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My father, the unforgettable Premnath Moaraes

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Birth centenary fell on Jan. 31

by Pradeep Moraes

Singer, Songwriter, Lyricist.

Actor, Film Director, Scriptwriter, Producer.

Weightlifter, Wrestler, Footballer, Cricketer, Athlete, Gymnast

Journalist, Sports Editor, Creative Head & Copywriter.

Commentator, Compere and Silver tongued Orator,

Believe me, the list goes on.

Renaissance Man? , Bohemian Artist? Yes to both, but to me, most importantly, the gentlest human being one could hope to meet, and the most devoted husband to my mother and loving father my sister Rehani or I could ever have hoped to have .

Premnath Joseph Moraes – born Joseph Peter Moraes Fernando on January 31, 1923, was of solid middle class stock, who carried his simple and devout Catholic faith right through life.In many ways he epitomized the essence of the very best of the Benedictine trademark ,with traits and talents that wove a rich tapestry of Arts, Sports, Humanity, Simplicity and a Christianity that was lived rather than preached.

Abundantly blessed with talent and versatility, he was however trusting to a foolish degree and unfailingly gullible so as to be a target for exploiters and worse, resulting in the vicissitudes of economic circumstances. So it was not his largesse that begets the incredible goodwill he has left as his legacy to his family, but rather a tribute from people of all walks of life to Premnath the man.

Talking of all walks of life, my father trod many paths; a short outline of which I hope will make good reading.

Joining the Police force soon after school , he was seconded to the CID and later advised to leave by a senior police officer after having spoken openly at the funeral of a colleague who had been gunned down when leading an unarmed raid on a den of vice.

Thereafter he sought and secured a position as a reporter with the Times of Ceylon after an interview with its Editor, Frank Moraes ( later Editor of the Times of India and father of the poet Dom), who reminded him that “the coincidence of our surnames will remain just that! “

Leaving the Times of Ceylon building , Premnath was almost knocked down by a vehicle driven by his friend Sangare Sellamuttu (later Mayor of Colombo ) with whom he got chatting and informed him of the job he had just landed . “What nonsense ” said Sellamuttu , “with your looks you should be in films . Let me introduce you to Sir Chittampalm Gardiner. ” Good looks he had, no doubt about it, but rather than me being accused of understandably favourable bias let me quote an excerpt from a long , eloquent and emotional appreciation by the late, great Gamini Fonseka:

“On those extra broad shoulders

rested that handsome head

of a barrel chested man

with a wasp like waist

His features stirred envy

In the hearts of “stars” of his day. “

The shoulders were actually very broad prompting the late T.B. Illangaratne (author and later Govt. Minister) to describe the hero in one of his books (in Sinhala) as having a moustache like Ronald Colman, and shoulders like Premnath Moraes.

Getting back to Sir Chittampalan (also an old Ben) , the great man was too busy to see my father that day and instead told him “meet me in Madras on Monday morning” (this was Friday) leaving the young applicant to find his own fare – perhaps a test of mettle.

Young Premnath (a name he then assumed ) was signed on as an actor and thus started a romance with the film industry which lasted over 50 years ( from 1947 to 1998 , from starring in ” Kadawanu Poronduwa “ (also known as Broken Promise) the second Sinhala film to be produced, to Demodara Palama, circa 1997. Warada Kageda and Kapati Arakshakaya in the late forties were followed by several others .

This was followed by a stint in Shanthiniketan the Centre of Arts north of Calcutta , the stay which was undertaken for purely aesthetic reasons, gave my father the most pleasant memories among which was seeing and hearing Maestro Ravi Shankar perform for over a hundred cumulative hours.

The long visitation was in the company of his close friend Shanthi Kumar Seneviratne (Star and Director of Ashokamala – the first Sinhala film). Though they both learned classical dance in Shanthiniketan, my father unlike Shanti was never a fan of ballroom dancing – much to the chagrin of Rani , my mother.

From Shanthenikitan, Premnath moved to Bombay where he was in the famed Raj Kapoor/Nargis circle , and was close friends of Dilip Kumar (Mohamed Yusuf Khan), and closer still to one of the most beautiful Hindi actresses of the time, whose gift to him – a gold , Universal Genève watch , I wear to this day.

Back to Ceylon , and the man took up to singing, was contracted to the HMV label (His Masters Voice) , recorded solo, and with Latha (Walpola) and Chitra (Somapala), of the many recordings perhaps the most famed are “Sri Lanka Rani Meniye” ( the de facto Catholic anthem of Sri Lanka) and “LakDeepe” .

Mellifluous to a high degree, his voice had the unusual combination of mellowness and power, in fact we have a photograph of my father recording “5 ths” in a studio a full 20 ft away from the “mike”.

Here, permit me to express a son’s view albeit emotionally flavoured ; I truly believe that no one could sing Olu Pipila or Kokilayane Kolila Nade, better . Incidentally the great Sunil Santha who immortalized these songs was also a Ben .

The Sri Lankan Nightingale Rukmani Devi once told me that she and her husband Eddie Jayamanne (both of whom were very close to him) used to badger my father to sing the 1939 classic “Over the Rainbow ” at every possible opportunity, and redoubtable fellow Benedictine Ben Navaratne ( argued to be the best wicketkeeper Sri Lanka or Ceylon ever produced) used to always ask my father to promise to sing ” O Danny Boy ” over his grave; very poignantly Ben Navaratne and Premnath Moraes are buried within yards of each other at the Jawatte Cemetery.

On to 1953. Production Assistant (titles were not grandiose in those days ), and Second Unit Director for Elephant Walk , directed by William De Telle , the son in law of the legendary Cecil B De Mille ( of Ten Commandments Fame ) .

Starring Vivien Leigh, Peter Finch and Dana Andrews – all Oscar Winners – (Peter Finch and Dana Andrews later, Vivien had already won hers for Streetcar named Desire). Living at the Galle Face Hotel for a full nine months, interspersed with long stays at up country locations, my father enjoyed close interaction with the best acting talent the world had to offer, with the huge bonus of frequent visits from Laurence Olivier, probably the most acclaimed Thespian and Actor who was obliged to check on his wife Vivien, who succumbed to a nervous breakdown within the shooting period. Many were the occasions when the “master” himself was coerced to perform Hamlet to a private audience,

What is remarkable (given that this was 1953) is that Vivien’s condition was recognized , possible inability to proceed was anticipated, and EVERY scene was shot twice, one with Vivien Leigh, one without. So upon Vivien being unable to proceed with the film, the images of Elizabeth Taylor were superimposed – without her ever having visited Ceylon. Not bad for 1953!

Two short stints as Second Unit Director for United Artists “Captain’s Table” and “Purple Plains” which starred Gregory Peck , on to India where he was Production Manager at Gemini Studios in Madras, where most of the Sinhala Films at the time were edited, dubbed and produced. Coincidentally his uncanny look alike, the Tamil film star Gemini Ganeshan, got his eponymous name through association with this studio.

Wide varied and versatile though my father’s exposure to the celluloid world, in my opinion his single most significant to the Sinhala Cinema were his unremitting efforts to get Gamini Fonseka into it, culminating in a successful introduction to Lester James Peiris who brought Gamini into Rekawa in a non starring role. The rest – to use a cliché – is history!. Gamini never lost an opportunity to credit my father (whom he referred to as his “guru “) with his entry to films, and Lester has also endorsed the fact over the years.

Many are the others whom Premnath introduced and inducted into the Film world, stars, cameramen, sound artists, script writers, editors , music directors et al, and many are the pioneering developments he introduced to Sinhala cinema.

A classic example is Sri 296 which he directed in 1959, wherein he provided Henry Jayasena , Joe Abeywickrema and Punya Heendeniya with their first “starring ” roles (all had played small roles earlier), introduced the very beautiful Zeena Valencia to whom he attributed the screen name “Sumitra” (a name she retained for life) who then went on to marry Gamini Fonseka.

Sri 296

is considered a watershed in Sinhala Cinema with the introduction for the first time of an all Ceylonese crew (film crew up to that point were from India) and also for the introduction of two full colour sequences under the mastery of cameraman A.V.M . Vasagam

Sigiri Kashyapa

followed circa 1961 with Gamini in the starring role and Shane Gunaratne as Migara. Scenes from the filming of this film form some of my earliest, distinct, memories with sword fighting being practiced in the main hall of our home at Colpetty (this house had previously been perhaps Ceylon’s only synagogue and an extremely large mosaic floored circular hall). And the equestrian escapades of the horsemen who were trained by Ranjith Dahanayake , later of Hermes International fame . Space does not permit a fair recording of his film career but mention might be made of his roles in Kathuru Muwath, Priyanga (where he played Vijaya Kumaratunga’s father ) and Hitha Honda Minihek where he at Gamini’s insistence played a virtual real life role as Gamini’s “finder” and mentor.

Association with Tyronne Fernando (Minister) and Manik Sandarasaga led to my father writing and scripting the rather ribald Colomba Sanniya (Coming Sweet). He also was the “ghost writer of the Hollywood Production of God King , and to use the term employed by that great Ben, Ravindra Randeniya who was the star of the film – “the de facto director” of much acclaimed Kalu Diya Dahara .

Ironically, given his long involvement with Sinhala cinema, Premnath won the most kudos , and international and local acclaim for directing the Tamil Film “Vaadai Kaatru” in the seventies, shot on the arid dunes of Pesalai. As recently as on September 26, 2015, that redoubtable and insightful journalist , DBS Jeyaraj referred to Vaadai Kaatru as “probably the best Tamil Film” ever made in Sri Lanka .

(To be continued next week)



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Features

Eastern University and the making of a culture of peace

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by Jehan Perera

There is an important change in the way peace is being understood in Sri Lanka. The notion that peacebuilding is not simply the responsibility of governments, politicians and peace organisations, but is also a responsibility of educational institutions, appears to be permeating the consciousness of at least a section of the academic community. This was visible on International Peace Day at an event held at Eastern University by the Faculty of Health-Care Sciences. The event was unusual not least because the medical and nursing faculty of the university had decided that peacebuilding was relevant to its academic and professional responsibilities.

Peacebuilding has too often been treated as something undertaken after conflict, when the fighting has stopped and the immediate task is to rebuild relationships between communities. But peace cannot be sustained by governments and peace organisations alone. If it is to become long lasting, the values and practices of peace have to become part of the institutions through which a society educates its younger generations. Universities and other educational institutions are therefore important to peacebuilding. They are among the places where the foundations of a culture of peace can either be built or neglected.

The experience of the Faculty of Health-Care Sciences at Eastern University provides a practical example of what this can mean. Led by its Dean, Prof Thillainathan Sathaananthan, the faculty organised an event which went beyond the ordinary academic scope of a medical faculty. University academics are experts in writing project proposals and applying for research grants. On this occasion, the members of the Faculty of Health-Care Sciences used those skills to apply for a UNESCO grant that they won to conduct an International Peace Day event. The significance lies less in the Rs 200,000 grant than in the decision to use the university’s institutional capacity and resources to invest in peacebuilding. The event at Eastern University needs to be understood as more than a successful university programme. It represents a possible paradigm shift in peace thinking.

Institutional Commitment

The Peace Day event obtained the support of the university administration, including Vice Chancellor Prof P Peratheepan, and reached out to secondary schools in the vicinity to mobilise their attendance. The event itself was meticulously organised. There were cultural items including traditional and modern dance and song in the three languages, performed by combinations of solo, duet and multiple singers, dancers and actors drawn in part from nearby secondary schools. There was a panel discussion by senior academics on the general theme of peacebuilding and how to prepare for it. A discussion among the students followed, where each student spoke on behalf of a religion that was not theirs. This is significant because peacebuilding cannot remain an idea discussed by specialists at conferences. It has to become part of the way institutions educate and prepare people for life in a plural society.

The Faculty of Health-Care Sciences at Eastern University has provided a model through its Peace Medicine course modules that were introduced to the curricular as a compulsory core course over 10 years ago. Two senior academics, Dr Kuveriel Eliyas Karunakaran and Dr Thillainathan Sathaananthan, have written a book on “Peace Medicine- A Health Care Concern” that was published five years ago. Its Peace Medicine Module integrates principles of medical ethics, compassion, equity, social justice and community engagement into health education and practice. In his introduction, former Vice Chancellor of Eastern University, Prof T Jayasingam noted “This book is an introduction to a theme which had already been operating in the Faculty of Health Care Sciences as a course.”

Doctors, nurses and health workers know better than anyone the harm that war and violence does. They are the people who treat the wounds and trauma that violence leaves behind. In a hospital, a patient is not asked what their religion or ethnicity is before they are treated. Health care is one of the places where peace is practised every day. The Faculty has therefore found a way of connecting its professional responsibilities with the wider social responsibility of peacebuilding. The question is whether this experience can be replicated throughout the country, at universities and at other educational institutions, so that peacebuilding becomes part of the consciousness of education itself. If that happens on a sufficient scale, it can begin to generate a culture of peace that becomes increasingly difficult to reverse.

Local Action

The Eastern University event corresponded closely to the United Nations theme for this year’s International Day of Peace, “Invest in Peace – For Everyone, Everywhere, Every Day”, which honours the “everyday architects of peace”, people driving local action, laying the groundwork for stability and building lasting peace from the ground up. The emphasis on investment is important. An investment means that something is put in: time, courage and resources. There is no more violent conflict in Sri Lanka today. But the absence of war does not automatically produce a culture of peace. The factors that fed the country’s conflict have not disappeared from the world. Racism, corruption and the violation of laws and human rights are the raw materials of conflict. So too are unresolved grievances, discrimination and the failure to recognise the suffering of others.

A country that does not deal with its past does not escape it. The past can return in the next generation. This is why the experience of Eastern University needs to be replicated countrywide, both at universities and at other educational institutions. The objective should not be to turn every academic discipline into peace studies. Rather, peacebuilding needs to become part of the consciousness of education itself. Eastern University shows that a medical faculty can develop Peace Medicine. A law faculty can examine the relationship between justice, rights and peace. Faculties of education can prepare teachers to work in diverse communities, while the humanities and social sciences can examine the different narratives through which communities understand their histories. Every institution can find its own way of making peacebuilding relevant to what it teaches.

Sri Lanka has had many declarations, pledges and programmes in the past. What matters is whether these produce changes in behaviour and institutional practice. Peacebuilding requires confronting difficult issues rather than avoiding them. It requires respect for different identities, but also engagement across those identities. It requires dealing with grievances in the present while also addressing unresolved issues from the past. It requires truth, accountability, reparations and guarantees of non-recurrence. It requires people to learn that the rights of another community do not diminish their own rights. The International Peace Day event at Eastern University was evidence of a change in the way at least some academics in a part of the country deeply affected by war are thinking about their responsibilities. Peace needs to be invested in and the most important investment will be in the minds of those who will inherit the future.

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Quality assured education commodities

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by Ahilan Kadirgamar

I have always noticed the little paper tags that are inside the packaging of some products that say quality assured or quality control. I often wonder who might have checked the product and stamped that tag, but I also forget the tag soon enough. Decades later, when I entered academia, I was taken aback by the emphasis placed on quality assurance in our universities. It is not something that could be forgotten and done away with; the entire university system is obsessed with quality assurance.

Beginning with the staff induction programme, quality assurance is drilled into the newly recruited lecturers. It is the norm, not seen as doing any harm and only trying to improve quality. It is accepted as given, and not questioned. Quality Assurance Cells and Committees are omnipresent and hover above the Departments and, at times, even the Faculty Boards. Quality Assurance reviews are feared by the Deans and Vice Chancellors. University life itself seems secondary to the rule of quality assurance. What do we make of this system of quality assurance and what are its implications for our university system?

Corporate speak

Universities globally have been going through major changes with neoliberal education policies. In many countries, universities increasingly became corporatised to be run like businesses in the 1980s. As state support for universities declined, cost cutting became the norm. They started hiring adjunct or part-time staff. Many public non-fee levying universities around the world began to charge fees. Decade by decade, tuition fees became more and more exorbitant, forcing students to take student loans. The total student debt in the United States now stands at close to US$ 2 trillion; which is about 20 times the GDP of Sri Lanka. As the higher education landscape transformed in the West, university administrations began to recruit Presidents, Vice Chancellors and administrative officials with corporate backgrounds and experience.

Such corporatisation of universities in the West has since been imported into countries like Sri Lanka, introducing a new corporate vocabulary, including quality assurance, graduate competencies, programme outcomes, intended learning outcomes, etc. University teaching has become secondary to documenting so-called outcomes. The teacher-student relationship, the environment of the lecture hall and even administering the university have been over-determined by the processes of ensuring quality. How did such major changes come about in such a short time? Indeed, academics of just two generation ago, would never have heard of these terms and processes in the Sri Lankan university system.

World Bank Trojan horse

Since the early 2000s there have been a number of World Bank projects that have drastically changed the character of Sri Lankan universities. Quality assurance as a central agenda within universities, and many other changes to the working of our universities, came through these World Bank initiatives. The Improving Relevance and Quality of Undergraduate Education (IRQUE) project and Higher Education for the 21st Century (HETC) project were two such earlier projects that set up the Quality Assurance and Accreditation Unit (QAAU) under the University Grants Commission (UGC) and established systematic quality assurance reviews for state universities. The public often thinks these are grants from the World Bank to modernise our universities. However, they are not grants but loans.

The most recent such project, Accelerating Higher Education Expansion and Development (AHEAD) is a US$ 100 million loan from the World Bank implemented from 2018 to 2023, which consolidated the quality assurance structures from the earlier projects. Furthermore, these projects are implemented with tremendous arrogance, prioritising their implementation over all other concerns in the universities, when the project over six years for example accounts for just one fourth of our budget allocation for universities this year.

The AHEAD project drastically changed course curricula, sought to increase student enrolment in science, technology, engineering, mathematics (STEM) disciplines, commercialise the university research agenda and create university-business linkages. All of this was pushed to supposedly help us face development challenges. We have heard the ideological attack on our universities and even students claiming they are “unemployable graduates”. These changes to our higher education system were supposedly going to create jobs and increase employment.

The irony of the AHEAD project is that just as it was ending in 2023, apparently after having reached its targets, the Sri Lankan economy was collapsing. The World Bank often gets the direction of causality wrong. It is the economy that creates jobs for graduates, and not the training or kind of graduates that create jobs. It is decades of World Bank policies, and those of its ideological twin the IMF, that have led to such high youth unemployment, not only in Sri Lanka but also in many other countries in the global South.

Sri Lanka entered an IMF agreement in March 2023 and started a new Country Partnership Framework with the World Bank in June 2023. These programmes have little to say about, and actively discourage, government initiatives that aim to create an industrial policy or an employment creation policy. Instead, they push for austerity measures, which not only restrict the allocation for education among other sectors, but also end up contracting the economy to the detriment of increasing employment. Their goal is the commercialisation of higher education, to make universities into businesses and run them like factories.

In this context, the ideology of quality assurance is powerful. The International Organisation for Standardisation (ISO), whose different standards are necessary for marketing, is the institution that came up with the concept of “quality assurance”. It promoted quality assurance as a process of identifying defected products. Therefore, when the World Bank promotes this conceptual framing, our students are, in fact, seen as products on the assembly line, with quality assurance processes aiming to prevent the release of defected products from the university system. For the US$ 100 million we borrowed for the AHEAD project and the many more million dollars in similar World Bank projects, there is no evidence of increased employment of graduates.

Commodity fetishism

Over a century and a half ago, Karl Marx critiqued the economic analysis prevalent at that time that associated some inherent or monetary value for commodities without considering the social relations that underlie the production of those commodities. Marx called this commodity fetishism. Furthermore, he theorised that such commodity fetishism was also a reason for the alienation of human beings from the world. If our labour and what we produce is seen devoid of the social relations that underlie them, we lose our connection with the people and the world. In this process we become alienated from what we produce and the world.

We are now in a world where our students themselves are fetishised as commodities for the market. Universities are no longer communities concerned about knowledge and human growth, but mere factories producing commodities, which have to be produced without defects to be marketed. In this way, quality assurance has become the cause for the alienation of students, academics and our universities themselves, from the larger relationship with our economy and society.

Our university system does need reform. It is grossly underfunded and not providing the financial support and facilities for our students. Universities have become hierarchical spaces without the academic freedom and democratic ethos necessary for producing knowledge. Academics and students need to engage more with their communities to make their learning and research meaningful, not to mention their contribution to and integration with society. However, when it comes to even questions of governance and regulation of the universities, such concerns are merely reduced to improving quality. In our contemporary times, this singular focus on quality assurance, as opposed to addressing the larger structural issues, is crippling our universities. There may be no way out, but to put back quality assurance where it started, those little tags on goods, to perhaps be noticed but quickly forgotten.

Ahilan Kadirgamar is a political economist and Senior Lecturer, University of Jaffna.

(Kuppi is a politics and pedagogy happening on the margins of the lecture hall that parodies, subverts, and simultaneously reaffirms social hierarchies)

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Thailand’s biggest new global star …

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The entertainment scene, globally, is agog with excitement, and, why not!

Yes, a new global star has emerged … from Thailand, and she hit the headlines by winning America’s Got Talent.

Rattikarn Amloy, known to millions by her stage name Nene Royal, was crowned the winner of America’s Got Talent (AGT) Season 21 at the live finale at Pasadena Civic Auditorium, California, taking home the USD 1 million grand prize.

The 16-year-old rocker, from the holiday island of Phuket (I’ve been to Phuket, courtesy Tourism Authority of Thailand), has struck a power chord around the world, and is the first Thai national ever to win the hit NBC show.

She beat nine other finalists, including runner-up magician Geno Ploeger, after a blistering final performance.

Nene’s story is pure rock and roll fairy-tale. She says she picked up a guitar at age seven, fell in love at the first chord, and taught herself mostly by watching videos online. That dedication earned her a music scholarship to Kajonkiet International School Phuket.

Her audition at America’s Got Talent — a swaggering, shredding rendition of The Cranberries’ classic ‘Zombie’ — exploded online, amassing over 200 million views across AGT’s platforms, more than any act this season.

She kept wowing: ‘Hysteria’ by Muse, then ‘Black Hole Sun’ by Soundgarden which earned her Spice Girl Mel B’s Golden Buzzer, sending her straight to the live shows.

For the final, she unleashed ‘Seven Nation Army’ by The White Stripes. Judge Howie Mandel shouted: “You should win. Give her the million, America.” Mel B praised her “mysterious, mystical stage presence”.

And for the grand finale, she lived every teen rocker’s dream — performing on stage, alongside US rock giants Linkin Park.

When host Terry Crews announced her as winner, the teenager collapsed to the stage floor in tears. “I’m very happy and you know I’m emotional right now,” she said.

And Thailand erupted. Her school held watch parties, posting: “You did it, congratulations, champion. We are so proud of you.”

Even Prime Minister Anutin Charnvirakul sent a personal congratulation. He had earlier hosted Nene at Government House in July, where she played guitar while he sang a Thai rock song. His office said her talent “brought pride to Thai people.”

Corporate Thailand also rallied behind her — Charoen Pokphand Foods, owned by billionaire Dhanin Chearavanont, even rented a giant billboard in Times Square, New York, to cheer her on.

With her blistering guitar solos, rock-ballad shrieks and fearless spirit, little Nene Royal has just become Thailand’s biggest new global star.

What’s more, this amazing teenager will be bringing her powerful vocals, guitar skills and signature rock-metal style to the stage, as opening act, before one of the world’s biggest rock bands, America’s Avenged Sevenfold, in Singapore, on 13 October.

Unfortunately, we are still to see a local artiste, grab the spotlight, on a global scale … like Thailand’s Nene.

Yes, they do shine, but mostly on social media, and that, too, with the aid of AI (Artificial Intellegence).

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