Features
Sinhala Theatre explored in the Seventies
Clearing shelves in a small section of my extensive library, I found quite a few that I had not read, placed there when I was tidying up the books in the main library. I had put them in a new place to read later, but had then forgotten about them. It was salutary that they were rediscovered, and I have since spent many happy hours with them.
One that I found fascinating was a booklet in a series produced in the seventies by the Cultural Affairs Department. This was about Theatre in Sri Lanka, and was by A J Gunawardena, who had become a good friend in the decade after I started working for the British Council. He was a polymath and, though an academic in the field of English at the University of Sri Jayewardenepura, he was an authority on the Arts, and indeed was seconded from there to head the Institute of Aesthetic Studies.
His book on Sinhala Theatre was masterly, providing a succinct introduction to its history with informative details about the various forms it covered. He began with ritual, performed in villages for various reasons, to bring blessings in general or to propitiate supernatural beings on behalf of individual sufferers. From this he moved to Sokari, which also has a ritualistic element, and thence to Kolam, the latter found in the low-country while Sokari was almost exclusively Kandyan. These forms are still recognizably based on ritual, but now they also tell a story, Sokari one story relating to Pattini and Kolam one of three stories, two based on Buddhist lore.
This brief account does not of course do justice to A J’s expert exposition of his subject, but it provided me with a lot of information given his masterly way of putting things together.
The Lakmahal Archive 2
Sinhala Theatre continued
I wrote last week of the fascinating books I found on my shelves at Lakmahal, brought up from the Library to be read in time but then forgotten. Fortunately, my attention was drawn to them when some painting was being done indoors, and I started on them avidly.
Last week, I wrote of the first part of A J Gunawardena’s seventies monograph on Theatre in Sri Lanka. That dealt with folk theatre beginning with its ritualistic base, though moving to performance. Nadagam that he looked at next was totally different in many respects, deriving not from local culture but with Dravidian roots, and spurred on by Catholicism. But A J argues that, while it originated with missionary efforts to spread the faith through using indigenous cultural forms, it merged into existing patterns of Sinhala folk theatre.
Its music had melody, and was central to the performance, with song predominating. And it introduced fictional material, with a stage, that removed the performance from the audience, which had previously simply formed a circle around the performers. But here too there was a preface in which characters were introduced, as was the case with theatre based on ritual. But then there was a complex plot with grand characters.
A J has an interesting argument as to why Nadagam too stayed in the village, which is that there was no dramatic tradition in Sinhala literature, and hence the literati rather looked down on this. It took a totally external impetus to bring theatre to the cities. This came about through what was termed Nurti, performed by a Parsi theatrical company from Bombay.
This phenomenon transformed performance in South and South East Asia too, though in Sri Lanka it gave rise to Sinhala plays based on similar material. This was the first time a theatre was employed, with backdrop and wings, in an enclosed space, and soon enough theatres were built in Colombo while elsewhere performances took place wherever basic stage facilities were available.
A J notes that the most prolific writer of plays in the Nurti tradition was John de Silva, after whom the first state built theatre in the country is named. He notes that he also contributed to the social changes taking place in the country in that he attacked blind imitation of the West, and affirmed a rising national consciousness.
But Nurti faded away when cinema arrived, and though it had another lease of life with plays – characterized as Jayamanne plays – with stronger social messages, as for instance through criticism of caste distinctions and the dowry system, those too had to yield to the cinema and indeed the Jayamannes ‘became the first star names of the Sinhala screen’.
But meanwhile Modern Sinhala Drama as it is still thought of emerged, initially A J says through the Western-educated intelligentsia. International models were performed in translation and through adaptations. And though the audiences were small, they helped to develop a stage language free of rhetoric and what A J calls the bombast of the Jayamanne plays.
The Lakmahal Archive 3
Sinhala Theatre continued
I have dwelt long and lovingly on A J Gunawardena’s Theatre in Sri Lanka because, though I realize my synopsis can be but superficial, it helps me put in place elements I had vague ideas about, but which I had not really put together properly. And all this made me understand more what a wonderful person A J was, learned without pretention, tolerant of all cultural elements, and full of warmth towards those with whom he interacted.
I had many interactions with him in the eighties, when I persuaded him to become President of the English Association, which had previously been the preserve of the traditional universities. And in the early nineties I joined him in Paris when he went with a dance troupe for a scintillating performance, and when he arranged for me to stay with the former Alliance Director, Robert Vigneau, with whom he had kept up since the sixties.
From the experiments with contemporary Western writers, A J moved to the event that transformed Sinhala theatre and created a popularity that has never waned. This was Ediriweera Sarachchandra’s Maname, performed in 1956, which was a watershed year for the country. He did this in the Nadagam style, but transformed the content into a forceful psychological drama, with poetically rich language and rousing music.
Incidentally it was A J’s wife Trilicia Abeykoon, as she then was, who played the queen in Maname during its first production. He does not mention this, but the monograph brought back thoughts too of her, also a wonderfully sympathetic individual, devoted to A J and rendered miserable when he died young. She followed him to the grave the following year.
A J does not mention names of plays and playwrights after Maname, but he talks about how the audience for modern theatre kept increasing, and included people of different levels. Makers of plays were still then from the intelligentsia but they were no longer of a bilingual background. A J notes how they dealt increasingly with the processes of social and cultural change, and he mentions too the encouragement offered by the Ministries of Education and of Cultural Affairs, with their sponsorship of drama competitions.
But he notes that all this happens despite theatre being a part-time occupation, with its practitioners having to earn their living in other ways. There are no established theatre groups and playwrights, generally their own producers, get people together for performances and then the group disbands.
I am now out of touch with the cultural world, so that I cannot make any claims with confidence. But I suspect we have no one of the wide erudition of A J, who could write a book today to encompass so much so succinctly.
The Lakmahal Archive
Sinhala Theatre
When earlier this year I got painted the new balcony leading from the corridor outside my bathroom, and joined with a staircase to my little walled garden, I painted again the walls in the garden, and also those in that corridor. At the end of it I had put up some shelves, where there was a miscellaneous collection of books, and sadly I found that some had been damaged by damp, so eaten by termites. Janaki had pointed out to me some months back the presence of termites and we got rid of them, the trusty chaps from Suren Cooke doing a great job. So, the damage was limited, though I did have to throw away a few books.
Clearing the shelves for the walls to be painted meant that I examined the books, and found quite a few that I had not read, placed there when I was tidying up the library by getting rid of the extra cupboards my father had built to take the overflow. But after we had donated several of his books, those cupboards went outside, and are now in the little bookstore I have set up in the driveway. They house the extra copies of books I had written and had printed in unnecessary bulk, for instance the book about the Liberal Party on its 25th anniversary, when I little thought that three years later the Party would embark on a long, slow death.
I realized that the books I had taken upstairs, and put in what were then new shelves in the corridor outside the bathroom were ones I intended to read, but had then forgotten about. It was salutary then that they were rediscovered, and I could get into them before further destruction occurred.
One of those that I found fascinating was a booklet in a series produced in the seventies by the Cultural Affairs Department. This was about Theatre in Sri Lanka, and was by A J Gunawardena who had become a good friend in the decade after I started working for the British Council. He was a polymath, and though an academic in the field of English at the University of Sri Jayewardenepura, he was an authority on the Arts, and indeed was seconded from there to head the Institute of Aesthetic Studies.
His book on Sinhala Theatre was masterly, providing a succinct introduction to its history with informative details about the various forms it covered. He began with ritual, performed in villages for various reasons, to bring blessings in general or to propitiate supernatural beings on behalf of individual sufferers. From this he moved to Sokari, which also has a ritualistic element, and thence to Kolam, the latter found in the low-country while Sokari was almost exclusively Kandyan. These forms are still recognizably based on ritual, but now they also tell a story, Sokari one story relating to Pattini and Kolam one of three stories, two based on Buddhist lore.
This brief account does not of course do justice to A J’s expert exposition of his subject, but it provided me with a lot of information given his masterly way of putting things together.
The Lakmahal Archive 2
Sinhala Theatre continued
I wrote last week of the fascinating books I found on my shelves at Lakmahal, brought up from the Library to be read in time but then forgotten. Fortunately, my attention was drawn to them when some painting was being done indoors, and I started on them avidly.
Last week I wrote of the first part of A J Gunawardena’s seventies monograph on Theatre in Sri Lanka. That dealt with folk theatre beginning with its ritualistic base, though moving to performance. Nadagam that he looked at next was totally different in many respects, deriving not from local culture but with Dravidian roots, and spurred on by Catholicism. But A J argues that, while it originated with missionary efforts to spread the faith through using indigenous cultural forms, it merged into existing patterns of Sinhala folk theatre.
Its music had melody, and was central to the performance, with song predominating. And it introduced fictional material, with a stage, that removed the performance from the audience, which had previously simply formed a circle around the performers. But here too there was a preface in which characters were introduced, as was the case with theatre based on ritual. But then there was a complex plot with grand characters.
A J has an interesting argument as to why Nadagam too stayed in the village, which is that there was no dramatic tradition in Sinhala literature, and hence the literati rather looked down on this. It took a totally external impetus to bring theatre to the cities. This came about through what was termed Nurti, performed by a Parsi theatrical company from Bombay.
This phenomenon transformed performance in South and South East Asia too, though in Sri Lanka it gave rise to Sinhala plays based on similar material. This was the first time a theatre was employed, with backdrop and wings, in an enclosed space, and soon enough theatres were built in Colombo while elsewhere performances took place wherever basic stage facilities were available.
A J notes that the most prolific writer of plays in the Nurti tradition was John de Silva, after whom the first state built theatre in the country is named. He notes that he also contributed to the social changes taking place in the country in that he attacked blind imitation of the West, and affirmed a rising national consciousness.
But Nurti faded away when cinema arrived, and though it had another lease of life with plays – characterized as Jayamanne plays – with stronger social messages, as for instance through criticism of caste distinctions and the dowry system, those too had to yield to the cinema and indeed the Jayamannes ‘became the first star names of the Sinhala screen’.
But meanwhile Modern Sinhala Drama as it is still thought of emerged, initially A J says through the Western-educated intelligentsia. International models were performed in translation and through adaptations. And though the audiences were small, they helped to develop a stage language free of rhetoric and what A J calls the bombast of the Jayamanne plays.
The Lakmahal Archive 3
Sinhala Theatre continued
I have dwelt long and lovingly on A J Gunawardena’s Theatre in Sri Lanka because, though I realize my synopsis can be but superficial, it helps me put in place elements I had vague ideas about, but which I had not really put together properly. And all this made me understand more what a wonderful person A J was, learned without pretention, tolerant of all cultural elements, and full of warmth towards those with whom he interacted.
I had many interactions with him in the eighties, when I persuaded him to become President of the English Association, which had previously been the preserve of the traditional universities. And in the early nineties I joined him in Paris when he went with a dance troupe for a scintillating performance, and when he arranged for me to stay with the former Alliance Director, Robert Vigneau, with whom he had kept up since the sixties.
From the experiments with contemporary Western writers, A J moved to the event that transformed Sinhala theatre and created a popularity that has never waned. This was Ediriweera Sarachchandra’s Maname, performed in 1956, which was a watershed year for the country. He did this in the Nadagam style, but transformed the content into a forceful psychological drama, with poetically rich language and rousing music.
Incidentally it was A J’s wife Trilicia, Abeykoon as she then was, who played the queen in Maname during its first production. He does not mention this, but the monograph brought back thoughts too of her, also a wonderfully sympathetic individual, devoted to A J and rendered miserable when he died young. She followed him to the grave the following year.
A J does not mention names of plays and playwrights after Maname, but he talks about how the audience for modern theatre kept increasing, and included people of different levels. Makers of plays were still then from the intelligentsia but they were no longer of a bilingual background. A J notes how they dealt increasingly with the processes of social and cultural change, and he mentions too the encouragement offered by the Ministries of Education and of Cultural Affairs, with their sponsorship of drama competitions.
But he notes that all this happens despite theatre being a part-time occupation, with its practitioners having to earn their living in other ways. There are no established theatre groups and playwrights, generally their own producers, get people together for performances and then the group disbands.
I have long wondered why there has been no attempt to set up a National Theatre, and when I was in Parliament, I asked a question about this. The Minister of Cutural Affairs, the grotesque T B Ekanayake – one of the more preposterous choices for the Cabinet of Mahinda Rajapaksa in his sad second incarnation – said there was, for him a Theatre meant a building, not performances within it, a troupe, a training programme for young people.
I am now out of touch with the cultural world, so that I cannot make any claims with confidence. But I suspect we have no one of the wide erudition of A J who could write a book today to encompass so much so succinctly.
by Prof. Rajiva Wijesinha ✍️
Features
Trump’s Interregnum
Trump is full of surprises; he is both leader and entertainer. Nearly nine hours into a long flight, a journey that had to U-turn over technical issues and embark on a new flight, Trump came straight to the Davos stage and spoke for nearly two hours without a sip of water. What he spoke about in Davos is another issue, but the way he stands and talks is unique in this 79-year-old man who is defining the world for the worse. Now Trump comes up with the Board of Peace, a ticket to membership that demands a one-billion-dollar entrance fee for permanent participation. It works, for how long nobody knows, but as long as Trump is there it might. Look at how many Muslim-majority and wealthy countries accepted: Saudi Arabia, Turkey, Egypt, Jordan, Qatar, Pakistan, Indonesia, and the United Arab Emirates are ready to be on board. Around 25–30 countries reportedly have already expressed the willingness to join.
The most interesting question, and one rarely asked by those who speak about Donald J. Trump, is how much he has earned during the first year of his second term. Liberal Democrats, authoritarian socialists, non-aligned misled-path walkers hail and hate him, but few look at the financial outcome of his politics. His wealth has increased by about three billion dollars, largely due to the crypto economy, which is why he pardoned the founder of Binance, the China-born Changpeng Zhao. “To be rich like hell,” is what Trump wanted. To fault line liberal democracy, Trump is the perfect example. What Trump is doing — dismantling the old façade of liberal democracy at the very moment it can no longer survive — is, in a way, a greater contribution to the West. But I still respect the West, because the West still has a handful of genuine scholars who do not dare to look in the mirror and accept the havoc their leaders created in the name of humanity.
Democracy in the Arab world was dismantled by the West. You may be surprised, but that is the fact. Elizabeth Thompson of American University, in her book How the West Stole Democracy from the Arabs, meticulously details how democracy was stolen from the Arabs. “No ruler, no matter how exalted, stood above the will of the nation,” she quotes Arab constitutional writing, adding that “the people are the source of all authority.” These are not the words of European revolutionaries, nor of post-war liberal philosophers; they were spoken, written and enacted in Syria in 1919–1920 by Arab parliamentarians, Islamic reformers and constitutionalists who believed democracy to be a universal right, not a Western possession. Members of the Syrian Arab Congress in Damascus, the elected assembly that drafted a democratic constitution declaring popular sovereignty — were dissolved by French colonial forces. That was the past; now, with the Board of Peace, the old remnants return in a new form.
Trump got one thing very clear among many others: Western liberal ideology is nothing but sophisticated doublespeak dressed in various forms. They go to West Asia, which they named the Middle East, and bomb Arabs; then they go to Myanmar and other places to protect Muslims from Buddhists. They go to Africa to “contribute” to livelihoods, while generations of people were ripped from their homeland, taken as slaves and sold.
How can Gramsci, whose 135th birth anniversary fell this week on 22 January, help us escape the present social-political quagmire? Gramsci was writing in prison under Mussolini’s fascist regime. He produced a body of work that is neither a manifesto nor a programme, but a theory of power that understands domination not only as coercion but as culture, civil society and the way people perceive their world. In the Prison Notebooks he wrote, “The crisis consists precisely in the fact that the old world is dying and the new cannot be born; in this interregnum a great variety of morbid phenomena appear.” This is not a metaphor. Gramsci was identifying the structural limbo that occurs when foundational certainties collapse but no viable alternative has yet emerged.
The relevance of this insight today cannot be overstated. We are living through overlapping crises: environmental collapse, fragmentation of political consensus, erosion of trust in institutions, the acceleration of automation and algorithmic governance that replaces judgment with calculation, and the rise of leaders who treat geopolitics as purely transactional. Slavoj Žižek, in his column last year, reminded us that the crisis is not temporary. The assumption that history’s forward momentum will automatically yield a better future is a dangerous delusion. Instead, the present is a battlefield where what we thought would be the new may itself contain the seeds of degeneration. Trump’s Board of Peace, with its one-billion-dollar gatekeeping model, embodies this condition: it claims to address global violence yet operates on transactional logic, prioritizing wealth over justice and promising reconstruction without clear mechanisms of accountability or inclusion beyond those with money.
Gramsci’s critique helps us see this for what it is: not a corrective to global disorder, but a reenactment of elite domination under a new mechanism. Gramsci did not believe domination could be maintained by force alone; he argued that in advanced societies power rests on gaining “the consent and the active participation of the great masses,” and that domination is sustained by “the intellectual and moral leadership” that turns the ruling class’s values into common sense. It is not coercion alone that sustains capitalism, but ideological consensus embedded in everyday institutions — family, education, media — that make the existing order appear normal and inevitable. Trump’s Board of Peace plays directly into this mode: styled as a peace-building institution, it gains legitimacy through performance and symbolic endorsement by diverse member states, while the deeper structures of inequality and global power imbalance remain untouched.
Worse, the Board’s structure, with contributions determining permanence, mimics the logic of a marketplace for geopolitical influence. It turns peace into a commodity, something to be purchased rather than fought for through sustained collective action addressing the root causes of conflict. But this is exactly what today’s democracies are doing behind the scenes while preaching rules-based order on the stage. In Gramsci’s terms, this is transformismo — the absorption of dissent into frameworks that neutralize radical content and preserve the status quo under new branding.
If we are to extract a path out of this impasse, we must recognize that the current quagmire is more than political theatre or the result of a flawed leader. It arises from a deeper collapse of hegemonic frameworks that once allowed societies to function with coherence. The old liberal order, with its faith in institutions and incremental reform, has lost its capacity to command loyalty. The new order struggling to be born has not yet articulated a compelling vision that unifies disparate struggles — ecological, economic, racial, cultural — into a coherent project of emancipation rather than fragmentation.
To confront Trump’s phenomenon as a portal — as Žižek suggests, a threshold through which history may either proceed to annihilation or re-emerge in a radically different form — is to grasp Gramsci’s insistence that politics is a struggle for meaning and direction, not merely for offices or policies. A Gramscian approach would not waste energy on denunciation alone; it would engage in building counter-hegemony — alternative institutions, discourses, and practices that lay the groundwork for new popular consent. It would link ecological justice to economic democracy, it would affirm the agency of ordinary people rather than treating them as passive subjects, and it would reject the commodification of peace.
Gramsci’s maxim “pessimism of the intellect, optimism of the will” captures this attitude precisely: clear-eyed recognition of how deep and persistent the crisis is, coupled with an unflinching commitment to action. In an age where AI and algorithmic governance threaten to redefine humanity’s relation to decision-making, where legitimacy is increasingly measured by currency flows rather than human welfare, Gramsci offers not a simple answer but a framework to understand why the old certainties have crumbled and how the new might still be forged through collective effort. The problem is not the lack of theory or insight; it is the absence of a political subject capable of turning analysis into a sustained force for transformation. Without a new form of organized will, the interregnum will continue, and the world will remain trapped between the decay of the old and the absence of the new.
by Nilantha Ilangamuwa ✍️
Features
India, middle powers and the emerging global order
Designed by the victors and led by the US, its institutions — from the United Nations system to Bretton Woods — were shaped to preserve western strategic and economic primacy. Yet despite their self-serving elements, these arrangements helped maintain a degree of global stability, predictability and prosperity for nearly eight decades. That order is now under strain.
This was evident even at Davos, where US President Donald Trump — despite deep differences with most western allies — framed western power and prosperity as the product of a shared and “very special” culture, which he argued must be defended and strengthened. The emphasis on cultural inheritance, rather than shared rules or institutions, underscored how far the language of the old order has shifted.
As China’s rise accelerates and Russia grows more assertive, the US appears increasingly sceptical of the very system it once championed. Convinced that multilateral institutions constrain American freedom of action, and that allies have grown complacent under the security umbrella, Washington has begun to prioritise disruption over adaptation — seeking to reassert supremacy before its relative advantage diminishes further.
What remains unclear is what vision, if any, the US has for a successor order. Beyond a narrowly transactional pursuit of advantage, there is little articulation of a coherent alternative framework capable of delivering stability in a multipolar world.
The emerging great powers have not yet filled this void. India and China, despite their growing global weight and civilisational depth, have largely responded tactically to the erosion of the old order rather than advancing a compelling new one. Much of their diplomacy has focused on navigating uncertainty, rather than shaping the terms of a future settlement. Traditional middle powers — Japan, Germany, Australia, Canada and others — have also tended to react rather than lead. Even legacy great powers such as the United Kingdom and France, though still relevant, appear constrained by alliance dependencies and domestic pressures.
st Asia, countries such as Saudi Arabia and the UAE have begun to pursue more autonomous foreign policies, redefining their regional and global roles. The broader pattern is unmistakable. The international system is drifting toward fragmentation and narrow transactionalism, with diminishing regard for shared norms or institutional restraint.
Recent precedents in global diplomacy suggest a future in which arrangements are episodic and power-driven. Long before Thucydides articulated this logic in western political thought, the Mahabharata warned that in an era of rupture, “the strong devour the weak like fish in water” unless a higher order is maintained. Absent such an order, the result is a world closer to Mad Max than to any sustainable model of global governance.
It is precisely this danger that Canadian Prime Minister Mark Carney alluded to in his speech at Davos on Wednesday. Warning that “if great powers abandon even the pretense of rules and values for the unhindered pursuit of their power and interests, the gains from transactionalism will become harder to replicate,” Carney articulated a concern shared by many middle powers. His remarks underscored a simple truth: Unrestrained power politics ultimately undermine even those who believe they benefit from them.
Carney’s intervention also highlights a larger opportunity. The next phase of the global order is unlikely to be shaped by a single hegemon. Instead, it will require a coalition — particularly of middle powers — that have a shared interest in stability, openness and predictability, and the credibility to engage across ideological and geopolitical divides. For many middle powers, the question now is not whether the old order is fraying, but who has the credibility and reach to help shape what comes next.
This is where India’s role becomes pivotal. India today is no longer merely a balancing power. It is increasingly recognised as a great power in its own right, with strong relations across Europe, the Indo-Pacific, West Asia, Africa and Latin America, and a demonstrated ability to mobilise the Global South. While India’s relationship with Canada has experienced periodic strains, there is now space for recalibration within a broader convergence among middle powers concerned about the direction of the international system.
One available platform is India’s current chairmanship of BRICS — if approached with care. While often viewed through the prism of great-power rivalry, BRICS also brings together diverse emerging and middle powers with a shared interest in reforming, rather than dismantling, global governance. Used judiciously, it could complement existing institutions by helping articulate principles for a more inclusive and functional order.
More broadly, India is uniquely placed to convene an initial core group of like-minded States — middle powers, and possibly some open-minded great powers — to begin a serious conversation about what a new global order should look like. This would not be an exercise in bloc-building or institutional replacement, but an effort to restore legitimacy, balance and purpose to international cooperation. Such an endeavour will require political confidence and the willingness to step into uncharted territory. History suggests that moments of transition reward those prepared to invest early in ideas and institutions, rather than merely adapt to outcomes shaped by others.
The challenge today is not to replicate Bretton Woods or San Francisco, but to reimagine their spirit for a multipolar age — one in which power is diffused, interdependence unavoidable, and legitimacy indispensable. In a world drifting toward fragmentation, India has the credibility, relationships and confidence to help anchor that effort — if it chooses to lead.
(The Hindustan Times)
(Milinda Moragoda is a former Cabinet Minister and diplomat from Sri Lanka and founder of the Pathfinder Foundation, a strategic affairs think tank. this article can read on
https://shorturl.at/HV2Kr and please contact via email@milinda.org)
by Milinda Moragoda ✍️
For many middle powers, the question now is not whether the old order is fraying,
but who has the credibility and reach to help shape what comes next
Features
The Wilwatte (Mirigama) train crash of 1964 as I recall
Back in 1964, I was working as DMO at Mirigama Government Hospital when a major derailment of the Talaimannar/Colombo train occurred at the railway crossing in Wilwatte, near the DMO’s quarters. The first major derailment, according to records, took place in Katukurunda on March 12, 1928, when there was a head-on collision between two fast-moving trains near Katukurunda, resulting in the deaths of 28 people.
Please permit me to provide details concerning the regrettable single train derailment involving the Talaimannar Colombo train, which occurred in October 1964 at the Wilwatte railway crossing in Mirigama.
This is the first time I’m openly sharing what happened on that heartbreaking morning, as I share the story of the doctor who cared for all the victims. The Health Minister, the Health Department, and our community truly valued my efforts.
By that time, I had qualified with the Primary FRCS and gained valuable surgical experience as a registrar at the General Hospital in Colombo. I was hopeful to move to the UK to pursue the final FRCS degree and further training. Sadly, all scholarships were halted by Hon. Felix Dias Bandaranaike, the finance minister in the Bandaranaike government in 1961.
Consequently, I was transferred to Mirigama as the District Medical Officer in 1964. While training as an emerging surgeon without completing the final fellowship in the United Kingdom, I established an operating theatre in one of the hospital’s large rooms. A colleague at the Central Medical Stores in Maradana assisted me in acquiring all necessary equipment for the operating theatre, unofficially. Subsequently, I commenced performing minor surgeries under spinal anaesthesia and local anaesthesia. Fortunately, I was privileged to have a theatre-trained nursing sister and an attendant trainee at the General Hospital in Colombo.
Therefore, I was prepared to respond to any accidental injuries. I possessed a substantial stock of plaster of Paris rolls for treating fractures, and all suture material for cuts.
I was thoroughly prepared for any surgical mishaps, enabling me to manage even the most significant accidental incidents.
On Saturday, October 17, 1964, the day of the train derailment at the railway crossing at Wilwatte, Mirigama, along the Main railway line near Mirigama, my house officer, Janzse, called me at my quarters and said, “Sir, please come promptly; numerous casualties have been admitted to the hospital following the derailment.”
I asked him whether it was an April Fool’s stunt. He said, ” No, Sir, quite seriously.
I promptly proceeded to the hospital and directly accessed the operating theatre, preparing to attend to the casualties.
Meanwhile, I received a call from the site informing me that a girl was trapped on a railway wagon wheel and may require amputation of her limb to mobilise her at the location along the railway line where she was entrapped.
My theatre staff transported the surgical equipment to the site. The girl was still breathing and was in shock. A saline infusion was administered, and under local anaesthesia, I successfully performed the limb amputation and transported her to the hospital with my staff.
On inquiring, she was an apothecary student going to Colombo for the final examination to qualify as an apothecary.
Although records indicate that over forty passengers perished immediately, I recollect that the number was 26.
Over a hundred casualties, and potentially a greater number, necessitate suturing of deep lacerations, stabilisation of fractures, application of plaster, and other associated medical interventions.
No patient was transferred to Colombo for treatment. All casualties received care at this base hospital.
All the daily newspapers and other mass media commended the staff team for their commendable work and the attentive care provided to all casualties, satisfying their needs.
The following morning, the Honourable Minister of Health, Mr M. D. H. Jayawardena, and the Director of Health Services, accompanied by his staff, arrived at the hospital.
I did the rounds with the official team, bed by bed, explaining their injuries to the minister and director.
Casualties expressed their commendation to the hospital staff for the care they received.
The Honourable Minister engaged me privately at the conclusion of the rounds. He stated, “Doctor, you have been instrumental in our success, and the public is exceedingly appreciative, with no criticism. As a token of gratitude, may I inquire how I may assist you in return?”
I got the chance to tell him that I am waiting for a scholarship to proceed to the UK for my Fellowship and further training.
Within one month, the government granted me a scholarship to undertake my fellowship in the United Kingdom, and I subsequently travelled to the UK in 1965.
On the third day following the incident, Mr Don Rampala, the General Manager of Railways, accompanied by his deputy, Mr Raja Gopal, visited the hospital. A conference was held at which Mr Gopal explained and demonstrated the circumstances of the derailment using empty matchboxes.
He explained that an empty wagon was situated amid the passenger compartments. At the curve along the railway line at Wilwatte, the engine driver applied the brakes to decelerate, as Mirigama Railway Station was only a quarter of a mile distant.
The vacant wagon was lifted and transported through the air. All passenger compartments behind the wagon derailed, whereas the engine and the frontcompartments proceeded towards the station without the engine driver noticing the mishap.
After this major accident, I was privileged to be invited by the General Manager of the railways for official functions until I left Mirigama.
The press revealed my identity as the “Wilwatte Hero”.
This document presents my account of the Wilwatte historic train derailment, as I distinctly recall it.
Recalled by Dr Harold Gunatillake to serve the global Sri Lankan community with dedication. ✍️
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