Features
The Popular Sinhala Cinema : Rukmani Devi; Mohideen Baig ; Gamini Fonseka
by Laleen Jayamanne
Rukmani Devi, the first star of the Sinhala cinema and incomparable singer with a unique voice, originally known as Daisy Rasamma Daniel, was a Tamil Christian. It was well known that she couldn’t read or write Sinhala and that her dialogue and lyrics were written in English. Al-Haj Mohideen Baig, who sang some of the most cherished, perennial popular Sinhala film songs (including Budhu Gee), wrote down the Sinhala lyrics in his mother tongue, Urdu. The multilingual Mohideen Baig came to Lanka in 1932 for his brother’s funeral and stayed on. With the guidance of Mohammed Gauss at Columbia records, he began singing on radio soon after. In India he had sung Ghazals in Urdu in his village Salem and also Hindi and Tamil songs.
Once film production began in Lanka, he had a long career as a backup singer, starting with Asokamala (1947). His powerful, textured voice was unique just like Rukmani Devi’s, which made their songs immensely popular. Also, he acted as a beggar in Sujatha (53), walking across landscapes, singing melancholy shoka gee, commenting on the action. His love songs with Rukmani Devi are some of the most heartfelt songs of longing (viraha), in films like Nalagana (1960), which I heard as a child, at the proletarian Gamini theatre Maradana, where their songs blared out vibrating the small theatre and our hearts. Listening to the songs now on YouTube, those memories flood my thoughts (as I write), as only music can, though the films themselves are a faint memory. Gamini was among several Tamil owned cinemas burned down in July 83 race riots.
Here, I wish focus on Rukmani Devi and Baig Master’s careers within the multi-ethnic composition of the Lankan film industry. Gamini Fonseka will make a guest appearance here as a trilingual Sinhala star who built a Tamil fan base. I examine the period from Rukmani Devi’s starring role in the very first Sinhala film Kadawuna Produwa (Broken Promise) in 1947, going beyond her accidental tragic death in 1978, to the murdering of the director K. Vanket in July 83, and concluding with the assassination of the pioneering film producer and entrepreneur, K. Gunaratnam in 1989, by a JVP gunman.
I do this so as to understand anew the cultural value of the early Lankan hybrid popular cinema and its cross-cultural heritage of songs, its multi-ethnic history, through reading and listening carefully to several of its most ardent cinephiles and researchers. They are a group of older, now retired journalists who are in fact the first generation of Sinhala cinephiles and writers of the Lankan cinema, such as A.D. Ranjith Kumara, Sunil Mihindukula former editors of Saraswiya, Ranjan de Silva, Ananda Padmasiri and Ariyasiri Withanage, who have conducted research into those critically maligned early films, their songs and the mass audience and have helped create a film culture through their writing and programming of film songs.
As cinephiles and collectors, their passion for that popular cinema of the past remains undiminished even in retirement. I came across them through a series of informative programmes on Independent Television Network (ITN), directed by Indrasiri Suraweera (available on YouTube). Their careful historical research into the musical traditions of the films, and generosity of spirit should inspire younger generations of critics and intellectuals to do more historical and theoretical work on the Lankan cinema more broadly and not forget its hybrid foundations. It is a cinema I enjoyed as a child, but studied critically while writing my doctorate on female representation in these films. Also, because most of these men were trained as journalists on radio and the print media, they are highly disciplined concise speakers (unlike us verbose academics), so it was a pleasure to listen to them exploring an undervalued period of Lankan mass cultural history. This history has an important relationship to Sinhala Buddhist Nationalism and its relation to the ethnic minorities of the country as well.
A Feminist Perspective on Rukmani Devi’s Career
Rukmani Devi died in a car crash in the early hours of one morning in October 1978. She had been travelling all night from Matara to Negombo, after having sung at a carnival variety show there. While there are numerous accounts of her death in all its detail and of the mass funeral and public mourning recorded on film, there is no discussion of why she was travelling such a long distance all night, from Matara to Negombo, after a ‘hard day’s work…’. As far as I know there is no critical analysis of what happened to her career at midlife and how that might have had some connection to the circumstances leading to that fatal accident. Her career trajectory from super-stardom as both an actress and singer from the 1940s, mingling with political and business leaders and some of the major Indian film stars, appearing on the cover of the Indian film magazine Film Fare, and a long recording and singing career, starting as a girl, from 1938, to end up singing in a variety show down South, is surely an index of the precariousness of her life. Her financial insecurity was also true of the lives of many other people who had worked in the film industry (including technicians, directors, main and supporting actors), in the first decades of Lankan cinema. This dark history should also be included as an essential part of what is often referred to (with pride), by some Sinhala critics as, Sinhala sinamawe wansa kathawa (the illustrious genealogy of the Sinhala cinema).
That Rukmani Devi lived an independent personal life as a professional woman in Lanka, starting quite young as an actress, on stage and film in the late 1940s, strikes me as an important aspect of her career, though the roles available to her on film reinforced feudal patriarchal values. The film Samiya Birindage Deviyaya (The Husband is the Wife’s God, 1963, WMS Tampo), stands as one of the most extreme examples of these oppressive values. It’s been referred to as a ‘women’s picture’, one which ‘they like to watch crying’, said one Sinhala male critic. Hollywood called their version ‘the weepies’, a profitable melodramatic genre targeting the new female spectator-consumer, who attended matinees.
The panellists, Ranjith Kumara has written a book on Rukmani Devi and Ranjan de Silva is a collector of her gramophone records and the song sheets of that era. He is also knowledgeable about Indian musical traditions such as the Raga based Hindustani music and popular Bajan and Ghazal songs for instance. He could hear their precise influences on the best of the early Sinhala film songs and how the originals were adapted and modified, rather than simply copied in the best examples. Appreciating the high quality of the Indian originals, he didn’t simply dismiss the early songs as ‘bad’ just because their origins were ‘Indian’.
His ideas on adaptation are sophisticated and can be used to revise dogmatic views on the early film songs. Most entries on the web simply list Rukmani Devi’s’ films with plot summaries without an analysis of her roles, some even extending her film list to dates well after her death, perhaps their dates of exhibition!
I can find no discussion on how her career ended in sharp decline, and what that means about the economically precarious state of some of the personnel, both men and women in the film industry of that time. There is plenty of adulation and appreciation of Rukmani Devi now as a singer, especially at anniversaries. People still listen to her songs and know her ‘legend’, and sing her songs, but with voices that are very high-pitched and ‘thin’, without her rich timbre nor the wide range of her voice and intensity of feeling. These innate qualities prompted one critic to suggest that she might have been able to sing Western opera as well. There is an unfortunate absence of an account of her as a pioneering female professional actress and singer, the challenges she faced (as a modern high profiled Tamil woman), all of which I think merit research, especially by feminist scholars and critics.
A useful thesis or two may be formulated and written on this and related topics at one of our universities. The existing research by Ranjith Kumara and Ranjan de Silva and younger critics and researchers should be drawn on and extended from a feminist perspective on ‘women and work’ and ‘female representation’ on film. There are a few books written by these older cinephiles, which must be collectors’ items by now. There is a small book by Sarath Ranaweera on Master Baig.
The fact that Rukmani Devi returned to the stage to perform in Dhamma Jargoda’s Vesmuhunu (an adaptation of A street car named desire by Tennessee Williams), either in 69 or 70, was mentioned by Ranjith Kumara, along with a significant anecdote. He said that just before she went on stage to perform as an aristocratic lady (originally Blanche du Bois in Williams’ play), she had insisted on showing her respect to Dhamma in the traditional Sinhala manner of bowing to him by going down on her hands and knees at his feet.
Ranjith Kumara mentions this because, as he rightly says, it was an unusual gesture for a Christian such as Rukmani Devi to perform. Certainly, in our catholic villages, stretching from Uswatakeiyawa to Negombo (Rukmani’s home town with Eddy Jayamanne), there was never such a practice and it still remains quite a foreign gesture to me, though I do appreciate the idea of ‘guru bhakti’ which encodes Rukmani Devi’s gesture. Ranjith Kumara elaborates on this, saying that it was Dhamma’s Shilpiya manasa (artistic intelligence) that Rukmani bowed to. One could take up this fascinating anecdote, told with such perspicacity, a little further.
Cultural Capital: Rukmani Devi and Irangani Serasinghe
I happened to have seen some of the rehearsals of Dhamma’s Vesmuhunu, as an inaugural student of the Art Centre Theatre Studio of 1970/71. If I remember right, Dhamma also did a version of it with Irangani Serasinghe simultaneously, alternating between these two brilliant Lankan actors. Some of us saw both rehearsals in Harrold Peiris’s large open garage at Alfred House, where our workshops were held, before the Lionel Wendt complex was refurbished to house the workshop. So, Rukmani’s unusual gesture of gratitude to Dhamma, I imagine, is because someone of his stature in Lankan theatre had finally given her the gift of playing a serious dramatic role in a modern play. The actress who started her career in the popular Tower Hall Nurti plays of the 40s and the Minerva theatre of B.A.W. Jayamanne, was finally given the opportunity to act in a modern western classic. Kumara also mentioned how much Rukmani Devi appreciated being able to act in Lester James Peries’ Ahasin Polowata (From the Sky to the Earth) where the Nimal Mendis song she sang won her a posthumous award.
There are several other famous global super stars who have yearned recognition and respect as ‘serious’ actors. The most famous of course being Marlin Monroe who produced The Prince and the Showgirl just so she could act with the famous British Shakespearean actor, Lawrence Olivier, while she was still married to Arthur Miller the famous American playwright. For unusually gifted super stars such as these, popularity alone is insufficient, knowing full well how ephemeral, limited and confining their popular ‘sexy’ image is for them, they longed for something more durable to work on, something with cultural and intellectual capital, one might now say.
Perhaps reading Rukmani’s autobiography (Mage Jeevitha Vitti), might provide more leads into the intricate intersections between her life and work, which in her case are especially inseparable, unlike that of any other Lankan film star I know of. Her use of the word ‘vitti’ (information), rather than ‘katha’ (story) suggests that she knew how to protect herself, her privacy. Rukmani Devi’s career started with her elopement and marriage, while still a minor, and she never stopped working in the dominant language which was not her mother tongue, having done only a few performances in Tamil. Whereas, many Lankan Sinhala female stars have left their careers at the height of their popularity to get married and have a family. Most memorably Jeevarani Kurukulasuriya (who formed such a popular romantic duo with Gamini Fonseka, our first male action hero), abandoned her career at marriage.
Dharmasena Pathiraja’s comments, at the official celebration held by the then president Maithripala Sirisena (along with the former president Chandrika Bandaranayaka), to mark the 50th anniversary of his professional work in the Lankan film industry, are relevant in thinking about Rukmani Devi’s predicament. He undercut the idea that he had worked ‘professionally’ in the ‘Lankan film industry’. He asked, rhetorically but politely:
“What Industry? How can there be an industry without capital, if there is no professional stability and proper infrastructure? When we look at the sad last days of Rukmani Devi, Domi Jayawardhana and Eddie Jayamanne, how can we speak of an industry? I wasn’t a filmmaker professionally, was anyone able to make a living professionally? I made a living by teaching as a lecturer from 1968-2008. (Maha lokuwata, arambaye sita karmanthayak gana katha keruwath, ape athdakeema anuwa wurthiya sthawarathwayk nathnam kohomada karmanthayak thienne!) The people who say there is an industry are the exhibitors and some producers.”
These starkly realist comments may be taken as an important starting point for future research into the economic, cultural and biographical histories of stars of the Lankan cinema, by young scholars. Clearly, Pathiraja knew from within what exactly had happened to these once very popular actors late in their lives. Perhaps it’s not too late yet to do some oral history before those with personal memory and deep knowledge of the vital early decades also pass away.
I remember visiting Master Hugo Fernando (who did comic routines with his little knot of hair tied at the back and large umbrella tucked under his arm), to talk about the ethos of the old days, which he did so graciously. Kumara and de Silva’s research is indispensable in this regard. Irangani Serasinghe would probably welcome a chance to talk about working with both Dhamma and Rukmani on the same play simultaneously, a most unusual experiment only he could have devised. I feel, in doing so, he was paying homage to two of Lanka’s uniquely popular actors from vastly different social worlds and actorly traditions, with very different cultural capital.
There is a strange symmetry in their career trajectories, but going in opposite directions. Irangani became a beloved house hold name only after the advent of the teledramas once Television was introduced in the late 70s. Prior to that, her acting began at the University Dram Soc where she famously played the heroine in the Greek classic Antigone. After her training at Royal Academy of Dramatic Art, she acted in the English language theatre and in the films of Lester beginning with Rekava (1956). Her repertoire included Shakespeare, Chekov, Lorca, Brecht and others. This also led her to play in Sinhala theatre as well.
During this time, she was recognised as one of our finest actors in both languages, but was not a household name as her work was consistently on the English stage. In contrast, Rukmani was a national figure of great adoration as an actress and singer on film and radio starting from the 40s. While Irangani worked in the domain of high-culture, Rukmani Devi created a Lankan popular mass culture (with Master Baig and others), through her films and songs. But with each change of taste, fashion and the fact of ageing, her film appeal diminished. But her resilience at self-reinvention is evident when she joined the group Los Cabelleros, singing Sinhala pop songs to Latin rhythms, with a show in Jaffna where she sang in Tamil.
I wonder if her Sinhala fans were curious enough to ask her to sing in Tamil as well. In her later years she longed to perform in work that was considered intellectually serious, engaged art. And this chance she did get but belatedly with Dhamma, while Irangani, through her later work in tele-dramas and films, has been able to continue her career well into her 90s and also become a cherished ‘national treasure’. Just as some critics dismissed the early Sinhala films dependent on Indian models, there are those who are critical of many teledramas for their low quality and diluting of popular taste and powers of discrimination. Unlike Irangani’s, Rukmani’s career trajectory marks a sad decline, as Pathiraja stated so forcefully. Therefore, all the massive outpouring of love and grief at her death is no compensation for the loss of worthwhile work. After all she died at only 55 with so much untapped creativity still left.
I am not alone in thinking that Lanka failed this rare artist of national and international stature, as it did Master Mohideen Baig (but more of him later). A visiting Indian star on hearing Rukmani Devi sing had said that, had she been born in India she would have been far more famous. Perhaps like the iconic singer Latha Mangeshkar, of whom Kumar Shahani once said: ‘If India has a heart, then that would be Latha Mangeshkar.’ Singing melancholy songs (Shoka Geetha), but with poetic lyrics written especially for her in Tamil and Sinhala, Rukmani Devi might have become, for all of us, (irrespective of our ethnic differences), Lanka’s sole soulful female voice. Baig Master was the only singer who sang with Mangeshkar, who also sang a song in Sinhala.
Rukmani Devi’s unerring ear meant that she could ‘pass’ as Sinhala, without a trace of her Tamil mother tongue inflecting her enunciation of the words. This ability was not a matter of aesthetics alone within the history of race relations in modern Sri Lanka, then Ceylon. In fact, the ability to pronounce ‘correctly’ the Sinhala word for bucket as ‘baldi’, became a sign of one’s ethnic identity during anti-Tamil riots in July 83. Saying ‘valdi’ instead of ‘baldi’ resulted even in death.
Mohideen Baig, a Muslim, who sang duets with Rukmani Devi, did so with a slight Urdu inflected accent and yet he was an essential part of Sinhala cinema and radio with mass appeal for much of the early period. Together, they evoked a haunting feeling of pathos tinged with a melancholy mood (viraha), in many of their songs, most especially in Jeevana me gamana sansare (samsare of this life’s journey).
Muttusamy and Rocksamy were the leading composers of music for the songs in Sinhala, though there were many other Tamil and Muslim musicians working in the industry as well. Even after better educated writers of lyrics entered the industry these highly skilled musicians continued to compose for them. For example, while Karunaratna Abeysekara wrote the lyrics for Kurul Badda the music was by Muttusamy. Rocksamy composed the music for Dharmasena Pathiraja’s great Tamil language film Ponmani, a truly innovative score in that the main song in the Karnataka idiom is repeated as a refrain, creating an emotional commentary on the main violent action. He also played the saxophone which was banned by the Sinhala nationalists at Radio Ceylon as being a brass Western instrument!
To be continued…
Features
Who Owns the Clock? The Quiet Politics of Time in Sri Lanka
(This is the 100th column of the Out of the Box series, which began on 6 September, 2023, at the invitation of this newspaper – Ed.)
A new year is an appropriate moment to pause, not for celebration, but to interrogate what our politics, policies, and public institutions have chosen to remember, forget, and repeat. We celebrate the dawn of another brand-new year. But whose calendar defines this moment?
We hang calendars on our walls and carry them in our phones, trusting them to keep our lives in order, meetings, exams, weddings, tax deadlines, pilgrimages. Yet calendars are anything but neutral. They are among humanity’s oldest instruments of power: tools that turn celestial rhythms into social rules and convert culture into governance. In Sri Lanka, where multiple traditions of time coexist, the calendar is not just a convenience, it is a contested terrain of identity, authority, and fairness.
Time is never just time
Every calendar expresses a political philosophy. Solar systems prioritise agricultural predictability and administrative stability; lunar systems preserve religious ritual even when seasons drift; lunisolar systems stitch both together, with intercalary months added to keep festivals in season while respecting the moon’s phases. Ancient India and China perfected this balancing act, proving that precision and meaning can coexist. Sri Lanka’s own rhythms, Vesak and Poson, Avurudu in April, Ramadan, Deepavali, sit inside this wider tradition.
What looks “technical” is actually social. A calendar decides when courts sit, when budgets reset, when harvests are planned, when children sit exams, when debts are due, and when communities celebrate. It says who gets to define “normal time,” and whose rhythms must adapt.
The colonial clock still ticks
Like many postcolonial societies, Sri Lanka inherited the Gregorian calendar as the default language of administration. January 1 is our “New Year” for financial statements, annual reports, contracts, fiscal plans, school terms, and parliamentary sittings, an imported date shaped by European liturgical cycles and temperate seasons rather than our monsoons or zodiac transitions. The lived heartbeat of the island, however, is Avurudu: tied to the sun’s movement into Mesha Rāshi, agricultural renewal, and shared rituals of restraint and generosity. The result is a quiet tension: the calendar of governance versus the calendar of lived culture.
This is not mere inconvenience; it is a subtle form of epistemic dominance. The administrative clock frames Gregorian time as “real,” while Sinhala, Tamil, and Islamic calendars are relegated to “cultural” exceptions. That framing shapes everything, from office leave norms to the pace at which development programmes expect communities to “comply”.
When calendars enforce authority
History reminds us that calendar reforms are rarely innocent. Julius Caesar’s reshaping of Rome’s calendar consolidated imperial power. Pope Gregory XIII’s reform aligned Christian ritual with solar accuracy while entrenching ecclesiastical authority. When Britain finally adopted the Gregorian system in 1752, the change erased 11 days and was imposed across its empire; colonial assemblies had little or no say. In that moment, time itself became a technology for governing distant subjects.
Sri Lanka knows this logic. The administrative layers built under colonial rule taught us to treat Gregorian dates as “official” and indigenous rhythms as “traditional.” Our contemporary fiscal deadlines, debt restructurings, even election cycles, now march to that imported drumbeat, often without asking how this timing sits with the island’s ecological and cultural cycles.
Development, deadlines and temporal violence
Modern governance is obsessed with deadlines: quarters, annual budgets, five-year plans, review missions. The assumption is that time is linear, uniform, and compressible. But a farmer in Anuradhapura and a rideshare driver in Colombo do not live in the same temporal reality. Monsoons, harvests, pilgrimage seasons, fasting cycles, school term transitions, these shape when people can comply with policy, pay taxes, attend trainings, or repay loans. When programmes ignore these rhythms, failure is framed as “noncompliance,” when in fact the calendar itself has misread society. This mismatch is a form of temporal violence: harm produced not by bad intentions, but by insensitive timing.
Consider microcredit repayment windows that peak during lean agricultural months, or school examinations scheduled without regard to Avurudu obligations. Disaster relief often runs on the donor’s quarterly clock rather than the community’s recovery pace. In each case, governance time disciplines lived time, and the least powerful bend the most.
Religious time vs administrative time
Sri Lanka’s plural religious landscape intensifies the calendar question. Buddhism, Hinduism, Islam, and Christianity relate to time differently: lunar cycles, solar markers, sacred anniversaries. The state acknowledges these mainly as public holidays, rather than integrating their deeper temporal logic into planning. Vesak is a day off, not a rhythm of reflection and restraint; Ramadan is accommodated as schedule disruption, not as a month that reorganises energy, sleep, and work patterns; Avurudu is celebrated culturally but remains administratively marginal. The hidden assumption is that “real work” happens on the Gregorian clock; culture is decorative. That assumption deserves challenge.
The wisdom in complexity
Precolonial South and East Asian calendars were not confused compromises. They were sophisticated integrations of astronomy, agriculture, and ritual life, adding intercalary months precisely to keep festivals aligned with the seasons, and using lunar mansions (nakshatra) to mark auspicious thresholds. This plural logic admits that societies live on multiple cycles at once. Administrative convenience won with the Gregorian system, but at a cost: months that no longer relate to the moon (even though “month” comes from “moon”), and a yearstart with no intrinsic astronomical significance for our context.
Towards temporal pluralism
The solution is not to abandon the Gregorian calendar. Global coordination, trade, aviation, science, requires shared reference points. But ‘shared’ does not mean uncritical. Sri Lanka can lead by modelling temporal pluralism: a policy posture that recognises different ways of organising time as legitimate, and integrates them thoughtfully into governance.
Why timing is justice
In an age of economic adjustment and climate volatility, time becomes a question of justice: Whose rhythms does the state respect? Whose deadlines dominate? Whose festivals shape planning, and whose are treated as interruptions? The more governance assumes a single, imported tempo, the wider the gap between the citizens and the state. Conversely, when policy listens to local calendars, legitimacy grows, as does efficacy. People comply more when the schedule makes sense in their lives.
Reclaiming time without romanticism
This is not nostalgia. It is a pragmatic recognition that societies live on multiple cycles: ecological, economic, ritual, familial. Good policy stitches these cycles into a workable fabric. Poor policy flattens them into a grid and then blames citizens for falling through the squares.
Sri Lanka’s temporal landscape, Avurudu’s thresholds, lunar fasts, monsoon pulses, exam seasons, budget cycles, is rich, not chaotic. The task before us is translation: making administrative time converse respectfully with cultural time. We don’t need to slow down; we need to sync differently.
The last word
When British subjects woke to find 11 days erased in 1752, they learned that time could be rearranged by distant power. Our lesson, centuries later, is the opposite: time can be rearranged by near power, by a state that chooses to listen.
Calendars shape memory, expectation, discipline, and hope. If Sri Lanka can reimagine the governance of time, without abandoning global coordination, we might recover something profound: a calendar that measures not just hours but meaning. That would be a reform worthy of our island’s wisdom.
(The writer, a senior Chartered Accountant and professional banker, is Professor at SLIIT, Malabe. The views and opinions expressed in this article are personal.)
Features
Medicinal drugs for Sri Lanka:The science of safety beyond rhetoric
The recent wave of pharmaceutical tragedies in Sri Lanka, as well as some others that have occurred regularly in the past, has exposed a terrifying reality: our medicine cabinets have become a frontline of risk and potential danger. In recent months, the silent sanctuary of Sri Lanka’s healthcare system has been shattered by a series of tragic, preventable deaths. The common denominator in these tragedies has been a failure in the most basic promise of medicine: that it will heal, not harm. This issue is entirely contrary to the immortal writings of the Father of Medicine, Hippocrates of the island of Kos, who wrote, “Primum non nocere,” which translates classically from Latin as “First do no harm.” The question of the safety of medicinal drugs is, at present, a real dilemma for those of us who, by virtue of our vocation, need to use them to help our patients.
For a nation that imports the vast majority of its medicinal drugs, largely from regional hubs like India, Pakistan, and Bangladesh, the promise of healing is only as strong as the laboratory that verifies these very same medicinal drugs. To prevent further problems, and even loss of lives, we must demand a world-class laboratory infrastructure that operates on science, not just sentiment. We desperately need a total overhaul of our pharmaceutical quality assurance architecture.
The detailed anatomy of a national drug testing facility is not merely a government office. It is a high-precision fortress. To meet international standards like ISO/IEC 17025 and World Health Organisation (WHO) Good Practices for Pharmaceutical Quality Control Laboratories, such a high-quality laboratory must be zoned into specialised units, each designed to catch a different type of failure.
* The Physicochemical Unit: This is where the chemical identity of a drug is confirmed. Using High-Performance Liquid Chromatography (HPLC) and Gas Chromatography-Mass Spectrometry (GC-MS), scientists determine if a “500mg” tablet actually contains 500mg of the active ingredient or if it is filled with useless chalk.
* The Microbiology Suite: This is the most critical area for preventing “injection deaths.” It requires an ISO Class 5 Cleanroom: sterile environments where air is filtered to remove every microscopic particle. Here, technicians perform Sterility Testing to ensure no bacteria or fungi are present in medicines that have to be injected.
* The Instrumentation Wing: Modern testing requires Atomic Absorption Spectrometers to detect heavy metal contaminants (like lead or arsenic) and Stability Chambers to see how drugs react to Sri Lanka’s high humidity.
* The injectable drug contamination is a serious challenge. The most recent fatalities in our hospitals were linked to Intravenous (IV) preparations. When a drug is injected directly into the bloodstream, there is no margin for error. A proper national laboratory must conduct two non-negotiable tests:
* Bacterial Endotoxin Testing (BET): Even if a drug is “sterile” (all bacteria are dead), the dead bacteria leave behind toxic cell wall products called endotoxins. If injected, these residual compounds cause “Pyrogenic Reactions” with violent fevers, organ failure, and death. A functional lab must use the Limulus Amoebocyte Lysate (LAL) test to detect these toxins at the parts-per-billion level.
* Particulate Matter Analysis: Using laser obscuration, labs must verify that no microscopic shards of glass or plastic are floating in the vials. These can cause fatal blood clots or embolisms in the lungs.
It is absolutely vital to assess whether the medicine is available in the preparation in the prescribed amounts and whether it is active and is likely to work. This is Bioavailability. Sri Lanka’s heavy reliance on “generic” imports raises a critical question: Is the cheaper version from abroad as effective as the original, more expensive branded formulation? This is determined by Bioavailability (BA) and Bioequivalence (BE) studies.
A drug might have the right chemical formula, but if it does not dissolve properly in the stomach or reach the blood at the right speed, it is therapeutically useless. Bioavailability measures the rate and extent to which the active ingredient is absorbed into the bloodstream. If a cheaper generic drug is not “bioequivalent” to the original brand-named version, the patient is essentially taking a useless placebo. For patients with heart disease or epilepsy, even a 10% difference in bioavailability can lead to treatment failure. A proper national system must include a facility to conduct these studies, ensuring that every generic drug imported is a true “therapeutic equivalent” to the brand-named original.
As far as testing goes, the current testing philosophy is best described as Reactive, rather than Proactive. The current Sri Lankan system is “reactive”: we test a drug only after a patient has already suffered. This is a proven recipe for disaster. To protect the public, we must shift to a Proactive Surveillance Model of testing ALL drugs at many stages of their dispensing.
* Pre-Marketing Approval: No drug should reach a hospital shelf without “Batch Release” testing. Currently, we often accept the manufacturer’s own certificate of analysis, which is essentially like allowing students to grade their own examination answers.
* Random Post-Marketing Surveillance (PMS): Regulatory inspectors must have the power to walk into any rural pharmacy or state hospital, pick a box of medicine at random, and send it to the lab. This could even catch “substandard” drugs that may have degraded during shipping or storage in our tropical heat. PMS is the Final Safety Net. Even the best laboratories cannot catch every defect. Post-Marketing Surveillance is the ongoing monitoring of a drug’s safety after it has been released to the public. It clearly is the Gold Standard.
* Pharmacovigilance: A robust digital system where every “Adverse Drug Reaction” (ADR) is logged in a national database.
* Signal Detection: An example of this is if three hospitals in different provinces report a slight rash from the same batch of an antibiotic, the system should automatically “flag” that batch for immediate recall before a more severe, unfortunate event takes place.
* Testing for Contaminants: Beyond the active ingredients, we must test for excipient purity. In some global cases, cheaper “glycerin” used in syrups was contaminated with diethylene glycol, a deadly poison. A modern lab must have the technology to screen for these hidden killers.
When one considers the Human Element, Competence and Integrity, the very best equipment in the world is useless without the human capital to run it. A national lab would need the following:
* Highly Trained Pharmacologists and Microbiologists and all grades of staff who are compensated well enough to be immune to the “lobbying” of powerful external agencies.
* Digital Transparency: A database accessible to the public, where any citizen can enter a batch number from their medicine box and see the lab results.
Once a proper system is put in place, we need to assess as to how our facilities measure up against the WHO’s “Model Quality Assurance System.” That will ensure maintenance of internationally recognised standards. The confirmed unfavourable results of any testing procedure, if any, should lead to a very prompt “Blacklist” Initiative, which can be used to legally bar failing manufacturers from future tenders. Such an endeavour would help to keep all drug manufacturers and importers on their toes at all times.
This author believes that this article is based on the premise that the cost of silence by the medical profession would be catastrophic. Quality assurance of medicinal compounds is not an “extra” cost. It is a fundamental right of every Sri Lankan citizen, which is not at all subject to any kind of negotiation. Until our testing facilities match the sophistication of the manufacturers we buy from, we are not just importing medicine; we are importing potential risk.
The promises made by the powers-that-be to “update” the testing laboratories will remain as a rather familiar, unreliable, political theatre until we see a committed budget for mass spectrometry, cleanroom certifications, highly trained and committed staff and a fleet of independent inspectors. Quality control of therapeutic medicines is not a luxury; it is the price to be paid for a portal of entry into a civilised and intensively safe healthcare system. Every time we delay the construction of a comprehensive, proactive testing infrastructure, we are playing a game of Russian Roulette with the lives of our people.
The science is available, and the necessary technology exists. What is missing is the political will to put patient safety as the premier deciding criterion. The time for hollow rhetoric has passed, and the time for a scientifically fortified, transparent, and proactive regulatory mechanism is right now. The good health of all Sri Lankans, as well as even their lives, depend on it.
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.
Joint Editor, Sri Lanka Journal of Child Health
Section Editor, Ceylon Medical Journal
Features
Rebuilding Sri Lanka Through Inclusive Governance
In the immediate aftermath of Cyclone Ditwah, the government has moved swiftly to establish a Presidential Task Force for Rebuilding Sri Lanka with a core committee to assess requirements, set priorities, allocate resources and raise and disburse funds. Public reaction, however, has focused on the committee’s problematic composition. All eleven committee members are men, and all non-government seats are held by business personalities with no known expertise in complex national development projects, disaster management and addressing the needs of vulnerable populations. They belong to the top echelon of Sri Lanka’s private sector which has been making extraordinary profits. The government has been urged by civil society groups to reconsider the role and purpose of this task force and reconstitute it to be more representative of the country and its multiple needs.
The group of high-powered businessmen initially appointed might greatly help mobilise funds from corporates and international donors, but this group may be ill equipped to determine priorities and oversee disbursement and spending. It would be necessary to separate fundraising, fund oversight and spending prioritisation, given the different capabilities and considerations required for each. International experience in post disaster recovery shows that inclusive and representative structures are more likely to produce outcomes that are equitable, efficient and publicly accepted. Civil society, for instance, brings knowledge rooted in communities, experience in working with vulnerable groups and a capacity to question assumptions that may otherwise go unchallenged.
A positive and important development is that the government has been responsive to these criticisms and has invited at least one civil society representative to join the Rebuilding Sri Lanka committee. This decision deserves to be taken seriously and responded to positively by civil society which needs to call for more representation rather than a single representative. Such a demand would reflect an understanding that rebuilding after a national disaster cannot be undertaken by the state and the business community alone. The inclusion of civil society will strengthen transparency and public confidence, particularly at a moment when trust in institutions remains fragile. While one appointment does not in itself ensure inclusive governance, it opens the door to a more participatory approach that needs to be expanded and institutionalised.
Costly Exclusions
Going down the road of history, the absence of inclusion in government policymaking has cost the country dearly. The exclusion of others, not of one’s own community or political party, started at the very dawn of Independence in 1948. The Father of the Nation, D S Senanayake, led his government to exclude the Malaiyaha Tamil community by depriving them of their citizenship rights. Eight years later, in 1956, the Oxford educated S W R D Bandaranaike effectively excluded the Tamil speaking people from the government by making Sinhala the sole official language. These early decisions normalised exclusion as a tool of governance rather than accommodation and paved the way for seven decades of political conflict and three decades of internal war.
Exclusion has also taken place virulently on a political party basis. Both of Sri Lanka’s post Independence constitutions were decided on by the government alone. The opposition political parties voted against the new constitutions of 1972 and 1977 because they had been excluded from participating in their design. The proposals they had made were not accepted. The basic law of the country was never forged by consensus. This legacy continues to shape adversarial politics and institutional fragility. The exclusion of other communities and political parties from decision making has led to frequent reversals of government policy. Whether in education or economic regulation or foreign policy, what one government has done the successor government has undone.
Sri Lanka’s poor performance in securing the foreign investment necessary for rapid economic growth can be attributed to this factor in the main. Policy instability is not simply an economic problem but a political one rooted in narrow ownership of power. In 2022, when the people went on to the streets to protest against the government and caused it to fall, they demanded system change in which their primary focus was corruption, which had reached very high levels both literally and figuratively. The focus on corruption, as being done by the government at present, has two beneficial impacts for the government. The first is that it ensures that a minimum of resources will be wasted so that the maximum may be used for the people’s welfare.
Second Benefit
The second benefit is that by focusing on the crime of corruption, the government can disable many leaders in the opposition. The more opposition leaders who are behind bars on charges of corruption, the less competition the government faces. Yet these gains do not substitute for the deeper requirement of inclusive governance. The present government seems to have identified corruption as the problem it will emphasise. However, reducing or eliminating corruption by itself is not going to lead to rapid economic development. Corruption is not the sole reason for the absence of economic growth. The most important factor in rapid economic growth is to have government policies that are not reversed every time a new government comes to power.
For Sri Lanka to make the transition to self-sustaining and rapid economic development, it is necessary that the economic policies followed today are not reversed tomorrow. The best way to ensure continuity of policy is to be inclusive in governance. Instead of excluding those in the opposition, the mainstream opposition in particular needs to be included. In terms of system change, the government has scored high with regard to corruption. There is a general feeling that corruption in the country is much reduced compared to the past. However, with regard to inclusion the government needs to demonstrate more commitment. This was evident in the initial choice of cabinet ministers, who were nearly all men from the majority ethnic community. Important committees it formed, including the Presidential Task Force for a Clean Sri Lanka and the Rebuilding Sri Lanka Task Force, also failed at first to reflect the diversity of the country.
In a multi ethnic and multi religious society like Sri Lanka, inclusivity is not merely symbolic. It is essential for addressing diverse perspectives and fostering mutual understanding. It is important to have members of the Tamil, Muslim and other minority communities, and women who are 52 percent of the population, appointed to important decision making bodies, especially those tasked with national recovery. Without such representation, the risk is that the very communities most affected by the crisis will remain unheard, and old grievances will be reproduced in new forms. The invitation extended to civil society to participate in the Rebuilding Sri Lanka Task Force is an important beginning. Whether it becomes a turning point will depend on whether the government chooses to make inclusion a principle of governance rather than treat it as a show of concession made under pressure.
by Jehan Perera
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