Features
Vajira: a dance of a life
Sri Lanka’s prima ballerina, Vajira Chitrasena, 89 now, was conferred the Padma Shri one of India’s highest civilian honours on November 17. The award was in recognition of her unique contributions to enriching Indo-Sri Lanka relations through the promotion of dance and blending the art forms of both countries. On behalf of the Indian President, Vajira was presented the award by the High Commissioner of India in Sri Lanka, Gopal Baglay at a special Temple Trees ceremony at which Prime Minister Mahinda Rajapaksa was present.
Padma Shriin Sanskrit translates into ‘Noble one in Blossom.’
We celebrate the ‘Noble one of Sri Lanka’s dance’ through the eyes of generations of ‘Chitrasena women’ who keep her trailblazing tradition alive.
BY RANDIMA ATTYGALLE
‘Balletomanes who see the second program of the Chitrasena Ballet, which was presented at the Elizabethan Theatre last night will receive a shock, for there they will find the original of their beloved classical-romantic ballet ‘Swan Lake’. The various pas de deux, performed by Vajira as the Chief
Swan and Wimal, as the noble King Nala, leave, it must be confessed, our ‘Swan Lake’ sadly lacking in imagination and understanding. This critic has not seen in ‘western’ ballet mime, acting and dancing, capable of evoking in nature and spirit of the swan, to compare with the performance of Vajira in this role,’ wrote Roland Robinson in The Sydney Morning Herald of February 16, 1963.
Be it the swan that connived to bring Nala and Damayanthi together or Maya in Chandalika or exploited Sisi in Karadiya, Vajira Chitrasena stole the show. The thunderous applause she received across the seas was an index that she had arrived earning a trademark for the ‘feminine’ Kandyan dance form.
The 15-year-old Vajira who was enrolled in Chitrasena’s dancing class by her mother would run away only to be dragged back by her mother who used to sew the costumes designed by Somabandu for Chitrasena productions. Vajira would once recollect in an interview with this writer: “I was mischievous and was least interested in pursuing dancing seriously and it was Chitrasena who made me think seriously about being a professional dancer.”
A match made in heaven for the dance, the Chitrasena-Vajira union mutually pushed the golden couple of Sri Lankan dance to greater heights. Since her debut through Pageant of Lanka in 1948 until her swan song Chandalika in 1996, with every step Vajira not only emerged a brand name and a cultural ambassador for Sri Lanka but also opened a career path for Sri Lankan women. Interestingly, many male dancers who have made a name for themselves today were also mentored by her. Although there were dancers such as Chandralekha before her, it was Vajira who broke away from the tradition of women donning the male costume on stage and introduced the fluidity and grace that made the female dance feminine.
Although traditionally a male dance tradition, Kandyan dance still enables liberty to evolve one’s own style, says Upeka Chitrasena, eldest daughter of Vajira. “My mother was never inhibited from jumping as high as my father did in her Kandyan dance performances. Although I danced behind them, (along with sister Anjalika) and later did all roles amma once did, I never copied my mother but evolved my own style to suit my personality. My parents never put us into a mould but gave us independence to carve a niche for ourselves.”
Upeka who is today a much sought teacher herself, candidly admits that although she follows her mother as a hard task master and strict disciplinarian, she cannot match her mother’s patience. “Amma could make anybody dance; such was her spirit. She simply would not give up. I don’t think I have that kind of perseverance,” she smiles.
Transformation came naturally to Vajira. She never had to “strive hard to adapt to new roles,” as she put it. By the time Karadiya hit the boards, Vajira was a seasoned dancer. She was also a teacher of dancing at Methodist College, Colombo by then. Starting with small scale ballets such as Kumudini and Nirasha, Vajira’s repertoire as a choreographer expanded with longer ballets such as Himakumari, Sepalika and Kindurangana. Together with Chitrasena, the couple created Kinkini Kolama for daughter Upeka.
Vajira was avant-garde in every sense. While creating avenues for the female dancer in this country at a time when there were no role models, she played multiple roles of the dancer, the choreographer and guru – passing the baton to her daughters and now her granddaughters. Far from being the traditional wife and mother, Vajira danced everyday along with Chitrasena. Upeka recollects her parents creating, rehearsing and traveling all the time when they were young. “I danced every day of my life and at the same time I was there for my three children. They admired their parents on stage, a unique opportunity for any child, and it is their judgment of what the two of us did that mattered most,” Vajira would once recollect.
From the 1940s, ever since Chitrasena and Vajira started creating their own genre together, the entire family along with their golayas have been in rehearsal. For them it will continue to be a journey of experimenting and discovering the possibilities of a ‘movement-language’ like no other notwithstanding the pandemic. “These are frustrating times for all of us and this honour from India comes as breath of fresh air and hope,” says Upeka who is overwhelmed by the messages of love and affection that have been pouring in from all corners of the world since the award was announced.
The Chitrasena family is no stranger to India. The connection dates back to patriarch Chitrasena given further impetus by Vajira and later by Upeka (through her association with Nrityagram- India’s first modern Gurukul for Indian classical dances) and now cemented further by the third generation that steers the Chitrasena Dance Company. Samhara where the Chitrasenas collaborated with the Odissi dancers of Nrityagram Dance Ensemble from Bangalore was a critical turning point for the ‘younger dancer company’ led by Vajira’s granddaughter Thaji (Thajithangani Dias- daughter of Anudatta). Samhara as they reflect enabled them to take traditional Kandyan dance to newer heights.
Vajira’s younger daughter Anjalika Chitrasena (Melvani), a dancer and a teacher herself, finds her mother’s indomitable strength as a woman of many roles to be the heartbeat of their dance school to date. “She led by example and whatever she created, she did through her own experiences; she was constantly watching, reading, absorbing and creating new things all the time.” Her brother Anudatta was only three months old when her parents went on their first tour to Russia in 1957, recollects Anjalika. “She was still lactating but she continued to do what she had to do – dance. That was the kind of strong woman she was.”

Creating magic was inevitable with her mother as the choreographer and her father as the Artistic Director, says Anjalika. “My father was a very dominant and difficult person, yet she respected him for all that he was; her Guru, her mentor and partner in crime! My father used to call her the blotting paper absorbing all he said and did – that’s how well she understood him.”
Vajira’s humility is exemplary says her daughter. “She treated all her dancers like her own children, looked after them, fed them and mentored them. My mother gave her life to the arts without expectation and she continues to do that.”
Heshma Wignaraja, Artistic Director of the Chitrasena Dance Company and daughter of Anjalika, is grateful that India has recognized the efforts of her grandmother whose career spanning over 70 years is one that is dedicated purely to the dance. “She learnt from the best and built a lifelong partnership with her Guru, Chitrasena, who initiated and established a very rich connection with India for our dance and our family. It is with his support and blessings that she blazed a new trail for all female dancers in this country- setting world standards in performing, teaching, creating and collaborating. And it must be so satisfying for her to receive this honour at nearly 90-years of age.”
Since the pandemic, a lot has changed for all performing artistes compelling them to deal with a new set of challenges says Heshma. “The ties we have with Nrityagram however, have taken deep roots. So we will somehow find ways to continue working together. We are waiting impatiently for the next meeting.”
Growing up watching her achchi has had the biggest impact on Heshma. An all-rounder, an unassuming prima ballerina, she was like a “magnet of sorts,” Heshma says. “Her approach to creating was the most simple and honest but her work ethic was relentless and therefore everything she did or touched truly turned into gold! I look forward to continue working with her.”
Being born into a family of exceptional artistes who have set high standards, has pushed her to set the bar higher for the next generations to follow, says Thaji. Her grandmother’s discipline both on and off stage inspire the principal dancer of the Company that she is today. Says Thaji: “Be it technique, stage discipline, looking after your costumes, etc. achchi always led by example. Her discipline as a dancer on stage is something I have imbibed but her discipline off stage is something I have to continue to work on and of course even today she as a grandmother continues to have a watchful eye over my off-stage discipline!” she smiles.
Vajira’s attention to detail and ‘never say die’ attitude makes her a wonder says granddaughter Umi (Umadanthi) Dias who administers the Kalayathanaya. “Looking back today, I know that whatever I have grasped from my grandmother unconsciously comes into play spontaneously and helps me immensely to deal with the work I do at the Kalayathanaya.”
Sharing her legendary grandmother’s flipside, Umi says that she is a master seamstress. “Even now at almost 90 years, we still go to achchi with all our alterations. She turns out wonderful clothing for my kids with little pieces of leftover fabric. And of course there is her love for exercise and keeping her body fine tuned. She will never take a break from her daily exercise routine even when we go on holiday.”
Vajira is a blissful great grandmother of four and Umi says that her love for all of them is boundless.
A role model for generations of women, Vajira Chitrasena never clamoured or sought personal glory. In her own words, “it just came my way and I accepted it neutrally.” What success is to this queen of the dance is reflected in the words of the famed Russian dancer Anna Pavlova: ‘to follow without halt, one aim; there is the secret of success. And success? I do not find it in the applause of the theatre. It lies rather in the satisfaction of accomplishment.’
(Photo credit: Chitrasena family archives, Luxshman Nadaraja, Sujatha Jayarathna & Indian High Commission in SL)
Features
Combining local resources,traditional knowledge and science to build a food-secure Sri Lanka
World Food Day 2026: Innovating today for a better food future
by Dr. Kaushalya Wijayasekara
What will be on the Sri Lankan dinner table ten years from now? Will our children be able to get nutritious food at a price their families can afford? Will farmers be able to grow enough despite changing weather and rising costs? And how much of the food we produce will actually reach the consumer, instead of being lost or wasted along the way?
These questions can’t wait. A farmer faces unpredictable weather. A family faces rising food costs. Fruit goes unsold after a good harvest. Some children do not get enough nutrition. The future of food is tied to the future of Sri Lanka itself.
World Food Day 2026 is a chance to look beyond the immediate problems and ask whether we can build a food system that feeds our people well, gives farmers better opportunities, protects the environment and makes better use of what we already have. The answer can be yes, but we will have to think differently.
We are not starting from zero. Sri Lanka has diverse crops, fisheries, traditional food knowledge, indigenous varieties, research institutions, universities and a young generation able to create new solutions. What we need is to bring these together and act. Producing more will not secure our food future on its own. It will depend on how intelligently we produce, process, preserve, distribute and consume food.
Making more of what we already have
Innovation does not always mean inventing something new. Often it means finding better uses for the resources we have.
Sri Lanka grows traditional rice varieties, kurakkan, green gram, cowpea, jackfruit, breadfruit, cassava, sweet potato, coconut and palmyrah. All of them have great potential for modern, nutritious, value-added foods. Jackfruit and breadfruit can be made into flour and other convenient products. Traditional rice varieties can go into new foods that suit changing consumer needs. Palmyrah, with its strong cultural heritage, can create new income through better processing, packaging, quality assurance and market development.
The aim is to connect our traditional food knowledge with modern consumer needs and technology, while keeping our food heritage.
Stop wasting the food we produce
Reducing food loss and waste should be a major priority. Seasonal fruits such as mango, banana, papaya and pineapple can be lost in large quantities when production exceeds demand or when storage, transport and processing facilities are inadequate. With suitable technology, these fruits can become dried products, pulps, powders, beverages and other shelf-stable foods.
Agricultural and fisheries by-products are resources too. They could be turned into food ingredients, animal feed, bio-based products and other useful materials, which would move us toward a more circular food economy.
Technology alone is not enough. We need stronger local processing facilities, cold storage, efficient transport, collection centres and market information systems, especially close to where food is produced. Cutting food loss raises the value of what our farmers and fishers already produce.
Nutrition and food safety come first
Food security means more than having enough food. People also need food that is safe and nutritious.
Sri Lanka can develop affordable, nutritious foods from local pulses, grains, vegetables, fruits and fish. Children and other vulnerable groups should get particular attention. Schoolchildren in particular deserve a focus: safe, nutritious, locally sourced products for school feeding programs would support child nutrition, local farmers and domestic food industries at the same time.
Food safety must stay at the centre of food innovation. Good hygiene, quality control, laboratory testing, traceability and appropriate food safety systems are what make new products safe as well as attractive and nutritious.
A food system that can cope with climate change
Climate change is already affecting agricultural production, water availability, crop yields and food prices. We need food systems that can handle changing conditions. That means climate-resilient crops, efficient water use, soil and water conservation, better storage and resource-efficient food processing.
Traditional knowledge matters here. Generations of Sri Lankan farmers have developed practices suited to local climates and ecosystems. Combining that experience with modern science can give us solutions that fit local conditions and are sustainable. Technology alone will not build the future of food. Science, experience and local knowledge together can.
Give young people a bigger role
Sri Lanka’s universities have an important part to play in shaping our food future. Young people should be encouraged to identify real problems in the food system and work on practical solutions in areas such as food waste, sustainable packaging, nutrition, food safety, modernising traditional foods and digital technologies.
A good research project should not always end as a research paper. Where appropriate, research should be supported to move on to products, technologies, enterprises and community solutions. That needs stronger partnerships between universities and industry, along with mentoring, research funding, business support and market connections. If young researchers and entrepreneurs can turn their ideas into viable food innovations, both consumers and producers will benefit.
A pathway designed for Sri Lanka
We do not need to copy food-system models from other countries. We can build a pathway that suits our own resources, culture and needs. It would bring together local resources, traditional knowledge, scientific research, appropriate technology and entrepreneurship, with farmers, fishers, universities, research institutions, food industries, entrepreneurs and policymakers working side by side.
The goal goes beyond selling raw materials. We need to create more value, reduce waste, improve nutrition, generate jobs and strengthen rural livelihoods. This matters especially for small and medium-scale food enterprises, which can drive local economic development when they get the right technical, financial and market support.
The choices we make today
The food future will not create itself. It will be shaped by what we grow, what we research, what we process, what we consume and what we choose not to waste.
So, the question for World Food Day 2026 is this: what can we do today so that every Sri Lankan has safe, nutritious, affordable and sustainable food tomorrow?
The answers are already around us, in our farms, fisheries, food businesses, universities, laboratories and communities. We have the resources, the traditional knowledge, the scientific expertise and talented young people. What we need now is to connect them and act.
A better food future begins with the choices we make today.
Dr. Kaushalya Wijayasekara
Senior Lecturer, Department of Biosystems Technology, Faculty of Technology, University of Ruhuna
Features
20th Anniversary of Digampathana blast – the day Sri Lanka Navy cried
By Admiral Ravindra C Wijegunaratne
WV, RWP and Bar, RSP, VSV, USP, NI (M) (Pakistan), ndc, psn, Bsc
(Hons) (War Studies) (Karachi) MPhil (Madras)
Former Navy Commander and Former Chief of Defence Staff
Former Chairman, Trincomalee Petroleum Terminals Ltd
Former Managing Director Ceylon Petroleum Corporation
Former High Commissioner to Pakistan
The Digampathana suicide truck attack on 16th October 2006 remains the deadliest single strike in Sri Lanka Navy history, leaving scars that time cannot erase.
It was a seemingly ordinary Monday morning on 16 October 2006, but the calm of that day would soon be shattered in a way none of us could have imagined. As the Commandant of the Naval and Maritime Academy and Flag Officer Commanding Naval Fleet at Trincomalee, I was aware that a number of my cadets were travelling that morning, part of a convoy of fifteen buses carrying naval personnel from Trincomalee, Colombo, and other bases, heading toward Dambulla to rendezvous with another group. The convoy also included trucks and escort vehicles, a routine movement planned and coordinated with the army to ensure the roads were clear. The morning started quietly. Some personnel greeted friends, handed over their weapons, or strolled to a nearby tea shop. It all seemed so ordinary—too ordinary for what would come next.

Sri Lanka Navy sunk LTTE Ships carrying arms, ammunition and warlike materials thousand miles away from Sri Lanka in Indian Ocean in September and October 2007.
By late morning, both convoys had reached the small ground at Digampathana, near the Sigiriya junction, and personnel mingled briefly, unaware that a carefully orchestrated act of terror was waiting. Then, suddenly, an empty half-truck veered directly into the convoy. It exploded with a ferocity I can still recall as if it were yesterday. Nuts, bolts, and high explosives tore through the air. Pandemonium erupted instantly. I later learned that 107 of our naval personnel were killed on the spot and another 153 critically injured. The scene was indescribable—bodies scattered, vehicles mangled, personal effects strewn across the ground. I remember later hearing that the head of the suicide bomber was recovered more than 100 meters away from the blast, a grim testament to the sheer force of the explosion.
I was in my office at the Naval and Maritime Academy when my mobile phone rang. A young midshipman from the 21st intake called, his voice trembling: “Sir, there was a huge explosion at the convoy point! Many are dead … my batch mate Wijesundara is among them.” I immediately jumped into my jeep with my escort Chief Petty Officer and driver and rushed to Digampathana, relying on every ounce of my driving skill to reach the scene. The journey, which usually took little more than an hour, felt endless that day, each passing mile weighed down by dread.
When I arrived, I was confronted with a sight that no training can prepare you for. The injured were being rushed to Dambulla Hospital, where doctors and nurses worked tirelessly, improvising in ways that saved lives despite the overwhelming chaos. I went back to the site after visiting the hospital. The remains of our naval personnel were scattered across the ground, and someone had begun collecting weapons and protective gear. I immediately contacted Surgeon Rear Admiral Nico Jayasekara and received his instructions: collect all body parts in separate bags and transport them to the Trincomalee Naval Hospital mortuary. This gruesome work had to be done with care and dignity, and it filled the icebox in my vehicle. Through DNA testing initiated by Rear Admiral Nico, we were able to identify every naval personnel lost that day, bringing some closure to grieving families.
The Navy Commander at the time, Vice Admiral Wasantha Karannagoda, was devastated. I had worked closely with him and knew how deeply he cared for his men. He ensured that the fallen were honoured with full ceremonial naval funerals at Welisara Naval Base, attended by families and comrades. Sixty-seven funerals were conducted in a single day—a number that still haunts me.
The Digampathana attack remains the largest single loss of naval life in our history. It was a day of sorrow, but also a day that reinforced our resolve. The tragedy galvanized the Navy to target the LTTE Sea Tiger wing with renewed determination and reshaped our maritime operations forever. Every time I think of that day, I remember not just the lives lost, but the courage, professionalism, and dedication of those who survived, those who treated the injured, and those who ensured the fallen were honored properly. May the souls of our naval hero’s rest in peace, their sacrifice guiding us and inspiring generations of naval personnel to come.
Features
‘Murder at Whitby Abbey’
Tales of Mystery and Suspense – 24
I was intrigued by the title of a book I found in a book drop at the condominium of a friend, Murder at Whitby Abbey, and I brought it home with me though I will not be able to return it in the near future. It was described on the cover page as ‘a standout in the crowded medieval mystery field’, though I fear I do not know of other books in this field, apart from the Cadfael series, which I have dealt with earlier.
The book, by Cassandra Clark, is set during the reign of Richard II and has as a backdrop his precarious position, which led to his being replaced, and murdered, by his cousin Henry, who reigned as Henry IV. It is a gloomy book, the action taking place in the twelve days of Christmas leading up to the Epiphany. And the gloom is pervasive, even though this is supposed to be a time of festivity, with mummers performing, and many of those in the guest house where the heroine stays going to town to enjoy themselves, with much drinking and much music, which also fills the guesthouse.
The heroine Hildegarde is a nun, sent to try to acquire a relic being sold by Whitby Abbey, though this was also a penance set by the Abbot of the monastery that governed her abbess because she had had sex with a man. Soon after she and her companions reach the Abbey set high on a cliff, she finds that there are other bidders, and soon suspects that the hierarchy, not perhaps the Abbot who seems a weakling, but his rapacious bursar, is determined to make money, and not above creating false relics to sell to several aspirants.
After Hildegarde and her Cistercian companions – Whitby is a Benedictine Foundation – two monks, Gregory and Egbert, and a young priest Mark, reach the abbey, they find that Aelwyn, a monk they had met on their way to the guesthouse had died. This was in the apple store, and they realize, when they find the surplices of novices stuffed into the air vents, that he had been left to suffocate in the overwhelming scent of apples.
The Cistercians are asked to look into the death, perhaps because they are likely to get no cooperation from the Abbey folk, but perhaps because those in charge are keen to know what happened. And the infirmarer, an old monk, suggests Hildegarde talk to a man called Edred who worked for the bursar, and had been a friend of Aelwyn’s. But Edred too is killed, before he can keep an appointment he had made with Hildegarde, drowned in a pool near the farmhouse of the Abbey.
Meanwhile tensions arise between the fisherfolk and the abbey for the bursar wants to charge them for using the beach that technically belongs to the abbey to dry their fish and their nets. This leads to physical battles, when the guards used by the abbey, under the command it seems of the bursar whose determination to make money is not resisted by the abbot and the prior, try to storm the area where the fishermen live.
Hildegard finds out more about what had happened through two youngsters, one of whom Torold is the son of Aelwyn by a woman who worked as a prostitute for a cartel, and with whom Mark fell in love. The other works on the farm and had seen Edred meet someone near the pool, after which that someone left the place by himself. And the boy had also found in the pool a sort of dagger with the seal of the abbey.
He and his dog, and Torold who follows her, rescue Hildegarde from a man at arms who has waylaid her and tries to rape her earlier. Escaping into the abbey she was nearly been raped then by the bursar, but she managed to escape, in the process setting fire to him and the muniments room, which led, when he was rescued, to the discovery of a box with the money he said had been stolen, blame being cast on both Aelwyn and Edred.
Matters come to a head when the fisherfolk try to storm the abbey, being resisted by the men at arms stationed on the towers. But then Hildegarde realizes that behind the murders was the bursar’s clerk, whom she pursued to the cathedral. There is great drama then as she escapes from him when he tries to kill her, and then from the man at arms who had tried to both rape and kill her, but they both fall from the scaffolding she had climbed, the latter coming from a tower where he had been stationed.
Both of them think they run the rapacity of the abbey, the latter claiming to work for the nobles opposed to Richard, who is presented throughout the book as devoted to his subjects, not to power or money. But though the villains die, the bursar continues, having got over the hysteria the fire had caused and his acknowledgment then of guilt – and though the abbot and the prior seem less vicious, whether they will be able to assert themselves is questionable.
Before the climax, when the others in the guesthouse were leaving, Hildegarde found that two of them were in possession of the relic, for which they seem to have paid well. Hildegarde herself had made a derisory offer, but before she leaves the abbot gives her the relic, perhaps in gratitude for what she and her fellow Cistercians had discovered, the abbey having made as much money as it needed and more from the gullible other buyers.
Mark’s inamorata is saved from the stews because she moves in with Edred’s widow whom the bursar had thrown out of the rooms he occupied when her husband was found dead. Hildegarde had paid for lodgings, in a house run by the man who ran the brothels, but he had a kindly side and was going to finance them to make nets for the fishermen.
So, the Cistercians set off for their home as swiftly as they can to get there on the day of the Epiphany, having stopped en route to pray for King Richard whose birthday it was.
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