Features
Ran Muthu Duwa
(First Colour Feature Film in Sinhala)
By Rohan Abeygunawardena
(abeyrohan@gmail.com) and
Ananda Wickramarachchi
This article is dedicated to all the crew members of the first Sinhala colour film Ran Muthu Duwa that was screened 60 years ago on 10 August 1962.)
Sir Arthur Charles Clarke CBE FRAS was very well known world over as a renowned English science-fiction writer, science writer, futurist, inventor, undersea explorer, and television series host. But very few knew him as a producer of Sinhala feature films. He embarked on that for the benefit of the people in his host country Sri Lanka.
His first film co-produced with Mike Wilson and Shesha Palihakkara was Ran Muthu Duwa or Island of Treasures Ran Muthu Duwa was the first full-length Sinhala feature film in colour. The film was released on 10th August 1962, 60 years ago.
The film was directed by Mike Wilson, a photographer who immigrated to newly independent British colony of Ceylon in 1956 along with Arthur. Mike was originally from New Zealand and then lived in Britain and USA. Two friends Arthur and Mike were the early adopters of aqua-lung, invented in the mid-1940s which enabled divers to spend extended periods of time underwater. Both were “Scuba Divers” and lovers of exploring undersea and spent two adventurous years exploring the Great Barrier Reef in Australia before arriving to Ceylon (now Sri Lanka). They have produced many rare underwater photographs taken during underwater expeditions. These were illustrated in Arthur’s book “The Coast of Coral.”
There was a very fascinating story behind making Ran Muthu Duwa. Arthur and Mike embarked on an underwater exploration expedition off the southern coast; in proximity to Yala off Kirinda beach. These were vast coral reefs found in Sri Lanka. Their friend Rodney Jonklaas, a Sri Lankan marine biologist and a diver also joined them.

This area exposed to the force of both monsoons, and the sea was very rough throughout the year and many a ships sank during the period of European colonisation. British realised the necessity to build offshore light houses for the safety of seafarers. They completed the project building two lighthouses known as the Great Basses and Little Basses using modern lenses called hyper radiant Fresnel lenses. The lighthouses were named Maha Ravana Kotuwa” and Kuda Ravana Kotuwa in Sinhala.
While exploring underwater terrain close to Great Basses and Little Basses Arthur, Mike and Rodney discovered bags of silver coins, cannons, and other artefacts on 22nd March 1961. Further research conducted by them examining historical records at Colombo Museum and other libraries established that the silver coins were from an early 18th century sunken ship belonged to Mughal Emperor Aurangzeb. Their discovery was named the “Great Basses Wreck.”
Mike in his late twenties was an energetic young man was very keen to make a colour feature film based on their discovery. He has already produced a short film based on the underwater experiences around Great Barrier Reef in Australia when exploring it with Arthur. Mike, together with Arthur and Rodney, also wrote, photographed and directed the 25 minute documentary “Beneath the Seas of Ceylon” in 1958. This was the first film that displayed the beauty under the Sri Lankan oceans. Rodney once mentioned that he had learnt photography in general and underwater photography in particular from Mike.
Mike and Rodney approached Shesha Palihakkara who agreed to co-produce the film. Arthur, Mike and Sesha setup a company by the name Serendib Productions to make the film. The storyline was developed by Mike who had the knack for writing stories during his schooldays.
Storyline
Bandu, a young man had a dream on a Wesak night. His father who was a pearl oyster diver, passed away several years ago, appeared and advised him to remove the pendant that hangs from a chain worn round his neck as it could bring bad luck to his life. Bandu broke the chain in his sleep and woke up frightened and sweating. Bandu remembered that the pendant was a silver coin his father picked up while pearl diving close to their Ran Muthu Duwa (a fictitious island). The day after it was picked up his father had a mysterious death. The next morning, together with his two friends Sena and Raju, Bandu visited a jewellery shop. Shop owner, Danapala examining the coin realised the value of it and pretending as a coin collector offered Rs.350 to buy off. Three friends now very much inquisitive did not accept the offer and left the shop. Danapala sent a man to follow the young men.
Bandu and his friends now keen to find out more about the coin, visited Colombo Museum. According to the records, this coin was from a treasure of an ancient shipwreck. They decided to go to the village and meet Bandu’s uncle. Uncle helped them to meet a Swami living in the island. Swami told the young men that there had been a temple situated in this island. Portuguese ransacked and all the wealth possessed by the temple was taken away in a ship. But they couldn’t sail very far and the ship was wrecked by a sudden storm. This was now a treasure that had run aground as a result of the curse of the God. He further said whoever tried to recover it would meet his death.
In the meantime, Danapala too came to the island and met his old friends Muthusami and Kalidasan. A business rival of Bandu’s late father, Muthusami had become very rich now. Muthusami’s daughter was known to Bandu during their school days in the village. Muthusami’s intention was to give her daughter Kumari, in marriage to Kalidasan’s son Renga. In the meantime Bandu met Kumari and a love affair developed between the two. Kalidasan and Renga hated them.
Danapala, a cunning man he was, approached the young men and tried to persuade them to join his team to recover the treasurer. Bandu flatly refused. His intention was to recover the treasure and build a temple to enable the people to worship with Swami’s blessings.
Bandu and the friends hired a boat from Muthusami with the help of his uncle to explore underwater to locate the treasure. Bandu and Renga met each other under water and the latter tried to attack the former. The ensuing fight resulted Renga losing and drifting away unconscious. Bandu brought part of the treasure to the boat in a cane bucket. He went underwater again to bring the remaining part of the treasure against the advice of his friends. Accompanied by Muthusami, Danapala got into Bandu’s boat wielding a gun and over powered Bandu’s friends and the uncle. When Bandu came on board with the balance part of the treasure, Danapala tried to shoot and kill him. But Muthusami was against it and pushed Danapala off the boat.
In the meantime Kalidasan got hold of Kumari who was coming to the beach to meet Bandu. Kalidasan took her to the rock where the ancient kings beheaded the offenders. She was chained to the rock. She was submerged in the seawater when Bandu found her. Rajo ran into a hardware shop close by and forcefully grabbed a hand saw blade from the shop owner. He and the friends managed to cut the chain and rescued Kumari at the last moment.Bandu got the treasure, but he used part of that to rebuild the temple and handed over the balance to the government.
Cast
Mike and Sesha invited in 25-year-old Gamini Fonseka for the leading role, “Bandu.” Gamini was an extra in Rekawa and had acted in few films such as Daiva Yogaya (1959-minor role), Sandeshaya (1960-leading but not the main role). He initially wanted to be a cameraman but got the opportunity to work as a second assistant director of David Lean’s award winning “Bridge on the River Kwai” and Lester James Peries’ Rekawa.
Gamini never wanted a stuntman to perform his underwater scenes. Confident and arrogant, Gamini insisted that he should be given training in diving. He proved to be a good diver after few days of training. Gamini, the handsome and smart young man went on to dominate the Sinhala film scene for at least five decades.
Looking around, the producers found a 21 year old girl from Panadura Arts Association to play the role of the heroine. She was Jeevarani Kurukulasuriya. She has acted in a popular stage drama Maha Hene Riri Yaka a story written by late Prime Minister SWRD Bandaranayke and directed by Dick Dias. Jeevarani too became a popular actress in Sinhala Cinema, later on.
A friend of Arthur and Mike, Hector Eknayake was persuaded to play the villain’s role as Renga. Hector, a former Boxer also helped training the cast in fighting scenes in this action packed Sinhala production. Hector also trained Gamini in diving.
Others selected were Joe Abeywickrama as Sena, Shane Gunaratne as Rajo, Anthony C. Perera as Bandu’s uncle, Austin Abeysekera as Danapala, Vincent Vass as Kumari’s father Muttusamy, Thilakasiri Fernando as Swami, Eddie Amarasinghe as Sena’s friend, LakShmi Bai as Bandu’s mother, Sam P. Liyanage as the Moor hardware shop owner.
Others who contributed to the success of Ran Muthu Duwa:
Tissa Liyanasuriya was assigned with the task of writing the script and the dialogues in Sinhala, based on Mike’s storyline. He was also employed as the assistant director.
The film editing and other technical matters were assigned to Titus Thotawatte who had already carried out editing of Lester’s “Rekawa.”
Rodney Jonklaas assisted in the production and also as a diver of Danapala’s team.
Maestro W.D. Amaradeva got his very first opportunity to direct the music of a film. Together with Sri Chandrarathne Manawasinghe who did the lyrics they composed three songs. The theme song “Paramitha Bala” sung by Amaradeva and Nanda Malini. A love song for hero and heroine, Bandu and Kumari was “Galana Gangaki Jeevithe” and the playback singers were Narada Disasekera and Nanda Malani. “Pipi Pipi Renu Natana,” a group song was sung by Narada. For Nanda Malani and Narada this was the first break in the film industry to perform as playback singers. These songs were very popular even today after 60 years.
However Amaradeva composed only part of the background music. He was unable to travel to London with his musicians due to financial constraints to provide music at the time of processing of underwater scenes. Titus found a solution. He bought few instrumental music records (EP’s) and incorporated as background music. As a result part of the background music of the first Sinhala colour film was western, not the Maestro’s type.
Filming and Location
The film was shot in and around Trincomalee, Eastern Sri Lanka and close to Swami Rock (Kôṇâmalai) also called ‘lovers leap,’ where the ancient Koneswaram Hindu Temple perch atop it. Director of photography was assigned to W.A. Ratnayake. There were three cameramen. Outdoor filming was by Mike himself, underwater by Rodney and Sumiththa Amarasinghe filmed song sequence of “Galana Gangaki Jeevithe.”
Studio cameraman for the film was M. S. Anandan of Ceylon Studios.
Development and Critical reception
It was a genuine sunken treasure discovered by Arthur and Mike off Kirinda beach in the south of Sri Lanka that inspired energetic Mike Wilson to make Ran Muthu Duwa. Mike had written, shot and directed a short (25 mins.) underwater documentary film naming “Beneath the Seas of Ceylon” for Ceylon Tea Propaganda Board. Arthur was little hesitant initially but later agreed to provide part of the finance and also to help in production. The company Arthur, Mike and Sesha formed, Serendib Productions worked on a budget of Rs.450,000. Arthur provided start-up capital of Rs.50,000.

Ran Muthu Duwa
(Island of Treasures) was the first full-length colour film to be produced in Sinhala in Sri Lanka. While underwater filming was shot on using a 16mm Arri flex camera with double side perforation negative, for the other scenes a 35mm Arri flex IIc camera was used. The entire film was shot on Eastman Colour 32 ASA (American Standard Association). But the technology was such in the sixties there was no final colour negative. Instead 35mm four number of black and white matrices had to be technically processed for optical sound track and one each for three basic colours of Blue, Green, and Red (BGR) for printing the positives using BGR filters. Mike and Titus took the exposed negatives and dialogue tracks to Technicolor Laboratories in London for processing.
While Titus and Mike were processing the films with technicians at the Technicolor Laboratories in London, the famous film director Terence Young and his men were processing “Dr. No,” the first James Bond film in an adjoining studio. Terence hearing that an underwater feature film from the island of Ceylon was being processed, had barged into the studio and discussed the technical features of underwater filming with Mike and Titus.
A lover of films Dinesh Priyasad was an early viewer of “Thunderball,” the fourth Bond Film directed by Terence that was released in 1965. Dinesh was generally familiar with the technical aspects of filmmaking and directed several Sinhala films later on, including award winning Demodara Palama He also provided technical details for this article. Dinesh noticed that many underwater scenes were similar to Ran Muthu Duwa and informed his good friend Mike of his findings. Mike too watched this film several times and realised the plot. He knew for certain that some underwater sequences were being developed from his film. According to Titus, Mike became a worried man for Terence didn’t have the common courtesy to even acknowledge that in the end credits of the film “Thunderball” or written a letter thanking him. Mike’s frustration led him tomake a film naming Sorungeth Soru literally meaning “thieves are always thieves.” This was probably the wackiest feature film directed by Mike, yet it won Best Film and Best Actor awards at the 5th Sarasaviya Awards held in 1968.
Ran Muthu Duwa, with beautiful underwater scenes including fighting sequences was released on 10 August 1962, and it received overwhelmingly positive reviews. It also became the talking point throughout Sri Lanka, not only among Sinhala film fans but also those who loved Tamil and English films. Some of my Tamil friends said it was better than MGR (M.G. Ramachandran) films. Some others said it was like an “English Mystery Thriller.” Nearly one million people or ten percent of the population had seen it, and at the end of the day Ran Muthu Duwa was a tremendous commercial success. The film received “Famous film,” “Best Male Singer,” “Best Female Singer,” “Best Lyricist,” awards at the first Sarasaviya Awards held in 1964 and the “Favourite Producer” award at third Deepasika Award Ceremony in 1972.
Arthur C. Clerk who was hesitant to finance the project when proposal was made by his friend Mike, yet he exclaimed later, “I have never grown tired of watching the scenes of dawn over the great temples, the sea-washed cliffs of Trincomalee, the lines of pilgrims descending Adam’s Peak, and the mysterious underwater sequences even today, thirty-six years after it was made.” He wanted to arrange a re-release. But that never took place as he passed away on the 19th March 2008.Many of the film crew members are no more except Jeevarani Kurukulasuriya, Nanda Malini, Tissa Liyanasuriya and Hector Ekanayake.
Features
Defend civic space upon which peace is built
by Jehan Perera
International Peace Day was observed on 21 September. It finds Sri Lanka with a genuine achievement to record and a demanding test to meet. The UN’s theme this year was “Invest in Peace: For Everyone, Everywhere, Every Day.” It also honoured the “everyday architects of peace”—people driving local action and building a lasting peace from the ground up. In the 2026 Global Peace Index, Sri Lanka rose 30 places, from 97th to 67th among 163 countries. Over the same period, global peacefulness declined for the twelfth consecutive year to its lowest level since the index began, and South Asia suffered the sharpest regional deterioration. The test is whether the government will protect the civic space in which those architects of peace work.
Sri Lanka’s improvement is real and deserves acknowledgement. In this year’s review, issued a few weeks ago, the UN High Commissioner for Human Rights acknowledged progress in the form of action against corruption, arrests and investigations linked to political killings, enforced disappearances and the 2019 Easter Sunday attacks, and continued official denunciation of racism. A ranking, however, records conditions at a particular moment. It does not guarantee that they will last. Sustainable peace will depend on three factors. These are whether the government addresses the unresolved causes of conflict, whether it strengthens accountability for past and present abuses, and whether it protects the civic space in which peace is built from below. On the first two the record is incomplete. On the third, the draft NGO law threatens to weaken the very organisations that press for the other two.
What holds Sri Lanka back from a higher place are the same things that fed the war at home and also feed international conflict that rages elsewhere in the world. These are racism or ethnic nationalism that is narrow-focused, corruption and lawlessness. Equality, accountability and the rule of law are their remedies. The present government has committed itself to these, and is a significant improvement over governments of the recent past. But these pillars are not held up by governments alone. Peace is made in villages, workplaces and university campuses. It is made by families who insist on the truth about their disappeared, by journalists and lawyers who expose abuse, and by community organisations that bring Tamils, Muslims and Sinhalese into practical cooperation.
Unfinished Work
The UN High Commissioner’s report to the current Human Rights Council session, covering October 2025 to July 2026, shows how much remains to be done. The Prevention of Terrorism Act is still being applied, producing arbitrary arrests and long detention without charge. The report calls for a moratorium pending repeal and for the release of long-term detainees. Military-occupied land has not been released, memorialisation lacks support, and tensions over land and religious sites persist. The Batticaloa district illustrates how such problems endure. In the past three years, two Presidents, Ranil Wickremesinghe and Anura Kumara Dissanayake, have visited and instructed that the dispute over grazing land in Mailaththamadu and Mathavanai be resolved. It is a dispute between Tamil cattle farmers and outside Sinhala cultivators, and it has not been resolved. When two Presidents issue instructions and nothing changes, the fault lies in the machinery of State. An unresolved dispute does not stand still. It hardens into the next grievance.
Accountability shows the same pattern. The report documents torture and deaths in custody, and surveillance and intimidation of activists, journalists and civil society. Serious cases remain stalled for years, among them the killing of seventeen aid workers of Action Contre la Faim in Muttur two decades ago. Sharper still is the case of the Eastern University refugee camp at Vantharamoolai, where in 1990 the army took away 158 persons in a single day. They were never seen again. The camp’s officer-in-charge, Dr T. Jayasingam, later Vice Chancellor of the university, identified the officers responsible. More than three decades on, those officers have not been questioned. These cases are still remembered because families, survivors and independent witnesses have refused to let them be forgotten. Meanwhile several commissions of inquiry have completed their investigations but nothing further has happened.
What South Africa, Argentina and other post-conflict societies have found indispensable are four pillars of what is called “Transitional Justice” which are truth, accountability, reparations and non-recurrence. In Sri Lanka’s circumstances, truth means credible, independent investigation of what happened to the disappeared, and support for memorialisation. Accountability means prosecuting Muttur, Vantharamoolai and comparable cases, and removing credibly accused persons from senior office. Reparations mean compensation for victims and the return of military-held land. Non-recurrence means repealing the Prevention of Terrorism Act, releasing those held under it in the meantime, and resolving local disputes such as Mailaththamadu before delay hardens them. A country that buries its past does not escape it. The past returns in the next generation.
Civil Society
It is against this background that the draft NGO law is most troubling. The proposed legislation contains sweeping provisions for State oversight and control of civil society organisations. Among these are enforcing a licensing requirement on NGOs, which is to be renewed every three years, and severe penalties for not submitting reports on time, or for spending on emergency flood relief (for instance) when the NGOs mandate is peacebuilding (as an example) with possible sanctions including deregistration and having to shut down. Civil society groups have warned that it would confer excessive discretion over their registration and operations. Officials in Sri Lanka have abused such powers in the past. Additional power without effective checks invites further abuse. Sound regulation would have clear criteria for registration, an independent registrar and a right of appeal to the courts. What cannot be justified is a regime in which registration becomes a licence to be withheld from organisations that scrutinise policy, expose abuses or advocate for the rights of citizens.
Democracy is based on checks and balances. Those who press for accountability are part of those checks. The contradiction is plain. A government that has pledged accountability, equality and the rule of law ought not to be preparing to weaken the very organisations that press for their fulfilment. The organisations most exposed are those working on disappearances, land, memorialisation and reconciliation in the North and East, where the State’s record is weakest and the need for independent witnesses greatest. Silencing them would not remove the grievances they document. It would remove the channel through which those grievances are addressed peacefully. The government appears to be relenting, which is welcome, but a pause is not a withdrawal. The bill should be withdrawn and any replacement drafted in genuine consultation with those it would govern.
Investment in peace as called for by the UN in its International Peace Day theme implies commitment over time, with returns that come slowly. Sri Lanka’s 30-place rise on the Global Peace Index is a first dividend and nothing more. It can be built upon only if the government matches its commitments with action: withdrawing or fundamentally redrafting the NGO law, repealing or suspending the Prevention of Terrorism Act, and bringing Muttur, Vantharamoolai and Mailaththamadu to resolution. A higher place in a global index is not a certificate of success. Sri Lanka’s higher ranking is an encouraging start, but it will endure only if the space in which citizens speak, question and organise is protected. Peace is built from below, and a government that is serious about it will treat civil society as a partner rather than a threat.
Features
Africa is buying: Sri Lanka must start selling
A call to Sri Lankan exporters and agencies: Can Sri Lanka compete with China and India in Africa?
By Kana V. Kananathan
Former Ambassador
Sri Lanka has spent decades concentrating its exports on traditional markets in Europe, North America and Asia. Yet across the Indian Ocean lies a rapidly expanding market that remains significantly underdeveloped by Sri Lankan exporters: Africa.
The opportunity is not theoretical. Sri Lanka already exports packaging, textiles, rubber products, pharmaceuticals, paper, machinery and electrical goods to African markets. The question is whether these modest beginnings can be transformed into a serious export strategy—and whether Sri Lanka can compete against the enormous commercial presence of China and India.
The answer is yes—but Sri Lanka must compete differently.
Kenya: Gateway to East Africa
Kenya should be the starting point.
Sri Lanka exported approximately US$32.08 million to Kenya in 2025, while importing US$11.41 million. But US$32 million is tiny compared with the opportunity: Kenya imported more than US$24 billion in 2025. Even a 1% share of that market would represent nearly US$240 million in annual exports.
And the commercial base already exists. Sri Lanka’s 2025 exports to Kenya included approximately US$9.99 million in paper and paperboard products, US$9.73 million in knitted fabrics, US$3.64 million in pharmaceuticals, US$1.24 million in rubber products and US$1.20 million in machinery.
Kenya’s import structure is equally revealing. In the third quarter of 2025, industrial supplies represented 34.4% of imports, machinery and capital equipment 19.2%, food and beverages 9.0%, and consumer goods 7.3%. The opportunity for Sri Lanka, therefore, extends well beyond consumer goods—we can become a supplier to African industry.
But competition is fierce. Asia supplied around 70% of Kenya’s imports in 2025, with imports from China rising 16.5% and those from India 11.3%.
Sri Lanka cannot challenge China and India across every product category. Nor should it try. We must target sectors where quality, specialisation, reliability, technical capability, smaller production runs and flexibility matter more than simply offering the lowest price.
Where Can Sri Lanka Compete?
Packaging is an obvious starting point. Cartons, boxes, bags and labels are already among Sri Lanka’s exports to Kenya. Importantly, some Sri Lankan companies operating in Kenya are themselves importing these products from Sri Lanka. The market already exists; the challenge is to scale it.
As Africa’s food-processing, pharmaceutical, apparel and consumer-goods industries expand, demand for sophisticated packaging will grow with them. Sri Lanka already possesses the manufacturing capability and industry experience to capture a larger share.
Industrial rubber products, tyres, gloves and specialised rubber components offer another opportunity where Sri Lanka has established manufacturing expertise.
The apparel supply chain is equally promising. Rather than competing directly with African garment factories, Sri Lanka can supply fabrics, elastics, labels, packaging and specialised textile inputs.
Some Sri Lankan apparel manufacturing and export companies already established in Kenya, Togo, Ghana and Ethiopia are importing several of these inputs from Sri Lanka. The supply chain, therefore, already exists. The next step is to move beyond supplying Sri Lankan-owned factories and become a competitive input supplier to the wider African apparel industry.
Other sectors deserving systematic market development include pharmaceuticals and medical consumables, processed foods, biscuits and confectionery, coconut products, cinnamon and spices, electrical products and cables, industrial chemicals, ceramics, light engineering, agricultural equipment and food-processing machinery.
Sri Lanka should also look beyond physical goods. IT, fintech, banking technology, engineering, healthcare, hospitality management and professional services largely escape the freight disadvantage confronting merchandise exports.
The Tariff Problem Can Become an Opportunity
Market access cannot be discussed without tariffs.The East African Community applies a Common External Tariff with bands of 0%, 10%, 25% and 35%, while certain sensitive products attract still higher protection. Simply filling containers in Colombo with finished consumer goods will therefore not always be commercially competitive.
But that obstacle points towards a bigger opportunity: manufacture in Africa.
Sri Lankan businesses could export intermediate materials while undertaking final assembly, manufacturing, processing or packaging in Kenya. Packaging companies could establish converting plants; electrical manufacturers could assemble locally; pharmaceutical companies could explore manufacturing or packaging partnerships; and food companies could undertake final processing closer to consumers.
Kenya would then become more than an export destination. It could become Sri Lanka’s manufacturing and distribution gateway into East and Central Africa.
With the East African Community now comprising eight partner states and extending geographically from the Indian Ocean towards the Atlantic, establishing a regional presence is increasingly more important than viewing each African country in isolation.
West Africa Cannot Be Ignored
Sri Lanka simultaneously needs a West African strategy.
Ghana offers potential as an English-speaking commercial gateway and host of the AfCFTA Secretariat. Nigeria, with its enormous population and consumer economy, should be approached as a major market in its own right, despite its greater regulatory, currency and operational complexity.
ECOWAS tariff bands of 0%, 5%, 10%, 20% and 35% again make product selection critical. Sri Lanka should concentrate on products with sufficient differentiation and margins to absorb freight, tariffs and distributor costs.
Pharmaceuticals demonstrate both the opportunity and the challenge. Nigeria imported approximately US$766 million in pharmaceuticals in 2025, with India supplying roughly US$394 million and China US$131 million. Ghana imported approximately US$301 million, with India supplying about US$140 million.
Sri Lanka cannot simply offer another generic product and expect to beat India on price. We must identify specialised products, reliable supply arrangements, partnerships and, where commercially justified, local production or packaging.
Stop Promoting Sectors—Identify Products
Sri Lanka now needs an Africa Export Opportunity Study based on individual products, not broad sectors.
The Export Development Board, Foreign Ministry, chambers and private sector should jointly identify 15–20 priority products. For each product, Sri Lanka should calculate the HS code, African annual import demand, principal suppliers, Chinese and Indian market shares, applicable duties, freight from Colombo, regulatory requirements, distributor margins and final landed price.
That will tell us where Sri Lanka genuinely has a competitive advantage.
The Commercial Test
Before spending resources promoting a product, apply one simple test:
African import demand + Sri Lankan production capability + tariff + freight + distributor margin + regulatory cost = final landed competitiveness against China, India and local African production.
Only products that pass this test should receive concentrated export-promotion resources.
This would move Sri Lanka away from exhibitions, delegations and general discussions towards what ultimately matters: specific products, specific buyers, specific distributors and actual export orders.
Give Our Missions Targets
Commercial diplomacy must become results-driven. The Government should set clear annual trade and investment targets for every Sri Lankan mission in Africa.
Missions should be evaluated not merely on diplomatic activity, but on buyers and distributors identified, business introductions made, investments facilitated, market barriers resolved and measurable exports generated.
In a competitive Africa, our missions must become active economic frontlines not merely diplomatic outposts.
A practical strategy could operate through three commercial gateways: Nairobi for East and Central Africa, Accra for selected West African markets and Lagos for Nigeria.
Sri Lanka’s total exports of goods and services reached approximately US$17.25 billion in 2025. Capturing even a small additional share of Africa’s enormous import market could, therefore, make a meaningful contribution to export earnings, investment and foreign-exchange generation.
Africa Will Not Wait
Sri Lankan exporters must stop looking at Africa as a distant or difficult market and start treating it as a strategic growth market.
We cannot compete with China and India on scale, but we can compete on quality, specialisation, flexibility and reliability. Exporters must identify country-specific opportunities, establish strong local distributors, build partnerships with African businesses and use Sri Lankan companies already operating on the continent as gateways into regional supply chains.
Where freight and tariffs weaken competitiveness, businesses must be prepared to move towards local assembly, joint ventures and manufacturing in Africa. Exporters cannot do it alone. They need aggressive, measurable and results-driven commercial diplomacy from Sri Lanka’s missions.
Africa is buying. Its markets are being captured now. Sri Lanka must stop watching from the sidelines. We must enter, compete, build our presence and secure our share.
(Ambassador Kana Kananathan is a businessman, Diplomat, lobbyist and an expert in African affairs, with over four decades of experience on the African continent. A long-time resident of Africa, he served as Sri Lanka’s envoy to Uganda and Kenya, with concurrent accreditation to 22 African Nations, and was the permanent representative to UN Habitat and UN environmental Programme. Over the years, he has been the Elections Monitor across the continent, working closely with African governments, and built enduring partnerships with African leaders. He also served as Economic and Investments Advisor to former President Professor Alpha Condé of the Republic of Guinea)
Features
Memories and Midnight Magic: Recipe for a perfect 31st Night dance
The heart of a great 31st Night dance is memory, and memories come rushing back when those 70s, 80s and 90s golden oldies begin to play — those timeless tunes that make revellers, young and old, rush to the floor and dance the night away.
A perfect 31st Night is not just a party. It is a journey. A journey through time.
The music should flow like a love story. Start slow, start soft. Let couples glide into a waltz for romance. Let the floor come alive with a twist, a rock ‘n’ roll, a jive. Let nostalgia build with beautiful sing-along oldies generally associated with a New Year’s Eve dance.
This is the art that many of our entertainers seem to have forgotten.
The final hour, before midnight, is sacred. It should be collective energy at its peak. The entire crowd, on the dance floor, linking arms, swaying together, singing, at the top of their voices, those sing-along favourites.
Yes, I’m referring to those immortal, nostalgic favourites that unite the world: ‘This Land Is Your Land,’ ‘You Are My Sunshine,’ ‘When The Saints Go Marching In,’ ‘Roll Out The Barrel,’ ‘Celebration,’ ‘She’ll Be Coming Round The Mountain,’ ‘Happy Days Are Here Again,’ and so many more.
One wonders if some of our modern entertainers have even heard of these nostalgia anthems that traditionally lead up to the dawning of the New Year! This is not just music; this is ritual.
Then comes THE moment: Lights dim. Music pauses. A hush falls. The countdown begins — 10, 9, 8… — hugs, wishes, tears of joy, and then … ‘Auld Lang Syne.’ Hands crossed, voices united, bidding farewell to the old and welcoming the new. That moment makes or breaks the night.
Here is the truth that many genuine 31st Night revellers feel but hesitate to say — an overdose of baila music at New Year’s Eve events is NOT welcome.
Of course, baila is required. Baila is our Sri Lankan heartbeat! But a 31st Night dance is for everyone.
When it’s ONLY baila, the twist and rock n’ roll lovers, the waltz kings and queens feel left out. And they are the very people who MADE nostalgia! They are the die-hard revellers who have kept the 31st Night spirit alive for decades.
A family mentioned to me that they went along with friends for a 31st Night dance, in the city, to usher in 2026, and were thoroughly disappointed with the setup.
The bands in attendance, they said, failed to generate the excitement generally associated with a 31st Night event.
If given a free hand, the music at certain Colombo venues will be mostly baila, and that is going to disappoint many. Some are already worried that it will be just a baila scene this year, as well.
A memorable 31st Night respects all rhythms … yes, a waltz for romance, a twist and rock n’ roll for that 60s magic, a cha-cha, a slow foxtrot, and then the baila, after the countdown anthem.
That balance is what makes it inclusive, classy, and truly fun-filled.
Organisers, especially in Colombo, should keep this in mind: let it be 70% nostalgia – Western, and 30% baila, with the last hour left for pure baila madness, after the New Year is in!
Organisers must work out the programme for their 31st Night and instruct the entertainers to follow those instructions. The band should not dictate the night; the spirit of nostalgia should.
This New Year, let’s give Colombo what it truly wants — memories, midnight magic, and music for every soul on the floor.
Let’s dance into 2027 with class.
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