Features
A tribute to vajira
By Uditha Devapriya
The female dancer’s form figures prominently in Sinhalese art and sculpture. Among the ruins of the Lankatilake Viharaya in Polonnaruwa is a series of carvings of dwarves, beasts, and performers. They surround a decapitated image of a standing Buddha, secular figures dotting a sacred space. Similar figures of dancing women adorn the entrance at the Varaka Valandu Viharaya in Ridigama, adjoining the Ridi Vihare. Offering a contrast with carvings of men sporting swords and spears, they entrance the eye immediately.
A motif of medieval Sinhalese art, these were influenced by hordes of dancers that adorned the walls of South Indian temples. They attest to the role that Sinhala society gave women, a role that diminished with time, so much so that by the 20th century, Sinhalese women had been banned from wearing the ves thattuwa. Held back for long, many of these women now began to rebel. They would soon pave the way for the transformation of an art.
In January 2020 the government of India chose to award the Padma Shri to two Sri Lankan women. This was done in recognition not just of their contribution to their fields, but also their efforts at strengthening ties between the two countries. A few weeks ago, in the midst of a raging pandemic, these awards were finally conferred on their recipients.
One of them, Professor Indra Dissanayake, had passed away in 2019. Her daughter received the honour in her name in India. The other, Vajira Chitrasena, remains very much alive, and as active. She received her award at a ceremony at the Indian High Commission in Colombo. Modest as it may have been, the conferment seals her place in the country, situating her in its cultural landscape as one of our finest exponents of dance.
Vajira Chitrasena was far from the first woman to take up traditional dance in Sri Lanka. But she was the first to turn it into a full time, lifelong profession, absorbing the wellsprings of its past, transcending gender and class barriers, and taking it to the young. Dancing did not really come to her; it was the other way around. Immersing herself in the art, she entered it at a time when the medium had been, and was being, transformed the world over: by 1921, the year her husband was born, Isadora Duncan and Ruth St Denis had pioneered and laid the foundation for the modernisation of the medium. Their project would be continued by Martha Graham, for whom Vajira would perform decades later.
In Sri Lanka traditional dance had long turned away from its ritualistic past, moving into the stage and later the school and the university. Standing in the midst of these developments, Vajira Chitrasena found herself questioning and reshaping tradition. It was a role for which history had ordained her, a role she threw herself into only too willingly.
In dance as in other art forms, the balance between tradition and modernity is hard, if not impossible, to maintain. Associated initially with an agrarian society, traditional dance in Sri Lanka evolved into an object of secular performance. Under colonial rule, the patronage of officials, indeed even of governors themselves, helped free it from the stranglehold of the past, giving it a new lease of life that would later enable what Susan Reed in her account of dance in Sri Lanka calls the bureaucratisation of the arts. This is a phenomenon that Sarath Amunugama explores in his work on the kohomba kankariya as well.
Yet this did not entail a complete break from the past: then as now, in Sri Lanka as in India, dancing calls for the revival of conventions: the namaskaraya, the adherence to Buddhist tenets, and the contemplation of mystical beauty. It was in such a twilight world that Vajira Chitrasena and her colleagues found themselves in. Faced with the task of salvaging a dying art, they breathed new life to it by learning it, preserving it, and reforming it.
Though neither Vajira nor her husband belonged to the colonial elite, it was the colonial elite who began approaching traditional art forms with a zest and vigour that determined their trajectory after independence. Bringing together patrons, teachers, students, and scholars of dance, the elite forged friendships with tutors and performers, often becoming their students and sometimes becoming teachers themselves.
Newton Gunasinghe has observed how British officials found it expedient to patronise feudal elites, after a series of rebellions that threatened to bring down the colonial order. Yet even before this, such officials had patronised cultural practices that had once been the preserve of those elites. It was through this tenuous relationship between colonialism and cultural revival that Westernised low country elites moved away from conventional careers, like law and medicine, into the arduous task of reviving the past.
At first running into opposition from their paterfamilias, the scions of the elite eventually found their calling. “[I]n spite of their disappointment at my smashing their hopes of a brilliant legal and political career,” Charles Jacob Peiris, later to be known as Devar Surya Sena, wrote in his recollection of his parents’ reaction to a concert he had organised at the Royal College Hall in 1929, “they were proud of me that night.”
If the sons had to incur the wrath of their fathers, the daughters had to pay the bigger price. Yet, as with the sons, the daughters too possessed an agency that emboldened them to not just dance, but participate in rituals that had been restricted to males.
Both Miriam Pieris and Chandralekha Perera displeased traditional society when they donned the ves thattuwa, the sacred headdress that had for centuries been reserved for men. But for every critic, there were those who welcomed such developments, considering them essential to the flowering of the arts; none less than Martin Wickramasinghe, to give one example, viewed Chandralekha’s act positively, and commended her.
These developments sparked off a pivotal cultural renaissance across the country. Although up country women remain debarred from those developments, there is no doubt that the shattering of taboos in the low country helped keep the art of the dance alive, for tutors, students, and scholars. As Mirak Raheem has written in a piece to Groundviews, we are yet to appreciate the role female dancers of the early 20th century played in all this.
Vajira Chitrasena’s contribution went beyond that of the daughters of the colonial elite who dared to dance. While it would be wrong to consider their interest as a passing fad, a quirk, these women did not turn dance into a lifelong profession. Vajira did not just commit herself to the medium in a way they had not, she made it her goal to teach and reinterpret it, in line with methods and practices she developed for the Chitrasena Kala Ayathanaya.
As Mirak Raheem has pointed out in his tribute to her, she drew from her limited exposure to dance forms like classical ballet to design a curriculum that broke down the medium to “a series of exercises… that could be used to train dancers.” In doing so, she conceived some highly original works, including a set of children’s ballets, or lama mudra natya, a genre she pioneered in 1952 with Kumudini. Along the way she crisscrossed several roles, from dancer to choreographer to tutor, becoming more than just a performer.
As the head of the Chitrasena Dance Company, Vajira enjoys a reputation that history has not accorded to most other women of her standing. Perhaps her greatest contribution in this regard has been her ability to adapt masculine forms of dance to feminine sequences. She has been able to do this without radically altering their essence; that has arguably been felt the most in the realm of Kandyan dance, which caters to masculine (“tandava“) rather than feminine (“lasya“) moods. The lasya has been described by Marianne Nürnberger as a feminine form of up country dance. It was in productions like Nala Damayanthi that Vajira mastered this form; it epitomised a radical transformation of the art.
Sudesh Mantillake in an essay on the subject (“Masculinity in Kandyan Dance”) suggests that by treating them as impure, traditional artistes kept women away from udarata natum. That is why Algama Kiriganitha, who taught Chandralekha, taught her very little, since she was a woman. This is not to say that the gurunannses kept their knowledge back from those who came to learn from them, only that they taught them under strictures and conditions which revealed their reluctance to impart their knowledge to females.
That Vajira Chitrasena made her mark in these fields despite all obstructions is a tribute to her mettle and perseverance. Yet would we, as Mirak Raheem suggests in his very excellent essay, be doing her a disservice by just valorising her? Shouldn’t the object of a tribute be, not merely to praise her for transcending gender barriers, but more importantly to examine how she transcended them, and how difficult she found it to transcend them? We eulogise our women for breaking through the glass ceiling, without questioning how high that ceiling was in the first place. A more sober evaluation of Vajira Chitrasena would ask that question. But such an evaluation is yet to come out. One can only hope that it will, soon.
The writer can be reached at udakdev1@gmail.com
Features
A life in colour and song: Rajika Gamage’s new bird guide captures Sri Lanka’s avian soul
Sri Lanka wakes each morning to wings.
From the liquid whistle of a magpie robin in a garden hedge to the distant circling silhouette of an eagle above a forest canopy, birds define the rhythm of the island’s days.
Their colours ignite the imagination; their calls stir memory; their presence offers reassurance that nature still breathes alongside humanity. For conservation biologist Rajika Gamage, these winged lives are more than fleeting beauty—they are a lifelong calling.
Now, after years of patient observation, artistic collaboration, and scientific dedication, Gamage’s latest book, An Illustrated Field Guide to the Fauna of Sri Lanka – Birds, is set to reach readers when it hits the market on March 6.
The new edition promises to become one of the most comprehensive and visually rich bird guides ever produced for Sri Lanka.
Speaking to The Island, Gamage reflected on the inspiration behind his work and the enduring fascination birds hold for people across the country.
“Birds are an incredibly diverse group,” he said. “Their bright colours, distinct songs and calls, and showy displays contribute to their uniqueness, which is appreciated by all bird-loving individuals.”
Birds, he explained, occupy a special place in the natural world because they are among the most visible forms of wildlife. Unlike elusive mammals or secretive reptiles, birds share human spaces openly.
“Birds are widely distributed in all parts of the globe in large enough populations, making them the most common wildlife around human habitations,” Gamage said. “This offers a unique opportunity for observing and monitoring their diverse plumage and behaviours for conservation and recreational purposes.”
This accessibility has made birdwatching one of the most popular forms of wildlife observation in Sri Lanka, attracting everyone from seasoned scientists to curious schoolchildren.
A remarkable island of avian diversity
Despite its small size, Sri Lanka possesses extraordinary bird diversity.
According to Gamage, the country’s geographic position, varied climate, and diverse habitats—from coastal wetlands and rainforests to montane cloud forests and dry-zone scrublands—have created ideal conditions for birdlife.
“Sri Lanka is home to a rich diversity of birdlife, with a total of 522 bird species recorded in the country,” he said. “These species are spread across 23 orders, 89 families, and 267 genera.”
Of these, 478 species have been fully confirmed. Among them, 209 are breeding residents, meaning they live and reproduce on the island throughout the year.
Even more remarkable is Sri Lanka’s high level of endemism.
“Thirty-five of these breeding resident species are endemic to Sri Lanka,” Gamage noted. “They are confined entirely to the island, making them globally significant.”
These endemic species—from forest-dwelling flycatchers to vividly coloured barbets—represent evolutionary lineages shaped by Sri Lanka’s long geological isolation and ecological uniqueness.
In addition to resident birds, Sri Lanka also serves as a seasonal refuge for migratory species traveling thousands of kilometres.
“There are regular migrants that arrive annually, as well as irregular migrants that visit less predictably,” Gamage explained. “Vagrants, birds that appear outside their typical migratory routes, have also been spotted occasionally.”
Such unexpected visitors often generate excitement among birdwatchers and scientists alike, providing valuable insights into migration patterns and environmental change.

Rajika Gamage
A guide born from passion and necessity
The new field guide represents the culmination of years of research and builds upon Gamage’s earlier publication, which was released in 2017.
“The stimulus for this bird guide was due to the success of my first book,” he said. “This new edition aims to facilitate identification and provide an idea of what to look for in observed habitats or regions.”
The book is designed not merely as a scientific reference but as an accessible companion for anyone interested in birds. Its structure reflects this dual purpose.
“The first section is dedicated to the introduction, geography, and life history of Sri Lankan birds,” Gamage explained. “The second section is the main body of the guide, which illustrates 532 species of birds.”
Each illustration has been carefully crafted in colour to capture the distinctive plumage of each species.
“All illustrations are designed to show each bird’s significant and distinct plumage,” he said. “Where possible, the breeding, non-breeding, and juvenile plumages are provided.”
This attention to detail is especially important because many birds change appearance as they mature.
“Some groups, especially gulls, display many plumages between juveniles and adults,” Gamage noted. “Many take several years to develop full adult plumage and pass through semi-adult stages.”
By illustrating these stages, the guide helps birdwatchers avoid misidentification and deepen their understanding of avian development.
New discoveries and evolving science
One of the most exciting aspects of the new edition is its inclusion of newly recorded species and updated scientific classifications.
“Changes in the bird list of Sri Lanka, especially newly added endemic birds such as the Sri Lankan Shama, Sri Lanka Lesser Flameback, and Greater Flameback, are now included,” Gamage said.
Scientific names and classifications are not static; they evolve as researchers learn more about genetic relationships and species boundaries. The guide reflects these changes, ensuring it remains scientifically current.
The book also incorporates conservation status information based on the latest National Red Data Report and global assessments.
“The conservation status of Sri Lankan birds, as listed in the 2022 National Red Data Report and the global Red Data Report, are included,” Gamage said.
This information is vital for conservation planning and public awareness, highlighting which species face the greatest risk of extinction.
The guide also documents rare and accidental visitors, including species such as the Blue-and-white Flycatcher, Rufous-tailed Rock-thrush, and European Honey-buzzard.
“These represent accidental visitors and newly recorded vagrants,” Gamage said. “Altogether, the first edition offers some 25 additional species, all illustrated.”
Art and science in harmony
Unlike many field guides that rely heavily on photographs, Gamage’s book emphasises detailed illustrations. This choice reflects the unique advantages of scientific art.
Illustrations can emphasise diagnostic features, eliminate distracting backgrounds, and present birds in standardised poses, making identification easier.
“The principal birds on each page are painted to a standard scale,” Gamage explained. “Flight and behavioural sketches are shown at smaller scales.”
The guide also includes descriptions of habitats, distribution, nesting behaviour, and alternative names in English, Sinhala, and Tamil.
“The majority of birds have more than one English, Sinhala, and Tamil name,” he said. “All of these are included.”
This multilingual approach reflects Sri Lanka’s cultural diversity and ensures the guide is accessible to a wider audience.
A tool for conservation and connection

Beyond its scientific value, Gamage believes the book serves a deeper purpose: strengthening the bond between people and nature.
By helping readers identify birds and understand their lives, the guide fosters appreciation and responsibility.
“This field guide aims to facilitate identification and provide a general introduction to birds,” he said.
In an era of rapid environmental change, such knowledge is essential. Habitat loss, climate change, and human activity continue to threaten bird populations worldwide, including in Sri Lanka.
Yet birds also offer hope.
Their presence in gardens, wetlands, and forests reminds people of nature’s resilience—and their own role in protecting it.
Gamage hopes the guide will inspire both seasoned ornithologists and beginners alike.
“All these changes will make An Illustrated Field Guide to the Fauna of Sri Lanka – Birds one of the most comprehensive and accurate guides available within Sri Lanka,” he said.
A lifelong devotion takes flight
For Rajika Gamage, birds are not merely subjects of study—they are companions in a lifelong journey of discovery.
Each call heard at dawn, each silhouette glimpsed against the sky, each feathered visitor from distant lands reinforces the wonder that first drew him to ornithology.
With the release of his new book on March 6, that wonder will now be shared more widely than ever before.
In its pages, readers will find not only identification keys and scientific facts, but also something more enduring—the story of an island, told through wings, colour, and song.
By Ifham Nizam
Features
Letting go: A Buddhist perspective
Buddhism, one of the world’s oldest religions, offers profound insights into the nature of existence and the ways we can alleviate our suffering. As one of the world’s most profound spiritual traditions, it offers a transformative solution: the art of letting go. Unlike simply losing interest in things or giving up, letting go in Buddhism is about liberation, releasing ourselves from the chain of attachment that prevents us from experiencing true peace and happiness. Letting go is a profound philosophical concept in Buddhism, deeply intertwined with an understanding of suffering, attachment, and the nature of reality. This philosophy encourages us to release our grip on desires, attachments, and on what we hold dear- whether relationships, material goods, or even their identities, ultimately leading to greater peace and enlightenment. Our tendency to cling tightly to the various aspects of life leads to a significant source of stress. We tend to grasp at things, perceiving them as solid and permanent, yet much of what we hold onto is transient and subject to change. This mistaken belief in permanence can trap us in cycles of worry, fear, and anxiety.
The challenge of letting go is especially evident during difficult periods in life. We may find ourselves ruminating over lost opportunities, failed relationships, and unmet expectations. Such thoughts can keep us ensnared in emotions like hurt, guilt, and shame, hindering our ability to move forward. By holding onto the past, we often prevent ourselves from embracing the present and future.
At the heart of Buddhist practice lies the concept of letting go, often encapsulated in the term “non-attachment.” Letting go is a crucial concept in both Buddhism and Christianity, emphasising the release of attachments that bind us and contribute to our suffering. At its core, letting go is about finding freedom from desires and acknowledging that both relationships and material possessions are fleeting and transient.
In Buddhism, letting go, or non-attachment, is fundamental for achieving inner peace. The First Noble Truth acknowledges that life is filled with suffering, often rooted in our cravings and attachment to things. The Second Noble Truth teaches that by letting go of this craving, we can transcend the cycles of life and attain enlightenment.
Spiritually, Buddhism emphasises the impermanence of all things (annica). We tend to cling to people, experiences, and even our identities, but everything is fleeting. Recogniing this helps us appreciate the present moment and fosters compassion. Instead of allowing attachments to cloud our relationships, letting go encourages us to engage with others without judgment or expectation, fostering deeper connections.
Philosophically, Buddhism challenges the notion of a permanent self (anatta) that is often the focus of human attachment. It teaches that our identity is not a fixed entity but a collection of experiences and perceptions in constant flux. Understanding this can help us see the futility of clinging to desires and identities, paving the way for a liberated state of being built on wisdom cultivated through meditation and mindfulness.
From a psychological standpoint, letting go can significantly improve our emotional health and well-being. Attachment often breeds fear, anxiety, and stress, while non-attachment promotes resilience and adaptability. When we embrace the idea of impermanence, we become more capable of handling life’s challenges without being overwhelmed. Mindfulness—being present and accepting our emotions without judgment—allows us to process difficult feelings constructively, making it easier to let go of what we cannot control.
Letting go is also an essential concept in Christianity, which emphasises surrender and trust in God. Biblical teachings encourage believers to let go of worries and anxieties, placing their faith in divine providence. For instance, verses like Matthew 6:34 remind individuals not to be anxious about tomorrow, but to focus on the present. By surrendering our burdens to God, we find peace and freedom from the weight of excessive attachment.
Moreover, both traditions highlight the importance of community. In Buddhism, the sangha, or community of practitioners, supports individuals on their journeys toward non-attachment. Similarly, the Christian community encourages believers to lean on one another for support, fostering a sense of belonging and shared faith that helps mitigate the loneliness that comes with attachment.
Ultimately, the concept of letting go serves as a powerful antidote to suffering in both Buddhism and Christianity. By embracing impermanence, cultivating wisdom, and practising mindfulness or faith, individuals can experience profound liberation. In our chaotic world, the principles of letting go offer a clear path toward inner peace, fulfilment, and deeper connections with ourselves, others, and the divine.
Buddhism explores the profound concept of letting go, providing valuable insights into the human experience and pathways to alleviating suffering. Rooted in one of the world’s oldest spiritual traditions, Buddhism presents letting go as a transformative practice, distinct from mere disengagement or giving up. Instead, it encompasses liberation from the chains of attachment that hinder us from experiencing genuine peace and happiness. Christianity too explore this profound concept in its teachings
At the core of Buddhist philosophy lies the idea of non-attachment, which encourages individuals to free themselves from desires and possessions, ultimately leading to tranquility and enlightenment. Letting go is intertwined with an understanding of suffering, attachment, and the transient nature of existence. This philosophy instructs us to relinquish our grip on what we hold dear—whether relationships, material goods, or even our identities—recognising that these are impermanent.
Buddhism’s First Noble Truth acknowledges that life inherently involves suffering, often stemming from our cravings and attachments. The Second Noble Truth reveals that overcoming this craving is key to transcending the cycles of life and achieving enlightenment. Emphasising the impermanence of all things, Buddhism invites us to appreciate the present moment and fosters compassion by helping us detach from fixed identities and experiences. This awareness enriches our relationships, allowing us to connect with others free from judgment or expectation.
Philosophically, Buddhism challenges the notion of a static self (anatta), asserting that our identity is not a fixed concept but rather a fluid collection of experiences. Recognising this notion helps highlight the futility of clinging to desires and identities, opening the door to a liberated existence founded on wisdom cultivated through meditation and mindfulness practices.
From a psychological perspective, the act of letting go can significantly enhance emotional health and well-being. Attachment often fuels fear, anxiety, and stress, while embracing non-attachment cultivates resilience and adaptability. By accepting impermanence, we equip ourselves to face life’s challenges with greater ease. Practicing mindfulness—being present and accepting emotions without judgment—further facilitates the process of releasing what is beyond our control.
In Christianity, the theme of letting go is also prominent, emphasizing surrender and trust in God. Scripture encourages believers to release their worries and anxieties by placing their faith in divine providence. For example, Matthew 6:34 advises individuals to focus on the present rather than fret over the future. By surrendering our burdens to God, we can experience relief from the weight of excessive attachment.
Both traditions underscore the significance of community in supporting the journey of letting go. In Buddhism, the sangha, or community of practitioners, encourages the pursuit of non-attachment. Likewise, Christian fellowship fosters belonging and shared faith, helping believers lean on one another for strength and mitigating the loneliness that can arise from attachment.
Ultimately, the concept of letting go serves as a powerful antidote to suffering in both Buddhism and Christianity. Embracing impermanence, nurturing wisdom, and practising mindfulness or trust can lead individuals toward profound liberation. In an increasingly chaotic world, the principles of letting go illuminate a pathway to inner peace, fulfilment, and deeper connections with ourselves, others, and the divine. By understanding and embodying this philosophy, we can navigate life’s complexities with grace and openness.////Buddhism delves into the profound concept of letting go, offering valuable insights into the human experience and pathways to alleviating suffering. As one of the world’s oldest spiritual traditions, Buddhism presents letting go as a transformative practice that goes beyond mere disengagement or resignation. It represents liberation from the chains of attachment that prevent us from experiencing true peace and happiness. Similarly, Christianity explores this profound concept in its teachings.
At the heart of Buddhist philosophy is the idea of non-attachment, which encourages individuals to free themselves from desires and possessions, ultimately leading to tranquility and enlightenment. Letting go is closely related to an understanding of suffering, attachment, and the impermanent nature of existence. This philosophy guides us to loosen our hold on what we cherish—be it relationships, material possessions, or even our own identities—recognizing that everything is transient. Through this understanding, we can cultivate a deeper sense of peace and fulfillment in our lives.
BY Dr. Justice Chandradasa Nanayakkara
Features
Brilliant Navy officer no more
Rear Admiral Udaya Bandara, VSV, USP (retired)
This incident happened in 2006 when I was the Director Naval Operations, Special Forces and Maritime Surveillance under then Commander of the Navy Vice Admiral Wasantha Karannagoda. Udaya (fondly known as Bandi) was a trusted Naval Assistant (NA) to the Commander.
We were going through a very hard time fighting the LTTE Sea Tigers’ explosive-laden suicide boats that our Fast Attack Craft (s) and elite SBS’ Arrow Boats encountered in our littoral sea battles.
Brilliant Marine Engineer Commander (then) Chaminda Dissanayake, who was known for his “out of the box” thinking and superior technical skills on research and development, met me at my office at Naval Headquarters and showed me a blueprint of an explosive- laden remotely controlled small boat.
Udaya’s Naval Assistant’s office was next to mine, the Director Naval Operations office. Both places are very close to the Navy Commander’s office. I walked into Bandi’s office with Commander Dissa and showed this blueprint a brilliant idea. Being a Marine Engineer “par excellence”, Bandi immediately understood the great design. I urged him to brief the Commander of the Navy with Commander Dissa.
My burden was over! Bandi took over the project and within a few weeks we tested our first prototype “Explosive-laden Remotely Controlled arrow boat “at sea off Coral Cove in the Naval Base Trincomalee. It was a complete success.
This remotely controlled boats went out to sea with our SBS arrow boats fleet and had devastating effects against LTTE suicide boats and their small boats fleet. Thanks, Bandi, for your contribution. The present-day Admiral of the Fleet used to tell us during those days “you cannot buy a Navy – you have to build one”!
We built our own small boats squadrons at our boat yards in Welisara and Trincomalee to bring LTTE Sea Tigers. The Special Boats Squadron (SBS) and rapid action boats squadron (RABS) being so useful with remotely controlled explosive-laden arrow boats to win sea battles convincingly.
Bandi used to say, “Navy is a technical service and we should give ALL SRI LANKA NAVY OFFICERS FIRST A TECHNICAL DEGREE AT OUR ACADEMY (BTec degree).” That idea did not receive much attention here, but the Indian Navy—Bandi graduated as a Marine Engineer- at Indian Navy Engineering College SLNS Shivaji in Lonavala, Pune, India— understood this idea well over two decades ago. Indian Navy Commissioned their new Naval Academy at Ezhimala (in Kerala State) which is the largest Naval Academy in Asia (Campus covers area of 2,452 acres) starts its Naval officers training with a BTech degree, regardless of what branch of the navy one joined.
Bandi’s technical expertise was not limited to SLN. He was the pioneer of “Mini – Hydro Power projects” in Sri Lanka. When I was a young officer, he urged me to invest some money in one of these projects and advised me “Sir! as long as water flows through turbines, you will get money from the CEB, which is always short of electricity”. I regret that I did not heed Bandi’s advice.
When he worked under me when I was Commander Southern Naval Area, as my senior Technical Officer, I observed pencil marks on walls of his chalet and I inquired from him what they were. He said it was the result of his “pencil shooting training”, a drill Practical Pistol Firers do to improve their skills. He used to practice “draw and fire” drills and pencil shooting drills late into nights to be a good Practical Pistol firer in Sri Lanka Navy team. He didn’t stop at that. He represented Sri Lanka National Practical Pistol Firing team and won International Championships.
As the Officer in charge of Technical Training in the Navy, he worked as Training Commander to train Royal Oman Navy Engineering Artificers in Sri Lanka, especially on Fast Attack Craft Main Engine Overhauls. The Royal Oman Navy Commander was so impressed with the knowledge acquired by Artificers that he donated money for the construction of a four-storey accommodation building for Sri Lanka Navy Naval and Maritime Academy, Trincomalee now known as “Oman Building”. The credit for this project should go to Bandi.
Bandi’s wife was a senior Judge of Kegalle High Court, and she retired a few years ago. Their only child, a son studied at the British School, Colombo and followed in his mother’s footsteps became a lawyer. Bandi was so much attached to his family and very proud of his son’s accomplishments.
When Bandi was due to retire in 2016 as a Rear Admiral and Director General Training, after distinguished service of 34 years, and reaching retirement age of 55 years, I requested him to serve for some more years after mobilising him into our Naval Reserve Force. He had other plans. He wanted to take his mini-Hydro Power projects to East African countries.
His demise after a very brief illness at age of 64 years was a shock to his family and friends. His funeral was held on Feb. 27 with Full Military Honors befitting a Rear Admiral at his home town Aranayake.
Dear Bandi, the beautiful Sri Lanka Navy, Naval and Maritime Academy in Trincomalee, which was built with your efforts will serve for Sri Lanka Navy Officer Trainees and sailors for a very long time and remember you forever.
May dear Bandi attain the supreme bliss of Nirvana!

Naval and Maritime Academy, Trincomalee
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
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