By Dr Saumya Liyanage
Dance is an elusive art form. It is elusive in the sense that any type of dance form uses the human body as its expressive tool, and the art and the artist are one and the same. Dance is in a way similar to the actor’s art because the dancer uses her body as the means of expression. The actor and the dancer share this common ground where their art and the artistic tool are nonetheless inseparable and tightly intertwined. In order to understand the meaning of dance, one may need to separate the dancer’s body from dance but as stated the inseparability of the dancer from dance poses ontological questions as to who the dancer is and what dance is. Therefore, marking a boundary between the body and the work of dance is always blurred.
It is difficult to explain why people dance and how dance is differentiated from non-dance. Celeste Snowber writes that whether we dance and move our bodies, or whether our bodies are static and still, we always dance. She further argues that ‘we are all dancing and as we are all living, whether it is walking or running, swimming or hopping, jumping or being still. There is a dance of blood and fluid circulating in our bodies, and the expressivity of gestures is a daily activity’ (Snowber cited in Leavy, 2018, p. 247). In this analysis, Snowber broadly defines and blurs the distinction between dance and non-dance challenging us to rethink the way we define dance in the contemporary context.
Yet, Sri Lankan dance scholarship is still practised and confined within a particular school of thought that favours dance as a refined, codified body of movement. The learning of dance needs assiduous practice and dedication under a specific training regimen. Moreover, the dancer’s body should be physically trained and aesthetically beautiful to be able to perform and bring meanings to spectators. Hence traditional dance training and performance is purely cultivated through guru-shishya parampara (Teacher-disciple model) where the repetition and execution of learnt scores are supremely important. Very little space is allowed for the novice to explore physical possibilities beyond the regimented body. However, I am not skeptical about the skills and capacities that a traditional dancer possesses. Yet, this long assiduous practice and the regimentation of bodies along with cosmic teaching pertaining to demons and deities would undoubtedly affect and discipline not only the learner’s physicality but their thought process as well. Therefore, these pedagogical systems do not allow the learner to explore various expressions or movement culture.
In this article, I am going to discuss about an emerging dancer and choreographer Kanchana Malshani and her recent work titled, Talking Silambu performed, at the Royal Taprobanian cultural hub in Navinna, Maharagama. In this piece of dance work, Kanchana raises several questions worthy of discussion through the current practice of dance pedagogy in Sri Lanka and ontological questions of what dance is, and who a dancer is. Further her work explores how dance can be a self-exploratory journey for those who seek alternative avenues through breaking their links to traditional forms and regimented bodies.
Kanchana Malshani has studied traditional Sri Lankan dance forms from various teachers since her childhood until she graduated from university. Kanchana is a graduate from Sripalee campus, University of Colombo and received a First Class honours degree. Being a student of traditional Sri Lankan dance forms such as Kandyan, Sabaragamuwa and Low country dance, Kanchana has developed her own style through her engagement with contemporary and experimental Sri Lankan dancers such as Venuri Perera and Umeshi Rajeendra. Learning and working with Venuri Perera and her influence on Kanchana’s reincarnation as a contemporary dancer is immense; in her ‘second life’ as a choreographer and dancer, she is being mentored by Venuri Perera. Her recent incarnation as a contemporary dancer signifies that she as a dancer needs a different life and expression within dance scholarship. Her recent work, Talking Silambu, shows a clear rebellious individuality that seeks to break the traditional codification and rebirth as a free bodied woman.
In 2017, Goethe Institute organised a Choreography Lab with dancer Venuri Perera, in Kalpitiya Sri Lanka. At this particular dance lab, Kanchana learnt contemporary dance from Yuko Kaseki, a Japanese Bhuto dancer, and Mahesh Umagiliya. Further, she learnt from Prof. Sandra Mathern-Smith, Professor of dance at Denison University, the USA, who has travelled several times to Sri Lanka as a Fulbright scholar. Her intervention in popularising and mentoring Sri Lankan dancers included a group of students at the University of the Visual and Performing Arts, Colombo, Sripalee campus, was also a turning point in her dance career. Dance teachers like Deepak Kurki Shivaswamy, Preethi Athreya, Maria Colusi have also helped Kanchana develop her skills. After receiving a half scholarship to visit a two-week-long dance camp at Sanskar Dance Festival India, she has been able to work with teachers such as Vittoria de Ferrari Sapetto and Roberto Olivan. Apart from her dance training, Kanchana has been working with one of the English Theatre companies, Stages Theatre, led by writer and director Ruwanthie De Chickera in Colombo. Kanchana may have undoubtedly learnt the value of being an artiste and professionalism in theatre through working in an actors’ ensemble at Stages Theatre.
Dance and Contemporaneity
The term ‘contemporary dance’ signifies specific meanings to dance specialists than non-specialists of dance. There are certain qualities that set contemporary dance apart from other genres. Contemporary dance can be distinguished from modern and other forms of dance because of its shift from the traditional narratology, dancer’s perspective, and breaking away from some of the dance prejudices to integrate text, words, digital and intermedial elements to it. One such difference is that contemporary dance work departs from traditional third person singular narrative to first person singular self-expression. This first person perspective allows the dancer to reflect her own auto-biographical material.
Yet, these auto-ethnographic or auto-biographical narratives finally gets transformed into a political idiom.
Further contemporary dance deconstructs the aesthetic body celebrated in traditional dance and questions and dissects the skin of the dancer by opening up the inner flesh of the body. André Lepecki further identifies the uniqueness of contemporary dance from other genres because of its ‘ephemerality, corporeality, precariousness, scoring, and performativity’ (Kwan, 2017, p. 39). Thus, contemporary dance does not stick to a particular form, style or a structure. Instead it integrates various techniques, styles, and influences even from traditional dance forms to use the body as a political tool and the self as the centre of expression.
In this dance work titled, Talking Silambu, a twenty minute long piece of choreography, Kanchana appears in a non-traditional lose attire while wearing two Silambu (Silambu is a type of anklet made out of brass which Kandyan dancers wear when they perform) In the first instance, we hear the sound of Silambu as Kanchana’s legs begin to move. Yet, her dance body starts movement towards the audience while mixing traditional Kandyan dance codification with free body movement. It is clear that she performs half Kandyan and half improvised body movements in the score. In other words, her body movements are choreographed through semi-Kandyan codification mixed with free style movements. When the dance intensifies, she removes her Silambu, holding them in her hands and begins to shake them with vigorous body movements while throwing her body in various directions. At this point, Kanchana uses a trans-like act depicting trans-performance inherited particularly in low country devil dance. In this work, it is clearly demonstrated that her body is struggling with Silambu and trying to remove its connection to the body. This struggle culminates in the final phase of the dance work by indicating she runs away from the codified body and becomes a free woman. In this work, Kanchana demonstrates her discontent with the previous life as a traditional dancer and her struggle to break her affinity to the codified structure and beautification of the body in Kandyan dance. In a short conversation I had with Kanchana, she mentioned as particular rebirth that occurred at a dance camp organised by the Goethe Institute Colombo:
“I have been trained as a traditional dancer since my childhood but for the first time, working with this Japanese Butoh dancer, Yuko Kaseki, I learnt how to speak from my body. For many years I was living in a cage-tradition where I was entrapped. Living in this cage, I have performed what others wanted me to do. But in this dance lab, I found myself speaking to my own body and speaking through the body. I don’t want my body to be beautiful and aesthetically refined. I don’t want to display precision and codification of my body. I want to show how ugly I am and how vulnerable my body is.” (Kanchana, M., Pers. Comm. Dec. 2020).
Against the grain
In the traditional dance pedagogy, the dancer’s body is understood as a vehicle via which the dancer’s symbolic meanings are conveyed. There is a clear division between the inner and outer faculties in the dance body, and the dancer’s role is to bring forth those inner feelings to the onlooker via her body movements. This conceptualisation of the dancer’s body as a split between inner and outer is a complex issue pertaining to dance. Knowingly or unknowingly the dancer divides her body into body and mind and this Cartesian division has influenced the dancer to theorise the body and her craft.
Living in an ocular centric world, the dancer’s outer body is a place where womanhood is exploited for commercial purposes. From state-sponsored national festivals to television advertisements selling instant noodles or carbonated drinks, the dancer’s outer skin is commodified. Writing about Sri Lankan neo-dance traditions, propagated and performed at high profile delegations, product launches and in TV commercials in the country, I have written elsewhere that ‘women’s bodies succumb to the surgical knife of the choreographer whose male sexual desires are displayed on those bodies. Hence, no difference can be made between a choreographer and a cosmetic surgeon, whose expertise on women’s bodies, especially breasts and buttocks, are surgically transplanted and enhanced by incisions, stitches and staples’ (Liyanage, 2016). Amidst this commodification of female bodies in Sri Lankan dance arena, Kanchana’s attempt is to break away from this commodified, sexualised, and mechanised body to establish a non-codified and unified body of self-expression.
Here it is important for contemporary dancers to understand the value of the ‘living body’ or the ‘lived’ body that is celebrated in the vast literature of phenomenology and dance theory in the contemporary dance literature. In the dominant dance cultures from stage performances to digital and visual representations, the dancer’s skin is the most valued and emphasised. Now, with the contemporary dance turn, the dancer’s living or lived experience has come forth. Kanchana as a dancer now understands that her body is not a place for others to communicate vague meanings but a living entity where her own selfhood is reflected and displayed. It is a challenge for a dancer like her because the dominant female body has already been already established by key dance authors of the country. These dance authors have created a symbolic and sexualised female body for live and digitised performances. This symbolic and sexualised female body consists of the idealised female body for the male viewer. Kanchana is challenging this idealised body that is dominant in the real and digital world.
Dancer and Danced
The key juncture where the lived body differs from the symbolic body is that the symbolic body that is propagated in the media and elsewhere is the body that is not presented as a place for knowledge. Let me explain this further. In the traditional dance pedagogy, the dancer’s body is a place where meanings are generated and shared. In other worlds, the codified body is a canvas or a display where the onlooker extricates meanings. This codified, symbolic body is not presented to us as a place for knowing or sensing. Kanchana’s work and the work of other contemporary dancers suggest that we should understand the body as a place of sensing and knowing. This marks an epistemological turn in dance making and its reception. Dance, or the dancer’s body, has not been considered a place for ‘knowing’ in Sri Lankan dance pedagogy. Most often, a dancer narrates someone’s story or represents a third person singular perspective of the dance.
What Kanchana and the contemporary dance body suggest is to make a shift from the third person singular narrative to a first person singular perspective. This ‘I’ or the first person perspective allows the dancer to narrate her own stories and engagement with the social, cultural and political terrains. Further, a dancer as the author of her own work marks the departure of the dancer as an employer for a particular author. What Kanchana does in Talking Silambu is that as a dancer she tries to incarnate herself and narrate a story of searching a breakthrough and liberation. In this performance, her body works as a site of struggle and seeks the unity of her body and soul.
Understanding the body as a sensing and perceiving entity is still an alien concept to dance pedagogies in universities and private schools. Furthermore, dance can be a self-expressive and auto-ethnographic inquiry and is also a far-reaching idea for our students. Hence, the mainstream dance pedagogy produces dancers who dance without self-motivation to satisfy the audience who come to see symbolic representation of the body. Yet a handful of dancers who are eagerly exploring other avenues for dance expressions are also facing complex issues that their artistic interventions are not fully accepted in the mainstream dance scholarship in the country. Moreover, dancers like Kanchana have chosen a non-popular pathway to pursue their future dance careers and already faced deadlocks, as their artistic practices are not being accepted or sustained by institutions or organisations. Yet Kanchana is determined to break her cocoon to be incarnated as a hybrid moth.
The author wishes to thank Himansi Dehigama and Sachini Senevirathe for their assistance in preparing this paper. Further the author’s gratitude goes to dancer Kanchana Malshani.
Kwan, S. (2017). When Is Contemporary Dance? Dance Research Journal, [online] 49(3), pp.38–52. Available at: https://www.cambridge.org/core/journals/dance-research-journal/article/when-is-contemporary-dance/8D44743A01A1ECC8100C5E65C1142DC2 [Accessed 4 Oct. 2019].
Leavy, P. (2019). Handbook of arts-based research. New York: The Guilford Press.
Inaugural NDC symposium: Focus on contemporary security issues
President Gotabaya Rajapaksa’s two years in office – a period of unprecedented political turmoil, uncertainty and further deterioration of Parliament – should be thoroughly examined. In fact, the UNP, with the support of the then President Maithripala Sirisena, paved the way for Gotabaya Rajapaksa’s candidature, at the 2019 presidential election, by blocking Mahinda Rajapaksa’s path to contest another term. The yahapalana government brought in the 19th Amendment, in 2015,limiting the presidential terms to two, to deprive Mahinda Rajapaksa the opportunity to contest the presidency again. The 19th Amendment also prevented dual and foreign citizens from contesting presidential and parliamentary polls, under any circumstances. Gotabaya Rajapaksa, whose entry into active politics had been facilitated by civil society organizations, ‘Viyathmaga’ and ‘Eliya’, gave up his US citizenship, to enter the fray.
By Shamindra Ferdinando
The Defence Ministry couldn’t have chosen a better person than Lalith Chandrakumar Weeratunga (72), former Principal Advisor to ousted President Gotabaya Rajapaksa (73), to discuss contemporary security issues and related matters with the military, the police and the academia.
Weeratunga will deliver the keynote address at the inaugural National Defence College (NDC) symposium 2022 at the auditorium of the Faculty of Graduate Studies, Sir John Kotelawela Defence University, on August 17. Secretary to the Ministry of Defence, General (ret.) Kamal Gunaratne, will be the Chief Guest.
UNP leader Ranil Wickremesinghe, who received the parliamentary endorsement as the eighth President (to complete the remainder of Gotabaya Rajapaksa’s five-year term), re-appointed the battle-tested Gajaba Regiment veteran Gunaratne as the Secretary, Ministry of Defence. Perhaps, it was the first re-appointment of a Secretary to a Ministry, made by the new President, amidst unprecedented turmoil.
Colonel Nalin Herath, Officiating Director, Media, in a statement, dated August 03, stated: “The event is exclusively designed to promote defence research culture and create an environment to explore research ideas, related to the discipline of national security and strategic studies.”
As the Principal Advisor to the ex-President, Weeratunga, who had joined the Sri Lanka Administrative Service (SLAS), in 1977, can speak authoritatively of the entire gamut of developments since the last presidential election in Nov 2019, thereby helping the public understand what really went wrong, if he cares.
The NDC has allocated Weeratunga approximately 30 mts for his speech, to be delivered after Gen. Gunaratne addressed the gathering. The former General Officer, Commanding the 53 Division that had been credited with killing LTTE leader Velupillai Prabhakaran, on the morning of May 19, 2009, too, can help throw light on the issues that brought the curtain down on President Gotabaya Rajapaksa, in a worldwide shocking situation. Gunaratne is one of those ex-military personnel who campaigned for Gotabaya Rajapaksa, in the run-up to the November 2019 election, from his retirement.
As one of the key members of Gotabaya Rajapaksa’s team, Weeratunga, embroiled in controversial ‘sil redi’ case during the previous Rajapaksa administration, had been involved in the overall operation, at the highest level, and was seen almost at every meeting chaired by the ex-President at the Presidential Secretariat, the primary target of the public protest movement. Weeratunga had been always by the ex-President’s side, during the high profile ‘Gama samaga pilisandarak’ project, meant to provide relief to remote villages. Weeratunga accompanied the then President at the inauguration of the project, on September 25, 2020, at Welanwita, Haldamulla.
In spite of clear warning signs, the political leadership allowed the situation to deteriorate and absolutely no effort was made to address the issues at hand. Instead, the government engaged in a propaganda offensive meant to suppress the ugly truth. Unfortunately, even after public protests erupted, the government lacked the political and financial will to undertake reforms required to bring relief to the suffering and increasingly irate public.
Having blocked the Presidential Secretariat (old Parliament) in early April, protesters overran it on July 09, soon after they brought the President’s House under their control.
Contemporary security issues here cannot be discussed without taking into consideration how overall negligence, on the part of the administration, caused such rapid deterioration of the national economy, probably with a mysterious foreign hand, from behind the scene, activating the protest movement with unlimited funds and required intelligence, especially to keep its nerve centre at Galle Face going as an overt non-partisan and peaceful movement. It was more like a copy book case of what was done to oust Libyan Leader Muammar Gaddafi, by Western powers, with the help of their local quislings. The mistake Gaddafi made was to attempt a legitimate counter strike amidst overwhelming odds stacked against him by Western powers, who plotted his ouster. He stood no chance and he was lynched by Western-hired mobs, joined by ignorant locals, who fell for Western propaganda, in public, no sooner he was captured, despite him being such a benevolent leader to his people. Ousted Iraqi Leader Saddam Hussein was at least given a show trial and hanged, despite a majority of the members of the Western coalition, that invaded Iraq, abhorring capital punishment.
The well-orchestrated supposed public anger exploded at the private residence of the then President, at Pangiriwatta, Mirihana, on March 31. Wartime Secretary to the Ministry of Defence, Gotabaya Rajapaksa, had no other option but flee from the country and resign just 14 weeks after the first violent protest, without even a single bullet being fired against the violent mobs, whether on March 31, May 09 or July 09, whom interested parties painted as legitimate peaceful protesters, especially by the holy Western media.
Having served Mahinda Rajapaksa during his short tenure as the Prime Minister (April 2004 to Nov 2005) and President (November 2005 to January 2015), Weeratunga was then appointed as Gotabaya Rajapaksa’s Principal Advisor, a position that carried immense weight. Weeratunga once played the role of a journalist when he interviewed President Gotabaya Rajapaksa, in late April 2020. The interview dealt with the economic recovery, while battling Covid-19. By then, a section of the government knew the country was facing a rocky road ahead. Weeratunga certainly can share his experience, pertinent to the issues under discussion, at the NDC symposium.
IMF warning ignored
At the time of Gotabaya Rajapaksa’s triumph over Sajith Premadasa, Sri Lanka was already on the verge of experiencing a balance of payments crisis, mainly caused by the collapse of the vital tourist industry, in the aftermath of a series of suicide attacks by Muslim extremists, on Easter Sunday, 2019. Presidential Secretary, Dr. P.B. Jayasundera, a veteran central Banker and a long time Treasury hand, who advised the then President on economic matters, couldn’t have been unaware of the impending crisis. It would be pertinent to ask whether the ex-President consulted Weeratunga on matters relating to the economy, as well.
Appearing before the parliamentary watchdog, Committee on Public Enterprises (COPE) on May 25, Central Bank Governor, Dr. Nandalal Weerasinghe, didn’t mince his words when he explained the circumstances that led to the economic crash. The outspoken official described the political leadership’s response to the impending crisis. The then Premier Mahinda Rajapaksa cum the Finance Minister, though been briefed, in March-April 2020, on the developing situation of unprecedented magnitude, had foolishly chosen to ignore the dire warning.
The COPE was told how the IMF warned the then Governor of the Central Bank, Prof. W.D. Lakshman, and Treasury Secretary, S. R. Attygalle, of Sri Lanka’s inability to procure loans, unless the country undertook debt restructuring immediately. The IMF also asked the government not to go ahead with a massive tax cut that deprived revenue to the tune of Rs 500-600 bn.
Massive tax cut must have been granted with good intention to encourage new investments by the private sector that benefited from it. However, the unexpected coronavirus pandemic, that affected economies worldwide, should have alerted the then government to immediately reverse it.
May be all this happened because they relied too heavily on soothsayers’ advice as happened to the previous Rajapaksa administration. How are we to know whether soothsayers, too, were on foreign payrolls?
Dr. Nandalal Weerasinghe declared that the IMF warning hadn’t been heeded at all. Dr. Weerasinghe stated that the relevant decisions should have been made by the Premier, in his capacity as the Finance Minister, and the entire Cabinet of Ministers. The IMF has made its position clear after having asserted Sri Lanka lacked debt sustainability.
Perhaps, the COPE should also take into consideration that the ruinous tax cut had been included in Gotabaya Rajapaksa’s much publicized election manifesto, thereby implicating every person either elected on the SLPP ticket or appointed on the SLPP National List. Weeratunga can discuss what really prompted the Rajapaksa administration to go ahead with a tax cut, in spite of economic difficulties caused by (i) sharp drop in foreign remittances due to Sri Lankan working, overseas, returning home, due to Covid-19 eruption (ii) Decrease in tourism arrivals as a result of Covid-19 hitting rich countries, as well, and the 2019 Easter Sunday massacre and (iii) drop in exports.
The Russia-Ukraine war, that erupted in late February, 2022, caused sharp increases in prices of crude oil, wheat and other commodities. Sri Lanka suffered badly.
Ali Sabry, PC, in early June, disclosed how those who had advised President Gotabaya Rajapaksa, on economic matters, deceived the leader and the Cabinet-of-Ministers. The reference clearly alluded to Dr. PBJ, Secretary to the Treasury S.R. Attygalle and CBSL Governors, Prof. W.A. Lakshman (November 2019-September 2021) and Ajith Nivard Cabraal (September 2021-March 2022).
The prohibition of chemical fertiliser imports, in May 2021, and the subsequent ban on agro chemicals, devastated the agriculture sector. President Gotabaya Rajapaksa never recovered from the utterly reckless decision on the fertiliser and agro-chemical ban. Instead of reversing the decision, the government pressed ahead with this project to substitute with organic fertiliser, overnight. The circumstances, leading to Sri Lanka having to pay USD 6.7 mn, in December, 2021, to a rejected Chinese carbonic fertiliser load, and accusations pertaining to the alleged interventions made by Dr. PBJ and Gamini Senarath, the then Secretary to Premier Mahinda Rajapaksa, in the import of fertiliser, from India and China, respectively, brought pressure on the government (both senior officials denied allegations made against them.)
Prez opens NDC
Lalith Weeratunga, Principal Advisor to the then President Gotabaya Rajapaksa, explains the status of high profile govt. project to meet the Covid-19 threat
The then President Gotabaya Rajapaksa inaugurated the NDC, located at the Mumtaz Mahal building (former UNP Headquarters), that had been under the purview of the Ministry of Defence, at Galle Road, Colombo 03, on November 11, 2021, at a time his government was grappling with the menacing economic issues. Defence Secretary Gen. (ret.) Gunaratne and Principal Advisor Weeratunga were among those present on that occasion. The NDC has been dubbed the highest seat of learning on national security and strategy.
In spite of warnings issued by the Opposition, the government proceeded with its activities. Warnings were ignored. Did those responsible for national security ever make an attempt to warn of the impending crisis the country was heading into? Political stability depends on responsible management of the economy. The pathetic performance, no doubt, came under extraordinary circumstances, caused by the Easter Sunday attack of 2019, followed by the pandemic and the Ukraine conflict delivering body blows to the economy. Those who had been waiting to undermine the Rajapaksa presidency, swung into action. The high profile destabilization project should be examined, taking into consideration the Swiss plot against President Gotabaya Rajapaksa, within a week after his triumph at the November 2019 presidential election. Things that happened to Gotabaya Presidency was more like a Greek tragedy with faults in his character compounding his fate.
The Swiss government made a despicable bid to trap President Gotabaya Rajapaksa by falsely implicating security authorities, in the staged abduction of a Swiss Embassy employee, Garnier Francis, former Siriyalatha Perera. The Swiss ended up with egg on their face and quietly gave up attempts to hold the government responsible for abduction and rape of an Embassy employee. The President thwarted an attempt by the Swiss to evacuate the Embassy employee in an air ambulance, which they had on standby at the BIA tarmac, no sooner the fake incident was reported. Had that happened, they would have been able to make highly damaging accusations stick from abroad. We, being a poor third world country, the Swiss got away with another dastardly act like how they always get away with handling blood money, even when their leading banks are exposed for some of those outright criminal acts.
President Gotabaya Rajapaksa appointed retired Major General Amal Karunasekera as the first Commandant of the NDC. The President had to flee the country, within 10 months after the inauguration of the institute. Former infantryman and one-time Director of the Directorate of Military Intelligence (DMI), Karunasekera, were among those arrested by the CID in connection with the abduction and assault on Keith Noyahr in 2008. Karunasekera was taken in April 2018 just a couple of weeks after his retirement having served the Army for over 35 year in an unblemished military career.
Ranil Wickremesinghe, during whose premiership (January 2015-November 2019) the CID investigated the Noyahr abduction, is the President cum Minister in charge of the defence portfolio. At the time President Gotabaya Rajapaksa inaugurated the NDC, Wickremesinghe completed just six months as the UNP’s only National List Member of Parliament. A toxic combination of economic, political and social issues, some definitely caused by foreign actors, and their local quislings, forced President Gotabaya Rajapaksa to flee the country, thereby upended the political set up. The ruling Sri Lanka Podujana Peramuna (SLPP) has managed to somewhat consolidate its position by engineering Wickremesinghe’s victory at the July 20 presidential contest in Parliament. In spite of having just one seat (Wickremesinghe’s vote) in Parliament, the UNP leader secured 133 votes thanks to the majority SLPP support, despite its internal splits, that led to its dissidents fielding their own candidate, with the backing of the SJB.
Obviously, Wickremesinghe is the SLPP’s man, though lawmaker Mahinda Rajapaksa, for some strange reason, declared soon after the July 20 vote that the party backed the defeated SLPP dissident candidate Dullas Alahapperuma, the Matara District MP obtained 82 votes.
Clear re-assessment needed
The NDC can undertake real re-assessment of challenges faced by the country against the backdrop of major international controversy over Sri Lanka being forced to withhold permission for the docking of a high-tech Chinese research vessel at the strategic Hambantota port. New Delhi raised concerns over the Chinese move. New Delhi has been deeply upset over the then Premier Ranil Wickremesinghe’s government handing over the Hambantota port to China, in 2017 on a 99-year lease. The then Ports and Shipping Minister Mahinda Samarasinghe, who signed on behalf of Sri Lanka, has been rewarded with a plum diplomatic post as Sri Lanka’s top envoy in Washington.
The Chinese space and satellite tracking research vessel ‘Yuan Wang 5’ was scheduled to dock at the Hambantota Port from August 11 to 17. China received Sri Lanka’s permission on July 12 in the wake of the protest movement seizing control of the President’s House, Presidential Secretariat and the PM’s Office.
The forthcoming NDC sessions can be utilized for this purpose. The former Principal Advisor to the exiled President can certainly help in this endeavor. The sessions include a presentation on ‘post-independence foreign policy of Sri Lanka’ by Brigadier W.A.S.R. Wijedasa and SSP E.M.G. Seram and ‘National security concerns of Sri Lanka amidst current geo-strategic perspectives and economic crisis: challenges and vulnerabilities’ by Brigadiers, C.S. Munasinghe and R.K.N. C. Jayawardene.
New Delhi’s strategy, implemented in line with the overall Quad policy, has placed bankrupt Sri Lanka in an unenviable situation. Quad widely considered as Asia’s NATO (North Atlantic Treaty Organization) consists of the US, Australia, Japan and India.
China, embroiled in a deadly ‘battle’ with the US, may not accept Sri Lanka’s stand on the research vessel. In fact, China may consider Sri Lanka action ‘hostile’ and respond accordingly. That would definitely jeopardize ongoing efforts at debt-restructuring in line with the understanding reached with the IMF.
Credible Leadership And Governance Shakespeare’s Relevance To The Present
by Dr. Siri Galhenage
Once upon a time, in the isle of Serendib, a soldier-turned politician was offered the reins of governance by popular choice. The chosen ruler commenced his journey with a pledge to reshape the nation against the backdrop of an ancient monument, reminiscent of past glory. He embarked on his mission with a vision for prosperity, riding his favourite stallion named ‘patriotism’, and was accompanied by his kith and kin, a sprinkling of war lords, a few learned courtiers and a large coterie of foot-soldiers, with varying degrees of intellect. The plebeians rejoiced: giving lyrical expression to their joy and painting colourful murals on ramparts. Renowned men of letters portrayed the new leader as an incarnation of a legendary monarch of yore who helped to vanquish the foe.
The vision turned out to be an illusion. The mission failed as a result of poor governance: bad decisions, alleged corrupt practices, and the refusal of the leader to wear the cloak of humility. The lilies that sprung up along the wayside, withered in their bud. The nation was thrown into an abyss of despair, debt and depravity, of unprecedented depth. A proud nation – endowed with an ancient cultural and spiritual heritage, a wealth of human potential, and a land like no other – was brought to its knees, having to swap the sword for a begging bowl.
The plebeians felt deceived; they poured out into the streets in large numbers, and the corridors of power were inundated. ‘Bernham wood did come to Dunsinane’. The protesters were mostly peaceful but some errant individuals displaced their anger onto property causing wanton destruction; their identity remaining illusive, covered in a veil of smoke.
The ruler, after a period of procrastination, fled the country, handing over ‘the baton’ to a tried and tested leader, resulting in the perpetuation of agitation amongst the plebeians.
The hapless plebeians remain in a state of perplexity, scraping the bottom of the barrel for credible leadership and good governance. Vultures from the east and the west, and from the north, hover over our resplendent isle, and the nation remains curled up and vulnerable with only the dumb sea to the south to escape to.
A Shakespearean Tragedy
I am no ‘upstart crow in borrowed feathers’ but the above synopsis is not dissimilar to a tragedy in a Shakespearean sense. The theme is consistent with most of Shakespeare’s tragedies – the passions of men and women, and the transgressions they lead to, weaving the web of their own fate, and of their state. In Shakespeare, there were no unflawed or ideal leaders; their inadequacies are instructive in imagining the leadership we look for.
At a time when a nation struggles as hard as now to find solutions, regarding political leadership and good governance, one could draw lessons from Shakespeare’s insights by reflecting on some of his characters that dominated the stage. It is the central concern of this brief essay, at a time when stable, effective, ethical, and, most of all, sensible, leadership is in short supply. It is a measure of Shakespeare’s stature, not only as the world’s greatest playwright, but also as an equally great analyst of human behaviour and motivation, that he provides a window to matters of the state, so perceptively. He remains meaningful and relevant to many of the political challenges we face today, and has a way of throwing light on the darker places we fear to tread.
Despite the scarcity of records, regarding his early education, Shakespeare appears to have drawn heavily from Greek and Roman classical literature, and from the historical records of medieval Britain. He wrote scripts that projected the social and political realities of his time and engaged with the deepest desires and fears of his audiences. Sensitive contemporary issues were addressed in alien or historical settings in order to avoid political censure. He succeeded in linking past history to events of the day. And his timeless work with universal appeal is of relevance to us in the 21st century as never before.
Shakespeare is not didactic and does not offer solutions to the challenges we face. But he is educational in the way of parable, inference, and demonstration. At a time when he thought was dangerous to speak out, he found it safer to communicate through dramatic expression by locating his plays in medieval Europe. He presented controversial issues wearing a mask of innocence! ‘Play’s the thing’, for him.
Political Power – Its Use and Misuse
Political power is of the essence in the delivery of governance; its energies meant to be utilised for common good. Such honourable intensions, with a community focus, are not foremost in the minds of many who pursue a career in politics today: personal aggrandisement and pecuniary interest being their primary motive, bringing politics and politicians into disrepute. Many distort the truth and tap into people’s ignorance and prejudices to gain power, and some may even be prepared to sacrifice the lives of fellow human beings in the pursuit and maintenance of power. No wonder politics and politicians are treated pejoratively at the present time.
Pursuit of Power in Politics
Shakespeare went back to medieval Scotland to discover a story that depicted such ruthless ambition for power, in MACBETH, a story that spoke to his own times.
A ‘war hero’, whose innate desire for power, ignited by the cryptic prophesies of three witches, is driven on a path of destruction to achieve his goal and maintain it, bringing about a collapse in moral order. He is made to suffer and eventually destroyed. Enemy forces encircled and invaded his castle resulting in him losing his head, both metaphorically and in reality. Power misused does not bring in peace, but inner and outer turmoil: “In the affliction of these terrible dreams/ That shake us nightly: better be with the dead/ Whom we, to gain our peace/ Than on the torture of the mind to lie/ Is restless ecstasy”.
Political Machinations in Vying for Power – Hypocrisy and Deceit
The propensity to manipulate the truth, through political machinations, is a common strategy in vying for power in affairs of the state, given dramatic expression by Shakespeare in ‘The Tragedy of Julius Caesar’, bringing forth the moral depravity in politics. “Men may construe things after their fashion/ Clean from the purpose of things themselves” [Cicero: Act1 -1.3.34-5].
The plot depicts the assassination of Caesar as the pivotal event of the play. Caesar emerges as a formidable leader but with a paradoxical mixture of characteristics of arrogance and vulnerable physique. Cassius, malcontent and conniving, instigates a plan to remove Caesar from power and hatches a plot to draw Brutus and others to conspiracy, claiming that Caesar would ‘soar above the view of men’ and would establish a new monarchy. Brutus says to Cassius: “Let not our looks put on our purposes/ But bear it as our Roman actors do/ With untir’d spirits and formal constancy”.
Following the fall of Caesar, Antony, a Caesar loyalist with his own leadership ambitions, outshines Brutus in a rhetorical contest. In the aftermath of Caesar’s death, the newly formed alliances [Brutus and Cassius on the one hand and Antony, Lepidus and Octavius on the other] take up arms against each other. Antony emerges as victor.
Drawing from Roman history, Shakespeare brings to life the so-called heroes, traitors, conspirators, betrayers, hypocrites and opportunists, who often cluster on the political stage, not to mention the gullible masses who constantly get carried away with the tide of rhetoric. Shakespeare makes himself our contemporary by bringing forth issues such as patriotism; authoritarianism; militarism; fact and fiction in political rhetoric; personal interest versus common good; violence and war as a continuation of politics [as Clausewitz aphorized]; and lack of permanent friends or foes, in the affairs of the state.
Moral Virtues and Failings in Politics
Drawing from a collection of biographies [‘Parallel Lives’] by Plutarch, the Greek essayist who took up Roman citizenship, Shakespeare illustrates the moral virtues and failings of a legendary Roman military leader turned politician, Gnaeus Marcius Coriolanus, in one of his most political of tragedies.
Coriolanus was a ‘war hero’ in the true sense of the title: a valiant soldier credited for the sacrifice he made in the defence of Rome [“Every gash of mine was an enemy’s grave”] and for his military achievement in Corioles against the invading Volscians, and entering into a lone battle with the enemy leader, Aufidius. Coriolanus emerges victorious.
Coriolanus was nurtured to be a fighter by his mother who lived vicariously through his triumph, and, to the rulers, he was a symbol of strength in averting any future threat to the security of their land. After his military success, Coriolanus was urged to take up politics by the rulers and by his mother. He was expected to relocate his ‘inner strength’ from military prowess to political acumen – a misrepresentation of the notion of strength for political expedience. And, therein was the rub.
Pressure was put on the reluctant soldier ‘to don the gown of humility and present his wounds to the people’, and woo them for votes. But Coriolanus was reluctant. “It is a part/ That I shall blush in acting [2.2.144-5]. “’Why did you wish me milder? Would you have me/False to my nature? Rather say I play/The man I am” [3.2.14-16] “You have put me to such a part which never/I shall discharge to th’ life” [3.2.105-106]. His mother, Volumina suggested, “Seem/ The same you are not” – in other words, to put on an act!
Although Coriolanus preferred to keep his honour and his principle together as a soldier and defend his homeland, he succumbed to the pressure from his family and the rulers. He reluctantly took up politics and alienated the public due to his obstinacy. They rescinded their vote, and is banished from Rome. He became vengeful and unpatriotic and was ultimately destroyed.
Despite its simple narrative, the play Coriolanus is about politics, politicians and ‘policy’. It is about the pressure placed upon a politician to project himself as what he is not.
Coriolanus was expected to present his ‘policy’ [principles of governance] in which political expediency was to be placed above morality, with the use of craft and deceit to gain power, in a Machiavellian sense. He defied all such pressures and wished to be true to himself. His personal choice of truth was put to death and was carried away in a coffin.
Power and Privileges in Politics
An ageing ruler wishing to cling on to power and privileges despite his failing health is not an uncommon scenario in political circles, greed being at the heart of such motivation. Such a scenario was given dramatic expression by Shakespeare in his play the tragedy of KING LEAR. Lear, a legendary ruler of Britain, thought to be a man of ‘knowledge and reason’, transferred his sovereignty to his progeny contingent upon the expressiveness of their love towards him, with no intension of relinquishing his authority and privileges. He commands that Britain be divided equally between his two elder daughters [and their respective husbands] but with the condition that they accommodate him in turn along with his entourage of hundred knights. Having taken over the reign, the two daughters treat their father with disdain, refusing to fulfil their commitments.
Stripped off his sovereignty, the old monarch is reduced to madness and beggary, failing to negotiate between the polarities of ‘integrity’ in the face of diminishment and despair. He ends up in a ‘desolate field’ in a ‘raging storm’ accompanied by his court jester, ‘the fool’, with a corrective satire. The fool quips, “Thou shoudst not have been old before you hadst been wise”!
Regime change is a favourite theme in the Shakespeare canon. Abdication, abandonment, usurpation, military overthrow, political upheaval and even assassination are some of the common circumstances that are given dramatic expression by the bard. One of the most popular narrative poems by Shakespeare which culminates in a significant regime change, which I hope to present in an allegorical sense, is the ‘RAPE of LUCRECE’.
Drawn from a story by the Roman Historian Livy, the poem wrings pathos from the hapless exposure of Lucrece, a woman of exceptional beauty and virtue [which I equate to my motherland] to rape by a member of the ruling class. She laments: “My honey lost, and I, a drone like bee/ Have no perfection of my summer left/ But robb’d and ransack’d by injurious theft/ In thy weak hive a wand’ring wasp hath crept/ And suck’d the honey which thy chaste bee kept”.
Enraged by the assault on this ‘incomparable woman of worth’, the masses pour out into the streets of Rome, carrying her body, demanding to avenge her death and to overthrow the regime. By public acclaim the ruling monarchs were rooted out and political power handed over to people of their choice.
Moral Enhancement Away from the Precincts of Power
Often referred to as the pastoral drama, Shakespeare’s ‘AS YOU LIKE IT’ unfolds in a rural setting close to nature – the Forest of Arden – the domain of simple folk, the shepherds, far removed from the brutal precincts of power where politicians prowl. Duke Senior, banished from court by his brother, Duke Frederick, takes refuge in the forest with several of his faithful followers, to be purified and returned to where they came from, or to be retained in the wilderness! To be interpreted allegorically, the Forest of Arden acts as a milieu for purification and regeneration, and for redemption and restoration of order. It is a great leveller where the corrupt and ambitious rulers are brought together with the simple but honest folk with basic needs, living close to nature, to instil a sense of moral wisdom. ‘Then there is mirth in heaven/ when earthly things made even’. [Hymen]
Five years before his death, Shakespeare bid farewell to the stage having written his last solo-authored play, The TEMPEST, thought to be his parting song, with a complex allegory, open to a variety of interpretations. To me, it conveys a lesson in moral enhancement to those who occupy positions of power.
Shakespeare transforms the stage to a ‘desolate island’ somewhere in the Mediterranean, and places his leading character Prospero to use his ‘magical art’ to combat his inner turmoil.
Prospero [‘the one who prospers’] has once been the Duke of Milan, a learned man constantly in pursuit of further study of ‘liberal arts/ without a parallel’ dedicated to ‘closeness and bettering the mind’. For him the ‘library was dukedom large enough’ and was so immersed in his books that his brother, Antonio, found it easy to depose him and grab power. Prospero with his three-year-old daughter, Miranda, was set adrift on the open sea in a boat with neither sail nor mast. Carrying a few provisions and some of his prized books, thrown in by Gonzalo, a kindly courtier, they drifted at the mercy of wave and tide, finally to be deposited on the shores of an island.
Living with his daughter in a cave in the island, part of which converted to his study, Prospero was in pursuit of bettering his mind through the study of ‘liberal arts’ – the art of inculcating wisdom, virtue and ethical practice, and the art of respectful dialogue – many a bibliophile is unable to achieve!
To cut a long story short, Prospero mobilises the services of Ariel, the winged spirit, to conjure up a storm that wrecks a passing ship and disperse its distraught passengers around the island, while ensuring their safety. The passengers happened to include his usurper and his fellow conspirators, giving Prospero the opportunity to exercise his compassion and forgiveness over vengeance, to bring about reconciliation, and to let go of power and possession.
‘King Becoming Graces’
Following the damnation of Macbeth, in the play by the same name, Macduff requests Malcolm, the new monarch, to outline what he believes to be ‘king becoming graces’. Malcolm enumerates them as, ‘justice, verity, stableness/ Bounty, perseverance, mercy, lowliness/ Devotion, patience, courage, fortitude’, admitting that he has ‘no relish of them’, but adds, ‘Nay, had I power, I should/ Pour the sweet milk of concord into hell/ Uproar the universal peace, confound/ All unity on earth’. A tall order!
The ancient Greeks, the lettered race, pioneered the notion of tragedy. Despite the hardship and agony caused by a tragic experience, they recognised its potential in bringing about a moral order – evil is beaten back, and truth emerges with the restoration of peace and harmony. The religious faith of Shakespeare is subject to conjecture, but the central moral principle – justice, redemption and grace – embedded in many of his tragedies, may guide us move from darkness to light, whichever faith we belong to.
The Complete Works of William Shakespeare [The Alexander Text] Introduced by Peter Ackroyd  Collins
New Statesman April 22-28, 2016. “Shakespeare 400 Years Later”
Bell, John 2022: Boyer Lecture: “Order versus Chaos”. Australian Broadcasting Corporation Radio
Galhenage, Siri: 2020: “Shakespeare and the Human Condition”. S. Godage & Brothers [Pvt] Ltd.
Galhenage, Siri: “A Window to a Literary Landscape” [in manuscript]
The Moribund State
By Lynn Ockersz
Bone-thin bodies drift ashore,
In a solemn funereal tempo….
Bullet holes gape out of foreheads,
Gagged mouths and bound limbs,
Greet passers-by dashing for queues,
Bringing back harrowing memories,
Of the Mailed Fist of past years,
But what’s plain and beyond doubt,
Is that there’s a growing Black Hole,
In the minds of the isle’s overlords,
That makes history-learning a lost cause.
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