Features
The Absence of a Desired Image – a tour de force
by Seneka Abeyratne
Dr SinhaRaja Tammita-Delgoda’s new art history book, “George Keyt – The Absence of a Desired Image,” provides fascinating insights into the life and work of Sri Lanka’s greatest artist. The book, published by the Taprobane Collection, is 464 pages long from cover to cover with the Appendices (expertly compiled by Uditha Devapriya) comprising about 90 pages. A hefty piece of non-fiction, it is skillfully crafted with meticulous attention paid to detail. Tammita Delgoda has produced a work of art – a tour de force that grips the reader and captures the imagination like an epic novel. Thanks to the author’s breezy writing style and great zest for story-telling, it moves at a brisk pace and takes us on an unforgettable journey. The book’s design is exquisite, especially in respect of the delicate interplay between stylish narrative and ravishing visual imagery.
The book could be viewed as a marvelous tapestry of the painter’s journey through life created by a master craftsman. We discover that not only was Keyt a great, self-taught artist but a brilliant poet, scholar, and linguist as well. How a single individual could excel in so many different fields is something to behold. Here was someone who danced ecstatically to the music of his soul.
Keyt died at the age of 92 and his life spanned all ten decades of the previous century. Though he was playful in his youth, he became a studious and serious-minded individual after leaving school. As The Absence of a Desired Image demonstrates, in terms of range and versatility, Keyt’s artistic and literary output was phenomenal. The book has 18 engrossing chapters plus a lucid Introduction that contains a compact literature review. It is worthwhile noting that several eminent authors have written books on George Keyt including the Indian art historian, critic and curator, Yasodhara Dalmia, whose book is entitled, Life and Times of George Keyt (2017).
Tammita-Delgoda does an excellent job in revealing the multifaceted nature of Keyt’s personality as well as his work. Though Keyt the painter is the central theme of his book, there are several sub-themes, such as Keyt the poet, Keyt the scholar, Keyt the writer, Keyt the translator, and Keyt the illustrator, which also receive close attention. Arguably, The Absence of a Desired Image goes further than any other book on Keyt in terms of weaving the man and his work into a composite whole.
An attractive feature of this weighty tome is that Keyt’s life is interwoven with Sri Lanka’s history, culture, and social fabric. We learn a great deal not only about Keyt’s family background and personal life, but also about how two great religions – Buddhism and Hinduism – influenced his work and his mindset. Keyt was a Burgher and so was his closest friend, Lionel Wendt – Sri Lanka’s greatest photographer. Accordingly, the book’s observations on and impressions of the Burgher community in the first half of the 20th century are highly pertinent to the overarching theme – Keyt the painter.
Because India and Keyt’s life were inextricably linked, the book provides a comprehensive account of how Indian culture influenced Keyt and vice versa. The adroit manner in which it captures the shades and nuances of this synergistic interaction is laudable. But if Keyt ultimately turned to cubism and gave it a distinct Sri Lankan flavor, it was largely due to the influence of Picasso, an artist that he deeply revered.
The focus of Chapter I is the impact that Sri Lanka’s transition from British colonial rule to self-rule had on Keyt’s life. “Confronted with the turmoil of Independent Sri Lanka, Keyt deliberately withdrew into a private world of idyllic romance, divine fantasy and literary symbolism.”
Chapter II contains a fine description of Keyt’s formative years at Trinity College, where students were encouraged to develop their creative, intellectual and artistic skills. Though Keyt never passed any exams, he did win the College Art Prize at age fourteen. And he began to read and write poetry.
In Chapter III we learn how Keyt began studying Buddhism and Pali after leaving school. The Keyt family lived near the Malwatte Vihara, overlooking Kandy Lake, and the scholar monk and poet, Ven. Pinnawela Dheerananda, became Keyt’s mentor.
Chapter IV tells us that when Keyt began to paint, his initial focus was the rhythms and routines of life in Buddhist temples. Meanwhile, he produced many essays and illustrations for various magazines. “His first major literary work was entitled Poetry from the Sinhalese (1938).”
Chapter V indicates that his career as an artist began to take off in his late twenties. “Keyt’s early paintings depicted the landscape and people of Kandy. Naturalistic and representative, they are very carefully structured and solidly organized …” If he was not painting, he was writing poetry. He published several poems in the 1930s, including Image in Absence.
The painter married Ruth Jansz in 1930 by whom he had two daughters. Though Ruth was a devoted wife and mother, Keyt was unfaithful to her, and their marriage broke down before the decade ended. He was in love with Lucia, his daughter’s nanny. Abandoning his family, he went to live with Lucia in her village, Pilawela. Lucia (also known as Pilawela Menike) took good care of him and bore him two sons. The couple relocated several times and eventually made Sirimalwatte (a village in Kandy) their home in 1950.
George Keyt
As explained in Chapter VI, “George Keyt was the first contemporary painter to derive inspiration from the wellspring of Sri Lanka’s ancient tradition.” By carefully studying the Sigiriya frescoes, he mastered the art of drawing the vaka deka, double curve. In the 1930s he began to abandon naturalism and representation in favor of the curving line. From then on, sweeping curves and counter curves became a prominent feature of his work. “Two women, painted during the 1930s, shows how integral the curving line was to Keyt’s work …”
The culture of Polonnaruwa during the Middle Ages was an amalgam of Buddhism and Hinduism and Keyt was profoundly influenced by the bronze images of Hindu deities produced by the cholas. “The heads of many of Keyt’s figures, both male and female, were inspired by the Polonnaruwa bronzes. Abstracted and sharply drawn, with their long faces, pointed noses and heavy lidded eyes, many of them resemble Shiva and Parvati.” Examples of Keyt’s paintings that demonstrate these stylized features are Nayika and The Flutist.
Keyt had in-depth knowledge of Kandyan Buddhist art. “Ian Goonetileke notes that the wall paintings of Kandy were a major factor in the artistic language which Keyt evolved for himself.” For example, Gotaimbara closely resembles a Kandyan mural in style, form and color scheme.
Chapter VII , written with verve and sensitivity, is about Keyt and his best friend – the pianist, photographer, critic and cinematographer, Lionel Wendt. If Wendt opened Keyt’s eyes to the world of modernism, Keyt introduced Wendt to the world of Kandyan dance.
Chapter VIII provides a cogent analysis of Keyt’s Kandyan village paintings such as Ploughing, Harvest, Man with Bull, Woman with Parasol, Fruit Seller in respect of style, form, color, and thematic content. It also elaborates upon Keyt’s fascination with Kandyan dance. “Over the years, Keyt became deeply versed in the arts and drumming. His essay, Kandyan Dancing (1953), provides a comprehensive introduction to the world of Sinhala dance.”
As elucidated in Chapter IX, it was through the books, journals and magazines that Lionel Wendt shared with Keyt that the latter discovered modernism. Of these, the most important was Cahiers d’Art, which showcased the work of leading European modern artists. “Keyt’s discovery of cubism caused him to discard the art of representation. By the 1930s his style had changed. Like Picasso, he combined distortion with bold outline. Using crisp, heavy lines, he made the continuing line a defining feature, merging and fusing figures together.” The influence of other European modern artists such as Léger, Braque, Derain and Matisse can also be observed in his work. For example, Matisse’s Odalisque (1920-21) inspired Keyt to paint Reclining Woman almost fifty years later.
Chapter X provides useful information on the formation of the Ceylon Society of Arts as well as the 1943 Group consisting of prominent artists excluded by the Ceylon Society, including Ivan Peries, George Keyt, Justin Daraniyagala, and Harry Peiris. The idea for the establishment of this Group came from Ivan Peries and was executed by Lionel Wendt. “The 43 Group became Asia’s first modern art movement. For Lionel Wendt it was a great moment of fulfillment which embodied the climax of his artistic career …”
From Chapter XI we learn the 43 Group became famous due to its authentic blend of traditional forms with modern Western influence. “In the years which followed Independence, the 43 Group held a series of regular exhibitions which gradually established modern art in Sri Lanka. By the early fifties, the 43 Group was winning international acclaim and showing its work in Europe.” Keyt’s good friend, Ian Goonetileke (a well-known scholar and bibliographer,), observed that though the core members of the 43 Group were highly gifted, they were not genuinely rooted in their culture, which is why the Group disintegrated in the late sixties. But as this book points out, the only exception was George Keyt.
“Crossing the boundaries of alienation, Keyt was able to find a new truth and forge a relationship with his environment. This endowed his work with the enduring relevance which exists to this day.”
Chapter XII provides a fascinating account of how Keyt became more and more “Indian” in respect of his mindset as well as his art. After his first visit to India in 1939, he kept going back. In 2021 Tammita-Delgoda interviewed Keyt’s elder daughter, Diana Keyt, who said: “Once he went to India, he changed and converted to Hinduism. He became a follower of Krishna. Hinduism came to exercise a bigger influence on him. In the end it won over Buddhism.” The painter lived in India from 1946 to 1949.
Ratikeli is a fine example of a Keyt painting inspired by Hindu mythology. The two great Sanskrit epics, the Ramayana and the Mahabarata, also had a profound impact on his work. This chapter demonstrates with the assistance of drawings and paintings the significant extent to which the painter was also inspired by Indian art, sculpture, music, and dancing.
One of the most nostalgic sections in this book is Chapter XIII, where the Indian factor continues to receive attention. Keyt’s circle of friends during his three-year stay in India (1946-49) included Mulk Raj Anand, Minette de Silva, and her sister Marcia (Anil). From 1946 to 1948, Anil was the assistant editor and Minette, the architectural editor of Marg. During this time Lionel Wendt, Geoge Keyt, and the 43 Group as a whole figured prominently in this prestigious magazine.
The trio (Anand and the de Silva sisters) were the chief organizers of Keyt’s first ever solo international exhibition at the Convocation Hall in Bombay in 1947. The exhibition, which featured 64 paintings as well as a comprehensive catalogue, was lauded by both Indian and foreign critics. “What resonated most was the way in which Keyt had absorbed and depicted the Indian heritage.” According to his biographer, Martin Russel (as per his book, George Keyt) as well as the art historian William Archer (as per his book, India and Modern Art), Keyt’s contribution to the evolution of modern art in India was seminal. (Both authors, by the way, were British.)
In 1947 Keyt published an illustrated version of Gita Govinda, an epic poem recounting the loves of Radha and Krishna which he had rendered from the Sanskrit. “Directly linked to Keyt’s portrayal of love, it became the subject for some of his most powerful erotic paintings.” A notable example, in this regard, is Rasa Lila, the Dance of Divine Love. Keyt, incidentally, had a passionate affair with one Barbara Smith – “an attractive and sophisticated woman of Anglo-Indian descent.” A well-known editor with the Oxford University Press, she was based in Bombay.
As per Chapter XIV, the exhibition at the Convocation Hall opened many other doors for this preeminent Sri Lankan artist. His solo exhibition in New Delhi in 1952, which featured 72 paintings, was a great success. “In the years since Bombay, Keyt’s work had become embedded in the Indian consciousness. In new Delhi he was hailed as a product of the Indian tradition.” Mulk Raj Anand’s The Story of India (1948) and well as A.S. Raman’s Tales from Indian Mythology (1961) were illustrated by Keyt. We note that though the two authors were Indian, the illustrator was Sri Lankan.
In Chapter XV we return to Sirimalwatte and to Keyt’s work based on rural life and Sinhalese traditions, culture and folklore. “In much the same way as he had done with his great murals at the Gotami Vihare, Keyt brought the classical inheritance of the country in visual form.” The use of acrylics from the seventies onwards made his colors much brighter and augmented the decorative beauty of his paintings.
During the second half of the 20th century his paintings found buyers in every part of the world and his work was featured in numerous foreign journals, magazines, and newspapers. “He had become famous, a national and international celebrity.” He held several solo exhibitions in Sri Lanka and India and three in London as well. In 1977 he was honored with a special Felicitation Volume to mark his 75th birthday and in 1988, the George Keyt Foundation was established to promote and publicize his work.
We note from Chapters XVI and XVII that female nudity, lesbianism, and unbridled sexuality are the central, interlocking themes in a significant number of Keyt’s paintings. “At the core of his treatment is the line and curve. Key’s mastery of the curving line enables him to create sweeping, all engrossing curves which capture the lush sexuality of a woman’s body. With the curve as his foundation, Keyt combines line with rhythm, evolving a rhythmic line of his very own.” In this regard, Lovers – an acrylic painting depicting a lesbian couple – is one of his most stylish works.
Chapter XVIII, the most poignant section in the book, is where we learn that Keyt eventually left his second wife for a young Indian woman, Kusum Narayan, whom he married in 1973 by converting to Islam. The couple actually stayed in Sirimalwatte for a while before moving to the Western Province. The cities they lived in included Nugegoda and Galle. In 1992, they returned to Sirimalwatte and Pinawela Menike graciously accepted them. Keyt’s health began to deteriorate and his life came to an end in July 1993. This great modern artist, who was fondly known as the Asian Picasso, was so highly regarded in his homeland that he was given a state funeral in Colombo.
The Appendices are breathtaking, especially the Plates section where paintings, drawings and other works by Keyt are featured for the first time in any formal publication. It is truly the icing on the cake.
“George Keyt: Absence of a Desired Image” is available for sale at leading bookstores across the country. For details on direct purchases of the book, you can contact the publishers, Taprobane Collection, at shamilp54@gmail.com.
It could be quite premature to claim that the US has closed ranks completely with the world’s foremost fascist states: Russia, China and North Korea. But there is no denying that the US is breaking with tradition and perceiving commonality of policy orientation with the mentioned authoritarian states of the East rather than with Europe and its major democracies at present.
Increasingly, it is seemingly becoming evident that the common characterization of the US as the ‘world’s mightiest democracy’, could be a gross misnomer. Moreover, the simple fact that the US is refraining from naming Russia as the aggressor in the Russia-Ukraine conflict and its refusal to perceive Ukraine’s sovereignty as having been violated by Russia, proves that US foreign policy is undergoing a substantive overhaul, as it were. In fact, one could not be faulted, given this backdrop, for seeing the US under President Donald Trump as compromising its democratic credentials very substantially.
Yet, it could be far too early to state that in the traditional East-West polarity in world politics, that the US is now squarely and conclusively with the Eastern camp that comprises in the main, China and Russia. At present, the US is adopting an arguably more nuanced approach to foreign policy formulation and the most recent UN Security Council resolution on Ukraine bears this out to a degree. For instance, the UN resolution in question reportedly ‘calls for a rapid end to the war without naming Russia as the aggressor.’
That is, the onus is being placed on only Ukraine to facilitate an end to the war, whereas Russia too has an obligation to do likewise. But it is plain that the US is reflecting an eagerness in such pronouncements to see an end to the Ukraine conflict. It is clearly not for a prolongation of the wasting war. It could be argued that a negotiated settlement is being given a try, despite current international polarizations.
However, the US could act constructively in the crisis by urging Russia as well to ensure an end to the conflict, now that there is some seemingly friendly rapport between Trump and Putin.
However, more fundamentally, if the US does not see Ukraine’s sovereignty as having been violated by Russia as a result of the latter’s invasion, we are having a situation wherein the fundamental tenets of International Law are going unrecognized by the US. That is, international disorder and lawlessness are being winked at by the US.
It follows that, right now, the US is in cahoots with those powers that are acting autocratically and arbitrarily in international politics rather than with the most democratically vibrant states of the West, although a facile lumping together of the US, Russia and China, is yet not possible.
It is primarily up to the US voting public to take clear cognizance of these developments, draw the necessary inferences and to act on them. Right now, nothing substantive could be done by the US voter to put things right, so to speak, since mid-term US elections are due only next year. But there is ample time for the voting public to put the correct perspective on these fast-breaking developments, internationally and domestically, and to put their vote to good use in upcoming polls and such like democratic exercises. They would be acting in the interest of democracy worldwide by doing so.
More specifically it is up to Donald Trump’s Republican voter base to see the damage that is being done by the present administration to the US’ standing as the ‘world’s mightiest democracy’. They need to bring pressure on Trump and his ‘inner cabinet’ to change course and restore the reputation of their country as the foremost democracy. In the absence of such action it is the US citizenry that would face the consequences of Trump’s policy indiscretions.
Meanwhile, the political Opposition in the US too needs to get its act together, so to speak, and pressure the Trump administration into doing what is needed to get the US back to the relevant policy track. Needless to say, the Democratic Party would need to lead from the front in these efforts.
While, in the foreign policy field the US under President Trump could be said to be acting with a degree of ambivalence and ambiguity currently, in the area of domestic policy it is making it all to plain that it intends to traverse a fascistic course. As has been proved over the past two months, white supremacy is being made the cardinal principle of domestic governance.
Trump has made it clear, for example, that his administration would be close to ethnic chauvinists, such as the controversial Ku Klux Klan, and religious extremists. By unceremoniously rolling back the ‘diversity programs’ that have hitherto helped define the political culture of the US, the Trump administration is making no bones of the fact that ethnic reconciliation would not be among the government’s priorities. The steady undermining of USAID and its main programs worldwide is sufficient proof of this. Thus the basis has been adequately established for the flourishing of fascism and authoritarianism.
Yet, the US currently reflects a complex awareness of foreign policy questions despite having the international community wondering whether it is sealing a permanent alliance with the main powers of the East. For instance, President Trump is currently in conversation on matters in the external relations sphere that are proving vital with the West’s principal leaders. For example, he has spoken to President Emmanuel Macron of France and is due to meet Prime Minister Keir Starmer of the UK.
Obviously, the US is aware that it cannot ‘go it alone’ in resolving currently outstanding issues in external relations, such as the Ukraine question. There is a clear recognition that the latter and many more issues require a collaborative approach.
Besides, the Trump administration realizes that it cannot pose as a ‘first among equals’, given the complexities at ground level. It sees that given the collective strength of the rest of the West that a joint approach to problem solving cannot be avoided. This is particularly so in the case of Ukraine.
The most major powers of the West are no ‘pushovers’ and Germany, under a possibly Christian Democratic Union-led alliance in the future, has indicated as much. It has already implied that it would not be playing second fiddle to the US. Accordingly, the US is likely to steer clear of simplistic thinking in the formulation of foreign policy, going forward.
by Upali Gamakumara,
Upali.gamakumara@gmail.com
The Clean Sri Lanka (CSL) is a project for the true renaissance the NPP government launched, the success of which would gain world recognition. It is about more than just cleaning up places. Its broader objectives are to make places attractive and happy for people who visit or use services in the country, focusing more on the services in public institutions and organisations like the SLTB. Unfortunately, these broader objectives are not apparent in its theme, “Clean Sri Lanka,” and therefore there is a misconception that keeping the environment clean is the main focus.
People who realise the said broader objectives are excited about a cleaner Sri Lanka, hoping the President and the government will tackle this, the way they are planning to solve other big problems like the economy and poverty. However, they do not see themselves as part of the solution.
From the management perspective, the CSL has a strategic plan that is not declared in that manner. When looking at the government policies, one can perceive its presence, the vision being “A Prosperous Nation and a Beautiful Life,” the mission “Clean Sri Lanka” and the broader objectives “a disciplined society, effective services, and a cleaner environment.” If the government published these as the strategy, there would have been a better understanding.
Retaining the spirit and expectations and continuing the ‘Clean Sri Lanka’ project is equally important as much as understanding its deep idea. For this, it needs to motivate people, which differs from those motivators that people push to achieve selfish targets. The motivation we need here is to evolve something involuntarily, known as Drivers. Drivers push for the survival of the evolution or development of any entity. We see the absence of apparent Drivers in the CSL project as a weakness that leads to sporadic hiccups and free flow.
Drivers of Evolution
Drivers vary according to the nature of envisaged evolution for progress. However, we suggest that ‘the force that pushes anything to evolve’ would fit all evolutions. Some examples are: ‘Fitting to survival’ was the driver of the evolution of life. Magnetism is a driver for the unprecedented development of physics – young Einstein was driven to enquire about the ‘attraction’ of magnets, eventually making him the greatest scientist of the 20th century.
Leadership is a Driver. It is essential but do not push an evolution continually as they are not sprung within a system involuntarily. This is one of the reasons why CSL has lost the vigour it had at its inception.
CSL is a teamwork. It needs ‘Drives’ for cohesion and to push forward continually, like the Quality Improvement Project of the National Health Service (NHS) in England. Their drivers are outlined differently keeping Aims as their top driver and saying: Aims should be specific and measurable, not merely to “improve” or “reduce,” engage stakeholders to define the aim of the improvement project and a clear aim to identify outcome measures.
So, we think that CSL needs Aims as defined by NHS, built by stakeholder participation to help refine the project for continuous evolution. This approach is similar to Deming’s Cycle for continual improvement. Further, two more important drivers are needed for the CSL project. That is Attitudinal Change and Punishment. We shall discuss these in detail under Psychoactive Environment (pSE) below.
Aside from the above, Competition is another driver in the business world. This helps achieve CSL objectives in the private sector. We can see how this Driver pushes, with the spread of the Supermarket chains, the evolution of small and medium retail shops to supermarket level, and in the private banks and hospitals, achieving broader objectives of CSL; a cleaner environment, disciplined behaviuor, efficient service, and the instillation of ethics.
The readers can now understand the importance of Drivers pushing any project.
Three Types of Entities and Their Drives
We understand, that to do the transformation that CSL expects, we need to identify or adopt the drivers separately to suit the three types of entities we have in the country.
Type I entities are the independent entities that struggle for their existence and force them to adopt drivers involuntarily. They are private sector entities, and their drivers are the commitment of leadership and competition. These drivers spring up involuntarily within the entity.
Type II are the dependent entities. To spring up drivers of these entities commitment of an appointed trustee is a must. Mostly in state-owned entities, categorized as Boards, Authorities, Cooperations, and the like. Their drivers do not spring up within or involuntarily unless the leader initiates. The Government of a country also falls into this type and the emergence of drivers depends on the leader.
Type III entities have neither independent nor dependent immediate leader or trustee. They are mostly the so-called ‘Public’ places like public-toilets, public-playgrounds, and public-beaches. No team can be formed as these places are open to any, like no-man-land. Achieving CSL objectives at these entities depends on the discipline of the public or the users.
Clean Sri Lanka suffers the absence of drivers in the second and third types of entities, as the appointed persons are not trustees but temporary custodians.
The writer proposes a remedy to the last two types of entities based on the theory of pSE explained below.
Psychoactive Environment (pSE) –
The Power of Customer Attraction
Research by the writer introduced the Psychoactive Environment (pSE) concept to explain why some businesses attract more customers than others who provide the same service. Presented at the 5th Global Conference on Business and Economics at Cambridge University in 2006, the study revealed that a “vibe” influences customer attraction. This vibe, termed pSE, depends on Three Distinct Elements, which can either attract or repel customers. A positive pSE makes a business more attractive and welcoming. This concept can help develop Drivers for Type II and III entities.
pSE is not an all-inclusive solution for CSL, but it lays the foundation for building Drivers and motivating entities to keep entrants attractive and contented.
The structure of the pSE
The three distinct Elements are the Occupants, Systems, and Environment responsible for making a pSE attractive to any entity, be it a person, institution, organization, or county. Each of these elements bears three qualities named Captivators. These captivators are, in simple terms, Intelligent, Nice, and Active in their adjective forms.
pSE theorizes that if any element fails to captivate the entrant’s mood by not being Intelligent, Nice, or Active, the pSE becomes negative, repelling the entrant (customer). Conversely, the positive pSE attracts the entrants if the elements are Intelligent, Nice, and Active.
For example, think person who comes to a Government Office for some service. He sees that the employees, service, and environment are intelligent, nice, and active, and he will be delighted and contented. He will not get frustrated or have any deterioration in national productivity.
The Significance of pSE in CSL
The Elements and the Captivators are universal for any entity. Any entity can easily find its path to Evolution or Progress determined by these elements and captivators. The intangible broader objectives can be downsised to manageable targets by pSE. Achievements of these targets make the entrants happy and enhance productivity – the expectation of Clean Sri Lanka (CSL).
From the perspective of pSE, now we can redefine the Clean Sri Lanka project thus:
To make the Elements of every entity in Sri Lanka: intelligent, Nice, and Active.
How Would the pSE be A Remedy for The Sporadic Hiccups?
We have seen two possible reasons for sporadic setbacks and the discontinuity of some projects launched by the CSL. They are:
The absence of involuntary Drivers for evolvement or progress
Poor attitudes and behaviors of people and leaders
Remedy for the Absence of Drivers
Setting up a system to measure customer or beneficiary satisfaction, and setting aims can build Drivers. The East London NHS principles help build the Aims that drive type II & II entities. The system must be designed to ensure continual improvement following the Deming Cycle. This strategy will create Drivers for Type I & II entities.
This process is too long to explain here therefore we refrain from detailing.
Attitudinal Change
The most difficult task is the attitudinal and behavioural change. Yet it cannot be postponed.
Punishment as a strategy
In developed countries, we see that people are much more disciplined than in the developing countries. We in developing countries, give credit to their superior culture, mitigating ours as rudimental. The long experience and looking at this affair from a vantage point, one will understand it is not the absolute truth. Their ruthless wars in the past, rules, and severe punishment are the reasons behind this discipline. For example, anyone who fails to wear a car seatbelt properly will be fined 400 AUD, nearly 80,000 LKR!
The lesson we can learn is, that in Sri Lanka, we need strong laws and strict punishment together with a type of strategic education as follows.
Psychological Approach as a Strategy
The psychological theory of attitude formation can be used successfully if some good programmes can be designed.
All attitude formations start with life experience. Formed wrong or negative attitudes can be reversed or instilled with correct attitudes by exposure to designed life experiences. The programmes have been developed using the concepts of Hoshin Kanri, Brainstorming, Cause-and-Effect analysis, and Teamwork, in addition to London NTS Quality Improvement strategies.
The experience and good responses we received for our pSE programs conducted at several institutions prove and have built confidence in our approach. However, it was a time, when governments or organisations did not pay much attention to cultural change as CSL expects in the country.
Therefore, we believe this is a golden opportunity to take the CSL supported by the pSE concept.
Although they are visually impaired youngsters, under the guidance of renowned musician Melantha Perera, these talented individuals do shine bright … hence the name Bright Light.
Says Melantha: “My primary mission is to nurture their talent and ensure their sustainable growth in music, and I’m thrilled to announce that Bright Light’s first public performance is scheduled for 7th June, 2025. The venue will be the MJF Centre Auditorium in Katubadda, Moratuwa.”
Melantha went on to say that two years of teaching, online, visually impaired youngsters, from various parts of the island, wasn’t an easy ride.
There were many ups and downs but Melantha’s determination has paid off with the forming of Bright Light, and now they are gearing up to go on stage.
According to Melantha, they have come a long way in music.
“For the past few months, we have been meeting, physically, where I guide them to play as a band and now they show a very keen interest as they are getting to the depth of it. They were not exposed to English songs, but I’ve added a few English songs to widen their repertoire.
Melantha Perera: Invented a notation
system for the guitar
“On 7th June, we are opening up for the public to come and witness their talents, and I want to take this product island-wide, giving the message that we can do it, and I’m hoping to create a database so there will be a following. Initially, we would like your support by attending the show.”
Melantha says he didn’t know what he was getting into but he had confidence teaching anyone music since he has been in the scene for the past 45 years. He began teaching in 2015,
“When I opened my music school, Riversheen School of Music, the most challenging part of teaching was correcting tone deaf which is the theoretical term for those who can’t pitch a note, and also teaching students to keep timing while they sang and played.”
Melantha has even invented a notation system for the guitar which he has named ‘MelaNota’. He has received copyrights from the USA and ISO from Australia, but is yet to be recognised in Sri Lanka.
During Covid-19, Melantha showcased MelaNota online and then it was officially launched with the late Desmond De Silva playing one of his tunes, using MelaNota.
Melantha says that anyone, including the visually impaired, can play a simple melody on a guitar, within five minutes, using his notation system.
“I’ve completed the system and I’m now finalising the syllabus for the notation system.”
Melantha has written not only for the guitar, but also for drums, keyboards, and wind instruments.
For any queries, or additional information, you could contact Melantha at 071 454 4092 or via email at thebandbrightlight@gmail.com.
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