Life style

The sinking of SLNS Weeraya and Jagatha

Published

5 years ago

2020/11/1

After decades-long tour of duty on the waters, Weeraya and Jagatha – two ships of the 3rd Fast Gun Boat Squadron of the SL Navy, have now found their new home on the seabed off the port of Trincomalee. While they continue to prove their mettle enriching the deep waters as fish breeding grounds and shipwreck diving sites, those who manned them recollect fond memories on board.

by Randima Attygalle

Weeraya and Jagatha translate into ‘hero’ and ‘conqueror’. These ships of the 3rd Fast Gun Boat Squadron of the SL Navy lived up to their names ensuring the security of the Sri Lankan waters during wartime. Weeraya joined the fleet in 1972 when Rear Admiral D.V Hunter was at the helm of the Royal Ceylon Navy and Jagatha in 1980 during Rear Admiral A.W.H Perera’s tenure as Commander.

During the 30-year war, these ships were in the frontline fighting arms smuggling and terrorist activities in the seas off the Karainagar Island. Having played their part, Weeraya and Jagatha bid goodbye to the men above the waters, settling down on ‘Davy Jones’ Locker’ off Rocky Point in Trincomalee a few weeks ago. They were both soon to turn 60.

The ceremonial decommissioning of the two vessels at the Naval Dockyard in Trincomalee a few weeks ago was presided over by the Navy Commander, Vice Admiral Nishantha Ulugetenna. In keeping with naval custom, the decommissioning was carried out with the seal of approval of the President. The decommissioning ceremony ended with the paying off pennants (long pennants equivalent to the lengths of each ship) ceremonially scissored into equal parts and the individual pieces distributed as souvernirs among the ships’ crew in the time-honored naval traditions. The decommissioning ceremony was also attended by Rear Admiral (Retd) J.T.G. Sundaram (as a guest of honour) who commanded Weeraya from January 1, 1980 to January 25, 1981 as its sixth Commanding Officer.

Manufactured in 1961 in China, Weeraya was one of the first of two gunboats (FGBs) to be added to the fleet of the then Ceylon Navy in 1972 as one of Her Majesty’s Ceylon Ships (HMCyS). Until the arrival of this vessel, the Navy had only one ship- a Frigate called Gajabahu and many unarmed small boats,

Lieutenant Commander (Retd) Somasiri Devendra, an authority on maritime archaeology, says: “When the Insurgency of 1971 erupted we were without any seaward defenses and had to call upon Indian and Pakistani ships to patrol our waters and throw a cordon around us. The Chinese offer of two reconditioned FGBs- (Sooraya and Weeraya as they were renamed later) was welcome.”

The ships gifted by China in early 1972 were commissioned a few months later. Commissioning, as Devendra explains, is the act of empowering a vessel to act as a self-sufficient unit of the Navy under a Commanding Officer. The ships were launched by the Prime Minister who was the then head of the government and the country’s chief executive. Devendra who was in Kochchikade when the Sooraya and Weeraya arrived as deck cargo on a Chinese merchant vessel recollects his first glimpse of them wrapped in bamboo matting. “They were a class of ships designed for use in rivers – those rivers were much bigger than anything we have. At sea, their buoyancy would have increased. They had several engines and were heavily armed. They were tested as seagoing craft by us and several problems encountered were put right with our inputs.”

Soon, Sooraya and Weeraya were joined by three more Chinese counterparts. “When these three arrived, a ‘nationalist’ minded officer decided to pander to then Prime Minister, Sirimavo Bandaranaike by suggesting that the five FGBs have names starting with S,W,R,D and B. This resulted in the names Sooraya, Weeraya, Ranakami, Dakshaya and Balawatha!” says Devendra. The Chinese teams accompanying the ships remained here for several weeks after the handover.

“All the manuals, signage, etc. on board was in Chinese only. The first local crew made use of their stay to get all of them translated as the Chinese team had very good Sinhala speaking interpreters who had learned the language at one of our state universities.”

After the ships started patrolling it was found that given the tight Navy Vote, it was very expensive to run them at maximum capacity. Nevertheless, some of them did undertake cruises to the Maldives, notes Devendra.

The decommissioning ceremony of the Weeraya and Jagatha, Rear Admiral (Retd) J.T.G. Sundaram who commanded Weeraya as its sixth Commanding Officer, says was the “first ceremony of such scale and pageantry.” This senior officer who graced the occasion as a guest of honour lauds it as a fitting tribute to the two pioneer vessels. “Before the onset of the conflict, the role of the Navy was largely that of surveillance which gradually shifted to an operational one. Weeraya and Jagatha were among the vessels which had to adapt to this transformation.”

Light House Relief Operations servicing the Little and Great Basses Lighthouses in the South and patrolling in the Northern seas were some of the notable surveillance exercises for which the Weeraya was responsible before she took on operational duties, says Sundaram.

Jagatha in the mid-80s, was a notable platform for cadet sea training, Sundaram, who was also a training commander on board said. “Both these vessels underwent mid-life refit in the mid-1980s for which Chinese personnel arrived here.” Before a ship is decommissioned, the exercise known as ‘de-storing’ takes place explains the Senior officer. “All weapons, engines, propellers, shafts, electronic and electrical equipment, fuel and lubricants are removed in this process.” Once de-storing is complete, scuttling of the ship begins by allowing water to flow into the hull.

“Sailing during South West monsoon along the southern seas especially along the stretch between Hambantota and Tangalle passing Great Basses and Little Basses were the acid tests that a junior rating or a cadet had to prove his sea legs,” recollects a top-ranking retired naval officer. Fondly looking back on his days spent in the Gun Room of Jagatha as a young cadet in 1985, he adds, “the kitchen (galley) was using diesel fuel and the food had an eternal diesel flavour! The single toilet was not sufficient to cater to the larger crew; hence a Thunder Box was installed at the stern of Jagatha!”

The Shanghai class ships – Jagatha and Weeraya were the “best teeth the navy had to bite in late 70s and 80s”, reflects the senior officers who adds with a chuckle that today cadets will certainly make a mockery out of seven- point gun drill what was a ritual prior to a gun being fired. “It was ‘The Gun’ that the LTTE most feared tangling with,” he adds.

Out of the Jagatha’s four engines, two were in the forward engine room and used only when high speed was required. Their roar at high RPM was not at all ear-friendly, he recounts. “The Crow’s Nest was a cage like contraption on the top of the lattice mast and slacking cadets or those caught for being too smart were banished up there as punishment

“Sailing through the Karainagar channel into the Elara naval base at Karainagar, passing Fort Hammenhiel without running aground, was a skill mastered by the then commanding officers and Master-at-Arms who were at the rudder of the vessel, he notes.

The Dumping Permit Regulations made under the Marine Pollution Prevention Act require the sanction of the Marine Environment Pollution Authority (MEPA) for any decommissioning of a vessel and this was obtained prior to the sinking.

“True to MEPA’s vision of realizing a healthy coastal and ocean environment for future generations, we welcome shipwrecks which promote fish breeding places and shipwreck diving which spurs awareness and future interventions in terms of sustainability. We are conscious that such wrecks are not detrimental to the marine life,” remarks Dr. Terney Pradeep Kumara, General Manager of MEPA. Any decommissioning of a ship, he explains, should be authorized by MEPA. “A dumping permit is issued for sinking of any vessel once the authorities are satisfied that all pollutant-agents such as oil, lubricants and non-degradable material is removed from it.”

The open gangways of a shipwreck are a haven for both the fish and the diver alike says the Marine Ecologist. “While wrassers, groupers, larger snappers and morays thrive in these places, they also enable divers to swin through these passages.”

Ship wrecks as the Tec-Diver and underwater explorer, Dharshana Jayawardena explains, could be a boon to fisheries and tourism. “From a fisheries perspective, the correct location and depth is important. The currents in the location will determine how well-nourished the wreck will be with coral larvae floating in water that will settle to make an artificial reef; also once it is a reef, how much nutrients will be available for its sustenance will also count. The least pollutants in the location, the better the reef will turn out to be.”

Wrecks also act as safe havens for shoaling fish to hide during day time. It is important that these locations can be easily accessed by recreational divers. “If not its value for tourism won’t be as much. In addition, the location should have good water clarity most of the time,” notes the technically precise diver with a wealth of experience diving into decommissioned ships both locally and overseas. The two decommissioned gunboats lying close together in the Trincomalee Harbour, the Chevron glass gunboat off the shores of Moratuwa, the wreck of We Ling that was sunk with several bullet-proof VIP cars onboard in Negombo and several decommissioned vessels in the Maldives sunk for the purpose of creating artificial reefs for the Maldivian tourism industry are among such diving pursuits of his.

A few kilometers away from the Jagatha and Weeraya’s resting place in Rocky Point, off Trincomalee, lie remains of several aircraft, decommissioned navy gun boats and also one of the largest wrecks in the world – the Admiralty Floating Dock 23. But marine tourists are not allowed to access these as they are within the harbour environs, says Jayawardena.

A ship sold for scrap will yield a one-time, short-term dividend, a ship sunk as an artificial reef will provide dividends for over 100 years as an abundant fishing ground and also give back millions of dollars in foreign revenue to the country from the tourist divers who come to visit the wreck, notes the explorer.

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Life style

Bold new vision for Sri Lankan’s tourism

Published

18 hours ago

2026/02/22

Thilina Walpola

Deputy Tourism Minister Professor Ruwan Ranasinghe

Sri Lanka is rising on the world’s travel radar – a jewel of the sun, drenched beaches, misty tea estates, and hidden waterfalls. Although Thailand dazzles with scale neon lights, bustling party islands and luxury resorts designed to impress, Sri Lanka offers something different, intimacy, authenticity and a luxury that doesn’t shout, it seduces.

As global travel surges and destinations vie for attention, the Deputy Minister of Tourism for Sri Lanka, Professor Ruwan Ranasinghe with deep roots in tourism studies, speaks about elevating Sri Lanka beyond its beautifully raw landscapes into a world class destination that embraces sustainability, technology and community empowerment. We spoke to him and asked what’s next for Sri Lanka and how the island envisions its tourism renaissance over the next few years.

(Q) How do you foresee the tourism strategy direction for the next five years?

(A) Sri Lanka’s future tourism strategy is firmly anchored in sustainable and inclusive tourism. The focus is on balancing growth with responsibility: protecting natural and cultural assets while ensuring that communities across the island benefit directly. Diversification into wellness, eco-tourism, heritage, adventure, and rural experiences will be guided by evidence-based planning and inclusivity.

(Q) The key priorities for post pandemic recovery?

(A) Rebuilding trust with clear safety standards and transparent communication.

Inclusive growth by empowering small entrepreneurs and rural communities.

Sustainable practices in site management, energy use, and conservation.

Diversified demand targeting wellness, eco-travel, and long-stay visitors.

Digital transformation to modernize marketing and expand reach.

(Q) With Tourism booming in Thailand and Maldives, what is Sri Lanka’s position in the tourism landscape?

(A) Sri Lanka’s edge lies in offering a compact, diverse, and authentic experience— heritage, wildlife, tea, beaches, spa and wellness—all within short travel times. By positioning itself as a sustainable and inclusive destination, Sri Lanka appeals to travellers who value responsible tourism and meaningful cultural engagement, setting it apart from regional competitors.

(Q) What are your plans for sustainable and responsible growth for tourism?

(A) Sustainability is non-negotiable. Policies include carrying-capacity management, eco-certification, renewable energy incentives, and climate adaptation in coastal and hill-country zones. Inclusivity ensures that local communities share in tourism’s benefits, reinforcing resilience and equity.

(Q) How do we promote ecotourism, protect wildlife and marine ecosystems?

(A) Eco-tourism is being advanced through responsible visitor management, conservation partnerships, and community guardianship. Wildlife parks, marine ecosystems, and coastal zones are protected with stricter codes of conduct, while local communities are empowered as custodians and beneficiaries.

(Q) How can Sri Lanka showcase its position as a tourist destination?

(A) Sri Lanka presents itself as a sustainable, inclusive, and authentic destination. Live craft, cuisine, Ayurveda, and cultural showcases highlight the island’s unique identity, while digital tools ensure global buyers can connect directly with local providers.

(Q) How do we support small tourism entrepreneurs and rural communities?

(A) Inclusive tourism means empowering SMEs and rural communities with finance, skills, and market access. Homestays, village experiences, and community-based tourism routes are promoted to ensure equitable growth and authentic visitor experiences.

(Q) How do you predict the outlook for Sri Lanka’s tourism by 2030?

(A) By 2030, Sri Lanka envisions a tourism industry that is globally recognized for sustainability and inclusivity. Success will be measured not only in arrivals and revenue, but in conservation outcomes, community empowerment, and equitable regional development.

(Q) How will the role of technology and digital marketing help the tourist sector?

(A) Digital platforms and data insights will modernize Sri Lanka’s tourism, ensuring inclusive access for SMEs and smarter targeting of global markets. Technology supports transparency, efficiency, and sustainability, making tourism more resilient and competitive.

(Q) The impact of recent adverse weather and national disaster on tourism?

(A) Sri Lanka faced severe weather and a national disaster in the past months which inevitably disrupted parts of the tourism industry. Some destinations experienced temporary closures, and travel plans were affected. However, the government has acted swiftly: through the national budget and special allocations, resources are being directed to restore infrastructure, support affected communities, and stabilize the tourism sector.

Importantly, the industry’s resilience is evident. Stakeholders across government, private sector, and communities worked together with peaceful and strong dedication to minimize the damage. Recovery measures include targeted promotions to reassure international markets, rebuilding trust in Sri Lanka as a safe destination, and accelerating necessary upgrades.

This collective response demonstrates that Sri Lanka’s tourism is not only recovering, but doing so in a way that is sustainable, inclusive, and future-focused. The adversity has reinforced our commitment to building a sector that can withstand challenges while continuing to deliver authentic, safe, and memorable experiences for visitors.

Life style

Spectrum of elegance

Published

18 hours ago

2026/02/22

Thilina Walpola

The Prism story

Tiesh is a luxury Sri Lankan jewellery house known for its high-end handcrafted pieces that combine contemporary design with traditional craftsmanship.

Recently Tiesh unveiled a fresh vision for contemporary luxury called the Prism Collection.

The Prism Collection is a jewellery line launched by Tiesh that draws its inspiration from the way light refracts and splits into rich, vibrant colours when passing through a prism.

The idea behind this collection is to capture the spectrum of light and translate it into wearable art -jewellery that highlights brilliance, colour and dynamic form.

This is an era where jewellery is more than mere ornamentation – where every piece tells a story. Launched to great acclaim at the brand’s elegant Colombo showroom, this collection is a radiant celebration of light, colour and refined artistry – a body of work that doesn’t just adorn but transforms.

Renowned for its dedication to excellence, Tiesh continues to uphold its legacy of producing jewellery that epitomises luxury, elegance and meticulous craftsmanship. Each Prism creation is thoughtfully designed and expertly crafted using the finest precious stones and the skill of master local artisans, reflecting the brand’s unwavering commitment to quality and detail.

Launched as a festive yet fashion-forward collection, Prism presents a curated selection of jewellery that aligns seamlessly with today’s modern aesthetic. Available in yellow gold, rose gold and white gold; the Prism Collection features an extensive range of designs, including rings, earrings, pendants, necklaces, bracelets, bangles and chains. Each piece is crafted to highlight colour, balance and wearability, appealing to the modern, trend-conscious jewellery lover.

With a proud legacy spanning almost three decades Staying true to this ethos, the Prism Collection places

Sri Lankan sapphires in the spotlight, celebrating their natural colours, textures and rarity. Speaking of the collection, Tiesh Co-Director Ayesh de Fonseka stated, “Prism was created in keeping with the times, contemporary yet timeless. In a time when the nation looks towards renewal, this Collection emerges as a symbol of hope and positive transformation. Reflecting light, colour and clarity, the collection embodies a sense of resilience and betterment. As proud Sri Lankans, we wanted

this collection to showcase the exceptional beauty of our local sapphires alongside other precious stones. These are statement pieces designed for modern lifestyles.”

The collection also embraces customisation, a signature element of the Tiesh experience. Clients are invited to select their preferred gemstones and personalise designs, resulting in truly one-of-a-kind creations that reflect individual style and expression.

With global gold prices reaching historic highs, fine jewellery has inevitably become heavier on the wallet Yet for discerning clients, the conversation is no longer about grams alone

Here customers can adjust stone size, setting style and medal choice to suit their budget. At Tiesh, you’ll notice another surprise – the after-care service such as polishing and maintenance.

The gold at Tiesh remains genuine and hallmarked. In collections such as the Prism line, gemstones and design architecture do most of the talking, while gold becomes the elegant framework rather than the bulk of the piece. In their collections the gemstones carry much of the visual richness. Instead of purchasing a heavy block of gold, the client invests in design, craftsmanship and beauty. So, when gold prices rise globally our jewellery doesn’t escalate at the same pace because gold is not the sole component defining the piece Ayesh pointed out

We create jewellery meant to live with the heavier, not just sit in a vault. At its heart, Tiesh remains more than a jewellery house; it is a family legacy shared by vision, trust and affinity with craftsmanship. And within every shimmering facet of Prism lies that story: a family craft containing to shine, generation after generation.

The Prism collection is now available at the Tiesh showrooms R A de Mel Mawatha Colombo 3.

Life style

Shabana Azmi in conversation with Ashok Ferrey

Published

18 hours ago

2026/02/22

Thilina Walpola

Cinema, courage and conversation:

Renowned Indian actress Shabana Azmi brought candour, conviction and a lifetime of cinematic wisdom to the stage recently, in conversation with Sri Lankan author Ashok Ferrey at the HSBC Ceylon Literary and Arts Festival recently at Cinnamon Lakeside Colombo.

In a wide-ranging discussion that traversed five decades of cinema, feminism, censorship and cross-border politics, Azmi reflected on a career spanning over 140 films — dismissing the debate over whether the figure stands at 140 or 160 with characteristic wit. “One hundred and forty is good enough,” she quipped, setting the tone for an evening that blended humour with hard truths.

Ferrey opened the conversation with Ankur, the 1974 classic directed by Shyam Benegal, which marked Azmi’s debut and helped pioneer India’s parallel cinema movement. Azmi credited her formative years at the Film and Television Institute of India for shaping her craft, emphasising that acting is both talent and technique.

“Training polishes the diamond,” she said, rejecting the notion that acting can be mastered in a matter of months. Exposure to international cinema — from Japanese to French and Swedish films — deeply influenced her aesthetic choices, she noted, adding that her upbringing in a household steeped in theatre and poetry further shaped her artistic sensibilities.

Azmi spoke passionately about the delicate balance between emotion and technical precision required of an actor.

“You are in the moment, but you are also watching yourself,” she observed, describing the psychological demands of the profession. “Civilised behaviour expects you to control emotion. Acting demands the opposite.”

The discussion moved to Arth (1982), directed by Mahesh Bhatt, a landmark film in which Azmi portrayed a woman who refuses to reconcile with an unfaithful husband. The decision to let her character walk away — radical at the time — drew scepticism from distributors who doubted Indian audiences would accept such defiance.

“They said it wouldn’t run a single day,” Azmi recalled. Instead, it became both critically acclaimed and commercially successful, resonating deeply with women across India. She described how women began approaching her not as a star but in solidarity, seeking guidance.

“That’s when I realised I have a voice,” she said, marking the beginning of her active involvement in the women’s movement.

Azmi was unequivocal in her stance on patriarchy, describing it as deeply entrenched in South Asian society. While acknowledging that conversations have begun, she warned that social conditioning — including women’s acceptance of domestic violence — remains troubling.

The conversation turned to Fire (1996), directed by Deepa Mehta, a film that sparked controversy for its portrayal of a same-sex relationship between two sisters-in-law. Azmi admitted she took time to consider the role, anticipating backlash.

Encouraged by her husband, lyricist and writer Javed Akhtar, Azmi chose to proceed. The film was initially screened without incident before political groups vandalised theatres in protest. Yet she remains proud of her decision.

“If you can feel empathy for these two women, you can extend that empathy to others — another nation, race, religion or sexuality,” she said, underscoring her belief that art creates a climate of sensitivity where change becomes possible.

On ageing in cinema, Azmi expressed optimism. Unlike earlier decades when actresses were relegated to peripheral roles after 30, today’s industry offers space for senior actors.

She credited contemporaries such as Amitabh Bachchan — whose sustained presence in leading character roles has reshaped industry norms — for broadening opportunities.

The session concluded with reflections on cross-border tensions, prompted by a question about an India–Pakistan cricket match taking place concurrently.

Azmi offered a nuanced perspective, suggesting that while cricket fuels adrenaline, cultural collaborations — particularly film co-productions — could serve as stronger bridges between nations.

“People don’t have a problem with each other. Politics does,” she remarked, advocating for artistic exchange as a means of fostering understanding.

Throughout the evening, Azmi’s words echoed her lifelong belief: that cinema is not merely entertainment but a powerful vehicle for social transformation.

By Ifham Nizam