Features
Revolutionising actor training through indigenous corporeal arts
By Sajitha Prematunge
The various thuds, groans and gasps begged the question, were the participants insured? Apparently not, according to the AHEAD project team, lead by University of Visual and Performing Arts, Faculty of Dance and Drama, Professor in Theatre and Drama, Dr. Saumya Liyanage. The training takes place three days per week and make no mistake, Angampora is harder than it looks. But it is not life threatening if trained by a professional Master, assured Liyanage.
Accelerating Higher Education Expansion and Development (AHEAD) is a World Bank funded government initiative aimed at supporting the higher education sector with the Ministry of Education and Higher Education as the implementing agency and the University Grants Commission (UGC) coordinating the activities in the universities.
“The objective of AHEAD is to develop IT skills, English language proficiency as well as innovation and research in the government university sector,” informed Liyanage. The programme provides funding under three key areas, one being development-oriented research, under which Liyanage’s research project proposal titled ”Lamp in a windless place’: Developing an Actor Training Methodology through Sri Lankan Combative Art Forms’ was selected for funding. The project explores the effectiveness of actor training through Angampora.
Liyanage explained that while Europeans are more explorative and there exists an intercultural discussion on performer training traditions, the potential of indigenous martial arts in developing an actor training methodology had not been explored at length before Phillip Zarrilli’s research. Liyanage was influenced by Exeter University, UK Professor Zarrilli’s research. Having met and worked with him, during an actor training workshop in India, Zarrilli’s work inspired the conception of Liyanage’s project. “Zarrilli developed an actor training methodology using Kerala-based form of martial arts, Kalaripayattu.” “But this is the first time the potential of Angampora, as a Sri Lankan combative art form, is being explored in terms of actor training,” said Hillary.
Funding
Lead academic expert of AHEAD Operation, Prof Thusitha Abeytunga and World Bank lead economist, Dr. Harsha Aturupane has been of immense support to them. “It takes a lot of effort, on their side, to appreciate the significance of this project, particularly from an economic perspective,” said Hillary. “Providing financial support to actor training research is an alien concept even for them,” confessed Liyanage. He said that he is grateful that his project is one of few from Humanities funded by AHEAD.
“The funding is provided as a soft loan, meaning the government has to pay it back eventually. But in essence, it is the public who has to bear the cost,” said Liyanage, pointing out that it is imperative that the public knows that they are paying for a good cause. “Contrary to popular belief that they are stagnating, universities actually do good work. For example, we produce academic papers quite frequently, but the general public is not exposed to them, simply because they are subject specific papers.”
The 10 million grant, offered for a period of three years, is being put to good use. The academic aspect of the project requires actual research work to be undertaken. “It makes for a healthy blend of academic exploration and practice,” said Liyanage. Consequently, much of the first year was spent on research and development of two MPhil degrees. Liyanage, Team Member, Natasha Hillary and the research assistants write academic papers while training takes place simultaneously. “Because it is only with the justification through academic writing, a qualitative method of evaluation, can we prove the objective or the outcome of the project,” said Hillary. Institute of Arts Barcelona, Spain has agreed to allocate the next issue of their journal to the project. Liyanage opined that developing new theory is an integral part of the project. “Later we would focus on developing an actor training methodology in a laboratory setting.”
In the second year an actor training laboratory was established within the university. “But we have not yet been able to make full use of it, because the university is currently off limits due to the prevailing pandemic situation,” admitted Liyanage. Hillary explained that the World Bank usually funds research projects and development of university infrastructure. “Such as the actor training laboratory, which the university was much in need of.” She explained that securing funding and actually keeping the project on par with other World Bank funded projects was no cake-walk. “They have a strict monitoring mechanism and we are expected to achieve Key Performance Indicators, within the project structure, that varies from academic papers, research problems to presentations at international symposia or conferences.”
According to Hillary University Business Linkages acts as a business partner to the project. “For example if the project achieves the results we hope it would it qualifies for a patent, where in a new course can be introduced, enabling actors to apply and learn this form of martial arts during their studies at the university.” She pointed out that students have hardly any opportunity to be exposed to such martial arts, within the university curriculum. “But if the project becomes a success it can even be converted to an internship,” informed Hillary.
Liyanage explained that although the university system produces quality graduates, there is no vibrant industry to absorb them, compared to countries like India. “The issue is that we have a small television industry, theatre is almost negligible and film industry is stagnant.” Liyanage explained that they are striving to produce high quality graduates to improve the industry, by honing their language skills, soft skills and IT skills.
Acting and martial arts
“Perfection of any martial arts requires discipline,” said Liyanage. “It is a very corporeal teaching methodology based on a traditional master-disciple relationship.” The basic principle is imitation of the master and imitation is a form of acting, explained Liyanage. “Attentiveness is essential in both mastering a form of martial arts and in acting. The presence of an actor is another key element in performing,” explained Liyanage. “It’s not mere personality, an actor’s presence is something else entirely. Just being in front of the camera or on stage, conveys a message and can count as presence.”
Training in martial arts also prepares an actor psychophysically, explained Liyanage. Liyanage points out that martial arts such as Angampora trains both body and mind simultaneously. “In fact, in the west there is a clear demarcation between mind and matter. This is a philosophical problem. However, in major Asian corporeal arts there is no distinction between mind and body. Philosophically, Angampora also reflects this unity of the body-mind.” Liyanage believes that this can be adapted as a philosophical base for actor training, as psychophysical actor training focuses on the body-mind functionality of the actor.
In fact, how the psychophysical approaches of ancient martial arts can be incorporated into actor training is what initially attracted Research Assistant, Lyudmyla Honcharova to the project. Honcharova admitted that she had always been attracted to martial arts. Honcharova observed that her training is more mentally challenging that it is physically so. “What constraints us is really a construct of the mind. Your body can take it, but your mind holds you back. But the master coaxes the students into pushing those psychological boundaries, to overcome your fears. This in the long run, builds self confidence.” Honcharova explained that if an actor is unsure of him or herself and hesitate on stage or set, it does not make the acting plausible. “The audience will see right through it. To become the character you portray, to become someone else, first you have to know yourself.”
Honcharova opined that the well-being of actors is something often ignored in traditional actor training. “Acting as a profession is both mentally and physically very rigorous. So it’s important that you know how to transit from your daily life to your stage life. A gap in actor training is that this is not taught.” Honcharova explained that, in contrast, martial arts have a solid structure, with warmups, the main session and the cooling down. “Angampora is not just about fighting, but about healing and both physical and mental well-being. Martial arts teaches you how to take care of your body, how to treat injury. It is specially based on Ayurvedic practices, capable of treating many ailments.”
Honcharova opined that Angampora helps one connect with the surrounding environment better and facilitates smoother energy flow, while also allowing one to concentrate on the different parts of the body. “The Angampora sessions start with meditation and it really helps to focus. In martial arts focus is vital, because you need to be able to foresee your opponent’s moves and you need to be observant and attentive. All these translate well into acting, since acting also involves multitasking in the form of interacting with other actors on stage, audience and delivering dialogue.” Honcharova explained that in both martial arts and acting the body becomes the main instrument. “So, although the two seems mutually exclusive, they are in fact mutually beneficial,” argued Honcharova.
Thilakshini Ratnayake, who has been engaged in theatre for over 10 years and have acted in several teledramas and films, is no stranger to acting. Ratnayake had acted in Vishama Bhaga, Silence in the Courts, Let Her Cry and Koombiyo, with two more movies in the pipeline. Her latest project is her role as Sulo in Thanamalvila Kollek. Ratnayake graduated with a Bachelor of Information Technology – external (BIT) from the Colombo University in 2010. Later she switched to Theatre Studies at the University of Visual and Performing Arts. Is is currently reading for her level II diploma in Drama and Theatre Studies at Trinity College London.
Ratnayake has attempted to apply what she had learned through the AHEAD project to her acting. Ratnayake pointed out that Angampora demands focus and coordination. “My focus and coordination between mind and body has improved. Movement needs to be coordinated, precise, purposeful and you have to be able to imagine your opponent. That’s very much like acting. When you act you may not have props or the other actors around, so a vivid imagination helps.” Consequently, the two can be mutually beneficial, opined Ratnayake. She admits that the training has heightened her focus and bodily awareness.
An injury deters Ratnayake from taking physical risks. But with the training she received from the AHEAD project, she has learned to relax and be more receptive to reactions from other actors and input from the director. “This kind of training also trains you to respect your body. My eating habits have gotten healthier and I’m more disciplined since I started training.” Ratnayake has learned to maintain a strict regimen in terms of physical health, eating right and getting regular hours of sleep. “I feel responsible for my body.”
Angampora is his forefathers legacy to Guru Karunapala, their Angampora master. Both his paternal and maternal grandfathers were Angampora masters of the Kotte tradition. Karunapala took up Angampora at the tender age of six. By the end of his studies he had become such a formidable Angampora fighter that he could kill a man with a newspaper, in quite the literal sense. He also perfected the art of using pressure points in combat and learned indigenous medicine for various ailments.
Karunapala had a tough training regimen, climbing arecanut trees in the rain and training ‘geta poottu’, different types moves or knots using one’s own limbs, in muddy paddy fields. A fully grown person can be incapacitated by tying him or her up with his or her own limbs, informed Karunapala. In fact, he said that a mere jerk of the opponent’s arm or pressing the right pressure point can nearly incapacitate an opponent for an extended period of time. “So you wouldn’t have to resort to killing.”
According to Karunapala, Angampora employs few of the oldest forms of physical exercise, such as locking one in a dandukanda (a pillory-like device). “This particular form of exercise strengthens the back and those who practice it will never hunch even at the age of 80 or 90.” While he was training he was required to do certain stretching exercises in the confines of a well. “It was called a ‘ling gete.’ Such exercises condition and strengthen the body.” Making one able to fight while standing on one foot. For most it’s nearly impossible to lift 100 pounds. But due to Karunapala’s rigorous weight lifting exercises, he can easily lift 350 pounds despite his 80 years. “In weights training, you are expected to lift other people, and the weight is increased daily, gradually.” Karunapala informed that certain breathing techniques are also employed in weight training. “When you have trained properly you can lift a fully grown cow without breaking a sweat.”
He explained that most of the Angampora moves are based on animal behaviour and certain moves are not taught because they are simply too dangerous. In fact, after mastering several of the styles Karunapala graduated only after vowing, standing neck deep in water with seven pots of milk on his head, never to use the moves to another’s detriment. He went back on his oath only once when he incapacitated 18 LTTE cadres single-handed. But this was a transparent matter of self defence.
“In all there are 64 styles. For example, the mantis is a harmless insect, but the Angampora style based on the mantis can be deadly.” The ‘Polu Sellama’ or fighting using staffs is based on deer fights using antlers. The ‘pimburu gete’ is based on pythons’ flexibility. The leopard and bear styles are some other such examples. “All these styles are slowly dying now,” said Karunapala, because some masters failed to pass the teachings onto the next generation. “Besides, people are too caught up in their economic strife, trying to make ends meet, than to take up something such as Angampora.”
Pics by Thushara Athapaththu
Features
A life in colour and song: Rajika Gamage’s new bird guide captures Sri Lanka’s avian soul
Sri Lanka wakes each morning to wings.
From the liquid whistle of a magpie robin in a garden hedge to the distant circling silhouette of an eagle above a forest canopy, birds define the rhythm of the island’s days.
Their colours ignite the imagination; their calls stir memory; their presence offers reassurance that nature still breathes alongside humanity. For conservation biologist Rajika Gamage, these winged lives are more than fleeting beauty—they are a lifelong calling.
Now, after years of patient observation, artistic collaboration, and scientific dedication, Gamage’s latest book, An Illustrated Field Guide to the Fauna of Sri Lanka – Birds, is set to reach readers when it hits the market on March 6.
The new edition promises to become one of the most comprehensive and visually rich bird guides ever produced for Sri Lanka.
Speaking to The Island, Gamage reflected on the inspiration behind his work and the enduring fascination birds hold for people across the country.
“Birds are an incredibly diverse group,” he said. “Their bright colours, distinct songs and calls, and showy displays contribute to their uniqueness, which is appreciated by all bird-loving individuals.”
Birds, he explained, occupy a special place in the natural world because they are among the most visible forms of wildlife. Unlike elusive mammals or secretive reptiles, birds share human spaces openly.
“Birds are widely distributed in all parts of the globe in large enough populations, making them the most common wildlife around human habitations,” Gamage said. “This offers a unique opportunity for observing and monitoring their diverse plumage and behaviours for conservation and recreational purposes.”
This accessibility has made birdwatching one of the most popular forms of wildlife observation in Sri Lanka, attracting everyone from seasoned scientists to curious schoolchildren.
A remarkable island of avian diversity
Despite its small size, Sri Lanka possesses extraordinary bird diversity.
According to Gamage, the country’s geographic position, varied climate, and diverse habitats—from coastal wetlands and rainforests to montane cloud forests and dry-zone scrublands—have created ideal conditions for birdlife.
“Sri Lanka is home to a rich diversity of birdlife, with a total of 522 bird species recorded in the country,” he said. “These species are spread across 23 orders, 89 families, and 267 genera.”
Of these, 478 species have been fully confirmed. Among them, 209 are breeding residents, meaning they live and reproduce on the island throughout the year.
Even more remarkable is Sri Lanka’s high level of endemism.
“Thirty-five of these breeding resident species are endemic to Sri Lanka,” Gamage noted. “They are confined entirely to the island, making them globally significant.”
These endemic species—from forest-dwelling flycatchers to vividly coloured barbets—represent evolutionary lineages shaped by Sri Lanka’s long geological isolation and ecological uniqueness.
In addition to resident birds, Sri Lanka also serves as a seasonal refuge for migratory species traveling thousands of kilometres.
“There are regular migrants that arrive annually, as well as irregular migrants that visit less predictably,” Gamage explained. “Vagrants, birds that appear outside their typical migratory routes, have also been spotted occasionally.”
Such unexpected visitors often generate excitement among birdwatchers and scientists alike, providing valuable insights into migration patterns and environmental change.

Rajika Gamage
A guide born from passion and necessity
The new field guide represents the culmination of years of research and builds upon Gamage’s earlier publication, which was released in 2017.
“The stimulus for this bird guide was due to the success of my first book,” he said. “This new edition aims to facilitate identification and provide an idea of what to look for in observed habitats or regions.”
The book is designed not merely as a scientific reference but as an accessible companion for anyone interested in birds. Its structure reflects this dual purpose.
“The first section is dedicated to the introduction, geography, and life history of Sri Lankan birds,” Gamage explained. “The second section is the main body of the guide, which illustrates 532 species of birds.”
Each illustration has been carefully crafted in colour to capture the distinctive plumage of each species.
“All illustrations are designed to show each bird’s significant and distinct plumage,” he said. “Where possible, the breeding, non-breeding, and juvenile plumages are provided.”
This attention to detail is especially important because many birds change appearance as they mature.
“Some groups, especially gulls, display many plumages between juveniles and adults,” Gamage noted. “Many take several years to develop full adult plumage and pass through semi-adult stages.”
By illustrating these stages, the guide helps birdwatchers avoid misidentification and deepen their understanding of avian development.
New discoveries and evolving science
One of the most exciting aspects of the new edition is its inclusion of newly recorded species and updated scientific classifications.
“Changes in the bird list of Sri Lanka, especially newly added endemic birds such as the Sri Lankan Shama, Sri Lanka Lesser Flameback, and Greater Flameback, are now included,” Gamage said.
Scientific names and classifications are not static; they evolve as researchers learn more about genetic relationships and species boundaries. The guide reflects these changes, ensuring it remains scientifically current.
The book also incorporates conservation status information based on the latest National Red Data Report and global assessments.
“The conservation status of Sri Lankan birds, as listed in the 2022 National Red Data Report and the global Red Data Report, are included,” Gamage said.
This information is vital for conservation planning and public awareness, highlighting which species face the greatest risk of extinction.
The guide also documents rare and accidental visitors, including species such as the Blue-and-white Flycatcher, Rufous-tailed Rock-thrush, and European Honey-buzzard.
“These represent accidental visitors and newly recorded vagrants,” Gamage said. “Altogether, the first edition offers some 25 additional species, all illustrated.”
Art and science in harmony
Unlike many field guides that rely heavily on photographs, Gamage’s book emphasises detailed illustrations. This choice reflects the unique advantages of scientific art.
Illustrations can emphasise diagnostic features, eliminate distracting backgrounds, and present birds in standardised poses, making identification easier.
“The principal birds on each page are painted to a standard scale,” Gamage explained. “Flight and behavioural sketches are shown at smaller scales.”
The guide also includes descriptions of habitats, distribution, nesting behaviour, and alternative names in English, Sinhala, and Tamil.
“The majority of birds have more than one English, Sinhala, and Tamil name,” he said. “All of these are included.”
This multilingual approach reflects Sri Lanka’s cultural diversity and ensures the guide is accessible to a wider audience.
A tool for conservation and connection

Beyond its scientific value, Gamage believes the book serves a deeper purpose: strengthening the bond between people and nature.
By helping readers identify birds and understand their lives, the guide fosters appreciation and responsibility.
“This field guide aims to facilitate identification and provide a general introduction to birds,” he said.
In an era of rapid environmental change, such knowledge is essential. Habitat loss, climate change, and human activity continue to threaten bird populations worldwide, including in Sri Lanka.
Yet birds also offer hope.
Their presence in gardens, wetlands, and forests reminds people of nature’s resilience—and their own role in protecting it.
Gamage hopes the guide will inspire both seasoned ornithologists and beginners alike.
“All these changes will make An Illustrated Field Guide to the Fauna of Sri Lanka – Birds one of the most comprehensive and accurate guides available within Sri Lanka,” he said.
A lifelong devotion takes flight
For Rajika Gamage, birds are not merely subjects of study—they are companions in a lifelong journey of discovery.
Each call heard at dawn, each silhouette glimpsed against the sky, each feathered visitor from distant lands reinforces the wonder that first drew him to ornithology.
With the release of his new book on March 6, that wonder will now be shared more widely than ever before.
In its pages, readers will find not only identification keys and scientific facts, but also something more enduring—the story of an island, told through wings, colour, and song.
By Ifham Nizam
Features
Letting go: A Buddhist perspective
Buddhism, one of the world’s oldest religions, offers profound insights into the nature of existence and the ways we can alleviate our suffering. As one of the world’s most profound spiritual traditions, it offers a transformative solution: the art of letting go. Unlike simply losing interest in things or giving up, letting go in Buddhism is about liberation, releasing ourselves from the chain of attachment that prevents us from experiencing true peace and happiness. Letting go is a profound philosophical concept in Buddhism, deeply intertwined with an understanding of suffering, attachment, and the nature of reality. This philosophy encourages us to release our grip on desires, attachments, and on what we hold dear- whether relationships, material goods, or even their identities, ultimately leading to greater peace and enlightenment. Our tendency to cling tightly to the various aspects of life leads to a significant source of stress. We tend to grasp at things, perceiving them as solid and permanent, yet much of what we hold onto is transient and subject to change. This mistaken belief in permanence can trap us in cycles of worry, fear, and anxiety.
The challenge of letting go is especially evident during difficult periods in life. We may find ourselves ruminating over lost opportunities, failed relationships, and unmet expectations. Such thoughts can keep us ensnared in emotions like hurt, guilt, and shame, hindering our ability to move forward. By holding onto the past, we often prevent ourselves from embracing the present and future.
At the heart of Buddhist practice lies the concept of letting go, often encapsulated in the term “non-attachment.” Letting go is a crucial concept in both Buddhism and Christianity, emphasising the release of attachments that bind us and contribute to our suffering. At its core, letting go is about finding freedom from desires and acknowledging that both relationships and material possessions are fleeting and transient.
In Buddhism, letting go, or non-attachment, is fundamental for achieving inner peace. The First Noble Truth acknowledges that life is filled with suffering, often rooted in our cravings and attachment to things. The Second Noble Truth teaches that by letting go of this craving, we can transcend the cycles of life and attain enlightenment.
Spiritually, Buddhism emphasises the impermanence of all things (annica). We tend to cling to people, experiences, and even our identities, but everything is fleeting. Recogniing this helps us appreciate the present moment and fosters compassion. Instead of allowing attachments to cloud our relationships, letting go encourages us to engage with others without judgment or expectation, fostering deeper connections.
Philosophically, Buddhism challenges the notion of a permanent self (anatta) that is often the focus of human attachment. It teaches that our identity is not a fixed entity but a collection of experiences and perceptions in constant flux. Understanding this can help us see the futility of clinging to desires and identities, paving the way for a liberated state of being built on wisdom cultivated through meditation and mindfulness.
From a psychological standpoint, letting go can significantly improve our emotional health and well-being. Attachment often breeds fear, anxiety, and stress, while non-attachment promotes resilience and adaptability. When we embrace the idea of impermanence, we become more capable of handling life’s challenges without being overwhelmed. Mindfulness—being present and accepting our emotions without judgment—allows us to process difficult feelings constructively, making it easier to let go of what we cannot control.
Letting go is also an essential concept in Christianity, which emphasises surrender and trust in God. Biblical teachings encourage believers to let go of worries and anxieties, placing their faith in divine providence. For instance, verses like Matthew 6:34 remind individuals not to be anxious about tomorrow, but to focus on the present. By surrendering our burdens to God, we find peace and freedom from the weight of excessive attachment.
Moreover, both traditions highlight the importance of community. In Buddhism, the sangha, or community of practitioners, supports individuals on their journeys toward non-attachment. Similarly, the Christian community encourages believers to lean on one another for support, fostering a sense of belonging and shared faith that helps mitigate the loneliness that comes with attachment.
Ultimately, the concept of letting go serves as a powerful antidote to suffering in both Buddhism and Christianity. By embracing impermanence, cultivating wisdom, and practising mindfulness or faith, individuals can experience profound liberation. In our chaotic world, the principles of letting go offer a clear path toward inner peace, fulfilment, and deeper connections with ourselves, others, and the divine.
Buddhism explores the profound concept of letting go, providing valuable insights into the human experience and pathways to alleviating suffering. Rooted in one of the world’s oldest spiritual traditions, Buddhism presents letting go as a transformative practice, distinct from mere disengagement or giving up. Instead, it encompasses liberation from the chains of attachment that hinder us from experiencing genuine peace and happiness. Christianity too explore this profound concept in its teachings
At the core of Buddhist philosophy lies the idea of non-attachment, which encourages individuals to free themselves from desires and possessions, ultimately leading to tranquility and enlightenment. Letting go is intertwined with an understanding of suffering, attachment, and the transient nature of existence. This philosophy instructs us to relinquish our grip on what we hold dear—whether relationships, material goods, or even our identities—recognising that these are impermanent.
Buddhism’s First Noble Truth acknowledges that life inherently involves suffering, often stemming from our cravings and attachments. The Second Noble Truth reveals that overcoming this craving is key to transcending the cycles of life and achieving enlightenment. Emphasising the impermanence of all things, Buddhism invites us to appreciate the present moment and fosters compassion by helping us detach from fixed identities and experiences. This awareness enriches our relationships, allowing us to connect with others free from judgment or expectation.
Philosophically, Buddhism challenges the notion of a static self (anatta), asserting that our identity is not a fixed concept but rather a fluid collection of experiences. Recognising this notion helps highlight the futility of clinging to desires and identities, opening the door to a liberated existence founded on wisdom cultivated through meditation and mindfulness practices.
From a psychological perspective, the act of letting go can significantly enhance emotional health and well-being. Attachment often fuels fear, anxiety, and stress, while embracing non-attachment cultivates resilience and adaptability. By accepting impermanence, we equip ourselves to face life’s challenges with greater ease. Practicing mindfulness—being present and accepting emotions without judgment—further facilitates the process of releasing what is beyond our control.
In Christianity, the theme of letting go is also prominent, emphasizing surrender and trust in God. Scripture encourages believers to release their worries and anxieties by placing their faith in divine providence. For example, Matthew 6:34 advises individuals to focus on the present rather than fret over the future. By surrendering our burdens to God, we can experience relief from the weight of excessive attachment.
Both traditions underscore the significance of community in supporting the journey of letting go. In Buddhism, the sangha, or community of practitioners, encourages the pursuit of non-attachment. Likewise, Christian fellowship fosters belonging and shared faith, helping believers lean on one another for strength and mitigating the loneliness that can arise from attachment.
Ultimately, the concept of letting go serves as a powerful antidote to suffering in both Buddhism and Christianity. Embracing impermanence, nurturing wisdom, and practising mindfulness or trust can lead individuals toward profound liberation. In an increasingly chaotic world, the principles of letting go illuminate a pathway to inner peace, fulfilment, and deeper connections with ourselves, others, and the divine. By understanding and embodying this philosophy, we can navigate life’s complexities with grace and openness.////Buddhism delves into the profound concept of letting go, offering valuable insights into the human experience and pathways to alleviating suffering. As one of the world’s oldest spiritual traditions, Buddhism presents letting go as a transformative practice that goes beyond mere disengagement or resignation. It represents liberation from the chains of attachment that prevent us from experiencing true peace and happiness. Similarly, Christianity explores this profound concept in its teachings.
At the heart of Buddhist philosophy is the idea of non-attachment, which encourages individuals to free themselves from desires and possessions, ultimately leading to tranquility and enlightenment. Letting go is closely related to an understanding of suffering, attachment, and the impermanent nature of existence. This philosophy guides us to loosen our hold on what we cherish—be it relationships, material possessions, or even our own identities—recognizing that everything is transient. Through this understanding, we can cultivate a deeper sense of peace and fulfillment in our lives.
BY Dr. Justice Chandradasa Nanayakkara
Features
Brilliant Navy officer no more
Rear Admiral Udaya Bandara, VSV, USP (retired)
This incident happened in 2006 when I was the Director Naval Operations, Special Forces and Maritime Surveillance under then Commander of the Navy Vice Admiral Wasantha Karannagoda. Udaya (fondly known as Bandi) was a trusted Naval Assistant (NA) to the Commander.
We were going through a very hard time fighting the LTTE Sea Tigers’ explosive-laden suicide boats that our Fast Attack Craft (s) and elite SBS’ Arrow Boats encountered in our littoral sea battles.
Brilliant Marine Engineer Commander (then) Chaminda Dissanayake, who was known for his “out of the box” thinking and superior technical skills on research and development, met me at my office at Naval Headquarters and showed me a blueprint of an explosive- laden remotely controlled small boat.
Udaya’s Naval Assistant’s office was next to mine, the Director Naval Operations office. Both places are very close to the Navy Commander’s office. I walked into Bandi’s office with Commander Dissa and showed this blueprint a brilliant idea. Being a Marine Engineer “par excellence”, Bandi immediately understood the great design. I urged him to brief the Commander of the Navy with Commander Dissa.
My burden was over! Bandi took over the project and within a few weeks we tested our first prototype “Explosive-laden Remotely Controlled arrow boat “at sea off Coral Cove in the Naval Base Trincomalee. It was a complete success.
This remotely controlled boats went out to sea with our SBS arrow boats fleet and had devastating effects against LTTE suicide boats and their small boats fleet. Thanks, Bandi, for your contribution. The present-day Admiral of the Fleet used to tell us during those days “you cannot buy a Navy – you have to build one”!
We built our own small boats squadrons at our boat yards in Welisara and Trincomalee to bring LTTE Sea Tigers. The Special Boats Squadron (SBS) and rapid action boats squadron (RABS) being so useful with remotely controlled explosive-laden arrow boats to win sea battles convincingly.
Bandi used to say, “Navy is a technical service and we should give ALL SRI LANKA NAVY OFFICERS FIRST A TECHNICAL DEGREE AT OUR ACADEMY (BTec degree).” That idea did not receive much attention here, but the Indian Navy—Bandi graduated as a Marine Engineer- at Indian Navy Engineering College SLNS Shivaji in Lonavala, Pune, India— understood this idea well over two decades ago. Indian Navy Commissioned their new Naval Academy at Ezhimala (in Kerala State) which is the largest Naval Academy in Asia (Campus covers area of 2,452 acres) starts its Naval officers training with a BTech degree, regardless of what branch of the navy one joined.
Bandi’s technical expertise was not limited to SLN. He was the pioneer of “Mini – Hydro Power projects” in Sri Lanka. When I was a young officer, he urged me to invest some money in one of these projects and advised me “Sir! as long as water flows through turbines, you will get money from the CEB, which is always short of electricity”. I regret that I did not heed Bandi’s advice.
When he worked under me when I was Commander Southern Naval Area, as my senior Technical Officer, I observed pencil marks on walls of his chalet and I inquired from him what they were. He said it was the result of his “pencil shooting training”, a drill Practical Pistol Firers do to improve their skills. He used to practice “draw and fire” drills and pencil shooting drills late into nights to be a good Practical Pistol firer in Sri Lanka Navy team. He didn’t stop at that. He represented Sri Lanka National Practical Pistol Firing team and won International Championships.
As the Officer in charge of Technical Training in the Navy, he worked as Training Commander to train Royal Oman Navy Engineering Artificers in Sri Lanka, especially on Fast Attack Craft Main Engine Overhauls. The Royal Oman Navy Commander was so impressed with the knowledge acquired by Artificers that he donated money for the construction of a four-storey accommodation building for Sri Lanka Navy Naval and Maritime Academy, Trincomalee now known as “Oman Building”. The credit for this project should go to Bandi.
Bandi’s wife was a senior Judge of Kegalle High Court, and she retired a few years ago. Their only child, a son studied at the British School, Colombo and followed in his mother’s footsteps became a lawyer. Bandi was so much attached to his family and very proud of his son’s accomplishments.
When Bandi was due to retire in 2016 as a Rear Admiral and Director General Training, after distinguished service of 34 years, and reaching retirement age of 55 years, I requested him to serve for some more years after mobilising him into our Naval Reserve Force. He had other plans. He wanted to take his mini-Hydro Power projects to East African countries.
His demise after a very brief illness at age of 64 years was a shock to his family and friends. His funeral was held on Feb. 27 with Full Military Honors befitting a Rear Admiral at his home town Aranayake.
Dear Bandi, the beautiful Sri Lanka Navy, Naval and Maritime Academy in Trincomalee, which was built with your efforts will serve for Sri Lanka Navy Officer Trainees and sailors for a very long time and remember you forever.
May dear Bandi attain the supreme bliss of Nirvana!

Naval and Maritime Academy, Trincomalee
By Admiral Ravindra C Wijegunaratne
WV, RWP and Bar, RSP, VSV, USP, NI (M) (Pakistan), ndc, psn, Bsc
(Hons) (War Studies) (Karachi) MPhil (Madras)
Former Navy Commander and Former Chief of Defence Staff
Former Chairman, Trincomalee Petroleum Terminals Ltd,
Former Managing Director Ceylon Petroleum Corporation,
Former High Commissioner to Pakistan
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