Midweek Review

Storytelling, Fiction and Cinema

Published

8 months ago

2025/05/14

A scene from the movie ‘Animal’ (2023)

Storytelling has been a medium of joy and entertainment since the inception of human history. The art of storytelling has evolved in the form of an expression of human experiences including the escapades they embarked on, the beliefs and the myths passed down through generations while commingling the imaginations of the human mind.

Since time immemorial, the art of storytelling has passed down through orature, encompassing unwritten, spoken form of stories. The subsequent systematised written form of storytelling is considered to be the cornerstone of a ‘great tradition of fictional masterpieces’.

World’s oldest known written fictional story is considered to be the ‘Epic of Gilgamesh’, written in the Akkadian language, which originated in ancient Mesopotamia four thousand years ago. The epic poem is based on five Sumerian poems written about Gilgamesh, the third king of the Uruk dynasty. The Ancient Greek epic poem ‘The Shield of Heracles’ or widely known as ‘Hercules’ written by an unknown Greek poet is another breakthrough in storytelling. Italian mythographer and historian Natale Conti, in a chapter of his book ‘Mythologiae’ (1567) extensively summarised a range of myths concerning the biography of the legend under his Roman name ‘Hercules’. Homer’s ‘Iliad’ and ‘Odyssey’ written in the 8^th century BC, Mahabharata (4-3 BC) which is traditionally attributed to Vyasa (Vedas), and the Bhagavad Gita (Songs of God) believed to be dated back to the 2nd or 1st century BC, Valmiki’s ‘Ramayana’, which dates back to 7to 3 BCE are referred to as milestones of a great literary tradition emerged in the world through many epics, myths, legends, historical fiction, as well as religious narratives.

Advancing another step forward, world’s first novel ‘The Tale of Genji’ written by Murasaki Shikibu in the eleventh century, was turning point in the conception of a wide array of fictional genres in subsequent times. The fictional literature has greatly influenced the fictional narrative of cinema. The cinema, as a medium of storytelling marked its inception in the nineteenth century. The first silent film with a narrative was “The Great Train Robbery,” a movie with a twelve minute runtime and directed by Edwin S. Porter in 1903. With the release of American musical film ‘The Jazz Singer’, the first talkie to synchronise sound with dialogues directed by Alan Crosland in 1927, marked the ascendency of a global tradition of great talkies, ending the silent film era.

Compared to literary fiction, the cinematic fiction, due to its profound capacity to influence the audience through emotionally impactful and visually rich storytelling and its immersive and captivating nature of moving images are the contributory factors for its enduring audience appeal. The main reason for this is that the artistic medium of cinema has audio, visual and three-dimensional characteristics. This is due to the fact that the text of cinema consists an array of technical and artistic components such as cinematography, editing, music, casting considering the literary ‘Text’.

Elaborating his ‘Dual-Coding Theory’, Allan Paivio, a former professor in Psychology at University of West Ontario, says human memory stores information in forms of ‘Image Codes’ and ‘Verbal Codes’. When an image code is stored in memory, the both image and the words associated with the image are transmitted and stored simultaneously. A verbal code is stored in the mind merely as a word. Based on the ‘Dual-Coding Theory Paivio establishes the theory of ‘Picture Superiority Effect’ which refers to the fact that images are memorable than words because they have more representation in the memory. Therefore people tend to remember information more effectively through pictorial contents than verbal contents in the process of communication. The popular saying “A picture paints a thousand words” reflects this phenomenon.

The cinematic narratives are unfolded by means of both fictions and non-fictions. There is no clear borderline which distinguishes fiction from non-fiction. The term ‘Fiction’ originates from the Latin word ‘Ficto’, means Making, Fashioning or Molding.

A scene from the movie
‘Get Out’ (2017)

In fictions ‘imagination’ of the author or screenwriter acts as a fundamental aspect of the creative process. Even though standard definitions on ‘What is a fiction’ suggest the fact that ‘ Fictions are not based on true events’, the one who fabricates the story, capitalizes on real events or characters to a greater or lesser extent in addition to ‘Imagination’. Human imagination is not a random or accidental occurrence. The Imagination is a byproduct of human memory.

Personal life experiences, societal movements, educational background, psychological characteristics, and the social and ideological formations upon which the creator is based fundamentally influence the generation of this imaginative power.

Accordingly, it can be said that the content created in fiction is not entirely fabricated. There may be some true facts and events embedded in it. There is no specific yardstick that can distinguish a fiction from a true story or a non-fiction story. A Fiction is often created by combining elements of both reality and imagination. The creative work based on empirical facts, real characters, or events is classified as a non-fiction. The both works of art can be categorised as creative narratives. Autobiographies, Memoirs, Travelogues belong to the category of non-fiction. The filmmakers have creatively adapted them in cinematic productions.

A cinematic narrative can either be realistic or unrealistic. Realistic cinematic portrayals explore stories and characters grounded in reality by means of creative re-production or re-enactment of true incidents taken place in the distant or recent past, or an existing social issue or transformation, as well as a character or group of people who are living or dead in society.

In realistic cinematic narratives much emphasis is given to creative re-production and re-enatment. In this creative endeavour the characters or chain of events are depicted with creative changes in time, space, and personal names, by harnessing the facts and fiction.

The realistic cinematic work are often fall under the tags such as ‘Based on true story’ and ‘Inspired by true events’.

The screenwriter is subjected to ethical considerations in realistic cinematic work when real names of individuals and locations are used for creative purposes. This paves the way for maintaining an accountability to avoid harmful interpretations of such characters and not to present false information about any person living or dead. That is the globally accepted method to present the story honestly, accurately, respectfully and truthfully avoiding sensationalism. This is where the importance of in-depth analytical and explorative research on characters and their mannerism, locations, historic incidents intended to portray, manifests.

Professor Stuart Fischoff, a former media psychologist in California State University, emphasising the responsibility of the filmmaker says “Generally the audience assumes the movie is correct. They get their lessons from films and don’t go back to check.so we are cultivating a nation of people who see history through the eyes of a Panaflex movie camera”.

‘Small Things Like These’ (2024), directed by Tim Meilants, based on the novel ‘Small Things Like These’ written by Claire Keegan in 2021 is a clear example for portraying a true historic atmosphere in a movie where its plot focusses on the infamous Magdalene Laundries operational in Ireland between 1922 and 1998. Anthony Maras’ film ‘Hotel Mumbai’ (2018), which revolves around the terrorist attack on Mumbai’s Taj Mahal Palace hotel in 2008 is based on a real-life atrocity inflicted upon hotel residents by terrorists killing approximately hundred and fifty unsuspecting people. Another example for real-time environment of social and economic downturn is ‘Nomadland’ (2020), directed by Chloe Sao, which centers around the lives of senior citizens who chose to live a nomad life by packing their possessions in campervans and set off on the road after becoming homeless during America’s Great Recession in 2008.The movie ‘Nomadland’ was based on the non-fiction book of the same name written by American journalist Jessica Bruder.

On the other hand ‘Unrealistic Cinematic Fiction’ is where the creation is solely based on the imagination and creative grammar of the screenwriter, frequently described as a creative narrative that is imaginatively constructed characters, spaces, events, and objects which are nonexistent in the empirical world. These narratives are based on imaginary spatial and temporal spheres, separated and disconnected from real-life situations. Genres such as science fiction, mystery and horror, animation, fantasy drama fall under this category.

Cinema is a powerful artistic tool that touches the human soul and capable of etching life-long and indelible emotional imprint on human memory, shaping social perception by acting as a mirror reflecting human society. In cinematic creations, the writer’s personal interests, tendencies, and behaviours are transmitted in consciously or unconsciously to society through the characters depicted. Accordingly, various political, religious, and social beliefs, behaviours, ideologies, and trends, particularly those reflected in the personal dynamics and self-expression of the storyteller, can have both positive and negative impacts on society.

In fictional writings, pleasant as well as unpleasant life circumstances the storyteller has encountered are possibly be manifested in their artistic expressions in various ways. After all storytellers are human beings and they possess all the dynamics other humans possess as well. The perspectives and ideologies stemming from their personal beliefs, prejudices they were subjected to, traumatic experiences, marginalisation and alienation they endured, poverty or deprivation they went through, the negative situations such as physical punishment, sexual abuse are permeated in creative work in some way or the other.

A scene from the movie ‘Small Things like This’
(2024)

This is a physiological tendency called ‘Negativity Bias’ which referred to as a cognitive phenomenon where individuals pay more attention to negative information than positive information. The concept of ‘Negativity Bias’ suggests the emotional responses of humans towards negativities are proportionately high compared to positive circumstances of the same magnitude. This tendency is common in cinematic expressions equivalently where both filmmakers and audiences are probably proned to pay more attention to negative stimuli than positive stimuli.

The mystery film ‘Get Out’ (2017), written and directed by Jordan Peele, is a pragmatic example to prove the amplified unpleasant circumstances that individuals undergo have profound impact on the creative work they are engaged in. The plot revolves around an African-American young man who visits his white girlfriend’s family estate during a weekend where he experiences loneliness, isolation, alienation, entrapment and fear.

The director and screenwriter Peele presents the superficially visible ‘Liberal elite’ ideology which overtly states ‘we are not racist’ and covert and subtle conveyance of ‘color matters’ and stigma and body shaming Afro-Americans experience due to their dark skin complexion through creative storytelling.

Jorden Peele in an interview with The New York Times says “This movie is also about how we deal with race. As a black man, sometimes you can’t tell if what you’re seeing has underlying bigotry, or it’s a normal conversation and you’re being paranoid. That dynamic in itself is unsettling. I admit sometimes I see race and racism when it’s not there”.

The film industry is a global business with billions of dollars invested where the investors or producers decide on the creative content which should be transmitted to the audience, with the sole purpose of making money at the end of the day.

Sandeep Reddy Vanga’s 2023 film ‘Animal’ sparked a controversial debate in society due to its extremely violent behavior and harmful toxic masculinity. Javed Akhtar, a renowned Indian lyricist and screenwriter, once said that “commercially successful films with questionable scenes are a dangerous trend. For example, in a certain movie, a man tells a woman to lick his shoe to prove his love for her,” and he says,” if a film communicates the idea that it is okay to slap a woman, it is very dangerous, no matter how popular that film is”. Critics labeled the film ‘Animal’ as misogynistic and extremely violent. Despite severe criticism, the film was well-received by the audience becoming the third highest-grossing Indian film in 2023, grossing 950 million Indian rupees.

Considering the potential negative impact and perpetual harm on society inflicted by such controversial films, the importance of going along with ethical considerations emerges. Cinema ethics referred to moral guidelines and principles that influence the responsible and accountable creation, production, and dissemination of movies. This ensures the cinematic content is respectful of individuals or groups living in society. It helps elevate audience’s trust while refraining from promoting harmful content.

An artist converts a personal experience into universal or common experience in order to make it a shared experience. The artist must be capable of determining how beneficial or appropriate it is to turn that personal experience into common shared experience. On the other hand an artist is equipped with a creative privilege of shaping the society by means of their work of art. The artistic license they bear should be used in a responsible manner for the betterment of society by disseminating humanity, empathy, and compassion through their creations. American filmmaker Martin Scorsese giving much emphasis on the importance of portraying humanity in cinema states “Filmmaking is a journey through the soul of humanity, captured frame by frame”.

The term ‘fiction’ is a tool that provides novelists, screenwriters, and filmmakers with freedom for their creativity. But an artist is not licensed to stereotype, misinterpret or misrepresent the characters using freedom of creativity. The responsibility of an author to avoid such matters is brought to attention in the article ‘The Ethics of Writing Novels on True Events’ by American author Joyce Carol Oates. She articulates ‘fiction writer should be as transparent as a glass full of clean water.

When creating works of fiction or non-fiction based on real life stories and real names, the characters should not be harmed, distorted, misrepresented, or ridiculed. Artists must take upon themselves the responsibility of acting in accordance with the principles of natural justice. Ron Hansen, an American Novelist and Professor of Arts and Humanities in University of California, said this with the intention of keeping the criteria of novelists, screenwriters, and filmmakers close to humanity.

by Bhagya Rajapakse
bhagya8282@gmail.com

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Midweek Review

Year ends with the NPP govt. on the back foot

Published

1 day ago

2025/12/24

Sahan Weerasooriya

President Dissanayake addresses Parliament as PM Dr. Harini Amarasuriya looks on. Dissanayake is the leader of both the JVP and NPP

The failure on the part of the Janatha Vimukthi Peramuna (JVP)-led National People’s Power (NPP) government to fulfil a plethora of promises given in the run up to the last presidential election, in September, 2024, and a series of incidents, including cases of corruption, and embarrassing failure to act on a specific weather alert, ahead of Cyclone Ditwah, had undermined the administration beyond measure.

Ditwah dealt a knockout blow to the arrogant and cocky NPP. If the ruling party consented to the Opposition proposal for a Parliamentary Select Committee (PSC) to probe the events leading to the November 27 cyclone, the disclosure would be catastrophic, even for the all-powerful Executive President Anura Kumara Dissanayake, as responsible government bodies, like the Disaster Management Centre that horribly failed in its duty, and the Met Department that alerted about the developing storm, but the government did not heed its timely warnings, directly come under his purview.

The NPP is on the back foot and struggling to cope up with the rapidly developing situation. In spite of having both executive presidency and an overwhelming 2/3 majority in Parliament, the government seems to be weak and in total disarray.

The regular appearance of President Dissanayake in Parliament, who usually respond deftly to criticism, thereby defending his parliamentary group, obviously failed to make an impression. Overall, the top NPP leadership appeared to have caused irreparable damage to the NPP and taken the shine out of two glorious electoral victories at the last presidential and parliamentary polls held in September and November 2024 respectively.

The NPP has deteriorated, both in and out of Parliament. The performance of the 159-member NPP parliamentary group, led by Prime Minister Dr. Harini Amarasuriya, doesn’t reflect the actual situation on the ground or the developing political environment.

Having repeatedly boasted of its commitment to bring about good governance and accountability, the current dispensation proved in style that it is definitely not different from the previous lots or even worse. (The recent arrest of a policeman who claimed of being assaulted by a gang, led by an NPP MP, emphasised that so-called system change is nothing but a farce) In the run-up to the November, 2024, parliamentary polls, President Dissanayake, who is the leader of both the JVP and NPP, declared that the House should be filled with only NPPers as other political parties were corrupt. Dissanayake cited the Parliament defeating the no-confidence motions filed against Ravi Karunanayake (2016/over Treasury Bond scams) and Keheliya Rambukwella (2023/against health sector corruption) to promote his argument. However, recently the ongoing controversy over patient deaths, allegedly blamed on the administration of Ondansetron injections, exposed the government.

Mounting concerns over drug safety and regulatory oversight triggered strong calls from medical professionals, and trade unions, for the resignation of senior officials at the National Medicines Regulatory Authority (NMRA) and the State Pharmaceutical Corporation (SPC).

Medical and civil rights groups declared that the incident exposed deep systemic failures in Sri Lanka’s drug regulatory framework, with critics warning that the collapse of quality assurance mechanisms is placing patients’ lives at grave risk.

The Medical and Civil Rights Professional Association of Doctors (MCRPA), and allied trade unions, accused health authorities of gross negligence and demanded the immediate resignation of senior NMRA and SPC officials.

MCRPA President Dr. Chamal Sanjeewa is on record as having said that the Health Ministry, NMRA and SPC had collectively failed to ensure patient safety, citing, what he described as, a failed drug regulatory system.

The controversy has taken an unexpected turn with some alleging that the NPP government, on behalf of Sri Lanka and India, in April this year, entered into an agreement whereby the former agreed to lower quality/standards of medicine imports.

Trouble begins with Ranwala’s resignation

The NPP suffered a humiliating setback when its National List MP Asoka Ranwala had to resign from the post of Speaker on 13 December, 2024, following intense controversy over his educational qualification. The petroleum sector trade union leader served as the Speaker for a period of three weeks and his resignation shook the party. Ranwala, first time entrant to Parliament was one of the 18 NPP National List appointees out of a total of 29. The Parliament consists of 196 elected and 29 appointed members. Since the introduction of the National List, in 1989, there had never been an occasion where one party secured 18 slots.

The JVP/NPP made an initial bid to defend Ranwala but quickly gave it up and got him to resign amidst media furor. Ranwala dominated the social media as political rivals exploited the controversy over his claimed doctorate from the Waseda University of Japan, which he has failed to prove to this day. But, the JVP/NPP had to suffer a second time as a result of Ranwala’s antics when he caused injuries to three persons, including a child, on 11 December, in the Sapugaskanda police area.

The NPP made a pathetic, UNP and SLFP style effort to save the parliamentarian by blaming the Sapugaskanda police for not promptly subjecting him for a drunk driving test. The declaration made by the Government Analyst Department that the parliamentarian hadn’t been drunk at the time of the accident, several days after the accident, does not make any difference. Having experienced the wrongdoing of successive previous governments, the public, regardless of what various interested parties propagated on social media, realise that the government is making a disgraceful bid to cover-up.

No less a person than President Dissanayake is on record as having said that their members do not consume liquor. Let us wait for the outcome of the internal investigation into the lapses on the part of the Sapugaskanda police with regard to the accident that happened near Denimulla Junction, in Sapugaskanda.

JVP/NPP bigwigs obviously hadn’t learnt from the Weligama W 15 hotel attack in December, 2023, that ruined President Ranil Wickremeinghe’s administration. That incident exposed the direct nexus between the government and the police in carrying out Mafia-style operations. Although the two incidents cannot be compared as the circumstances differ, there is a similarity. Initially, police headquarters represented the interests of the wrongdoers, while President Wickremesinghe bent over backwards to retain the man who dispatched the CCD (Colombo Crime Division) team to Weligama, as the IGP. The UNP leader went to the extent of speaking to Chief Justice Jayantha Jayasuriya, PC, and Speaker Mahinda Yapa Abeywardena to push his agenda. There is no dispute the then Public Security Minister Tiran Alles wanted Deshabandu Tennakoon as IGP, regardless of a spate of accusations against him, in addition to him being faulted by the Supreme Court in a high-profile fundamental rights application.

The JVP/NPP must have realised that though the Opposition remained disorganised and ineffective, thanks to the media, particularly social media, a case of transgression, if not addressed swiftly and properly, can develop into a crisis. Action taken by the government to protect Ranwala is a case in point. Government leaders must have heaved a sigh of relief as Ranwala is no longer the Speaker when he drove a jeep recklessly and collided with a motorcycle and a car.

Major cases, key developments

Instead of addressing public concerns, the government sought to suppress the truth by manipulating and exploiting developments

* The release of 323 containers from the Colombo Port, in January 2025, is a case in point. The issue at hand is whether the powers that be took advantage of the port congestion to clear ‘red-flagged’ containers.

Although the Customs repeatedly declared that they did nothing wrong and such releases were resorted even during Ranil Wickremesinghe’s presidency (July 2022 to September 2024), the public won’t buy that. Container issue remains a mystery. That controversy eroded public confidence in the NPP that vowed 100 percent transparency in all its dealings. But the way the current dispensation handled the Port congestion proved that transparency must be the last thing in the minds of the JVPers/NPPers holding office.

* The JVP/NPP’s much touted all-out anti-corruption stand suffered a debilitating blow over their failure to finalise the appointment of a new Auditor General. In spite of the Opposition, the civil society, and the media, vigorously taking up this issue, the government continued to hold up the appointment by irresponsibly pushing for an appointment acceptable to President Dissanayake. The JVP/NPP is certainly pursuing a strategy contrary to what it preached while in the Opposition and found fault with successive governments for trying to manipulate the AG. It would be pertinent to mention that President Dissanayake should accept the responsibility for the inordinate delay in proposing a suitable person to that position. The government failed to get the approval of the Constitutional Council more than once to install a favourite of theirs in it, thanks to the forthright position taken by its civil society representatives.

The government should be ashamed of its disgraceful effort to bring the Office of the Auditor General under its thumb:

* The JVP/NPP government’s hotly disputed decision to procure 1,775 brand-new double cab pickup trucks, at a staggering cost exceeding Rs. 12,500 mn, under controversial circumstances, exposed the duplicity of that party that painted all other political parties black. Would the government rethink the double cab deal, especially in the wake of economic ruination caused by Cyclone Ditwah? The top leadership seems to be determined to proceed with their original plans, regardless of immeasurable losses caused by Cyclone Ditwah. Post-cyclone efforts still remain at a nascent stage with the government putting on a brave face. The top leadership has turned a blind eye to the overwhelming challenge in getting the country back on track especially against the backdrop of its agreement with the IMF.

Post-Cyclone Ditwah recovery process is going to be slow and extremely painful. Unfortunately, both the government and the Opposition are hell-bent on exploiting the miserable conditions experienced by its hapless victims. The government is yet to acknowledge that it could have faced the crisis much better if it acted on the warning issued by Met Department Chief Athula Karunanayake on 12 November, two weeks before the cyclone struck.

Foreign policy dilemma

Sri Lanka moved further closer to India and the US this year as President Dissanayake entered into several new agreements with them. In spite of criticism, seven Memorandums of Understanding (MoUs), including one on defence, remains confidential. What are they hiding?

Within weeks after signing of the seven MoUs, India bought the controlling interests in the Colombo Dockyard Limited for USD 52 mn.

Although some Opposition members, representing the SJB, raised the issue, their leader Sajith Premadasa, during a subsequent visit to New Delhi, indicated he wouldn’t, under any circumstances, raise such a contentious issue.

Premadasa went a step further. The SJB leader assured his unwavering commitment to the full implementation of the 13th Amendment to the Constitution that was forced on Sri Lanka during President JRJ’s administration, under the highly questionable Indo-Lanka Accord of July, 1987, after the infamous parippu drop by Indian military aircraft over Jaffna, their version of the old gunboat diplomacy practiced by the West.

Both India and the US consolidated their position here further in the post-Aragalaya period. Those who felt that the JVP would be in a collision course with them must have been quite surprised by the turn of events and the way post-Aragalaya Sri Lanka leaned towards the US-India combine with not a hum from our carboard revolutionaries now installed in power. They certainly know which side of the bread is buttered. Sri Lanka’s economic deterioration, and the 2023 agreement with the IMF, had tied up the country with the US-led bloc.

In spite of India still procuring large quantities of Russian crude oil and its refusal to condemn Russia over the conflict in Ukraine, New Delhi has obviously reached consensus with the US on a long-term partnership to meet the formidable Chinese challenge. Both countries feel each other’s support is incalculably vital and indispensable.

Sri Lanka, India, and Japan, in May 2019, signed a Memorandum of Cooperation (MoC) to jointly develop the East Container Terminal (ECT) at the Colombo Port. That was during the tail end of the Yahapalana administration. The Gotabaya Rajapaksa administration wanted to take that project forward. But trade unions, spearheaded by the JVP/NPP combine, thwarted a tripartite agreement on the basis that they opposed privatisation of the Colombo Port at any level.

But, the Colombo West International Terminal (CWIT) project, that was launched in November, 2022, during Ranil Wickremesinghe’s presidency, became fully operational in April this year. The JVP revolutionary tiger has completely changed its stripes regarding foreign investments and privatisation. If the JVP remained committed to its previous strategies, India taking over CDL or CWIT would have been unrealistic.

The failure on the part of the government to reveal its stand on visits by foreign research vessels to ports here underscored the intensity of US and Indian pressure. Hope our readers remember how US and India compelled the then President Wickremesinghe to announce a one-year moratorium on such visits. In line with that decision Sri Lanka declared research vessels wouldn’t be allowed here during 2024. The NPP that succeeded Wickremesinghe’s administration in September, 2024, is yet to take a decision on foreign research vessels. What a pity?

The NPP ends the year on the back foot, struggling to cope up with daunting challenges, both domestic and external. The recent revelation of direct Indian intervention in the 2022 regime change project here along with the US underscored the gravity of the situation and developing challenges. Post-cyclone period will facilitate further Indian and US interventions for obvious reasons.

****

Perhaps one of the most debated events in 2025 was the opening of ‘City of Dreams Sri Lanka’ that included, what the investors called, a world-class casino. In spite of mega Bollywood star Shah Rukh Khan’s unexpected decision to pull out of the grand opening on 02 August, the investors went ahead with the restricted event. The Chief Guest was President Anura Kumara Dissanayake, who is also the Finance Minister, in addition to being the Defence Minister. Among the other notable invitees were Dissanayake’s predecessor Ranil Wickremesinghe, whose administration gave critical support to the high-profile project, worth over USD 1.2 bn. John Keells Holdings PLC (JKH) and Melco Resorts & Entertainment (Melco) invested in the project that also consist of the luxurious Nüwa hotel and a premium shopping mall. Who would have thought President Dissanayake’s participation, even remotely, possible, against the backdrop of his strong past public opposition to gambling of any kind?

Don’t forget ‘City of Dreams’ received a license to operate for a period of 20 years. Definitely an unprecedented situation. Although that license had been issued by the Wickremesinghe administration, the NPP, or any other political party represented in Parliament, didn’t speak publicly about that matter. Interesting, isn’t it, coming from people, still referred by influential sections of the Western media, as avowed Marxists?

By Shamindra Ferdinando

Midweek Review

The Aesthetics and the Visual Politics of an Artisanal Community

Published

1 day ago

2025/12/24

Sahan Weerasooriya

Through the Eyes of the Patua:

Organised by the Colombo Institute for Human Sciences in collaboration with Millennium Art Contemporary, an interesting and unique exhibition got underway in the latter’s gallery in Millennium City, Oruwala on 21 December 2025. The exhibition is titled, ‘Through the Eyes of the Patua: Ramayana Paintings of an Artisanal Community’ and was organized in parallel with the conference that was held on 20 December 2025 under the theme, ‘Move Your Shadow: Rediscovering Ravana, Forms of Resistance and Alternative Universes in the Tellings of the Ramayana.’ The scrolls on display at the gallery are part of the over 100 scrolls in the collection of Colombo Institute’s ‘Roma Chatterji Patua Scroll Collection.’ Prof Chatterji, who taught Sociology at University of Delhi and at present teaches at Shiv Nadar University donated the scrolls to the Colombo Institute in 2024.

The paintings on display are what might be called narrative scrolls that are often over ten feet long. Each scroll narrates a story, with separate panels pictorially depicting one component of a story. The Patuas or the Chitrakars, as they are also known, are traditionally bards. A bard will sing the story that is depicted by each scroll which is simultaneously unfurled. For Sri Lankan viewers for whom the paintings and their contexts of production and use would be unusual and unfamiliar, the best way to understand them is to consider them as a comic strip. In the case of the ongoing exhibition, since the bards or the live songs are not a part of it, the word and voice elements are missing. However, the curators have endeavoured to address this gap by displaying a series of video presentations of the songs, how they are performed and the history of the Patuas as part of the exhibition itself.

The unfamiliarity of the art on display and their histories, necessitates broader explanation. The Patua hail from Medinipur District of West Bengal in India. Essentially, this community of artisans are traditional painters and singers who compose stories based on sacred texts such as the Ramayana or Mahabharata as well as secular events that can vary from the bombing of the Twin Towers in New York in 2001 to the Indian Ocean Tsunami of 2004. Even though painted storytelling is done by a number of traditional artisan groups in India, the Patua is the only community where performers and artists belong to the same group. Hence, Professor Chatterji, in her curatorial note for the exhibition calls them “the original multi-media performers in Bengal.”

‘The story of the Patuas’ also is an account of what happens to such artisanal communities in contemporary times in South Asia more broadly even though this specific story is from India. There was a time before the 21st century when such communities were living and working across a large part of eastern India – each group with a claim to their recognizably unique style of painting. However, at the present time, this community and their vocation is limited to areas such as Medinipur, Birbhum, Purulia in West Bengal and Dumka in Jharkhand.

A pertinent question is how the scroll painters from Medinipur have survived the vagaries of time when others have not. Professor Chatterji provides an important clue when she notes that these painters, “unlike their counterparts elsewhere, are also extremely responsive to political events.” As such, “apart from a rich repertoire of stories based on myth and folklore, including the Ramayana and other epics, they have, over many years, also composed on themes that range from events of local or national significance such as boat accidents and communal violence to global events such as the tsunami and the attack on the World Trade Centre.”

There is another interesting aspect that becomes evident when one looks into the socio-cultural background of this community. As Professor Chatterji writes, “one significant feature that gives a distinct flavour to their stories is the fact that a majority of Chitrakars consider themselves to be Muslims but perform stories based largely on Hindu myths.” In this sense, their story complicates the tension-ridden dichotomies between ethno-cultural and religious groups typical of relations between groups in India as well as more broadly in South Asia, including in Sri Lanka. Prof Chatterji suggests this positionality allows the Patua to have “a truly secular voice so vital in the world that we live in today.”

As a result, she notes, contemporary Patuas “have propagated the message of communal harmony in their compositions in the context of the recent riots in India and the Gulf War. Their commentaries couched in the language of myth are profoundly symbolic and draw on a rich oral tradition of storytelling.” What is even more important is their “engagement with contemporary issues also inflects their aesthetics” because many of these painters also “experiment with novel painterly values inspired by recent interaction with new media such as comic books and with folk art forms from other parts of the country.”

From this varied repertoire of the Patuas’ painterly tradition, this exhibition focusses on scrolls portraying different aspects of the Ramayana. In North Indian and the more dominant renditions of the Ramayana, the focus is on Rama while in many alternate renditions this shifts to Ravana as typified by versions popular among the Sinhalas and Tamils in Sri Lanka as well as in some areas in several Indian states. Compared to this, the Patua renditions in the exhibition mostly illustrate the abduction of Sita with a pronounced focus on Sita and not on Ravana, the conventional antagonist or on Rama, the conventional protagonist. As a result, these two traditional male colossuses are distant. Moreover, with the focus on Sita, these folk renditions also bring to the fore other figures directly associated with her such as her sons Luv and Kush in the act of capturing Rama’s victory horse as well as Lakshmana.

Interestingly, almost as a counter narrative, which also serves as a comparison to these Ramayana scrolls, the exhibition also presents three scrolls known as ‘bin-Laden Patas’ depicting different renditions on the attack on New York’s Twin Towers.

While the painted scrolls in this collection have been exhibited thrice in India, this is the first time they are being exhibited in Sri Lanka, and it is quite likely such paintings from any community beyond Sri Lanka’s shores were not available for viewing in the country before this. Organised with no diplomatic or political affiliation and purely as a Sri Lankan cultural effort with broader South Asian interest, it is definitely worth a visit. The exhibition will run until 10 January 2026.