Life style

The poem Neruda never wrote

Published

3 years ago

2021/10/24

In an exclusive interview with the Sunday Island, film maker Asoka Handagama shares the story behind his latest film- Alborada (The Dawning of the Day) inspired by the celebrated poet Pablo Neruda’s stay here as the Chilean Consul. The film is to be internationally premiered at the 34th edition of the Tokyo International Film Festival opening on October 30.

by Randima Attygalle

It is the year 1929. Young Chilean poet and diplomat Pablo Neruda whose fame preceded him arrives in the British-occupied Ceylon as the Chilean Consul. By then Neruda, had already become an international literary celebrity. His work, Twenty Love Poems and Song of Despair was among the bestselling books of poetry in the 20th century. He was called ‘the poet of the people, the oppressed and the forgotten.’

The activist-Consul arrives in Ceylon, barely 25 and empty-handed except for his memory of the disengaged relationship with his former Burmese lover, Josie Bliss. She was obsessively devoted to Neruda and possessed by an overwhelming jealousy. Neruda who called Josie ‘a love terrorist’ and ‘a species of Burmese Panther’ would document in his memoir: (completed shortly before his death in 1973) ‘Sometimes a light would wake me, a ghost moving on the other side of the mosquito net. It was Josie, flimsily dressed in white, brandishing her long, sharp knife. It was she, walking round and round my bed, for hours at a time, without quite making up her mind to kill me. When you die, she used to say to me, my fears will end.’

While his ‘Bliss’ was turning into a taunting jealousy, Neruda receives a cable from Santiago informing him of his immediate transfer to Ceylon. Welcoming his emancipation from his lover, Neruda settles in a beach-front cottage in Wellawatte and is taken care of by a man servant.

He attempts to bury his memories in the vast tropical shores and takes refuge in an atmosphere of solitude he creates for himself. In his memoir is a chapter dedicated to his stay in Ceylon titled Luminous Solitude where he writes: ‘each morning I was overpowered by the miracle of newly cleansed nature.’

Neruda was soon found in the artistic inner circles of Colombo. He was acquainted with Lionel Wendt and George Keyt. The young Chilean poet had a bevy of female admirers whom he called ‘dusky and golden girls of Boer, English and Dravidian blood.’ They bedded him ‘sportingly, asking for nothing in return,’ as he documents.

The young diplomat was infatuated with a Tamil woman of a low caste who came every day at dawn to clean his outdoor latrine. He found her to be the most beautiful woman he had seen in Ceylon. To win her attention, Neruda left her gifts of fruit or silk on the path leading to the latrine, but she took no notice of them. One day he gripped her by the wrist and stared into her eyes. ‘Unsmiling, she let herself be led away and soon was naked in my bed. Her waist, so very slim, her full hips, the brimming cups of her breasts made her like one of the thousand-year-old sculptures from the south of India. … She kept her eyes wide open all the while, completely unresponsive. She was right to despise me. The experience was never repeated.’

The act became a subject of international scrutiny in later years, even prompting a reassessment of the Nobel Laureate’s merit. Neruda who was celebrated as ‘the greatest poet in the 20th century in any language’ by Gabriel Garcia Marquez was even labeled a ‘rapist’. Activists challenged his documentation of ‘she let herself be led away’ as a blatant lie. The decision to rename Chile’s busiest Santiago International Airport after Neruda was met with outrage from human rights activists who argued that the honour was inappropriate for a man who admitted to rape in his own memoirs.

“Although there are many accounts of Neruda’s life portrayed in fiction and film, this part of the story is often carefully left out. Though his poems about love outwardly sound romantic, they hide within them the eroticization and objectification of women and particularly, women of colour,” reflects the film-maker Asoka Handagama whose latest film Alborada (The Dawning of the Day) is an elaboration of Neruda’s controversial sexual assault.

The film which is to hold its world premiere in Tokyo (Oct. 30 – Nov. 8) is a fictionalized account of Neruda’s stay in Sri Lanka (then Ceylon) from 1929 to 1931 as the Chilean Consul. The film explores the psychological and the emotional factors behind Neruda’s attraction to a woman bound by her caste: a woman considered to be ‘untouchable’, unknown to her playing a part in a bizarre fantasy that ended in a sexual assault.

A fan of Neruda’s poetry, Handagama found the poet’s mixed element of art and controversy a tempting subject for a film script. The script which was inspired by Neruda’s Memoirs is a fruit of 10 years of research on the poet. Handagama left his position as a Deputy Governor of the Central Bank three years before his formal retirement age to complete what he calls his ‘dream film.’

A rebel himself with his cinematic expression, Handagama intrepidly unearths the famed poet’s often interred infamous chapter in what he calls an ‘ironic act.’ “It is ironic that an Asian film-maker, coming from a so called restrained cultural landscape is throwing light on Neruda’s sexual antics when all the while Western cinema makers and fiction writers chose to leave them out in the exposition of him,” smiles Handagama.

Reference to Neruda’s Burmese lover Josie Bliss in his poetry is plenty although she is widely regarded as a figment of the poet’s imagination, notes the film maker. “The depiction of her as a perceived threat, a desire and barbarity in his poem Widower’s Tango, combined with his confession show Neruda’s complicated relationship with women and race.” However, no poem of Neruda’s alludes to the ‘untouchable woman’ by whom he was smitten, despite being described as the ‘most beautiful Ceylonese woman’ or one resembling a ‘thousand-year-old sculpture’ from South India. Handagama’s tagline for his film, The poem Neruda never wrote validates this exclusion. It is also an allegorical reminder of the poet’s element which many tended to discount.

Alborada reinvents the rustic west coast of the island Neruda saw in the 1930s. This was no easy task says its creator. “We had to recreate Wellawatta of his time and this was not possible within Colombo due to the changing skyline. We set it up in Nonagama and in Ranminithenna Tele-Cinema Village.”

Lending a cinematic interpretation to an isolated incident at home which is unfamiliar to the authentic Sri Lankan film print, Alborada is to be a refreshing new experience for the local audience. The film also hopes to spur a public discourse, says its director. Starring Spanish actor Luis J Romero as Neruda and French actress Anne Solene Hatte as Josie, the dialogues are in English with Sinhala and Tamil subtitles. The film also debuts several artistes. The main cast comprises Rithika Kodithuwakku (Tamil woman), Malcolm Machado (Neruda’s man servant), Dominic Keller (Lionel Wendt), Nimaya Harris (Patsy), Thusitha Laknath, Kaushalya Mendis, Samantha Balasuriya, Kasun Perera and Kanchana Nandani. Edited by Ravindra Guruge, the film is produced by H.D. Premasiri.

The Tokyo International Film Festival (TokyoIFF) which will feature Alborada is among the invited films for its ‘international competition’ which is the highlight of the festival. Multi-award winning French screen and stage actress Isabelle Huppert will chair the competition jury. This year’s theme of TokyoIFF is ‘Crossing Borders’. “There are plenty of international film festivals today. But only 14 of them are regarded as ‘A-Grade film festivals. TokyoIFF is one of them and the only Asian festival to get this recognition so far,” remarks Handagama. This year’s festival will be opened with the world premiere of Clint Eastwood’s latest film Cry Macho.

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Life style

Unravelling artistic thread with Dr Ayesha Wickramasinghe

Published

1 hour ago

2025/04/20

Thilina Walpola

By Zanita Careem

Dr. Ayesha Wickramasinghe, who is the champion of the National Crafts Council plays a pivotal role in promoting and developing the local handicrafts. She has served as a Senior Lecturer at the University of Moratuwa specialising in Design and Production development since 2006. With her wealth of experience, she brings extensive professional expertise in Brand Promotion and Design from Sri Lanka, the United Kingdom and the United States. An old girl from Southlands College Galle, she graduated with first class honors in fashion design and production development from the University of Moratuwa. She also , holds a postgraduate degree from London and a doctorate from the University of the Visual and Performing Arts, Sri Lanka.

Stepping away from the techdriven expectations often tied to her generation, she believed craft wasnt just art, it was life and identity. In a world of hush and rush, deadlines and competition, her journey reminds of the beauty of persistence,creativity and the simple joy of doing what we love!In this interview, Ayesha explains the trajectory of her career, her work, inspiration and her empowering story.

Your journey?

My journey is rooted in a deep appreciation for tradition, artistry, and cultural identity. Growing up in Weragoda, a village in the Galle District, I was immersed in a lifestyle shaped by community, nature, and craft. These early experiences inspired my academic and professional path—first as a designer and educator, and now as Chairperson of the National Crafts Council of Sri Lanka.

Where did your interest in craft and making come from?

My interest stems from home and heritage. My mother, a primary school teacher, introduced me to flat pattern cutting and early creative expression. Surrounded by traditional crafts and nature, I grew up observing weaving, embroidery, and natural colors—realizing that craft wasn’t just art, it was life and identity.

Can you tell us about your academic and creative background?

I began my education at St. Theresa’s Primary School, later moving to Southlands College, Galle. After excelling in Bio-Science for A/Ls, I pursued a Bachelor of Design in Fashion Design and Product Development degree at the University of Moratuwa, graduating with First Class Honours and receiving a Gold Medal. I completed Master of Arts in Fashion Technology at the London College of Fashion, University of the Arts, London and completed my doctorate (PhD) focused on the evolution of women’s clothing in Sri Lanka. As a Senior Lecturer, my work blends fashion, textile, crafts, heritage, culture, and sustainability.

Your career as an artist?

Though I identify more as a researcher and creative practitioner, art has always shaped my work. Childhood memories of weaving tools from my grandmother’s old handloom center, along with a fascination for color in nature, designing, sculpting and paintings, fueled my artistic exploration. My projects bridge design and heritage, often reviving traditional techniques through a contemporary lens.

Your work with the Crafts Council of Sri Lanka?

As Chairperson of the National Crafts Council (NCC), I help lead efforts to preserve and promote Sri Lanka’s craft heritage while supporting over 20,000 artisans. From craft village development to initiatives like Shilpa Abhimani, the craftsmen training programmes, market access, and connecting crafts with tourism and younger generations.

What are your thoughts on the significance of crafts, heritage, and culture?

Craft is the soul of a nation—it links hands, minds, and hearts. It teaches patience, creativity, and cultural identity. Our heritage is rich with around over 30 craft traditions, and integrating craft education can instill pride and resilience in today’s fast-paced world.

Are we doing enough as a country to preserve our culture and heritage?

While commendable efforts are underway, there’s more to be done. Preservation must be embedded in education, policy, and public mindset. True change comes when people value their own culture and products—embracing what the world now calls “hyper-localism.”

Can traditional crafts find their niche in modern interiors?

Absolutely. Traditional crafts bring warmth, character, and authenticity to contemporary spaces. If artisans understand current market trends and adapt their presentation, these crafts can thrive in modern design contexts undoubtedly.

How can we create deeper awareness and appreciation of crafts?

Storytelling and education are key. People need to understand the time, skill, and meaning behind handmade work. Platforms like exhibitions, documentaries, media and school programs can help build this appreciation and pride in our own heritage.

Thoughts on national funding for art?

National funding is essential and should be seen as an investment in cultural and economic sustainability. Strategic public-private partnerships can support artisans, drive innovation, and promote cultural tourism to boost the national economy.

What are the key challenges facing artisans today?

Artisans face raw material shortages, policies, limited market access, undervaluation of their work, and weak generational continuity. Economic instability often discourages youth from joining the sector and lack of research and development initiatives for craft sector is crucial. These challenges need integrated solutions.

Where do you see the Sri Lankan craft industry heading?

With the right support, Sri Lankan crafts are poised for a revival. As global demand grows for sustainability and authenticity, our heritage can shine—offering rich stories and concepts, sustainable raw material and packaging, skilled and high-quality artistry, and cultural depth to the world.

Life style

Ramani Salon at Mount celebrates New Year

Published

1 hour ago

2025/04/20

Thilina Walpola

As the joyous rhythms of Sinhala and Tamil rang though the island, Ramani Fernando Salon at Mount Lavinia celebrated this day with a season of warmth, togetherness and gaety.

The staff at Ramani Fernando Salon representing the true spirit of Sri Lankan traditons followed by religious observances came together to celebrate this auspicious occasion.Today the Avurudu at the salon is remarkable and exciting day for all of us” remaked Niroshan, supervisor of Ramani Salon, Mount Lavinia.

“We followed the ritual of boiling milk in a new clay pot symbolising new beginnings. All our members celebrated avurudu in traditional attire in vibrant colours adding to the festive atmosphere ’’ he said. Kiribath and sweets were followed made by staff themselves.

Life style

Jetwing Hotels portfolio align with modern travel expectations

Published

1 hour ago

2025/04/20

Thilina Walpola

Jetwing Blue - Jetwing Premium Hotels

Jetwing Hotels has unveiled a readjustment of its branding strategy, signalling a bold step forward in aligning its offerings with the evolving trends of modern travel. This initiative reflects the company’s commitment to addressing the diverse needs and preferences of today’s travellers while reinforcing its position as a leader in Sri Lanka’s hospitality sector.

Recognising the shifting dynamics of the travel industry, Jetwing Hotels is transitioning from its previous categorization of “Hotels” and “Villas” to a refreshed and more defined portfolio structure. The properties will now be grouped into four distinct segments: Jetwing Luxury Reserves, Jetwing Premium Hotels, Select Hotels, and Essentials. This strategic move aims to provide guests with a clearer, more intuitive understanding of the brand’s offerings, catering to a wide spectrum of travellers—from the budget-conscious to those seeking truly extraordinary escapes.

The first of the newly defined segments, Jetwing Luxury Reserves, represents the epitome of indulgence, crafted for discerning travellers seeking unparalleled exclusivity and personalised experiences. This segment features 5-star, flagship properties, each offering a harmonious blend of distinct architecture in stunning locations, gourmet dining experiences, and bespoke service that anticipates every need. Designed to provide not just stays but unforgettable journeys, Jetwing Luxury Reserves promises intimate sanctuaries where luxury meets authenticity.

The second category, Jetwing Premium hotels, is a collection of elegant spaces where contemporary comfort meets Sri Lanka’s rich heritage. This category includes a selection of 4-star and 5-star properties, each offering full-service accommodation and modern amenities. For those in search of a peaceful retreat or a place to reconnect, each stay is designed with refinement, warmth, and a touch of timeless charm. Rooted in the legacy of Jetwing, these hotels go beyond a place to stay—they deliver immersive experiences shaped by regionally inspired architecture and the hallmark of legendary Sri Lankan hospitality along with a variety of activities and excursions.

The third category, Select Hotels, bridges the gap between value and comfort, designed for modern travellers seeking authentic experiences at an accessible price point. Though these properties do not carry the Jetwing brand name, they embody its renowned warmth and hospitality. This collection of unique 3-star hotels, including destinations such as Hotel Sigiriyaaya, the award-winning Mermaid Hotel and Club in Kalutara, and Meena Amma’s Tea Experience in Ambewela, offers a delightful variety of experiences—whether it’s the tranquility of a charming cottage, the lively energy of a beachside retreat, or an engaging immersion into Sri Lankan traditions.

The final category, Essentials, is designed for adventurers and explorers; offering budget-friendly accommodations that meet essential travel needs, focusing on simplicity, practicality, and comfort. Included in this category are 3-star and 2-star brands, Hotel J and City Beds, respectively, that provide comfortable rooms at the convenience of a central location. Whether it’s a quick overnight stop or a base for exploring the region, guests can enjoy reliable, no-frills hospitality.

Hashan Cooray, Director of Marketing and Development, stated, “Today, after the turmoil we all faced for over four years, we are more optimistic than ever about the growth potential of our industry and its role in transforming Sri Lanka’s economy. With this in mind, we felt it was time to bring more clarity to our branding as we now operate over 35 properties around our paradise island.”

Jetwing Hotels remains steadfast in its commitment to sustainability and delivering exceptional hospitality across all segments, ensuring every traveller experiences the warmth, service excellence, and legendary Sri Lankan hospitality that define the brand. From the quiet indulgence of Jetwing Luxury Reserves to the refined sophistication of Jetwing Premium Hotels, the cosy comforts of Select Hotels, and the practical simplicity of Essentials, Jetwing Hotels offers thoughtfully tailored experiences that resonate with the needs of every guest. Each category reflects the brand’s dedication to providing not just accommodation but meaningful journeys that celebrate Sri Lanka’s beauty, culture, and heritage. With a focus on innovation, sustainability, and personalised service, Jetwing Hotels continues to set new benchmarks in the global hospitality landscape, ensuring that every guest feels truly at home.