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
World Cup Football, Trump’s War and Peace Chaos, and Obama’s Serene Legacy
President Trump is constantly exceeding expectations about his ability to spread chaos in his country and around the world. To the chaos and destruction of the war against Iran that he began on February 28, he is now adding the chaos of peace. The 2026 World Cup has crashed into the chaotic world of both. In the midst of all of Trumps’ chaos, the US is anchoring the hosting of 2026 World Cup Football, flanked by Mexico to the south and Canada to the north. In the midst of it all, former President Obama held the opening ceremony for the Obama Presidential Centre in southside Chicago on Thursday, June 18.
It was a beautiful ceremony that was full of grace and elegance and a call for future action to stop America’s aberrational detour of the last 10 years and restore its historical march towards being a more perfect union as stipulated in the constitution. Trump was not mentioned but the contrast was clear. In attendance were all former US Presidents and world leaders of the Obama era, including Germany’s Angela Merkel and Canada’s Justin Trudeau. The Presidential Centre is a massive campus with a 225-foot behemoth tower, a museum, library and a basketball gym.
The project has been controversial with initial community backlash about its location in a public park and the threat of gentrification that may drive modest households in the area out of their homes. The actual implementation of the project and the choreographing of its opening ceremony would seem to have responded well to the early concerns. The City of Chicago has passed an ordinance to preserve affordable housing in the area, and a University of Chicago study has projected that the Centre would create 1,900 new permanent jobs and an annual $220 million economic spin-off for the City.
The timing of the opening could not have been politically more apt than being midway through Trump’s rapidly unravelling second terms in office. Local and national artists provided politically immersive entertainment, and the speeches were by President Obama and the former First Lady Michelle Obama, the two finest of speakers in contemporary America. Neither of them mentioned Trump, but both left no doubt of their concern with Trump’s America and “fierce urgency” of the moment to start undoing all of Trump’s misdoings in America and around the world. Obama insisted that Centre is not meant to be a monument to his presidency but a “vibrant, living celebration of community,” and hoped that it would inspire Americans now experiencing “anger and vision” to look “for fairness and common sense and mutual respect,” at the same time.
The Centre and its opening ceremony are a perfect foil to the Trump’s presidency and its grotesque ways. This year Trump is presiding over the 250th anniversary of American Independence. And he is doing it in his own way – inviting the King of England to mark the occasion and then hosting an evening of wrestling, of all places on one of the White House lawns, featuring only badass white male pugilists. The latter was also in celebration of his 80th birthday. A good majority of Americans including Republicans do not approve of Trump’s vulgarization of American culture.
Trump wants to transform Washington to entrench his name and image in perpetuity, to elevate him to the same status heights of presidential greats such as Lincoln and Kennedy, and to leave everywhere the maximalist mark of his obsession with gold and its colour. But the courts, certainly those below the Supreme Court, would have none of them. One after the other, the Courts have disallowed his bizarre efforts at narcissistic exhibitionism. A US District Court Judge in Washington has declared that Trump’s directive to change the name of the John F. Kennedy Center for the Performing Arts be known as the “Trump-Kennedy Center” is unconstitutional, and he ordered the restoration of the original name along with the removal of the name of Trump from all of the Centre’s venue names, websites, records and documents. The courts have also stopped Trump’s construction ball to build a new oversized ballroom devouring one of its historic lawns. The president went ahead without license or permit excavating a foundation cavern, and now his legacy after he leaves the White House could be a gaping hole in front of the main building. It will fall to his successor to bury Trump’s legacy and back-fill the hole.
World Cup Antidote
It turns out that after 18 months of Trump’s chaotic and traumatic second term, the World Cup is a welcome antidote to the convulsions that only the current US president is capable of causing for others. For sports fans in general, the World Cup is crashing into a crowded midyear sports agenda, that includes the French Open and the Wimbledon tournaments in tennis and majors in other sports. With technology enabling the simultaneous coverage of the global and the local, sports like other entertainments is catering to the local and global interests of fans.
Forty eight countries, including Iran, are in the bowl, and their supporters and flags are overflowing the streets and stadia of the 16 cities in the US (11), Mexico (three) and Canada (two), where the matches are being played. FIFA oligarchy could not have found a better free market host than Donlad Trump. Ticket prices have gone through the roof, for unlike in Europe and South America where there are limits on prices, there is none in the US but only limited restrictions in Canada and Mexico. FIFA is reaping the American free market and keeping the national football associations quiet against fandom pressure by sharing the ticket bounty proportionately with each national outpost.
On the other hand, it is also remarkable to see massive crowds filling up the stadia and other public venues to watch their favourite game. For all the talk and reality of inequality in wealth, there is also money in the pockets of many to splurge on tickets for a world cup football game, the modern opium of the masses. As with the old religion, there is a hierarchy among spectators and their seats, the latter rising from the close-up seats at the pitch level, where the price is at its highest, and reaching to the skies above from where one can steal a bird’s eye view of the action below at much lower but still high prices.
For American sports fans, the World Cup came crashing into the finals of the National Basketball Championship, which was especially remarkable this year because the New York Knicks whose home base is the storied Maddison Square Gardens, the Mecca of basketball, in the heart of New York, won the national championship after an interval of 53 years. For basketball aficionados, the victorious 1973 Knicks team included such national figures as Phil Jackson and Bill Bradely. Jackson would later coach Michael Jordon and Chicago Bulls, and Kobe Bryant and LA Lakers, guiding them to multiple championships. Bradley went on to become a long serving US Senator from New Jersey for the Democratic Party and was an unsuccessful presidential contender in 2020. Bradley was often compared to the similarly unsuccessful Adlai Stevenson whom President Kennedy appointed as his envoy to the UN, calling him “the most articulate statesman of our time.”
The Knicks’ long awaited victory may inspire hope among contenders at the World Cup. Only eight countries have won the World Cup so far – Argentina, Brazil, England, France, Germany, Italy, Spain and Uruguay. Netherlands has been to three finals but never won the cup. Italy that has won four World Cups has twice failed to qualify – in 2022 and again in 2026. Germany, another four-times winner is looking to return to its winning ways and end its dismal record since 2014. Mexico and Portugal are leading soccer countries but have never won the cup or been in the finals.
England who invented the game has won the cup only once – way back in 1966 – and is hoping to win again. “Coming home … football is coming home”, the 1996 song is now being sung everywhere England is playing in North America. First sung to mark England’s hosting of the Euro Cup in 1996, the song has become England’s veritable football anthem blending nostalgic joy for the 1966 win and pathos, with hope, for the country’s successive losses ever since. The English team this year parades an impressive array of young talent. Fans are both hopeful as well as resigned as has been their wont. They have reason for hope as pundits have short listed England among the top four contenders.
As the opening matches are being played out, the favoured teams are acquitting themselves well. Argentina, the reigning champions, has sent perhaps the strongest message with its 3-0 victory over Algeria. More than the scoreline, it is Lionel Messi’s masterclass of a hat trick that has electrified the fans and alerted the other teams. France is not far behind with its 4-1 win against Senegal. England registered a stirring 4-2 win against Croatia, the country that defeated it in the semifinals in the 2018 World Cup in Russia.
The most favoured country Spain was totally out of sorts in its opening game and was held to a goalless draw by Cabo (or Cape) Verde, the little West African island and part of the Dutch Kingdom. Other contenders, Brazil, Portugal and Netherlands were held to 1-1 draws respectively by Morocco, the Democratic Republic of Congo, and Japan. At the same time, Mexico, South Korea, USA, Australia, Germany, Sweden, Norway and Austria have scored impressive opening match victories. Iran played well against New Zealand in a 2-2 tie. No one is expecting any country that has never won the World Cup before to become champions now. The last time it happened was in 2010 when Spain won for the first time and only time so far. But that does not dampen fan enthusiasm over every match that will be played until the finals on Sunday, July 19, in New York City.
The paradox of Peace
American attention to world matters has never befitted the country’s superpower status. And the chasm have never been wider than under President Trump. The level of awareness ranges from total ignorance to absolute indifference. The attention to the war against Iran has been no different. The people, politicians and the media have almost singularly been focused on the price at the pump and the cost of groceries. These are fundamental concerns in politics, no doubt, but the economic havoc that the war is causing for the Middle East and the rest of the world has never been an equal concern in the US public discourse and media commentaries. Of course, American experts will lead the way analyzing and writing about the global effects of the war on Iran, but that will be a postmortem and it will not compensate for the real time failure of the Trump Administration to give due weight, as a superpower must, to the global effects of its war making decisions.
Trump admitted in France that he signed the MOU with Iran to avoid “economic catastrophe” in the US. That says it all even though he will likely never say it again. The MOU is officially called – Islamabad Memorandum of Understanding between the United States of America and the Islamic Republic of Iran. So, Pakistan gets its place in history and deservedly so. And Trump crafted his own history by signing a hard copy of the MOU at the Palace of Versailles, of all palaces, following his G7 summit attendance in the French Alps. Will the same hard copy be ever signed by an Iranian leader is an open question. That will be for future museums to explain, among many other leftovers of Trump. Trump may also use a certified copy of the document, if not the original itself, for the next application on his behalf for the Nobel Peace Prize.
This MOU has been signed by multiple times by both sides, but perhaps its strongest endorsement came with the approval of direct negotiation between Iran and the US given by Iran’s Supreme Leader Ayatollah Mujtaba Khamenei and read out on state television. The paradox of this peace is that while the MOU is universally welcome everywhere in the world, it is receiving the harshest scrutiny within the US. There is no palpable enthusiasm for it in the country. The war hawks are not at all pleased. Republicans are confused about Trump going to war for no reason and signing an MOU that gives Iran a control over the Strait of Hormuz that it never had before.
Democrats have no interest in welcoming the MOU, and they are focused on the overall failure of Trump in the Middle East. The powerful Israeli lobby has gone mute, fully realizing that their Prime Minister, Benjamin Netanyahu, has overreached himself with his war zealotry and made Israel unwelcome among a majority of Americans and a virtual pariah state in the world. Vice President Vance, who is doing damage control to save his own presidential plans for 2028, has warned that Israel must realize that President Trump is “the only head of state in the entire world who is sympathetic to the nation of Israel at this moment in time.”
The 14-point MOU is a finely worded and compact document, but it would have received universal support even in America had Trump achieved this without going to war and as an extension of the 2015 Joint Comprehensive Plan of Action (JCPOA) between Iran and the P5 + 1 (US, UK, France, Russia, China and Germany) that was facilitated by President Obama. Trump tore up that agreement and has been personally vindictive in criticizing Obama for allegedly reaching a deal that was only advantageous to Iran. It was not, and Trump’s irrational criticisms of the JCOPA are now coming back to haunt him as US critics are picking apart Trump’s MOU by comparing it to Obama’s JCPOA and taking into account the war-cost of the new MOU. Overseas, the G7 leaders who have been insulted by Trump all along, are welcoming the MOU as a “game changer,” perhaps hoping that flattery is the only way to keep Trump’s antics to be minimal for the rest of his presidency.
by Rajan Philips
Features
Sri Lanka’s Marine Frontline: Dr. Samantha Gunasekara’s Battle Against Plastic Pollution and Transboundary Waste
For decades, Sri Lanka’s coastline has been celebrated for its pristine beaches, rich marine biodiversity and vibrant fishing communities. Yet beneath the beauty lies an escalating environmental crisis that threatens ecosystems, fisheries, tourism and coastal livelihoods.
At the forefront of the battle against marine pollution is Dr. Samantha Gunasekara, Chairman of the Marine Environment Protection Authority (MEPA), who has spearheaded some of the country’s most ambitious coastal restoration and pollution mitigation programmes in recent years.
In an interview with The Island, Dr. Gunasekara outlined the scale of the challenge facing Sri Lanka’s marine environment, from locally generated plastic waste to transboundary pollution washing ashore from beyond the country’s borders.
He also spoke about the ongoing clean-up following the MV MSC Elsa 3 maritime incident and the urgent need for regional cooperation to tackle marine litter in the Indian Ocean.
“The issue is much bigger than what people see on a beach,” Dr. Gunasekara said. “When the public notices plastic bottles, polythene bags or other debris on the shoreline, they are only seeing the final stage of a problem that begins many kilometres inland.”
- Transboundary pollution
According to him, more than 80 percent of marine plastic pollution originates from land-based sources.
“What is found in the ocean is largely a reflection of what happens on land. Waste discarded into canals, streams and rivers eventually reaches the sea. Unless we address waste management within the country, marine pollution will continue regardless of how many clean-up programmes we conduct.”
He noted that household waste, industrial refuse, improperly managed dumpsites and littering remain major contributors to marine pollution.
Over the past year, MEPA has intensified its coastal clean-up operations, restoring numerous beaches that had been heavily contaminated by plastic and polythene waste.
The results have been dramatic.
Photographs documenting several restoration projects reveal coastlines once buried beneath layers of plastic debris transformed into clean and attractive public spaces.
“The President himself expressed concern after seeing the scale of pollution in some areas,” Dr. Gunasekara said. “That support has enabled us to move forward with several restoration initiatives.”
Yet, despite local efforts, Sri Lanka continues to face a challenge largely beyond its control—transboundary marine pollution.
Dr. Gunasekara was particularly concerned about the volume of waste washing ashore in the Northern Province and surrounding islands.
He said islands such as Delft, Nainativu, Punkudutivu and Eluvaitivu receive enormous quantities of foreign-origin debris every year.
“The quantities are unbelievable. If someone visits these locations after a rough sea period, they will immediately understand the magnitude of the problem,” he said.
According to observations made during numerous clean-up operations, a significant proportion of the debris appears to originate from across the Palk Strait.
“Based on the labels, packaging, language markings and the nature of the waste, it is evident that much of the material comes from India. In some locations, nearly all the debris collected can be traced to Indian sources,” Dr. Gunasekara said.
He stressed that the issue should not be viewed as an attempt to assign blame but rather as a regional environmental challenge requiring regional solutions.
“The ocean does not recognise political boundaries. What enters the sea in one country can easily end up on the shores of another. This is why cooperation among neighbouring countries is essential.”
Nevertheless, he believes stronger action is required.
“Sri Lanka invests considerable resources in cleaning its coastlines. When foreign-origin waste continuously arrives on our shores, it places an additional burden on our economy and our institutions.”
Recognising the seriousness of the issue, MEPA has prepared policy proposals and submitted recommendations through the relevant ministry seeking higher-level government engagement.
A Cabinet paper addressing transboundary marine debris has also been prepared for consideration.
“The intention is to facilitate discussions at government-to-government level. We need practical mechanisms for prevention, monitoring and mitigation,” he said.
Dr. Gunasekara pointed out an apparent contradiction.
“Several coastal areas in India have received international recognition for beach cleanliness and environmental management. Therefore, there is no reason why similar standards cannot be maintained more broadly. The challenge is ensuring that waste generated inland does not eventually enter the marine environment.”
Another major challenge facing Sri Lanka has been the aftermath of the MV MSC Elsa 3 incident, which released large quantities of plastic nurdles into the marine environment.
Nurdles are tiny plastic pellets used as raw material in plastic manufacturing and are considered among the most difficult forms of marine pollution to remove because of their small size and tendency to disperse over vast distances.
Dr. Gunasekara recalled that the first signs of contamination emerged in Delft Island before spreading rapidly along the coastline.
“Initially there was little evidence of significant contamination. Then, within weeks, large quantities began washing ashore,” he said.
The pellets eventually spread across numerous northern islands and along extensive sections of the western coastline.
MEPA responded immediately, deploying personnel and mobilising local communities.
For the first three months, the authority led much of the clean-up effort directly.
However, the scale of contamination soon required additional resources.
Discussions were initiated with representatives of the shipping company and its insurers.
“The company agreed to support the clean-up operation under MEPA’s supervision and technical guidance,” Dr. Gunasekara said.
Today, thousands of workers continue to participate in the recovery effort.
At its peak, nearly 1,700 labourers were engaged daily in collecting nurdles and associated debris from affected coastal areas.
The operation remains one of the largest marine pollution response exercises undertaken in Sri Lanka.
Workers have been provided with protective equipment, water, welfare facilities and logistical support funded by the responsible parties.
“The objective is not simply to remove visible pollution but to minimise long-term environmental impacts,” Dr. Gunasekara said.
The task has proven far more complex than initially anticipated.
Changing ocean currents and rough weather have redistributed pollution into previously unaffected locations.
“Areas that were relatively clean months ago are now receiving fresh deposits. Therefore, the operation remains dynamic and requires constant monitoring.”
The volume of recovered material has been staggering.
According to MEPA estimates, approximately 47 shipping containers have already been filled with collected debris.
“These containers include nurdles, bottles, packaging material and other plastic waste recovered from beaches and coastal habitats,” he said.
The authority is now examining environmentally responsible disposal options.
Recycling remains difficult because prolonged exposure to seawater often contaminates plastic materials and reduces their suitability for conventional recycling processes.
Adding another mystery, MEPA recently detected coloured nurdles among the recovered pellets.
“We have found red, blue and green pellets. Traditionally, nurdles are colourless. We are investigating the source and significance of these findings,”
Dr. Gunasekara said.
Despite the immense challenges, he remains encouraged by the support received from local communities.
Fishing families, religious leaders, schools and volunteer groups have joined restoration efforts across the country.
In the North, villagers welcomed clean-up teams with garlands and handmade gifts as expressions of gratitude.
“These gestures demonstrated how much these communities value their environment,” he said.
Religious institutions have also become important partners.
“In several coastal regions, churches and temples helped coordinate volunteers and identify the most vulnerable communities requiring assistance.”
Looking ahead, Dr. Gunasekara believes Sri Lanka must adopt a broader vision of marine environmental protection.
He argues that marine pollution should no longer be regarded solely as an environmental issue.
“It affects fisheries, tourism, public health and national development. Every plastic bottle thrown into a canal ultimately becomes someone else’s problem.”
He also advocates stronger regional cooperation within South Asia to address marine pollution, improve waste management and establish joint monitoring mechanisms.
“The future of the Indian Ocean depends on collective action. No country can solve this problem alone.”
As Sri Lanka continues its struggle against mounting environmental pressures, Dr. Gunasekara’s message is both urgent and hopeful.
“The sea has sustained our civilisation for generations. Protecting it is not merely an environmental obligation; it is a responsibility we owe to future generations.”
For the chairman of MEPA, the mission extends beyond cleaning beaches. It is about safeguarding an entire marine heritage—one that remains central to Sri Lanka’s identity, economy and future prosperity.
By Ifham Nizam
Features
Meththa Rehabilitation Foundation:Restoring Mobility, Dignity and Hope Across Sri Lanka
For thousands of Sri Lankans living with limb loss and physical disabilities, access to quality rehabilitation services remains a significant challenge. Yet, for more than three decades, our organisation has quietly transformed lives through innovation, compassion and community-based care. The Meththa Rehabilitation Foundation Guarantee Limited (MRFGL), supported by the Meththa Foundation-UK has emerged as one of Sri Lanka’s most effective voluntary rehabilitation service providers, restoring mobility, independence and dignity to some of the country’s most vulnerable citizens.
The Foundation’s roots stretch back to 1994, when a group of expatriate Sri Lankan professionals in the United Kingdom recognized the severe shortage of rehabilitation services available to disabled persons in Sri Lanka. Drawing upon their expertise in rehabilitation medicine and allied healthcare professions, they established the Meththa Foundation-UK with a simple but powerful vision: to provide affordable, high-quality prosthetic and rehabilitation services to those who needed them most.
What began as an effort to recycle and repurpose high-quality prosthetic components donated by the UK’s National Health Service has evolved into a comprehensive rehabilitation network serving communities across the island.
Clinical services commenced in Sri Lanka in 1995 through a mobile outreach programme that initially supported injured soldiers and later expanded to civilians affected by conflict and disability. The majority of them were victims of land mines. In 2010, the Sri Lankan arm of the organisation was formally registered as the Meththa Rehabilitation Foundation Guarantee Limited, strengthening its ability to deliver sustainable services nationwide.
Today, the Foundation operates four modern rehabilitation centres located in Mahawa, Mankulam, Balapitiya and Kilinochchi. These centres provide prosthetic and orthotic services, posture and mobility support, limb repairs, and rehabilitation assistance to patients from diverse social and economic backgrounds.
Recognising that many disabled individuals live in remote areas with limited access to healthcare, Meththa Foundation also established a mobile outreach service in 2011. Through a successful “Hub and Spoke” model, rehabilitation teams travel regularly to underserved communities, ensuring that patients are not denied care simply because of distance or financial hardship.
The scale of the Foundation’s work is impressive. During 2025 alone, the organization recorded approximately 2,000 patient contacts, including the provision of 350 new artificial limbs, 850 limb repairs and around 800 other rehabilitation devices. For many beneficiaries, these interventions represent far more than medical treatment; they offer a pathway back to employment, education and social participation.
Innovation has become a hallmark of the Foundation’s approach. Through an active research and development programme, MRFGL has developed affordable prosthetic technologies specifically suited to Sri Lankan conditions. Among its achievements is the development of a modular below-knee artificial limb system manufactured largely from locally sourced materials. The Foundation has also designed low-cost prosthetic knee components that significantly reduce the financial burden on patients while maintaining quality and functionality. These developments are funded by generous International Grants facilitated by affluent members of the Meththa Foundation-UK. Service users are encouraged to donate whatever they can but for those who cannot, which is a majority the services are entirely free.
These innovations not only make rehabilitation more affordable but also strengthen local manufacturing capabilities and reduce dependence on imported components.
Equally important is the Foundation’s commitment for building local expertise. Recognizing the shortage of trained rehabilitation professionals in Sri Lanka, Meththa Foundation established an apprentice-based vocational training programme that recruits and trains young people as prosthetists, orthotists and rehabilitation technicians. Several locally trained staff members are now employed across the Foundation’s centres, helping to create a sustainable workforce for the future.
The organisation’s work has attracted growing recognition within the healthcare sector. Discussions have already taken place with health authorities regarding the potential use of Meththa-designed prosthetic components within Government hospitals. Such collaboration could significantly expand access to affordable rehabilitation services throughout the country.
Beyond its clinical achievements, the Foundation’s impact is measured in restored confidence and renewed independence. Surveys conducted among beneficiaries indicate that many educated amputees successfully return to productive lives after receiving rehabilitation support. However, the Foundation also highlights an ongoing challenge among poorer and less educated amputees, many of whom struggle to access follow-up care due to transportation difficulties and financial constraints.
To address this issue, the organization hopes to expand its mobile services and community outreach programmes. Additional funding would allow rehabilitation teams to reach isolated communities more frequently, ensuring that vulnerable patients continue to receive the support they need.
Operating on an annual expenditure of approximately Rs. 30 million in Sri Lanka, supplemented by overseas fundraising and donations, the Foundation remains heavily reliant on the generosity of donors, charitable trusts and well-wishers. Every contribution directly supports the provision of artificial limbs, mobility devices, training programmes and outreach services for those who might otherwise be left behind.
As Sri Lanka continues to strengthen its healthcare and social welfare systems, organisations such as the Meththa Foundation demonstrate how innovation, volunteerism and dedication can create lasting social impact. By helping individuals regain mobility and independence, the Foundation is not merely providing artificial limbs—it is rebuilding lives and restoring hope.
For many beneficiaries, every step they take is a testament to the life-changing work of the Meththa Foundation.
www.meththafoundation-sl-uk.org
Chairman’s WhatsApp contact number +94 77 788 6119
Prof S P Lamabadusuriya, Chairman
Dr B Panagamuwa, First Trustee
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