Life style
The Secret to Saving Asian
Elephants ? Oranges
BY ZINARA RATNAYAKE
In Sri Lanka, human-elephant conflict has disrupted farmers for generations. In some cases, people are killed. Now, a local conservation organization is looking to citrus as a solution. Bees and fences can’t stop elephants from attacking villages—but orange trees miraculously can.
The November morning was blue-skied and bright. When Wije appeared behind the large orange tree shading his front yard, his eyes crinkled with a broad smile. He wore a rainbow-coloured sarong, a blue face mask, and a Sri Lanka Wildlife Conservation Society (SLWCS) T-shirt. This is where he works as a fieldhouse manager. He plucked an orange from a tree to prepare juice. In his village, oranges aren’t just a fruit. They’re a solution to an age-old environmental problem: human-elephant conflict.
Like many villages in the countryside of Sri Lanka, Pussellayaya boasts postcard-worthy landscapes. Wije, short for Aluthgedara Wijerathne, is a 43-year-old native of Pussellayaya, which sits in the southern boundary of Wasgamuwa National Park, about 143 miles from the capital city Colombo in Sri Lanka.
When the charred evening clouds in November bring rain to the village, farmers start sowing the fields of paddy that disappear into a ridgeline of the Knuckles Mountain Range. In the coming months, farmers toil in the fields, but the surrounding wildlife doesn’t make their life easy.
“During the last decade, elephants killed four villagers,” says Wije in his native language Sinhala. “We get very scared at night. Elephants came to destroy our crops and houses. We didn’t have a choice but to retaliate. We lit firecrackers to scare them off, but they became more aggressive, so we fired gunshots into the air, and sometimes at elephants. We didn’t want to harm wild animals, but they were destroying everything we had.”
Growing up in the village, Wije remembers the sleepless nights he spent with his parents. They lit fires and slept on rickety treehouses in the open air in the rice fields, trying to scare off hungry elephants looking for ripe paddy—the only source of income Wije’s parents had.
Orange trees have helped protect Wije’s rice crops while helping him branch out into the world of citrus.
Wije’s story is not different from that of thousands of others living in rural Sri Lanka. The country’s rapidly growing human population and subsequent demand for land result in clearing of natural habitats, squeezing wild animals—like elephants—into smaller pockets of land
The Sri Lankan sub-species of the Asian elephant is already endangered—with as few as 2,500 elephants remaining in Sri Lanka today—but this forces them into shattered jungle habitats. Wild elephants rampage adjacent villages (their original habitat) looking for natural sources of food and water.
A 2010 report by Columbia University’s Earth Institute found that, historically, elephant deaths coincided with reduced rainfall in Sri Lanka’s eastern region. The climate crisis is set to change precipitation patterns in the country and increase the risk of drought. Sri Lanka, which ranked second in the 2019 global climate risk index, already experiences erratic weather patterns.
During Sri Lanka’s dry season, water bodies dry up. Trees wither. Water buffaloes resort to the last remaining mud puddles while searing hot weather cracks the arid soil. In this fetid heat, elephants frequently wander around looking for water, some of them migrating through human habitats where resources exist.
Every year in Sri Lanka, the elephants destroy $10 million worth of crops and property. For the last two years, elephants have killed more than 90 people a year in Sri Lanka. Fearful farmers fight back; in 2019, they killed a record 405 elephants. While human-elephant conflict is a threat to these jungle giants, it also puts impoverished farmers in a vulnerable situation.
“We need to help humans first. If we do that, we can save elephants.”
In the early 1990s, conservationists in Sri Lanka tried to solve the problem by installing electric fences around the villages. But elephants are smart creatures: They began using sticks or branches to break these wires. Busy farmers then have to spend time rebuilding the wires. Ravi Corea, founder of SLWCS, says that farmers who live hand to mouth don’t have the luxury of spending time on such repairs.
Corea understood the need for a long-term solution during his time near Wasgamuwa about three decades ago. After he launched SLWCS in 1995, Corea initiated the project Saving Elephants by Helping People (SEHP) in 1997 to research community-led responses. “I realized that we need to help humans first,” he says. “If we do that, we can save elephants.”
The Knuckles Mountain Range looms in the background as farmers work the fields
Around 2005, Corea got a surprising tip from the villagers. “Elephants are amazing creatures,” he says, laughing. “They like to remind us that they are the kings in the jungle.”
Elephants often display their power by uprooting trees—but there was one type they left alone: citrus.
So a year later, SLWCS conducted a series of feeding trials with six captive Asian elephants at Dehiwala Zoo, located in suburban Colombo. While elephants gulped down other things such as melons, bananas, paddy, and palm leaves, they tended to eschew oranges and lime fruits and leaves. Their study (which has not been peer-reviewed) concluded that Asian elephants in Sri Lanka have a natural aversion to citrus.
The researchers never found out why elephants didn’t like citrus—they suspect the compound called limonene might be behind it—but those results were promising enough to expand the solution. Corea had already tried other options in between—like beehive fences. They involve fencing the farmer’s crops with beehives. This invention has worked in parts of Africa, but Sri Lankan bees don’t sting as hard as the killer bees of Africa. Moreover, the bees would leave in the dry season in search of water.
By 2011, SLWCS moved forward on the potential citrus solution: It donated orange trees to 12 farmers in Radunna Wewa, another small hamlet in Wasgamuwa. After three years, as the orange plants grew, the farmers saw the difference the plants made. While elephants still stormed through the surrounding main roads, they would take a detour when they smelled citrus. The strong smell of orange now keeps the elephants out of the village, protecting crops and property.
Sixty-year-old Waththegedara Anulawathie is one of Radunna Wewa’s first orange growers. “Elephants don’t come now,” Anulawathie says, her wrinkled face lighting up. Her black and gray hair is loosely braided; her baby pink blouse bright against the backdrop of paddy fields nearby. “Some months, we lost most of our harvest,” she says, pointing to where elephants reduced a house to nothing. “Now we go to sleep at night,” she smiles.
Since their earliest program in Radunna Wewa almost 10 years ago, SLWCS has planted trees in more than 12 villages in the Wasgamuwa region, distributing 25,000 orange plants. Pussellayaya is one of their latest additions. Each of the village’s 300 houses has at least 10 orange trees. In the last five years, SLWCS has estimated that the Wasgamuwa region contributed only about two percent to national human-elephant conflict—including property and crop damage, human deaths, and elephant deaths—according to annual data the organization collects from the region’s Department of Wildlife Conservation.
“Now elephants don’t harm the poor farmers, and farmers don’t harm the elephants,” Corea says, “It’s a win-win for both parties.”
While oranges kept elephants away, their commercial value further incentivized farmers to cultivate the crop. Most traditional paddy farmers struggle to meet their needs, but oranges now provide them an additional income. Farmers grow Bibile sweets, a green orange from Bibile, Sri Lanka, which suits the climate. Anulawathie says a fully grown tree yields about 300 to 500 oranges, which she sells for 15 rupees (about $0.10) each.
However, soaring heat and extreme drought threaten these orchards. In Anulawathie’s garden, two young trees died in August, the driest month of the year. While SLWCS has already developed an irrigation system that brings in water from nearby canals, lakes, and springs, farmers are still struggling.
As more farmers grow Bibile sweets, Corea says they will help protect the natural water springs. Once the trees grow into large orchards, they’ll help shade the bare soil from the harsh sun. Birds, butterflies, and other insects come for orange flowers, too, increasing the area’s biodiversity. “Oranges are addressing the issues of the ecosystem shared by elephants, humans, and other wildlife,” Corea says.
SLWCS relies on volunteers and donations for its projects. While Corea has plans to expand this program, the conservation efforts would require more financial support and intervention from government authorities. Corea and his team had planned to begin feeding trials in Tanzania to African elephants, but the pandemic put that on pause. “We want to see if African elephants show a resistance to citrus as well.”
Now that elephants don’t come to raid their paddy, farmers in Pussellayaya can sleep peacefully. They can reap and sell their harvest in full. Wije, for instance, was able to buy a tuk tuk (auto rickshaw) with last year’s earnings. Wije walks me around the village and shows me a home. The garden is dotted with orange trees, planted only four years ago. In May, the family sold their first harvest.
We walk to the SLWCS field office, and Wije squeezes a few oranges for juice. It’s a great way to kill the scorching heat. Wije peels off the orange rind, but he has already learned that the outer skin is also useful. SLWCS is planning to make essential oil from orange peel, as well as introduce products with a longer shelf life: jam, bottled-juices, and cordials.
Wije believes these products can help bring more income to the villagers. “Until then, we are thankful that elephants don’t come here anymore. Our rice is safe. Our houses are safe. We are safe,” Wije says, smiling. “Elephants are safe, too.”
(BBC)
The 10-day public exhibition of the sacred tooth relic which commenced on April 18 after a respite of 16 years ends today.
Revered by millions and regarded as Sri Lanka’s seal of sovereignty, the sacred tooth relic of the Buddha, since its arrival in the island, had been the insignia of the royalty, shifting to wherever the seat of the government had moved. The most sacred relic had been sheltered in the last Sinhala kingdom of Kandy for the past three centuries in the Dalada Maligawa or the Palace of the Tooth Relic. The sacred tooth relic is revered with a continuum of deeply seated rites and rituals, evolving a tradition of its own which had caught the imagination of many foreign travelers to the island as well.
BY RANDIMA ATTYGALLE
John Davy an English physician who accompanied the Governor of Ceylon, Sir Robert Brownrigg on his tour of the Central and the Uva provinces, documents in his work, ‘An Account of the interior of Ceylon and of its inhabitants with travels in that island’ (1821) his impressions of the Dalada Maligawa and the tooth relic: ‘The Dalada Maligawa, was the domestic temple of the king, and it’s the most venerated of any in the country, as it contains the relic, the tooth of Boodhoo to which the whole island was dedicated and which is considered by good Boodhists as the most precious thing in the world.’
(spelled as in the original writing) Davy who goes onto note that he had the rare opportunity enjoyed by only a few Europeans ‘of seeing the celebrated relic when it was recovered, towards the conclusion of the rebellion (of 1818) and brought back to be replaced in the Dalada Malegawa, from which it had been clandestinely taken,’ provides a detailed description of it and even provides a sketch to give some idea of its size and form. ‘Never a relic was more previously enshrined; wrapped in pure sheet-gold, it was placed in a case just large enough to receive it, of gold, covered externally with emeralds, diamonds and rubies, tastefully arranged.’ Describing the outermost of seven caskets containing the relic, Davy writes: ‘the ornaments attached to it are extremely rich and consists of gold chains and a great variety of gems, suspended from it. The most remarkable of these is a bird hanging by a gold chain and formed entirely of diamonds, rubies, blue sapphires, emeralds and cat’s-eyes, set in gold, which is hid by the profusion of stones.’
Encrusted with gems
Colonial Secretary of Ceylon, James Emerson Tennent in the Volume 2 of his book Ceylon, provides another account of the relic accompanied by a sketch of the shrine in which it is deposited. ‘The apartment in which it is deposited is in the inmost recess of the Vihara, a small chamber without windows, in which the air is stiflingly hot, and heavy with the perfume of flowers. The frames of the doors are inlaid with carved ivory and on a massive silver table stands the bell shaped carandua, the shrine which encloses the relic, encrusted with gems and festooned with jewelled chains. The outer case contains a number of others, similarly wrought, but diminishing in size, till on removing the inner one a golden lotus is disclosed, in the centre of which reposes the mysterious tooth.’
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- Sacred Tooth Relic
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- Illustration from James Emerson Tennent’s Ceylon
An American professor of Historical Theology, John F Hurst in his documentation, The Country and the People of India and Ceylon (New York 1891) pens a section under the banner, The Enchanted Road to Kandy. Visiting the Temple of the Tooth, Hurst is impressed by the Kandyan craftsmanship describing it to be of a ‘style well worthy of the early Italian workers.’ He goes on to to provide a detailed account of the temple consisting of several doorways. ‘By this last doorway you enter the dark and mysterious sanctum sanctorum of the whole Buddhist faith. There is first a silver table, which stands before the shrine and await the worshipper’s gifts. You look through iron bars and behold a gilded shrine, shaped like a bell. This is a mere covering for six other shrines of decreasing size, one within the other. All are of solid gold with rubies, pearls, emeralds and other precious stones. Here are Oriental cat’s eyes encrusted into gold and silver. The two smallest of these shrines are covered with squarely cut rubies. The sacred tooth, invisible in these days, is contained in the smallest of all.’
A journey like no other
It is believed that Arahat Kema recovered the fourth left canine of Lord Buddha from the flames after the cremation and handed it over to the King of Kalinga in eastern India. For 800 years it became an object of veneration by Kalinga (present Orissa) kings. King Guhasiva during his reign, fearing that the relic being stolen by his enemy who declared war against him, entrusted it to his daughter Princess Hemamala and her husband Prince Dantha to take it to neighbouring Sri Lanka. King Kirti Sri Megawanna who reigned in Anuradhapura from 300-331 AD made the best of royal pageantry possible to receive the Sacred Tooth Relic of Lord Buddha which Princess Hemamala brought safely hidden amidst her tresses, 800 years after the passing away of Lord Buddha. Sri Lanka’s historic chronicle Mahavamsa records that the King having deposited the sacred relic in Dhammacakka Vihara (built by King Devanampiyatissa), further decreed that the sacred relic should be taken in parade around the city of Anuradhapura once a year. Mahavamsa further notes that the king spent over 900,000 kahapanas in celebrating the festival of the tooth relic. The famous Chinese Buddhist pilgrim traveller Fa Hien who visited Anuradhapura in 399 AD in his travelogue describes witnessing the celebrations replete with processions of jewel-encrusted elephants.
Thus began the tradition of the monarch of Lanka being the guardian of the sacred tooth relic. Its possession alone conferred on its owner a substantial claim to the sovereignty of the island. It was during the reign of King Vimaladarmasuriya I that the sacred tooth relic was deposited in a three-storied shrine near the palace of Kandy. His successors laboured to expand the shrine which came to be known as Dalada maligawa.
Insignia of the royalty
The relic was zealously guarded by our royals shifting its abode to multiple places of safety during foreign invasions. Prof. Lorna S. Dewaraja in her book, The Kandyan Kingdom of Sri Lanka, notes that the possession of the tooth relic alone conferred on its owner a substantial claim to the sovereignty of Sri Lanka and even Nayakkar kings ‘jealously guarded it specially when foreign invasions threatened its safety’. Prof. Dewaraja mentions that in the reigns of Sri Vijaya Rajasimha and Kirti Sri Rajasimha public exhibitions of the relic were held. ‘On both occasions a pavilion was erected in front of the Temple and the king himself exposed the relic to public view placing it on the palm of his hand. The scholar citing, several historical sources says that the practice which persists even today of displaying the relic to distinguished visitors from abroad prevailed even at that time, for Kirti Sri Rajasimha held a special exhibition of the relic for the benefit of the bhikkus and dignitaries who came from Siam. ‘The relic was held in great esteem in Siam, for the king sent a model of it to the Siamese monarch, much to his delight.’
During the 1818 rebellion in the uplands against the British rule, Wariyapola Sri Sumangala Thero smuggled the tooth relic from the Dalada Maligawa, fearing its seizure by the British and went into hiding in Hanguranketa. When the British captured the prelate and recovered the tooth relic, the rebellion too ended. John Davy in his account records that, ‘when the relic was taken, the effect its capture was astonishing and almost beyond the comprehension of the enlightened…after the recovery of the sacred relic, the possessor of which is considered by the natives the master of the country that is dedicated to it, the whole of the interior was speedily tranquilised.’
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- Dalada exposition of 1828 as illustrated in Jonathan Forbes’ Eleven Years in Ceylon
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- A painting of Dalada Maligawa in John Davy’s Account of Ceylon
Exposition during the British rule
A descriptive account of the first Dalada exposition during the British rule is provided by Major Jonathan Forbes in Eleven Years in Ceylon. Forbes who was privy to the four-day pageantry in May 1828, replete with ‘Kandyan pipes’ and the ‘din of tom-toms’, notes that, ‘Fifty-three years had elapased since the King Kirti Sri had openly displayed the relic; and from the revolutions which had since taken place in the country, but few people remembered the ceremony, and still fewer had seen the Dalada.’ Further in his observations, Forbes notes: ‘in front of the silver altar on which the tooth was exposed a plain tabled was placed; to this the people approached one at a time and having seen the Dalada and deposited their gifts, they prostrated themselves, then passed on and made room for others. The offerings consisted of things the most heterogenous; gold chains and gold ornaments, gold, silver and copper coins and all denominations, clothes, priests’ vestments, flowers, sugar, ereca-nuts, betel-leaves.’
Exposition as an extended ritual
Ancient texts such as Dalada Siritha offers a comprehensive account of the rituals which need to be followed by kings to pay reverence to the sacred relic as well as a code of conduct associated with it. “Since Anuradhapura times, it had occupied the pride of place with daily rituals governing it. However, a systematic constitution governing Dalada came into being during the Kurunegala era with the compilation of Dalada Siritha,” says Prof. Wimal Hewamanage from the Department of Buddhist Studies, University of Colombo.
According to historical evidence, exposition of the tooth relic had been an extended ritual of the Dalada Perahera and during foreign invasions when perahera was not possible, there had been expositions only, says the scholar. “It is during the Kandyan kingdom that Dalada exposition evolved as a separate event. The first such under the British occupancy in 1828 is believed to have been to invoke the blessings of the sacred relic to induce rain after a prolonged drought as the ancient agrarian community of ours similar to many other Asian counterparts such as India and China strongly believed in the connection between the rains and the Divine.” The tradition of Dalada exposition independent of the Esala Perahera thus continued, says Prof. Hewamanage who says that the first such exposition after independence was held in 1952.
Ramani Fernando and her team has been an intergral part of Colombo Fashion Weeks.She is still riding the high of Colombo Fashion Weeks from inception. Ramani Fernando salons has continued to create stunning hairstyles and make-up looks for the models. Through the eyes of fashion enthusiasts and attendees, Colombo Fashion week sponsored by Master Card presents itself as a series of perfectly organised catwalks, presentations and events. An entire array of stylists from ramani fernando salons works backstage at alldays making sure every part of the show runs smoothly but it is Ramani who is just one of the creatives behind Colombo Fashion Weeks, hair and make-up looks Here she breaks down the inspirations behind the scenes moments, and creative process that brings Colombo Fashion Week to life.
Ramani Fernando, one of the legends in the fashion world, garners the highest praises throughout the Colombo fashion weeks and beyond whether she’s creating a sleek pony tail, crafting an avant garde hairdo or the iconic looks ..
She speaks about the backstage , the buzz behind the scenes and how she colloborates with different designers to create looks ,what brands she is is using with each hairstyle on the models Immense success at all the fashion weeks from inception,has put her in the fashion map leading her to win many accolades and awards.
I absolutely love fashion weeks and the lead up to it. Being part of the designer vision,understanding who they want thier cast to look and feellike when they walk the runaway and executing the look is the most intense but creatively dynamic experience’ she says.
Fashion weeks are a marathon,not a sprint. It’s all about asking the right questions. My job is to dip deep,piece together the creative puzzle and bring out the vision .the designer My work is all about the designer’s vision and never aligning bound or answering to trends sometimes. Each fashion sh was a celebration of diversity and creativity showcasing hairstyles and make up that are unique and authentic as the collections.
Your work at fashion weeks has been legendary. Can you walk us through what it’s like to be backstage at these major fashion shows? How do you find inspiration to create new looks for almost all the runway shows a year?
Backstage is an exhilarating mix of chaos and creativity. There’s a pulse – a certain kind of eclectic feeling that runs through everyone, from stylists to designers to models. It’s fast, intense, but incredibly exciting My inspiration comes from everywhere—architecture, nature, street fashion, even music. But ultimately, it’s the designer’s vision that guides the look. I take that vision and elevate it with a twist that brings edge, elegance, or drama, depending on the brief.
Its no secret that many of the signature looks of your styles lean more toward the avant-garde than traditional styles. What’s your opinion on that?
That’s very true—and intentional. While we absolutely respect timeless, classic beauty, I believe hair should also be an expression of individuality and art. The avant-garde allows us to push limits, question norms, and celebrate boldness. It keeps creativity alive in the salon and challenges us to stay at the forefront of global trends.
How does it all start coming together?
It usually begins with understanding the designer’s vision. From there, I experiment with textures, shapes, and styles to find what best complements the collection. Once we have the direction, I work closely with my team to define the look so it’s practical, beautiful, and ready to handle the fast-paced environment backstage.
What’s it really like backstage for you?
It’s adrenaline-fueled! There are moments of pressure, of course—but also moments of pure magic. You see an idea you’ve carried in your mind come to life in real time. And that buzz, that intensity—it never gets erased and Love the camaraderie, the unspoken communication, the rhythm. It’s like a well-choreographed performance where everyone knows their part.
You’ve had the chance to work with many celebrities, models, and high-profile clients. Can you share some standout moments?
There have been many special moments, but what stands out most is the trust they place in me. Whether it’s for a show or a shoot, it’s always exciting to help someone feel confident and look their best. Every client brings a unique experience.
What’s in your backstage kit?
Oh, everything! A wide range of brushes and combs, of course. My go-to styling products—texturizing spray, heat protectant, finishing spray, strong-hold gel. Pins in every shape and size. A good hairdryer, flat iron, curling wand. And then there are the wild cards—glitter, feathers, hair nets, even sculpting tools—because you never know what the look might demand.
What’s it like to work at fashion weeks so many years?
It’s the most thrilling rollercoaster you’ll ever ride. The pace is fast, the expectations are high, and yet the creative freedom is unmatched. It’s also deeply collaborative—everyone brings out their best. You walk away exhausted but completely fulfilled, with a sense of pride that’s hard to describe.
Who is your favourite designer to work on?
That’s a tough to answer! Each designer brings a unique energy and perspective. But I’ve always loved working with those who aren’t afraid to take risks—who use hair as an extension of their collection’s narrative. I’ve had incredible collaborations with both local and international names, but the ones who trust you to co-create something bold—those are my favourites.
How do you see the evolution of styles from your early days to now?
It’s been fascinating. When I started, there was a strong focus on structured, polished looks. Over time, we’ve embraced more texture, more individuality, and more rebellion. Styles now celebrate diversity, authenticity, and imperfection—and I love that. The industry has grown more inclusive, and that’s reflected in the hairstyles we create today.
You are the recipients of many awards and how has that influenced your career?
Awards are a beautiful recognition of hard work, but they’re also a responsibility. They push me to keep evolving, to mentor others, and to give back to the industry that’s given me so much. They remind me never to settle—and to always aim higher, not just for myself, but for the teams I lead and the young stylists who look up to me.
Pix by Thushara Attapathu
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