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Revolutionising actor training through indigenous corporeal arts

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By Sajitha Prematunge

The various thuds, groans and gasps begged the question, were the participants insured? Apparently not, according to the AHEAD project team, lead by University of Visual and Performing Arts, Faculty of Dance and Drama, Professor in Theatre and Drama, Dr. Saumya Liyanage. The training takes place three days per week and make no mistake, Angampora is harder than it looks. But it is not life threatening if trained by a professional Master, assured Liyanage.

Accelerating Higher Education Expansion and Development (AHEAD) is a World Bank funded government initiative aimed at supporting the higher education sector with the Ministry of Education and Higher Education as the implementing agency and the University Grants Commission (UGC) coordinating the activities in the universities.

“The objective of AHEAD is to develop IT skills, English language proficiency as well as innovation and research in the government university sector,” informed Liyanage. The programme provides funding under three key areas, one being development-oriented research, under which Liyanage’s research project proposal titled ”Lamp in a windless place’: Developing an Actor Training Methodology through Sri Lankan Combative Art Forms’ was selected for funding. The project explores the effectiveness of actor training through Angampora.

Liyanage explained that while Europeans are more explorative and there exists an intercultural discussion on performer training traditions, the potential of indigenous martial arts in developing an actor training methodology had not been explored at length before Phillip Zarrilli’s research. Liyanage was influenced by Exeter University, UK Professor Zarrilli’s research. Having met and worked with him, during an actor training workshop in India, Zarrilli’s work inspired the conception of Liyanage’s project. “Zarrilli developed an actor training methodology using Kerala-based form of martial arts, Kalaripayattu.” “But this is the first time the potential of Angampora, as a Sri Lankan combative art form, is being explored in terms of actor training,” said Hillary.

 

Funding

Lead academic expert of AHEAD Operation, Prof Thusitha Abeytunga and World Bank lead economist, Dr. Harsha Aturupane has been of immense support to them. “It takes a lot of effort, on their side, to appreciate the significance of this project, particularly from an economic perspective,” said Hillary. “Providing financial support to actor training research is an alien concept even for them,” confessed Liyanage. He said that he is grateful that his project is one of few from Humanities funded by AHEAD.

“The funding is provided as a soft loan, meaning the government has to pay it back eventually. But in essence, it is the public who has to bear the cost,” said Liyanage, pointing out that it is imperative that the public knows that they are paying for a good cause. “Contrary to popular belief that they are stagnating, universities actually do good work. For example, we produce academic papers quite frequently, but the general public is not exposed to them, simply because they are subject specific papers.”

The 10 million grant, offered for a period of three years, is being put to good use. The academic aspect of the project requires actual research work to be undertaken. “It makes for a healthy blend of academic exploration and practice,” said Liyanage. Consequently, much of the first year was spent on research and development of two MPhil degrees. Liyanage, Team Member, Natasha Hillary and the research assistants write academic papers while training takes place simultaneously. “Because it is only with the justification through academic writing, a qualitative method of evaluation, can we prove the objective or the outcome of the project,” said Hillary. Institute of Arts Barcelona, Spain has agreed to allocate the next issue of their journal to the project. Liyanage opined that developing new theory is an integral part of the project. “Later we would focus on developing an actor training methodology in a laboratory setting.”

In the second year an actor training laboratory was established within the university. “But we have not yet been able to make full use of it, because the university is currently off limits due to the prevailing pandemic situation,” admitted Liyanage. Hillary explained that the World Bank usually funds research projects and development of university infrastructure. “Such as the actor training laboratory, which the university was much in need of.” She explained that securing funding and actually keeping the project on par with other World Bank funded projects was no cake-walk. “They have a strict monitoring mechanism and we are expected to achieve Key Performance Indicators, within the project structure, that varies from academic papers, research problems to presentations at international symposia or conferences.”

According to Hillary University Business Linkages acts as a business partner to the project. “For example if the project achieves the results we hope it would it qualifies for a patent, where in a new course can be introduced, enabling actors to apply and learn this form of martial arts during their studies at the university.” She pointed out that students have hardly any opportunity to be exposed to such martial arts, within the university curriculum. “But if the project becomes a success it can even be converted to an internship,” informed Hillary.

Liyanage explained that although the university system produces quality graduates, there is no vibrant industry to absorb them, compared to countries like India. “The issue is that we have a small television industry, theatre is almost negligible and film industry is stagnant.” Liyanage explained that they are striving to produce high quality graduates to improve the industry, by honing their language skills, soft skills and IT skills.

 

Acting and martial arts

“Perfection of any martial arts requires discipline,” said Liyanage. “It is a very corporeal teaching methodology based on a traditional master-disciple relationship.” The basic principle is imitation of the master and imitation is a form of acting, explained Liyanage. “Attentiveness is essential in both mastering a form of martial arts and in acting. The presence of an actor is another key element in performing,” explained Liyanage. “It’s not mere personality, an actor’s presence is something else entirely. Just being in front of the camera or on stage, conveys a message and can count as presence.”

Training in martial arts also prepares an actor psychophysically, explained Liyanage. Liyanage points out that martial arts such as Angampora trains both body and mind simultaneously. “In fact, in the west there is a clear demarcation between mind and matter. This is a philosophical problem. However, in major Asian corporeal arts there is no distinction between mind and body. Philosophically, Angampora also reflects this unity of the body-mind.” Liyanage believes that this can be adapted as a philosophical base for actor training, as psychophysical actor training focuses on the body-mind functionality of the actor.

In fact, how the psychophysical approaches of ancient martial arts can be incorporated into actor training is what initially attracted Research Assistant, Lyudmyla Honcharova to the project. Honcharova admitted that she had always been attracted to martial arts. Honcharova observed that her training is more mentally challenging that it is physically so. “What constraints us is really a construct of the mind. Your body can take it, but your mind holds you back. But the master coaxes the students into pushing those psychological boundaries, to overcome your fears. This in the long run, builds self confidence.” Honcharova explained that if an actor is unsure of him or herself and hesitate on stage or set, it does not make the acting plausible. “The audience will see right through it. To become the character you portray, to become someone else, first you have to know yourself.”

Honcharova opined that the well-being of actors is something often ignored in traditional actor training. “Acting as a profession is both mentally and physically very rigorous. So it’s important that you know how to transit from your daily life to your stage life. A gap in actor training is that this is not taught.” Honcharova explained that, in contrast, martial arts have a solid structure, with warmups, the main session and the cooling down. “Angampora is not just about fighting, but about healing and both physical and mental well-being. Martial arts teaches you how to take care of your body, how to treat injury. It is specially based on Ayurvedic practices, capable of treating many ailments.”

Honcharova opined that Angampora helps one connect with the surrounding environment better and facilitates smoother energy flow, while also allowing one to concentrate on the different parts of the body. “The Angampora sessions start with meditation and it really helps to focus. In martial arts focus is vital, because you need to be able to foresee your opponent’s moves and you need to be observant and attentive. All these translate well into acting, since acting also involves multitasking in the form of interacting with other actors on stage, audience and delivering dialogue.” Honcharova explained that in both martial arts and acting the body becomes the main instrument. “So, although the two seems mutually exclusive, they are in fact mutually beneficial,” argued Honcharova.

Thilakshini Ratnayake, who has been engaged in theatre for over 10 years and have acted in several teledramas and films, is no stranger to acting. Ratnayake had acted in Vishama Bhaga, Silence in the Courts, Let Her Cry and Koombiyo, with two more movies in the pipeline. Her latest project is her role as Sulo in Thanamalvila Kollek. Ratnayake graduated with a Bachelor of Information Technology – external (BIT) from the Colombo University in 2010. Later she switched to Theatre Studies at the University of Visual and Performing Arts. Is is currently reading for her level II diploma in Drama and Theatre Studies at Trinity College London.

Ratnayake has attempted to apply what she had learned through the AHEAD project to her acting. Ratnayake pointed out that Angampora demands focus and coordination. “My focus and coordination between mind and body has improved. Movement needs to be coordinated, precise, purposeful and you have to be able to imagine your opponent. That’s very much like acting. When you act you may not have props or the other actors around, so a vivid imagination helps.” Consequently, the two can be mutually beneficial, opined Ratnayake. She admits that the training has heightened her focus and bodily awareness.

An injury deters Ratnayake from taking physical risks. But with the training she received from the AHEAD project, she has learned to relax and be more receptive to reactions from other actors and input from the director. “This kind of training also trains you to respect your body. My eating habits have gotten healthier and I’m more disciplined since I started training.” Ratnayake has learned to maintain a strict regimen in terms of physical health, eating right and getting regular hours of sleep. “I feel responsible for my body.”

Angampora is his forefathers legacy to Guru Karunapala, their Angampora master. Both his paternal and maternal grandfathers were Angampora masters of the Kotte tradition. Karunapala took up Angampora at the tender age of six. By the end of his studies he had become such a formidable Angampora fighter that he could kill a man with a newspaper, in quite the literal sense. He also perfected the art of using pressure points in combat and learned indigenous medicine for various ailments.

Karunapala had a tough training regimen, climbing arecanut trees in the rain and training ‘geta poottu’, different types moves or knots using one’s own limbs, in muddy paddy fields. A fully grown person can be incapacitated by tying him or her up with his or her own limbs, informed Karunapala. In fact, he said that a mere jerk of the opponent’s arm or pressing the right pressure point can nearly incapacitate an opponent for an extended period of time. “So you wouldn’t have to resort to killing.”

According to Karunapala, Angampora employs few of the oldest forms of physical exercise, such as locking one in a dandukanda (a pillory-like device). “This particular form of exercise strengthens the back and those who practice it will never hunch even at the age of 80 or 90.” While he was training he was required to do certain stretching exercises in the confines of a well. “It was called a ‘ling gete.’ Such exercises condition and strengthen the body.” Making one able to fight while standing on one foot. For most it’s nearly impossible to lift 100 pounds. But due to Karunapala’s rigorous weight lifting exercises, he can easily lift 350 pounds despite his 80 years. “In weights training, you are expected to lift other people, and the weight is increased daily, gradually.” Karunapala informed that certain breathing techniques are also employed in weight training. “When you have trained properly you can lift a fully grown cow without breaking a sweat.”

He explained that most of the Angampora moves are based on animal behaviour and certain moves are not taught because they are simply too dangerous. In fact, after mastering several of the styles Karunapala graduated only after vowing, standing neck deep in water with seven pots of milk on his head, never to use the moves to another’s detriment. He went back on his oath only once when he incapacitated 18 LTTE cadres single-handed. But this was a transparent matter of self defence.

“In all there are 64 styles. For example, the mantis is a harmless insect, but the Angampora style based on the mantis can be deadly.” The ‘Polu Sellama’ or fighting using staffs is based on deer fights using antlers. The ‘pimburu gete’ is based on pythons’ flexibility. The leopard and bear styles are some other such examples. “All these styles are slowly dying now,” said Karunapala, because some masters failed to pass the teachings onto the next generation. “Besides, people are too caught up in their economic strife, trying to make ends meet, than to take up something such as Angampora.”

 

Pics by Thushara Athapaththu

 


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Cricket and the National Interest

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The appointment of former minister Eran Wickremaratne to chair the Sri Lanka Cricket Transformation Committee is significant for more than the future of cricket. It signals a possible shift in the culture of governance even as it offers Sri Lankan cricket a fighting possibility to get out of the doldrums of failure. There have been glorious patches for the national cricket team since the epochal 1996 World Cup triumph. But these patches of brightness have been few and far between and virtually non-existent over the past decade. At the centre of this disaster has been the failures of governance within Sri Lanka Cricket which are not unlike the larger failures of governance within the country itself. The appointment of a new reform oriented committee therefore carries significance beyond cricket. It reflects the wider challenge facing the country which is to restore trust in public institutions for better management.

The appointment of Eran Wickremaratne brings a professional administrator with a proven track record into the cricket arena. He has several strengths that many of his immediate predecessors lacked. Before the ascent of the present government leadership to positions of power, Eran Wickremaratne was among the handful of government ministers who did not have allegations of corruption attached to their names. His reputation for financial professionalism and integrity has remained intact over many years in public life. With him in the Cricket Transformation Committee are also respected former cricketers Kumar Sangakkara, Roshan Mahanama and Sidath Wettimuny together with professionals from legal and business backgrounds. They have been tasked with introducing structural reforms and improving transparency and accountability within cricket administration.

A second reason for this appointment to be significant is that this is possibly the first occasion on which the NPP government has reached out to someone associated with the opposition to obtain assistance in an area of national importance. The commitment to bipartisanship has been a constant demand from politically non-partisan civic groups and political analysts. They have voiced the opinion that the government needs to be more inclusive in its choice of appointments to decision making authorities. The NPP government’s practice so far has largely been to limit appointments to those within the ruling party or those considered loyalists even at the cost of proven expertise. The government’s decision in this case therefore marks a potentially important departure.

National Interest

There are areas of public life where national interest should transcend party divisions and cricket, beloved of the people, is one of them. Sri Lanka cannot afford to continue treating every institution as an arena for political competition when institutions themselves are in crisis and public confidence has become fragile. It is therefore unfortunate that when the government has moved positively in the direction of drawing on expertise from outside its own ranks there should be a negative response from sections of the opposition. This is indicative of the absence of a culture of bipartisanship even on issues that concern the national interest. The SJB, of which the newly appointed cricket committee chairman was a member objected on the grounds that politicians should not hold positions in sports administration and asked him to resign from the party. There is a need to recognise the distinction between partisan political control and the temporary use of experienced administrators to carry out reform and institutional restructuring. In other countries those in politics often join academia and civil society on a temporary basis and vice versa.

More disturbing has been the insidious campaign carried out against the new cricket committee and its chairman on the grounds of religious affiliation. This is an unacceptable denial of the reality that Sri Lanka is a plural, multi ethnic and multi religious society. The interim committee reflects this diversity to a reasonable extent. The country’s long history of ethnic conflict should have taught all political actors the dangers of mobilising communal prejudice for short term political gain. Sri Lanka paid a very heavy price for decades of mistrust and division. It would be tragic if even cricket administration became another arena for communal suspicion and hostility. The present government represents an important departure from the sectarian rhetoric that was employed by previous governments. They have repeatedly pledged to protect the equal rights of all citizens and not permit discrimination or extremism in any form.

The recent international peace march in Sri Lanka led by the Venerable Bhikkhu Thich Paññākāra from Vietnam with its message of loving kindness and mindfulness to all resonated strongly with the masses of people as seen by the crowds who thronged the roadsides to obtain blessings and show respect. This message stands in contrast to the sectarian resentment manifested by those who seek to use the cricket appointments as a weapon to attack the government at the present time. The challenges before the Sri Lanka Cricket Transformation Committee parallel the larger challenges before the government in developing the national economy and respecting ethnic and religious diversity. Plugging the leaks and restoring systems will take time and effort. It cannot be done overnight and it cannot succeed without public patience and support.

New Recognition

There is also a need for realism. The appointment of Eran Wickremaratne and the new committee does not guarantee success. Reforming deeply flawed institutions is always difficult. Besides, Sri Lanka is a small country with a relatively small population compared to many other cricket playing nations. It is also a country still recovering from the economic breakdown of 2022 which pushed the majority of people into hardship and severely weakened public institutions. The country continues to face unprecedented challenges including the damage caused by Cyclone Ditwah and the wider global economic uncertainties linked to conflict in the Middle East. Under these difficult circumstances Sri Lanka has fewer resources than many larger countries to devote to both cricket and economic development.

When resources are scarce they cannot be wasted through corruption or incompetence. Drawing upon the strengths of all those who are competent for the tasks at hand regardless of party affiliation or ethnic or religious identity is necessary if improvement is to come sooner rather than later. The burden of rebuilding the country cannot rest only on the government. The crisis facing the country is too deep for any single party or government to solve alone. National recovery requires capable individuals from across society and from different sectors such as business and civil society to work together in areas where the national interest transcends party politics. There is also a responsibility on opposition political parties to support initiatives that are politically neutral and genuinely in the national interest. Not every issue needs to become a partisan battle.

Sri Lanka cricket occupies a special place in the national consciousness. At its best it once united the country and gave Sri Lankans a sense of pride and international recognition. Restoring integrity and professionalism to cricket administration can therefore become part of the larger task of national renewal. The appointment of Eran Wickremaratne and the new committee, while it does not guarantee success, is a sign that the political leadership and people of the country may be beginning to mature in their approach to governance. In recognising the need for competence, integrity and bipartisan cooperation and extending it beyond cricket into other areas of national life, Sri Lanka may find the way towards more stable and successful governance..

by Jehan Perera

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From Dhaka to Sri Lanka, three wheels that drive our economies

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Court vacation this year came with an unexpected lesson, not from a courtroom but from the streets of Dhaka — a city that moves, quite literally, on three wheels.

Above the traffic, a modern metro line glides past concrete pillars and crowded rooftops. It is efficient, clean and frequently cited as a symbol of progress in Bangladesh. For a visitor from Sri Lanka, it inevitably brings to mind our own abandoned light rail plans — a project debated, politicised and ultimately set aside.

But Dhaka’s real story is not in the air. It is on the ground.

Beneath the elevated tracks, the streets belong to three-wheelers. Known locally as CNGs, they cluster at junctions, line the edges of markets and pour into narrow roads that larger vehicles avoid. Even with a functioning rail system, these three-wheelers remain the city’s most dependable form of everyday transport.

Within hours of arriving, their importance becomes obvious. The train may take you across the city, but the journey does not end there. The last mile — often the most complicated part — belongs entirely to the three-wheeler. It is the vehicle that gets you home, to a meeting or simply through streets that no bus route properly serves.

There is a rhythm to using them. A destination is mentioned, a price is suggested and a brief negotiation follows. Then the ride begins, edging into traffic that feels permanently compressed. Drivers move with instinct, adjusting routes and squeezing through gaps with a confidence built over years.

It is not polished. But it works.

And that is where the comparison with Sri Lanka becomes less about what we lack and more about what we already have.

Back home, the three-wheeler has long been part of daily life — so familiar that it is often discussed only in terms of its problems. There are frequent complaints about fares, refusals or the absence of meters. More recently, the industry itself has become entangled in politics — from fuel subsidies to regulatory debates, from election-time promises to periodic crackdowns.

In that process, the conversation has shifted. The three-wheeler is often treated as a problem to be managed, rather than a service to be strengthened.

Yet, seen through the experience of Dhaka, Sri Lanka’s system begins to look far more settled — and, in many ways, ahead.

There is a growing structure in place. Meters, while not perfect, are widely recognised. Ride-hailing apps have added transparency and reduced uncertainty for passengers. There are clearer expectations on both sides — driver and commuter alike. Even small details, such as designated parking areas in parts of Colombo or the increasing standard of vehicles, point to an industry slowly moving towards professionalism.

Just as importantly, there is a human element that remains intact.

In Sri Lanka, a three-wheeler ride is rarely just a transaction. Drivers talk. They offer directions, comment on the day’s news, or share local knowledge. The ride becomes part of the social fabric, not just a means of getting from one point to another.

In Dhaka, the scale of the city leaves less room for that. The interaction is quicker, more direct, shaped by urgency. The service is essential, but it is under constant pressure.

What stands out, across both countries, is that the three-wheeler is not a temporary or outdated mode of transport. It is a necessity in dense, fast-growing Asian cities — one that fills gaps no rail or bus system can fully address.

Large infrastructure projects, like light rail, are important. They bring efficiency and long-term capacity. But they cannot replace the flexibility of a three-wheeler. They cannot reach into narrow streets, respond instantly to demand or provide that crucial last-mile connection.

That is why, even in a city that has invested heavily in modern rail, Dhaka still runs on three wheels.

For Sri Lanka, the lesson is not simply about what could have been built, but about what should be better managed and valued.

The three-wheeler industry does not need to be politicised at every turn. It needs steady regulation — clear fare systems, proper licensing, safety standards — alongside encouragement and recognition. It needs to be seen as part of the solution to urban transport, not as a side issue.

Because for thousands of drivers, it is a livelihood. And for millions of passengers, it is the most immediate and reliable form of mobility.

The tuk-tuk may not feature in grand policy speeches or infrastructure blueprints. It does not run on elevated tracks or attract international attention. But on the ground, where daily life unfolds, it continues to do what larger systems often struggle to do — show up, adapt and keep moving.

And after watching Dhaka’s streets — crowded, relentless, yet functioning — that small, three-wheeled vehicle feels less like something to argue over and more like something to get right.

(The writer is an Attorney-at-Law with over a decade of experience specialising in civil law, a former Board Member of the Office of Missing Persons and a former Legal Director of the Central Cultural Fund. He holds an LLM in International Business Law)

 

by Sampath Perera recently in Dhaka, Bangladesh 

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Dubai scene … opening up

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Seven Notes: Operating in Dubai

According to reports coming my way, the entertainment scene, in Dubai, is very much opening up, and buzzing again!

After a quieter few months, May is packed with entertainment and the whole scene, they say, is shifting back into full swing.

The Seven Notes band, made up of Sri Lankans, based in Dubai, are back in the spotlight, after a short hiatus, due to the ongoing Middle East problems.

On 18th April they did Legends Night at Mercure Hotel Dubai Barsha Heights; on Thursday, 9th May, they will be at the Sports Bar of the Mercure Hotel for 70s/80s Retro Night; on 6th June, they will be at Al Jadaf Dubai to provide the music for Sandun Perera live in concert … and with more dates to follow.

These events are expected to showcase the band’s evolving sound, tighter stage coordination, and stronger audience engagement.

With each performance, the band aims to refine its identity and build a loyal following within Dubai’s vibrant nightlife and event scene.

Pasindu Umayanga: The group’s new vocalist

What makes Seven Notes standout is their versatility which has made the band a dynamic and promising act.

With a growing performance calendar, new talent integration, and international ambitions, the band is definitely entering a defining phase of its journey.

Dubai’s music industry, I’m told, thrives on diversity, energy, and audience connection, with live bands playing a crucial role in elevating events—from corporate shows to private concerts. Against this backdrop, Seven Notes is positioning itself not just as another band, but as a performance-driven musical unit focused on consistency and growth.

Adding fresh momentum to the group is Pasindu Umayanga who joins Seven Notes as their new vocalist. This move signals a strategic upgrade—not just filling a role, but strengthening the band’s front-line presence.

Looking beyond local stages, Seven Notes is preparing for an international tour, to Korea, in July.

Bassist Niluk Uswaththa: Spokesperson for Seven Notes

According to bassist Niluk Uswaththa, taking a band abroad means: Your sound must hold up against unfamiliar audiences, your performance must translate beyond language, and your discipline must be at a professional level.

“If executed well, this tour could redefine Seven Notes from a local band into an emerging international act,” added Niluk.

He went on to say that Dubai is not an easy market. It’s saturated with highly experienced, multi-genre bands that can adapt instantly to any crowd.

“To stand out consistently you need to have tight rehearsal discipline, unique sound identity (not just covers), strong stage chemistry, audience retention – not just applause.”

No doubt, Seven Notes is entering a critical growth phase—new member, multiple shows, and an international tour on the horizon. The opportunity is real, but so is the pressure.

However, there is talk that Seven Notes will soon be a recognised name in the regional music scene.

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