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Rice morning , noon ,and night in Sri Lanka

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By Zinara Rathnayake

My mother is a good cook. My father is just slightly better. That’s how my younger sister would always describe my parents’ food. She’s right. My mother cooked delicious curries. But my father cooked the food we hold dear.My father grew up in Nabiriththawewa, a small village in Kurunegala.

Unlike his two older brothers who were more interested in going out with their friends, my father accompanied my grandfather to every village wedding. From what I could gather, my grandfather was the chef at every function in the village. He had cooked to feed hundreds.

“I followed him like a thread follows the needle. That’s how I learned to cook,” my father would say.

Although I wish I had met him, I never saw my grandfather, he was already a distant memory when I came to this world.When I was eight years old, my family lived in a small house by the rice fields in my father’s village. My father worked a tedious office job, commuting for hours on a passenger train every day.But when he was home, he would spend time doing two things: gardening and cooking.My father lived a frugal life so he could build a secure future for his two daughters.

He was also a frugal cook, making use of every ingredient so nothing in his kitchen ended up in the waste pit. He mastered the art of delicious snacks, like bath aggala, a Sri Lankan sweet he makes using coconut and leftover rice and that marked our teatime ritual growing up. In Sinhala, aggala are sweet ball-shaped snacks and bath is cooked rice.

At home, teatime was when I cycled home through the rice paddies from the neighbours’ to find my little sister still in her bright sequined nursery dress with her colouring books. Outside, kids would be flying kites as men worked in the fields and women in colourful headwraps reaped golden-yellow paddy with their sharp sickles.

My mother, who was a government school teacher, would be just getting up from her afternoon nap to make tea with powdered milk for us.During the week, teatime meant a cup of tea with a packet of biscuits or a loaf of white bread to dip. But on the weekends, it was my father’s bath aggala, eaten as we sat on the verandah watching the world. Sometimes, my parents would tell us about their childhood. Or we would just watch colonies of bats dart across the evening sky as night fell, and giggle over something my little sister said.

As I look back on those teatimes spent at home, I miss the sounds and colours of those evenings that held us together, and the taste of my father’s bath aggala.It is only now that I understand that, for my father, bath aggala was more than sweet rice balls he made for his family. For him, it was making the most of rice: a grain beloved to him and all Sri Lankans.

The beloved grain

“Udetath bath, dawaltath bath, retath bath”

is a popular Sinhala saying that means “Rice for the morning, afternoon, and night.”

Nothing reflects the essence of my island and people better than that. Rice is not only the main staple for Sri Lankans, it’s more than that.In island kitchens, rice boils every day in clay pots over firewood or steams in electric rice cookers. A pot of steamed rice dominates our tables often, paired with other dishes and condiments. When rice is not cooked this way for breakfast or dinner, another rice-based food blesses our empty plates.

It could be kiribath, a sticky blend of rice and coconut milk eaten for breakfast. Or rice flour is used to make idi appa or idiyappam, discs of steamed thin noodles. Or appa or appam, bowl-shaped snacks with crispy edges and fluffy centres. Or dosa, thin, crisp flatbreads made with a fermented rice-lentil mix. Or levariya, sweet-savoury pockets of rice noodles filled with caramelised coconut.

We use soaked, ground rice to prepare sweetmeats for our New Year every April and when guests come over, we cook rice with aromatics like curry leaves and cinnamon and garnish it with crunchy cashews to prepare golden kaha bath.

When food is scarce, families soak leftover rice to eat in the morning with kiri hodi, a turmeric-infused coconut gravy soured with lime. This modest meal was my father’s favourite breakfast, paired with fresh green chilli.

Rice feeds us, builds us, and shapes us in many ways. This humble grain that thrives in the mud holds a place in every Sri Lankan meal and has crept into every nook and cranny of our society.Rice has a large share of the island’s agriculture, frames its economy, and unpacks our history. And our love for it has given birth to a host of flavourful dishes.I learned how rice grew when we moved to our father’s village. Paddy – the word for the plant and the grain before removing the hull – flourished in the fields thanks to the farmers toiling in the sun.

My father grew paddy in a small field inherited from his parents, which grew enough rice for us. While he readied the field, I would run behind him, getting my feet muddy. Once or twice, I helped him plant seedlings.The earliest stone carving of paddy cultivation in Sri Lanka dates back to 939-940 AD, says Professor Buddhi Marambe, who specialises in weed science and food security. Ancient Sri Lankan rulers built reservoirs to harness rainwater while people developed and preserved rice varieties for more than 3,000 years.

But when the island was colonised by the British in 1815, cash crops like tea and rubber were imposed on farmers to make money for the colonisers. British propaganda campaigns also encouraged people to replace rice with wheat in their diet. “By the 1940s, Sri Lanka had to import 60 percent of the rice needed for the country’s meagre six million population,” says Marambe.In the following decades, refined wheat flour and white bread rose in popularity while native rice was replaced by high-yield varieties to sustain the growing population – varieties that needed chemical fertilisers and pesticides.

In 2020, there was enough locally produced rice to feed Sri Lanka’s population of 21 million, Marambe says. But the then-government abruptly banned synthetic fertilisers in April 2021, forcing farmers to turn to organic fertilisers they were not used to. Farmers lost their harvest, and many deserted their rice fields.

By the time the ban was lifted in November last year, Sri Lanka did not have enough foreign currency to import chemical fertilisers and pesticides. The hard currency shortage also resulted in a fuel crisis, and farmers have to pay more now for reaping and threshing machines.

“Most people [in our village] are abandoning their fields now,” my mother said when I rang her recently. “The machine is charging 240 rupees [$0.66] per minute. They can’t afford it.”

Sri Lanka’s future rice production now depends on a crippled economy and tentative foreign loans that may or may not come.In the past, leftover rice was considered “poor man’s food”, so people stopped eating foods like diya bath (fermented rice porridge with coconut milk) for breakfast, reaching for refined white bread slathered in preservative-laden bottled jam instead.

But, in June, food inflation was more than 60 percent in Sri Lanka and has since kept climbing. Prices soar daily, and most low-income families eat just one or two meals a day. As people rethink their food choices, frugal cooking has made a comeback.

My parents no longer buy biscuits or white bread. A packet of biscuits that cost 200 Sri Lankan rupees ($0.55) a week ago is now 600 rupees ($1.65). “Who would pay that much for biscuits,” my mother said. She wants me to bring her some from India, where I’m currently travelling.My father makes bath aggala more often now. It’s a dish he learned to make by watching his parents and older sisters, he told me recently on the phone.

When my father was a teenager, Sri Lanka was battling drought and an economic crisis in the 1970s. Even though his family had land to grow rice, there wasn’t enough water. So my grandparents made the most of what was available.

“They told us never to throw away rice, not even a single grain of it,” my father said. “When I saw a little boy digging in a dustbin for food at school, I realised what it means to have food on the table.”

Rice and coconuts

I don’t remember us ever buying rice. Even when I left home to live in Colombo, my parents would visit me with tightly packed grocery bags of rice from my father’s fields. But recently when I called home, my mother said she might have to buy rice for the first time in her life.

“The [threshing] machine will only come if we give them diesel,” my mother said. “And we can’t get diesel.”

Many families in the village are now eating diya bath in the morning, my mother said.

Making diya bath involves a few steps if you, like my father, want to eat it hot. Many people eat diya bath cold, which is faster.

If there is rice left over after dinner, my father soaks it in water, letting it soak overnight and draining it the next morning. Then he heats up the coconut milk in a pot, adds dried red chilli, curry leaves, onion, salt, half a teaspoon of turmeric powder, and Maldive fish flakes (dried, cured tuna fish), and lets it simmer.

For sourness, he squeezes in half a lime or adds a few pods of dark brown sun-dried tamarind. (This concoction alone is called kiri hodi). When it’s ready, my father pours it, piping hot, onto a bowl of rice and eats it with fresh green chilli and, sometimes, fried dried fish.

Cold diya bath

is a no-cook meal: mix two cups of coconut milk with one cup of soaked rice. Then add thinly-sliced red onion, two tablespoons of lime juice, three-four roasted dried red chillies, one teaspoon of grated Maldive fish, and salt to taste. If you like it sourer, squeeze in some more lime juice.

Some people like fresh green chilli instead of dried red chilli. Maldive fish is optional, but it adds a nice umami punch. Many elders believe that diya bath, with its fermented rice and coconut milk, cools the body and prevents heartburn.

Speaking of coconut milk, when I make diya bath, I reach for coconut milk that comes in sealed cardboard containers but my parents have never bought coconut milk in their life, they make it. My father plucks coconuts from our garden, removes the fibrous outer husk, halves the nut, and scrapes it with a hiramanaya – a traditional grater with a wooden seat for the person to sit while grating. He mixes the grated coconut with water, squeezing it several times with his hands to make coconut milk.

Making coconut milk is laborious, but my parents still do it. If rice is our staple, coconut is its mate. It thickens our curries, binds our sambals, flavours our foods, and balances meals with healthy fats. Coconuts also make our condiments richer to pair with humble rice.

More than aggala

While people usually boil fresh rice for aggala, my father soaks leftover rice to make sugary, coconutty balls with a slight crunch. For him, bath aggala is food security. It is minimising waste.To make this teatime snack, he ferments leftover cooked rice overnight in water. In the morning, he drains and sun-dries the rice until it is crisp, then roasts it for about 20 minutes in a skillet on a low flame, until it turns brown.

When I made bath aggala recently, I roasted the rice for five to eight minutes and switched off the stove before it changed colour, so it stayed white. Do as you like, roasting for longer gives aggala a  golden-brown colour and nutty flavour.Using a pestle and mortar, my father grinds the warm, roasted rice until he gets an uneven texture with pieces of broken rice that add a delightful crunch. You can use an electric grinder as I do, just don’t grind it into powder.

Take 250g of this ground rice and add about 100g of grated coconut, half a cup of sugar, half a teaspoon of salt, and half a cup of water. Mix it well with your hands and shape it into little balls. Some people prefer a bit of a spice kick to their aggala, which is easily done by sprinkling a hint of black pepper into the mix.Once ready, always serve with a cup of tea.

My father’s bath aggala is a testimony to Sri Lanka’s longstanding relationship with rice. It bears witness to the island’s often troubled history and present, twisted and framed by politics and economic interests.The road to recovery is long. But for now, I’d like to be lulled into sweet teatimes at home. One bath aggala at a time.

– Al Jazeera



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What I Do, What I Love: A Life Shaped by Art, Wilderness and Truth

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In a country where creative pursuits are often treated as indulgences rather than vocations, Saman Halloluwa’s journey stands apart — carved patiently through brushstrokes, framed through a camera lens, and articulated through the written word. Painter, wildlife and nature photographer, and independent environmental journalist, Halloluwa inhabits a rare space where art, ecology and social responsibility converge.

His relationship with art began not in galleries or exhibitions, but in a classroom. From his school days, drawing was not simply a subject but an instinct — a language through which he learned to observe, interpret and respond to the world around him. Under the guidance of two dedicated mentors, Ariyaratne Guru Mahathaya and Gunathilaka Guru Mahathaya, he honed both skill and discipline. Those early lessons laid the foundation for a lifelong engagement with visual storytelling.

“His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes.”

That commitment eventually materialised in two solo art exhibitions. The first, held in 2012, marked his formal entry into Sri Lanka’s art scene. The second, staged in Colombo in 2024, was a more mature statement — both in content and confidence. Featuring nearly fifty paintings, the exhibition drew an encouraging public response and reaffirmed his place as an artist with a distinct visual voice.

His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes. There is restraint in his use of form and colour, and an underlying dialogue between memory and space. Yet, despite positive reception, Halloluwa speaks candidly about the structural challenges faced by artists in Sri Lanka. Recognition remains limited; fair valuation even rarer.

“This is not merely an artistic issue,” he observes. “It is a social and economic problem.”

In Sri Lanka, art is often viewed through the lens of affordability rather than artistic merit. Many approach a painting by first calculating the contents of their wallet, not the value of the idea or labour behind it. In contrast, he notes, art in Europe and many other regions is treated as cultural capital — an investment in identity, history and thought. Until this mindset shifts, local artists will continue to struggle for sustainability.

The decisive push toward wildlife photography came from Professor Pujitha Wickramasinghe, a close friend who recognised both Halloluwa’s observational skills and his affinity with nature. From there, the journey deepened under the mentorship of senior wildlife photographer Ravindra Siriwardena.

Both mentors, he insists, deserve acknowledgment not merely as teachers but as ethical compasses. In a field increasingly driven by competition and spectacle, such grounding is invaluable.

Saman Halloluwa

Wildlife photography, Halloluwa argues, is among the most demanding visual disciplines. It cannot be improvised or rushed. “This is an art that demands restraint,” he says.

Among all subjects, elephants hold a special place in his work. Photographing elephants is not merely about proximity or scale, but about understanding behaviour. Observing social patterns, movement, mood and interaction transforms elephant photography into a constantly evolving challenge. It is precisely this complexity that draws him repeatedly to them.

Halloluwa is cautiously optimistic about the current surge of interest in wildlife photography among Sri Lankan youth. Opportunities have expanded, with local and international competitions, exhibitions and platforms becoming more accessible. However, he issues a clear warning: passion alone is not enough

Sri Lanka, he believes, is uniquely positioned in the global nature photography landscape. Few countries offer such concentrated biodiversity within a compact geographical area. This privilege, however, carries responsibility. Nature photography should not merely aestheticise wildlife, but foster respect, aware ness and conservation.

Parallel to his visual work runs another equally significant pursuit — environmental journalism. For the past seven to eight years, Halloluwa has worked as an independent environmental journalist, giving voice to ecological issues often sidelined in mainstream discourse. His entry into the field was guided by Thusara Gunaratne, whose encouragement he acknowledges with gratitude.

An old boy of D.S. Senanayake College, Colombo, Halloluwa holds a Diploma in Writing and Journalism from the University of Sri Jayewardenepura and has completed journalism studies at the Sri Lanka Press Institute. He is currently pursuing an Advanced Certificate in Wildlife Management and Conservation at the Open University of Sri Lanka — a testament to his belief that learning must remain continuous, especially in a rapidly changing ecological landscape.

Outside his professional life, he enjoys cricket, rugby and badminton. Yet even leisure intersects with responsibility. He is a founding member and former president of the D.S. Senanayake College Old Boys’ Wildlife Forum, an active member of Wild Tuskers Sri Lanka, and a contributor to several independent environmental and wildlife volunteer organisations. In an era dominated by speed, spectacle and short attention spans, Saman Halloluwa’s journey unfolds differently. It is deliberate, reflective and rooted in values. Through art, he captures memory and form. Through photography, he frames life beyond human control. Through journalism, he asks uncomfortable but necessary questions.

“What I do, what I love” is not fashion here.

It is conviction — patiently lived, quietly asserted, and urgently needed in a country still learning how to value its artists, its environment and its truth.

By Ifham Nizam ✍️

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Shaping the future of style

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Pride, passion and professionalism

Ramani Fernando Sunsilk Hair and Beauty Academy

Ramani Fernando Sunsilk Hair and Beauty Academy marked their graduation of their latest cohort of aspiring hair professionals in a ceremony held at Kingsbury Hotel.

Senaka de Silva, creative force behind Ramani’s shows

For over two decades, the Ramani Fernando Sunsilk Hair and Beauty Academy has stood as a beacon of excellence in beauty education in Sri Lanka. Founded by industry icon Ramani Fernando, the Academy has built a reputation for producing highly skilled professionals who go on to make their mark in salons, both locally and internationally. As the newly minted graduates step out into the world, they carry forward not just certificates, but also the promise of creative authority and personal empowerment.

The chief guest for the occasion was Rosy Senanayake, a long-standing supporter of the Academy’s mission. Addressing the graduates her message echoed her enduring belief that the beauty industry is not merely about aesthetic but about. confidence, self-worth and future leaders.

Over months of rigorous training, these young professionals honed their skills in cutting colouring, styling and contemporary artistry readying themselves to set trends rather than follow them.

Each graduate walked the stage with confidence, their dedication signalling a promising future for Sri Lanka’s beauty and fashion industry! With this new generation of stylists preparing to raise the standard of professional hairstyling.

Ramani Fernando, addressing the audience reflected on the academy’s mission to cultivate not only skills but vision and confidence in every student.

She urged the graduates to embrace continuous learning to take risks with creativity .The world of beauty is ever evolving, stay curious, stay bold and never underestimate the power of your talent, she added emphasising the importance of confidence, discipline and passion in carving a successful career in shaping the future of style.

These graduates are stepping into a world of endless possibilities. They are future of the country, who will carry a forward legacy of creativity. Behind every successful graduate at Sun silk Hair Academy stands a team dedicated to excellence. While Ramani Fernando serves as a visionary Principal and it is Lucky Lenagala, her trusted person who ensures that the academy runs seemingly.

From overseeing training sessions to guiding students, through hands on practice, Lucky plays a pivotal role in shaping the next generation of hairstylists.

Kumara de Silva, who has been the official compere Ramani’s, Hair graduation ceremony, from inception has brought energy, poise and professionalism. The Sunsilk Hair Academy is a celebration of talent and mentor ship for the graduates stepping confidentially into the next chapter of their careers, ready to make their mark on Sri Lanka beauty landscape

A moment of pride Ramani with chief guest Rosy Senanayake

Statement in style

Gliding in romance and sophistication

Pix by Thushara Attapathu

By Zanita Careem ✍️

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Capturing the spirit of Christmas

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Romesh Atapaattu, overseas the magic behind every cut and style at Capello salons

During this season, Romesh Atapattu’s Capello Salon buzzes with a unique energy – a blend of festive excitement and elegance. Clients arrive with visions of holiday parties, office soirees, seeking looks that capture both glamour and individuality. The salon itself mirrors this celebrity mood. Warm lights, tasteful festive décor create an atmosphere where beauty and confidence flourish.

Romesh Atapattu himself curates the festive décor, infusing the space with his signature sense of style. His personal eye ensures that the décor complements the salon’s modern interiors.

As Colombo slips effortlessly into its most glamorous time of year, the Christmas season brings with it more than twinkling lights and celebrity soirees – it signals a transformation season at salons across the city. Capello salons are no exception.

At the heart of this festive beauty movement is Romesh Atapattu of Capello salons, a name synonymous with refined hair artistry, modern elegance and personalised style.

Christmas is about confidence and celebration. Romesh believes ‘People want to look their best without losing who they are”. Our role is to enhance, not overpower. This philosophy is evident in the salon’s seasonal approach.

Beyond trends, what sets Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role in creating the best for Romesh.

Stepping into Romesh’s salon during the Christmas season is an experience in itself. The space hums with festive energy while maintaining an atmosphere of calm sophistication.

The décor embraces the Christmas spirit with understated elegance. Tastefully adorned décor, beautiful Xmas tree, soft gold and ivory tones, and gentle hints of red are woven seamlessly into the salon’s contemporary design.

His staff, known for their warmth and professionalism also plays a key role in shaping the salon’s atmosphere—friendly, stylish and always welcoming. The Capello staff combine skill and creativity to deliver results that have a lasting impression.

Beyond trends, what sets Romesh Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role.

He is a professional who blends technical mastery with a deeply personal approach to style. His dedicated team of skilled professionals, operate with quiet confidence ensuring styles that create an atmosphere of trust, turning every appointment into a personalised and memorable experience.

(ZC) ✍️

Pic by Rohan Herath

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