and charismatic vocalist whose vibrant stage presence, and powerful voice, bring a fresh spark to every performance. Young, energetic, and musically refined, she is an artiste who effortlessly blends passion with precision – captivating audiences from the very first note. Blessed with an immense vocal range, Geilee is a truly versatile singer, confidently delivering Western and Eastern music across multiple languages and genres.
Chandana Perera (Drummer):
His expertise and exceptional skills have earned him recognition as one of the finest acoustic drummers in Sri Lanka. With over 40 tours under his belt, Chandana has demonstrated his dedication and passion for music, embodying the essential role of a drummer as the heartbeat of any band.
Harsha Soysa:
(Bassist/Vocalist). He a chorister of the western choir of St. Sebastian’s College, Moratuwa, who began his musical education under famous voice trainers, as well as bass guitar trainers in Sri Lanka. He has also performed at events overseas. He acts as the second singer of the band
Udara Jayakody:
(Keyboardist). He is also a qualified pianist, adding technical flavour to Talento’s music. His singing and harmonising skills are an extra asset to the band. From his childhood he has been a part of a number of orchestras as a pianist. He has also previously performed with several famous western bands.
Aruna Madushanka:
(Saxophonist). His proficiciency in playing various instruments, including the saxophone, soprano saxophone, and western flute, showcases his versatility as a musician, and his musical repertoire is further enhanced by his remarkable singing ability.
Prashan Pramuditha:
(Lead guitar). He has the ability to play different styles, both oriental and western music, and he also creates unique tones and patterns with the guitar..
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Business5 days agoAn efficacious strategy to boost exports of Sri Lanka in medium term
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Features3 days agoOverseas visits to drum up foreign assistance for Sri Lanka



