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Locating Anoja

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By Uditha Devapriya

 

The first generation of actors who made their way to the Sri Lankan film industry, hailed, for the most, from suburban, lower middle-class, and Anglicised backgrounds. They entered the industry, despite opposition from their parents, who saw acting as an unworthy, unbecoming profession. Not surprisingly their prospects were limited, and most of them had to learn on their own, often through a patron or a mentor; this was, after all, a medium quite unlike any other, groundbreaking, innovative, and accused then as now of being too Western. Perhaps the latter association unnerved a conservative middle-class who linked it to a Westernised middle-class residing in either Colombo or the immediate periphery.

These first generation actors did not make the transition from stage hall to movie hall their successors did in later years. Many had dabbled in the theatre at school, yet few returned to it. Indeed, despite the symbiotic link between the theatre and film in the early days of our cinema, actors, in general, and actresses in particular, gained no more than a rudimentary smattering of experience in either medium. The Prema Ganegodas and the Malini Fonsekas came later, much later; until then actors continued to defy parental strictures, taking part in beauty contests, being selected by the few (mostly Colombo-based) producers and directors in vogue at the time, and finding a home of sorts in one of the studios.

Indeed, though it lacked a proper financial base, Sri Lanka boasted of its own studio system, with rivalries between producers compelling aspiring actresses to stick to one company or another. Shanthi Lekha’s career is a case in point here: K. Gunaratnam’s most coveted if not most popular actress, she was offered her first role in Sujatha on condition that she not take part in films produced by other companies. Such contractual obligations survived the change of government in 1956 and even the 1965 National Film Commission: as late as 1966, Lester James Peries had to obtain permission from Robin Tampoe to take Swineetha Weerasinghe onboard Delovak Athara. This trend would continue until the 1970s.

If 1956 didn’t entirely change this landscape, it certainly changed the perspective. The rural middle-class, forced into the background until then, made their way to the performing arts industries. Whereas earlier they would have had to defy their elders to act directly in film, now they had a safer intermediary: the theatre. Not every actress took that path; from this period one hears of Malini Fonseka among the big names that did. Yet many kept coming to the cinema through the stage hall: Leonie Kotelawala, Anula Karunathilaka, even the great Denawaka Hamine. Bilingual at most, they were a far cry from the heavily Anglicised urban-suburban middle-class who were dominating the industry then.

Naturally this second generation looked up to the first, just as the third generation following them looked up to the second. That third generation emerged somewhere in the mid-1970s – a period different to the 1960s – and their entry to the cinema differed considerably, if not significantly, from the second and first. By then, largely thanks to the expansion of the film industry and the curtailment of film imports, a rural lower middle-class were growing up on the likes of Malini Fonseka and Swarna Mallawarachchi. If they did not want to be like them, they wanted to be with them. Yet bereft of opportunity and away and apart from the milieu that Fonseka and Mallawarachchi had grown up in, few of them could hope to, and few ever did, make it to the city. Among that few was Anoja Weerasinghe.

I have seen Anoja in a great many films – the good, the bad, the passable – and from them four stick indelibly in my memory: Keli Madala, Siri Medura, Janelaya, and Seilama. It’s not a coincidence that Keli Madala and Maldeniye Simion (which I have not seen) were directed by D. B. Nihalsinghe. Nihalsinghe had been at the forefront of the industry in the 1970s, less as a director than as an administrator, overseeing the biggest overhaul of the sector since its genesis in the 1940s. The National Film Corporation, of which he became the founding CEO, had identified the Indian blockbuster as a negative influence, curtailed imports from Madras and Delhi, brought in films from continental Europe, and attempted unsuccessfully to strike a deal with a major Hollywood studio. Thanks to his efforts, larger numbers of Sinhala films began invading theatres far, far away from Colombo and the Kelani Valley.

Growing up in Badulla and attending school there and later in Moneragala – the two poorest districts in Sri Lanka – Anoja remembers seeing one film in particular: Welikathara, no less than Nihalsinghe’s directorial debut. The first Sinhala film shot in Cinemascope, it required a wide screen the likes of which were not available in theatres outside Colombo at the time. Forced to adapt, theatre owners screened it through conventional projectors, distorting the image. Despite this, Welikathara’s interest transcended its technical limitations. For Anoja it seemed like a baptism of fire: “from then on,” she recalls, “I resolved to see as many Sinhala films as possible, and to enter the industry.”

If in the city she discovered the cinema, in the village back home she was discovering the theatre. She didn’t receive any formal training until much later, but as a child, she tells me, she kept an “intimate bond with the stage hall.” Artistically inclined, her parents encouraged her penchant for the theatre. In Badulla and in Moneragala, not surprisingly, “I took part in several concerts and plays.” The first of those plays, “staged when I had turned five or six”, had her play out the role of a Japanese princess. Her first real theatrical performance came much later, when she had turned 13. The latter had impressed a visiting MP so much that he had praised her. The MP, she recalls, “came from the city”, and his comments had struck her visibly. In response, “I could only stare and gape at him.”

Going to the movies had not been easy. In the Sinhala village of the 1970s, it was considered almost a ritual. “My friends and I would invariably pick on the 6.30 show and we’d invariably go for as many screenings as we could.” The challenge was to sample the latest movies, all of them if possible, and this Anoja attempted to balance with her studies. But for a Sinhala lower middle-class village girl with very few prospects outside her home, there was really no world beyond the actors, the actresses, and the directors she consumed. From seeing them to being with them would take some years, but in the end she managed to make it with a bit role in Yasapalitha Nanayakkara’s Tak Tik Tuk.

Yasapalitha Nanayakkara released Tak Tik Tuk a year after he wrapped up work on another film that featured Anoja in a more prominent role, Monarathanne, where she found herself acting opposite not just Vijaya Kumaratunga and Malini Fonseka, but also the grande dame of the Sinhala cinema herself, Rukmani Devi. Anoja had lasted for just 30 seconds in Tak Tik Tuk; here her performance spanned the entirety of the production. Filled as it was with the great Khemadasa’s music and an uncharacteristically restrained performance by Rukmani, Monarathanne proved to be Anoja’s second baptism of fire after her encounter years ago with Welikathara. Nanayakkara, however, came and went; following him, soon to become Anoja’s mentor, was Welikathara’s director, D. B. Nihalsinghe.

To list down all of Anoja’s credits here would be pointless, both for reasons of space and for the simple fact that not all of them reveal her potential well. I can think of four films – all of which I’ve listed above – and I can think of one other which really brought out her thespian prowess: Jackson Anthony’s Julietge Bhoomikawa. Anthony released his film somewhere in 1998, eight years after Lever Brothers sponsored a scholarship to the London Academy of Music and Drama (LAMDA). That milestone had come two years after she had won the Silver Peacock for Best Actress at the 11th International Film Festival in New Delhi. The winning performance had been in another film by Nihalsinghe, Maldeniye Simion.

At this point in the interview Anoja opts to reflect on Nihalsinghe. She is noticeably eager. “I was like a ball of clay under him, to be honest,” she recalls. “He moulded me. To this day, I can’t explain how he did it, and how I played for him, whether in Maldeniye Simion or in Keli Madala. Contrary to most accounts of him, he was quite gentle if not soft-spoken, careful with his players. When he instructed me, he lowered his voice so much that the actor beside me couldn’t hear what he was saying. In a very subtle manner he managed to draw out the character he wanted me to play. Working for him, acting for him, was always a pleasure. He got out what he wanted, and I gave out what I could.”

Nihalsinghe, in fact, retained his trust in her so much that he went against both producer and storywriter when he suggested her for Maldeniye Simion. “Arawwala Nandimitra, who wrote the original novel, and the producers, among whom was Vijaya Ramanayake, opposed his choice. They tried to back out. But Nihalsinghe held firm. He told them that if he couldn’t have me for the film, he would not make it. However begrudgingly, they relented, and in the end admitted they had been quite wrong about me.”

Just what makes Anoja’s acting tick? Part of her charm, I think, lies in how well she has been able, not to emulate, but to invert, Malini Fonseka. The contrast between the two comes off vividly in Parakrama Niriella’s Siri Medura. Critics have invariably compared Anoja to Swarna Mallawarachchi, but to me the analogy remains superficial at best and misleading at worst. Swarna’s forte in the 1980s (her best period) lay in how well she inverted the stereotype of the good village girl corrupted by the immoral city man. It is in how she fights back, and (as with Dadayama) dies or (as with Kadapathaka Chaya) becomes a female counterpart of the chauvinists she’s battling, that her élan comes out.

Anoja’s élan is of a different order, and I wrap up this tribute to her by recalling the endings of Seilama and Nihalsinghe’s Keli Madala, which have her as defeated protagonists; whereas Swarna emerges triumphant, even in death, Anoja can only despair and give up, though this does not make her defeat any less poignant. To me the finest performance she’s given will always be the final sequence in Siri Medura; there, with just one take, she gives completely into hysterics and runs off, shocked that she’s just killed not just the man she loved, but the woman who intervened to break up their relationship. It is a master-class in acting, and in its own way, a testament to how well that third generation I wrote of at the beginning sprang up, and carved a place for themselves, in the annals of our cinema.

 

The writer can be reached at udakdev1@gmail.com



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Sat Mag

October 13 at the Women’s T20 World Cup: Injury concerns for Australia ahead of blockbuster game vs India

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Harmanpreet Kaur's 52 took India to a win against Sri Lanka [ICC]

Australia vs India

Sharjah, 6pm local time

Australia have major injury concerns heading into the crucial clash. Just four balls into the match against Pakistan, Tayla Vlaeminck was out with a right shoulder dislocation.  To make things worse, captain Alyssa Healy suffered an acute right foot injury while batting on 37 as she hobbled off the field with Australia needing 14 runs to win. Both players went for scans on Saturday.

India captain Harmanpreet Kaur who had hurt her neck in the match against Pakistan, turned up with a pain-relief patch on the right side of her neck during the Sri Lanka match. She also didn’t take the field during the chase. Fast bowler Pooja Vastrakar bowled full-tilt before the Sri Lanka game but didn’t play.

India will want a big win against Australia. If they win by more than 61 runs, they will move ahead of Australia, thereby automatically qualifying for the semi-final. In a case where India win by fewer than 60 runs, they will hope New Zealand win by a very small margin against Pakistan on Monday. For instance, if India make 150 against Australia and win by exactly 10 runs, New Zealand need to beat Pakistan by 28 runs defending 150 to go ahead of India’s NRR. If India lose to Australia by more than 17 runs while chasing a target of 151, then New Zealand’s NRR will be ahead of India, even if Pakistan beat New Zealand by just 1 run while defending 150.

Overall, India have won just eight out of  34 T20Is they’ve played against Australia. Two of those wins came in the group-stage games of previous T20 World Cups, in 2018 and 2020.

Australia squad:
Alyssa Healy (capt & wk), Darcie Brown, Ashleigh Gardner, Kim Garth, Grace Harris, Alana King, Phoebe Litchfield, Tahlia McGrath, Sophie Molineux, Beth Mooney, Ellyse Perry, Megan Schutt, Annabel Sutherland, Tayla Vlaeminck, Georgia Wareham

India squad:
Harmanpreet Kaur (capt), Smriti Mandhana (vice-capt), Yastika Bhatia (wk), Shafali Verma, Deepti Sharma, Jemimah Rodrigues, Richa Ghosh (wk), Pooja Vastrakar, Arundhati Reddy, Renuka Singh, D Hemalatha, Asha Sobhana, Radha Yadav, Shreyanka Patil, S Sajana

Tournament form guide:
Australia have three wins in three matches and are coming into this contest having comprehensively beaten Pakistan. With that win, they also all but sealed a semi-final spot thanks to their net run rate of 2.786. India have two wins in three games. In their previous match, they posted the highest total of the tournament so far – 172 for 3  and in return bundled Sri Lanka out for 90 to post their biggest win by runs at the T20 World Cup.

Players to watch:
Two of their best batters finding their form bodes well for India heading into the big game. Harmanpreet and Mandhana’s collaborative effort against Pakistan boosted India’s NRR with the semi-final race heating up. Mandhana, after a cautious start to her innings, changed gears and took on Sri Lanka’s spinners to make 50 off 38 balls. Harmanpreet, continuing from where she’d left against Pakistan, played a classic, hitting eight fours and a six on her way to a 27-ball 52. It was just what India needed to reinvigorate their T20 World Cup campaign.

[Cricinfo]

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Sat Mag

Living building challenge

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By Eng. Thushara Dissanayake

The primitive man lived in caves to get shelter from the weather. With the progression of human civilization, people wanted more sophisticated buildings to fulfill many other needs and were able to accomplish them with the help of advanced technologies. Security, privacy, storage, and living with comfort are the common requirements people expect today from residential buildings. In addition, different types of buildings are designed and constructed as public, commercial, industrial, and even cultural or religious with many advanced features and facilities to suit different requirements.

We are facing many environmental challenges today. The most severe of those is global warming which results in many negative impacts, like floods, droughts, strong winds, heatwaves, and sea level rise due to the melting of glaciers. We are experiencing many of those in addition to some local issues like environmental pollution. According to estimates buildings account for nearly 40% of all greenhouse gas emissions. In light of these issues, we have two options; we change or wait till the change comes to us. Waiting till the change come to us means that we do not care about our environment and as a result we would have to face disastrous consequences. Then how can we change in terms of building construction?

Before the green concept and green building practices come into play majority of buildings in Sri Lanka were designed and constructed just focusing on their intended functional requirements. Hence, it was much likely that the whole process of design, construction, and operation could have gone against nature unless done following specific regulations that would minimize negative environmental effects.

We can no longer proceed with the way we design our buildings which consumes a huge amount of material and non-renewable energy. We are very concerned about the food we eat and the things we consume. But we are not worrying about what is a building made of. If buildings are to become a part of our environment we have to design, build and operate them based on the same principles that govern the natural world. Eventually, it is not about the existence of the buildings, it is about us. In other words, our buildings should be a part of our natural environment.

The living building challenge is a remarkable design philosophy developed by American architect Jason F. McLennan the founder of the International Living Future Institute (ILFI). The International Living Future Institute is an environmental NGO committed to catalyzing the transformation toward communities that are socially just, culturally rich, and ecologically restorative. Accordingly, a living building must meet seven strict requirements, rather certifications, which are called the seven “petals” of the living building. They are Place, Water, Energy, Equity, Materials, Beauty, and Health & Happiness. Presently there are about 390 projects around the world that are being implemented according to Living Building certification guidelines. Let us see what these seven petals are.

Place

This is mainly about using the location wisely. Ample space is allocated to grow food. The location is easily accessible for pedestrians and those who use bicycles. The building maintains a healthy relationship with nature. The objective is to move away from commercial developments to eco-friendly developments where people can interact with nature.

Water

It is recommended to use potable water wisely, and manage stormwater and drainage. Hence, all the water needs are captured from precipitation or within the same system, where grey and black waters are purified on-site and reused.

Energy

Living buildings are energy efficient and produce renewable energy. They operate in a pollution-free manner without carbon emissions. They rely only on solar energy or any other renewable energy and hence there will be no energy bills.

Equity

What if a building can adhere to social values like equity and inclusiveness benefiting a wider community? Yes indeed, living buildings serve that end as well. The property blocks neither fresh air nor sunlight to other adjacent properties. In addition, the building does not block any natural water path and emits nothing harmful to its neighbors. On the human scale, the equity petal recognizes that developments should foster an equitable community regardless of an individual’s background, age, class, race, gender, or sexual orientation.

Materials

Materials are used without harming their sustainability. They are non-toxic and waste is minimized during the construction process. The hazardous materials traditionally used in building components like asbestos, PVC, cadmium, lead, mercury, and many others are avoided. In general, the living buildings will not consist of materials that could negatively impact human or ecological health.

Beauty

Our physical environments are not that friendly to us and sometimes seem to be inhumane. In contrast, a living building is biophilic (inspired by nature) with aesthetical designs that beautify the surrounding neighborhood. The beauty of nature is used to motivate people to protect and care for our environment by connecting people and nature.

Health & Happiness

The building has a good indoor and outdoor connection. It promotes the occupants’ physical and psychological health while causing no harm to the health issues of its neighbors. It consists of inviting stairways and is equipped with operable windows that provide ample natural daylight and ventilation. Indoor air quality is maintained at a satisfactory level and kitchen, bathrooms, and janitorial areas are provided with exhaust systems. Further, mechanisms placed in entrances prevent any materials carried inside from shoes.

The Bullitt Center building

Bullitt Center located in the middle of Seattle in the USA, is renowned as the world’s greenest commercial building and the first office building to earn Living Building certification. It is a six-story building with an area of 50,000 square feet. The area existed as a forest before the city was built. Hence, the Bullitt Center building has been designed to mimic the functions of a forest.

The energy needs of the building are purely powered by the solar system on the rooftop. Even though Seattle is relatively a cloudy city the Bullitt Center has been able to produce more energy than it needed becoming one of the “net positive” solar energy buildings in the world. The important point is that if a building is energy efficient only the area of the roof is sufficient to generate solar power to meet its energy requirement.

It is equipped with an automated window system that is able to control the inside temperature according to external weather conditions. In addition, a geothermal heat exchange system is available as the source of heating and cooling for the building. Heat pumps convey heat stored in the ground to warm the building in the winter. Similarly, heat from the building is conveyed into the ground during the summer.

The potable water needs of the building are achieved by treating rainwater. The grey water produced from the building is treated and re-used to feed rooftop gardens on the third floor. The black water doesn’t need a sewer connection as it is treated to a desirable level and sent to a nearby wetland while human biosolid is diverted to a composting system. Further, nearly two third of the rainwater collected from the roof is fed into the groundwater and the process resembles the hydrologic function of a forest.

It is encouraging to see that most of our large-scale buildings are designed and constructed incorporating green building concepts, which are mainly based on environmental sustainability. The living building challenge can be considered an extension of the green building concept. Amanda Sturgeon, the former CEO of the ILFI, has this to say in this regard. “Before we start a project trying to cram in every sustainable solution, why not take a step outside and just ask the question; what would nature do”?

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Something of a revolution: The LSSP’s “Great Betrayal” in retrospect

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By Uditha Devapriya

On June 7, 1964, the Central Committee of the Lanka Sama Samaja Party convened a special conference at which three resolutions were presented. The first, moved by N. M. Perera, called for a coalition with the SLFP, inclusive of any ministerial portfolios. The second, led by the likes of Colvin R. de Silva, Leslie Goonewardena, and Bernard Soysa, advocated a line of critical support for the SLFP, but without entering into a coalition. The third, supported by the likes of Edmund Samarakkody and Bala Tampoe, rejected any form of compromise with the SLFP and argued that the LSSP should remain an independent party.

The conference was held a year after three parties – the LSSP, the Communist Party, and Philip Gunawardena’s Mahajana Eksath Peramuna – had founded a United Left Front. The ULF’s formation came in the wake of a spate of strikes against the Sirimavo Bandaranaike government. The previous year, the Ceylon Transport Board had waged a 17-day strike, and the harbour unions a 60-day strike. In 1963 a group of working-class organisations, calling itself the Joint Committee of Trade Unions, began mobilising itself. It soon came up with a common programme, and presented a list of 21 radical demands.

In response to these demands, Bandaranaike eventually supported a coalition arrangement with the left. In this she was opposed, not merely by the right-wing of her party, led by C. P. de Silva, but also those in left parties opposed to such an agreement, including Bala Tampoe and Edmund Samarakkody. Until then these parties had never seen the SLFP as a force to reckon with: Leslie Goonewardena, for instance, had characterised it as “a Centre Party with a programme of moderate reforms”, while Colvin R. de Silva had described it as “capitalist”, no different to the UNP and by default as bourgeois as the latter.

The LSSP’s decision to partner with the government had a great deal to do with its changing opinions about the SLFP. This, in turn, was influenced by developments abroad. In 1944, the Fourth International, which the LSSP had affiliated itself with in 1940 following its split with the Stalinist faction, appointed Michel Pablo as its International Secretary. After the end of the war, Pablo oversaw a shift in the Fourth International’s attitude to the Soviet states in Eastern Europe. More controversially, he began advocating a strategy of cooperation with mass organisations, regardless of their working-class or radical credentials.

Pablo argued that from an objective perspective, tensions between the US and the Soviet Union would lead to a “global civil war”, in which the Soviet Union would serve as a midwife for world socialist revolution. In such a situation the Fourth International would have to take sides. Here he advocated a strategy of entryism vis-à-vis Stalinist parties: since the conflict was between Stalinist and capitalist regimes, he reasoned, it made sense to see the former as allies. Such a strategy would, in his opinion, lead to “integration” into a mass movement, enabling the latter to rise to the level of a revolutionary movement.

Though controversial, Pablo’s line is best seen in the context of his times. The resurgence of capitalism after the war, and the boom in commodity prices, had a profound impact on the course of socialist politics in the Third World. The stunted nature of the bourgeoisie in these societies had forced left parties to look for alternatives. For a while, Trotsky had been their guide: in colonial and semi-colonial societies, he had noted, only the working class could be expected to see through a revolution. This entailed the establishment of workers’ states, but only those arising from a proletarian revolution: a proposition which, logically, excluded any compromise with non-radical “alternatives” to the bourgeoisie.

To be sure, the Pabloites did not waver in their support for workers’ states. However, they questioned whether such states could arise only from a proletarian revolution. For obvious reasons, their reasoning had great relevance for Trotskyite parties in the Third World. The LSSP’s response to them showed this well: while rejecting any alliance with Stalinist parties, the LSSP sympathised with the Pabloites’ advocacy of entryism, which involved a strategic orientation towards “reformist politics.” For the world’s oldest Trotskyite party, then going through a series of convulsions, ruptures, and splits, the prospect of entering the reformist path without abandoning its radical roots proved to be welcoming.

Writing in the left-wing journal Community in 1962, Hector Abhayavardhana noted some of the key concerns that the party had tried to resolve upon its formation. Abhayavardhana traced the LSSP’s origins to three developments: international communism, the freedom struggle in India, and local imperatives. The latter had dictated the LSSP’s manifesto in 1936, which included such demands as free school books and the use of Sinhala and Tamil in the law courts. Abhayavardhana suggested, correctly, that once these imperatives changed, so would the party’s focus, though within a revolutionary framework. These changes would be contingent on two important factors: the establishment of universal franchise in 1931, and the transfer of power to the local bourgeoisie in 1948.

Paradoxical as it may seem, the LSSP had entered the arena of radical politics through the ballot box. While leading the struggle outside parliament, it waged a struggle inside it also. This dual strategy collapsed when the colonial government proscribed the party and the D. S. Senanayake government disenfranchised plantation Tamils. Suffering two defeats in a row, the LSSP was forced to think of alternatives. That meant rethinking categories such as class, and grounding them in the concrete realities of the country.

This was more or less informed by the irrelevance of classical and orthodox Marxian analysis to the situation in Sri Lanka, specifically to its rural society: with a “vast amorphous mass of village inhabitants”, Abhayavardhana observed, there was no real basis in the country for a struggle “between rich owners and the rural poor.” To complicate matters further, reforms like the franchise and free education, which had aimed at the emancipation of the poor, had in fact driven them away from “revolutionary inclinations.” The result was the flowering of a powerful rural middle-class, which the LSSP, to its discomfort, found it could not mobilise as much as it had the urban workers and plantation Tamils.

Where else could the left turn to? The obvious answer was the rural peasantry. But the rural peasantry was in itself incapable of revolution, as Hector Abhayavardhana has noted only too clearly. While opposing the UNP’s Westernised veneer, it did not necessarily oppose the UNP’s overtures to Sinhalese nationalism. As historians like K. M. de Silva have observed, the leaders of the UNP did not see their Westernised ethos as an impediment to obtaining support from the rural masses. That, in part at least, was what motivated the Senanayake government to deprive Indian estate workers of their most fundamental rights, despite the existence of pro-minority legal safeguards in the Soulbury Constitution.

To say this is not to overlook the unique character of the Sri Lankan rural peasantry and petty bourgeoisie. Orthodox Marxists, not unjustifiably, characterise the latter as socially and politically conservative, tilting more often than not to the right. In Sri Lanka, this has frequently been the case: they voted for the UNP in 1948 and 1952, and voted en masse against the SLFP in 1977. Yet during these years they also tilted to the left, if not the centre-left: it was the petty bourgeoisie, after all, which rallied around the SLFP, and supported its more important reforms, such as the nationalisation of transport services.

One must, of course, be wary of pasting the radical tag on these measures and the classes that ostensibly stood for them. But if the Trotskyite critique of the bourgeoisie – that they were incapable of reform, even less revolution – holds valid, which it does, then the left in the former colonies of the Third World had no alternative but to look elsewhere and to be, as Abhayavardhana noted, “practical men” with regard to electoral politics. The limits within which they had to work in Sri Lanka meant that, in the face of changing dynamics, especially among the country’s middle-classes, they had to change their tactics too.

Meanwhile, in 1953, the Trotskyite critique of Pabloism culminated with the publication of an Open Letter by James Cannon, of the US Socialist Workers’ Party. Cannon criticised the Pabloite line, arguing that it advocated a policy of “complete submission.” The publication of the letter led to the withdrawal of the International Committee of the Fourth International from the International Secretariat. The latter, led by Pablo, continued to influence socialist parties in the Third World, advocating temporary alliances with petty bourgeois and centrist formations in the guise of opposing capitalist governments.

For the LSSP, this was a much-needed opening. Even as late as 1954, three years after S. W. R. D. Bandaranaike formed the SLFP, the LSSP continued to characterise the latter as the alternative bourgeois party in Ceylon. Yet this did not deter it from striking up no contest pacts with Bandaranaike at the 1956 election, a strategy that went back to November 1951, when the party requested the SLFP to hold a discussion about the possibility of eliminating contests in the following year’s elections. Though it extended critical support to the MEP government in 1956, the LSSP opposed the latter once it enacted emergency measures in 1957, mobilising trade union action for a period of three years.

At the 1960 election the LSSP contested separately, with the slogan “N. M. for P.M.” Though Sinhala nationalism no longer held sway as it had in 1956, the LSSP found itself reduced to a paltry 10 seats. It was against this backdrop that it began rethinking its strategy vis-à-vis the ruling party. At the throne speech in April 1960, Perera openly declared that his party would not stabilise the SLFP. But a month later, in May, he called a special conference, where he moved a resolution for a coalition with the party. As T. Perera has noted in his biography of Edmund Samarakkody, the response to the resolution unearthed two tendencies within the oppositionist camp: the “hardliners” who opposed any compromise with the SLFP, including Samarakkody, and the “waverers”, including Leslie Goonewardena.

These tendencies expressed themselves more clearly at the 1964 conference. While the first resolution by Perera called for a complete coalition, inclusive of Ministries, and the second rejected a coalition while extending critical support, the third rejected both tactics. The outcome of the conference showed which way these tendencies had blown since they first manifested four years earlier: Perera’s resolution obtained more than 500 votes, the second 75 votes, the third 25. What the anti-coalitionists saw as the “Great Betrayal” of the LSSP began here: in a volte-face from its earlier position, the LSSP now held the SLFP as a party of a radical petty bourgeoisie, capable of reform.

History has not been kind to the LSSP’s decision. From 1970 to 1977, a period of less than a decade, these strategies enabled it, as well as the Communist Party, to obtain a number of Ministries, as partners of a petty bourgeois establishment. This arrangement collapsed the moment the SLFP turned to the right and expelled the left from its ranks in 1975, in a move which culminated with the SLFP’s own dissolution two years later.

As the likes of Samarakkody and Meryl Fernando have noted, the SLFP needed the LSSP and Communist Party, rather than the other way around. In the face of mass protests and strikes in 1962, the SLFP had been on the verge of complete collapse. The anti-coalitionists in the LSSP, having established themselves as the LSSP-R, contended later on that the LSSP could have made use of this opportunity to topple the government.

Whether or not the LSSP could have done this, one can’t really tell. However, regardless of what the LSSP chose to do, it must be pointed out that these decades saw the formation of several regimes in the Third World which posed as alternatives to Stalinism and capitalism. Moreover, the LSSP’s decision enabled it to see through certain important reforms. These included Workers’ Councils. Critics of these measures can point out, as they have, that they could have been implemented by any other regime. But they weren’t. And therein lies the rub: for all its failings, and for a brief period at least, the LSSP-CP-SLFP coalition which won elections in 1970 saw through something of a revolution in the country.

The writer is an international relations analyst, researcher, and columnist based in Sri Lanka who can be reached at udakdev1@gmail.com

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