Life style

In Sri Lanka,This Centuries – Old Spirit Is Shaking up The Local Cocktail Scene

Published

2 years ago

2023/10/22

Thilina Walpola

More and more mixologists in Sri Lanka are using coconut arrack to make cocktails

And being served in trendy bars from London to Cologne

By Zinara Ratnayake

At an 18-acre coconut garden of Rockland Distilleries in Nattandiya, just north of Sri Lanka’s capital Colombo, Roy Jayalath begins his work early in the morning. Jayalath climbs tall, swaying coconut trees to collect the white, milky sap of their flowers. Balancing on two coir ropes, he walks across these tightropes from tree to tree until he collects enough sap to fill a pot. Coconut sap is the raw material for coconut arrack, an alcoholic beverage unique to Sri Lanka. Although this method of collecting sap, known as toddy tapping, has existed in Sri Lanka for about 2,000 years, arrack has only recently begun to reach trendy bars and foreign shores.

High-quality coconut arrack only has two ingredients: sap and water. When it’s fresh from the tree, the sap is sweet, tangy, and slightly spicy, with a strong fragrance of coconuts; it contains natural sugars and yeast, allowing the sap to naturally ferment into a wine-like drink called toddy, with an alcohol percentage of about four percent. A few hours after extraction, the alcohol content increases to about seven percent. The toddy is then distilled like whiskey; the alcohol level goes up to about 60 percent, at which point the drink is then watered down to 40 percent and aged in Halmilla (a tree that grows in Asian tropics) wooden vats for at least three years before the liquid is bottled.

The garden employs six “toddy tappers” including Jayalath, now 56, who tapped his first toddy at the age of 13 after seeing his two uncles climbing coconut palms. Jayalath shimmies up the trees twice a day now: once in the morning to collect sap, and again later in the day to tap each tree’s unopened inflorescence, or cluster of flowers, with a mallet to stimulate toddy flow. He collects sap from 100 trees every day.

A toddy tapper may climb and collect sap from dozens of trees every day

Rapti Dirckze, Head of Conservation at Rockland Distilleries, explains that toddy tapping is a generational craft passed down from father to son, but notes that it’s difficult to find young tappers today—despite the fact that a skilled tapper can earn decent pay of about 120,000 rupees ($470) a month. “People think it’s a job with low status, so the young generation wants to find other jobs,” she says.

Jayalath’s children, for instance, have moved into other labor work, he explains as he presses his palms together and says a prayer before ascending a tree. “[The prayer] keeps me safe,” he says, smiling. “The hardest part is to climb up. Most people think that walking on the rope is scary. Not for me. I’m used to it.”

There’s little evidence to suggest arrack’s origins, but according to oral history, centuries ago, toddy was given to elephants in the king’s army before battle. Robert Knox, a British sea captain who spent 19 years in Sri Lanka as a captive, wrote in his 1681-book An Historical Relation of the Island Ceylon that captives distilled arrack to drink. In the mid-1600s, the Dutch began the commercial planting of coconut trees on the west coast of Sri Lanka and exported coconut arrack to Malaysia and several Indian destinations.

“We call this area the toddy belt of Sri Lanka,” says Dirckze, noting that this region extends from Chilaw in the north to Matara in the south. “The best toddy is from here.”

Sri Lanka has had a complicated relationship with arrack over the past few centuries. When the British took over Sri Lanka’s coastal belt in 1796, they seized control of the arrack trade. Arrack production slowly declined over the following decades. There were many reasons for this, writes Michelle Gunawardana in the book The Adventure of Arrack: not only did importing countries impose heavy duties, but the British East India Company also later banned the transport of arrack and discouraged imports into Britain.

By the 1830s, the British had also tightened local production, ensuring that only licensed entities could produce and sell arrack. The British government later established the Department of Excise, which exists today, to control the illegal trade and allow only large-scale businesses to produce the drink.

Toddy tappers climb coconut trees to collect the sap that will become coconut arrack.

Around the ‘60s to ‘70s, when the coconut supply decreased due to severe droughts and labor shortages, some distilleries began to produce different arrack blends. Because these usually didn’t include much coconut, they were much cheaper than traditional arrack. The prevalence of such alternatives labeled arrack as a cheaper drink for the masses, explains Dirckze.

According to Nadira Jayasuriya, director of development at the Botanik Bistro and Bar in Colombo, local distilleries like Rockland are driving much of this surge, and customers are spreading the word on social media. She believes the growing enthusiasm is a sign that people are becoming increasingly interested in embracing native ingredients.

“There’s a global trend to highlight everything local. The pandemic made it even clearer,” she says, explaining that COVID-related restrictions limited imports and drove people to pay more attention to locally available ingredients.

“Earlier, people wouldn’t come to a bar and order arrack, but now they do, even when we have whiskey or scotch on the menu,” says mixologist Dhanushka Dias, who developed the cocktail menu at ColomBar, an arrack-focused bar at Colombo’s Cinnamon Lakeside hotel.

ColomBar’s assistant restaurant manager Mischel Bandara agrees. “ColomBar began as a destination bar to introduce Sri Lankan elements like coconut arrack to foreign tourists,” he says, “but it became so popular with locals. People come and order arrack bottles now, not just glasses.”

Rockland now produces several coconut arrack varieties, including a new premium blend called Ceylon Arrack, which is a mix of three-year, seven-year, and 10-year aged arracks. The taste is clean and smooth, with a robust coconut aroma.

One cocktail Dias developed is called Dodola, made with Ceylon Arrack, coconut milk, jaggery, nutmeg, and cardamom. The flavour is reminiscent of the popular Sri Lankan sweetmeat dodol. “When I told customers that I have arrack cocktails, they were reluctant,” he recalls. “But I was confident. And I was right. They loved it.”

Dias also created a cocktail called Padikkama, which tastes similar to bulath wita, a local betel-leaf-and-betel-nut mix commonly eaten after meals. “My idea was to develop cocktails with local elements, and when I thought of the days I spent with my grandparents, I wanted to recreate those flavours,” he says.

Another factor contributing to the increasing attention around coconut arrack is the growth of tourism. “When foreigners come here, they don’t want to sip a Scottish or gin cocktail. They ask for something local, something that is ours,” Jayasuriya says. Botanik Rooftop Bistro & Bar serves two cocktails made with Ceylon Arrack, both featuring many locally sourced ingredients: one includes pandan, king coconuts, and kithul treacle (made with the sap of fishtail palm), while the other includes tamarind and passion fruit.

“We had no idea how customers would react, but they are our bestsellers now,” he says.

Mixologist Nabeel Kenny, who works at the upmarket restaurant Monsoon Colombo, also sees the demand for arrack among tourists. “Customers ask us whether we have arrack cocktails,” says Kenny, who is now also developing arrack-based cocktails.

The popularity of arrack is no longer limited to Colombo or Sri Lanka. Coconut arrack is now a crowd favourite in London, where the ingredient is served in cocktails at trendy South Asian restaurants like Hoppers London and The Coconut Tree. Even celebrity bartender Ryan Chethiyawardene, who was brought up in Birmingham by his Sri Lankan parents, uses the spirit in mixed drinks.

“Arrack, one of the oldest and almost forgotten spirits from my homeland, has a very special place in our bar,” says Indika de Silva, owner of the cocktail bar Toddy Tapper in Germany. His hope is to offer a “cultural taste journey” with flavours and ingredients that are lesser known to the German crowd. One of the bar’s most popular cocktails is Jack & Jill, which features Ceylon Arrack, cardamom, jackfruit, and calamansi, among other ingredients.

Despite historical impediments, Sri Lankan distilleries and mixologists are reclaiming their pride in the centuries-old tradition of coconut arrack—and redefining it in innovative ways. “When someone says Mexico, people think of tequila. I want the world to think of coconut arrack when they hear the name Sri Lanka,” says Dias, “It’s our history and culture blended in one drink. We must celebrate it.” (BBC )

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Life style

From Vanishing Sea Snakes to DNA in a Bottle

Published

3 days ago

2026/01/18

Thilina Walpola

Dr. Ru on Dr. Rohan Pethiyagoda's book terming a must read. Also in the picture Wildlife Nature Protection Society President Graham Marshall

Dr. Ruchira Somaweera on Rethinking Conservation

What happens when one of the world’s richest marine biodiversity hotspots collapses almost overnight — and no one knows why?

That was the question facing Australian authorities in the early 2000s when Ashmore Reef, a remote marine reserve in the Timor Sea, suddenly lost what once made it globally unique: its extraordinary diversity and abundance of sea snakes.

“At one point, this place had more species of sea snakes and more individuals than anywhere else on Earth,” recalled Dr. Ruchira Somaweera, one of the world’s leading reptile biologists. “Then, within a few years, everything collapsed.”

Speaking at a packed Wildlife and Nature Protection Society (WNPS) Monthly Lecture, sponsored by Nations Trust Bank and held at the BMICH, Dr. Somaweera described how the mysterious disappearance triggered a major federal investigation.

“At the time, I was a federal government scientist,” he said. “We were sent to find out what went wrong — but it wasn’t obvious at all.”

Ashmore Reef, a protected area managed by Parks Australia, was still teeming with turtles, sharks and pelagic birds. Yet the sea snakes — once recorded at rates of up to 60 individuals per hour — had virtually vanished.

Ruchira making his presentation

The breakthrough came not from the water, but from policy.

For decades, traditional Indonesian fishers from Roti Island had been permitted to harvest sharks at Ashmore under a bilateral agreement. When Australia banned shark fishing around 2000, shark numbers rebounded rapidly.

“And sharks are the main predators of sea snakes,” Dr. Somaweera explained. “What we realised is that what we thought was ‘normal’ may actually have been an imbalance.”

In other words, sea snakes had flourished during an unusual window when their top predators were suppressed. Once sharks returned, the ecosystem corrected itself — with dramatic consequences.

“It was a powerful lesson,” he said. “Sometimes collapse isn’t caused by pollution or climate change, but by ecosystems returning to balance.”

The mystery didn’t end there. Some sea snake species once known only from Ashmore were now feared extinct. But instead of accepting that conclusion, Dr. Somaweera and colleagues took a different approach — one that combined science with local knowledge.

“Scientists often fail by not talking to the people who live with these animals,” he said. “Fishermen have decades of experience. That knowledge matters.”

Using museum records, fisher interviews and species distribution modelling, the team predicted where these snakes might still exist. The models suggested vast new areas — some the size of Sri Lanka — had never been properly surveyed.

When researchers finally reached these sites, often involving helicopters, research vessels and enormous logistical costs, they made a startling discovery.

“We found populations of species we thought were gone,” he said. “They were there all along. We were just looking in the wrong place.”

Even more surprising was where they were found — far deeper than expected.

Traditional sea snake surveys rely on night-time spotlighting, assuming snakes surface to breathe and rest. But footage from deep-sea remotely operated vehicles (ROVs) revealed that many species live in the mesophotic zone, where light fades and surveys rarely reach.

“Some of these snakes are deep divers,” Dr. Somaweera said. “They don’t behave the way we assumed.”

That insight led to one of his most remarkable discoveries — coordinated, communal hunting in the Irabu sea krait off Indonesia.

“At 40 metres deep, on the slope of an extinct volcano, we found them hunting in groups,” he said. “They take turns flushing fish and feeding. That level of cooperation was never known in snakes.”

Beyond discovery, Dr. Somaweera’s work increasingly focuses on how conservation itself must evolve.

One of the most transformative tools, he said, is environmental DNA (eDNA) — the ability to detect species from genetic traces left in water, soil or even air.

“You no longer need to see the animal,” he explained. “A bottle of water can tell you what lives there.”

His team now uses eDNA to detect critically endangered snakes, turtles and sea snakes in some of Australia’s most remote regions. In one project, even children were able to collect samples.

“A 10-year-old can do it,” he said. “That’s how accessible this technology has become.”

The implications for countries like Sri Lanka are profound. From snakebite management to marine conservation, eDNA offers a low-impact, cost-effective way to monitor biodiversity — especially in hard-to-reach areas.

Dr. Somaweera ended his lecture with a message aimed squarely at young scientists.

“We already have a lot of data. What we lack is the next question,” he said. “So what? That’s the question that turns knowledge into action.”

After nearly two decades of research across continents, his message was clear: conservation cannot rely on assumptions, tradition or good intentions alone.

“It has to be evidence-based,” he said. “Because only action — informed by science — actually saves species.”

By Ifham Nizam ✍️

Life style

Driving the vision of Colombo Fashion Week

Published

3 days ago

2026/01/18

Thilina Walpola

Fazeena embodying confidence, culture and couture

Fazeena Rajabdeen

Fazeena Rajabdeen stands at the forefront of Sri Lanka’s fashion evolution as the Executive Director of Colombo Fashion Week.

With a visionary approach that bridges local talent with global opportunities, Fazeena has been instrumental in elevating Colombo Fashion Week into a sought-after platform for designers, buyers and industry innovators. In this interview, she shares insights on the growth of Sri Lanka’s fashion landscape, the challenges and triumphs of steering a major fashion event, and her aspirations for the future of the industry.

(Q) As Executive Director of Colombo Fashion Week, how do you define CFW’s role in shaping Sri Lanka’s fashion identity?

(A) CFW is fundamentally the backbone of Sri Lanka’s fashion industry. Over 23 years, we’ve built more than a platform, we’ve crafted an entire fashion ecosystem that didn’t exist before.

What I’m most proud of is that over 80% of the designers you see in Sri Lanka today have come through our development system. That’s not accidental, it’s the result of building infrastructure, including partnerships, brand development support, retail insights, and international networks. We’ve essentially created the conditions for a Sri Lankan fashion industry to emerge organically, rooted in our heritage but completely contemporary in its expression. This has resulted in the creation of few design education schools, fashion retailers, model academies.

CFW has given Sri Lankan fashion an identity that carries weight, one that speaks to craftsmanship, sustainability, and creative integrity. That’s the legacy we continue to build upon.

(Q) What has been your personal vision in steering Colombo Fashion Week over the years?

(A) My vision has always been about scale and sustainability, taking what was a seasonal event and building it into a year-round business ecosystem. My key focus was on developing the next generation through structured programs like emerging designers and CFW Accelerate, embedding responsibility into fashion through tools like the Responsible Meter, and expanding our reach with new editions and International partnerships.

We’ve moved from showcasing fashion to building the infrastructure that makes sustainable, commercially viable fashion careers possible in Sri Lanka. Another mission was to expand the platform so Sri Lankan designers aren’t just showing collections, they’re building brands that compete regionally, especially within South Asia.

(Q) Fashion Weeks globally are evolving. How has CFW adapted while staying true to its roots?

(A) The role of fashion platforms has evolved, as the development of fashion, the consumption of fashion and choices fashion consumers make has changed. At the core Fashion is an emotional choice hence engagement with fashion consumers remains high priority. CFW as a platform that leads the fashion industry, creates formats that effectively engage consumers with the fashion creators and with that open opportunities in Sri Lanka and internationally through BRICS, South Asia and Beyond. There are interesting new projects planned to push this forward.

(Q) How does CFW contribute to positioning Colombo as a regional fashion and lifestyle capital?

(A) CFW is known as a renowned South Asian Fashion Week and serves as a regional hub with its longstanding influence of 23 years in the region. That longevity alone has made us a reference point for South Asian fashion and we’ve become first-in-mind when people think of fashion here.

But it’s more than just presence. CFW has positioned the city with its synonymous brand name and interaction with influential people within the region as a lifestyle destination, not a peripheral market. That sustained visibility and the calibre of what we produce has put Colombo on the map as a regional capital where fashion, craft, and commerce intersect.

(Q) Sustainability and craftsmanship are growing conversations—How are those reflected in designer collections?

(A) Responsibility in fashion has been our cornerstone from the beginning. We’ve always championed Batik and traditional craft, and we’ve backed that with real resources through our craft funds.

What we’ve done differently is make sustainability measurable. The Responsible Meter we developed is a transparent scoring system that shows the environmental and social impact of each garment. Designers now build collections with accountability baked in from the start, not as an afterthought. This process is included in all emerging designer development processes.

(Q) Colombo Fashion Week has been a launch pad for many designers. What do you look for when curating talent?

(A) Above all—passion and drive. You can teach technique, refine a collection, connect someone to the right resources. But that hunger to build something, to push through the hard parts of turning creativity into a viable business That has to come from them.

We look for designers who understand that fashion is both art and commerce. They need a point of view, yes, but also the discipline to execute it consistently. The ones who succeed through CFW are the ones who see the platform as a starting point, not the finish line—they’re ready to put in the work to build a real brand, not just show a collection and continue with us in building that brand.

(Q) What role does CFW play in connecting Sri Lankan designers to global markets?

(A) CFW set out on a designer exchange programme through the BRICS International Fashion Federation, showcasing Sri Lankan talent at BRICS fashion weeks while welcoming international designers to Colombo. The platform positions Sri Lanka within the global fashion landscape while attracting international buyers and media. We have partnerships with the commonwealth countries and relevant fashion weeks. The interaction with global designers we invite during fashion week is primarily to focus on such interactions with Sri Lankan designers, opening doors for learnings and opportunities.

(Q) What can we expect from upcoming editions of CFW?

(A) Every edition has a unique focus to it and we work towards creating more expansion, more accessibility. We’re doubling down on our development programs, bringing in stronger international partnerships, deeper craft integration, and wider opportunities for designers at every stage.

We’re also looking at new formats and editions that create the Sri Lankan story in international markets.

We focus on being beyond a showcase; as the engine that drives Sri Lankan fashion forward regionally and globally. We’re building for scale and impact. The upcoming editions will reflect that ambition.

(Q) You have Co-founded the Ceylon Literary and Arts Festival, what inspired you to start and what was your original vision?

(A) It was a natural expansion, honestly. After years of building CFW and seeing the power of creative platforms, we realized there is space for the same thing for arts and literature, a space that celebrates Sri Lanka’s intellectual and cultural soft power.

The vision was simple: create a festival that puts Sri Lankan voices in conversation with regional and global thought leaders. Literature and the arts are incredible tools for cultural influence, and we weren’t leveraging that enough. Ceylon Literary and Arts Festival became that platform, a way to showcase our writers, artists, and thinkers while positioning Sri Lanka as a hub for meaningful cultural exchange.

It’s about soft power. Fashion opened doors, arts and literature deepened the conversation. Together, they tell a fuller story of who we are as a country.

(Q) What makes it unique in Sri Lanka’s cultural scene?

(A) It’s the ecosystem with its breadth and accessibility. We’ve built a festival that doesn’t silo creativity, it brings together literature, art, film, performing arts and music under one platform. That cross-pollination doesn’t really exist elsewhere in Sri Lanka at this scale.

What sets us apart is that we’ve made it deliberately accessible, students are free as our focus is the Youth. Projects and processes that empower the youth and foster creative talent from the grassroot.

(Q) What role does the festival play in promoting local writers, poets and literary talent?

(A) We platform both established names and emerging voices who haven’t had the visibility. The festival creates real dialogue and gives local talent stages they wouldn’t normally access.

We take the best of the world.

We’ve made it accessible, students get free entry, and we run a Children’s Festival for ages 5 to 11. It’s about building pathways early and giving Sri Lankan writers, poets, and creatives the exposure that launches careers.

Our winner of the first edition of the Future writers’ program, was recently awarded the acclaimed Gratiaen Award. We were happy we were able to mentor and pave the pathway for Savin and all future writers for the next generation.

(Q) What are the next dates to look out for?

(A) We have the HSBC Ceylon Literary and Arts Festival Edition 03 set to take place February 13th ,14th,15th 2026. This year’s Festival brings together creativity across all genres including the children’s festival, performing arts and Arts festival. We are proud to celebrate Sri Lankan and international Authors including the renowned author of the Bridgerton series Julia Quinn.

Following which the annual Summer edition of Colombo Fashion Week will take place in March 2026

This is for the start of 2026. looking forward to many exciting plans for the rest of the year.

Life style

The HALO Trust appoints Rishini Weeraratne as its Ambassador for Sri Lanka

Published

3 days ago

2026/01/18

Thilina Walpola

Focussed and Fearless

The HALO Trust, the world’s largest humanitarian landmine clearance organization, has appointed Rishini Weeraratne as its Ambassador for Sri Lanka. In her new role, she will support HALO’s global mission by raising awareness of mine action, strengthening advocacy efforts, and championing initiatives to protect communities impacted by landmines and unexploded ordnance, particularly in Sri Lanka. She will also play a key role in HALO’s international engagement and communications initiatives.

HALO began working in Afghanistan in 1988. Today HALO operates in more than 30 countries and territories across Africa, Asia, Europe and Caucasus, Latin America, and the Middle East. Its teams work daily to clear landmines, deliver risk education and restore land for agriculture, homes and infrastructure. HALO gained international recognition after Diana, Princess of Wales, visited its work in Angola in 1997 which helped accelerate support for the Mine Ban Treaty. Sri Lanka is one of HALO’s longest standing programmes. HALO has been operational in the island since 2002 and has cleared more than 300,000 mines and over one million explosive remnants of war, enabling thousands of families to return home safely. HALO is the second largest employer in the Northern Province, and its workforce is 99 percent locally recruited. Women make up 42 percent of the demining teams, reflecting HALO’s commitment to local empowerment and employment in post conflict communities.

Rishini Weeraratne, Ambassador for Sri Lanka, The HALO Trust:

“It is a privilege to support The HALO Trust’s mission. Although Sri Lanka is my home country and close to my heart, I am also committed to advocating for HALO’s work around the world. Millions of people live with the daily risk of landmines and unexploded ordnance. By raising awareness and amplifying the voices of affected communities, I hope to contribute to a safer future for families everywhere.”