Features

The genius of we lost Karunaratna Abeysekara, forever 40 years ago

Published

3 years ago

2023/04/30

By Dr Upul Wijayawardhana

Forty years ago, on 20th April 1983, we lost for ever the genius of the Sinhala wordsmith extraordinaire, whose life was cut short suddenly and prematurely at age of only 52 years. It is said that those with creativity, like him, reach their maximum potential in their fifties but, sadly, it was not to be although the legacy he left behind makes us feel as if he lived a century!

Considering his prodigious productivity in a span lasting less than four decades, it is hard even to imagine what he would have achieved had he lived at least a decade more, as he requested. Interestingly, in a moving poem printed in Kalpana in October 1982 six months before his death giving the impression that he had a premonition, titled ‘Ayachanayak’ (Request), he makes an appeal to the ‘Life-giver’ for an extension of 10 years, so that he may see his son grow up and can contribute to Sinhala literature in many ways, writing for the unity of the nation. It is not without humour either, as he states that all he wants is the extension and does not care even if it makes him look aged!

He is a wordsmith extraordinaire indeed, as he excelled in both the written and the spoken word; a rare achievement. He showed his talents in the written word by being among the great poets of the ‘Colombo Era,’ a sought-after scriptwriter for Sinhala cinema and, most importantly, a lyricist of lasting influence; perhaps, the greatest we ever had. He demonstrated his prowess of the spoken word as a newsreader, a presenter of programmes and concerts but he is best remembered for his unforgettable commentaries, the way he moved the entire nation to tears at SWRD’s funeral becoming part of broadcasting legend.

He was born in Ratmale, a little village south of Matara on June 3, 1930, the eldest of 10 children of Podiappuhami and Premawathi Abeysekara. The family moved to Colombo where his father started a small business but they moved back temporarily to their village during World War II which gave Karu the opportunity to study Sinhala, Pali, and Sanskrit under Venerable Ananda of Galkanda Vihara, which laid the foundation for the mastery with words.

On return to Colombo, he entered Nalanda College where his teacher was the poet U A S Perera, better known as “Siriayya” who conducted “Lama Pitiya” in Radio Ceylon, which was a life-changing event. This drew him to broadcasting, taking part in “Lama Pitiya” from the age of 12. He continued to study oriental languages under Venerable Dehigaspe Pannasara of Vidyodaya Pirivena whilst continuing his studies in English at Nalanda.

Karunaratna Abeysekara became a pioneer in many fields having faced the most crucial decision of his life in 1950, when he had to choose between admission to Peradeniya University, for a degree, or join Radio Ceylon as a relief announcer, earning seven rupees a day. He opted for the latter as he felt that was the only way he could support his younger siblings, his father’s business being not lucrative. This move not only allowed him to support his siblings admirably but also build a very successful broadcasting career.

He was a brilliant newsreader but outshone all others as a commentator. In the era before television, we were at the mercy of commentators to visualise any important event. Whereas others described what was happening, he painted the picture in our minds with his unmatched eloquence. I still remember listening to his commentary when Queen Elizabeth visited us in 1954 and painting the picture of the procession in my mind.

What has often been overlooked is the fact that it was Karunaratna Abeysekara who pioneered cricket commentary in Sinhala, the very first being a report on the Anada-Nalanda Big-match he gave on Saraswathi Mandapaya. He quickly switched to live commentary and is credited with coining many Sinhala cricket terms which are in current usage. No doubt the enthusiasm for and the popularity of cricket, the ‘coloniser’s game,’ in the villages is in no mean measure due to the commentaries in Sinhala which he pioneered in his inimitable style which enabled the listeners to visualize the game long before the advent of television.

Invariably, due to the inspiration from Siriayya, he was drawn to children’s programmes and Saraswathi Mandapaya, he hosted on Sunday evenings, became the star of children’s programmes and to me and my generation he became our beloved Karuayya. I had the fortune of participating regularly and helping Karuayya from 1957 to 1964, being introduced to him by his brother Daya and my good friend Buddhadasa Bodhinayaka. We would help by sorting out letters, writing features and reading scripts live etc. which gave us the grounding in broadcasting.

Karuayya

arrived about half an hour before the programme goes live on-air and penned a couple of songs, which were set to music by Master D D Denny to be sung by the children who became the leading musicians later. Saraswathi Mandapaya was the incubator for a generation of not only budding singers but also lyricists and script writers, far too many to mention by name. Just one example: Nanda Malini’s famous song “Budusadu, Budusadu, Sandun gasak wennam” written by Asoka Colombage with music by D D Danny, she sang first in Saraswathi Mandapaya.

He is rightly credited as the creator of the genre of Sinhala children’s songs and his compositions like Sarungale, Lenage pitameda iri tuna ende kauda mage amme, Dan nivadukale hinda ne iskole, Mamai Raja kale vihilu keru Andare, Surathal ape denila vana mal kele pipeela are perineal favourites. Some of his children’s songs have become so popular, adult singers have recoded them subsequently.

On retiring from the National Service, he joined the Commercial Service of Radio Ceylon where he revolutionised advertising by coining catchy slogans and introducing memorable jingles which are played even today. He was ethical to the core, ensuring that products he advertised stood to scrutiny, often visiting the manufacturers to make sure. This, unfortunately, is a practice unknown today, with celebrities selling their souls for cash, endorsing any product.

He was in great demand to present concerts and, in fact, many attended to see Karuayya as much as for the concert itself. When he commenced the proceedings, immaculately dressed with hair combed with Brylcream and a wide smile below the thin moustache, crowds roared with applause as he raised his hands and said “Ayubowan” His introductions were crisp and concise, describing a lot in a few words.

Of course, he is best remembered as a lyricist though he did not get universal acclaim. Some critics took objection to his style whilst others attempted to belittle him by saying he writes lyrics for Hindi tunes, disregarding the fact that often lyricists write words to a tune created by a musician and that doing this is more difficult than writing free lyrics. He had the remarkable ability to pen a song in a few minutes and the complimentary remarks, referring to this, made by Dharmadasa Walpola and Milton Perera in interviews, that he often wrote songs for them by the side of his car, on a piece of paper kept on the bonnet, were used by critics to belittle him. He disregarded them by saying: “I write my songs not for critical acclaim but for the sole purpose of the enjoyment of listeners, without them having to turn the pages of a dictionary!” Paradoxically now, 40 years after his death, critics are falling over each other to praise his lyrical style; simple though beautiful and musical words, arranged rhythmically to subtly convey, meanings often very deep, which brought about a sea change in Sinhala music for the masses!

He coined many new words and phrases but his genius was in the ability to transform even harsh words to be musical as illustrated by the Jothipala song “Sal Sapu Na Kumudu Saman Nilmahanel mal athare, Kidaram male pava suwanda digahere”. Leaving aside the simple but philosophical message conveyed later in the lyrics of this haunting song, the genius is in the introduction so beautifully to the lyric of Kidaram mala, the flower of the Stink Lily! The songs he penned still dominating the airwaves, despite the vast changes in the broadcast media since his death, stands testimony to his philosophy. The young, who have no idea whose compositions they are, join the old in singing his songs, made immortal by the vast number of talented Sinhala singers, most of whom he nurtured.

In my humble opinion, Karunaratna Abeysekara is the best lyricists Sri Lanka has ever had as his versatility is beyond compare. Even doubters would agree that his versatility remains unchallenged as he had the capability to suit the lyric to the singer’s style and even to suit the actor, for film songs. His lyrics could be anything from children to classical, funny to provocative but he was at his best when it came to romance, probably because of his own turbulent love affair with Raniakka before marriage. Erani Herath, like many millions in the country, had fallen in love with his voice initially which later blossomed into a romance, objected to by her elders who kept her a virtual prisoner. Her mother prevented her from listening to the radio first and then kept newspapers away from her, when she realized that he was communicating through poems in newspapers! One day, Tilakasiri Fernado has been waiting in studio 10 of Radio Ceylon for Karuayya as he was one song short for his programme the same evening. When the plight was explained, Karuayya vented the pent-up feelings by writing immediately ‘Enna mada nale, gos pawasanna duka mage; Yannata heki obata pamani sirageyata ege’ which has become a classic, wherein he requests the wind to convey his sadness and love to her as it is only the wind that can reach her prison uniterrupted!

In turn, Karuayya extended a helping hand to others in romantic difficulties too. When there were problems with Sanath Nadasiri’s romance with Malkanthi Pieris, he wrote the beautiful song “Ma hada asapuwa, kusumin sarasuwa, e Malbara dethai” Malbara hinting at Malkanthi! When Milton Perera had difficulty in expressing his love to Kalyani and appealed to Karuayya, he obliged with “Kalyaniye oba nasu kathawak kiyannam” with Milton declaring his love over the airwaves and thousands of lovers using it since to overcome their difficulties of romantic expression!

When Dileepa was born, after a gap of ten years, Karuayya was overjoyed and had been lying down on a mat between the two beds occupied by his wife and mother, when he got the sudden urge to pen a song. He got up and wrote “Dileepa podi puthu, saneepayata nidi, Mawage ukul yahane” which was printed in Silumina. Seeing this Clarence Wijewardene has approached Karuayya and had said he will pay anything for the song! In an interview Karuayya mentioned that this and “Enna mada nale” are his favourite songs. Shortly before his death, Karuayya had been listening to a radio programme where they had discussed “Enna mada nale” and Raniakka mentioned in an interview that Karuayya was very pleased and had commented “It is a haunting song.” It is a small mercy that he could listen to his favourite as the last.

No one knows how many songs Karunaratna Abeysekara wrote in his short but fruitful lifetime as he wrote songs for many including my wife, Primrose and even he did not keep a count. The figure of 2000 often quoted is a gross underestimate and may refer only to film songs as he wrote lyrics for over 300 films. Though he was paid for film songs, he never charged a cent from the multitude of artistes he wrote songs for. Almost every artiste of that era had the career launch or their breakout with a song penned by Karunaratna Abeysekara. He must have written thousands for radio musical programmes, Saraswathi Mandapaya and for recordings by artists which remain uncounted. Before the introduction of television, more than half the songs in SLBC library had been written by him.

Though the first song he composed for a film was “Kataragame Devige bime, Ruhunu janapade” screening of Sirisena Wimalaweera’s film Asoka was delayed, Varada Kageda being released ahead, two songs of which remain popular to this day: “Dalula prema gase” and “Piyalee kedila wetuna nebul Saman male” both sung by Mohideen Baig. It is said that seven other lyricists failed to satisfy Nimal Mendis for his composition for the film Kalu Diya Dahara but Karuayya succeeded with “Master Sir“

Some critics consider his best lyrics for a film are in Kurulu Bedda, with music by R Muthusamy and sterling performances by Punya Heendeniya and D R Nanayakkara, which include “Aruna Udaye” the first film song of Milton Perera, “Oya belma, oya kelma, nilupul nethe” by Lata and Dharmadasa Walpola. However, my personal choice is Daskama, the only film Edwin Samaradiwakara provided music for. “Ipida mere” sung by Amaradewa is a synopsis of Buddhism and has become a classic but there are many other beautiful songs too, masterfully crafted, and beautifully sung: “Honda Kala ada” by Mohideen Baig, “Goyam paseela kumbure” by Indrani Wijebandara, “Devlova devsepa” by Indrani Wijebandara and Mallika Kahavita, as well as GSB Rani Perera’s “Mada diye pipunata” and “Turu wadulu tule, sandalu thale, kekulu sele surathale; Mukulu obe, vikulu dange, lelena dalu palakale“, a song which demonstrates how simple words could be melodically threaded.

He excelled in writing about inanimate objects; perhaps, the only lyricist to do so. “Awile semada” is about a candle, “Basicale” is about the bicycle, “Sarungale” is about a kite and “Naga lovin gena apu Bulathatha” is about sheaf of Betel, a song that runs through all the associated rituals, reminding us about our old traditions. Often, he made use of life-events to pen a song. Whilst having dinner in a Chinese restaurant, the waiter has dropped a tray earning a public reprimand from the manager which prompted, the moment he got home, to write “Wedakarala ewara nometha deviyane – Mokotada ma duppathwe ipadune“

He wrote songs for artistes with widely varying styles with equal success, few eternal favourites being: “Kedelle ativu kirille wage demapiiyan sevane” for Mignone and Jetliners which has become the favourite at weddings, “Piyumehi peni bothi wanabambaru” for C T Fernando, “Mal yahanawaki loke, nave chandraloke” for M S Fernando, “Sulange pavee ee wetha yawee ma pathu pathum” and “Oruwaka pawena re ganaandure” for Milton Mallawarachchi, “Diya podak wemin thol wiyaluna pipaseta” for HR Jothipala, “Neela jalase rangana hansa kumari” for Sisira Senarathna, “Namal komali” for Indrani Wijebandara though she grabbed the limelight with the song “Hithannako aiye, denwath heddennnako aiye” from the film Suraya, also written by Karunaratna Abeysekara.

He was so proliferous, sometimes, had written different lyrics for the same tune. Having forgotten that he had written “Me bhavayedi mulu diya daye” for Narada Dissasekara, he had written “Tajmahalak thanawanna ne mata” for H R Jothipala, both becoming very popular and, interestingly, both artistes choosing each as their favourite song!

His younger brother, Gunaratna too was a reputed lyricist and one day Jothipala had come to their place to get a song on Anangaya (Cupid) written and as Karuayya was away, Gunaratna wrote him “Anangaya man” which became a hit. When Milton Perera approached Karuayya about this, he had written “Supemlove kusum sara malsara” highlighting the failures of Anangaya which resulted in a rebuttal from Gunaratna. When there were a few exchanges of songs, many began wondering whether there is a rivalry between Jothipala & Milton or Karunaratna & Gunaratna, the speculation being put to rest by the brothers co-writing “Api santhosen inne, Duka sokhaya ne danne, Aiyya malli wage” which was duetted by Jothipala and Milton!

During Vesak, from every Dansela to Pandal “Obe ragi mana kelambedo” sung by Mohideen Baig is heard, this being among many songs with Buddhist themes Karunaratna Abeysekara composed but it is often forgotten that he wrote on Jesus Christ too: “Bethlehem pure, Dilindu gawahale“. Mohideen Baig’s strong voice often amplified the message in songs like “Sinahawen ho kathawen be maninnata minisa” and “Ma oba wenuweni Bharatha menige pa sevane wedune” describes Baig’s life story.

Lata mentioned in an interview that wherever in the world, when she sang “Perdiga muthuetayai me, Loke sirideru Siri Lanka” the audience stood to attention, no surprise as it ends with: “Negisitiya heka eksathwi, Bedigiyoth rata yaye sunwee“. However, Karunaratna Abeysekara’s most opportune message from the grave comes from Mohideen Baig’s song “Giri hel mudune Manel nopipe, Hiru nonagi awaragirehe” which ends with:

“Dinu jathiya vatina Sinhale, Abhimanaya wu deya Sinhale

E niga sirithe galee, Ha noga endinu delee

Parasiritheni oba Hela meni, eida soketa heluwe”

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Features

A life in colour and song: Rajika Gamage’s new bird guide captures Sri Lanka’s avian soul

Published

23 hours ago

2026/03/2

Sahan Weerasooriya

Sri Lanka wakes each morning to wings.

From the liquid whistle of a magpie robin in a garden hedge to the distant circling silhouette of an eagle above a forest canopy, birds define the rhythm of the island’s days.

Their colours ignite the imagination; their calls stir memory; their presence offers reassurance that nature still breathes alongside humanity. For conservation biologist Rajika Gamage, these winged lives are more than fleeting beauty—they are a lifelong calling.

Now, after years of patient observation, artistic collaboration, and scientific dedication, Gamage’s latest book, An Illustrated Field Guide to the Fauna of Sri Lanka – Birds, is set to reach readers when it hits the market on March 6.

The new edition promises to become one of the most comprehensive and visually rich bird guides ever produced for Sri Lanka.

Speaking to The Island, Gamage reflected on the inspiration behind his work and the enduring fascination birds hold for people across the country.

“Birds are an incredibly diverse group,” he said. “Their bright colours, distinct songs and calls, and showy displays contribute to their uniqueness, which is appreciated by all bird-loving individuals.”

Birds, he explained, occupy a special place in the natural world because they are among the most visible forms of wildlife. Unlike elusive mammals or secretive reptiles, birds share human spaces openly.

“Birds are widely distributed in all parts of the globe in large enough populations, making them the most common wildlife around human habitations,” Gamage said. “This offers a unique opportunity for observing and monitoring their diverse plumage and behaviours for conservation and recreational purposes.”

This accessibility has made birdwatching one of the most popular forms of wildlife observation in Sri Lanka, attracting everyone from seasoned scientists to curious schoolchildren.

A remarkable island of avian diversity

Despite its small size, Sri Lanka possesses extraordinary bird diversity.

According to Gamage, the country’s geographic position, varied climate, and diverse habitats—from coastal wetlands and rainforests to montane cloud forests and dry-zone scrublands—have created ideal conditions for birdlife.

“Sri Lanka is home to a rich diversity of birdlife, with a total of 522 bird species recorded in the country,” he said. “These species are spread across 23 orders, 89 families, and 267 genera.”

Of these, 478 species have been fully confirmed. Among them, 209 are breeding residents, meaning they live and reproduce on the island throughout the year.

Even more remarkable is Sri Lanka’s high level of endemism.

“Thirty-five of these breeding resident species are endemic to Sri Lanka,” Gamage noted. “They are confined entirely to the island, making them globally significant.”

These endemic species—from forest-dwelling flycatchers to vividly coloured barbets—represent evolutionary lineages shaped by Sri Lanka’s long geological isolation and ecological uniqueness.

In addition to resident birds, Sri Lanka also serves as a seasonal refuge for migratory species traveling thousands of kilometres.

“There are regular migrants that arrive annually, as well as irregular migrants that visit less predictably,” Gamage explained. “Vagrants, birds that appear outside their typical migratory routes, have also been spotted occasionally.”

Such unexpected visitors often generate excitement among birdwatchers and scientists alike, providing valuable insights into migration patterns and environmental change.

Rajika Gamage

A guide born from passion and necessity

The new field guide represents the culmination of years of research and builds upon Gamage’s earlier publication, which was released in 2017.

“The stimulus for this bird guide was due to the success of my first book,” he said. “This new edition aims to facilitate identification and provide an idea of what to look for in observed habitats or regions.”

The book is designed not merely as a scientific reference but as an accessible companion for anyone interested in birds. Its structure reflects this dual purpose.

“The first section is dedicated to the introduction, geography, and life history of Sri Lankan birds,” Gamage explained. “The second section is the main body of the guide, which illustrates 532 species of birds.”

Each illustration has been carefully crafted in colour to capture the distinctive plumage of each species.

“All illustrations are designed to show each bird’s significant and distinct plumage,” he said. “Where possible, the breeding, non-breeding, and juvenile plumages are provided.”

This attention to detail is especially important because many birds change appearance as they mature.

“Some groups, especially gulls, display many plumages between juveniles and adults,” Gamage noted. “Many take several years to develop full adult plumage and pass through semi-adult stages.”

By illustrating these stages, the guide helps birdwatchers avoid misidentification and deepen their understanding of avian development.

New discoveries and evolving science

One of the most exciting aspects of the new edition is its inclusion of newly recorded species and updated scientific classifications.

“Changes in the bird list of Sri Lanka, especially newly added endemic birds such as the Sri Lankan Shama, Sri Lanka Lesser Flameback, and Greater Flameback, are now included,” Gamage said.

Scientific names and classifications are not static; they evolve as researchers learn more about genetic relationships and species boundaries. The guide reflects these changes, ensuring it remains scientifically current.

The book also incorporates conservation status information based on the latest National Red Data Report and global assessments.

“The conservation status of Sri Lankan birds, as listed in the 2022 National Red Data Report and the global Red Data Report, are included,” Gamage said.

This information is vital for conservation planning and public awareness, highlighting which species face the greatest risk of extinction.

The guide also documents rare and accidental visitors, including species such as the Blue-and-white Flycatcher, Rufous-tailed Rock-thrush, and European Honey-buzzard.

“These represent accidental visitors and newly recorded vagrants,” Gamage said. “Altogether, the first edition offers some 25 additional species, all illustrated.”

Art and science in harmony

Unlike many field guides that rely heavily on photographs, Gamage’s book emphasises detailed illustrations. This choice reflects the unique advantages of scientific art.

Illustrations can emphasise diagnostic features, eliminate distracting backgrounds, and present birds in standardised poses, making identification easier.

“The principal birds on each page are painted to a standard scale,” Gamage explained. “Flight and behavioural sketches are shown at smaller scales.”

The guide also includes descriptions of habitats, distribution, nesting behaviour, and alternative names in English, Sinhala, and Tamil.

“The majority of birds have more than one English, Sinhala, and Tamil name,” he said. “All of these are included.”

This multilingual approach reflects Sri Lanka’s cultural diversity and ensures the guide is accessible to a wider audience.

A tool for conservation and connection

Beyond its scientific value, Gamage believes the book serves a deeper purpose: strengthening the bond between people and nature.

By helping readers identify birds and understand their lives, the guide fosters appreciation and responsibility.

“This field guide aims to facilitate identification and provide a general introduction to birds,” he said.

In an era of rapid environmental change, such knowledge is essential. Habitat loss, climate change, and human activity continue to threaten bird populations worldwide, including in Sri Lanka.

Yet birds also offer hope.

Their presence in gardens, wetlands, and forests reminds people of nature’s resilience—and their own role in protecting it.

Gamage hopes the guide will inspire both seasoned ornithologists and beginners alike.

“All these changes will make An Illustrated Field Guide to the Fauna of Sri Lanka – Birds one of the most comprehensive and accurate guides available within Sri Lanka,” he said.

A lifelong devotion takes flight

For Rajika Gamage, birds are not merely subjects of study—they are companions in a lifelong journey of discovery.

Each call heard at dawn, each silhouette glimpsed against the sky, each feathered visitor from distant lands reinforces the wonder that first drew him to ornithology.

With the release of his new book on March 6, that wonder will now be shared more widely than ever before.

In its pages, readers will find not only identification keys and scientific facts, but also something more enduring—the story of an island, told through wings, colour, and song.

By Ifham Nizam

Features

Letting go: A Buddhist perspective

Published

23 hours ago

2026/03/2

Sahan Weerasooriya

The Buddha

Buddhism, one of the world’s oldest religions, offers profound insights into the nature of existence and the ways we can alleviate our suffering. As one of the world’s most profound spiritual traditions, it offers a transformative solution: the art of letting go. Unlike simply losing interest in things or giving up, letting go in Buddhism is about liberation, releasing ourselves from the chain of attachment that prevents us from experiencing true peace and happiness. Letting go is a profound philosophical concept in Buddhism, deeply intertwined with an understanding of suffering, attachment, and the nature of reality. This philosophy encourages us to release our grip on desires, attachments, and on what we hold dear- whether relationships, material goods, or even their identities, ultimately leading to greater peace and enlightenment. Our tendency to cling tightly to the various aspects of life leads to a significant source of stress. We tend to grasp at things, perceiving them as solid and permanent, yet much of what we hold onto is transient and subject to change. This mistaken belief in permanence can trap us in cycles of worry, fear, and anxiety.

The challenge of letting go is especially evident during difficult periods in life. We may find ourselves ruminating over lost opportunities, failed relationships, and unmet expectations. Such thoughts can keep us ensnared in emotions like hurt, guilt, and shame, hindering our ability to move forward. By holding onto the past, we often prevent ourselves from embracing the present and future.

At the heart of Buddhist practice lies the concept of letting go, often encapsulated in the term “non-attachment.” Letting go is a crucial concept in both Buddhism and Christianity, emphasising the release of attachments that bind us and contribute to our suffering. At its core, letting go is about finding freedom from desires and acknowledging that both relationships and material possessions are fleeting and transient.

In Buddhism, letting go, or non-attachment, is fundamental for achieving inner peace. The First Noble Truth acknowledges that life is filled with suffering, often rooted in our cravings and attachment to things. The Second Noble Truth teaches that by letting go of this craving, we can transcend the cycles of life and attain enlightenment.

Spiritually, Buddhism emphasises the impermanence of all things (annica). We tend to cling to people, experiences, and even our identities, but everything is fleeting. Recogniing this helps us appreciate the present moment and fosters compassion. Instead of allowing attachments to cloud our relationships, letting go encourages us to engage with others without judgment or expectation, fostering deeper connections.

Philosophically, Buddhism challenges the notion of a permanent self (anatta) that is often the focus of human attachment. It teaches that our identity is not a fixed entity but a collection of experiences and perceptions in constant flux. Understanding this can help us see the futility of clinging to desires and identities, paving the way for a liberated state of being built on wisdom cultivated through meditation and mindfulness.

From a psychological standpoint, letting go can significantly improve our emotional health and well-being. Attachment often breeds fear, anxiety, and stress, while non-attachment promotes resilience and adaptability. When we embrace the idea of impermanence, we become more capable of handling life’s challenges without being overwhelmed. Mindfulness—being present and accepting our emotions without judgment—allows us to process difficult feelings constructively, making it easier to let go of what we cannot control.

Letting go is also an essential concept in Christianity, which emphasises surrender and trust in God. Biblical teachings encourage believers to let go of worries and anxieties, placing their faith in divine providence. For instance, verses like Matthew 6:34 remind individuals not to be anxious about tomorrow, but to focus on the present. By surrendering our burdens to God, we find peace and freedom from the weight of excessive attachment.

Moreover, both traditions highlight the importance of community. In Buddhism, the sangha, or community of practitioners, supports individuals on their journeys toward non-attachment. Similarly, the Christian community encourages believers to lean on one another for support, fostering a sense of belonging and shared faith that helps mitigate the loneliness that comes with attachment.

Ultimately, the concept of letting go serves as a powerful antidote to suffering in both Buddhism and Christianity. By embracing impermanence, cultivating wisdom, and practising mindfulness or faith, individuals can experience profound liberation. In our chaotic world, the principles of letting go offer a clear path toward inner peace, fulfilment, and deeper connections with ourselves, others, and the divine.

Buddhism explores the profound concept of letting go, providing valuable insights into the human experience and pathways to alleviating suffering. Rooted in one of the world’s oldest spiritual traditions, Buddhism presents letting go as a transformative practice, distinct from mere disengagement or giving up. Instead, it encompasses liberation from the chains of attachment that hinder us from experiencing genuine peace and happiness. Christianity too explore this profound concept in its teachings

At the core of Buddhist philosophy lies the idea of non-attachment, which encourages individuals to free themselves from desires and possessions, ultimately leading to tranquility and enlightenment. Letting go is intertwined with an understanding of suffering, attachment, and the transient nature of existence. This philosophy instructs us to relinquish our grip on what we hold dear—whether relationships, material goods, or even our identities—recognising that these are impermanent.

Buddhism’s First Noble Truth acknowledges that life inherently involves suffering, often stemming from our cravings and attachments. The Second Noble Truth reveals that overcoming this craving is key to transcending the cycles of life and achieving enlightenment. Emphasising the impermanence of all things, Buddhism invites us to appreciate the present moment and fosters compassion by helping us detach from fixed identities and experiences. This awareness enriches our relationships, allowing us to connect with others free from judgment or expectation.

Philosophically, Buddhism challenges the notion of a static self (anatta), asserting that our identity is not a fixed concept but rather a fluid collection of experiences. Recognising this notion helps highlight the futility of clinging to desires and identities, opening the door to a liberated existence founded on wisdom cultivated through meditation and mindfulness practices.

From a psychological perspective, the act of letting go can significantly enhance emotional health and well-being. Attachment often fuels fear, anxiety, and stress, while embracing non-attachment cultivates resilience and adaptability. By accepting impermanence, we equip ourselves to face life’s challenges with greater ease. Practicing mindfulness—being present and accepting emotions without judgment—further facilitates the process of releasing what is beyond our control.

In Christianity, the theme of letting go is also prominent, emphasizing surrender and trust in God. Scripture encourages believers to release their worries and anxieties by placing their faith in divine providence. For example, Matthew 6:34 advises individuals to focus on the present rather than fret over the future. By surrendering our burdens to God, we can experience relief from the weight of excessive attachment.

Both traditions underscore the significance of community in supporting the journey of letting go. In Buddhism, the sangha, or community of practitioners, encourages the pursuit of non-attachment. Likewise, Christian fellowship fosters belonging and shared faith, helping believers lean on one another for strength and mitigating the loneliness that can arise from attachment.

Ultimately, the concept of letting go serves as a powerful antidote to suffering in both Buddhism and Christianity. Embracing impermanence, nurturing wisdom, and practising mindfulness or trust can lead individuals toward profound liberation. In an increasingly chaotic world, the principles of letting go illuminate a pathway to inner peace, fulfilment, and deeper connections with ourselves, others, and the divine. By understanding and embodying this philosophy, we can navigate life’s complexities with grace and openness.////Buddhism delves into the profound concept of letting go, offering valuable insights into the human experience and pathways to alleviating suffering. As one of the world’s oldest spiritual traditions, Buddhism presents letting go as a transformative practice that goes beyond mere disengagement or resignation. It represents liberation from the chains of attachment that prevent us from experiencing true peace and happiness. Similarly, Christianity explores this profound concept in its teachings.

At the heart of Buddhist philosophy is the idea of non-attachment, which encourages individuals to free themselves from desires and possessions, ultimately leading to tranquility and enlightenment. Letting go is closely related to an understanding of suffering, attachment, and the impermanent nature of existence. This philosophy guides us to loosen our hold on what we cherish—be it relationships, material possessions, or even our own identities—recognizing that everything is transient. Through this understanding, we can cultivate a deeper sense of peace and fulfillment in our lives.

BY Dr. Justice Chandradasa Nanayakkara

Features

Brilliant Navy officer no more

Published

23 hours ago

2026/03/2

Sahan Weerasooriya

Bandi (R) with the writer on his retirement day in 2016)

Rear Admiral Udaya Bandara, VSV, USP (retired)

This incident happened in 2006 when I was the Director Naval Operations, Special Forces and Maritime Surveillance under then Commander of the Navy Vice Admiral Wasantha Karannagoda. Udaya (fondly known as Bandi) was a trusted Naval Assistant (NA) to the Commander.

We were going through a very hard time fighting the LTTE Sea Tigers’ explosive-laden suicide boats that our Fast Attack Craft (s) and elite SBS’ Arrow Boats encountered in our littoral sea battles.

Brilliant Marine Engineer Commander (then) Chaminda Dissanayake, who was known for his “out of the box” thinking and superior technical skills on research and development, met me at my office at Naval Headquarters and showed me a blueprint of an explosive- laden remotely controlled small boat.

Udaya’s Naval Assistant’s office was next to mine, the Director Naval Operations office. Both places are very close to the Navy Commander’s office. I walked into Bandi’s office with Commander Dissa and showed this blueprint a brilliant idea. Being a Marine Engineer “par excellence”, Bandi immediately understood the great design. I urged him to brief the Commander of the Navy with Commander Dissa.

My burden was over! Bandi took over the project and within a few weeks we tested our first prototype “Explosive-laden Remotely Controlled arrow boat “at sea off Coral Cove in the Naval Base Trincomalee. It was a complete success.

This remotely controlled boats went out to sea with our SBS arrow boats fleet and had devastating effects against LTTE suicide boats and their small boats fleet. Thanks, Bandi, for your contribution. The present-day Admiral of the Fleet used to tell us during those days “you cannot buy a Navy – you have to build one”!

We built our own small boats squadrons at our boat yards in Welisara and Trincomalee to bring LTTE Sea Tigers. The Special Boats Squadron (SBS) and rapid action boats squadron (RABS) being so useful with remotely controlled explosive-laden arrow boats to win sea battles convincingly.

Bandi used to say, “Navy is a technical service and we should give ALL SRI LANKA NAVY OFFICERS FIRST A TECHNICAL DEGREE AT OUR ACADEMY (BTec degree).” That idea did not receive much attention here, but the Indian Navy—Bandi graduated as a Marine Engineer- at Indian Navy Engineering College SLNS Shivaji in Lonavala, Pune, India— understood this idea well over two decades ago. Indian Navy Commissioned their new Naval Academy at Ezhimala (in Kerala State) which is the largest Naval Academy in Asia (Campus covers area of 2,452 acres) starts its Naval officers training with a BTech degree, regardless of what branch of the navy one joined.

Bandi’s technical expertise was not limited to SLN. He was the pioneer of “Mini – Hydro Power projects” in Sri Lanka. When I was a young officer, he urged me to invest some money in one of these projects and advised me “Sir! as long as water flows through turbines, you will get money from the CEB, which is always short of electricity”. I regret that I did not heed Bandi’s advice.

When he worked under me when I was Commander Southern Naval Area, as my senior Technical Officer, I observed pencil marks on walls of his chalet and I inquired from him what they were. He said it was the result of his “pencil shooting training”, a drill Practical Pistol Firers do to improve their skills. He used to practice “draw and fire” drills and pencil shooting drills late into nights to be a good Practical Pistol firer in Sri Lanka Navy team. He didn’t stop at that. He represented Sri Lanka National Practical Pistol Firing team and won International Championships.

As the Officer in charge of Technical Training in the Navy, he worked as Training Commander to train Royal Oman Navy Engineering Artificers in Sri Lanka, especially on Fast Attack Craft Main Engine Overhauls. The Royal Oman Navy Commander was so impressed with the knowledge acquired by Artificers that he donated money for the construction of a four-storey accommodation building for Sri Lanka Navy Naval and Maritime Academy, Trincomalee now known as “Oman Building”. The credit for this project should go to Bandi.

Bandi’s wife was a senior Judge of Kegalle High Court, and she retired a few years ago. Their only child, a son studied at the British School, Colombo and followed in his mother’s footsteps became a lawyer. Bandi was so much attached to his family and very proud of his son’s accomplishments.

When Bandi was due to retire in 2016 as a Rear Admiral and Director General Training, after distinguished service of 34 years, and reaching retirement age of 55 years, I requested him to serve for some more years after mobilising him into our Naval Reserve Force. He had other plans. He wanted to take his mini-Hydro Power projects to East African countries.

His demise after a very brief illness at age of 64 years was a shock to his family and friends. His funeral was held on Feb. 27 with Full Military Honors befitting a Rear Admiral at his home town Aranayake.

Dear Bandi, the beautiful Sri Lanka Navy, Naval and Maritime Academy in Trincomalee, which was built with your efforts will serve for Sri Lanka Navy Officer Trainees and sailors for a very long time and remember you forever.

May dear Bandi attain the supreme bliss of Nirvana!

Naval and Maritime Academy, Trincomalee

By Admiral Ravindra C Wijegunaratne
WV, RWP and Bar, RSP, VSV, USP, NI (M) (Pakistan), ndc, psn, Bsc
(Hons) (War Studies) (Karachi) MPhil (Madras)
Former Navy Commander and Former Chief of Defence Staff
Former Chairman, Trincomalee Petroleum Terminals Ltd,
Former Managing Director Ceylon Petroleum Corporation,
Former High Commissioner to Pakistan