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Midweek Review

Suzuki Method in Sri Lanka: Introducing an Actor Training System



By Saumya Liyanage Introduction

In 2019, the Faculty of Graduate Studies, University of Visual and Performing Arts initiated a project titled ‘Suzuki Actor Training Workshop’ with a performance maker and actor trainer Dr Deborah Leiser-Moore from Melbourne, Australia. The objective of this workshop was to introduce a novel approach to actor training through the least explored performer training system in Sri Lanka known as ‘Suzuki Method’ conceived and developed by a well-known Japanese theatre director Tadashi Suzuki. The Suzuki method has been used and taught in many Universities and theatre institutions in the world and this approach to actor training was first popularized in America, Australia, and Europe in the early 80s. However, this approach of actor training was not known to Sri Lankan academia or theatre schools. The dominant performer training paradigm has been the Stanislavski or Method, derived from Stanislavski’s system or later the version of Method acting derived through American actor training tradition. This domination has been a widespread phenomenon in major actor training schools in the world. Yet, in the early 80s and latter part of the decade, the Suzuki method has become one of their major disciplines in actor training curricula, especially in Australia and America. This Suzuki actor training workshop was the first attempt to introduce Tadashi Suzuki’s methodology to a Sri Lankan group of actors.


Tadashi Suzuki

As a theatre student reading for Master’s degree at Flinders University South Australia in early 2002, I was first introduced to Suzuki’s approaches to actor training. My thesis supervisor Prof. Julie Holledge introduced Suzuki’s key texts as I was reading various actor-training methodologies and preparing for writing the thesis. At the time the Suzuki method was one of the popular approaches to actor training in many theatre schools and theatre ensembles in Australia. Suzuki had visited Australia several times and had worked with Australian actors to share his ac

tor training method and his philosophy of theatre. Further his writings and theoretical and methodological promises of actor training have been widely discussed in theatre forums and symposia in Australasia. I first read his key text The Way of Acting (1986) to learn this master’s approaches to theatre, body, and performance. In addition, several key journal papers written by eminent theatre scholars who had practical experience of his theatre making were also my starting point (Allain, 1998, Allain, 2003, Allain, 2019, Goto, 1989a, Kim, 2013). These writings which offered in depth descriptions and analyses of the efficacy of Suzuki method further opened up my horizon to think through Suzuki and his theatre works.

Tadashi Suzuki, an 81-year-old Japanese theatre director first started his theatre career in the 1950s during his undergraduate days at Waseda State University, Japan. As a student theatre activist, with his writing collaborator Betsuyaku Minoru and 12 amateur actors, he founded the Free Stage (Jiyu Butai) theatre group an

d produced theatre works that reflected the ‘turbulent era of his time’ (Goto, 1989, p. 103). As such, Suzuki’s ideas on theatre and the philosophy of actor’s role in theatre were somewhat reminiscent of European avant-gardes such as Antonin Artaud or Jerzy Grotowski. As Artaud and Grotowski rejected the text and its domination in the theatrical experience, Suzuki was also of the view that the centre of the theatrical experience should be the actor and the actor’s co-presence with the audience. His experimentations of theatre works since early 60s to date have emphasised the actor’s body and voice as the kernel of theatrical experience.

He had the conception of finding new ways of doing theatre when he first visited France to take part in an international theatre festival. After returning, Suzuki and his group had found a mountain farmhouse located hundreds of kilometers from Tokyo, and had converted it into a theatre house. Since then Suzuki has explored his actor training and theatre works in Toga Little Theatre in Japan. Toga is a remote village in Japan where Tadashi Suzuki started his theatre practice and still functions as the centre of his theatre and actor training explorations.


Why Suzuki?

I thought of introducing the Suzuki method to Sri Lankan theatre actors for several reasons. I have observed that Sri Lankan theatre and especially its performance practice are diminishing with elaborate technology and stage craft. Further, the actor’s body and its capacity are also marginalized for the sake of proscenium dialogical dramatic acts that we experience in contemporary theatre. Older versions of psychological realism still dominate in theatre and the actor’s capacity, voice, and physical expressions have gradually been forgotten. As I have frequently argued, the ‘primal ritual’ of theatre and actor’s art need to be re-established in order to reinstate a sustainable theatre experience between theatergoers and actors. For theatre audiences in Sri Lanka, whether it is English, Tamil or Sinhala speaking theatres, theatre experience has become a mere proscenium arched framework where people watch daily popular political jargons and obscene jokes brought to entertain them. It is pity to see that the actor’s art has never been in such a poor state where actors on stage perform like marionettes in television soap operas.

The distinction between television screen and theatre is narrowed to a place where a nuclear family saga or political jokes are the core of experience.

In this sense, the Suzuki actor training method is a unique approach to actor training among other performer training pedagogies. It is unique because it focuses on the actor’s development of lower body, stillness, stamina and the presence of the body on stage. On the other hand, it is an innovative actor training method that emphasises the animal-energy in theatre. As Suzuki argues, pre-modern theatre in Japan and elsewhere employed animal-energy to create theatre and stagecraft, and theatre technologies were merely created through human engagement. Suzuki uses this term animal-energy to discuss how raw human engagement is used in traditional theatres such as Noh and Kabuki in Japan and also kuttiyattam and Kathakali dance drama in India or Balinese theatre in Bali, Lombok or in East Java. Talking about his actor training system Suzuki further explains:

As the theatre, either in Europe or in Japan, has kept up with the times and has come to use non-animal-energy in every facet of its activities, one of the resulting evils is that the faculties of the human body and physical sensibility have been overspecialized to the point of separation. Just as civilization has specialized the job of the eyes and created the microscope, modernization has “dismembered” our physical faculties from our essential selves (Suzuki, T., 2002, p. 3)

As this quotation depicts, Suzuki discusses his discontentment of the current practice of the human body on stage and further discusses how the human race has extended technological innovations to replace perceptual organs. For instance, he explains how the human eye is replaced with the microscopic apparatuses to see what the human eye cannot capture through its naked eye. However, Suzuki’s lament with the modern technology and its domination of human cognition is not a new conceptual position. Since the inception of the industrial revolution, many scholars and philosophers have addressed this issue and notably, the intervention of technology and its impact upon human life was a heated debate.


The invasion of intermedial applications in modern and contemporary theatre is something that we cannot ignore. This intermediality has replicated the natural human body and its performativity on stage by elevating digital and visual power over the human body and theatre at large.

However, the importance of Suzuki’s criticism is that he intends his actors to find true selves and the corporeal presence on stage. In line with this argument, Suzuki has invented a method which emphasizes the lower part of the human body—legs—and its connection to the floor. (This idea of focusing on the lower body and its connection to the earth was not new to Sri Lankan dance practice. However, with the advent of visual medium and digital technology the performer’s focus has been shifted from the floor to the upper body).

The basic activities that Suzuki has formulated to train actors is a series of various stomping methods and walking patterns that allow actors to work as individuals and in groups. In this stomping method, actors are intended to hit the floor vigorously and continue stomping for at least half an hour while keeping their upper bodies still. Therefore, the actor’s endurance and stamina are tested with these rigorous exercise routines. Stomping further allows the actor to see how his/her upper body reacts to the lower body when legs are hitting the ground. The challenge of maintaining the balance, the centre of gravity and energy flow through the pelvic area to the ground, and its equal force towards the upper body is constantly been measured and tested in this actor training method.


Deborah Leiser-Moore

With the concept of eradicating daily routine and mundane habitual behaviors, I had several conversations with Australian actor/director Deborah Leiser-Moore, and finally decided to conduct a week-long Suzuki actor training for a group of selected Sri Lankan actors in mid-2019.

I first met Deborah during my stay at La Trobe University Melbourne while reading for my PhD. I was assigned to teach a few undergraduate classes Asian performance traditions and at the time Deborah was a hired lecturer at the Department of Theatre, La Trobe University Bundoora, Victoria. She wanted to take part in my workshops and later I found that she was going to conduct a series of workshops on Suzuki actor training for undergraduate theatre programme. Associate Prof. Rob Conkie introduced me to Deborah and she invited me to take part in her workshop on the Suzuki method. For the first time in my career as an actor, I was exposed to the Suzuki method which was physically challenging and psychologically draining when I underwent training.

Deborah has studied the Suzuki method and gained first-hand experience of working with the master actor trainer and theatre director Tadashi Suzuki and his actors in Waseda Little Theatre (Waseda Shogekijo) in Japan. In addition, she has studied the work of Ettiene Decroux, and his corporeal mime, and has worked with Richard Schechner’s Rasaboxes. Deborah is a performance maker and actor who has created many solo performances and has performed them in several theatre festivals around the world. She has worked as a sessional lecturer at many Australian Universities such as La Trobe, Wollongong, Sydney, Monash, and University of Western Sydney where she has taught and developed course contents, supervised theses, and theatre productions.

Suzuki Method in Sri Lanka

The Suzuki actor training workshop, conceived and developed by Dr Saumya Liyanage and Dr Deborah Leiser-Moore, was mainly focused on the actor’s ‘Present’ in the given moment, developing stamina and deconstructing daily habit body and cultivating a sense of presence and focus on the body and text. The participants were selected through an application process and the workshop was limited to twenty-five actors of both genders. The week-long workshop was designed to work with actors throughout. Deborah conducted her actor training workshop quite similar to what she has learnt during her Apprenticeship in Toga, Japan.

Young and enthusiastic actors and a few dancers were selected to take part in this unique performer training workshop and every moment of working with Deborah was a joyful experience for Sri Lankan actors. These selected actors were either graduates or had professionally worked in the Sinhala or English theatre. Among these actors, there were a few dance graduates who were keen to explore performance genres. However, the Suzuki method is a rigorous and a physically demanding actor training system. Many of the actors were physically and psychologically drained during workshop hours. Sri Lankan actor training taking place in a few university theatre departments and ad-hoc theatre workshops conducted by individuals mainly focuses on theatre exercises derived from European or American teaching and are also very much confined to theatre games. The Suzuki method however, which is fully focused on the actor’s body and the culture of training and its impact upon the actor’s body, is completely different from what Sri Lankan actors have experienced. I believe that the actors who worked with Deborah have questioned themselves, the capacities of their bodies, the connection between the body and their cognitive operations, and interrelation between actors, which would have been a novel eye opener for them.


Deborah wanted to conclude the Suzuki actor training week with a performance demonstration. The actors enthusiastically worked with Deborah to compile what they had learnt throughout the week-long session and later integrated a text written by Prof. Peta Tait with whom they discussed practice-based research and its contemporary development in postgraduate studies in Australia and other countries. Prof. Tait and Dr Deborah also conducted several postgraduate seminars focusing on how performance practice could be a research insight for students who wish to pursue research degrees in theatre and performing arts. I would like to conclude this piece of writing with Prof. Tait’s poem that we used in the final performance demonstration.

I watch the sea below.

I fly further and further – between sky and sea.

The flight takes over my soul.

I can’t feel my body

The island appears beneath as if by magic.

An island silenced by war.

I could never dream up this brilliance.

How could I imagine this richness that leaps at the senses?

War moves people across impossible distances

With a spin of fate, it makes us someone else

Fighting off a force waiting to steal away our lives.

But my war is a strange one.

Where’s the enemy?

Then all goes still and silent

Peta Tait @ Longing


The Author of this paper wishes to thank Dr Deborah Leiser-Moore, Emeritus Prof. Peta Tait, La Trobe University Australia, and Associate Prof. Rob Conkie, Dept. of Theatre, La Trobe University, Australia for supporting this actor training project. Further, the author’s gratitude goes to the following people: Natasha Hilary, Samal Hemachandra, and the staff of the FGS, UVPA Colombo who managed the project. Himansi Dehigama and Sachini Senevirathne helped copy editing this paper.

Reference list

Allain, P. (1998). Suzuki Training. TDR/The Drama Review, 42(1), pp.66–89.

Allain, P. (2003). The art of stillness : the theatre practice of Tadashi Suzuki. New York: Palgrave Macmillan.

Allain, P. (2019). Physical actor training 2.0: new digital horizons. Theatre, Dance and Performance Training, 10(2), pp.169–186.

Goto, Y. (1989a). The Theatrical Fusion of Suzuki Tadashi. Asian Theatre Journal, 6(2), p.103.

Kim, J.K. (2013). Suzuki Tadashi’s Intercultural Progress in South Korea. Asian Theatre Journal, 30(1), pp.207–222.

Tadashi Suzuki and Steele, K.H. (2015). Culture is the body : the theatre writings of Tadashi Suzuki. New York: Theatre Communications Group.

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Midweek Review

‘Perils of a Profession’ jolts scandal-ridden police



By Shamindra Ferdinando

Retired Senior Deputy Inspector General (SDIG) Merril Gunaratne quoted the then Air Force Commander Air Marshal Walter Fernando as having said at a National Security Council (NSC) meeting, chaired by the then President JRJ, in the mid-80s: “It is not a laughing matter for me.” Fernando was responding to the late Lalith Athulathmudali, the then National Security Minister whose comment on an incident in Vavuniya that claimed the lives of several airmen dismayed the Air Marshal. Gunaratne had been there as the top intelligence representative.

Fernando served as the Commander of the Air Force from May 1, 1986, to July 1, 1990. Fernando retired a few weeks after the eruption of Eelam War II. It would be pertinent to mention his only son Squadron Leader A.P.W. Fernando, was among those killed when the LTTE brought down the Chinese-built Y8 flying over the Elephant Pass area, on July 5, 1992.

The revealing anecdote was one among many such disclosures in Gunaratne’s latest book ‘Perils of a Profession’ launched this month. Gunaratne asserted that the Air Force Commander resented the Minister’s comment that apparently belittled the service.

The author of two previous books ‘Dilemma of an Island ‘ and ‘Cop in the Cross Fire,’ released in 2001 and 2011, respectively, the outspoken retired top cop couldn’t have launched his third at a better time than when the Presidential Commission of Inquiry (PcoI), into the 2019 Easter Sunday carnage, is on the verge of concluding its high profile inquiry. Gunaratne certainly didn’t mince his words when he appeared before the PCoI last year.

The question is whether perhaps the worst ever intelligence failure facilitated the coordinated suicide attacks on six targets on the morning of April 21, 2019? Or could it have been thwarted if the Attorney General’s Department acted swiftly, and decisively, when the Terrorist Investigation Division (TID) brought the growing threat, posed by the National Thowheed Jamaat (NTJ) leader Zahran Hashim, to its notice, in July 2017?


Kudos from retired Maj. Gen.

In his latest work, Gunaratne, whose illustrious career spanning 35 years included a significant period with the premier intelligence service, dealt with precision the deterioration of the once proud police service. In spite of ‘Perils of a Profession’ being rather short, the revelations, therein, are certainly explosive. There hadn’t been such disclosure in the past, by any other retired law enforcement officer.

Gunaratne’s writing skills received the acclaim of retired Maj. Gen. Lalin Fernando, an admirable writer himself. In a brief commendation of Gunaratne’s third book, Fernando asserted: “No gazetted police officer has shown his ability to write as lucidly on real concerns of the police, from professional competence to welfare of the beat constable.”

Having joined the police, in July 1965, Gunaratne served the department during a turbulent time, before leaving the service, as a Senior DIG. Sri Lanka brought the war to a successful conclusion nine years after the author’s retirement, in 2000.

Perils of a Profession’ dealt aggressively with the deterioration of the service, over the years, resulting in an unprecedented crisis. The writer, without hesitation, blamed the politicians and the police for the degeneration of the department to such a pathetic state that today the once proud Police Narcotics Bureau (PNB) is under investigation for dealing in heroin.

Retired Rear Admiral Sarath Weerasekera, now in charge of the police, in his capacity as the Public Security Minister, should peruse ‘Perils of a Profession’ without further delay. There hadn’t been a previous instance of the police coming under a retired military officer, though the last government made a desperate bid to secure the then President Maithripala Sirisena’s consent to Field Marshal Sarath Fonseka as Law and Order Minister. The senior partner of the yahapalana administration wanted Fonseka to replace Sagala Ratnayake, one of the beleaguered UNP leader Ranil Wickremesinghe’s close associates. President Gotabaya Rajapaksa not only brought the police under a retired Rear Admiral, he named retired Gen. Jagath Alwis, his first choice as the Chief of National Intelligence (CNI), as the new Secretary, Ministry of Public Order.

Against that background, another disclosure made by Gunaratne, regarding certain law enforcement officers thwarting Minister Ratnayake’s efforts at reforming the police, should be examined. That particular anecdote revealed how serving officers resented Ratnayake’s bid to secure the retired intelligence officer’s expertise. Perhaps Ratnayake hadn’t been aware of Wickremesinghe’s resentment towards Gunaratne whose controversial assessments on matters of national importance exasperated him.

Cop in the Cross Fire’ revealed how Wickremesinghe’s own views on national security matters clashed with those of Gunaratne during the latter’s tenure as an ‘advisor’ – 2002-2004. Gunaratne’s bold assessment, in his capacity as an ‘advisor’ on the rapid increase in the fighting cadre of the Liberation Tigers of Tamil Eelam (LTTE), after the signing of the highly controversial Ceasefire Agreement (CFA), finalized in Feb 2002, without the knowledge of President Kumaratunga, and much of his own government, quite angered the then Premier Wickremesinghe.


Athulathmudali’s intervention

Gunaratne questioned security/intelligence strategies that had been in place, or were in the process of development when the NTJ struck in April 2019, in spite of receiving specific information from neighbouring India. The writer dealt expertly with the weakening of the police, including the premier intelligence apparatus over the years under whatever name it was called. In Chapter 7, titled ‘Moving into intelligence from normal police work,’ Gunaratne disclosed how Athulathmudali re-named what was then called Intelligence Services Division (ISD). Whatever, the country’s premier intelligence network was called, a senior policeman had been always at its helm.

In Gunaratne’s assessment, the Special Branch (SB) of the CID and the Military Intelligence (MI) played a relatively lower role when compared with that of the premier apparatus, called the State Intelligence Service (SIS), at the time the NTJ struck. That resulted in the SIS being placed under Maj. Gen. Suresh Sally, formerly of the MI. Interestingly, the then Premier Wickermesinghe found fault with the then Brigadier Sally for the writer’s reportage of the recovery of explosives in the north and the arrest of some suspects in the early 2016. The premier intelligence service had always been under a senior police officer. At the time the NTJ struck, SDIG Nilantha Jayawardena had been at the helm of the SIS. The proceedings undertaken by the Parliamentary Select Committee (PSC) and the on-going PCoI revealed the existence of a special relationship between the then President Maithripala Sirisena and the SIS Chief.

Did the close association between the Commander-in-Chief and his spy chief, too, contribute to the overall deterioration of the security setup? The PSC, in its report tabled in Parliament on Oct 23 found fault with Jayawardena for the pathetic handling of the available Indian intelligence until the NTJ terrorists went on the rampage.

Gunaratne blamed an appointment of a novice as the head of the premier intelligence service, after the 1994 presidential election, for the rapid deterioration of the apparatus. Although, the author refrained from naming the officer, the recipient of the coveted post of Director, SIS, was the late retired Senior Superintendent of Police T.V. Sumanasekera.

Nilantha Jayawardena, who is now literally on the mat for the Easter Sunday intelligence failure, too, had served  the SIS even then. Gunaratne’s reference to SIS having wiretapping apparatus is certainly not necessary as the premier intelligence outfit couldn’t perform its legitimate duties without that particular capacity.

The deterioration of politics can be certainly compared with the current political setup. Having read, utterly contemptuous account of the top political leadership and members of the Parliament, the police and the Parliament seemed to be in the same predicament.


UNP faulted

According to Gunaratne, the rot had set in the wake of the UNP landslide, in 1977. The author compared his experience as SSP, Kelaniya and SSP Kurunegala during the period 1977-1978 and how some of those who were represented in parliament violated the laws of the land, misused police and political interference made at the highest levels. Among those miscreants who had been named by the retired cop was the late Minister Cyril Mathew. Gunaratne explained how the UNP cleverly used and abused the police in its diabolical project. An influential section of the police, for obvious reasons, cooperated with the then political leadership much to the dismay of those who struggled to thwart constant and belligerent political interference. Gunaratne earned the wrath of some UNP lawmakers for refusing to cooperate with the ruling party’s strategy. Some took up Gunaratne’s conduct with no less a person than JRJ and in some instances with Premier Ranasinghe Premadasa.

With the UNP enjoying an unprecedented 5/6 parliamentary power, the dictatorial UNP administration expected the police to fall in line. They largely did. The situation deteriorated further in the wake of the 1982, more or less, rigged referendum, that allowed the UNP to retain a monstrous overwhelming 2/3 majority, till 1988.

The late Dingiri Banda Wijetunga’s short tenure as the President during the period 1993-1994 in the wake of Ranasinghe Premadasa’s May Day 1993 assassination, never really received much public attention. Wijetunga oversaw the party in the run-up to parliamentary and presidential polls in August and November, 1994, respectively. Wijetunga thwarted Wickremesinghe by facilitating the return of rebel Gamini Dissanayake back to the party. The author refrained from discussing Wijetunga’s political moves though he dealt harshly with the President’s destructive policy as regards the police. Gunaratne explained how the successful Commandant of the elite Special Task Force (STF), the late Lionel Karunasena, failed to prevent Wijetunga’s interference. The author examined Karunasena’s failure against the backdrop of his success in convincing JRJ and Premadasa not to interfere with the elite unit.

Gunaratne’s allegation, with regard to the shortsighted increase of the DIG cadre, from 11 to 30, overnight, and the number of Senior DIGs, from three to five, contributed to the overall deterioration of law enforcement, should be thoroughly examined. The accusation that Wijetunga lacked even the basic understanding of law enforcement thereby caused chaos in the overall administrative setup, by constant interference, should prompt a reappraisal of the whole department. Successive governments played politics with the police to varying degrees. After the change of governments, those who even vacated posts, or were moved out on disciplinary grounds, manipulated the utterly corrupt system to return to the service and secure backdated promotions. Backdoor promotions were routine and so widespread, higher ranks could be secured outside, what Gunaratne called, eligibility criteria.


A righteous IGP

‘Perils of a Profession’ explained how successive governments, since the 1977 general election, contributed to the ruination of the police department. Backdoor promotions had been a major cause of concern. Having dealt how he personally took up an alleged move to overtake him in the seniority line to pave the way for another, with President Premadasa, at an STF circuit bungalow, Gunaratne paid a glowing tribute to Cyril Herath, as the only IGP who had the strength to quit the service than play politics.

Gunaratne claimed he was present when Herath turned down an offer of an ambassadorial post from the then Defence Secretary Gen. Sepala Attygalle in the wake of the former’s decision to resign.

Gunaratne has quoted Herath as having told Attygalle: “Sir, I have not come to you with my resignation letter to canvas for an ambassadorial post.”

During PSC and PCoI proceedings, the alleged offer made by President Sirisena to the disgraced IGP Pujith Jayasundera to accept the responsibility for the Easter Sunday carnage in return for a diplomatic posting, transpired. Obviously, Jayasundera declined the treacherous offer. The previous Rajapaksa administration named Mahinda Balasuriya, Sri Lanka’s Ambassador to Brazil, after he accepted responsibility for the police firing at a group of protesting Katunayake Free Trade Zone (FRZ) workers.

There certainly cannot be any other instance of a senior retired police officer coming out so strongly against the system at his own expense. Have you ever heard of any retired public servant objecting to a scheme that certainly benefited him at the taxpayers’ expense? Gunaratne discussed the controversial move to assign police personnel to retired IGPs and SDIGs for what the Association of Police Chiefs (APC) described as an effort to ‘maintain their reputation and dignity.’ The APC proposal that had been approved by the National Police Commission (NPC) on April 23, 2020, was the brainchild of retired SDIG Gamini Navaratne. The whole exercise was meant to provide a controversial facility on the basis that senior retired military officers enjoyed such a privilege.

Gunaratne’s thought-provoking opinions on law enforcement operations should be seriously examined. If the Public Security Ministry is genuinely interested in reforms, perhaps the Minister and Secretary can seek a Presidential Commission to make recommendations. Actually, Gunaratne has made some excellent proposals, first to arrest the decline and then improve the service. The police service has deteriorated to such an extent, it would be a herculean task to restore the standards to the pre-1977 period.

In fact, the blatant role the Office of the President had played, since the introduction of the JRJ Constitution in the ruination of the once public friendly service, shouldn’t be swept under the carpet. The deterioration of the police should be examined, taking into consideration extremely serious lapses on the part of the Attorney General’s Department in the run up to the 2019 Easter Sunday attacks. Although, Gunaratne never referred to the AG’s Department lapses that may have given the NTJ the time and the space to mount near simultaneous suicide attacks on six unprotected targets.


A shocking injustice

‘Perils of a Profession’ is the story of incredulity. Having suffered in the hands of the UNP as a result of him being dubbed an SLFPer, Gunaratne, in the wake of Chandrika Bandaranaike Kumaratunga’s victory in 1994, was targeted over his alleged role in the Batalanda torture chamber. In spite of Gunaratne being cleared by way of an investigation carried out by the police at the behest of the Presidential Commission that probed Batalanda, the top cop was placed on compulsory leave. Gunaratne speculated whether the then government sent him on compulsory leave to pave the way for Lucky Kodituwakku to succeed retiring IGP Rajaguru. Gunaratne questioned how Kodituwakku, having resigned, following a rather short career, returned in the wake of the People’s Alliance (PA) victory to take the top post.

Gunaratne had no qualms in discussing perks and privileges enjoyed by the senior officers. The top layer seems to be having a good time. With a section of the department given special status, the others appear to be going ahead with their own projects. Last year’s exposure of the Police Narcotics Bureau (PNB) dealing in heroin is a grim reminder of the appalling state of affairs. The releasing of Easter Sunday terror suspect, Riyaj Bathiudeen, held by the CID in late Oct 2020, raised many an eyebrow. Let us hope the ‘Perils of a Profession’ really jolts the Public Security Ministry.

However, some may not buy Gunaratne’s narration. Critics may find fault with Gunaratne simply because some of the people he is now freely writing about are no longer alive. The author cannot deny the fact that he enjoyed the ride as the head of intelligence, under the UNP, for quite a long period, at a time the NIB was dubbed No Information Bureau.

The police top brass cannot absolve themselves of their failure to prevent the ‘83 riots. Sri Lanka paid a very heavy price for that dastardly violence. Were the police taking orders from outside interests to cause a calamity here? The same thing happened in the run up to the Easter Sunday carnage and thereafter when Sinhala mobs went after ordinary Muslims. Both the police and the Army simply did not act even when mobs came in their hundreds on motorcycles from outside to places like Minuwangoda. Did the cops fire a single shot towards those rampaging mobs? Even our then big talking Army Commander Mahesh Senanayake did nothing.

Police had been always bumming those in power and this was a practice coming down from the colonial period. They were no angels prior to ‘77.

Whatever the shortcomings of President Wijetunga, he should receive the kudos for refusing to fix the election against Chandrika Bandaranaike Kumaratunga, in 1994. Normally the UNP was famous for stealing elections up to then.

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Midweek Review

The Curtain Falls



By Lynn Ockersz

Battered by ghoulish violence,

The towering citadel of democracy,

Stands desolate and forlorn,

Its glow dramatically dulled,

Its iconic status seriously in doubt,

And the realization dawns fast,

That a ruling idea has come crashing down.

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Midweek Review

Artistic mitigation of viral impact on education



PATOC 2020: Performing Arts in the Time of Corona

This international conference further created a platform for many administrators and policymakers to discuss and debate how to facilitate and develop infrastructure allowing for a better online learning experience. It also allowed academics to reconsider how Covid-19 has altered teaching, learning, and assessment methods, and how technology has intervened in the teaching and learning experience. In general, a majority of academics and researchers are still not in a position decide whether the changes happening in academic spheres and the intervention of technology to deliver subject content are to be fully accepted.


By Saumya Liyanage and Nipuni Sharada Pathirage

According to a recent report issued by the World Health Organization (WHO), after more than twelve months of battling the pandemic, more than 75 million people worldwide have been infected by the coronavirus while 1.6 million deaths have been reported worldwide (, 2019). In late 2019, coronavirus was first found in the Wuhan City, Hubei Province of China and within a short period, it spread rapidly around the globe, hampering human interactions and mobility. Economic, political, and social activities have slowed down, and many cities, townships, and regional areas have been isolated.

Numerous political, economic and social issues have cropped up during this health crisis (Liyanage, 2020a, Liyanage, 2020b), and the education sector is paralyded (Kaufman, Brodeur and McGlone, 2020, Asia Society, 2020). For the last twelve months, teaching in schools and universities in Sri Lanka has been affected and online learning and teaching activities have been introduced. In order to sustain undergraduate education, universities have introduced online learning platforms to engage with their teaching, learning, and assessment activities. Students are also engaging in e-learning modes and academic activities, weekly meetings, lectures, conferences, and even symposia are also being transformed into online and virtual. The face-to-face engagement and tangibility of human interactions in performing arts education are becoming scarce.


Performing Arts and the Pandemic

The University of Visual and Performing Arts (UVPA) is the only university in the country dedicated to undergraduate and postgraduate studies in music, dance, drama, and visual arts. The UVPA has also been affected by Covid-19 pandemic measures, and the health emergency adversely impacted the undergraduate activities in four Faculties of the University. It has particularly disrupted the teacher-disciple engagement, which is essential for learning performing arts. Live corporeal presence in performing arts learning has been altered by virtual bodily presence. These virtual bodies are accompanied by amplified human voices mixed with ambience generated through online technologies. Continual disruptions to the Internet, time lapses between the teacher and student, ambiguity of virtual presence, monologic narratives, narcissistic embarrassments, and the gaze of the ‘Other’ are becoming norms in the ‘new normalcy’ of the world.

As a premiere institution for performing arts education in Sri Lanka, UVPA has been forced to deliver subject content through online platforms. Offering university education, especially performing arts, through distance learning is still a contested and provocative idea among academics and students (Simamora, 2020). While some academics argue that the only solution to continue undergraduate education during pandemic restriction is to introduce online platforms, others are still not convinced that these online platforms could be a wiser solution to the ongoing crisis of performing arts education. However, with the advent of the pandemic and its impact upon ongoing learning activities in Universities, research on delivering performing arts through online modes such as Zoom conferencing, Learning Management Systems (LMS), Google Classroom or Microsoft Teams have become a key topic for many research papers published (Demuyakor, 2020, DeWitt et al., 2013, Kindelan, 2010, Simamora, 2020). These discussions undoubtedly contribute to the ongoing debate about online learning and virtual experience in performing arts education in the higher education sector. The culmination of this debate at the UVPA Colombo was the two-day international conference organized by the Faculty of Dance and Drama, which took place on the 21st and 22nd of December via Zoom technology.


PATOC 2020

Facing daily pandemic measures and also converting and continuing traditional performing arts pedagogy on an online platform was a novel but challenging task for academics at the Faculty of Dance and Drama at UVPA Colombo. The methods of distance learning and technology were relatively new to both academics and students of the Faculty. During the first wave of the pandemic, academics attended workshops and seminars to identify the capacity of distance learning and exploring new methods and strategies of delivering performing arts content online. In this context, the Dean of the Faculty of Dance and Drama, Dr Indika Ferdinando came up with the idea of an online international conference to discuss and debate on various aspects of e-learning and performance practice. The action team of the conference and the Faculty web committee decided to use this opportunity as a space for discussing the impact of Covid-19 on performing arts education and practice particularly in Sri Lankan universities and explore how other stakeholders and institutions are grappling with the current situation.

The theme of the conference was Performing Arts in the Time of Corona: The Impact of Covid-19 pandemic on Performing Arts education and practice (PATOC). The PATOC International conference invited practitioners, academics, students, and researchers all over the world to present their abstracts on the theme. The online conference commenced on 21 December 2020 with Dr Indika Ferdinando delivering the welcome speech and spelling out the objectives of the event. The chief guest of the conference, the Vice-Chancellor of UVPA, Senior Professor Rohana P. Mahaliayanaarachchi delivered the inaugural speech about the therapeutic value of performing arts. There were three keynote speeches on both days: Prof. William Peterson from Flinders University, Kalakeerthi Ravibandhu Vidyapathy and Professor Adrian McNeil from Monash University delivered their keynote speeches. The first event of the PATOC conference was the keynote by Prof. William Peterson from Flinders University, South Australia and this session was chaired by Prof. Saumya Liyanage. Prof. Peterson discussed how a group of artists challenges the codependency of Covid-19 and suggests new ways of living, and practices creative arts in this pandemic time. The afternoon session of the day started with the keynote speech of one of the eminent dance practitioners and artists in Sri Lanka, Ravibandhu Vidyapathy, who suggested that dance practitioners should move to open spaces, use basic technical devices to create minimalist dance that glorify the aesthetics of artistically extended human movements and celebrate the dance art. This keynote session was chaired by Dr Anasuya Subasinghe. The second day of the conference started with another keynote speech delivered by Prof. Adrian McNeil from Monash University, Australia. This keynote session was chaired by Dr Priyeshni Peiris. Prof. McNeil discussed the impact of Covid-19 on the music industry considering two music festivals: St. Kilda Festival in Melbourne and the Swar Samrat Festival in Kolkata. Taking them as case studies, he concluded that universities have responsibilities to sustain and practice diverse musical heritages and find ways to cope with social and natural catastrophes.

Each day was designed with two parallel sessions consisting of blind-reviewed papers selected by a group of academics. Eight-minute-long PowerPoint presentations were recorded by researchers, and during the sessions the technical staff played them to avoid technical interruptions. There was a five-minute online Q&A session after each presentation and the presenter was asked to be online at this point to respond to the comments and questions for the presentation. To conclude the two-day online conference, a panel discussion was organised and it was chaired by Prof. Saumya Liyanage. The theme of the discussion was ‘Potential alternative modes of practicing and teaching performing arts during the pandemic’. Prof. William Peterson, Professor Adrian McNeil, Dr Or Kittikong and Dr. Chinthaka Maddegoda presented as panelists. Approximately 140 participants were registered for both days of the conference.

For two days, academics, practitioners, postgraduate students and undergraduates from various institutions in the country and abroad shared their thoughts and research findings at the PATOC conference. Some quantitative research was presented at the conference exploring the impact of Covid-19 on performing arts education, as well as the perspectives of academics and students on teaching-learning performing arts through online methods. Most of the papers asserted that physical distancing had affected the traditional systems of performing arts education and practice. Also these papers concluded that there are limitations of sustaining the collectiveness and the liveness of performing arts when delivering content through online modes. Some papers came up with innovative ideas to overcome these challenges. For instance a group of researchers introduced effective ways of using video materials and sound technology in performing arts education though the general conception of online technology was negative. While some papers emphasised the value and importance of embracing the new digital technology and virtual performance to sustain the industry, some researchers promoted solo performances as a new way of skill development in performing arts learning.

The role of performing arts as a medium of promoting social awareness, or as a therapy and tool for developing mental stability and reducing phobias during the pandemic were some of the key points shared. Researchers in general implied that performing arts educators and practitioners needed to adapt to the ‘new normal’ and to think out of the box to design alternative modes and practice.

Prof. Peterson at the final plenary session discussed the current crisis of arts and cultural studies in major universities in Australia and the challenges they faced in restructuring departments and reviewing existing theatre music and dance studies. It was evident that it is not only the pandemic that has challenged the existing performing arts education and industry but other socio-political forces are also in place to destabilise the sustainable progression of performing arts education. Dr Chinthaka Maddegoda, an academic working at the Faculty of Music further explored the pandemic situation and current declining gurukul or gharana traditions in teaching performing arts.

Dr Maddegoda emphasised that the current health crisis had created opportunities to liberate traditional teacher-centered learning, and opened up democratic spaces. Prof. Adrian McNeil raised several vital questions related to the declining cultural economy by comparing two global cultural venues namely Calcutta and Melbourne, Australia. As Prof. McNeil further argued, with the new normality, the reconfiguration of cultural practices and their discursive implications and reconfiguration of the idea of aesthetics in the new era of performing arts should also be revisited and reconsidered. Dr Or Kittikong from Khon Kaen University, Thailand, further discussed the limitations and also opportunities in teaching performing arts during corona pandemic measures. Her main concern was the issues pertaining to the failure of co-presence of student-teacher conundrum in the classroom setting. With governments imposing measures to maintain social distancing and other health rituals, performing arts teaching and performance practices are becoming social taboos. Some of the vital elements in performing arts such as collaborating, engaging, creating, communication, critiquing, and enacting are becoming alienated concepts.



The PATOC 2020, Performing Arts in the Time of Corona, online international conference brought various artistes, practitioners, scholars, and students who are currently working, studying, and conducting research on performing arts and its related disciplines into a single forum where they share their stories in the time of a pandemic. This international conference further created a platform for many administrators and policymakers to discuss and debate about how to facilitate and develop infrastructure allowing for a better online learning experience. It allowed academics to reconsider how Covid-19 has altered teaching, learning, and assessment methods, and how technology has intervened in the teaching and learning experience. In general, a majority of academics and researchers are still not in a position decide whether the changes happening in academic spheres and the intervention of technology to deliver subject content are to be fully accepted. However, with the pandemic situation and the lack of physical presence of students and teachers in the university premises, alternative e-learning is the only way to continue performing arts education and practice. Yet, it is worthwhile to note that the corporeal presence and its on-site contact with the audience are still vital elements for a successful development of the discipline.



The authors of this article wish to acknowledge the Vice Chancellor Senior Professor Rohana P. Mahaliyanaarachchi, the Dean, Faculty of Dance and Drama, Dr Indika Ferdinando, the PATOC 2020 conference committee members. Further, the authors wish to thank Himansi Dehigama and Sachini Seneviratne for proofreading this paper.

About authors: Prof. Saumya Liyanage is an actor and academic currently working as a Professor in theatre and drama, Faculty of Dance and Drama, UVPA, Colombo. Nipuni Sharada Pathirage is an actress and academic currently working as a probationary lecturer attached to the Department of Drama Oriental Ballet and Modern Dance, UVPA Colombo.

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