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The United States and social democracy

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by Kumar David

The Scandinavian countries are held up as models of social democracy. The distribution of wealth and after-tax income is more egalitarian than elsewhere, freedom of expression, the press and religious rights are not restricted, the people choose their governments at free and fair elections and there is uninhibited licence in sex related frolics. Conversely, purist-leftists point out that the “economic system” throughout Scandinavia is capitalist; big enterprises and the commanding heights of industry and commerce are the property of a shy bourgeoisie. Production, reproduction and appropriation of surplus value conform to textbook definitions of capitalism. Both sides of have their point, but Scandinavia is not my topic today, it is the United States not so much for its intrinsic interest but because change there will inevitably spark global trends.

My friends Marjorie and Geoffrey in Orange County, California, are to all appearances fit, able and charming people. They down their beers, puff on their cigarettes, go for walks, drive two nice big SUVs and run a small business. But they collect social disability cheques of $600 a month each for some invisible frailty and their case is typical of maybe millions of others. Likewise the current labour shortage in the US is in part a constructed malaise. Small businesses cannot attract employees. People find it better to stay at home and collect unemployment benefits while others will only accept part-time jobs. You can get more by filing for part-time unemployment benefits and getting paid for half-day’s work. Small businesses say the problem is acute.

The shopping carts at Walmart, Cusco, Vons and such supermarkets are full to the brim and queues at checkout counters are long and slow. Some of this is thanks to huge Covid-relief monies pumped into personal bank accounts in recent months and therefore atypical. But obesity has been bursting at the seams for three decades. The point is that there is trickle down of material wealth to low-income classes in the US. This of course is not socialism but it keeps the wolf of revolution at bay. Still it’s an odd version of capitalism if you go by the classics. Sure, brash billionaires, coarse captains of giant technology companies and cigar chomping industrialists garner big profits and avoid tax using Pandora’s Box havens. America being what it is, matters soft and genteel in Scandinavia are loud and brash. It would be absurd to say that the same degree of income equity prevails in the US as in Scandinavia. Still the material lives of the four lowest (lower 80%) of the American income quintiles is not pitiable and not too far from Scandinavian averages.

Data for three countries a few years ago (comparative ratios have hardly changed):

In the Pie-chart of US GNP one might for simplicity imagine that federal and state government expenditure (16.6%) is spent mostly on the people (Medicare, social services, education and unemployment benefits) while conversely the 17.7% private domestic investment belongs to the rich (stock-market, new enterprises, grand houses). The big slice (68.5%) is consumption. One can conjecture (a bit risky but let me take the risk) that half of this is spent by the lower two-thirds of society and the other half by the top one-third. How much grand-crux wines can the rich consume and how many first-class air-tickets relish? Unless my guesswork is way out of order this means that 51% (16.6 + half of 68.5) is consumed by the lower two-thirds of society. What I am saying is that despite income inequality, the redistributive outcome of taxation and government support (above all health care) defuses pressure. [To pre-empt nit-pickers I need to admit that sales tax is carried mainly by the yako-classes and income tax is part paid by middle and lower-middle classes. Furthermore, government expenditure includes the likes of defence which hardly benefits the daily life of ordinary people].

Pie-chart

Bar-chart 1 shows household income spread. This is not Scandinavian social democracy but neither is it grotesque inequality which will incite the masses to pour out on the streets pitchfork in hand. American capitalism keeps yakos in line by dishing out a share of the pie while ours do it by intoning hela jathika abimane.

Bar-chart 1

This is not to deny that the filthy rich are getting richer at everyone else’s expense – I have no quarrel with Thomas Piketty. Bar chart 2 shows that the top-5% of income “earners” have hogged the largest part of the gains in the last three decades. Nevertheless this has to be taken in the context of a general upward swing of median US household income in the last half-century, see Graph. This is partly because the global hegemony of the US dollar, abominations like the Vietnam War and stooge Latin American dictators for much of the Twentieth Century. All this allowed imperialist and neo-liberal transfer of value created elsewhere in the world to the US. Nevertheless being rich does contribute to social complacency and cools the ardour of the poorer classes.

Bar-chart 2

I have inflicted quite enough statistical injury and economic boredom on you for one Sunday. I move on by asserting that American democracy, battered though it has been in recent years by the far-right and by Trump’s antics, is durable. The power of the anti-vaccination lobby, though cerebrally retarded in the eyes of outsiders is grassroots, albeit cretin, populism in the terrain of America’s anything-goes democracy. Another example is that Black Rights Matter mobilisation in response to racist police brutality, actually consists of a majority of white marchers. The jealous independence of the judiciary is legendary. Determination to exert constitutional rights, despite grotesque displays like the freedom to run amok with guns, the right to infect others with Covid and such manifestations thought crazy elsewhere, are muscular exertions of spirited populism which would have had regimes reach for the machine gun in third world countries. For better for worse American populism is loud, brash and vibrant; it is not staid Scandinavia.

Graph

Lest you imagine I am composing a panegyric I must recount the grotesque underside of America, the hundreds of thousands of homeless street sleepers. Los Angeles has over 25,000 and New York even more; every big city has hundreds, some thousands. It is something you will not see in any European city or China, Korea or Hong Kong – perhaps a few psychologically disturbed people but not on a mass scale. Those who know Bombay or Calcutta are familiar with what I am saying on a much larger scale. But America is super rich so why you will ask aren’t a few thousand housing blocks being constructed, why is the state not funding a social welfare department? Honestly, I don’t know the answer. And the huge prison population – that’s a sign of social sickness.

I also have a grouse which is personal. The spread of political correctness in priggish sections of society and in main-stream media is tiresome. I suggest that red-blooded persons ignore it and speak and act like normal humans. Some persons we are reminded are lesbian, homo, bi, auto or omnisexual, but what’s the need to insert sympathetic references to this at every turn of dialogue? Don’t retch but the latest 007 has become a pansy. And if you want to give the American accent a slip, welcome to the club.

But come on, this is all trivial stuff.

The unschooled and the intellectually handicapped imagine that socialism is only about rescuing the poor from material hardship, to hell with political and democratic rights. This twist gained currency because the great revolutions of the Twentieth Century were in dirt poor countries and the revolutionary state was compelled to prioritise “bread, land and peace” and to repel foreign aggressors. Fair enough, but states so conceived unavoidably turned out to be caricatures of socialism – say the USSR, China and Cuba. True they fed the masses but that’s only half the game, and indeed some capitalist ones have done well too – Japan, South Korea, Singapore and the Chinese province of Taiwan. You don’t need to consult the classics to be familiar with the axiom that socialism asserts it is a higher form of civilisation. Readers I am sure are familiar with “The freedom of each ensures the freedom of all”; “Necessity is blind until it becomes conscious”; “The human being is in the most literal sense a political animal”, and such aphorisms. Socialism sans democracy is an oxymoron.

You will appreciate where I am going. Socialism is not about bread alone but also about cognizance and liberty. But first I have more to say about bread in the United States. The Biden Administration, driven by the left-wing of the Democratic Party, is pushing the$3.5 trillion Build Back Better Act spending plan. Add to this the $1 trillion infrastructure bill already approved and it becomes a humongous $4.5 trillion programme. To give you an idea, of scale, the US spent $13 billion (about $ 160 billion in today’s money) on the Marshal Plan, an economic recovery programmes for Western Europe after World War II. The proposals American progressives are pushing is an order of magnitude larger in substance and in trickle down money. Republicans, big business and about 1,500 paid Congressional lobbyists are fighting it tooth and nail.

My conclusion is straightforward. It is easier for the United Sates to move towards socialism than for any other country including China. Regimes with a bogus ‘Democratic Socialist’ tag on their brand name are a hoax. America and China are the only countries which can serve as global prototypes. But since it is a truism that Socialism can only flourish on a world scale that means, right now, it’s Hobson’s choice. I am no starry-eyed dreamer unaware of the pernicious extension of the by no means forever bygone Cold War, nor the menace of another conceivable Hot War. The world is replete with dangerous neo-fascists; Trump has plenty of company. My purpose in this essay, nevertheless, is to remind readers of dimensions of this story other than the trite. I am confident that democracy will not die in the US short of civil war. It’s impossible to reverse history against mighty odds and proto-fascism will be destroyed in such a civil war. Hence, I have no option but to differ from my carousing buddy Vijaya Chandrasoma – “How Democracies Die”, Sunday Island 17 October – about the impending death of democracy in America. VC is familiar with Mark Twain’s quip re exaggerated announcements of his demise.



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Beyond the fiction of Alborada

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By Sarath Chandrajeewa

“No matter how much a work of art is sweet, if it hides the truth and disregards humanity it can only be equalled to a beautiful but empty shell that attracts us.” (L.E. Kerbel – Russian Sculptor)

‘Alborada’ is the Spanish word for ‘the dawn’. In 1984, a music group was born in Peru, South America by the same name and they gained immense popularity. Their music mainly spread among people in North and South America. Their music’s foundation was the traditional music of Native Americans who lived in the Andes mountain range (https://www.youtube.com/watch?v=YTD2VDcxvNc). Likewise, in 2005 a soap opera by the same name was broadcast in Mexico, North America, which became very popular. This story was based on a series of events that took place during the historical period when Panama and Mexico were on the verge of gaining freedom from Spain (https://www.youtube.com/watch?v=8iM5s_d1vls).

In 2021 Asoka Handagama made a film in Sri Lanka by the same name, Alborada. The protagonist of this film is Pablo Neruda (1904 – 1973), the Chilean Consul in Ceylon for two years, from 1929 to 1931. He was very young, only 25, when he was appointed to this post. Ceylon was a colony at the time and he was lodged at No. 56, 42nd street, Wellawatte, Colombo 6, a place close to the sea. He had written down his reminiscences, in his own language, in book form. Later it was translated into English and published under the title ‘Memoirs’. According to this book, he had referred to his house as ‘My solitary bungalow’. It is said that the name Alborada was proposed by Pablo Neruda for the house of his friend, Lionel Wendt (1900 – 1944), who had lived at Guildford Crescent, Colombo 7.

Wendt too was fluent in several languages including English, Spanish and some other European languages. It is apparent, from documents and events that took place at that time, that his house, Alborada, had not been a lonely or tranquil place. It is clear that house Alborada was always full of people, such as painters, dancers, actors, photographers as well as pianists and those who enjoyed music. It was more like a cultural centre where discussions, art critiques and debates took place. (L.C. Van Geyzel, et al. [2000]. ‘Lionel Wendt: A Centennial tribute’. Lionel Wendt memorial fund; Sampath Bandara. [2017]. Lionel Wendt Kalava Saha Jeevithaya, Sarasavi Publication. [Sinhala]).

Though Handagama’s film was titled Alborada, the actual location, where incidents mentioned took place, was the Solitary Bungalow, the Chilean Consul’s official residence (Jamie James. [2019]. ‘Pablo Neruda’s life as a struggling Poet in Sri Lanka: A young poet’s Adventures in the Foreign Service’. Retrieved from https://lithub.com/pablo-nerudas-life-as-a-struggling-poet-in-sri-lanka/). In the 20th Century Sri Lankan context, Alborada was a distinguished active cultural centre. As a Sri Lankan cultural symbol, it directly connects with the character of Lionel Wendt. The creator of a work of art has the total freedom to create his work as he pleases and also to choose whatever name for the particular work. Handagama’s Alborada is similar to a poem, set to inspiring music. It includes a series of artistic figure compositions and features a number of skilled performing artistes. The trailer of Handagama’s film gave me some ideas.

When creating a work of art based on historical events, rather than myth and imaginary incidents, its trustworthiness depends on the people who faced the incident, the actual incidents, exact places, time period and the political and cultural background. Consequently, thorough research is necessary to identify accurate works based on historical incidents. It is difficult to rectify myths or false assumptions ingrained in society by unreliable books, documents, magazines or films. People will always embrace falsity, deception and myth, over the truth. Our culture as well as other cultures are replete with many such examples.

Alborada

‘Alborada’ is the name of Lionel Wendt’s house. It is important as it is the house of a great Sri Lankan cultural icon of the last century. It is also important as Alborada was the name given to the renowned cultural centre of modern history, in Sri Lanka. It is from this place that art activities in our country were taken to the international arena. Alborada was situated at No. 18 old Guildford Crescent. Today this street is called Premasiri Kemadasa Mawatha. Six years after his demise, in 1950 his friend Harold Peiris (1905-1981) demolished his old house, Alborada, and built a gallery and a performing arts centre (Lionel Wendt Art Gallery and Theatre) to commemorate him. It was designed by painter Geoffrey Beling (1907 – 1992), Principal Art Inspector, Department of Education, and Bernard G. Thornley (Manel Fonseka. [1994]. ‘Rediscovering Lionel Wendt, Lionel Wendt Photographs’. Deutsche Bank Colombo and Lionel Wendt Memorial Fund).

When Lionel Wendt was alive, renowned upcountry master dancers, Amunugama Suramba and Nittawela Ukkuwa used to lodge at Alborada with their troupes, when they visited Colombo (Dancer Dr. Vaidyavathi Rajapakse, daughter of Master Dancer Suramba, Personal communication, 2017).

A documentary movie ‘Song of Ceylon’, directed by Basil Wright in 1934, was placed first at the Brussels International film festival in 1935. The creative segments of the movie were organized at Alborada. Manel Fonseka reported in an article, ‘Rediscovering Lionel Wendt’ in 1994, that in an interview with Julia Margaret Cameron, Basil Wright had said this about Lionel Wendt; “I think he was one of the greatest still photographers that ever lived. I should place him among the six best I’ve come across”.

As a result of discussions held at Alborada, master dancers Nittawela Ukkuwa and Amunugama Suramba were taken to England for a recording of drum beats, for the movie ‘Song of Ceylon’. This trip was sponsored by painter Harry Peiris (1904-1988). A dance school was established to develop up-country dance, in Gunnepana, Sirimalwatte, Kandy in the 1920s for Master Suramba, as a result of discussions held among a group led by Wendt and George Keyt (1901-1993). This troupe, which included the group of up-country dancers, Ukkuwa, Nittawela Gunaya, Punchi Gura and Sri Jayana Rajapakse, was later upgraded as the ‘Dance Ensemble of Central Lanka’. Jayana’s coming of age ceremony, inclusive of his ‘Ves ceremony’, held at the Degaldoruwa Rajamaha Viharaya, Kandy, in 1939, and Jayana’s dance training in India later, were all sponsored by Wendt (Dr. Vaidyavathi Rajapakse, Personal communication, 2017).

The first art inspector appointed to Sri Lanka, during the colonial era, was Charles Freegrove Winzer (1886-1940), an Englishman. He became close friends with Wendt, during his tenure in Sri Lanka. In the early years, Winzer and Wendt both wrote reviews on exhibitions of George Keyt, Justin Peiris Deraniyagala (1903-1967) and Geoffrey Beling. Wendt also translated Neruda’s art reviews from Spanish to English and published them (Manel Fonseka.

[1994]. ‘Rediscovering Lionel Wendt, Lionel Wendt Photographs’. Deutsche Bank Colombo and Lionel Wendt Memorial Fund).

The first avant-garde art movement in Sri Lanka, the ’43 Group’, was born under the leadership of Winzer and Wendt. The 43 Group consisted of Wendt (Chief Organizer), painters Harry Peiris (Chief Secretary), George Keyt, J.W.G Beling, Richard Gabriel (1924-2016), Ivan Peiris (1921-1988), Justin Pieris Deraniyagala, George Claessen (1909-1999), Aubrey Collette (1920-1992) and L.T.P Manjusri (1902-1982). The meetings of the 43 group were held at Alborada until Wendt’s death.

Afterwards the meetings were held at the house of Harry Peiris, Sapumal Foundation, Barnes Place (Sarath Chandrajeewa. [2010]. ‘Modern Art in Sri Lanka and its socio-political environment’, Artful resistance: contemporary Art from Sri Lanka, ZKF publishers. Germany).

As mentioned above, Pablo Neruda was only 25 when he was in Sri Lanka as the Chilean Ambassador (1929-1931). At 29, Wendt was four years older. In his book ‘Memoirs’, translated from Spanish into English by Hardie St. Martin, published by Penguin, Neruda had written thus about Wendt, on page 93.

“Little by little the impenetrable crust began to crack open and I struck up a few good friendships. At the same time, I discovered the younger generation, steeped in colonialist culture, who talked only about books just out in England. I found out that the pianist, photographer, critic and cinematographer Lionel Wendt was the central figure of a cultural life torn between the death rattles of the Empire and a human appraisal of the untapped values of Ceylon.

Lionel Wendt, who owned an extensive library and received all the latest books from England, got into the extravagant and generous habit of every week sending to my house, which was a good distance from the city, a cyclist loaded down with a sack of books. Thus, for some time, I read kilometers of English novels, among them the first edition of Lady Chatterley’s Lover, published privately in Florence” (Memoirs by Pablo Neruda, translated from Spanish by Hardie St. Martin [1997]. Penguin Books).

To be continued

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Politics at its most primitive

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By Uditha Devapriya

Review of Shaveen Bandaranayake’s Groundswell

Sarasavi Publications, 2021, 118 pages, Rs. 300

Half-way into Shaveen Bandaranayake’s novel, the Minister at the heart of the story tells us that the wealth he earned was people, not money. This is what politicians usually say. In the very least, it is what people who dislike politicians imagine they say.

Come to think of it, both amount to the same thing: we’ve turned politicians into objects of hate so much that we’ve come to love them for being who we think they are. Since we can’t control them in real life, we want to dominate them in popular fiction. The number of plays and films that poke fun at Presidents, Prime Ministers, and Ministers testify to how badly we want to be, not like them, but above them.

I am deeply suspicious of satire of that sort. In his excellent review of Pusswedilla, Hafeel Farisz tells us why political parody ends up serving the people and objects being parodied. This is not rocket science. At its best, political satire can move us to anger, disenchantment, and rebellion. At its worst, it can lull us into a sense of complacency with things as they are and as they seem. Farisz seemed to think that Pusswedilla epitomised the latter, reinforcing cultural stereotypes while offering no proper critique of the political establishment and the ruling class. I suppose you can say the same thing of Vijaya Nandasiri’s comedies: at his best, he makes us aware of the corruption of the political class; at his worst, he turns the corrupt into objects of love-hate, full of tropes and clichés but nothing substantive.

Shaveen Bandaranayake’s Groundswell reads as a political satire, though I have my doubts. Interweaving different stories and unfolding like a film, it goes back and forth. I won’t call its ending funny, but then how can any novel involving politics end on a funny note?

What Bandaranayake does in his story, short as it is, is to tell us that nothing good can come out of a system mired as much in corruption as in patronage. Since these people are tied to each other through politics, politics can prove to be their undoing. The way he forays into this theme and explores it, without regurgitating the usual political clichés, puts the novel at a notch or two above what you come across at, say, the Lionel Wendt. Without conforming to crude stereotypes, he attempts to humanise his characters, showing us why connections matter in politics, and why they don’t always work out.

The plot is simple enough. A woman comes across a corpse of a man at the foot of a hill one fine morning. She informs the police. By the looks of it, he seems to have lost his grip and fallen to his death. The story then rewinds to a political rally at that most obtrusive site of political rallies, a temple, where we are introduced to Sarath Aluwihare, a Minister trying to win his next election. We are also introduced to Sunil, a young man endeavouring to land a job. Events will unfold in a way that will bring the two of them together.

We are told that Sarath hails from a family of politicians, and that this family has been in politics for over two generations. The surname tells us as much. Sunil, on the other hand, is so unobtrusive that Shaveen doesn’t grant him the privilege of a surname, which, after all, is the preserve of those who matter. Like other village youths lacking employment and in dire search of a patron from the ruling class, Sunil clearly is not important; even when he finds a job as Aluwihare’s driver, his status rises, but not so much as to protect him from the novel’s ending. He is as destined to his place in life as Aluwihare is to his.

There are other characters though, and they have surnames. There is the head priest of the temple, for instance, an unabashed admirer of Aluwihare who uses him to achieve his not so religious purposes. Then there is Dileepa Jayanetti, who rises “from rags to riches” and ends up becoming the owner of the country’s biggest media house. Dileepa finds his way up by befriending the daughter of another prominent politician, who introduces him to Aluwihare, who in turn becomes his biggest benefactor. You sense the pattern here.

Halfway through the story, Dileepa hires Lasantha Muthukumarana, a journalist who tries to stick to the tenets of his trade. Dileepa does this because he thinks that by hiring the honest, he can keep them from being honest. For someone who is so bright and manipulative, this is far from the most brilliant decision he could have taken: a few pages later, Muthukumarana is investigating a hit-and-run incident which may be connected to Aluwihare.

In Bandaranayake’s world, everyone seems to know everyone else. That is why it comes to no surprise that the man run down by a vehicle in the middle of the night should have been married to a woman Aluwihare just happened to hire at his Ministry, and that she should be rumoured to have formed the object of Aluwihare’s affections. That Lasantha thought for a moment that a news report linking all this to a prominent Minister would make it in a paper linked to and blessed by that Minister is, of course, intriguing. But he tries to get it published it anyway. When the predictable opprobrium follows and he finds he can’t get it in, the story moves to its inevitable and in many ways unsurprising conclusion.

In saying all this, I am by no means revealing the plot. In fact, surprising as it may seem, the plot is what least interests me about Bandaranayake’s novel. This is a narrative I have come across many times, in many forms. Bandaranayake takes great pains to make it all relevant to the immediate political situation, i.e. the one we are in, now. Those who manage to draw links between his characters and their “real-life counterparts” should, therefore, be forgiven for thinking that he has attempted political critique masquerading as satire. My interest in it, then, has less to do with the novel than the genre it belongs to.

If Groundswell can be called a satire, it is satirical only to the extent that his characters are caricatures. Yet, as I implied earlier, it is not a satire in the way that a work like Pusswedilla is. The characters fit into preconceived and familiar patterns, but that doesn’t make them the clichéd tropes they turn into elsewhere. These characters are more rounded, certainly more complex. Sarath Aluwihare, for instance, does not possess the overstuffed tummy his counterparts from countless parodies do, while Sunil doesn’t become a Renfield type figure hell bent on catering to his “Master.” Even though Bandaranayake can be facetious, and is pugnacious, he refuses to dabble in the kind of satirical humour which could have turned his story into a Vijaya Nandasiri style parody of politics in Sri Lanka.

Depending on how you view it, this may be the strongest point or the biggest weakness in Bandaranayake’s novel. Groundswell makes several important points, and they should be considered pertinent whether they be couched the language of satire or of serious political critique. The medium is hardly the message, contrary to what people might say, and the way you communicate your ideas should not really impact the importance of those ideas.

And yet, there are one or two episodes which reveal Bandaranayake’s funny side. It is here that the disjuncture between the satirical undertones and the ponderous overtones of the narrative, and the author’s voice, proves fatal to the development of the story.

Bandaranayake is at his best when he is setting up situations, and these situations are, all things considered, effective in setting up the plot. He tries to create atmosphere, and does a good job of laying the context. But when each and every point is prefaced by laboriously long explanations of social phenomena, such as the separation between temple and State in Sri Lanka, or the wretched fate encountered by a million or so menial workers in West Asia, you struggle to distinguish between the narrative and the commentary.

For local readers, these explanations will at best be passé. I suspect they will be for foreign readers as well. Groundswell is a novel, or more correctly a novella, which could have been shorter, tighter, and more effective without them. Not surprisingly, the story gains strength when Bandaranayake cuts to the chase, and loses track when he does not.

I have read this kind of story many times before. What makes this one interesting is that it is Bandaranayake’s first attempt at fiction, and that, for a first attempt, it’s damn good. Even within its limits, he has come up with something enjoyable. That I enjoyed the book, and of course the brilliant illustrations that more than just decorate it*, is why I wish it were leaner, shorter, and tighter. Less can be more. More often than not, it is.

* With one exception: the eighth drawing depicts a scene that, if you think about it carefully, is at odds with the text on the opposite page.

The writer can be reached at udakdev1@gmail.com

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Thirty two little ballerinas win awards at TBSC’s 2021 prize giving

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Text and pictures by
PRIYAN DE SILVA

Thirty two little ballerinas were presented with certificates of achievements and awards at the 2021 prize giving of The Ballet school of Colombo (TBSC) held recently.

Directors of TBSC Tara Cooke and Romina Gyi said that they were extremely proud of the achievements of their charges and thanked the students and parents for their dedication in attending classes diligently despite the trying conditions.

Certificates of achievement were awarded in the baby ballet, junior ballet and intermediate ballet categories to students who excelled in pre-classical and pre-jazz ballet.

Debbie McRitchie, International Director of the Commonwealth Society of Teachers of Dancing (to which TBSC is affiliated), in her congratulatory message thanked the parents for investing in their childrens dance education and the teachers of TBSC for preparing the candidates. She said that dance is like life and is a journey but not a destination and encouraged all stakeholders to work harder.

The prize giving was a proud moment for both students and parents as it was a parent who presented the certificates of achievement to their child. Five-year-old Shenaya de Alwis Samarasinghe was the youngest candidate at the prize giving, passing with honours in pre-classical ballet.

The Ballet School of Colombo was the former ‘Oosha Garten Sschool of Ballet’ pioneered by the late Kalasuri Oosha Saravanamuttu-Wijesinghe and was instituted as the ‘The Ballet School of Colombo’ in 2016.

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