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Charles Ambrose Lorenz: an unsung artist of the 19th century

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by Avishka Mario Senewiratne

“Every child is an artist; the problem is staying an artist when you grow up” – Pablo Picasso

Though forgotten by the present generation, it is no understatement to say that Charles Ambrose Lorenz was Ceylon’s most beloved son of the 19th century. The whole colony mourned his premature death in his prime in 1871. He was loved by people from all walks of life. This most accomplished and colourful personality wore several hats in lifetime.

He was well-known as one of the earliest Ceylonese appointed to the Legislative Council where he fulfilled his duties with zeal and integrity. Being a lawyer, he stood for justice, never compromising his principles for glory or monetary gain. Though Burgher by race, the Sinhalese called him as Lorenz Hâmuduruwwô, for he stood for all irrespective of caste, creed and race. A pioneering journalist, he founded The Ceylon Examiner. A prolific writer of letters and articles his was a fine balance of intellect, emotion, knowledge and virtue. Among the few who may have heard of him, not many are aware of what a fine illustrator, artist and musician he was in his day.

Lorenz hailed from Matara, where many Burghers had settled during their heyday. His father, Prussian-born Johan Freiderick Lorenz (1772-1845) was a traveller with little money when he settled in Ceylon and was fortunate be be appointed Magistrate of Matara by the colonial power. When Lorenz was born in 1829, Ceylon was going through a new phase under the British with the recommendations of the Colebrooke-Cameron Commission under implementation.

This was a much-needed change in a colony that was spending much more than it earned. Charles Lorenz was the youngest (ninth) child of Johan. Anna Petronella Smith, Lorenz’s mother was Johan’s third wife. Lorenz and his big family lived in a spacious house called ‘Lodge Harmony’ by the banks of the Nilwala River. ‘Lodge Harmony’ was said to be so named because of the various musical instruments played by the Lorenz family. The whole of Matara was aware of the musical talents of the Lorenz’.

Johan Lorenz, who was an accomplished scholar himself, taught English, Latin and Euclid (Mathematics) to young Charles. The late Justice Percy Colin-Thome reveals that Johan taught each of his children the rudiments of poetry, painting, music, dancing and amateur theatricals. By the tender age of 12, young Lorenz was an accomplished musician, able to play the violin and flute. Similarly, Lorenz loved to do skits and caricatures of himself and the people he adored.

Musicians of ‘Lodge Harmony’

One of the earliest surviving sketches by Lorenz is that of a musical group of his family in Lodge Harmony. In this illustration, Lorenz depicts his sister, Henrietta Agnes (to be married to John Drieberg in a week) seated in the centre playing the spinet. On her left, John Fredrick Lorenz (Charles’ elder brother) is seated playing the violoncello. On Henrietta’s right and slightly behind her, standing and playing the flute is the 12-year-old Lorenz, while tapping his foot on the floor, to the beat. On the right of Lorenz is his other sister, Nancy Catherine Louise, sitting right-angled to the harpsichord, working her fingers through its fine strings. In the foreground of this illustration are their parents; Johan standing at ease on the left and the mother watching seated on the right. Truly this sketch is illuminating.

This kind of illustration of casual family gatherings of this era in Ceylon is very rare. Glancing through the fine details of the work of Lorenz, many intricate details are revealed. ‘The picture of the Lodge Harmony’ writes the author of Lorenz’s Centenary Monograph, “is not without some historic value, as illustrating the interior and furnishing of a room of the period…”. (Quoted from Blaze p. 14) Apart from the different styles of the chairs and the piano stool, a square window with glass panes and short draped curtains is depicted. Though Johan Lorenz was an art enthusiast, the Lodge Harmony walls are bare. Perhaps it was because paintings were expensive or that he may have not been fond of displaying art. The floor is red brick or tiled squares marked out with white lime, a classic feature of old Dutch Houses in the South.

A lot can be observed by the style of dress depicted by Lorenz. The costumes of the boys were long trousers and a jacket. Evidently the customary schoolboy attire at the time. Johan Lorenz, lacking the wig, pigtail and three-cornered hat of the Dutch Burgher gentlemen of his day, seems to be quite modern for the 1830s. The gowns of the ladies illustrated are full skirts gathered tightly at the waist, billowing out towards the ankles. The sleeves are puffed and gathered at the elbows and tapers down to the wrist. A shawl is drawn over the mother’s shoulder. The older two ladies wear a day cap, covering their hair.

Rising musician of Colombo

After the Colebrooke-Cameron reforms, education in Ceylon made strong headway. The founding of many English medium schools took place during the time of Governor Robert Wilmot Horton. The Colombo Academy (Royal College) was the most important of these at the time. Realising this was the best opportunity for his multi-talented son, Johan Lorenz enrolled young Charles in the Academy in 1841. Leaving Matara, he lived with his brother-in-law, John Drieberg, an upcoming lawyer and his sister, Henrietta.

At the Academy, his many skills developed from strength to strength as did his talents in art and music. It was during this time that he met Hippolyte Silvaf, the art and music master, who had his own school not far from where Lorenz lived in Pettah. One day, the Driebergs with the young Lorenz accompanying, went to dine with the Prins family. As music was a must at Colombo dinners, Mrs. Prins played the piano, entertaining the guests. Soon she was accompanied by Silvaf (Violin), and young Lorenz (flute). This was the first time that Lorenz came to be known as a skilled musician. Unlike in Matara, the Harpsichord/Spinet was found to be old-fashioned in Colombo. Piano was the trend and Lorenz mastered playing it as well.

He would later start his own amateur band. Silvaf’s son, Napolean was its tenor/violinist. Other prominent young men in the band were Fredrick Kriekenbeek (second flute), Louis Nell (cornet), and the de Waas brothers (Soprano/violins). J. B. Siebel played second fiddle to Lorenz both then and later. The bass was provided by Gabriel Johannes Ohlmus, a music teacher. The group trained in Lorenz’s long room in John Drieberg’s House near Hulftsdorp. This band came to be in high demand in Colombo circles for socials, birthday parties and silver jubilee weddings. This was how Lorenz made his public debut, long before venturing into journalism, law and politics.

The performing artist

Lorenz, though serious and brilliant in his work, was known to play the fool more often than not. He was a great comic and creative punster who did not fail to leave his audience in fits of laughter. The famous Colonial Secretary, Sir James Emerson Tennant was one of his victims. Tennant had visited the Academy on one occasion and interviewed Lorenz, offering him a job for £48 a year. Here he reverently bowed to the Secretary multiple times saying “I’ll come back when I want £48 a year” (Blaze, p. 50). Soon his friends encourage Lorenz to pursue serious acting on stage.

Patronised by the educated youth of Colombo, especially the alumni of the Academy, the Grandpass Theatre was the best of its day. Encouraged by friends, Lorenz played his part acting and directing. B.R. Blaze, the biographer of Lorenz states: “Lorenz’s share was not limited to music. His bent for acting had full scope, as well as his gift for leadership and his organizing ability”.

It took hardly any time for those who were regulars at the plays to notice that Lorenz was the standout performer. One of his friends commented: “Lorenz was the life and soul of our Theatrical Company”. His musical prowess also came into good use as he later composed his own musicals and directed them. Blaze comments: “He was Stage Manager, scene-painter, actor; and leader of the Orchestra besides”. His popularity continued to expand as his versatility made him one of a kind. Even at that young age, he had by all standards reached the rank of pre-eminence.

One of Lorenz’s plays, George Barnwell, was a popular three-act play starring Lorenz (Rich Banker), his friend from the Academy: Bernard Edwin Alvis (George Barnwell – spendthrift nephew of the rich banker) and Owen Morgan. The latter played a female part. This play revolves around the prodigal folly of young George Barnwell, who spends lavishly and gets into severe debt. Later, he forges his uncle’s signature and swindles hundreds of pounds. Riotous in his spending, he goes bankrupt in no time. However, after this downfall, he makes ample amends and gets back on his feet. George Barnwell was well received in Colombo.

(To be continued next week)



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Putting people back into ‘development’ – a challenge for South

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In need of swift empowerment; working people of Sri Lanka.

Should Sri Lanka consider an 18th IMF programme? Some academicians exploring Sri Lanka’s development prospects in depth are raising this issue. It is yet to emerge as a hot topic among policy and decision-making circles in this country but common sense would sooner rather than later dictate that it be taken up for discussion by the wider public and a decision arrived at.

The issue of an 18th IMF programme was raised with some urgency locally by none other than Dr. Ganeshan Wignaraja,Visiting Senior Fellow, ODI Global London, one of whose presentations, made at the Regional Centre for Strategic Studies (RCSS), Colombo, was highlighted in this column last week, May 7th. An IMF programme is far from the ideal way out for a bankrupt country such as Sri Lanka but a policy of economic pragmatism would indicate that there is no other way out for Sri Lanka. Such a programme is the proverbial ‘Bird in the hand’ for Sri Lanka and it may be compelled to avail of it to get itself out of the morass of economic failures it is bogged down in currently.

While local economic growth possibilities are far from encouraging at present, such prospects globally are far from bright as well. Some of the more thought-provoking data in the latter regard were disclosed by Dr. Wignaraja. For example, ‘The IMF’s April 2026 World Economic Outlook projects global growth slowing to 3.1 percent in 2026; with downside risks dominating: prolonged conflict, geopolitical fragmentation, renewed trade tensions, bearing down hardest on emergent and developing economies.’

However, as is known, an ‘IMF bailout’ is fraught with huge risks for the people of a developing country. ‘The Silver Bullet’ brings hardships for the people usually and they would be required by their governments to increasingly ‘tighten their belts’ and brace for perhaps indefinite material hardships and discontent. For Sri Lanka, the cost of living is unsettlingly high and 20 percent of the population is languishing below the poverty line of $ 3.65 per day.

These statistics should help put the spotlight on the people of a country, who are theoretically the subjects and beneficiaries of development, and one of the main reasons, in so far as democracies are concerned, for the existence of governments. Placing people at the centre of the development process is urgently needed in the global South and shifting the focus to other considerations would be tantamount to governments dabbling in misplaced priorities.

Technocrats are needed for the propelling of economic growth but a Southern country’s main approach to development cannot be entirely technocratic in nature. The well being of the people and how it is affected by such growth strategies need to be prime focuses in discussions on development. Accordingly, discourses on how poverty alleviation could be facilitated need urgent initiation and perpetuation. There is no getting away from people’s empowerment.

In the South over the decades, the above themes have been, more or less, allowed to lapse in discussions on development. With economic liberalization and ‘market economics’ being allowed to eclipse development, correctly understood, people’s well being could be said to have been downplayed by Southern governments.

The development issues of Southern publics could be also said to have been compounded over the years as a result of the hemisphere lacking a single and effective ‘voice’ that could consistently and forcefully take up its questions with the global powers and institutions that matter. That is, the South lacks an all-embracing, umbrella organization that could bring together and muster the collective will of the South and work towards the realization of its best interests.

This columnist has time and again brought up the need for concerned Southern sections to explore the potential within the now virtually moribund Non-Aligned Movement to reactivate itself and fill the above lacuna in the South’s organizational and mobilization capability. In its heyday NAM not only possessed this institutional capability but had ample ‘voice power’ in the form of its founding fathers, with Jawaharlal Nehru of India, for example, proving a power to reckon with in this regard. The lack of such leaders at present needs to be factored in as well as accounting for the South’s lack of power and presence in the deliberative forums of the world that have a bearing on the hemisphere’s well being.

The Executive Director of the RCSS, Ambassador (Retd) Ravinatha Aryasinha, articulated some interesting thoughts on the above and related questions at a forum a couple of months back. Speaking at the launching of the book authored by Prof. Gamini Keerewella titled, ‘Reimagining International Relations from a Global South Perspective’, at the Bandaranaike Centre for International Studies, Colombo, Amb. Aryasinha said, among other things: ‘Historically, there is a precedent that has been realized by the Non-Aligned group of countries – unfortunately, rather than being reformed and modified at the end of the Cold War, it has been tossed away.’

The inability of the nominally existent NAM to come out of its state of veritable paralysis and voice and act in the name of the South in the current international crises lends credence to the view that the organization has allowed itself to be ‘tossed away.’ The challenge before NAM is to prove that it is by no means a spent force.

As indicted, NAM needs vibrant voices that could advocate value-based advancement for the global South. Moral principles need to triumph over Realpolitik. Such transformative changes could come to pass if there is a fresh meeting of enlightened minds within the South. Pakistan by offering to mediate in the ongoing conflict between the US and Iran, for instance, proved that there are still states within the South that could look beyond narrow self-interest and work towards some collective goals. Hopefully, Pakistan’s example will be emulated.

Along with Pakistan some Gulf states have shown willingness to work towards a de-escalation of the present hostilities in West Asia. This could be a beginning for the undertaking of more ambitious, collective projects by the South that have as their goals political solutions to current international crises. These developments prove that the South is not bereft of visionary thinking that could lay the basis for a measure of world peace. That is, there are grounds to be hopeful.

NAM needs to see it as its responsibility to make good use of these hopeful signs to bring the South together once again and work towards the realization of its founding principles, such as initiating value-based international politics and laying the basis for the collective economic betterment of Southern people.

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Artificial Intelligence in Academia: Menace or Tool?

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(The author is on X as @sasmester)

I have often been told by university colleagues how soulless and dangerous ‘artificial intelligence’ (AI) is to academia and humanity. They lament that students no longer read anything as they can now get various AI programmes to summarise what is recommended which is mostly in the English language to Sinhala or Tamil or get easier versions in English itself. They get their assignments and even dissertations fully or partially written by AI. And I am led to believe that universities do not have reliable detection software to assess plagiarism and academic fraud that have been committed using AI beyond the software freely available on the internet with their own limitations. This is due to financial restrictions in these institutions. Even these common malpractices have been done mostly with the aid of free AI programmes which are readily available, which means cheating in this sense is free and mostly safe. For teachers, this is a ‘menace’ in the same way ‘copying’ once was. But its implications are far worse.

But given the global investments made over AI, it cannot be wished away despite the enormous negative impact its use has on the environment, particularly due to its massive demand for energy. So, AI is with us to stay, and it has a considerable role to play in human civilisation even though like most innovations and inventions, this too carries its own burden of negativity. In this context, instead of demonising AI and lamenting its replacement of human agency and ingenuity, one needs to think seriously about how to deal with and engage with it reflectively and pragmatically as there is much it can offer if people are intelligent enough to make rational and sensible choices.

When I am making these observations, I am restricting myself to a handful of practices involving only writing both in university-based examination processes and in the fields of creative writing.

My initial introduction to AI was through the Research Methods class I used to teach in New Delhi. In 2022, this class was supposed to go to Dharmshala in Uttar Pradesh for fieldwork training, and we needed to write a funding proposal quickly. One of the students in the class, already familiar with ChatGPT introduced by OpenAI as a free programme in 2022, did the proposal with its help before the two-hour class was over. I edited it soon after and sent it off to the university administration for funding which we received. That stint of field work was completed in five days and was the most detailed work undertaken as a training programme up to that time in the university which had considerable output ranging from a documentary film to a detailed ethnography based on the findings.

While the technical details, the format of the proposal and its basic writing were done by AI due to the time constraints the class faced, its fine-tuning was done by me and a few students. AI could not then and even now cannot undertake that level of specificity without close human intervention. But the film, the ethnography and the actual process of research had nothing to do with AI. It was the result of human labour, thinking, planning and at times creativity and ingenuity. This was an early example of how AI could coexist in an academic environment if its technical usefulness was clearly understood and potential for excesses was also understood. But this was a time, easily accessible AI was just emerging, and we did not know much about it. But I was fortunate enough to have intelligent students in my class who gave me a crash course into this kind of AI use, which I followed up with my own reading and experimentation later on. As a result, I am keener now to see how it can be used for the betterment of academic practice rather than taking an uncritically demonising position, which I know will not lead anywhere.

But how is this possible? The lamentations of my colleagues about the abuse of AI in academic practice is not unfounded. It is a serious threat that remains mostly unaddressed not only in our country but almost everywhere else in the world too. This is mostly because the advancements of AI even in day-to-day free usage have far exceeded any thoughts for actionable codes of ethics to ensure its practice is sensible and ethical. At the same time, I cannot see why a student should not use AI to correct his spelling and grammar in assignments. I also cannot see why a student cannot seek AI’s help to secure research material from secondary sources available online which I have been doing for years. For instance, the originals of specific books and rare manuscripts might not be available in any repositories in our part of the world. In such situations, what AI might find us is all we have access to in a world where we are restricted in our mobility due to semi-racist visa regimes of failed empires and former superpowers as well as our own lack of ability to travel due to our own unenviable economic conditions. But unfortunately, the materials we need are often only available in research centers and libraries in those nations.

Similarly, when it comes to academic prose, it makes no sense now to take years to translate works from multiple languages to Sinhala and Tamil. This has always been a time-consuming, cumbersome and expensive process. Non-availability of Sinhala and English translations of core originals in languages such as English, French, German and so on has been a long-term problem for our country. But this can now be done well – at least from English to our languages – quite quickly and with a very low margin for error by using specific AI programmes which are meant to do precisely this. What this means is a quick expansion of knowledge in local languages which would have ordinarily taken years to achieve or might not have been possible at all. But still, this needs significant human intervention and time towards perfection. However, I do not think AI-based translations work as well for fiction and poetry or creative works more generally. But the ability for AI to emulate nuance and feeling in language is fast emerging. These are two clear examples of improving technical abilities in research and writing in which AI can be of help.

But looking for sources of information with help the help of AI or using it as a tool to undertake essential translations from one language to another is quite different from simply using it without ascertaining the accuracy of collected information, getting AI to do all your work without any reflection or without any hard work at all, including engaging AI to do the final product in a writing assignment — be that a term paper or a work of fiction. If one proceeds in this direction, as many unfortunately do nowadays, then, our ability to think and be creative as a species will become diminished over time and our sense of humanity itself will take a toll. This is what my colleagues worry about when they say AI is making younger generations soulless.

It is here that ethical practices on how to use AI responsibly without compromising our sense of humanity must play a central role. But these ethical practices must be formally written and taught, followed by viable programmes for detection and publication if unethical practices are followed. This needs to be the case particularly in teaching institutions as well as the broader domain of creative writing. After all, what is the fun in reading a novel or a collection of poetry written by AI?

It is time people began to think about what AI can do in their own fields without falling prey to its power and their own laziness. This brings to my mind Geoffrey Hinton’s words: “There is no chance of stopping AI’s development. But we need to ensure alignment; to ensure it is beneficial to us …” Similarly, as Yann LeCun observed, “AI is not just about replicating human intelligence; it’s about creating intelligent systems that can surpass human limitations.” In this sense, it is up to us to find our edge in creativity and common sense to find the most sensible way forward in using AI.

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Engelbert’s 90th birthday bash

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The legendary Engelbert Humperdinck, who is known for his hit songs such as ‘A Man Without Love’, ‘Release Me’, ‘Spanish Eyes’, ‘The Last Waltz’, ‘Am I That Easy To Forget’, ‘Ten Guitars’ and ‘I Can’t Stop Loving You’, turned 90 on 02 May, 2026, and there were some lovely Hollywood-related celebrations.

Before his birthday, Engelbert’s new single ‘I’ve Got You’ was released – on 23 April – and Engelbert had this to say: “‘I’ve Got You’ is especially close to my heart. It speaks to love, loyalty, and the quiet strength we find in one another”.

The main birthday event was held at The Starlight Cabaret, in Los Angeles, California, and Sri Lankan Raju Rasiah, now based in the States, and his wife Renuka, who are personal friends of Engelbert, were invited to participate in the celebrations, along with Ingrid Melicon – also a Sri Lankan, now domiciled in America.

The invitation said “An evening of music, memories and celebration. Let’s make it a night to remember!” And it certainly turned out to be a night never ever to be forgotten!

Invitees experienced a “magical entrance” with Engelbert’s name lighting up the screen and showing him performing his hit songs.

The invitees were also presented with a unique gift – a necklace with Engelbert’s face, engraved with the words “Remember, I Love You.”

Engelbert’s son, Bradley Dorsey, sang a tribute song ‘Only You’ for his dad, while Eddy Fisher’s daughters, Tricia and Joely, also got on stage to entertaining the distinguish gathering.

Engelbert didn’t perform but got on stage for the cutting of the birthday cake.

There was also a video compilation of birthday wishes from fellow celebrities, and the lineup included Gloria Gaynor, Micky Dolenz, Wayne Newton, Pat Boone, Lulu, Judy Collins, Deana Martin, Angélica María, Rupert Everett, Matt Goss, and more.

Birthday boy Engelbert Humperdinck

At 90, Engelbert is still performing. He’s on THE CELEBRATION TOUR for his 90th year, with over 50 international dates in 2026, including Australia, Germany, the US, and Canada. He’ll be at Massey Hall in, Toronto, on 06 October, 2026. He said: “The stage is my home… Canada has always been a highlight”.

He performed 60+ concerts, worldwide, in 2025, and says karaoke keeps his songs fresh: “Most of my songs are on karaoke because people love to sing them”.

 

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