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For children, by children, about children

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Virtual arts festival that examines pandemic’s effects on children

By Sajitha Prematunge

The Children in Lockdown Arts Festival 2021, to be held from November 26 to 28, 2021, live on Zoom, and livestreamed on Facebook and YouTube in parallel, will bring together artists, children, and adults to reflect on the treatment and experiences of children in Sri Lanka during the COVID-19 pandemic. The Festival is the culmination of a six-month programme curated by Stages Theatre Group (STG) and supported by Kindernothilfe (KNH), through which 20 artworks, addressing the challenges faced by children during the pandemic, were commissioned. They include theatre performances, art installations, puppet shows, short-film screenings, and artist talks.

On the guidance of Festival Director Piumi Wijesundara, the festival will unfold under six themes, vulnerable children, digital wellbeing, health and wellbeing, families, schooling and abuse during the pandemic, and each segment will have a viewing of related artwork and an artiste talk, including child artistes, followed by a panel discussion. The Festival will also provide a platform for communities to meet, discuss, debate, and communicate on the issues faced by children during the pandemic, through talks, panel discussions, workshops, and forums led by children, adults, artists, and professionals working with children. The purpose of the Children in Lockdown Arts Festival is to bring together children, artists, educators, families, and communities to understand and creatively address the impact of the pandemic on children in Sri Lanka.

Freedom to work

“As a theatre company, STG always believes that artists should be commissioned and be given the freedom to work,” said Curator Ruwanthie de Chickera. She pointed out that there aren’t many commissioning programmes in Sri Lanka and artistes have to struggle to fund their own projects. “Or artists are told what to do too often. There is a lot of meddling and micromanaging by patrons. We wanted to let artistes exercise their own individuality, offer them freedom and responsibility, with regard to their artform.” But with the pandemic, doing productions was next to impossible. STG found this the ideal situation to curate a festival on behalf of artists who were going through a rough time due to the pandemic. “There was no money, opportunity or motivation for artists to work because of the pandemic,” said De Chickera. The German organisation KNH was more than happy to provide funding.

De Chickera is an artistic director and founder member of STG, an ensemble theatre company producing socially and politically conscious original Theatre. She works with students, teachers, and schools to help strengthen and introduce creative processes into formal and informal learning. Her co-curator, Malith Hegoda is a filmmaker who began his career as a photographer and a publicist for theatre and film. His directorial debut feature won awards locally and was officially selected for several international film festivals, including the prestigious BFI London Film Festival in 2014. Between De Chickera’s experience in live performance and Hegoda’s experience in film, they were able to cover a vast area in terms of artistic skill. Out of 80 applicants, 20 works of art were selected for the festival. The festival was curated to represent artists of different capacities and experience, to allow children also to participate. In fact, six of the 20 artworks commissioned were proposed by child artists. The open-source art exhibition features the artworks of over 140 children and is curated by two child artists: Acsah Kulasingham and Amani Naeemullah. In order to ensure maximum accessibility to and participation of children and communities, island-wide, all digital interactive sessions will be facilitated in Sinhala, Tamil, English, and Sign Language.

Pressing issues of children

De Chickera said that the objective of the festival was to address the most pressing issues for children, one of the most vulnerable groups and perhaps the most overlooked during the pandemic. “The public is oblivious of the impact the pandemic has on children. Staying at home, away from school, is just the tip of the iceberg,” said De Chickera. She said that, from the turbulence of family life, the digital world they’ve suddenly been thrust into, bereavement, domestic violence to addiction, all contribute to the suffering of children. “Even children with special needs, children seeking asylum and children from the estate sector are represented in the festival. If the needs of the general population of children are neglected, then the public is most certainly oblivious to the needs of these children. In fact, some of the suicides over the past two years is directly connected to the pandemic.” De Chickera blames the Education Ministry for failing the children. “At a time when most of the children didn’t have access to education, the Ministry was not considerate enough to postpone any of the examinations.”

On a lighter vein, Mahadenamuththa and his cohorts are attempting a zoom rehearsal and everything is falling apart. Puwak Badilli’s grandsons and granddaughters are bawling their eyes out; Polbemooni’s husband, Polbemoona, complains that his dinner is late; Usiamma, from the North, has to climb on to the roof to get better reception and complains that she can’t dance on the roof for fear of falling. Rabbada Ayya’s wife has declared strike action, so he is forced to take part in the Zoom rehearsal while doing laundry. The play, ‘Mahadenamuththayi Coronawayi’ (Mahadanamuththa and Corona), another highlight of the festival, sheds light on how the pandemic has thrown the work-life balance off kilter.

‘Mahadenamuththayi Coronawayi’ is the brainchild of Sulochana Dissanayake, Founder and Artistic Director of Power of Play, a company that specialises in performing arts for communication, reconciliation and development, with a special focus on theatre and puppetry. Flanked by rod puppets Rama, Sita, Ravana and Hanuman, Dissanayake said that Power of Play’s goal is to drive home the fact that our folklore and traditional arts are still relevant in the 21st century. “In fact, we can solve most of our existing issues with a pointer or two from Mahadenamuththa and Andare stories. Power of Play is based on this very concept.” Dissanayake has a bachelor in theatre and economics from the UK. She later travelled to South Africa and Indonesia on a Watson Fellowship by IBM Corporation. In Indonesia, she was introduced to rod puppets.

Virtual production

‘Mahadenamuththayi Coronawayi’ was supposed to be a live show. Ironically, due to the pandemic and resulting health regulation, they had to settle for a virtual production. Its focus was on the pandemic’s effects on families, across all age groups. “And also how phoney the concept of working from home is. We are expected to carry on as if nothing has changed, one has to look perfect on-screen, with the appropriate background, when in reality everything is going haywire.” Because you are working from home while forced to deal with everything from bawling children, pets, high-pitched chirping of squirrels to the choon-pan version of Beethoven’s 1810 classic Für Elise. As a wife, mother of two very young children and an entrepreneur, Dissanayake knows first-hand how stressful working from home can be. “I have performed internationally and have done extensive tours across the country, but I can’t manage one zoom workshop flawlessly.”

It is this mismatch between reality and expectations that Dissanayake hopes to highlight in her adapted version of Mahadenamuththa. Dissanayake has introduced a more equitable and race and gender-equal, albeit modernized, concept of Mahadenamuththa. “The satire factor of the Mahadenamuththa stories play a major role in the current context,” said Dissanayake. “Traditionally satire was used to expose social issues.” In the new Power of Play version, Mahadenamuththa has come to realise that contemporary issues cannot be solved with the help of men. So, the modern ‘golayas’ (apprentices) are Muslim, Tamil, Burgher men and women, the descendants of Mahadenamuththa’s original golayas.

“Theatre artistes are one of the most affected groups by the pandemic because theatres are closed and even when they weren’t, people were reluctant to expose themselves at public events. So any form of collaboration was welcome,” said Dissanayake. She said that what appeals to her most about the Children in Lockdown Festival is that it is the first united effort to shed light on the realities, of a diverse cross section of communities, during the pandemic. “The festival features creative works from children, teenagers, women, men, both rural and urban communities, married and single people. The LGBT community is also represented. This diversity is unique to the festival,” said Dissanayake. “It will be interesting to note, through the various performances, workshops and discussions, how challenging the pandemic has been irrespective of one’s socio-economic, ethnic or religious background.”

Creative work

With a PhD in robotics, academic Maleen Jayasuriya also dabbles in creative work. His group of concerned citizens, the ‘Digital Wellbeing Initiative’, is anxious about technology related issues. He elaborated that smartphones are pretty cheap and just about anyone can afford one and apps are coming out of the woodwork. Smart tech, such as Virtual Reality, has revolutionised the field so much so that they have rendered the usual safeguard ineffectual. “Because the field is moving at such breakneck speed policy is unable to catch up. Because of the generation gap parents have not been able to address these issues either and even schools have all but neglected digital wellbeing,” said Jayasuriya. He pointed out that the pandemic was the tipping point. The Digital Wellbeing Initiative’s project featured in the festival, #RECONNECTUS, which also happens to be their maiden project, brings these issues into focus.

“The best way to resolve digital wellbeing issues is to raise awareness early on. Kids these days are smarter than we give them credit for, they are more aware than we were at their age.”

Jayasuriya reiterated the importance of making kids understand basic information such as how algorithms and addiction work, how it affects one’s well being, all of which were discussed during the workshops that lead to the project. Another issue discussed is how to tackle misinformation. He explained that the main product of social media is data gathered from users, which is sold to advertising companies, who are their actual customers. “Users are not the actual customers of social media platforms, the advertising companies are. They don’t have your best interest at heart.”

Jayasuriya pointed out that social media bypasses gatekeepers such as journalists, scientists and academics, as opposed to traditional media such as newspapers or journals. According to him such conditions are ripe for misinformation. “As such, the young generation has to be taught necessary skills such as journalistic and research skills because they interface directly with these new technologies.”

Next on their list were cyberbullying and privacy. “Cyberbullying affects one’s self-esteem and there are considerable threats to personal information. Once personal information is in the public domain, there is no taking it back. Consequently, it is vital for the younger generation to be aware of these concerns.”

The end result of the workshops was a set of Public Service Announcement (PSA) videos, a digital wellbeing campaign researched, created, and performed by children. In all 21 kids with various artistic inclinations took part in the project. Aptly titled #RECONNECTUS, it signifies the younger generations’ need to connect with technology in a healthier way. “One of our guiding philosophies is that this technology is not inherently harmful. It can be a tool, as long as we can balance the negatives and accentuate the positives.”

‘quaranTEEN’ is a solo performance by 19-year-old Leeth Singhage, wherein a teenager stuck with the bleakness of university applications, on-line life, and poor judgement, investigates how others navigate the pandemic. It is based on interviews conducted with teenagers on their experiences of the lockdown.

“From a policy perspective, if our collective efforts can snowball into some kind of tangible change that could affect policy, that’s a huge achievement in itself,” said Jayasuriya. Dissanayake said that there is a strong connection between art and mental wellbeing. “Art is an outlet for stress. It has huge potential to regulate emotions. Therefore we must find creative outlets that are COVID-19 safe, to release all those pent up energies. Art allows one to pull oneself out of the constant state of negativity.” Dissanayake suggested that people make the festival a family affair. De Chickera believes that the three-day, not to mention free of charge, festival would surely rekindle a sense of community if more people participated.

Official festival webpages:

https://www.stages.lk/curation

https://www.stages.lk/arts-festival

https://fb.me/e/1SSyIyKWT



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Getting it right on human rights

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By Jehan Perera

Twice every year, the situation in the North and East of the country resembles that which existed during the three decades of war. One occasion is during 18-19 May, which is the anniversary of the end of the war in 2009. The other is 26-27 November, which used to be celebrated by the LTTE as Heroes Day, when they remember their war dead. Even though the war ended 12 years ago, these two days have the capacity to mobilise the sentiments of the Tamil people, particularly in the North and East and to generate an equivalent opposite reaction in the government, which leads to a heightened military presence. The period 2015-19, in which the government actively sought to promote a reconciliation process that gave more leeway to Tamil sentiment was one of de-escalation.

The wounds of war remain unhealed as the events of the past week have shown. The week leading up to 27 November saw people and organised groups in the North and East preparing to commemorate the war dead and the government preparing to forestall it. Police sought to get prohibition orders from the courts in the hope that the law would prevent the commemoration events from taking place. However, most of the courts did not oblige, and reaffirmed the basic rights to freedom of association and to remember the dead. They also ordered that no LTTE symbols could be displayed and refused to place further limits on the right to memorialise, except to the need to keep within Covid health guidelines. The right to remember is a human right, which the JVP practices faithfully every year, and the law setting up the Office of Reparations offers support to memorialisation.

Despite the presence of a large contingents of security forces in public places, and checkpoints and partrolling, remembrance events took place in most areas in public places and cemeteries, with people lighting lamps and candles. In some places memorials took place in the face of soldiers standing near to them with guns in hand. In other places the large numbers who gathered were not permitted to enter the area they wished to go to, and only a few were permitted in with the rest of them standing out. In many other parts of the North and East more low-key commemorations took place. Due to the heavy security presence and the fear of harassment, intimidation and detention, many opted to hold memorial events in their homes. A journalist was hospitalised after he was allegedly assaulted for taking a photograph of the name-board of the site where the last battle of the war was fought. This suggests the use of arbitrary power.

INTERNATIONAL CENSURE

The heavy-handed actions in the North and East take place at a time when the government is also trying hard to impress the international community that it is serious about improving the human rights situation in the country. The international perception that the human rights situation in the country is deteriorating is very strong. Recently the famous Scotland Yard, which had been training the Sri Lankan police said that they will not renew their training contract with the country’s police force during the remainder of the agreed period, which ends in March 2022. They cited human rights concerns. In recent days, the Bar Association of Sri Lanka and human rights organisations have protested against the deaths in police custody of those accused of drug and other criminal offences. The cessation of training by Scotland Yard is liable to make a bad situation even worse.

However, the Scotland Yard decision is in keeping with the overall international assessment of human rights in Sri Lanka. In its latest report on the global human rights situation, the UK’s Annual Human Rights and Democracy Report issued in July 2021 stated Sri Lanka is among the 31 Human Rights Priority Countries. The January 2021 report on Sri Lanka by the Office of the UN’s High Commissioner for Human Rights (OHCHR) expressed deep concern over “trends emerging over the past year, which represent clear early warning signs of a deteriorating human rights situation and a significantly heightened risk of future violations”. The report further stated that “Security forces increased their surveillance and intimidation of human rights activists and their use of the Prevention of Terrorism Act, with a number of arbitrary arrests. The government proposed new regulations with powers to arrest and send individuals to rehabilitation centres to be ‘de-radicalised’ with no judicial oversight or requirement for further process.”

In June this year the EU parliament gave an early warning that its GSP Plus duty free tax privilege would be withdrawn as a last resort unless Sri Lanka demonstrated that it was serious about keeping to its commitment to uphold human rights. This is an economic benefit that the Sri Lankan economy cannot afford to lose when foreign exchange earnings are much lower than the demand for it and there is a shortage of dollars in the market and new strains of the Covid virus threaten to strike. While the EU resolution states that 12 years on from the end of the war, domestic initiatives for accountability and reconciliation have repeatedly failed to produce results, thus more deeply entrenching impunity and exacerbating victims’ distrust in the system, the EU has indicated that the Prevention of Terrorism Act (PTA) as it currently stands is central to what is unacceptable to them.

INDEPENDENT MONITORING

The government is currently in the process of amending the PTA. It appointed both a committee consisting of senior government officials headed by Defence Secretary General Kamal Gunaratne to submit a report on the PTA, which they have done. Now that report is being vetted by a ministerial subcommittee headed by Foreign Minister Professor G L Peiris who are seeking the views of other sections of society. This past weekend they met with civil society members in the form of the Sri Lankan Collective for Consensus (SLCC), which consists of individuals drawn from civil society organisations that have reconciliation, human rights and peace building aims in their work. Prof Peiris explained that there was no draft legislation as yet to share but only a set of proposals which they wished to discuss with civil society and other groups.

Prof Peiris explained that the changes to PTA proposed were a result of consensus between the Ministries of Foreign Affairs, Justice and Defence and the Attorney General’s Department; these changes are not conceived as one time ones, but as a part of a continuum, there being other changes contemplated that will be agreed on later. He also assured the members of SLCC that changes in legislation will be rapid, and take place early next year. The changes proposed will fall short of expectations of those whose primary concern is human rights, but are an improvement over the present formulation of the PTA. The salient amendments described in the verbal presentation made by Prof Peiris was the shortening of the maximum period of the detention order, restriction in the use of PTA, judicial oversight, supervision by magistrates of detainees, access to lawyers by those detained, speedy trials and repeal of Section 14 with regard to publication. Prof Peiris promised that this was only the start.

The question, and the challenge, will be in the implementation. The present spate of killings in police custody is distressing. In one instance, the lawyers for the person under arrest had warned beforehand that their client will be killed in the next day or days in a shootout, and appealed to the Bar Association and to the police IGP to protect that person’s life but to no avail. All systems collapse and no perpetrator is identified and so there is impunity. In a statement the Bar Association said “Once again, the Sri Lanka Police is involved in an incident which has the hallmarks of an extra judicial killing. This killing comes at a time that Sri Lanka’s human rights record is under scrutiny and there are threats of consequences to the country and its economy as a result of the deteriorating human rights situation…Responsibility for these killings must lie not only with the persons who carried out the killings but also all those who command them and those who failed to ensure the safety and security of the suspect. The BASL calls upon the IGP to explain his failure to protect the suspect who was in Police custody.” There are other changes that need to be made, the most important of which is the need for a system of checks and balances that works and the Sri Lankan state to consider all its citizens to be precious.

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Generic system failure or inherent deficiencies in corporate ethics?

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SLIIT controversy in the context of establishing private sector higher education institutions in Sri Lanka

By Prof Susirith Mendis
(susmend2610@gmail.com)

Having been a regular contributor to ‘The Island’, I have ventured again into expressing my opinion in public spaces after an extended period of silence, as I felt compelled to, after I read the excellently argued piece by Prof R.P. Gunawardane titled ‘SLIIT should remain non-state and non-profit institution’ in The Island of November 23.

Prof. Gunawardane explains why Sri Lanka Institute of Information Technology (SLIIT) should remain non-state and non-profit. He also discusses dispassionately the ‘issues and concerns’ that have come up in recent times about the unsavoury circumstances under which SLIIT ended up completely under private ownership divesting itself from what they might have seen as ‘the restraining clutches’ of the Mahapola Trust Fund (MTF). Prof Gunawardane’s recommendations finally, as well, are mostly acceptable and valuable.

But there are a few places where I beg to disagree and also wish to extend comment on the two topics he has touched upon.

Leaving the comments about the restraints of the University Grants Commission (UGC) on the state universities for later, let me first take issues about SLIIT.

SLIIT and MTF

Things have ‘hit the fan’ since the COPE report on SLIIT became public. Minister Bandula Gunawardane has assured at a meeting chaired by the President, that in his capacity as Minister of Trade, “action would be taken to take over SLIIT divested through fraudulent means”. The Minister used the words “fraudulent means”. The Island of August 10, 2021 headlined its story on the COPE revelations on SLIIT, ‘COPE tells govt. to undo SLIIT swindle’. So, it has been named fraudulent and a swindle.

The Second Report of the Committee on Public Enterprises tabled in Parliament on April 6, 2021, was a Special Report on SLIIT. The report prepared on the basis of an investigation by the Auditor General’s Department has recommended that “the SLIIT be recognised as a non-governmental institution and that the decision taken by the Cabinet of Ministers on 24.05.2017 not to include the said institution under any purview of the Ministry be reconsidered.” It also recommends that “the institution be taken over by the Mahapola Fund.”

Furthermore, the COPE recommended that action be taken under the Public Property Act against ‘all parties involved’ (my emphasis) in the action taken to deprive the government of its ownership of SLIIT and its control by an agreement signed on May 12, 2015 without any formal authority.

Therein lies the crux of this issue, that Prof Gunawardane failed to emphasise. But Prof Gunawardane rightly questions the bona fides of SLIIT in not responding to the summons of COPE to appear before it, using a technicality and informing, through their law firm, that it is ‘not legally obligated’ to do so. If all the actions of SLIIT in the process of the MTF divesting itself of SLIIT were above board, and there was nothing to hide, this would have been the best opportunity that the management of SLIIT had of publicly declaring that it had clean hands. Their refusal to do so is suspicious to say the least. A subsequent full-page advertisement (for which they must have spent a few cool millions) in The Daily Mirror of October 29, 2021, titled ‘The True Story of SLIIT’ was a varnished narrative signed, sealed and delivered to a gullible public. What was curiously revealing was, therein, they relate in passing, “the great risks and sacrifices made by the pioneers of SLIIT,” in particular those of Prof Lalith Gamage. It is a good advertisement. As good an advertisement as all advertisements are and expected to be, where critical information is suppressed, and high-points are emphasised and overblown. Like advertisements for milk foods or table margarines, for instance.

The refusal of SLIIT to appear before COPE may have prompted Wijeyadasa Rajapakshe to move the Supreme Court in terms of article 126 and Article 17 of the Constitution of Sri Lanka to request the cancellation of agreements between the MTF and SLIIT. The former Minister of Justice as well as Minister of Higher Education under the Yahapalana government, has named Cabinet of ministers including the Prime Minister, Members of the Commission to Investigate Allegations of Bribery or Corruption, the IGP, Attorney General, members of SLIIT and the Mahapola Higher Education Scholarship Trust Fund as respondents, and asked for issuing of notices to them and most importantly an order directing the Attorney-General to charge and indict Gamini Jayawickrama Perera, Dr. Wickrama Weerasooriya (deceased), Anil Rajakaruna, Prof Lalith R. Gamage and Prof Luxman Rathnayaka, among others.

Wijeyadasa Rajapakshe alleged that though he made a complaint to the CIABOC on February 25, 2019 that the loss caused to SLIIT as a result of the corrupt transaction at that time was about Rs. 23,000,000,000. (Rs. 23 billion), the outfit did nothing except recording statements from him twice.

As the Minister of Justice and of Higher Education, Wijeyadasa Rajapakshe was privy to all the sordid details of what happened at a particular MTF Board of Governors meeting when the Board was coerced into consenting to the divesting of SLIIT from the MTF.

Now, it is in the hands of the Supreme Court. We shall wait with bated breath. But in the meantime, a debate in Parliament is on the offing, which may bring to the public domain what is still not fully revealed.

Considering all of the above, I cannot but disagree with Prof. Gunawardane that the Vice-Chancellor/CEO of SLIIT should be retained in that position. He has apparently compromised himself, having started splendidly well in bringing SLIIT initially up to what it became later. Here was a golden opportunity for MTF and SLIIT to jointly set up a model for public-private partnership in the provision of higher education to an ‘education-hungry’ generation of Sri Lankan youth. But unfortunately, SLIIT has not conducted itself to be above reproach. Greed has, perhaps, taken over the early ideals of treading new paths in establishing a new kind of higher educational institution, as often as it happens in the conduct of most human affairs. In the end, it seems to have gone the same way as did North Colombo Medical College (NCMC) and South Asian Institute of Technology and Management/Medicine (SAITM) – manipulated by vested interests, for different ends, under different circumstances and different political regimes. Hence, my question in the title. Is it a system failure or corporate greed that creates an environment that attempts at private higher education, as in the three cases mentioned above, have failed our expectations? Failed to show that education, even in the hands of the private sector, is not wholly a ‘tradable commodity, but it is also a public good’.

We, the public also would wish, if it is at all possible, to know the answers to the following:

(i) Why has SLIIT not named the ‘company’ to which the SLIIT Board of Directors transferred the assets of SLIIT in 2015?

(ii) Who owns SLIIT now?

(iii) Why is there deliberate secrecy about ‘company’ that owns SLIIT?

(iv) Who are the shareholders of the above ‘company’?

(v) Does the Chancellor or the Vice-Chancellor/CEO or any other member of the Board of Management of SLIIT have any financial interest or any ownership or shareholding of the said unnamed ‘company’?

Until these questions have unambiguous answers, the truth about SLIIT will not be known.

I believe that a Presidential Commission has to be appointed to probe the allegations of a ‘fraudulent’ ‘swindle’ sullied by corruption at the highest levels of the SLIIT management.

State universities and the UGC

Prof R. P. Gunawardane argues that ‘UGC interference’ in State universities has retarded or restrained their growth and development as universities. I fully agree.

He quotes as examples Harvard, Princeton, MIT, Stanford and all ‘Ivy League’ universities in the US and to a lesser extent the British universities, such as Oxford and Cambridge, that are free from the fetters of government control. I believe that we need to look at their origins and the context in which they were established. Oxbridge were established as religious institutions of learning. The origins of Oxford are lost in the mists of time and legend, but the influence of the Christian Church in these two institutions is well-known. Harvard was founded to train clergy as a ‘church in the wilderness’. Hence, we cannot compare our state universities with the hoary traditions and culture that are behind those institutions that have developed through millennia and centuries. As a result, neither their governance structures nor their ethos can be replicated to our contexts.

Having said that, I agree that we need to strive for higher goals and greater futures for our universities. But, having been in the system for four decades, I have many misgivings about the self-governance of our universities. We have not shown that we have the distinct capabilities of ensuring quality and standards of higher education without state overview. I wish it were otherwise. To illustrate this absence of educational as well as fiduciary or financial responsibility and accountability within our universities, let me quote these two examples.

(1) External Degree Programmes: Several state universities conducted external degree programmes. Sri Jayewardenepura, Kelaniya, Peradeniya and Ruhuna universities were prominent amongst them. As I estimate, 15,000 to 35,000 students were registered annually by each of them. Almost all of them, if not all, were degrees in the Arts and Humanities. The monitoring of quality and standards was poor, and often non-existent. Many academic staff of these universities were external lecturers at mushrooming tutories countrywide, that conducted classes. Though they were expected to make a declaration to their respective universities about their involvement as external teaching staff, to avoid conflict of interest when examiners were appointed, this was practised more in the breach. Corruption became rampant. Examiners were correcting over 5,000 answer scripts. I was not surprised that the Minister of Higher Education, S.B. Dissanayake said publicly that ‘examiners throw answer scripts in the air and give marks according to when and where they fall’. He must have had some inside information. One of them told me that he built his three-storey house from the external degree examination payments he received. The Director of the External Examinations Branch was a much sought-after position. And once in, few left willingly. No control was possible due to pressures of vested interests within universities until the UGC stepped in and limited numbers that could be registered for external degrees by a special circular.

(2) Master’s degree, postgraduate diploma and certificate programmes: Though Bachelor’s degrees are non-fee levying, all other programmes conducted by state universities are fee-levying. Such programmes began to mushroom in all state universities. Academic staff delivering lectures and examining answer scripts were paid handsomely. Therefore, such courses began to proliferate. Master’s programmes were the most lucrative. Some professors and senior staff in universities neglected their undergraduate lectures and concentrated on postgraduate lectures. Examinations were delayed and results were not released for months, if not years. Having paid large sums of money, postgraduate students languished without being awarded their degrees. Some newly established universities with a severe dearth of academic staff even to effectively conduct their undergraduate bachelor’s programmes, were commencing and conducting Master’s programmes. Some even commenced such programmes in Colombo in rented premises with minimal involvement of their academics in the teaching programmes. The quality of these Master’s programmes was much in question. Since the situation was going out of control, the UGC had to bring in stricter criteria for universities to establish postgraduate courses. This had to be done by the UGC because the powerful vested interests within the universities overwhelmed any attempt at internal reform. But, even now, the proliferation of Master’s degree programmes in our state universities are a matter of much concern and debate.

The above are just two examples of the lack of educational and fiduciary or financial governance of the state university system in Sri Lanka.

After all, we are currently debating the deficiencies of governance at the highest levels of government. It is my considered view that neither systems nor persons of adequate integrity are in place for us to entrust self-governance to our universities at present. Corruption will become rampant from student selection to awarding of degrees. This is despite a myriad of UGC circulars. What would the playing fields be, without such an independent referee, and if none of those restraints by circulars (rules) were in existence? I may be a pessimist. But I fear to envisage such a scenario.

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Negombo in the spotlight…

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DJ Ishan: ‘Negombo’ his first production

DJ Ishan, who has also done his thing, internationally, behind the console, has released his very first single, as producer, titled ‘Negombo.’

The song, written by Sampath Fernandopulle, with Pramul Elica on lead vocals, mastering by Ashan, and Vikith Perera with the baseline, is all about the vibe and colours surrounding the coastal town, and everyone featured on the song, and its production, hails from Negombo. The song and video were released online last week.

Ishan started out with Curzon Entertainers and then, 13 years later, formed his own unit, Entertainment ID, and has been seen in action, as a DJ, at top notch local and international events.

‘Retro Revival,’ one of the country’s most anticipated ‘90s parties, is the brainchild of Ishan. He was a regular feature at the immensely popular ‘9 Days of 90s’ party, ‘Dream Music Fest’ and the ‘Negombo Music Fest.’

He has also played at the VLV Lounge Singapore, Stock Resort Austria, Kristallehutte Austria, JW Marriott Malaysia, Dighali Maldives and was a support artiste for globally-renowned DJ Selectro, in Belgium.

With the release of the single ‘Negombo,’ Ishan is opening up a new chapter in music production, together with DJ MASS, in commercial pop music.

“Negombo is where I grew up, went to school, played cricket and represented the country with various teams, started DJing, and now started producing music. So, I always wanted to show my gratitude to my hometown and for the people of Negombo who have helped me right throughout. This song is about the city of Negombo, the people, the beaches and everything about this wonderful place I call home,” Ishan says.

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