Midweek Review

Light Sorrow: Peradeniya Imagination

Published

4 months ago

2024/08/14

Sahan Weerasooriya

Review of A Bend in the River by Ernest|
Macintyre (Vijitha Yapa, 2024)

By Laleen Jayamanne

The celebrated Lankan director and play-write Ernest Thalayasingam Macintyre (who has been active in English Language theatre for over 50 years), has given us a most unusual book (written in his 90s in Sydney, Australia), on his and his generations’ years as undergraduates at the University of Ceylon, Peradeniya in the mid 1950s. There are plans to translate it into Sinhala as well. Mac, as he is popularly known, characterises his book in the following way:

“Old Peradeniya University in Memory and Imagination with a play in one act to conclude. Under The Ola Leaves about the tragedy between man and beast in Sinhabahu”.

A selection of small black and white photographs (so reminiscent of the size and feel of photos of that era’s family albums), of the Peradeniya campus and of visionaries who contributed to its cultural and spiritual vitality, has been carefully placed within the text. These photo (light)-images texture our perception and make time move our minds in a non-linear manner (as we pause to look at them), like meandering rivulets of the great sweeping river of Lankan ethno-nationalist post-colonial history itself. Seeing the high-angle shot of the misty hills through which the Mahaweli winds its way, placed towards the end of the book, creates a melancholy feeling of a time lost. The very first photo, of the memorial honouring Shirley D’Alwis (the architect who designed the magnificent modern campus buildings to echo the architecture of the classical eras), situated at the first roundabout on the main Galaha road, is unavoidably shot through with the more recent memory of decapitated heads grotesquely arranged like lotuses, around the shallow pond surrounding that very monument, during the ‘second JVP vs the Government’ mass killings.

Indeed, this small book of ‘memory and imagination’ takes poetic license in creating three fictional characters through whom we experience the ebullient years that Mac spent (making life-long friendships), at Peradeniya University. These three characters, Sita Fernando (from Ladies College), Phillip Fernando (from St Peters College) and Sidharthan Rasanayagam (from Jaffna College), are actually dramatis personae borrowed from Mac’s Black Comedy Rasanayagam’s Last Riot (Sydney, 1996), on the July ‘83 Anti-Tamil pogram which inaugurated the near 30 year civil-war. This poetic strategy, where biography and fiction are entwined, provides the playwright (born in Colombo but educated at St Patricks’ College, Jaffna), ample room to ‘dramatise’ the everyday University life of the young intellectuals experiencing a remarkable measure of independence from family and their social milieus for the first time. Also, for the first time young Lankans of different classes, ethnicities and languages, and religions found themselves living with each other in close proximity.

In addition, there is real dramatic excitement through theatrical activities of staging plays in both English and Sinhala. Sita, Philip and even Rasa perform in a production of the English language Dramatic Society (with its prior distinguished history at the University College in Colombo), under the direction of Professor of English, E. F. C. Ludowyk. This dramatic society is considered foundational for modern Lankan theatre where students were first introduced to modern European drama with Professor Ludowyk playing a leading role. The occasion is poignant as it is his farewell production of Bernard Shaw’s Androcles and the Lion, before he leaves the country in ‘56 for good, to retire to England. The activities around the creation of modern Sinhala theatre history at the University of Peradeniya, the plans to produce Maname with undergraduates, by Professor Ediriweera Sarthchandra, in 1956 is among the high points of the book, as is a test run of Sinhabahu in the open-air theatre. The imagined lecture given (based on factual information), by Prof. Sarachchandra to drum up support for the production of Maname, and to welcome the students to the multi-faceted University experience, are brilliant moments, spot-lit one might say, at the heart of the multi-ethnic linguistic political vision of this book, which Mac calls the ‘Peradeniya imagination’. I will return shortly to this intellectually stimulating scene which feels like an inspiring lecture because of its dramatic conception.

I write this review as one who experienced Peradeniya of University with all its splendour for a very brief but intellectually unmatched two years as a Temporary Assistant Lecturer in Western Classics, from ‘69 to April ‘71. What I studied, learnt and experienced there, while teaching with Professor Cuthbert Amerasinghe, feels like a seed bed that still nourishes my mind at 77. The explosion of bombs in one of the male halls of residence set off a curfew with a state of emergency enforced immediately, marking the first JVP Insurgency of April ‘71, during which month bullet riddled bodies of educated young Sinhala men and women floated down that great river to the sea. So, it’s with much interest that I read Mac’s account of the legendry period of the 50s when the great hopes of C. W. W. Kannangara’s ‘free education’ policy of 1948 was to inaugurate a confident, fairer post-colonial Lanka. Reading about it now in 2024 one recalls the recently installed Bronze statue (by Sarath Chandrajeeva), of the first Vice Chancellor, Sir Ivor Jennings, the implementor of that vision, gently fashioning an enchanted natural landscape at Peradeniya which still appears to flourish despite all.

The first chapter, ‘A Train Comes In’, introduces both Sita and Phillip from Colombo, strangers at first who find themselves congenially in the same carriage (and even married much later when they appear in Rasanayagam’s Last Riot), and also the lay out of the campus. The second chapter has Phillip and Sidharthan as ‘Room Mates’ where the former promptly decides to call the latter Rasa, establishing a lifelong friendship which ends tragically (in the play Rasanayagam’s Last Riot), in July ‘83 when, caught by a Sinhala mob, he refuses on principle to pronounce the word bucket in Sinhala as baldiya and meets his death. It is as room-mates that Phillip casually taught him in a jocular manner, the difference between Baldi and Valdi.

The main focus of the book is around the rich theatrical activities on campus in both English and Sinhala, which laid the foundations, after their undergraduate days, for the development of a robust bi-lingual theatre in the 60s, centred at first at the Lionel Wendt Theatre Colombo with the Stage and Set Group formed by Mac and his Peradeniya friends, strengthened by the exceptional acting talents of Irangani and Winston Serasinghe too. Given the theatrical emphasis in the book, one gets the impression that above all, it is theatre that galvanised Mac’s imagination at Peradeniya far more than any academic subject as such, for there is no scene set in the magnificent library, amidst the stacks for example, a favourite spot for lovers. Importantly, he shows persuasively that these theatrical activities were integrally linked to wider political currents of the country as well and offers a vision of Lanka imbibed at the University, which is universalist and humanist in outlook, inclusive and open to the world, not parochially ethno-nationalist and myopic.

At a student meeting held by a government official to discuss the proposed national flag for the country, a Muslim student, Ibrahim, known as a resident ‘joker’ makes fun of the manner in which concessions are made to ethnic minorities of the country who are marginalised with simplistic colour coding by the national emblem of the sword-carrying lion taking the lion’s share of space. This mythical lion, emblem of the Sinhala folk, recurs in various dramatic forms right across this book creating an emotional resonance that vibrates across their student lives and also across several aspects of the post-colonial history of the country. Mac treats the iconic lion as a poetic emblem to critique the emerging ethno-nationalism in the wake of the 1956 ‘Sinhala Only Act’ which affects the students for generations to come, as well. Mac poses a challenge to ethno-nationalism in the following way:

“In the connected event of ‘56, Maname of Peradeniya may be conceived in relation to Sinhala Only Act. It is a great Sinhala play because it is not Sinhala only” (p.64).

Mac gives us an understanding of the wide range of world historical theatrical research which was essential for Sarachchandra in developing his scholarly book on Lankan Folk Drama at first, and then his two plays, Maname and Sinhabahu. These include the knowledge of Indian theatrical traditions and theory, Greek theatre and theatrical theory and Japanese Noh drama as well. Without a knowledge of English, such wide ranging research in depth would have been impossible. At the marvellously conceived, well attended lecture organised by the Sinhala Natya Mandalaya, Professor Sarachchandra speaks (seated flanked by Charles Silva Gunasinghe Gurunanse from Balangoda and Dr Siri Gunasinghe, a lecturer in Sanskrit), of this rich context in which Maname was conceived. The importance of the Tamil folk form Natu Kuthu (originally from South India and then performed in the North East of Lanka), for the development of the Sinhala Nadagam form, on which Maname in turn is based, is also made explicit. Mac then adds other sources such as the Kurosava’s film Rashomon as a vital influence on Sarachchandra in transforming the moralistic, misogynist ending of the folk tale into a Modern parable of a multi-perspectival reading of the controversial ending of the play. He does something similar in his own play Under the Ola Leaf at the end of this book.

While there is no need to rehearse that ending of Maname here, the point Mac makes is that if all scholars or play-wrights knew was ‘Sinhala only’, then much of world drama and film would be inaccessible to Lankans, creating an academic parochialism. A small but very significant feminist angle is introduced by shifting the emphasis to the actress who was to play the princess. In her school days she had played the role in the old folk version where the princess is condemned as being fickle in betraying her husband, the prince. The student’s training in movement and singing by Gunasinghe Gurunanse while she was still at school has been decisive in being chosen for the role in the current play. But it’s the dialogue between Professor Sarachchandra and her which I find most remarkable. When he asks her if she was ‘happy to act the evil princess in the folk tale’, instead of answering the question, she queries the professor as to why he asks that specific question in the first place. This rather rare critical ability (of not taking anything for granted), pleases Professor Sarachchandra who says: ‘I knew I was meeting a creative woman’.

We experience the ‘race-riots’ of ‘58 through Sita and Philip who have gone down to Colombo with Rasa having been invited to stay in the safety of Philip’s house. Though they are safe, the effects of the violence are felt by all three young intellectuals and casts a dark shadow on the short time they have left at Peradeniya. In the concluding section of the book (shaken by the national tragedy, made all the more acute by their protective, deep friendship with Rasa, enacted so close to home by the burning down of Saraswathi Lodge where they’d just eaten the night before), Mac offers as an olive branch, through a dramatic enactment of what he calls the ‘Peradeniya imagination’.

The setting is a conversation among the three friends as they walk on the Galaha road in the dark, after having seen a test performance of Sinhabahu at the famous open-air theatre of the Peradeniya campus on the eve of their departure from University life in 1959. The mood is thoughtful, sombre. Sita leads the conversation with her sharp analytical mind which the other two take in quietly. All three have registered the pathos of the ending, the sudden blackout and long silence, as did the rest of the audience in being very slow to applaud and that too so quietly as the actors come forward slowly.

“As the stage lights went out to end the experience, almost abruptly, when the Lion Sinhaya fell down from his human son’s third arrow in the chest, the dumb founded silence, lasting seemingly to continue without let up, covertly suggested other considerations beyond the extracted part of the Mahavamsa story… it seemed to invite the audience to think of what was left unperformed in the large story of the Mahavamsa which the audience were familiar with. The origin of the Sinhalese” (72-73).

Patricide is a terrible crime and as in Oedipus Rex, leaves the ‘innocent’ killer/son tormented and blind. The play Under the Ola Leaf written by Sita is an effort to offer a new perspective on the old Mahavamsa legend by exploring the sense of pathos, the ‘pity and fear’ they all registered at the end of Sinhabahu that night in the open-air theatre. Precisely because there is no ‘catharis’ or release possible (as mandated by Aristotle in his conception of Tragedy), after the horrific act of patricide, the ending of the play creates a sense of desolation.

In Ludowyk’s decision to stage Androcles and the Lion as his farewell play in 1956, he had the lion’s head worn by the actor designed like the one on Lankan heraldry. Mac states that the choice of this play was a political gesture of farewell, (a parable on gratitude and compassion), to a country that Ludowyk loved dearly and contributed so much of value to enrich its multiethnic cultural and intellectual life. That all too human lion, grateful to the slave Androcles who once removed the thorn from his wounded paw, refuses to kill him later, and instead embraces him.

Mac’s one act play is also a parable for our times. He refuses to forget the heart- rending line, ‘me mage puthu novedo!’ (Is this not my son!). But he also refuses to forget (contrary to the Mahavamsa legend), the affective point of view of the son, Sinhabahu. In the play he is a man with a conscience and the patricide a swift ‘mercy killing’ so that his lion-father may not be trapped, tortured and beaten to death by the blood thirsty villagers.

In addition, Mac gives Vijaya, Sinhabahu’s own son (the legendry founder of Lanka), a more enlightening role than that of a rebellious son attributed by the Mahavamsa. Vijaya is a post Darwinian human, and so for him the lion on his flag (his grandfather), is to be remembered not as a killer but as embodying love. In so doing he appears to acknowledge our kinship with the animal world and therefore the seated lion on his flag, pointedly does not carry a sword. This is Mac’s alternative enlightening avihimsa perspective on the national patricidal legend, where the father, son and the grandson appear to evolve ethically, which augurs well for the new hybrid, multi-ethnic nation yet to be born. Mac reminds us, through Rasa, that Buddhism once flourished among the Tamils of South India as well.

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Midweek Review

How Prof. Dewasiri’s FB post brought about Speaker Ranwala’s exit

Published

5 days ago

2024/12/18

Sahan Weerasooriya

By Shamindra Ferdinando

Prof. Nirmal Ranjith Dewasiri was the first to question the National People’s Power government over Speaker ‘Dr.’ Asoka Sapumal Ranwala regarding his academic qualifications.

Dewasiri’s shock query caught the NPP by surprise. The academic questioned the government on his social media account on 05 Dec. The Parliament unanimously appointed Ranwala as Speaker of the Tenth Parliament on 21 Nov.

Dewasiri demanded that the government compel Speaker Ranwala to resign in case the parliamentarian deliberately provided false information. If the Speaker declined to do so, appropriate measures should be taken to remove him, Prof. Dewasiri declared, while finding fault with the new entrant for (i) falsely claiming to have a degree and (ii) believe he could hold such an important position regardless of the deceit perpetrated by him.

Prof. Dewasiri emphasized that the second fault was far worse than the first. One-time spokesperson for the Federation of University Teachers Association (FUTA) and advocate of the Yahapalana administration warned the government of far reaching consequences as it was badly exposed.

The government obviously didn’t take Prof. Dewasiri’s social media post seriously. Perhaps the top leadership felt that the issue at hand wouldn’t attract much public attention. However, the Opposition, both in Parliament and outside, launched an all-out attack.

The SJB declared its intention to move a no-confidence motion against the Speaker. In spite of the NPP having an unprecedented 2/3 majority in Parliament, the ruling party feared to face the Opposition move. The NPP could have easily routed the combined Opposition in Parliament, but to defend an obvious wrongdoer would have ruined President Anura Kumara Dissanayake’s (AKD) parliamentary group as they came to power, less than three months ago, promising to correct all the shenanigans that had been going on in the country, under the guise of democracy, since independence.

Beleaguered AKD had no option but to ask Speaker Ranwala to step down. The NPP could have avoided a lot of flak if the party acted immediately after Prof. Dewasiri’s disclosure. If not for the intervention made by the academic and a vociferous critic of wrongs done by the previous regimes, particularly to academics, Ranwala would still have been the Speaker.

The utterly dispirited SJB wouldn’t have inquired into Ranwala’s credentials under any circumstances. Thanks to Prof. Dewasiri, the Opposition received a mega opportunity to question the very basis of the NPP’s presidential and parliamentary election campaigns.

The SJB and new Democratic Front (NDF) had been rejected by the electorate to such an extent, even if they challenged Ranwala over his educational qualifications, the people may have ignored the issue as the rantings of a frustrated Opposition still licking the wounds of their routing at the polls. Prof. Dewasiri’s disclosure obviously delivered a knockout blow to the government.

Ranwala resigned on 13 Dec., just over a week after Prof. Dewasiri’s bombshell revelation. It would be pertinent to mention that just before the announcemnt of the Speaker’s resignation, President AKD told government media bosses that he wouldn’t protect any wrongdoer.

Having asked the electorate to reject unscrupulous political parties that had ruined the country, the NPP couldn’t have risked its political project to save Ranwala, one-time President of the Ceylon Petroleum Common Workers’ Union, until he was sent on compulsory retirement in March 2023 by the then Minister of Power and Energy Kanchana Wijesekera. The Wickremesinghe-Rajapaksa government accused Ranwala of obstructing fuel distribution services.

The NPP couldn’t have been unaware of Ranwala’s bogus claim. If Ranwala deliberately deceived the NPP, he should be dealt with harshly. Perhaps Ranwala should be asked to resign his parliamentary seat forthwith for deceiving the whole country, to pave the way for the NPP to fill that Gampaha District vacancy thereafter. Having vowed to clean up Parliament, the NPP cannot, under any circumstances, protect any wrongdoer.

But, corrupt political parties shouldn’t think for a moment that they can capitalize on the Speaker’s issue. The people rejected the SJB, NDF and SLPP (Sri Lanka Podujana Peramuna) twice this year as they earned the wrath of the people. It would be a grave fault on their part if they believed Ranwala’s ouster could strengthen their campaign against the government.

The NPP should, without delay, set the record straight. The issue is whether Ranwala deceived the NPP with regard to his doctorate, or the party knew all along that their CPC trade unionist didn’t have the academic qualification which he proudly flaunted.

House tricked

Premier Dr. Harini Amarasuriya and Foreign Minister Vijitha Herath, together, accompanied Ranwela to the Speaker’s chair. The Opposition accepted the appointment. The Premier proposed Ranwala, while Minister Herath seconded that proposal.

Premier Amarasuriya, Opposition Leader Sajith Premadasa, and Leader of the Sri Lanka Muslim Congress Rauff Hakeem congratulated National Executive Committee member Ranwala on that occasion.

One-time member of the Biyagama Local government body, Ranwala twice represented the JVP in the Western Provincial Council. According to Parliament website, Ranwala holds a degree in Chemical Engineering from the University of Moratuwa and a doctorate in Biochemistry from Waseda University, Japan.

To make matters worse for the NPP, the Opposition challenged Deputy Speaker Dr. Rizvie Salih’s specialist tag. Salih answered his critics. His FB post explained his nearly 40-year career, with 12 years with the public sector, though he is not a specialist.

The Deputy Speaker told Parliament, on Tuesday, that he is not a specialist and never used the title in his official letterheads, visiting cards and prescriptions. ” I have categorically told that I should not be called a specialist in propaganda material during elections,” he said. In other words, he had found fault with those who handled the propaganda campaign for the NPP

Interested parties also challenged the doctorate of Justice Minister Harshana Nanayakkara, another first time entrant to Parliament.

The controversy over Nanayakkara’s doctorate took an unexpected turn when the Parliament claimed that the doctorate had been inadvertently mentioned by Parliament. Let me reproduce the clarification issued by M. Jayalath Perera, Director Legislative Services / Director Communication (Acting), Parliament: Clarification Regarding the Title of “Dr.” mentioned before the name of the Minister of Justice, Attorney-at-Law, Hon. Harshana Nanayakkara, on the Parliament website.

“I would like to emphasize the following points in relation to reports published in the media regarding the title of ‘’Dr.’’ mentioned before the name of the Minister of Justice and National Integration, Attorney-at-Law, Harshana Nanayakkara, in the directory of Members of Parliament on the Parliament website.

“It is important to note that Hon. Harshana Nanayakkara has not indicated holding a doctoral degree in the information provided to Parliament. The appearance of the title “Dr.” before the Minister’s name was a result of an error in entering the relevant data. Accordingly, steps have been taken to rectify this mistake.

“I express my deepest regret for the inconvenience caused to the Minister of Justice and National Integration, Attorney-at-Law, Hon. Harshana Nanayakkara, in this regard.

“Also, the process of re-checking and updating the information of all Members of Parliament on the Parliament website is currently underway.”

But those who cannot stomach the NPP’s victory ask why didn’t Nanayakkara get that corrected himself if he was not entitled to be called “Dr.”? However, the Justice Minister lodged a complaint with the CID on Monday (16). The investigation can help ascertain whether some interested party conspired to discredit the NPP.

That clarification issued by Parliament meant that Ranwala provided false information to Parliament. According to Jayalath Perera, the parliamentary staff entered the relevant data provided by lawmakers, hence the only mistake on their part pertained to the Justice Minister’s data.

Power Minister Kumara Jayakody, too, lodged a complaint with police seeking an investigation into what he called an organized attempt to discredit him by challenging his academic qualifications. Both Nanayakkara and Jayakody speculated about the possibility of those who had been rejected by the people and their associates and supporters being involved in the high profile campaign.

The NPP cannot afford to disappoint 5.7 mn people who voted for AKD at the presidential election and 6.8 mn at the general election. The NPP increased its voter tally from 5.7 mn to 6.8 mn within a couple of weeks whereas the SJB was reduced to 1.9 mn votes from 4.3 mn at the presidential poll. The NDF was reduced to just 500,000 votes from 2.2mn at the presidential election while the SLPP increased its tally from 340,000 to 350,000. The Opposition is in disarray and in a pathetic situation.

Ranwala’s fiasco has sort of given the Opposition false hopes of a quick comeback. The forthcoming local government polls will show the ground situation. The NPP must keep in mind that in addition to the Ranwala affair, the failure on its part to provide sufficient relief to fuel and electricity consumers as promised has caused much public anger. Having repeatedly alleged that the previous government couldn’t substantially reduce fuel prices as the then Minister Kanchana Wijesekera pocketed the money, and having made those claims against the previous Minister in charge of the subject, the NPP brought down the price of a litre of Octane 92 by just 2 rupees much to the public’s resentment.

The pathetic handling of the rice mafia, too, didn’t do the NPP any good. Throughout the polls campaigns, the NPP repeatedly assured that the rice mafia would be appropriately dealt with and prices brought down and stabilized. The NPP also promised that rice wouldn’t be imported at all though imports would meet the tourist sector requirement. That much touted promise, too, was broken. However, the electorate, the writer is certain, doesn’t see any point in once again pinning their hopes on the utterly corrupt and dishonest lot rejected at the presidential and parliamentary polls.

Why Parliament shouldn’t defend wrongdoers

During the general election campaign, AKD explained why Parliament shouldn’t protect wrongdoers. The President said that the Yahapalana Parliament (2015-2019), during Karu Jayasuriya’s tenure as the Speaker, defeated a no-confidence motion moved against Ravi Karunanayake over the Treasury bond scams, especially after he told the Presidential Commission of Inquiry that probed it, he could not remember the person who gave him a luxury penthouse at Kollupitiya. Then in 2023 the Wickremesinghe-Rajapaksa government defended Keheliya Rambukwella when a no-faith motion was moved against him over corruption in the health sector procurement, the President said.

Having said so, AKD couldn’t have defended Ranwala in case the SJB handed over a no-confidence motion against him. In fact, the NPP has created an environment that may prevent those exercising political power from coming to the rescue of wrongdoers under any circumstances.

During Ranwala’s very short stint as the Speaker, he had the opportunity to receive several foreign dignitaries. Press releases issued by Parliament following those meetings referred to Ranwala as Dr. Ranwala.

South Korean Ambassador Miyon Lee paid a courtesy call on Speaker Ranwala on 04 Dec. at the Parliament complex. Secretary General of the Parliament Mrs. Kushani Rohanadeera, was also present on the occasion. This happened the day before Prof. Dewasiri exposed the NPP parliamentarian.

Ranwala, not aware of what was coming, addressed the newly elected members on 25 Nov., in Parliament, where he emphasized the responsibility on the part of newcomers (he, too, was a newcomer struggling to handle responsibilities for want of parliamentary experience) to familiarize with parliamentary procedures. Speaker Ranwala said that public expectations couldn’t be met unless they learnt about parliamentary procedures. Ranwala was addressing the inaugural session of the orientation programme for lawmakers.

The Parliament website quoted Speaker Ranwala as having emphasized the importance of organizing such workshops, noting that a thorough understanding of parliamentary traditions, constitutional frameworks, standing orders, and related parliamentary procedures is crucial for serving the people through the diverse debates conducted within Parliament.

Chinese Ambassador in Colombo Ambassador Qi Zhenhong was the first envoy to pay a courtesy call on Ranwala at the Parliament. The Chinese Ambassador conveyed the greetings of the Chairman of the Standing Committee of the National People’s Congress of the People’s Republic of China (Speaker of the Parliament of the People’s Republic of China) Zhao Leji, to the newly elected Speaker of the Tenth Parliament during the meeting.

The Chinese envoy was followed by Indian High Commissioner Santosh Jha. Jha paid a courtesy call on the Speaker on 28 Nov. at the Parliament.

The United Nations Resident Coordinator in Sri Lanka, Marc-André Franche, met Speaker Ranwala on 04 Dec.

In the wake of Prof. Dewasiri’s shocking disclosure, Speaker Ranwala received a high-level US delegation led by Assistant Secretary of State for the Bureau of South and Central Asian Affairs Donald Lu. The meeting took place on 06 Dec.

The delegation included Ms. Anjali Kaur, Deputy Assistant Administrator of the Bureau for Asia at USAID, and Mr. Robert Kaproth, Deputy Assistant Secretary for Asia at the US Department of the Treasury.

According to a press release issued by Parliament the meeting focused on Sri Lanka’s reform priorities and the critical role of the House in advancing the people’s mandate for accountability, transparency, and inclusive governance.

Ambassador of the United Arab Emirates to Sri Lanka Khaled Nasser AlAmeri was the next to pay a courtesy call on Speaker Ranwala. That meeting took place on 09 Dec. amidst a stepped-up campaign against Speaker Ranwala. The NPP seems to have operated on the premise that the controversy over the Speaker’s credentials would gradually fade away. But, the media pressed the Cabinet spokesperson Dr. Nalinda Jayatissa over the simmering serious issue. That controversy sort of overwhelmed the NPP that worked so hard to portray all other political parties, other than them, as corrupt to the core.

In fact, the NPP had nothing else but to depend on what it called a new clean political culture. Having impressed the electorate with nothing but promises and assurances that it would do the right thing, it couldn’t have a blatant liar as the Speaker.

If not for the political culture that had been introduced by the NPP, in the wake of Aragalaya in 2022, the false declaration made by Ranwala wouldn’t have been an issue at all. The people would have simply accepted it as just another lie. Our inefficient and useless Parliament had been so disgraceful in its conduct and encouraged public resentment that a Speaker’s false claim wouldn’t have caused a public furore.

The NPP’s failed bid to storm Parliament during the final push against President Gotabaya Rajapaksa should be examined taking into consideration the pathetic state of our Parliament. Some of those unscrupulous men who represented Parliament over the past two to three decades brought about the Parliament’s collapse. Instead of taking remedial measures, political parties allowed the deterioration to continue, unabated. Nothing can be as ridiculous as conducting student parliaments all over the provinces. What the Parliament really expected to achieve by promoting student parliaments at a time the very basis of the parliamentary system is under threat due to overall failure of the political party system.

Parliament must take appropriate measures to restore public confidence in the highest institution in the country. Ranwala’s affair proved beyond doubt that the Speaker, who is also the Chairman of the Constitutional Council, could manipulate the system. No one and no political party should be above the law. War-winning Sri Lanka had suffered unbearable losses for want of proper parliamentary control over public finance over the years.

Let us hope the NPP has learnt a hard lesson at the onset of AKD’s five-year term that would help the party to navigate choppy waters. The daunting challenges faced by a bankrupt country should prompt all political parties, represented in Parliament, to reach consensus on Sri Lanka’s response to the deal with the IMF, signed by Ranil Wickremesinghe. The issue the Parliament must grapple with is how to transform the sick national economy to make it possible for us to start repaying foreign debt in 2028 without making most of us absolute paupers, but many Lankans are already in dire straits economically.

The Parliament can begin by making the Supreme Court judgment on the economic crisis that led to Gotabaya Rajapaksa’s removal available to new members of Parliament. Of the 225 MPs, 162 are new entrants. The Supreme Court in Nov. 2023 issued a symbolic ruling that Rajapaksa brothers – including two ex-Presidents – were guilty of triggering the worst financial crisis by mishandling the economy.

In a majority verdict on multiple petitions filed by academics and civil rights activists, a five-judge bench of the Supreme Court ruled that the respondents, who all later resigned or were sacked, had violated public trust. But that verdict should be examined along with massive foreign loans taken by the Yahapalana government during the 2015-2019 period at high interests that contributed massively to the crisis.

Let there be no holds barred examination of the economic crisis and exposure of all responsible, regardless of their status. However, that wouldn’t be a reality unless the legislature fulfils its basic obligations in terms of the Constitution.

Let us also not lose sight of hidden hands, especially from the West who make matters worse through their cloak and dagger operations worldwide as also was put into operation here during Gotabaya Rajapaksa presidency, like even cutting off worker remittances from our banking system thereby we couldn’t even scrape together a few million dollars to clear even a shipment of cooking gas. They have done similar jugglery to so many other countries, even in our neighbourhood, as has been the case already in Bangladesh and Pakistan. Modi should not feel all that smug as we do not know what plots are being hatched against him.

Remember the uncompromising Aragalaya activists who were threatening to die for a system change in the country, but disappeared into thin air no sooner Ranil Wickremesimnghe was installed in the seat of power with the ouster of Gotabaya Rajapaksa by extra parliamentary means.

Midweek Review

Seeking cultural transmission between bodies

Published

5 days ago

2024/12/18

Sahan Weerasooriya

Mavin Khoo in an Odissi Solo to live music. © Foteini Christofilopoulou (L) / Taji Dias performing low country dance (14th Dec 2024) at Chitrasena Dance Company. Photo credit: Saumya Liyanage 2024 (R)

From Chitrasena to Akram Khan:

by Saumya Liyanage

Akram Khan is a world-renowned dancer, choreographer and the founder of Akram Khan Company (AKC) in the UK. He has been an impactful dancer and choreographer who was initially trained as a Kathak dancer during his apprenticeship under various Kathak Gurus in Asia and elsewhere. He and his dance company have created numerous dance productions that surpass the traditional boundaries. Akram Khan is a recipient of top awards including two Laurence Olivier Awards, the Bessie Award (New York Dance and Performance Award), the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award, the Fred and Adele Astaire Award, the Herald Archangel Award at the Edinburgh International Festival, the South Bank Sky Arts Award, and ten Critics’ Circle National Dance Awards for his company.

With the initiative of the British Council in Colombo, the Akram Khan Dance Company contacted me a few months ago. The Legacy International Project Manager of the AKC, Varsha Kumar sent me an email informing me of an exciting project the dance company wanted to initiate in Jaffna. It was an upcoming collaboration between Akram Khan Company supported by the British Council Colombo to conduct an intense dance exchange workshop. This initiative facilitated a five-day intensive cultural transmission of Bharatanatyam dance conducted by Mavin Khoo, the artistic associate of the Akram Khan Company with a selected group of youth from Jaffna.

The idea was to continue and sustain the traditional dance forms and explore how they could be sustained and continued further through innovative practices. Mavin Khoo visited Jaffna for the first time to initiate this cultural transmission project with the hope of conducting this intense workshop on Bharatanatyam. Mavin Khoo, trained as a traditional dancer in Bharatanatyam in Malaysia, is a choreographer and the creative collaborator of Akram Khan. Mavin holds an MA in Choreography from Middlesex University and was a faculty member of the Dance Studies Department, School of Performing Arts at the University of Malta in 2014. He has been working as the rehearsal director of the Akram Khan Company and is exploring traditional dance and its contemporary relevance as a mode of human agency and provocation.

It is an ongoing work that the AKC initiated and this collaboration will continue further in future. Here is something interesting about what happened when Khoo, Varsha and their team came to Colombo after finishing the Jaffna Classical Intensive project. The British council director Edward Orlando invited me to a networking lunch in Colombo, where Khoo and Varsha were present. At lunch, I met some of the Sri Lankan dance community representatives. They included versatile dancers such as Upeka Chitrasena, Heshma Wignaraja, and Kapila Palihawadana. We shared our thoughts and ideas about dance and future collaborations during lunch. After this session, Upeka Chitrasena invited us to visit Chitrasena Dance Company. Akram Khan Company focused on helping peripheral dance groups to sustain and continue their traditional dance heritage and encouraged them to expand their possibilities of innovations, and the Chitrasena Dance Company in Colombo is also dedicated to preserving and continuing Sri Lankan traditional dance practices for posterity.

Dance as Ekstasis

: Chitrasena (1921-2005)

: Akram Khan

I am not a dancer, but I have been interested in dance and dance theatre throughout my academic career. Dance and theatre share many elements and it is the body that is central to the dancer and actor’s work. A few days ago, at the Faculty of Medicine, a session was conducted by the Centre for Meditation Research on how movement facilitates happiness and wellbeing. With my research collaborators, Kanchana Malshani and Chamanee Darshika, I demonstrated how movement is central to our understanding of the self and the world. The key question that I posed at the seminar is that movement allows us to understand our body, time and space and allows us to understand how we could connect with other bodies. Movement is the primal element of the body of the animated being.

What fascinates me here is that actor/dancer experiences time and space and the Other, in a different way than we experience the same phenomena on the daily basis. Dance scholar and Philosopher Sheets Maxine-Johnston argues that Man comprises temporality within himself, for he is such an ekstatic being. He is always at a distance of himself, always in flight” (Sheets-Johnston, 2015, pp. 16-17). This statement clearly indicates how the dance and dance experience override the objective time and space. Greek etymology of the word ekstatic means how one emancipates from her/his own self and transcends for the daily reality. In this sense, the moving body of the dancer, as I witnessed at the Chitrasena Dance Company, shows that dancers’ “being” is not in the daily reality when they intensely move their bodies in the space and time with the complex drum ensemble. Hence, I argue that our understanding about time and space is constructed through the physiological and mathematical understanding of time and space. The other is understood in a way that we as selves are constructed and defined through various lingual and cultural discourses. In this sense, the dancer/actor surpasses these constructed boundaries when the body becomes animated through dance and acting.

We sat at the Chitrasena Dance Company in the afternoon of Dec., 14 2024, and Khoo and Varsha were scheduled to leave Colombo a few hours later. An intense and galvanising performance was unveiled at the bare stage of Chitrasena Dance Company with Thaji Dias and the dance ensemble with seven master drum players. One after the other, a series of traditional dance repertoires unfolded before our eyes. Particularly Thaji Dias’ mesmerising and electrifying bodily motility of Kandyan, Low Country and Sabaragamuwa styles blended with intense rigor and precision. It was evident that some of the dance repertoires that Thaji and the lead male dancer performed were somewhat improvisational, bringing key elements of Kandyan dance into an ecstasy of performance. Both dancers seemed to be connected with each other through somatic means, communicating with facial and bodily gestures to trigger certain dance repertoire to perform together. I witnessed that both dancers were kinesthetically and sensorially joined through learned repertoires to perform a new interpretation of Kandyan dance form.

Cultural Transmission

These traditional dance performances triggered several important questions related to the dance body and cultural transmission of somatic knowledge. First, when Heshma, the artistic director and choreographer of Chitrasena Dance Company introduced a particular dance repertoire developed and choreographed by Vajira Chitrasena, she articulated this as a cultural transmission of choreographic knowledge which came through two generations of dancers. This statement triggered several important questions related to dance historiography. When Chitrasena and Vajira choreographed their works, it may have been done through the embodied knowledge that they possessed through what they learnt and mastered from the traditional Gurus. However, Chitrasena and Vijira may have understood that replicating traditional dance and its repertoire would not add any innovation to their dance interventions. My interest was drawn to this phenomenon and the question emerged on how these individual dance artists have distilled the traditional Kandyan dance to modernist choreographic works through adding innovative elements to their newly founded body notations.

Researchers who are working on the intangible cultural heritage mainly focus on how traditional dance and heritage can be transmitted. They are mainly concerned about how these traditions are continued and sustained through contemporary dance ensembles. However, the intangible heritage discourse has least focused on how these dance traditions have been changing through time and how these new elemental changes have been transformed and transmitted to the next generation of dancers. During our encounters with dance choreographer and artistic director of Chitrasena Dance Company, Heshma discussed how they “do” dance. Her articulation of “doing” dance rather than talking about dance explains how they transmit knowledge of somatic elements of dance through bodies. She said, “We rarely talk … we do not use language but we do dance”. One of the challenges posed by these issues is that the corporeal learning and embodied knowledge cannot be objectified in the researcher’s eyes. They are somatically embedded in the dancers’ bodies and are sedimented within their dance repertoires. A meticulous observation, analysis and categorisation will be required for someone to understand and identify how these dance elements have been changed and embedded in the dancer’s body. As I believe, new dance ethnographic research would be useful for researchers to extricate those elemental dance repertoires to understand how contemporary dancers’ bodies embody dance heritage in their somatic memories.

Conclusion

Akram Khan and his creative associate Mavin Khoo explore the possibilities of preserving traditional dance forms while seeking opportunities to revive them through innovative practices. The Chitrasena Dance Company working in the field of traditional Sri Lankan dance ambitiously is in search of a new era of Sri Lankan dance while passing the Chitrasena -Vajira dance heritage to the next generation of dancers and choreographers. Both companies share similar objectives in dance preservation and innovations within the highly contested Global cultural domains. Khan, Khoo, Chitrasena, Vajira, Thaji and other dancers embody a vast knowledge of somatic practices akin to their own dance traditions. Yet, these ekstatic bodies transcend the daily constructed selves, which carry the somatic knowledge of dance that are waiting to be disseminated in the bodies of the next generation of dancers. These areas of dance-ethnography should be further developed to understand the embodied knowledge and the somatic practices infiltrated through the generations of dancers and drummers. New dance-ethnography, dance historiography and new methodologies should be developed and applied to deepen our understanding of dance as an explicit knowledge of human expressions, emotions and ecstasy.

References

Sheets-Johnston, M. (2015). The phenomenology of dance. Philadelphia (Pensilvania, Estados Unidos) Temple University Press.

Company, Akram Khan. n.d. “Our Biographies.” Akram Khan Company. Cog. Accessed 2024. https://www.akramkhancompany.net/about-us/our-biographies/.

Nürnberger, Marianne. 2014. “Vajira – the First Professional Female Dancer of the Sinhalese Style.” Sri Lanka Journal of Humanities 40 (0): 99. https://doi.org/10.4038/sljh.v40i0.7232.

Raheem, Mirak. 2022. “Vajira: The Pioneering Female Dancer.” South Asian Dance Intersections 1 (1). https://doi.org/10.55370/sadi.v1i1.1475.

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Saumya Liyanage is an actor and professor in Drama and Theatre, currently working at the Department of Theatre Ballet and Modern Dance, Faculty of Dance and Drama, University of Visual and Performing Arts, Colombo, Sri Lanka. saumya.l@vpa.ac.lk

The author wishes to thank Himansi Dehigama for her assistance in preparing this article.