Features
Sohan Weerasinghe Award-winning, Ever-green Musician
PLACES, PEOPLE & PASSIONS (3Ps)
Part 8
Dr. Chandana () Jayawardena DPhil
President – Chandi J. Associates Inc. Consulting, Canada
chandij@sympatico.ca
Profile
Sohan is a popular singer, entertainer, band leader, song composer, lyrics writer, and showbiz personality. He is an attorney at law but decided to make a career in the entertainment industry. After winning the Observer Talent contest in the mid-seventies, he formed his own band – Sohan & The X’Periments. Sohan did a five-year stint with his band at the Hotel Muscat InterContinental in Oman. His first English original composition – “Whispers in the sand” won the song of the year award at the 1993 Island Music awards. Today, Sohan is one of the most sought-after Sri Lankan singers for performances around the world.
First Meeting in 1972
When I was a first-year student at Ceylon Hotel School in 1972, the idea of celebrating the graduation of the third-year diploma students came up during a booze party at our hostel. We organized Graduation Ball 1972 at the Samudra Hotel with one of the most popular dance bands in Sri Lanka at that time – Gabo & the Breakaways.
That was the first time I met Sohan Weerasinghe, their lead singer. He was friendly and fully focused on entertaining the audience, most of whom were in their late teens and early twenties. With a charming smile, he accommodated a few songs requested by the Australian teenage girl who was my dance partner.
Making Colombo 2000 the # 1 Night Club
When I joined Le Galadari Meridien Hotel in 1986, as the Director of Food & Beverage, I was responsible for hiring musicians and signing their contracts. Just before I joined this five-star 500 room hotel, Sohan had negotiated a good contract with my French predecessor. Sohan & The X’Periments with Estelle performed three days a week at what was then the trendiest night club in Sri Lanka – Le Meridien’s Colombo 2000.
One day I had a business chat with Sohan to renegotiate the contract with a revenue-based payment per night. After a long negotiation, Sohan eventually accepted my proposal. Sohan was shrewd, diplomatic, intelligent, and funny. He also had a good business sense and practical ideas. We quickly became good friends. After that I felt that I should meet all hotel entertainers under contract at the hotel for a brainstorming session, which was productive with some great ideas for the year 1987.
Most of the night clubs in Sri Lanka at that time had a limited operation of three or four nights, focusing on the weekend business. We took a chance on making Colombo 2000 a seven-day operation with live bands every day and opening at the same time (9:30 pm). We used ‘the seven-day’ operation as the unique selling proposition in our ad campaigns.
We found it useful to check night club themes and special effects in Asian countries more advanced than Sri Lanka, such as Singapore (which was around two years ahead of nightclub trends in Sri Lanka). I did a couple of trips to Singapore and Thailand with Sohan to check night club trends. Our two wives joined us on these trips, mainly to keep a close eye on us! We also played lot of 304 card games during our trips. The ladies were annoyed to lose every time and accused Sohan and I of cheating. They never found out how!
Late 1980s were the heyday of the nightclub business in Colombo, and with the support of Sohan and many other leading musicians, my team at Le Meridien made Colombo 2000 the king of nightclubs in Sri Lanka from 1986 for a long time… Thank you Sohan!
Hospitality and Showbiz
I gradually concluded that hospitality and showbusiness which go hand in hand and have many similarities, are really one industry focusing on entertaining customers, while making profits. Entertainment was an essential element of our total food and beverage operation. Usually, in the evening, we had live music in three locations of the hotel. I learnt to treat entertainers as very important members of the hotel family. That orientation proved to be mutually beneficial.
Le Galadari Meridien provided me an opportunity to develop a new hobby, as part of my work. I gradually learnt a lot from Sohan and other hotel entertainers and I became a busy showbiz producer. I regularly used images of Sohan and other leading entertainers to promote events, such as New Year’s Eve dinner dances, which eventually established new records in Sri Lanka.
Mastering Show Biz Productions
During a brainstorming session with musicians, after explaining my objective of improving the ballroom occupancy during the slow months, I encouraged the musicians to suggest solutions. They came with a few great ideas and we decided to organize a series of weekly shows under the theme ‘Musical Stars of 1986’ in the ballroom. A key aim was to promote young musicians who had performed in western bands around the country during the year. All musicians under contract at Le Meridien contributed on an honorary basis as judges for these new, weekly contests and as performers for the gala final show.
I learned to produce music shows with 1,000+ audiences with help from Sohan and other musicians under contract at Le Galadari Meridien. The first three shows I produced in 1987: ‘Musical Stars of 1986’, ‘A Farewell to Priyanthi & Raja’ and ‘Noeline… a Celebration’, all were very successful in terms of production, audience satisfaction, ticket sales, profits, reviews, and publicity. I eventually produced a total of 16 stage music shows, with Sohan as a key member of my team, who provided sound, backing music to all singers and also performing as a leading vocalist.
More Creative Collaborations with Sohan
A Mega Festival in Oman – 1988
The experiences I gained in showbiz productions in Sri Lanka were memorable and useful in the next phase of my career as an expatriate hotelier. I was invited by Oman Sheraton to coordinate and lead the food and entertainment aspects of a mega Sri Lankan festival which included a versatile team of 54 Lankans flown to Oman. Sohan once again was my right-hand man in this initiative. During this trip in 1988, I became more interested and knowledgeable about fashion shows, and the concept of the first-ever ‘Fashion Model of the Year’ competition in Sri Lanka was born
After a short break from Sri Lanka, to work in the Middle East and the United Kingdom, I returned to Sri Lanka by the early 1990s for three years to work as the General Manager of Mount Lavinia Hotel. Although Sohan was not under contract to perform there, he collaborated with me in producing some more stage productions. Sohan always was a great team player.
‘Whispers in the Sand’ – 1991
One day I received a call from Sohan with an unusual request: “Mr. J, Just now I recorded a new English song with the band at my studio. I have themed it: ‘Whispers in the Sand’. If I send you the rough mix, can you kindly give me your comments?” I was surprised with that request. “Sohan, as you know, I am not a singer and have no musical talents. I am not qualified to give you any advice!”, but he sent me the rough mix anyway.
Soon after I listened to it a couple of times, Sohan called me to check what I felt about his composition. “Sohan, congratulations! ‘Whispers in the Sand’ is easily the most beautiful English song recorded in Sri Lanka. You should make a beautiful four and half minute video for it. If you are looking for a director and producer for it, I would love to give it a try.” Sohan immediately agreed to give me 100% free hand with the creation of the video.
Overnight I learnt to create a detailed storyboard for the video. I also consulted movie makers I knew from my acting days. Willie Blake, an award-winning cinematographer, movie director and my friend, was on a holiday in Sri Lanka and was staying at Mount Lavinia hotel at that time. He advice on camera angles and shooting were particularly helpful for me in planning the production. Mount Lavinia hotel was the location and sponsor of the production. ITN network provided the technical support and an excellent crew. We spent a whole day for the shoot and a full night in the editing rooms of ITN to create a video which was nominated for the Best Music Video of the Year award.
‘Fleeting Moments’ – 1992
During the night I spent with Sohan and the editing team at ITN, I learnt about song composing. I was surprised that Sohan created the tune for ‘Whispers in the Sand’ first, then wrote the lyrics, and finally allowed me to write a story for the video. I felt that the better process should be in the reverse: story – lyrics – music. Following that conceptual process, I created my first song composition that night, based on a personal experience I had at Bentota Beach Hotel in 1974.
Sohan did the arrangement for ‘Fleeting Moments’ and sang it. I wrote the story board and directed the video at Mount Lavinia Hotel during the 1992 New Year’s Eve dinner dance at the Empire Ballroom. It was an instant hit on the charts and motivated me to compose lyrics for more songs.
‘The Show’ – 1992
Having produced, annually, The Island Music Awards shows on three occasions, I did my largest show in Sri Lanka in 1992. It was The Island Music Awards 1991, staged at the largest hall in Sri Lanka – BMICH National Convention Centre. At that time, I was also the General Manager of Mount Lavinia Hotel Catering Services at BMICH. This was my last major production before I left Sri Lanka for good, and I was keen to do something spectacular and memorable. We called it ‘The Show.’
On that occasion, I came with my vision for the show and then requested input from the musicians in the organizing team. It worked well. I accepted most of their suggestions and fine-tuned the concept. With that, we were able to take this show to a much higher level, in terms of production, than all the previous shows that I had produced in Sri Lanka.
In addition to employees of the hotel and BMICH, our production team for that show consisted of 153 professionals: musicians, dancers, choreographers, set designers, sound engineers, lighting engineers, special effects professionals, make-up artists, photographers, video recorders and my favourite stage manager – Kenneth Honter.
We added two new features to this show – a complete dress rehearsal the day before the show, and the show video launched on TV a week after the show. We commenced the show exactly at 7:00 pm with a full attendance of 1,506.
As written on my concept document and the detailed production plan, we had two segments with contrasting sub-themes. For each segment, we used contrasting music, choreographed dance acts, special effects, lighting, and sound. It had two major ‘ambitious’ set changes with unprecedented special effects, to enhance the two segments of the show.
‘Nature’ – 1992
The first half of ‘The Show’ was themed: ‘Nature’ with waterfalls, large trees, mist and 34 little ballerinas performing as butterflies, birds, blossoming flowers in a rainforest waking up early in the morning. A gentle ray of the morning sun gradually made the lead singer of the first song (Noeline) visible to the audience. It was slow moving and misty, using greens and blues in the backdrops with subtle lighting. It was a gentle and happy celebration of our beautiful nature.
‘Future’ – 1992
The second half was themed ‘Future’ depicting humankind advancing with science and flying rockets, but destroying our planet with short sighted policies, human greed, unwanted wars, and disruptions. It was fast moving, with sounds of explosions and smoke, using red and orange in the backdrops with flashing lighting. In one scene a rocket landed on the stage, militants came out of the rocket and took a performing singer (Sohan) as a prisoner before flying away from the BMICH stage. It was a warning that we are selfishly destroying our planet.

Sohan, after recording the song ‘Dream Woman’ composed by Gamini Fonseka in 1998.
With Noeline and Sohan, I co-wrote two new songs aligned with the two segment themes of the show (they did most of the work!). The song, ‘Nature’ dominated the top of the pop charts in Sri Lanka for several weeks, and a year later, Noeline and I jointly won The Island Music Award for the ‘Composer of the Year.’
‘Am I guilty?’ – 1993
My next song was the most popular. I followed my process of ‘story – lyrics – music’ and Sohan became my co-composer and did the arrangements. I chose Dalrene Suby for vocals with Sohan for supporting vocals. We filmed the music video at the Colombo Airport and Airport Garden Hotel. “Am I guilty?” dominated the pop charts for eight weeks at the most popular English song in Sri Lanka. Concurrently I composed another song titled ‘Faithful’ which was arranged by Chandralal Fonseka, who also did vocals with Crystal Williams. I did not make a video for it.
‘Fitness Fever’ – 1993
My sixth and the last song composition was ‘Fitness Fever’. With 20 top Sri Lankan western musicians providing vocals and 16 semi-professional actors appearing in the video, it was my most ambitious song and music video undertaking. We filmed it over a day at the Ramada Renaissance Hotel. It dominated the pop charts for three weeks as the most popular English song in Sri Lanka. Later I produced a cassette with the same name and included four of the songs I was involved in creating. All the participating singers, actors and technicians worked free of charge and we donated all proceeds to Ranvirusevana (fund to rehabilitate soldiers wounded in the civil war). We held a grand launch of the cassette at the Little Hut night club of Mount Lavinia Hotel.
Re-connecting in 2023
After meeting Sohan in January 2020 on the day he paid last respects to his dear wife, Lali, we did not see each other for three years mainly due to the global pandemic. I was happy to re-connect with Sohan in Colombo in 2023, when he sang at my elder son Marlon’s wedding. In the groom’s speech, Sohan’s family was identified as Marlon’s extended family.
Recently, for the first time in my life I sang. I recorded five video covers of old popular Sinhala songs and posted those on social media over five weeks. I was happy to receive thousands of positive reactions but did not see any comments from my friend Sohan. Finally, I heard from him. “Chandi I was not impressed at all! Singing in not your forte. Don’t believe these people who just praise your singing. Your sense of rhythm was bad and your pitching was way out. Please stick to many other things you are extremely good at. This is from the heart of a genuine friend.”
“That’s what friends are for…” I never sang again.
Questions & Answers
Q: Out of all the places you have visited in Sri Lanka and overseas, what is your favourite and most interesting place?
A: My favourite place is Australia. There are so many Lankans who have migrated to Australia, but they still have a special place in their hearts for Sri Lanka. Whenever I perform there, I do get a very warm reception and tremendous crowd support especially in Melbourne. Most musicians will agree with me that Australia is the place for us!
Q: Out of all the inspiring people you have met, who inspired you most to do well in the entertainment industry?
A: I have been inspired by many including Elvis, Humperdinck, Tom Jones, the Beatles, and Bee Gees. In the local music scene by people like Desmond De Silva, Raj Seneviratne, Mignonne Fernando, Dalrene Suby, Victor Ratnayake, Pandith Amaradeva, and Clarence Wijewardena.
Q: At the present time, apart from music, what is your key passion in life?
A: I love spending a lot of time with my only granddaughter Sienna who means the world to me. I also keep in touch with my son Darshan (fitness trainer) and my daughter Erandika who lives and works in New York. I am also an avid filmgoer and love going out for movies.
Q: After dreaming of practising as an attorney, what made you change your mind about a career in music?
A:Music was my passion, as I come from a very musical family. Although I passed out from Law College with first class honours, when I had to decide between law and music, I opted to make music my full-time career. I have no regrets. I have met so many interesting people and loved doing overseas tours entertaining friends and fans abroad.
Q: You also worked for few years as the General Manager of Finco Group of Companies. At that time, how did you balance your work, hobbies, and family?
A:Yes, it was tough, as I had to spend time with my family, with my band the “X’Periments” and try to pursue my career as a legal officer. The best thing I did was to quit my office job and then concentrate on my music and my family and try to balance it out. Initially it was difficult but eventually it turned out OK.
Q: Before forming Sohan & The X’Periments, what key lessons did you learn from bands you served as the lead singer?
A:I worked with the Moonstones with Annesley Malewana, with Esquire set with Ralph Menezies and with Gabo & the Breakaways with Priyanthi. I realized you had to put in a lot of effort to get to the top. Learn a nice repertoire of songs that were catchy and current at the time. Desist from drinking and smoking and breaking too much rest. Also, I learnt a lot about being a good band leader from both Annesley Malewana and Gabo Pieries.
Q: How successful was your first English original – ‘Whispers in the Sand’ in terms of popularity?
A: ‘Whispers in the Sand’ was an amazing hit for me. It ended up getting the award for the song of the year and was the most popular song in the top of the pops list for a few weeks based on votes to the ‘Teen Page’ of The Island newspaper. Thanks to Chandana Jayawardena who was the General Manager of Mount Lavinia hotel and the ITN network I was able to put out a nice video of the song with Brian Kerkoven and Shani J, playing the lead roles in the music video. That was nominated for the 1992 Best Music Video of the Year award by Sunday Observer newspaper.
Q: Out of many awards you have won during your long career in music, which single award made you most proud ?
A: Yes, I have won many awards during my musical journey but the award I liked most was winning the ‘Showbiz personality of the Year’ at The Island Music Awards show at the BMICH, produced by Chandana Jayawardena of Mount Lavinia Hotel.
Q: You are certainly an ever-green musician, who continues to grow in popularity among Sri Lankans in many countries, resulting in a hectic global travel schedule. What is your secret of success?
A: I have made it a point to “read” the crowd and have constant eye contact with my audience. Do the songs they like and not do advanced stuff just to show them one’s high class. Bringing in humour wherever possible helps you to get the audience on your side. Also being simple, flexible, and down to earth has helped my career immensely.
Q: What is your advice to aspiring young western musicians?
A: My message to young musicians is simple – There is no short cut to success. Hard work pays off in the end. If you choose music as your career, make sure you have the “passion” for it. You also need an element of luck. There will be many ups and downs in your career, but you have to put it aside and have a positive attitude. At least have one or two originals to your credit so that you have your own identity. Be focused and give it your 100 percent and eventually you will succeed. Most importantly, try to get on with your fellow musicians and treat them with a bit of love, respect and understanding.
Next week, 3Ps will feature a doctor turned award-winning portrait artist.
Features
High Stakes in Pursuing corruption cases
The death of the most important suspect in the Sri Lankan Airlines Airbus deal has drawn intense public speculation. Kapila Chandrasena the former CEO of the heavily loss-making national airline was found dead under circumstances that the police are still investigating.
He had recently been arrested by the Commission to Investigate Allegations of Bribery or Corruption in connection with the controversial Airbus aircraft purchase agreement signed in 2013. Police investigations are continuing into the cause of death and whether or not he committed suicide. The unresolved death brings to light the high stakes involved in accountability efforts of this nature.
The uncertainty surrounding Chandrasena’s death has revived public memories of other mysterious deaths linked to corruption investigations and public scandals. Among them is the death of Rajeewa Jayaweera, a former SriLankan Airlines executive and outspoken critic of the Airbus transaction. He was following in the tradition of his father, the late foreign service officer and public servant Stanley Jayaweera who mentored the younger generation in good governance practices and formed the group “Avadhi Lanka” along with icons such as Prof Siri Hettige. Rajeewa had written a series of articles exposing irregularities in the deal before he was found dead near Independence Square in Colombo in 2020. The CCTV cameras in that high security area were turned off. Questions raised at that time whether or not he had committed suicide were not satisfactorily resolved.
The controversy about the cause of Chandrasena’s death is diverting attention away from the massive damage done to the country by the SriLankan Airlines deal itself. The value of the aircraft agreement was close to the size of the International Monetary Fund bailout package that Sri Lanka desperately needed by 2023 in order to stabilise the economy after bankruptcy. Sri Lanka’s IMF Extended Fund Facility amounted to about USD 3 billion spread over four years. The comparison shows the scale of the losses and liabilities that irresponsible and corrupt decisions have imposed on the country and which must never happen again.
Wider Pattern
The corruption linked to the Airbus transaction came fully into the open only because of investigations conducted outside Sri Lanka. In 2020 Airbus agreed to pay record penalties of more than EUR 3.6 billion to authorities in Britain, France and the United States to settle global corruption investigations. Sri Lanka was identified as one of the countries where bribes had allegedly been paid in order to secure contracts. The Airbus deal involved the purchase of six A330 aircraft and four A350 aircraft valued at approximately USD 2.3 billion. Investigations showed that Airbus paid bribes amounting to nearly USD 16 million in order to secure the contract. According to court submissions, at least part of this money amounting to USD 2 million was transferred through a shell company registered in Brunei and routed through Singapore bank accounts linked to the late airline CEO and his wife.
The commissions involved in this deal may seem comparatively small compared to the overall value of the contracts but devastating in their consequences. But they also show that a few million dollars paid secretly to decision makers could lead to the country assuming liabilities worth hundreds of millions or even billions of dollars over decades. This is why corruption is not simply a moral issue. It is a direct economic assault on the living standards of ordinary people. Money lost through corruption is money unavailable for schools, hospitals, rural development and job creation. In the end the burden falls on ordinary citizens who are left to repay debts incurred in their name without receiving commensurate benefits in return.
The SriLankan Airlines transaction gives an indication of the wider pattern of corruption and misuse of national resources that has taken place over many years. This was not an isolated incident. There were numerous large scale infrastructure and procurement projects that imposed heavy debts on the country while enriching politically connected individuals and their associates. Other projects such as the Colombo Port City, Hambantota Harbour and highway construction reveal a similar pattern.
Less publicised but equally damaging scandals have involved fertiliser medicine and energy contracts. Investigations into medicine procurement in recent years uncovered allegations that substandard pharmaceuticals had been imported at inflated prices causing both financial losses and risks to public health.
Moral Renewal
The present government appears determined to investigate major corruption cases in a manner that no previous government has attempted. Those who ransacked and bankrupted the treasury need to be dealt with according to the law. There is considerable public support for efforts to recover stolen assets and ensure accountability.
In his May Day speech President Anura Kumara Dissanayake stated that around 14 corruption cases were nearing completion in the courts this very month and called upon the public to applaud when verdicts are delivered. Political opponents of the government claim that such comments could place pressure on the judiciary and blur the separation between political leadership and the courts. But the deeper public frustration that underlies the president’s remarks also needs to be understood.
The challenge facing Sri Lanka is twofold. The country must ensure that justice is done through due process and independent institutions. If anti corruption campaigns become politicised they can lose legitimacy. But if corruption and abuse of power continue without consequences the country will remain trapped in a cycle of economic decline and moral decay. Sri Lanka also needs to confront past abuses linked to the war period. There are allegations of kidnapping, extortion, disappearances and criminal activity in which members of the security forces have been implicated. Vulnerable sections of the population suffered greatly during those years. If political leaders turned a blind eye or actively connived in such crimes they too need to be held accountable under the law. Selective justice will not heal the country. Accountability must apply across the board regardless of political position, ethnicity or institutional power.
Sri Lanka has paid a very heavy price for corruption and impunity. The economic collapse of 2022 did not occur overnight. It was the result of years of bad governance, reckless decision making, abuse of power and the misuse of public wealth. If the country is to move forward the focus cannot be diverted by sensational speculation alone. Suspicious deaths and political intrigue may dominate headlines for a few days. But the larger issue is the system that enabled corruption to flourish without accountability for so long. The real national task is to end that system. Sri Lanka cannot build a prosperous future on a foundation of corruption and impunity. Unless those who looted public wealth are held accountable and the systems that enabled them are dismantled, the country risks repeating the same cycle again.
Jehan Perera
Features
When University systems fail:Supreme Court’s landmark intervention in sexual harassment case
Over seven years after making an initial complaint of sexual harassment against her research supervisor, Dr. Udari Abeyasinghe, then a temporary lecturer and now a senior lecturer at the University of Peradeniya, has been finally served justice. On May 8, 2026, the Supreme Court made the following directions regarding Udari’s fundamental rights case: “1) The 1st Respondent [her research supervisor] is prohibited from accepting any post, whether paid or not or honorary, in any university, educational institute or other academic institution; 2) The UGC to issue a direction to all universities and other institutions, coming under its purview, to abstain from giving any appointment, whether paid or not, or honorary, to the 1st Respondent; and 3) The University of Peradeniya, including the Council and respective Respondent [sic], are directed to take appropriate measures to enforce and raise awareness of the University of Peradeniya’s policy on Sexual or Gender-Based Harassment and Sexual Violence for staff and students, including conducting mandatory annual seminars for all academics, staff and students.” I recently spoke with Udari to learn about her experience battling the University’s sexual and gender-based violence (SGBV) procedures.
Violence and injustice
Udari was a temporary lecturer when she began working on her MPhil degree. Her research supervisor was a Senior Professor and Dean of her faculty. The harassment began in 2017.
When Udari reached out for support to the SGBV Committee of the University of Peradeniya, the Chair explained the complaint procedure, including how a third party could make a complaint on her behalf. In July 2018, Udari’s mother made a written complaint to the Vice Chancellor (VC). “The very next day [my supervisor] called me … and asked me to withdraw the complaint because it would look bad for me … the university should have taken measures to separate the complainant from the perpetrator … but nothing like that happened.”
Before making the formal complaint, Udari reached out to other academic staff at her Faculty. She shared her experience with a few close colleagues. Many advised her to leave the Faculty. “No one in the Faculty supported me publicly, although some sympathised privately … I was a temporary lecturer … no one really cared.” Some of her colleagues and non-academic staff who knew about the harassments, asked her to avoid involving them because they feared retaliation from higher powers.
Udari faced a preliminary inquiry and then a formal inquiry. The preliminary inquiry took place about four months after her complaint, and the inquiry committee recommended proceeding to a formal inquiry. The latter was held about a year after the initial complaint. “I got to know unofficially that [my supervisor] had got hold of all the statements made at the preliminary inquiry and pressured some colleagues to change their statements before the formal inquiry.” During the time of the formal inquiry, an anonymous letter (“kala paththaraya”) was circulated among staff: “It was a character assassination … the same kala paththaraya would get circulated from time to time.” After the formal inquiry committee submitted its report and recommendations, Udari was informed, in writing, that the University Council had dismissed the report.
“Neither the preliminary inquiry report nor the formal inquiry report were shared with me … I had to make a formal request to the VC and only then did I get a copy of the preliminary inquiry report… I had to get the formal inquiry report through an RTI (a request under the Right to Information Act). What I understand is that [my supervisor] had influenced the Council … that’s why they rejected the report…saying there had been a delay of six months to make a complaint ….” (N. B. there are no time limitations for submitting a complaint in the SGBV by-laws of the University of Peradeniya, although such time bars exist at other universities).
Udari then submitted formal complaints to the University Grants Commission (August 2020) and the Human Rights Commission of Sri Lanka (December 2020), and finally filed a fundamental rights case at the Supreme Court in March 2021. Five years later, on May 8th 2026, Udari’s complaint was vindicated.
University procedures and inquiries
When her mother submitted the complaint against her supervisor, Udari was a temporary lecturer. She had given up her dream of pursuing an academic career because she did not think she would be recruited to a permanent position after making a complaint against a faculty member. It is encouraging that Udari was recruited, but in most instances, students and junior staff endure and stay silent to avoid jeopardising their academic careers. We currently have no procedures in place at universities to protect victims and witnesses from backlash.
According to Udari, the former Chair of the SGBV Committee and the members of her preliminary inquiry panel played a crucial role in her case, and, in her words, “could not be influenced.” But SGBV by-laws at state universities place inordinate power in the hands of the Council and VC. According to the SGBV by-laws of the University of Peradeniya, the Council appoints the 15-member SGBV Committee comprising “[t]wo (02) persons from among the members of the Council; [t]en (10) persons drawn from the permanent and senior members of the academic community; and [t]hree (03) persons external to the University, from among the retired academic or administrative staff of the University” (Section 2.1). While the by-laws recommend appointing persons who have demonstrated “gender-sensitivity, proven interest in working on issues of gender equality and equity, and trained to investigate and inquire into cases of sexual or gender-based harassment and sexual violence” (Section 2.1), we know this is often not the case. In many universities, VCs control which cases are taken up and end up in an inquiry. Most students and staff at state universities have little faith in the existing SGBV complaint procedures.
As Udari experienced, the decisions of inquiry committees can be overruled and dismissed by University Councils, indicating the importance of appointing appropriate members to the Councils. The Deans of faculties, who are Ex-officio members, usually collude to protect their own interests and fiefdoms, while the appointment of external members to Councils is deeply politicised. At present, there is no application process or vetting of candidates before they are appointed. They are usually persons who are seen to be sympathetic to the incumbent political dispensation. Furthermore, external members are dependent on the university hierarchy for information on the issues being discussed, the details of which are often hidden from them. It is not surprising then that University Councils would adjudicate on the side of power.
Final recommendation
Beyond barring Udari’s former research supervisor from holding positions in the university system, the Supreme Court has directed the University of Peradeniya to raise awareness on SGBV among staff and students. While SGBV is addressed in the induction courses and orientation programmes at universities, staff and students must be made aware of the nitty-gritties of complaint procedures, including time bars, which were crucial to the outcome of Udari’s case. But is raising awareness sufficient? Do we have ways to hold university authorities accountable for arbitrary and/or prejudicial decision-making and other abuses of power?
For Udari, life continues to be difficult, with constant surveillance of her activities.
“In November 2024 , I shared a post about my case.. it was a newspaper article stating that the Supreme Court had granted leave to proceed… I just took a photograph of it and posted it on my Facebook without any captions… a few weeks later I was summoned by higher authorities…I was informed that several academics had verbally complained about me using my social media to tarnish the name of the faculty and the university and, if that’s the case, that I should know that the University Council has the authority to take action against me … we also spoke briefly about the case and at one point I was told that this incident (harassment) happened to me because I showed some positivity towards (the perpetrator) …”
Let’s hope that university administrations pause before victimising and revictimising SGBV survivors in future. As a community, we have to rethink the hierarchical ways in which universities function and create a meaningful mechanism that supports students and staff to complain without fear of repercussion.
Thank you, Udari, for taking this step forward. University administrations will have to stop, listen and change their ways.
(Ramya Kumar is attached to the Department of Community and Family Medicine, Faculty of Medicine, University of Jaffna, and is an alumna of the University of Peradeniya).
Kuppi is a politics and pedagogy happening on the margins of the lecture hall that parodies, subverts, and simultaneously reaffirms social hierarchies.
By Ramya Kumar
Features
‘Nidahase’ in the spotlight
Senani Wijesena, the Sri Lankan-Australian singer-songwriter, known for fusion pop/R&B with ethnic elements, like the tabla and sitar, is in the news again.
She was featured in The Island, in early April (2026), regarding her career in the music scene, and the release of her first ever Sinhala song ‘Nidahase.’
The song was released in Sri Lanka, on 17th April, with Senani in town to do the needful.
The music video was filmed at the Polgampola Waterfall, in Sri Lanka, and also features co-star Senura Ambegoda … playing the romantic interest.
Describing the setup, Senani had this to say:
“To achieve the high falls scenes, I had to climb large rocks and slippery edges to get to the top of the falls, and I had to do it in the yellow saree I was wearing. Of course the film crew assisted me.”
The initial scenes were filmed in bustling Pettah where Senani meets co-star Senura Ambegoda, working in a street stall, and when their eyes meet it triggers a memory of soul connection and transports her into another world entering the forest scene.
The forest, says Senani, symbolically represented a retreat to nature and peace.
The couple later rejoin at Colombo City Centre where they danced together and enjoyed each other’s company.
Says Senani: “The short dance routine was created on the spot, on set. Senura is a dance teacher, as well as a model and actor, and we learnt the routine, in 10 minutes, before it was filmed.”
‘Nidahase’ means Freedom in English – about being free in life, love, expression and movement.
It’s, in fact, a reworked version of her highly successful English song ‘Free’ which was nominated for a Hollywood Music In Media award in the RNB/Soul category, and also reached the Top 20 of the Music Week Dance charts in the UK.
‘Nidahase’ can be heard on all streaming platforms, including Spotify, Apple Music and Amazon.
Senani’s YouTube channel is www.youtube.com/senanimusic
Her social media pages are: www.instagram.com/senanimusic and www.facebook.com/senanimusic. Her website is www.senani.com
For the record, Senani is the daughter of film actress Jeevarani Kurukulasuriya and Dr Lanka Wijesena.
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