Features
The Copper Tumbler & Donkeys in Mannar: A Work of Mourning – II
By Laleen Jayamanne
(First part of this article appeared in The Island Midweek Review on 12 July 2023)
‘it is not narrative that we should abandon but chronology’’ Kumar Shahani
Matter and Memory: Copper and Fire
The image of the copper tumbler on fire in the microwave oven is shocking and dangerous because of the proximity to electricity. But beyond that visceral shock, the image itself feels like the burning heart of this quiet film. This image on fire, in the hum-drum space of the kitchen, is an accident. The film doesn’t tell us who put it in there but we can guess. The tumbler itself is also emotionally supercharged. We learn that lots of stuff has happened to that copper tumbler, it has a mini-history.
The old mother, Daisy Teacher, was entrusted with a set of special copper tumblers and other personal items for safekeeping by her friend and colleague, Fatima Teacher, before the latter was evicted from her home in Mannar, along with a host of other Muslims. Clearly, she expected to return soon. Daisy Teacher’s son Jude who questioned the LTTE about this expulsion disappears at the same time and in her grief his mother collapses the two events, blaming her friend. She gets rid of the set of tumblers and all of the valuables left with her in trust. She has gone past understanding that like her son, Fatima Teacher is also a victim of LTTE violence, not the cause of it.
Quite by chance a single tumbler survives Daisy Teacher’s effort to get rid of the set. The surviving tumbler opens up a wound barely healed and also potential. Several Lankan and other critics have appreciated that the violence of the war is not represented in the film, but instead emerges in recollections. The single tumbler is a special copper cup, invested with the values of friendship between two professional women, the Tamil Daisy Teacher who taught English and the Muslim Fatima Teacher who taught Biology. Daisy Teacher flings the tumbler on the floor yelling at the maid for having served her tea in it when she had been ordered never to do so. Soon after as a result, the repressed past (at once personal and historical in scale), erupts irresistibly into the present.
Potentiality as an idea can be treated in two ways. As an Aristotelian scientific category, it is about strict cause and effect. It’s a latent possibility in an actuality – for example, a seed is a potential tree. The seed can only become that species of tree and no other. Change here is predictable and rationally understandable by science.
Now, the image of the tumbler on fire does not have a potential in this sense, its outcomes are indeterminate. It creates a breach within the hum-drum everyday normality. It opens up an old wound and raw pain manifests as shock and anger. But the sound and image of a copper tumbler of hot tea, first flung on the floor by Daisy Teacher, then catching fire in a microwave oven, and then subject to discussion, harbours historical memory.
If we allow the sense of utter urgency of the ‘mad’ old mother to rattle us, and we linger there, the sparks will fire our imagination. Then we might recall that there are similarly singular, disturbing fire-powered images in Sumathy’s two previous films also. I am thinking of the white car set ablaze by a Sinhala racist nationalist mob, with the film director K. Venkat trapped within it and his muffled mournful cries as he is burned to death, in Sons and Fathers. Then there is the burning tea bush in Ingirunthu, with Peter seated beside it playing his accordion in the dead of night, for example. But in their repetition, these fiery images do very different things, never the same.
So, the copper tumbler on fire in the microwave, in the kitchen, is not a Symbol, nor a Metaphor, or an Allegory. A symbol, like for example the blindfolded figure holding the scales of justice signifies that The Law is unbiased, objective, and rationally balanced. A metaphor, according to the very etymology of the word, converts one thing into something else without residue, unlike a simile, as in ‘Juliet is the sun,’ pure radiance. As for allegory, it has a bad name because it is arbitrary, unlike symbol and metaphor.
So, there can be ‘a tea bush on fire’ in Sumathy’s Ingirunthu which does not turn to ashes. The relationship between the tea bush and fire is ‘arbitrary’ which is what allegory does, it stops time, so we can read the image. You can’t say for example, that the tea bush is fire, there is no intelligible connection between the two. Their relationship is arbitrary but an imaginative director may help us perceive a sensuous abstraction, creating an allegorical connection, rather than a dry abstract juxtaposition.
What critical move can we then make (having eliminated the main rhetorical figures we critics reach for, filed neatly in our brains), when we are lost for words in the face of such a singular image as a copper tumbler ablaze? There is, I think, a challenge, a critical imperative and an intellectual impulse too, to keep going back to it to see and hear it and think of its materiality and its immaterial powers of connectivity (sparks) with the rest of the film – its filmic provenance, so to speak.
We can register its unusual materiality; it’s a copper cup, not a base metal like tin of which most tumblers (belek coppa) are made. Who makes tumblers in copper one wonders and learn from Daisy Teacher’s rambling, crazy but partly lucid monologue that, ‘it’s of very good quality (using English), they don’t make them like that anymore’. It is believed that the ancient Mantai port, the main one for Anuradhapura, once even exported Seruwila copper to India. So, it’s very likely that a tradition of making those copper cups was alive in the country, alluded to by Daisy Teacher.
Copper is a precious civilizational metal, one of the oldest materials to be crafted by humans, providing also the material for the iconic bronze sculpture of Lanka across Theravada and Mahayana Buddhism and Hinduism, as well as Modernist and Contemporary abstract sculpture. So, a pure copper tumbler is part of a formidable Lankan lineage (though humbly domestic).
It sanctifies the friendship, trust and professional loyalty shared by Daisy Teacher and Fatima Teacher. That copper tumbler, in what poets call its ‘thisness,’ in its facticity, in its material links to history, is a Bazinean ‘fact-image,’ in both its use value and iconic value. It stirs one’s faculty of memory, opening up Epic-Memory, connecting an intimate female friendship with historical civilizational memory of a multi-ethnic, multi-religious polity, which includes trade and migration too. Those, as I see and understand, are some of the potential of the burning copper tumbler.
* * * *
The penultimate sequence in The Single Tumbler is of Old Daisy Teacher, dressed in a lime green sari with a dark blue-green blouse, leaving her house, shuffling along the main road, alone, with a dazed and distressed expression (captured in a profile tracking mid-shot, framed against trees), carrying that dented burnt copper tumbler, hoping to return it to her friend.
Even in her madness her ethical sensibility has re-emerged in her futile quest. She passes two donkeys at a crossroad when the camera leaves them behind, gathering speed on one of Sumathy’s favourite tracking shots taken from Lalitha’s car taking her to the airport, leaving behind Mannar town with its large Christian cemetery and church, crossing the causeway with its water landscape vistas as music strikes up.
Instead of ending there, quite unexpectedly, we are taken back to the family home. We see the familiar back veranda with a pot, mortar and pestle and some firewood, where Daisy Teacher gave her monologue. A wide shot of the house front, at a mid-distance, appears as the last image, rather than as the establishing shot at the beginning of the film. In inverting the traditional chronological order, this home we have inhabited is soaked in memory and feeling, which would not have been the case had we seen it as just a house at the beginning.
The film in fact opens with a woman glancing at the camera and saying animatedly, ‘Amma!’ It’s an odd way to open a film in mid-sentence, with this disorienting mid-shot, to not be given a context (the master shot), but that is indeed its strength, one realises later. We enter the film in medias res (in the middle) of hearing an outburst. The context becomes clear soon after, learning that it is the older daughter from Canada, Lalitha who appears to address us. But we are not quite sure of the film’s mode of address, because the camera has made its presence felt through that repeated direct glance at us through the camera lens. The entire opening scene is filmed with a hand-held camera which adds a feeling of volatility, a slight sense of unease physically.
Suddenly the scene cuts to a public street of a row of closed shops but with a snatch of conversation among the siblings played over it for continuity. The cut away happens when Jesse mentions the bazaar of their childhood and alludes to the army’s rampage in Mannar town during the war, when they attacked innocent people and burned down shops in retaliation to an LTTE ambush of an army truck leading to deaths. Through these rhetorical moves, Sumathy breaks the traditional rules of scene construction. And in doing so she creates a narrative freedom to shift her mode of address in ways that are unexpected, disorienting and yet rhythmically persuasive.
I haven’t said much about the conversations and chit chat which really constitutes the film. There are the usual family conversations, catching up on this and that, then there is the long and disorienting monologue of Daisy Teacher, also recounting traumatic events. Anthony appears to be the sibling most damaged by the war years, having lost his youth to its terror. The two sisters remember a distant past that sounds idyllic. When Lalitha (who slips into English intermittently), asks about the disappearance of Jude, Anu, stuck at home, doing chores, caring for their mother and her own family, responds impatiently with, ‘that’s an old story, now we have other problems’! But anecdotal accounts of the history of the civil war, its horror at a personal and mass scale are woven in and out casually, including the circumstances of Jude’s disappearance. The question about what really happened to him keeps coming up. Amidst all this, a few lines of Daisy Teacher have stayed with me. When she hears that Fatima Teacher has died, she responds sharply:
“Why did she die! She’s my age. Why did she have to die!” This is in the same monologue where she irrationally says that Jude disappeared because Fatima Teacher cursed him.
Neo-Realist Acting?
The Post WWII Italian Neo-Realist cinema created a new kind of cinema and film acting, on the rubble of a war-ravaged Italy, even as the Nazis withdrew from the country’s North. Roberto Rossellini’s Rome Open City (1945), Paisan (1946) and Germany Year Zero (1946), introduced a new kind of realism into acting which Bazin theorised in the course of celebrating the emergence of this movement of cinematic resistance to fascism from 1945 on. While Rossellini worked with celebrated actors like Anna Mangani, he also included non-actors, and people from the very milieux filmed. He elicited remarkable performances from them, especially from little children.
Sumathy also uses a mix of people, experienced actors like Sharmini Masilamani as Lalitha, and her own eldest sister Nirmala Rajasingham, as the mother. The actor playing the younger brother, Suman Loganathan appeared in Ingirunthu. Nirmala as a person, carries a complex political history. These personal connections with the realities presented are very important for Sumathy, in her choice of people to act in her films, along with their professional competence, which Is why I am invoking Italian Neo-Realism here, which continues to nourish world cinema, though the Italian movement ended after a few years with post-war modernisation. (To be continued)
Features
Humanitarian leadership in a time of war
There has been a rare consensus of opinion in the country that the government’s humanitarian response to the sinking of Iran’s naval ship IRIS Dena was the correct one. The support has spanned the party political spectrum and different sections of society. Social media commentary, statements by political parties and discussion in mainstream media have all largely taken the position that Sri Lanka acted in accordance with humanitarian principles and international law. In a period when public debate in Sri Lanka is often sharply divided, the sense of agreement on this issue is noteworthy and reflects positively on the ethos and culture of a society that cares for those in distress. A similar phenomenon was to be witnessed in the rallying of people of all ethnicities and backgrounds to help those affected by the Ditwah Cyclone in December last year.
The events that led to this situation unfolded with dramatic speed. In the early hours before sunrise the Dina made a distress call. The ship was one of three Iranian naval vessels that had taken part in a naval gathering organised by India in which more than 70 countries had participated, including Sri Lanka. Naval gatherings of this nature are intended to foster professional exchange, confidence building and goodwill between navies. They are also governed by strict protocols regarding armaments and conduct.
When the exhibition ended open war between the United States and Iran had not yet broken out. The three Iranian ships that participated in the exhibition left the Indian port and headed into international waters on their journey back home. Under the protocol governing such gatherings ships may not be equipped with offensive armaments. This left them particularly vulnerable once the regional situation changed dramatically, though the US Indo-Pacific Command insists the ship was armed. The sudden outbreak of war between the United States and Iran would have alerted the Iranian ships that they were sailing into danger. According to reports, they sought safe harbour and requested docking in Sri Lanka’s ports but before the Sri Lankan government could respond the Dena was fatally hit by a torpedo.
International Law
The sinking of the Dena occurred just outside Sri Lanka’s territorial waters. Whatever decision the Sri Lankan government made at this time was bound to be fraught with consequence. The war that is currently being fought in the Middle East is a no-holds-barred one in which more than 15 countries have come under attack. Now the sinking of the Dena so close to Sri Lanka’s maritime boundary has meant that the war has come to the very shores of the country. In times of war emotions run high on all sides and perceptions of friend and enemy can easily become distorted. Parties involved in the conflict tend to gravitate to the position that “those who are not with us are against us.” Such a mindset leaves little room for neutrality or humanitarian discretion.
In such situations countries that are not directly involved in the conflict may wish to remain outside it by avoiding engagement. Foreign Minister Vijitha Herath informed the international media that Sri Lanka’s response to the present crisis was rooted in humanitarian principles, international law and the United Nations. The Convention on the Law of the Sea (UNCLOS) which was adopted 1982 provides the legal framework governing maritime conduct and obliges states to render assistance to persons in distress at sea. In terms of UNCLOS, countries are required to render help to anyone facing danger in maritime waters regardless of nationality or the circumstances that led to the emergency. Sri Lanka’s response to the distress call therefore reflects both humanitarianism and adherence to international law.
Within a short period of receiving the distress message from the stricken Iranian warship the Sri Lankan government sent its navy to the rescue. They rescued more than thirty Iranian sailors who had survived the attack and were struggling in the water. The rescue operation also brought to Sri Lanka the bodies of those who had perished when their ship sank. The scale of the humanitarian challenge is significant. Sri Lanka now has custody of more than eighty bodies of sailors who lost their lives in the sinking of the Dena. In addition, a second Iranian naval ship IRINS Bushehr with more than two hundred sailors has come under Sri Lanka’s protection. The government therefore finds itself responsible for survivors but also for the dignified treatment of the bodies of the dead Iranian sailors.
Sri Lanka’s decision to render aid based on humanitarian principles, not political allegiance, reinforces the importance of a rules-based international order for all countries. Reliance on international law is particularly important for small countries like Sri Lanka that lack the power to defend themselves against larger actors. For such countries a rules-based international order provides at least a measure of protection by ensuring that all states operate within a framework of agreed norms. Sri Lanka itself has played a notable role in promoting such norms. In 1971 the United Nations General Assembly adopted a resolution declaring the Indian Ocean a Zone of Peace. The initiative for this proposal came from Sri Lanka, which argued that the Indian Ocean should be protected from great power rivalry and militarisation.
Moral Beacon
Unfortunately, the current global climate suggests that the rules-based order is barely operative. Conflicts in different parts of the world have increasingly shown disregard for the norms and institutions that were created in the aftermath of the Second World War to regulate international behaviour. In such circumstances it becomes even more important for smaller countries to demonstrate their commitment to international law and to convert the bigger countries to adopt more humane and universal thinking. The humanitarian response to the Iranian sailors therefore needs to be seen in this wider context. By acting swiftly to rescue those in distress and by affirming that its actions are guided by international law, Sri Lanka has enhanced its reputation as a small country that values peace, humane values, cooperation and the rule of law. It would be a relief to the Sri Lankan government that earlier communications that the US government was urging Sri Lanka not to repatriate the Iranian sailors has been modified to the US publicly acknowledging the applicability of international law to what Sri Lanka does.
The country’s own experience of internal conflict has shaped public consciousness in important ways. Sri Lanka endured a violent internal war that lasted nearly three decades. During that period questions relating to the treatment of combatants, the protection of civilians, missing persons and accountability became central issues. As a result, Sri Lankans today are familiar with the provisions of international law that deal with war crimes, the treatment of wounded or disabled combatants and the fate of those who go missing in conflict. The country continues to host an international presence in the form of UN agencies and the ICRC that work with the government on humanitarian and post conflict issues. The government needs to apply the same principled commitment of humanitarianism and the rule of law to the unresolved issues from Sri Lanka’s own civil war, including accountability and reconciliation.
By affirming humanitarian principles and acting accordingly towards the Iranian sailors and their ship Sri Lanka has become a moral beacon for peace and goodwill in a world that often appears to be moving in the opposite direction. At a time when geopolitical rivalries are intensifying and humanitarian norms are frequently ignored, such actions carry symbolic significance. The credibility of Sri Lanka’s moral stance abroad will be further enhanced by its ability to uphold similar principles at home. Sri Lanka continues to grapple with unresolved issues arising from its own internal conflict including questions of accountability, justice, reparations and reconciliation. It has a duty not only to its own citizens, but also to suffering humanity everywhere. Addressing its own internal issues sincerely will strengthen Sri Lanka’s moral standing in the international community and help it to be a force for a new and better world.
BY Jehan Perera
Features
Language: The symbolic expression of thought
It was Henry Sweet, the English phonetician and language scholar, who said, “Language may be defined as the expression of thought by means of speech sounds“. In today’s context, where language extends beyond spoken sounds to written text, and even into signs, it is best to generalise more and express that language is the “symbolic expression of thought“. The opposite is also true: without the ability to think, there will not be a proper development of the ability to express in a language, as seen in individuals with intellectual disability.
Viewing language as the symbolic expression of thought is a philosophical way to look at early childhood education. It suggests that language is not just about learning words; it is about a child learning that one thing, be it a sound, a scribble, or a gesture, can represent something else, such as an object, a feeling, or an idea. It facilitates the ever-so-important understanding of the given occurrence rather than committing it purely to memory. In the world of a 0–5-year-old, this “symbolic leap” of understanding is the single most important cognitive milestone.
Of course, learning a language or even more than one language is absolutely crucial for education. Here is how that viewpoint fits into early life education:
1. From Concrete to Abstract
Infants live in a “concrete” world: if they cannot see it or touch it, it does not exist. Early education helps them to move toward symbolic thought. When a toddler realises that the sound “ball” stands for that round, bouncy thing in the corner, they have decoded a symbol. Teachers and parents need to facilitate this by connecting physical objects to labels constantly. This is why “Show and Tell” is a staple of early education, as it gently compels the child to use symbols, words or actions to describe a tangible object to others, who might not even see it clearly.
2. The Multi-Modal Nature of Symbols
Because language is “symbolic,” it does not matter how exactly it is expressed. The human brain treats spoken words, written text, and sign language with similar neural machinery.
Many educators advocate the use of “Baby Signs” (simple gestures) before a child can speak. This is powerful because it proves the child has the thought (e.g., “I am hungry”) and can use a symbol like putting the hand to the mouth, before their vocal cords are physically ready to produce the word denoting hunger.
Writing is the most abstract symbol of all: it is a squiggle written on a page, representing a sound, which represents an idea or a thought. Early childhood education prepares children for this by encouraging “emergent writing” (scribbling), even where a child proudly points to a messy circle that the child has drawn and says, “This says ‘I love Mommy’.”
3. Symbolic Play (The Dress Rehearsal)
As recognised in many quarters, play is where this theory comes to life. Between ages 2 and 3, children enter the Symbolic Play stage. Often, there is object substitution, as when a child picks up a banana and holds it to his or her ear like a telephone. In effect, this is a massive intellectual achievement. The child is mentally “decoupling” the object from its physical reality and assigning it a symbolic meaning. In early education, we need to encourage this because if a child can use a block as a “car,” they are developing the mental flexibility required to later understand that the letter “C” stands for the sound of “K” as well.
4. Language as a Tool for “Internal Thought”
Perhaps the most fascinating fit is the work of psychologist Lev Vygotsky, who argued that language eventually turns inward to become private speech. Have you ever seen a 4-year-old talking to himself or herself while building a toy tower? “No, the big one goes here….. the red one goes here…. steady… there.” That is a form of self-regulation. Educators encourage this “thinking out loudly.” It is the way children use the symbol system of language to organise their own thoughts and solve problems. Eventually, this speech becomes silent as “inner thought.”
Finally, there is the charming thought of the feasibility of conversing with very young children in two or even three or more languages. In Sri Lanka, the three main languages are Sinhala, Tamil and English. There are questions asked as to whether it is OK to talk to little ones in all three languages or even in two, so that they would learn?
According to scientific authorities, the short, clear and unequivocal answer to that query is that not only is it “OK”, it is also a significant cognitive gift to a child.
In a trilingual environment like Sri Lanka, many parents worry that multiple languages will “confuse” a child or cause a “speech delay.” However, modern neuroscience has debunked these myths. The infant brain is perfectly capable of building three or even more separate “lexicons” (vocabularies) simultaneously.
Here is how the “symbolic expression of thought” works in a multilingual brain and how we can manage it effectively.
a). The “Multiple Labels” Phenomenon
In a monolingual home, a child learns one symbol for an object. For example, take the word “Apple.” In a Sri Lankan trilingual home, the child learns three symbols for that same thought:
* Apple (English)
* Apal
(Sinhala – ඇපල්)
* Appil
(Tamil – ஆப்பிள்)
Because the trilingual child learns that one “thought” can be expressed by multiple “symbols,” the child’s brain becomes more flexible. This is why bilingual and trilingual children often score higher on tasks involving “executive function”, meaning the ability to switch focus and solve complex problems.
b). Is there a “Delay”?
(The Common Myth)
One might notice that a child in a trilingual home may start to speak slightly later than a monolingual peer, or they might have a smaller vocabulary in each language at age two.
However, if one adds up the total number of words they know across all three languages, they are usually ahead of monolingual children. By age five, they typically catch up in all languages and possess a much more “plastic” and adaptable brain.
c). Strategies for Success: How to Do It?
To help the child’s brain organise these three symbol systems, it helps to have some “consistency.” Here are the two most effective methods:
* One Person, One Language (OPOL), the so-called “gold standard” for multilingual families.
Amma
speaks only Sinhala, while the Father speaks only English, and the Grandparents or Nanny speak only Tamil. The child learns to associate a specific language with a specific person. Their brain creates a “map”: “When I talk to Amma, I use these sounds; when I talk to Thaththa, I use those,” etc.
*
Situational/Contextual Learning. If the parents speak all three, one could divide languages by “environment”: English at the dinner table, Sinhala during play and bath time and Tamil when visiting relatives or at the market.
These, of course, need NOT be very rigid rules, but general guidance, applied judiciously and ever-so-kindly.
d). “Code-Mixing” is Normal
We need not be alarmed if a 3-year-old says something like: “Ammi, I want that palam (fruit).” This is called Code-Mixing. It is NOT a sign of confusion; it is a sign of efficiency. The child’s brain is searching for the quickest way to express a thought and grabs the most “available” word from their three language cupboards. As they get older, perhaps around age 4 or 5, they will naturally learn to separate them perfectly.
e). The “Sri Lankan Advantage”
Growing up trilingual in Sri Lanka provides a massive social and cognitive advantage.
For a start, there will be Cultural Empathy. Language actually carries culture. A child who speaks Sinhala, Tamil, and English can navigate all social spheres of the country quite effortlessly.
In addition, there are the benefits of a Phonetic Range. Sinhala and Tamil have many sounds that do not exist in English (and even vice versa). Learning these as a child wires the ears to hear and reproduce almost any human sound, making it much easier to learn more languages (like French or Japanese) later in life.
As an abiding thought, it is the considered opinion of the author that a trilingual Sri Lanka will go a long way towards the goals and display of racial harmony, respect for different ethnic groups, and unrivalled national coordination in our beautiful Motherland. Then it would become a utopian heaven, where all people, as just Sri Lankans, can live in admirable concordant synchrony, rather than as splintered clusters divided by ethnicity, language and culture.
A Helpful Summary Checklist for Parents
* Do Not Drop a Language:
If you stop speaking Tamil because you are worried about English, the child loses that “neural real estate.” Keep all three languages going.
* High-Quality Input:
Do not just use “commands” (Eat! Sleep!). Use the Parentese and Serve and Return methods (mentioned in an earlier article) in all the languages.
* Employ Patience:
If the little one mixes up some words, just model the right words and gently correct the sentence and present it to the child like a suggestion, without scolding or finding fault with him or her. The child will then learn effortlessly and without resentment or shame.
by Dr b. J. C. Perera
MBBS(Cey), DCH(Cey), DCH(Eng), MD(Paediatrics), MRCP(UK), FRCP(Edin), FRCP(Lond), FRCPCH(UK), FSLCPaed, FCCP, Hony.
FRCPCH(UK), Hony. FCGP(SL)
Specialist Consultant Paediatrician and Honorary Senior Fellow, Postgraduate Institute of Medicine, University of Colombo, Sri Lanka
Features
SIMPSON’S … set to carve a distinct sonic identity
It is, indeed, encouraging to see our local artistes working on new formats, where their music is concerned.
Variety is the spice of life, they say, and I do agree, especially when it comes to music.
Blending modern synth textures, ambient layers and soulful undertones, the group SIMPSON’S is set to carve a distinct sonic identity within Sri Lanka’s contemporary music landscape.
Their vision, they say, is not simply to produce songs, but to create emotional atmospheres – experiences that elevate, energise and resonate, both locally and beyond.
This four-piece outfit came into the scene, less than two years ago, and they are already making waves with their debut single ‘Balaporottuwak’ (Hope).
The song, I’m told, marks the beginning of a new sound, and at the forefront of ‘Balaporottuwak’ is the group’s lead vocalist and guitarist, Ryo Hera, who brings a rich cultural heritage to the stage.
As a professional Kandyan Wes dancer, Ryo’s commanding presence and textured vocals bring a distinct energy to the band’s sound.
‘Balaporottuwak’

Ryo Hera: Vocals for ‘Balaporottuwak’
is more than just a debut single – it’s a declaration of intent. The band is merging tradition and modernity, power and subtlety, to create a sound that’s both authentic and innovative.
With this song, SIMPSON’S is inviting listeners to join them on an evolving musical journey, one that’s built on vision and creativity.
The recording process for ‘Balaporottuwak’ was organic and instinctive, with the band shaping the song through live studio sessions.
Dileepa Liyanage, the keyboardist and composer, is the principal sound mind behind SIMPSON’S.
With experience spanning background scores, commercial projects, cinematic themes and jingles across multiple genres, Dileepa brings structural finesse and atmospheric depth to the band’s arrangements.
He described the recording process of ‘Balaporottuwak’ as organic and instinctive: “When Ryo Hera opens his voice, it becomes effortless to shape it into any musical colour. The tone naturally adapts.”
The band’s lineup includes Buddhima Chalanu on bass, and Savidya Yasaru on drums, and, together, they create a sound that’s not just a reflection of their individual talents, but a collective vision.

Dileepa Liyanage: Brings
structural finesse and
atmospheric depth to the
band’s arrangements
What sets SIMPSON’S apart is their decision to keep the production in-house – mixing and mastering the song themselves. This allows them to maintain their unique sound and artistic autonomy.
“We work as a family and each member is given the freedom to work out his music on the instruments he handles and then, in the studio, we put everything together,” said Dileepa, adding that their goal is to release an album, made up of Sinhala and English songs.
Steering this creative core is manager Mangala Samarajeewa, whose early career included managing various international artistes. His guidance has positioned SIMPSON’S not merely as a performing unit, but as a carefully envisioned project – one aimed at expanding Sri Lanka’s contemporary music vocabulary.
SIMPSON’S are quite active in the scene here, performing, on a regular basis, at popular venues in Colombo, and down south, as well.
They are also seen, and heard, on Spotify, TikTok, Apple Music, iTunes, and Deezer.
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