Features
Sumathy’s Ingirunthu : (Here and Now)
The Malaiyaha and Memory of the World 1823-2023
by Laleen Jayamanne
Continued From Yesterday
When Sivamohan was growing up in Jaffna in a Christian home (prior to the civil-war), her three sisters and mother listened to and also sang African-American Gospel music (what we then called Spirituals). She also said that her mother read poetry to her as a child, about the experience of slavery there, suggesting the source of that music. An awareness of the Blues came a little later, she said, perhaps, as I thought to myself, brought back by her older sisters (Nirmala and Rajani) returning from College, radicalised by their experiences in the US during the anti-Vietnam war and the Civil Rights Movements of the late 1960’s. Sivamohan’s autobiographical impulses, obliquely folded into this her first film, are important for me to acknowledge here, because they are undoubtedly a condition of its possibility, an integral part of its politics. A feminist politics too, which introduced the new idea that the ‘personal is also political.’ This scene in the restaurant therefore, is not a purely functional sociological scene locating the Researcher in Colombo. It’s edited with a feel for the mannerist rhythms of Georgia (just like Ray Charles’ iconic performance of it seen on You-Tube), which cut across time and space and connect with the feelings of loss and homesickness of the homeless Malaiyaham people of Lanka. Song can do this, especially the Blues.
On the estate, the Researcher is keen to hear about the history of a legendary militant female estate worker by the name of Meenakshi Amma, in the spirit of recovering a female oral-history of political struggle in the 1930s. As she enquires about her from the social worker on the estate, the film abruptly cuts to a surprising musical interlude of a young Meenaskshi Amma singing a song to ‘Lanka Matha’, (“Mother Lanka”) amidst tea bushes, surrounded by a few women dressed as they did in the archival photographs. The actress playing Meenakshi Amma is in a contemporary bright orange handloom sari and red blouse. It’s a startling interruption and moving in its intensity when the other women (young and old) join in chorus, one beating a hand drum and others carrying long poles, stretching out their right hands in a gesture of supplication (‘Aren’t we also yours?’) to Lanka Matha, even as they move slowly in a solemn procession through the tea bushes, to the pulse of the drum.
There is another allegorical scene, equally startling for a different reason. A white manager of a plantation arrives on a white horse to examine if the male workers have pruned the tea bushes to the exact specification of 15 inches, no more, no less. As he gets off the horse, the overseer (or Kankani) swiftly opens up a black umbrella to shield the white master from the sun–though he wears a wide brimmed hat. With mounting melodramatic fury he shouts at the bent workers pruning with sharp knives, ordering them to prune at an exact 15 inches. As he yells at them, ‘Imbecile, Imbecile,’ one of the workers lunges at him with his knife which cuts to the master’s blood splattered face, then to drops of blood on unpruned tea leaves and then to what appears to be a totally severed white arm lying on the earth. There are no cries. The allegory cuts
deeply through its restrained melodramatic articulation, to an entire field of perfectly pruned brown tea stumps, concluding a melodramatic scene with an intensive epic-memory of the world, which includes the bloodied earth itself.
The Burning Tea Bush
However, the most startling disjunction happens when (at the ending of Meenakshi Amma’s collective song) the film cuts to Peter sitting, playing his accordion, beside a burning tea bush. It’s also an allegorical scene because the crackling flames don’t seem to burn up the tea bush. So, it evokes for me a biblical resonance with God manifesting through a burning bush, to address Moses at his most troubled moment in the desert when leading the exodus of former Jewish slaves to the promised land. A fiery image in a Tarkovsky film flashes by in memory. Burning a tea bush is illegal, a punishable offence, but it continues to burn and crackle without turning to ashes, while the accordion music floats in the night-time air. Here, Peter playing his accordion beside the fiery tea bush, becomes an iconic chorus powerfully crystalising many sensations, emotions and thoughts stirred up by the film; a memory of the world for sure.
That Ingirunthu could weave this heterogeneity of autonomus, intensive, poetically allegorical scenes and story lines of a marginalised community into a coherent whole of sorts, is a sign of the film’s inclusive, modern, epic-narrative vision. It is not a plotted film where all lines converge on a narrative resolution as a drama would. As Blackburn said, ‘the tension and obstacles to resolution’ of dramatic conflicts offer us a kind of creative opportunity rarely seen in films. The two sequences, of Meenakshi Amma’s song and Peter at the burning bush playing his accordion, offer startling poetic allegorical images, within a film which is about the epochal political history of exploitation of Malaiyaha labour, presented variously as a chronicle with archival documents, as well as enactments of everyday life through ethnographic observation and dramatized scenes. Epic vision and narration are inclusive of the lyric and the dramatic, as Brecht has shown us. They have the aesthetic amplitude to shows us this bitter earth, its life, even the most insignificant, as well as the buried layers of violence and the collective struggles to change them.
The Bindunuwewa Massacre
The July ‘83 race riots and the government-led programme’s effects infiltrate the estate in one strand of the narrative which is constructed with thriller overtones. The police and army presence gradually increases with interrogations and incidents. There is also physical infighting among various political and union factions. The newspaper montage in all three languages of the massacre of 26 Tamil male inmates at the Bindunuwewa ‘open’ rehabilitation camp for Tamil political prisoners, sends shock waves across the community, because one of them was of Malaiyaha origin. Sarasa’s young brother has been arrested and interned in a camp. The Tiger separatist politics of Jaffna and the ongoing civil war, appeared not to concern a few of the disaffected youth but create tension and fear on the estate. In an unusual framing, a young man gives a speech in a rhetorical mode, to no one in particular, saying ‘there are no tigers or lions here.’ The close-shot cuts to an informal group discussing the massacre and the murder of two political activists in a fight at the funeral of the victim of the massacre.
The meeting breaks up for them all to attend the funeral. In an extraordinarily tense sequence, we are shown, in a long-wide shot, not the funeral, but each of the adults of the community, dressed neatly in white, walking briskly through the layam to the funeral, in pairs and singly, silently. One feels the entire presence of the community gathering for this funeral which we are not shown. (Whereas we were shown the small Christian procession of mourners holding little crosses and a wreath, carrying Esther Valley’s mother’s coffin, across the landscape, singing a hymn.) Rituals for the dead when presented on film often create a profound sense of a community, give it a collective vitality, united in grief.
Hindu Kovil Festival
Similarly collective, the very large excited crowd enjoying the Hindu religious festival and dance parade at the Kovil is presented at first, in the observational mode of an ethnographic gaze. We see the intensity of the devotional ritual within the inner sanctum of the Kovil. Then the camera moves into a complex participatory mode, following a thriller-political plot line connecting Esther Valley with a figure trying to get her to identify a photograph by bribing her with a necklace. Refusing in fear, she runs away from him into the crowd. Then the participatory camera moves closer in to take in the transsexual dancers, one in traditional attire and three striking, tall figures in contemporary dress.
Moving closer to them, the camera and editing begin to move with them, fascinated by their thoroughly global dance moves, while the dancers’ intense focus is rather more internal, somewhat like those of Tamil women dancing at Kataragama. The fact that this complex celebratory scene of the festival was filmed without getting official permission makes its intensity and aesthetic richness, all the more remarkable. Getting a glimpse of Sarasa beautifully dressed in a shiny light blue sari and bejewelled, is an added bonus after having seen this graceful woman mostly in her drab work attire, carrying one child and holding the other by hand, walking tall with her basket and pole.
The relationship between Sarasa and her husband (marked by accelerating violent assaults on her), leads to an accidentally caused fire which becomes a conflagration. As their house burns Esther Valley and others run into the layam to rescue the children and the whole image is consumed by flames. A brief shot of a small figure rugged up to ward off the night time chill stands nearby looking towards us in a mid-shot. It’s held long enough to make one wonder if that was the director Sivamohan herself, who determined the conflagration in the layam as a narrative climax but has undercut its melodramatic effect.
Instead of ending there or perhaps with its aftermath, refusing to answer ‘what happened?’, the film cuts to the day after. The final scene is of a quiet morning showing the estate and its long winding road down which a well-dressed young woman in a salwar kameez, walks briskly. We follow her on to the main road which is also empty with just two stray dogs and a distant car. As she comes closer, we seem to remember her as perhaps a minor figure who appears in a scene or two with the Researcher. And so, in the here and now of this ending, this young woman, detached from the several story lines we have followed, walks away from the tea estate with a brisk purposiveness.
Cinema and Belief in this World
Within the estate there is a large ample intersection shaded by trees, with a shrine, where four streets meet. And we see in a mid-long-shot, young children neatly dressed in white uniforms or blue trousers and white shirts, wearing socks and shoes, walking happily to school in clusters, while the women go to work with their baskets and poles. We have seen a well-run creche where pre-schoolers play with wooden toys that help their hand-eye coordination and recognition of basic shapes and colours. One is left wondering if the younger generations who are getting educated will create a day when there are no more men and women willing to work on these tea estates, under the conditions we have observed up close.
This thought is not entirely fanciful any more than those two allegorical scenes of Meenakshi Amma singing amidst the tea bushes with her group of workers or Peter playing his accordion beside the crackling tea bush on fire, are fanciful. After all, we have been made receptive by MGR’s unexpected star appearance, singing a song about his mother-land, (carrying of all things a small suitcase), at the very opening of the film, to expect from cinema something in addition to and more than the representation of reality, a simple mirroring of what is. We will remember here MGR’s cinematic appeal, which surely must have helped this Tamil man born in Lanka in becoming the Chief Minister of Tamil Nadu.
Film creates (as Deleuze the French philosopher who loved the cinema said) a capacity to restore our belief in this world, that is belief in its as yet unactualized potential. Following Jean Luc Godard, he also said that, ‘film is a form that thinks’. Ingirinthu, with its political sophistication and ethico-aesthetic values is able to achieve this. My effort here has been to work through the implications of Anne Blackburn’s two ideas cited at the beginning. In doing so, I have explored some of the intricacies of the work that has gone into creating this specific feeling of ‘belief in this world’, by Sivamohan and all her collaborators, especially the (non)actors, most of whom were from the estate.
Ingirunthu is a carefully and deeply researched film, with Sivamohan spending time with the Malaiyaha people over a considerable period of time, getting to know them, sometimes staying with them and building trust. Both in terms of the choice of the marginalised Malaiyaha people as her subject, and in its experimental aesthetics it is (in my opinion) a singular, pioneering work within the history of Lankan cinema. The 200th anniversary of the arrival of the Malaiyaha folk to this Island of Dhamma, Sri Lanka, seems a fitting time to revive and celebrate this film and their survival skills, with public screenings and discussions.
Features
Trump’s Interregnum
Trump is full of surprises; he is both leader and entertainer. Nearly nine hours into a long flight, a journey that had to U-turn over technical issues and embark on a new flight, Trump came straight to the Davos stage and spoke for nearly two hours without a sip of water. What he spoke about in Davos is another issue, but the way he stands and talks is unique in this 79-year-old man who is defining the world for the worse. Now Trump comes up with the Board of Peace, a ticket to membership that demands a one-billion-dollar entrance fee for permanent participation. It works, for how long nobody knows, but as long as Trump is there it might. Look at how many Muslim-majority and wealthy countries accepted: Saudi Arabia, Turkey, Egypt, Jordan, Qatar, Pakistan, Indonesia, and the United Arab Emirates are ready to be on board. Around 25–30 countries reportedly have already expressed the willingness to join.
The most interesting question, and one rarely asked by those who speak about Donald J. Trump, is how much he has earned during the first year of his second term. Liberal Democrats, authoritarian socialists, non-aligned misled-path walkers hail and hate him, but few look at the financial outcome of his politics. His wealth has increased by about three billion dollars, largely due to the crypto economy, which is why he pardoned the founder of Binance, the China-born Changpeng Zhao. “To be rich like hell,” is what Trump wanted. To fault line liberal democracy, Trump is the perfect example. What Trump is doing — dismantling the old façade of liberal democracy at the very moment it can no longer survive — is, in a way, a greater contribution to the West. But I still respect the West, because the West still has a handful of genuine scholars who do not dare to look in the mirror and accept the havoc their leaders created in the name of humanity.
Democracy in the Arab world was dismantled by the West. You may be surprised, but that is the fact. Elizabeth Thompson of American University, in her book How the West Stole Democracy from the Arabs, meticulously details how democracy was stolen from the Arabs. “No ruler, no matter how exalted, stood above the will of the nation,” she quotes Arab constitutional writing, adding that “the people are the source of all authority.” These are not the words of European revolutionaries, nor of post-war liberal philosophers; they were spoken, written and enacted in Syria in 1919–1920 by Arab parliamentarians, Islamic reformers and constitutionalists who believed democracy to be a universal right, not a Western possession. Members of the Syrian Arab Congress in Damascus, the elected assembly that drafted a democratic constitution declaring popular sovereignty — were dissolved by French colonial forces. That was the past; now, with the Board of Peace, the old remnants return in a new form.
Trump got one thing very clear among many others: Western liberal ideology is nothing but sophisticated doublespeak dressed in various forms. They go to West Asia, which they named the Middle East, and bomb Arabs; then they go to Myanmar and other places to protect Muslims from Buddhists. They go to Africa to “contribute” to livelihoods, while generations of people were ripped from their homeland, taken as slaves and sold.
How can Gramsci, whose 135th birth anniversary fell this week on 22 January, help us escape the present social-political quagmire? Gramsci was writing in prison under Mussolini’s fascist regime. He produced a body of work that is neither a manifesto nor a programme, but a theory of power that understands domination not only as coercion but as culture, civil society and the way people perceive their world. In the Prison Notebooks he wrote, “The crisis consists precisely in the fact that the old world is dying and the new cannot be born; in this interregnum a great variety of morbid phenomena appear.” This is not a metaphor. Gramsci was identifying the structural limbo that occurs when foundational certainties collapse but no viable alternative has yet emerged.
The relevance of this insight today cannot be overstated. We are living through overlapping crises: environmental collapse, fragmentation of political consensus, erosion of trust in institutions, the acceleration of automation and algorithmic governance that replaces judgment with calculation, and the rise of leaders who treat geopolitics as purely transactional. Slavoj Žižek, in his column last year, reminded us that the crisis is not temporary. The assumption that history’s forward momentum will automatically yield a better future is a dangerous delusion. Instead, the present is a battlefield where what we thought would be the new may itself contain the seeds of degeneration. Trump’s Board of Peace, with its one-billion-dollar gatekeeping model, embodies this condition: it claims to address global violence yet operates on transactional logic, prioritizing wealth over justice and promising reconstruction without clear mechanisms of accountability or inclusion beyond those with money.
Gramsci’s critique helps us see this for what it is: not a corrective to global disorder, but a reenactment of elite domination under a new mechanism. Gramsci did not believe domination could be maintained by force alone; he argued that in advanced societies power rests on gaining “the consent and the active participation of the great masses,” and that domination is sustained by “the intellectual and moral leadership” that turns the ruling class’s values into common sense. It is not coercion alone that sustains capitalism, but ideological consensus embedded in everyday institutions — family, education, media — that make the existing order appear normal and inevitable. Trump’s Board of Peace plays directly into this mode: styled as a peace-building institution, it gains legitimacy through performance and symbolic endorsement by diverse member states, while the deeper structures of inequality and global power imbalance remain untouched.
Worse, the Board’s structure, with contributions determining permanence, mimics the logic of a marketplace for geopolitical influence. It turns peace into a commodity, something to be purchased rather than fought for through sustained collective action addressing the root causes of conflict. But this is exactly what today’s democracies are doing behind the scenes while preaching rules-based order on the stage. In Gramsci’s terms, this is transformismo — the absorption of dissent into frameworks that neutralize radical content and preserve the status quo under new branding.
If we are to extract a path out of this impasse, we must recognize that the current quagmire is more than political theatre or the result of a flawed leader. It arises from a deeper collapse of hegemonic frameworks that once allowed societies to function with coherence. The old liberal order, with its faith in institutions and incremental reform, has lost its capacity to command loyalty. The new order struggling to be born has not yet articulated a compelling vision that unifies disparate struggles — ecological, economic, racial, cultural — into a coherent project of emancipation rather than fragmentation.
To confront Trump’s phenomenon as a portal — as Žižek suggests, a threshold through which history may either proceed to annihilation or re-emerge in a radically different form — is to grasp Gramsci’s insistence that politics is a struggle for meaning and direction, not merely for offices or policies. A Gramscian approach would not waste energy on denunciation alone; it would engage in building counter-hegemony — alternative institutions, discourses, and practices that lay the groundwork for new popular consent. It would link ecological justice to economic democracy, it would affirm the agency of ordinary people rather than treating them as passive subjects, and it would reject the commodification of peace.
Gramsci’s maxim “pessimism of the intellect, optimism of the will” captures this attitude precisely: clear-eyed recognition of how deep and persistent the crisis is, coupled with an unflinching commitment to action. In an age where AI and algorithmic governance threaten to redefine humanity’s relation to decision-making, where legitimacy is increasingly measured by currency flows rather than human welfare, Gramsci offers not a simple answer but a framework to understand why the old certainties have crumbled and how the new might still be forged through collective effort. The problem is not the lack of theory or insight; it is the absence of a political subject capable of turning analysis into a sustained force for transformation. Without a new form of organized will, the interregnum will continue, and the world will remain trapped between the decay of the old and the absence of the new.
by Nilantha Ilangamuwa ✍️
Features
India, middle powers and the emerging global order
Designed by the victors and led by the US, its institutions — from the United Nations system to Bretton Woods — were shaped to preserve western strategic and economic primacy. Yet despite their self-serving elements, these arrangements helped maintain a degree of global stability, predictability and prosperity for nearly eight decades. That order is now under strain.
This was evident even at Davos, where US President Donald Trump — despite deep differences with most western allies — framed western power and prosperity as the product of a shared and “very special” culture, which he argued must be defended and strengthened. The emphasis on cultural inheritance, rather than shared rules or institutions, underscored how far the language of the old order has shifted.
As China’s rise accelerates and Russia grows more assertive, the US appears increasingly sceptical of the very system it once championed. Convinced that multilateral institutions constrain American freedom of action, and that allies have grown complacent under the security umbrella, Washington has begun to prioritise disruption over adaptation — seeking to reassert supremacy before its relative advantage diminishes further.
What remains unclear is what vision, if any, the US has for a successor order. Beyond a narrowly transactional pursuit of advantage, there is little articulation of a coherent alternative framework capable of delivering stability in a multipolar world.
The emerging great powers have not yet filled this void. India and China, despite their growing global weight and civilisational depth, have largely responded tactically to the erosion of the old order rather than advancing a compelling new one. Much of their diplomacy has focused on navigating uncertainty, rather than shaping the terms of a future settlement. Traditional middle powers — Japan, Germany, Australia, Canada and others — have also tended to react rather than lead. Even legacy great powers such as the United Kingdom and France, though still relevant, appear constrained by alliance dependencies and domestic pressures.
st Asia, countries such as Saudi Arabia and the UAE have begun to pursue more autonomous foreign policies, redefining their regional and global roles. The broader pattern is unmistakable. The international system is drifting toward fragmentation and narrow transactionalism, with diminishing regard for shared norms or institutional restraint.
Recent precedents in global diplomacy suggest a future in which arrangements are episodic and power-driven. Long before Thucydides articulated this logic in western political thought, the Mahabharata warned that in an era of rupture, “the strong devour the weak like fish in water” unless a higher order is maintained. Absent such an order, the result is a world closer to Mad Max than to any sustainable model of global governance.
It is precisely this danger that Canadian Prime Minister Mark Carney alluded to in his speech at Davos on Wednesday. Warning that “if great powers abandon even the pretense of rules and values for the unhindered pursuit of their power and interests, the gains from transactionalism will become harder to replicate,” Carney articulated a concern shared by many middle powers. His remarks underscored a simple truth: Unrestrained power politics ultimately undermine even those who believe they benefit from them.
Carney’s intervention also highlights a larger opportunity. The next phase of the global order is unlikely to be shaped by a single hegemon. Instead, it will require a coalition — particularly of middle powers — that have a shared interest in stability, openness and predictability, and the credibility to engage across ideological and geopolitical divides. For many middle powers, the question now is not whether the old order is fraying, but who has the credibility and reach to help shape what comes next.
This is where India’s role becomes pivotal. India today is no longer merely a balancing power. It is increasingly recognised as a great power in its own right, with strong relations across Europe, the Indo-Pacific, West Asia, Africa and Latin America, and a demonstrated ability to mobilise the Global South. While India’s relationship with Canada has experienced periodic strains, there is now space for recalibration within a broader convergence among middle powers concerned about the direction of the international system.
One available platform is India’s current chairmanship of BRICS — if approached with care. While often viewed through the prism of great-power rivalry, BRICS also brings together diverse emerging and middle powers with a shared interest in reforming, rather than dismantling, global governance. Used judiciously, it could complement existing institutions by helping articulate principles for a more inclusive and functional order.
More broadly, India is uniquely placed to convene an initial core group of like-minded States — middle powers, and possibly some open-minded great powers — to begin a serious conversation about what a new global order should look like. This would not be an exercise in bloc-building or institutional replacement, but an effort to restore legitimacy, balance and purpose to international cooperation. Such an endeavour will require political confidence and the willingness to step into uncharted territory. History suggests that moments of transition reward those prepared to invest early in ideas and institutions, rather than merely adapt to outcomes shaped by others.
The challenge today is not to replicate Bretton Woods or San Francisco, but to reimagine their spirit for a multipolar age — one in which power is diffused, interdependence unavoidable, and legitimacy indispensable. In a world drifting toward fragmentation, India has the credibility, relationships and confidence to help anchor that effort — if it chooses to lead.
(The Hindustan Times)
(Milinda Moragoda is a former Cabinet Minister and diplomat from Sri Lanka and founder of the Pathfinder Foundation, a strategic affairs think tank. this article can read on
https://shorturl.at/HV2Kr and please contact via email@milinda.org)
by Milinda Moragoda ✍️
For many middle powers, the question now is not whether the old order is fraying,
but who has the credibility and reach to help shape what comes next
Features
The Wilwatte (Mirigama) train crash of 1964 as I recall
Back in 1964, I was working as DMO at Mirigama Government Hospital when a major derailment of the Talaimannar/Colombo train occurred at the railway crossing in Wilwatte, near the DMO’s quarters. The first major derailment, according to records, took place in Katukurunda on March 12, 1928, when there was a head-on collision between two fast-moving trains near Katukurunda, resulting in the deaths of 28 people.
Please permit me to provide details concerning the regrettable single train derailment involving the Talaimannar Colombo train, which occurred in October 1964 at the Wilwatte railway crossing in Mirigama.
This is the first time I’m openly sharing what happened on that heartbreaking morning, as I share the story of the doctor who cared for all the victims. The Health Minister, the Health Department, and our community truly valued my efforts.
By that time, I had qualified with the Primary FRCS and gained valuable surgical experience as a registrar at the General Hospital in Colombo. I was hopeful to move to the UK to pursue the final FRCS degree and further training. Sadly, all scholarships were halted by Hon. Felix Dias Bandaranaike, the finance minister in the Bandaranaike government in 1961.
Consequently, I was transferred to Mirigama as the District Medical Officer in 1964. While training as an emerging surgeon without completing the final fellowship in the United Kingdom, I established an operating theatre in one of the hospital’s large rooms. A colleague at the Central Medical Stores in Maradana assisted me in acquiring all necessary equipment for the operating theatre, unofficially. Subsequently, I commenced performing minor surgeries under spinal anaesthesia and local anaesthesia. Fortunately, I was privileged to have a theatre-trained nursing sister and an attendant trainee at the General Hospital in Colombo.
Therefore, I was prepared to respond to any accidental injuries. I possessed a substantial stock of plaster of Paris rolls for treating fractures, and all suture material for cuts.
I was thoroughly prepared for any surgical mishaps, enabling me to manage even the most significant accidental incidents.
On Saturday, October 17, 1964, the day of the train derailment at the railway crossing at Wilwatte, Mirigama, along the Main railway line near Mirigama, my house officer, Janzse, called me at my quarters and said, “Sir, please come promptly; numerous casualties have been admitted to the hospital following the derailment.”
I asked him whether it was an April Fool’s stunt. He said, ” No, Sir, quite seriously.
I promptly proceeded to the hospital and directly accessed the operating theatre, preparing to attend to the casualties.
Meanwhile, I received a call from the site informing me that a girl was trapped on a railway wagon wheel and may require amputation of her limb to mobilise her at the location along the railway line where she was entrapped.
My theatre staff transported the surgical equipment to the site. The girl was still breathing and was in shock. A saline infusion was administered, and under local anaesthesia, I successfully performed the limb amputation and transported her to the hospital with my staff.
On inquiring, she was an apothecary student going to Colombo for the final examination to qualify as an apothecary.
Although records indicate that over forty passengers perished immediately, I recollect that the number was 26.
Over a hundred casualties, and potentially a greater number, necessitate suturing of deep lacerations, stabilisation of fractures, application of plaster, and other associated medical interventions.
No patient was transferred to Colombo for treatment. All casualties received care at this base hospital.
All the daily newspapers and other mass media commended the staff team for their commendable work and the attentive care provided to all casualties, satisfying their needs.
The following morning, the Honourable Minister of Health, Mr M. D. H. Jayawardena, and the Director of Health Services, accompanied by his staff, arrived at the hospital.
I did the rounds with the official team, bed by bed, explaining their injuries to the minister and director.
Casualties expressed their commendation to the hospital staff for the care they received.
The Honourable Minister engaged me privately at the conclusion of the rounds. He stated, “Doctor, you have been instrumental in our success, and the public is exceedingly appreciative, with no criticism. As a token of gratitude, may I inquire how I may assist you in return?”
I got the chance to tell him that I am waiting for a scholarship to proceed to the UK for my Fellowship and further training.
Within one month, the government granted me a scholarship to undertake my fellowship in the United Kingdom, and I subsequently travelled to the UK in 1965.
On the third day following the incident, Mr Don Rampala, the General Manager of Railways, accompanied by his deputy, Mr Raja Gopal, visited the hospital. A conference was held at which Mr Gopal explained and demonstrated the circumstances of the derailment using empty matchboxes.
He explained that an empty wagon was situated amid the passenger compartments. At the curve along the railway line at Wilwatte, the engine driver applied the brakes to decelerate, as Mirigama Railway Station was only a quarter of a mile distant.
The vacant wagon was lifted and transported through the air. All passenger compartments behind the wagon derailed, whereas the engine and the frontcompartments proceeded towards the station without the engine driver noticing the mishap.
After this major accident, I was privileged to be invited by the General Manager of the railways for official functions until I left Mirigama.
The press revealed my identity as the “Wilwatte Hero”.
This document presents my account of the Wilwatte historic train derailment, as I distinctly recall it.
Recalled by Dr Harold Gunatillake to serve the global Sri Lankan community with dedication. ✍️
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